http://www.spectropop.com __________________________________________________________ __________ __________ __________ S P E C T R O P O P __________ __________ __________ __________________________________________________________ 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 him...do 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! Tobias --------------------[ 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 Amazon.com 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 on? 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 http://www.carolkaye.com/ 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 enough. 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 http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- End
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