http://www.spectropop.com __________________________________________________________ __________________________________________________________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0387 February 16, 2000 __________________________________________________________ Project 3 Records have achieved Total Sound! Subject: Re: Love update Received: 02/16/00 3:56 am From: Andrew Sandoval To: Spectropop! Gethsemene, the rumoured 4th Love album, does not exist. However its title is another of Arthur's play on the words for "get some money" (I'm sure he'd be happy to sell you the statue of liberty too). Ken Forsi died of brain cancer four or five years ago - he was living in Florida at the time. Bryan Maclean passed away at a resteraunt in Los Angeles on Christmas Day a year ago. Arthur is still in prision. Michael Stuart does his best to stay out of harms way. Much like the lyric to several Love songs, Snoopy has gone down to Mexico. Johnny Echols lives in Arizona. All the members were interviewed for a special edition of the Forever Changes album due in November from Rhino. I'm saving the revelations for the booklet. andrew sandoval P.S. Da Capo came out prior to Forever Changes, therefore it is not and cannot be the follow up album (though it's a nice thought). Arthur did record a fourth album (and several others) with a different line up of Love in 1968: Four Sail. It is really quite good (though not currently available on CD - sorry). --------------------[ archived by Spectropop ]-------------------- Subject: Re: Ron Hicklin, and Love Received: 02/16/00 3:56 am From: Hillary Rodham Hussein To: Spectropop! Lindsay Martin quoted: >As for Gary's lead vocals. .. well, that's not just >Gary's voice you hear on the record. To help fill out what >he felt to be Gary's vocal inadequacies, Snuff brought in a >session singer, too. His name was Ron Hicklin. If you listen to the interview with Gary Zekley by Domenic Priore on the Sundazed reissue of "The Yellow Balloon", Zekley talks about Hicklin too. If he wasn't a member of YB, he sang on their recordings atleast. Dave Mirich wrote re follow-up to "Forever Changes": >Probably a myth, or the bootleggers would've gotten ahold >of it by now. Apparently, the last ever Love single with their "classic" line-up, Your Mind And I Belong Together b/w Laughing Stock, is from the FC album follow-up sessions... >How much of the arrangement did A. Lee do on FC? Was >there a G. Martin arranging the ornate, delicate, >intricate, majestic music on FC? Arthur Lee has claimed to have had nothing, some, and everything to do with the arrangements in different interviews! It seems like Neil Young arranged The Daily Planet mostly by himself, and that while Lee might've contributed to the rest by scat singing (which The Beatles also did for G. Martin), the actual hard work of arranging the strings and brass was more than likely entirely by David Angel. DJ Jimmy wrote: >Forsi went into Forensic Pathology following an >television addiction to "Quincy" during the 8T's. Interesting... >Echols is making sheckles selling the answer to >Love's "Seven And Seven Is" via his newly-created >website. And the URL is? >Snoopy is attending Charles Schultz's funeral and is >unavailable for comment. Well, *duh* :) Tobias --------------------[ archived by Spectropop ]-------------------- Subject: Re: Association, Love, 101 Strings Received: 02/16/00 3:56 am From: Stewart Mason To: Spectropop! I notice that "The Association" is playing at one of my local Indian casinos this weekend, and something smells wrong about it. Does anyone have any information about current touring lineups, including if anyone in the real band is involved? I've been suspecting for a while that this casino (the Camel Rock, near Santa Fe) either knowingly or unwittingly books a lot of ripoffs. More importantly, is there any kind of web resource that lists semi- or totally-fraudulent bands on the oldies circuit? If not, there should be. One of my day jobs involves writing about the local live music scene in New Mexico and if this place is booking ripoffs, I have no choice but to write about it whenever it happens. David Mirich wrote: >Probably a myth, or the bootleggers would've gotten ahold >of it by now. I think A. Lee received 8 years in the pen. >Started serving time about 3? years ago, so with good time >.... another couple of years. I don't know about the long >lost follow up to