___________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ ___________________________________________________________ Volume #0366 January 8, 2000 ___________________________________________________________ An endeavor to epitomize great stars in the recording field Subject: Phil Spector award Received: 01/06/00 4:01 am From: john rausch,xxxxx.net To: Spectropop List, spectxxxxxities.com Recieved this email and wanted to pass it along to all Spectropoppers. Hope someone can find something to submit. ................... This is NARAS! re: Spector 2000 Trustee Award Gentlemen: I hope I'm addressing the creators of Spectropop! This year the National Academy of Recording Arts and Sciences' (NARAS) will honor legendary producer/writer Phil Spector with its Trustee Award for his outstanding contributions to the recording industry in a non-performing capacity. I am gathering material for The Recording Academy to be used in a short (3-4 minute) retrospective video of his career that will show before the award is presented. This ceremony will be part of the annual Grammy Nominees reception, which takes place on Tuesday, February 22, during Grammy week in Los Angeles. This is a non-broadcast event, although we will be also creating a short clip for broadcast as well. Your material cannot and will not be broadcast unless we can confirm your copyright ownership. The Academy would greatly appreciate your help in providing material from your archives to include in our non-broadcast presentation. We are in need of any photographic stills or video of Phil, the Brill Building, the recording studios and the various performers he produced - not only from the early days, but up to the present. If you have material you would like to contibute, please contact me. I will ask you to send it directly to NARAS headquarters in Los Angeles. We will, of course, pay any necessary duplcation fees and shipping costs involved. Be aware that this compilation has a very limited budget. We have no funds to license material and are receiving a very limited amount of material from Spector management. Our aim is to present the very best tribute to Phil that we can. If you can help, please contact me. Thank you very much. Eric Jerstad NARAS / RAMP email address:xxxxxell.net John Rausch Phil Spector`s Wall Of Sound at http://members.tripod.com/~rauschj/ --------------------[ archived by Spectropop ]-------------------- Subject: Re: This is NARAS! re: Spector 2000 Trustee Award Received: 01/08/00 12:31 pm From: Spectropop Admin, spectxxxxxe.com To: Eric Jerstad,xxxxxell.net CC: Spectropop List, spectxxxxxities.com Dear Mr. Jerstad, Thank you for your email addressed to Spectropop Administration which listmember John Rausch has forwarded to the list. Spectropop Admin confirms that your request has been duly posted to all members of our discussion group. By way of cc of this email to the Spectropop mailing list, Spectropop Admin requests that any queries or offers to submit material to NARAS be sent directly to you at "Eric Jerstad" xxxxxell.net>. Listmembers are reminded that NARAS cannot use material that is copyrighted unless the rights to the copyrighted material are owned and/or controlled by the submitting party. Spectropop Admin speaks on behalf of the entire discussion group in expressing thanks to you for giving us the opportunity to submit material for possible inclusion in the retrospective video of Mr. Spector's career. We are thrilled to learn of this award, and Spectropop listmembers are certain to support NARAS's efforts to present the very best tribute to Phil Spector possible. Sincerely yours, Spectropop Admin spectxxxxxe.com --------------------[ archived by Spectropop ]-------------------- Subject: Darlene Love On Letterman Received: 01/07/00 3:15 am From: David Feldman, fexxxxxnderables.com To: Spectropop List, spectxxxxxities.com Jimmy asked: > Speaking of Darlene, I caught her on Letterman. I wonder > why she turns "Christmas" into a clap-happy singalong? > That song should rip the hearts out of everyone who's > listening... still, her voice was great, and I DID cry, > especially when she tore up the last few lines. Darlene sings this song every year on the show (has almost since the show began on NBC) and most years, they try to do a little something different with the song or arrangment. I love this about the show and Dave Letterman and Paul Shaffer -- Letterman always gives her a great intro. More than any singer I know, Love combines passion and restraint. I don't think she could be undignified or unclassy if she tried. She looks and sounds just great right now. It's wonderful to see her still at the top of her game. --------------------[ archived by Spectropop ]-------------------- Subject: Outrageous Cherry - Spector's next big group? Received: 01/08/00 11:17 am From: Bryan Thomas, xxxxxfi.com To: Spectropop List, spectxxxxxities.com Hello Spectropop Listers, I thought some of you out there might get a kick out of something I just read in the current issue of MOJO, January 2000 issue, pg. 12, in "News Round-Up": "Phil Spector is reportedly considering a return to the studio. It seems the producer heard Outrageous Cherry (a Detroit fuzz-thing with Brian Wilson melodies), on the radio, and announced his intentions to Kim Fowley with the immortal words, 'These guys are f$ing great.'" This pleased me greatly as the group is signed to Del-Fi Records DF2K (Del-Fi 2000) imprint, the label where I work. Last year (October) we released the group's debut on the new label, called Out There In The Dark, which has been receiving good critical praise so far. This isn't the first time that the band have been mentioned in the same breath as Mr. Spector. All Media Guide's web- site (allmusic.com) have previously said that the band sound "something like The Shadows of Knight produced by Phil Spector!" and Chris Handyside [Detroit Metro Times, and allmusic.com] praised the new album's production by the band's leader, Matthew Smith, saying that "Smith's production hand is as studied and effectively reverent as his songcraft. Phil Spector, Brian Wilson, George Martin and others who laid the brickwork for the FM pop production that followed them are all in attendance as producer Smith brings the wall of sound, the wash of reverb, throws in some horns for emotional impact, tweaks the delay and, occasionally, makes the whole damn thing sound as though it were recorded in a metal room with a cement ceiling." Anyway, thought some of you might like to know about this. Bryan Thomas publicity/A&R/Film & TV licensing Del-Fi/DF2K Records xxxxxfi.com --------------------[ archived by Spectropop ]-------------------- Subject: spector (of course) Received: 01/07/00 3:15 am From: Rein Smilde, rein.sxxxxxlo.nl To: spectxxxxxities.com Hi there, First of all, happy everything. Does anybody know the Ronettes singing "When Lucy was in London, she wore my miniskirt" (or something like this). I do think I remember a Lucy Ball show in the sixties "Lucy in London", with music from Dave Clarck 5 and something of a titlesong by The Ronettes. On tape I do have a very rare recording of Phil singing a song called: "You're so fine". I was told he recorded this for someones birthday. Any information on this one? On the ferry from France to the UK a couple of weeks ago, I've bought a Hallmark CD (cat. nr. 308242) called: "Christmas Wall Of Sound: A tribute to Phil Spector". Same tracks as on THE X-mas LP/CD, + "Rockin' around the christmas tree", "Jingle bell rock", "Let it snow, let it snow". Great recxxxxx99). I also have a CD (Jive Bunny and the mastermixers: christmas party. Label: Music Collection Int. Ltd., 36-38 Caxton Way, Watford, hertfordshir WD1 8UF (UK)) cat.nr. MCCDX 014) with some of THE X-mas songs (in the Spector way), but with 2 (additional) tracks: "Jingle bells", and "Have yourself a merry little Christmas". These 2 sound as real Spector productions. Any info on this one? Regards, Rein Smilde. (Netherlands) --------------------[ archived by Spectropop ]-------------------- Subject: fanboy gushing for Bill Inglot Received: 01/08/00 11:17 am From: Stewart Mason, flaxxxxx.com To: Spectropop List, spectxxxxxities.com I'm not positive that Bill Inglot is out here in Spectropopland, but just in case: Bill, you are the single greatest engineer in the world. And the new Stooges box on Rhino Handmade, 1970: THE COMPLETE FUN HOUSE SESSIONS, is the best work you have ever done. FUN HOUSE has long been one of my all-time favorite albums, but all the vinyl and CD copies I have previously owned have sounded like sludge. Wildly exciting and deceptively complex sludge, true, but sludge nonetheless. But the liner notes here state that the band and producer Don Gallucci were shooting for a pristine, crystal-clear version of the Stooges' enormous roaring noise, and for the very first time, that's what you can hear. These CDs sound like you're in the room with them. And as you can imagine, that's a mildly scary place to be. Not only is it like I'm hearing this music for the first time, I am hearing elements I never even imagined were there. Not even THE PET SOUNDS SESSIONS was this revelatory. This is definitely not a box set for everyone. Even Stooges fans might balk at the prospect of THIRTY-FOUR (count 'em!) takes of "Loose." Not me, though. And if that prospect doesn't scare you and you have $140 to drop -- or like me you know someone with exquisite taste in Christmas gifts -- then I think you might find this extraordinary. Stewart --------------------[ archived by Spectropop ]-------------------- Subject: Re: Four Seasons mono/stereo Received: 01/07/00 3:15 am From: WASE RADIO,xxxxxt.org To: Spectropop List, spectxxxxxities.com To Kingsley Abbott: Interesting post on the Four Seasons mono/stereo situation. For a long time, I thought the early Seasons' hits were recorded on only three tracks. For example "Sherry" has the entire rhythm section on the left channel, Frankie centered and the background vocals on the right. Also if my memory serves me correctly, the mono version of "Sherry" fades out later than on the stereo one. Another example of primitive stereo on the Four Seasons is "Big Girls Don't Cry". On this track the rhythm section and hanclaps are on the left, Frankie Valli and the group (in parts) are centerred and the background vocals (who sometimes harmonize with their center channel selves) are on the right. Personally I am a stereo oldies bug. Sometimes I like to hear an oldie in stereo just for the fun of it. But I can understand why some people would rather hear these songs in mono-because that's how we heard them on AM radio or 45 rpm vinyl singles. But to each his or her own. Have a great millenium Kingsley and everyone. Michael G. Marvin WASE radio --------------------[ archived by Spectropop ]-------------------- Subject: Bill Deal and the Rhondells Received: 01/07/00 3:15 am From: Kaye Krebs, ThePixxxxxcom To: Spectropop List, spectxxxxxities.com Re Claudia's (Claudia, xxxxxv.net) inquiry about Bill Deal and the Rhondells and whatever happened to them :
Claudia, I am delighted to tell you that they live and continue to perform (sounding just as good as ever) here in my hometown of Virginia Beach, VA. Best regards, Kaye Krebs The Pixies Three --------------------[ archived by Spectropop ]-------------------- Subject: golden days of Beach Music Received: 01/06/00 4:49 am From: DJ JimmyB, DJJimxxxxxcom To: Spectropop List, spectxxxxxities.com In a message dated 1/5/0 12:59:50 PM, you wrote: >Most of the '60's beach bands...The Embers, Catalinas, >Maurice Williams & The Zodiacs, Tams, Chairman of the >Board, etc.... are still around. > >DICKYG Thanks for the news DickyG...Perhaps you could share with us your memories of the golden days of Beach Music and the culture of Beach. I, for one, would love to know more... Jimmy Botticelli --------------------[ archived by Spectropop ]-------------------- Subject: Hardy, Gainsbourg & regional variations Received: 01/07/00 3:17 am From: Lindsay Martin, lindsay_mxxxxxsnet.com.au To: Spectropop List, spectxxxxxities.com Jake Tassell approvingly mentions French writer/producer/ singer Serge Gainsbourg and his work with Francoise Hardy, Jane Birkin and others. Hardy's "Comment Te Dire Adieu", has a spoken refrain which is one of the most sexy and heartbreaking things I've heard on a pop record. And take a look at the lyrics, by Gainsbourg (go to http://www.argonet.co.uk/users/warren/francoise/ly/). The whole thing is brilliantly based around "ex", which he works into a prominent position in almost every line (ex-amour, Kleenex, explication, prétexte etc.), thus echoing the singer's apprehensions about becoming an ex-lover. How many pop songwriters would have dared to be quite this arty - and pulled it off - in 1968? What Jake says about regional variations of pop/rock is to the point. It interests me (especially as an Australian) to see what happens when musicians beyond the U.S. take on a musical genre which is essentially American. Sometimes it doesn't come off, and probably all countries outside of America have had their embarrassing versions of ersatz American pop, but when it does come off the result can be fresh and stunning. Tommy Steele never really sounds convincing to me as a rocker, but you don't need to make any excuses for Johnny Kidd & The Pirates' "Shakin' All Over". (And check out "The Cruel Sea", a surf-instrumental masterpiece by Britain's Dakotas, of Billy J. Kramer fame!) The beauty of it is that, pop often being a hit and miss thing, regional variations sometimes hit on something brilliant and fresh which is universally appealing but which wouldn't otherwise have been possible. For a start, outsiders are bound to have their own skewed view of the music they're trying to emulate, and if they lack the slickness of mainstream production and marketing savvy this can be an advantage too. (Of course, it gets complicated when you get U.S. bands reworking British Invasion pop, which was a reworking of American pop in the first place.) Take a listen to the full works - not just the British-produced "Friday On My Mind" - of Australia's Easybeats (actually made up of Brits & Europeans - we're a nation of immigrants). See (1) whether you agree with me that this was one of the best groups