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Spectropop V#0200

  • From: The Spectropop Group
  • Date: 12/23/98

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       Volume #0200                       December 25, 1998   
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    Best Holiday Wishes to all, from Spectropop Administration 
    
    
    
    
    
    Subject:     Brenda/Patrice Holloway
    Sent:        12/23/98 11:18 am
    Received:    12/23/98 11:28 am
    From:        IAC
    To:          Spectropop List
    
    Hi David,
    
    One of the best shows I saw this (or any) year was Brenda Holloway
    and Kim Weston back in April, when they came over to the UK to do a
    one-night only northern soul all-nighter in Manchester. The place 
    was packed to capacity, and the crowd - who knew each and every 
    song (even unreleased ones, I might add) - just adored them. 
    Brenda and Kim just couldn't believe it - they did a radio 
    interview, and actually said people back home have little respect 
    for "old" singers (Spectropop subscribers excepted, of course!!) 
    What made the night extra special was that the DJ behind the show 
    had actually obtained and brought over all Brenda's and Kim's 
    authentic Motown backing tracks from the 60s, which they sang 
    along to. Even stuff that was unreleased - which he has managed to
    license and release legitimately on a Polygram subsid (Debutante) 
    in the UK . But prior to that, he'd been playing the acetates in 
    the clubs, which is why the crowd knew some of the songs better 
    than even Brenda or Kim did!! Brenda came on first, and I'm not 
    kidding you, she looked exactly like she did in the 60s - she just
    hasn't aged at all, neither has the voice. She sang all the 
    well-known ones (including my personal fave "When I'm Gone"), 
    unissued tracks like "Lonely Boy", "Reconsider". And to top it off
    we even got "Play It Cool, Stay In School"!!! She finished by 
    singing one she never actually recorded - "You're Gonna Love My 
    Baby" - to the original Barbara McNair backing track, and made it 
    her own. Believe me, the crowd was in heaven!
    
    Regarding Patrice - yes, she recorded for Capitol, as a solo 
    artiste and later as one of the voices behind cartoon group Josie 
    & the Pussycats. But prior to that, she too had cut some sides for
    Motown, but none were issued. However, the aforementioned DJ - 
    Chris King - found some Patrice stuff in the vaults and has put 
    out a track "For The Love Of Mike", on one of his Debutante 
    compilations. I believe Patrice has had some addiction problems in
    recent years. A friend of mine who was also involved in arranging 
    the show actually visited Brenda in California at her home and did
    a lengthy interview, in which she talks about the way she was 
    treated as an outsider by many at Motown, and she also talks about
    Patrice. If anyone is interested in reading it, e-mail me and I'll 
    forward a copy as a file - just tell me which format you want.
    
    Ian Chapman
    
    
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    Subject:     Darlene Love on David Letterman, Etc.
    Sent:        12/24/98 3:27 pm
    Received:    12/25/98 12:33 am
    From:        Jimmy Cresitelli, JimmXXXXXXXXom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    I trust you all saw her performance of "Christmas." Cissy Houston,
    Roberta Flack, and Phoebe Snow did backup! Has anyone heard 
    Darlene's gospel CD yet? Opinions? I haven't yet.
    
    Carol Kaye, glad to have you aboard. I have a lot of your fun 
    stuff on tape from over the years. You've been very informative. I
    remember reading some years ago Cher saying, "I was the Ronette who
    never got onstage." I assume she was speaking figuratively! : )
    
    Doc Rock, thanks for all your articles.
    
    Barbara Alston, keep up the good work!
    
    Will Stos, I tried the "It's My party" web search... no luck. Got 
    the URL?
    
    Much love and the best of the season to all!! Happy Holidays to 
    everyone!
    Jimmy C.
    
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    Subject:     Lesley Gores' Coke Commercial
    Sent:        12/23/98 12:34 pm
    Received:    12/24/98 12:50 am
    From:        CLAUDIA CUNNINGHAM, TXXXXXXXX.net
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Last year I heard a jingle for Coke sung by Lesley Gore. It went, 
    "Do you want to know what we did last night? Nothin', just nothin'
    at all, just sat around, had a Coke or two"....It was so catchy it 
    could have been a hit! The tune still sticks in my mind. It 
    sounded very Brill Building. Anyone know when it was recorded and 
    who wrote the jingle?
    
