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Spectropop V#0332

  • From: The Spectropop Group
  • Date: 10/14/99

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       Volume #0332                        October 15, 1999   
                       Adventures in Stereo                   
    Subject:     Re: Diane Renay
    Received:    10/14/99 11:16 pm
    From:        Diane renay, CEIIxxxxxcom
    Dear John:
    All I can say about Ms. Ross is that she used language 
    that would have made a sailor blush, ha, ha! There 
    definitely was a lot of tension amongst the girls. As for 
    myself, even though the dressing room was soooo small,
    (standing room only with a few chairs squeezed in between 
    all of us), I made it a point to stay as far to one side 
    of the room as possible! I was just a nice clean cut All 
    American Girl, just out of high school, very sheltered and
    very green. You can just imagine what an experience it must
    have been for me! That is all I am willing to say, although
    I could say more, but I won't.
    Regarding where you might find a copy of the dance version
    of "NAVY BLUE," I honestly don't know. I don't even know if
    they are available. There were not that many records 
    released when it came out. I might have an extra 45 stored
    at my Father's house but I am not sure, I can check and see
    if I have an extra to spare. If so, I could send you one if
    you would like. Let me know. I wouldn't be able to send for
    a couple of weeks though, but I will send it as soon as I 
    am able. Just email me your mailing address.
    I actually liked the newer version better then the old, 
    because I was grown up when I recorded it and it gave me a
    chance to sing in a more mature voice. 
    Also, it is a dance record and has a great beat, if you 
    enjoy dancing!
    Talk to you again.
    Diane Renay <[:>)
    --------------------[ archived by Spectropop ]--------------------
    Subject:     soft pop story on the web
    Received:    10/14/99 11:16 pm
    From:        Michael White,
    To:          Spectropop List,
    Hello all!
    Some of you may remember some postings from me a few 
    months back regarding a story that I was working on about 
    soft pop for a Canadian music paper. That story now 
    proudly graces the October cover of Exclaim! Magazine 
    across Canada, and is available for everyone to view at Just click on the cover image to go 
    directly to the story.
    I welcome any feedback - positive or negative - at the 
    address above, even if only to enthusiastically discuss 
    this wonderful genre further. I should mention that the 
    story emphasizes soft pop's influence on modern groups 
    almost as much as, if not more than, it does the original 
    artists. This wasn't my initial intention, but the 
    magazine was concerned that its younger readers (and most 
    of them *are* young) wouldn't necessarily be interested in
    a history lesson unless it related to something they were 
    familiar with. I completely agree; hopefully, a few kids 
    will run out to buy a Millenium or Association album. I 
    use two artists specifically to illustrate soft pop's 
    continuing legacy: Stereolab and the High Llamas. Some 
    people haven't been crazy about this, but - after reading 
    the story - if anyone wants to engage me in a friendly 
    debate, feel free. Others who inputed their thoughts to 
    the story are Bones Howe, Dawn Eden, David Bash and Andrew
    Sandoval (and Andrew, if you're reading this, I lost your 
    e-mail). Be sure to click on the sidebar links above the 
    story for some lists 'n' such. 
    Thanks for indulging this little plug. Hope you all enjoy 
    what you see!
    All the best,
    Mike White
    Vancouver, BC
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Gold Star Lives Again
    Received:    10/14/99 11:16 pm
    From:        Jimmy Cresitelli, Jimxxxxxcom
    To:          Spectropop List,
    What with Carol Kaye's stupendous and detailed notes re 
    the Spector recording sessions, I feel like I'm right 
    there in the studio with the "wrecking crew..." I imagine 
    myself assisting by banging on a tambourine for endless 
    fascinating takes, while assorted Crystals, Blossoms, 
    Ronettes, and others line the concrete walls in various 
    states of sleep / insomnia... endless cups of coffee, 
    pounds of bagels... cigarettes... seeing and hearing, but 
    not really knowing, that though "gold" might be pouring 
    from those speakers, no one can yet understand that 
    historical innovations are being forged on a magician's 
    console. Oh wow... to have been fortunate enough to have 
    been there... !!! These posts make me go back into my 
    darkened living room with the old Philles 45s, turning up 
    the earphone volume and listening hard and close for the 
    elusive background notes and details... like, is that 
    really Darlene's voice poking out from under La La's on 
    "Da Doo Ron Ron" at certain points...? That's as close as 
    I'll ever get to actually being there in person: Spring, 
    1963: not just another California season, you know?  
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Scott Walker & Brazilian stuff
    Received:    10/14/99 11:16 pm
    From:        Pacific Ocean Bluto,
    To:          Spectropop List,
    Larry Koch, half man/half beast, wrote re the Walker Brothers:
    >Who produced that stuff - was it Wally Stott?
    I've seen that name somewhere but can't place it.....the 
    person who produced the Walker Brothers was, according to 
    the CD liner notes, John Franz, who I haven't heard of 
    [Milton Nascimento]
    >Thanks. Speaking of Bituca (Milton's nickname to his 
    >friends, meaning something like "Stumpy" (he's rather 
    >short)), has there ever been any discussion of Creed 
    >Taylor on this list?
    Not as far as I know. Who is he? Anyone who loves Van Dyke
    Parks' "Discover America" should listen to the "Tropicalia"
    compilation of Brazilian sixties pop. It's really good, and
    quite orchestral too. Modern Brazilian music is interesting. 
    There were many of the country's songwriters who were 
    doing to traditional Brazilian music what people such as 
    Brian Wilson and Burt Bacharach did to American popular 
    music. Actually, if BW and BB had come from Brazil, their 
    music would've probably sounded a lot like the "Tropicalia" 
    compilation. Also, bands like Os Mutantes shared Brian's
    anything-is-possible attitude, even going so far as making 
    their own effect pedals!
    BTW, Larry has sent me some tapes with Astrud Gilberto's 
    lesser known stuff, and she surprisingly covered a lot of 
    Californian soft pop: The Association's "Windy"; "Follow 
    The Rainbow" (also done by Harpers Bizarre), some Harry 
    Nilsson songs...
    --------------------[ archived by Spectropop ]--------------------
    Subject:     soft rock
    Received:    10/14/99 11:16 pm
    From:        Frank Youngwerth, xxxxxcom
    To:          Spectropop List,
    <<(guitar solos on a Carpenters record?!?!?!?!) >>
    Not sure what you mean, but "Goodbye to Love" has almost 
    as much (wailing) solo guitar as it has Karen, and it's 
    one of their best. 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Carpenters/Sunshine Company
    Received:    10/14/99 11:16 pm
    From:        Stewart Mason,
    To:          Spectropop List,
    >*Carpenters - Now & Then (1973)
    >I don't know what to think of this record. Some of the 
    >more typical Carpenters songs are fantastic, but Side 2...
    >it's put together as a *really* embarrassing phone-in 
    >radio show, and the arrangements of a few songs (guitar 
    >solos on a Carpenters record?!?!?!?!) sound just horrible.
    What's surprising about guitar solos on a Carpenters 
    record? I think the point where Tony Peluso's solo wells 
    up in the middle of "Goodbye To Love" is one of the great 
    moments in 70s AM pop!
    >I really love the "Close To You" LP, but they seem to have  
    >lost it majorly after its release..."Don't Cry For Me  
    >Argentina" off 1977's "Passage" comes to mind, *shuddering 
    >with horror*...
    I disagree -- my favorite thing about the Carpenters is 
    that they were a classic singles band who were capable of 
    doing extremely bizarre things on their albums, such as 
    "Intermission," the last track on side one of A SONG FOR 
    YOU, a brief acapella piece with multi-tracked voices 
    singing "We'll be right back after we go to the bathroom."
    (?!) The medley on NOW AND THEN and some of their more 
    bizarre covers, particularly "Argentina" and Klaatu's 
    "Calling Occupants of Interplanetary Craft," also fall into
    this category for me, and this sort of thing is one reason 
    why I like the Carpenters. Better they should do something
    utterly weird than play it safe all the time.
    >*Sunshine Company - Happy Is
    >This one looked really interesting but sounds, uh, not 
    >really interesting :). It's got covers of the Beatles' 
    >"Rain", Curt Boetcher's "I Just Want To Be Your Friend", 
    >Webb's "Up Up And Away", Roger Nichols' "Just Beyond Your 
    >Smile" and more. Joey Stec, was this band friends with you
    >and Boettcher? Do you know why they decided to cover a 
    >Millennium song?
    They covered more than one Boettcher song -- their second 
    album contains "If You Only Knew." I don't have HAPPY IS, 
    but their second and theird albums, THE SUNSHINE COMPANY 
    (1967) and SUNSHINE AND SHADOWS (1968) are both excellent 
    soft pop, and each has one absolutely stunning track, 
    "Look, Here Comes the Sun" and Williams-Nichols' "To Put Up
    With You" respectively. I've read that there was an 
    unreleased fourth album, but it's no doubt long gone.
