http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ His Master's Voice ------------------------------------------------------------------------ There are 4 messages in this issue. Topics in this digest: 1. Re: Connie Stevens From: Pekka Halonen 2. Comment from Perry Botkin Jr. From: Carol Kaye 3. mann/weil From: Jack_Madani 4. Quote from Toronto Globe re: Brian Wilson From: Carol Kaye Message: 1 Date: Fri, 21 Jul 2000 20:03:33 +0300 From: Pekka Halonen Subject: Re: Connie Stevens Jack_Madani wrote: > 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. "Connie Stevens sings Hank Williams" was also reissued by Globe Records in 1992 (Globe CD 1460/14), if it isn't the same CD that you're talking about? There are 12 tracks from "C.S. Sings Hank Williams" album and 14 "bonus" tracks including all of her TOP 100 hits. The "bonus" tracks were the reason for me to buy the CD, but the cover versions of Hank's songs are actually not bad at all, even though the arrangements of the songs are mostly close to originals. I would have loved to hear a version of "Hey Good Lookin'" produced in Phil Spector's way here, but no, there aren't any surprises like that... There are a few excellent non-charters among the "bonus" tracks, like "Apollo", "Little Miss Understood" and "Lost in Wonderland" (written by David Gates). