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Spectropop V#0249

  • From: The Spectropop Group
  • Date: 03/31/99

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      Volume #0249                           March 31, 1999   
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                  Always First with the Good Gear             
    
    
    
    
    
    Subject:     I Want A Boy?
    Received:    03/31/99 12:41 am
    From:        Brian, LesToilXXXXXXXXom
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Regarding Will Stos's comments about the song Home of The 
    Brave; are we talking about that masterfully-produced song
    from the mid-sixties with the chorus "Home of the brave, 
    land of the free, why won't they let him be what he wants 
    to be"? Well the version I have is by a British black girl
    named Peanut on Here Come The Girls Vol 8. It WAS written 
    by Mann/Weil so I suppose there must have been someone 
    here in the States that recorded it. I wasn't sure if you 
    said it was the Treasures or Bonnie that recorded the 
    version you (Will) were familiar with. Needless to say 
    this girl Peanut sounds NOTHING like Ronnie Spector (does 
    ANYone?).
    
    And speaking of Ronnie, could someone give me a bit of 
    history on a song supposedly recorded by The Ronettes 
    called I Want A Boy? I have this cut on a comp from last 
    year called Marginal's Soul Females. This song is absolute
    candy to my ears! It moves like a locomotive engine! But 
    it's extrememly difficult to believe Ronnie was 
    responsible for the lead vocal! Was she? That distinctive 
    voice is nowhere to be found on this track. There ARE 
    those "wo-oh-oh's", but the voice sounds--excuse me for 
    saying this, Ronnie--much more trained and controlled. I 
    read in her autobio' that, before Phil got hold of them, 
    the Ronettes recorded a bunch of stuff on a label that 
    was never released. Is this cut one of them? And if so 
    where oh where can I get that entire library of songs from
    that period?
    
    
    Brian
    
    
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    Subject:     Bonnie & the Treasures
    Received:    03/31/99 12:42 am
    From:        john rausch, jXXXXXXXXnet
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Will
    
    Bonnie is Charlotte Methany and was nicknamed Charlotte 
    O`Hara by Stan Ross, and Home Of The Brave was recorded by 
    Jerry Riopell on Spector`s offshoot label Phi-Dan. Written
    by Mann-Weil. I agree, Bonnie and Ronnie sound nothing 
    alike. I do like Close Your Eyes much more than Home Of The
    Brave, though. Charlotte died of breast cancer in the early 
    70s.
    
    
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    Subject:     Bonnie & the Treasures
    Received:    03/31/99 12:42 am
    From:        Ian Chapman, iandXXXXXXXXlnet.co.uk
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    Will Stos wrote:
    
    >"Home Of The Brave," is one of the greatest songs I've
    >ever heard. It definitely sounds like Phil
    >produced it, but some people claim it's actually the
    >Ronettes. Well, the Treasures sound like them, but not
    >Bonnie. How she could possibly be Ronnie is beyond me, and
    >her high pitched voice doesn't sound like any other Ronette,
    >does it? She released a solo single, "Close Your Eyes,"
    >too. Who was she? Who were the Treasures? Why wasn't it a
    >big hit? Who wrote it?
    
    Hi Will,
    
    Okay.....first, the lady herself. Bonnie was Charlotte 
    O'Hara (real name Charlotte Matheny), a young white girl 
    with long red hair who lived a couple of blocks from 
    Goldstar with her 2-year old daughter. She knew the studio
    owners and would hang out there, often doing demos or 
    back-ups, and occasionally, cutting records. It was 
    actually Jerry Riopelle who produced Mann/Weil's "Home of 
    the Brave", although Charlotte said that Spector was 
    around the studio at the time. Jerry also produced the 
    follow-up, "Close Your Eyes", plus an even better couple 
    of tracks that remain issued only in acetate form - "Tell 
    Me In The Sunlight"/"I'm Your Girl". Both are great 
    Spector soundalikes. Some readers may know the Margie Day 
    version of "Sunlight" on Martay - well, both her version 
    and Bonnie's use the same instrumental backing track. Go 
    figure that one. "I'm Your Girl" also has a very full 
    sound, with a phased intro and very Nitzsche-sounding 
    strings. Charlotte made other records, too. As Bonnie & 
    the Treasures, there was the squeaky "Davey, I'm So Glad 
    it Rained" on Pablo; as Charlotte O' Hara, there was "What
    About You" on Ava. She also co-wrote "Love Bells" for the 
    Galens on Challenge. If you can find a copy, the UK's 
    "Philately" #7 (1990) featured an article (with pic) on 
    Charlotte by Peter Canvel, a friend of hers who also 
    worked at Goldstar. Sad to report she passed away from 
    breast cancer in the late 70s.
    
