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Spectropop V#0244

  • From: The Spectropop Group
  • Date: 03/18/99

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       Volume #0244                          March 18, 1999   
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                   Look, Listen, Vibrate, Smile               
    
    
    
    
    Subject:     UK Decca girls
    Received:    03/18/99 2:01 am
    From:        Ian Chapman, iandXXXXXXXXlnet.co.uk
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Please don't think I'm using Spectropop to advertise, but 
    some readers might like to know that a CD I compiled 
    featuring 60s girls who recorded for UK Decca is now out. 
    It's called "The Girls' Scene" and is on Deram 844 897-2. 
    The 25 tracks cover various musical styles, but I did 
    manage to squeeze as many Spector-soundalikes as I could 
    on there!! I won't take up space by listing all the tracks, 
    but a few that Spectropop readers might appreciate are:-
    
    The (Blue) Orchids - Oo Chang A Lang
    Adrienne Poster - Shang A Doo Lang
    Exceptions - Soldier Boy
    Lulu - Try To Understand
    Marianne Faithfull - Is This What I Get For Loving You?
    Jean Martin - Save The Last Dance For Me
    Vernons Girls - Only You Can Do It
    Antoinette - Jenny Let Him Go
    There's also Olivia Newton John's first record, "Til You 
    Say You'll Be Mine", and a Joe Meek track, "My Friend Bobby" 
    by Pamela Blue.
    
    Ian
    
    
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    Subject:     Re: Smile/Brian Wilson
    Sent:        03/09/19 10:13 pm
    Received:    03/18/99 2:01 am
    From:        Marc Wielage, XXXXXXXXtrax.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    JM  said on the 
    Spectropop List:
    
    > I'd like to express what seems to be a minority opinion,
    > that the stuff that's emerged from the Beach Boys' "Smile"
    > sessions isn't all that exciting and pales in comparison
    > with the stuff Brian was producing in '64-65.
    >--------------------------------------<
    
    I must confess I completely agree with you, Jonah. I've 
    heard hours of the SMILE sessions myself, and I came away 
    from the experience believing that the main reason why the
    album was never released in that form is because it was 
    extremely uncommercial. Some of the stuff was downright 
    unlistenable, even for long-time Beach Boys fans -- at 
    least when compared to their previous hits.
    
    In fairness to Brian, though, who's to say that he 
    couldn't have found a way to remix and re-record enough of
    it (or even add more material) to yield at least a couple 
    of hits off the album? It's possible with some more work -- 
    during the years when Brian was together enough to do it -- 
    Brian might have been able to pull that off. But we'll 
    never know now.
    
    True story: I once saw Brian, drunk out of his mind and 
    staggering through Tower Records on Sunset Blvd. at about 
    11PM one Wednesday night around 1984, and I got up the 
    nerve to ask him whether they'd ever finish the SMILE 
    album. He looked like a deer caught in the headlights, and
    stammered that they'd burned all the master tapes.
    
    I reminded him that BILLBOARD carried a story within the 
    last few months that copies of all the master tapes were 
    just found at Brother Studios, which they were in the 
    process of shutting down and/or moving. He paused for a 
    second, looked at me, and then nodded his head. "Yeah, we 
    found the tapes. But then we burned 'em again! 'Scuse me, 
    I gotta go..." and he left the store.
    
    So that's my take on the SMILE sessions. *sigh*
    
    
    --MFW
    
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
    -= Marc Wielage      |   "The computerized authority     =-
    -= MusicTrax, LLC    |       on rock, pop, & soul."      =-
    -= Chatsworth, CA    |         XXXXXXXXtrax.com         =-
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Re:  Jonah on Brian
    Received:    03/18/99 2:02 am
    From:        Frank Youngwerth, FMXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >Just thought I'd stir up some debate. I'd love to know if 
    >anyone agrees with me.
    
    I agree with a lot of what you say. I deeply appreciate 
    the beauty of Pet Sounds and the Smile sessions (Actually 
    Brian started veering in that direction earlier, on the 
    very albums you prefer, with wonderfully weird stuff like 
    "In the Back of My Mind"). But I don't think it's 
    necessarily the best music the Beach Boys ever made, (let 
    alone that Pet Sounds is the greatest rock album ever--and
    although it's surely a cool record, no way is "Good 
    Vibrations" anywhere near the best pop or rock single ever, 
    although Mojo's recent poll says so).
    