    
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    Subject: Lest you think
    Sent: 12/23/98 8:53 am
    Received: 12/24/98 9:23 am
    From: Carol Kaye, carolXXXXXXXXlink.net
    To: Spectropop List, spectrXXXXXXXXties.com
    
    Lest you think I'm some kind of "goodie-two-shoes" talking about 
    the fact that our group of studio musicians didn't do drugs (about
    350 of us in the LA studios in the 60s), am sure that a handful 
    probably did something but at home --
    
    When you're working 10-16 hours every day of the week, you're 
    going like the wind, eating food out of cans before the next date,
    and none of our crew was into using drugs at all, having come from 
    either the jazz nightclubs (where there was some serious drug-use 
    by a lot of jazz musicians, and no thank-you for us) or big-band 
    days where booze was the thing, yet booze was not allowed in 
    studios at all either -- plus both would foul up your mind so the 
    studio musician could not tolerate that.
    
    Later in the 70s, with the younger bunch, there was some drug use 
    but NEVER, in the film or TV film studios, that was very 
    disciplinary, and we liked it that way. Our business was a very 
    important business, and there was no toleration for drugs, or 
    boozed out people who couldn't play their instrument well.
    
    That's not to say that a handful out of the 350 weren't into say 
    smoking a little pot at home, but you NEVER saw that in the 60s 
    studios. However, some of the stars did get into drugs. But there 
    again, it simply wasn't around in the 60s studios, and certainly 
    not on any of our dates from the 70s on either.
    
    Phil Spector came to 1 of 2 of my house-parties, he walked in and 
    saw us laughing, dancing to the music, and he instantly went to a 
    corner, grabbed some chicken and milk and enjoyed talking with my 
    kids (and they liked him, my oldest is a VIP at Media One and 
    thoroughly enthralls all the executives with her tales of being 
    around Phil Spector at his dates; she remembers very well from 
    sitting in the booth aspect).
    
    I made that statement (studio musicians didn't do drugs) and 
    wanted to clear that up.
    
    No we led pretty "boring lives" -- one chiropractor in Denver a 
    few years ago, as soon as he knew I was a "studio musician," 
    yelled "party girl" when I walked in. Boy did I give him hell - "
    party girl" my foot!! We're more straight than most of the public 
    out there.
    
    We worked our tails off, and yes, while we were mainly jazz and/or
    big-band musicians (not rock and rollers), we did enjoy playing 
    some of that rock and roll -- it was a new world back then. Most 
    of us are back playing jazz, and having a good time. The few real 
    rockers in the 60s doing the studio work, went on to become "stars
    " themselves -- partly due to the fact that increasingly, the 
    music was becoming well-arranged and they couldn't read that well 
    in the mid-60s -- not to take away from their talents, they were 
    wonderful talents, but you saw them get out of the studio work and
    on to the "stardom" trail -- something that most of studio 
    musicians had NO eyes for.
    
    Thanks.
    
    Best,
    
    Carol Kaye
    http://www.carolkaye.com/
    
    
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    Subject:     Coke jingles
    Sent:        12/23/98 10:36 am
    Received:    12/23/98 11:28 am
    From:        IAC, ianXXXXXXXXlnet.co.uk
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    
    Very nice find, Matthew.  There were loads of Coke jingles done, and 
    sometimes different takes of the same jingle cropped up on different 
    formats - (many came out as 7" EPs too). About two or three years or so 
    back, a South American company put over 60 Coke jingles from the 60s onto 
    a CD, including Sue Thompson, and the others you mention.  I think it's 
    still available.  You can't miss the cover, it has the Coca Cola logo all 
    over it, and the tracks aren't dubbed either.  What's interesting is that 
    some of the tracks, such as a couple by the Supremes - are "new" songs, 
    that is, not based on any of their current hits.
    
    There was also a great 7" vinyl boot some year back with various artists 
    plugging "Great Shakes" milkshake drink - as with the Coke jingles, the 
    ads were arranged vaguely similar to current hits, so you get Dusty 
    Springfield with a slant on "I Only Want To Be With You", the Chiffons on 
    "Sweet Talking Guy", also the Tokens, Happenings, Yardbirds and the Who 
    and others.  
    
