__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0353 December 5, 1999 __________________________________________________________ Music for the Teenager Market Subject: The Victorians Received: 12/04/99 6:08 pm From: Alan and Pat Warner, wxxxxxetcom.com To: Spectropop List, spectxxxxxities.com Jimmy Cresitelli asked (12/2) about The Victorians. The singles he mentioned were actually on Liberty beginning with WHAT MAKES LITTLE GIRLS CRY c/w CLIMB EVERY MOUNTAIN (#55574) released in 5/63. Then came HAPPY BIRTHDAY BLUE and OH WHAT A NIGHT FOR LOVE (#55693) followed by IF I LOVED YOU c/w THE MONKEY STROLL (#55728), both issued in '64. The Victorians were produced by Marty Cooper who was the writer of OH WHAT A NIGHT FOR LOVE. By the way, both WHAT MAKES LITTLE GIRLS CRY and YOU'RE INVITED TO A PARTY were written by Lou Josie, one of the authors of The Bar-Kays' smash of '67, SOUL FINGER. Rock on! AW --------------------[ archived by Spectropop ]-------------------- Subject: Victorians Received: 12/03/99 1:35 am From: Jamie LePage, le_pagxxxxxities.com To: Spectropop List, spectxxxxxities.com Jimmy Cresitelli, Jimxxxxxcom wrote: >Any information on the Victorians..."What Makes Little >Girls Cry" makes one wonder if the Victorians actually ARE >Bobby Sheen and the Blossoms... any clues? Pictures? >History? "What Makes Little Girls Cry" certainly does sound like Bobby Sheen. I think "Oh What A Night For Love" was written by Marty Cooper. Marty worked with Jack Nitzsche on several projects in the early 60's in LA; apparently he was even involved with Nitzsche's Lonely Surfer album (you remember him, Carol?). The liners to the recent comp CD Girls Will Be Girls mention that Marty worked with the Victorians for Liberty Records. (Can you elaborate, Mr. Chapman?) This places the Victorians on the West Coast, very possibly with Nitzsche or Perry Botkin arranging. What makes this so interesting is that I understand Marty Cooper owns nearly a full album of unreleased Bobby Sheen masters (arranged or co-produced by Nitzsche?). I believe RCA at the time had the option on them but passed. Wouldn't it be great if these masters saw commercial release, possibly coupled with licensed Victorians masters (if indeed this is Bobby Sheen). I am certain Marty Cooper would be very keen to see these recordings commercially released. Jamie --------------------[ archived by Spectropop ]-------------------- Subject: Phil didn't supervise any overdubbing on the song "Let It Be".. Received: 12/02/99 11:29 pm From: Joseph Scott, jnxxxxxetcom.com To: Spectropop List, spectxxxxxities.com Hi all, something that I'm having fun being puzzled by is whether a particular overdub on the album version of the song "Let It Be" was supervised by Phil or not. The particular overdub is Ringo hitting the vinyl pad of a chair (one of those very commonly seen inexpensive metal chairs with a vinyl seat) with a drum stick. This chair performance of Ringo's is heard in "Let It Be" (album version only) beginning right after Phil edits the same verse in again for the second time. Phil was using its sudden presence to help distract from the fact that he'd extended the track by using the same verse twice via editing: and it worked like a charm, pretty clever! I guess basically the question is whether the chair instrumentalism was added April 1, 1970, the date Phil produced overdubs by musicians including Ringo, in which case it was presumably Phil's idea to do it at all, or on January 4, 1970, a date produced by George Martin that included various overdubs onto the "Let It Be" multitrack tape, in which case Phil just mixed the chair completely out in some places and not in others (on March 26, 1970). Or something like that. (None of the other overdubs on the song "Let It Be," album or single version, were supervised by Phil, of course... which is why it's so funny when Beatles fans claim they "don't like Spector's work on the Let It Be album, such as the orchestral overdubs on the song 'Let It Be'"! It's fine to want to defend George Martin as great for the Beatles; he was, but don't put down one of his arrangements in the process!!) Joseph Scott --------------------[ archived by Spectropop ]-------------------- Subject: "Chapel of Love" Received: 12/04/99 6:07 pm From: John Frank, jfrxxxxxhlink.net To: Spectropop List, spectxxxxxities.com Hi, Spectropoppers -- After about a year of lurking, it's time for me to post for the first time. I've loved reading each missive and have culled so much information from them. And hobnobbing with stars such as Carol Kaye, Diane Renay, Kaye Krebs and Ian Chapman (a star in MY book, at least!) has been an added attraction. The question that brings me out of lurking mode is one that was recently raised in the 60's newsgroup. Can anyone tell me what the recording dates for the three versions of "Chapel of Love" are? (Darlene Love, The Ronettes, The Dixie Cups). I understand the Spector versions were recorded quite a while before the Dixie Cups'. When were the Spector versions actually released? Thanks. John Frank --------------------[ archived by Spectropop ]-------------------- Subject: Celia Paul