__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0245 March 19, 1999 __________________________________________________________ A lifetime of pure listening enjoymentSubject: The Girls' Scene Received: 03/19/99 12:13 am From: WILLIAM STOS, wsXXXXXXXXt.com To: Spectropop List, spectroXXXXXXXXties.com Ian, this record sounds fantastic! How can I get a copy? Do you sell them directly, or can I order it from my local record store? What is the sound quality like on these recordings? Liner notes? Will > 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. --------------------[ archived by Spectropop ]-------------------- Subject: The Girls' Scene Received: 03/19/99 12:13 am From: Jamie LePage, le_page_XXXXXXXXties.com To: Spectropop List, spectroXXXXXXXXties.com Ian Chapman wrote: >Please don't think I'm using Spectropop to advertise... To tell us about a new Brit GG comp? Are you kidding? >...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. Upon reading this in ish #244, I immediately called my local disc shop, confirmed they had a copy and picked it up. Ian, this is great, great stuff. Anyone who enjoys the Brit GG stuff on the Pye series "Here Comes the Girls" must have this. Simply amazing. First of all. perhaps my very favorite Joe Meek record ever, "My Friend Bobby" by Pamela Blue is on here. Perfect example of Joe Meek's distinctive style. Can't say enough about this side. I have this on a Decca 2LP set called The Joe Meek Story, but I have never seen it on CD before in spite of the fabulous Joe Meek reissues that have been issued in recent years. OK, Ian, you say in the liner notes that this was her only release. What does the B side sound like??? (side note - why do we not talk more of Joe Meek here?) Of additional interest are two very obscure Jagger/ Richards songs, one the celebrated Adrienne (Poster?) Posta's "Shang A Doo Lang" which is Oldham doing faux Spector. A great, great record. The other one, which I had never heard before, is Vashti's "Some Things Just Stick in Your Mind". Really interesting. There are some clunkers on here too, but these too are worth hearing, especially when they are covers of US GG records. Marianne Faithfull's take on Ronnie's "Is This What I Get For Loving You" is pathetic. The agony, longing, anguish built into the lyric and so effectively communicated in the Ronettes version is completely absent here. Marianne sounds as cold as a Frigidaire on this. "Is This What I Get For Loving You" may be perhaps my fave Ronettes song ever, so I am probably very biased, but this is very strange indeed! Didn't Oldham cover this again with Billy Nicholls? It was far better there. Bobbie Miller's cover of Raindrops' "What a Guy" is pretty strange too. Bill Wyman produced - hey, don't give up your day gig, Bill. I appreciate his ambition and resentment at the lack of support from the Oldham/Jagger/Richards camp, but this too is pretty dismal, particularly since he had a better model to start with in the Raindrops version. Great to have this on the comp, though, as it does contribute to the overall UK Decca GG picture and gives us an indication as to Wyman's abilities as a producer. Some great surprises here too. The Donovan Leitch-penned "You Just Gotta Know My Mind" by Dana Gillespie is an unexpected Kinks-like rocker that sounds nothing like the stuff Donovan recorded himself. I particularly like the Wine/Bayer song "Nobody's Home To Go Home To" by Billie Davis. Ian, you don't mention the original recording of this song. Surely it must be a US artist. Do tell! This is the most sophisticated song on the comp. I fell for this immediately. Lulu's "Try To Understand" (Sawyer/Burton) too is brilliant. Is this too a cover? If so, who originally recorded it in US? btw, The (Blue) Orchids - Oo Chang A Lang is absolutely great! Will Stos: this one is for you! The CD closes with the Exceptions' Soldier Boy (not a Shirelles cover). This too is classic GG. Priceless. This track is essential GG. The flute is so weird! One complaint about the CD (don't hate me, Ian!) is that there are not always producer/arranger credits. Also, I THINK it's Nicky Hopkins on a track, but no musician credits either, so I can't tell for sure. Since knowing who worked on the record helps me to understand how a record ended up sounding like it does, this is a bit of a disappointment. Of course, your liner notes are fascinating and very informative. One quick question: the liner notes seem to have a typo. About Louise Cordet, the liner notes read in part: ... [she] toured with the Beatles and Gerry and the Pacemakers. (Gerry wrote "Don't Let The Sun Catch You Crying for treatment of Mary Wells "Two Lovers" - her final.... That doesn't make sense. Care to tell us what you intended to say there? "Don't Let The Sun" is a great fave and I am very curious to know what was omitted from the notes... I can't recommend this CD enough. All girl group fans must have this. Great job, Ian. All the best, Jamie --------------------[ archived by Spectropop ]-------------------- Subject: Carol Kaye's remarks on Brian Received: 03/19/99 12:13 am From: Bates, Robert (Cahners -NYC), robaXXXXXXXXrs.com To: 'Spectropop List', spectroXXXXXXXXties.com Hi, Carol, thanks for the valuable posts. You mentioned that you "quit working for Brian after meeting Manson." Would you mind elaborating a bit on that? Did the two actually hang out together? And what was it like to actually meet a sick man like Manson? Regards, Rob B. --------------------[ archived by Spectropop ]-------------------- Subject: Q Received: 03/19/99 12:13 am From: Ron Bierma, ELRONXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com In a message dated 3/17/99 12:38:28 PM, spectroXXXXXXXXties.com writes: >yesterday at a Recording Industry Association of America >luncheon that honored him, Elton John, Kenny Rogers, Led >Zeppelin and Kenny G. Why is ANYONE honoring Kenny G ? Is there another one more