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Spectropop V#0206

  • From: The Spectropop Group
  • Date: 01/06/99

  • __________________________________________________________
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       Volume #0206                         January 6, 1999   
              an intimate collection of today's tunes         
    Subject:     Hello and Thank You!
    Sent:        01/05/19 12:53 pm
    Received:    01/06/99 12:59 am
    From:        Greg Matecko,
    To:          Spectropop List,
    Hi gang!
    About a month or so ago, I received an invitation to join this 
    list, apparently by recommendation. This is my first post because, 
    quite frankly, I've been absolutely enthralled just reading it!
    First, to the person (or people) who recommended me, my eternal 
    thanks! The information is all killer, no filler!
    Secondly, having had the opportunity to briefly meet and talk 
    with some of the people we all hold in high regard, i.e. Brian 
    and Carl Wilson, Todd Rundgren, Lou Christie (well, okay I 
    haven't seen him mentioned yet), there are still two very special
    people I would love to say hello to: Carol Kaye and Hal Blaine.
    Lo and behold, days after I hook up, here's Carol with an 
    incredible treasure trove of stories and info! I haven't even 
    bothered to think up any of my own questions for her...just 
    reading her posts is enough for now!
    Once again, my grateful thanks, and I look forward to each and 
    every mailing!
    Greg Matecko
    60's fan, Pop fan, VOX fan!
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Burt Bacharach Boxed Set [was "Ry Cooder"]
    Sent:        01/05/19 1:33 am
    Received:    01/05/99 12:05 am
    From:        Marc Wielage,
    To:          Spectropop List,
    The Elf Who Could Not Love  said on The 
    Spectropop List:
    > Speaking of Bacharach, I'm waiting for the new Box Set to arrive
    > in the mail and I'm surprised it hasn't been discussed on the
    > list yet (the Box Set, that is, not me waiting for it to arrive
    > in the mail :-)). Has anyone bought it yet? What tracks are the
    > highlights? With 85 songs, it looks like every Bacharach-fan's
    > wet dream :)
    Yeah, it's a must-have set, lotsa good stuff in it. The two 
    highlights for me are the first CD appearances of Trini Lopez' 
    "Made in Paris" (from the 1966 Ann-Margret film), plus Tom Jones' 
    "Promise Her Anything" (from the 1966 Warren Beatty film).
    The latter song is so good, it absolutely should've made at least
    the Top 40, but I suspect there was just so much competition in 
    February of 1966, the best this one could do is make it to #74. 
    Tom Jones' delivery is so over-the-top, it's hilarious and 
    entertaining at the same time; there's also some terrific drum & 
    guitar work in this production. Trini Lopez' song didn't even 
    make the Top 100, and it's got some great lines in it, too 
    (lyrically and melodically).
    Tower Records in LA had a huge stack o' these boxed sets, so my 
    gut feeling is that it didn't sell very well. It's a pity, 
    because there's some fantastic tracks on this set.
