http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ just another typical small record person ------------------------------------------------------------------------ There are 4 messages in this issue. Topics in this digest: 1. re: Donna Loren aloha From: Pekka Halonen
2. Connie Stevens From: Jack_Madani@pds.k12.nj.us 3. Brian Wilson In Houston Press From: RTF_PJM@SHSU.EDU 4. Studio Musician & ReUses From: Carol Kaye ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Wed, 19 Jul 2000 21:34:07 +0300 From: Pekka Halonen Subject: re: Donna Loren aloha Jack Madani wrote: > Note that it says on this site, "A new, limited edition > CD entitled "The Best of Donna Loren" was released in the > fall of 1998 in Europe. A CD version of the original > "Beach Blanket Bingo" soundtrack will be available in > record stores and on this website in the fall of 2000." > Does anyone know anything about that Best Of cd? You probably mean this CD: Donna Loren; The Best of (Missing Records MISS 010) Here's the track listing: -- Blowing Out The Candles I'm Gonna Be Alright Ten Good Reasons Dream World Muscle Bustle I'll Never Change Him It Only Hurts When You Cry Cycle Set I Think, You Think These Are The Good Times Fly Boy New Love I Am My Ideal Beach Blanket Bingo Freeway (instrumental) So Do The Zonk Just A Little Girl I'm In Love With The Ticket Taker At The Bijou Movie 90 Day Guarantee On The Good Ship Lollipop If You Love Me... (Really Love Me) Call Me Smokey Joe's Johnny's Got Somethin' It's Such A Shame As Long As I'm Holding You -- Hope that this helps. Pekka Halonen, Finland ________________________________________________________________________ ________________________________________________________________________ Message: 2 Date: Wed, 19 Jul 2000 20:52:28 -0400 From: Jack_Madani@pds.k12.nj.us Subject: Connie Stevens I saw in a recent Collector's Choice Music catalog that they have a cd of "Connie Stevens Sings Hank Williams." Seems like a goofy combo, but I can't be sure since I haven't heard it. Hey, it could be as killer as Dean Martin singing C&W for all I know. But what REALLY caught my attention was a note in the catalog entry that ccm.com was going to be eventually acquiring three or four other Connie Stevens cd's. Any idea what these might be, and if they might have a high spectropop content? jack n.p. BB Sunflower/Surf's Up twofer. Wow, This Whole World really is one of the greatest records ever, isn't it. ________________________________________________________________________ ________________________________________________________________________ Message: 3 Date: Wed, 19 Jul 2000 16:08:22 -0500 From: RTF_PJM@SHSU.EDU Subject: Brian Wilson In Houston Press Please let me know your honest opinion of the article and if you dig it, let my editor know :) http://houstonpress.com/issues/2000-07-20/music.html ________________________________________________________________________ ________________________________________________________________________ Message: 4 Date: Wed, 19 Jul 2000 08:50:21 -0700 From: Carol Kaye Subject: Studio Musician & ReUses About us studio Union musicians not getting "re-use" monies, one person privately wrote that companies out there are scared to death about getting some Union musician who is due monies coming at them for re-uses. But my case has nothing to do with that scenario at all, read on. I agree that studio musicians who work for "demo" and not legitimate Union record dates put everyone into a predicament - but such is not the case in our work at all, we did very few percentages of non-union work and we actually brought all the fledgling record companies INTO the Union by insisting (once our work got them a hit recording) that if they wanted us further, they HAVE to get a Union recording license and hire us through the UNION -- they all did. The ONLY company that abused the few dates we did for demos (at first in the 60s we all did just a few of those dates) was Motown and we all are sorry we all worked for Motown in LA now - I know I am for sure. I have 149 dates in my log for Motown, and probably 70-80 dates for other people that were not Union, this is out of over 10,000 dates that I worked, so you see we were practically all Union, with good paperwork, yet we have to find the abuses of non-payments of re-uses ourselves by scanning uses of music for movies, TV shows, commercials on TV ourselves, etc. I think I only got shafted (not paid) one time out of all the years and 1,000s of dates I did, and that was >from a company from Chicago...the rest followed suit, went Union and that was the start of the great 60s recording boom here in LA -- this is another problem totally -- it's too bad that in other parts of the world, studio musicians had to go non-union to get work, I can understand and sympathize with that, but I think the way we did it worked (altho' hardly any of us will speak about that). We were staunch Union members, and the Musicians Union/Federation was made very strong by the prior work in the movies by Union musicians from the 20s on. By the end of the 50s, even tho' the Union was split into two Musicians Unions by studio musicians, they re-joined into one powerful and helpful Union by 1960. I wrote about the "Feelin' Alright" hit and all the rest which were legitimately claimed and paid before re-uses but now companies are trying to get out of it -- just like what the commercial ads strike is all about here too....re-uses are probably no more than 2% of income for ad companies if that. About 98% of our work was legitimate Union work late 60s through now, all perfectly documented, and handled well until recent times with the hiring of some which we are getting problems with all of a sudden from our own Union. My stuff was just absolutely stolen verbatim by HotWire Records and used...Bert Gerecht is the problem -- I should have known as Mo Foster warned me about him long ago but I kept on, trying to deal with him in an honest way as he seemed nice and I tho't well "maybe he's just not a good manager of business, putting out accordian recordings, and so-called bad jazz lps etc."