======================================================== |- /== |=\ /=\ /=: | /= /=\ |=\ /=\ |=\ ==/ |=/ \= \=: \= | \=/ |=/ \=/ |=/ | | | ======================================================== 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 SHIT"! -- Spectropop Rules!!!!! Take Care, David P.S. Darian, if you don't have this already, I saw another used copy at Aron's. -----------[ 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 Don, 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. Javed > > 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 ccc.edu On Mon, 24 Nov 1997, Marc Wielage wrote: > Brent Kubasta <bkuba ccc.edu> 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." brent -----------[ 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 ]----------- END
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