    Jerry Riopelle was interviewed in "Philately" #3 (1984). 
    When asked if he worked with Phil on "Home of the Brave", 
    he replied, "No I did that one myself. When the record 
    came out it was covered by Jody Miller. We didn't expect 
    their record, they didn't expect ours. It was published by
    Screen Gems, and no-one expected that this was going to 
    happen. When the record came out and the big battle 
    started, Philip took control of the battle. It became like
    his record instead of mine. He became so busy calling up 
    the trades and doing interviews, saying how his new record
    .....was being covered, and that he had the original. I 
    was the producer, but he became so busy supporting the 
    record that it became to him like his own record. Of 
    course, it was - he owned it & it was put out by his own 
    record company - but I in fact was producer of it."
    
    Ian
    
    
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    Subject:     Greenwich-Barry Questions
    Received:    03/31/99 12:42 am
    From:        Scott Bauman, ScottBauXXXXXXXX.msn.com
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    I'd like to draw upon your collective wisdom, if I may. 
    Recently, I received a CD-R of recordings of numerous 
    Greenwich-Barry compositions. Although many of the 
    recordings appear on "The Red Bird Story" boxset, there 
    are several songs and recordings that I had never heard (
    or even heard of) before. Does anyone know anything about 
    the following recordings (i.e., Who are Tony Pass, Beverly
    Jones and Mike Berry? Were the Neil Diamond and Otis 
    Redding tracks commercially released?)?
    
    1.    It's So Strange (The Way Love Works) -- Neil Diamond
    2.    How Fine Can One Guy Be -- The Dixie Cups
    3.    Nobody But You -- The Tokens
    4.    Spring Fever -- Tony Pass
    5.    True True Love -- Tony Pass
    6.    The Swim -- The Butterflies
    7.    Wait Till My Bobby Gets Home -- Beverly Jones
    8.    That's All I Ever Want From You Baby -- Mike Berry
    9.    I Got To Go Back (And Watch That Little Girl Dance) -- Otis Redding
    10.  Da Doo Ron Ron -- Andrew Oldham Orchestra (with Mick Jagger)
    
    
    -- Scott
    
    
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    Subject:     Mally or Tammy?
    Received:    03/31/99 12:42 am
    From:        Francesc Sole, fsXXXXXXXXes
    To:          Spectropop, spectroXXXXXXXXties.com
    
    Hi friends,
    
    I'm sorry if this has been answered before, but I was 
    listening to Here Come The Girls Vol. 6 on Sequel, and I 
    think I spotted a mistake in the liners OR in the track 
    listing on the back inlay... The mistake is between songs 
    # 2 and 3. Who is who? Can anyone shed some light?
    
    The liners go like this:
    
    "As far as we know, there are no such rockist credentials 
    for Hornchurch born Tammy St. John (real name Judith 
    Coster). Au contraire, her big sister Janet was an opera 
    singer! We wonder what Janet thought of Tammy's 
    catchy-as-hell- I'm Tired Just Looking At You"
    
    "Talking of big sisters, Mally (Melinda) Page's elder 
    sibling was none other than Jackie Trent, Pye staff 
    producer Tony 'The Hatchet' Hatch's better half. Life And 
    Soul Of The Party (better known as Pet Clark album track) 
    was the flip of Mally's only solo 45 recorded with the 
    pre-Abba-esque group the Two Of Each." 
    
    But on the track listing on the back inlay, we see:
    2. I'm Tired Just Looking At You - Mally Page
    3. Life And Soul Of The Party - Tammy St. John.
    
    So, what's right?
    
    thanks!
    Francesc
    
    
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    Subject:     Sax Players
    Received:    03/31/99 12:41 am
    From:        Warren Cosford, raXXXXXXXXNet
    To:          Spectropop, SpectroXXXXXXXXties.com
    
    Hi Folks:
    
    CLAUDIA CUNNINGHAM wrote....
    
