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Spectropop V#0242

  • From: The Spectropop Group
  • Date: 03/11/99

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       Volume #0242                            March 12, 1999   
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    Perfectly safe for playing normal 45 rpm microgroove records
    
    
    
    
    Subject:     Re: 45s big and small
    Received:    03/11/99 7:12 am
    From:        Billy G. Spradlin, bgspradXXXXXXXXlink.net
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    >To clarify one point, the current standard for singles 
    >both in North America and Europe (yes, many of us still 
    >release vinyl!) is to have a small hole no matter what 
    >speed the single plays at. It's slightly more expensive 
    >(about 3 cents more per single, usually) but it's 
    >preferable for several reasons, especially ease of radio 
    >play. I have a radio performance on tape by the early-90s 
    >LA pop band Permanent Green Light where they have their 
    >new single with them but the DJ can't play it because no 
    >one can find a 45 adapter for the big hole!
    
    I think thats a funny story. Many of the radio stations 
    where I have worked had turntables manufactured by a 
    company called QRK that had a "sunken" turntable platter 
    that had a built-in 45 adapter. The platters were covered 
    in felt, which made it super-easy for a DJ to cue up the 
    45 quickly using his hand on the label. The only problem 
    with these platters is that they were terrible for 45's 
    with the small holes. You had to put a old LP on first and
    then place the 45 on top of it, and if it started slipping 
    then you would have to use scotch tape on the flipside of 
    the 45 to get it to play! I used to think it was a major 
    hassle to do that. I dont remember many indie bands in the
    Southwest that released 45's with the small holes but I do 
    remember several 7 inch EPs that did. Nowdays most radio 
    stations use Technics SL-1200 turnables which has a flat 
    platter but now and then I still see the old QRK's in 
    stations gathering dust, because most stations use CD's 
    now.
    
    Billy G. Spradlin
    29 Rim Road
    Kilgore, Texas 75662
    Email:  bgspradXXXXXXXXlink.net
    Homepage:  http://home.earthlink.net/~bgspradlin/
    
    
    
    Archived by Spectropop
    
    
    Subject:     Re: 45s big and small
    Received:    03/11/99 7:12 am
    From:        Jamie LePage, le_page_XXXXXXXXties.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    KK wrote:
    
    >I wonder why some singles have big hole and some small ones.
    
    Paul replied:
    
    >...because of a marketing dispute between Columbia 
    >Records and RCA Victor...Columbia introduced the 33 1/3 
    >Long Play record ...RCA got mad and introduced the 45 
    >rpm and put a big hole in it so it would only play on 
    >RCA players. 
    
    Yes, I have seen this account written in several books and 
    publications. This was around the mid-40's, right? I also 
    read RCA simultaneously put a $12.95 record player on the 
    market to play its 45s. However, the unique speed and size
    of a 7" 45 would be enough to establish a rival format to 
    the 10" 33 1/3 LP. I still wonder if the large hole is 
    directly related to this marketing move by RCA.
    
    Paul again:
    
    >The punching of the big hole is an extra step which is 
    >no longer needed.
    
    Stewart wrote:
    
    >My assumption has always been that for whatever reason,  
    >some 45s escaped the factory without getting their holes 
    >punched. Am I wrong?
    
    Not speaking as an expert by any means but I don't think 
    the big holes are punched after the fact. I have seen 
    firsthand a few pressing plants in operation, from 
    Columbia's huge factory up the coast from Los Angeles to a
    little sweatbox pressing plant (across the street from 
    Gold Star) with manual pressers operated by what appeared 
    to be illegal alien workers. A 45 starts out as a wad of 
    black plastic known as a "donut" (I think), which is 
    placed between the two stampers and then sort of pressed 
    like a waffle iron. I may be wrong, but I think the 45s 
    come off the press with the big holes already cut. I think 
    the big holes are die cut, not punched after their are 
    pressed.
    
    Anyway, I was shown around the plants and don't recall 
    seeing a process like punching the holes later. Not to be 
    argumentive, mind you, I just think this is an interesting
    thread and wanted to comment.
    
    Lenny then added:
    
    >The 45 rpm single was made for one purpose: jukeboxes.
    >With the large hole, the center post could be conical at 
    >the top, and the record would automatically fall into 
    >place even if miscued.
    
    That's what I had always assumed. Plastic melts. The big 
    holes don't appear to be drilled or punched. They seem to 
    be molded that way. Anyone know for sure?
    
