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Spectropop V#0002

  • From: The Spectropop Group
  • Date: 10/30/97

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       Volume #0002                                 10/31/97
    Subject:     D. Love, Sharon Marie
    Sent:        10/30/97 5:48 AM
    Received:    10/30/97 8:08 AM
    From:        Mike Bartolowits,
    To:          Spectropop,
      I was listening to Darlene's Maybe I Know this morning on my way in 
    (thanks to Paul) thinkin', man, Darlene really put's a lot into her 
    I always loved Leslie Gore's song, but I think Darlene even does a better 
    job with it.
      Someone from the bb list sent me a tape with Sharon Marie's Thinkin' 
    Bout You Baby (a diff. cover of the bb's Darlin'). Can anyone tell 
    me who Sharon Marie is and a little about her background and music?
    (Paul, your tape is comin' next week!)
    -------[ archived by Spectropop ]-------
    Subject:     Hello, list.
    Sent:        10/30/97 1:43 AM
    Received:    10/30/97 8:08 AM
    From:        Kit Carson,
    To:          Spectropop,
    Whoever recommended me to this list: thanks. Looks like it's going to be a
    big time.
    Kit Carson
    Keeping Oldies stations sounding FRESH everyday!
    ----------[ archived by Spectropop ]----------
    Subject:     I Said Now Hey Ev'ree Bad Deeee
    Sent:        10/30/97 2:39 AM
    Received:    10/30/97 8:08 AM
    From:        Richard Globman,
    To:          Spectropop List,
    Jack "I don't know my a** from second base" Madani SED:
    >Ya know, this list used to be a helluva lot more civil in the old days.
    Yeah, so's your mother.
    DICKY "take THAT, buddy" G
    ----------[ archived by Spectropop ]----------
    Subject:     Influence Speculation
    Sent:        10/30/97 3:13 AM
    Received:    10/30/97 8:08 AM
    From:        David Marsteller,
    To:          Spectropop List,
    I've been pondering Jack's post on the influences on Brian Wilson, Leiber 
    and Stoller, and Phil Spector. I don't have any inside information, so 
    I'll have to speculate. ;)
    First, a distinction could be drawn between appreciation and emulation. I 
    like Duke Ellington, but that doesn't mean I'm going to try to write like 
    Jazz as we're defining it covers a lot of styles, from more structured 
    'big band' music (which I think was Brian's influence) to looser r&b 
    I think Leiber and Stoller do have a jazz influence in their work, it's 
    just a different kind of influence. Brian Wilson picked up more on the 
    harmonic content of jazz (which is what Jack picked noticed), while 
    Leiber and Stoller show more influence lyrically and rhythmically. 
    I can't really see any jazz influence on Spector, per se, except 
    perhaps in his use of big band size forces to create his wall of sound.
    One additional thing to consider is what performers the various writers 
    were writing for. At the start of Spector's career, he was writing for 
    the Teddy Bears. From hearing a couple of their recordings, I suspect 
    they were pretty limited in what they were able to carry off. Leiber and 
    Stoller started writing for blues and r&b artists. I doubt that these 
    artists would have been interested in straying too far from a traditional 
    blues base. I suspect Brian Wilson had an advantage in that his band 
    basically was a family unit that he could rehearse to his heart's content.
    I'll be interested in seeing what y'all think, maybe even in this same 
    digest issue.
    /**   "Reach out and grab a fistful of now"                            **/
    /**                                             Thornetta Davis        **/
    /**      David Marsteller                       **/
    ----------[ archived by Spectropop ]----------
    Subject:     Phil Spector Christmas LP
    Sent:        10/30/97 2:39 AM
    Received:    10/30/97 8:08 AM
    From:        Richard Globman,
    To:          Spectropop List,
    Just the other night, I friend requested that I make her some tapes of
    good Christmas music.  I taped The Beach Boys, Temptations (Give Love
    at Christmas), and, of course the Spector LP.
    While I was taping...and unfortunately I only had the Spector stuff on
    vinyl with all the mandatory hisses and pops...I looked at it and the
    date was....1987.  Now obviously what I have is a re-issue.
    This is such a wonderful album that I would love to get it on CD.
    I have not been able to find it.
    Does anyone know if it's available?
    DICKYG (sleigh riding with the top down)
    ----------[ archived by Spectropop ]----------
    Subject:     Re: Carole King's City
    Sent:        10/30/97 12:55 PM
    Received:    10/31/97 1:17 AM
    From:        David Bash,
    To:          Spectropop,
    > From:        David Marsteller,
    > A few months ago, I *finally* sprung for a bootleg copy of The City's
    > "Now That Everything's Been Said" lp. Does anybody have the inside scoop
    > on why that album has yet to be reissued? Does Carole King hate it so
    > much that she won't allow it, or is it something more mundane like the
    > masters can't be found? I don't think it's nearly that bad that Carole
    > won't let it be reissued; well there are a couple of songs that aren't
    > that great, but can any album with 'I Wasn't Born To Follow' be all that
    > bad?
    > Later
    > Dave
    Hi Dave,
    I'm not sure why "Now That Everything's Been Said" hasn't been reissued
    in the states, but I have seen a Japanese CD reissue of it floating
    around.  I wish I remembered what label it was on, but I'll bet Jamie
    could shed some light on that.
    Pop Rules!!!!!
    Take Care,
    ----------[ archived by Spectropop ]----------
    Subject:     Re: where's the influence?
    Sent:        10/31/97 2:10 AM
    Received:    10/31/97 2:30 AM
    From:        Jamie LePage,
    To:          Spectropop,
    Jack Madani, wrote:
    > listens to the *songs* (Leiber/Stoller and Spector) 
    >are writing, and I don't hear (the jazz influence) at all.  
    >Why the monstrously large dichotomy?  Brian Wilson has a 
    >similar love for jazz music (Gerswhin, Four Freshmen, 
    >Hi-Lo-type stuff), and in his music you definitely *can* 
    >hear the influence...
    I think this is a pretty easy one. Brian had his immediate family as a 
    soundboard, which meant practically nothing. Murry as a mentor was a 
    deterrent if anything (ever hear the Help Me Rhonda vocal sessions?). *In 
    spite of* Mike Love and Murry, Brian created some great records in those 
    early days. The NY cats on the other hand, were striving to make 
    hits-by-formula and feeding off each other's creativity. Leaving 
    Leiber/Stoller aside, the Brill writers had Al Nivens and Don 
    Kirschner to spur them on, not to mention the in-house competition they 
    all had at the time.  Sophisticated, competetive professional songwriters 
    vying for the next cover. A very healthy atmosphere for top level 
    >But L&S were, as far as I know, writing
    >Hound-Dog-style I-IV-V chord progressions right up until the end of the
    >sixties, and Spector likewise (when he actually *wrote* music, that is,
    >instead of just grafting his name onto the songwriter credits, but that's
    >grist for another post).  
    Do you really believe Spector made little contribution to the songs he 
    co-wrote with Brill writers? Colonel Tom might have done that with Elvis, 
    but I definitely hear Phil's input in the Mother Bertha songs he is 
    credited with.
    ----------[ archived by Spectropop ]----------

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