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Spectropop V#0353

  • From: The Spectropop Group
  • Date: 12/04/99

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       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,
    To:          Spectropop List,
    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.
    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,
    To:          Spectropop List,
    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? 
    "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.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Phil didn't supervise any overdubbing on the song "Let It 
    Received:    12/02/99 11:29 pm
    From:        Joseph Scott,
    To:          Spectropop List,
    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,
    To:          Spectropop List,
    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?
    John Frank
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Celia Paul and Eiichi Ohtaki
    Received:    12/04/99 6:08 pm
    From:        Spector Collector,
    To:          Spectropop List,
    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
    For more information on Celia Paul and on the album (much 
    more in Japanese than in English, unfortunately for most 
    of us), check out
    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 
    David A. Young
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Celia Paul
    Received:    12/03/99 1:35 am
    From:        Jamie LePage,
    To:          Spectropop List,
    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 
    You gotta like a guy who namechecks Aldon Music as a big 
    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
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Mrs. O'Leary's Cow?
    Received:    12/02/99 11:30 pm
    From:        WASE RADIO,
    To:          Spectropop List,
    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,
    To:          Spectropop List,
    >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,
    To:          Spectropop List,
    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?
    --------------------[ archived by Spectropop ]--------------------

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