__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0308 August 20, 1999 __________________________________________________________ featuring radio and recording favoritesADMIN NOTE: Some list members received an earlier version of 308. This is the corrected edition. Apologies for any incovenience. Subject: Country-Girl Group Linkages Received: 08/20/99 7:16 am From: M. Helfinger/D. Grant, mhexxxxxrlog.com To: Spectropop List, spectxxxxxities.com Don't worry, Doc - it's not necessarily off-the-wall to suggest connections between some current female New Country artists and the Girl Group Sound. Even during the early 60s and late 50s, C&W and Girl Groups weren't mutually exclusive sets. It seems to me that there were a number of recordings by female vocalists of that time - Connie Francis and Skeeter Davis come to mind first - that straddled the two genres. For good measure, I could throw in a local Toronto artist of the early 60s era, Pat Hervey. The idea of connections between C&W and Girl Groups intrigues me because two of my favorite forms of music are Girl Groups and Western Swing. That might seem like a pretty bizarre mix of musical tastes, but the common thread in my mind is that both are extremely joyous forms of music. Coming to think of it, there were a few examples of Western Swing incorporating female vocal harmony. I think, in particular, of the Tiffany Transcriptions recorded by Bob Wills and His Texas Playboys in 1946-47 (available in a 10-volume Rhino CD set). A few of the tracks featured vocals by the McKinney Sisters (Dean and Evelyn), and some of these could even be described as anticipating the perky, upbeat spirit of the Girl Group Sound (my turn now to ask for the indulgence of the List members - forgive me if I'm going way off on a tangent...) Finally, Doc, if you're grasping for Country/GG connections, you can't overlook an example very close to both our hearts, Debby (Swisher) Horn of the Pixies Three, who became a C&W singer based in Oklahoma City during the 1970s and 1980s. Her country influences filtered through onto the Pixies' 1995 reunion CD and into their current repertoire on the oldies' circuit. Michael Helfinger --------------------[ archived by Spectropop ]-------------------- Subject: James Bond Received: 08/19/99 11:44 am From: Carol Kaye, caroxxxxxhlink.net To: Spectropop List, spectxxxxxities.com > Haha, you never saw Jim chasing East > German agents at Gold Star, did you? :-) > > Tobias Jimmy was a very fine jazz bass player (upright), suave guy too....and we used to call him affectionately as "007". Jerry Riopelle, will do....saw Earl tonight, he's OK, playing good, and he loved the Henry Mancini Institute students (all post-grad award-winning seasoned pros, great guys, can really play and were honored and in awe of Earl, he loved being with them too)....the pro-students, all serious, played their tails off at RIX in Santa Monica, jazz club where Earl holds sway every Tuesday night. Saw Ray Johnson in there tonight, first time in about 25 years, looks great, older of course, still recording some and playing great keyboards. Didn't know you used Earl that much, will say hi to him next Tuesday, and to Hal also, Russ Wapensky says Hal is "fine", doing well, had gone down to Phoenix to record this week. Yes, we've lost quite a few..... best, Carol I'm sure Earl, everyone will love to hear about you! --------------------[ archived by Spectropop ]-------------------- Subject: Re: Curt Boettcher and Moses Lake Received: 08/19/99 11:44 am From: Jamie LePage, le_pagxxxxxities.com To: Spectropop List, spectxxxxxities.com Re: Curt Boettcher and Moses Lake Ron Weekes, Wexxxxxs.edu wrote >On a disc entitled "Sagittarius/Rarities & Curt Boettcher/ >Productions" I have there are two tracks by Moses Lake. An interesting album. Worth seeking out. Oobleck by Moses Lake is a slightly psychedelic guitar-based track with a childlike lyric, credited on the sleeve as written by M. Balzotti and Dr. Seuss! >If I didn't know better I would assume the >disc was created somewhere in Latin America. A better guess would be Japan. I think the track selection is taken directly from an article in Vanda 19. In fact, the article even has the exact same typos! Highlights of the CD: The