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Spectropop V#0234

  • From: The Spectropop Group
  • Date: 03/02/99

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       Volume #0234                           March 2, 1999   
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                      Red With Purple Flashes                 
    
    
    
    
    Subject:     Creation
    Received:    03/02/99 1:30 am
    From:        james fisher, JHFAXXXXXXXX.net
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Hi Spectropoppers,
    
    Does anyone have info on the above group? They have a song on 
    the soundtrack to the movie "Rushmore". A friend said he thought
    they were a UK band from the '60's. Anyone familiar with 'em?
    
    Regards to all,
    
    Jim
    
    BTW. While I'm here....Spectropop is THE music list! Nothing but
    interesting stuff day after day. In the 6 months or so that I've 
    been on it I've yet to see any of that accursed "flaming" which 
    makes many lists a waste of time. A finer bunch of BB, GG, Burt 
    and Phil fans you wont find. Long may it rule. 
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     The Big Hurt album info
    Received:    03/01/99 7:37 am
    From:        Paul Urbahns, PaulurbXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Carol Kaye wrote:
    
    >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.
    
    As I mentioned on a previous post, I have that rare Toni Fisher 
    album on Signet. The credits says Recorded at Gold Star and 
    Mastered at Sound Enterprises, Inc. Only the phasing effect 
    appears on The Big Hurt, the remainder of the album is very much
    in the Julie London style of performance. (not to take anything 
    away from Miss Fisher). Also Shanklin was not against 
    multi-tracks because the whole album is in true stereo except 
    The Big Hurt and in those days it would have been very easy to 
    make a mono only album. Lots of companies did that. I don't know
    what the original B side to The Big Hurt is but its probably on 
    the album. 
    
    I believe a previous post mentions Sound Enterprises had a 
    studio. Wayne Shanklin might have had something to do with that
    company, because the original liners written when the song was a 
    hit clearly state. "She recorded the song immediately at the 
    famous Gold Star Recording Studios in Hollywood, California, 
    (which have produced a large share of today's current hits) and 
    the finished recording was taken by Shanklin to his studio, 
    where he locked himself in with the record, and spent the next 
    30 days dreaming up the gimmick (with the incredible help of the
    engineers at Gold Star Recording Studios) the end result being 
    the Toni Fisher hit record of "The Big Hurt".
    
    I don't know anything about Mr. Shanklin, but he appears to have
    been a Phil Spector type without the same success. He wrote the 
    song, auditioned singers until he selected Miss Toni Fisher, did
    the recording at Gold Star, but the mixing and mastering appears 
    to have been done at Sound Enterprises, Inc. studio and issued 
    on Signet (If I remember the previous post right). He credits the
    phasing effect to the engineers at Gold Star but it indicates he 
    also did something at his own studio. Is it possible that Leo 
    Kulke (the engineer at Sound Enterprises), worked with one of the
    engineers from Gold Star (Mr. Ross) at Sound Enterprises (or Gold
    Star) to come up with the effect? Probably the answer is this 
    effect was not the sole work of any one person but a combination
    of efforts of several. Each remembers part of the story and being 
    involved in it. The liners seem to indicate the effect was done 
    at Sound Enterprises during a 30 day period. 
    
    Looking at the pictures on the album, I guess would Wayne 
    Shanklin is dead as he appears to be older than either Miss 
    Fisher or the orchestra leader Heinie Beau. Shanklin is probably
    the only one that knows the whole story. The album states the 
    phasing effect was going to be used on her next single, even 
    though it was not used on her album (which is all stereo except 
    for the Big Hurt). 
    
    Songs on the album are: 
    Side 1: 
    Speak Of The Devil
    Blue, Blue, Blue
    Autumn Leaves
    Love Affair
    Why Can't the Dark Leave Me Alone
    Gloomy Sunday
    
    Side 2
    The Big Hurt
    Take me In Your Arms
    Gotta Walk, Can't Sleep
    What Did I Do
    My Silent Love
    Maybe (He'll Think Of Me). 
    
