Spectropop V#0357

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   Volume #0357                       December 16, 1999   
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  DESIGNED TO ENHANCE IRREPLACEABLE MONOPHONIC RECORDINGS 





Subject:     Re: Richie Frost
Received:    12/15/99 11:08 pm
From:        Brad Elliott, suxxxxxonline.net
To:          Spectropop List, spectxxxxxities.com

Carol Kaye wrote:

> Richie did a
> few dates around town for a short while, was sort of a
> 3rd-stringer (sorry, have to tell it like it is) there for
> awhile, nice guy, fair drummer.
>
> I did do some dates with Richie on
> drums but NEVER for Phil Spector -- some of the rock-surf
> dates, some pop too. It was always Earl Palmer or Hal
> Blaine who did the heavy dates (but Sharkey Hall did some
> great dates early on on drums too, as did John Guerin a
> little later with various producers).

One of the heavier dates Frost did -- and one of the ones 
that Carol played with him -- was for The Beach Boys' 
instrumental, "Pet Sounds." The track was cut at Western 
on Nov. 17, 1965. According to the AFM contract for the 
date, Frost was paid for a double on drums and percussion.
Besides Carol, also on hand were Lyle Ritz, Tommy Tedesco, 
Jerry Cole, Billy Strange, Bill Green, Jim Horn, Plas 
Johnson, Jay Migliori and Roy Caton -- in other words, 
most of the regular cats. Oh, yeah, playing piano was some
guy named Brian Wilson. Carol, do you remember anything 
about that date? The percussion that Frost played was two 
empty Coca-Cola cans!

Surf's up!
Brad


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Subject:     No....
Received:    12/15/99 11:08 pm
From:        Carol Kaye, caroxxxxxhlink.net
To:          Spectropop List, spectxxxxxities.com

> I would say he was 4th call, behind Hal Blaine, Earl 
> Palmer and Jim Gordon.  From Rex....

NO-WAY!!! Richie was NOT that busy at all! Here's the 
names of other drummers back then who were doing the work 
besides Earl and Hal:

Besides Earl Palmer and Hal Blaine -- Sharkey Hall, Jesse 
Sailes, Jack Sperling, Frankie Capp, John Guerin, Paul 
Humphrey, Ron Tutt, Alvin Stoller, Ed Greene, Louie 
Bellson, Irv Cotler, Shelly Manne, Mel Lewis, Jackie Mills, 
Harold Jones, Panama Francis. These were the 1st and 2nd
call drummers. 

Carol Kaye
http://www.carolkaye.com/


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Subject:     From Perry Botkin
Received:    12/15/99 11:08 pm
From:        Carol Kaye, caroxxxxxhlink.net
To:          Spectropop List, spectxxxxxities.com

Perry is a dear friend of mine, and "the" quintessential 
arranger of teh 60s who quickly picked up what rock was 
and how to arrange for it. He was always the BEST to work 
for, just a terrific guy, full enthusiasm, loving to work 
with the studio musicians ALL the way. And we felt it too,
loved working for him. Here's what he said about the 
"arranger" definition and about Ritchie Frost:

>Sorry I didn't get back to you soon enough for a definition 
>of "arranger".  I've been "arranging" Christmas and trying 
>to get a decent mix on a piece I just finished.  Haven't 
>picked up my e-mail for 3 days.
>
>I liked your definition. Simple and to the point. I tend 
>to get very complicated when asked this kind of question 
>so it's probably better that you answered this gentleman.
>
>You're right about Richie. A fair drummer. He did however
>do a nice job for me on Bobby Darin's "Mame". Certainly not
>as strong as the 'Big Three' tho.

-------------------------------  

Carol Kaye 
http://www.carolkaye.com

BTW, Perry's website is:  http://home.earthlink.net/~pbotkin/



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Subject:     arrangers and producers
Received:    12/15/99 11:08 pm
From:        Kieron Tyler, kixxxxxs.org.uk
To:          Spectropop List, spectxxxxxities.com


Interesting subject this, here's a little UK perspective 
I've gleaned.

Charles Blackwell ('60s arranger, started for Joe Meek, 
then did loads of great girl records (inc. Francoise Hardy) 
and stuff like PJ Proby, then produced in his own right)
said that '60s producers were like film producers - they 
managed the session. In his experience their contribution 
to the finished record was more organisational than 
musical. Obviously someone like Mickie Most would 
contribute to music. Blackwell said he'd write 
arrangements from the demo or sheet music and never once 
did a producer say they didn't like it, only when (for 
example) the amount of trumpets exceeded the budget. He 
said Andrew Loog Oldham made little contribution beyond 
trying to make it sound like Phil Spector!!

