The Spectropop Group Archives
presented by Friends of Spectropop

[Prev by Date] [Next by Date] [Index] [Search]

Spectropop V#0192

  • From: The Spectropop Group
  • Date: 12/09/98

  • __________________________________________________________
    __________                                      __________
    __________                                      __________
    __________     S  P  E  C  T  R  O  P  O  P     __________
    __________                                      __________
    __________________________________________________________
       Volume #0192                        December 9, 1998   
    __________________________________________________________
                        Visual Sound Stereo                   
    
    
    
    
    
    
    Subject: Re: Things Are Changing
    Sent: 12/08/98 12:21 pm
    Received: 12/09/98 7:42 am
    From: R Teyes, RTXXXXXXXXom
    To: Spectropop List, spectrXXXXXXXXties.com
    
    To: Brad Elliot, Mark Landwher and Jamie LePage
    From: Robert Tirado
    
    
    It may be of interest to you that I have tried unsuccessfully to 
    contact Fitzpatrick & Fogerty re the following: Yes, there was a 
    45 produced in Puerto Rico with Lucecita and Julio Angel in the 
    60's. My buddy John Rausch (the Ronettes' webmaster) initially 
    brought the subject up to me. I recall the 45 in those days (I was
    born in PR but raised in New York City). On one of my many trips 
    there, I had befriended Lucecita, for whom John Rausch has 
    graciously helped me develop a web page. Phil Spector and Chappel 
    Music along with Trio, Screen Gems, etc. were going to sue 
    Lucecita's manager Alfred D. Herger because he had recorded in 
    Spanish by Lucecita (Lucy) "Be My Baby", "Then He Kissed Me" and a
    few others in the respective catalog of each company-and because 
    Herger had not paid licensing and royalty fees. Remember, Lucecita
    was an up and coming singer and really an ingenue in the field. 
    Same with Julio Angel. They all went to the Tribuna (court in PR) 
    and all parties settled out of court. Part of Phil Spector's 
    settlement besides the $$$$, was that Herger record both Lucecita 
    and Julio Angel in "Things Are Changing". This was done 
    expediently in such a fashion that the nearly broke Herger asked 
    Phil if he could use the backing tracks of the Supremes and Phil 
    relented. (Rumor had it that Phil owed the IRS $$$ and he would 
    take this Spanish version of "Things.." as a loss not knowing that
    PR favored Lucecita's version so much that bootleg copies were done
    since only 80 45 copies were produced and only for the radio 
    stations. If you visit my web page on Lucecita, I have placed a 
    graphic on the 45 from a book by a buddy Javier Santiago. (This is
    what I wanted to share with Fitzpatrick & Fogerty). You don't need 
    to go through the whole web site- just visit :
    http://geocities.com/westhollywood/7415/memorabilia2.html
    
    Lucecita told me some years ago about the court hearing that day 
    in the 60's and how nervous she was but how everything fell into 
    place. Lucecita is today considered the national singing voice of 
    PR much like Marion Anderson was to the mainland US...Thanks guys 
    and John Rausch you know how I feel about you already...Robert the
    Ronette Hound (and Lucecita hound!)
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     songwriting credits
    Sent:        12/06/98 12:54 pm
    Received:    12/06/98 10:50 pm
    From:        dave prokopy, proXXXXXXXXt.net
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    > 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.
    
    not exactly. if the MUSIC was still written by someone else - 
    despite whether you changed the actual melody of the lead or not -
    then they're still entitled to a partial songwriting credit.
    
    why do you think brian was forced to give partial (well, actually,
    at the time, entire) credit to chuck berry for "surfin' USA," even 
    though brian's version had an entirely different melody?
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Things Are Changing
    Sent:        12/07/98 1:05 am
    Received:    12/07/98 7:49 am
    From:        Mark Landwehr, msXXXXXXXXbs.com
    To:          Spectropop List, SpectrXXXXXXXXties.com
    
    > 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.
    >
    OK, Brad, but you then say...
    
    > So, in all fairness, I think the writing credit for "Things Are 
    > Changing" should be Wilson-Spector.
    >
    Actually, I think were talking "chicken-egg" stuff here...I was 
    referring to the "Things..." version, not the "Don't Hurt..." tune. 
    Whether written by Brian for Darlene or Ronnie, when Phil got 
    hold of the tune for the public service project, he "altered" it 
    enough to put himself down as co-writer (Phil did this many times 
    in his Philles days, and it p.o.'ed writers such as 
    Barry-Greenwich and Mann-Weil).
    
