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Spectropop V#0223

  • From: The Spectropop Group
  • Date: 02/06/99

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       Volume #0223                        February 7, 1999   
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                        Order Yours Today                     
    
    
    
    
    
    Subject:     April Young
    Received:    02/06/99 10:27 pm
    From:        WILLIAM STOS, wsXXXXXXXXt.com
    
    
    Question. I have two songs by April Young. "To Be Loved By You,"
    and "Gonna Make Him My Baby." I love 'em both, but I found a 
    little discrepancy in the two songs. The voice in Gonna Make Him
    My baby sounds quite a bit deeper on two recordings (each 
    recording has a different intro by the way) I have. Meanwhile, 
    one another recording credited to April Young I've just 
    uncovered the voice matches the first song perfectly. Are some 
    recording slowed down/speeded up to make vocals sound different,
    or did another person record Gonna Make Him My Baby?
    
    Doc, I think I found the newest version on one of the tapes you 
    sent me a while back.
    
    Will
    
    
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    Subject:     David Gates
    Received:    02/06/99 8:51 am
    From:        Steve Stanley, sstanXXXXXXXXi.com
    
    
    Ian Chapman wrote:
    
    >On the subject of Del-Fi, can I put in a good word for a David 
    >Gates track that was on that label, "You Had It Coming". I think
    >it's one of the great "unknowns" of the early 60s, and would love
    >to see it put out on some kind of compilation sometime. (Maybe it
    >already has?)
    
    Steve Stanley writes:
    
    Unfortunately, that track hasn't emerged yet on CD. We are in 
    the process of compiling a teen idol comp that will include rare
    tracks by Gates, Bobby Cortola and Johnny Crawford amongst others. 
    "No One Really Loves a Clown," which was the b-side of "You 
    Had it Coming"  is available on our Johnny Crawford Best of. 
    It's not David's version, but it's great. The CD also includes 
    two other Gates-penned tunes as well as two from the Mann/Weil 
    team.
    
    Our new Del-Fi Beach Party features Gates' "Okie Surfer." 
    Certainly no "Lost in Wonderland,"  but interesting nevertheless.
    
    -Steve 
    
    
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    Subject:     To: Ian Chapman ~ From: Diane Renay
    Received:    02/06/99 10:27 pm
    From:        Diane renay, CEIInvXXXXXXXXom
    
    
    Hi Ian:
    Thanks for letting me know about this new compilation of 
    girl-group songs that will be coming out. I'm happy to hear that
    your friend chose to use one of my songs that I liked very much, 
    but didn't think too many people have ever heard, "The Company 
    You Keep." I would like to know when it comes out on the market 
    and how I can get a copy. I will try and answer your questions 
    as best I can................
    
    My real name is Renee Diane Kushner. I was born in South 
    Philadelphia and we moved to a suburb when I was 9 years old. 
    It's a long story how I finally got together with Bob Crewe, so 
    I will just say that I was first under contract to Atco Records 
    and for my second single they called in Bob Crewe to write and 
    produce my next session on the companies label. That is how I 
    first met Bob Crewe and the rest is history, ha, ha! Jeanie 
    Thomas use to sing background along with two other girls on some
    of my recordings. I became friends with these girls and sometimes
    would hang out with them when I was in New York. However, I can 
    only remember the first name of one of the other girls, I think 
    her name was Mikey and that's all I can remember.
    
    Well, I hope this helps your friend out bit. Thanks for your 
    interest.
    
    Sincerely: Diane Renay <[:>)
    
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    Subject:     To: Jamie LePage ~ From: Diane Renay 
    Received:    02/06/99 10:27 pm 
    From:        Diane renay, CEIInvXXXXXXXXom 
    
    
    Hi Jamie:
    
    Sorry it took me so long to get back and answer some of your 
    questions. Well, here goes..........Bob Crewe would write songs 
    for me as well as other writers that he had under contract as 
    his staff writers. I would be called into Bob's office and 
    listen to various songs and try them out. If I liked the songs 
    and sang them well, then I would sometimes rehearse them right 
    there in Bob's office. He had a couple of rooms with pianos in 
    them and that's where I would rehearse with either one of the 
    songwriters playing for me, or sometimes I would rehearse with 
    Charlie Collelo, an arranger Bob used a lot. There were times that 
    I would receive a dub to take home and work with also.
    
    I was always present when any tracks were laid down for my 
    sessions. Sometimes I would record right after all the musicians
    were finished laying down their tracks. But there were times that
    we would come back to the studio on a different day and record my
    vocals.
    
    I often attended the 4 Season's sessions and sometimes would 
    assist Bob Crewe by doing hand claps and foot stomping on a 
    particular loose wooden block in the floor of the recording 
    studio that we all recorded in. We had lots of laughs and lots 
    of great fun!!!!
    
