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Spectropop V#0207

  • From: The Spectropop Group
  • Date: 01/07/99

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       Volume #0207                         January 8, 1999   
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             The World's Foremost Amusement Newsletter        
    
    
    
    
    
    
    
    Subject:     Hi Everyone!
    Sent:        01/02/19 11:25 pm
    Received:    01/07/99 3:58 am
    From:        Barbara Alston, BARBXXXXXXXXom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Hi Everyone!
    
    I have a lot of catching up to do because I've been out of touch 
    for the last month or so on your newsletters. Please forgive and 
    understand that it was just the holiday season that put me out of
    commission.
    
    Now that the new year has commenced, I urge all of you to take a 
    look at my project for 1999:
    
    http://www.popenterprises.com/
    POP Enterprises Home Page. 
    
    
    Just click on the Michael Jackson dancing figure and you will 
    surely see the spectacular event of the century. If you know of 
    anyone who might be eligible to enter this "oldies but goodies" 
    talent jamboree, then you must let them know about it. Anyone can
    enter from anywhere within the USA or Canada. We are soliciting 
    sponsors also and received one yesterday who offered a FREE CD 
    recording session to the winning vocals. Isn't that wonderful? We
    will accept any sponsor offers submitted to us and wish to make 
    this talent review one of the biggest of the century (in 
    Charlotte at least). Anyone can enter who is not a working 
    professional in the entertainment field. Please send a tape or 
    video for us to either hear or view your performance.
    
    If you know of anyone who would be interested in this oldies but
    goodies extravaganza, please let me know. Now I will take time to
    read the past newsletters and respond to anyone who has requested
    my advice.
    
    Thank you.
    
    B. Alston
    
    
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    Subject:     Skeeter
    Sent:        01/03/19 9:43 pm
    Received:    01/07/99 3:58 am
    From:        James Cassidy, casswrXXXXXXXXlink.net
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Following up on recent posts about Goffin-King's "Let Me Get 
    Close to You," the Skeeter Davis version can be found on her 
    "Essential" collection on RCA. Skeeter's girl-group songs 
    represent only a couple of tunes on the disk, but it does include
    "I Can't Stay Mad at You," another Goffin-King gem that benefits 
    from Skeeter's sincere, naive-sounding delivery. Her classic "The
    End of the World" is also on it.
    
    Jim Cassidy
    
    
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    Subject:     Re: Look of Love Box Set
    Sent:        01/10/19 8:23 am
    Received:    01/08/99 12:43 am
    From:        Marc Wielage,XXXXXXXXtrax.com
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    David Feldman  said on The Spectropop List:
    
    >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.
    >--------------------------------------<
    
    
    As a matter of fact, I actually saw THE FOOL KILLER in the 
    theater, probably in late 1965. It starred Anthony Perkins and 
    Edward Albert (13-year old son of Eddie Albert of GREEN ACRES 
    fame). Not a great film, but Maltin's book says it's out on home 
    video.
    
    I think the Bacharach song was better than the movie. :-)
    
    --MFW
    
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
    -= Marc Wielage      |   "The computerized authority     =-
    -= MusicTrax, LLC    |       on rock, pop, & soul."      =-
    -= Chatsworth, CA    |        XXXXXXXXtrax.com         =-
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
    
    
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    Subject:     Re: Bacharach Box Set
    Sent:        01/03/19 5:41 pm
    Received:    01/07/99 3:58 am
    From:        Ivan From Marseille, MUV9XXXXXXXXnt2.lu.se
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    David Feldman, felXXXXXXXXderables.com wrote:
    
    >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.
    
    Brian Wilson's 'mature' music certainly was influenced by 
    Bacharach...huge chunks of Pet Sounds could've been written by 
    Burt...although the music does sound different of course.
    
    >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"),
    
    Don't forget those great lines "What do you get when you fall in 
    love?/You get enough germs to catch pneumonia/And if you do/He'll
    never phone ya"!
    
    >If there is anything that saddens me about the box, it 
    >is that once again Hal David is not given equal status.
    
    At the time in the early seventies, Bacharach said that Hal spent
    more time playing tennis than writing lyrics for the songs...and 
    then they fell out in the middle of the making of Lost Horizon, 
    which BTW I see as Bacharach's greatest album.
    
    >Cilla Black's version of "Alfie" is, er, interesting 
    >-- Ethel Merman would have loved it.
    
    I think this version is the definitive and best version of Alfie...
    there's a wider emotional range in Black's version whereas with
    Dionne, it basically has the same mood throughout.
    
