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Spectropop V#0041

  • From: The Spectropop Group
  • Date: 2/7/98

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             Volume #0041                             02/11/98
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                              Hitsville, U.S.A.
    
    
    
    Subject:     "I Can Hear Music-The Songs of Greenwich & Barry"
    Sent:        2/6/98 11:04 PM
    Received:    2/7/98 9:48 AM
    From:        Tweem
                 (Admin note: Posted to a different forum and 
                 reprinted by permission of the author)
    
    Do you remember a while back when we were discussing the Burt Bacharach 
    publishing box set?  Well, I just got a similar set for the songwriting 
    team of Ellie Greenwich and Jeff Barry and it was just put out through 
    Polygram Music Publishing.  If these two great songwriters names don't 
    sound familiar their songs will...this is prime Brill Building Pop Music 
    the combination of artists performing will also blow you away!  These 
    sets are put together by the publishing companies to try and push songs 
    to advertising agencies and the like.  Check out this tracking listing of 
    original HIT artists and recent covers of the songs of Greenwich & Barry 
    that appear on this disc:
    
    Jason Falkner: Baby I Love You
    The Beach Boys: I Can Hear Music
    Fuzzy: Chapel of Love
    Manfred Mann: Do Wah Diddy Diddy
    The Minus Five: People Say
    Lesley Gore: Maybe I Know
    Redd Kross: Girls Can Tell
    The Raindrops: The Kind of Boy You Can't Forget
    The Exciters: He's Got The Power
    The Supremes & The Four Tops: River Deep Mountain High
    The Honeydogs: It's So Strange (The Way Love Works)
    Crash Test Dummies: Da Doo Ron Ron
    The Shangri-Las: Leader of The Pack
    Connie Francis: Don't Ever Leave Me
    Lesley Gore: Look of Love
    Sonny & Cher: Why Don't They Let Us Fall In Love
    IVY: Be My Baby
    Beth Orton: I Wish I Never Saw The Sunshine
    Ellie Greenwich: You Don't Know
    Otis Redding: I Got To Go Back (And Watch That Little Girl  Dance)
    The Jelly Beans: I Wanna Love Him So Bad
    The Moody Blues: I've Got A Dream
    The Shangri Las: Out In The Streets
    The Monkees: 99 Pounds
    Triple Fast Action: Then I Kissed Her
    U2: Christmas (Baby Please Come Home)
    
    This might just be the best disc that I've heard all year!!!
    
    --Matthew Kaplan---
    
    --[ archived by Spectropop - 02 /11/98 - 01 :24:21 AM ] --
    
    Subject:     I Want Candy
    Sent:        2/10/98 2:39 PM
    Received:    2/11/98 1:09 AM
    From:        Scott Bauman, scottbaumsn.com
    
    
    LePage Web  le_page_ies.com wrote:
    
    "It's interesting that there weren't more claims of infringement over 
    lifted melodies during the 60's."
    
    A few years ago, I heard an interesting story about one infringement 
    claim that was made. The copyright owners of "Willie and the Hand Jive" 
    sued over the Strangeloves' song "I Want Candy." (This is kind of 
    interesting since both borrow heavily from Bo Diddley.) More 
    interestingly, though, the case settled, and as part of the settlement, 
    the Strangeloves agreed to record "Willie and the Hand Jive" and, more 
    remarkably, promised that their version would chart.
    
    While you might think that it would be a difficult task to promise that 
    your version of a song will chart, if you look at the Billboard charts, 
    you will find that the Strangeloves' version of "Willie and the Hand 
    Jive" charted at number 100 for one week and then dropped off the charts. 
    (I wonder how they managed that one?!)
    
    -- Scott
    
    --[ archived by Spectropop - 02 /11/98 - 01 :24:21 AM ] --
    
    Subject:     Original "Where Were You When I Needed You"
    Sent:        2/10/98 1:00 AM
    Received:    2/10/98 7:42 AM
    From:        Jeff Glenn, Jeff_Gl.nba.TRW.COM
    
    
            Reply to:   Original "Where Were You When I Needed You"
    
    <Paul URbahns asks :
    Is this original version available on CD?>
    
    The two-disc Rhino Grass Roots comp has it (in true stereo, no less).  
    For those of you wondering whether to get this set or the new MCA single 
    disc greatest hits, it's a no-brainer.  The Rhino set has several great 
    minor hits ("Only When You're Lonely," etc.) that are missing from the 
    MCA comp, as well as lots of great album tracks (my favorite being the 
    transcendent "That's What Love Is Made For").  And Bill Inglot's 
    remastering is characteristically excellent.
    
