http://www.spectropop.com __________________________________________________________ __________________________________________________________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0381 February 1, 2000 __________________________________________________________ "taking a leap and experimenting with a sound" Subject: David Bash's list Received: 02/01/00 12:54 am From: Kingsley Abbott To: Spectropop! It was very interesting to read David's list of unavailable albums. Quite a few on the list have been mentioned in conversation with Joe Foster of Revola, so all is not lost! Revola's future is a little under question with the shrink down at Creation following Alan Mcgee's departure. However, Joe thinks that things will keep going - In other words, the eclectic release pattern that we have come to love from Revola should continue. I personally dread the thought that all future music will be accessed through the internet. OK, some, most even, but like with real ale, decent bread, and any other aspect of our lives that we have grown to love and value, there should always be room for specialist 'real' releases! Campaign for Real Records anyone?? CRR! Any further thoughts Joe?? Of David's list, the CDs I personally would most like to see, in order I guess, are 5th Dimension's first two albums as a twofer, The Critters "Touch 'n' Go (with one or two from their last album maybe), the Tommy Roe one, Elephant Candy and maybe The Robbs (although I'm biased on this one as it contains a version of "Violets of Dawn" which Fairport used to do in the early days). As a slight PS to the last little bit, I still have some stock left of my book "Fairportfolio" abot the 1967/9 era of a great English Band! Anyone interested, just mail me directly. Also, my thanks to Carol for her very kind words - fair made me toes twinkle! Kingsley Abbott --------------------[ archived by Spectropop ]-------------------- Subject: ***Misty Mirage*** Received: 02/01/00 12:55 am From: Jamie LePage To: Spectropop! BIG, BIG news for Curt Boettcher fans (you know who you are)... On March 25, Dreamsville Records (Japan) will release a new compilation of previously unreleased Curt Boettcher recordings called Misty Mirage. This is not a boot. It's a legitimate release of recordings made by Boettcher up to around the time of Sagittarius' Blue Marble album. Musicians performing on the album include Lee Mallory, Sandy Salisbury, Ron Edgar, Jerry Scheff, Ben Benay and Mike Melvoin. All recordings are produced or co-produced by Boettcher and engineered by Keith Olsen. I just heard a little bit of this album, and what I heard is sure to please every Sagittarius/Millennium fan. There are some magical moments. The first track, Tumbling Tumbleweeds, is absolutely brilliant. A dreamy, kaleidoscopic take on Sons of the Pioneers' 1934 hit song, featuring swirling layers of Curt's trademark high tone vocal chorus work. The CD will have 18 tracks, featuring Curt's never before released versions of I Just Want To Be Your Friend and The Know It All (Millennium), You Know I've Found a Way and Another Time (Sagittarius), Misty Mirage and Astral Cowboy (Michele) and That's the Way It's Gonna Be (Lee Mallory). The only two tracks on the CD that have been previously released are Share With Me and Sometimes, both sides of an obscure Boettcher 45 on Together (co-produced with Gary Usher). The CD is rounded out with a couple of Levi's commercials and studio session outtakes. I understand Dawn Eden is writing the liners for this too. Less than two months away. I can't wait. Jamie --------------------[ archived by Spectropop ]-------------------- Subject: My name is Spot Received: 02/01/00 12:55 am From: Nat Kone To: Spectropop! I don't see anyone on this list talking about their "recent finds" like on the other list I'm on so I won't tell the story of how I'm getting all these records I've been picking up in the last week or so... But I have been filling in a lot of holes and making a lot of discoveries. And today's featured discovery is the Sunrays. A bit of soft pop, a bit of Beach Boyesque "surf." The record's called "Andrea" and supposedly that was a "hit." The guy who sold it to me said the hit was "I live for the Sun." And they're both good songs. But the one that kills me is "A little dog and his boy", the opening verse of which is: "My name is Spot I am a dog My master is Billy He