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Spectropop V#0022

  • From: The Spectropop Group
  • Date: 11/28/97

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            Volume #0022                                11/27/97
                            "Let's Turkey Trot" 
    Subject:     Music For TV Dinners
    Sent:        11/28/97 2:57 AM
    Received:    11/28/97 8:27 AM
    From:        BashPop, Bash  m
    Hi Everyone,
    I wanted to alert you to a CD I just picked up that I think many of you 
    will want.  It's called "Music For TV Dinners: The 60s", and it's on 
    Scamp Records, a division of Caroline.  It's got 16 tracks of "production 
    music", the type of background stuff heard on commercials, movies, and 
    highlights of Sporting events.  Among the tracks that I remembered are 
    "Sporting Highlights" by Keith Mansfield and "Pop March" by Johnny 
    Pearson, but virtually everything on here is really cool, the kind of 
    horn based upbeat pop that will put you in a good mood.  To Darian 
    Sahanaja and Jamie LePage: as our friend Elliot would say, "This is the 
    Spectropop Rules!!!!!
    Take Care,
    P.S. Darian, if you don't have this already, I saw another used copy at
         -----------[ archived by Spectropop ]-----------
    Subject:     Re: Phil and Michael Ochs
    Sent:        11/26/97 1:22 PM
    Received:    11/27/97 1:01 AM
    From:        Javed Jafri, javedja  .ca
    I can't really answer your question as to why Phil Ochs never made the 
    big time but part of the answer may lie in his rather radical and 
    uncompromising political stance. 
    I have to add, however, that his "Tape from California is one of my all 
    time fave songs and I still have the original vinyl copy of the album 
    which, by the way, had involvement from Van Dyke Parks. His "Pleasures of 
    the Harbour" album is also a classic. I  read an interview with him in 
    Crawdaddy shortly before his death where I was surprised to hear him say 
    some nice things about Brian Wilson and also Phil Soector if memory 
    serves me correctly. I was surprised because I did not think Phil would 
    be attuned to these artists,
    Incedently his brother Michael Ochs is the owner of one of the biggest 
    collections of recordings in the world. He is the man behind the "Michael 
    Ochs Archives" who supply so many record labels and book publishers with 
    photographs from the golden era of rock covering every type of artist 
    from spectorpop to the most obscure of psychedelic wonders. 
    > Subject:     Phil Ochs
    > Sent:        11/25/97 1:33 AM
    > Received:    11/25/97 2:19 AM
    > From:        Don Richardson, drich  com
    > Just wondering if anyone here can shed some light on the lack of public 
    > popularity, or for that matter, public knowledge of Phil Ochs.  I 
    > remember from high school in the late 60s that everyone knew of Dylan, 
    > yet I never even heard the name Phil Ochs until he comitted suicide.
    > Since then I picked up a number of his albums and read up a little more 
    > about him.  Even in the mid-60s, Dylan was quoted as saying "I'm just 
    > trying to keep up with Phil Ochs."   Tom Paxton was also a great admirer 
    > of him, as well as others involved in the early '60s "folk" scene.  
         -----------[ archived by Spectropop ]-----------
    Subject:     Re: Soul and Inspiration
    Sent:        11/26/97 11:57 PM
    Received:    11/27/97 1:01 AM
    From:        Brent Kubasta, bkuba
    On Mon, 24 Nov 1997, Marc Wielage wrote:
    > Brent Kubasta <bkuba> commented:
    > >...i can't remember where i read this, but reportedly 
    > >"soul and inspiration" had been the song selected to 
    > >follow up "you've lost that lovin' feelin'". if i 
    > >remember the account correctly, spector even began 
    > >cutting tracks; but for reasons unknown the song and 
    > >sessions were dropped, and work proceeded on "just once 
    > >in my life" instead.
    > ------------------------<snip>------------------------
    > No, my understanding is that the moment Medley & Hatfield 
    > split from Spector and went to Verve Records, the singers 
    > contacted Barry Mann & Cynthia Weill and asked them if 
    > they had any new songs to record.  "Soul & Inspiration" 
    > was one they hadn't even finished, because they felt it 
    > was too derivative of "Lovin' Feelin'."  I believe Spector 
