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Spectropop V#0211

  • From: The Spectropop Group
  • Date: 01/15/99

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       Volume #0211                        January 15, 1999   
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      Incomparable stars of stage, screen, radio and records  
    
    
    
    
    
    Subject:     question for Carol
    Received:    01/15/99 10:26 am
    From:        Tom Simon, tsXXXXXXXXom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    
    I have a question for Carol Kaye ... Carol, I understand that 
    you have done session work with Don Lawrence, who is probably 
    better known as Snake. He's good friends with drummer Sandy 
    Nelson. Have you done some work with him lately?
    
    Tom Simon
    
    
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    Subject:     rhythm
    Received:    01/15/99 2:20 am
    From:        Carol Kaye, carolXXXXXXXXlink.net
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    
    Doc, that's interesting about Sue Thompson, although, and I have
    to be delicate about this, most singers, especially if they're 
    experienced, don't have to be told where the beat is or phrasing
    etc., or anything about the inside meters. The beat is always 
    there, like a trolley line, all you have to do is "hook into it"
    -- and you automatically know where 8 bars are, all those things 
    that musicians feel too. It's understood where the bars of music
    are, the rhythm of a song, meters etc.
    
    Some singers in pop music do not have that experience I speak of
    (imo), but they have other things; a voice, personality, overall 
    presentation, aura, or ? that the record co. is banking on 
    overall to make it big. All the studio backup singers know what 
    I'm talking about here -- as do all experienced fine musicians, 
    too. It's just a matter of having done it for decades, that's 
    all.
    
    I don't mean it takes "decades" to get your inside meters and 
    good sense of time together so you can sing around the beat with
    freedom. Singers can learn that if they take some good coaching 
    lessons. People like Lou Rawls, Ray Charles, Frank Sinatra, 
    Bobby Darin, Mel Torme, Joe Williams, etc. all have that natural
    talent to almost immediately do that the minute they started 
    singing. You just got to know where the beat is, and listen to 
    music, preferably jazz and you've got the phrasings from all the
    instruments then. It's basically very easy.
    
    If you study from a vocal teacher who is wise to all that, then 
    it's just a matter of a little while, say 1-2 years of trial and
    learning if you've got some good talent to begin with. Many 
    big-name singers could try their whole life-times and never be 
    able to have that freedom.
    
    If you watched us studio musicians record, you'd be bored to 
    tears at our robotic looks, and no gestures. We put our all into
    the music. Back when I was playing jazz in the clubs, everyone 
    prided themselves not to move much, as that was "showmanship", 
    not musicianship. You played to crowds of people who listened to
    music (not "looked" at music), who grew up to listening to the 
    radio. But showmanship is the name of it all these days -- most 
    people grew up with television and demand a lot of stage 
    presence in addition to music.
    
    Carol Kaye
    http://www.carolkaye.com/
    
    
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    Subject:     Bacharach Box
    Received:    01/14/99 8:58 am
    From:        David B Ponak, dpXXXXXXXXlink.net
    To:          spectrXXXXXXXXgeocities.com
    
    Hi Folks,
    
    I have to get my own 2 cents worth about the Bacharach Box.
    
    Let me start off by saying that I think it's a wonderful set, 
    and we should all be grateful to Patrick Milligan at Rhino for 
    making it happen. That said, I have a few minor personal gripes.
    
    While I respect Patrick's decision to go with Burt & Hal's own 
    arrangements and or productions wherever possible, I think that 
    resulted in a few superior versions being omitted.
    
    How could he overlook Dusty's "I Just Don't Know What To Do With
    Myself?" (I also would have also chosen Dusty's version of "In 
    The Land Of Make Believe.")
    
    I think the Roger Nichols & The Small Circle Of Friends version 
    of "Don't Go Breakin' My Heart" is far superior to Burt's.
    
    How could he do this box without a single Aretha track? I 
    definitely would have gone with her version of "I Say A Little 
    Prayer." Dionne's is also classic, but there's already SO much 
    Dionne on the box.
    
    Lastly, Cilla Black's version of "Afie," one of Burt & Hal's 
    greatest accomplishments, is unlistenable to my ears. She sounds
    like Liza Minelli on a bad day, for god's sake! This should of 
    been the Dionne version.
    
    One track I'd never heard before that blew me away was "So Long 
    Johnny" by Jackie Deshannon.
    
    Rhino was unable to license Neil Diamond's "Heartlight." Which 
    may have been a blessing.
    
    David
    
    
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    Subject:     Re: DC5 album tracks
    Received:    01/15/99 2:20 am
    From:        Stewart Mason, flamXXXXXXXXcom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Paul Urbahns wrote:
    
    >The DC5 two disk set did not set the world on fire like the 
    >beatles reissues did. Therefore, I bet he's having trouble 
    >finding anybody interested. A few DC5 songs have shown up on 
    >movie CDs but the original albums (as I understand it) were quite
    >lame. 
    
    I have a few of the Dave Clark 5 LPs (including GLAD ALL OVER, 
    HAVING A WILD WEEKEND and the not-live-but-you-have-to-look-
    close-to-realize-that AMERICAN TOUR, VOL. ONE), and while 
    they're not one fabulous killer track after another, I know a 
    lot of bigger bands whose albums were far more spotty. (I think 
    it took *years* before there was a mostly-decent Stones album.) 
    Plus you get the occasional track like GLAD ALL OVER's "Doo Dah," 
    which is simply fascinating in its awfulness: okay, a waltz 
    played at funeral dirge speed with lyrics that slightly rewrite 
    "Camptown Races" into directions for a would-be dance craze. Who
    on earth thought this was a good idea?
    
