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Spectropop V#0233

  • From: The Spectropop Group
  • Date: 02/28/99

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       Volume #0233                           March 1, 1999   
       The ORIGINAL HITS rerecorded by the ORIGINAL ARTISTS
    Subject:     60s Girl Power
    Received:    02/28/99 10:29 am
    From:        WILLIAM STOS,
    To:          Spectropop List,
    I just picked up a dynamite collection called 60s Girl Power. It
    was released in 1998 by Crimson records and features 24 fairly 
    well-known girl singer and girl group tunes from the 60s. Petula
    Clark's Downtown has never sounded so good! It's becoming one of 
    my favourites. Actually, what makes this compilation so special 
    in my opinion is the sound quality. It sounds like you're right 
    in the studio. Crystal clear voices, instruments, no static or 
    distortion whatsoever. Even Carole King's "It Might As Well Rain
    Until September," doesn't sound too muffled like it usually does.
    They must have used a lot of effort and modern equipment getting 
    this comp to sound so good. I also notice they put in some 
    slight echo reverb effect. I believe only one of the tracks was 
    a rerecording, the Crystals "Da Doo Ron Ron," which was probably
    cut in the mid 80s, although it's still listed as 1963 in the 
    booklet. Still sounds almost as good as the Spector one since 
    it's so clear. Clear, clear, clear, I can't use it enough! Even 
    if you don't pick it up for yourself, it's something that would 
    be a great introduction into girl recordings of the 60s for any 
    beginners you might know.
    BTW, I also picked up a Timi Yuro comp only to find it consisted
    of all re-recordings. But I didn't care. She sounds fantastic. 
    Her growl on "You've Lost That Lovin' Feeling," and "It Hurts To
    Be In Love," can stop time! 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Feelin' Kinda Sunday
    Received:    02/27/99 9:29 am
    From:        Jack Madani,
    To:          Spectropop List,
    Thanks to a Spectropop friend, I have a precious tape of some 
    real obscure (to me, anyway) softpop gems, including the Unusual
    We's (gad, what a name! can you just *picture* the deelybopper 
    flower prints?) version of "Feelin' Kinda Sunday." Well, 
    standing in the store today I saw a cd-single of Nancy & Frank 
    Sinatra with three songs on it: some new tune that I took to be 
    a variation on the Nat/Natalie Cole corpse-duet formula; 
    Somethin' Stupid, the Sinatras' '67 duet that I love and I don't
    care who knows it; and "Feelin' Kinda Sunday." I hadn't known 
    that Frank and Nancy had recorded this song. Any background info
    related to the song, to the Sinatras' version, to the Unusual 
    We's version, etc will be read by me with great interest. 
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540
    "You knew the job was dangerous when you took it, Fred." 
     --Henry Cabot Henhouse III
    --------------------[ archived by Spectropop ]--------------------
    Subject:     BOUNCE Non-member submi
    Received:    02/27/99 9:29 am
    To:          Spectropop List,
    ========== Start of forwarded message ==============
    Kathy was born on is Oct. 21, 1945 in Santa Ana, California. 
    Kathy Young (her given name) grew up in Long Beach, California 
    and graduated in 1963 from Jordan High in Long Beach. 
    Kathy asked California DJ, Wink Martindale, what she had to do 
    to record a song. Wink sent her to Indigo Records. They had her 
    record what became a rock ballad classic, "A 1,000 Stars" (with 
    backing by the Innocents). That song reached #1 on Billboard and
    went gold in 1960. She recorded on the Indigo Label from 1960-
    1962, then moved to Monogram from 1962-1964 (where she did a 
    duet with Chris Montez). 
    Kathy retired from her recording business in 1965. Today she has
    2 lovely children and resides in Sherman Oaks, Ca. She has not 
    recorded since 1964, however she stays busy on the Oldies 
    circuit. She performed at the Greek Theater in Los Angeles in 
    Oct., 1997. 
