__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0197 December 21, 1998 __________________________________________________________ Demonstrated at all dealers the 28th of each monthSubject: Dion Sent: 12/19/98 10:23 pm Received: 12/21/98 6:50 am From: goran.kraft, goran.kXXXXXXXXet.se To: 'spectrXXXXXXXXties.com', spectrXXXXXXXXties.com I've just joined this list (after recommendations given on the very active and enjoyable Jonathan Richman e-mail-list) and I'm delighted with all the good music being discussed here. Anyone interested in Dion should visit: New site : http://www.geocities.com/SunsetStrip/Basement/9489/ index.html And this time of year Dion's "Rock'n'roll Christmas" is essential listening! Best regards/ Goran Kraft --------------------[ archived by Spectropop ]-------------------- Subject: from Carol K Sent: 12/16/98 4:34 am Received: 12/16/98 7:32 am From: Carol Kaye, carolXXXXXXXXlink.net To: Spectropop List, spectrXXXXXXXXties.com John, I'm still reading people's posts, and am amazed at how much people know out there about so many hits. We were just sitting in the studios creating those records, but knew what all our bunch of 350 or so studio musicians, what they were doing, with other recordings. Still the public amazes me, their data, etc. Yes, I was one of the bass players on Tina's "River Deep Mountain High", but at Gold Star Recorders. Ray Pohlman also played Fender Bass on that, and they had a Dano, as well as a string bass. The studio (as I remember) was VERY crowded both in the booth and in the main studio itself. We liked the arrangement, Tina was in the vocal booth singing (altho' I suspect they added the final vocals on later, as Phil would normally do). I always saw Darlene Love and usually the Blossoms with her also on the studio dates with Phil Spector, didn't matter the singer/ group, they were always there. So am pretty sure it's Darlene and Blossoms and maybe some others too like Clydie King, one of the Holloways, Brenda and Pat. You saw them around in those years too, constantly as well as some fine other singers, Jackie Ward, and Gracia Nitzsche (Jack's wife at that time). Even Cher as I understand it, could have sung some background, but she was NOT a regular background studio singer at all, that's a highly professional fine career -- you have to be one of the greatest singers of all time to be a successful studio singer, be able to sight-read music, etc. and have a ton of live singing experience to do that line of work. While I love Cher as a person, played on their things, and she's a fine actress, well.....you get it I'm sure. So not sure about who later added their voices, but know that Darlene Love had to be one of them for sure, she was Phil's mainstay vocalist. The list that someone posted: Vogues, Ronettes, Animals, Paul Revere, Crystals, Righteous Bros., and Dusty Springfield -- those are the groups/singers I recorded with fairly constantly. Am playing bass on "Soul & Inspiration" for instance, guitar tho' on a few as I was a studio guitarist since 1957 (Sam Cooke, Ritchie Valens etc.) then accidentally picked up the Fender Bass when someone didn't show up at Capitol Records for a record date one day late 1963 and mostly played bass from then on (was a lot more fun than playing rock guitar, I was a jazz guitarist before studio work in LA, and had built a fine reputation as one so they say, playing in the black clubs mostly, it was very hot back then in LA, not "cool" jazz as they sometimes say). So there are a lot of early hits I did on guitar first. Anyway, for what it's worth, that's all I know about that particular date with Tina. We all felt that "River Deep Mountain High" was going to be a blast of a hit, it had that feel. And were surprised when it didn't climb on the charts like the rest of Phil's hits. I think most people in Hollywood were there to watch that date (they were called record dates then, not sessions), at least it felt like it, quite a bit of excitement around Phil. Phil was fun to work for mostly, altho' some of the takes were like anywhere from 20 to almost 30 takes (don't ask me why, don't know, he was experimenting like Brian Wilson later