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Spectropop V#0229

  • From: The Spectropop Group
  • Date: 02/19/99

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       Volume #0229                        February 22, 1999   
    ___________________________________________________________
    An endeavor to epitomize great stars in the recording field
    
    
    
    
    
    Subject:     Enuff Already!
    Received:    02/19/99 7:23 am
    From:        Sean Anglum, SAngXXXXXXXXadoCollege.edu
    To:          'spectroXXXXXXXXties.com', spectroXXXXXXXXties.com
    
    Jeez, Shelby Riggs is turning into our own little Grim Reaper! 
    Enuff already with the death announcements, I'm feeling my own 
    mortality. ;-)
    
    Actually Shelby, thanx for the heads up on some of the names 
    that mean the world to us, but are ignored by the mainstream 
    press. It's good we have 'ya.
    
    To Carol K.: Back in '83 I was able to meet and talk at length 
    with drummer Larrie London (R.I.P.) who was drumming with the 
    Cherry Bombs....the Rosanne Cash back-up band w/ Vince Gill on 
    guitar. Larrie said that he played on many Motown dates in L.A. 
    in the 60s and early 70s. Do you remember Larrie? He was truly a
    giant of a man, 250+, and a great drummer. He continued to tour 
    w/ Gill when Vince went solo and passed away a few years back. 
    Was Larrie feeding us a line or was he really on the sides? 
    
    Thanx....
    
    
    Raised On Records,
    Sean Anglum
    
    
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    Subject:     BOUNCE spectroXXXXXXXXties.com: Non-member submi
    Received:    02/20/99 12:16 am
    From:        Spectropop Admin, spectroXXXXXXXX.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    ========== Start of forwarded message ==============
    
    Timi Yuro is very much ALIVE and Kicking in Las Vegas having 
    spoken to her a few hours ago. . . Before one spreads the 
    erroneous news of someone's death, you should CONFIRM the report. 
    Again, to all who received the email about her death, be 
    advised that TIMI YURO IS NOT DEAD!
    
    Ken Keene
    www.frankieford.com
    
    =============== End of forwarded message ===================
    
    
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    Subject:     TIMU YURO IS NOT DEAD!!!!!
    Received:    02/20/99 12:17 am
    From:        Shelby Riggs, vinylmaXXXXXXXXlink.net
    To:          spectropop, spectroXXXXXXXXties.com
    
    To all Oldies Fan,
    
        My sincerest Apologies to TIMI YURO. I have been misinformed
    by a number of entities. One being the local Oldies station, the 
    others are two female singers from the sixties(it is not their 
    fault, one was also misinformed by a writer. name not given,  
    and the one was misinformed by a DJ, name unknown, back east). 
    
        Again, I extend my sincerest apologies and regrets to Timi 
    Yuro, her family, fans, and friends. I did not deliberately try 
    to hurt or to slander her in any way, shape or form. I've always
    had the utmost respect for her as a performer and as a first 
    class lady, and  would never attempt to hurt her. 
    
    Thank you,
    
    Shelby Riggs
    
    
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    Subject:     Tommy Allsup
    Received:    02/20/99 12:16 am
    From:        Carol Kaye, carolkXXXXXXXXlink.net
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Just ran across his name many times around 1964-65 in my 
    personal Log. Had it written down as "Alsop" without wavering. 
    So maybe it was like Bob Keene (now known as Bob Keane), anyway,
    just wanted to let you know. I did some "demo" dates for him, and
    then mostly the 25 Guitars dates for him too. 
    Carol Kaye   http://www.carolkaye.com/
    
    PS. So happy to know that Timi Yuro is alive....I worked on her 
    dates at Gold Star in the 60s, liked her a lot, strong good 
    singer, good lady. I sure hope she's doing OK. 
    
    
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    Subject:     The Gentrys
    Received:    02/20/99 11:03 am
    From:        Steve Marinucci, abbeXXXXXXXXcom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Those of you that are wrestling fans (OK, even if you won't 
    admit it) may or may not be surprised by this piece of trivia I 
    just found out: Just heard an interview with Jimmy "Mouth of the
    South" Hart, who said he was in The Gentrys ("Keep On Dancing"). 
    Small world.... 
    steve
    
    -------------------------------------------------------------------
    -
    ABBEYRD'S BEATLES PAGE
    http://www.best.com/~abbeyrd
    (mirror site http://www.eskimo.com/~abbeyrd)
    
    In-depth Beatle news and information, plus info
    on the Byrds, Beach Boys and '50s-'60s music
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     When did recordings start to get top end?
    Received:    02/20/99 12:16 am
    From:        Michael Carpenter, StagefriXXXXXXXXom.au
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Hi friends,
    
    A question for the tech heads amongst us, or anybody that has a 
    POV about such things.
    
    I was listening to All Things Must Pass by George Harrison the 
    other day. It struck me that there is no top end or clarity on 
    that record. It got me thinking about something that I've often 
    thought about. When did people start to make records that used 
    the frequencies above 8k? What was stopping people from 
    exploring that top end before?
    
