____________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ____________________________________________________________________ Covered in a long lasting PVC to give you years of portable pleasure -------------------------------------------------------------------- There are 5 messages in this issue. Topics in this digest: 1. Warner/Spector update From: john rausch 2. Sonny Bono ? From: Jimmy 3. Carol Kaye's Breakbeat Premier From: DJJimmyBee 4. From Carol Kaye From: Carol Kaye 5. Scopitones From: Tom Waters ________________________________________________________________________ Message: 1 Date: Wed, 12 Jul 2000 19:24:02 -0400 From: john rausch Subject: Warner/Spector update Forwarded by Spectropop Admin ---------------- Original message follows ---------------- From: john rausch To: Spectropop! Date: Wed, 12 Jul 2000 19:24:02 -0400 Subject: Warner/Spector update -- Seems my full post got lost in transit. The following discog. was supposed to be included: Warner/Spector U.K. Crystals 19010 - Da Doo Ron Ron/Then He Kissed Me (blue vinyl) Darlene Love 19011 - Christmas, Baby/Wait Till My Bobby (blue vinyl) Warner/Spector lp Various Artists: Christmas lp (blue vinyl) Not listed in the book but I have seen a 12" special disco mix for Calhoun - Dance Dance Dance, sorry but I do not know the issue number. John Rausch Phil Spector`s Wall Of Sound @ http://members.tripod.com/~rauschj/ and Presenting The Fabulous Ronettes @ http://www.geocities.com/SunsetStrip/Studio/2469/ ________________________________________________________________________ ________________________________________________________________________ Message: 2 Date: Tue, 11 Jul 2000 21:16:38 EDT From: Jimmy Subject: Sonny Bono ? Yah, okay, so I was mentioning wishing I could have been at the session for "A Fine, Fine Boy" and then a 'Popper a few posts past said he liked the song except for Sonny's caterwauling, I think is how he put it. Well, it never occurred to me to listen for Sonny doing background, so I put the headphones up close and... yep, there he is, wailing away right up front with Cher. And Darlene. It's like he's in my living room... I always wondered whose that particular voice was... so now I know. Oy vey. Spectropop: Read and Learn. ________________________________________________________________________ ________________________________________________________________________ Message: 3 Date: Mon, 17 Jul 2000 19:18:06 +0900 From: DJJimmyBee Subject: Carol Kaye's Breakbeat Premier I just picked up a copy of a two year old British compilation called The New Testament of Funk. Lots of groovy breakbeat, samplicious selections and funky stuff in general. Track #4 is listed as "Bass Catch" and credited to artists "Carol Kaye & The Greasy Bass Blues Band" which feature I suppose lottsa Carol Kaye samples looped into a heavy bass/beat sound.....Kind of interesting...JB ________________________________________________________________________ ________________________________________________________________________ Message: 4 Date: Mon, 17 Jul 2000 19:27:25 +0900 From: Carol Kaye Subject: From Carol Kaye Forwarded by Spectropop Admin ---------------- Original message follows ---------------- From: Carol Kaye To: spectropop! Date: Fri, 14 Jul 2000 02:38:27 -0700 Subject: from Carol Kaye -- I tho't you'd like to see my answer to a question posed to me on my Message Board, something about the chronological order of the tracks coming in as we went along recording from the 50s onward. The first person I ever recorded for was Sam Cooke (guitar), at Radio Recorders, Dec. 1957 for Specialty Records, Bumps Blackwell producing. And the last big lp I've done was the "In Reverse" CD for Matthew Sweet which was analog, but have re-recorded my own book-tutors on tape tho' too with the computer, and digitized (also digital on a few other record dates around LA here). BTW, have been hearing from David Leaf how great the Pet Sounds concerts are going with Brian Wilson all over, which I think is great. I'm personally flying back soon to get a Lifetime Achievement Award also from Duquesne University in Pittsburgh, and just had a wonderful serminar (and jazz trio concert) at the opening ceremonies at the Paul Allen Experience Music Museum in Seattle too....it was a huge success, the museum was and is, people love it!. ---------------------------------------------------------- In the 50s, there was only 1-track recording, and mixing was done as they went along in the recording in the late 50s. I remember that my teacher even had sound on sound recording gear in his teaching studio around 1950-51, but you had to go back and forth between tape recorders - about the way that Les Paul did it back then too (they also had wire recorders then, but tape became predominate). In the regular recording studios, we could record a hit album in 6 hours in the 50s and 60s, the studio musicians being expert, the engineers, producers, etc. all expert at what they did, no problem. They were even faster and better with the vinyl cutting masters of the 30s and 40s -- whole orchestras playing great....they couldn't edit so no-one hardly made mistakes back then. Time was not much of a constraint, everyone knew how to make a hit record happen just fine - that's what we did day after day 8-16 hours a day. With our group of studio musicians, it quickly went from 1-track to 2-track, to 3-track to 4-track from 1958 through 1964...and 8-track about then too (we were all like "wow"-- 8 tracks!). I don't know the exact years it did all that, am not a techno person, nor historian for that kind of info, all I remember is that it seemed to happen pretty fast and by the end of the 60s it seemed like 16-track was in, then 24-track. By the middle of the 60s, we were starting to layer quite a bit, meaning, just the rhythm section and probably the horns with us most of