    And, as for the original thread from Scott Bauman re: Brian's 
    lawyers possibly being informed because Spector is listed as "sole
    author" of "Things..." on the Supremes anthology, remember that 
    this was a public service announcement...all royalties were most 
    likely waived, so why litigate? Lawyers don't care if $$$ ain't 
    involved...and Brian probably doesn't care, either.
    
    Mark (Philles Phanatic)
    http://www.toltbbs.com/~msland/Spector/index.htm
    
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Harpers Bizarre
    Sent:        12/08/98 8:06 am
    Received:    12/09/98 7:42 am
    From:        MUV9XXXXXXXXnt2.lu.se
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Someone on the list told me a couple of weeks ago that all of HP's
    albums have been reissued by Warner in Japan, and I've found stores
    on the net who sell them BUT...they're all too expensive for me, 
    being a "poor student" and all....so would some kind person on 
    this list please make me a tape or two of their two first albums +
    their last ("4")?? That is, every record except for The Secret Life
    which I already have.
    
    Pleeeeeeaze? I'll be yr friend/lover/pet for life :)
    
    Tobias
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject: Murmaids
    Sent: 12/06/98 11:00 am
    Received: 12/06/98 12:33 pm
    From: Paul Urbahns, PaulurXXXXXXXXom
    To: Spectropop List, spectrXXXXXXXXties.com
    
    In a message dated 11/30/98 6:12:57 PM EST, spectrXXXXXXXXities.com 
    writes:
    
    >It sported the original
    >Chattahoochee label and had excellent sound quality so I thought 
    >it was legit. . .WRONG, it was a boot. . .WHOOPS! But they all had
    >a laugh 'cause the photos on the cover weren't even of them. In 
    >fact, since they recorded them in 1963, they hadn't even heard the
    >songs until Collectables acquired them for their recent CD release.
    
    The Collectables may be a boot too as It sounds like its made 
    off the same tape, only one new song (I think) I wish they had put
    on the instrumental B side to Pop.. it was called Huntington Flats.
    
    Paul Urbahns
    paulurXXXXXXXXom
    Did they record any songs not on the Collectables?
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject: Peggy March
    Sent: 12/06/98 10:59 am
    Received: 12/06/98 12:33 pm
    From: Paul Urbahns, PaulurXXXXXXXXom
    To: Spectropop List, spectrXXXXXXXXties.com
    
    In a message dated 12/2/98 6:09:34 PM EST, spectrXXXXXXXXities.com writes:
    
    << Are there any other Peggy March compilations available in the 
    US? >>
    
    Stay away from the Collectables CD, it's made by Special products 
    divsion at BMG and thay don't seem to know anything. The best one 
    is on Taragon. I am not impressed by Collectables, they use the 
    wrong versions on 45's and some of the CD's are from albums. My 
    Angels is even though they claim they had a tape. Of course some 
    may be remastered but there is no way of telling what you are 
    getting. They don't know oldies music. Period. I'd look elsewhere.
    
    Paul Urbahns
    PaulurXXXXXXXXom
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject: Peggy March
    Sent: 12/07/98 2:10 am
    Received: 12/07/98 7:49 am
    From: Paul Urbahns, PaulurXXXXXXXXom
    To: Spectropop List, spectrXXXXXXXXties.com
    
    In a message dated 12/5/98 10:34:47 PM EST, spectrXXXXXXXXities.com 
    writes:
    
    >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.
    
    I have a German CD ,maybe on bear Family, of about 30 of her 
    German recordings, really good stuff even if I don't understand 
    the words. But if I remember right I Will Follow Him is not on it.
    The german comps I've seen use the English version.
    
    The original French version of the song was recorded by Petula 
    Clark (in French) and I have it on a Japanse CD.
    
    Paul Urbahns
    paulurXXXXXXXXom
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject: Please Be My Boyfriend
    Sent: 12/08/98 6:05 pm
    Received: 12/09/98 7:42 am
    From: Jamie LePage, le_pageXXXXXXXXties.com
    To: Spectropop List, spectrXXXXXXXXties.com
    
    Ever since Barbara Alston joined the list, I have wanted to ask 
    about what might very well be the greatest unsolved mystery of the
    Phil Spector story. How about it Babs? Can you fill in any of the 
    blanks on this? Anyone else?
    
    The song in question is Please Be My Boyfriend, which became 
    widely known amongst girl group fans from a photo of a studio 
    tracking sheet in Alan Betrock's book on the girl group sound. The
    tracking sheet indicates that a Crystals recording session was 
    held at Broadway Recording Studios on July 9, 1964, and an overdub 
    session (vocal dubbing?) was held on August 4.
    