Forever Changes, but I felt that DaCapo >(1st side) was a worthy follow up to FC. I know I won't be the only person to mention this, but DA CAPO actually preceded FOREVER CHANGES. It was their second album and FC was #3. And am I the only one who also likes side two of DA CAPO, the 19-minute, Coltrane-influenced "Revelation"? >How much of the arrangement did A. Lee do on FC? Was there >a G. Martin arranging the ornate, delicate, intricate, >majestic music on FC? I've always assumed Arthur Lee and Bryan MacLean did the arrangements on FOREVER CHANGES, but now that I think about it, that may be entirely wrong. Billy Spradlin wrote: >>*101 Strings: The Romance of Magic Island >> >>Exotica-listees probably rave about The 101 Strings...this >>LP is actually brilliant and "a program of lush >>instrumentals that set the mood of a tropical paradise - >>played in the sound of magnificence". It's pure >>entertainment music, but what is wrong with that? > >My fave 101 Strings is a late 50's/early 60's LP called >"Back Beat Symphony" where they took classical melodies and >did them "Rock & Roll" Style. It was an early "Hooked On >Classics" attempt and It is Sooo bad...! I see that and raise you my one 101 Strings album: 101 STRINGS PLAY THE SONGS OF HANK WILLIAMS. Yes, really. >What makes it horrible is that it sounded like the >producers dubbed in a small rock band behind 101 Strings >playing 50's R&R style (ala the Platters hits...Triplets >on piano) and to make matters worse they added a hideous >(white sounding) chorus singing "Doo-Wop" styled background >vocals! And this did this to every song on the album. It is >one of the weirdest sounding LP's I have in my collection! I've read that many of the 101 Strings records are based on the same orchestral recordings, with different instruments dubbed on for the different versions, depending on the theme: steel guitar and bird noises for the "Hawaiian" album, etc. A particular Holy Grail of mine is a series of albums I've heard of under a different name -- which I unfortunately can't remember, but I bet someone here knows -- which came out in the late 60s and early 70s. They were psychedelic mood music created by running old 101 Strings tapes through an Echoplex! If anyone knows where I can get my hands on one of these, please let me know! Stewart ****************************FLAMINGO RECORDS************************ Stewart Allensworth Mason "Eight high-octane musicians who Box 40172 met and jammed in the great peanut Albuquerque NM 87196 butter octopus that is Los www.rt66.com/~flamingo Angeles..." **********************HAPPY MUSIC FOR NICE PEOPLE******************* --------------------[ archived by Spectropop ]-------------------- Subject: A KOOKIE LITTLE PARADISE Received: 02/16/00 3:56 am From: Alan and Pat Warner To: Spectropop! Re: Jim Fisher's question about what he thinks may have been a Connie Stevens record... A KOOKIE LITTLE PARADISE was written by Lee Pockriss and Bob Hilliard and recorded by Jo-Ann Campbell on ABC-Paramount in 1960. The song was covered in Britain by the late Frankie Vaughan. Rock on! Alan Warner --------------------[ archived by Spectropop ]-------------------- Subject: Kooky Little Paradise Received: 02/16/00 3:56 am From: WASE RADIO To: Spectropop! To Jim: There were two versions of "Kooky Little Paradise" both in 1960. One version was by Jo Ann Campbell released on ABC Paramount 10134. It peaked at #61 that September. The other charted version is by the Tree Swingers on Guyden 2036. It peaked at #73 that September in 1960. Good luck in finding either one. Michael G. Marvin WASE radio --------------------[ archived by Spectropop ]-------------------- Subject: Emmit Rhodes actually Received: 02/16/00 3:55 am From: DJ JimmyB To: Spectropop! In a message dated 2/14/0 1:16:04 PM, you wrote: >If anyone can tell me...where I can get... >anything by Emmit Rhodes, it would be much appreciated Mr Nit Pick backatcha...Wasn't Emmit Rhodes actually in Merry Go Round? --------------------[ archived by Spectropop ]-------------------- Subject: behind the hits Received: 02/16/00 3:55 am From: Frank Youngwerth To: Spectropop! << "...the Playboys were almost irrelevant--they weren't allowed to play their instruments and their voices were used sparingly.