http://www.spectropop.com/ __________________________________________________________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0407 April 12, 2000 __________________________________________________________ Represented globally Subject: Little Pattie's Blonde Headed Stompie Wompie etc. Received: 04/12/00 4:03 am From: Lindsay Martin To: Spectropop! John Frank wrote: "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" Little Pattie's "He's My Blonde Headed Stompie Wompie Real Gone Surfer Boy" [note my pedantic correction of the title!] is on "Surf's Up", an Australian CD of 19 surf tracks. It is available through Chaos Music, the Aussie online CD store The other tracks are not all Australian, but apart from little Pattie you'll find such gems as Sydney's Atlantics with two of the finest surf instrumentals recorded anywhere on the planet: "Bombora" and "The Crusher". I'd be interested to know if anyone in the U.S. is familiar with these. Local legend has it that "Bombora" charted in parts of California, but perhaps this is based on confusion with the Surfaris' track of the same name (not the same composition). It's apparently a Columbia CD released through Sony Australia, though some of the tracks are licensed from Festival. Chaos lists "Fest" as the label, so I'm only assuming this is the right CD, not being fully aware of record company affiliations. Better check! Lindsay --------------------[ archived by Spectropop ]-------------------- Subject: Re: Free Design Received: 04/12/00 4:03 am From: Jill Mingo 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. > Well, it is called "Be Free" and a Japanese label called Airmail Recordings is going to release it. I have a copy of it, and although it is good, the fabulous harmonies are definitely missing. But..in other news, the Free Design are reforming for another LP! They have recently covered the Beach Boys "Endless Harmony" track for the German label Marina for their Beach Boys tribute LP and apparently, they sound as stunning as they ever did. I've yet to hear it myself though. Jill "Mingo-go" --------------------[ archived by Spectropop ]-------------------- Subject: Darlene Love Received: 04/12/00 4:02 am From: john rausch To: Spectropop! Darlene Love will be performing in the NY area. Here is info: "CELEBRATING LOVE" Starring DARLENE LOVE Co-Star of Lethal Weapon 1,2,3&4 With Special Guest BEN E.KING Creator of the renowned hit "Stand By Me" Also appearing JENNIFER BERDETTA Hosted by WCBS-FM, 101.1 D.J. "BOBBY JAY" Saturday June 17th 8:00PM JOHN HARMS CENTER FOR THE ARTS 30 N. Van Brunt St, Englewood, NJ 07631 Tickets $55, $45, $35, $25 Call for Tickets-201-567-3600 Mon-Sat 11-6 --------------------[ archived by Spectropop ]-------------------- Subject: RDMH Success Received: 04/12/00 4:02 am From: P Woods To: Spectropop! > Do you have any ideas why RDMH was a relative failure? Or > why it was so popular in England? The failure in the States still surprises me; but I think in England much of the success can be attributed to the work of an A&R man called (I think) Tony Hall, who plugged it very heavily. There was a stunningly exciting film of Ike and Tina and the Ikettes in action which was shown on prgrammes like Ready, Steady Go which caught the public's interest; which was further boulstered by an early visit of the Turners (though I seem to remember Tina was dressed rather staidly on RSg in a brown trouser suit). This film paved the way for the rock videos which we all take for granted these days - but the sheer power and excitement of the short promo was enough to excite anyone's interest. And for those of us who'd been fans of the Turners, since shelling out for their stuff on Sue a year or so before, but had never had the chance to see the act live, this was a revelation. On another point, one of the Ike and Tina singles on Philles which was announced in the music press but later pulled was "Two to Tango", apparently produced by Bob Crewe. Did this ever surface anywhere? Best, Paul Woods --------------------[ archived by Spectropop ]-------------------- Subject: River Deep Mountain High. Received: 04/12/00 4:03 am From: jake tassell To: Spectropop! Do you have any ideas why RDMH was a relative failure? No, anything I could say on the subject would just be a guess. Maybe a better question to ask would be: "Do you have any idea how Phil Spector got away with everything he was doing for so long?"