    ****************************FLAMINGO RECORDS****************************
    Stewart Allensworth Mason      
    Box 40172                     "Instantaneous death does not amount
    Albuquerque NM 87196           to torture."        
    **********************HAPPY MUSIC FOR NICE PEOPLE***********************
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Sunshine Company
    Received:    10/14/99 11:16 pm
    From:        Todd Mc, Toxxxxxcom
    To:          Spectropop List,
    Tobias wrote:
    > *Sunshine Company - Happy Is
    >  This one looked really interesting but sounds, uh, not 
    >  really interesting :). It's got covers of the Beatles' 
    >  "Rain", Curt Boetcher's "I Just Want To Be Your Friend", 
    >  Webb's "Up Up And Away", Roger Nichols' "Just Beyond Your 
    >  Smile" and more. Joey Stec, was this band friends with you
    >  and Boettcher? Do you know why they decided to cover a 
    >  Millennium song?
    Gee, I hope I dig 'em more than you do, Tobias, seeing as 
    how I just put my check in the mail for the Rev-Ola comp. 
    I've only heard a few of their tunes, but it sounds like 
    well-produced soft pop/light psych stuff to me, and you 
    gotta love their taste in covers! Care to elaborate on 
    your disappointment? 
    On a somewhat related note, I was wondering what 
    Spectropoppers in-the-know think of Eternity's Children 
    and how the Phantom release (Australian?) stacks up 
    against the Rev-Ola. Can't find track listings for Phantom
    anywhere, it seems to be about 5 bucks cheaper than the 
    Rev-Ola (ditto their Sunshine Company disc). 
    Todd McMullen
    n.p. Flowerpot Men
    --------------------[ archived by Spectropop ]--------------------
    Received:    10/14/99 11:16 pm
    From:        CHRIS KING,
    To:          Spectropop List,
    Thought that you may be interested to know that my 6T's 
    girl group & femme soul club Da Doo Ron Ron now has it's 
    own (nascent!) web site. You can check in at:- http://
    After the roaring success of September's sold-out Da Doo 
    Ron Ron club night, when Mark Lamarr was the mega guest DJ, 
    Da Doo Ron Ron returns for its first Birthday bash on 
    Wednesday 20th October. Yes, quite remarkably we have now 
    been Da Doo Ron Roning for an entire year! Joining in the 
    festivities will be special guest DJ's Beans Geddes from 
    Brit-scooping Scots popsters Belle & Sebastian, (Beans is 
    a renowned northern soul & girl group aficionado!) and 
    regular spinner at hip Glasgow beat boudoir Divine and B &
    S tour DJ Andrew Symington. So, forget Ibiza and come whoop
    it up on Wed 20th October and enjoy a night of Doo Lang 
    spangled revelry to mark DDRR's first anniversary.
    259 Upper Street, Islington, Highbury Corner N1. Tel:-0171
    -359-6191. Below The Famous Cock Tavern. Directly adjacent
    to Highbury & Islington tube station. 9.00pm - 02 .00am. 3 
    with a flyer 5 without.
    Classic 6T's girl groups, Northern nightingales, Detroit 
    dollies, Motown minxes, searing soul sirens & playful 
    Regular DJ's Chris D King & Declan Allen plus BEANS GEDDES
    (BELLE & SEBASTIAN) & Andrew Symington (Divine) spin femme 
    only platters from the Ronettes, Marvelettes, Chiffons & 
    Shangri-Las to Dusty, Nancy, Aretha and Petula.
    For further info please contact Da Doo Ron Ron promoter 
    and organiser Chris King on
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Pittsburgh Symphony
    Received:    10/14/99 11:16 pm
    From:        Greg Matecko,
    To:          Spectropop List,
    *William Steinberg and the Pittsburgh Symphony Orchestra -
    Funny someone should bring these guys up...we've had a new
    conductor for the last few years. I hear tell the guy has 
    supposedly written some movie theme songs and stuff, but I
    think he's bamboozling everybody. This guy wrote Lesley 
    Gore songs! I've seen his name on at least two of her 
    records; "Sunshine, Lollipops & Rainbows" and one of my 
    all-time favorites, "California Nights." Guy calls himself
    Marvin Hamlisch.
    Maybe I aughta head down to Heinz Hall's stage door one 
    night and tell him to come clean...
    Greg Matecko,
    tongue FIRMLY planted in cheek...
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Other hits....
