__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0246 March 23, 1999 __________________________________________________________ Decca OriginalsSubject: The Girls' Scene Received: 03/23/99 12:27 am From: Ian Chapman, iandXXXXXXXXlnet.co.uk To: Spectropop List, spectroXXXXXXXXties.com 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!".....it 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!! Ian --------------------[ archived by Spectropop ]-------------------- Subject: The Girls' Scene/Marianne Faithfull Received: 03/23/99 12:27 am From: Kieron Tyler, kierXXXXXXXX.org.uk To: Spectropop List, spectroXXXXXXXXties.com 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. Yours, Kieron Tyler --------------------[ archived by Spectropop ]-------------------- Subject: Blue Orchids Received: 03/23/99 12:27 am From: WILLIAM STOS, wsXXXXXXXXt.com To: Spectropop List, spectroXXXXXXXXties.com > 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, carolkXXXXXXXXlink.net To: Spectropop List, spectroXXXXXXXXties.com 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 http://www.carolkaye.com/ 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, carolkXXXXXXXXlink.net To: Spectropop List, spectroXXXXXXXXties.com 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 http://www.carolkaye.com/ 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 too....it'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, le_page_XXXXXXXXties.com To: Spectropop List, spectroXXXXXXXXties.com 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. http://www.accessone.com/~philn/art/rca11t.jpg RCA Model 9-JY Phonograph Jamie --------------------[ archived by Spectropop ]-------------------- Subject: Reply to James Received: 03/23/99 12:27 am From: Frank Youngwerth, FMXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com >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 senses. 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 Boys'. 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? Frank --------------------[ archived by Spectropop ]-------------------- Subject: Boots Randolph Received: 03/23/99 12:27 am From: Paul Urbahns, PaulurbXXXXXXXXom To: Spectropop List, spectroXXXXXXXXties.com >Why is ANYONE honoring Kenny G ? Is there another one more >deserving? 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 paulurbXXXXXXXXom "more sax more often" --------------------[ archived by Spectropop ]-------------------- End
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