http://spectropop.homepage.com __________________________________________________________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ Volume #0410 April 23, 2000 __________________________________________________________ a new stereophonic sound spectacular Subject: Beach Boys info needed for Mojo, please Received: 04/23/00 9:54 pm From: Michael White To: Spectropop! Hello all! Although it feels like I've had half the state of California researching for me, I've been unable to scrounge up the following info. Can anyone help? I need to find out who played what on the Beach Boys' "Today!" and "Friends" albums. The info is for a forthcoming 'Essential Albums'-style book being compiled by Mojo magazine. I'm afraid I won't be able to give a published credit to whoever can help, but I hope my eternal gratitude will do (this disclaimer has become my mantra lately). Cheers folks! Michael White Vancouver, BC Subject: RDMH Received: 04/23/00 9:54 pm From: Ron Bierma To: Spectropop! In a message dated 4/13/00 2:27:36 PM, spectropop writes: << >>>>>Or why it was so popular in England?<<<< Having been a bass player on this hit and working for Phil on most of his dates (there's many that Larry Levine forgot about in his article like Howard Roberts etc. who were regulars on Phil's dates etc.), we were all expecting this to be his greatest hit yet. He was a great producer, but kept in that "wall of sound" mode maybe too long and eventually styles did change. >> Darlene Love, in here book "My Name is Love" says about the RDMH sessions; " ...But the session for RDMH was miserable. The studio was crammed with singers. Besides Tina, there were Fanita, Jean, Clydie King, Grazia, and me. It was mass confusion. This time it was all din, no music. No one could hear anything, and the musicians could barely make sense of Phil's directions because everything was submerged in echo. He kept overdubbing the backup singers, and by the time he got to Tina, he worked her so hard that she had to hold herself up by the overhead microphone. She had never before had anyone make her sing the same few words over and over again, and by the time she got to about the fortieth take, she was screaming and losing her voice. She thought she sounde horrible, but she hung in there. And that's exactly how Phil wanted her to sound, like a woman on the verge of submission. I've ever seen anyone, not even Phil, treat an artist like that in the studio. Nobody's heart was in it, except Phil's. By the end of the session I was wondering what I was doing there. It was a Wall of Sound, all right: a wall of water, and everyone was drowing. "Ellie Greenwich told me that when she got an acetate of the recording, she ripped it off the turntable before it was halfway through and threw it across the room. Ellie thought Phil had really lost it. And disc jockeys, whom Phil could always count on to give his records a chance, were sudddenly otherwise engaged when Phil's promotion men called. True, we all thought the record was crap, but it deserved a little better than # 88, which is where it crashed and burned. "Phil's arrogance and hubris had finally caught up with him, and there was probably some collective bad karma emanating from every singer, songwriter, musician, engineer, promotion man, and disc jockey he had stepped on. RDMH could have been the greatedst record ever made and it still wouldn't have mattered. The Phil Spector era was officially over...." But what do you really think, Darlene? RB Subject: Demos across the Atlantic Received: 04/23/00 9:54 pm From: Ian Chapman To: Spectropop! Jamie wrote:- > Ian Chapman wrote about Funny How Love Can Be > >...the Ivy League version...remains to me one of the most > >appealing and poignantly performed records in the "harmony" > >genre. And whilst I wouldn't by any means label the > >Danny Hutton version "a travesty", I've never quite been > >able to get into it. > > Hi Ian, > > As someone who heard the Ivy League original long after > the Hutton cover, I found your comment most interesting. I > do so admire Carter/Lewis' work. I wondered if you had any > idea how these Denmark Street writers got their songs > placed with Vine Street post-surf artists? Hi Jamie, I can't say exactly how Carter & Lewis' demos got to Vine Street, but I do think that once the Beatles had hit big in the States and the so-called British Invasion got off the ground, the UK was considered hot by many US record companies, who went looking for Brit material to record. And on the other side of the coin, there is also evidence that a few Brill Building writers tried to tailor material to fit British artists. A few years ago, a batch of New York Screen Gems 12" demo acetates turned up on a market stall in London. Luckily they were found by a girl-group collector who knew what he'd stumbled across. One of these demos (sung by Toni Wine!) was a Russ Teitelmann composition called "A Toy Is Only Made For Play"......it was very obviously intended for Dusty Springfield, as it's practically "I Only Want To Be With You Pt. 2". Another one - not sure of the composer - a slower, Shirelles-like number entitled "Give Your Heart Another Chance", had "Sandy (sic), Cilla, Dusty" hand-written on the paper sleeve. Evidently, somebody - the writer? - had ideas about who they thought the song could be placed with. Out of interest, the other demos in the batch included Goffin & King's "Don't You Wanna Love Me Baby" (this one we know was recorded by Brit-girl duo The Other Two); another Toni Wine-sung (and co-written) number, "Just Go Away", which the Shirelles recorded as "Go Away"; an Ellie Greenwich-sung number called "Can't Hide the Hurtin'" (this one