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Spectropop V#0287

  • From: The Spectropop Group
  • Date: 07/03/99

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       Volume #0287                            July 6, 1999   
                       "Wide Dynamic Range"                   
    Subject:     Renay in Japan?
    Received:    07/03/99 11:37 pm
    From:        David Feldman,
    To:          Spectropop List,
    Diane Renay said:
    > It would be nice for my memories to have 
    > the articles! I really hadn't any idea that my music was 
    > played outside of the US and Japan, where it was number #1
    > for 12 weeks on Japan's National music chart.
    Did you tour at all in Japan? I'm curious if you could put
    your finger on why you were so popular in Japan. It is such
    a pleasure and honor to have you here.
    Dave Feldman
    Lake of the Week: Tahoe
    Concert of the Week: Brian Wilson in NYC
    Scariest Cast on Television:  Real World -- Hawaii
    Best Gender Survey on the Net:  More than 40 new questions
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Diane Renay/Ian Chapman
    Received:    07/03/99 2:33 pm
    From:        WILLIAM STOS,
    To:          Spectropop List,
    Diane Renay wrote:
    > I really hadn't any idea that my music was played 
    > outside of the US and Japan, where it was number #1
    > for 12 weeks on Japan's National music chart.
    You'd be surprised to hear from where some of the girl 
    group fans I've met hail. Thailand, Indonesia, Germany, 
    Australia, Holland, Finland, etc. We're everywhere.
    Ian, do you know if Mick has some back issues of his 
    fanzines to sell? I'd love to buy some. Does he have email
    yet, or could I pass a message along to him through you? 
    I'd love to chat with the guy who indirectly, taught me 
    75% I know about girl groups through liner notes.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Newbeats
    Received:    07/03/99 4:06 am
    From:        john rausch, jxxxxet
    To:          Spectropop List,
    Anyone have any info on the group that was the Newbeats? 
    They had a hit with Bread and Butter, but my favorite was 
    Run Baby Run and I came across a great find. The Run Baby 
    Run lp in stereo. They do a bunch of covers of top tunes 
    of the day with "their" sound, with that more than Frankie 
    Valli`s high voice. A great find, no Spector sound or GG 
    theme but just good old fashioned pop and roll. I am 
    curious now to some history of this group and figure this 
    is the list to find out.
    Track Listing:
    run baby run
    oh,pretty woman (orbison)
    hang on sloopy (mccoys)
    help (beatles)
    little child
    its really goodbye
    oh girls girls
    satisfaction (stones)
    this old heart
    come see about me (supremes)
    mean woolie willy
    lookin for love
    John Rausch
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Bob Lind
    Received:    07/07/99 1:06 am
    From:        Jeffrey Thames, KingoGrxxxxm
    To:          Spectropop List,
    For what it's worth, I recommend the EMI compilation *You 
    Might Have Heard My Footsteps: The Best [sic] of Bob Lind*
    from (I believe) 1995. It contains both World Pacific 
    albums in their entirety, plus a few extra goodies. I 
    bought it primarily for "Elusive Butterfly" (a favorite 
    since first listen) and was not disappointed in the least 
    by the other tracks. "It's Only My Love" shoulda made him 
    a two-hit wonder at the very least...
    Another welcome to Ms. Christopher! I'll never forget 
    hearing "Come Softly to Me" as a preteen and practically 
    melting, for lack of a better term...
    NP: Willie Nelson: A Classic & Unreleased Collection [disc
    one] (I got this a month or so ago and only just now got 
    around to breaking the shrink-wrap! Sorry, Willie...)
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Soft Sounds
    Received:    07/03/99 2:34 pm
    From:        Michael "Doc Rock"  Kelly, docroxxxxom
    To:          Spectropop List,
    While the Teddy Bears SEEM soft in my mind, a listen shows
    that the lead voice sounds more like Diane than Gretchen in
    No, Id say Gretchen "invented" soft rock!