    45s Rule!!!
    --
    All the best,
    Jamie LePage 
    
     
    Archived by Spectropop
    
    
    Subject:     Re: Rice Is Nice
    Received:    03/11/99 7:12 am
    From:        Big L, biXXXXXXXXtmail.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >The third one is by the Lemon Pipers....It is
    >called "Rice is Nice". This song typifies the whole feel 
    >and sound of that era between the late Sixties and early 
    >Seventies outside the Woodstock sound.
    
    Ah, the Lemon Pipers - the seminal bubble gum group. They 
    were a Cleveland band that had a bit of success in summer 
    '67 with "Turn Around and Take A Look."
    
    They were signed by Kasenetz-Katz, and three singles 
    ensued - Green Tambourine, Rice Is Nice, and Jelly Jungle.
    
    By late '68, the Pipers were but a faint memory. 
    Kasenetz-Katz found better success with groups like Ohio 
    Express and 1910 Fruitgum Company.
    
    I have always been fascinated by the sound of the Lemon 
    Pipers with K-K. Very gypsy-ish. Jelly Jungle is a real 
    psyche-pop mind blowing experience.
    
    Their first album is a study in contrasts. Half of it is 
    stuff from before K-K. Gritty, barroom type songs. A Byrds
    ripoff. A singer with a gravel voice. Lyrics like, "wait 
    'till you're old before you handle a gun... wait 'till 
    you're old before you have any fun."
    
    The K-K songs - a high voiced lead singer. References to 
    fruits and berries. The gypsy like arrangements.
    
    On a side note, Jack Armstrong claims on a WIXY reunion on
    WMJI-FM in Cleveland that Green Tambourine was actually 
    produced by WKYC djs Charlie and Harrigan, with help from 
    Jack. WKYC told them that if they made a dime from it, 
    they would all be fired. I would love to learn more about 
    this story.
    
    I have an aircheck snippet of Big Jack around the time 
    Green Tambourine came out. It would seem to support this, 
    as he plugs the record like this: "In my opinion, one of 
    the best songs out today." He didn't usually rave about 
    records that way.
    
    Anyway, the Lemon Pipers are one of my favorite late 60s 
    bands, and I enjoyed gertting the chance to talk about 
    them. 
    
    
    ==
    Big L                   Check out my Radio Legends pages at:
    biXXXXXXXXtmail.com    http://www.geocities.com/Hollywood/Hills/9816
    
    
    
    Archived by Spectropop
    
    
    Subject:     Batman Theme
    Received:    03/12/99 1:53 am
    From:        Carol Kaye, carolkXXXXXXXXlink.net
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    I think someone here asked about the Batman TV theme, no I
    never recorded the TV show of that, but they did get us out
    of bed at 4AM about the same day (60s) that that TV show 
    hit to record the big-hit single of the Marketts version 
    of it. 
    
    And it was ON THE AIR that same late morning...right after
    we cut it in LA. Evidently they took quick tape copies to 
    the radio station right after we cut the "cover" (as they 
    call it in the business). And it hit a lot bigger than the
    main TV cut thing ever did, was the big hit on that.
    
    I played bass on that, and there's another story in back 
    of that. We were silly on the date when cutting that, 
    Tommy Tedesco, Hal Blaine, myself and a few others. After 
    so many years of not quite enough sleep, you do get that 
    way sometimes in the studios (recording day and night 7 
    days/nights a week). 
    
    Tommy was razzing Hal Blaine, talking about the wind-up 
    "Hal Blaine" doll saying
    "I..make...more...money...than....any...other...drummer..
    in...the..world" (it's true, he did!). And Tommy also had 
    a "Carol Kaye" doll going "voom....voommmm...voommmm", 
    while he's making slide thingies on the guitar, imitating 
    my "signature" I'd put on a lot of the recordings (on 
    bass). 
    
    Haha, well...when he said that, I started putting in 
    slides all over the place on the date, and that's what you
    hear today, it was tongue-in-cheek ("yes, I cut down the 
    apple tree") but there for posterity. We miss Tommy 
    Tedesco, what a sense of humor. 
    
    Carol Kaye
    http://www.carolkaye.com/
    
    Archived by Spectropop
    
    
    Subject:     Dusty in Memphis, deluxe version
    Received:    03/12/99 1:53 am
    From:        Bates, Robert  (Cahners -NYC), robaXXXXXXXXrs.com
    To:          'Spectropop List', spectroXXXXXXXXties.com
    
    I just heard that Rhino has released a "deluxe version" of
    "Dusty in Memphis," with a whopping ten bonus tracks; I 
    understand some of them were produced by Jeff Barry. I 
    already have the non-deluxe version of "Memphis" - with a 
    mere three bonus tracks - and I was wondering if the new 
    ones were worth having. 
    
