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Spectropop V#0191

  • From: The Spectropop Group
  • Date: 12/04/98

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       Volume #0191                                      December 6, 1998   
    Equal Employment Opportunities Campaign-Conducted for Plans For Progress  
    Subject:     Re: Things Are Changing
    Sent:        12/03/98 9:05 am
    Received:    12/04/98 7:49 am
    From:        Brad Elliott, sur
    Mark Landwehr wrote:
    > Phil wrote the
    >track & produced it...From what I've heard, as the backing track
    >for an unreleased Spector production (which one?), Phil gave it to
    >EEOC to use on their public service announcements - Brian then
    >picked it up as a backing track (which he slightly altered) for
    >"Don't Hurt My Little Sister." Brian USED it, he didn't write it.
    >Chronologically, it was Phil's, then EEOC's, then Brian's...
    Whoa! Phil may have produced it, but he certainly didn't write it!
    The unreleased Spector production was a Darlene Love version of 
    "Don't Hurt My Little Sister," written by Brian and given to 
    Spector. Both Brian and Jack Nitzsche, who arranged the session, 
    have corroborated that fact. In fact, according to Nitzsche, Brian
    played piano on the session because Leon Russell was too drunk.
    Spector reportedly never released the song because he didn't have 
    a hand in writing it and Brian wouldn't give him any of the credit
    (as other songwriters did). After Spector decided not to release 
    the song, Brian recut it with the Beach Boys (it's *not* the same 
    backing track) and released it on the BEACH BOYS TODAY album in 
    early 1965.
    Later that year, Jerry Riopelle reworked Spector's track into 
    "Things Are Changing" for the EEOC's use. The correct production 
    credit should be to Spector (for the instrumental track), Riopelle
    (for the vocal arrangement), plus whoever supervised the actual 
    lead vocal session -- I'm sure that differed from version to 
    version. Riopelle apparently cut the Blossoms' vocals, but I'm 
    sure somebody at Motown did the Supremes' vocals and somebody on 
    the East Coast worked with Jay & the Americans. I doubt Riopelle 
    flew all over the country to supervise the vocal sessions.
    As for the writing credit on "Things Are Changing," it can be 
    argued that if you create a new melody over the rhythm track for 
    another song, it's a new song and you don't have to credit the 
    original song's authors. However, in these litigious times, most 
    music copyright attorneys are recommending that their clients err 
    on the side of over-compensation in regard to songwriting credits.
    (Which is why Holly, Allison and Petty are credited as co-authors 
    on the Beach Boys' recently-released "Christmas Time Is Here Again."
    Unless somebody told them, I doubt most people would guess that
    the song was written to the rhythm track of "Peggy Sue.") So, in 
    all fairness, I think the writing credit for "Things Are Changing"
    should be Wilson-Spector.
    Surf's up!
    Brad Elliott
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Things Are Changing
    Sent:        12/03/98 5:09 pm
    Received:    12/04/98 7:49 am
    From:        Scott Bauman, ScottBa
    john rausch wrote:
    "what 2 disc  anthology of Supremes do you have? I have a 2 disc set
    called Anthology and Things Are Changing is not on mine..."
    Apparently, the Supremes 2 CD Anthology was first released several 
    years ago (1986?), and then re-released a few years ago (1995?) with
    a different track listing.
    -- Scott
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Things Are Changing
    Sent:        12/06/98 9:09 am
    Received:    12/06/98 9:59 am
    From:        Jamie LePage, le_page
    Mark Landwehr wrote:
    >Brian's lawyers can't do anything here, Scott - Phil wrote the 
    >track & produced it...
    I believe this is partially incorrect, Mark. Although I too am 
    adamant that Phil produced this track (I also believe other 
    alleged Rioppell productions Close Your Eyes & Home of the Brave 
    are Spector as well), I am quite certain that Brian wrote "Don't 
    Hurt..." for Ronnie (many claim it was written for Darlene), and 
    Brian gave this song to Spector [insert "Mike Love actually wrote 
    it but never got credit" joke here].
    >From what I've heard, as the backing track for an  
    >unreleased Spector production (which one?)...
    >From Collecting Phil Spector, (Fitzpatrick & Fogerty):
    "The backing track, originally intended for a proposed Ronettes
    version of the Beach Boys' 'Don't Hurt My Little Sister,' was 
    produced by Spector with Brian Wilson on piano. When that 
    project was not completed, Spector kept the tapes and later 
    used them as a contribution to the EEOC campaign to increase 
    employment of minority youth. The song 'Things Are Changing' 
    was recorded over Spector's track by the Blossoms, Supremes and
    Jay and the Americans. (A rumored fourth version, supposedly 
    sung in Spanish by Julio Angel and Lucecita, remains unverified.) 
    Jerry Riopelle recorded the Blossoms' over Spector's track 
    in the only release of the song by Spector's organization."
    >A small-hole 7" platter was produced for the Supremes version, as 
    >well as the Blossoms & Jay and The Americans, and, reportedly, a 
    >pic sleeve came with them.