did also in the booth, but also there was a sort of "tune pitch", he'd sort of wear us out and then we'd pull together for the last 4-5 takes for a final hit take -- you felt it, and he did too). Most record dates had 3-4-5 takes tops with the other artists. Phil was responsible for a lot of innovations in recording -- the use of earphones, the barriers to cut down on mike leakage, the placement of mikes, uses of the echo systems, and the muting of drums, etc. He would kid with us on the dates sometimes, and we'd kid back. Sometimes it got a little raucous -- he'd pick on someone's Achilles heel, mostly in fun, but it got a little hairy at a few times, we'd just feed it back to him, and he loved that, the banter and all. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Subject: Lower the Flame Sent: 12/16/98 8:24 am Received: 12/17/98 7:48 am From: IAC, ianXXXXXXXXlnet.co.uk To: Spectropop List, spectrXXXXXXXXties.com Hi Doc, Yes, it was the Shirelles who did "Lower the Flame" - an early track of theirs - writers are Snyder/Kahan/Williams. Ian Chapman --------------------[ archived by Spectropop ]-------------------- Subject: Collectibles and Sue Thompson Sent: 12/16/98 2:55 am Received: 12/16/98 7:32 am From: Doc Rock, docrXXXXXXXXcom To: Spectropop List, spectrXXXXXXXXties.com Some Collectibles CDs may be inferior, but ... Literally as I was interviewing Sue Thompson for an article a few years ago, my review copy of her Collectibles CD arrived. She had no advance warning about it! But she loved it, and the sound quality and track selection are excellent. Doc --------------------[ archived by Spectropop ]-------------------- Subject: The Dovers & Blue Things Sent: 12/16/98 2:03 pm Received: 12/17/98 7:48 am From: Javed Jafri, javedjXXXXXXXXt.ca To: Spectropop List, spectrXXXXXXXXties.com Glad to see other people share my love for "What Am I Gonna Do" by the Dovers. I have had it on a "Pebbles" comp for a long time and it's been my favorite from that particular volume ( "It's Cold Outside" by The Choir comes in a close second, though). The singer reminds me of the Buckinghams. Speaking of obscure psyche/pop. Is anyone familiar with a Midwestern group called The Blue Things. They did a great Beatlesque song called "Pretty Things". Most of their early material is very British Invasion influenced but like the big guys they progressed to release some very psychedelic sounding material like "The Coney Island Of Your Mind" and "You Can Live In Our Tree". Perhaps some of this material is a bit contrived but it's interesting to see how even the so-called garage bands evolved and went through the various stages from Mersey to folk-rock to psychedelic to burnout. A comp of theirs called "The Blue Things Story" was released on Collectables a few years back. Javed --------------------[ archived by Spectropop ]-------------------- Subject: Will Stos, John Rausch, & "I Wonder" Sent: 12/16/98 11:43 am Received: 12/17/98 7:48 am From: Jimmy Cresitelli, JimmXXXXXXXXom To: Spectropop List, spectrXXXXXXXXties.com Hi John, I was referring to the mix that has that extra "ba-RRUMP RRUMP RRUMP, ba-RRUMP RRUMP RRUMP" at the beginning of "I Wonder" by the Ronettes... I believe I first heard it on the mono Ronettes LP, but I can't go back and check because my receiver died this week!!! Or, am I thinking of the stereo version, which I have on tape?? Either way, I love that beginning. Hi Will, Thanks for your input... I guess I have a soft spot in my heart for the Ronettes' version of "I Wonder," because it was the first one I heard... summer of 1970, when I first became attuned to the classics. A woman on my block in Brooklyn GAVE me her copy of Philles 4006... I played "I Wonder" over and over... I also love the Butterflys' version a lot... but the Crystals' side has fallen to third place in my opinion: it really IS too much! La La's straining so hard to be heard above that wall of sound... I mean, it's a fantastic record, but Ronnie's cut has been the one to do it for me after all these years. It's got staying power. --------------------[ archived by Spectropop ]-------------------- End
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