collects frogs" Yes, the song is sung by a dog and it's an ode to lost youth, I guess. Spot looks toward the future when he and Billy will no longer run along the beach together. And the chorus of "Me and Billy / Just he and me / Although he's got lots of friends / He doesn't forget me" will break the coldest of hearts. I just cracked a sealed copy of The Gainsborough Gallery, whoever they are (no connection to Serge, unfortunately.) So far they don't sound too soft poppy but they might be silly enough to love. Nat --------------------[ archived by Spectropop ]-------------------- Subject: ...and speaking of Cake... Received: 02/01/00 12:54 am From: John Frank To: Spectropop! Nat Kone wrote: >Speaking of recently found records, what can you tell me >about this apparent girl trio on Decca, called "The Cake"? I've always clearly heard Cher's voice in their classic, "Baby That's Me"? Is it? Or did one of the group merely sound like her? (I've been wondering this for years and would really like to know if my suspicion is true.) Factoids leading me to believe it *could have been* Cher is that Charlie Green and Brian Stone managed both Cake and Sonny & Cher; also both acts' first albums were recorded at the same studios. (This is just from memory -- I no longer have The Cake album to compare.) Thanks. John --------------------[ archived by Spectropop ]-------------------- Subject: Various Received: 02/01/00 12:55 am From: Joseph Scott To: Spectropop! Hi all, Stewart, my understanding is that Dave Hassinger was the Electric Prunes' producer and main guy, and at the point we're talking about he brought in Axelrod as arranger; session musicians including Howard Roberts, Carol Kaye, and Earl Palmer played on Release Of An Oath, '68, and there continued to be a bunch of young guys who toured as the Prunes and sang on the records, a la Beach Boys etc. etc. etc. Nat, I didn't say that either. Lindsay, Leon Russell expert Steve Todoroff has written that "Russell handpick[ed] the songs as well as the studio musicians to back [Gary Lewis]." Peace, Joseph Scott --------------------[ archived by Spectropop ]-------------------- Subject: Re: gary Lewis Received: 02/01/00 12:54 am From: claudia To: Spectropop! > musicians lead me to admit to my weakness for the recorded > works of Gary Lewis and the Playboys. (Anyone else... Absolutely love them. To this day...I play their music and sing along every time. Their songs were infectious...you just had to sing along. I remember the day I first was able to buy their stuff on cd...I was thrilled. --------------------[ archived by Spectropop ]-------------------- Subject: Gary Lewis Received: 02/01/00 3:38 am From: David Ponak To: Spectropop! Hey, no guilt is necessary when mentioning one's affection for the output of Gary Lewis and The Playboys. These are great records, regardless of the vocal abilities or Mr. Lewis himself. In fact, "Jill" and "Girls In Love" qualify as soft-pop classics in my book. --------------------[ archived by Spectropop ]-------------------- Subject: Gary Lewis... Carol Kaye! Received: 02/01/00 12:55 am From: Lindsay Martin To: Spectropop! After mentioning Gary Lewis and studio musicians and Carol Kaye in my last posting, I thought to check Carol's site and, sure enough, there it is: "This Diamond Ring, Just My Style etc. - Gary Lewis and Playboys". I should've guessed! Is it too late for a New Year's resolution, namely, "Check Carol's site before I send anything"? Lindsay --------------------[ archived by Spectropop ]-------------------- Subject: Patti Page rocks Received: 02/01/00 12:55 am From: Frank Youngwerth To: Spectropop! Another notable Gary Lewis credit would be Al Kooper, who co-wrote "This Diamond Ring" as sure as he played organ on Dylan's "Like a Rolling Stone." I like plenty by Gary Lewis & the Playboys--"New in Town" is a great overlooked track. Somebody's playing some amazing bass on that one. I finally got around to playing a 1966 Columbia 45 I'd picked up recently by Patti Page. I thought "Till You Come Back to Me" must have been the Stevie Wonder song Aretha spun into gold, but I was wrong. Still, it's a fine 4 Seasons-ish stomper (the drum fills and quarter-note triplets give away Hal Blaine's presence, and the hard-picked bass sound like Carol), with the "Old Cape Cod" gal coming through at times like Karen Carpenter. This is a pretty hip Ernie Freeman production