    I ask this for a few reasons. you listen to something like Abbey
    Rd.. it's a great sounding record.. even into the 90s. compare 
    that to ATMP from a year later, and ATMP sounds awful 
    comparitively. Why? They were probably recorded in similar 
    studios. Going further.. much of Phil Spector's stuff sounds 
    murky. Is that from the mixes, the mastering, or is that how it 
    was on the original tapes? Then there is Pet Sounds which the 
    original mono version sounds murky, yet the remixes are 
    beautiful and crisp. What gives?
    
    I've been thinking, was it the mics? I doubt it because the same
    valve mics sound great now. The mic pre's.. but these are still so
    much in demand now as are the compressors from that era. They 
    sound crisp enough now. Was it the tapes they were mixed onto? 
    Then why do most Beatle records from '65 onward sound so crisp?
    
    I also ask because in my studio, i plug a good condensor like a 
    Neumann into a Joe Meek mic pre, and it's almost impossible to 
    not get a good clear crisp sound. I just don't understand why 
    some mid-late 60s records don't sound better. Add to this the 
    fact that some of Buddy Holly's late 50s stuff (for example) 
    sounds crystal clear, yet Honky Tonk Women from 69 sounds like 
    it was mixed without top end at all.
    
    (I also will add that I'm aware of the fact that the gear was 
    older, and that Spector and others mixed for AM radio and things
    like that. I still don't understand why the quality just doesn't 
    seem to be there on many of these records.)
    
    I know that you guys will get the gist of what I'm asking. It's 
    something that I just don't seem to be able to grasp and have 
    been confused about for a long time. If you wish to comment in 
    private.. feel free.
    
    Catch A Wave
    Michael C
    
    
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    Subject:     Re: Japanese pop
    Received:    02/19/99 7:23 am
    From:        Horatius Hufnagel, MUV96XXXXXXXXnt2.lu.se
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Frank Youngwerth wrote:
    
    >Someone in Japan made a cassette for me awhile ago of bands
    >hailing from there including Flipper's Guitar (which spawned the
    >USA-touring Cornelius).
    
    Wow, thanks for bringing him - Cornelius - up! Flipper's Guitar 
    made some great Spectropop music...and his music under the name 
    of Cornelius is also highly recommended. He has released two 
    albums, and on the first one from '94 (can't remember the title 
    right now), there's a track called "The Love Parade" which is a 
    note-for-note rip off of Roger Nichols ATSCOF's "Don't Take Your
    Time"!
    
    Also, the very Beach Boys-esque "Fantasma" album of last year by
    Cornelius is essential listening. Sean O'Hagan from The High 
    Llamas guests on the album as well as remixing "Microdisneycal 
    World Tour" on the "Chapter 8" EP.
    
    >Curiously enough, to my ears the Cyrkle's distinctive wimpy (in
    >a good way!) harmony sound seems to have directly influenced 
    >some of these fairly recent Japanese bands.
    
    Oh yes. Don't forget Pizzicato Five, they have been going on 
    making this kind of music since the eighties! Their forthcoming 
    album (released in Japan last year but not out in the rest of 
    the world until April) "International Playboy & Playgirl" is 
    their greatest so far, mixing modern dance music with soft rock 
    such as Roger Nichols and Burt Bacharach and soundtrack music 
    like Michel Legrand and Francis Lai. It's incredibly fantastic 
    so please please please check it out at least!
    
    Also, Fantastic Plastic Machine is another Japanese band who is 
    influenced by the same kind of stuff.
    
    In the mood for some sake and sushi, 
    Tobias-san
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Re: Full Cyrkle
    Received:    02/19/99 7:23 am
    From:        Jamie LePage, le_page_XXXXXXXXties.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Frank Youngwerth wrote:
    
    >...Flipper's Guitar.... 
    >
    >...the Cyrkle's distinctive wimpy (in a good way!) harmony 
    >sound seems to have directly influenced some of these fairly 
    >recent Japanese bands.
    
    Absolutely. And, Flipper's Guitar's Keigo Oyamada certainly 
    played an important role in making the retro soft rock 
    phenomenon so popular in Japan. 
    
    >No doubt Sean Lennon is hip to some of those groups (probably 
    >through label and producer affiliations), and wouldn't you know 
    >that Cyrkular sound pops up in one of the catchier songs on his 
    >so-so CD of last year.
    
    That would be "Queue", right? Queue IS soft rock - really! This 
    track is fantastic with its swirling backward piano/drum washes 
    in the interlude and stabbing mellotron. The solo features 
    marimba and cheesy organ patch. And...Sean's rather "wimpy (in a
    good way!)" voice works well on this track. 
    
    >I wonder if Sean realizes his father is said to have named this 
    >group that sure sounds like one of his musical influences!
    
    Sean probably got hip to Smile/Small Circle/Harper's/etc. 
    through (producer influence indeed) Yuka Honda. I guess Yuka 
    also introduced him to the recent Japanese bands who draw from 
    these sources. John may have named the Cyrkle...Grapefruit too...
    but generally he was more a three chord instant karma kind of 
    artist. 
    