    Note that they STILL left quite a few things out of it. Here's 
    just a few of the Top 40 Bacharach hits that were omitted:
     #4 (1 wk.) Sergio Mendes & Brasil '66 - "The Look of Love"   (A&M 
    924)  [5/11/68]
     #5 (4 wks.) Neil Diamond - "Heartlight"   (Columbia 03219)  [9/11/82]
     #5 (3 wks.) Smith - "Baby It's You"   (Dunhill 4206)  [9/6/69]
     #7 (3 wks.) Dionne Warwick - "This Girl's In Love with You" 
    (Scepter 12241)  [2/1/69]
     #8 (2 wks.) Naked Eyes - "(There's) Always Something There to Remind 
    Me"   (EMI America 8155)  [3/12/83]
     #8 (2 wks.) Dionne Warwick - "Message to Michael"   (Scepter 12133)  
     #8 (1 wk.) Tom Clay - "What The World Needs Now Is Love / Abraham, 
    Martin and John"   (Mowest 5002)  [7/10/71]
    #10 (1 wk.) Aretha Franklin - "I Say a Little Prayer"   (Atlantic 
    2546)  [8/17/68]
    #13 (3 wks.) Roberta Flack - "Making Love"   (Atlantic 4005)  [3/6/82]
    #14 (2 wks.) Ronnie Milsap - "Any Day Now"   (RCA 13216)  [5/1/82]
    #15 (2 wks.) Dionne Warwick - "Alfie"   (Scepter 12187)  [4/8/67]
    #16 (1 wk.) The Walker Brothers - "Make It Easy On Yourself"   (Smash 
    2009)  [10/16/65]
    #20 (1 wk.) Sybil - "Don't Make Me Over"   (Next Plat. 325)  [9/23/89]
    #20 (1 wk.) Dionne Warwick - "Reach Out for Me"   (Scepter 1285)  
    #21 (1 wk.) Gene Pitney - "True Love Never Runs Smooth"   (Musicor 
    1032)  [7/6/63]
    #22 (1 wk.) Dionne Warwick - "Trains and Boats and Planes"   (Scepter 
    12153)  [7/2/66]
    #26 (1 wk.) Dionne Warwick - "I Just Don't Know What to Do with 
    Myself"   (Scepter 12167)  [10/1/66]
    #27 (2 wks.) R.B. Greaves - "Always Something There to Remind Me" 
    (Atco 6726)  [1/24/70]
    #28 (2 wks.) Gene Pitney - "Looking Through the Eyes of Love" 
    (Musicor 1103)  [7/24/65]
    #30 (1 wk.) Isaac Hayes - "Walk On By"   (Enterprise 9003)  [8/23/69]
    #32 (2 wks.) The 5th Dimension - "Living Together, Growing Together" 
    (Bell 45310)  [1/6/73]
    #32 (1 wk.) Dionne Warwick - "Let Me Go to Him"   (Scepter 12276)  
    #32 (1 wk.) Cher - "Alfie"   (Imperial 66192)  [7/30/66]
    #33 (2 wks.) Dionne Warwick - "Who Is Gonna Love Me?"   (Scepter 
    12226)  [8/24/68]
    #34 (1 wk.) Dionne Warwick - "You'll Never Get To Heaven (If You 
    Break My Heart)"   (Scepter 1282)  [8/15/64]
    #34 (1 wk.) Bobby Vee - "Be True to Yourself"   (Liberty 55581)  [6/22/63]
    #37 (2 wks.) Dionne Warwick - "The April Fools"   (Scepter 12249)  
    #37 (1 wk.) Dionne Warwick - "Make It Easy On Yourself"   (Scepter 
    12294)  [10/3/70]
    #39 (2 wks.) The Partridge Family - "Looking Through the Eyes of 
    Love"   (Bell 45301)  [12/16/72]
    #39 (1 wk.) Andy Williams - "Don't You Believe It"   (Columbia 42523) 
    Note in a lot of cases, they DID include a version of the song, 
    like the originals of "Alfie," "Always Something There to Remind 
    Me" and "Walk on By." Still, I would've liked to have heard a few
    more of these hit cover versions. Some, like "Looking Through the 
    Eyes of Love," were left out entirely. But I guess to do it 
    justice, it would've had to have been a FOUR disc set, and that 
    would be pushing things considerably.
    BTW: am I the only one who thinks the version of Bacharach's "God
    Give Me Strength" in the film GRACE OF MY HEART was about 100 
    times better than the Elvis Costello version? Man, that's the one
    that should've been left on the soundtrack album.
    -= Marc Wielage      |   "The computerized authority     =-
    -= MusicTrax, LLC    |       on rock, pop, & soul."      =-
    -= Chatsworth, CA    |         =-
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Look of Love Box Set
    Sent:        01/08/19 10:33 am
    Received:    01/06/99 12:59 am
    From:        David Feldman,
    To:          Spectropop List,
    Tobias said:
    > Speaking of Bacharach, I'm waiting for the new Box Set to arrive 
    > in the mail and I'm surprised it hasn't been discussed on the 
    > list yet (the Box Set, that is, not me waiting for it to arrive 
    > in the mail :-)). Has anyone bought it yet? What tracks are the 
    > highlights? With 85 songs, it looks like every Bacharach-fan's 
    > wet dream :)
    Oh, Tobias, don't get me started!  Too late.