    >I would have to say that my own opinion for top sax
    >players would include Boots Randolph who's in a league of
    >his own, Paul Desmond of the Dave Brubeck Quartet and
    >let's not forget - for honorable mention - Autry DeWalt,
    >Jr., otherwise known as Junior Walker (of the Allstars),
    >the Motown tenor sax player who had the legendary "Shotgun"
    >superhit and "What Does It Take (to Win Your Love)" and
    >"Do the Boomerang" on the charts, to name a few.
    
    Following my first Bruce Springsteen concert in the late 
    70's I was invited to a party thrown by the record company. 
    I struck up a conversation with Bruce's sax player 
    Clarence Clemons....by saying "Love your style, it reminds
    me a little of Daddy G." Clarence got this big smile on his
    face, grabbed me by the shoulder and said "Daddy G was my 
    hero".
    
    Of course, I'd figured as much. Daddy G was the sax player
    on those wonderful Gary US Bonds records. Check out "Havin'
    So Much Fun", the flip (I think) of "Twist, Twist Senora" 
    and also on the "Best of" LP. Also noteworthy for me was 
    George Kazakas on the early Jack Scott records and, of 
    course, whoever played the solo on Duane Eddy's "Rebel 
    Rouser". Then, there was Johnny Paris of Johnny and The 
    Hurricanes....but those records don't hold up quite as 
    well for me. 
    
    
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    Subject:     Sax Players / HCTG 8
    Received:    03/31/99 12:41 am
    From:        Jamie LePage, le_page_XXXXXXXXties.com
    To:          Spectropop, SpectroXXXXXXXXties.com
    
    I don't want to get in the middle of a debate on who is 
    the best rock saxophonist, but, since the subject has 
    come up...
    
    I just gotta chime in with a big, big endorsement of 
    Teenage Steve Douglas. His signature solos adorn so many 
    of the LA singles of the mid-sixties that he certainly 
    deserves a mention here even though other sax players may 
    have been funkier, or had more success as "artists". Steve
    Douglas may not be a household name, but he is so 
    closely linked with Spector, the Beach Boys, Jan & Dean, 
    etc. that his sound defines rock and roll sax for many who 
    are familiar with this era of music. Other sax players 
    should aspire to reach the level of his achievements.
    
    ---
    
    Much of what I listen to is influenced by what we talk 
    about here on Spectropop, and recent on-list discussion 
    about Brit Girls has prompted me to dig out the HCTG 
    series CDs. A couple of comments on HCTG 8:
    
    Having simply put the CD on without paying much attention,
    I was struck at the opening track, Pet Clark's "Fancy 
    Dancin' Man". I listened assuming this was a Tony Hatch/UK
    production, and I noticed how similar the "sound" was
    to mid-period Spector. First, the picked bass sounded just 
    like Carol Kaye. I noticed the drum fills had similar feel
    to many of Brian Wilson and Phil Spector records a la Hal 
    Blaine. Then, the droning left hand keyboards and the 
    strings sounded so much like Nitzsche and Gold Star. Later, 
    I was reading the liners only to discover it WAS Nitzsche 
    (and undoubtedly Kaye and Blaine) on this LA recording. 
    Wow! 
    
    Another track that is simply delightful is Val McKenna's 
    cover of Patty & the Emblems' "Mixed Up, Shook-Up Girl". 
    The photo of her on the sheet music printed in the booklet
    is really fab, and I dare say I prefer her treatment of the
    song to the original. By the way, Will Stos, there is a 
    cover of Home of the Brave (Mann/Weil) by Peanut on HCTG 
    8, although in the case of this song, I think Bonnie & the
    Treasures win hands down over Peanut (and Jody Miller). 
    The only two Bonnie sides I know of are this and Close 
    Your Eyes, both of which I still contend are Philles 
    masters produced by Phil although credited to Riopell and,
    in the case of Close Your Eyes, released on a non-Spector 
    label. I keep waiting for someone to blow a hole in my 
    theory...
    