    "So thick it stands up to a straw............"
    
    Ian Chapman
    
    
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    Subject:     Lovin' Feelin'
    Sent:        12/23/98 2:17 pm
    Received:    12/24/98 12:50 am
    From:        Carol Kaye, carolXXXXXXXXlink.net
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Didn't mean to rag on in that last post. Anyway...
    
    Claudia asked about "Lovin' Feelin'", I played guitar on that, 
    with Phil's doubling echo on the acoustic Epiphone Emperor I 
    played on (picture is on my website -- my former jazz box).
    
    Ray Pohlman on elec. bass and Earl Palmer on drums, with the 
    Righteous Bros. singing right there in the main room - tho' they 
    did move to the vocal booth, however, am sure they overdubbed the 
    final vocals later, it was a tracking date. Phil put so much echo 
    in our phones it was hard to play in good time together at first 
    (slow tempos are the hardest to groove in).
    
    So after adjustments in the earphones (you have to remember, Phil 
    started that earphone usage and it was pretty new then, plus he 
    put the echo big and loud in the phones too - ugh!), we started 
    playing and I dug in and played extra hard rhythm on my jazz box 
    to help the rhythm. section gel together and we finally did.
    
    You hear me doubling the bass notes part in the slow montuno 
    section (middle part). Phil used the echo to double up my 8th-note
    rhythms, making them 16ths, which blended well with the drums.
    
    Earl and I lock in so well together anyway, he was probably my 
    favorite drummer of all time to play with on elec. bass, Hal was 
    fine too, John Guerin, Paul Humphrey was my favorite later on, 
    recorded a lot with Shelly Manne, etc. but Earl was my all-time 
    favorite I'd have to say.
    
    Earl brought the "swamp beat" from New Orleans and started that 
    double-time funky stuff in LA, which was called "boogaloo" then 
    (now just called funk, the 8/8 stuff) -- drummer Sharkey Hall (who 
    had the drum work sewn up before Hal Blaine and Earl Palmer) 
    recognized it for what it was at first when Earl first brought 
    that to town, and rightly said "it's samba music", and we all 
    adapted (it got boring on some dates, so we'd double up w/Earl 
    on his swamp beat, and yes, it was "samba" but no-one called
    it that -- there was so much prejudice "against" jazz musicians by 
    the younger and younger up and coming A & R men in rock (now 
    called producers, A & R stood for Artists and Repertoire back 
    then).
    
    So it was the "new" funky beat that we all contributed too which 
    Earl started. Hal Blaine started the surf-rock commercial beats 
    (Earl did some of that too tho'). Earl and I always wound up 
    paradiddling together on the fade and looking at each other 
    laughing, when I'd play 16ths with him (on bass), it was so much 
    fun to groove together.
    
    Anyway, with "You've Lost That Lovin' Feelin'", there were tons of
    people in the booth to watch the date at Gold Star Recorders (which
    btw burned down shortly after sold early 80s, is now a mini-mall 
    parking lot), lots of studio musicians in the big studio too.
    
    We instantly knew it would be a big hit for Phil, the tune was 
    actually very good, the Righteous Bros. wonderful singers (good 
    guys too), and Phil had the usual fine crew of studio musicians.
    
    To tell you the truth, I don't remember Cher being there on that 
    date, my bad memory. We all saw that romance blossom before our 
    eyes there at Gold Star - I'm playing on practically every Sonny &
    Cher dates, first elec. 12-string fills, that was part of their 
    sound, then elec. bass later on - Sonny was good to work for and 
    Cher loved sitting in with the Percussion Section -- they really 
    never had fights, but an occasional disagreement, but really it 
    was pretty good between them.
    
    Think Cher was maybe there in the booth then, and of course, once 
    you cut a track, you never know what was put on later. The 
    musicians were cutting about 12-14 tunes every day, hard to keep 
    track of every one. I've recorded around 10,000 sessions, that 
    comes out to about 40,000 songs, so of course you remember bits 
    and pieces of some.
    