    I've heard 4000 copies of the original 45 edition of "Things Are 
    Changing" by the Blossoms were distributed to U.S. radio stations 
    in May 1966. The recording was issued on a 33 1/3 rpm small-hole 7" 
    disc, with Things Are Changing appearing on both sides (T4LM-
    8172-1). It came with a picture sleeve, a photoless graphic only 
    sleeve that simply said THE BLOSSOMS SING: THINGS ARE CHANGING. 
    There are no writer/arranger/producer credits on the disc or 
    sleeve. However, if you look at the credits on the Jay and the 
    Americans version (as included in their Legendary Masters CD "Come
    a Little Bit Closer" - [CDP-7-93448-2]), the song is credited as 
    written by Brian Wilson/Phil Spector, and as produced by Phil 
    Spector and Jerry Riopell. I believe these are the right credits, 
    for surely this was Brian's song and Phil's rhythm track.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     The Best of Little Peggy March
    Sent:        12/04/98 12:31 am
    Received:    12/04/98 7:49 am
    From:        Doc Rock, docr   .com
    Peggy March
    The Best of Little Peggy March
    by Doc Rock for Discoveries Magazine
    When I interviewed Peggy March for Discoveries in 1996, she was 
    lamenting the fact that there had never been an authorized CD 
    compilation of her material. When I pitched the idea of a Peggy 
    March CD to a couple of reissue labels, I was informed that such a
    project was rendered impractical by the exorbitant fee RCA wanted 
    for the master tapes.
    Well, it looks like someone at Taragon records was finally able to
    strike a deal with Nipper.
    The subtitle of this new, authorized CD is: "the essential singles
    collection 1962-1968." In other words, Taragon favored Peggy's 
    American 45 sides over her wealth of other material, such as: 
    teen-rocker LP cuts from her 1963 I WILL FOLLOW HIM album; 
    country-pop LP cuts from her NO FOOLIN' album; unreleased material;
    or her plethora of foreign-language recordings.
    And there are a lot of foreign-language recordings Taragon could 
    have used. Because her tender years made touring in the US 
    problematical in 1963, Peggy left the US and lived in Europe for 
    many years. There she had numerous German, Japanese, French, 
    Italian, and Spanish hits. This success gave her a great career 
    overall, but left her largely regarded in the US as a "One Hit 
    Wonder," which she definitely is not.
    The "essential singles" are presented chronologically, starting 
    with her first record, "Little Me," which neither she nor the 
    record-buying public liked. Next is the classic "I Will Follow 
    Him," the song that made her the youngest female to ever make #1 on
    Billboard, a distinction which stands to this day. This cut is the
    only one on the CD to feature studio talk -- we learn that the 45 
    of "Follow Him" used take 9.
    The subsequent cuts include both her hits and her more notable 
    non-hit 45s. The last three or four cuts will be new to most 
    listeners. "This Heart Wasn't Made to Kick Around" has a great 
    hook played on violins, and "If You Loved Me (Soul Coaxing-Ame 
    Caline)," recorded just five years after "Follow," reveal Ms. 
    March as a much more mature and sophisticated, yet still very 
    exciting female vocalist.
    As a 45 collector from way back, I've never been much of a 
    cheerleader for stereo over mono or for CDs over vinyl. But RCA 
    must have some great master tapes, as the sound on this CD is 
    truly awesome. Comparing the cuts on this CD to the original 45s 
    is like comparing blooming roses to rose buds. Both are nice, but 
    in each case, the former outshines the latter. "Watch What You Do 
    With My Baby" and "The Impossible Happened" sound especially 
    Speaking of comparing the original 45s to the CD cuts, track 11, 
    "Can't Stop Thinkin' About Him," is a very different edit of the 
    same recording used for the 45, and runs 23 seconds longer. Cut 15, 
    "He Couldn't Care Lees," is also somewhat different from the 45 
    edit. Many of the cuts SEEM like remixes, merely because the 
    stereo CD sound reveals so much more than the mono 45s did. And 
    the final cut is the sole sample of her non-US career, the 
    Japanese version of "I Will Follow Him."
    The liners include interview material, session information for all
    21 tracks, eight photos, and chart data. Most cuts have extended 
    fadeouts. All in all, a very satisfying if overdue package for a 
    vastly underrated singer.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Collectables/Cinderllas/Supremes
    Sent:        12/03/98 9:26 am
    Received:    12/04/98 7:49 am
    From:        WILLIAM STOS, w
    > From:        JM, jhor
    >I am about to order music for a radio station where I work, from 
    >the Collectables label.
    >I'm wondering if there are particular titles to avoid, or 
    >especially good ones, or if I should be wary of the entire 
    >Collectables catalog.
    > The Exciters - Tell Him (CD)
    okay sound quality. I don't like the tracks on this one as much as
    the stuff they recorded for Roulette/Bang. The complete first album
    plus two unedited versions of "Tell Him," and "He's Got The Power."
    It's pretty good all in all, but is this is a commercial radio 
    station, they might not find a lot of the stuff playable. Very 
    little orchestration on these tracks. Brenda, was actually 
    violently ill while she was recording the album, so her voice 
    isn't always the quality of "Tell Him."
    > Patti La Belle and the BlueBells - Golden Classics (CD)
    I have the Canadian version of this one put out by Isba Records. 
