__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0236 March 4, 1999 __________________________________________________________ Teenage Symphonies To GodSubject: BOUNCE spectroXXXXXXXXties.com: Non-member submi Received: 03/04/99 12:00 am To: Spectropop List, spectroXXXXXXXXties.com ========== Start of forwarded message ============== The following news story is posted at: http://dailynews.yahoo.com/headlines/ts/story.html?s=v/nm/19990303/ts/sprin gfield_1.html Singer Dusty Springfield Dies At 59 LONDON (Reuters) - Dusty Springfield, the 1960s British pop star famous for her husky voice and blonde beehive hairdo, has died at the age of 59, her agent said Wednesday. Springfield, who had fought a long battle against breast cancer, died Tuesday night at her home in Henley-on-Thames, west of London, agent Paul Fenn said. Her cancer had first been detected in 1994. Born Mary O'Brien in London, she teamed up in the early 1960s with her brother Tom to form the Springfields, which became one of the country's top pop and folk acts. Once described as Britain's finest white soul singer, Springfield's 1963 solo debut "I Only Want To Be With You" is now a pop classic. Worldwide success came in 1966, with "You Don't Have To Say You Love Me," which sold a million copies to become her only British number one hit. In 1968, she moved to Memphis, Tennessee, where she recorded "Dusty In Memphis," regarded by some critics as one of the decade's finest albums. At the same time she released her classic single "Son Of A Preacher Man." In May last year, Springfield announced a financial deal in Los Angeles under which she would get millions of dollars in exchange for future royalties from her hits. Just two months ago, Springfield was honored by Britain, being granted an OBE (Officer of the Order of the British Empire). Copyright 1999 Reuters Limited. All rights reserved. =============== End of forwarded message =================== --------------------[ archived by Spectropop ]-------------------- Subject: Creation, etc. Received: 03/03/99 3:43 am From: Robert Charles-Dunne, XXXXXXXXlt.com To: spectropop, spectroXXXXXXXXties.com What a charge to connect with others who remember and appreciate Amen Corner, The Beckies, et al! Pleased to make your acquaintance, I'm sure... Regarding Jim's queries on The Creation, Jonah and Dave have already done a marvelous job describing their historical relevance, so I won't rehash. However, can I recommend to Jim and others that if they like The Creation, they might also find much to admire about The Action? Another mid-60s Anglo, psych-mod band, these guys also failed to get their share of credit. First releases were produced by Kenny [Small Faces] Lynch, with later stuff produced by George [Fab Four] Martin. Reggie King was a soulful singer - favourably compared to Steve Marriott by no less a Mod authority than Paul Weller - and because of the mod affiliation, The Action stuck largely to a hopped up Tamla/Motown sound. Anyone familiar with the Mod period knows how heavily black US music influenced the white UK ' faces' of the day, including early releases by The Who and Faces, even though latter day recordings reveal it less. For more on the same UK stuff, try checking out Martin Payne's great site called Making Time [named after the Creation song] http://freespace.virgin.net/martin.payne2/indexes.html Also, if you can find anything by a Toronto band from the 60's called The Mandala, it fits into roughly the same groove. Toronto was a soul-fixated town in the 60s and boasted literally dozens of blue-eyed soul bands, complete with matching suits, large horn sections, etc. One mutant exception was R&B-psych band The Mandala, a five piece fronted by a wicked showman named George Olliver, who could literally make hundreds of teenybopper girls swoon in ecstasy simply by removing a white glove, one finger at a time, and tossing it into the crowd. He was later replaced by Roy Kenner. The band also featured guitarist Domenic Troiano [The Guess Who, The James Gang, several solo albums], and a rhythm section and keyboardist who went on to record extensively with Alice Cooper, Lou Reed and a number of others. Classic Mandala songs include " Opportunity," "Give & Take" and "Love-itis," all of which display a fine appreciation for soul, but include fuzzed out guitar solos and other psych flourishes. The band morphed into a short-lived combo called Bush after The Mandala folded. Mandala recordings may be found on the Chess subsidiary K&R label [the band thought it was signing to Chess, but K&R were brought in by Chess to make it sound like K&R's other hit band The Turtles], and Atlantic. Another