    --------------------[ archived by Spectropop ]--------------------
    Subject:     The Fleetwoods
    Received:    07/03/99 11:37 pm
    From:        David Feldman,
    To:          Spectropop List,
    Jamie said, in part:
    > to be sure, 
    > it isn't one thing in particular, such as the 
    > productions, the arrangements, the musicianship. It is an 
    > undefinable emotional reaction I have to the overall sound. 
    Well stated! I've always been attracted to soft songs that
    betray deep emotions without histrionics. In a different 
    kind of way, Willie Nelson does this effectively in his 
    ballads. But few have ever done it so beautifully as The 
    Fleetwoods. Besides the obvious emotionally-charged 
    candidates, "Mr. Blue," "Come Softly To Me," and "The 
    Great Imposter," I've always been a sucker for "
    Graduation's Here." What wonderful vocals and arrangement.
    It "gets" me every time I listen to it.
    And the "Mr. Blue" album cover might be my favorite ever. 
    Jamie, Gretchen, or anyone: If I own the original albums 
    and the Rhino Greatest Hits CD, what else is in the EMI 
    compilation (which I don't think I've ever seen)?
    Thanks so much for joining us. 
    Dave Feldman
    Lake of the Week: Tahoe
    Concert of the Week: Brian Wilson in NYC
    Scariest Cast on Television:  Real World -- Hawaii
    Best Gender Survey on the Net:  More than 40 new questions
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: "You" by the Aquatones
    Received:    07/03/99 2:34 pm
    From:        Tom Waters, shangrixxxxom
    To:          Spectropop List,
    "You" by the Aquatones is a terrific recording. Spector 
    was probably influenced by it when he wrote "To Know Him 
    Is to Love Him" but the latter is not too similar to the 
    former. "To Know Him" has a softer sound, while "You" has 
    more of an operatic sound (probably because the lead 
    singer on the recording had been trained in opera.)
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: VDP/Pet Sounds
    Received:    07/03/99 2:33 pm
    From:        Derrick Bostrom,
    To:          Spectropop List,
    Spectropop List, of, wrote, on 7/2/99 12:04 PM:
    >I'm looking for another VDP commercial for Ice Capades 
    >(or something like that), has anyone heard it?
    That one could be found on the Warner Reprise sampler "
    Record Show", whereas the Datsun music is on "Songbook".
    (Or is it the other way around?)
    Derrick Bostrom
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Warwick
    Received:    07/03/99 11:37 pm
    From:        Stig O'Hara,
    To:          Spectropop List,
    Richard Globman enjoys:
    > 1. Do You Believe In Love At First Sight - Dionne Warwick
    Who wrote the song? Bacharach?
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Sunset Sound
    Received:    07/03/99 2:34 pm
    From:        Carol Kaye,
    To:          Spectropop List,
    To Mike Marvin, I didn't want to be wrong, so I didn't say
    anything about Sunset Sound....but that's always come to 
    mind when I tho't about where we cut the Bob Lind "Elusive
    Butterfly" recording (can't recall the drummer). Others 
    that come to mind (it was actually a lot of stuff cut 
    there tho') were "Feelin' Alright" (Paul Humphrey on drums), 
    Tutti Camaratta's "Trombone" lps, and things for the 
    Sherman Bros. ("Winnie The Pooh" etc., that had Hal Blaine
    on drums for sure). Thanks for verifying my memory (too 
    lazy to look it up in the log I guess).
    Big L: I played guitar on one of those BW dates, and 
    always tho't it was Ray Pohlman on bass. Brian did play on
    their first things....but I never even knew he played bass 
    until very late 60s....when you record in LA, you never 
    sit and listen to rock and roll records. First of all, 
    there's simply no time, you're recording day and night. 
    And being a jazz musician, it was enough to record rock 
    and roll let alone listen to any of it.
    Upon reflecting watching him play live on a recent film, I
    tho't he had a great groove - played good for that kind of 
    music w/the group, tho' was not adept technically well on 
    He never told me he was a bass player, he always played 
    piano to show us what the tune sounded like before 
    retiring forever in the booth. Brian wrote out all the 
    notes for me to play except one lick I improvised on 
    "Calif. Girls". His notes were legible howbeit sometimes 
    the notes were on the wrong side of the stems, etc. things
    like that.
