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Spectropop V#0208

  • From: The Spectropop Group
  • Date: 01/12/99

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       Volume #0208                                   January 12, 1999   
    _____________________________________________________________________
    It's more than a camera, It's almost alive, it's only 19 Dollars & 95
    
    
    
    
    
    Subject:     Spector 1974/75
    Sent:        01/09/99 9:25 pm
    Received:    01/12/99 12:53 am
    From:        RUDER MOORE, RUDERMXXXXXXXXom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    There was a British compilation LP pressed in 1975 on the Phil 
    Spector International label titled "Phil Spector 1975/79". It 
    had two cuts from the Spector produced album "Dion - Born To Be 
    With You", two cuts by Cher (including "Baby, I Love You"), a 
    duet by Cher and Nilsson and two cuts that I am particularly 
    interested in knowing if they exist anywhere on CD:  Darlene 
    Love's "I Love Him Like I Love My Very Life" and Jerri Bo Keno's
    "Here It Comes (and Here I Go)", a wonderful Ronettes sounding 
    piece.
    
    Who owns this stuff now (the rights to the cuts on this album, 
    the Dion album, all the interesting stuff on the two "Rare 
    Masters" LP's also released around this time (with Darlene 
    Love's "Johnny, Baby Please Come Home") and important tracks 
    that are missing from the Phil Spector boxed set and the 
    Ronettes, Darlene Love and Crystals CD's currently available on 
    ABKCO (like the Ronettes "I Can Hear Music")?
    
    Does anyone know if there are plans for a follow-up to the boxed
    set that could be called "The Uncollected Works" (with tracks 
    like Ronnie Spector's Apple recording of "Try Some, Buy Some", 
    some cuts from the Leonard Cohen "Death of a Ladies Man" and the
    Ramones' Spector produced LP)?
    
    Any info, let me know!
    Rhine 
    
    
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    Subject:     Swinger
    Sent:        01/07/99 23:23 pm
    Received:    01/09/99 9:03 am
    From:        Keiko Kondo, kXXXXXXXXrading.co.jp
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Hi all. I'm waiting to get Spectropop new issue every time.
    
    Today I heard Tee Vee Tunes: the Commercials (TVT 1400CD) and 
    especially loved one song "Swinger." The commercial used very 
    girl group sound. I never saw that commercial but I heard that 
    song and I remembered discussion at Spectropop List. 
    
    Compared with other songs on this CD, "Swinger" has a very clear 
    bass sound. nice female chorus, swinging overdub drum sound 
    accents (one more thing the word Swinger is just the name but 
    sounds very groovy like Austin Powers). If somebody has the CD, 
    please listen to that song very carefully. Even if it is not Carol 
    Kaye and Hal Blaine playing that song, bass line and drum sound are 
    totally their style.
    
    KK
    
    
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    Subject:     Bacharach
    Sent:        01/05/99 1:13 pm
    Received:    01/08/99 7:25 am
    From:        David Feldman, felXXXXXXXXderables.com
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Tobias said:
    
    >>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.
    > 
    To me, that's like saying someone with a multiple-personality 
    disorder has a wider emotional range than other people .  But 
    seriously, "Alfie" is a philosophical song.  The "narrator" is, in 
    essence, lecturing Alfie.  It's a rare love song that does not talk 
    about the singer's relationships at all, unless you include "I 
    believe in love." 
    
    Of course, there are all kinds of musical and mood changes in 
    "Alfie," but it seems to me that there is little correlation between 
    the lyrics and Ms. Black's vocals.  But just my opinion, of course.
    
    And thanks, Marc, for correcting my weird contention that "Fool 
    Killers" was never released as a movie.  Evidently, the Fool Killer 
    didn't bother to polish me off.
    
    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
      "http://www.imponderables.com"
    
    
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    Subject:     Johnny Moore
    Sent:        01/10/99 1:26 pm
    Received:    01/10/99 2:17 pm
    From:        Jamie LePage, le_pageXXXXXXXXties.com
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Johnny Moore, one of the lead singers featured on many of the 
    Drifters' big hits, died in London on December 30th while on 
    route to hospital. He was 64. Moore reportedly had been suffering
    from breathing difficulties.
    
    Alabama native Moore joined the Drifters around the time Clyde 
    McPhatter was drafted, but Drifters' manager George Treadwell 
    fired the original line-up in 1958 and quickly recruited The 
    Five Crowns (featuring tenor vocalist Ben E. King) to become the
    all-new "Drifters." This new line-up set the pace for the group's
    second wave of hits with records like 'There Goes My Baby,' the 
    seminal Leiber And Stoller record that, for the first time on an
    R&B record, featured Baion rhythm and lush strings.
    
