__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0367 January 9, 2000 __________________________________________________________ Serendipity and synchronicitySubject: BOUNCE spectxxxxxities.com: Non-member submi Received: 01/09/00 12:12 am From: Spectropop Admin, To: Spectropop List, ========= Start of forwarded message ========= Subject: Re: This is NARAS! re: Spector 2000 Trustee Award From: Eric Dear Spectropop: Thank you for your confirmation and the extension of my request for Phil Spector material for the NARAS Trustee Award. I'd like to clarify one point so that potential contributors will not be scared off. The Lifetime Acheivement / Trustee / Technical Awards ceremony is a live presentation which is held as part of at the annual GRAMMY Nominees reception held the night before the GRAMMY Awards, Tuesday, February 22. This event is a non-broadcast event where a 3-4 minute compilation of the honorees' accomplishments will be shown. Copyright control of materials is *NOT* required for material to be included in this compilation. The 42nd annual GRAMMY Awards will be telecast on the CBS Television Network (8-11 PM ET/PT) on Wednesday, February 23, 2000 from STAPLES Center in Los Angeles. During this broadcast a 15-30 compilation of the Lifetime Achievement and Trustee Award honorees will be shown on air. Anything we show on air will have to have been cleared with the copyright owners prior to the broadcast. Normal on air material is chosen that is relatively easy to clear. Please assure your members that we understand that as collectors most material they own is copyrighted material -- unless its something like a candid photo they shot themselves, a record company publicity photo, or some sort of record store promotion display. We can still use it for the live event. If you have additional questions regarding copyright please contact me. Thanks again very much for your kind support of our tribute to Phil Spector. Eric Jerstad NARAS/RAMP ========== End of forwarded message ========== --------------------[ archived by Spectropop ]-------------------- Subject: lucy in london Received: 01/08/00 10:28 pm From: john rausch To: Spectropop List To Rein Smilde: Phil Spector sings the title song Lucy In London, not the Ronettes. A very uptempo number with the whole wall of sound. Also I would like to know who does the other recordings: "Rockin' around the christmas tree", "Jingle bell rock", "Let it snow, let it snow" that you mention on the "Christmas Wall Of Sound: A tribute to Phil Spector" CD? John Rausch Phil Spector`s Wall Of Sound at http://members.tripod.com/~rauschj/ and Presenting The Fabulous Ronettes at http://www.geocities.com/SunsetStrip/Studio/2469/ --------------------[ archived by Spectropop ]-------------------- Subject: Outrageous Cherry Received: 01/09/00 12:32 pm From: David Feldman To: Spectropop List Bryan Thomas said: > "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.'" Funny you should mention this. I believe it was Stewart Mason who recommended the O.C. album based on an advance copy. I tried to buy it from an online shop a couple of times with no success, but I finally received a copy, which lay unopened until about two weeks ago. Along with the Stevie Wonder box set, it has been #1 on my CD changer ever since. The album is terrific. It's the kind of craftsmanship in modern pop that I crave. And right as I type this, I hear the strains of the opening piano solo of Stevie's "Ribbon in the Sky" on a videotape of "Now & Again," the new Glen Caron Smith show on CBS. I've been obsessed with the song and particularly the piano intro, and whaddya know? Serendipity and synchronicity. Dave Feldman http://www.imponderables.com --------------------[ archived by Spectropop ]-------------------- Subject: Sumpreme Lineup Received: 01/09/00 12:32 pm From: Claudia To: Spectropop List Regarding William Stos' question as to what we think of the Supremes reuniting for a t.v. spectacular (one time only), I feel that it would be great to see it, I would certainly tune in. But the Supremes, to me, were always Flo, Mary and Diane....Cindy Birdsong, although talented, to me was always part of Patti LaBelle and the Bluebells ("I Sold my Heart to the Junk Man") and not a Supreme. Jean Tyrell, Linda Lawrence and Sherry Payne were NEVER in the same league as the original lineup. The name, the Supremes, should have been retired when Florence died. In Mary Wilson's book on the group, she