    Sometimes we had to re-copy his written parts to make them
    a little more legible, but they were all his notes. And he 
    was always a pleasure to work for, very self-confident, 
    happy, talent-driven man who knew how to produce, treated 
    us with respect and (I think) wanted to knock us out with 
    his music.....he was absolutely a cheerful, very happy guy, 
    very great at producing and wonderful to work for. 
    We knew he had a gift and while we would create our own 
    parts for other groups mostly, Brian definitely had his 
    own fine ideas, he was exceptional that way.
    Just can't understand all this downer stuff about him on 
    documentaries sometimes.....he never was that way at all 
    in the studios which was his "home" I guess to be himself - 
    he was just the opposite, happy, a great person to be 
    around, totally business, totally creative in the studios,
    was a hard-worker....this "other" persona of him is totally
    foreign to me. 
    He was like he was in the stuidos the 2-3 times he and 
    Marilyn came over to visit me also at my house (to use my 
    Niagara chair w/rollers and heat while Marilyn and I 
    chatted, watched TV together -- totally like a happy 
    married couple just "visiting" which people did in those 
    I chalk all that stuff up at his home as "hey, he was 
    young & having fun, why shouldn't he play piano in a 
    sand-box, what's wrong with that?"
    He absolutely LOVED being in the studios, loved creating, 
    took over the board once Chuck Britz set it up, Chuck 
    would twiddle his thumbs but be at the beck and call of 
    Brian (at his side) if he ever needed assistance (which 
    was sort of rare). And we enjoyed a good relationship with
    him too....he'd put you on in a flash, had a great sense of
    quiet stone-faced humor.
    Yes, I'd say he played bass pretty good for that kind of 
    music (but had some pretty bad hand techniques that would 
    have given him problems soon). He had something that few 
    people really have to start with (and have to work hard to
    get): a great sense of TIME and GROOVE. 
    The bass drives the whole band basically (not a pun), and 
    is responsible for the "basement" part of the function of 
    the band (like the drummer is the framework for the rest 
    of the rooms in the house)...the bass and drums working 
    together forms the foundation of a band. 
    If you remember (or research it), the bass player was 
    playing "dum-de-dum" back in those days.....I was 
    accidently placed on bass late 1963 when the bassist 
    didn't show up at Capitol Records (in my 6th year of 
    studio work on guitar) and just borrowed someone's Fender 
    Bass and played what I wanted to, which was a helluva lot 
    more fun than playing all that boring surf-rock stuff on 
    and started playing a lot of 16ths (latin, timbale or 
    conga type lines) which no-one was ever doing before or at
    that time at was "new" but I didn't care if no-one
    played that before - that's what felt appropo for the music
    recorded then. That's what I wanted to play and everyone 
    liked it. 
    Brian stretched out harmonically on bass parts, he heard 
    bass lines as part of a symphonic orchestra....and soon 
    was writing that way interestingly enough. No-one else 
    ever tho't that way for commercial recordings at all, 
    which makes him unique and he's still unique.
    Carol Kaye
    --------------------[ archived by Spectropop ]--------------------
    Subject:     PS....
    Received:    07/03/99 2:34 pm
    From:        Carol Kaye,
    To:          Spectropop List,
    You have to remember, we were all pretty young, just 
    getting going in the early 60s and the business was taking
    off well by mid-60s. I remember working quite a bit with 
    engineer Bruce Botnick, who tho' still very young, had a 
    look and aura of promise as a long-term fine engineer.
    He was nice, good-looking, humble, very sharp and quick in
    his field altho' fairly "new" knew he was going 
    places. If anyone knows him, please give him my best 
    regards. It was always a pleasure to work with Bruce.  