    Frank
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Brian Wilson
    Received:    03/18/99 2:01 am
    From:        Carol Kaye, carolkXXXXXXXXlink.net
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    JM:  
    >When Brian started to feel that he was better than all
    >that, he lost touch with that part of his talent that 
    >most people (rightly) responded to.
    
    I don't agree. I worked on almost all of Brian's dates in 
    the 60s, and he was growing fast in his producing, 
    arranging and writing. He had a warm relationship with all
    of us studio musicians. He was very happy when producing in
    using us for all the great Beach Boy tracks of the hits of 
    the 60s....there was a slight rift between the touring 
    group and himself, not really much but enough that they 
    sort of starting going their separate ways after we all 
    cut the Pet Sounds and Smile albums.
    
    Brian, when losing some of us (I went mostly into TV shows
    and movies, and quit working for Brian after meeting Manson) 
    from 1969, sort of went into a self-imposed hibernation.
    ..don't blame him...he didn't use any more drugs than 
    anyone else back then (no, not the studio musicians, we 
    lived on coffee - never used drugs)...but being very 
    sensitive and not resolving left-over issues from his 
    childhood (imo) and not getting the help he needed then, 
    plus being famous/rich, etc. was a detriment to him for 
    awhile. He's fine now, but paid a huge price (Landy and 
    all).
    
    Brian NEVER "felt better than all that" at all...I knew 
    him well (we studio musicians worked on EVERYBODY'S hits 
    back then, and he was one of the most humble people you'd 
    ever meet. Still is. He doesn't have the slightest 
    inclination towards ego which is somewhat a problem I 
    think -- we all need a certain amount of ego to rise above
    things. 
    
    He just grew symphonically out of the surf-rock early days, 
    thanks to the enouragement (and feedback) of his 
    jazz-experienced, big-band-experienced elite studio 
    musicians - yes, I have to brag here as I see it's still 
    not known out there that fine musicianship was both 
    admired and paid well....hardly any rockers on the rock 
    records of the 60s at all. 
    
    Very few sides were cut by the actual Beach Boys (only a 
    few dates at the beginning, and a few sides cut at Brian's
    house mid-60s)...Brian's music was potent and needed the 
    experience. But potency or not, we cut everybody's hits, 
    and maybe the general public will eventually know this 
    about the 60s records coming out of LA. Our names did NOT 
    get on the backs of albums until 1973 (was not required 
    until then by the Musician's Union).
    
    Hopefully people will NOT assume judgements anymore about 
    Brian from all the outdated slander of the past written by
    writers copying other writers who got it wrong. 
    
    Carol Kaye http://www.carolkaye.com/
    
    PS. Very sad about Dusty Springfield, many of her 
    recordings were done out here in LA, she was a lovely 
    person and huge talent.
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Smile
    Received:    03/18/99 2:01 am
    From:        Jamie LePage, le_page_XXXXXXXXties.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Stewart Mason wrote:
    
    >There are actually many, many [Smile] bootlegs...
    >The 2-CD Vigotone set seems to be the consensus favorite, 
    >but if anything feels strongly for or against any of the 
    >other favorites, I'm willing to be persuaded.
    
    I believe the Sea of Tunes collector series will next 
    feature a more comprehensive Smile set that will make the 
    current Vigatone set outdated. There is also word that 
    Vigatone will revamp its Smile comp for a more updated 
    version.
    
    All the best,
    
    Jamie
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     ambrose pt.5????
    Received:    03/18/99 2:01 am
    From:        Jack Madani, Jack_MadXXXXXXXX12.nj.us
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    This online music site, www.on-air.com, is really very 
    interesting to listen to. There are three different 
    channels, "popular," "oldies," and "dance." You use 
    realplayer to listen.
    