    Of the songs 6 were with written or co-written by Shanklin. 
    Maybe the second single (How Deep Is The Ocean) is getting 
    memories mixed up since it used the same effect.
    
    Jamie wrote:
    
    >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?
    
    Since this is a mixing problem, I don't think the session sheets
    would help at all. That is because all involved indicate the 
    session was past when the remixing that caused the phasing 
    effect was created. As I posted the liners say it took place 
    over a 30 day period. If they had called the musicians back in 
    and rerecorded the date then the session logs would help. 
    
    Am I right Carol?
    
    Paul Urbahns
    paulurbXXXXXXXXom
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Re: Rockin' Jackie DeShannon
    Received:    03/01/99 7:33 am
    From:        Doc Rock, docroXXXXXXXXcom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Matthew Kaplan, TweeXXXXXXXXom wrote:
    
    >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"?
    >
    >From my Liberty Records book, 1991 interview :
    
    Bones Howe on Jackie DeShannon: "I was the engineer on Jackie 
    DeShannon's first Hollywood session. She was gong to be the 
    female Elvis Presley, and she had these tight jeans on and was 
    jumping around the studio like everyone thought Elvis did. I 
    still see her, we are these two middle aged people now (Bones is
    58)."
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Rosie & The Originals Fan Club
    Received:    03/01/99 7:33 am
    From:        Shelby Riggs, vinylmaXXXXXXXXlink.net
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Rosie & The Originals Fan Club
    Post Office Box 1523
    West Covina, CA 91793-1523
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Re: Outstanding 60s
    Received:    03/01/99 7:33 am
    From:        David Bash, BashXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    > 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, 
    > Millennium/Sagittarius/Ballroom, or the Kinks, can anyone 
    > recommend other musical treasures of this type from this same 
    > era?
     
    >  Dave Mirich
    
    Hi Dave,
    
    Well, there are many of them and I'll probably forget some here,
    but some great late '60s treasures now on CD are (as opposed to 
    CD-R).... :-)
    
    And Along Comes The Association-The Association
    Renaissance-The Association
    Insight Out-The Association
    Birthday-The Association
    This Is Us-Harmony Grass
    It's A Happening World-The Tokens
    Studio-The Tages
    Evolution-The Hollies
    Butterfly-The Hollies
    Happy Together-The Turtles
    Around Grapefruit-Grapefruit
    Let's Live For Today/Feelings-The Grassroots (2 Fer on Repertoire)
    Tangerine Dream-The Kaleidoscope
    The Clique-The Clique
    The Pleasure Fair-The Pleasure Fair
    The 8th Day-The 8th Day (no, not the soul group)
    
    and then there are great compilations by bands like:
    
    The Montanas
    Marmalade
    The Rockin' Berries
    Tony Rivers and the Castaways
    The Arbors
    The Cyrkle 
    The Choir
    The Critters
    The Ivy League
    Pinkerton's Colours/The Flying Machine
    
    
    and of course, tremendous albums that haven't seen the light of 
    CD day are...
    
    The Colours-The Colours
    The Smoke-The Smoke
    Elephant Candy-The Fun and Games
    So Good-Don and the Goodtimes
    Tones-The Gordian Knot
    Eternity's Children-Eternity's Children
    Timeless-Eternity's Children
    Five Man Electrical Band-Five Man Electrical Band
    The Tuneful Trolley-The Tuneful Trolley
    Chamaeleon Church-Chamaeleon Church
    Basic Magnetism-Teddy and The Pandas
    Will You Be Staying After Sunday-The Peppermint Rainbow
    
    I know there are several items I've forgotten, but it's early. :-) 
    Steve Stanley, take it away!
    