    Soft Rock rules!!!!!
    All the best,
    Jamie LePage
    <http://www.geocities.com/RodeoDrive/5030>
    
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     BOUNCE spectroXXXXXXXXties.com: Non-member submi
    Received:    02/22/99 2:18 am
    From:        Spectropop Admin, spectroXXXXXXXX.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    ========== Start of forwarded message ==============
    
    MOTOWN CATALOG "REALLY SAYIN' SOMETHING"
    WITH LATEST "VERY BEST OF" RELEASES
    
    Label Bows First-Ever Collections by the Velvelettes
    and the Contours on March 23
    
    On March 23 Motown opens a treasure trove of more unforgettable 
    music with first-ever comprehensive collections from two of 
    the label's best-loved groups---the Velvelettes and the Contours.
    
    Discovered in 1962 by Berry Gordy's nephew Robert Bullock, the 
    VELVELETTES (Carolyn Gill, Mildred Gill, Bertha Barbee and Norma
    Barbee) were early masters of the infectious pop rhythms that 
    later became the famous Motown Sound. But while the quintet 
    recorded several memorable sixties hits, an actual Velvelettes 
    album was never issued. Until now. This new package features all
    11 of the group's single releases (A and B sides), from their 
    signature, Norman Whitfield-produced hits "Needle In A Haystack"
    and "He Was Really Saying Something" (covered by Bananarama) 
    to the international smash "These Things Will Keep Me Loving 
    You." Fans will also be treated to four previously unreleased 
    masters: "I Know His Name (Only His Name)," "Let Love Live (A 
    Little Bit Longer)," "I'm So Glad It's Twilight Time," and "
    Think Of The Times." Another highlight is a then-"Little" Stevie
    Wonder playing harmonica on their very first recordings, "There 
    He Goes" and "That's The Reason Why." The collection also 
    includes a short "hidden" bonus track, the group's promotional 
    "Season's Greetings" sent to radio stations in the sixties.
    
    The CONTOURS were Motown's rough 'n' rowdy soul men. They at 
    least got to make an album---but only one. The hits from that 
    early album are featured on this new "Very Best Of"---plus 10 
    non-LP singles! Thanks to the phenomenal success of the 1987 
    film Dirty Dancing and its accompanying soundtrack, a new 
    generation of music lovers was introduced to the Contours' 
    blues-infused pop and R&B chart-topper "Do You Love Me," 
    initially released in 1962. That Berry Gordy-penned and produced
    single---still an international crowd-pleaser 37 years later---
    kicks off the 15-track workout. The quintet recorded a host of 
    party classics, and they're all here.
    
    In addition to "Do You Love Me," included are the raucous 
    anthems "First Look At The Purse" (later covered by the J. Geils
    Band), "Can You Do It" and "Just A Little Misunderstanding" 
    (featuring the Four Tops' Levi Stubbs' brother Joe, formerly of 
    The Falcons and later of 100 Proof Aged In Soul). Also included 
    is the early local (Detroit) hit, "Whole Lotta Woman"---the 
    first single ever to feature the famous Motown "map" logo---and 
    their last chart hit, "It's So Hard Being A Loser," with the 
    stirring lead vocals of future Temptation lead singer Dennis 
    Edwards. The group shows a tender side on the doo-wop favorite "
    Funny," and the B-side chart hit, "That Day When She Needed Me."
    There's also the rare, original radio promo version of "Shake 
    Sherry." 
    
    Motown's "Very Best Of" series is a mid-price catalog line 
    focusing on legendary hit-making artists who currently have 
    nothing in print, with no duplication from the label's 
    front-line "Ultimate Collection" series. These hits-driven 
    packages are digitally remastered from the original masters, 
    using high-resolution 24-bit technology. The beautifully 
    rendered packages also include full-track annotations and an 
    essay written with or by the artist. 
    
    THE VERY BEST OF THE VELVELETTES
    1. He Was Really Sayin' Something
    2. Lonely Lonely Girl Am I
    3. Since You've Been Loving Me
    4. There He Goes
    5. That's The Reason Why
    6. I Know His Name (Only His Name)*
    7. Should I Tell Them
    8. Throw A Farewell Kiss
    9. These Things Will Keep Me Loving You
    10. I'm The Exception To The Rule
    11. Needle In A Haystack
    12. A Bird In The Hand (Is Worth Two In The Bush)
    13. Let Love Live (A Little Bit Longer)*
    14. I'm So Glad It's Twilight Time*
    15. Think Of The Times*
    16. Season's Greetings From Motown (bonus "hidden" track)
    
    THE VERY BEST OF THE CONTOURS
    1. Do You Love Me
    2. Shake Sherry
    3. Whole Lotta Woman
    4. Don't Let Her Be Your Baby
    5. It Must Be Love
    6. Funny
    7. You Get Ugly
    8. Pa, I Need A Car
    9. Can You Do It
    10. Can You Jerk Like Me
    11. That Day When She Needed Me
    12. First I Look At The Purse
    13. Just A  Little Misunderstanding
    14. Determination
    15. It's So Hard Being A Loser
    
    * Never-before-released
    
    =============== End of forwarded message ===================
    
    
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