__________________________________________________________ __________ __________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________ __________ __________________________________________________________ Volume #0372 January 17, 2000 __________________________________________________________ a long plastic hallway where thieves and pimps run free __________________________________________________________ Subject: Soft Rock / Soft Pop Received: 01/17/00 2:40 am From: Timothy To: Spectropop List I have read with interest the Soft Rock debate over the last few issues. The Searchers' "Sounds Like Searchers" album (issued as "The New Searchers L.P.2 in the States) could be easily classified as soft rock although they were more usually classified as 'Merseybeat' in the U.K. and 'British Invasion' in the U.S. (not unsurprising since they came out of Liverpool at the height of the Merseybeat / Beatle boom). In those days, drummer Chris Curtis was mainly responsible for the musical direction of the band. After he left the band in early 1966 he went into the production side of the music business. He did a lot of work with Paul and Barry Ryan and was responsible for their version of "I Love How You Love Me". Subject: Green Tambourine Received: 01/17/00 11:07 am From: Spector Collector To: Spectropop List I'm afraid that rather than solve Nat Kone's "still-nagging mystery" regarding "Green Tambourine," Paul Leka, The Lemon Pipers, and Peppermint Rainbow, I'm just going to add another layer to it by mentioning that the backing track is used yet again on Mrs. Miller's recording of the tune on her Amaret Records album "Mrs. Miller Does Her Thing." Just thought you'd like to know. David Subject: Hey Hey Hey! Ba-Ba-Bah-Bah! Boom! Boom! Crackin' Up! Received: 01/17/00 11:07 am From: jake tassell To: Spectropop List Hi I'm going to hang wide of the 'Sunshine Pop' debate, apart from to say this:- I'm not 'against' anything and I actually like a lot of Ba-ba-ba-da Generation type discs (I'm also a very big fan of 'Hey Hey Hey!' records too - never heard a bad one, but that's another mood and genre apart entirely, mood and genre hounds). I do prefer things a little more on the Promethean side though (Prometheus - Ancient Greek - stole the fire from the Heavens and was thusly punished by Zeus who had him chained him to a rock, while a giant bird pecked out his liver - much like our holy prophet of the reverb - Saint Phillip!) but that's my headset - you all go ahead and enjoy (or whatever the Latin equivalent is). The subject of Carol Kaye's bass-line on 'I Was Made to Love Her' came up a couple of Spectro's ago and for an age I've been meaning to make comment on what a delight it was to hear it in all its naked, viscous, sculptural glory on Carol's Website (and 'Bernadette' - I might add). These awesome slices of hyper-rhythmic, horripilation-inspiring (horripilation -a contraction of the cutaneous muscles causing erection of the bodily hairs and goose-flesh; from the Latin 'horrere' - to bristle, and 'pilus' - hair) bass boom-boom are true ultra-vitalist gymnastic wonders that sound even better in the raw than they did on the records. Not sure if the 'Phil'-umentary is going to be shown in the UK. Either way, let's hope it's not yet another one where they round up anyone who ever crossed swords with the guy and then waste one hour and thirty minutes pouring bile, acid and sewage over his career, his methods, his marriage, his character and his records in his eternally conspicuous absence (these arguments always miraculously vapourise when they have to play the records though!), Which reminds me... One thing I want to ask Spectropoppers is something I asked The Joe Meek list a short while ago and got some surprisingly interesting and very thoughtful responses to, and that question is:- Why is it that so many of the key figures (Phil Spector, Brian Wilson, Joe Meek, Syd Barrett etc.) in really 'out there', 'beyond it all', pioneering, 'I-can't-believe-I'm-hearing-this' type pop-music; completely lose it, crack up or go mad after producing their best works? I'm not convinced by the drug argument and I don't think I've ever read a satisfactory explanation of this phenomenon in any rock mag, book, or TV documentary. I, for one, think this is the important question about Phil Spector, about the nature of the pop muse, about creativity in general and I'd welcome some feedback on this. Also how the *@%£**@ did Enya creep into all this???!!! Jake 'I Can't Believe I'm Hearing This' Tassell Subject: Re: We've all gone soft...but hopefully not in the head Received: 01/17/00 2:40 am From: Buffalo Bill Barnacle To: Spectropop List Jamie wrote: >"Soft Sands" by Chordettes may be the very first >record that embodies all the elements of soft pop. A great >personal favorite. In the same vein but a bit later, let's >not forget the British duo Caravelles. Neat stuff. But if we should be really strict, shouldn't soft pop as a genre exclude music made outside North America? 95% of these bands remained seemingly uninfluenced by the gritty British R&B invasion. Which is one of the reasons I like this kind of music, because it revolted - non-violently and with a smile, of course :-) - against that kind of music. It is almost as if The Rolling Stones, so called power trios and amphetamines never existed. >>"Move with the Dawn" by Mark Eric > >Is this from the "Midsummer's Day Dream" album on Uni's >Revue label? I've not heard Move With the Dawn, but I have >heard "Laura's Changing" "Laura is changing/she's almost a teen/she's starting to act mature..." LOL! That's another thing I like about soft pop, the incredibly naive lyrics. All these groups were in their twenties, at least, but many wrote lyrics like they had barely kissed a girl...who knows? Maybe the soft pop genre was invented by lonely men who couldn't find a date for the prom :-) >(new sub-genre=soft surf rock??). It's not so much a sub-genre as one of the roots...the