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Spectropop V#0406

  • From: The Spectropop Group
  • Date: 04/10/00

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       Volume #0406                          April 10, 2000   
         The Exciting NEW Way to Enjoy the Music You Want
    Subject:     Aussie Websites for Good CD Comps
    Received:    04/10/00 6:33 am
    From:        John Frank
    To:          Spectropop!
    Mention by Lindsay Martin of The Overlanders' "Don't It 
    Make You Feel Good", and where to get it, reminded me that
    this might be a good place to ask if anyone knows of good 
    websites to try to find Little Pattie's "He's My 
    Blond-Headed Real Gone Wompie Stompie Surfer Boy". What 
    comps is it on? Where can I purchase one of them? I've 
    been looking for it since I first heard of it a couple 
    years ago.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Combusted
    Received:    04/08/00 9:48 am
    From:        DJ JimmyB
    To:          Spectropop!
    In a message dated 4/7/0 11:25:55 AM, you wrote:
    >The song for the film is actually sung by Miss
    >Lily Banquette, she of a group called Combustible Edison, 
    Sadly defunkt, but as Combustible Edison leader Thee 
    Millionaire said, "We did our job."
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Ellie Gee -- Spector Connection??
    Received:    04/10/00 6:33 am
    From:        John Frank
    To:          Spectropop!
    I'm trying to find out the answer to something that came 
    up on the Usenet newsgroup I'm on. One of the regulars 
    there got a copy of a tape from a friend called "Spector 
    In The Studio". At the end of the tape, seemingly tacked 
    on, was a song called "Red Corvette". I've identified it 
    as the 1961 Ellie Gee (Greenwich) record. What I'd like to
    know is if Phil had anything to do with the production of 
    it, or if it's on that tape simply because of the 
    Spector-Greenwich connection of a couple years later.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Free Design related 
    Received:    04/08/00 9:48 am
    From:        Nat Kone
    To:          Spectropop!
    Don't know the details but...
    A never released solo record by Chris Dedrick, from around
    1973 (?) is going to be released. I believe it will be a 
    local label here in Toronto where Mr.Dedrick currently 
    resides. This is about as close to a scoop as I could ever
    get with this group so I thought I'd go for it even though 
    it's just a rumour I heard from a friend of the guy who 
    might be putting out the record.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     The List: Last for Truth
    Received:    04/08/00 9:48 am
    From:        DJ JimmyB
    To:          Spectropop!
    In a message dated 4/7/0 11:25:55 AM, you wrote:
    >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?"
    The problem with "The List" is this: almost all the 
    "guests" on the "panel" are self-serving show biz cynics 
    trying to grab a little extra exposure. They come what i 
    call the "Hey Dude, I'm An Off The Wall Rock 'N' Roll 
    Animal" culture where brazen humorless vulgar witless 
    repartee is the only norm they seem to know when the 
    camera is trained on them. Knowledge is not a 
    prerequisite. Besides most of them are under 30 and we 
    all know you can't trust anyone under 30 to tell you where
    Tennessee is much less who The Ronettes are.....JB 
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Secret Love
    Received:    04/08/00 9:48 am
    From:        john rausch
    To:          Spectropop!
    Jimmy C wrote:
    "At the film's end I
    read the end credits, and learn that the incandescent
    Lesley Gore herself has helped pen "My Secret Love."
    ...I saw the movie a few times and always assumed the 
    Kelly character was supposed to be loosely based on Lesley
    Gore. The song Secret Love, I had always assumed was a song
    recorded by Doris Day? I didn`t catch the end credits you 
    mention. Thanks.
    Also want to agree with Sheila when she wrote: 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." .......
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: "River Deep"
    Received:    04/08/00 9:48 am
    From:        imponderables
    To:          Spectropop!
    Jake Tassell says:
    >Of course, even a brilliant artist can "overproduce," too.
    >To my taste, for example, "River Deep" falls into that
    >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.
    Although we might disagree about the relative merits of 
    RDMH, I couldn't agree with you more about everything else
    you said. And I think you have put your finger on why I 
    enjoy rock and roll and R&B and gospel so much more than 
    jazz. I tend to prefer music that wears its emotions on 
    its sleeve. I prefer "hot" to "cool."
    I'm a sucker for artists/producers who are ambitious and 
    nakedly emotional, and I agree that more songs have been 
    ruined by artists afraid of not being perceived as hip or 
    cool than by aiming too high.
    >'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)