    Regards,
    Rob 
    
    Archived by Spectropop
    
    
    Subject:     Etta
    Received:    03/12/99 1:53 am
    From:        James Cassidy, casswriXXXXXXXXlink.net
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Claudia Cunningham wrote:
    
    >Just came across a little gem from my collection. This
    >must have been out in the early Sixties, if I recall. The
    >tune is "Pushover" by Miss Etta James. Ms. Etta's voice is
    >strong, to say the least...it could scare the buzzards off
    >a garbage truck! If anyone wants a taste of real gritty,
    >down-home soul pre-Aretha buy yourself some of her stuff.
    >There must be a CD out there featuring Etta.
    
    If Etta weren't off-topic for this list, I'd say try "The 
    Sweetest Peaches: The Essential Etta James," a two-disk 
    Chess set that covers Etta's work from the '50s to the 
    '70s.
    
    Jim Cassidy
    
    
    Archived by Spectropop
    
    
    Subject:     Grapevine etc.
    Received:    03/12/99 1:53 am
    From:        Carol Kaye, carolkXXXXXXXXlink.net
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >And a question for Carol Kaye: Can you tell us who the 
    >musicians were on "Grapevine" with Marvin Gaye, and did 
    >you work on any really well known disco records? I know 
    >you mentioned you worked on some. T'would like to know.
    >
    >Thanks! Claudia
    
    Claudia, no I was back out playing some good jazz by the 
    time the "disco" thing hit (gratefully; I hate that music). 
    "Heard It Through The Grapevine" was a Detroit product from 
    what I know about it, altho' Paul Humphrey has always told
    me he played drums on the Marvin Gaye version of it (out 
    here in LA). 
    
    That's all I know, it was not our bunch of LA musicians on
    that, so sorry, I don't know, but it was Jamerson on bass 
    on that one. 
    
    Carol Kaye http://www.carolkaye.com/ 
    
    
    Archived by Spectropop
    
    
    Subject:     Lavern Baker & Harvey Phillip
    Received:    03/12/99 1:53 am
    From:        Mark Landwehr, mslXXXXXXXXbs.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    One of Lavern Baker's records to never reach the charts 
    was a little Phil Spector-produced ditty called "Hey 
    Memphis" (Atlantic 2119)...An "answer" to Elvis' "Little 
    Sister," it was the exact same tune with only a slight 
    variation in lyrics.
    
    Never seeing the light of day on the charts (it's not a 
    bad version), this record has always been a mystery to me
    ...My only explanation is that it was a mere production 
    exercise for Phil, with the help of co-writer buddy Doc 
    Pomus, to help Spector fulfill his obligation with Ahmet 
    Ertugen and Atlantic Records. I also think that it was 
    never meant to be promoted - supposedly "released" around 
    the same time as Presley's song, one would doubt that 
    writers Pomus and Shuman would want to p.o. RCA by having 
    a similar song released by an artist other than The King 
    on a competing label!!
    
    Only a passing mention is made of Baker in the Spector 
    biographies by Rob Finnis and Mark Ribowsky (and nothing 
    in Richard Williams' book). Can anyone shed some light on 
    the real story behind this record?
    
    Mark (Philles Phanatic)
    Phil Spector Record Label GalleXXXXXXXX://www.toltbbs.com/~msland/Spector
    
    
    Archived by Spectropop
    
    
    Subject:     Our Winter Love
    Received:    03/12/99 1:53 am
    From:        Jack Madani, Jack_MadXXXXXXXX12.nj.us
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >various artists' CD called "Donna 
    >Reed's Dinner Party" on 550 Music/Epic.
    ....
    >This disk also contains
    ....
    >"Our Winter Love" by Bill Purcell
    
    Because of the previous talk of "big adult pop," I'd 
    pulled out my Rhino Vogues comp and Capitol Lettermen comp
    for some fresh listening, and what a coincidence! On the 
    Lettermen disc is a magnificently gorgeous song called 
    "Our Winter Love." Breathtakingly sweet and gentle, and the
    harmonies are straight out of the Four Freshmen-slash-Brian
    Wilson textbook.
    
    I also noticed another tune on the Lettermen cd that I'd 
    forgotten about, a beautiful version of "Be My Girl," 
    which of course is a gender-correct cover of the Paris 
    Sisters' Be My Boy. 
    
