__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0315 September 2, 1999 __________________________________________________________ KBLA Presents the Super 30 RecordsSubject: "Rosecrans Blvd" lyric Received: 09/02/99 1:28 am From: Mr. Fulton, wuxxxxxet.se To: Spectropop List, spectxxxxxities.com I can't make out the whole Rosecrans Blvd lyric - can somebody correct my interpretation? There are a lot of geographical references which I'm not too familiar with (actually, where *is* this Rosecrans Blvd located????) This is how I hear it: ---- I've passed a lot of exit signs in my time While driving down this long freeway To San Diego and [Point South/points south?] But there was a time last summer When I came down from Manhattan And though I know I shouldn't It was just too hard And I made my move at Rosecrans Blvd. Rosecrans Blvd. Stop [you/your?] calling me You know I never loved her anyway I just used her over and over There were times when she'd laugh And I'd think I loved her One [??????????] Manhattan beach I said things that [???????] to suit her Then I held her close and dried her tears Rosecrans Blvd. Who cares what you think [?????????] crazy the way she drove that little car Down Sunset Blvd. at 3 in the morning [To?] 90 miles an hour in a 30 mile zone And blamed me when she got that ticket Then there was that smile It was really [what where?] all the airlines go She was a stewardess you know Shot down on [?????????????] mission And though I [fear/hear?] Everytime I drive my car past Rosecrans Blvd. I wonder why I did it ----------------------------- Help me with all the [????] please! Tobias Subject: Popeye Soundtrack Received: 09/02/99 1:28 am From: Billy G. Spradlin, bgsprxxxxxhlink.net To: Spectropop List, spectxxxxxities.com >This listy record fair score: the soundtrack to Popeye, >arranged and conducted by Van Dyke Parks! It's like a >prototype for "Jump!"....lots of good songs by Harry >Nilsson too. Only cost me about $2 :-) >T. The Popeye Soundtrack was a major stiff here in the USA, and it was selling in cut-out bins in the 80's for as little 50 cents. I didn't know anything about Van Dyke Parks till I saw a article in Musician Magazine when JUMP! Came out. Billy G. Spradlin 29 Rim Road Kilgore, Texas 75662 Email: bgsprxxxxxhlink.net Homepage: http://home.earthlink.net/~bgspradlin/ Subject: Jimmie Spheeris Received: 09/02/99 1:28 am From: haoleboy,xxxxxeboy.com To: Spectropop List, spectxxxxxities.com I have been holding on to my Jimmie Spheeris LPs thinking I'd never see them in CD--but behold, CDNow has three. Including "Dragon Is Dancing" with the song I've loved all these years, Blown Out. Otto, who had that record store on PCH in Laguna, told me he was quite the beachboy character. Any history on Jimmie and what he's up to? For that matter, how's Otto? He used to buy from us at City One Stop. kana Eddie Would Go! Subject: MOCLASSIC 60's GIRL GROUP & FEMME SOUL CLUB DA DOO RON RON Received: 09/02/99 1:28 am From: CHRIS KING, cxxxxxnet.co.uk To: Spectropop List, spectxxxxxities.com Dear fellow Spectropop members, The next date of my monthly 60's girl group / femme soul club DA DOO RON RON (London) is WED 15th SEPTEMBER when MARK LAMARR is the extra special GUEST DJ. Mr. MARK LAMARR - the quifftastic stand-up comic, radio DJ and star of countless TV shows including Never Mind The Buzzcocks, Shooting Stars, The Big Breakfast and The Word - is DDRR's supremely special guest DJ on WED 15th SEPTEMBER. Anyone who had the good fortune to hear his long-running Sunday morning radio show on GLR (now sadly deceased), will know that Mark possesses an incredible record collection and is a passionate devotee of all things DDRR. Arrive early!!! DA DOO RON RON is a monthly celebration of classic 6T's girl groups, Motown minxes, northern nightingales, Detroit dollies, searing soul sirens and playful popstrels. Wednesday 15th SEPTEMBER - DA DOO RONxxxxxNA NA 259, UPPER STREET, HIGHBURY CORNER. N1 London. Venue Tel:-0171- 359-6191. 