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Spectropop V#0226

  • From: The Spectropop Group
  • Date: 02/13/99

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       Volume #0226                            February 14, 1999   
    This monophonic microgroove recording will not become obsolete 
    Subject:     Re: Wonderful Summer
    Received:    02/13/99 12:00 pm
    To:          Spectropop List,
    Paul Urbahns, PaulurbXXXXXXXXom mentioned on the Spectropop List:
    >There's differences in the mix between the stereo album version
    >(commonly on reissues) and the hit 45 version. Hint. Listen to
    >the surf and when it enters.
    Paul, would you happen to know where this song is available 
    in mono on CD? As far as I know, "Wonderful Summer" is out 
    on a half-dozen CDs, only in stereo.
    -= Marc Wielage      |   "The computerized authority     =-
    -= MusicTrax, LLC    |       on rock, pop, & soul."      =-
    -= Chatsworth, CA    |         =-
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Diane's backing girls - Jean Thomas, Mikey etc.
    Received:    02/13/99 12:00 pm
    From:        IAC,
    To:          Spectropop List,
    Are you confusing Jean Thomas with Jean King? It was the latter 
    who was a Blossom, and they operated mainly on the West Coast. 
    Diane mentioned recently that one of the other girls who was 
    with Jean Thomas was a girl called Mikey. This would have been 
    Mikey Harris, who, along with Jean, was quite a prolific session
    artist on the East Coast. Heard of a version of "Stop. Look & 
    Listen" on Laurie by Les Girls? That was Mikey, Jean Thomas and 
    Ellie Greenwich - Ellie and Jean at one point had considered 
    forming a "real" group (as opposed to a session group), and Les 
    Girls was the rather short-lived result. They called in Mikey to
    add "bottom" to their sound. Mikey was from Sarasota in Florida, 
    as was Jean. Mikey continued to do sessions with Ellie right 
    into the 70s (Bette Midler, Blondie) along with Hilda Harris, 
    who was related to Mikey, possibly her sister.
    The third girl from the Rag Dolls....does the name Susan Lewis 
    ring any bells?
    Ian Chapman
    --------------------[ archived by Spectropop ]--------------------
    Subject:     playin hard to get
    Received:    02/13/99 12:00 pm
    From:        john rausch, jXXXXXXXXnet
    To:          Spectropop List,
    To Jack Madani:
    What a great cd it is, I have had it for a few years and 
    agree with you 100%
    Some of my faves are:
    you`re so fine-dorothy berry(great spector sound)
    mr. loveman-yvonne carroll
    and muscle bustle-donna loren
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Playin' Hard To Get comp
    Received:    02/13/99 12:00 pm
    From:        IAC,
    To:          Spectropop List,
    Hi Jack...
    That particular set was compiled by Mick Patrick, who used to be
    the editor of the 80s UK Spector fanzine "Philately", and its 
    sister mag, "That Will Never Happen Again" (which covered 
    similar musical genres to Spectropop). He's also co-compiled 
    many other girl-group sets for various UK labels, including the 
    "Here Come The Girls" series on Sequel.
    Ian Chapman
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Playin' Hard To Get/Anne Kaye
    Received:    02/13/99 12:00 pm
    From:        WILLIAM STOS,
    To:          Spectropop List,
    > I've played this disc a zillion times in the past four days but 
    > have only glanced at the booklet. This disc is a total winner. 
    > Anyone else heard of this compilation?
    I bought that compilation about a year ago, and it's one of my 
    favourites too! The Galens' "Chinese Lanterns," is my personal 
    favourite. The lead singer of that group actually sang lead 
    on those sides because they were trying to get a "paris sisters"
    sound. Anyone who hasn't heard this song must!
    The best tracks on the collection for me are the five tracks by 
    the Delicates (not the same as the Angels group). Their stuff is
    killer. "I've Been Hurt," aches with some of the most soulful 
    singing I've ever heard. The spoken rant in the middle brings 
    chills to me. Read about them on my site at
    Renee Medina's "He's A Big Deal," is pretty good too. And then, 
    Dorothy Berry's "You're So Fine," is totally Spector influenced. 
    Jimmy Cresitelli's fav on that collection I believe : )
    Finally, the Francettes track is pretty strange. It was pulled 
    off a 45, but you can't really tell. It's sounds like a 
    Butterflies track at the start, but then has sort of a Secrets 
    feel to it with cha cha rhythms.
    Buy it if you can!