for its time. I think the very existence of Spectropop says plenty about the validity of a lot of once-dismissed-as-pathetically- square-or-wimpy music. However, I don't care for Andy Williams' "God Only Knows"--give me "Can't Stand Losing You," "Music to Watch Girls By," or "Happy Heart." Guess I just like my Andy with a beat. Frank Youngwerth --------------------[ archived by Spectropop ]-------------------- Subject: don't shoot the messenger Received: 02/01/00 12:55 am From: Nat Kone To: Spectropop! >From: Carol Kaye >..I know this must hurt your perceived images of >our business. >Yes, Hal Blaine, myself others did some of those....don't >blame the "messenger"....the public will have a lot of >heartbreak out there when they "find out." It took 2-3 >years for the Beach Boys fans to accept that studio >musicians did their favorite hits. I can't speak for the Beach Boys fans but I don't get the idea that we're all having our bubbles burst. When I was a kid, just starting to buy records, for the most part I didn't know what the groups looked like, what their names were, who played what. I guess in some cases, like the Animals and the Stones, I probably assumed it was the band playing on the records but obviously - if I thought about it, which I didn't - I knew that Simon and Garfunkel or Petula Clark or Tom Jones had a bunch of musicians whose names I didn't know, playing on theirs. And when I first started to hear about the studio musicians who played on all the Motown hits for instance, I remember thinking that was cool. Jamie Jamerson (is that his name?) was a bit of a star to me and my friends, just like Teenie Hodges and his brothers became "stars" when we started to listen to Al Green and other Hi records. And at some point we started to hear about songwriters and the Brill Building and how many of our favorite songs were written by Goffin and King or Mann and Weil. And knowing about Phil Spector didn't ruin my image of pop music either. I suppose if we'd found out that EVERYTHING we liked was written, sung and played by a bunch of people we didn't know, that might have affected us. But far from having our bubble burst, I remember a certain pleasure in finding out little facts about studio musicians and the process in general. Now I have to admit that a lot of this is a blur. I was a bit older when I knew of Leon Russell and Mac Rebenack as "solo" artists and started to find out about all the records they had played on. They were stars to me at that point so it wasn't simply a case of celebrating a studio musician. But I remember that when I started to hear about how records were actually made, even if there might have been some disappointment, at the same time there was an excitement at having "secret knowledge" revealed. I think for a lot of us this started around Dylan's records, especially Highway 61 and Blonde on Blonde. And a lot of that had to do with the fact that Mike Bloomfield and Al Kooper were stars in their own right with us. But we loved those stories about how Al ended up playing organ, even though he came with the intention of playing guitar. It didn't make me love Dylan or that record any less, to find out that the organ sound was an unplanned "accident". The Monkees were also part of the story. I remember hearing that Mike Nesmith and Peter Tork were "real" musicians and I'm sure I was pulling for them to win the right to play on their own records. Certainly it was more "romantic" to think about the members of the band rather than the studio musicians. But knowing the Monkees were the "prefab four" or that they didn't play on their records, didn't stop us from loving "Pleasant Valley Sunday". I can't deny that knowing the real story and the indispensable role of studio musicians changes the romantic view of sixties pop but ultimately I don't think it changes much. I suspect I still hold onto a few romantic notions and maybe there's a bubble or two I wouldn't want burst. But I loved "Green Tambourine" and I still do and the real story of how it came about is no less interesting than the image I supposedly held when I first heard it. At the heart of it, there's still one person or a group of people taking a leap and experimenting with a sound. Nat --------------------[ archived by Spectropop ]-------------------- End
Spectropop text contents & copy; copyright Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.