working in the Beat/ Brit Invasion genre and (2) how much of their creativity within this genre may have been a result of their geographic isolation from (in this case) the U.K. In Gainsbourg's case, you have some corny little attempts at American pop, but these are countered by such masterpieces as "69 Année Erotique" (with Jane Birkin) and "Initials B.B". And how extraordinary are "Bonnie and Clyde" (with Bardot) and "Harley-Davidson" (Bardot): here are examples of the outsider distilling some element of American culture, giving it his own cultural spin, and producing something startling and original, as if by accident. It almost reminds me of those bizarre Japanese t-shirts with random samples of English printed on them. Lindsay --------------------[ archived by Spectropop ]-------------------- Subject: re: French Pop; a matter of definition Received: 01/08/00 11:17 am From: Frank, fxxxxxc.fr To: Spectropop List, spectxxxxxities.com Jake wrote: >To Frank at The End of The Tunnel re: French Pop;- Johnny >Halliday, Sylvie Vartan and Eddie Mitchell - ils sont tres >merdique, c'est vrai! The problem is though - every time I >visit my expatriate brother in Paris and want to know >about a record I've heard (and I have heard some great >ones), I can never find out anything, because when quizzed, >somebody always makes a shamed face and says "Oh - you >don't really want to know about that! - It's rubbish!" - >which is why I voiced my question to the list in the first >place. No great Gaul pop? With respect, M'sieur, what about >Serge Gainsbourg's three decades worth of uniquely witty, >wicked, sexy, and stylish output? And all the records he >made with Jane Birkin, Mireille Mathieu, Brigitte Bardot, >France Gall, Anna Karina, Nana Mouskouri, Charlotte >Gainsbourg, etc. etc. etc. I can count at least three >Francoise Hardy discs that are as good as, say, the best >Marrianne Faithfull records, and I think that's really >just the tip. I mean sure, the French didn't produce any >Led Zeppelin-type 'rock-legends' (you'll never know how >glad I am about that) - but then no-one else made great >Easy Listening in the way that Francis Lai and Michel >LeGrande did etc. etc. Just like everybody else's stuff; >French stuff has its own uniqueness, its own flavour and >its own 'special fragrance' just like Mid-Sixties Detroit >Stompers have or Mersey Beat has or New York Acapella >DooWop has or California Surf Instrumentals have. This is, >as always, a matter of one's own personal aesthetic but I >don't see why a form should be invalidated purely because >it doesn't fit in with some 'official' version of what is >and what isn't pop history. Well Jake, you are right there, after all it may be a matter of definition. I wouldn't have put Serge Gainsbourg and most of the stuff he wrote and /or produced in the categories of music we were talking about. Maybe I should have. I surely wouldn't say there are no French artists worth of any interest. If you're willing to extand your scope to people like Michel Legrand or Francis Lai, then you must never forget Charles Trenet the best one ever (and after all he wrote and created "Beyond The Sea" for which Bobby Darin must have thanked him and "I wish you love"...... I was merely thinking of a kind of music that could be coppared to the great period of US and British pop/rock and in this particular kind of music, I'm afraid to say that we had to do with appaling French covers by incredibly bad French artists. At least most of the time even though there were some exceptions (wich as a French saying goes: 'exceptions only confirm the rule." In the 60's probably Richard Anthony and maybe Daniel Gerard were the only ones whose covers were not shameful. Then later on Eddie Mitchell ended up doing some really good stuff (mostly originals though). And by the way I wonder if you ever heard anything by Gerard Manset, who is probably the most interesting artist we had for years alongside Gainsbourg. Frank --------------------[ archived by Spectropop ]-------------------- Subject: Northern Covers Received: 01/07/00 3:15 am From: jake tassell, xwsf.taxxxxxin.net To: Spectropop List, spectxxxxxities.com Hi Delia All the famous girl/boy Northern duets that I know are a bit weird. 