__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0234 March 2, 1999 __________________________________________________________ Red With Purple FlashesSubject: 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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