http://www.spectropop.com/ __________________________________________________________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ 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. John --------------------[ 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. Anybody? John --------------------[ 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 >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. 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) >forces. 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, Jamie --------------------[ archived by Spectropop ]-------------------- End
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