    Between 1958 and 1961, Johnny Moore signed to Sue Records (under 
    the stage name Johnny Darrow) and recorded a number of sides 
    including an interesting Sonny Boy Williamson cover 'Don't Start 
    Me Talking.' Juggy Murray, one of the only successful black 
    record label owners in New York at the time, founded Sue in 1958 
    primarily as a jazz label, but his artist roster featured some
    R&B acts such as Ike and Tina Turner and Inez Foxx. (As a side 
    note, I understand Murray signed a young black guitarist named 
    Jimmy James, but times were tough, so when the Animals manager 
    came around making queries, Murray reportedly sold him the Jimmy
    James contract for $750.00. James went to London, changed his 
    name to Jimi, and, as they say, the rest is history).
    
    Moore rejoined the Drifters in 1961 and sang with Rudy Lewis on 
    such hits as 'Up on The Roof' and 'On Broadway.' In 1964 Moore 
    became the lead singer after Lewis died of a suspected drug 
    overdose. His first recording as Drifters' lead singer was the 
    smash hit, 'Under The Boardwalk', recorded one day after Lewis 
    died. 'Under The Boardwalk' reportedly features Phil Spector on 
    guitar.
    
    In the 70's, Moore and the other Drifters moved to England and 
    signed with Bell, where they enjoyed a number of hits written and
    produced by Tony Macauley, Roger Cook and Roger Greenaway. Between
    1973 and 1975, the group, still fronted by Moore, enjoyed six UK 
    Top 10 hits, including Come On Over To My Place and Kissin' In 
    The Back Row Of The Movies.
    
    Rest in peace, Johnny Moore.
    
    --
    All the best,
    Jamie LePage 
    
    P.S. Correction, clarification or embellishment is welcome.
    
    
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    Subject:     Bill Justis
    Sent:        01/08/99 9:25 pm
    Received:    01/09/99 9:05 am
    From:        Paul Urbahns, PaulurXXXXXXXXom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    In a message dated 1/7/99 1:02:02 PM Eastern Standard Time,
    spectrXXXXXXXXties.com writes:
    
    > 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. 
    
    Bill Justis is normally thought of as a sax player, because of 
    his hit Raunchy. But he played trumpet more. And on the Bill 
    Justis albums on Smash Boots randolph plays the sax. Justis a 
    first class producer and arranger realized his own limits.
    
    Paul Urbahns
    paulurXXXXXXXXom
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Various
    Sent:        01/04/99 3:43 am
    Received:    01/08/99 7:25 am
    From:        Carol Kaye, carolXXXXXXXXlink.net
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    I didn't mean to sound kind of angry about the Allsup post, it's
    just that I've seen a few who would love to take "credit" for 
    work they didn't do at all -- most of us studio pros try to lean
    over backward to "get it right" to make sure the right person 
    gets their credits. Unfortunately, there are a few (mostly 
    outside of our group) that don't feel that way.
    
    Earl Palmer's great book "Backbeat" out on Smithsonian Press 
    March 1 1999, will go into his work too at great depth, is a 
    biography and there will be a lot in there about his famous 
    recording career too. He wants everyone to know that there is 
    going to be a book-signing party when he comes down there to the
    Jazz Festival in New Orleans April 29th too, (as well as 
    book-signings before that here in LA, and elsewhere).
    
    I am now writing my book about studio work, etc. as some others 
    are too. Hal Blaine did write a book some years ago, called 
    "Wrecking Crew" which is his pet name, I think he got that from 
    the name of the band that backed up Darlene Love in NYC mid 80s.
    
    Just for historical fact here, we NEVER heard of that term 
    before he brought his book out abut 1991. If the select group of
    our 50-60 or so hot record date studio musicians did have a "name", 
    we were simply called the "clique".
    
    A few are sort of upset that Hal implies that we were all known 
    as "the wrecking crew" rhythm section back then (not true, that 
    term was never heard of back then), and while I don't begrudge 
    Hal for promoting his book, it's interesting, just want to set 
    the record straight, that's all.
    
    Some others are writing their books too now, and the Russ 
    Wapensky studio credits book will be out about late spring in 
    1999. That one will have the correct track dates in it (not the 
    dates that might be listed on album jackets, taken from the 
    singers' overdub dates).
    
    We were all independent free-lance studio musicians, and as such
    we were in the Union, highly professional from years of lots of 
    playing before studio work, and were totally inter-changeable in
    all the studio work we did. There was NEVER "one" or "two" rhythm
    sections, everyone worked with everyone else.
    
    Once in awhile, someone was nice enough to put our names on the 
    back of a record album, but this was very rare. The Union didn't
    require that until 1973. My name was put on the Joe Cocker 
    "Feelin' Alright" hit which helped people to know more about me, 
    but aside from a film credit Quincy Jones put on a film "Hot 
    Rock" and a few others, we were totally unknown. So that's why 
    it's news to the public about us, but they're learning.
    