    If anyone has either "The Cyrkle" or "Neon" by The Cyrkle on CD,
    and is willing to make a trade, please e-mail me off list at 
    bashXXXXXXXXom
    
    --
    Spectropop Rules!!!!!
    Take Care,
    David
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Left Banke (and so forth)
    Received:    03/02/99 1:30 am
    From:        Jack Madani, Jack_MadXXXXXXXX12.nj.us
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    Dave Mirich writes:
    >I bought the Left Banke compilation CD....
    >Listened to it six or eight times while in my 
    >car and am now highly impressed....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, 
    >Millennium/Sagittarius/Ballroom, or the Kinks, can anyone 
    >recommend other musical treasures of this type from this same 
    >era?
    
    Interesting, Dave, to finally try to put it all together into 
    some sort of list. So what do we have to begin with, based on 
    your own suggestions: 
    
    Left Banke "There's Gonna Be A Storm: Complete Recordings 1966-1969"
    Yellow Balloon "Yellow Balloon"
    Beach Boys "Pet Sounds"
    Beach Boys "Smile"
    Van Dyke Parks (which ones exactly?)
    Harpers Bizarre (the WB Archives comp?)
    Millennium "Begin"
    Sagittarius "Present Tense"
    Ballroom "Before The Millennium (did I get the title right?)"
    Kinks (which ones exactly?)
    Flowerpot Men (presumably a comp, but which one?)
    Moby Grape (which one exactly?)
    
    Then let's add to this:
    Zombies "Odyssey & Oracle"
    
    and also:
    VA "The Melody Goes On: Soft Rock Vols.1-3" Roger Nichols & The 
    Small Circle Of Friends "The Drifter" The first item is on the M
    &M label from Japan, and is tough but not impossible to find. 
    The Roger Nichols item may be easier to find than the holy grail, 
    but it's a close call.
    
    I'd also add, as a sort of sorbet to help cleanse your pallet 
    after OD'ing on the whipped cream and baroque other delights of 
    some of the above items: Antonio Carlos Jobim "Wave" (1967, A&M 
    CD 0812, with a gorgeous understated album cover) There's plenty
    of Jobim available in one repackaged comp or another, but I'd go 
    with Wave because it's an original lp lineup, it comes from that
    year '67, and because it just has something magically calm about 
    it. Similarly, I'd suggest that such a list of pallet-cleansers 
    should include: Beach Boys "Friends" (just make sure you stop 
    the player before "Transcendental Meditation")
    
    Other names that might belong, but about which I don't know 
    enough to make a specific recommendation:
    The Cyrkle
    The Critters
    
    Actually, looking back over all the names here, I begin to 
    wonder if Pet Sounds belongs. Not to say it isn't great (duh!), 
    but rather does it fit in with the hard-to-express otherliness 
    of the rest of the titles?
    
    --------------------------------------------------------------------
    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:     More like The Left Banke...
    Received:    03/01/99 7:33 am
    From:        Robert Charles-Dunne, XXXXXXXXlt.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Dave Mirich wrote:
    
    "Aside from Pet Sounds, Smile, Van Dyke Parks wonderful '60s 
    music, Harpers Bizarre, Millennium/Sagittarius/Ballroom, or the 
    Kinks, can anyone recommend other musical treasures of this type
    from this same era?"
    
    Michael Brown from The Left Banke had a much harder sound in 
    Stories ["Brother Louie"], which most people know about. However, 
    his real defining post-Left Banke moment came - in my humble 
    opinion - with The Beckies, a truly obscure Sire release from 
    the early '70s. Pure pop so sugary sweet it'll give you diabetes
    and rot your teeth. Lots of energy and drive, however.
    