    One other thing. This might be going out of the scope of this 
    group, but has anyone ever heard of R&B artist Anne Kaye "Don't 
    Stop The Wedding?" Killer song related to George Goldner. Did 
    she record much more? 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     The Gordian Knot
    Received:    02/13/99 12:01 pm
    From:        Javed Jafri,
    To:          Spectropop List,
    I have a cassette copy of what I believe to be the only album by
    The Gordian Knot. I think it came out on Verve records in 1968. 
    Don't know anything about the band except that Jim Weatherly 
    (guitar & vocals) was a member. The record is rather schizoid and
    I hear shades of everyone from Paul Revere & The Raiders to the 
    Grass Roots. The one influence that stands out, however, is the 
    Association. A track called "We Must Be Doing Something Right" 
    could easily be mistaken for the Association. My favorite song 
    on the album is called "The Year Of The Sun' and it's a minor 
    soft rock classic. That's all I know but hopefully others will 
    chime in. 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Gordian Knot
    Received:    02/13/99 12:00 pm
    From:        David Bash, BashXXXXXXXXom
    To:          Spectropop List,
    > Subject:     The Gordian Knot
    > The other day I was listening to a very cool new indie group, 
    > who will remain nameless for reason that will come to understand. 
    > The group's new album is filled with cool beats, indie vocals 
    > and some really nice samples. Well, after listening to one of 
    > the tracks I was sure that the sample used was an early 8Ts song
    > called "Box Set Go" by a British band called The High, when I 
    > asked one of the members of the band they assured me that I was 
    > wrong and rather it was by a group called The Gordian 
    > my question is...who were the Gordian Knot?
    Hi Matthew,
    Wow, I was waiting for someone to mention these guys! The 
    Gordian Knot were a band from Southern California by way of 
    Mississippi, who released one excellent soft pop album on Verve 
    (of all labels!), called "Tones". Most of the songs on the album
    will remind you of The Association, as the multi-part harmonies 
    are absolutely beautiful. This is one album that I wish was 
    released on CD, and is a perfect candidate for a Japanese label 
    who is into soft pop. One of Gordian Knot's members, Jim 
    Weatherly, had a fairly successful solo career in the '70s, 
    doing more of a songwriter/countryish thing. 
    Spectropop Rules!!!!!
    Take Care,
    --------------------[ archived by Spectropop ]--------------------
    Subject:     re.Gordian Knot/Sagittarius
    Received:    02/13/99 12:00 pm
    To:          Spectropop List,
    Matthew Kaplan wrote;
    'Who were the Gordian Knot?'
    Checking the sleevenote from their LP, it seems that they were a
    5 piece from the south who released at least one LP (and 
    associated 45s) on Verve around 1968. 'The turning point of 
    their career was a party given by Nancy Sinatra. She liked the 
    group so much she asked them to accompany her on a USO trip to 
    Viet Nam.' (it says here). Draw from that what you will. I 
    really like the LP itself; great harmonies, good (all 
    selfcomposed) tunes, dare I say soft rock? I think I dare... So 
    who is the band responsible for sampling them, Matthew?
    Re. Sagittarius' 2nd LP; I get the impression that Curt's 
    involvement in 'The Blue Marble' was minimal. There's only one 
    Curt-penned tune on the LP, 'From You Unto Us' (also recorded by
    Eternity's Children..) and Curt's helium vocalising is sadly 
    lacking. Again, someone ought to be reissuing it. In fact, the 
    whole Together Records catalogue needs investigating.... 
    Harvey Williams.  
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: The Millennium on Revola
    Received:    02/13/99 12:00 pm
    From:        David Bash, BashXXXXXXXXom
    To:          Spectropop List,
    > Subject:     Millennium's "The Begin"
    > From:        Ron Weekes,
    > I've got the Sony issue of this CD, the complete LP with four 
    > bonus tracks. I know Rev-ola has reissued this CD but I think it
    > has 22 track's instead of Sony's 16 tracks. Can someone tell me 
    > what the additional tracks are? I'm not sure if I want to pay 
    > big bucks for six more tracks. 
    Hi Ron,
    The six extra tracks are stereo single edits of several of the 
    songs on the album, including "It's You," "To Claudia On 
    Thursday," "There Is Nothing More To Say" (called "There Is No 
    More To Say" on this CD, for some reason), "5 AM," "I Just Want 
    To Be Your Friend," and "Prelude". These are merely the same 
    versions as on the album, sans the music that connects them to 
    the other tracks on the album. It's certainly not worth picking 
    up the Revola reissue just for these versions (had they been in 
    mono, then we'd have been talking!), but it is most definitely 
    worth picking this disc up to get the great liner notes by Dawn 
    Eden, as well as the generous supply of photographs.
