__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0249 March 31, 1999 __________________________________________________________ Always First with the Good GearSubject: 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 --------------------[ archived by Spectropop ]-------------------- 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. --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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 --------------------[ archived by Spectropop ]-------------------- 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. --------------------[ archived by Spectropop ]-------------------- 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 ========== --------------------[ archived by Spectropop ]-------------------- End
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