__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0346 November 18, 1999 __________________________________________________________ Flavour that lasts and lasts through a stack of pops!Subject: Delrons day on Spectropop Received: 11/18/99 3:42 am From: Jimmy Cresitelli, Jimxxxxxcom To: Spectropop List, spectxxxxxities.com Hi you all... An interesting bit of information... a woman I know was a freshman at St. Brendan's High School when Reparata and the Delrons were seniors. She graciously xeroxed their gloriously-retro senior pics: big, shellacked hairdos, innocent smiles, doe-eye makeup... The girls that she pointed out were: Mary (Reparata) Aiese; Carol Drobnicki; and Sheila Reilly. These were the three she knew of that year (1964), though I believe this was actually the second lineup. There were lots of different Delrons! There is also a pic of Kathy Romeo, who was the Delron that was asked to leave the group apparently because she was not as "lithe" as the others. Ironically, there is a shot in the yearbook of Cathy stacking chairs after a school assembly... as my friend noted, "probably after one of Reparata's concerts." This friend also attended a St. Brendan's Mother-Daughter Tea at school that year, and Reparata and her Delrons were the entertainment. Even though we pumped her mother for YEARS for details, all Mrs. Cioffi could remember was that "they wore party dresses." (And she kept referring to the group in its entirety as "Reparta Del Ray." [sic]) Does everyone agree that "Whenever A Teenager Cries" and "I'm Nobody's baby Now" really rock? Cool... AND, finally: who is aware of a Delrons article / interview that might have run in Goldmine? Was it Doc who wrote it? --------------------[ archived by Spectropop ]-------------------- Subject: Re: Things are Changing Received: 11/18/99 3:42 am From: Bob Hanes, Bobxxxxxv.net To: Spectropop List, spectxxxxxities.com >> After the session Phil >> demanded partial writer's credits for his "wall of sound" >> production. Brian refused, claiming Phil had only followed >> his original production ideas. Phil wiped the vocal track >> and months later recorded the PSA with Darlene Love and >> the Blossoms using the melody from DHMLS. >> >As for the EEOC gig, Phil had nothing to do with it except >provide the backing track (the aborted DHMLS session). The >Blossoms vocal additions were produced by Jerry Riopelle. Ahh! that actually makes more sense! Never could quite see the story I'd been told. No controversy here. After rereading my post I see I sort of insinuated, directly, that Phil produced Things are Changing, and I do know better. Ronnie remembers what she remembers and whether it's completely accurate or not is anyone's guess. It is interesting, however, how emphatic she is about Phil not letting her record DWB, and I have tapes of her saying so at least on two occasions 5 or 6 years apart. The idea of Brian Wilson and Phil Spector cross pollinating is just too interesting not to be talked about. Thanks Mark for your knowledge in straightening (hopefully) some of this out best wishes, The Right Reverend Bob, dumb angel chapel, The Church of the Harmonic Overdub --------------------[ archived by Spectropop ]-------------------- Subject: Darlene Love Received: 11/18/99 3:42 am From: Carol Kaye, caroxxxxxhlink.net To: Spectropop List, spectxxxxxities.com Mark said: >it should be obvious that Darlene blew the >doors off Diana on this one. But that's my definitive, >and very subjective, opinion... I always tho't that too......Darlene could sound like any singer she wanted, and she was a great singer. When we recorded for the Supremes (later we saw them, it was tracking at first - engineer Armin Steiner told me of how he'd fly our tracking masters back to Detroit etc.), it never seemed that they were very good singers, but I tho't that Ross later got it together a little better. She's a pretty good actress. There were excellent backup singers back then besides the Blossoms: Jackie Ward, Gracia Nitzsche (Jack's 1st wife, had a beautiful high voice), Billie Barnum, others like Vangie, B.J., Mary, Sue....most of whom were either the Johnny Manne Singers, the Jack Halloran Singers, the Bob Alcivar Singers, Randy Van Horne Singers, Jimmy Joyce Singers, etc. