http://www.spectropop.com __________________________________________________________ __________________________________________________________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0401 April 3, 2000 __________________________________________________________ soulful yearning that every teenager understands __________________________________________________________ Subject: BOUNCE: Non-member submission Received: 04/02/00 10:39 pm From: Spectropop: Archive | Bulletin Board To: Spectropop! ========= Start of forwarded message ========= [Main Spectropop Bulletin Board | Post Followup | FAQ ] A Giant Stands 5 Ft. 7 In. Posted by Alan Ackerman on Sat, 01 Apr 2000 12:15:07 ---------------------------------------------------------- In Time magazine, February 19, 1965, there was a short article about Phil Spector on the heels of his then-current big hit "You Lost That Lovin' Feelin'." The following is the text of that article: A Giant Stands 5 Ft. 7 In. You never close your eyes anymore when I kiss your lips. There's no tenderness like before in your fingertips... You've lost that lovin' feelin'. "Kids don't think like that," admits Phil Spector. "But when they hear those lyrics with our sound, they respond, baby, they respond." And how. For the past three weeks they have made Spector's You've Lost That Lovin' Feelin' the top-selling record in the U.S. Since founding Philles Records in 1962, Spector--as songwriter, arranger, producer and distributor--has turned out 24 catchy, tear-drenched rock 'n' roll songs that have sold a fantastic total of 20 million copies, making Phil a millionaire at 24. In the fickle pop market, most other record makers operate on a scatter-platter basis, indiscriminately grinding out some 100 new records each week on a hit-and-nearly-always-miss basis. Spector, by contrast, has shown an uncanny knack for catching adolescent ears with nearly every record he produces. Almost all of them celebrate post-pubescent passsion: Be My Baby, Then He Kissed Me, Wait Till My Bobby Gets Home. Spector has already made bigtime teen-market recording stars of a succession of singers and vocal groups such as the Ronettes, Bobb. B. Soxx and the Blue Jeans, Darlene Love, the Crystals. Karate, in Case. Spector Sound, as it's called in the industry, is marked by a throbbing, sledgehammer beat, intensified by multiplying the usual number of rhythm instruments and boosting the volume. Spectral orchestration, undulating with shimmering climaxes, is far more polished, varied and broadly rooted than the general run of rock 'n' roll. In Lovin' Feelin', Spector used two basses, three electric guitars, three pianos, a harpsichord, twelve violins, a ten-voice chorus and four brawny percussionists. His vocalists, a pair of 23- year-old white Californians who call themselves the Righteous Brothers, imitate the Negro gospel wail, a sound that Spector prizes as the "soulful yearning that every teenager understands." Spector, who is 5 ft. 7 in. and weights 131 lbs., personifies the bizarre, make believe world that he dominates. "I've always wanted to stay in the background," he insists, primping his scraggly, Prince Valiant locks. But his attire could hardly be called a camouflage. Standard costume: stiletto-pointed boots with three-inch Cuban heels, tight pants, cloth cap, Davy Crockett pullover. He ignores the rude hoots that greet his progress down the street, confides that "in case of real trouble I could literally kill a guy. I've studied karate for years." Teen Pan Alley. Born in The Bronx and raised in Los Angeles, Spector (his real name) played jazz guitar in nightclubs during his high school years. At 17, inspired by the inscription on his father's tombstone, he wrote his first song, To Know Him Is To Love Him. It sold 1,200,000 copies and has become an alltime teen classic. Phil marked time for two years working as a court stenotypist. Then, at 19, he moved to Manhattan and tried to crash "Teen Pan Alley" only to discover that "95% of the music business is heavily infiltrated by morons. If they hadn't been so greedy and vicious, I wouldn't have tried to control them." Fortunately, as Phil puts it, "I function well in a world of hostility." This month Phil Spector moved from a Manhattan penthouse to a rambling 21-room mansion in Beverly Hills, Calif., to be near his recording studio and Mother Bertha Productions, a subsidiary corporation that publishes sheet music. His mother Bertha is a bookkeeper there. The move was delayed by Phil's reluctance to leave his $600-a-month Manhattan psychoanalyst. Now, however, he figures that he can "keep my equilibrium" by calling the analyst long-distance anytime he needs instant therapy. Nonacceptance. His maladjustment seems to stem from a feeling of nonacceptance by the adult world. "I'm affecting millions of people's lives in some way," he complains, "but I'm not supposed to be human. We're the only ones communicating with the teenagers. They are so prone to anxiety and destruction, and they can't intellectualize their wounds. Breaking up with a boy friend is just as realistic to them as it is to a 30- year-old. Our music helps them to understand. If