>> Something of a contrast with Gary Lewis' own recollections in the notes to the excellent CD compilation from the EMI Legendary Masters series, which came out in 1990: "The original Playboys that I put together in 1964 were the guys that did all the tracks to the first seven hits. We played on all the basic tracks but then the overdubbing was done by studio people. Actually they let the Playboys feel like they were really part of it, but in the final mixdown, they kind of buried them." Seems to me that Garrett would've had the studio pros put down the basic tracks. If the drummer's time is even a little bit off, the whole track suffers no matter how much you overdub (which is why producers in general so eagerly embraced drum machines when working with "real" bands in the early 80s). And look who Gary claims was in there keeping time: "I played drums on everything--all the albums and all the singles up until 'She's Just My Style'...I really didn't have drum chops for a shuffle. That's when we brought in Jim Keltner, who became part of the Playboys and I went up front. Hal Blaine was also there from the beginning. He played timpani on 'This Diamond Ring'..." So, as Gary remembers it, HE was the principal drummer on his records, with Hal the auxiliary percussionist, until Keltner joined the band. I kinda doubt it. The notes also state "Gary Lewis did all the vocal parts on 'This Diamond Ring,'" and that Hicklin came in with the Eligibles starting with the next single. Whether or not Hicklin is on "This Diamond Ring," I think it's Gary's voice that makes so many of his records so likable. Hicklin is supposed to be singing the goofy falsetto on "Time Stands Still," and that voice couldn't be mistaken for Gary's. Another contradiciton with the above Behind the Hits quote: Gary claims the other Playboys *never* sang on any of "their" records. Frank Youngwerth --------------------[ archived by Spectropop ]-------------------- Subject: Them Critters Received: 02/16/00 3:55 am From: Jamie LePage To: Spectropop! Reading all the replies on Critters in the last ish was interesting. I guess it isn't surprising that their recordings are well known and appreciated by listers here. I have three or four Critters albums but they are in storage and I haven't heard them for far too long. I remember, though, that the band switched to Project Three after the Kapp stuff, and somehow I remember thinking the Project Three recordings were less overtly commercial than their prior output. Project Three of course also brought the world the Free Design. Any comments on the Critters Project Three records, or how they ended up on Enoch Light's label? Anything about Enoch Light or the EZ/mood label's connection to soft pop? Also, isn't there a Critters tie-in with Bonner/Gordon and Anders/Poncia? Possibly even with latter-day Lovin' Spoonful? Jamie --------------------[ archived by Spectropop ]-------------------- Subject: Carol Kaye and Frank Zappa Received: 02/16/00 3:55 am From: Glenn Sadin To: Spectropop! I was looking over the abundant liner notes on the original vinyl version of Frank Zappa & the Mothers of Invention's 1st album, "Freak Out!," and I noticed with interested that Carol Kaye is listed in the "Mothers Auxillery." Carol, what do you remember about working with FZ on this album? Do you remember what tracks you played on? (I realize that FZ has little to do the usual Spectropop topics, but I couldn't resist asking about what is one of my all-time favorite albums.) Glenn Glenn Sadin Read about JAPANESE POP MUSIC from the 1950s thru the 1990s: http://home.earthlink.net/~glenn_mariko/nihon.htm --------------------[ archived by Spectropop ]-------------------- Subject: Whew.... Received: 02/16/00 3:55 am From: Carol Kaye To: Spectropop! Talk about exhaustion from the NYC trip to get my Women In Music award (Will Lee and Ron Carter presenting, they were great - Lesley Gore there, we had fun chatting as were Max Weinberg, others like George Wein who died laughing when I was describing some things that went on in the studios -- he said on the side "imagine the stories she can't tell here" -- yes, it was pretty formal -- people say "what is the 'dirt'?" This is usually from people who look at too much TV. Well, there is NO DIRT, we were a business, not a house of ill-repute, but there were some great funny one-liners during the very boring times (most often than not), inside jokes that only the musicians got....like the time when Glen Campbell used to get up and sing funky cowboy songs etc.), then 4 days of the NAMM Trade Show, playing, signing