    I suspect a lot of this on this list are asked questions at work or by 
    friends to settle arguments or just provide information on obscure music. 
     At work last week someone asked me who did the song "Next Plane To 
    London."  We all know the answer is The Rose Garden (1967, if I'm not 
    mistaken; I'm not at home to look at the LP), but is this song available 
    anywhere on CD?  I've never seen it; not even on any Japanese 
    compilations (I'm surprised the original LP hasn't been issued the CD in 
    Japan, 'cause they issue just everything!).
    
    Great song; it needs to be available.
    
    Jeff
    
    --[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
    
    Subject:     Petula Clark
    Sent:        2/11/98 1:03 AM
    Received:    2/11/98 1:09 AM
    From:        le_page_ies.com
    
    
    Lenny wrote:
    
    >...I love the records Hatch produced for
    >Pet Clark....  Very jazzy and hip. I
    >don't know where this concept of Clark as the
    >ultimate schmaltz artist came from, but I hate it. 
    
    The concept didn't come from me!! Pet Clark epitomizes Swinging Sixties 
    London to my ears. I hear two bars of "I Know A Place" and images of 
    kinky boots, miniskirts and Carnaby Street come to mind. Already a pop 
    veteran at the time, Pet Clark may not have been as cool or trendy as 
    Sandie Shaw or Marianne Faithful, but her mid-60's records sure were. 
    Tony Hatch cut some brilliant sides with her. It's been mentioned here 
    before, but _Here Comes the Girls_ reissue series on Sequel has many 
    wonderful Tony Hatch recordings, some very obscure. Check out You'd 
    Better Come Home by Pet Clark off Volume One. Also, if you like Pet 
    Clark's records, check out Jackie Trent, who was also produced by Tony 
    Hatch. Trent/Hatch co-wrote many hits together.
    
    LePageWeb
    
    --[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
    
    Subject:     Petula Clark
    Sent:        2/10/98 2:51 PM
    Received:    2/11/98 1:09 AM
    From:        Scott Bauman, scottbaumsn.com
    
    
    Big L, bimail.com wrote:
    
    "I dunno, but I love the records Hatch produced for
    Pet Clark, especially Colour My World, The Other
    Man's Grass..., ... Subway....  Very jazzy and hip. I
    don't know where this concept of Clark as the
    ultimate schmaltz artist came from, but I hate it. I
    can think of many artists far more schmaltzy."
    
    Recently, I've been listening to several old Petula Clark records. 
    Although I really enjoy her collaborations with Tony Hatch, my favorite 
    album by Pet is Warm and Tender, which was produced, arranged and 
    conducted by Arif Mardin. Instead of collaborating with Hatch, Petula 
    admirably tackles (and excels on) tracks by such notable songwriters as 
    Joni Mitchell, Carole King, Laura Nyro, Paul McCartney, Dan Penn, Paul 
    Williams, Burt Bacharach, and Henry Mancini. I believe that the record 
    was recently reissued on CD.
    
    -- Scott
    
    --[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
    
    Subject:     Re: Spectropop V#0040
    Sent:        2/10/98 1:13 AM
    Received:    2/10/98 7:42 AM
    From:        David Feldman, felderables.com
    
    
    > I dunno, but I love the records Hatch produced for
    > Pet Clark, especially Colour My World, The Other
    > Man's Grass..., ... Subway....  Very jazzy and hip. I
    > don't know where this concept of Clark as the
    > ultimate schmaltz artist came from, but I hate it. I
    > can think of many artists far more schmaltzy.
    > 
       I couldn't agree more, Big L.  I love the harder edged songs,  
    especially, You'd Better Come Home, Don't Sleep in the Subway, and  the 
    extraordinarily under-heard single, Cat in the Window"  Great  stuff.
    Dave Feldman
    
    Best CD of 1997: The Beach Boys Pet Sounds Sessions
    CD of the Month:  Net Sounds
    Best Time Killer of the 90's:  Filling out the gender survey at
      "http://www.imponderables.com"
    
    --[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
    
    Subject:     Re: Spectropop V#0040
    Sent:        2/10/98 12:36 PM
    Received:    2/11/98 1:09 AM
    From:        Javed Jafri, javedja.ca
    