...no, Mo was right, the guy is a not a good guy at all and is more than just a "poor manager" of business affairs....I've gotten approx. $300 for the 1,000s of CDs he's sold over a 10-year period and he's used my music in venues I had no idea of. I've had correspondence from another 2 artists he did some crookedness with also, so it's not like I wasn't warned in the last year, and it is alarming to *know* he's just another typical small record person trying to get out of paying me. You'd like to believe in people. He claims because he "gave me a certain amount of CDs over the years, shipped them to me, and charged me approx. $12- $14 each for them plus postage, my own music, that "I owe him" which is his way of squeezing out crookedly...that hardly any sales happened, etc. Well it just so happens I've gotten literally 100s of emails from people around the world stating how WELL my CDs have sold out there in the 10s of 1,000s in one case, making him a liar. It's not just me, but Ray Brown, others on there (this has nothing to do with the Union, just plain production monies, no contractural payments etc.)...the Union all got their money from me and Ray Brown etc. long ago, they were legitimately produced recordings mainly years ago. The ad people are the worst abusers I think tho'...it took me about 3-4 months of expensive phone calls to get paid for the 1st uses of "Feelin' Alright" back around 1989 when they started to use it in beer ads, etc. and found out that someone had written the title on the Union contract as being "Feelin' Good".....thank God for my Log and we could all prove we played on that one, Paul Humphrey etc. But I did all the leg work and paid expenses out of my own pocket for the long-distance phone calls etc. for that one. About that time, I did catch the Ray Charles version of another hit I played bass on for him, it was an overdub actually, and could prove it with my Log, I knew it was me, and I found the overdub date and Ray's company then paid for the telephone ads even tho' I was listed as "bongo player" (that's why there's so much joking on my Message Board about "Carol is is the best bongo player for Ray Charles", things like that. Another movie which I had written down the title of as I was proud of the funky bass lines I put on that movie, "Across 110th Street", was for J.J. Johnson who ran Shaft on his "Man And Boy" movie contracts and so our group of rhythm musicians will NEVER get paid nor get the credit for that one. Benny Golson so graciously cleared that mystery up for me by saying "yes I was there, and you met Gordon Parkes" etc.etc.etc, he remembered I cut the theme of Shaft (and my name is also on the sheet music as "bassist), that no, the group in NYC didn't do the theme, and some of the parts like you all did out at MGM"....but....J.J. Johnson did not fill out the contract to include "Shaft"...he did some shananigans with that contract and when I called him on it long-distance, he hemmed and hawed about it finally saying, "my wife doesn't like me talking to you, sorry I have to go now" -- but I asked him (nicely, I know JJ but I also know how some did do illegal things with contracts too to avoid paying the musicians etc.), "did you ever record ANY of Shaft on the east coast?" -- JJ answered "no, I recorded ANYTHING I did on Shaft in LA".......OK, that answered my question. Benny Golson was correct in his memories and so was I and other of our studio musician group I spoke with. Still, we'll never get the Union/Federation to get that straight......we are "not" on the later Shaft contracts, but our horn men are (they recorded on our tracks about a month later out here, same studio, MGM). Companies would sometimes get away with not paying late-payment fines (which could be considerable in monies) to us by changing the original date recorded, that was done quite a bit and is one of the causes of why Russ Wapensky is chasing down these sorts of abuses to get final correct recording dates for certain recordings back in the 60s -- he told me he found that our logs, our appointment books were the most-accurate of dates for our work etc.etc. Also, he's having trouble with missing contracts (due to the Union letting in so-called researchers into our Union records for "research", they'd walk out with the contracts as souvenirs....some Beach Boys contracts we found were printed on the backs of pirated album jackets printed in Japan complete with our social security numbers!). This is the reason why his book wasn't out years ago, it's taken Russ Wapensky the last 3-4 years to get the inconsistencies worked out with his meticulous research for his book which he's been working on for 10 years or long now. He's hopeful to get the book done soon and out in 2001. And yet, there are very honest producers who do try to make it right with the Unions, the companies concerned and they're not getting the help, cooperation and the attention they deserver for their efforts. I think in the USA this is a common problem probably just lately as the manpower decreases in the Union/Federaton, they simply can't afford to hire enough help to take care of the business at hand, their income coming mainly from membership fees and not from all the work generated like back in the 60s. I must tip my hat to the people, producers, record company owners etc., and I do believe they are still in the majority, the ones who are trying to do the right thing, do it all legally and are running up against walls of no help, indifference, etc. Best, Carol Kaye http://www.carolkaye.com/
Spectropop text contents & copy; copyright Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.