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Spectropop V#0397

  • From: The Spectropop Group
  • Date: 03/24/00

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       Volume #0397                          March 24, 2000   
                          Living Stereo                       
    Subject:     Beach Boys ABC movie
    Received:    03/24/00 5:03 am
    From:        Frank Youngwerth
    To:          Spectropop!
    On the second night, during the first scene at Brian and 
    Marilyn's house, just after Van Dyke Parks has wowed Brian
    with a little Mozart at the piano, one of the throng of 
    house guests walks by the camera, flashing the cover of 
    Ray Conniff's 'S Marvelous LP. Is there some kind of 
    in-joke significance I'm missing here? The producers seem 
    to be pretty careful about record props (e.g. Lawrence 
    Welk's 78 is on Dot), so there must be some reason the 
    Conniff album would appear at Brian's hipster party. 
    Frank Youngwerth   
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Beach Boys convention in London
    Received:    03/24/00 5:03 am
    From:        Robin Wills
    To:          Spectropop!
    Hi there
    There's a Beach Boys convention happening this Sunday 
    (26th) in the London area. It's happening at the Oakfield 
    Tavern, 166 St. James Road, Croydon. I'm not sure of the 
    time, but I will be showing up early in the afternoon.
    All the best
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Isn't She Great?
    Received:    03/24/00 5:03 am
    From:        James F.  Cassidy
    To:          Spectropop!
    Tobias asked:
    >What can you people tell me about a new movie called
    >"Isn't She Great"?
    This is the new biopic of trash novelist Jacqueline 
    Suzanne starring Bette Midler. I haven't seen the movie or
    heard the music.
    Jim Cassidy
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Isn't She Great?-Doesn't It Stink?
    Received:    03/24/00 5:03 am
    From:        Ponak, David
    To:          Spectropop!
    I'm one of the biggest Bacharach fans out there, I love 
    the guy, however, it pains me to tell you that the "Isn't 
    She Great" soundtrack is just unlistenable. This isn't the
    Bacharach of "Painted From Memory," it's sounds more like 
    the work of the man who wrote "On My Own" and "That's What
    Friends Are For." Wait, I'm giving it too much credit. At 
    least those songs had hooks. DX7 keyboard sounds abound. 
    The whole thing is very 80's MOR. It makes me wonder if 
    some of the great Bacharachisms of "Painted From Memory" 
    may have been created (or at least prompted) by Elvis 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re:  Sunset Sound / "Expecting To Fly"
    Received:    03/24/00 5:03 am
    From:        Jamie LePage
    To:          Spectropop!
    Michael wrote:
    > Your "credits" post on Buffalo Springfield lends credence 
    > to my belief that Buffalo Springfield recorded "Expecting 
    > To Fly" at Sunset Sound. Bruce Botnick was the engineer 
    > not only on "Expecting To Fly" but also engineered all 6 
    > Doors albums-the majority of them at Sunset Sound. The 
    > production of "Expecting To Fly" is very 
    > elaborate-especially listening to in stereo. I have a 
    > feeling that the song was cut on eight tracks. 
    I find this thread so fascinating, at the risk of
    overkill I would like to comment once again on Michael's
    Bruce Botnick's name on the Expecting to Fly credits do
    indicate that the side was not cut at Gold Star. To the
    best of my knowledge, Botnick did not regularly work at
    Gold Star. It is important to note that Dave Gold custom
    built Gold Star's board and (at least to a certain extent)
    an engineer would have to be familiar with Gold's
    equipment to be able to comfortably work there.
    Consequently, the studio's in-house engineers are the
    names we most often associate with Gold Star recordings.
    Does anyone know of Botnick working at Gold Star? Steve
    Kurutz writes at AMG: "After landing a gig at L.A.'s
    Sunset Sound in 1963, Botnick found himself engineering
    at a time when the West Coast was exploding onto the
    national consciousness." Can anyone confirm whether or
    not Botnick was a staff producer for Elektra in the late
    Michael again:
    > The first Doors was recorded around the early fall of
    > 1966, only on four tracks. When...the Doors returned to
    > Sunset Sound to do "Strange Days"...the studio was
    > updated to eight tracks...If "Expecting To Fly" was
    > recorded at Gold Star with its cramped three or four
    > tracks, there is no way to creat a powerful stereo
    > listening experience with so few tracks.
    All of this makes perfect sense. Does anyone know
    precisely when Gold Star updated their recording gear
    from three to four track? I could swear that Stan Ross
    said the Spector Xmas and Ronettes albums were 4 track
    masters. Stereo mixes of these recordings typically have
    rhythm track panned left, lead and BG vocals dead center,
    and strings or overdubbed instruments panned right. This
    indicates four track recording, unless lead and BG vocals
    were on the same track (unlikely). Also, on Spector's
    "session" tapes we can hear Spector "bouncing" BG vocal
    overdubs when both final track and lead vocal are already
    finished. This indicates bouncing from track 3 to 4 and
    vice versa. I don't see how this could have been
    accomplished using only three tracks, unless they were
    bouncing rhythm tracks and lead vocals between two
    recorders, but somehow this seems doubtful for 1964/5
    recordings. I do know, however, that this technique was
    employed on the 1958 Teddy Bears recordings.
    On this same topic, can anyone shed light as to exactly
    when Gold Star updated further to 8, 16 and 24? Was A&M a
    24 track facility when Spector cut the Checkmates?
    Finally, does anyone know if the I&TT album on A&M was
    mixed in stereo at Gold Star or A&M, and how many tracks
    were used for these recordings?
    Thanks for your comments, Michael. The more we learn how
    the studios developed during the mid-to-late 60s, the
    more we can understand the evolution of record production
    during this pivotal time.
    n.p. Billy Spradlin's Girlpop @ - Great!!!!!
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Girlpop Radio !
    Received:    03/24/00 5:03 am
    From:        Jimmy Cresitelli
    To:          Spectropop!
    Through a series of whatever-I-dids-with-the-computer, I 
    am able to tune into Mr. Spradlin's Girlpop... right now, 
    Darlene is churning up the world with "A Fine, Fine Boy" 
    and... well, what more can possibly be said? "This must be
    the place..."
    : )
    --------------------[ archived by Spectropop ]--------------------

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