    > I know Gary Usher and Curt Boettcher are discussed from time to 
    > time on this list. This is my preferred order of Usher/Boettcher
    > collaborations:
    > Sagittarius:  Present Tense
    > The Ballroom:  Preparing for The Millennium
    > The Millennium:  Begin
    I have to agree with you there, although being #3 on this list 
    is no shame, believe me! 
    Spectropop Rules!!!!!
    Take Care,
    --------------------[ archived by Spectropop ]--------------------
    Subject:     not high enough
    Received:    02/13/99 12:00 pm
    From:        Doc Rock, docroXXXXXXXXcom
    To:          Spectropop List,
    Unfortunately, not high enough on that particular number; "You 
    Really Know How To Hurt A Guy" features one of the flattest 
    notes ever committed to tape on the last word of the line "the 
    ones that you like are really not your *kind*"!
    Jim Cassidy
    No, that title goes to Dean on the LP cut, "The Gypsie Cried!"
    Runner-up on the same LP, "Mr. Bass Man!"
    --------------------[ archived by Spectropop ]--------------------
    Subject:     To: Jimmy Crescitelli ~ From: Diane Renay
    Received:    02/13/99 12:01 pm
    From:        Diane renay, CEIInvXXXXXXXXom
    To:          Spectropop List,
    Hi Jimmy:
         In answer to your question regarding my background singers.
    ....I don't believe Darlene Love or Fanta James ever sang on any
    of my background vocals. I did work with Darlene Love though, I 
    think we both performed at the same record hop. Infact, there 
    were several Song Hits Magazines that were popular in the 60's, 
    and Darlene Love and I were on the cover along with a DJ and 
    some other female artist!
         Sincerely: Diane Renay <[:>)
    --------------------[ archived by Spectropop ]--------------------
    Subject:     To: Tom Simon ~ From: Diane Renay
    Received:    02/13/99 12:00 pm
    From:        Diane renay, CEIInvXXXXXXXXom
    To:          Spectropop List,
    Hi Tom:
         So glad that you liked my stories!!
         Sincerely: Diane Renay <[:>)
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Speeding!
    Received:    02/12/99 7:53 am
    From:        WILLIAM STOS,
    To:          Spectropop List,
    > Yes, a great many oldies were speeded up in the 50s and 60s. 
    Thanks Doc! I thought they might be one in the same. Two 
    examples I can give (being a girl group fanatic and all) would 
    be Andrea Carroll's "The Doolang."  On the master it sounds like
    a normal song, should have been a hit! But on the single version 
    she sounds like she pulled a "chipmunks."  Super fast, super 
    high. Also, my favourite recording by the Chiffons "What Am I 
    Gonna Do With You," have a slow master version, but on the 
    single, it was pretty fast. I like both of these. I think the 
    faster one has cool harmonies.
    Diane, or Barbara, do you recall this happening. I don't think 
    Phil would have done that, but Bob Crewe?
    Also, question for Carol Kaye. I was listening to some late 60s 
    Marvelettes the other night. Did you play on any of their later 
    stuff. Motown insists it was all recorded in Detroit, but you've
    told up otherwise. The bass on some of those songs is wild!
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Various
    Received:    02/13/99 12:00 pm
    From:        Jamie LePage,
    To:          Spectropop List,
    Re: Dionne Warwick Promises, Promises
    Toby wrote:
    >Has Bacharach's "Promises, Promises" (the album) been reissued 
    >on CD? Can't find it on any format at all...either way, could 
    >someone please post the tracklisting for the record? 
    As far as I know this is not available in its original format on
    CD. I won't get into a detailed critique of this LP, but suffice 
    it to say it is not one of my favorites. This comes at the end 
    of the Bacharach/David peak era, and even though the production 
    is good on tracks like Promises, Promises and This Girl's In 
    Love With You, in general the material on this album is MOR and 
    lacks the bite that make her earlier records so potent. Scepter 
    SPS 571
    Promises, Promises
    This Girl's In Love With You
    Little Green Apples
    Where Is Love
    Who Is Gonna Love Me
    Whoever You Are, I Love You
    Where Am I Going
    Wanting Things
    Lonely In My Heart
    Yesterday I Heard The Rain
    Re: Annette
    >Can someone tell me who produced Annette Funicello's records 
    >when she morphed from adolescent Mousketeer into pop princess of
    >the early 60s? I have a nagging suspicion that best pal Shelly 
    >Fabares may have had record producer hubby Lou Adler produce the 
    >records for her. 