    Billboard charted hits are:
    10/24/60 ---A 1,000 Stars---Indigo 108
    2/20/61---Happy Birthday Blues---Indigo 115
    9/18/61---Magic Is the Night---Indigo 125
    The Innocents were a pop trio from Sun Valley, Ca. They 
    consisted of: James West (lead), Al Candelaria (bass) and Darron
    Stankey (tenor & guitars). They first recorded as the "Echoes" on
    Andex Label in 1959. The Innocents had two solo singles on Indigo
    8/15/60---Honest I Do---Indigo 105
    11/21/60---Gee Whiz---Indigo 111
    =============== End of forwarded message ===================
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Left Banke
    Received:    02/27/99 9:29 am
    From:        Dave Mirich, DmirXXXXXXXXom
    To:          Spectropop List,
     Tobias wrote:
     >I've been enjoying The Neon Philharmonic's "The Moth Confesses" 
     >for a couple of weeks now. The album sounds a bit like, uh..what
     >is the band called that wrote Walk Away Renee?  
    I guess I'll now have to buy the Neon Philharmonic stuff and 
    give it a chance.
    I bought the Left Banke compilation CD with liner notes by 
    Andrew Sandoval awhile back, listened to it once and shelved it.
    This last week I listened to it six or eight times while in my 
    car and am now highly impressed by this bands output. The same 
    thing happened when I bought the Yellow Balloon CD which I now 
    think is magnificent. 
    Other outstanding albums available on CD from this time frame it
    are the Flowerpot Men and Moby Grape. Aside from Pet Sounds, 
    Smile, Van Dyke Parks wonderful '60s music, Harpers Bizarre, 
    Millenium/Saggitarius/Ballroom, or the Kinks, can anyone 
    recommend other musical treasures of this type from this same 
    Dave Mirich
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Leo Kulke
    Received:    02/27/99 9:29 am
    From:        Carol Kaye,
    To:          Spectropop List,
    Alec, you're right. I worked at Gold Star quite a bit in those 
    early years, and while my memory fails me a little here and 
    there, the only person who worked with Stan at all was Larry 
    Levine, who later became the engineer there in his own right. I 
    worked quite a bit with Stan engineering (since 1958 and also a 
    little later with Larry) and never saw anyone else there.
    Not saying he did or didn't do the phasing on that record, just 
    that Leo Kulke was not at Gold Star. I don't know who is right 
    here - for all I know I could be playing guitar on that date - I
    do have that name in my log for one of the singers I worked for. 
    I worked quite a bit for H.B. Barnum at that time too and 
    probably would recognize Leo's face if I saw him as I did work 
    at Sound also. So much was going on, the faces sometimes became 
    a flurry of "names". But we normally don't forget a face. 
    I've been after my bunch to get names of engineers I want to put
    up on my website - I never wrote any of them down in my log, like
    I did the artists, arrangers/contractors, and sometimes the 
    producers in my log. So it's a mad scramble for some of us 
    thinking up the names of the 50s-60s-70s engineers. 
    But they're coming, thanks to my studio musician friends. (see 
    my Message Board:
    Stan would not lie at all, but memory is a little difficult for 
    everyone at this late date.
    Carol Kaye
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re:'The Big Hurt' with Toni Fisher
    Received:    02/27/99 9:29 am
    From:        Jamie LePage,
    To:          Spectropop List,
    First, Doc Rock quoting Stan Ross:
    >"We did 'The Big Hurt' with Toni Fisher. I was the engineer on
    >that, the first record to use phasing. It was an accident. It was 
    >a binaural recording...
    When Stan says "binaural" he means the track was on one channel of 
    a two track and the vocal on the other.
    >"So we put two versions of the same take together, synced them,
    >and played them together. 
    "...two versions of the same take..." must mean two different mono 
    mixes of the binaural recording.
    >*the producer)...didn't believe in two-track. I gave him a take 
    >that I liked but I thought the voice was too shallow on. He...
    >liked that one, said it was exciting. I said, 'It's only 
    >exciting because the voice is low.' He said, 'No.'
    This would explain why they didn't simply do another "version" 
    or, in contemporary vernacular, a "remix".