    The oldies channel is really very eclectic. And today I 
    heard something unbelievably weird: "Ambrose Pt.5," by 
    Linda Laurie. What the heck is this bizarre recording? 
    It's a dialogue, a girl hectoring her boyfriend with 
    mundane commentary that's punctuated at regular intervals 
    by this strange little passage:
    
    she: Ambrose, why do we have to walk in this dark subway 
    tunnel? he: Just keep walking.
    
    Any info on this? 
    jack "ambrose" madani
    ------------------------------------------------------------------------
    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
    -------------------------------------------------------------------------
    
    
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    Subject:     45's
    Received:    03/18/99 2:02 am
    From:        Marc Miller, marXXXXXXXXcom
    To:          'spectroXXXXXXXXties.com', spectroXXXXXXXXties.com
    
    I don't believe this fact has come up in the recent 
    discussion about 45's/33 etc. If it has, forgive me. I 
    have read in at least one place that the speed of 45 RPM 
    was arrived at by subtracting 33 from 78. Anyone know if 
    that's true?
    
    Marc
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Re: 45s big and small
    Received:    03/18/99 2:01 am
    From:        Big L, biXXXXXXXXtmail.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    >I also read RCA simultaneously put a $12.95 record player 
    >on the market to play its 45s. 
    
    Absolutely true. There used to be one for sale at a junk 
    store in the town I grew up in. Made of the old hard 
    bakelite, and large hole 45s were all it was capable of 
    playing. No doubt an attempt by RCA to create a "slave" 
    market for it's 45 format. Fits right in with the 
    explanantion Paul U. gave us. 
    
    ==
    Big L                   Check out my Radio Legends pages at:
    biXXXXXXXXtmail.com    http://www.geocities.com/Hollywood/Hills/9816
    
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     BOUNCE spectroXXXXXXXXties.com: Non-member submi
    Received:    03/18/99 2:01 am
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    ========= Start of forwarded message =========
    
    Several rock and roll legends were inducted into the Rock 
    and Roll Hall of Fame, including Dusty Springfield, Curtis
    Mayfield, Paul McCartney. McCartney was already in the Hall
    as a member of the Beatles but like the late John Lennon, 
    he's also being inducted for his accomplishments as a solo
    artist. Speaking of the Beatles, the group's producer 
    George Martin was also inducted at the ceremony tonight at
    New York's elegant Waldorf Astoria Hotel. McCartney, who 
    didn't attend when the Beatles were inducted in 1988, made
    his first major public appearance since the death of his 
    wife, Linda, last spring.
    
    Curtis Mayfield was inducted as a solo artist. He is 
    already in the hall as a member of the Impressions. 
    Mayfield is working with Lauryn Hill on a duet for a new 
    movie, Mod Squad.
    
    Other inductees included Del Shannon, who made "Runaway" a
    hit in 1961; the gospel group The Staples Singers; and 
    British singer Dusty Springfield, who lost her long battle
    with breast cancer just before her induction. 
    
    The foundation's voting body inducts between five and 
    seven members each year. Inductees are featured in the 
    Rock And Roll Hall of Fame museum in Cleveland, Ohio, 
    which exists to "preserve, exhibit and interpret the 
    living heritage of rock and roll".
    
    In related news, Congessional Reps. Dennis Kucinich, 
    D-Ohio, and Charles Norwood, R-Ga., introduced legislation
    that would help old chart-toppers defend their claim 
    against imposter 50s favorites performing at the same time
    in different cities.
    
    Carl Gardner, an original member of The Coasters, has been
    irritated by what he considers impostors for more than 20 
    years. Now he's one of about a dozen golden-oldie 
    performers who've asked Congress to protect them from 
    competitors using the same names and singing the same 
    songs.
    
    "These guys are making like they're the real Coasters. 
    They're in their 20s and 30s and I'm 70 years old," 
    Gardner said Monday from his home in Florida. "This 
    trademark law must be changed. If we don't nip this thing 
    in the bud now it's going to go across the whole United 
    States with all entertainers."
    
    "You have to pay a $50,000 bond just to start a court case, 
    in case you lose. That's a lot of money," said Gardner. 
    "I'm working, but sporadically. These other guys, they 
    don't even charge the kind of money I charge. If I charge 
    $10,000 a night they'll charge $2,000 a night."
    