essential 1965-68 soft pop music was pretty much one part surf music, one part Brill Building, one part American folk music and one part studio explorations. Do I sound like a music critic on repeat? And as for whoever it was who put Phil Spector and Enya (I mean, ENYA!?!?!?!) in the same sentence....jeeeez!! Just don't ever do it again, or I will have to inform a couple of my friends in the poor side of town that some legs need to broken, ok? Il Padre T. Subject: a lily white sound Received: 01/17/00 11:07 am From: DJ JimmyB To: Spectropop List In a message dated 1/16/0 12:16:47 AM, you wrote: >"I'm Hypnotized" by Little Anthony & the >Imperials - pure soft sunshine as per the above! I'm curious, is this a Teddy Randazzo piece? And can soft soul fit as a genre into Sunshine Pop? I don't believe so. Somehow I get the impression that Sunshine Pop is a lily white sound and Little Anthony, soft though he sang, cannot be put into this category due to the soulfulness of his work. What compilation, LP or whatever can this track be heard on?? Thanks, Jimmy Botticelli still tryin' to nail down that Sunshine definition after all this time Subject: Thru Spray Colored Glasses Received: 01/17/00 11:07 am From: DJ JimmyB To: Spectropop List In a message dated 1/16/0 12:16:47 AM, you wrote: >Dino, Desi & Billy (Dig "Thru Spray Colored Glasses" by DD&B!). Until you hear it by "The Match" Beyond belief...Truly... Jimmy Botticelli Subject: Re: American breed Received: 01/17/00 11:07 am From: Nat Kone To: Spectropop List At 02:21 PM 1/16/00 +0900, John Frank wrote: > >I haven't heard the one by American Breed. Will have to >check it out. Anyone into uploading mp3s?? Since I'm the one who mentioned this version, I'm sorry to say I don't have the technology for mp3's or CDR's either for that matter. Still using good old-fashioned cassettes. But this may be the year... Nat Subject: Set the Controls for the Heart of the Sunshine Received: 01/17/00 11:07 am From: Jamie LePage To: Spectropop List Nat Kone wrote: >some of my favourite soft pop bands were jumping on a >bandwagon, though the wagon may not have had a label at >the time. At least that's the impression I get from bands >like Love Generation and Sunshine Company. Or maybe I'm >just distracted by their names. But they give the >impression that one week they were a Lettermen-clone and >the next week they grew their hair and flashed peace signs. I suppose many of these vocal groups were aspiring singers fortunate enough to make a few records before returning to jingle work, singing in the church choir or doing Top 40 in Holiday Inn lounges. But as usual, the labels certainly jumped on the (ill-fated) bandwagon. How? By trying to sell what was essentially adult contemporary pop music dressed up in Nehru collars and love beads. Target the market that bought "Never My Love" with more of the same. It should have worked, and probably would have under the old rules. But the youth market had come of age and rock albums were eclipsing pop 45s as the most profitable music carrier. The record companies said: Dig more of these groovy vocal harmonies," but the amps were pretty much all turned up and it was all move-over-Rover-let-Jimi-take-over. Nobody paid much attention to bababada anymore. The "over 30" generation wasn't interested in sunshine pop either, but it wouldn't have helped anyway. Easy listening pop channels of the day might have tested a Roger Nichols Trio single or played a track off Nilsson's Pandemonium Shadow Show, but it was too late for the EZs too. FM and underground would sentence most of them to life as talk radio or news channels in a few years. We are left, then, with a relatively small body of works produced in a short period of time - sort of unofficially called sunshine pop. Many of these records failed commercially and were doomed to obscurity, so it is inevitable that the "underrated producer" is often lauded in sunshine pop discussions. Thankfully though, there are enough fans of this music for the reissue labels to pay attention (A word of praise and thanks here to listers directly involved in the production of these sunshine reissues). Much sunshine pop relied on old school production methods, session musicians, pop arrangers & Brill style songwriters. Sweet Talking Guy by the Chiffons is a good example of the "link" between the Brill-driven girl group sound and sunshine pop. I think of sunshine pop as the very last venue for our Brill-era writers, producers and arrangers, before everything went all singer/ songwriter-ish in the 70s. I hope those of us who appreciate sunshine pop do recognize the irony in much of this, though. A lot is pretty darn funny. Here's a snip from the "even too sweet for Kingsley" Love Generation: "She touched me (Feelin' groovy) She put her hand on mine right there She touched me (Feelin' groovy) I still can feel a tingle where she touched me (Feelin' groovy) A sparkle, a glow, yeah Feelin' groovy" Officer, arrest that man! Jamie "Speak softly and carry a big stick" LePage Subject: Twinn Connexion & Love Generation Received: 01/17/00 2:40 am From: Jill Mingo To: Spectropop List Oh, fellow Spectropoppers, With all this talk about the Love Generation and sunshine pop, it has saddened my heart that in fact to this day I have yet to find any Love Generation LPs that didn't cost a small fortune as I live in the UK and this stuff just isn't easy to find. If anyone has any for sale at not too steep prices, please email me direct. And as for the Twinn Connexion, does anyone else know anything about this band and where I can also lay my paws on the LP? I'd sure appreciate it. x Jill "Without love in my generation" Mingo-go Subject: Hunter S Thompson Received: 01/17/00 2:40 am From: Bobby Lloyd Hicks To: Spectropop List Someone sent me this and I thought I'd pass it along. "The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." --Hunter S. Thompson End
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