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Spectropop V#0334

  • From: The Spectropop Group
  • Date: Fri, 15 Oct 1999

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       Volume #0334                        October 20, 1999   
           Use a Warner Bros. Vitaphonic diamond needle       
    Subject:     WALLY STOTT
    Received:    Fri, 15 Oct 1999
    From:        "The Warners" 
    To:          Spectropop List 
    Larry Koch and Alec Palao have referred to Wally Stott
    who was not only one of the fine md's at Philips in
    London in the 50's and 60's, but was also an artist in
    his own right on the same label. FYI, Wally had a
    sex-change operation and became Angela Morley and under
    that name, scored various television shows in the 80's
    such as FALCON CREST and DYNASTY. Another Philips
    connection is that Wally worked on a couple of movies in
    the late 50's in which Frankie Vaughan starred.  As you
    may have heard, Frankie died quite recently.
    Rock on!
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re:Wally Stott & Klaatu
    Received:    Mon, 18 Oct 1999 
    From:        Steve McClure 
    To:          Spectropop List 
    In Spectropop Volume #0333, Alec Palao asked "Who
    produced that stuff - was it Wally Stott?"
    Being a fan of the classic 1950s BBC radio comedy series
    "The Goon Show," I instantly recognized this name. The
    Wally Stott Orchestra was the show's house band. "Stott
    made a great contribution to the show with cleverly
    written themes and comedic musical bits," in the words of
    The Goon Show Preservation Society (
    I would suggest that Stott's comedic background may go
    some way toward explaining the overwrought,
    hypermelodramatic quality of Scott Walker's oeuvre, which
    is very hard (at least for this cynical curmudgeon) to
    take seriously. Or at all... On another subject, in the
    same edition of the always ultravital Sprectropop, "River
    Deep, Mountain High" was referred to as a "Citizen Kane
    of Rock Music" a very good metaphor, in my opinion, and
    one which inspires another Wellesian analogy: the "'F' Is
    for 'Fake'"of rock: anything by Klaatu.
    Steve McClure
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: unreleased Sunshine Company
    Received:    Fri, 15 Oct 1999
    From:        Stewart Mason 
    To:          Spectropop List 
    The Artist Formerly Known As Slaughter Joe writes:
    >rest assured the Sunshine Co. disc is well worth buying, I 
    >don't know about a rumoured 4th album, neither Bill nor I 
    >could find more than 2 songs not issued on tape....perhaps
    >someone knows something?? beyond rumours? to you 
    >all...Joe Foster
    The 1967-70 section of the impressively anal-retentive
    Complete Imperial Records Discography at
    lists two unreleased Sunshine Company records.  
    One, which lists no title, was given the catalogue number
    LP-9384 (stereo LP-12384).  According to this discography,
    this catalogue number was the third-to-last assigned to
    an Imperial release in both mono and stereo. (The next
    two are an also-unreleased Classics IV album and ME ABOUT
    YOU by Jackie DeShannon.)  And then the very first
    Imperial album which was released in stereo only was the
    Sunshine Company's SUNSHINE AND SHADOWS. So my assumption
    is that LP-9384 was only a planned mono release of
    SUNSHINE AND SHADOWS, and that when they scratched the
    mono release, they reassigned the number of the stereo
    But...later in 1968, the catalogue number LP-12425 was
    assigned to an album called THINK by the Sunshine Company.
    The only note given in the discography is [not released].
    The catalogue number comes between REBIRTH OF THE BEAT by
    Sandy Nelson and SWEET WINE/HOLD ME TIGHT by Johnny
    Carver if that helps anyone peg an approximate date to
    its planned release.
    There's no indication in this discography if the album
    was planned but not recorded (maybe the band broke up
    before they hit the studio?) or recorded but not released,
    but the fact that the album was already given a title
    suggests to me that at least some songs were recorded, if
    not the whole record.  So the obvious question is, why
    wasn't the album released and what happened to the tapes
    if they do in fact exist?