    Great cuts. Some perfect sound quality, other awful! Things like 
    "Decatur Street," and "Academy Award," sound like their from 
    scrathcy vinyl! Pretty good otherwise!
    > The Jelly Beans and Friends (CD)
    Very good stuff on this one! Doc Rock is probably gonna write a 
    page about this one. All the Jelly Beans track from their 
    unissued album are here. Very good stuff from them! The other 
    songs on the album, songs by the Butterflies, the Adlibs, Bessie 
    Banks (the best blues tune ever "Go Now,") and my personal 
    favourite the Charmettes "Stop The Wedding." This song is 
    incredible! Very Spectorish! I notice the sound quality on this 
    one is fairly decent, although if you turn up the volume you can 
    hear a bit of a buzz. Wow! If anything, buy this one! Well worth 
    >From: IAC, ian
    >Yes, I agree with the comments about the Cinderellas
    >"Please Don't Wake Me" - it's a killer. I've always regarded it as
    >a "sister" record to "I Never Dreamed"
    I like "Please Don't Wake Me too, but I really think "Baby Baby," 
    is my fav. The pounding beat of a Crystals song with the girls 
    just crying. Sheila B and I agree on this one, it almost brings 
    tears to our eyes. I find more in common between "I Never Dreamed,"
    and "Baby Baby," than with "Please Don't Wake Me."
    >I learned about the session tape through a friend who's
    >compiling the CD on which it will appear. He was given access to 
    >tapes from the EMI-owned vaults, which currently includes
    >Dimension, Colpix, Roulette, Dynovoice, Jamie/Guyden and a whole 
    >lot of others. The CD is due out early in the new year -
    >I'll post any relevant info as I get it.
    Great! Thanks so much. I can't wait for this one. Who's the friend? 
    By the way, does anyone here know Malcomn Baumgart and Mick 
    Patrick? They write almost all the liners for girl group cds these
    days. I'm dying to talk with them. And thanks for clarifying who 
    those Cinderellas in the pic were!
    >what 2 disc anthology of Supremes do you have? I have a 2 disc set 
    >called Anthology and Things Are Changing is not on mine...
    The brand new edition of the anthology has 26 cuts on each side. 
    It's not the pink and blue cover one, it has a pic of the girls 
    performing live on the front and back. Put out in 1994? Sometime 
    pretty recent, maybe even 1997.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Long Live The Kingston Trio LIVE
    Sent:        12/03/98 9:09 am
    Received:    12/04/98 7:49 am
    From:        Marty Rudnick, mrud
    From:        Don Richardson, dric
    >I had the opportunity a few weeks ago to hear and visit briefly 
    >with the Kingston Trio. Yes...they are still performing after 40+ 
    >years with two of the three original members---Bob Shane and Nick 
    >Reynolds. I wouldn't have traded the experience of hearing them 
    >live, but it is time they let some younger musicians carry on the 
    Marty sez:
    Hang down your head and cry! I couldn't disagree more. I've seen 
    them twice in the last three years. Sure, their gettin' on in 
    years, but they still sing great and sing with gusto! Why, oh why 
    replace them with ringers? I don't see the logic.
    They are an American historical and musical treasure. I highly 
    recommend you see them while they're still able to perform.
    On a related note, I would *love* someday to form or join a folk 
    trio to play in local pubs.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Christmas Goodies
    Sent:        12/03/98 10:55 am
    Received:    12/04/98 7:49 am
    From:        Rich Briere, rfbr
    So, every year the Holidays roll around and we tend to dig out 
    many of the old standards, give them another listen, and put them 
    on the shelf again. Yawn.......;-O's the the herald angels!!
    We'll, perhaps they're not exactly the angels, but nonetheless....
    .you may want to run to your favorite music retailer and snag a 
    copy of the NEW "Chicago 25 Christmas Album". Great Stuff, great 
    arrangements........and fun to play loud!
    Bass-ically Yours,
    Rich Briere   
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Little Eva and Simon & Garfunkel
    Sent:        12/06/98 5:55 am
    Received:    12/06/98 8:48 am
    From:        Paul Urbahns, Paulur   com
    << Re: Paul Urbahns' comment on Little Eva, I'm very surprised
     because I was told that she sang both LET'S TURKEY TROT and
     MOTION during her set on a concert in Eastborne, England, just
     the other Saturday, 11/21. >>
    Good to hear it, the show I saw was at the Kentucky State Fair the
    middle of August and she did The Locomotion and some covers.
    For Simon & Gafunkel fans, there is a new CD of Christmas music 
    being marketed by WalGreens Drug Stores with the rare S&G song 
    "The Star Carol". As I remember it, it was the b-side to Silent 
    Night/7 o'clock News when it was out as a single. I also have it 
    on a Columbia Special Products division various artist Christmas 
    album. I recent bought the new S&G boxed set primarily for that 
    song and it's on there. However, for some reason the Box set 
    claims it's previously unreleased. Is there anything different 
    between the box set version and the previous two releases?
    Paul Urbahns
    paulur   com
    --------------------[ archived by Spectropop ]--------------------

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