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Spectropop V#0308

  • From: The Spectropop Group
  • Date: 08/20/99

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       Volume #0308                         August 20, 1999   
              featuring radio and recording favorites         
    ADMIN NOTE: Some list members received an earlier version 
    of 308. This is the corrected edition. Apologies for any 
    Subject:     Country-Girl Group Linkages 
    Received:    08/20/99 7:16 am
    From:        M. Helfinger/D. Grant,
    To:          Spectropop List,
    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,
    To:          Spectropop List,
    > 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.....
    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,
    To:          Spectropop List,
    Re: Curt Boettcher and Moses Lake
    Ron Weekes, 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 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Sagittarius rarities album
    Received:    08/20/99 7:16 am
    From:        David Atlee Phillips,
    To:          Spectropop List,
    Ron Weekes, 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..
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Spectropop V#0307
    Received:    08/19/99 11:44 am
    From:        Shelby
    To:          Spectropop List,
    The preliminary results are in for "Favorite" Female 
    Singer. The results are posted on:
    We have taken the top 25 vote-getters, and are putting 
    them on a ballot sheet. That URL is:
    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: 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,
    To:          Spectropop List,
    >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:// 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
    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"'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?" 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... 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 fact, one 
    trumpet player when asked "was Carol 'harrassed', started 
    laughing hysterically and said "she harrassed the men", 
    Carol Kaye
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re:  Spectropop V#0307
    Received:    08/19/99 11:44 am
    From:        DJ JimmyB, DJJimxxxxxcom
    To:          Spectropop List,
    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 ]--------------------

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