we're not what's happening today, then what is? Maybe I'm living in an America that doesn't exist?" It exists, all right. To make doubly sure, Entrepreneur Spector has co-founded a new company to make TV documentary films. The first production, starring Spector, will be called A Giant Stands 5 Ft. 7 In. --------------------[ archived by Spectropop ]-------------------- Subject: Brill Building Received: 04/02/00 8:19 pm From: J. H. Ket To: Spectropop! Hello, I remember some Spectropop subscribers were asking for cd's with Brill Building Pop. I just got a 2cd set with 57 tracks (31 prev. unreleased demos) sung by Carol. I don't remember this one is ever mentioned in the Spectropop list. The right girl, Carole King, Complete recordings 1958- 1966, Brill Tone Records 1995 ckw 222. Germany. The claim of mastertape quality on the cd's is true. Hans Ket --------------------[ archived by Spectropop ]-------------------- Subject: Duane Eddy and Phil Spector Received: 04/02/00 8:19 pm From: Frank Lipsius To: Spectropop! In researching the next Duane Eddy CD we're putting out on Jamie Records (Especially for You, his second LP from Jamie, originally done in 1959), I became aware of Phil Spector's being present at Duane Eddy sessions. Does anyone know exactly which sessions they were? There was apparently tension between Phil and Lee Hazlewood. Is there further information about that and how many sessions Phil actually attended? Thanks. --------------------[ archived by Spectropop ]-------------------- Subject: Favie gurlies Received: 04/02/00 8:19 pm From: Kingsley To: Spectropop! Well, all I can say is that my goose bumps concur with everyone else's so far. Yep, they're all my fave moment too! BUT, and a big but, along with Mary, Ronnie, LaLa, Rep et al, special mention should go to Judy Craig of The Chiffons who was right up there with the best. The Chiffons were foxy looking, sweet, sassy and sexy all at once. But Judy's voice does a lot for me. Check out "Sailor Boy", especially when she comes back in after the break.... And as a one-off great record, try The Inspirations "What Am I Gonna Do With You (Hey Baby)" on Black Pearl. Great song, great version. Look out very soon for Mick Patrick's Dynavoice compilation, and Volumes 5 & 6 of my own Ripples comps (Beach Bash & Folk Rock). There will be a Volume 7, another full on summer one, after which I think that we'll call it a day. Kingsley Abbott --------------------[ archived by Spectropop ]-------------------- Subject: Favorite Girl Group Moment Received Received: 04/02/00 8:18 pm From: Gary Spector To: Spectropop! Hello all. I wanted to mention my favorite song but it looks like Paul Urbahns already did. The song "I Can Hear Music" has been my favorite since I first heard it back in the early 80's. I was looking around a hall closet when I was young and came across a one-sided 45 (B-side was blank and unthreaded) and noticed that it was made of a very different material then regular 45's. It had only a blank white label on the A side. I had to find out what was on this record so I brought it to my room and placed it on my "patch-work" record player and that was when I heard "I Can Hear Music" for the first time. I had no clue as to who was singing on it but I guessed it was either the Crystals or the Ronettes, and I knew then and there that I had found my favorite song. Boy did I try to sing along with it many times. (I just listened to "I Can Hear Music" again and I can easily tell it was sung by the Ronettes but when I was younger I was not sure.) I asked my father about it and he explained that it was never released in the U.S. and that he gave the song to the Beach Boys. I told him how much I liked it and that he made a mistake by not releasing it. I finally heard a Beach Boys' version on the radio and went to a record store to find out about it. That had a lady sing the lead but the original will always be the best. I was fortunate to find someone through the internet that sold me an LP that was sold in Europe called "Phil Spector's Wall of Sound Volume 4" with the Ronettes singing it. "I Can Hear Music, Sweet Sweet Music". Gary P. Spector A lifetime Spector fan. --------------------[ archived by Spectropop ]-------------------- Subject: Favorite Girl Group Moment Received: 04/02/00 8:19 pm From: David Feldman To: Spectropop! "When he holds me tight Everything's right Crazy as it seems" It's not the lyrics that make this my favorite, but the beautiful melody and the passionate singing. The very beginning of the spoken intro of "He's Sure the Boy I Love" hooked me irrrevocably. But this chord progression creates a physiological response. Every time I hear this phrase on record, or live (I've heard Darlene Love sing it many times), I get goose bumps on my arms. Every time, just like folks who sneeze when they look up at the sun. No other song does it. I have a friend who cries every time she hears the Charlie Chaplin song, "Smile." I was in a restaurant with her once when a Muzak instrumental was playing so softly that I didn't even notice it. Tears started falling down her cheeks and I asked her why she was upset, and she said: "Can't you