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Spectropop V#0414

  • From: The Spectropop Group
  • Date: 05/02/00

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       Volume #0414                             May 2, 2000   
                     Unbreakable 45 RPM Record                
    Subject:     Re: Carol Kaye on tabloid books
    Received:    05/02/00 12:55 am
    From:        Viceroy Fizzobottom
    To:          Spectropop!
    Carol Kaye wrote:
    >Since I knew many of the artists very well (Glen Campbell,
    >Sonny & Cher, Brian Wilson etc.) especially spending
    >years in the studios with them, these books not only
    >disgusted me but did teach me one thing:  THEY ALL LIE.
    Well, that's the downside of show business. The sleazy 
    stuff sells, whether it's true or not. A balanced book on 
    the life of Brian (yes, pun *is* intended, sue me :-)) 
    would probably reveal he didn't take more drugs or was 
    more insane than Paul McCartney or a Byrds member...but 
    that wouldn't sell as much as the ABC movie stuff, eh?
    >people to publish my book (in the works), etc. 
    >and found out that you can go ahead and write the "truth" 
    >but ALWAYS, the publisher will ALWAYS have an editor 
    >rewrite many of your own writings, totally (and maybe 
    >secretly too) against your wishes most of the time.
    On the other hand, you could probably find independent 
    publishers who'd give you more freedom. It's just like 
    record companies - big usually means less control over 
    what you're doing. There must be indies which are still 
    big enough to garantee you large sales. Didn't A&M start 
    out as an *incredibly* low-budget indie label? That didn't
    stop Herb Alpert from having his hits, y'know!
    Speaking of books and how truthful they are, can somebody 
    post a review of the new Dennis Wilson book?
    >"People living in New Orleans just like music, period," 
    >Palmer said. "They like something they can shake their 
    >fannies to
    I hope Palmer isn't British :-)
    >seeing drugs in the studios then too, different from the 
    >fast-efficient-4 tunes a 3-hour session thing in the 
    clean >60s).
    This gets me thinking of Chris Montez. You played bass on 
    some of his tracks, right Carol? I just bought a Montez 
    "Best of" and nearly every song got the same beat, rhythms 
    and arrangement. "Call Me" must've been some kind of blue 
    print for you know who arranged his music? As far
    as I know, Herb Alpert only was the producer. Anyway, most 
    of his songs sound like they were indeed recorded in the 
    same 3-hour session!
    --------------------[ archived by Spectropop ]--------------------
    Subject:     again with the spectropop radio
    Received:    05/02/00 10:13 am
    From:        Jack Madani
    To:          Spectropop!
    Spectropop Radio is really getting into a good groove 
    lately. Something that recently caught my ear was a Chris 
    Montez track called "Where Are You Now." Before this 
    pretty recording, the only other version of this song that
    I had heard was by Vicki Carr or Edie Gourmet (yikes, I 
    can't remember how to spell Edie's name)--I'm not near my 
    record collection right now so I can't check to see who it
    was for sure. Anyhow, Chris Montez's version was very nice,
    and so I went over to and found an expensive 
    import that includes this song, plus Call Me, plus The 
    More I See You, plus a whole bunch of standards (including
    Fly Me To The Moon, Going Out Of My Head, Just Friends, 
    Look Of Love, and the sublime Neil Hefti-penned Girl Talk). 
    Would I be correct in assuming that all the recordings 
    on this disc are similar in sound to Call Me, The More I 
    See You, and Where Are You Now--i.e., that they're all in 
    the "big beat" sort of style?
    There wouldn't be a disc that anyone knows of that would 
    give me all of the above PLUS "Let's Dance," would there?
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Thumbs Up and label query
    Received:    05/02/00 12:55 am
    From:        Hans Ebert
    To:          Spectropop!
    Carol Kaye writes about an album called "Thumbs Up." What 
    is this, who's on it and which label has it been released 
    And on another subject, does anyone know which label Glen 
    Campbell, Rita Coolidge, Toni Tennille and Frankie Valli 
    are currently recording for?
    Many Thanks,
    Hans Ebert
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Mirasound and Ultra-Sonic
    Received:    05/02/00 12:55 am
    From:        WASE RADIO
    To:          Spectropop!
    To Phil:
     The Shangri-las did not record at Mirasound. They 
    recorded at Ultra-Sonic on Long Island. The Dixie Cups 
    recorded "Chapel of Love" and their other hits at 
    Mirasound. It is true that Phil recorded his first hits at
    Mirasound, such as the Crystals' "There's No Other Like My 
    Baby" and "Uptown" and Curtis Lees' "Pretty Little Angel 
    Eyes". According to the Mark Ribowsky Phil chose to record
    there because the "walls were thicker". 
                                                   Michael G. Marvin
                                                    WASE radio
    --------------------[ archived by Spectropop ]--------------------
    Subject:     More Mirasound
    Received:    05/02/00 12:55 am
    From:        WASE RADIO
    To:          Spectropop!
    I don't know whether the Raindrops actually recorded all 
