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Spectropop - Digest Number 2

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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.
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 @

Presenting The Fabulous Ronettes @


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


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 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

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

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


Message: 5
   Date: Tue, 18 Jul 2000 00:44:58 -0400
   From: Tom Waters 
Subject: Scopitones


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,


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