deserving? --------------------[ archived by Spectropop ]-------------------- Subject: Re: record speeds/Fresh Received: 03/19/99 12:13 am From: Stewart Mason, flamiXXXXXXXXcom To: Spectropop List, spectroXXXXXXXXties.com Marc Miller asks: >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? I feel kinda silly answering this question in front of our own Dave Feldman (I know we shouldn't plug our own stuff here, but we can still plug each other: I cannot recommend Dave's Imponderables books more highly. Immensely entertaining stuff), but this comes from THE STRAIGHT DOPE (Ballantine, 1984, pp. 258-60) by Dave's friendly rival, the godlike Cecil Adams: "Just as Emile Berliner [inventor of the 78 prototype] had adapted his disc to meet the standard of the Edison cylinder, RCA had designed the 45 to conform to the 78 -- it offered the same playing time, somewhat improved fidelity and the dubious advantage of being more "convenient" because the discs were smaller. In presenting the 45, RCA unloaded some drivel about how 45 RPM was the optimum speed for sound reproduction, but it was revealed that in fact RCA had told its engineers to come up with any old speed so long as it wasn't compatible with Columbia's [microgroove 33.3 12" LPs] system. The big hole was apparently supposed to make the two types of records even more incompatible." Elsewhere, Unca Cecil says that Berliner's discs had their speed standardized at 78 RPM by the first electric phonographs in 1925. Before this, people had just cranked the phonograph until it sounded right to them (70-80 RPM), but the speed was set at 78.26 because that was the RPM you get if you fit a common 46:1 gear to an equally common 3600 RPM motor. Cecil doesn't say what gears are used to get 33.3 RPM or 45 RPM, but since obviously the motor must be the same (otherwise we couldn't have multi-speed turntables), my assumption is that the speeds for 33s and 45s were also arrived at because of gear ratios. The 78 - 33 = 45 theory, I would imagine, must just be a coincidence. I realize that the foregoing just barely qualifies as list content, so I'll ask a 60s pop question: Is anyone here familiar with a Simon Napier-Bell project from 1970 called Fresh? Their LP is called FRESH OUT OF BORSTAL, and the liner notes claim that all the band members are teenage JDs who had spent time in the UK juvenile correctional system. I kinda doubt it. Songs include Rolling Stones covers and a number of Napier-Bell originals that have a rather, ah, Jean Genet subtext, if you know what I mean. Net searches reveal squat. Does anyone know anything at all about this LP? It's recommended if you want the missing link between freakbeat and glam rock. Stewart ***************************FLAMINGO RECORDS*************************** Stewart Allensworth Mason "Why didn't they just turn it off? Box 40172 I didn't call the police when Albuquerque NM 87196 Forrest Gump started running!" www.rt66.com/~flamingo *********************HAPPY MUSIC FOR NICE PEOPLE********************** --------------------[ archived by Spectropop ]-------------------- Subject: Re: The Teardrops Received: 03/19/99 12:13 am From: Ron Sauer, RGSaXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com In a message dated 99-03-13 16:20:35 EST, you write: >I was just asked about a group called the Teardrops, >possibly from Cincinnati. I'll pass on the message. Any >clues? I believe I have a song called "You Won't Be There," >by them which I really love, but it could be a different >group. > >"I was wondering if you have heard of a girl group, >possibly from here in Cincinnati called the Teardrops. I >just picked up three 45s by the group today. They are >early 60s, on Saxony Records, which is out of Cincinnati. >The records look rather new, though I could be wrong about >that. That tracks are: That's Why I'll Get By b/w Tonight >I'm Gonna Fall In Love Again, I'm Gonna Steal Your >Boyfriend (same on both sides), and I Will Love You Dear >Forever b/w Bubblegummer. All of the tracks are written by >a Paul Trefzger and produced by Bud Reneau. Any clues? >Thanks. > >Chris" The Teardrops were indeed a Cincinnati girl group from around 1965/66. They had two local hits that I'm aware of. "Tonight I'm Gonna Fall in Love Again" and "Tears Come Tumbling". (The flip was "You Won't Be There") Saxony was a local label, distributed by Fraternity. "Tears Come Tumbling" was picked up by Musicor and was a minor hit in Boston. "Tears Come Tumbling" is a favorite of mine. "I Will Love You My Dear Forever" was just issued a few years ago. I found it in a local shop that specialized in 45's and the owner told me that it was a new issue of on old song. I met one of the young ladies some years ago. Her name was Tinker. That's all the info I have. Someone mentioned that the Lemon Pipers were from Cleveland. That isn't true. They were from the Cincinnati area. Most were going to Miami University in Oxford, Ohio. They were originally called Tony and the Bandits and had a different lead singer. They won the first (and I believe only) Battle of the Bands on the Shindig TV show. They had a single out on Decca called "It's a Bit of Alright". (originally on Flo-Roe Records.) Tony Brazis, their lead singer, joined another local group - Ivan and the Sabres. Initially the group kept that name, but changed it in the late sixties to the Sixth Day Creation. Ivan Browne, the lead singer of Ivan and the Sabres, joined the remaining Bandits to form the Lemon Pipers. When Ivan was with the Sabres, they had a great garage record called "Just Let Her Go" on the Prism label. All of this is as I remember it. Ron --------------------[ archived by Spectropop ]-------------------- Subject: Smile Received: 03/19/99 12:13 am From: Steve Marinucci, abbeXXXXXXXXcom To: Spectropop List, spectroXXXXXXXXties.com >> 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. >>-------------------
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