Canadian band from the same time frame worth seeking out is The Ugly Ducklings. Not as mod-pop-psych as Creation/Action/Mandala, this five piece was a Rolling Stones/Yardbirds style band and did it exceptionally well. Snarly, arrogant, contemptuous sound. The one exception was a slow-building, heavy orch single called "Gaslight," which featured strings, HUGE drums and wailing vocals. Highly recommended to lovers of 60s garage-punk like Shadows Of Knight, Standells, et al. Interesting comments from Steve McClure re: Idle Race and The Bonzo Dog Doo Dah Band, another pair of under-rated iconoclasts. Strangely enough, both bands were signed to the UK United Artists label [along with Family] by the same two A&R guys, Andrew Lauder and Francis Davies. Both bands received pretty classy retro-reissues: "History of The Bonzo.." by UA, and "Imposters Of Life's Magazine" by Canada's Daffodil label, which was run by Francis Davies in the 70s. Both releases are recommended, as is just about anything else that Lauder and Davies have done over their careers. Lauder has signed artists to UA, Radar, Silvertone, This Way Up and now has a brand new blues label called Cello. Davies' Daffodil label was the home to King Biscuit Boy, Crowbar, Tom Cochrane, Spirit of Christmas, Fludd, Klaatu, and a dozen others. It's been my pleasure to know both of these guys, who have demonstrated over the past 30 years that one can have a career as a record 'weasel' WITHOUT having to forfeit one's honesty or integrity. In referring to The Creation, Warren Cosford mentioned Shel Talmy, my personal favourite producer of all time [ Who, Kinks, Easybeats, Creation, Chad & Jeremy, Pentangle, et al.] I have bought a LOT of records over the years because they have Talmy's production credit. Some are not so great. But one band that never seems to even get mentioned is the UK group Rumpelstiltskin. These guys wanted to be in the Zep/Jeff Beck Group school of UK blues-based heaviosity, which may be outside the parameters of Spectropop, but they were damn good. Unfortunately their sole album sported the single most hideous album jacket I think I've ever seen, a poorly drawn cartoon strip parody that failed to work on ANY level. Great tunes, though, and some sterling Talmy production touches, just in case there are other Talmy completists reading this. Thanks to all the members for the psychic/sonic resonance. Robert Charles-Dunne --------------------[ archived by Spectropop ]-------------------- Subject: From The Big Hurt to... Received: 03/03/99 10:48 am From: Jamie LePage, le_page_XXXXXXXXties.com To: Spectropop List, spectroXXXXXXXXties.com This has been a most enlightening thread and thanks again to Carol Kaye and all for helping sort out the background on The Big Hurt. During this discussion Alec introduced what was to me a new name in the Spectropop era LA recording scene: Leo Kulka. Most intriguing was Alec's comment that Leo made other records using the flanging effect at around the same time. Alec, as time allows, please do tell more about Leo, his studio and his records. I gotta say; the contributors to this list continually amaze me with their knowledge. You guys are great! All the best, Jamie LePage --------------------[ archived by Spectropop ]-------------------- Subject: last thoughts on the Big Hurt Received: 03/03/99 10:48 am From: Alec Palao, paXXXXXXXXs.com To: Spectropop List, spectroXXXXXXXXties.com >Carol said: > >Here's the reply I got from Russ Wapensky, who has >interviewed and hung out with Stan Ross many a year now..... >.I don't know Leo Kulka, but I do know (and stand in back of >) Stan Ross and what Russ Wapensky says (a government man >btw): > >Carol, > >It was definitely Stan. Larry did the basic track & then Stan did >the phasing - all at Gold Star. I've heard both of them tell this >story dozens of times. > >Russ I think the experts are right, that Leo Kulka was not involved with the recording of "Big Hurt" per se. His recollections to me were probably clouded by the fact that: (1) he did toy with the phase effect in approximately the same time period - as a fellow Hollywood sound engineer, maybe even discussed it with Ross and Levine (2) most, maybe all of the rest of Toni Fisher's Signet LP was recorded by Kulka at Sound Enterprises. I know this for a fact because he told me some interesting/amusing stories about working with her. For instance, Miss Fisher couldn't quite get to grips with the despondent lyrics of the cut "Gloomy Sunday". Therefore, Kulka and Shanklin called her every name under the sun until she became so upset that the distress in her voice was clearly apparent! I came across