mentions that Flo was the genuinely "talented one"...Her voice was reminiscent of the old time gospel singers...Flo got her practice singing in a church choir before joining the group. Mary says Flo's suprano voice was so powerful that when the group recorded they would place Flo about 15 feet away from the other girls so she wouldn't overpower Diane's lead. It was tragic, according to Wilson's book, that all Flo got to do with the Supremes was sing, "ooh, baby, baby, baby" behind Diana Ross. There are some album cuts out there of Flo singing solo which I'd love to get my hands on. Mary lamented Flo's fate, (an early death), utterly despondent over Diana Ross's star treatment at the hands of lover, Berry Gordy and fed up with promises by Gordy to let Mary and Flo sing lead vocals on other recordings, (not just Ms. Ross), which never happened. Of course, Flo died of her alcoholism - (probably more than likely of a broken heart), living on welfare, always looking for that big comeback and never getting it. All that remained of her fortune was the Cadillac which she and her husband drove around Detroit. She was down to earth and salty, always adored her fans and would stand and chat with them while Diane did a slow burn, telling Flo not to mingle with the peasants (fans) .... It was an interesting read ("Dream Girls" by Mary Wilson). So, I would tune in to see how the "Supremes" look today but it would be bittersweet without Florence Ballard singing with them....even if all we heard was her "ooh, baby, baby" in the background.. As I always say, Dobie Gray was right when he sang in the "In Crowd" ("...the originals are still the greatest") Claudia _______________________________ "Paul McCartney? Oh, he's a very nice fellow, once you get to know him." Ringo, 1964 --------------------[ archived by Spectropop ]-------------------- Subject: French music Received: 01/08/00 10:28 pm From: Marie J. Leclerc To: Spectropop List Dear Spectropop, I have been reading with great interest the discussion on French Pop music. My English writing isn't the best, but I would like to add something. If you were to ask me who is the best French writer and artist, I would say Gainsbourg, hands down. To explain the way he plays with words, his poetry is very hard, it's something you just feel. I have always thought he could be compared to Brian Wilson as a genius composer. I would also like to mention Charles Aznavour. I'm not sure if we can call him Pop, maybe not, but then again, his work is of great quality and sensibility. As a Quebecer, I have listened to my share of copycat artists singing the US and UK hits. Five years ago, I would have laughed at those versions, all in French, but as I am getting older, I find humor in it and appreciation of the music/instrumentation that differ. I am thinking of Tony Roman version of Manfred Mann hit, Les Baronets which featured Rene Angelil (Celine Dion husband/manager) and their many versions of Beatles hits. It was a nice and refreshing moment to hear a version of The Beach Boys Fun Fun Fun the other day, but all in French, from a Montreal 60's group. My older brother used to be a big success in our small town playing guitar with a group that attracted a crowd each Saturday night with a version of The House of the Rising Sun. They renamed it Les portes du Penitencier, right from the Johnny Haliday version. They couldn't have sung the Animals words, since nobody in the band spoke one word of English. Either you translated the song to French or you sang it phonetically, which meant they would often sing songs while having no clue what the words were about. What I mean to say is, I now see this music as an asset, a different way to hear a song. Thanks for reading. Regards, Marie --------------------[ archived by Spectropop ]-------------------- Subject: "Da Doo Ron Ron" - the epitome of silliness? Received: 01/09/00 6:26 pm From: Frank To: Spectropop List Lindsay Martin wrote > >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 Being French I'd tend to agree with you, Lindsay, but what you write stresses a point : French artists always tend to emphasize lyrics as opposed to the generally "production centered" works of American pop. As far as I can remember there has never been any worthwile equivalent of a song like "Da Doo Ron Ron" for instance. This song is even regarded in France as the epitome of silliness. Most of our singers failing to recognise the the greatness of the