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Spectropop V#0246

  • From: The Spectropop Group
  • Date: 03/23/99

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       Volume #0246                          March 23, 1999   
                          Decca Originals                     
    Subject:     The Girls' Scene
    Received:    03/23/99 12:27 am
    From:        Ian Chapman,
    To:          Spectropop List,
    Hi Will:
    >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?
    I don't sell them directly, Will, but it should be easy to
    order. It's put out by Polygram, under the Deram label, and
    the number is 844 897-2. Exactly when it's available seems 
    to depend on which country - seems it's already out in 
    Japan, whilst I've been told it won't be in the UK shops 
    for "a few weeks" yet. All the tracks are from the master 
    tapes, except the Blue Orchids, which couldn't be located,
    so they've done a very good dub from my own (near mint!!) 
    copy of the record. I tried to make the liner booklet as 
    informative as I could, but I guess it's left for others 
    to comment on that!!
    Hi Jamie:
    Thanks for the enthusiastic words. First, Pamela Blue......
    >OK, Ian, you say in the liner notes that this was her
    > only release. What does the B side sound like???
    The flip, "Hey There Stranger" has that "home-made" Meek 
    sound, with a very tinny electric organ to the fore. The 
    song itself is okay-ish. Pamela's voice sounds different, 
    a little deeper - maybe he speeded her up for "My Friend 
    Bobby". I'd highly recommend the 29-track RPM CD "Let's Go - 
    Joe Meek's Girls!" has most of his girlie tracks 
    on, including TEN unissued.
    >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.
    Well, Jamie, there's no bigger fan of the Ronettes' 
    version than myself, but I do think Marianne offers an 
    interesting take on the song, with her aloof, rather 
    fragile reading of the lyrics pitched against Oldham's 
    increasingly manic production. It appeals to me in the 
    same way as, say, Francoise Hardy's Spectorish tracks. 
    Maybe it just sounds different to Brit ears!
    >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.
    Yes, they were non-existent!! I totally agree with you 
    here, Jamie, the Bobbie Miller track is naff. Polygram no 
    longer had the rights to three tracks that I'd wanted to 
    include (Twinkle on Sloan/Barri's "What Am I Doing Here 
    With You?", Eleanor Toner - "Will You Love Me Tomorrow" 
    and "Happy New Year" by Beverley) and they wouldn't 
    license. So Bobbie Miller's item was a last-minute 
    addition, and the only track with which I was unfamilar. I
    took it on a recommendation (never again!) that it was a 
    "good Stones connection". Had I heard it myself it wouldn't
    have been there! There are so many better tracks that could
    have been used.
    >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!
    I'd like to know too, Jamie!! Can anyone else shed any 
    light on this?
    >Lulu's "Try To Understand" (Sawyer/Burton) too is 
    >brilliant. Is this too a cover? If so, who originally 
    >recorded it in US?
    Cindy Malone on Capitol (the "Weird Beard" gal). Hers 
    isn't as "produced" as the Lulu version, though, and 
    sounds a bit tame in comparison.
    >One complaint about the CD (don't hate me, Ian!) is that 
    >there are not always producer/arranger credits.
    Jamie, I'm at a loss as to why Polygram left the credits 
    off, especially as they actually asked me to supply the 
    necessary info for each track, which I did for most.
    >One quick question: the liner notes seem to have a typo. 
    >About Louise Cordet......Care to tell us what you intended
    >to say there?
    There were actually two errors (which weren't in the notes
    I submitted, I assure you!) The Louise Cordet bit 
    originally read: "(Gerry wrote "Don't Let The Sun Catch 
    You Crying" for her). Her fab treatment of Mary Wells' 
    "Two Lovers" - her final single - was an irresistible 
    helping of British Beat smothered in lashings of 
    "shush-mush"!" Also, the line in the Billie Davis paragraph
    originally read: "- never demonstrated better than in the 
    pop-flick "Top Gear" where she sang "What'cha Gonna Do" in
    her long mod "granny" dress, and jet-black bob." You might 
    also have noticed that John Reed, who wrote the 
    intoductory "blurb", incorrectly referred to Dana 
    Gillespie's as being the opening track.
    BTW, Jamie, Louise's version of "Don't Let The Sun" is 
    taken at a much quicker pace than the Gerry version. It's 
    nice, but even Louise herself said at the time that she 
    thought his version was "much better"!
    Well, here's hoping Polygram do a Volume Two!!
    --------------------[ archived by Spectropop ]--------------------
    Subject:     The Girls' Scene/Marianne Faithfull
    Received:    03/23/99 12:27 am
    From:        Kieron Tyler,
    To:          Spectropop List,
    Jamie LePage was mentioning the Girls Scene CD which 
    indeed sounds amazing. 
    And he said -
    >There are some clunkers on here...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...."
    Funnily enough - this is probably my fave Marianne 60s 
    single (after 'Hier Ou Demain'). It's her first 60s vocal 
    in a lower, slightly gruff style more reminiscent of her 
    70s releases, than the earlier quavery style. I think its 
    one of Oldham's most stylish productions in his kitchen 
    sink UK Spector way, and I reckon it's better than Billy 
    Nicholls version. Granted, it's different to the original,
    but that's probably what makes it stand out to me, its a 
    really English sound....
    And to Ian Chapman - the CD sounds essential, I'll get it 
    forthwith. The Vernon Girls 'Only You Can Do It' is a 
    brilliant single.
    Kieron Tyler  
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Blue Orchids
    Received:    03/23/99 12:27 am
    From:        WILLIAM STOS,
    To:          Spectropop List,
    > 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!
    I just found out the Exceptions were really the Blue 
    Orchids in disguise! Pretty cool. Why hasn't there been a 