    The groups that climbed the Top 40 in the 1950s and 1960s 
    often had rosters that changed through the years. 
    Sometimes, later-year replacements took the material on 
    the road with their own groups, even though some member of
    the core group was still performing.
    
    Other times, dispute over the ownership of the group's 
    name made it possible for entire new bands to be hired to 
    re-create the music without any direct link to the 
    original group.
    
    Larry Marshak of RCI Corp. in New York, who packages East 
    Coast and West Coast versions of the Platters, Drifters 
    and Coasters, said he has valid, legal rights to those 
    names, and does nothing deceptive with his troupes of 
    young singers performing old hits.
    
    "We make no illusions to be otherwise than what they are. 
    Nobody expects to see the original members when they see 
    us," he said. "It's like on any given weekend you'll have 
    six Glenn Miller Orchestras or Tommy Dorsey Orchestras 
    performing, and Glenn Miller's been dead for years."
    
    Marshak said he started putting together revival shows in 
    the 1970s, reuniting some original band members or using 
    originals as advisers to work with entirely new groups 
    performing the old material.
    
    Kucinich, who takes seriously his home town's role as host
    of the Rock and Roll Hall of Fame, said he was pushing for 
    a change in a 1947 trademark law because both artists and 
    consumers need protection.
    
    "The knockoff groups should not be permitted to pass 
    themselves off as the real thing," the Cleveland 
    congressman said. "Those artists who have put their heart 
    and soul into building a career and making a name and into
    stunning achievements in music ought not be deprived in 
    later life from the fruits of their labor."The pop music 
    establishment has honoured the late Dusty Springfield by 
    inducting her into the Rock And Roll Hall of Fame.
    
    ========== End of forwarded message ==========
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     Phil Spector, acting strange again
    Received:    03/18/99 2:01 am
    From:        Bates, Robert  (Cahners -NYC), robaXXXXXXXXrs.com
    To:          'Spectropop List', spectroXXXXXXXXties.com
    
    This was in the Daily News today ...
    
    Regards,
    Rob B.
    
    Phil Spector Produces
    Quite a Stir at Waldorf 
    
    Legendary record producer Phil Spector sure made a 
    spectacle of himself at the Rock and Roll Hall of Fame 
    Awards. Standing amid a celeb-packed crowd, Spector 
    appeared to lash out at those around him - and spewed foul
    language among those assembled, several eyewitnesses said.
    
    The scene happened just as the awards wrapped up and the 
    VIPs - including Paul McCartney, Bruce Springsteen, Billy 
    Joel, Bono, Bonnie Raitt, Neil Young and Tommy Mottola - 
    were being ushered to a party in Springsteen's suite at 
    the Waldorf-Astoria. Crowded into a hallway, Spector 
    looked around at the hordes of people in such close 
    quarters and bellowed, "It's like Auschwitz in here," the 
    witnesses said. Spector, a member of the Hall's nominating
    committee, then turned his gaze on someone who was staring 
    at him in disbelief and barked, "What the ---- are you 
    looking at?"
    
    Spector did not return repeated calls for comment. But 
    lawyer Marvin Mitchelson, who accompanied the 
    publicity-shy icon to New York for the awards but wasn't 
    present in the hallway, said the producer was probably 
    just joking. "He has his own sense of humor. Other people 
    may not see Phil as funny," said Mitchelson, "but what I 
    saw of him, he was fine." As for the Springsteen party 
    itself, it lasted until 4 a.m., according to Joel, who was
    looking no worse for wear when I caught up with him 
    yesterday at a Recording Industry Association of America 
    luncheon that honored him, Elton John, Kenny Rogers, Led 
    Zeppelin and Kenny G. Joel rolled his eyes at the mention 
    of Spector, and said, "That's what makes the Rock and Roll
    Hall of Fame what it is. Anybody can say anything." Joel 
    said his favorite moment at the Springsteen party occurred
    "when I introduced my mother to Bruce Springsteen's mother.
    What a great moment for me," said Joel, "and I didn't have
    a camera." 
    
    
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    End
    
    

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