The Spectropop Group Archives
presented by Friends of Spectropop

[Prev by Date] [Next by Date] [Index] [Search]

Spectropop V#0402

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

    __________                                      __________
    __________     S  P  E  C  T  R  O  P  O  P     __________
    __________                                      __________
       Volume #0402                           April 4, 2000   
              Exemplifying the Best in Popular Music          
    Subject:     More Girl Group Moments.....?
    Received:    04/04/00 3:15 am
    From:        jake tassell
    To:          Spectropop!
    .....Well no, not really. Here are some Spectorial 
    Sonic-Overload Moments instead:-
    1) The Big Hurt - Susan Rafey.
    This has got to be one of the aurally biggest Wall Of 
    Sound type records I've ever heard. I can only guess that 
    this record was produced by Godzilla, arranged by King 
    Kong and engineered by Ben Grimm from The Fantastic Four. 
    You need to hear this to believe it.
    2) My Love Grows Deeper - Clydie King.
    You'd probably find there was more echo on this record 
    than if you simultaneously sent/'verbed/returned every 
    cathedral in Italy. Classic Motown-type slingback beat. A 
    truly exquisite record. If you thought the string sound on
    The Cake record was wild - wait until you hear this one!
    3) If My Car Could Only Talk To Me - Lou Christie.
    Beautiful clanging production on this one. Jack Nitszche's
    much-beloved Well Of Sound. Who were those backing 
    4) That's Not Love - Holly St. James.
    25 chromatic orgasms laid end-to-end for your 
    head-exploding pleasure. 'The Liebestod' from Richard 
    Wagners' 'Tristan Und Isolde' has got nothing on this.
    5) All The Obvious Spector Output, Although:-
    Lord If You're A Woman' by Darlene Love hardly gets a 
    mention around here these days. Phil Spector's Wall Of 
    Sound! With Synthesizers! Love It! Also The 60's 'Philles'
    Crystals Greatest Hits has an absolutely unbelievable mix 
    of 'Gee Whiz Look at His Eyes' which is not on the 'Phil 
    Spector International' one (released in the Seventies). In
    Echo terms, The Philles version takes you way, way off the 
    Anybody else on the list got any barnstorming production 
    Jake Tassell
    --------------------[ archived by Spectropop ]--------------------
    Subject:     defining moment
    Received:    04/04/00 3:15 am
    From:        Jack Madani
    To:          Spectropop!
    The defining moment of 60's girlgroup records? I thought 
    loooong and hard about this:
    Like Jamie LePage, I concur with just about every "moment"
    that's been mentioned so far; but for myself, I'd like to 
    recommend two far less well-known records. It's not that 
    these are necessarily the *greatest* records ever made, 
    although they are undeniably swell. But being less famous,
    it's easier for these two records to deliver with a fresher
    feel that essential sine qua non that for me defines the 
    greatest girlgroup records, namely: the longing, yearning,
    melancholy, even desperation that actually can get inside 
    me and make my stomach hurt when I listen to the best of 
    the best. My two nominations are The Carolines' "Can't 
    Stop Lovin' The Boy" (Here Come The Girls Vol.3) and 
    Beverly Warren's "Let Me Get Close To You" (Touch The Wall
    Of Sound).
    HCTG's liner notes have absolutely nothing to say about 
    the Carolines' number, beyond mentioning that the track 
    was co-written and produced by Larry Weiss, who also later
    wrote "Rhinestone Cowboy." But CSLTB is drenched in the 
    kind of "whatamigonnadowithyou" pathos that Lesley Gore 
    did so well. Plus it doesn't hurt that it's got a killer 
    Phil-Spector-by-way-of-David-Gates production style 
    (credits indicate it was arranged by Artie Butler). The 
    track dates from 1966.
    "Let Me Get Close To You" is a slice of pure Goffin/King 
    genius, with a heaven-sent bridge section that floats into
    another world atop a pedal-point bass, in the way that only
    Carole King could do time after time. I first heard the 
    song as a 1964 Skeeter Davis recording, arranged by Anita 
    Kerr and produced by Chet Atkins. But I think the Beverly 
    Warren recording (I don't know its origins) trumps the 
    Skeeter version because Beverly's got that 
    uptown-tough-girl-hiding-the-broken-heart thing in her 
    voice, plus it's got the full faux-spector treatment. And 
    at the end of that heavenly bridge, just after the final 
    line of the turnaround ("so come on baby, don't make me 
    regret it"--which btw is sung over a monster triplet 
    rhythm by the whole orchestra), only the strings and the 
    piano play while Beverly sings the first two lines of the 
    final verse, and then for a split second you're hanging in
    space waiting for the drums to kick in and the rest of the 
    orchestra to return and bring us back to tempo. Oh man.
    And longing/yearning/melancholy/desperation? It's all 
    here, boiled down to 2:45. Dig:
    I know I never felt this way before
    I can't remember ever wanting anyone more