    Other recommendations from this hopeless pop vinyl addict:
    
    Anything by The Walker Brothers - sappy and maudlin at their 
    worst, but heartachingly despairing when they were on the money.
    Those coming to the Walkers this late in the game may be 
    initially put off by the grandiosity of the production, and the 
    more lame tracks [no shortage of them], but the vision they 
    pursued was so completely out of synch with the psychedelic 
    times, they astonish. First single, "Love Her," was recorded by 
    Jack Nitzsche, who didn't care much for working with the Walkers
    from the press quotes I've read. Those who admire the Walkers' 
    output may also wish to trace Scott Walker's solo work, which 
    has been cutting-edge for 30 years. He's the missing link 
    between Jack Jones and Nine Inch Nails... [And those who think 
    that nobody made this kind of record after the Walkers split are
    advised to seek out 12" singles from the early 80s by White & 
    Torch, a woefully-obscure UK duo that came eerily close to the 
    Walkers, particularly on "Let's Forget," a massive sounding, 
    killer song.]
    
    Amen Corner - A seven piece Welsh band fronted by Andy 
    Fairweather-Lowe. Some great studio stuff, but the live releases
    were astonishing too. Lots of power and energy, but never lost 
    the pop element.
    
    PP Arnold - No offense to Merrilee Rush, but have a listen to 
    PP's "Angel Of The Morning" for the REAL deal, or her take on 
    "The First Cut Is The Deepest." This woman could really sing. 
    [She's been back in the studio in recent years with one of the 
    Ocean Colour Scene lads, but I haven't yet heard the results.]
    
    Badfinger - Criminally under-rated pop masterpieces, 
    particularly the "Straight Up" album, and "Maybe Tomorrow" from 
    when they were still The Iveys.
    
    The Easybeats - Australia's answer to the Beatles stimulated 
    'Easy Fever.' Everybody remembers "Friday On My Mind" but they 
    produced a cornucopia of other pop classics. Strong vocals, 
    great songs, fabulous playing, and some big orchestral stuff. 
    Check out "Gonna Have A Good Time Tonight" for Stevie Marriott 
    on background vocals. [And while we're Down Under, let's not 
    forget the earliest Bee Gees material: "New York Mining Disaster," 
    "Massachusetts," "I Started A Joke," "First of May," et al. 
    And the first Rick Springfield album in North America: "Speak To
    The Sky."]
    
    Buffalo Springfield - If you like the lush, big-strings sound, 
    cleave toward "Expecting To Fly" and "Broken Arrow." Jack 
    Nitzsche again.
    
    Marmalade - Scottish band known mostly for "Reflections Of My 
    Life" but they did lots of great songs. Junior Campbell wrote 
    some fabulous stuff.
    
    The Herd - Featuring Peter Frampton back when he was 'The Face 
    of 68,' these guys did a killer tune called "From The Underworld" 
    and much more. Also had a member named Andy Bown who did a 
    couple of great solo albums.
    
    Chad & Jeremy - "Of Cabbages & Kings" was a fairly psyched up 
    pop masterpiece for the time, and remains a rewarding listen.
    
    Grapefruit - Anglo pop band who dipped into psyche territory 
    occasionally. Hard to find, but might be in your local vinyl 
    bins.
    
    Golden Earring - Yeah, the "Radar Love" guys. Most people don't
    realize this band was already a decade old when that song hit the
    charts. "Smoking Cigarettes" and "Born A Second Time" are 
    classics for the ages, if you can find them, and an eponymously 
    titled album on Polydor from about '70/71 contains tear-jerking 
    pop material.
    
    Spooky Tooth - First album, "It's All About A Roundabout" has a
    monster version of "Tobacco Road," which is worth the price of 
    admission alone. Great psyched up arrangements, soulful vocals 
    and all-encompassing organ.
    
    Love - These guys should require NO introduction, but remain 
    sadly underrated. "Forever Changes" is generally acknowledged as
    one of the top ten albums of all time. Yeah, it's certainly weird
    [with lyrics like "the snot has caked against my pants, it has 
    turned into crystal"], but it was a Summer Of Love creation, eh?
    Too much acid. Most people are so fixated on Arthur Lee, they 
    forget some of the best Love songs were written by the late 
    Bryan Maclean [who died this past Christmas]: "Softly To Me," 
    "Old Man" and "Alone Again [Or]."
    
