__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0233 March 1, 1999 __________________________________________________________ The ORIGINAL HITS rerecorded by the ORIGINAL ARTISTSSubject: 60s Girl Power Received: 02/28/99 10:29 am From: WILLIAM STOS, wsXXXXXXXXt.com To: Spectropop List, spectroXXXXXXXXties.com 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, Jack_MadXXXXXXXX12.nj.us To: Spectropop List, spectroXXXXXXXXties.com 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 Jack_MadXXXXXXXX12.nj.us "You knew the job was dangerous when you took it, Fred." --Henry Cabot Henhouse III ------------------------------------------------------------------ --------------------[ archived by Spectropop ]-------------------- Subject: BOUNCE spectroXXXXXXXXties.com: Non-member submi Received: 02/27/99 9:29 am To: Spectropop List, spectroXXXXXXXXties.com ========== Start of forwarded message ============== KATHY YOUNG & THE INNOCENTS: 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 also. INNOCENTS: 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, spectroXXXXXXXXties.com 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 era? Dave Mirich --------------------[ archived by Spectropop ]-------------------- Subject: Leo Kulke Received: 02/27/99 9:29 am From: Carol Kaye, carolkXXXXXXXXlink.net To: Spectropop List, spectroXXXXXXXXties.com 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: http://www.carolkaye.com/cmb.htm Stan would not lie at all, but memory is a little difficult for everyone at this late date. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Subject: Re:'The Big Hurt' with Toni Fisher Received: 02/27/99 9:29 am From: Jamie LePage, le_page_XXXXXXXXties.com To: Spectropop List, spectroXXXXXXXXties.com 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 >phasing. 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 <http://www.geocities.com/RodeoDrive/5030> --------------------[ archived by Spectropop ]-------------------- Subject: Rockin' Jackie DeShannon Received: 02/27/99 9:29 am From: Matthew Kaplan, TweeXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com 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, keiko_koXXXXXXXXil.com To: Spectropop List, spectroXXXXXXXXties.com 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 record. 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 that. KK --------------------[ archived by Spectropop ]-------------------- Subject: She Talks To Rainbows Received: 02/27/99 9:29 am From: john rausch, jXXXXXXXXnet To: Spectropop List, spectroXXXXXXXXties.com 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. Thanks, John Rausch Ronnie Spector`s new EP samplXXXXXXXX://www.geocities.com/SunsetStrip/Studio/2469/rainbow.html --------------------[ archived by Spectropop ]-------------------- END
Spectropop text contents © Spectropop unless
stated otherwise.
All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright
protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.