    "The Look of Love" is easily the CD that moved me the most in 
    1998.  It's overwhelming, and it joins "Good Vibrations" and "The 
    Scepter Story" as my favorite box sets ever.  Some random 
    1.  Bacharach's progression and maturation is overwhelming.  
    Perhaps his progress wasn't as quick as Brian Wilson's, but it was 
    just as profound.  
    2. Hal David is my favorite pop lyricist of the "rock era" and 
    the box does nothing to change my mind. He's capable of the 
    briliant bons mots (My favorite --- the brilliant A House Is Not 
    a Home: "A chair is still a chair/Even when there's no one 
    sitting there"), but I love him most for the simplicity of 
    expression and the directness of the emotion. If there is 
    anything that saddens me about the box, it is that once again Hal
    David is not given equal status.
    3. My favorite female singers have been, since the 1960s, Aretha,
    Dionne, and Darlene. "Look of Love" has made me put Dionne one 
    notch above Aretha. Not because of the songs of DW included on 
    the CD's, but because of the many great songs that other great 
    artists here recorded. They are wonderful, but they pale next to 
    Dionne's. The producers of LOL didn't want this to turn into a DW
    CD-set, so they went with first versions of songs with which Burt 
    Bacharach was involved. This leads to some wonderful 
    contributions, particularly by Lou Johnson. Occasionally it is 
    extremely frustrating: Brook Benton, who I usually like very much, 
    offers a distinctly inferior version of "A House Is Not a Home" -- 
    I think he literally didn't understand the lyric; Cilla Black's
    version of "Alfie" is, er, interesting -- Ethel Merman would have 
    loved it.
    4. Some songs/versions I'd never heard before that I love: The 
    Last One To Be Loved -- Dionne Warwick's version (on the fabulous
    "Make Way for DW") is my favorite Burt Bacharach song, Lou 
    Johnson's version is wonderful too. His vocal combines elements of 
    gospel, jazz, and R&B. I assume it is Lou himself on piano. Great
    stuff. His version of "Reach Out For Me" is also a killer (also 
    featuring wonderful piano) Fool Killer--a great Gene Pitney movie
    title song about a crazy but sympathetic murderer. The movie was 
    never released. Wonderful narrative lyric (a la "Liberty Valence") 
    by David. Check Out Time -- a great Dionne song that somehow 
    sllipped past me. A song about a woman who has left her totally 
    decent husband who she no longer loves. She's checked into a 
    cheap motel and has no idea where she is going to go. A great, 
    adult "Hal David" lyric.
    5. And a few songs I sadly under-appreciated in the past:
    Here I Am--one of Dionne's most ineffably gorgeous vocals, and 
    one of her rare songs of romantic submission. Beautiful melody, 
    simple, earnest lyrics, and Dionne hits the impossible notes with
    ease. From "What's New Pussycat" In Between the Heartaches -- Same
    as above. One Less Bell To Answer -- in the context of the CD, 
    I've really come to appreciate this song, which I previously only
    "The Look of Love" is not a replacement for a definitive Dionne 
    Warwick collection, but as an overview of Bacharach's work, it is
    superb, and I particularly like the track commentaries by Alec 
    Cumming. The price of the box seems to have come down since 
    Christmas. I highly recommend it.
    Dave Feldman
    Year of the Year:  1999
    CD of the Year:  The Look of Love: The Burt Bacharach Collection
    Word of the Week: Diphthong  
    Best Time Killer of the 90's:  Filling out the UPDATED gender survey at
    --------------------[ archived by Spectropop ]--------------------
    Subject:     more comments to 204
    Sent:        01/05/99 9:37 pm
    Received:    01/06/99 1:59 am
    From:        Jamie LePage,
    To:          Spectropop List,
    WILLIAM STOS wrote:
    >Honey and the Lovenotes' "Mary Ann," which, correct me if I'm 
    >wrong Barbara, was recorded but not released by the Crystals, 
    >and others!