    *************************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:     River Deep, Mountain High also Mod Folk Quartet
    Received:    Fri, 15 Oct 1999
    From:        Summer Petersen 
    To:          Spectropop List 
    I was wondering, In "He's A Rebel" the biography, the
    information states that during the time of the
    recording sessions, Tina Turner thought that "River
    Deep, Mountain High" was such a strange song, she
    wouldn't even sing it to Ike when he asked her how it
    sounded.  In another reference, it claimed Phil played
    the song on his guitar and sang to Tina in her home,
    and she immediately loved it.  Anybody have some more
    reliable info on this topic?  I want to know if Tina
    loved the song or not, because, of course, we all do.
    Does she ever sing this song at her live shows?
    Also, anyone heard of the Modern Folk Quartet ever
    getting back together for anything, even one-time
    shows? Their one song Phil did is one of my all time
    Thanks.  -Summer
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: various
    Received:    Fri, 15 Oct 1999
    From: (Pacific Ocean Bluto)
    To:          Spectropop List 
    First of all, a BIG thanks to Carol Kaye for her
    leeeeengthy reply to my question about the Spector
    session's loudness! I don't know if you're working on one,
    but you should really write a book about your 35+ years
    as a studio musician.
    Fran Youngwerth wrote:
    ><<(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.
    What I meant with "guitar solos on a Carpenters record?!?!?!"
    is that, atleast for me, guitar solos are as far away as
    you can get from music like The Carpenters. I like the
    discipline of sixties records by people like Phil Spector,
    the idea that *the song* is the most important thing
    which leaves - or should not leave - no room for 'showing
    off your licks'. I am from the post-post-post punk
    generation which just can't stand guitar solos. It's pure
    self-indulgence in 9 out of 10 cases, and it's just such
    a cliche to have a guitar solo, *always* after the second
    chorus, btw... :)
    Stewart Mason wrote:
    > 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,
    I have nothing against bands doing bizarre or weird
    things, but I just find the Carpenters *in this case* to
    be a just as embarrassing listening experience as "The
    Beach Boys" (The BB's 1985 LP which sounds like the theme
    to Miami Vice...)
    >Better they should do something utterly weird than play it safe 
    >all the time.
    This I agree with!
    Todd McMullen wrote re The Sunshine Company:
    > 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?
    Actually, I've changed my mind, having listened to the LP
    a little more. I was mainly put off at first by "Up Up
    And Away", which to me sounded like a sloppy
    note-for-note remake of the 5th Dimension's hit. But the
    album has grown on me a lot, and I even like the Beatles
    covers (strange since I don't like The Beatles' music). I
    will definitely be checking out the Rev-Ola reissue!
    Greg Matecko wrote:
    >This guy wrote Lesley Gore songs! I've seen his name on at 
    >least two of her records; "Sunshine, Lollipops & Rainbows"
    Oh, that song is by Lesley Gore? Chief Wiggum really
    really dug it in a Simpsons episode and I've wonder who
    sang it since then :)
    >and one of my all-time favorites, "California Nights."
    Is this the same "California Nights" as on The Four King
    Cousins' LP? Have to agree with you, brilliant song...
    Kingsley Abbot wrote re Sunshine Company:
    > I have been enjoying their particular brand of soft
    > summer pop since 1967 when it was not in any way hip in
    > Britain. Was it ever? Joe and I hope that it will help to
    > spread the word
    Well, look at the modern equivalent of bands like the
    Sunshine Company and how much they sell in UK. The High
    Llamas, to name the obvious, doesn't sell *anything* in
    England - if it wasn't for the European continent and the
    States, the group would have to pack it in! I don't think
    soft pop will ever be popular as in 'profitable' anymore.