    Stewart
    
    
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    Subject:     Crystals, Shangri-Las, Marvelettes? /// Carol Kaye
    Received:    01/15/99 2:20 am
    From:        Jimmy Cresitelli, JimmXXXXXXXXom
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    Hi everyone!
    
    Apparently the Crystals, Shangri-Las, and Marvelettes are going 
    to share a bill in New York soon... any New Yorkers want to 
    verify this? Anyone going?
    
    Carol Kaye: it is absolutely fascinating reading about your 
    experiences. You have a treasure of musical history! And 
    talented as well! Thanks so much for your detailed posts... VERY
    illuminating, especially the Detroit / Los Angeles "connection..." 
    Who knew??   : )
    
    Take care, y'all!!
    
    Jimmy
    
    
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    Subject:     Stan Ross novelty
    Received:    01/15/99 2:20 am
    From:        Mark Landwehr, msXXXXXXXXbs.com
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    
    Recently, Carol Kaye mentioned long-time Gold Star engineer Stan
    Ross in one of her fabulous dissertations...Does anyone remember 
    the record Stan put out with Bob Arbogast in 1958 called "Chaos"? 
    It was a satire on RnR radio of that time ("KOS, Kay-os Radio") 
    & was issued on Liberty 55197 but never charted. One of the 
    funniest records I've ever heard (being an ex-jock), complete 
    with fast-talking DJ & hilarious jingles - Altho' having copies 
    of the single, I've never seen it on a compilation, not even a 
    Demento comp...Can anyone supply some info if it has re-surfaced
    anywhere???
    
    "It pays..to listen..to Kay-os...
    But not to work here...
    We wish..somebody'd..pay-os."
    
    Mark (Philles Phanatic)
    
    
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    Subject:     Why didn't I...
    Received:    01/15/99 2:20 am
    From:        Ron Weekes, WeeXXXXXXXX.edu
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    ..accept the invitation to join this list a long time ago when 
    it first started up? I don't have an answer, but I'm here now. 
    Just got Vol. #0210 and am glad to see the names of some of the 
    folks who participate here. Those of you who know me, know that 
    I have a real interest in Gary Usher.
    
    I've recently added a little something I got from Chuck Girard 
    to my  Usher home page. Nothing historically new, but fun to 
    read.
    
    I've been enjoying "The Ballroom: Preparing for The Millennium" 
    CD, but still like Sagittarius' "Present Tense" better.
    
    Keeping my fingers crossed that someone will rerelease The Silly
    Surfers and The Weird-Ohs material on CD.
    
    I have to head out of the office for now, but just wanted to say
    hello.
    
    Landlocked in Idaho!
    Ron Weekes
    
    The Surf and Hot Rod Sounds of Gary Usher Web Page
    http://www.geocities.com/SunsetStrip/Studio/8242
    
    
    
    
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    Subject:     Even more Drifters
    Received:    01/15/99 2:20 am
    From:        Jamie LePage, le_pageXXXXXXXXties.com
    To:          Spectropop List, spectrXXXXXXXXties.com
    
    
    At the risk of this turning into a one-man thread, I just got 
    the Drifters box "rockin' and driftin'" and have a few comments.
    
    1. Atlantic's Tom Dowd is quoted in the liners: "I worked with 
    30-35 different Drifters over the years. Nobody could pinpoint 
    who sang on what." Well, now I don't feel so bad about being a 
    bit unfamiliar with every member change. Yet, the liners do 
    indicate fairly precisely which Drifters were on which records, 
    and that helps put everything in perspective.
    
    2. At that first dinner when Ahmet asked Clyde McPhatter to sign
    with Atlantic, Clyde's concern seemed to come from his previous 
    experience with less than satisfactory musicians at King Records. 
    Ahmet assured him only the finest studio musicians would be 
    used on his Atlantic sides, so Clyde agreed. An interesting 
    comment in Billy Vera's liner notes: "...Atlantic was scrupulous
    about little items like intonation and pitch. they liked their 
    product to be in time, a concept lost on the majority of indie 
    producers of the era." It's true that Atlantic's Drifters rhythm 
    tracks are all in the groove, the playing is impeccable; that 
    contributes greatly to the timeless nature of these recordings, 
    I think.
    
    3. I had many of these recordings elsewhere, but with all the 
    biggest solo stuff on here alongside the Drifters tracks, this 
    collection really is wonderful. Lover's Question and Lover 
    Please by Clyde McPhatter, Spanish Harlem and Stand By Me by Ben
    E. King are all on this set. In addition, the 70's Drifters tracks 
    sound like the Foundations meets Philly. In any event, the very 
    British Greenaway/Cook/Macauley sound is certainly evident.
    
    4. Bill Inglot and Dan Hirsch at DigiPrep are credited with the 
    mastering. I've come to trust that as a guarantee the sound will 
    be satisfying, and this set lives up to that promise.
    
    
    --
    Ahmet Ertegun Rules!!!!!
    All the best,
    Jamie LePage 
    
    
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