He also said the session musicians would contribute. '60s 
session men I've spoken to have said that most of the time
they would play what they felt, never having any parts 
rejected. For example the tone-pedal guitar on Dave 
Berry's 'Crying Game' was entirely Big Jim Sullivan's idea. 
This explains Jimmy Pages entirely too heavy (but great)
guitar on Louise Cordet's 'Two Lovers'. Suffice it to say, 
it's fascinating attempting to work out just how the 
finished records were arrived at.

All the best, 
Kieron Tyler 


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Subject:     Joe Meek
Received:    12/15/99 11:08 pm
From:        Jamie LePage, le_pagxxxxxities.com
To:          Spectropop List, spectxxxxxities.com

"jake tassell"  wrote:
> 
> On a seasonal note I've been advised that anyone who likes
> The Joe Meek Sound (you remember 'Telstar' - right?)
> should check out:-
> 
> http://www.geocities.com/SunsetStrip/Venue/4326/index.htm

> 
> I can't personally recommend all the content of this site
> (hmm hmm) but there's loads of music on it and on their
> latest update they've put up a bunch of unreleased
> downloadable Joe Meek Christmas songs, which should be at
> the very least - interesting listening.

Hi Jake,

Thanks for this link! There are a surpising number of RA
files there! Many are previously unreleased, too. I have
most of the Joe Meek CDs listed in the CD gallery on that
page, but I still found plenty of tracks on RA files which
I had never heard before. It is really a pity the site
does not have higher quality files that play over G2 Real
Audio. Still, even though the quality is not very good,
these RA files are definitely worth checking out for Meek
enthusiasts.

Funny, Meek had a habit of speeding up his recordings, and
it seems like some of the files are sped up even further.
Sky Men by Geoff Goddard was a great listen even though it
sounded like a helium vocal.

Also of great interest were the original mixes of I Hear a
New World. Amazing! Strikingly different from the CD. I
wonder why these tracks were remixed? Anyone know?

Thanks again, Jake!


Jamie "'perfect echo aficionado'" LePage
n.p. Nice Age - DJ David Ponak - www.spikeradio.com


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Subject:     P. J. Proby + Jack Nitzsche
Received:    12/15/99 11:08 pm
From:        Lindsay Martin, lindsay_mxxxxxsnet.com.au
To:          Spectropop List, spectxxxxxities.com

I have two versions of a P.J. Proby recording of a 
wonderful song by Goffin & King , "I Can't Make It Alone",
produced and arranged by Jack Nitzsche. It is a very 
Spector-sounding production which reminds me of the 
Righteous Brothers.

Version (1) is on a Liberty single, LIB-10250, an 
Australian issue.

Version (2) appears on an EMI Australia CD, "Man with a 
Mission", a compilation of Proby's hits in the U.K. and 
Australia, where he was apparently more popular than in 
the States. 

The interesting thing is that Version (2) seems to be the 
same track, but it has some vocals missing: the single has
Proby doing some response-style embellishments which make 
it sound even more like the Righteous Brothers. 

I wonder whether anyone has any anecdotal information or 
idea about how this came about, or even any comments on or
details about Nitzsche's work with Proby. Perhaps the 
reissue on CD is at fault: could the additional vocals be 
on a track that just got lost when it was remastered or 
whatever they did to it? I'd be very surprised if they 
were completely different sessions, though: to my ear they
sound identical. The CD track doesn't sound incomplete, 
just simpler.

Also - not that it signifies anything, I guess - the label
on the single is printed "I CAN Make It Alone", unlike the 
CD reissue listing and the lyrics. (Dusty Springfield also
recorded the song, a bit later.)

The CD is called "Man With A Mission" after Proby's 
biggest Australian hit, a stunning rearrangement of Donny 
Brooks's "Mission Bell" (whoever arranged it is a genius).
It was the B-side of "Stagger Lee".

Incidentally, one of my favourite songs from the 60s is a 
beautiful, atmospheric song by Jackie de Shannon called 
"Just Like Him" which is the B-side of P.J. Proby's "
Somewhere". Without putting him down as a performer, this 
guy had access to great songwriters, producers and 
arrangers, it seems.

Thanks,

Lindsay


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Subject:     on the Four Seasons
Received:    12/15/99 11:08 pm
From:        Billy G. Spradlin, bgsprxxxxxhlink.net
To:          Spectropop List, spectxxxxxities.com

(PS: sorry for the late reply...been in Oklahoma for 
business and family matters)

>Hi Billy:
>
>The only thing I have on the Four Seasons is the 3 cd set,
>originally released in 1987. This covers their entire
>career as well as the Frankie Valli solo stuff. Years ago
>I use to have the "Edizione D'Oro" two album set. A couple
>of interesting curios. It had the rare stereo version of 
>"Rag Doll", a rare stereo version of "Let's Hang On" (minus
>the slow verse at the beginning.