    Belle & Sebastian (The Free Design of the '90s?) are as
    far as I can see the only exception. Western society is
    continuing to speed up, the social climate is getting
    harder and harder, and the notion that 'bigger' 'faster'
    and 'harder' equals 'better' is more widely spread and
    common now than ever before. There simply is no room for
    soft pop music on today's market, unless it's full of
    dreaded irony or kitsch. And bizarrely enough, the
    artists of today who do take the soft pop influences
    seriously, are discarded as being nothing more than
    ironic. Like, can you read a Stereolab review without
    seeing the word "kitsch", even though the group is
    passionate and serious about its influences? Stereolab's
    most known song, "Ping Pong", was based on The
    Association's "Along Comes Mary", btw. It seems like few
    people today think it's actually possible to listen to,
    say, Roger Nichols or The Innocence, for the simple
    reason that the music is good.
    > Why don't fellow Spectropoppers put up suggestions for
    > other possible Revola projects that we could get our
    > teeth into. Please bear in mind that single albums are
    > difficult. Two plus possibly maketh an album...
    Alright, here's some suggestions:
    *The Fun And Games - "Elephant Candy" (Never seen this
    Gary Zekley project on CD) *The Collage - "The Collage"
    (did they release other albums?) *Harpers Bizarre's four
    albums (five if you count the one from 1975). I know
    these have been released by Warners but that's only in
    Japan. Maybe Rev-Ola could release them in Europe. *The
    Sagitarrius 2nd album, "Blue Marbles", which hasn't been
    released on CD. *That Hep Stars album with the Boettcher
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re:  CTI
    Received:    Fri, 15 Oct 1999
    From:        DJJimxxxxxcom
    To:          Spectropop List 
    In a message dated 10/15/99 11:20:37 AM, you wrote:
    >>>has there ever been any discussion of Creed 
    >>>Taylor on this list?
    >>Not as far as I know. Who is he?
    >Jazz producer, mostly associated with Verve and Astrud G.
    ALSO, started his own label, CTI Rekkids in the late
    6T's, responsible for the introduction of the term
    "fusion" into the musical vernacular and IMHO created
    the Kenny G "Fuzak" types that pass for jazz on the
    radio today. BUTT, before you get hot under your
    collective or individual collars, please recall the LP
    "Lonelyville" by the Creed Taylor Orchestra recorded
    around 1961. It is the exxence of Crime Jazz and is the
    single Greatest LP Cover EVER. 
    Jimmy Botticelli
    --------------------[ archived by Spectropop ]--------------------
    Subject:     "River Deep"
    Received:    Fri, 15 Oct 1999
    From:        Carol Kaye 
    To:          Spectropop List 
    > >From Frank: As seen from Europe where, as you say, it
    > was a major hit in the UK, this track definitely remains
    > the greatest ever recorded. A sort of "Citizen Kane" of
    > Rock Music. And whatever happened during the recording
    > session, Phil certainly did not lose his edge on this one.
    > Its failure certainly never had anything to do with its
    > quality.
    I have to capitulate and agree with you Frank.  I just
    remember how "loose" the date seemed to be, kind of a
    party-atmosphere, very different from his other dates --
    and that always kind of made me wonder.  
    And yes, I've always tho't it ranked right up there, but
    you know the fickle charts here in the USA....still
    surprised it didn't make it up there, the side still
    sounds great.   
    --------------------[ archived by Spectropop ]--------------------
    Subject:     MFQ
    Received:    Sun, 17 Oct 1999
    From:        Stewart Mason 
    To:          Spectropop List 
    Saw THE BIG TNT SHOW for the first time in years last
    night and I was once again struck by its opening song, the
    Modern Folk Quartet's "This Could Be the Night," one of my
    all-time favorites.  Not to take anything away from "River
    Deep, Mountain High," which is every bit the wild
    masterpiece everyone says it is, but I think "This Could
    Be the Night" could well be Phil's most over-the-top
    production ever.  
    When you have Tina and a song with that kind of dynamic
    range, of course you'll want an enormous, epic production.
    But this Harry Nilsson song is pretty simple, and the MFQ
    had no powerhouse singers, so the fact that Phil's
    production is even more overwhelming than usual really
    stands out! The sound is massive and the rhythm section is
    particularly relentless, but everything is so completely
    drenched with echo that it also sounds really distant. 