    
    Archived by Spectropop
    
    
    Subject:     Re: Spectropop V#0241
    Received:    03/12/99 1:53 am
    From:        WASE RADIO, wXXXXXXXX.org
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    
    One of my favorite oldies is "Popsicles And Icicles", a 
    number three hit for the Murmaids in early 1964. And i 
    have been curious about who were the musicians backing 
    this Los Angeles trio, I do know that this song was 
    recorded at Gold Star studios, since the original 45 lists
    Stan Ross as the engineer and "supervisor". I have the 
    Murmaids' "bootleg" (?!?) on compact disc. It is a "must 
    have" for any fan of the early 60s girl groups. A special 
    note: The compact disc version contains a bonus track 
    titled "He's Good To Me", which sounds like a Shelley 
    Fabares. It also the only true stereo track on an 
    otherwise all mono disc. Oh I forgot this disc is on 
    Collectibles, and has great liner notes.
    
    
    Michael G. Marvin
    KOOL 103.5 WASE
    Radcliff,Ky.
    
    
    Archived by Spectropop
    
    
    Subject:     Re: updated '60's psych/pop list
    Received:    03/11/99 7:12 am
    From:        Big L, biXXXXXXXXtmail.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Listen to the Kinks songs "Down By The Riverside," and 
    "Phenomenal Cat."
    
    There ought to be a word to describe songs like these, but
    I haven't found it yet.
    
    
    ==
    Big L                   Check out my Radio Legends pages at:
    biXXXXXXXXtmail.com    http://www.geocities.com/Hollywood/Hills/9816
    
    
    
    Archived by Spectropop
    
    
    Subject:     SMiLE
    Received:    03/11/99 7:12 am
    From:        Dave Mirich, DmirXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    For the fellow asking SMiLE questions, enjoy this brief 
    bit of information. For more, good music stores carry Dom 
    Priore's book, "Look, Listen, Vibrate, Smile".
    
    Reflections of a "Newbee" SMiLE Fan
    Dave Mirich
    (Published in Endless Summer Quarterly, March 1997)
    
    
    I'm careful about confiding my newfound devotion to the 
    music of Brian Wilson and the Beach Boys to just anyone. 
    My growing sensitivity is due to the harsh and mocking 
    comments this recent "attachment" of mine elicits from my 
    friends and relatives. In my need to communicate my 
    feelings about what this music does to me, I wrote the 
    following piece about a small slice of my fascination with
    Brian and the Boys. I figured I should place this piece in 
    a publication which only people of the same persuasion 
    would read. So the following is intended for "Your Eyes 
    Only."
    
    As with much of the music of The Beach Boys, for me the 
    "SMiLE" sessions took some getting used to. One night, soon
    after bought the "Boxed Set," I drifted off to sleep while 
    disc 2 was still playing. I remember being half asleep and
    finding myself feeling unsettled by the strange and warped 
    sounds coming from my stereo. I probably was listening to 
    the disturbing, yet brilliant "Wind Chimes", and/or the 
    disquieting, but beautiful "Heroes and Villains -- 
    'Sections.'"
    
    But nowadays, disc 2 is my hands-down favorite -- whetting
    my appetite for even more "SMiLE"" music (please Capitol, 
    Brian, Van?) To me, the music from the "SMiLE" sessions is
    some of the most captivating in existence. In my opinion, 
    the alluring, cutting edge harmonies and melodies in the 
    "SMiLE" music represents the daring and inventive nature of
    Brian Wilson during this creative peak of his long musical 
    career. 
    
    The myth and mystery of "SMiLE" and its enduring intrigue 
    and influence, sets it apart from any other music. I read 
    Dominic Priore's fascinating compilation of SMiLE articles
    in just a few days. Trying to decipher the truth and 
    reality of the "SMiLE" mystery from among the many clues 
    made me feel like Dick Tracy, in-search-of-his-soul. The 
    only person who could answer some of the questions in this
    riddle, Brian -- possibly never knew the answers himself. 
    And now, thirty years later, there really are no answers -- 
    only the lovely myths, and the music.
    
    For quite some time I was plagued by feelings of sadness 
    and loss that "SMiLE" could never be finished. I am 
    reminded of my disappointment of not having achieved a 
    childhood dream of becoming a major league baseball player. 
    Likewise, I eventually accepted that the wondrous "SMiLE" 
    music -- the epic work that would have changed modern 
    music forever, was simply not meant to be.
    