was eventually used on Sequel's Raindrops collection); a fairly nondescript girl-group item called "He's My Kinda Guy" (writers unknown, but not the same as the Reasons/ Willows song of the same title); and last but not least, Boyce & Hart singing the demo of "I'm Not Your Stepping Stone"! Ian Subject: OBSURITIES VS THE HITS etc Received: 04/23/00 9:54 pm From: radiopro To: Spectropop! I've been lurking on this list for some time, have been enjoying the stories and thought I'd make a contribution. My first job in radio was working part time in the record library at a Middle of The Road station in Winnipeg, Manitoba Canada that only a few years earlier had "banned" Rock and Roll. It was 1963. The "good news" about working at this kind of station was that, while they didn't play any Rock and Roll, the record companies still serviced them with most of the 45s that were released. So I got to keep them! To this day, I have boxes upon boxes of 45s from the 1963- 69 era. One day I must find the time to catalogue them all. This advantage allowed me to start a "radio station" at my school and to start a record hop business in schools and "community clubs" . One of my most prized possessions is a record called Aurora b/w The Sultan by The Squires....a group that went to Kelvin Highschool. The guitar player was Neil Young. At any rate....while I played "The Hits" at the dances, some of my favourite records were not hits. I had no idea why they weren't hits. I just know that I liked them. So... I agree with some recent posts about great records that were missed. Subject: Obscurities over Hits Received: 04/23/00 9:54 pm From: Ian Chapman To: Spectropop! Jamie wrote:- >Take the Caravelles, for > instance. Their "You Don't Have To Be a Baby to Cry" is > great, but the lesser known "Other Side of Love" blows it > away! Also, I prefer nearly everything else Lesley Gore > did far more than It's My Party or Judy's Turn to Cry. Well, Jamie, I have to confess to preferring Ike & Tina's "I'll Never Need More Than This" way above its "sister" record, "River Deep, Mountain High". I think "Never" is a much more emotional song, and a far better showcase of Tina's vocal ability. Listen to the latent power as she sings - rather than yells - that ending, "for ever, and ever and e-e-ver". She really wrings every shred of emotion out of that song, and the Wall of Sound never sounded more gargantuan! As a fellow fan of "needle in the red" barnstormers, I well remember how exhilarated I felt after hearing it for the first time. That was the mono mix, however - I also recall hearing the stereo mix on an album some time later, and couldn't believe how the separation of the channels had "watered-down" the whole thing! Dig out the mono 45 and play it LOUD!! Ian Subject: spectropop radio Received: 04/23/00 9:54 pm From: john rausch To: Spectropop! Listening to Spectropop radio broadcast @ http://www.live365.com Recommended! John Rausch Presenting The Fabulous Ronettes @ http://www.geocities.com/Sunsetstrip/Studio/2469/ Subject: spectropop radio i hate you Received: 04/23/00 9:54 pm From: Jack Madani To: Spectropop! I hate spectropop radio. I hate it because I heard this song: Yume de Chigaetara - Celia Paul And now I want to own this song and I can't. I was happier when I had never heard Celia Paul before. I was happier not knowing what I didn't have. jack "boo hoo" madani n.p. spectropop radio "yellow balloon - yellow balloon" ba ba ba ba bah...... Subject: Fishing For Toni Received: 04/23/00 9:54 pm From: DJ JimmyB To: Spectropop! >Where, oh where is some bio information on Miss Toni >Fisher? Two big hits - "The Big Hurt" (1959) and "West Of >The Wall" (1962) You able to help? Have you not read "Toni Fisher: Was It Real Or Was It Phase-Shift" by Mike Hunt? Just kidding. All I can dig up on Ms F is that she was born in L.A. in 1931. Jimmy Botticelli/not very helpful was it ADMIN NOTE: A very warm word of thanks to everyone who has written kind words about Spectropop Radio, both on and off list. Your support and encouragement is most appreciated. Spectropop Radio stations broadcast on Live365 24 hours a day 7 days a week. To listen to Spectropop Radio from your computer, go to http:www.live365.com click listen and search the word "spectropop". Search results will show two stations. Take your choice! Broadcasting at 56k is Spectropop Radio, which plays a mix of Brill Building, soft pop, harmony pop, surf, and of course Wall of Sound. Tracks are programmed from the collections of Spectropop Members. The tone of the station is decidedly mellow, and the playlist includes records often discussed on the Spectropop List, from Things are Changing by the Supremes and Close Your Eyes by Bonnie to Rosecrans Blvd. by Johnny Rivers and Baby It's Real from the new Curt Boettcher release. Broadcasting at 32K is Girlpop Spectropop, Billy Spradlin's rockin' Girl Groups Only station, featuring well known and obscure girl group records from Spector's stable and East Coasters Shirelles and Chiffons to all those great girl group records from the United Kingdom. Tracks are culled from Billy's own collection and those of other Spectropop members. Care is being taken to keep the playlists of the two stations relatively free of duplication, so listeners whose connection speed can handle the 56k station can listen to both stations for a wider variety of titles. For those whose connection speed cannot handle 56k, Girlpop Spectropop is available for you at 32k. Listeners can also access both stations via direct links at the Spectropop Website. http://www.spectropop.com Oldies radio has NEVER sounded so good! End
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