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Spectropop V#0219

  • From: The Spectropop Group
  • Date: 01/30/99

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       Volume #0219                        January 31, 1999   
           A Long Playing Microgroove Unbreakable Record       
    Subject:     Del-Fi Girl Group Comp.
    Received:    01/30/99 2:44 am
    From:        Steve Stanley,
    To:          Spectropop List,
    My name is Steve Stanley and I'm the Sales Manager for Del-Fi 
    Records in Los Angeles. I'm currently producing a Girl Group 
    comp that will probably come out in the spring. The disc, 
    comprised entirely of Del-Fi masters, is shaping up quite well, 
    but unfortunately we are missing the following master tapes and 
    singles from our master catalog:
    Janis Rado: "I had a Dream" b/w "The Only Guy For Me" (DONNA 1340)
    Jeannie Sanders: "Friday Night Prom" b/w "The Gunslinger" (DONNA 1342) 
    Janis Rado: "This Feeling" b/w "Let's Go Home" (EDSEL 782) 
    Mary Sawrey: "Those Memories of You" b/w "A Lover's Plea" (MUSTANG 3022) 
    The Top Secrets: "Astrology Lesson" b/w "That's What Makes a Boy Cry" 
    (DEL-FI # unknown)
    If anyone has a copy of any of these singles, please contact me 
    at I have enough amazing material to make a 
    great 20 track comp, but it's sooooo annoying not to know or 
    hear any of the above cuts...
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Favorite Album Covers
    Received:    01/30/99 2:44 am
    To:          Spectropop List,
    John asked about favorite "classic" album covers. There are so 
    many to choose from, but for me the Fleetwoods' "Mr. Blue" album
    takes the, er, blue ribbon.
    Dave Feldman
    --------------------[ archived by Spectropop ]--------------------
    Subject:     What is soft rock?
    Received:    01/30/99 7:42 pm
    From:        Frank Youngwerth, FMXXXXXXXXom
    To:          Spectropop List,
    >There are a few unlikely entries (Frank Sinatra's Bob 
    >Gaudio-produced 'Watertown' is a great LP, but what's it doing 
    Glad you appreciate Watertown, but curious as to why you think 
    it *shouldn't* be classified as soft rock.
    >and there's a Soft Rock chart placing Salt Water Taffy's '
    >Finders Keepers' at the top, which makes one question the 
    >compilers' taste (better than Odessey & Oracle? Pet Sounds? 
    >Roger Nichols?)
    I'm fascinated by the Japanese take on soft rock, which appears 
    to be every bit as hip over there as it's traditionally been 
    un-hip here. I only know the title song to the Finders Keepers 
    LP, but it's so much fun (great kids chorus!) that I applaud the
    taste of anybody ranking it as best. To me O&O is a little arty, 
    Pet Sounds a tad whiney; though frankly I'm surprised Roger's 
    not at the top of that list.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Diane Renay Hotcha!
    Received:    01/31/99 8:14 am
    From:        Jack Madani,
    To:          Spectropop List,
    What a thrill to have yet another big name on this list. I'd 
    sure like to take this moment to mention that of all my cd 
    purchases in the last two years, The Shangri-Las "Myrmidions of 
    Melodrama" (RPM 136) and Diane Renay "Navy Blue" (Collectables 
    COL-5877) are by far my two favoritest. Diane, your 
    "grrrrrrrRUFFF!!!!" on your version of "Soldier Boy" gets me 
    every time.
    But I've just heard another Diane Renay recording that I'm sorry
    to say isn't on the Collectables disc. The song is called "I Had 
    A Dream" and it's unbelievably primo. What I'd give to have a 
    clean copy of this on cd! Spectorian in orchestration, but 
    Creweian in production (best of both worlds, IMO), and Diane's 
    last note actually goes through the roof and up and out and 
    beyond my ear's ability to hear. By the end of the song, the 
    recording has reached a critical mass of groovy stuff going on 
    similar to what happens in the Four Seasons' "Girl Come Running." 
    As much as I love every track on the Collectables disc, "I Had
    A Dream" has become my favorite Diane Renay recording.