a stereo master reel of the LP in Leo's archives, which although a little torchy/MOR for my taste, still sounds glorious in stereo. Carol, if your ever worked with Leo de Gar Kulka, you're unlikely to have forgotten him. A tall, avuncular man with a bald pate, pencil moustache, perennial ascot and reasonably thick Eastern European accent (an evacuee of Czechoslovakia), I knew him very well for the last six or seven years of his life. He was a wonderful man and full of vigour almost to the day he died. Leo left Hollywood in 1964 to start Golden State Recorders up here in San Francisco, so perhaps you did not run into him that often. He loved studio trickery and sound effects (witness his creation of the "One Stormy Night" series by the Mystic Moods Orchestra, a lounge favourite), so it's understandable he would at least partly credit himself with the invention of the phase effect. All the best, ALEC --------------------[ archived by Spectropop ]-------------------- Subject: Randy Newman Received: 03/03/99 2:11 am From: Rainier Wolfcastle, MUV96XXXXXXXXnt2.lu.se To: Spectropop List, spectroXXXXXXXXties.com Sorry for posting lots of questions to the list without following any of your replies up (the reason is I don't have the knowledge many of you have) but here goes another one.... One of my favourite albums right now is Randy Newman's self-titled debut record. I have unfortunately not heard a single note of any of his other albums so what records of his are recommended, and preferably in the same piano-and-lots-of-strings style as the debut? 12 Songs and Sail Away look interesting but I don't know..... Tobias --------------------[ archived by Spectropop ]-------------------- Subject: Vogues cover needed Received: 03/04/99 12:00 am From: Jeffrey Thames, KingoGrXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com Hidy, fellow 'poppers...does anyone know where I could locate the Vogues' 1970 cover of "God Only Knows" on vinyl, CD, or (as a last resort) cassette? None of the comps I've seen (US or otherwise) seem to have it. Thanx in advance! Cheers, Jeff --------------------[ archived by Spectropop ]-------------------- Subject: WB reissues Received: 03/04/99 12:00 am From: Ron Bierma, ELRONXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com In a message dated 3/2/99 5:01:35 PM, spectroXXXXXXXXties.com writes: >Is there anyone on this list who is affiliated with Warner >Brothers who might be able to shed some light upon this? I don't work for WB, though I am aware that recently Rhino was purchased by WEA, essentially allowing them access to all in the Warner, Elektra and Atlantic catalogues. The first fruits of this marriage being an Alice Cooper box, a Doobie Bros box, and remasterings of Buffalo Springfield, etc. Write Rhino a letter, Send em an e-mail and let em know you want Association, Neon Philharmonic, Beckies, Bob Newhardt, etc...reissues!! BTW, just got Rhino's 2 new Dusty Springfield remasters (In Memphis-and In London-with Numerous previously unreleased tracks-practically doubling their original lengths!!) They're awsome!! Sound is great also!! !!Ron!! --------------------[ archived by Spectropop ]-------------------- Subject: BOUNCE spectroXXXXXXXXties.com: Non-member submi Received: 03/02/99 1:30 am To: Spectropop List, spectroXXXXXXXXties.com ========== Start of forwarded message ============== Subject: Grammys Please note the great producers/writers/artists honored at this year's Grammy presentation. SAM COOKE Lifetime Achievement Award honoree Thursday, February 18, 1999 Though he lived to be just 33, Sam Cooke was a successful and influential singer in three distinct fields: gospel, pop and R&B. "Sam was the best singer who ever lived, no contest," said Jerry Wexler, who tried in vain to sign Cooke to Atlantic Records. "When I listen to him, I still can't believe the things that he did. It's always fresh and amazing to me. Everything about him was perfection." Cooke was among the first black stars to run his own publishing company (Kags Music), his own record label (Sar/Derby Records), and his own management firm. Among the artists that Cooke had a hand in discovering: Bobby Womack, Billy Preston, Johnnie Taylor, Mel Carter and Lou Rawls. Cooke was all of 20 in 1951 when he became a star on the gospel circuit as the lead singer of the Soul Stirrers. In 1956, Cooke smoothed out his style in a bid for broader pop acceptance. He broke through with the dreamy ballad "You Send Me," which hit No. 1 in December 1957. Cooke followed that smash with a mix of smooth ballads, charming novelties ("Wonderful World") and catchy dance records ("Twistin' the Night Away"). Cooke was