    Has anyone ever heard a Spector version of this?
    Frank Youngwerth wrote:
    >The song "(I Just Go) Wild Inside" by the Barons (Imperial 66057)
    >is credited to Spector-Poncia-Androeli, and it strongly resembles 
    >"Mary Ann" in part. I'm not aware of Phil's being involved with 
    >the Barons (and wasn't that the name of Jan & Dean's original 
    >group?) other than that they recorded this song.
    Thanks, Frank. Every time I heard Mary Ann I knew I had heard 
    that four bar turnaround at the end of the chorus somewhere, and 
    you nailed it! The two songs have such a different feel, but the 
    lift is very evident. The question is which came first? I guess 
    "(I Just Go) Wild Inside" preceded "Mary Ann."
    Barons is such a generic name, there must have been a dozen 
    outfits using this moniker. Can't help much with the artist, but 
    I can say that Anders and Poncia, who had just recently been 
    introduced to Phil Spector by Hill & Range's Paul Case, were 
    involved a bit with record producer Stan Vincent. 
    Stan had success with the Earls, and it is rumored that Earls' 
    vocalist Larry Chance was involved with the Barons recordings. 
    Can our imperial experts help fill in the blanks here?
    David Feldman wrote:
    >...[Carol Connors] had the bad girl group look down cold...
    >What I remember most about her performances, though, was an 
    >extremely unusual (for its time) post-modern ironic attitude. 
    >Whether she was making fun of the lip-synching, making fun of her
    >material, or was awkward about being on camera, I don't know. Her
    >heart didn't seem to be in performance.
    Interesting. It reminds me of the Ellie Greenwich quote about the
    Shangs session for Leader of the Pack, where she, Jeff and George,
    the cynical pros, were rolling on the floor over the 
    motorcycles and screaming, while Mary and the others sort of 
    stood around and wondered what was so funny. Mary had the bad girl 
    group look down too, but she was absolutely convincing in the 
    Shangs performances I've seen on video. Maybe you're right, David. 
    Doing the GG thing may very well have been a "role" Carol 
    Connors was playing. Contrived or not, the post-Teddy Bears 
    singles I've heard by her are all great.
    I've often wondered if and how much mid-'60's local teenage pop 
    TV is archived. Lloyd Thaxton Hop was great fun every weekday 
    afternoon on KCOP (a ChrisCraft Station).
    Paul Urbahns wrote:
    >Seems like everytime Phil reissues stuff he remixes it and the 
    >fights have been legendary. I remember when Rhino anounced they 
    >were issuing the Phil Spector box set, that eventually came out 
    >on Abkco (after Rhino spending a ton of money on it). Phil was 
    >pissing off everybody in the studio during remixing to 
    The mixes on the box set don't sound particularly different to me, 
    but I haven't done a real close comparison. Any big differences 
    anyone can point out? Also, did Rhino's deal include early 
    release in Japan on Tatsuro Yamashita's label MMG Alfa/Moon? If 
    the aborted Japan set is the same as the aborted Rhino set, then 
    I can confirm noticeable differences between the Rhino and ABKCO 
    >The Abkco remixes list Jody Klein (is this Allen's wife or 
    >son?) and Larry Levine.
    Jody is Allen's son and looks after their catalogs including the 
    oft-lamented Andrew Oldham-era Stones stuff.
    >The European releases had quieter backgrounds 
    >and the voices out front. I always felt he took that approach 
    >because he was always critisized for burying the vocals in the 
    >original mixes. But I thought the European releases (I have most
    >of them) lacked punch. 