    Then, Alec Palao wrote:
    >While I don't want to detract from the great Mr. Ross' 
    >recollections, veteran engineer Leo Kulka often told me he 
    >created the phasing on "The Big Hurt". 
    Whoah! That certainly raises questions! I don't doubt what you 
    say for a minute, Alec, but when you read Stan's recollection of
    the chain of events that led to the final record (binaural 
    recording, different mixes, Shanklin's aversion to multi-track, 
    combining two mixes of the same take...), it is all very, very 
    detailed, and the final record sounds as if Stan's description 
    is precisely how the effect was created.
    >(Kulka) said Wayne Shanklin had little to do with the idea of the 
    That's undoubtedly true since it was an accident at the hands of
    studio engineers (whether Levine or Kulka). I remember when 
    Itchycoo Park became a big US hit, Stan Ross' son Jeff (who was 
    a schoolmate at the time) told me his father had created the 
    flanging effect years earlier (implying The Big Hurt). More than
    a decade later, I occasionally booked Gold Star to cut acetates, 
    primarily to have the opportunity to talk with Stan about BBs, 
    Spector etc. while we cut the lacquers on that old lathe they 
    had in the front room. I asked him about The Big Hurt, and what 
    he told me is pretty much what he told Doc. The main difference 
    is, when Stan told me the story, he said that when they tried to
    sync the two "versions" and the phasing started to occur, they 
    thought it wasn't working, but the producer, hearing the effect,
    flipped over the sound and decided to leave it like that.
    The mystery deepens...
    Note to Carol Kaye - maybe your buddy Russ could let us know 
    what he's discovered about this record? The studio is always 
    listed on those AFM sheets you refer to from time to time, right?
    The Big Hurt is a personal favorite, due in no small part to its
    ethereal quality, and I am delighted that Doc and Alec have 
    shared their insights with us. 
    Toni Fisher rules!!!!!
    All the best,
    Jamie LePage
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Rockin' Jackie DeShannon
    Received:    02/27/99 9:29 am
    From:        Matthew Kaplan, TweeXXXXXXXXom
    To:          Spectropop List,
    I was just listening to the ultra-cool "What The World Needs 
    Now-The Definitive Jackie DeShannon" compilation on EMI from 
    1994 and it raised the thought that I'm sure somebody can answer. 
    Did Jackie record more straight up Wanda Jackson-ish 
    rockabilly tracks like her 1958 single "Buddy"?
    Matthew T. Kaplan
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Ronnie at Sweet Basil
    Received:    02/27/99 9:29 am
    From:        Keiko Kondo,
    To:          Spectropop List,
    Hi all,
    I went to Ronnie's show. Band is six member and two girls play 
    the guitar and sing Ronettes background parts. The band is good,
    only the drummer sometimes is wrong style. He needs listen more 
    Hal Blaine.
    Ronnie appeared on stage. I was surprised. She looked different 
    from other pictures but still very cute. Little bit chubby, but 
    looked fine. Her voice is still Ronnie we love on Phil Spector 
    She sings just like on record. She does not change or make songs
    modern. I like that. She sang four more songs besides the ones 
    last time - It's a Heartache, Say Goodbye to Hollywood, and two 
    songs from new album. Encore was I Can Hear Music. I don't know 
    why but they cut middle part "I hear the music hold me tight now
    baby". That was really strange. 
    It was great time to see Ronnie sing her songs. I never forget 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     She Talks To Rainbows
    Received:    02/27/99 9:29 am
    From:        john rausch, jXXXXXXXXnet
    To:          Spectropop List,
    In light of Ronnie Spector`s new EP (for which I am very proud 
    of her) I thought I would add some sound samples to my site to 
    give fans a taste of Ronnie`s new sound. I know this is an 
    "oldies" based list but I thought it appropiate since most of us 
    grew up listening to her and loving her built in vibrato that 
    made Phil Spector millions! There`s even talk of a full length 
    cd. Let's wish her luck on THIS comback. 
    John Rausch
    Ronnie Spector`s new EP 
    --------------------[ archived by Spectropop ]--------------------

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