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Subject: Re: "Don't Hurt My Little Sister" Received: 11/18/99 3:42 am From: George Ojisan,xxxxxhlink.net To: Spectropop List, spectxxxxxities.com Mark wrote: > >>I have reason to believe (speculate) that Spector MAY have >>thought about using Darlene Love on the cut, pre-Blossoms/ >>EEOC...I have an acetate of the instrumental track that >>Spector cut for "Don't Hurt My Little Sister" (later to be >>used by EEOC), and on the label is printed "Little Sister - >>D. Love" and "Mar. '65"...At least we can conclude WHEN the >>track was cut. > In reply to the thread about "Don't Hurt My Little Sister" - it's evident this is quite a unique song, and great to read the history of it here, sort of "coming together for the first time". I don't think it was pointed out yet, and it's worthy to note that Japanese Girl Group Shonen Knife, did a cover version of "Don't Hurt My Little Sister", which was used on a Beach Boys Tribute album ("Got You Covered! Songs of the Beach Boys" - Risky Business, AK 67312)... and it is also found on "the birds and the b-sides" collection on Virgin (72438-41414-2-4). It's a fine, true to the original production, with drummer Atsuko singing the lead without pretense in her "best english". Rodney Bingenheimer has been playing this for some time on his show... whenever he gets into "Brian Wilson Mode" there... so, it's been "heard around town" here before. Best! George "Ojisan" Handlon Knife Collectors, N. America http://home.earthlink.net/~gwiz/ShonenLA.html --------------------[ archived by Spectropop ]-------------------- Subject: Sugar Shoppe/Jackie Trent Received: 11/18/99 3:42 am From: Ian Chapman, iaxxxxx.net To: Spectropop List, spectxxxxxities.com David Ponak wrote: >10.The Sugar Shoppe-Take Me Away >This is a really amazing late 60's soft rock record. The >group consists of 2 girls/two guys. Lush harmonies and >backing tracks. VERY poppy. "Take Me Away" is a pretty >Tony Hatch/Jackie Trent song. Yes, it is, David. Jackie Trent herself did an excellent, powerhouse version of it (on Warner Bros in the US) It can be found on one of the Sequel "Here Come The Girls" sets (Vol. 6) Ian --------------------[ archived by Spectropop ]-------------------- Subject: Article in New Times Received: 11/18/99 3:42 am From: Carol Kaye, caroxxxxxhlink.net To: Spectropop List, spectxxxxxities.com Many have seen an article I was asked to write about Brian Wilson in the New Times newspaper out here in LA in preview of the upcoming Lifetime Achievement Awards event that is about to take place - Wed. at the El Rey Theatre in LA --- I'll be sitting in with him on 1-2 tunes, and I am looking forward to that. There seems to be a lot of interest in this, so decided to re-print it here as I know there's a lot of Brian Wilson fans on this list: ---------------------------------------------------------- Brian should win so many awards for just being all he is to so many people. He's a great boss (OK, Brian I see you saying "aw shucks" but truth is the truth) and it was very pleasurable to work for this guy who was quick to put us "on" with his very subtle sense of humor too. His joy in the studio was growing by leaps and bounds as he had so much at his disposal to CREATE with and musicians who admired him too.....it was his paradise. I wish that everyone who sees Brian could have known him like his studio musicians did.....while his dates were sometimes long, he was always a good guy to be around. And yes, we all felt that somehow we were a big part of something "great" because of Brian Wilson and his music too. You have to be back in those days to understand the feelings that were going around. Studio musicians had to sometimes marry in haste as we were working around the clock on so many record dates day and night every day of the week which was also hard on marriages, raising families etc. It was a rush-rush life of eating out of cans sometimes 10 -12 cups of coffee a day, cigarettes like you can't believe, a maddening rush to cut records...rock and roll was booming, and on top of that were the tragedies of the 60s, civil riots, Vietnam war, assassinations, and THE PILL.....it was a huge time of growth as the baby boomers were growing up, a huge wave of youngsters who needed good music and got it. No groups of studio musicians (I believe) in the music business worked that hard so many consistent years in a row (2-3-4 dates a day). And some marriages failed too because of it as we poured ourselves into the music, grooving all the way...., but later on that. We were a bunch of experienced musicians for years before ever seeing the insides of those studios. So bring a bunch of happy musicians (happy to be doing well and not traveling all the time), sort of tired and maybe a little grumpy but full of jokes too, into the studio with this