    Received:    10/14/99 11:16 pm
    From:        Carol Kaye,
    To:          Spectropop List,
    John Rausch, thanks for your nice message. And to others 
    too, thank-you for your nice words.
    >I could read that stuff all night. What a wonderful moment
    >in history it must have been (although no one probably 
    >thought so at the time - "just another session").
    >But you said everyone knew that the Righteous Bros. song 
    >was going to be a hit. Were there any other recording 
    >dates when you knew what you were playing on was going to 
    >be a smash hit?...or how about one that you DID think was 
    >going to be big and ended up being a dud?
    Well, to answer your questions, yes yes....many signs were
    there for "You've Lost That Lovin' Feelin'", "Unchained 
    Melody", Zippity DooDah and the biggest one we tho't was 
    going be a biggie of Phil's: "River Deep Mountain High", 
    was a big disappointment, (but did see it do well in the 
    UK). So there's more of what we tho't were going to be 
    hits that were duds for sure.
    But.....from the start, you knew that "La Bamba" was a 
    biggie (the feel and Ritchie's singing, plus it was 
    different), several of the Herb Alpert things, lots of the
    early stuff, and of course "Boots" (Nancy Sinatra) was kind
    of a surprise but had that "hit feel element" groove, as 
    did "The Beat Goes On" (once Sonny liked the bass line I 
    came up with on guitar and gave it to Bob West to play on 
    elec. bass.....that was such a biggie to me -- not 
    ego-wise, we were all creating lines on our own to make a 
    recording hit sound -- 
    but the fact that the lines of the bass are so hugely 
    important in making a tune "happen", that was a big 
    revelation to me at that time), and I'd say most of the 
    hits after that we'd predict pretty well. Even the 
    Marketts' "Batman" but that surpassed our expectations as 
    we always tho't the TV theme 1st recording would be the "
    We knew that several of the Ray Charles things "I Don't 
    Need No Dr." etc. would be biggies, as well as "Feelin' 
    Alright" (Joe Cocker -- which was rereased and was a #1 
    hit again later), and "The Way We Were". AS well as the 
    groups recordings: Gary Lewis & Playboys, Hondels, 
    Dino-Desi-Billy, Buckinghams, Jan & Dean, Ripchords etc.
    You do get a good sense of "hits-in-the-making" when 
    that's all you do day after day, night after night for 
    years, that's your business. I could predict the Lettermen
    hits, Andy Williams, Mancini, as well as Vickie Carr, 
    Frankie Laine, but the one by Nancy Wilson "Peace Of Mind"
    was a surprise that it was that big, so was she surprised.
    But getting back to Phil, we all knew he had that Midas 
    touch and damn, every one was a biggie for him until the "
    River Deep" recording which took us all off-guard. 
    But actually looking back, it was too much of a 
    party-scene during the recording of that, and maybe that 
    much distraction (altho' Phil loved people around him) 
    took his usual edge off in producing...maybe it could have
    been better, who knows.
    I had no idea that "Soul And Inspiration" was going to be 
    a biggie, just tho't it was a "nice" recording.
    We had been recording with Nancy Sinatra 2-3 dates before 
    "Boots" hit and nothing special, but then Boots hit big, 
    and we were a little surprised at it getting so high, but 
    timing is a big thing for a certain sound, song, feel, 
    singing, etc. to hit also. Was the right time for her to 
    hit big with the right impact-song.
    I knew that Wichita Lineman was going to be a biggie, had 
    that feel all over it. But walked away after cutting 
    "Games People Play" with Mel Torme thinking I had failed 
    I had play a mountain of 16th notes just to wake up the 
    tired drummer (he had been on the road a lot, fine drummer
    but we all need some help sometimes, being tired a lot), 
    and walked into the booth to apologize for the bass 
    concerto, and they "loved it"...I tho't what I played was 
    totally inappropriate, and went home very dejected, 
    thinking I had failed Mel (the hit of "Come On Home" was 
    big for him).
    I was totally shocked when "Games" was a big hit for Mel 
    (he told me he made more money off that hit than any other 
    in his career and he seemed proud of the recording altho' 
    he's a great jazz singer, and he's just humming most of 
    the time on it). So you never really "know" but the 
    elements of a:
    1. good or great song
    2. great feel recording
    3. great sounds, well-balanced with different tonal bottom
    - middle -
    and high ends
    4. great musicianship
    5. great engineering
    6. great singing (appropo for the style tune and all), 
    with fine
    background singers
    7. and last but not least, the creative arrangements (our 
    group used to make up arrangements at first and then "add"
    to the written arrangements later...all the hook lines, 
    ideas, key-changes, breaks, montuno lines, soft-parts, 
    loud-parts, weights in sounds, the actual framework of the
    song and singer. 
