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Spectropop V#0383

  • From: The Spectropop Group
  • Date: 02/04/00

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       Volume #0383                        February 4, 2000   
              replaced by two-minutes of jazz riffs           
    Subject:     BOUNCE Spectropop Bulletin Board | Post Followup |
    Received:    02/04/00 1:57 am
    From:        Spectropop Admin
    To:          Spectropop!
    ========= Start of forwarded message =========
    Subject:     Icing On The Cake
    From:        Spectropop Bulletin Board | Post Followup |
    Posted by Alan Ackerman on Tue, 01 Feb 2000 15:00:05
    Hi everybody! 
    This is my first post to this Board, but I've been
    reading all the previous posts as much as time allows.
    All I can say is that this is terrific stuff! 
    Reference has been made to The Cake. I've had their album
    for at least 30 years and cherish the first three cuts on
    Side One. I've played those cuts at least twice a year
    for the past 30 years! The rest of the album is flat and
    For those of you who are not familiar with this group and
    their album, let me reel-off a little of what's on the
    album jacket. 
    Greene and Stone were not record producers, they were
    personal managers. However, they had the bucks to be
    "executive producers." I surmise the real producer was
    Harold Battiste, who arranged all the Sonny and Cher
    stuff, and must have acted in a producer role on their
    records as well, because Sonny was a musical illiterate
    and stated so in his book. He very much depended on
    arrangers like Battiste to get things together in the
    The phrase "labor of love" can be translated "dedicated
    to the sound of Phil Spector." 
    There were other engineers at Gold Star besides Larry
    Levine who, as we all know, was Phil Spector's. These
    engineers knew how to use the great Gold Star echo
    chamber, too. The phrase "recorded live" has a
    back-to-mono ring to it. Spector's basic rhythm tracks
    were all recorded "live" in that the ambience and leakage
    of the studio itself helped to create the Wall of Sound.
    Multi-track separation of each instrument would have
    destroyed that concept. 
    followed by 3 throwaways: "Medieval Love," "Fire Fly,"
    and "Rainbow Wood"--all written by two of the group's
    members: Jeanette Jacobs and Barbara Morillo and
    published by Ten East Music (Green/Stone owned that) 
    begins with 3 New Orleans songs: "I Know," "Mockingbird,"
    and "Ooh Poo Pah Doo." Jessie Hill wrote the last one and
    also is featured on this album playing percussion. Harold
    Battiste was involved with the original production of "I
    Know" by Barbara George on the AFO label (All For One).
    Side Two is filled out with the perennials "Stand By Me"
    and "What'd I Say". 
    I believe the New Orleans copyrights were part of a deal
    with Harold, Jesse and Mac--all New Orleans cats. 
    Anyone with a tone deaf ear and no sense of what the Wall
    of Sound was all about could still tell the difference
    between the Baby That's Me/World of Dreams/You Can Have
    Him sides and the rest of the album. 
    "Baby That's Me" was co-composed by Jack Nitzsche, who
    surely knew the nuts and bolts of the Spector style as
    well as anyone on this planet, except for the Man himself.
    The opening bars have a simple bass riff with a choked
    triangle followed by a wave of strings just to set the
    The lead vocals are not distinctive enough to produce a
    hit record. Sorry folks. The Cake were probably nice
    girls and all that but Green and Stone should have known
    what it takes to make a hit record cut through: a strong
    lead vocal! Spector's productions always had great vocals.
    That's part of the formula that his imitators often
    failed to consider. I believe the Cake producers were
    aiming for a vocal sound somewhat like the Crystals when
    La La Brooks was singing lead. 
    The best part of "Baby That's Me" is from the second
    verse on when the strings are allowed to enter the party
    in the Spector manner and remain there the rest of the
    evening. The strings on this record are as near perfect
    as I've ever heard on record. Maybe even better than
    Spector did except for a couple of times. The echo
    becomes a whole other sound, very ethereal and compelling.
    I'm not thrilled with the drum sound on the Cake album.
    It is too thin, no tom-toms, with all bongoes. I need
    more bottom sound when Spectorized. Also, there are no
    lead sax breaks, which I feel would have strengthened
    these cuts. However, the saxes are used to good advantage
    in the arrangement when they match the bass and deepen it.
    Goes back to "He's A Rebel" doesn't it? 
    The musicians listed are all the usual Spector/Beach
    Boy/Gold-Star suspects of the 60s, including one Carol
    Kaye who posts to this Board. I really hope Carol will
    add her memories for us about the Cake sessions. 
    "World of Dreams," by Mac Rebennack, is as perfect a girl
    group ditty as was ever written. The arrangement and mix
    here are a clinic in how to produce a Phil Spector song. 
    "You Can Have Him" has those heavenly strings back again!