!!! Or why it was so popular in England? British spleen, I should think. Jake Tassell PS. On a sad note, Heinz Burt died on Friday. For those of you not familiar with Heinz, he was Joe Meek's peroxide blonde bombshell in the early Sixties. He had a big hit in the U.K. with 'Just Like Eddie' and played bass in The Tornados ('Telstar'). There is a tribute page at:- http://www.geocities.com/meeksville/heinzobit/index.html --------------------[ archived by Spectropop ]-------------------- Subject: Re: RDMH & production Received: 04/12/00 4:03 am From: Dave Feldman To: Spectropop! Jamie LePage is amazingly civil in his disagreements with me. So in order to punish him.... > >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. Also, I think "us" types tend at times to champion obscure songs at the expense of hits. My guess is that if we did a "blind ear tasting" of 50 random girl group hits and 50 girl group obscurities, we'd favor the hits. >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! But I'll bet you a good "alternative pop" version could be done by a mopey female singer, such as Sarah McLaughlin. > >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). Yep, Ivy League sounds a little wan. I wonder if I'd feel differently if I had heard the Ivy League version first. Imagine loving the Ivy League original! What a travesty the kitchen sink version would likely be. >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? I do think. This is one case where the (over?) ambitious production adds to the song's charm and innocence. >That two West Coast producers/artists >within a stone's throw of Brian Wilson would cover songs >by the relatively obscure Ivy League seems to be more than >a coincidence. Anyone know how these two songs made their >way into the hands of Hutton and Gary Usher? Me? Actually know something? Sorry. > >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. All good examples (I've not heard "Smashed! Blocked!). I'd add "My Baby Must Be a Magician" by the Marvelettes, with a truly silly and irresistable production. ("Lookee here! Here's a dial that's marked "Echo!") Dave --------------------[ archived by Spectropop ]-------------------- Subject: From CK - on Brian and the Beach Boys Received: 04/12/00 4:03 am From: Carol Kaye To: Spectropop! As for people believing that movie, I'd say that most are just turned off of it because of its content - the TV audience is a lot more sophisticated than most people know, they're well-trained from all the tabloid press (the dirt-books at the library belie that also...hardly ever checked out), and most are learning the truth one way or another anyway. It all kind of backfired as now more than ever, people are turned on to the music and the man who created it all...the man and his music. BTW, I never was "offered any gold records at all by BW" and no, he never was in the studio the way portrayed in the movie -- he was just the opposite: a confident, totally great professional, wonderful to work for, easy to please and while the tracking sessions were sometimes long (he'd cut only 1 tune vs. what we usualy did in the Union allotted 3- or 3-1/2 hour date, 04 -5 tunes), he paid us well, wrote all the notes, did practically all the engineering from what I could tell, and we loved his sly sense of kidding and humor...he was always a happy guy in the studios, very sharp young natural great talent, the best. Van Dyke also was good to work with and for, always a nice fellow, knew what he was doing. And no, BW didn't go "crazy" during the Fire sessions at all, that's pure rot. Sure he wore a fire-hat, so did Lyle Ritz - Brian got better and better in his writings all the time and he was fun to work for. In his home, if he wanted to record in the sand-box, why not? So what. He was a playful young man back then -- I heard that he also recorded in the bottom of his empied-out pool for a great sound back then....as a recording musician, that makes sense to me. One studio musician of our group purposely went to record in one of the Egyptian pyramids for the same reasons: SOUND. No, I never recorded at BW's house and if he appeared in his robe, so what! Hugh Hefner apparently LIVES in his robe. I think it's obvious that the BB's were and still are America's favorite group -- we hardly ever saw them in the 60s. They'd drop by the studio for 1-2 min's to say hello, and were gone, a happy bunch of guys. As for the stories about BW being a "taskmaster" for recording the voices on top of our tracks "just right", well so be it, it paid off handsomely. Besides, they still would had had a long ways to go to equal the toughness and discipline that regular studio singers go through to record. That includes all the star-singers too. Brian knew what it took to get the job done and he did it and yes, their singing was great -- I'm sure they