    All these points not necessarily in this order either, you
    never know. Sometimes (as was most of the time) you can 
    have a so-so song (or worse) and a so-so singer, and have 
    a big hit too if the other elements can overcome it all 
    and just be larger than life.
    Then it's up to the distribution, air-play, 
    public-acceptance, and some in the personal appearances 
    too. The A&R men (like Phil, now called producers) had a 
    lot to do with this as well as the engineer(s), and the 
    final mix, it was understood that that had to be great. 
    But actually back then, there were a lot of fine engineers
    all over LA....there's a lot more engineers now, but they 
    seem to be involved with technology, NOT with the overall 
    feel and sounds of the whole recording like the fine-eared
    engineers of the 60s, I'm sorry to say. 
    Most engineers today have no idea how important the real 
    sounds of the bass and drums are no matter how nice and 
    dedicated they are and some are just wonderful at their 
    craft, but they're lost if they have to cut flat (or with 
    little EQ), that's a dead giveaway to me that they "don't 
    have it" as far as a great-sounding record - there's way 
    too much EQ being used instead of getting the right mike 
    setups, the skills of balancing one track with each other,
    getting the right sounds coming into the board - yes, I 
    know digital is different. 
    Still too much EQ and compression is used unnecessarily 
    imo, killing the fine sounds peole need to feel good by...
    and those pesky synthesizer 1-man bands are still out 
    there creating scores for films and TV shows, ugh, the 
    budgets are so low. OK, I'm a throwback to the 60s era, 
    but we've passed the point of good sounds with all that 
    technical garbage I think.
    Herb Alpert also had great sounds in his ears in the 60s 
    (Phil did, then Sonny Bono did, others too) and helped to 
    create some great styles of new music (actually dixieland 
    restyled imo which was Herb's idea - some pretty good 
    But before everyone of the 60s were people like Lester 
    Sill, Bumps Blackwell, and tons of great producers like 
    Sonny Burke, Neely Plumb, David Cavenaugh at Captitol, 
    just on and on. Phil had some pop ideas in sounds which 
    no-one in their right mind would have ever done back then: 
    wash it with so much echo, and they can't seem to repeat 
    that, altho' the latest Matthew Sweet album I'm playing 
    bass on (most cuts) is very close to that "In Reverse"....
    funny thing, one fellow just emailed me after purchasing 
    this new CD of Matthew's, that on the cut of "I Should 
    Never Have To Let You Go" that I sound just like Jamerson.
    ....he had no idea I did a lot of Motown dates of the 60s 
    and I had to gently tell him, "no, I sound like ME".
    Oh well -- and for the Jamerson fans, I've ALWAYS said 
    that Jamerson started Motown with his great bass playing, 
    that he did oodles of great Motown hits, and I'm probably 
    the ONLY one who helped him get recording work out here in
    1970 too etc. 
    But we did some Motown out here in LA too since 1962....
    even Perry Botkin has said "you all were doing so many 
    recordings for Motown out here since 1962-63 that I always
    tho't that Motown was an LA company". 
    Enough of that, I've filed a lawsuit about slander about 
    that (Oct. 6) against Alan Slutky, etal. who has been 
    particularly vicious in his quest to try to "prove that 
    all Motown 60s hits were cut back in Detroit".
    >Just wondering tho...When with the Supremes, was Diane 
    >Ross as hard to get along with as history makes her out to be?
    When we did a great majority of the Supremes recordings of
    the 60s out here it was mostly tracking dates. 
    Engineer Armin Steiner told me on the phone about 
    schepping those masters back to Detroit and they'd add 
    their voices on there. But he mentions in his MIX Magazine
    1979 article that his mother did some home-cooking for the 
    Supremes when they were recording out here in LA early 60s
    too fyi.
    So I didn't meet or work with her until later in the 60s 
    as far as I can recall....she was fine on the "Ain't No 
    Mountain High Enough" date at RCA, and later we did her TV
    special with the Temptations at NBC "G.I.T. On Broadway" 
    (Getting It Togeher On Broadway), as filmed by Ollie 
    Mitchell on his Suepr 8 camera (she almost had his camera 
    conviscated but he got to keep it), one of the trumpet 
    players on the call. 