    There's a couple of interview films in the can some of our group 
    of studio musicians have cut already which will be shown on TV 
    next year. They're still in the process of being added to, edited,
    etc., both very big projects --
    
    think you'll be interested in those as well as the studio musician
    Union Contract credit book almost finished by Russ Wapensky (
    Greenwood Press) which will probably go to print about Feb. at the
    latest, don't know how soon out, but soon.
    
    Russ meticulously researched, interviewed, and data-based on 
    computer the Contract credits of studio musicians 1949-1969, top 
    20 hits, with particular attention paid to Phil Spector dates, 
    Beach Boy dates, etc.
    
    We're not talking about the phony singer's overdub dates when the 
    vocals were put on which is mostly used as "official" record date 
    dates, but the actual date the TRACKS were laid down by the studio
    musicians who NEVER got their names on the backs of the albums they
    all played on in the 60s (unless it was per gratis).
    
    It took until 1973 when the Musician's Union insisted that session
    musician's names be printed on the backs of the record albums, 
    hence, we're not credited for the 1,000s of record dates we 
    recorded in the 60s, but Russ's book will start to set the record 
    straight -- the credits didn't really matter to us at that time --
    
    Little did we know that the public would get a phony view of 
    who really recorded their favorite hits. Groups like the Monkees 
    kept insisting "they" played on their own records all along and 
    the Beach Boys didn't mind if the public thought they cut their own 
    records, ditto the rest of the groups.
    
    This caused a total phony impression with the public, something 
    being corrected a little at a time right now, but it's usually a 
    shock that their "favorite group" never cut their own recordings, 
    inc. the surf-rock groups -- we'd cut the tracks and if they hit, 
    then the record company would put a nice-looking bunch of young 
    musicians together to "be" that group -- very typical.
    
    There were groups like the Markets which were formed from our 
    crew of studio musicians totally. I'm the bassist on "Batman" 
    theme hit of the Markets which they got us out of bed at 4AM in 
    the morning to cut that hit-making copy of the TV theme.
    
    The music always came first, then the star-making of the group 
    and/or singer, such was the nature of our business.
    
    We, the 50-60-70 of the "busiest" of the 350 studio musicians, 
    were called the "clique", the "hit makers" if you will -- none of 
    us ever heard of Hal Blaine's pet name "wrecking crew" until he 
    put out his book about 1990.
    
    That actually was the name of the group in back of Darlene Love in
    NYC in the 80s, that's probably where he got it from, we never went
    by that name at all, but I don't begrudge Hal for wanting to 
    promote his book. Earl's book "Heartbeat" will be out in March 
    (Smithsonian publishers), others coming out, mine is about 1/3 
    done, etc..
    
    Russ Wapensky, would run into a few snags in his research and 
    would discover people's names which may have been left off one 
    contract (and then added onto another contract), sometimes the 
    record companies ran late in paying us (check went to our Union 
    where we paid work-dues and picked them up) and to avoid the 
    late-fee penalty, would simply change the record date on the 
    contracts, etc., but these glaring errors were few, the bulk of it
    all was correct.
    
    Except for the Motown scam, about 40% of 60s Motown hits were cut 
    in LA. That's such a sham and we did undercover dates for them for
    far too long, they've been out here, had offices out here since 
    1962. And of course the Detroit crew will never relinquish their 
    royalties on our dates which they claim -- it's a shame, but we 
    let them go along time with cash dates.
    
    This book will dispel forever the myths about the groups hit 
    recordings, and will prove who really did play on them. The studio
    musicians cut everyone's hits in the 60s, from the Monkees to the 
    Animals, even the Ventures (although' some of the Ventures played on 
    their recordings but that's myself on bass and Hal Blaine on 
    drums, etc.), and one other, Frank Zappa had his own bass player 
    and drummer but the rest were studio musicians:
    
    Tommy Tedesco on lead guitar on Zappa's recordings, Dennis Budimer 
    and myself on 12-strings, and we loved his parts, there were 
    challenging and good music. But after seeing the lyrics of the 2nd
    album, I opted out (just played on part of the 2nd, but all of the 
    1st album) as I was raising my 3 children and was sort of shocked 
    at the lyrics, Frank was gracious, very nice and we remained 
    friends, he understood. Yes, you might say I was a prude, but most
    of our bunch were (then).
    