    
    > From:        Big L, bimail.com
    > On another note (probably high C), I am compiling a
    > list of great records, that were big hits, that are
    > largely ignored by the oldies stations. Maybe we can
    > get a thread going on this. Here's a few...
    > 
    > Smokey Robinson - More Love; The Love I Saw In You
    > Was Just A Mirage
    > Petula Clark - Colour My World
    > Temptations - Since I Lost My Baby; You're My
    > Everything; Cloud Nine
    > Four Tops - 07 Rooms Of Gloom
    > Tommy James & the Shondells - I Like The Way
    > Buckinghams - Back In Love Again
    
    Off the top of my head I don't believe that any of these songs were top 
    10 records except maybe Cloud Nine and Colour My World. And you know what 
    I still hear those two records on the radio every now and then. In fact 
    Cloud Nine even gets a bit of classic rock air-play.  Save for these two 
    songs I don't think you can classify these songs as big hits. Your point 
    is well taken however and I firmly believe that oldies radio needs to 
    expand their play lists and get away from playing the same old tired 
    moldy oldies.
    
    There are a whole bunch more regional hits and songs that only scraped 
    the bottom of the top 40 charts that you never hear anymore. 
    
    Actually there are a fair amount of top 10/ top 20 national hits that you 
    hardly hear anymore.  If I could add to the list above :
    
    Tommy James & the Shondells--Mirage
    The Ohio Express--Beg, Borrow and Steal
    People--I Love You
    Buckinghams--Mercy, Mercy Mercy
    The Critters--Younger Girl
    The Silke--You've Got To Hide Yur Love Away
    Paul Revere & The Raiders--I Had A Dream
    
    There are so many more......
    
    
    Javed
    
    --[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
    
    Subject:     Spector vs Dion
    Sent:        2/10/98 2:04 PM
    Received:    2/11/98 1:09 AM
    From:        Marie-J. Leclerc, ron.ca
    
    Hi, the first week I was on this list, I recall someone wondering what 
    happened to the Celine Dion/Spector sessions. I have since  read the 
    authorized bio by Georges Hebert-Germain (Celine, LibreExpression 97), 
    and  here is the translation of Chapter 34, called " Un brin de folie "( 
    A bit of madness). This is in no mean my opinion , I am only giving a 
    translation, I hope you will enjoy. Marie (please forgive the obvious 
    grammatical errors) -- Spector was standing behind the board and he was 
    shouting at the musicians. During the recording session, he sent Celine 
    many dozens of red roses. He was giving her long insisting looks that she 
    felt weighting  on her. When she looked at him, he continued to 
    insistently looking at her, shrinking his eyes as though he wanted to see 
    inside of her. He told Rene (Celine's husband/manager)  that he didn't 
    want him in the studio... (Spector brought a crowd of 50 peoples, 
    including Ike Turner and Isaac Hayes)
    
     He was constantly talking against the other producers that were supposed 
    to work with Celine on the album, telling that they all have stolen his 
    ideas and that they owed their success to him.
    
    Three songs were recorded...Magnificiants. But after four sessions, the 
    tension had become unbearable. One night, Spector made Celine wait...he 
    was working on his wall of sound, shouting at his musicians. It was 3, 04 , 05 o'clock in the morning. In a few hours, Celine was supposed to be in 
    shape for the recording of a video. Dave Platel dared to ask Spector when 
    the tapes would be ready so that Celine could sing. And Spector proposed 
    to  him to go outside, in a back street with his bodyguard. He was 
    clenching his teeth, telling Platel that he would be happy to crush him, 
    that he had a revolver in his pocket. His reaction was so excessive that 
    it looked like a bad joke...
    
    Celine said: "I looked at Rene. I knew exactly what he was thinking and 
    what he was going to do. And I was perfectly agreeing with him. I stood 
    up and I got out of the studio. I than understood, that I would never put 
    my feet in that studio again and that I would never work  with Phil 
    Spector again. Rene followed us  in the car, a few minutes later. He was 
    very calm. He is always very calm when he is angry. He told me what 
    happened. Spector didn't even notice that I went out. Rene came near him. 
    He told him that it was over, that I was gone and would not come back. 
    Even if Spector told him he was sorry, Rene didn't care. He told him that 
    he never permitted anybody to treat his friends like that, and that 
    artists, even the greatest, don't have all the rights."
    
    Celine said that she will never work again with someone with bad 
    vibrations like that. That's how began the adventure of Falling Into You, 
    with a bad start.
    ----
    End of story
    
    
    --[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
    
    End
    
    

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