    Doc, am sure that Herb Alpert and Martin Denny were players 
    (I even played a bar mitzvah "jazz" gig w/Herb about 1958 -- 
    well....), but just that the studio people could do it that much 
    better -- to get a hit was the most important thing. There's a 
    few others that hired the studio musicians to do their playing 
    for them too, wasn't uncommon back then and was part of the job.
    
    Claudia, I took lessons from Howard Roberts' teacher, Horace 
    Hatchett in Long Beach in 1949 for about 3-4 mos. then, he hired
    me to help him teach his big load of students, and about that 
    same time, I began to play some casual semi-jazz (Benny Goodman 
    style music) gigs on guitar, and kept up as a professional 
    musician all my life. Been a professional musician now for 50 
    years this June.
    
    It was easy for me, both my parents were pros for all their 
    lives, and I heard music all the time as a kid (altho' it was a 
    rough early life growing up). There were many fine women jazz 
    musicians in the 40s-50s (and earlier) so it was no big deal as 
    to be able to play jazz, you have to be a fine musician, and the
    men admired you, easy to work with, etc., just "don't fall in 
    love" that's all.
    
    By the late 50s, I had 2 kids and a mother to take care of, so I
    also had a day-job for a few years (accountant, then tech typist)
    1956-1960 while I was playing live jazz nightly most every day of
    the week with musicians like Billy Higgins, Teddy Edwards, Jack 
    Sheldon (played in the jazz combo in back of Lenny Bruce etc.) 
    and saw some of the drugs being used, but I was one of several 
    who chose not to use drugs, I thought it was stupid but 
    understood why others did use them.
    
    It was only because I had a family to support and didn't want to
    work days anymore why I accepted my record dates (was asked by 
    the producer of Sam Cooke, Bumps Blackwell, and the music wasn't
    bad late 1957), as all the fine jazz musicians knew that once you
    start working studios, you'd "never come back" to the low-paying 
    but great-music in the jazz clubs.
    
    I kept up the jazz gigs for awhile, playing with Page 
    Cavanaugh's group, other fine groups like Paul Horn, etc. but 
    the studio work got more and more intense, was a popular 
    recording guitar player, but as soon as I picked up that bass, 
    it got ridiculously busy -- and being born very poor, and 
    struggling for years (by that time 3 kids, threw out the 2nd 
    husband), I didn't want my kids to struggle like I did, so rock 
    and roll it was, and I stayed in studio work.
    
    No, I didn't play bass on Superstition, I believe that's a 
    keyboard bass. I had quit recording on purpose for Motown in 
    1969, but accidently got on a Motown date around 1970 and told 
    the contractor never to call me again for them.
    
    Most of the fine studio musicians have a deep jazz or big-band 
    background, if you're lucky, and work hard, you have both. And 
    you know and can play all styles of music required to work in 
    the studios. You did have to "create" a lot of your own parts, 
    and then reading later on became quite necessary (which made 
    Glen Campbell and Leon Russell into "stars" :-) )
    
    The early rock was kind of fun, it felt like Latin to us mostly 
    (well to me especially, if you listen to my 16th note basslines,
    there's a lot of congas and timbale beat influences as well as 
    the overall feel of a song that really stems from all the jazz 
    improvising), and this music being "new" was sort of a challenge.
    
    But it got "old" to keep playing "rock" licks on the various 
    guitars (12-string guitars, acoustic, elec. etc.) on that. So in
    1965, I cut a commercial multi-guitar album (to try to get out of
    the studios and back into the live scene, this time "w/money" and
    a good-selling record album), with Earl Palmer the rest of our 
    hot gang on it:
    
    Bill Green, Rene Hall, Gary Coleman, Jim Horn, etc., on it and 
    it's been re-issued now with my additional interview and 
    demonstration playing on it, plus a later-overdubbed jazz guitar
    solo on two cuts too -- known now as "California Creamin'" on my 
    website (not my title, it was named in Germany) as well as my 
    bass CD "First Lady On Bass" (some funky duets with Ray Brown, 
    some cuts with my bands, all kinds of stuff on it, funk and jazz).
    
    But the wrong tune "Ice Cream Rock" hit the charts in 1965-66, 
    the corniest tune on the album (was constantly being played on 
    the radio around LA and elsewhere), and I couldn't see myself 
    playing that thing the rest of my life, money-fame or no, so I 
    stayed in the studios, playing bass, and told them to stop the 
    record, to take it off the market.
    
    My attempt at the commercial album to get back into jazz playing
    ....and....support my kids didn't work. Just as well, I didn't 
    want to travel anyway.
    