    their songs at Mirasound. I read in Alan Betrock's 
    excellent book, "Girl Groups-Story of a Sound" that the 
    Raindrops' 1963-1964 mid charter "What a Guy" was a 
    demonstration record made at Associated studios in New 
    York. I would speculate that "The Kind of Boy You Can't 
    Forget" was done at Mirasound. According to the Ribowsky 
    book on Spector, the engineer at the time Bill Macmeekin 
    would put a microphone by the bass drum, giving the sound 
    a good kick. For example Little Eva's "The Loco-Motion" 
    was recorded there, and that had a huge drum sound. Same 
    way with "The Kind of Boy"-that loud rudimentary drum part
    towards the end. Other artists who have recorded at 
    Mirasound were Ruby and the Romantics ("Our Day Will Come"), 
    The Chiffons ("He's So Fine"), The Jellybeans ("I Wanna
    Love Him So Bad") and many others.
                                            Michael G. Marvin
                                            WASE radio
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Re: Compression
    Received:    05/02/00 12:55 am
    From:        Carol Kaye
    To:          Spectropop!
    Glen, about compression, no I didn't know about it much. 
    All I know is basically how it works, but it was never 
    used on me except for the Motown stuff (bass). You have a 
    lot more data about it than I ever had, good work. And the
    other good posts too, Carol Kaye
    PS. BTW, some interesting news is coming to me about the 
    great NYC studio guitarist of the 60s, VINNIE BELL, also..
    ..he played on Hermit's Hermits, Rolling Stones, some 
    Motown demo things cut back there too. And NEVER got his 
    name on anything either. I'd hear Tommy Tedesco mention 
    his name with great reverence. More later.
    --------------------[ archived by Spectropop ]--------------------
    Subject:     Vinnie Bell, #1 NYC studio guitarist
    Received:    05/02/00 12:55 am
    From:        Carol Kaye
    To:          Spectropop!
    My post on my Message Board, tho't you'd be interested:
    I just heard from a wonderful person, Ed Bell, son of the 
    No. 1 NYC 60s studio guitarist, VINNIE BELL. He speaks of 
    the dozens of dates his Dad would do every week (yes, more
    than 2 dozen dates a week) in the 60s, and he'd go to the 
    sessions with his Dad, who I remember Tommy Tedesco and 
    others would speak with great awe, Vinnie Bell must have 
    been a monster guitarist. Yet, he was never mentioned on 
    any poll of GP (Guitar Player) Magazine interestingly 
    I did answer Ed's message about how I wouldn't have been 
    on their poll either if I had't written my tutoring books 
    which got me the column in their magazine (for awhile) and
    gone out to play live with the great Hampton Hawes jazz 
    trio (73-74) which got me on Playboy poll, and Downbeat 
    poll...and the GP jazz elec. bass poll too. I think a lot 
    of that is purely political. I asked to have my name 
    removed from the GP "advisory board list" as it was 
    apparent after many tries to get them to write a feature 
    about RAY POHLMAN, that that was a shuck and jive list (
    still is with BP too I feel).
    Ray Pohlman was the very FIRST and very prominent Elec. 
    Bassist in the studios who had done 1,000s of dates 1955 
    through the 60s, altho' I stepped in and kind of filled up
    the void when he left recording bass dates in 1964 for a 
    short time to be the musical conductor of the Shindig Show
    (Larry Knectel on bass on that TV show), but came back and 
    did some more work too.
    The fact that he was IT in LA while I was playing guitar 
    on those dates, seemed to clash with the "revisionist" 
    (somehow people love to rewrite history) viewpoint that 
    someone else "started" elec. bass recording and so my many
    attempts to get Ray's story out there failed -- they had no
    plans to write about him, and just shunned my many attempts
    to have an article done about Ray -- I protested by telling
    them to drop my name from their list. Wanted no part of 
    that magazine, and shame on them for using my name when 
    they don't want to hear the truth about anything.
    Shortly afterwards, Ray died (he had been a heavy smoker) 
    from a heart attack after moving to Santa Fe NM (around 
    1990) and yes, he finally got an "article", an obit 
    written by our wonderful Russ Wapensky in BP Mag. which 
    was new then.
    And now.....another untold story (ugh, I hate these things, 
    but know from my own experiences and the slander out 
    there about me about the Motown stuff, it's TRUE, so many 
    so-called self-named "researchers" just love our business,
    want to be a "part of the music business" and thus, they 
    can get "into our business with their gift of gab and just
    balls period.
    VINNIE BELL. An inspiring name, a well-respected name. I 
    heard his name mentioned by Tommy Tedesco, so many out 
    here in the course of talking about the NY fine studio 
    musicians also in the 60s. Vinnie played on Hermit's 
    Hermits things, did Rolling Stones, some Motown "demos", 
    etc. yet never had his name on anything, no credit, zip.
    Just to let you all know, here's another example of a fine
    talent DENIED! Hurry up Russ Wapensky!! 
    Carol Kaye
    --------------------[ archived by Spectropop ]--------------------

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