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Spectropop V#0346

  • From: The Spectropop Group
  • Date: 11/18/99

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       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,
    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,
    To:          Spectropop List,
    >> 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 
    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,
    To:          Spectropop List,
    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
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: "Don't Hurt My Little Sister"
    Received:    11/18/99 3:42 am
    From:        George Ojisan,
    To:          Spectropop List,
    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.
    George "Ojisan" Handlon
    Knife Collectors, N. America
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Sugar Shoppe/Jackie Trent
    Received:    11/18/99 3:42 am
    From:        Ian Chapman,
    To:          Spectropop List,
    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)
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Article in New Times
    Received:    11/18/99 3:42 am
    From:        Carol Kaye,
    To:          Spectropop List,
    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 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 
    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 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 
    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 
    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 
    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 
    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 
    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
    --------------------[ archived by Spectropop ]--------------------
    Subject:     The Liquid Room 11/12/99
    Received:    11/18/99 3:42 am
    From:        Ponak, David, david.xxxxxcom
    To:          Spectropop,
    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 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)
    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)
    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)
    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 ]--------------------

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