9.00pm - 02 .00am. Admission is 3 pounds with a flyer / 4 before 10pm / 5 after. Regular DDRR DJ's Chris King and Declan Allen plus extra special guest MARK LAMARR spin femme only tunes from the likes of:-The RONETTES, MARVELETTES, FLIRTATIONS, DUSTY SPRINGFIELD, ARETHA FRANKLIN, SHANGRI-LA's, SUPREMES, PETULA CLARK, CHIFFONS, LESLEY GORE, VELVELETTES, MARTHA & THE VANDELLAS, MAXINE BROWN, HELEN SHAPIRO, DARLENE LOVE, NANCY SINATRA, CRYSTALS, SHIRELLES, COOKIES, CHANTELS, BRENDA HOLLOWAY, KIM WESTON, P. P. ARNOLD ET AL... For further info. please contact Da Doo Ron Ron promoter Chris King. E-mail:-cxxxxxnet.co.uk or Tel:-0181-342- 9243 Subject: BOUNCE spectxxxxxities.com: Non-member submi From: Spectropop Admin, spectxxxxxe.com Received: 09/02/99 1:28 am To: Spectropop List, spectxxxxxities.com ========= Start of forwarded message ========= Subject: Re: Hep Stars From: Dawn Eden, Petite Powerhouse To: Spectropop Admin, spectxxxxxe.com I'm very glad to hear that Boettcher is a topic of discussion once again on the Spectropop list. Has anyone on the list (besides the one lister you quoted) heard the Hep Stars album? After looking for it for 11 years (and owning one 45 from it, "Musty Dusty" b/w "It's Now Winter's Day," on Chartmaker [probably owned by Clark -- it's the same label that put out the Goldenrod album (go to http://www.delerium.com for details of this Millennium-related project)]), I finally found it a month ago at Mondo Kim's on St.Mark's Place, in great condition, for $19.99. (That's got to be the _longest_ sentence I've typed in a while.) It's decent soft pop, but the arrangements aren't nearly as good as the songs. Nearly all of the information I have on this album is circumstantial. I know that Sandy Salisbury was made aware of it, as he has a copy of the actual sheet music book that came out in conjunction with the album. Despite the dearth of firsthand reports, I can answer the following questions with certainty: >Did Boettcher himself work on the record (credited to Steve >Clark)? No. By the time this album was recorded, circa 1968, he was long gone from Our Productions. He left Our in mid-'67. I think the actual date is somewhere in the Millennium and Ballroom notes I did for Rev-Ola (!). >Did Clark/Paxton/Our Productions own Boettcher's publishing? Our Productions, which is to say Steve Clark, owned it until Curt left the company. Gary Paxton had nothing to do with it -- he only functioned as a studio owner/engineer for most of Boettcher's Our productions. (He played a larger role with Eternity's Children -- have you seen that Rev-Ola CD yet?) >Did Hep Stars come to LA or did Clark (and/or Boettcher) >go to Sweden? They definitely came to LA, but I don't know if the entire album was recorded there. It probably was, since it sounds like it was all done in the same place with the same arranger, Mike Henderson. Along with Ballroom member Jim Bell, he did a lot of arrangements and production work at Our, sometimes in conjunction with Boettcher. A friend of Boettcher's who knew him in his later years passed on a great anecdote that Curt had told him. (Pardon the switching between "Boettcher" and "Curt" -- I'm going by feel.) According to Curt, Bjorn and Benny approached him in L.A. The story goes that they were huge fans of his work and wanted him to produce them. Curt said that he refused because he thought their work was "oompah music"! I'm sure that story is at least half true, especially the "oompah music" part. However, if Curt were approached when the Hep Stars were about to record the "It's Been a Long, Long Time" album, then I don't think it could have been both Bjorn and Benny, as I think only one of them was in the group then -- perhaps someone else could confirm this. If it _was_ both Bjorn and Benny, then it would have been after the Hep Stars broke up and before ABBA. To confirm that, we'd have to find out if the two of them made a trip to L.A. while ABBA was in an embryonic state. >Were these songs recorded by Hep Stars prior to or after >the Sagittarius and Millennium albums? I'd have to find out when exactly the album come out. I would guess that it was at least after Columbia started releasing the Sagittarius 45s. Your lister who offered his hypotheses on the Boettcher-Hep Stars connection sounds intelligent and insightful. If it's a she, I'll die. Despite years of hoping, I've yet to meet another woman who is as obsessed with Curt's music as I am. >So Dawn, we all would appreciate your taking the time to >reply