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Spectropop V#0407

  • From: The Spectropop Group
  • Date: 04/12/00

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       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!
    --------------------[ 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. 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:
    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
    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? 
    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:-
    --------------------[ 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!")
    --------------------[ 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 
    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 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 
    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" 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
    --------------------[ 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? 
    --------------------[ 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 
    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 
    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. 
    --------------------[ archived by Spectropop ]--------------------

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