Another interesting stereo mix is "Girl Come Runnin'" 
which I have on a K-Tel compilation from the mid 70's. I 
still haven't found "Ronnie", "Huggin' My Pillow", "Big 
Man's World" and "Only Yesterday" in stereo anywhere.

"Rag Doll" has popped up in Stereo on a few CD 
compilations (a Time/Life CD which I don't have) and also 
ACE's fine two-fer of the "Dawn/Rag Doll" albums. I still 
prefer the mono because it sounds like they added more 
percussion and that great snare "BANG" is much louder than
it is on the stereo mix. I don't have the stereo "Lets Hang
On".. anyone know what CD it appears on? I also remember 
hearing some sattilite oldies format (ABC's Pure Gold) 
playing the stereo "Lets Hang On" with the mono intro 
poorly edited on. 

>But the big minus is "Will
>You Still Love Me Tomorrow?" which sounds like someone
>stuffed towels in my speakers. In other words it sounded
>horrible-absolutely no highs.

I have the original Philips 45 and the mono mix sounds 
much better. Also Rhino's "Genuine Life Gazette" CD has a 
very flat sound too. I have noticed that many Seasons 66-
69 recordings vary greatly in Sound quality. Some sound 
great but others are super-flat sounding and hissy. My 
only guesses are that Crewe changed studios (that had 
noisier equipment), changed to a different tape brand that
hasn't aged well over the years, or those tapes got lost or
destroyed and all that Bill Inglot and company could find 
were second/third generation safety copies for the 3 CD 
set........Who Knows?

I would love to see ACE or Rhino put together a Mono-Only 
compilation of the Seasons hits, because in many cases 
they sound much better than the stereo LP mixes. I guess 
theres no real market for it since there's many Seasons 
hits collections available.

>I used to have the two album
>set on Private Stock called "The Four Seasons Story". The
>stereo versions of the early hits such as "Sherry" and 
>"Big Girls Don't Cry" sounds tighter-with the rhythm
>section in the center with the lead vocal, and the
>background vocals on the right. Both those sets miss the
>Frankie Valli solo hits.

"Story" was the first 4 Seasons compilation I ever bought 
(I was 13 years old) and made me a lifelong fan. They also
used a different take of "Tell It To The Rain" on this comp
that has a different vocal take from Frankie and the 
"Edizione D'Oro" version of "Dawn" without the "Pretty As a
Mid-Summers Morn..." intro but has the group chanting "Dawn" 
twice before Frankie sings the first verse!

I love this anal-retentive nit-picking stuff...! 


Billy G. Spradlin
29 Rim Road
Kilgore, Texas 75662
E-mail: bgsprxxxxxhlink.net
Homepage: http://home.earthlink.net/~bgspradlin/




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Subject:     Gold Star used a bicycle chain
Received:    12/15/99 11:08 pm
From:        WASE RADIO,xxxxxt.org
To:          Spectropop List, spectxxxxxities.com

To Jake Tassell:

I think I posted some information on Gold Star's 
equipment. But let me re-post. The Gold Star console was 
"custom built" by Dave Gold, one of the studios co-owners. 
This is the one with the three meters and the big knobs. 
To the right of the console were two reel to reel tape 
machines-one for full track mono and a taller three track 
for stereo. The latter machine may have always been 
bouncing tracks-that is taking a three track tape and 
mixing down to one track on the other machine. They had 
one, possibility two monitor speakers in the control room.
In the recording room, there were two large Klipschhorn 
speakers-in the two corners across the room from the 
control room. Originally there was just one studio.

Back in 1983, I wrote a letter to Gold Star, and received
a reply by a woman named Johnette. She said in one part 
that they used a bicycle chain to raise the levels on all 
three tracks. A second studio was constructed in the late 
1960s. By the late 1970s,A third studio was constructed. 
All three studios were equipped with 24 track consoles and
all other such modern amenities.. On March 2, 1984, this 
historical studio was shut down, slated for demolition. 
Another report was that the building was burned down. I 
have that letter somewheres. If I can find it,I'll be glad
to post it. Thanks for the compliments.

Good luck,

Michael G. Marvin 
WASE radio


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Subject:     Spector sessions
Received:    12/15/99 11:08 pm
From:        john rausch,xxxxx.net
To:          Spectropop List, spectxxxxxities.com

Thanks Carol for your answers to my questions re: Spector 
and his session drummers.And Richie Frost.Just goes to 
prove ya can`t believe everything ya read. It`s great to 
get the scoop right from the source (you!). Also thanks to
Rex Patton.Re: Richie Frost and Lee Michaels. Learn 
something new every day!