production (not to mention the singer!). I'm afraid there was definitely no French artist to even come near the magic of what US and then British producers and singers gave us. Again, this is not to say that we had no great artists over here, I already mentioned Gainsbourg and Trenet and many many more but they all dwelved in a kind of music that was and is entirely different. >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!) Quite true "Shakin All Over" is definitely a classic. And the same definitely goes for "Friday on My Mind". FRANK --------------------[ archived by Spectropop ]-------------------- Subject: BOUNCE spectxxxxxities.com: Non-member submi Received: 01/09/00 12:12 am From: Spectropop Admin To: Spectropop List ========= Start of forwarded message ========= Subject: The early 60s works of Curtis Mayfield Curtis Mayfield didn't get mass recognition early on as did the Motown stars, and because he is so strongly recognized for his Superfly-era work, his contribution to the seminal R&B music of the 60s is often overlooked. Born in Chicago on June 3, 1942, as a child Mayfield taught himself to play guitar. Mayfield began his musical career with a school band called the Alphatones, where he began developing his trademark tenor voice. In 1956, he, Jerry Butler, Arthur and Richard Brooks, and Sam Gooden formed a new group, The Roosters. In 1958, The Roosters were renamed The Impressions and had a big hit with "For Your Precious Love," Lead vocalist Jerry Butler started a solo career, but Mayfield kept the Impressions together. He was a very good guitarist, too, and his weaving, Latino guitar phrases characterized many of his early recordings, including "Gypsy Woman," an amazingly compassionate and sensitive record. Although it was unusual for soul performers in the early 60s to write their own material, Mayfield wrote and sang some of the finest soul music of the 60s. "Gypsy Woman," "People Get Ready," "It's All Right," "People Get Ready," "He Will Break Your Heart," "Keep On Pushing," and "Find Yourself Another Girl" are all essential listening to anyone even vaguely interested in 60s soul. As a songwriter and a producer, Mayfield's work epitomized the Chicago sound that rivaled the Motor City. He was the driving force in Chicago, not only through his work with the Impressions, but also through his writing and producing Gene Chandler, Jerry Butler and Major Lance. At the time, perhaps the only other soul artist doing this much production work was Smokey Robinson. While the majority of contemporary black soul material focused on love songs and the latest dance crazes, Mayfield was stretching the limits. He was perhaps the very first soul singer to write about African-American pride and community struggle in his songs, a concept followed by R&B, funk and rap artists ever since. He was inducted into the Rock and Roll Hall of Fame twice, first with his gospel-soul group, the Impressions in 1991. He was inducted again in 1999 for his solo career, which began in 1970 after he left the Impressions. Mayfield died on Sunday, December 26, 1999. He was 57. ========== End of forwarded message ========== --------------------[ archived by Spectropop ]-------------------- Subject: Le Dernier Mot Sur Le Pop Francais Received: 01/09/00 11:20 pm From: jake tassell To: Spectropop List Dear Spectropop Thanks very much to Frank and Lindsay for their thoughtful and informative responses to my French Pop prompt. For those wanting a suitable footnote to this discussion, I just found one on this URL:- http://www.emperornorton.com/artists/pop_romantique/index.html Regarding Serge Gainsbourg; The Anglo-tongued unenlightened would do well to check out:- http://www.wfmu.org/~bart/sg.html for a witty biog in English of 'L'Homme a Tete de Chou'. Unfortunately for the more 'sauvage' of Spectropoppers, the Gainsbourg site with a WAV of 'The Whitney Houston Incident' does not yet exist. Potential fans of contemporary Francopop (it's been big in England - don't know where else) could do worse than check out 'Moon Safari' by Versailles band: Air - in my opinion one of the best pop albums of the last five years, their 'proper' follow-up is scheduled for Autumn, imminent is their soundtrack to the film 'The Virgin Suicides'. Air stuff at:- http://source.astralwerks.com/air/ Fin Jake Tassell --------------------[ archived by Spectropop ]-------------------- Fin
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