    Welcome Diane Renay. Viva Spectropop.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Diane Renay!
    Received:    01/30/99 7:42 pm
    From:        Doc Rock, docroXXXXXXXXcom
    To:          Spectropop List,
    Diane Renay!
    Hi! We did an interview last Spring, remember? And at that time,
    I told you that you had a lot of fans, many of whom I was in 
    touch with. In fact, I asked you if you had a message for me to 
    pass on to these fans.
    Well, that was in the early days of Spectropop, and now here you
    are, face-to-face (sort of) with the very fans I was speaking of!
    Cool, eh?
    I passed on a few tidbits last year from the interview. Things 
    like your singing the final high notes on the Rag Dolls' "Dusty," 
    that sort of thing.
    Anyway...Welcome! I hope you enjoy your time with us! Other 
    members from the Biz include Barbara (Babs) of the Crystals and 
    session bass player Carol Kaye. This is a very fun group!
    Michael "Doc Rock" Kelly
    --------------------[ archived by Spectropop ]--------------------
    Subject:     To: Tom Simon - From: Diane Renay
    Received:    01/30/99 2:44 am
    From:        Diane renay, CEIInvXXXXXXXXom
    To:          Spectropop List,
    Hi Tom:
    Just wanted to thank you for the welcome to the Spectropop list.
    I hope I can add a little bit of interest and fun for everyone, 
    with some of my input of how it was for me in the 1960s music 
         Sincerely: Diane Renay <{:>)
    --------------------[ archived by Spectropop ]--------------------
    Subject:     To: Ian Chapman - From: Diane Renay
    Received:    01/30/99 7:42 pm
    From:        Diane renay, CEIInvXXXXXXXXom
    To:          Spectropop List,
    Hi Ian:
    Thank you for the warm welcome. I am so surprised that you 
    remember "Please Gypsy" on UA label! I am always surprised when 
    people tell me that they remember my other songs either before 
    or after Navy Blue & Kiss Me Sailor!! I had a little Maltese dog
    that I had just bought when I finished recording "Please Gypsy," 
    and I named my beautiful little fur ball....."GYPSY". She was 
    just gorgeous.
    I must admit that my favorite recording out of all the songs I 
    ever recorded was "Watch Out Sally," it gave me a chance to open
    up my lungs and sing out, whereas a lot of my other songs were of
    a softer more demure style. I use to tell Bob Crewe that I didn't
    want to always sound like a sweet goodie two shoes, ha, ha!!!!!!!
    Most of my songs were bubble gum syrupy stuff, oh so sweet and oh
    so nice girl next door. With "Watch Out Sally" I was able to step
    into high heeled boots, leather jacket, tight pants, and pretend 
    I was a bad motorcycle chick!!!! No offense to those of you 
    folks who like to ride bikes, one of my brother-in-laws owns and
    rides his Harley religiously.
    As far as the trademark soprano "Ah-aaaaah", that was my own 
    ad-lib at the end of Navy Blue and whatever other songs I might 
    have added it to. Bob Crewe was pretty good at letting me be 
    creative in the studio; he didn't hold me back and tell me how 
    to or how not to sing. We had a GREAT relationship both in the 
    studio and personally.
    He more or less took me under his wing; he went clothes shopping
    with me to help pick out some of my clothes, he took me out to 
    some of the finest restaurants in New York City and introduced 
    me to gourmet foods that I had never tasted before, and of 
    course he invited me to all of his jet set parties that he would
    have in his lavish condo (The building where John Lennon lived 
    and unfortunately was shot, called the Dakota). I remember at 
    one party Richard Burton was there with his first wife Sybil 
    (Before Elizabeth Taylor). Also, at that party was Peter from 
    Peter, Paul and Mary, and Peter was chasing me around the place 
    until I locked myself in one of Bob's bathrooms, HA, HA, HA!!!!!
    Oh well, those were the good old days when we were all young and 
    crazy (well, maybe only some of us that is)!! I have lots of fun
    stories to tell but I've got to go. But thanks for your 
    compliments and I am glad that my music was able to bring some 
    joy and now bring back fond memories to us older Rock n Rollers.