    The saxes pulsate and punctuate the building rhythm in a
    very inspired orchestration. 
    I bought this album in a cut-out bin sale at a local
    Woolworth's. I had never heard the Cake on the radio and
    was totally unfamiliar with them. I bought it strictly on
    the basis of the album credits. I was disheartened in
    that only three of the cuts were fully-produced in the
    Spector manner, the rest of the tracks reminded me of
    flipping over a Spector 45 to find that the Wall of Sound
    was replaced by two-minutes of jazz riffs--a throwaway. 
    Well, so much for my impressions of the Cake. 
    Alan Ackerman 
    ========== End of forwarded message ==========
    --------------------[ archived by Spectropop ]--------------------
    Subject:     The Cake
    Received:    02/04/00 1:57 am
    From:        Joseph Scott
    To:          Spectropop!
    The Cake were Barbara Morillo, Eleanor Barooshian, and 
    Jeanette Jacobs. Jacobs sang backup on some Hendrix I 
    believe (Electric Ladyland?).
    Joseph Scott
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Women In Music Touchstone Awards
    Received:    02/04/00 1:57 am
    From:        Carol Kaye
    To:          Spectropop!
    BTW, never heard of "Cake," not on that at all.
    Pictures of below will be on my website within 10 days.
    >>>>Women In Music Touchstone Awards, Feb. 1, 2000
    It was just the greatest, what can I tell you. Arrived 
    into NYC from LA in time to sit in with Les Paul who was 
    so funny, we traded quips back and forth and jammed (he 
    mostly watched while I played), and his bass player Paul 
    Nowinski was so gracious (he studied out of my books he 
    said) and even sat in on upright a little later, so I 
    grabbed Les's accompanyist's guitar (thanks Lou! You're so
    gracious too) and played some jazz, and Les looked over 
    saying "now just stop that," it was so funny! Hahaha, the 
    crowd just roared, Les was so gracious, so wonderful, such
    a great man! Was a lot of fun - John Polakis, Tom & Marge 
    Campbell, regular posters on my message board as well as 
    special thanks to Debby Hastings whose bass I used (she 
    barely had a chance to tune it up there, thanks Deb!) were
    there too.
    Then, the next day at the beautiful Marriott Marquise 
    Ballroom Luncheon, was a huge affair. Can't tell you....
    I've given some speeches, done 100s of large seminars but 
    this was really something. So many VIP women and men there
    from our business, especially from the NYC area, was 
    I have to mention a lot of names here, as I've just now 
    had time to really check out the book/program. There were 
    important congratulations to us all from the governor of 
    New York, and from the White House.
    I was on the stage first (for "Pioneer" in recorded music)
    on the list of the awardees which included: Monica Lynch,
    pres. of Tommy Boy Recods, Mary Jo Mennella senior VP of 
    Fox Music, the legendary Odetta, Barbara Skydel exec. VP 
    Premier Talent Agency, all the best of company, and a 
    posthumous award to the late Marie St. Louis, formerly 
    senior VP, Festival Productions.
    The order was slightly changed in the ceremonies, with 
    Odetta being last and sung a little. This was hosted by 
    the wonderful Pat Prescott, jazz DJ in NYC WRUR FM who 
    also appeared on Broadway, lovely woman.
    The presenters were:
    My presenters were Ron Carter and Will Lee -- you can't 
    get any better than that for royal bass players the world 
    Ron is grammy-award winning jazz bass legend playing on 
    such great lps and touring with Miles Davis, Dexter Gordon, 
    Horace Silver, etc. Ron is teaching at City College in 
    NYC, still playing momentous jazz concerts, wonderful to 
    renew old aquaintance with him (we cut an lp together for 
    a jazz artist, I played guitar, in the 70s at Fantasy 
    Records) -- he took the time out of his heavy teaching 
    schedule to make this event.
    And Will Lee, giant busy NYC studio bassist who took time 
    out of his recording session that day especially for this.
    Dave Letterman TV show bassist, his credits range from 
    Becker Bros., touring and recording w/Horace Silver, BJ 
    Thomas, Bette Midler, to having the #1 top jazz lp in 
    Japan. And what a singer! 
    He sang things like "I Get Around" etc. some of the hits I
    played on; he knocked everyone out with his exciting 
    speech as did Ron Carter with his beautiful speech too. 
    Talk about having to follow both of them! How do you do 
    I had to skirt around some of my studio stories, as the 
    crowd was heavy with VIP people, and George Wein 
    (wonderful man, Newport and New Orleans Jazz Festivals 
    producer) told someone who said he was laughing hard, that
    "bet she's got some stories she can't tell here."
    Other presenters were: George Wein for the late Maria St. 