autographs, taking pictures, etc. then a jazz concert...as busy at 65 as I was at 35. Lindsay Martin sez: >>>>then Snuff added Gary's voice, overdubbed him a second time, added some of the Playboys, and then added more of Hicklin<<<< I worked probably 1,000s of dates with the wonderful Ron Hicklin, and the rest of the fine studio background singers, so I don't doubt this is true. It was customary for a lot of studio singers to sing parts like that. BTW, see a picture of Snuffy and myself on my website; I worked for Snuffy a lot, good people, very sharp. >>>>On the subject of session musicians: looking through a list of people for whom Carol played, I see the Ventures. One of the most famous guitar groups ever and even they used a session guitarist? I can take only so much disillusionment!<<< Yes, it must be hard to know that the same studio musicians who literally created and played on so many of the 60s hit recordings for the other groups, joined the Ventures on some of their recordings too -- I know women who idolized all the cute guys who formed the groups we did the tracks for are in tears at hearing the news but they soon get over it ...and btw, at the Aria booth at NAMM (Nat'l Assoc. Of Music Merchants) -- I play the Aria bass -- where I mainly played, the Ventures came and did a couple of jams of their own. Bob Bogle their bassist was so nice, graciously said "you played so great on bass on our hits" etc., etc.,-- he forgot that Ray Pohlman also played some bass on their things too. The Ventures could play their own music, they just sometimes added studio musicians with them to play on the recordings (Tommy Tedesco on guitar). Also stopping by the Aria booth were Bill Medley, wonderful to see him again, hugging, etc., his daughter is a bassist too. And of course the regular fine bassists: Jeff Berlin, Bunny Brunel, Alain Caron, others stopped by. Even Joe Osborn stopped by for a hug, it was wearing at the LA Convention Center, thank God it's back at Anaheim next year. Where I played jazz at the Polytone booth, Dick Dale stopped by and gave the crowd a thrill, he was so funny, I played one of his licks on the bass duga-duga-duga-duga etc. he laughed and said "this lady played on all my hits" well....don't think it was "all" but he was being gracious, was great to see him again (told him I hear him everywhere now, we laughed about how the come-back seems to be hitting big, was proud of him), good guy he is. Played some fine jazz with Karl Ratzer from Austria, wonderful Joe Pass-style guitarist, we played two guitars at the Thomastik booth, played guitar with the wonderful Dave Stone too - people are surprised that I'm a jazz guitarist, but our group all knows it as I spent about 5 years recording first on guitar after playing in the LA jazz clubs for years in the 50s -- did regular guitar, 12- string, acoustics, electrics, mandolin, banjo, Dano, etc. but liked to play bass on the rock instead of guitar, when a bassist didn't show one day at Capitol. Listen to "Natural Man" and you'll hear Earl Palmer on drums, myself on bass, that's the kind of music I played and liked to play then, altho' a lot of it was the rock stuff....which eventually caused me to turn down ALL studio work in late 1969 for about 7 months, then wouldn't work for any of the rock groups anymore, only people like Ray Charles, Mancini, etc. and the beautiful music of the movies and TV shows in the 70s. Got so tired of those rock groups even on bass that time. Three cheers for the Women In Music people, they're wonderful and even had a great time sitting in playing with Les Paul the night before, he was great, suffering from Arthritis, but still has a quick wit! Catch our "Thumbs Up", now shipped out to all the jazz stations across the USA, some really playing it a lot, regards, Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Subject: search for mike alway?? Received: 02/16/00 3:55 am From: Rough Trade Shop To: Spectropop! hi, sorry ...deleted the post oops! or i'd write direct.... mike alway comes in our shop regularly so if anyone wants to send a message i can make sure it gets passed on....... thansk x deila x www.roughtrade.com if you'd like to be sent regular new releases emails let me know ph-0171 792 3490 fax 0171 221 1146 at....130 talbot road , london , wiiija, u.k. --------------------[ archived by Spectropop ]-------------------- End
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