single versions of "My World Fell Down" and "Hotel Indiscreet" by Sagittarius with the alternate mixes and insert pieces, "Mr. Man of the World" by the Bootiques (note the typo on your CD-this group is misspelled Bootigues!), and both sides of the Ballroom single. The Something Young tracks are pretty good too. Low point: the Jonathan Moore single. Embarrasing. Question for Jerry and Bob, did you ever happen to make Curt Boettcher's aquaintance? He worked on the early Association records and some Tommy Roe stuff around the same time. He is particularly noted for his fine vocal arrangements, and he often co-produced with Keith Olsen. If you have any recollections of Curt, we'd love to read about them. Jamie --------------------[ archived by Spectropop ]-------------------- Subject: Re: Sagittarius rarities album Received: 08/20/99 7:16 am From: David Atlee Phillips, wuxxxxxet.se To: Spectropop List, spectxxxxxities.com Ron Weekes, Wexxxxxs.edu wrote: >On a disc entitled "Sagittarius/Rarities & Curt Boettcher/ >Productions" I have there are two tracks by Moses Lake. Could you please post the full tracklisting? Thanks.. T. --------------------[ archived by Spectropop ]-------------------- Subject: Re: Spectropop V#0307 Received: 08/19/99 11:44 am From: Shelby Riggsxxxxxmci.net To: Spectropop List, spectxxxxxities.com The preliminary results are in for "Favorite" Female Singer. The results are posted on: http://members.xoom.com/vinylmania99/results2.html We have taken the top 25 vote-getters, and are putting them on a ballot sheet. That URL is: http://members.xoom.com/vinylmania99/vote.html Everyone can vote one time per month. Voting ends on 9-30-99. In October we will be running an ongoing ballot for Favorite Male & Female in 10 different categories. We will put this in on 10-1-99. Thanks for your votes. If you have an all-time favorite singer in a special category, please send that name to: vinylxxxxxmci.net We will place all names in the ballot boxes(Max. 20) for each category. Performers such as Bobby Darin, Elvis, etc. can be placed in more than one category. The results on the new polls will be available on Jan-1-2000. Shelby Riggs --------------------[ archived by Spectropop ]-------------------- Subject: My bio? Received: 08/20/99 7:16 am From: Carol Kaye, caroxxxxxhlink.net To: Spectropop List, spectxxxxxities.com >Carol, when you get time, could you please tell us how >you began playing guitar and bass? What were your first >contacts with the stringed instruments and why did you >persist in this interest that was such a man's domain? Who >taught you? Did your parents discourage you? How did >finally break into the business? Was it hard initially to >be accepted, a women as a session player? >Thanks in advance. Dave Mirich Dave, and everyone, there is a lot about me and my biography on my website (FAQ page too): http:// www.carolkaye.com/ and I think the FAQ page especially addresses these questions. But...briefly: I studied guitar with Howard Roberts' teacher for 3-4 months in 1949 at the age of 14, and he hired me to help him teach and that same year began as a professional musician, playing in Goodman-like "jazz" combos, dances, weddings, etc. in Long Beach Calif., sat in with television bands, on the road with Henry Busse's (very good band btw, excellent musicians) band for 1-1/2 years in 1955), divorced the bass player (remember I was a fine guitarist by now), and just played good jazz in the hot LA jazz clubs, and rose up in the ranks to play with people like Jack Sheldon, Teddy Edwards, Billy Higgins, etc. and accidently got into studio work when producer Bumps Blackwell asked me (for Sam Cooke) end of 1957 (I didn't want to do studio work but was paying for kids and support of my mother, needed the money etc.) even tho' I was a very well-respected almost-celeb jazz guitarist back in the late 50s. 6 yrs. into studio work as a popularly-called studio guitarist (about 4th call with most record companies and starting to work film calls too), late 1963, an elec. bassist didn't show up for a date at Capitol and I've been playing elec. bass on hits ever since (playing what I tho't the bass should sound like, making up my own parts - and liking not having to carry in all the guitars: elec. and acousitic 6-string boxes, elec. and acoustic 12-string, the Dano, the banjo, the mandolin, etc.). There were MANY MANY MANY MANY FINE women jazz musicians since 1920s, 30s,40s, 50s in JAZZ (a fact now lost on the younger generations of people), there was literally NO PROBLEM back then.....women jazz musicians were highly esteemed, respected and admired (and MEN loved to play with them too), there was NOT the discrimination back then so obvious like it is now....sure some women had trouble, the ones who couldn't play, but there were tons who COULD play - it was NOT a rarity (not just women's bands either, I never played in a "woman's" band, never tho't of myself as a "woman" guitarist nor "woman" bassist....it's not a "man bassist" is it?). I felt that I had to "lower myself" to play that danged new music called "rock and roll" but like most other musicians, I was a jazz musician who got interested in helping to create the background music for a hit record, got to be rather easy, and our business was born in the early 60s. There is hardly a rocker on any of the rock records, mainly jazz musicians and ex-big-band fine musicians recorded all those hits, film scores, and TV film shows. "Why did I persist?" Because......it was the ONLY THING I was GOOD AT. Plus being born poor, being a stutterer, ugly (buck teeth), and growing up without hardly anything, and raised in a housing project, knowing what it was like to starve, I didn't want MY kids to grow up like that....was there a choice? Evidently people today have little idea of how it is to be that poor, that's kind of a weird question to me. Did my parents discourage me? Hahahahahhahhahahahahaha.... ...did I get beaten everyday (like the rest of the kids in the 40s?), "you're stupid" etc. sure, everyday!!! Ask Bill Cosby, he had that too, most successful people DID........ .. I've worked since I was 9 yrs. old...and it didn't hurt me a bit. I liked being capable of putting food on the table for my Mom, no, she wasn't the "encouraging kind at all" - she was rather jealous of me, of my playing and totally critical "all the time", sort of despised me, but she was loyal, that's love enough for me. She helped me some with my kids early on, and finally on her last day of life, she finally expressed some caring... .....it just makes you strong when you don't have a parent "doting on you" all the time. And you learn parents have problems too....and learn hey, that's life. My Dad was a SOB who I told my mother to "get rid of" when I as 9 yrs. old, he had a lifetime of drugs and was abusing her and me more and more. So we barely had enough to eat, but my kids did't have to battle that - I raised them successfully ALONE...and find that most single parents do just fine with their kids. Music gave me confidence and something beautiful in my life. >How did finally break into the business? Was it hard >initially to be accepted, a women as a session player? Because I was damned good! Hell, I was better than the men, no it wasn't hard at all - if they wanted a hit record of creative fine playing, they called me.....in fact, one trumpet player when asked "was Carol 'harrassed', started laughing hysterically and said "she harrassed the men", true. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Subject: Re: Spectropop V#0307 Received: 08/19/99 11:44 am From: DJ JimmyB, DJJimxxxxxcom To: Spectropop List, spectxxxxxities.com In a message dated 8/17/99 7:25:21 PM, you wrote: >The best introduction to April March I know of is last >year's LESSONS OF APRIL MARCH (Ideal), which compiles >several tracks from her many EPs, singles and albums. Many >of her releases are in the 60s French pop style Yes Stewart--thanks for the embellishment. And the CD I'm pumping up here is called "Chrominange Decoder", her latest which, in addition to the 6t's influenced sounds features several re-mixes of the same songs. I played Mignonette on my show this morning between a Herb Alpert and the Tijuanabe's (Brass Impact) version of "Mas Que Nada" and Patty Duke's "Half-Hearted Kisses". It fit like the proverbial glove. Just ask OJ ;-)...Jimmy Botticelli --------------------[ archived by Spectropop ]-------------------- End
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