    Anyway, both of these Bonnie tracks are absolutely 
    brilliant examples of great songwriting, with skilled 
    arrangements, and executed in classic style for the genre;
    perfect girl group records.   
    
    Jamie
    
    
    --------------------[ archived by Spectropop ]--------------------
    
    
    Subject:     BOUNCE spectroXXXXXXXXties.com: Non-member submi
    Received:    03/31/99 12:41 am
    To:          Spectropop List, spectroXXXXXXXXties.com
    
    ========= Start of forwarded message =========
    For educational and research purposes only, to follow is 
    a news story.
    
    Buddy Holly's Widow Says Suing MCA Last Resort
    
    03:00 a.m. Mar 26, 1999 Eastern by Marcus Kabel 
    
    DALLAS (Reuters) - Buddy Holly's widow urged MCA Records 
    for decades to raise royalty payments from her husband's 
    pioneering rock songs before resorting to a lawsuit this 
    month seeking millions for alleged underpayment. 
    
    Maria Elena Holly and her lawyer told a news conference 
    Wednesday she was stonewalled by the record company for 
    most of the 40 years since Holly died in a 1959 plane 
    crash at age 22. 
    
    Mrs. Holly joined the rock pioneer's sister and two 
    brothers in filing the suit last week in Holly's hometown 
    of Lubbock, Texas. MCA Records is a unit of Universal 
    Music Group, which owned by Seagram Co Ltd. 
    
    "I have never given up, I have always had different 
    lawyers approaching MCA... This is like David and Goliath.
    MCA laughs in everybody's face," said Mrs. Holly, now in 
    her late 50s. 
    
    "They knew they were doing the wrong thing the whole time," 
    she said. 
    
    Holly recorded for just two years but was a major 
    influence in history of rock, especially on Bob Dylan and 
    the Beatles. Songs such as "Rave On" and "That'll Be the 
    Day" are still recorded with regularity and Dylan closed 
    his shows during his latest U.S. tour with Holly's "Not 
    Fade Away." 
    
    The lawsuit alleges that MCA underpaid royalties, used 
    invalid or faked contracts from the 1950s, sold music 
    without legal authority and failed to pay after reaching a
    negotiated settlement with the Holly survivors in January 
    1996. 
    
    Universal Music Group has declined to comment on the legal
    action, saying it does not discuss pending suits in public. 
    
    Mrs. Holly said MCA has continued paying the Holly 
    survivors royalties at just 3 percent, far below today's 
    rates. 
    
    She said she asked MCA again and again to see the 
    contracts it based its music rights on and has sought an 
    accounting of where the company got material unreleased 
    while Holly was alive and supposedly stored with Holly's 
    parents. 
    
    "She was stonewalled and lied to again and again and 
    meanwhile things were happening and she couldn't keep up 
    with them, " said her attorney, Kevin Glasheen. 
    
    Holly and his band the Crickets had a No. 1 hit with 
    "That'll Be the Day" in 1957 and made the charts with 
    "Peggy Sue," " Oh Boy," "Maybe Baby" and several others 
    that year. 
    
    He toured England in 1958 and moved from Texas to New York
    in 1958, where he married Maria Elena. He died Feb. 3, 1959, 
    in Clear Lake, Iowa, while on tour. 
    
    He was one of the first inductees into the Rock and Roll 
    Hall of Fame and has been the subject of movies and plays. 
    
    Glasheen said the lawsuit includes allegations that MCA 
    sold recordings that a fired manager borrowed from Holly's
    parents after the singer's death and made unauthorized 
    copies of. 
    
    The collection of material was then sold over the years by
    ex-manager Norman Petty to MCA, which released the music 
    without a legal basis, the lawsuit contends. 
    
    After Petty's death in 1984, an agent from MCA obtained 
    still more recordings from his estate, according to the 
    suit. 
    
    Glasheen charged MCA is unable to provide an accounting of
    how it calculated royalties and whether it paid royalties 
    for all the music obtained through Petty. 
    
    "They ultimately sent us a contract that had the signature
    part torn off. We asked them what happened and they said, 
    well, some autograph seeker came into our files and took 
    the signature," Glasheen said. 
    
    Copyright 1999 Reuters Limited. All rights reserved. 
    ========== End of forwarded message ==========
    
    
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