super-composed young guy who had some handwritten parts he passed out to us, and then kind of dryly he'd sit down at the piano to perform "that day's tune" (he produced like Phil Spector: only 1 tune per 3-hour date), and run the whole thing himself, while Chuck Britz, wonderful man, good engineer, sat by after setting up the board and sort of assisted Brian sometimes - this sort of became our fulfilling of what a hit-date should feel like. Hal Blaine had some funny stories, and many an afternoon, Lyle Ritz (that riveting-wielding guy on the "Fire" sessions) and I enjoyed chatting during some of the lulls while Brian was experimenting, guitarists would jam a little, awaiting our next cue from Brian. BTW, I never even knew Brian was a bass player until later, I always tho't he was a singer and pianist....but he sure knew how to write symphonically for bass, and we admired his ideas, he was something else. We'd get the style and attitude of the tune after the necessary instrument balances were made sound-wise, and run down his music while he (still very super-composed) messed around in the booth. He'd give out directions for some rhythmic styles maybe to the guitars, to Hal, and maybe he'd change the bass parts, back and forth like that as we'd run down the tune. After quite a while, we'd do a take. You have to understand, not every time would the studio musicians go into the booth on dates with other artists, other dates, to listen to the music, but we ALL went into the booth to see what Brian would be doing with HIS MUSIC...... Even the great Barney Kessel (himself a subtle kidder like Brian) after listening to Brian's recording of his a capella multi-voice OD's, said something like "Brian, I take back everything I ever thought about you"......Brian acknowledged that with a slight smile ---- he knew this little joke of Barney's was a HIGH COMPLIMENT! If he was trying to impress us all, he was doing a great job of it. We were all being "cool" (professional all the way) but excited for Brian with the recording of every tune which turned out to be a "hit" and would talk about this "genius kid" on our other dates....."are you working a Beach Boys date tomorrow?" "yeh good, are you?"....and on and on, happy to be a part of this process of growth Brian was exhibiting. Every date was more and more musical....he was getting deeper into his natural talents and abilities. He seemed to feel at home with us and we certainly did feel that way with him. One time I remember we were recording and Brian kept motioning for us to keep going keep going on the end of a tune. He was holding the phone up to the speaker so whoever on the other end could hear us, and appeared really happy about our take. So we kept our noses to the grindstone and kept the intensity up.....4 minutes, 05 minutes, 06 minutes, 07 ....aw Brian, get off that darned phone, and he finally ended the lonnnnnnnnng take. It was quite a few bass notes to play hard on. When a musician records, you play much more intensely and harder than you do live, and especially for horn players they have to be careful, they could blow out their lips ( forever) if playing that hard for so long. Well, I knew that Brian was happy with the take but on that one, but my fingers were almost bleeding (no, am not a wimp, but that shouldn't have been such a long take either). He smiled at me "great Carol" as I was leaving, and for the only time in my life I gave him the finger.....he was a little shocked I think, but we laugh about it now. He watched the phone thing and length after that....thanks Brian, you're the best. That was "Help Me Rhonda", his written part. If I act as struck by Brian as his fans are, there's a reason for that. I know him to be a GOOD MAN, not full of himself, and certainly caring about other people etc. Just those qualities alone are wonderful, but add to this his huge dues-paid-for talents and great spectrum of all the kinds of music that has come from this man, no, he's more than just a "good man", he's got it all together..... they need to clone you Brian. Nancy Sinatra said very movingly back-stage at the Wiltern, yes I was there, a little late because of work, as if to an audience "does anyone know how much great music has come from this one man?" And the audience at the theatre reflected that as they watched their idol, and I know he felt it too. It was a pure ecstasy, pure joy floating around in that theatre, so beautiful to see and experience. Plus, one fellow next to me who recognized me, kept hugging me after each song...hey Brian, this