    The McCoys - The "Hang On Sloopy Guys" jumped on the acid 
    bandwagon with "Human Ball" and "Infinite McCoys" which sound 
    quite of quaint in retrospect.
    
    Bubble Puppy - "A Gathering Of Promises" was pretty raunchy 
    stuff, including their sole hit "Hot Smoke & Sassafras," but it 
    also had some softer passages that are worth a listen 30 years 
    later. Hard to find and damn expensive.
    
    Emitt Rhodes - A trio of solo albums, recorded and performed 
    entirely by Emitt. Wonderful stuff...
    
    Raspberries - "Go All The Way" was just the tip of the pure pop
    iceberg. I know it's not quite '60s, but a pleasure nonetheless. 
    If The Beatles could come from Liverpool, is there some reason 
    their US counterpart couldn't come from Cleveland?
    
    The Soft Boys - "Underwater Moonlight" - It's an early 80s 
    release, as I recall, but the content is so slavishly 60s in 
    style and execution you'd be hard pressed to tell the difference.
    
    5 Man Electrical Band - "Coming Of Age" is an early 70s album 
    that has a massive pop/orch arc. Hard to find, perhaps, but 
    worth the effort.
    
    Anthony Moore from Slapp Happy - aka A. More - [attempted pun, 
    no doubt] had a phenomenal solo album called "Flying Doesn't 
    Help." On the obscure Quango label in the UK, it was reissued by
    the almost-equally obscure Canadian El Mocambo label in the early
    80s. Full disclosure: I ran that label. The single best record 
    I've ever had a hand in, and the worst selling. Made Top Ten 
    year-end press review lists coast to coast in Canada but got NO 
    airplay because it was just way too adventurous for its time. "
    Judy Get Down," "Caught Being In Love" and "Lucia" are such 
    stone cold homages to the Spector technique one can't help but 
    get goosebumps. Impossibly hard to find, but look for a white 
    jacket with multicoloured dead birds on sticks and you've got a 
    sleeper gem.
    
    Others worthy of quick mention:
    
    Mick Greenwood - "Living Game"
    Paul Slade - "Life Of A Man"
    Graham Gouldman - "Graham Gouldman Thing"
    Tony Hazzard - "Loudwater House"
    
    I can't wait to read the suggestions that other Spectro-members
    make to Dave Mirich. Thanks for the time, and all the great stuff
    I get to read from other members.
    
    Robert Charles-Dunne
    Toronto
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Spectropop Opened my Eyes, er, Ears
    Received:    03/01/99 7:33 am
    From:        Doc Rock, docroXXXXXXXXcom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    Spectropop has done something very interesting for me.
    
    All my life, there have been 4 kinds of records for me. I define
    them by my reaction when they come on the radio.
    
    One. Records that I stop what I am doing, turn up the volume, 
    and listen, even for the Zillionth time.
    
    Two. Records I like, even play for myself. I buy 'em or tape em.
    
    Three. Fillers. Stuff I'd never play, but don't mind hearing. 
    I'd probably punch the radio buttons on the car radio to see if 
    something better was on another station, but come back to if 
    there weren't. I don't mind playing them on the air one bit.
    
    Four. Records that I have never listened to all the way through.
    I change the station when they come on, and I listen to a 
    commercial before I come back the that station. Records I'd 
    never play for myself, nor even play on my radio shows.
    
    These fours I never understood. In the '60s, I half thought that
    stations played them as part of an evil plot, or for payola, or 
    because they were indulging themselves and ignoring what their 
    (younger? smarter? more astute?) listeners wanted to hear. Not 
    that they are bad songs, badly performed. They are just Fours.
    
    But reading Spectropop, I have discovered that there were people
    out there in radio land who actually considered my Fours as their
    own personal Ones!
    
    Very interesting! Infinite Diversity Through Infinite 
    Combinations, as Gene Roddenberry used to say.
    
    And more power to you!
    
    
    --------------------[ archived by Spectropop ]--------------------
    End
    
    
    

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