    Carol Kaye
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Top Ten
    Received:    07/03/99 2:34 pm
    From:        David Marsteller,
    To:          Spectropop List,
    Gee, what a tough assignment it is to pick my ten favorite
    60s songs! I'm sure I would come up with a very different 
    list tomorrow, but here goes (in no particular order): 
    1) The Zombies-Beechwood Park
    2) The Turtles-Somewhere Friday Night
    3) Peter & Gordon-To Show I Love You
    4) The Marvellettes-He Was Really Sayin' Something
    5) Every Mother's Son-Rainflowers
    6) Gene Clark-Is Yours, Is Mine
    7) Timebox-Yellow Van
    8) John Fred & His Playboy Band-Tissue Paper
    9) The Jelly Beans-I Wanna Love Him So Bad
    10) The Rolling Stones-Dandelion
    Ask me tomorrow, I'll give you another ten. ;)
    /**      David Marsteller                       **/
    --------------------[ archived by Spectropop ]--------------------
    Subject:     I'm new...Midas Touch?
    Received:    07/03/99 2:34 pm
    From:        Jill Mingo,
    To:          Spectropop List,
    Hello, List! 
    I just joined a couple days ago and am still finding my 
    feet on what goes on, but I'm hoping you might help me 
    with The Midas Touch. My DJing partner played a track 
    called "Viva" by this band tonight, and I thought it was 
    some pretty great 60s latinesque pop. On Decca. Anyone 
    heard of this band? And do they have music readily 
    Thanks, Jimmy Bee for putting me on to this list!
    Jill "Mingo-go"
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Ice Capades, etc.
    Received:    07/07/99 1:06 am
    From:        Stewart Mason, flamixxxxom
    To:          Spectropop List,
    John Rausch wrote:
    >Back to the oldies as jingles thread... Here`s a few radio
    >spots I found while going through my cassettes that are 
    >quite interesting: Chunky Soup ...Chunky`s Back, using reworded 
    >"my boyfriends back"
    That's a perennial for this kind of thing, since as my 
    brother Reagan and I discovered to our delight years ago, 
    you can put ANYTHING in that melody and it'll sound great.
    One of our less obscene variants started "My boyfriend's 
    back and he's gonna beat your face in..."
    And then Tobias asked:
    >>my favorite [VDP] song [...] is the Datsun car commercial 
    >>off of a Warner Bros sampler album in the early 70's.
    >Oh yes, that's a brilliant song! I'm looking for another VDP commercial 
    >for Ice Capades (or something like that), has anyone heard it?
    Yes, it's on another of the WB Loss Leader sets, 1969 
    WARNER-REPRISE RECORD SHOW. However, it's just a pair of 
    twiddly synth instrumentals without much to them, so I 
    wouldn't go to terribly great lengths to acquire them if I
    were you. 
    And finally, on a non-Spectropop note: one of my favorite 
    artists of the 90s, Mark Sandman, singer/songwriter for 
    the bass/sax/drums trio Morphine, died of a heart attack 
    onstage at a festival in Italy on Saturday at the age of 
    47. A Boston native formerly of the blues-rock band Treat 
    Her Right (you might remember their 1987 hit, "I Think She
    Likes Me"), Sandman was a brilliant, inventive performer 
    and songwriter able to take Morphine's deliberately 
    limited lineup -- his bass had two strings, tuned to the 
    same note and played with a slide -- and create 
    surprisingly varied sounds with it, due in large part to 
    Dana Colley's Rahsaan Roland Kirk-inspired 
    two-saxes-at-once style and Billy Conway's off-kilter, 
    melodic drums. Sandman also had, bar none, the absolute 
    sexiest male voice in the history of pop music. They 
    released four albums and a rarities compilation on 
    Rykodisc and Dreamworks, and their 1993 album CURE FOR 
    PAIN is one of this decade's finest musical achievements.
    ***************************FLAMINGO RECORDS*************************
    Stewart Allensworth Mason     
    Box 40172                     "New Mexico: We stuff our dead
    Albuquerque NM 87196           governors into fireworks displays!"        
    *********************HAPPY MUSIC FOR NICE PEOPLE********************
    --------------------[ archived by Spectropop ]--------------------

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