is kind of nice! I hope journalists will someday "get it", and write about the focus of the real Brian Wilson, the joy (yes he had joy in the studio too, and maybe someday the news media will discover the real Brian Wilson), and the real strong man he is. Thank God he has his beautiful daughters all 4 of them, Melinda, David Leaf, Alan Boyd, other true good friends, and fine band of the Wondermints, Jeff Foskett, just excellent musicians with him, but it's still the Boss up there onstage and it felt like I was on another record date seeing him onstage, dispensing songs out, the songs that have changed the whole world and made it seem like he knows how everyone feels inside, and he's there being our friend. He is our friend, thanks Brian Wilson for being YOU. Love, Carol Kaye PS. Oh, those feelings of things happening in our lives, yes, we felt that as we cut Brian's tunes, it brought out our own inner feelings too, our happiness, our trials and sadness, our "what is Brian going to do next?"....Brian's music has that habit of doing that to studio musicians too. ------------------------------------------------------------- Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Subject: The Liquid Room 11/12/99 Received: 11/18/99 3:42 am From: Ponak, David, david.xxxxxcom To: Spectropop, spectxxxxxities.com The Liquid Room airs every Saturday Morning (Friday night) from 3-6 on 90.7 FM KPFK. (98.7 in Santa Barbara County). Also check out my show The Nice Age at http://www.spikeradio.com Monday and Wednesday evenings from 8-10, PST. The Liquid Room 11/12/99: 1.The Four Freshmen-California My Way A Today Kind Of Thing (Liberty) 2.Chappie-Everyday New Chappie (Sony-Japan) 3.Perry & Kingsley-Swan's Splashdown The Essential Perry & Kingsley (Vanguard) 4.Scritti Politti-Mystic Handyman Anomie & Bonhomie (Virgin) 5.Michel Polnareff-Miss Blue Jeans Le Premiere Annes (Universal-France) 6.Cafe Tacvba-2 Reves/Yosoy (WB) 7.Ferrante & Teicher-Lay Lady Lay Gettin' Together (UA) 8.Beck-Debra Midnight Vultures (DGC) 9.Paul Williams-To Put Up With You Someday Man (Reprise) 10.Stars-My Radio Was It Him Or His Music? (Various Artists-Le Grand Magistery) 11.Todd Rundgren-The Night The Carousel Burnt Down Something/Anything? (Rhino) 12.Pizzicato Five-Cleopatra 2001 Bossa Nova 2001 (Nippon Columbia-Japan) 13.Anthony Newley-Goldfinger Best Of James Bond-30th Anniversary Limited Edition (EMI) 14.David Arnold-Come In 007, Your Time Is Up The World Is Not Enough Soundtrack (Radioactive) 15.The Lilac Time-Salvation Song Looking For A Day In The Night (Spinart) 16.The Kitchen Cinq-Need All The Help I Can Get Everything But... (LHI) 17.The Divine Comedy-Gin Soaked Boy A Secret History (Setanta) 18.Jack Jones-Lollipops And Roses Greatest Hits (MCA) 19.Cornelius-Rock '96 69/96 (Trattoria-Japan) 20.Bjork-All Is Full Of Love Homogenic (Elektra) 21.Colin Blunstone-Caroline Goodbye One Year (Sony) 22.Bobby Goldsboro-Cuddle Up (Beach Boys cover) A Butterfly For Bucky (UA) 23.Prince-I Love You But I Don't Trust You Anymore Rave Un2 The Joy Fanstastic (NPG/Arista) 24.Swing Out Sister-We Could Make It Happen Shapes And Patterns (Mercury) 25.Liz Damon's Orient Express-That Same Old Feeling s/t (White Whale) 26.Jim O'Rourke-Something Big Eureka (Drag City) 27.The Pleasure Faire-Barefoot In The Park s/t (Universal-Japan) 28.Rocky Chak-Smile In The Hole Smash Water People (Midi-Japan) 29.101 Strings Orchestra (Featuring Joe Adams)-This Guy's In Love With You The Sounds Of Love (A/S) 30.Katerine-Jesus Christ Mon Amour Les Creatures (Rosebud-France) 31.Marty Gold-Lucy In The Sky With Diamonds Moog Plays The Beatles (Avco) 32.Arling & Cameron-W.E.E.K.E.N.D. Songs For Imaginary Films (Emperor Norton) 33.Esquivel-Cumana See It In Sound (7n/BMG) 34.Scott Walker-Only Myself To Blame The World Is Not Enough Soundtrack (Radioactive) 35.Jack Jones-What Are You Doing For The Rest Of Your Life? Jack Jones Sings Michel Legrand (Laserlight/RCA) 36.Nobukazu Takemura-Phases Of The Moon Child's View (Bellisima-UK) 37.The Match-Alfie A New Light (RCA) 38.Cibo Matto-About A Girl Moonchild Promo Sampler (WB) 39.Le Tone-Lessive Le Petit Nabab (Creation-UK) 40.The Doodletown Pipers-A Hard Day's Night Here Come... (Epic) 41.The Gentle People-Underwater Simply Faboo (Rephlex) 42.High Llamas-Bach Ze Snowbug (V2) 43.The Monkees-Cuddly Toy Pisces, Aquarius, Capricorn & Jones Ltd. (Rhino) 44.The Match-Morning I'll Be Moving On A New Light (RCA) --------------------[ archived by Spectropop ]-------------------- End
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