hear what's playing?" Dave Feldman http://www.imponderables.com --------------------[ archived by Spectropop ]-------------------- Subject: Jimmy Botticelli and the Hairdooz Received: 04/02/00 8:19 pm From: Jimmy Cresitelli To: Spectropop! I'm 44, and can easily recall the early 60s in my Brooklyn neighborhood, when girlz used to do each other's hair. They would all gather together Saturdays on Florence Burke's front stoop and tease, rat, comb, spray, and (it seemed sometimes) de-louse until the sun set. Gabbing, wearing pedal pushers and dirty white sneakers or open-toed walkers, they reminded me of the groups of chimpanzees who sit around all day grooming one another in those Jane Goodall documentaries. As well, there always seemed to be a pink plastic transistor radio in the vicinity, forever getting knocked over when accidentally kicked by a stray cha-cha heel. All day it played the Top 40, interspersed with great commercials: "The alone phone baby is the phone for you..." "Dippity Do..." "Brylcreem... a little dab'll do ya..." And the hair creations: pretty tame on my block compared to the Italian girls who ruled a few avenues away (my neighborhood was mostly Irish), but they were big dooz nonetheless. Gloria Jones always had a bow stuck on somewhere in front... Eileen Iacono (the lone Italian girl) refused to take off her blue speckled harlequin eyeglasses, thereby ruining the effect of whatever she was able to achieve on top of her head; she looked like a walking, talking yearbook photo... and Frannie Canty had what looked like a giant, frizzy chrysanthemum up there... Ahhh, yes... I remember those dooz well. And why? Who knows... it's a question I continue to ask myself. : ) --------------------[ archived by Spectropop ]-------------------- Subject: Re: Favorite girl group moment Received: 04/02/00 8:19 pm From: Ron Buono To: Spectropop! For me it has to be The Shangri-La's "Leader of the Pack". From the first spoken line: "Is that Jimmy's ring you're wearin'?.......Uh huh", to Mary Weiss' wailing, whiny vocals, not to mention the (arguably) greatest sound effects on vinyl, this one is an all-time anthem for me! A close runner-up has to be the "bum, bah, bum, BAH" drum break in "Be My Baby" (after Ronnie's "whoa, oh, oh, oh's"). One of Spector's defining moments! It still gets to me. I have to turn it way up on the radio whenever I hear it. If you havn't seen the British "Shivaree" TV Show, featuring The Ronettes' choreography at that point in the song (bouffants and slit-skirts intact), you havn't lived! --------------------[ archived by Spectropop ]-------------------- Subject: Favorite GG moments and Girlpop Live365 Received: 04/02/00 8:19 pm From: Jamie LePage To: Spectropop! In 399 I wrote: >The Raindrops' "The Kind of Boy You Can't Forget" when the >record stops dead in its tracks only to re-enter for the >fade with that super compressed drum/percussion track. In 400 BJ Spradlin wrote: >One of my all-time favorite moments is on the Raindrops >"The Kind of Boy You Cant Forget" when that great >Over-Compressed drum break that jumps out of the mix >around 1:47 Billy, not only do you concur with what possibly might be my very favorite moment on record, period, you concur for precisely the same reason. On top of that, the playlist on the girlpop radio show on Live365 could have been taken from my personal list of favorite girl group records ever. Talk about going to different schools together! Amazing! As for the rest of youse guys' fave gg moments, the only ones I can't agree with are the ones I haven't heard yet! Great, great moments in pop and I just gotta say it is delightfully surprising to read that many others are so passionate about parts of records that I too personally treasure. Great topic, and thanks to Jimmy C for starting it! Here's another big one for me...At the end of the bridge in Ronettes' Paradise, when the band stops and Ronnie repeats the line "Die for him". Her voice slightly dips just below the note on "him" when the drums lead back into the tag. So much tension and power, with great release once the chorus comes flooding back in. A great personal fave. Jamie --------------------[ archived by Spectropop ]-------------------- Subject: Girl Group Moments Received: 04/02/00 8:19 pm From: Jimmy Cresitelli To: Spectropop! Thanks, everyone, for all your cool responses to my query re your favorite girl-group moments... and, naturally enough, I've thought of a few others of mine: Mary (or Betty?) huskily breathing "Oh boy, oh boy..." on "What Is Love..." the closing bars of Dorothy Berry's storming "You're So Fine..." the Secrets trading party dresses for tight slit skirts on "Oh, Donnie..." the Orchids closing out "Ooh Chang-A-Lang" with some of the best harmony ever put onto wax... and the closing bars of "He Don't Love Me" by Shelley Fabares, with that rubbery guitar twanging away... ahhhh yes. Sing out, girls! --------------------[ archived by Spectropop ]-------------------- ADMIN NOTE: Messages of interest posted to the Spectropop Bulletin Board are routinely bounced to the list for subscriber convenience. End
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