    >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
    
    You might be interested in Bacharach's own semi-instrumental 
    version which is really good. It can be found on the CD "Hit 
    Maker! Burt Bacharach Plays His Own Hits".
    Tobias
    
    
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    Subject:     Re: Mysteries of the DC5
    Sent:        01/04/19 9:05 am
    Received:    01/06/99 8:08 am
    From:        David Bash, BasXXXXXXXXom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    
    Hi Everyone,
    
    List member Greg Matecko had a lot to say about The Dave Clark 5,
    the gist of which was that he was wondering whether Dave might be 
    likely to license his videos and music in the future. I don't 
    really know the answer, but his post promted me to share my views
    about Dave Clark.
    
    Dave Clark, like Allen Klein and Don Kirshner, seems to me to be 
    one of those people who possesses the fascinating combination of 
    business acumen and arrested development. These gentlemen strike 
    me as being similar to ultra intellegent, spoiled children, who 
    say "It's mine and you can't have it", and then go out and make a
    brilliant investment. They have got to be the most frustrating 
    people to deal with on a business level. At any rate, whether 
    they do finally decide to release their precious material at the 
    "right time financially" or they hold out past the point where 
    anyone cares, when they're gone from this earth they will have 
    left nothing but a legacy of greed and parsimony.
    
    That's my virtriolic catharsis for the day. :-)
    --
    Spectropop Rules!!!!!
    Take Care,
    David
    
    
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    Subject:     A Couple of Questions
    Sent:        01/06/19 11:43 am
    Received:    01/07/99 3:58 am
    From:        CLAUDIA CUNNINGHAM, TXXXXXXXX.net
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    I have a couple of questions for the delightful Barbara Alston 
    and Carol Kaye.
    
    For Barbara: Which songs did you record as a Crystal..were you on
    all of them or a few? Are you doing any touring now?
    
    For Carol, tell us about how you learned your mastery of the 
    guitar. Did you take lessons as a child or was it later in life 
    that you learned music? Your web site is wonderful and 
    informative, but specifically I want to know all about how you 
    mastered your craft so beautifully.
    
    Can't wait to read your book!
    
    ...and tonight I heard "Superstition" by Stevie Wonder on the 
    radio....what a killer bass line!....Carol?.....'zat you? Claudia
    
    
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    Subject:     AN ARTICLE
    Sent:        01/09/19 2:03 am
    Received:    01/06/99 8:08 am
    From:        Warren Cosford, rXXXXXXXXNet
    To:          Spectropop, SpectrXXXXXXXXties.com
    
    Hi Folks:
    
    Thought you might enjoy this:
    
    Cheers
    WC
    --------------------------------
    
    DARLENE LOVE
    
    
    It was the 70's. Because of the "vision" of J. Robert Wood, at 
    CHUM, we were producing documentaries on Rock and Roll for The 
    World. First The Beatles, then Elvis, and later, 64 hours of The 
    Evolution of Rock.
    
    Pretty heady stuff for a kid from Winnipeg.
    
    Today, the interviews I did seem like a blur. I remember Elvis's 
    pals in Memphis and Nashville with Ashby and McMillan. Little 
    Richard, George Harrison, Rick Hall and Jeff Barry in LA with 
    Wood. But where did we "do" Lennon, McCartney and Ringo? I got 
    them on tape and hundreds of hours more, I should remember better
    than I do, but I don't. The pressure was intense. Taking an 
    airplane from Toronto to New York was like taking a bus from 
    Scarborough to downtown Toronto. In the winter I often didn't 
    even take a coat. From CHUM to taxi to airport to airplane to,
    American Airline's Admiral's Club in an airport, somewhere, then 
    The Interview.
    
    It was an era where there was one book written about Elvis, and 
    maybe two on everyone else. Hell, our "research" was often record
    labels.
    
    I had interviewed people I would have been thrilled just to see 
    on stage, much less meet.  And we would chronicle history.
    
    But there was always one person I could never find. Her name was 
    Darlene Love. Lord knows I looked for her. Everyone thought I was
    nuts. "What'd she do"? "Well, she had a couple of minor hits, but 
    most of all she sang on hundreds of Big Hits, as a background 
    singer. "A background singer! Who cares?"
    
    "Yea well, maybe no one cares. But I bet she'd have some stories 
    to tell."
    
    Darlene Love was one of The Blossoms. In the 60's and much of the
    70's, if a record was made in LA, she likely sang on it. Most of 
    what I knew about her was rumour. The "stars" I interviewed often
    mentioned her. "What a Voice!"   "If you find her say hello for me". 
    Elvis, Aretha, Cher, most of The Bobbys and a lot of The 
    Johnnys spoke of her in "awe". And most everyone mentioned her 
    work with Phil Spector, who produced a couple of singles with her
    that used her name.
    