'As Long as You Love Me I'll Stay' by Ronnie and Robyn. Great record, can't imagine anyone covering it though. August and Deneen - 'We Go Together' - all those lyrics about 'Marvin and Tammy and Sonny and Cher' I can't think how that would work. Hmm -'We Got Togetherness' by The Jewels might be good - it's a straight-up 100 miles-an-hour monster cacophonyfest (sort of like Edwin Starr and The Velvet Underground having simultaneous heart-attacks with Lurch on harpsichord accompaniment and The Incredible Hulk playing lead road-bumper). It's a great record; pretty unsophisticated and would be easy to play. If you want a copy of the original (my copy is on American MGM) then have a scout round The Northern Soul Webring - http://easyweb.easynet.co.uk/mike.hughes/welcome_to_the_northern_soul_cir.htm . It really is quite a famous Northern Stomper so it's probably on a compilation. Mister CD in Berwick Street has hundreds and hundreds of cheap Northern compos', you might find it there (if you're willing to put in the hours). I last saw Edwin Starr a few years ago, he was good then, probably still is now. Good Luck Jake Tassell (in rainy SW2) --------------------[ archived by Spectropop ]-------------------- Subject: Northern soul duets Received: 01/07/00 3:15 am From: Ian Chapman, iaxxxxx.net To: Spectropop List, spectxxxxxities.com Delia wrote: > Also........someone has asked one of my bands to do a > northern soul cover version for a compilation..........I just > wondered if anyone could think of any good northern soul > boy/girl duets ??? A few come to mind..... Gene Chandler/Barbara Acklin - From the Teacher to the Preacher Jimmy Holiday/Clydie King - Ready, Willing & Able Frankie & Johnny - I'll Hold You Wilson Pickett (& Cissy Houston) - Come Home Baby Marvin Gaye/Tammi Terrell - Two Can Have A Party Inez & Charlie Foxx - Tightrope Newby & Johnson - Sweet Happiness August & Deneen - We Go Together Steinways - You've Been Leading Me On (best of the lot IMO - a great girl/boy call/response tune) BTW, I saw Edwin Starr at a Motown a couple of years ago, and he was well worth it! Ian --------------------[ archived by Spectropop ]-------------------- Subject: the greatest Non-Motown Motown record ever Received: 01/06/00 4:49 am From: DJ JimmyB, DJJimxxxxxcom To: Spectropop List, spectxxxxxities.com In a message dated 1/5/0 12:59:50 PM, you wrote: >Also........someone has asked one of my bands to do a >northern soul cover version for a compilation..........I just >wondered if anyone could think of any good northern soul >boy/girl duets ??? Sorry Delia, no boy/girl duet comes to mind at the moment, but as far as Edwin Starr is concerned, the greatest Non-Motown Motown record ever has to be his recording of S.O.S. (Stop Her On Sight) which came out on Ric Tic in Detroit in 1966 and BEGS to be Born Again. It could easily be a duet and you could call it northern (it has the essential tambourine!) Hope this helps. Jimmy Botticelli --------------------[ archived by Spectropop ]-------------------- Subject: Supremes Received: 01/07/00 3:17 am From: Stos, William, xxxxx.tyenet.com To: Spectropop List, spectxxxxxities.com >I didn't have any records by the Supremes, so I picked up >a really cheap compilation CD called [hey, dig those >aliterations!!!] "Baby Love" during my vacation. So I put >the disc into my stereo today and....it's a horrible 80s >sounding remake with NO original recordings! I now notice >"re-recordings" in fine-print...does anybody know anything >about this CD? The record label appears to be Success and >the cat. number is "16287CD". The Supremes "line up" on >this record is Sherrie Payne, Lynda Laurence and Jean >Terrel. I don't know if they were original members or >not... They were all members at some time or another during the seventies. They also go by the name of the FLOs Former Ladies Of The Supremes (and no, they say that is not a tribute to the late Flo Ballard, an original). There are many updated recordings by the group, and various other members, some good, some awful. Like all new recordings, they don't quite have the original flare, but they can sometimes come close. For example, a new Supremes record track "He's My Man" is probably just as good as the original late 70s version. The problem comes when mostly unplugged Supremes tracks are redone in eletric fashion. >The annoying thing is that all the *songs* are fantastic! >But I didn't expect the production of the "Miami Vice" >theme to come out of the speakers....so can anyone tell me >what the deal is with this bizarre remake CD, and also >recommend a proper Supremes compilation with the proper >originals, performed by the proper group members. There are many good comps out there. I'd head for the anthology series, with 2 cds at 26 tracks each. Some fair tracks, most are superb! For just the hits, there is a single cd version of the anthology out too! Check out some Supremes web sites to ask other fans what they'd recommend! By the way, there is a heavily circulating rumour that the Supremes (Diana, Mary, Cindy) will reunite to do a brief tour following a Temptations-style tv special/movie. What is everbody's thoughts on this? Will --------------------[ archived by Spectropop ]-------------------- End
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