the time (they started to do just the rhythm sections about 1968-69 altho' many dates you'd still see the whole orchestra just for the feeling between the musicians....that was known as a very critical thing back then -- and still is critical for the communication between musicians but not popular these days which I think is a big mistake - power of music is usually with bodies, musicians playing *together* with their form of communication), and the singing and strings were added on later. It became more and more tracking like that as we went along from middle 60s on. For everyone reading this, a basic rhythm section w/horns was called a "track", which by Musicians Union rules paid about twice as much in musicians' pay and they could get more done then faster. By 1973, it was a total rarity for a whole orchestra to play together on record dates. We all were thrilled when we cut the Barbra Streisand recording of "The Way We Were", everyone saw each other for the first time in years altho' we were playing together on all the same recordings. And the feeling in the room was terrific. In the films -- movie scores, TV film scores, you naturally ALL played together in the movie studios, and think that's one of the reasons why I loved doing that work instead of the regular record dates too there....I was used to playing almost every day with a huge string section, lots of horns, 03 -4 percussionists, 03 -4 guitarists, almost a symphony every day, talk about a musical thrill, all the communication of all those musicians together on a picture score, Thomast Crown Affair, Airport, Sweet Charity, Heat Of The Night, Beneath The Planet Of The Apes, and TV shows like Ironside, Streets Of San Francisco, Paper Chase, Hawaii 5-O, Wonder Woman etc. -- very beautiful and exciting music, all of us in the same room together, whether it was Universal, Fox, Paramount, Warner Bros., Desilu, MGM etc. - too bad it's not happening much here in LA anymore like that, still some work, but nothing like what we all had. BTW, when I came back to record more these past years, I noticed that you have to have a *lot* more bottom end on the elec. bass than previously used for recording on the digital types of recording. When I started playing bass (always with a hard pick on bass) - after 6 yrs. of lots of studio guitar dates. -- an aside, I never played bass before in my life but started right on a record date and kept going late 1963) --- they all loved that sound for the analog recording, it cut through really fine. They needed more high-end types of sounds on the Fender Bass back then -- now they need more bottom end for the digital recording. And this and other reasons for sounds is why some record dates today are going back to analog. I've cut directly into a computer-based sound-card too, both direct and miked amp. I know the advantages of that, have seen editing (and done it myself with help of course) on the computer, very interesting to see the sounds and move them around. One cut I did for the Wondermints about 2 yrs. ago, think it's on their Bali CD, I saw that happen and many times since then. Before that, I didn't pay much attention -- interesting ways to record. On the only live-musician TV show still being recorded here in LA -- the rest are done in 1-man synthesizer places -- with a 35-piece orchestra every week (the Simpsons' TV show, Alf Clausen composer/arranger, one of my 70's former bass students, wonderful talent), I even watched the guitar player use his separate computer for his guitar gadgets along with his guitars he used for that show. Alf Clausen only uses 1 guitar player, and only 1 bass player too who played both string bass and elec. bass for his fine music on the Simpsons TV show. Yes, I'd say recording has sure changed from when I first saw it in 1949 with the Presto vinyl recordings my teacher would make (and soon after, his wire recorder and 2 SOS, "sound on sound" tape recorders) and the early model boards in the Radio Recorders 1957 studios (hardly any knobs!), have seen it all. When I first came back to LA in 1993, I was totally amazed at the space-age boards they have now in the studios here. Looks like 100s of knobs and they can do everything but fry eggs with them. Carol Kaye http://www.carolkaye.com/ ________________________________________________________________________ ________________________________________________________________________ Message: 5 Date: Tue, 18 Jul 2000 00:44:58 -0400 From: Tom Waters Subject: Scopitones Hi! About a year ago, I purchased two VHS tapes of Scopitones >from a member of this list and since then, I have become hooked on these very interesting and fun old videos! I've even been showing them to family members! Anyway, I remember that the gentleman who was kind enough to sell me copies of the videos (whose e-mail address I have misplaced) said that there was a three volume set called Scopitone Mania and I purchased volumes one and three . I'm now looking for volume two or any other Scopitone collection. Can anybody help me out or direct me to where I could purchase Scopitones on VHS? I found one company called Pleasant Street Theater which rents a Scopitone videotape and they said they will try to get back to me after doing some research. Can anybody here give me any more info.? One more thing, does anybody know where I could get a video of Francoise Hardy music clips from the '60's or early '70's? Thank you very much, Tom ________________________________________________________________________ ________________________________________________________________________ ************************************************* ** SPECTROPOP! ** ** Spectacular + Retro + Pop ** ** The legendary 60's pop music mailing list ** ** <http://www.spectropop.com> ** *************************************************
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