    > had rejected it the year before.  Mann & Weill quickly 
    > finished it, and Bill Medley produced it as a near-perfect 
    > imitation of the Wall of Sound.
    > There were also a half-dozen Righteous Brothers singles 
    > issued in the 13 months after "Lovin' Feelin'," including 
    > such major hits as "Just Once in My Life," "Unchained 
    > Melody," and "Ebb Tide," so "Soul & Inspiration" 
    > definitely wasn't a follow-up to "Lovin' Feelin'", per se.  
    > You could consider it a sequel, in a way.
    fwiw, here's the quote my foggy memory was drawing from when making my 
    original post:
    source: fitzpatrick and fogerty. _collecting phil spector_, p. 31
    "Anticipation was high for the Righteous Brothers' follow-up to "Lovin 
    Feelin'", and Spector began their next sessions with another Mann-Weil 
    tune, "(You're My) Soul and Inspiration". The most sophisticated of the 
    Brill Building partnerships, Barry Mann and Cynthia Weil must have been 
    surprised when work on their new composition ceased. The degree to which 
    the musical track was completed under Spector's direction remains 
    uncertain, and Medley and Hatfield were given a new Gerry Goffin-Carole 
    King song [i.e., "Just Once In My Life"] for their next release."
         -----------[ archived by Spectropop ]-----------
    Subject:     Stereo
    Sent:        11/26/97 10:32 PM
    Received:    11/27/97 1:01 AM
    From:        Paul Urbahns, purba  org
    Dave wrote: unfortunately, in the late sixties and early seventies, when 
    stereo really took off (with the advent of hi-fi stereo systems, and the 
    emergance of stereo FM radio), there seemed to be a big push to release 
    everything in stereo.  so a lot of earlier stuff was mixed (rather 
    hastily) for stereo to fill a growing market.  and mono records all but 
    disappeared from the market as a result.
    Paul URbahns adds: Not quite right, the stereo mixes normally coexisted 
    with the mono ones during the 60's on most major labels. There has been 
    some discussion that since stereo sold such a small portion of the total 
    that sometimes the engineers were allowed to mix the stereo master 
    themselves without artist input. Some of the early stereo mixes are 
    extremely poor because they were done in a hurry. The later remixes from 
    the early seveties are actually quite good, but then very little of this 
    was done until CD's came in a record companies had to "clean up their 
    act" and go back to the masters, because the album masters they had been 
    using for years was too poor to make good CD's from.
    The reason mono was so popular in the 60's was AM radio which was mono, 
    once radios were required to include FM manufacturers started upgrading 
    the quality of sound on their consumer electronics and the record players 
    got the upgrades in amplifiers, etc too. Many of the home systems where 
    they were table models or consoles usually included a radio with the 
    record player and it would be silly to include a stereo FM radio and a 
    mono equipped turntable.
    A few rare stereo exceptions that show how good stereo was available, if 
    done by someone who understood the process, is the Dixie Cups Chapel Of 
    Love album which was issued on Red Bird. The original LP was mono as the 
    whole label was. Columbia record Club picked up the album to issue 
    through the club. Since Red Bird didn't have a stereo master they gave 
    Columbia the multi-track tapes and a knowledgable (unknown) engineer 
    created a fine sounding stereo mix of the album. I have it really well 
    done. The Ronettes album on Philles I understand was done the same way. 
    If any body has the original stereo album on the list, I'd be willing to 
    swap a cassette copy of Dixie Cups for Ronettes. Both of these are rare 
    albums, probably done without the original producers input, and had 
    minimum sales (through the club only). So good stereo was possible in the 
    60's. The problem facing reissue companies today is finding original 
    multi-tracks to do a stereo mix. I know Steve Hoffman looked for the 
    stereo backing tracks to Barbie and What I A Yioung Girl Made Of, but 
    they apparently had been distroyed.
    Paul URbahns
    purba  org
         -----------[ archived by Spectropop ]-----------

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