    That caught my attention because I was under the impression 
    that Phil wasn't directly involved with the PSI remixes. I once 
    heard that after they mistakenly sent the multi-tracks to England, 
    the UK engineers arbitarily remixed. Considering Phil's Back to
    Mono thing, that doesn't sound so far fetched. I agree with you 
    that some of the mixes on the PSI versions aren't as they were on
    the Philles pressings, particularly the Ronettes and Christmas 
    albums. To that extent, the ABKCO box sounds closer to me. If 
    anyone knows specifics on the PSI, Rhino or ABKCO mixing and 
    mastering, please do tell more.
    john rausch wrote:
    >I love to hear Ronnie sing "Phil Spector Yeah..." and then 
    >"Jack Nitzsche Yeah..."
    So do I! Very cool.
    >They all sound as if they were recorded in one or two takes...
    I guess the filler tracks for the Crystals were tracked, dubbed and
    mixed in two or three sessions. Ike & Tina and Righteous Brothers 
    albums too were largely filler with which Phil had no concerns 
    (except financial ones of course!).
    >All said and done, I still enjoy listening to these cuts.
    At the time they must have aggravated the heck out of Barbara 
    and the rest of the Crystals, but I agree they are quite fun. 
    Bizarre to hear Ronnie on a Crystals album.
    All the best,
    Jamie LePage 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Mysteries of the DC5
    Sent:        12/31/18 3:23 pm
    Received:    01/06/99 12:59 am
    From:        Greg Matecko,
    To:          Spectropop List,
    Howdy folks!
    I don't know if this has been discussed in the past, but let's 
    throw it out and see what happens...
    One 60's act you don't see a whole lot of talk about is the Dave 
    Clark Five. I guess it's common knowledge amongst most of the 
    music historians present here that Dave was one smart cookie way 
    back when. He leased masters to his record company as opposed to 
    signing a deal, so he's got control of all his recorded output. 
    He also bought the rights to "Ready, Steady, GO!"
    The last we saw of Dave was when he showed up on the Disney 
    Channel here in America as a kind of promo for his best-of on 
    Hollywood Records. There was also an interview in Goldmine 
    In spite of that, we still don't have a clear picture of this 
    fellow, and no one seems to want to talk. Interviews with Mike 
    Smith don't really say very much, and another Goldmine interview 
    many years ago with some of the other band members left me with 
    the impression that they were somewhat afraid to really go into 
    detail about the group's inner workings.
    Dave apparently isn't interested in allowing any of the group's 
    performances to be shown on any of the Sullivan specials, and on 
    some of the Ready Steady Go videos that were out a few years back, 
    the DC5 segments were from other sources.
    Does anyone have any info? Will any DC5 sessions show up in any 
    of these upcomimg books mentioned here recently? Were the band 
    members "set for life" by Dave in return for keeping quiet on 
    group secrets?
    After the less-than-spectacular showing of the Hollywood CD, one 
    wonders why Dave hasn't hooked up with Rhino, who's been after 
    him for years. I recall an interview in MIX, or one of the other 
    studio-type mags where the Rhino guys said that the DC5 was their
    ultimate goal, but Dave was looking for "mucho dinero."
    Greg Matecko
    --------------------[ archived by Spectropop ]--------------------
    Subject:     An excerpt from Liberty Records, re the Ventures:
    Sent:        01/04/19 9:15 am
    Received:    01/06/99 12:59 am
    From:        Doc Rock, docrXXXXXXXXcom
    To:          Spectropop List,
    An excerpt from Liberty Records, re the Ventures:
    Tommy Allsup is known as "T" by his friends. He is best known as 
    a sometime Cricket, a member of the group that Buddy Holly formed
    in Texas in the '50s. But he was better known in the '60s in L.A. 
    as a session musician and session contractor who did a lot of 
    work for Liberty Records -- and of course, his overlapping 
    function was as a producer, besides heading the Liberty Country 
    and Western Division and writing songs in his spare moments.
    "I played guitar on the Ventures Twist album. Jerry Allison 
    [drummer for the Crickets] and I made up two songs on the session.
