__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0291 July 11, 1999 __________________________________________________________ "Enthralled by the whole idea of Polynesian culture"Subject: Re: Eden Ahbez? Received: 07/11/99 11:10 am From: Brad Elliott, suxxxxxonline.net To: Spectropop List, spectxxxxxities.com Tobias wrote: >Sorry for my ignorance but who is Eden Ahbez? I had this bookmarked, and it answers your question probably better than I could. It's from a review of the CD reissue (on Del-Fi) of his EDEN'S ISLAND album that appeared in the Memphis Flyer several years ago. [ "There was a boy, a very strange enchanted boy..." And so begins the lyric to modern primitive Eden Ahbez's primary claim to fame - a very unusual composition titled "Nature Boy." When black song stylist Nat King Cole took Ahbez's idyllic plea for tolerance, love, and tranquillity to Number One across the Billboard charts in 1948, a number of related interesting events followed. The immediate result was the crossover success of Cole to a white pop audience. A more lasting impression was made upon the audience itself, which surprisingly embraced a song about simple acceptance for all as sung by a man whose own race was finding it increasingly difficult to be considered at all. But the most intriguing development that occurred was that the spotlight was turned on the song's unusual composer, the modern-day mystic Eden Ahbez. Recognized as "The Yogi" or "The Hermit" in Hollywood, Ahbez shook the square-ass conventions of the day by wearing his hair and beard scandalously long and living what would later be considered a "hippie" lifestyle. To be so bold in such a controlled climate - openly farting in the face of accepted authority - took the sensibility of either a madman or a genius, and Ahbez appears to have been an amalgam of both. In the 1950's, America was enthralled by the whole idea of Polynesian culture, and swinging adults across the land hula danced with cheap totems and tikis for decoration. Whether we ever had any true understanding of the actual culture being emulated doesn't really matter - what does count is that we assimilated this "created" culture of our own into consciousness as exotica. Eden's Island takes this concept one step further into the realm of Ahbez's sincere personal philosophies and beliefs. Recorded in 1960, Eden's Island finds our revolutionary hero 12 years after the success of "Nature Boy." Ahbez's version of "Nature Boy" isn't found on Eden's Island, but what can be discovered is a heady mix of island rhythms and jazzy instrumentation, organic sound effects and quasi-beat monologues. Eden's Island should be fully considered as part of the "exotica" genre that then-contemporary artists such as Martin Denny, Les Baxter, and Esquivel had defined through popular recordings by that time, but there's an air of authenticity to Ahbez's efforts that still transcend the form some 35 years after the fact. While this compact disc reissue of Eden's Island was in preparation earlier this year, Ahbez entered the next realm at the ripe old age of 86. He apparently remained in good health until the end by adhering to his strict vegetarian beliefs and practices, as his passing was due to the result of head injuries sustained in an automobile accident. Ahbez described himself in his Last Will and Testament as "a man possessed of the universal and cosmic vision of the Miracle of Nature." Ahbez was indeed a man "possessed," one who was truly New Age (in its most positive connotations) long before it was fashionable. Eden's Island still retains the power to transport the listener to Ahbez's private world, making Paradise Lost found once again.] >Oh, btw, Brad, while I'm already asking you: I got the >impression from a Japanese listee on PSML that the 'new' >Pet Sounds CD-reissue has been remastered once again: i.e. >it's not the same master as on the Pet Sounds Box..?? Just >trying to find out if it's worth buying the new reissue if >you already have the box :-) Hmmm ... that's a call you'll have to make. Yes, the CD has been remastered -- both the mono and stereo mixes. But the same master tapes were used as for the PET SOUNDS box, so the primary difference is simply going to be that between two different engineers -- Mark Linett (on the box) and Andrew Sandoval (on the CD reissue). (Actually, neither Linett or Sandoval did the actual mastering themselves, but rather supervised the process on their respective releases.) The one thing that the CD reissue will give you that's not on the box is the version of "Hang On to Your Ego" on which Brian sings the entire lead vocal. It originally appeared on the 1990 PET SOUNDS single CD, but wasn't included on the box for some reason. Of course, that 1990 CD was processed through the "No Noise" system, so it suffers greatly in comparison to the PS box and the new reissue. If you want to hear that version of "Ego" in its remastered glory, the only place you can do that is on the new CD. Also worth mentioning here is that Capitol has pressed the stereo mix of PET SOUNDS on 180-gram vinyl. It's a limited run and probably won't be available for too long. I highly recommend it for vinyl fanatics, as it sounds great! >And do you think you'll put up your liner notes for it on >the 'net as you did with EH? Probably. The details are still being worked out, but I feel certain it will happen. When it does (within the next week or so), I'll post a notice here. Surf's up! Brad --------------------[ archived by Spectropop ]-------------------- Subject: AMC POP Received: 07/11/99 11:10 am From: Paul MacArthur, rtxxxxx.edu To: Spectropop List, spectxxxxxities.com I don't know how many of you get American Movie Classics, but last week they showed the Girls on the Beach as part of their AMC POP series. Here's the rest of the month's schedule. Saturday, July 10 10:00 PM Pajama Party Saturday, July 17 10:05 PM The Endless Summer Saturday, July 24 10:00 PM Easy Come, Easy Go Saturday, July 31 10:05 PM Tickle Me Right up the Spectropop Alley! - Paul --------------------[ archived by Spectropop ]-------------------- Subject: Bob Alcivar & 5D's "There Never Was A Day" Received: 07/11/99 11:10 am From: Barrington Womble, wuxxxxxet.se To: Spectropop List, spectxxxxxities.com I just wanted to say how great it is that Bob Alcivar has signed onto this list! In one of those global coincidental twists, I've had your arrangement of the 5th Dimension " There Never Was A Day" in my head for a couple of days, and