were very happy with the way the music sold and is still great today. Recording a hit record is a serious hard-working business and I'm sure you can hear Brian's great producing chops, the way he was in full-charge of his dates -- totally unlike the movie...and you didn't see him interviewed after the movie showed on TV either. Another few things. I never saw Murry as portrayed like in the movie -- we liked and worked for him (Sunrays), we talked about this on our other dates and never knew any enmity between Brian and his father -- they were both very quiet about that on their dates. Marilyn and her sister were portrayed wrongly too, they were very very savvy people, never silly. Lastly, Nancy Sinatra sent me an email after I mentioned the actress who played my part saying "that's the only thing they got right"....it was very upsetting to her, she loves Brian and his music. But I know the meticulously-done music scenes (even tho' some things were totally wrong) helped with the music-appreciation, people enjoyed the impact of the music ...Alan Boyd tried and Gary Griffin did too, the rest was out of their hands. Thanks to BW's connections to his great fans, his wonderful wife Melinda, his true friends, family, and faithful musicians and in spite of his past family losses, negative stuff, etc. he's still the same BW, altho' his plate is sure full these days. As for the "writer's block", that's musician-talk for just a temporary thing....who feels like writing with all this stuff happening? As they say, the show will go on. Was a great show at the Roxy! Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Subject: Brian Live Received: 04/12/00 4:03 am From: David Ponak To: Spectropop! Well, I attended both Brian Wilson shows at the Roxy over the weekend (Friday and Saturday, April 7 & 8). What an amazing weekend! Brian was in a good mood, and seemed more relaxed than at some of the larger shows. Vocally, he was also more relaxed and assured. The band (Wondermints, Jeffrey Foskett, plus extra Chicago folks) were amazing as usual. At times you get the feeling that the sax and bass players would rather be playing in Spyro Gyra, but their "musico" tendencies only got in the way once or twice. In terms of the set list, the show's been changed around a bit since the last leg of the tour. They do an "unplugged" type middle section where several of the ballads are performed to wonderful effect. Also, two "new" songs are performed, one being the vocal version of "This Isn't Love" (the instrumental from "Songs Without Words," with lyrics by Tony Asher) and a song called "The First Time." Both sounded great. Other surprises included "Please Let Me Wonder" (which was first added last October at the Bridge School Shows) and a snippet of Barenaked Ladies' "Brian Wilson" that served as a segue into "Till I Die." Aside from those, it was the usual array of hits and album tracks that they've been doing on tour. Audience members included Lindsey Buckingham, Peter Buck, Bette Midler, Patty Smith, Doug Fieger, Nancy Sinatra and probably many others I didn't spot. A groovy time was had by all. --------------------[ archived by Spectropop ]-------------------- Subject: Grace of My Heart Received: 04/12/00 4:02 am From: Ian Chapman To: Spectropop! I'd recommend anyone who hasn't already done so to get the soundtrack CD. Songs which are only heard fleetingly in the movie are there in all their glory. Not only do you get the stunning "Secret Love", but also the irresistable "Born To Love That Boy", my own fave - co-written by Gerry Goffin. You could play that one at any Da Do Ron Ron night, and no-one would ever guess it was anything other than an authentic 60s girl-group classic. There's the Nancy & Lee-cloned "Absence Makes the Heart Grow Fonder" by Tiffany Anders & John Rice, and "Truth Is You Lied" by Jill Sobule, which I guess is meant to equate to Skeeter Davis' early brush with the Brill Building. Elvis Costello doesn't quite get it right with "Unwanted Number" (his personal take on "Love Child") - no way would you have got away with lyrics like "...when he came to my room and asked me to undress" in 1965. But For Real perform it so convincingly, it's hard not to like it. There are a few duds, admittedly - I personally don't care for the introspective quasi-Joni Mitchell tracks, and I can't understand why the version of "God Give Me Strength", sung by Ileanna Douglas' character - a highlight of the movie - was ditched in favour of Elvis Costello's own. It's not bad, but couldn't they have included both? Ian --------------------[ archived by Spectropop ]-------------------- Subject: Re: Grace of my Heart/Stewart and Gaskin Received: 04/12/00 4:02 am From: Stewart Mason To: Spectropop! Jimmy C writes: >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! Yes, very much so! I was lucky enough to catch the world premiere of this film at the 1996 Toronto International Film Festival, and while it has a few bits where I was gritting my teeth at somewhat muddled chronology, it meant a lot to me that director Allison Anders and company were at least making the attempt to get some of the details right. John Tuturro's performance as the Spector manque is completely unsubtle and utterly fearless in its silliness. And there's a very cool cameo by Steven McDonald of my beloved Hawthorne bubblegum-punks Redd Kross as one of the faux Beach Boys, which was a nice treat. For those who might be interested, Miss Lily Banquette was in a previous life Liz Cox, drummer/singer of the defiantly odd '80s psych-pop band Christmas, whose three albums IN EXELSIOR DAYGLO (1986), ULTRAPROPHETS OF THEE PSYKICK REVOLUTION (1989) and VORTEX (1993, recorded 1990, featuring James McNew of Yo La Tengo and Dump on bass) occasionally try a bit too hard to be outre but are recommended if you're fond of, say, the International Artists label. John Rausch adds: >"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. That was the one that went "Once I had a secret love," and this is definitely a different song. Kelly seems to be based more on folks like Shelley Fabares or Paul Peterson: she's a TV star making records not because she wants to, but because she's being made to. In the film -- and this is a very minor element of a picaresque film, so I'm not ruining anything by revealing it -- Kelly's previous singles have been uninspired at best, because she neither believes in or cares about what she's singing. On the other hand, "Secret Love" is an artistically successful song because it's a coded message that she connects to emotionally: The Illeana Douglas-as-Carole King character recognizes what everyone else has failed to register, that Kelly is a closeted lesbian. The lyrics take on a somewhat different meaning in that light. Jamie LePage mentions: >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. Just in case anyone's interested in this, the album Jamie's referring to is Dave Stewart and Barbara Gaskin's UP FROM THE DARK (Rykodisc 1986), a collection of mid-80s UK singles featuring a number of interesting art-pop reworkings of '60s tunes familiar and obscure. If you're familiar with Brian Eno's "pop" albums (HERE COME THE WARM JETS, etc.) or perhaps Thomas Dolby's synthetic-yet-warm THE GOLDEN AGE OF WIRELESS (they cover Dolby's "Leipzig"), that should give you an indication of the style, though they're neither as poppy as Dolby or as quirky as Eno. Covers include: I'm In A Different World (Holland/Dozier/Holland) It's My Party (Lesley Gore) Busy Doing Nothing (Jimmy Van Heusen -- the Brian Wilson song would have been a *great* idea, though!) I Know I'm Losing You (Norman Whitfield) Roads Girdle The Globe (Andy Partridge, XTC) Siamese Cat Song (!!!) (Peggy Lee; yes, from LADY AND THE TRAMP) And no, this Dave Stewart is NOT the guitarist from the Eurythmics, but the keyboardist/songwriter from the abovementioned Hatfield and the North (this Dave once wrote "the only thing I have in common with the guy from the Eurythmics is I can't play guitar either") and various other Canterbury bands. Hatfield and the North, named after a UK road sign (not unlike their contemporaries Kilburn and the High Roads, the late Ian Dury's first band), are highly recommended for pop fans who want to stick a toe in the waters of '70s UK prog but are put off (as well you should be) by the humorless inanities of Yes or Emerson Lake and Palmer. H&TN made non-epic, human-sized music, a fascinating, largely instrumental blend of oddball UK psych-pop (Syd Barrett, Kevin Ayers, Tom Newman, early Soft Machine, early Mike Oldfield) and cool jazz. There's a friendly humor to their music -- song titles include "Your Majesty Is Like A Cream Doughnut" and "Big John Wayne Socks Psychology on the Jaw," and one song features a verse sung while gargling -- and the proceedings are never ponderous, "difficult" or indeed less than pleasant. Hey, if you've ever listened to a Creed Taylor-produced soft-jazz album, you're already halfway there! The necessary albums are HATFIELD AND THE NORTH (Virgin 1974) and THE ROTTER'S CLUB (Virgin 1976) and there's a couple of compilations and live sets as well. Stewart --------------------[ archived by Spectropop ]-------------------- End
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