__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0207 January 8, 1999 __________________________________________________________ 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 =- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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. --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- End
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