    We went in and knocked out that album in a couple of days. The 
    Ventures were broke up at the time. Bob Bogle and two of the guys
    were there, but the lead guitar and drummer were gone, so Jerry 
    and I played with them. Half Crickets, half Ventures. We made 
    some bucks off of those songs over the years. Especially the 
    foreign royalties were very good on it. We just got the session 
    money the first time though, no royalties. We got songwriter 
    royalties for those two songs. That was a bonus. Bob Reisdorff 
    was a nice guy. Since we kind of helped him out of a tight spot 
    and filled in for those guys who were gone, he rewards us by 
    letting us put in a couple of original songs on the album." Those
    songs were "Guitar Twist" and "Opus Twist." "I've never heard that
    album, I haven't run across it in years. I'd like to hear it."
    "Bluer Than Blue" was a Ventures song that charted really high 
    that me and Dick Glasser wrote. I play guitar on that. It was 
    about the same time that the twist thing happened. It was one of 
    the few times that the Ventures recorded with strings, I think. 
    It lent itself to that melody. "The Fleetwoods, I played on their
    stuff with Reisdorff, and Vic Dana. I guess I worked with most of 
    their artists. I was dong most of the contracting for Liberty and
    I'd set up the sessions. "Hal Blaine [session drummer and 
    contractor] had been on the road with Patti Page. Dick Glasser 
    used Hal for some demo sessions for Metric Music. I know for a 
    fact that that was the first time he ever did session work. He 
    might have recorded with Patti Page or someone before that, but 
    he did not do session work. I don't know if he thanked Dick or 
    not, but Dick sort started him out. We also started Leon Russell 
    out. I used to have Glen Campbell show up at my sessions when I 
    couldn't do them I was there just a little while before he was. 
    "I did guitar for Jan & Dean, Timi Yuro, Johnny Burnette, Gene 
    McDaniels. I did almost everyone who was on the label. Except 
    ones where they picked up the masters recorded someplace else, 
    like the Rivingtons. But me and Jerry Allison were on the biggest
    part of them. Earl Palmer was the drummer. If Earl wasn't there, 
    then Jerry was. We did Bobby Vee sessions, too.
    "I was doing Jan & Dean sessions when Lou Adler could hardly pay 
    for them. He was just barely making enough money to do the 
    sessions. They'd had a couple of pretty good records on Dore 
    Records, but Lou was just barely getting by on Liberty with them.
    Liberty had a little studio where Lou worked. And he had some 
    other studios where he had extended his credit. Then he got a job
    with Aldon Music, with Don Kirshner, and then he made history in 
    music. They had all those rock and roll hits [on Dunhill --the 
    Mamas and Papas, the Grassroots] before they sold out to Columbia. 
    But Liberty gave Lou money to produce session and got him going."
    Tommy Allsup maybe didn't consider himself a total Cricket, but 
    he put in his session time with Buddy Holly. "With Buddy Holly, I
    was on 'Heartbeat,' 'Reminiscing, 'Love's Made a Fool of You,' 
    'It's So Easy,' I did quite a few. It would have been nice if 
    Buddy could have been on Liberty. But they weren't cookin' when 
    Buddy was alive."
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Herb Alpert-Ventures 
    Sent:        12/29/18 2:43 am
    Received:    01/05/99 12:05 am
    From:        Carol Kaye,
    To:          Spectropop List,
    >recall reading somewhere that Herb Alpert sometimes used a 
    >different trumpet player on some of his peak era TJ Brass 
    >productions. Did you ever hear anything about that, Carol?
    TRUE. We all knew it was Ollie Mitchell, fine #1 call trumpet man
    who did the most technical Herb Alpert solos, and when I asked 
    Ollie (just before he moved back to Hawaii about 1996) "did you 
    do 'all' of Herb's recorded solos or just some of them Ollie" -- 
    he answered "all, from the Lonely Bull on".
    Now, I don't know if he literally meant "every single one" as we 
    all have a habit of saying "all" meaning "all the important ones", 
    so not sure if he meant "all" or "most" by that, but he sure 
    had that sound down pat.