    The intensity of the cosmic energy that magically mingled 
    with Brian's genius for that short time of "SMiLE" could 
    not be sustained. Doors closed forever on the mood, the 
    feelings that created it. But the transcendental 
    accomplishment of Brian Wilson's arrangements, 
    orchestration, and performance elevates these recordings 
    to the legendary status they deserve. I am grateful now 
    for that 30 minutes which has been made available from 
    those legendary sessions. (But having those 30 minutes has
    only driven me to become a bootleg collector!)
    
    But for me, there is no song more beautiful and timeless 
    than "Wonderful" (the "Boxed Set" version) from the "SMiLE" 
    sessions. The intimate and seductive feeling that it 
    creates for me is indescribable. When I hear "Wonderful", 
    I feel that I am in the presence of the truly divine -- a 
    perfect, brilliant moment in time. 
    
    At first it was difficult to comprehend as to how this 
    piece of musical ecstasy could have remained unreleased 
    for close to three decades. But the more I learn about 
    Brian, the more such mysteries begin to make some sort of 
    sense. His thoughts and actions can be so very unusual 
    that only very few could ever decipher the goings-on in 
    his mind. But I definitely feel sympathy for Brian, along 
    with a sort of melancholia, whenever I picture his 
    devastation in having to abandon "SMiLE".
    
    "Cabinessence" for me is another powerful, cutting edge 
    piece of the "SMiLE" puzzle that defies time and space 
    altogether. If a courageous disc jockey were to play 
    "Cabinessence" on an alternative music station, it's 
    inventive and progressive sound would fit in perfectly. I 
    recently played it for a 16 year old alternative rocker I 
    know. She described the song as sounding like "ghosts 
    flying all over the place." 
    
    That otherworldly quality -- the unattainable splendor of 
    "Cabinessence" also can be felt in the sublime "Wind 
    Chimes" (the "Boxed Set" version). The first few times I 
    heard it, I felt that it was an especially disturbing 
    piece of music from a disturbed individual. In reality, 
    "Wind Chimes" was another of Brian's creations that was 
    simply years ahead of its time.
    
    I venture that today's alternative audience would 
    appreciate the brilliance of many of the inspired pieces 
    of the "SMiLE" recordings -- with no inkling that they 
    were cut thirty years ago. I can even imagine "Vegetables"
    ("Boxed Set" version) getting airplay one day on 
    progressive stations during a possible "SMiLE" 
    resurrection. 
    
    After my first listen, I felt that "Vegetables" was an 
    ungainly and disquieting song that seemed out of place 
    among "SMiLE" masterpieces. In fact, I would often skip 
    over it when listening to disk 2 of the "Boxed Set." But 
    "Vegetables" has now gotten under my skin and I recognize 
    its brilliance and importance. This wonderful song was 
    meant to add a delightfully self-effacing humor to what 
    would have been "SMiLE".
    
    The capstone of the "SMiLE" era, and perhaps Brian's most 
    stellar creation -- "Heroes and Villains" will always 
    possess a certain captivation for all who admire superbly 
    crafted and inventive sounds. In its different versions, 
    "Cantinas," "Sections, and "Intro", one can feel the 
    obsession Brian must have had for this piece. I am no 
    Brian Wilson historian, but it seems to me that "Heroes" 
    represents a turning point for him. 
    
    During his long and glorious career, Brian went on to 
    produce countless songs of beauty and importance. Many 
    agree that his songs are among the most enduring and 
    beautiful ever made. But in my opinion, never again would 
    his music posses quite the same driving, dazzling and 
    multilayered-brilliance of "Heroes and Villains" (however,
    Brian's 1988 album does have the exquisite song "Rio Grand").
    
    The "legendary" status given to the "SMiLE" recordings by 
    some, is legitimized in the grace and elegance of "Our 
    Prayer" -- and by the incomparable "Surf's Up." The 
    masterful arrangement of "Surf's Up", along with the sheer
    beauty of the melody -- send chills down my spine. The 
    emotion within the powerful and haunting vocals have the 
    force to carry me away. 
    
    The 30 minutes of previously unreleased "SMiLE" recordings
    on the "Boxed Set" proves the rumors at the time were true:
    That the music being created by Brian and Van Dyke Parks 
    would become an unforgettable and important benchmark in 
    Rock history. (I have delighted in listening to "Orange 
    Crate Art," as well.)
    
    This is a small section of my story. I'm sure many reading
    this can identify with the indescribable, "Wonderful" 
    feeling that this music gives to me. But then again, most 
    of you discovered years ago this contentment and mystery 
    after being consumed by the lore of this enigma of SMiLE.
    
    Archived by Spectropop
    End
    
    
    

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