and Eiichi Ohtaki Received: 12/04/99 6:08 pm From: Spector Collector, spectorcollxxxxxail.com To: Spectropop List, spectxxxxxities.com Jimmy Cresitelli asked last time out for information on Japanese chanteuse Celia Paul, so here's what I know: Even though Jimmy guessed the recordings in question to be from the mid-to-late '60s (and they have a terrifically authentic feel), they actually were recorded and released in 1977. The song to which he refers as "employ(ing) a Spectorian thunder-and-rainstorm beginning" was a big hit in Japan, and although the title of the song appears only in Japanese on the album of the same name, an English transliteration is "Yume De Aetara." Jack Fitzpatrick turned me on to the album when it was brand new, and I looked for it aggressively for twenty years without success. (Lacking the "English" title at the time didn't help.) Happily, the original 12-track album was reissued on CD in Japan in 1997 on Sony/Niagara SRCL 3993 with six bonus tracks. I'm not sure whether it's still in print, but with the transliterated name above, you should have a shot at special ordering it, and I heartily recommend the entire album to Spectropoppers. Besides "Cha Cha Charming" and "Tonight You Belong to Me," the album contains these tracks in English: "One Fine Day," "Walk with Me," " Whispering," "Oh Why" (the Teddy Bears song), and "The Very Thought of You." The latter's disco overtones betrays the album's release date more than the other cuts of either language. For more information on Celia Paul and on the album (much more in Japanese than in English, unfortunately for most of us), check out http://www.fussa45.com/celia/celia_menu.html. I don't have any information on the relationship between Ms. Paul and Eiichi Ohtaki, who produced the album and who "is" the Niagara label in the same sense that Phil Spector "is" Philles. (In his post, Jimmy postulated that he may be her husband.) I do know that he has had a very successful and prolific career in Japan, both as an artist and as a producer, that continues to this day. (Aside: wasn't it Niagara who issued Ronnie Spector's 1980 album "Siren" in Japan? I've always thought but never verified this.) I have at least 15 albums by this guy, and every single one of them contains at least one hardcore, obvious tribute to the Spector Wall of Sound. "Dr. Kaplan's Office" is the basis of one song, "Da Doo Ron Ron" another; he lifts lines from "Why Do Lovers Break Each Other's Hearts" and "Puddin 'n' Tain" in yet one more, and this is only to mention the most directly derivative cuts. Even when he's not waxing Spectoresque, he's laying down some damn tasty sounds, often as obviously loving homages to other readily identifiable '60s influences. He's also the person to whom 1992's (Japanese, natch) "Canary Islands" various-artists tribute album is a tribute (with three unavailable-elsewhere cuts by Ronnie Spector and two by Darlene Love). 1996 saw the release of another Ohtaki-produced girlpop singer, Marina Watanabe's "Ring-A-Bell." While proportionally a bit more of its time than the Celia Paul album was, it's still a winner, and once more contains a knockout Wall of Sound raveup. Copping Spector yet again, Ohtaki scored a huge hit the following year with the theme for a popular Japanese TV show. At the risk of sounding less than objective about this dude, I'll cut short here, but would welcome opportunities to share/learn more about this sensational artist who deserves the attention of a much broader audience than just the Japanese one he currently enjoys, and certainly of anyone reading this list. David A. Young --------------------[ archived by Spectropop ]-------------------- Subject: Celia Paul Received: 12/03/99 1:35 am From: Jamie LePage, le_pagxxxxxities.com To: Spectropop List, spectxxxxxities.com Jimmy Cresitelli, Jimxxxxxcom wrote: >Back a few posts I talked about having some very >Spectorian cuts by a Japanese girl singer...Two of the >songs she does in English are "Cha Cha Cha Charming" and >"Tonight You Belong To Me." The two in Japanese that I >have, though, are fabulous... I wish I could tell you the >names....Any info, anyone? With several J-Pop fans on the list (including the guy who wrote the book on the subject!), I guess I am not the most qualified to comment on Celia, but I found your post so interesting that I just had to jump in. Feel free to correct any inaccuracies, everyone. Celia Paul was a radio personality in Japan in the 70s, appearing as a regular on Nippon Hoso (Japan Broadcasting) program "Punch! Punch! Punch!". Celia and two other regulars on the show formed a trio, called Moko-Beaver-Olive (Moko-Biibaa-Oriibu). Celia was "Olive", possibly because as a child of mixed blood (Japanese and Indian), her skin tone was a shade darker than typical Japanese. The Moko-Beaver-Olive project was spearheaded by Ichi Asatsuma, who might fairly be called the Lester Sill of Japan. One of the few truly great music men of Japan, Asatsuma produced their album which included a Japanese version of the Paris Sisters' "I Love How You Love Me". Some time later, when Eiichi Otaki was stuck to find a singer for his new