whenever you get the chance. Hope this information helps. It's really nice to know that there are other people who love Curt's music so much that they examine his work in such minute detail. All the best, Dawn ========== End of forwarded message ========== Subject: Unreleased Spector Box Received: 09/02/99 1:28 am From: Jamie LePage, le_pagxxxxxities.com To: Spectropop List, spectxxxxxities.com Paul Urbahns, Pauluxxxxxcom wrote: >>I was under the impression that this particular set was >>compiled in Japan, not in US. Rhino typically would use >>Bill Inglot and master in LA. The ABKCO set is credited as >>mastered by Larry Levine and Spector himself. > >Bill Inglot told me on the telephone once he was working >with Larry Levine on a Spector set. Goldmine even ran an >article on it and listed all the tracks. The Rhino set >never came out, no telling how much money people spend on >Spector and have nothing to show for it. A photocopy has turned up of Tats Yamashita's liner notes to the unreleased Japanese Spector box set we've been discussing. Here's the deal: The first page of the liners indicates: Moon Records (predecessor to MMG) contracted the rights from Phil Spector International in 1987, but the box was not released because Spector kept changing his mind about the sequence and song selection. Originally the box was to be released in exactly the same format worldwide, but at the time of the writing of the notes (Sept. '89) Japan was the only country with release plans; even Rhino in the US had completely given up. Everything about the track selection, sequencing etc. was decided overseas (outside of Japan), and the only digital masters Moon had available were those Spector had designated for the box. Suggestions from Moon for additional or alternative tracks were met with silence from Spector's organization. The unreleased Japanese box is credited as having been mastered by Mitsuharu Kobayashi. Mystery solved. Indeed, this was the Rhino box, although it appears that Spector had both Rhino and Moon pulling their hair out independently of each other. Thanks for helping clear this up! Special thanks to those listers in LA and Tokyo who helped with this research off-list. Jamie Subject: things I meant to say Received: 09/02/99 1:28 am From: Jack Madani, Jack_Mxxxxxk12.nj.us To: Spectropop List, spectxxxxxities.com I wrote all these unbelievably clever posts to the list but they all got bounced, and like a dope I deleted the originals as soon as I sent them, so all I can do is recap in general terms what I was trying to say: #1. Jerry Riopelle, cool! I totally dig Close Your Eyes. #2. Yamashita singing Tokyo's a Lonely Town. I like that idea because it means he could use the lyric rewrite Dave Edmunds employed when he did *London's* a lonely town ("from [insert Tokyo landmark here] to Pasadena's such a long way....the cars are driving down the street the wrong way...."). Did he do that, or did he sing the original line "i feel so out of it walking down [insert Tokyo main thoroughfare here]"? #3. I was intrigued by discussion of how Brian Wilson ended up playing piano on the Things Are Changing Phil Spector session (namely, that it was because Leon Russell showed up drunk for that session and was bounced). This summer I have read both Darlene Love's and Sonny Bono's autobiogs, and in BOTH books they refer to Russell as being a real professional for whom showing up drunk at a recording date was quite out of character--they then tell the story of one time when Russell DID show up drunk and was disrupting the session, when Phil came into the studio and got in Leon's face and said, "don't you know the meaning of the word respect?", to which Leon boozily replied, "yeah, don't you know the meaning of the word f---?" Anyhow, I wondered if that story may have had anything to do with the story of Brian's one time working in the studio with Phil. jack Subject: one more thing Received: 09/02/99 1:28 am From: Jack Madani, Jack_Mxxxxxk12.nj.us To: Spectropop List, spectxxxxxities.com I almost forgot to ask; is there going to be any overlap between the songs on the Here Come The Girls series and this new Ripples series that sounds so interesting? End
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