____________________________________________________________ ___________ ___________ ___________ ___________ ___________ S P E C T R O P O P ___________ ___________ ___________ ____________________________________________________________ Volume #0242 March 12, 1999 ____________________________________________________________ Perfectly safe for playing normal 45 rpm microgroove recordsSubject: 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/
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
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
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/
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
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
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/
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
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.
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.
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
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.
End
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