    Sincerely: Diane Renay <{:>)
    --------------------[ archived by Spectropop ]--------------------
    Subject:     For DIANE RENAY and Fans
    Received:    01/31/99 8:14 am
    From:        Jimmy Cresitelli, JimmyXXXXXXXXom
    To:          Spectropop List,
    Hi Ms. Renay! Welcome aboard... "Navy Blue" was a very big hit 
    in my Brooklyn neighborhood back in 1964. (We used to refer to 
    it as "Blue Navy Blue...") The older girls on the block did the 
    lead, and they would make us little kids do the background; we 
    had to move back and forth while giving "sailor salutes." I was 
    all of 8 and 9 years old. Fun, those days... Over the years I've 
    managed to gather on tape some of your other work, too. It's nice 
    that you're in touch here! It provides us all a link back to those 
    more innocent times... 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Diane Renay - Session player for 4 Seasons
    Received:    01/30/99 7:42 pm
    From:        Jamie LePage,
    To:          Spectropop List,
    CLAUDIA asked:
    >who worked as session players for the 4 Seasons...?
    Doc wrote:
    >...hand claps and foot stomps were Bob Crewe and Diane Renay.
    That's interesting. Most of the prominent instrumental accents 
    in Bob Crewe records sound as if they were overdubbed on top of 
    the original rhythm tracks, and then mixed disproportionately 
    up in the final mix (to great effect). Often the "hand claps 
    and foot stomps", bells and other percussion sound that way.
    Can you tell us a bit about the recording process?
    How did you all work out your records before they were recorded?
    Who worked directly with you on listening to and deciding on the 
    material, checking the key etc.?
    Were you ever at the rhythm sessions, for your or other Crewe 
    productions? If so, can you describe a typical session?
    Did you usually have an acetate of the rhythm track for a while 
    to practice, or did you record your vocals fairly soon after the 
    rhythm track was cut?
    Can you sort of help define the working roles of Bob Crewe and 
    Bob Gaudio? What role did each play in Growing Up Too Fast, for 
    Can you tell us a little bit about Sandy Linzer and Denny 
    Randell? How involved were they with the arrangements of their 
    songs on Crewe's records?
    Well, that's too many questions all at once!. As time allows, 
    please let us hear from you.
    All the best,
    Jamie LePage 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     In Concert with The Four Seasons: The Early Years
    Received:    01/30/99 2:44 am
    From:        Paul Urbahns, PaulurbXXXXXXXXom
    To:          Spectropop List,
    Last week I posted a message concerning a new reissue available 
    at Wal Mart stores on Going For A Song label 137. The CD 
    appeared to be a cut down reissue of material from the Vee Jay 
    Live album. The song Little Boy In Grown Up Clothes and the 
    group introductions are missing. Otherwise I thought it was the 
    same album. I posted titles and timings. Now that I have lived 
    with this Cd for a week, I finally came to the conclusion 
    something is different. No I am not one that sits around with a 
    stop watch, and I do not have the original Vee Jay album anymore. 
    I had both it and the Pickwick reissue with some substituted 
    songs under the title "Brotherhood Of Man". Anyway I was 
    listening to the Cd at work tonight and it dawned on me some 
    editing has gone on here. Not to shorten songs as is usually the
    case, but to lengthen them. For example Mack The Knife clocks in 
    at 9:51. Sounds to me like they looped the song three times to 
    get that running time. Several songs are over 4 minutes each 
    which sounds unusual for an early Four seasons album. Those 
    songs are Day In, Day Out (4:36); My Mother's Eyes (5:41 - 
    sounds looped also); Comme Si Bella (4:02); Just In Time (4:02);
    and I can Dream, Can't I (4:56). The CD has a total running time 
    of 46:08 and that is missing at least two selections from the 
    original album. 11 songs are listed on the cover, but three of 
    them are a medley: by Myself, Jada, and We Three. So actually it
    has 9 sngs running a total of 46 mins. Interesting concept. For 
    $6 is not a bad CD. I wonder if anyone else has run across this 
    situation? A definite collectors item this is.
    Paul Urbahns
    --------------------[ archived by Spectropop ]--------------------

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