    And then I wrote all the successful educational books/tapes/
    videos on my instrument, and renamed the "Fender Bass" to 
    "Electric Bass" with my first book (of 25 or so) in 1969 "How To 
    Play The Electric Bass", taught many fine bassists out there, 
    like Dave Hungate, John Clayton, Bill Laymon, etc. and even 
    Sting was kind of enough to say he learned so much from my books
    on the Arsenio Hall TV show one time. I am currently the educator
    associated with the Henry Mancini Institute at UCLA this summer.
    
    Lots of interviews, lots of filmings, my own personal 
    documentary being shot, another interview on A&E coming out, 
    right now, some recording, some playing live jazz concerts, some
    teaching too right now etc. So aside from all that, it's been 
    kind of "slow"  :-)
    
    Marty hi. Don't know when I'll be done with my book, looking for
    an editor in the LA area right now, about 1/3 through with the 
    book.
    
    Carol Kaye  http://www.carolkaye.com/
     PO Box 2122, Canyon Country CA 
    
    91386-2122
    
    
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    Subject:     Dave Clark
    Sent:        01/09/99 2:25 am
    Received:    01/09/99 9:05 am
    From:        Paul Urbahns, PaulurXXXXXXXXom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    In a message dated 1/7/99 1:02:02 PM Eastern Standard Time,
    spectrXXXXXXXXties.com writes:
    
    > 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.
    
    I have to disagree with you David. Dave Clark has more business 
    sense than either of the two people you try to associate him with. 
    What do you want issued? He owned the rights to Ready Steady Go
    and compiled several nice videos (something like 25 songs each) 
    not the shabby stuff Rhino Video puts out. I know I have two of 
    the prerecorded ones, that was enough for me. He aired the Ready 
    Steady Go shows on Disney Channel several years ago. He was 
    critized heavily for inserting dave Clark Five material in the 
    shows even though the group never appeared on the series. But 
    those that complained didn't look at what they were seeing. The 
    DC5 numbers are inserted like commerical breaks, not actually in 
    the context of the show. I have the whole Disney run on video 
    tape which includes a dynamite Motown show done in England. The 
    Dave Clark 5 songs were slow to come to CD but they have been out
    on albums (imports) for years. The American releases haven't been 
    available (I read somewhere) because the US market felt they 
    were't marketable. Now the DC5 stuff is out on 45 rpms, and a 2 
    CD set (I didn't buy it because I have the Stereo Eureopean album).
    I really don't understand what the beef is... let's hear it..
    what is he holding back on? I don't see the DC5 rerecording their
    hits like the Cameo Parkway artists. There is no comparison in my 
    mind between Dave Clark and Allen Klein. Even though he (Dave 
    Clark) didn't read your message, you owe him a big apology.
    
    Paul Urbahns
    paulurXXXXXXXXom
    
    PS didn't mean to unload but are you in left field.
    
    
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    Subject:     Dave on Dave
    Sent:        01/12/99 2:23 am
    Received:    01/08/99 7:25 am
    From:        Greg Matecko, motXXXXXXXXlm.com
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Greetings!
    
    I think Mr. Bash hit the nail on the head when he proposed that 
    Dave Clark may be waiting for the "right time financially" to 
    release more DC5 stuff to the public. Unfortunately, I think that
    time is past.
    
    While pop music fans like us would be willing to welcome any DC5 
    product, I think the general public is getting ready to move full
    speed ahead into the "80's revival," and could care less about Mr.
    Clark.
    
    Music was probably never a priority to Dave. Just bringing in the
    green. He had Mike Smith to write the music, and I recall  some 
    comment Mike let slip in an interview that basically said that 
    Dave's name had no business being on any songwriting credits.
    
    Some years back, there was an interview in Discoveries magazine 
    with Andy White, who played drums on the Beatles' "Love Me Do," 
    and he mentioned another drummer whom he said "played on all the
    DC5 stuff." The writer didn't follow up on this comment! Arrgh!
    
    I wonder what "financial consideration" kept stereo mixes off the
    CD release? On one of the last DC5 comps that Epic released, I 
    think it was called "The Dave Clark Five," there are some 
    beautiful stereo mixes. In a Goldmine article around the time of 
    the CD release, Dave tried to pull a George Martin and claim that
    there weren't supposed to be any stereo versions of these songs. 
    Whereas the early Beatles twin-track recordings weren't meant to 
    be stereo (but we liked to listen to 'em anyway!), Dave had some 
    stuff that was definitely mixed for true stereo.
    
    If he's waiting for some huge financial commitment to cut this 
    stuff loose, I hope he has a nice library at home. It's gonna be 
    a long wait, and he'll have plenty of time to read.
    
    Greg Matecko
    http://www.telerama.com/~moteeko
    
    
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