    It was 1980. I was holed up in a little Motel near LA thinking 
    about producing a series of documentaries on record producers. 
    And then I saw It in Sunday's LA Times. Darlene Love was singing 
    Tuesday night at Medley's in Fountain Valley! Tuesday night?
    
    Medley's was a pretty good little steakhouse, with a showbar, on 
    the way to San Diego from LA. Of course it was owned by Bill 
    Medley of The Righteous Brothers. And there,finally,was Darlene. 
    She sang a little bit of everything,from Rock to Pop to Gospel to
    Jazz. It was mesmerizing. She looked nervous, but the voice was 
    strong. And then she said,"here's my Greatest Hit". It was "He's 
    a Rebel". What? I thought that was The Crystals! I had to get an 
    interview.
    
    After the show, the World's Largest Woman (who I was sure had 
    brass knuckles in her purse) told me that Darlene would see me 
    but,"don't count on an interview."  "Darlene is just coming out".
    So I met her. She invited me over to her house the next day.
    
    The "house" was in an apartment in the heart of Watts. I would 
    have felt safer in disguise. But what a story she told!
    
    A few months later I read she'd played The Starwood in LA. 
    Springsteen, Dylan, Harrison and a bunch more showed up. Then,
    when I moved to New York, she did too, taking a musical from The 
    Bottom Line called Leader Of The Pack, about songwriter Ellie 
    Greenwich,  to Broadway. I got to meet her again. And she 
    remembered. I was "that radio guy who made me feel special again". 
    Blush.
    
    But the biggest thrill was watching Lethal Weapon in a theatre 
    with Denise. "Doesn't Danny Glover's wife look a lot like Darlene?"
    The credits said it was. Wow, I betcha that's a story in 
    itself!
    
    It is. And there are many more.
    
    Fortunately, if you care anything about Rock and Roll and how it 
    really was, you can read all about it. Darlene's book is called 
    "My Name Is Love". It's at a bookstore near you.
    
    
    Warren Cosford
    RPM Music Weekly
    January/98
    rXXXXXXXXnet
    
    
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    Subject:     Hi
    Sent:        01/09/19 8:23 pm
    Received:    01/07/99 3:58 am
    From:        Tom Simon, tsXXXXXXXXom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    
    I have been reading this list for several weeks now, and really 
    enjoy it. Hello to Marc Wielage.
    
    I want to say thanks to everyone who posts here, the information 
    is fascinating. Special thanks to Carol Kaye for all of the 
    interesting insights into things that happened in her long career.
    
    Keep up the good work.
    
    Tom Simon
    
    
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    Subject:     Dear (Here Comes My Baby)
    Sent:        01/07/99 11:26 pm
    Received:    01/08/99 11:17 am
    From:        Jamie LePage, le_pageXXXXXXXXties.com
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Billy G. Spradlin wrote:
    
    >Toni Jones
    >Dear (Here Comes My Baby) (P.Spector)
    >Love is Strange (E. Smith-M. Baker)
    >Smash S-1814
    >Produced by Lester Sill & Steve Douglas 
    >Arranged by Jack Nitzsche
    
    Yeah, that's a good find. A perfect faux Spector record. After 
    all, it's Phil's ex-partner, his regular session contractor/
    saxophonist and his most celebrated arranger, AND they're doing a
    Phil tune. Undoubtedly a Gold Star recording too. Why mess with 
    the formula?
    
    I think the Mickey and Sylvia cover was the A, but I'm not sure.
    Dear (Here Comes My Baby) is a cover of the Bob B. Soxx and the 
    Blue Jeans album track, and comparing the two versions is 
    interesting because in a way, Phil's colleagues got it closer to 
    "Spector" than he did himself. Not to dismiss Spector's version, 
    but the song is pretty much a clone of Why Do Lovers Break Each 
    Others Heart in the first place, and it's pretty obvious Phil 
    didn't bother with his version much. Toni Jones' version has a 
    more comfortable groove and the arrangement is a bit tighter. But 
    it is purely faux Spector. Whatever! They're both good!
    
    btw, when I pulled the Bob B. Soxx LP to relisten to the track, I 
    was reminded that the original Philles LP has musician credits on 
    the back sleeve. Indeed, Carol Kaye is listed, so at least someone 
    at the time was being honest enough to give credit where credit 
    was due about using the session regulars!
    
    Can't get Pitney's Bacharach songs out of my head for the last 
    few days thanks to Toby, Dave and Marc. True Love Never Runs 
    Smooth, 24 Hours From Tulsa, Liberty Valance...been great reading
    about that here lately. I've pulled out the Bacharach stuff for 
    yet another listen.
    