    The problem here is a visceral one -- I can appreciate 
    what you are saying intellectually, but the end product 
    leaves me cold (relatively speaking of course). Do you 
    have any ideas why RDMH was a relative failure? Or why it 
    was so popular in England?
    --------------------[ archived by Spectropop ]--------------------
    Subject:     High Fidelity and other adventures in sound
    Received:    04/08/00 9:48 am
    From:        Jamie LePage
    To:          Spectropop!
    First, thanks to all who expressed opinion on High 
    Fidelity. I realize the characters are going to be 
    discussing records off Rolling Stone's "Best 100 albums of
    all times" rather than Cinderellas or Paris Sisters B-sides, 
    and as Keith D'Arcy wrote, "Why fill the movie with 
    songs that cannot be found outside collector's circles?" 
    Well, exactly. The whole soundtrack/film cross-promotion 
    aspect would be lost and I doubt anyone here kids themself
    into thinking it could (or should) be any other way. 
    In talking about the soundtrack, Stewart Mason wrote "Beta
    Band, whose prog-pop-jazz-funk oddities sound like 
    Hatfield and the North crossed with Beck..." Wow! Hatfield
    & the North on Spectropop - that's gotta be a first! My Egg
    LPs will probably remain in storage for at least a few more
    years, but I do occasionally dig out the Dave Stewart/
    Barbara Gaskin album with that great cover of It's My 
    Party. Anyway, it made me think that while this list's 
    disciplined focus is loosely a decade of great pop, 
    undoubtedly each of us has a much broader base of favoured
    music. For instance, as I write this I am listening to a 
    wonderful collection of Les Paul and Mary Ford and 
    thinking how Paul's early use of tape echo sounds so 
    similar to that of Joe Meek and even early Pink Floyd...
    Jake says about D. Feldman's RDMH post "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." This is a truth Spectro-listers seem to respect, 
    fortunately. I am always interested to read varying 
    opinions, at least on this list, because I end up with a 
    little bit more to think about on any given subject. Just 
    to throw my own tuppence into the RDMH discussion, Dave 
    wrote that Spector "buries the song, and it's a GOOD SONG..." 
    Even co-writer Jeff Barry has said as much in at least one
    of the Spector bios, and many if not most people agree with
    this; it is an often quoted reason for the record's 
    relative failure in U.S. at the time. I am sure it won't 
    surprise Dave that this record is one of my faves, along 
    with its baby sister I'll Never Need More Than This, and 
    if forced to make a choice I'd take the muddier mono 
    singles over the stereo mixes. As strong as the _song_ 
    RDMH itself is, I think the Easybeats version sounds 
    embarrassingly tiny next to I&TT, and don't even get me 
    started on Eric Burdon's version! Talk about overreaching 
    one's grasp!
    Dave then name-checks Danny Hutton's Funny How Love Can 
    Be. What a great, great record, and for the very reasons 
    Dave mentions. Dave, have you heard the original by the 
    Ivy League? Hearing that one makes you realize just how 
    far Hutton's version is "overproduced in a thrilling way."
    The Ivy League original is litle more than a slow, vocal 
    harmony ballad (albeit a good one). Another wild remake of
    an Ivy League original, of course, is Sagittarius' My World
    Fell Down, itself quite an overproduction in a thrilling 
    way, doncha think? That two West Coast producers/artists 
    within a stone's throw of Brian Wilson would cover songs 
    by the relatively obscure Ivy Lague seems to be more than 
    a coincidence. Anyone know how these two songs made their 
    way into the hands of Hutton and Gary Usher?
    The "everything but the kitchen sink" approach remains a 
    most appealing trait of many pop records of the 66-68 era.
    Just to namecheck a few more...Smashed! Blocked! by John's 
    Children, Excerpt from a Teenage Opera by Keith West, 
    Something I Got To Tell You by Glenda Collins, Green 
    Tambourine (and Jelly Jungle) by the Lemon Pipers, Sweet 
    Talking Guy by Chiffons, Make Believe by Wind, Fakin' It 
    by Simon & Garfunkel, and of course Strawberry Fields, 
    Walrus, Rich Man, Good Vibrations and Heroes & Villians. 
    One method often used at this time to provide a framework 
    for embellishment was to de-emphasize the 2 & 4 backbeat 
    so prevelant in rock and roll, by either emphasizing every
    quarter note of the measure (Bob Crewe did this a lot, for 
    example) or by placing percussive emphasis on beats 
    between the quarter notes of a 4/4 rhythm (Brian's use of 
    percussion on PS is a good example). 
    Finally, I just want to join John Rausch, Sheila B, Jack 
    Madani and the others in saying the threads here recently 
    have been most fascinating. Thanks to all.
    Rockin' on Bandstand, 
    --------------------[ archived by Spectropop ]--------------------

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