    She seemed to be under a great deal of pressure with this 
    TV show, a little short w/people but definitely 
    professional all the was long days and waiting 
    to film etc. Diana Ross had a lot of energy tho' and this 
    projected well on the takes and inspired the band some too.
    Russ Wapensky just called. He's very aware that people are
    all excited for his book but he's a very meticulous person,
    and wants all the loose ends tied up good before the book 
    goes to press, but he mentioned that it's probably only a 
    few weeks now and it will be ready to go to print. He 
    knows how this reference book is the only one of its kind 
    giving recording credits to all the studio musicians 1945-
    1969 and he wants it to be above reproach and thanks 
    everyone for their patience.
    >Can you talk about Jan Berry in the studio? And Dean?
    >For example, Bones Howe told me that Jan tried 
    >overdubbingn Hal on drums, but couldn't get the effect he 
    >wanted. So he had Hal and Earl both on sessions. Then Hal 
    >told me that he and Earl would work out the drum part, 
    >then write it out and play simultaneously. "Drag City" is 
    >a prime example I was given.
    >Was Jan like Brian, or more like Phil?
    Yes, seems to me I sort of remember the was 
    sure a good groove when Earl was added to the tracks...
    Howard Roberts is on all of that too I believe (or most) 
    and we liked the groove we could play w/Earl added.
    I don't know if Jan is more like Phil or Brian, he had his
    own distinctive intelligent personality, and sense of humor
    too. It's been a long time, but we enjoyed working for Jan 
    who did have some pretty good ideas, not as elaborate as 
    say Brian, but he held his own for his styles of music. We
    did contribute quite a few of our own ideas too, was pretty
    simple music to do.
    Jan was good to work for, easy to get along, almost as 
    self-possesed as Phil and Brian, and had his own 
    personality, a little bit cocky for his youth (that's 
    normal for talented young men) but definitely with a lot 
    more heart and feeling than most of the other younger men 
    we worked for.
    Our generation was not ego-prone, and were self-effacing 
    and the 60s generation of younger producers were nothing 
    like that - they were proud of the things that they were 
    contributing to the rock recording scene, so when I say 
    "cocky" that's a compliment believe me especially in Jan's 
    Since his accident of course, he's lost a certain am't of 
    that self-assuredness but you got to give him credit for 
    moving on with his life. He was a brilliant medical 
    student while we were working for him and we were very 
    much in respect for him for his studies too.
    >Concerning Phil Spector: I read somewhere that in 1965 
    >the Los Angeles musicians union shut down Phil's operation
    >for violating union rules. With Phil's penchant for 
    >controversy, I wouldn't be surprised.
    Could be, I either had forgotten that or didn't know 
    anything about that. The Union was very STRONG back then...
    even the nightclubs all over LA and Hollywood, et al, 
    were Union (only a handful are today and even the TV shows
    are rampant in their non-Union recordings in 1-man home 
    studios in the Valley, unfortunately). And if there was 
    any slight infringement, they were quick to act. 
    I do know that my name got left off of one of Phil's 
    contracts (and one of Sonny Bono's too) and I got a 
    separate check later on....little things like that, and 
    I'm not the only one whose name was not included here and 
    there....those contracts are not filled out properly too 
    sometimes, which is another thing holding up Russ 
    Wapensky's book, the Spector contracts with their 
    peculiarities and non-listings of tunes (sometimes) etc. 
    So that could be, and Phil was a clock-watcher with money 
    too and there were a few minutes overtime not reported etc. 
    at times. 
    Carol Kaye
    --------------------[ archived by Spectropop ]--------------------
    Subject:     And....PS
    Received:    10/14/99 11:16 pm
    From:        Carol Kaye,
    To:          Spectropop List,
    About the differences in sounds between today and the 60s 
    when it comes to the Phil Spector "wall of sound" sounds..
    no-one can successfully duplicate the specter of all 
    the LEAKAGE of sounds too --- we all played pretty loud 
    in the room there at Gold Star Studios, and in spite of 
    the baffles and all, we leaked everywhere into each others' 
    I think that's the real "Wall Of Sound" you're hearing - 
    leakage. Somehow Phil managed to get us all on the record 
    somewhere there, even my acoustic gutiar track is there on
    "You've Lost That Lovin' Feelin'", altho' buried until you 
    hear the montuno part of the bridge where you hear me play
    the bassline with Ray Pohlman.....trying to keep the beat 
    from "sinking" which it almost wanted to do. 
    It was a good balance between everyone's idea of where the
    groove lay. 
    Carol Kaye
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