song "Yume de Aetara" (If we meet in a dream), Otaki's friend, mentor and music publisher Asatsuma recommended Celia. Even though Celia got the gig and her recording of "Yume" was the original, the song itself became more popular than Celia's recording of it. Many cover recordings were eventually released, so although most Japanese will recall the song "Yume de Aetara", few can name the original as being recorded by Celia Paul. In April 1977 Eiichi Otaki wrote the following dedication in the Celia Paul album: "The staff writers of Aldon Music were the number one influence on me during my youth. Now, I would like to dedicate this album to the 'knockout' sound of Phil Spector." You gotta like a guy who namechecks Aldon Music as a big influence! There are two duets with Eiichi Otaki on the album: "The Very Thought of You" and "Whispering". "The Very Thought of You" (Ray Noble) had previously been covered by Otaki's Niagara Fall Stars, so it seemed natural for Otaki to revamp it as a duet for Celia. "Whispering" is cute - very close to the 1963 April Stevens and Nino Tempo version it is patterned after. Interesting that all the string arrangements on this album are by Tats Yamashita, especially notable on the cover of Teddy Bears' "Oh Why". Tats was apparently going for the Nitzsche feel, and he got reasonably close, too. The original album was called "Yume de Aetara". It was remixed in the 80's by renown Japanese engineer Tommy Yoshida (Yoshida does all the Tats records too). The remixed album was reissued on CD on June 21, 1997 (SRCL- 3993) with several bonus tracks, all of which appear to be alternate mixes or takes of songs from the original album. Unfortunately, the CD is already out of print. Celia did not have great pitch, and she wasn't the most emotive singer either, but she had great A&R, and her 1977 album is a tribute to Brill without a hint of irony. Celia reportedly now resides in Los Angeles. In 1977, at least, she was a looker. Check out the album jacket for yourself at http://www.cyberoz.net/city/sawa/yume.jpg Jamie --------------------[ archived by Spectropop ]-------------------- Subject: Mrs. O'Leary's Cow? Received: 12/02/99 11:30 pm From: WASE RADIO,xxxxxt.org To: Spectropop List, spectxxxxxities.com Ian Chippett: In late 1966, Brian Wilson recorded a song called "Fire" at Gold Star studios. He assembled a small string section and had the studio janitor actually built a fire in a bucket-and placed the burning container in the studio. The strings basically played very dissonant chords-supposedly to sound like fire sirens. Sources vary as to this next account. A building either across the street or next door to the studio burned to the ground. Later on a rash of fires broke out in Los Angeles. Fearing that the song had something to do with this strange phenomonon, he had most of the tape destroyed-except for about two minutes of it which languishes in the Capitol vaults. I watched a Beach Boys special and an excerpt of that song was played-and to me it made for uncomfortable listening. I guarantee there were no elementary fifth chords in that one. Michael G. Marvin WASE radio --------------------[ archived by Spectropop ]-------------------- Subject: Perry Botkin on Van Dyke Parks Received: 12/04/99 6:08 pm From: Carol Kaye, caroxxxxxhlink.net To: Spectropop List, spectxxxxxities.com >From Perry Botkin: "Van Dyke is a hell of a piano player and composer. Extremely original. Both he and Randy Newman were unique. Much better musicians than most people thought in the 60's and 70's. Both could WRITE a good sketch for film work. A great deal of the arranging I did for Van Dyke was just an embellishment of his piano layouts. I'm not underselling my contribution but Van Dyke WAS (and IS) the real thing. Too bad he didn't make his chops more obvious to the players. Love, P." --------------------[ archived by Spectropop ]-------------------- Subject: Re: VDP and stuff from the latest digest Received: 12/04/99 6:07 pm From: Poopdeck Pappy, wuxxxxxet.se To: Spectropop List, spectxxxxxities.com Carol Kaye wrote: >I liked working for Van Dyke, tho't he was a nice chap. On what albums of his did you play? Thanks for setting the record straight on this 'studio musician'. I too found his story too odd to be true. David Ponak makes me drooling all over as usual by posting his radio show's set list: >20.Bruce & Terry-Come Love >The Best Of... (Sundazed) Oh! I've got a song on tape called "Don't Run Away" (what year is it from?), is the rest of this compilation as good? And is "Come Love" the same song as the one Harpers Bizarre recorded? On another note (as it usually is :-)), I'm currently reading Jimmy Webb's book "Tunesmith". While I already know some music theory, Webb explains the theoretical stuff in a funny and entertaining way which makes it actually a hell of a lot easier to understand! It is quite possible for somebody without any theoretical knowledge whatsoever to become more professional through reading the book. Carol Kaye, have you read it? T. --------------------[ archived by Spectropop ]-------------------- End
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