    --
    Hal David rules!!!!
    All the best,
    Jamie LePage 
    
    
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    Subject:     Carol Kaye
    Sent:        01/07/19 5:33 pm
    Received:    01/06/99 8:08 am
    From:        Marty Rudnick, mrudXXXXXXXXro.com
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Please indulge me while I suck up to a legend...
    
    I get so much email these days, work related, personal, and a ton
    from the pop music mailing lists I subscribe to. It's forced me to
    learn to speed read/scan most of them.
    
    However, whenever Carol Kaye posts anything, I make sure I take 
    my time and relish every word. All the tales about the music I 
    grew up with. It's simply great stuff.
    
    Carol, surely you must have considered writing a book about your 
    experiences. Or maybe it exists, and I just have never heard of 
    it?
    /Marty
    
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    Subject:     Herb Alpert and Martin Denny
    Sent:        01/01/19 2:35 am
    Received:    01/08/99 12:43 am
    From:        Doc Rock, docrXXXXXXXXcom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Herb Alpert and Martin Denny had something in common. Researching
    Liberty Records, I learned that Martin did not play on most of his
    own records. Wasn't good enough.
    
    
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    Subject:     The truth, Ruth 
    Sent:        01/09/19 3:43 pm 
    Received:    01/06/99 8:08 am 
    From:        Carol Kaye, carolXXXXXXXXlink.net 
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    
    Doc, I don't know where this guy is getting his facts from, Tommy
    Allsup, I've seen him around, but "barely". It's simply NOT TRUE 
    that he "knows how Hal Blaine got his start" -- I worked with Hal
    Blaine in H.B. Barnum's band (see the picture on my website w/Hal 
    in it) 1958- 1959-60 etc. and it was H.B. who gave Hal his big 
    start (and Jack Nitzsche and quite a few others) in recording.
    
    I bumped into Russ Wapensky, the meticulous book researcher of 
    all our Musician Union studio musician contracts last night, he's
    out here in LA for a short hop.
    
    We spoke about Tommy Allsup. He said that Tommy worked mostly as 
    a contractor for the Snuffy Garrett dates about 1964 or so and 
    then moved to Nashville right after that.
    
    We knew they were letting the public believe they cut "their own 
    records, all the groups" -- we not into being "stars", we got 
    paid better than doctors did, plus the wonderful local prestige 
    we enjoyed, and we didn't have to put up with that "stardom" 
    stuff either, the jive and politics.
    
    All we had to do was play our instruments, collect our checks at 
    the Union, and go home to our families. But this charade has been
    carried forward for over 30 years -- even bassist Steve Bailey who
    currently records for many rock groups, has to sign a paper 
    stating "I won't tell". The beat goes on.
    
    Hal Blaine tells the story about us doing the Monkees track in 
    the big room at RCA while the Monkees were holding a press 
    conferance in the small studio there at RCA (same time as we were
    recording their tracks) and they pretended (just for the press) to
    be "recording" in that studio -- really something.
    
    Others have tried to do that, especially the Detroit Motown bunch, 
    and have gotten away with it. So there it is, from the horse's 
    mouth and Russ will be back soon and will look at my quoted email
    for further comment.
    
    Sometimes there is a date that is a little "off" as the record 
    companies, to avoid the hefty 10-20% "late fees" in paying us, 
    they sometimes (although rarely) changed the original date on the
    contract of that particular recording date. And.....you must 
    remember, that when record companies put DATES on the backs of 
    albums, they are often quoting the SINGER'S OVERDUB DATES, not 
    the dates the studio musicians laid down the real tracks.
    
    Russ caught practically all of those mistaken dates made up to 
    avoid late-fee penalties from record companies, thanks to our 
    Logs and interviews with the scores of us. He's a government man,
    very trustworthy and meticulous in his work. Russ helped the Union
    put their house in order too with years of free work in the 
    archives, finding "long-lost" contracts etc., helping us to get a
    few of our rightful re-use monies.
    
    No, we're not getting "rich" off of re-uses, and thank God for 
    our Pensions, very few are rich in my crowd, and we did the most 
    work and played intensely too.
    
    One year, it was discovered that some original Beach Boy record 
    contracts (they were copied though in our Pension files back east) 
    are missing (packed off by "souvenir writer/hounds they think")
    - - and we've found out since then, that those very contract 
    copies were found (complete with our damaging social security 
    numbers) on the backs of bootleg album covers printed in Japan!
    
    Writers etc. have been prohibited from Union records for a few 
    years now because of this theft from the archives -- the missing 
    contracts have been put back in mostly, thanks to the duplicate 
    records back east.
    
    Carol Kaye http://www.carolkaye.com/
    PO Box 2122, Canyon Country 
    
    CA 91386-2122
    
    
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