    Louis, his great VP on all the productions for the Newport
    Jazz and New Orleans Jazz Festivals. This was especially 
    beautiful, as this lady did so much for the music business, 
    was well-loved. Robert Kraft, Shelly Shcultz, Ron 
    Selsens, Tom Silverman, Jimmie Goodson, and Odetta's 
    MTV had a big table there, as did other news medias (CBS, 
    etc.) and it was filmed. Anyway back to credits:
    The past winners of this award (which just grows leaps and
    bounds every year, this is the 4th year) include: Ellie 
    Greenwich, Ruth Brown, Helene Blue, Valerie Simpson, Betty
    Comden, Darlene Love. The pres. of the WIM (Women In Music)
    is: Gini Andrioli, VP is Joanne Geogio Nathan, others on 
    the Board are: 
    Claudia Koal, May Pang, Lisa Brigantino, Faith Fusillo, 
    Carolyn Horn, Pat Rod Jennings, Margo Lewis, the list goes
    on and on. Debby Hastings, the 14-year bass veteran for Bo 
    Diddley, personally went out of her way to design the 8-ft. 
    high credits board for me (Faith helped) - thanks Debby 
    & Faith -- (each one of us had a credit list board 
    there) was beautiful. 
    The highlight I tho't was both Ron's gracious warm great 
    speech and Will's thrilling 1/2-sung speech, what pipes! 
    Will mentioned (I didn't know this) that he learned to 
    sightread from all my books.
    The trophy was especially designed by Picasso protege 
    Ousmane Gueye who was also there.
    Lesley Gore and I had a great conversation, talking about 
    all the recording we did together at Gold Star (she lives 
    in NYC, looks the same!), catching up on a few years, a 
    great chat, and had a nice time speaking with others too, 
    inc. Max Weinberg, drummer on the Conan O'Brian TV show, 
    and especially loved speaking with May Pang, whose husband
    is bassist Tony Visconti, has his own record productiong 
    company in NY.
    I wish to thank the following for their marvelous ad 
    messages and personal support for me:
    EMP Music (Paul Allen's Experience Music museum project in
    Seattle) Connally & Co. - Thomastik Strings Debby Hastings 
    - no-one better my Message Board Gang - Randy Baran, John 
    Bulette, Tom & Marge Campbell, Gaye Colvin, Cyndy Elliott,
    Chuck Kirkpatrick, Rich Paton, John Polakas, Tim Schnautz, 
    Jeanne Willoughby (and in spirit, so many others).
    Another Message Board member: Lonnie and his wife Cecilia 
    Carter -- by the way, he also brought a little nicely-made
    token that said "Carol Kaye No. 1 call on Bass and Bongos,"
    it's an inside joke as my biggest hit credits with Ray 
    Charles mention me as a "bongo player"!
    Special THANKS to the regular Message Board people who 
    were there: Tom Campbell and his wife Marge, all the way 
    from Texas - he was the tour bassist for the Righteous 
    Bros. years ago btw, Cyndy Elliott from Wash. DC (she's a 
    good east coast bassist), Lonnie and Cecilia Carter from 
    Boston, and John Polakas (good bassist in NYC) from NY 
    proper. I owe you all so much, thanks! John put the large 
    ad together.
    And 2 who couldn't make it, I understand about work 
    scheduling: Nancy Sinatra who sent me the greatest message
    ! And another friend, Ben Valley, AirForce One designer...
    .sorry you weren't there, we missed you both!
    Aria Guitars (and Basses); Henry Mancini Institute; 
    Polytone Amplifiers; John Clayton; Steve Bailey ; Perry 
    Botkin, noted arranger/composer; David Axelrod, noted 
    arranger/composer (Elec. Prunes, etc.); Alf Clausen, 
    composer/arranger Simpsons TV show music; Bassics Magazine, 
    who I write a column for; Jewel Akens, such a beautiful 
    message, the "Birds & Bees" hit; Bob & Judi Bain (Johnny 
    Carson TV & LA studio guitarist); Baker Roric, noted 
    journalist; Joel Leach (noted educator); Chuck Berghofer; 
    Alison Prestwood; Alan Boyd & Irene Liberatore (Alan 
    produced VH1 on BB's); David Leaf and Eva Easton (David is
    BW's best friend, noted producer); Dennis & Dina Baxter, 
    American Guitars Documentary; Buddy Capers, singer with 
    the Busse band 45 years ago; Abbey Tape; Frank Mills, and 
    other gen'l ads from Warner Bros.; ASCAP; BMI; SESAC; RIAA; 
    FPI Festival Productions; Harry Fox Agency; Billboard, 
    Metropolitan Entertainment Group; Talent Consultants 
    International; Zildjian; Music Data; Toy Specialists NY; 
    Clippers; Helene Blue Musique; Unique; K2 Productions; 
    Ethel Gabriel; Almp; the list goes on and on.
