http://www.spectropop.com __________________________________________________________ __________________________________________________________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ 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 uninteresting. 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. "ALL SELECTIONS WERE PRODUCED WITH TENDER LOVING CARE BY CHARLES GREENE AND BRIAN STONE FOR YORK-PALA RECORDS INC. AND WERE ARRANGED AS A LABOR OF LOVE BY HAROLD BATTISTE." 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 studio. The phrase "labor of love" can be translated "dedicated to the sound of Phil Spector." "THE RECORDINGS WERE ENGINEERED BY DOC SIEGEL, JIM HILTON AND STAN ROSS AND WERE RECORDED LIVE AT GOLD STAR." 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. SIDE ONE BABY THAT'S ME (2:40) (JACK NITZSCHE/JACKIE DESHANNON) WORLD OF DREAMS (2:15) (MALCOLM REBENNACK) YOU CAN HAVE HIM (2:50) (WILLIAM S. COOK) 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) SIDE TWO 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 atmosphere. 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. Cheers, Alan Ackerman ========== End of forwarded message ========== --------------------[ archived by Spectropop ]-------------------- Subject: The Cake Received: 02/04/00 1:57 am From: Joseph Scott To: Spectropop! Hi, The Cake were Barbara Morillo, Eleanor Barooshian, and Jeanette Jacobs. Jacobs sang backup on some Hendrix I believe (Electric Ladyland?). Best, 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 momentous. 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 over! 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 that? 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 sister. 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)...it 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 http://www.carolkaye.com/ --------------------[ 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 expensive. --------------------[ 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 dillusional? Gary Lewis did it first. Bobby Vee coulda done it, but he turned it down. Doc --------------------[ 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! Hello- 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. Thanks, Ron --------------------[ 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. Thanks, Mike --------------------[ 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. End
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