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Spectropop V#0410

  • From: The Spectropop Group
  • Date: 04/23/00

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       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
    Archived by Spectropop
    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?
    Archived by Spectropop
    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" 
    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 
    Archived by Spectropop
    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. 
    Archived by Spectropop
    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!!
    Archived by Spectropop
    Subject:     spectropop radio
    Received:    04/23/00 9:54 pm
    From:        john rausch
    To:          Spectropop!
    Listening to Spectropop radio broadcast @
    John Rausch
    Presenting The Fabulous Ronettes @
    Archived by Spectropop
    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 
    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......
    Archived by Spectropop
    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   
    Archived by Spectropop
    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
    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.
    Oldies radio has NEVER sounded so good! 

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