    How can you turn me down when I need you the way that I do?
    Come on baby let me get close to you
    Aw you won't be sorry
    I'll do anything that you ask of me
    I'll be the kind of girl that you want me to be
    So won't you let me be that someone you tell your troubles to
    Come on baby let me get close to you
    How long I'll never know
    I waited to tell you that I love you so.
    Now my heart's finally said it
    so come on baby don'y make me regret it
    It's not as if I'm asking for the world
    All I want is just the chance to be your girl
    So won't you find it in your heart to make all my dreams come true
    Come on baby let me get close to you
    If I heard this song played in a restaurant in a Muzak 
    arrangement, I think I would silently weep (thanks to Dave
    Feldman for that touching anecdote).
    Can't Stop Lovin' The Boy.
    Let Me Get Close To You.
    They stand for that thing that is in all of the best girl 
    group records.
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540   
    "You knew the job was dangerous when you took it, Fred." 
     --Henry Cabot Henhouse III
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Four Seasons
    Received:    04/04/00 3:15 am
    From:        Kieron Tyler
    To:          Spectropop!
    Hello there,
    I know this has been touched on before, but...
    At the weekend I was listening to a selection of Four 
    Seasons compilations, which unfortunately didn't have much
    in the way of credits. I was struck by the consistency and 
    clarity of their sonic punch. Did they always use the same
    studio (in NYC I assume), and if so which one? I wondered 
    how much of the sound was due to the studio?
    Thanks in advance, Kieron
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Grrrrls again
    Received:    04/04/00 3:15 am
    From:        DJ JimmyB
    To:          Spectropop!
    Speaking of "Leader of the Pack", does anyone remember the
    1981 release by The Plasmatics? I can't remember the title,
    but the lyrics and melody were a direct Shangri-La's 
    tribute with some thrash/punk ingredients: "You pushed 
    that guy and he pushed you back. You knocked him into the 
    amplifier stack."...JB
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Brill Building
    Received:    04/04/00 3:15 am
    From:        claudia
    To:          Spectropop!
    J. H. Ket wrote:
    > 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
    That was probably me,I am still looking for the cd box set
    I just purchased a British cd called "On Broadway.Hit 
    Songs And Rarities From The Brill Building Era"
    It is very good,really unique. They have the Brill singers
    singing Brill songs,but not the ones we knew them for. 
    Raindrops singing,The kind of boy you can't forget. The 
    Cookies singing On Broadway..
    Little Eva Singing Up On The Roof!
    Essex singing Be My Baby.
    But Yes !! I am still looking for that box set.
    Name your price !!
    By the way..isn't the Phil Spector era great? 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Spector & Duane Eddy
    Received:    04/04/00 3:15 am
    From:        J. H. Ket
    To:          Spectropop!
    I remember an article mentioning Spector playing guitar on
    Crazy Caravan prt 1 & 2. I'm sorry but I don't remember the
    status of the article, it was about 25 years ago.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     the hairer!  the hairer!
    Received:    04/04/00 3:15 am
    From:        Jack Madani
    To:          Spectropop!
    >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 
    >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.
    This may have been the alltime spectropop post of alltimes
    . I swear I shed a tear while reading this.
    There's a Nickelodeon cartoon called Hey Arnold! that's 
    pretty funny yet sweetnatured, all about this bunch of 
    fourth graders, and in one episode that's about my 
    favoritest, Arnold and his pal Gerald get picked up by a 
    couple of sixth grade girls who are trying to make their 
    boyfriends jealous. Those two girls have the above-quoted 
    look and sound down pat. Down pat.
    Back in the day, my best friend Tom Fairchild's older 
    brother Andy got one of those early Chevy Camaros with the
    thick black stripe that wrapped around the front end. Then 
    he got into a band named "Lime Fire," for which he was the
    drummer. I'd go over to Tom's house to play with our Hot 
    Wheels, and I'd hear Andy practicing for what seemed like 
    hours, playing nonstop the opening drum riff from the 
    Turtle's "You Baby."
    Seems like it was also about the same time that I saw the 
    album cover of The Association's "Renaissance." From that 
    time forward, I've been a total sucker for a striped 
    pullover like Ted Bluechel, Jr. wears on the back cover.
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540   
    "You knew the job was dangerous when you took it, Fred." 
     --Henry Cabot Henhouse III
    --------------------[ archived by Spectropop ]--------------------

    Click here to go to The Spectropop Group

    Spectropop text contents © copyright Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.