http://www.spectropop.com __________________________________________________________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0405 April 8, 2000 __________________________________________________________ Free on request at your dealer's __________________________________________________________ Subject: the Spector special Received: 04/08/00 12:55 am From: Tilley Five Does anybody have info on the Spector special that was to be aired a few weeks back on TLC? --------------------[ archived by Spectropop ]-------------------- Subject: girl groups & more Received: 04/08/00 12:55 am From: sheila Oh, how amazing it was to read everyone's favorite girl group moments- and in such detail! It seems that my favorites change week by week- so today I'd say it's Bernadette Castro's "A Girl In Love Forgives." It's really the wailing saxophone that grabs at my heart (just like the sax solo in Andrea Carroll's "The Doolang")! Its just shocking to me that this song never made it. Of course I can say the same thing about many girl group records, but this one is up there will "Be My Baby," in my opinion. Killer melodies, a full-on sound, and just the right amount of sadness in Bernadette's voice. I'm just loving all the sad songs right now- Margaret Mandolph's "I wanna make you happy" is playing in the background. Ahh..........just divine. To add on to the High Fidelity discussion- I LOVED the book! It was probably the most fun I've ever had reading a book. I couldn't put it down, and I laughed out loud so many times (something I never do, unless it's written by Woody Allen). I think everyone on this list would love the book. I couldn't recommend it enough. When JimmyB said that the songs in the film are a bit too well known, keep in mind that this is a Hollywood film. The majority of the population probably doesn't even know these well known songs (you'd be shocked!). So if John Cusack and gang were discussing obscure Ellie Greenwich records, there would be no one at the box office (except us of course). The other day I was watching VH1's "The List," and they were debating about the best girl groups. I was all excited about this one, until one smart journalist mentioned The Ronettes, and all the other panelists were like "Who??? What's the Ronettes?" Needless to say, I was shocked. Spectropop can be deceiving- after being on this list for awhile I start to think that EVERYONE obviously knows who the Ronettes are, and they were HUGE! But most of the music-buying public has no clue, and that's the audience that Hollywood needs to catch in order to make money with "High Fidelity." By the way, it was TLC who won best girl group. Sad eh? Sheila B. --------------------[ archived by Spectropop ]-------------------- Subject: My Secret Love Received: 04/08/00 12:55 am From: Jimmy Crescitelli Hi there all... Many thanks again : ) It's been truly a pleasure walking the streets of 60's Bay Ridge with you guys. This posting title refers to a song I heard this week in the Illeana Douglas movie "Grace of My Heart." At one point, young songwriter Illeana (doing a loosely-based life-of-Carole-King) is hired to write a song for teen songstress "Kelly Porter," essayed so flippily and wittily by Bridget Fonda. Kelly also travels with a roommate named Marian. A recording date is soon scheduled. The production turns out to be a typically overwrought and nasal early 60's angst-ridden teen paean called "My Secret Love," complete with violins, echo, multi-tracking, and matching sweater sets. Listening, I thought, "this is SO Lesley Gore doing 'You Don't Own Me.' " Marian (Chanel suit, low heels, French modified beehive) is present at this session. After the song's spoken break--- ('You and I are like spies in the house of holy love," Kelly intones; "we are actors in a heartless play, I smile my smile, and play my part and forever hide my lonely heart, my secret love" -- Illeana stops the proceedings and calls out to Kelly that "it's okay to be dramatic as long as you're truthful." Fine... Kelly casts her eyes down, a new, firm resolve manifesting itself in her clenched fists. She takes the cue and from then on looks directly-yet-shyly into Marian's eyes as she lays down the next take, pointedly smoothing her skirts, the two of them ultimately trading smoldering looks. Priceless. At the film's end I read the end credits, and learn that the incandescenet Lesley Gore herself has helped pen "My Secret Love." Remarkable. The song for the film is actually sung by Miss Lily Banquette, she of a group called Combustible Edison, but Bridget does it glorious lip-synching justice. Catch it now. Eminently rentable! --------------------[ archived by Spectropop ]-------------------- Subject: On High Fidelity... Received: 04/08/00 12:55 am From: Keith D'Arcy Hi All, Something we should keep in mind in judging the musical content of High Fidelity (a rare occasion where I think the film rivals the book): our perspective on what qualifies as obscure is vastly different to the rest of the world-at-large. What I think the music supervisor from Disney must've been thinking is "Everybody knows Aretha Franklin, but not everybody knows Rock Steady. It's a brilliant song that's not as remembered as say... Respect (although it did chart as high as 9 on the pop charts)" Why fill the movie with songs that cannot be found outside collector's circles? The good thing about a film like High Fidelity (and Rushmore and The Iron Giant) is that it'll help some people get started on discovering stuff. The world-at-large cares very little about great songs if they have to go and find them for themselves. My favorite case-in-point is the Left Banke. A brilliant, deep band that is remembered for one song (and I think not their best one). I found High Fidelity to ring true in a lot of ways, both in what it says about relationships and what it says about the omnipresent notion that "it's not what you're like, it's what you like" that defines us and becomes a (misplaced) virtue. In the end I think that the main character realises something it's taken me just about as long to realise (I'm 30)... if you don't do anything with what you know and love, it's pointless. So talk about music, write about music, make music and whenever possible, sing. And go see the movie. Over, KD PS: Another case of a brilliant song hidden deep within a major artist's catalog, "Together We Stand" by Marvin Gaye (on the four CD set from last year). Unreleased at the time it was recorded, yet one of the best soul songs I've ever heard. --------------------[ archived by Spectropop ]-------------------- Subject: Overproductions Received: 04/08/00 12:55 am From: Jimmy Crescitelli Hmmm... La La Brooks trying to make vocal sense as the instrumental onslaught of "I Wonder" advances upon her like an orchestral Panzer division? Yeah... I realize her track was probably laid in after the musical tracks, but still... she had to listen in on mike, right? Think of what she might have felt when she was expected to begin... and so soon after doing "Little Boy." I remember first hearing "Little Boy" after finding it in a record store on Flatbush Avenue that my grandmother brought me to in Summer 1970. (I was 14.) Saw the 45 in a bin... "The Crystals..." "DJ Record, Not for Sale." Brought it home, played it on my mother's spindle-disk 45 RPM player... was totally blown away. I remember looking at the record itself and wondering, how did he get all that music in there??? Played it a LOT that summer, trying to explain to anyone and everyone just what magic it was. To no avail. Considering it was only 6 years past 1964, everything had already changed so much... what did people know from the Crystals? Jeez, people wearing freaking love beads by then! Ahhhh well... love beads were just another form of overproduction too... --------------------[ archived by Spectropop ]-------------------- Subject: Re: David Feldman/Overproductions Received: 04/08/00 12:55 am From: jake tassell Dear David You said:- Of course, even a brilliant artist can "overproduce," too. To my taste, for example, "River Deep" falls into that category, I can't agree there I'm afraid. However; A personal aesthetic is a personal aesthetic, so there's no argument to be had here. My feeling about the matter is that a certain 'over-vividness' is the hallmark of all great pop music (if this was written on every record company office wall I'm damn sure I'd spend a lot more money on new music). I believe that pops' essential function is to be a pure font of life-giving and spirit-affirming forces in a mechanised, pressurised (and now computerised) world, and that it is in pop's nature to be larger than life. I also believe that Messrs Spector and Wilson were two people that understood this more than most and the burden of this knowledge is reflected in their careers and some of the things we know about their lives. 'River Deep Mountain High' is the moment in pop history when the artist understands his function and his mission fully, and without fear of personal risk exercises his capability to turn that font into a mighty torrent. There's no case to answer over wantonness or musical vandalism here (Albert Goldman - eat my sock) and I've waxed on about this before on this list :- One of the many remarkable things about 'River Deep - Mountain High' is the discipline involved in every aspect of the arrangement, production and performance, and the sublime and delicate balancing of incredibly huge (and positive) forces. The same could not necessarily be said about The Susan Rafey Record, but with a thrill factor as high as that; - who cares if it's got a couple of ragged edges? Great to see Joannie Sommers getting a mention on Spectropop - 'Don't Pity Me' being another one of my fav 2 minute blue touch-paper epics ('Johnny Get Angry' is fun too, but doesn't have you swinging from the lampshade quite like the former). Jake Tassell --------------------[ archived by Spectropop ]-------------------- Subject: Re: Johnny Mathis Received: 04/08/00 12:55 am From: Horatio Hornblower David Feldman wrote: >It includes one beautiful anti-abortion polemic >("A Child Is Born") Don't forget Mathis' follow-up song, "A Doctor Is Shot" :-) --------------------[ archived by Spectropop ]-------------------- Subject: RE: Spectropop V#0404 Received: 04/08/00 12:55 am From: John Love Posted by Jim Gardner The song, "Don't It Make You Feel Good," is a snappy pop thing with traditional 60's combo instrumentation: guitar, combo organ, rhythm section. The title line is the hook and there's some nice, two-part harmony on it. Jim, from your description this sound like the British group the Overlanders (three boys from memory), who made it to number 1 in the UK with their version of the Beatles' Michelle in January 1966, but never made the charts again. I don't remember now whether Don't It Make You Feel Good was before or after Michelle. I've got a very fond memory of it although I've not heard it since then. I've never seen it appear in any compilation. It was released on Pye in the UK. --------------------[ archived by Spectropop ]-------------------- Subject: Don't It Make You Feel Good? Received: 04/08/00 12:55 am From: Lindsay Martin Jim Gardner asked about "Don't It Make You Feel Good" by the "Over..." This would be the British, Tony Hatch-produced track by The Overlanders, from 1964. It was written by Hank B. Marvin & Bruce Welch, well known in Britain & some of the "colonies" as members of instrumental group the Shadows. The Overlanders' main claim to fame was a successful cover of the Beatles' "Michelle" in 1966. Because it was a Top 10 hit in Australia (and probably nowhere else), "Don't It Make You Feel Good" is included on "Hard To Get Hits Vol. 1", an excellent Australian Columbia CD compiled by rock journalist Glenn A. Baker. Lindsay --------------------[ archived by Spectropop ]-------------------- End
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