I wrote a string arrangement for one of my songs with the 5D arrangement in mind the same day that you signed on ! Spooky, eh? :-) My track didn't come out like what you did on that song but it was still the main influence. I particularly love the ending with the female vocal melody being repeated by first flutes and then strings. Pure bliss! Tobias --------------------[ archived by Spectropop ]-------------------- Subject: THANK YOU FOR THE WELCOME Received: 07/11/99 11:10 am From: Bob Alcivar, balxxxxxhlink.net To: Spectropop List, spectxxxxxities.com So sorry I missed out on The 5th Dimension and Association discussion. That would have been my kind of thing. The era became a good chunk of my music - creative life, education, as well as being some very exciting years. I will be happy to engage in that subject, or practically any other discussion about music that come up. I've been given assignments and participated in a substantial and varied amount of producing, composing, and arranging during the 70s, 80s and now the 90s. I've got a lot of stories, enough to fill a book...which sounds like a good idea. In answer to your question: Yes, I started out as a jazz pianist in Seattle, went to Cornish College there and started arranging and touring with my jazz-rooted group. 'The Signatures'. After several years on the road, recording and performing with The Sigs, we finally disbanded and settled in Las Vegas. (Lots of music work there during the early 60s). This was the first period of 'adjustment' for me as an arranger, and the transition was quite difficult. All I knew was how to write for five voices, within jazz style. When I tried writing for the more commercial, lounge vocal groups, I got rejected before I started. They knew about me and my jazz roots, and were rather wary.. By some accident I joined up as pianist with a Korean girl trio, 'The Kim Sisters'. This was my first attempt at something in a pop vein. It worked, and I stayed with the girls throughout their many Ed Sullivan appearances, as well as posh clubs throughout the country, including The Desert Inn and Stardust in Vegas. I felt as though I was going to school there. I was getting a 'hands on' musical education in Las Vegas. I began writing for small bands, as well as orchestras during during that period. When arriving in LA in 1967, I found my Las Vegas credits to be rather useless so far as record companies were concerned. However, a member of The New Christy Minstrels, Larry Ramos, came to the rescue. We had become good friends after I vocal arranged 3 of the Christy's albums when I was still living in Vegas. After he joined The Association, he eventually pulled me in as arranger for the 'Birthday' album... We co-wrote "Like Always". That song with my arrangement, plus a chart for "Everything That Touches You" (comp.Terry Kirkman), got me in pretty solid with that group, and since Bones was producing The 5th, he pulled me in to arrange for them as well. Addressing your question more specifically, I would have to say that my jazz-rooted Signatures expreience was more than useful when writing for both Association and the 5th (along with a lot of other groups). Of course, I adjusted to fit their musical style and particularly their songs, but my voicings for singers remained basically within my own style and taste. The groups obviously liked what I did, especially after 9 or so albums for the 5th. And I have continued to write for The Association, various singles, movie score charts and more recently symphonic orchestrations for some of their concerts. Working with The 5th Dimension, then going onto the Manhattan Transfer, was not a great a departure. I did a jazz-like chart for The Transfer, "Of Thee I Sing", and I probably arranged more freely and 'Signatures-like' with that one. Alan and Tim discovered my 'Signatures' albums in New York, loved the group, so expected some of that kind of voicing, which I gave them. The methods for working with any of these groups is built within very similar foundations. Researching, getting to know the singers and their vocal qualities-strengths, writing sketch arrangements, rehearsing, adjusting notes, coaching, and then continuing on by directing them as they record. Hope I've answered your questions. Regards, Bob Alcivar http://www.alcivarmusic.com --------------------[ archived by Spectropop ]-------------------- Subject: Home Of The Brave Received: 07/11/99 11:10 am From: john rausch,xxxxx.net To: Spectropop List, spectxxxxxities.com Sorry Will Don`t know an of any Ronettes versions being "leaked out" ...yet anyway. Who knows what will pop up; there has been a lot of Spectorbilia popping up lately so who knows? Interestingly tho, on my 70`s UK issue of Home Of The Brave on PSI label, it states very clearly "produced by Phil Spector and the wall of sound orchestra" HMMM. It can be seen on Mark`s Phil Spector Record Label Galxxxxxtp://www.toltbbs.com/~msland/Spector/PSindex.htm John Rausch Presenting The Fabulous Ronexxxxxp://www.geocities.com/SunsetStrip/Studio/2469/ --------------------[ archived by Spectropop ]-------------------- Subject: Nancy Wilson Received: 07/11/99 11:10 am From: Carol Kaye, caroxxxxxhlink.net To: Spectropop List, spectxxxxxities.com Bob Hanes, thanks for your message, yes I think you outlined it about Brian....hopefully someone will do a docu based on the truth of the way he was in the studios someday. >Just read a press release on Nancy Wilson that said >during the mid-sixties (no exact dates given) that Nancy >Wilson was the second best selling artist on Capitol >Records behind only the Beatles and that she was ahead of >the Beach Boys. Can anyone provide evidence to support or >refute this? Thanks, Paul MacArthur Paul, I was recording w/Nancy Wilson (on bass) the latter part of the 60s and did what the co. said was her hottest selling record: "Peace Of Mind" (with Shelly Manne on drums). She was hot on the charts always back then. Don't know exactly what the figures were, but Peace of Mind was in the upper 10s on the charts as a pop number. She was great to record for, a fine pro but was going through a divorce, yet sung great -- I enjoyed our chats at Capitol. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Subject: Re: Calling Capitol Experts - RE: Nancy Wilson Received: 07/11/99 11:10 am From: Marc Wielagexxxxxctrax.com To: Spectropop List, spectxxxxxities.com Paul MacArthur
Spectropop text contents & copy; copyright Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.