    Bob Crewe and Bob Gaudio (who was one of the 4 Season's) would 
    collaborate on writing songs for the 4 Season's as well as for 
    me and some of Bob's other artists that were under contract to 
    him. As with all my recordings, including "Growing Up Too Fast,"
    Bob was always the producer. He told the arranger what he wanted 
    to hear in so far as what kind of rhythm, instruments, etc. He 
    told the background vocalists what he wanted them to sing, 
    sometimes he would sing himself on some of the background vocals, 
    but not that often.
    
    Sandy Linzer and Denny Randell were under contract to write for 
    Bob Crewe. I honestly don't know if they were involved with the 
    arrangements of their songs.
    
    I hope I answered your questions to your satisfaction. It was a 
    long time ago! Thanks for your interest.
    
    Sincerely: Diane Renay <[:>)
    
    
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    Subject:     To Diane Renay re: "Watch Out Sally" 
    Received:    02/07/99 9:51 am 
    From:        Glenn L, sirkXXXXXXXXlink.net 
    
    
    Diane Renay,
    
    First off, I am HUGE fan -- and it's great to see you have so 
    many fans here. I have a lot of favorites among your recordings,
    but the one I've played the most is "Watch Out Sally". Your 
    performance is amazing throughout, but I especially love the 
    spoken parts toward the end. I believe the words are "Drive baby
    drive, move it baby, go, go go!" but I've never been 100% certain. 
    I was wondering who's idea this last bit was and whether it 
    was planned at the beginning or if inspiration struck at the 
    last minute.
    
    Glenn L
    
    
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    Subject:     Eternity's Children
    From:        Jamie LePage, le_page_XXXXXXXXties.com
    Received:    02/07/99 9:51 am 
    
    
    The listmember currently known as Agnes Skinner wrote:
    
    >...never heard of [Eternity's Children] - care to share 
    >the essential info?
    
    I was hoping someone else would post on this because I too know 
    very little about them. I can't tell you a thing about the 
    members except they were four - three guys and a girl.
    
    I guess I became interested in Eternity's Children because they 
    were signed to Gary Paxton's Crocked Foxx Productions, for 
    which Keith Olsen and Curt Boettcher made records. Gary Paxton 
    apparently first met Curt through Tommy Roe around the time of 
    Roe's "It's Now Winter's Day". I'm sort of a fan of the Olsen/
    Curt B work from this period. That's how I discovered Eternity's 
    Children.
    
    The first Eternity's Children single "Rumors" was on A&M and had a 
    David Gates-penned B-side "Wait & See". No Curt B credit on this
    single, but it is obviously his work. The trademark harmony 
    arrangements give it away. After a false start at A&M, Crocked 
    Foxx moved the group to the Tower label. Curt B (with Keith 
    Olsen) did the first s/t Eternity's Children's album on Tower, 
    although again Curt B's name is nowhere to be found on the 
    sleeve. Ironically, though, the singles from this LP are 
    credited "Produced by Curt Boettcher and Keith Olsen for Crocked 
    Foxx Productions"! The lead track on the album "Mrs. Bluebird" 
    was a minor hit in US peaking at about 70 on Billboard Hot 100 
    charts (it is everything and more than you could hope for in a 
    "other Mamas & Papas" style).
    
    Curt B apparently wasn't involved with their second album 
    "Timeless", as he and Keith Olsen were thinking more about their 
    Together Records project (the label that released the second 
    Sagittarius' LP "Blue Marble"). Nevertheless, Timeless is quite
    good as well, and Curt B's absence notwithstanding, it's worth 
    seeking out. Unfortunately, Timeless was only released in Canada. 
    It is difficult to find.
    
    In the liner notes to the recent Ballroom CD (you must have this
    Toby!), Curt B, talking about his seminal group the GoldeBriars, 
    is quoted: "We were the beginning of the sound that became the 
    Mamas & Papas. Our biggest fans were John Phillips, Cass Elliot 
    and Zally [Yanovsky]. Every time we were playing in the same 
    town, they used to come and watch us, and any time we came to 
    watch them - [Cass & Zal] were in the Mugwumps at the time - 
    they would always ask us to come up and sing with them. 
    Interestingly enough, when they put together the Mamas & Papas, 
    they had the same kind of harmonies we had."
    
    That's quite a statement. But if you compare Mamas & Papas album
    tracks (not the singles) to GoldeBriars, Ballroom, Sagittarius and 
    Millennium, it's fairly evident that Curt B's vocal arrangements
    were more consistent than the Mamas & Papas. I sort of believe 
    what he says about "the beginning of the sound that became the 
    Mamas & Papas."
    
    >The Cyrkle - what about them?
    
    OK. I'm outta here. But yeah, I thought it worth reposting your 
    question. Love their records. I wish the CDs had the single 
    mixes in mono like the new Association CDs do. 
    
    The Cyrkle - 01 . Ad agency. 2. Brian Epstein. That's all I know. 
    Anyone?
    
    --
    Soft Rock rules!!!!! (shreds too)
    All the best,
    Jamie LePage 
    LePageWeb
    
    
    
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