    Herb's a nice man, I don't want to take anything away from him, 
    but too many times, the instrumentalists had others doing their 
    solos for them. Herb's forte I think was in producing, and 
    there's no harm done, he did go on the road, but Roy Caton and 
    others were there to "beef" up the trumpet solos for sure on the 
    >There are a probably a few Ventures fans out there who are 
    >surprised to read that. The Ventures recording career spans 
    >decades. Can you recall any song titles or albums or which 
    I'm sure they will be surprised. You should have seen the Beach 
    Boys list when I said that "we" cut all their favorite groups too, 
    totally. I got quite a few "flames" as they didn't believe me 
    (they really didn't know who I was, but now they know since I was 
    on the VH-1 film, and will be out on another one about Brian 
    Wilson too).
    The Ventures did have some of their guys in the group recordings,
    and studio players "added" to the group (like with Frank Zappa too). 
    I'm on the "Hawaii 5-O" recording from the git-go, and they 
    used me on all the scorings at the movie studios after that 
    Ventures hit too.
    Sorry, I really don't know which hits I've played on outside the 
    Hawaii 5-O, and I only learned that when they kept calling me for
    the film episodes of that. One group looked just like the other 
    day after day in the 60s -- but Russ said, yes, it was me on that
    w/Ventures, Hal too. etc.
    I don't know at this date which ones I'm on, several but of 
    course I'm not sure which and Russ Wapensky's book is not out yet.
    I don't want to bother him too many times with this, it'll be 
    in his (Russ's) book of musician contract credits due out in 
    spring of this year.
    The Ventures were the "only" group that were similar to Frank 
    Zappa's band, in the sense that they "added" some studio 
    musicians to their band members. The rest of the groups never had 
    their bands record their records, we did them all for them.
    >they would rush off to record it and get it released before the
    >original had a chance to hit. They'd put it on an album with big 
    Hal Blaine had to teach his recorded parts to Mel Taylor, thought
    the world of him, but of course "they" (the Ventures) included 
    "us" - 60s stuff I am speaking about here.
    >I admire the Ventures for their enterprising spirit.
    They all did have a lot of talent for sure (compared to many 
    other groups who really couldn't play well). It's simply that the
    studio musicians recorded hits "for a living", every day we could 
    record hits records, they (like the rest of the bands) wanted to 
    get hits. But it's true that we augmented their band, rather than
    totally replaced it.
    The multi-CD package of "Pet Sounds" with the booklet where Brian
    Wilson let us have interviews in, that set a precedent. The first 
    time someone acknowledged the presence of studio musicians on 
    their dates -- it was a "first" -- very interesting thing with all 
    >Carol Kaye, did you ever work with Bacharach? I think he recorded
    >in LA, at least...
    Not much, just the part of the score of "Butch Cassidy & Sundance
    Kid", think 1-2 other things. Yes, he's a big talent, was pleasant
    to work for, just like you see on-screen.
    Studio musicians are the elite of the musicians, and can read any
    time-signatures, key changes, etc., no problem. You wouldn't be a 
    studio musician if you couldn't do that. Recording musicians 
    sometimes were not asked to do that that much, but when you work 
    the movies, TV films, etc., you have to be able to read anything 
    (and sometimes create anything too right on the spot, most styles
    of music).
    As I've said, there's very few rockers who recorded as studio 
    musicians. It was mostly, out of the 350 or so studio musicians 
    just a handful who were from the rock world, the rest were from 
    the big-bands (and before that, out of highly-trained military 
    bands, practically all the movie men were from military bands 
    before their big-band days), and/or the tough highly creditable 
    jazz nightclubs, playing with the best of the finer jazz 
    Yes, you do get your reading together fast if you want to work in
    the studios. And no allowance is made for more than 1 mistake a 
    week, no kidding, in the movie and TV film studios, there are too 
    many waiting in line to get your place.
    I loved that, it was very strict there, and after you've done so 
    many dates, the only pressure you feel is trying to stay alert 
    and awake (hence the coffee all the time).
    Best, Carol Kaye
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