    Good guess Claudia, but Adler would have been an unlikely choice
    to work with Annette. The reason? Walt Disney. Disney 
    historically kept most everything in-house, and since Adler 
    worked outside the Disney circle, he wouldn't have been Disney's
    choice to produce their hot teen property with the
    Paul Anka did Annette. There must be a great story here. Obviously 
    Disney's concerns were to keep their teen idol property pristine, 
    but apparently tall Paul had a different agenda.
    Disney relied to a large extent on the songwriting skills of the
    Sherman brothers (who wrote Mary Poppins and It's a Small World 
    to give you an example of their style), and production chores 
    were given to Paul Camarata (same team that did the Hayley Mills
    sides too). I really like Annette's version of "Let's Get 
    Together" which is used during the record hop scene in Disney's 
    "The Parent Trap". If Disney hadn't kept Annette under lock and 
    key, she could have been the coolest girl group era singer ever.
    Her double-tracked leads are quite charming; I only wish she HAD 
    worked with someone like Adler and recorded steamier Brill 
    Building material. Her later records are really rockin', 
    particularly the tracks from the beach party films. Check her out
    with the Beach Boys on The Monkey's Uncle. Despite every effort 
    by Disney to keep Annette squeaky clean, underneath all of that 
    Annette rocked! Too bad she didn't have the chance to record 
    groovier material.
    Re: Speed
    Doc wrote:
    >The classic girl record that was speeded up was Robin Ward's 
    >(real name Jackie) "Wonderful Summer." Since she was a 
    >full-grown woman with a daughter (named Robin, btw), to make her
    >sound like a teen, her voice was speeded up.
    No complaints here. I love her voice as it sounds on record. I 
    did want to mention Joe Meek though. Joe more often than not 
    dropped tape speed during recording and sped it up on playback. 
    I have a Honeycombs CD with a bonus track of "Hab ich das Recht"
    (Have I the Right sung in German over the original backing track). 
    Joe's original in English has the voice so sped up it sounds 
    like it's Honey Lantree singing! The German version, apparently 
    recorded at normal speed, sounds like an entirely different 
    All the best,
    Jamie LePage
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Diane Renay -  "Can't Help Loving That Man" scam!!!
    Received:    02/13/99 12:00 pm
    From:        IAC,
    To:          Spectropop List,
    Don't know how many US readers are familiar with UK's Northern 
    Soul....a long-standing club scene based around 60s American 
    soul music with a persistent dance beat, similar to and often 
    including, vintage Motown. Many records played tend to be very 
    obscure - the mentality generally being "the rarer, the better".
    Although still quite active, the scene was at its peak in the 70s, 
    when many records played in those clubs were reissued, and 
    crossed over to become national hits, e.g. Tami Lynn's "I'm 
    Gonna Run Away From You", the Elgins' "Heaven Must Have Sent You", 
    the Fascinations "Girls Are Out To Get You". A few labels 
    were set up for the sole purpose of re-releasing some of these 
    popular club anthems, labels like Casino Classics, Black Magic, 
    Pye Disco Demand and Grapevine.
    In the northern clubs, deejays would enhance their reputations 
    by creating "in-demand" sounds - this meant finding little-known
    US soul records with the right ingredients, and creating a 
    following for them. To add to the demand, they would "cover up" 
    the records - meaning they would try to retain obscurity value 
    by withholding the true label and artist details, and announcing
    the record as by a totally different and quite unrelated artist -
    sometimes the titles would change too. Thus, many records would 
    come to be known by the club-goers by these invented titles and 
    artists. Usually, if one of these records proved popular enough 
    to gain a legitimate reissue, then the true details would 
    finally emerge.......but not always. One such "covered up" 
    record was a late Diane Renay release - "Can't Help Loving That 
    Man", the Kern/Hammerstein song done with a bouncy, 
    Motown-styled beat. It was played in the clubs, but "covered up"
    as by Laura Greene, a black artist whose "Moonlight Music and You" 
    had been very popular (it always helped to use the name of an 
    artist who was already familiar to the clubbers). In 1979, "
    Laura's" record was picked up for reissue by Grapevine, an 
    RCA-distributed company. It was issued in stereo on Grapevine 
    #135, and backed with "It's A Good Day For A Parade" (can you 
    recall the original label, Diane? The reissue says Virtue - ?). 
    Incredible as it may seem, Grapevine chose to stick with the 
    false name of Laura Greene for the reissue....neither Diane's 
    name, nor any original producer credits are anywhere to be seen 
    on the label. Unfortunately, it never sold enough to make a 
    national hit, otherwise I'm sure Diane would be quite rightly 
    seeking legal recourse to pursue back fact, it's 
    a shame that never happened - maybe it would have put an end to 
    such shoddy record company practice.
    Ian Chapman
    --------------------[ archived by Spectropop ]--------------------

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