    What was this session? Who produced it? It sure doesn't sound like
    a typical Wall of Sound Spector production. Even though "All Grown 
    Up" and "Little Boy" were both released in 1964, they were both 
    recorded much earlier the previous year, in L.A., with the typical 
    Nitzsche arrangement and Spector Wall production. By contrast, the 
    1964 Please Be My Boyfriend track is sparse in arrangement, doesn't 
    sound like Nitzsche and was recorded in N. Y.
    
    Who are the vocalists? Is this the real Crystals, and if so, who 
    is on lead?
    
    Also, who wrote this song? It has been suggested that it may be 
    written by Barry/Greenwich, and while I agree it sounds like it 
    could have been written by them, if memory serves Spector wasn't 
    very happy with Jeff & Ellie at the time due to their involvement 
    with Leiber and Stoller's Red Bird label. If it is Barry/Greenwich, 
    perhaps Phil intentionally solicited a one of their songs in 
    spite knowing that the recording was destined to remain incomplete.
    
    I have not been able to find any copyright information on Please 
    Be My Boyfriend at all. However, in researching this I discovered 
    a little oddity: There is a song in the Mother Bertha catalog 
    entitled "I Want You To Be My Boyfriend." The writers: Spector/ 
    Barry/Greenwich. But here is the oddest thing about this. The 
    first date of copyright is January 1, 1990!!! Mother Bertha 
    controls only Phil's share of the song. I wonder if Jeff & Ellie 
    have this song under copyright, and if so, is the year of 
    copyright 1990? I have never heard of a recording of this song; to
    the best of my knowledge the song has never been released 
    commercially. I seriously doubt Phil wrote this with Jeff & Ellie 
    in 1990, and somehow I Want You To Be My Boyfriend doesn't sound 
    like a song title for the '90's.
    
    Theory time! I guess these are one and the same song and Jeff 
    Barry produced the session in Phil's absence. If so, it could be 
    that no one bothered registering the song at the time because 
    nothing ever came of it. Then, after Alan Betrock's book drew 
    attention to this session, and the subsequent unofficial 
    circulation of the unfinished recording, Phil registered the song 
    with Mother Bertha but somehow mixed up the title.
    
    This is just a theory, and if anyone can debunk or corroborate it,
    please do!
    
    And Babs! If you or any of the other Crystals can help here it 
    would be most appreciated. This may have been the final Crystals 
    session for Philles. It would be great to learn that Jeff and 
    Ellie indeed wrote and produced the song. Any info, please post!
    
    Thanks,
    
    Jamie
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject: Popscicles And Icicles
    Sent: 12/08/98 2:00 am
    Received: 12/08/98 7:18 am
    From: Paul Urbahns, PaulurXXXXXXXXom
    To: Spectropop List, spectrXXXXXXXXties.com
    
    Does anybody on the list have further information on the song? 
    This is a post (sorry about the caps that's the way I got it) from
    Mike Marvin a true oldies fan that works at a local station.
    
    "AS PER OUR PHONE CONVERSATION, THERE ARE THREE DIFFERENT 
    ENDINGS TO THE MURMAIDS' "POPSICLES AND ICICLES". THE ORIGINAL 45 
    VERSION HAD A VERY TIGHT COLD ENDING. THE VERSION THAT APPEARED ON
    THE MURMAIDS ALBUM THAT WAS ISSUED IN 1980 HAS A SLIGHT FADE, THAT 
    IS THAT SAME ORGAN CHORD STARTS TO FADE BUT STILL ENDS COLD. THERE
    IS A THIRD VERSION THAT HAS AN ADDED GUITAR NOTE WITH SOME KNOCKING
    DRUMS. WITH ALL THESE, I'M SURPRISED THERE IS NO STEREO VERSION. 
    THE SONG WAS RECORDED AT GOLD STAR STUDIOS IN L.A.. AT THAT TIME, 
    THE STUDIO HAD THREE TRACKS, SO IT WAS POSSIBLE FOR A STEREO MIX 
    TO BE DONE. AFTER ALL ON THE MURMAIDS CD, THERE WAS A STEREO TRACK
    , CALLED "HE'S GOOD TO ME". THE BASIC TRACK WAS ON THE LEFT 
    CHANNEL, AND THE VOCALS WERE IN THE CENTER AND RIGHT CHANNEL.. 
    HMMM IT WOULD SOUND BETTER, IF THE VOCALS WERE ON THE LEFT AND 
    RIGHT CHANNELS, WITH THE MUSIC CENTERED. NOT A BAD SONG EITHER. 
    SOUNDS LIKE A SHELLEY FABARES SONG. "
    
    Any comments out there?
    Paul Urbahns
    paulurXXXXXXXXom
    
    --------------------[ archived by Spectropop ]--------------------
    End
    
    

    Click here to go to The Spectropop Group

    Spectropop text contents Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.