among the first group of artists inducted into the Rock and Roll Hall of Fame in 1986, and "You Send Me" was voted into the GRAMMY Hall of Fame in 1998. For the full article, go to: http://www.grammy.com/grammy/news.nsf/WebNewsbyTitle/AF0580D428A5E140002567 1D00138F91 JERRY LEIBER and MIKE STOLLER Trustees Award honorees Thursday, February 18, 1999 Despite orchestrating the careers of great R&B groups like the Coasters and the Drifters, writing some of Elvis Presley's best-known hits and functioning as tacit mentors to writer/ producer icons such as Phil Spector and Burt Bacharach, Leiber and Stoller remain inexplicably undercelebrated. But those who follow music closely, especially those familiar with the operation of New York's famed Brill Building in the '60s, know better [hey, Spectropoppers, that's us!]. At times, they did everything but press their own records, functioning as writers, producers, A&R men, publishers and label executives. With Lester Sill they embarked in the label business, starting Spark Records. Soon, their label was purchased by Ahmet Ertegun's Atlantic Records, and Leiber and Stoller moved to New York to set up shop in the Brill Building. The Robins were renamed the Coasters and a long string of hits ensued: "Searchin'," "Yakety Yak," "Poison Ivy" and more. With the Drifters especially, Leiber and Stoller began to refine their studio process, cutting detailed sessions and adding strings to R&B records for the first time (they've been credited with producing arguably the first soul record -- the Drifters' "There Goes My Baby"). By the early '60s, the pair had become the standard by which other producers could be measured, which led Lester Sill to send a young LA producer out to New York to study under them. Phil Spector slept on Leiber and Stoller's office couch by night and absorbed their innovative production techniques by day. But their presence at the Brill Building influenced others too, like Burt Bacharach, who wrote for the Drifters and often incorporated Leiber and Stoller's love of Latin rhythms into his songs. Eventually, Leiber and Stoller left Atlantic and started their own label again, this time Red Bird, where they scored hits particularly with girl groups like the Dixie Cups and the Shangri-Las. For the full article, go to: http://www.grammy.com/grammy/news.nsf/WebNewsbyTitle/C6B15AE04DA6A5BF002567 1D00140137 KENNETH GAMBLE and LEON HUFF Trustees Award honorees Thursday, February 18, 1999 Gamble and Huff built arguably the most successful black-owned music company of the '70s with their Philadelphia International label. Their direct inspiration was Berry Gordy's Motown, and they followed that template for success pretty closely, creating an identifiable "Philly Sound" with mostly home-grown talent. Among the groups that owe a huge debt to the talents of Gamble and Huff are the O'Jays, the Intruders, and Harold Melvin and the Bluenotes, all of whom benefitted from G&H's sweet songs of romance or bold social examinations, lushly orchestrated arrangements and a propulsive groove. In the early-'60s, Gamble led his own band, Kenny Gamble and the Romeos (the band included Thom Bell, who would later become a G&H protege producer with his own string of hits voiced by the Stylistics, the Spinners and others). Meanwhile, Huff was establishing a name for himself as a hot New York session pianist, working with fellow Trustees Award nominees Jerry Leiber and Mike Stoller, to name a few. Huff was hired to play on a session for a Gamble-penned tune back in Philadelphia and Gamble asked Huff to join his group. Even as the team was producing hits like the Soul Survivors' infectious 1967 "Expressway To Your Heart," helping to revive the career of Jerry Butler by orchestrating his "Ice Man"-era hits and working with other great singers like Dusty Springfield, they were hatching plans to build their own empire, first with Gamble Records, then Neptune and finally with the extremely successful Philadelphia International. For the full article, go to: http://www.grammy.com/grammy/news.nsf/WebNewsbyTitle/8D425DA06EE502AB002567 1D0013DE18 =============== End of forwarded message =================== --------------------[ archived by Spectropop ]-------------------- Subject: 60s psych pop list Received: 03/04/99 12:00 am From: Dave Mirich, DmirXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com I don't want to annoy anyone by reposting this 60s psych pop list time and again. How about if I give it through the week and be done with it. So please get your recommendations in asap. Thanks everyone! Dave Mirich Tobias wrote:
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