    Carol, did you play at this session?  Do you remember
    anything in particular about it?
    Whatever happened to the Modern Folk Quartet, anyway,
    other than Chip Douglas briefly joining the Turtles and
    then producing my two favorite Monkees albums?
    ************************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:     The Brothers
    Received:    10/20/99 8:44 am
    From:        Barry Taylor,
    I recently came across a single by a group called Brothers
    (White Whale 255). It had a warren Zevon song on one side (
    "The Girl's Alright") and a Randy Newman song produced by 
    Ted Glasser ("Love Story") on the other. It appeared to be
    middle 1960s. Does anyone know who these Brothers are?
    --------------------[ archived by Spectropop ]--------------------
    Subject:     nowadays dreck
    Received:    10/20/99 8:44 am
    From:        Glenn Sadin,
    To:          Spectropop List,
    The great Carol Kaye sez...
    >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.
    Truer words were never spoken, Ms. Kaye. And it's a pity. 
    I've long held that the vast majority of rock records cut 
    before 1967, even super lo-fi ones like "Louie Louie" and 
    "California Sun", sound better than 99.9% of what's being 
    released today. I *LIKE* hearing mic bleed on records! 
    Mark Neil and Deke Dickerson are about the only 
    contemporary producers I can think of who understand how 
    to accurately capture the "sound" like they did in the 
    '60s, and Deke at least relies on vintage tube gear to do 
      Glenn Sadin
      Guitarist, vocalist and songwriter for THE BERKELEY SQUIRES:
      Read about JAPANESE POP MUSIC from the 1950s thru the 1990s:
    --------------------[ archived by Spectropop ]--------------------
    Subject:     re.soft pop reissues
    Received:    10/20/99 8:44 am
    From:        Harvey
    To:          spectropop,
    > Kingsley wrote...
    > >Why don't fellow Spectropoppers put up suggestions for=20
    > other possible Revola projects that we could get our teeth
    > into. Please bear in mind that single albums are difficult.
    > Two plus possibly maketh an album...
    A few spring immediately to mind. A coupling of the first 
    Paul Williams solo album, 'Someday Man', with the Holy 
    Mackerel's LP from, 1969, both on Reprise. I'm pretty sure
    'Someday Man' is available in Japan on CD, but as far as 
    I'm aware, the Holy Mackerel LP has never been reissued 
    anywhere since its initial release. Also, how about a 
    domestic issue of the Complete Roger Nichols & the Small 
    Circle of Friends CD? I can't think of a better way of 
    compiling Nichols' 60s output than this Japanese 
    collection (unless anyone out there can locate his 'St. 
    Bernie the Sno-Dog' single from 1965?!), but it would be 
    great to see a UK repackage. Another alternative is to 
    package the two CDs together, & as a bonus, include the 
    demo LP Williams & Nichols recorded for Almo/Irving 
    publishing....perhaps a bit ambitious, that one.
    The LP by (Michael Lloyd's) Smoke is an absolutely 
    essential SoftPop record, which desperately needs to be 
    reissued, (maybe with 'Markley, a group', or another of 
    Lloyd's projects from around this time?) but I guess 
    that's now all owned by Mike Curb, who has, I believe, 
    been unwilling to license his back catalogue in the past. 
    A Together Records comp would be nice too, collecting the 
    otherwise unavailable sides by Curt Boettcher, Sagittarius
    (maybe even the whole of The Blue Marble?), Sandy Salisbury
    & others. But I fear this may all be tied up with Mike Curb
    (BTW, on a not-unrelated note, St. Etienne were using The 
    Millennium's 'Prelude' as their walk-on intro music during
    their last tour...) Any other suggestions?
    All the best,
    Harvey Williams.
    (ps, I just picked up vols 3 & 4 of Ripples. Utterly 
    charming....) >
    --------------------[ archived by Spectropop ]--------------------

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