John Rausch
Phil Spector`s Wall Of Sound at
http://members.tripod.com/~rauschj/



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Subject:     Liquid Room 12/11/99
Received:    12/15/99 11:08 pm
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. This Wednesday, 12/15/99 The Aluminum Group will be
live in the studio chatting and spinning records. If you're
in LA, be sure to check out their debut at Spaceland this 
Thursday, 12/16/99.

Also, don't miss DJ Me DJ You and The Raymakers at 
Spaceland Friday 12/17/99.

The Liquid Room 12/11/99:

1.The Comittee-California My Way
Happy Together: The Best Of White Whale Records (Varese Sarabande)

2.Stereolab with Herbie Mann-One Note Samba/Surfboard
Red Hot + Rio (Verve)

3.The Spiders-Monkey Dance
GS I Love You-Japanese Garage Bands Of The 60's (Big Beat)

4.The Lou Hoffner Trio Minus One-Moog Walk
7" single (Sheep-Switzerland)

5.Elektrostar-T.F.W.Y.
RO 3003 (Bungalow)

6.Silicon Teens-Let's Dance
Music For Parties (Mute-UK)

7.Chappie-Chappie's Attack
New Chappie (Sony-Japan)

8.Charles Fox-Charge
Pufnstuf Movie Soundtrack (Capitol)

9.Pizzicato Five-20th Century Girl
Pizzicato Five (******* Japan)

10.Francoise Hardie-Nous Etions Amies
Maid In Paris (4 Corners)

11.Our Hour-Cal Flower
Electric Heavy Land (LD&K-Japan)

12.The Free Design-I Wanna Be There
Umbrellas (Siesta-Spain)

13.Fun Lovin' Criminals-The Summer Wind
Mimosa (Chrysalis-UK)

14.Ferrante & Teicher-Brazil
Soundproof-Westminster

15.Saint Etienne-Calico
So Tough (WB)

16.The Divine Comedy-Life On Mars (Bowie Cover)
Rarities (Setanta-UK)

17.Serge Gainsbourg-Harly David Son Of A Bitch
Love On The Beat (Polygram-France)

18.Sid Bass-Playera
Moog Espana (RCA)

19.Arling & Cameron-Hashi
Music For Imaginary Films (Emperor Norton)

20.Mark Wirtz Orchestra & Chorus-A Touch Of Velvet, A Sting Of Brass
The Go Go Music Of... (R.P.M.-UK)

21.Yuji Oniki-Paper Tigers
Orange (1 Plus 1) Wonderful 60's esque soft pop record-check it out!

22.The Cowsills-Grey Sunny Day
The Best Of The Cowsills (Polydor)

23.The Rutles-Questionaire
Archeology (Virgin)

24.The Cuff Links-Robin's World
The Cuff Links (Decca)

25.Space Ponch-Batanga Cha Cha Cha
The World Shopping With Space Ponch (Transonic/Flavour-Japan)

26.Gershon Kingsley-Porgy & Bess Introduction And Opening Scene 1
Switched On Gershwin (Avco)

27.Gal Costa-Namorinho De Portao
Gal Costa (Polygram-Brazil)

28.Yoshinori Sunahara-2300 Hawaii
Take Off And Landing (Sony-Japan)

29.The Aluminum Group-Miss Tate
Pedals (Minty Fresh) 

30.Michel Polnareff-Fame A La Mode
Michel Polnareff (Atlantic)

31.Turn On-Eletrocation Of Fire Ants
Turn On (Duophonic)

32.Faye Wong-Love For Strangers Only
Love For Strangers Only (EMI-Hong Kong)

33.Marvin Gaye-When Did You Stop Loving Me, When Did I Stop Loving You
Hear, My Dear (Motown)

34.Handsome Boy Modeling School-The Truth
So...How's Your Girl? (Tommy Boy)

35.Seksu Roba-Velvet Star
Seksu Roba (Softcore)

36.The Golden Orchestra And Chorus-Pluto
The Space Alphabet (Golden)

37.Brendan Perry-Saturday's Child
Eye On The Hunter (4AD)

38.Takako Minekawa-Slow Flow Mole
Athletica (Polystar-Japan)

39.Bertrand Burgalat-Anjou 4-02
Quadrille Soundtrack (Tricatel-France)

40.Scott Walker-Only Myself To Blame
The World Is Not Enough Soundtrack (Radioactive)

41.Katerine (with Kahimi Karie) Jamais Je Ne Tai Dit
Les Creatures (Rosebud-France)

42.Jack Webb-You're My Girl
You're My Girl (WB)

43.The Gentle People-Parfum
Simply Faboo (Rephlex)

44.Esquivel-Aurora
See It In Sound (7n/BMG)

45.John Andrew Tartaglia-Goodnight 
The Tartaglian Theorem (Capitol)

46.Paul Williams-Morning I'll Be Moving On
Someday Man (Reprise)


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