    Monica Lynch gave a beautiful heartfelt speech, as did 
    Mary Jo Mennella and Barbara Skydel, and Odetta quoted a 
    beautiful piece from Nelson Mandella and sung some blues. 
    Thank-you everyone for a momentous occasion, I'll always 
    cherish this great award.
    Carol Kaye
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Fifth Dimension
    Received:    02/04/00 1:57 am
    From:        Ponak, David
    To:          Spectropop!
    "The Jimmy Webb Songbook" is indeed one of those Japanese 
    "grey area" boots that used to be legal before the 
    copyright laws were extended there. It contains only the 
    Webb compositions from the first two LP's. (Which only 
    leaves one song off "Magic Garden," the cover of "Ticket 
    To Ride.") It also has a few Johnny Rivers and Glen 
    Campbell songs. The sound quality is ok, but not as 
    sparkling as the 2 disc F-D comp on Arista.
    I was trying to do some reissue work for an indie label 
    about a year and a half ago, and I approached Arista about
    licensing the 2 LP's. I was told that they were holding 
    them back to push sales of the compilation, and when and 
    if they did decide to license them, the fee would be quite
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: This Diamond Ring-pre-Gary Lewis version
    Received:    02/04/00 1:57 am
    From:        Doc Rock
    To:          Spectropop!
    Claudia Cunningham wrote:
    Regarding "This Diamond Ring" - Maybe I'm going bananas 
    but I seem to clearly recall a pre-Gary Lewis version by a
    soul group...the song was slowed down a notch and had a 
    horn section! Can anyone help me or am I totally 
    Gary Lewis did it first. Bobby Vee coulda done it, but he 
    turned it down.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     "This Diamond Ring" - your bananas are well-placed
    Received:    02/04/00 1:57 am
    From:        DJ JimmyB 
    To:          Spectropop!
    In a message dated 2/2/0 1:08:05 PM, you wrote:
    >Regarding "This Diamond Ring" - Maybe I'm going bananas 
    >but I seem to clearly recall a pre-Gary Lewis version by a
    >soul group...
    Claudia, your bananas are well-placed. Sammy Ambrose 
    recorded the song in 1965 for Musicor Records (I believe).
    It became a minor staple (in other words it probably 
    received 2 spins) on the early 8T's Northern Soul circuit 
    and may or not be the original but was out at the same 
    time as Gary Lewis' version....
    Jimmy Botticelli/Hangin' my name in the Soul Hall of Fame
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re:Back-up singers
    Received:    02/04/00 1:57 am
    From:        Ron Buono 
    To:          Spectropop!
    With all this talk about session musicians, I began to 
    wonder about all those uncredited back-up singers on 
    countless hits (i.e. "The Cookies" backing up Ms. Gorme on
    "Blame it on the Bossa Nova," The Blossoms on "Johnny Angel," 
    The Marvellettes on "Pride & Joy," etc...). I recently 
    read that it was actually The Angels, and not The Tammys 
    who sang on Lou Christie's "Lightning Strikes"! That blew 
    my mind! (By the way, what happened to the Tammys?).
    Actually, what I wanted to know, was if anyone out there 
    knows the identities of those great gals who back up Bobby
    Rydell on so many of his hits ("Volare," "Wild One." 
    "Swingin' School," etc.). They add such a distinction to 
    those tunes. I can't even imagine those songs without them.
    And what about that other great team of girls who backed 
    up Del Shannon on songs such as "Little Town Flirt," "Too 
    Many Teardrops," and the rest of those album cuts? It's a 
    shame there wasn't more info on the liner notes in those 
    days. All those talented singers and musicians went 
    unheralded for years!
    I would appreciate any info on these and other singers. 
    Can anyone reccommend a good resource? I was once told 
    about a book titled "Behind the Hits" which apparently has
    a great deal of information regarding this subject, but I 
    haven't been able to obtain a copy. Any info would be 
    greatly appreciated. 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     The Present
    Received:    02/04/00 1:57 am
    From:        Michael Gessner 
    To:          Spectropop!
    Does anyone recall a 1967-8 group called The Present on 
    Philips. They had a nice pop song that was a hit in 
    central Florida caled "Many's the Slip Twixt the Cup and 
    the Lip (Baby the World Really Turns)." Only song I recall
    with a rock and roll harp.
    --------------------[ archived by Spectropop ]--------------------
    ADMIN NOTE: On behalf of everyone at Spectropop, heartfelt
    congratulations to Carol Kaye on the prestigious Women In 
    Music Touchstone Award. We are delighted to see this award 
    bestowed upon someone so deserving.

    Click here to go to The Spectropop Group

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