    Blue Orchids compilation? They didn't record a heck of a 
    lot, but all their material is top notch!
    BTW, thank you Spectropopers for the info on the Teardrops! 
    I'll pass it along.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     More Brian
    Received:    03/23/99 12:27 am
    From:        Carol Kaye,
    To:          Spectropop List,
    I am sure it was only that one rushed time about meeting 
    Manson, he didn't look any different than any other hippie
    of that period. But...I never saw Brian with anyone but 
    someone in our business before and hurredly, I tho't "now 
    why does he, Carl, and Terry Melcher, have a stranger 
    around them". He was evidently the one who was hanging 
    around Manson.
    I was introduced (with my bass in my hand on the way to 
    the Mel Torme date at Capitol Records) to the guy as a "
    good new songwriter", that's all, just a quick thing. But 
    I remembered that.
    About 2-3 weeks later the killings took place. We studio 
    musicians were deathly afraid after that. 
    Percussionist Gary Coleman told everyone that he and a few
    others actually worked for Manson along with Dennis Wilson 
    (about the time I bumped into the creep) cutting some 
    things. Years later, some morbid DJ in Denver offered to 
    play me those cuts on a bootleg he had, -- hell no I don't
    want anything to do with some sick idiot-criminal.
    That one incident changed our lives forever... studio 
    musicians quickly pulled their home addresses out of the 
    Union Directory (not actually open to the public, but 
    could be gotten by the public if they were persistent). 
    Secrecy about our families, home phone and address data, 
    was then sought quickly. That was too close.
    Now, I've noticed that Brian denies knowing Manson then, 
    and he's probably distancing himself from that incident, 
    don't blame him. Time to move on from all the negativity. 
    I abhor people who are fascinated with these types of 
    sicko killers, wonder about their sanity for sure.
    I told one well-known film news agency when they wanted to
    pursue as to "why", some things about the entertainment biz
    and Manson "you know, that's exactly WHY some people love 
    to kill....they get attention from you news people....
    treated really nice too, called "sir" on the TV.....they 
    LOVE that attention, so kiiling is not a problem for them 
    to get the attention you LOVE to give them". They stopped 
    then, saw the logic in that. 
    Carol Kaye
    PS. You see why Brian will say anything to someone who's 
    bothering him to get rid of him, most "stars" do that....
    so many crazies out there. 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Terry Melcher
    Received:    03/23/99 12:27 am
    From:        Carol Kaye,
    To:          Spectropop List,
    I meant it was ONLY Terry Melcher that I saw that *knew* 
    Manson. Carl and Brian were just there in the hallway with
    them. Terry was the one hanging around him. 
    Didn't know about Dennis until later when Gary Coleman 
    (percussionist, his daughter was one of Prince's backup 
    singers, keyboardist Debbie, nice girl, very talented, 
    I've known that family for years, I helped Gary get his 
    first recording sessions, excellent percussionist) told me
    he had worked for Dennis on the creep's tunes. Carol Kaye
    PS. Now you see why Phil Spector always carries his gun 
    too. Am sure he's had some creeps from time to time act 
    weird around him in public's a very scary 
    business, always has been since 1969.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     RCA Model 9-JY Phonograph
    Received:    03/23/99 12:27 am
    From:        Jamie LePage,
    To:          Spectropop List,
    I was cruising around the WWW and found this pic at an 
    antique radio dealer's site. This apparently was an 
    early model that plugged into a radio or amp using the 
    newly-christened RCA plug. It reportedly only played 45 
    rpm discs with the big hole. It's a cool pic. That'w why 
    I bothered posting about it.
    Thanks again to KK for introducing a very interesting 45 
    rpm thread and to all for subsequent comments.
    RCA Model 9-JY Phonograph
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Reply to James
    Received:    03/23/99 12:27 am
    From:        Frank Youngwerth, FMXXXXXXXXom
    To:          Spectropop List,
    >It makes me wonder what then Frank, what you might think 
    >was near the best?
    "Good Vibrations" may be unbeatable as a technical 
    achievement. But I think a great single should reach out 
    and grab your heartstrings, not just dazzle your mind and 
    While I was growing up, I heard "Good Vibrations" more 
    often via Todd Rundgren's note-for-note cover (which made 
    the Top 40), as well as a Sunkist orange soda commercial. 
    I guess those versions affected the way I hear the Beach 
    I think Aretha Franklin's "I Never Loved a Man (The Way I 
    Love You)" might be the best single ever. And "Don't Worry
    Baby" the best by the Beach Boys. Brian Wilson would 
    probably pick "Be My Baby."
    Choosing between the above three is apples and oranges to 
    me. But of he or she who deems "G. V." superior, I wonder:
    do you listen with your heart? 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Boots Randolph
    Received:    03/23/99 12:27 am
    From:        Paul Urbahns, PaulurbXXXXXXXXom
    To:          Spectropop List,
    >Why is ANYONE honoring Kenny G ? Is there another one more 
    I vote for Boots Randolph, the original Mr Sax Man of Rock
    and Roll that has been overlooked by rock fans because he 
    lived and works in Nashville. Reemeber all those great sax
    breaks on Connie Francis (vacation, Gonna Be WarmThis 
    Winter, etc), Brenda Lee, Elvis Presley, Johnny Tillitson 
    (Poetry In Motion, great sax /vocal duet) and many others,
    even the indian snake horn on the beginning of Ahab The 
    Arab was Boots Ranolph playing it on a soprano sax!
    Paul Urbahns
    "more sax more often"
    --------------------[ archived by Spectropop ]--------------------

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