    Anyway, I sort of remember Tommy T. there too on Lovin' Feelin', 
    not sure, but it will be all in Russ's book of credits. I know 
    that on guitars, not all at once, but at least 4 guitars at a time, 
    Phil always used Howard Roberts, Glen Campbell, Barney Kessel, 
    and others like David Cohen, Bill Pitman, Bud Coleman, Billy 
    Strange, Al Casey, Don Peake, and some others occasionally like 
    James Burton, who really didn't do a lot of studio work except for
    a short brief "hot" time before he went on the road w/Elvis.
    
    On that "Lovin'" date had to be Don Randi, and probably another 2 
    keyboardists, he always liked to use Larry Knechtel, Mike Rubini, 
    Mac Rebennac (usually on organ, now Dr. John), Leon Russell, Al 
    DeLory (although' Al left pretty early to go produce, he never liked 
    session work on piano, but is a fine pianist), Gene Page who I 
    understand did the arrangement, I don't quite remember as I did a 
    ton of dates for Gene), Larry Muhoberac (who now lives in 
    Australia, a fine pianist), that's about it, usually 2-3 pianists 
    at the same time, one would be on organ, or some other keyboard, 
    but Phil liked 2 pianos at the same time too.
    
    Percussion usually included: Julius Wechter (his band was the Baja
    Marimba band), Gene Estes, Alan Estes, Emil Richards, Gary Coleman,
    Frankie Capp (who is the drummer on "The Beat Goes On"), Victor 
    Feldman, Curry Cjader (Cal's brother). About 3-4 percussionsits 
    usually.
    
    And the horn men included on Phil's dates were: Lew McCreary (who 
    is now in the hospital w/kidney cancer, we're all pulling for him,
    just saw him yesterday, got good spirit, the finest in studios on 
    trombone and a helluva fine jazz trombonist too -- we played 
    together w/Page Cavenaugh's band, others, like Quincy Jones, etc.),
    
    Dave Wells trombone, Gail Martin bass trombone (maybe), Lou 
    Blackburn trombone, Ollie Mitchell lead trumpet (he did a lot of 
    Herb Alpert's overdubs), Ray Caton trumpet, even our Union pres. 
    did some of Phil's dates, Bill Peterson trumpet, Freddy Hill 
    trumpet (now lives in Africa), Tony Terran did some on trumpet, 
    and the fellow in the back of the band on SNL in NY, Billy 
    something did some too.
    
    Steve Douglas the #1 rock sax soloist in LA (and probably all the 
    rock type hits period) was always "the" sax player, nice guy, also
    gone now (Ray Pohlman too, both wonderful people, Tommy Tedesco 
    gone, Gene Estes, Bud Coleman gone).
    
    There was quite a group of people that Phil liked to use, drummers
    were either Hal Blaine or Earl Palmer. He used Gayle Levant on harp
    (daughter of Oscar Levant, later married and divorced from Artie 
    Butler, Gayle now owns Evergreen Studios (named something else too) 
    where the Simpsons score is always cut with a 35-piece orchestra, 
    Alf Clausen composer/arranger (Alf was one of my early-on bass 
    students circa 1970, along with Dave Hungate, John Clayton, others). 
    Well, this is probably more than you wanted to know, got 
    carried away here.
    
    But that's about all I remember about the "Lovin' Feelin'" date. 
    We didn't have to do much creatively with that one, the tune was 
    so good and the initial arrangement pretty good (but most 
    recordings of the early 60s, we had to come up with head 
    arrangements -- that is, improvised arrangements, our own licks on
    skeleton arrangements or bare chord charts).
    
    Merry Christmas!  
    
    Carol Kaye  http://www.carolkaye.com/
    
    
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    Subject:     It's My Party
    Sent:        12/23/98 12:02 pm
    Received:    12/23/98 12:10 pm
    From:        Doc Rock, docrXXXXXXXXcom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    William wrote:
    
    "It's My Party, and the three or four members 
    are all in their teens. They've recorded two singles including "
    Can't b/w I'd Much Rather Be With The Girls," and "That Boy John 
    b/w The Boy Next Door."
    
    William, I will pass this news on to the Secrets!!
    
    Doc
    
    
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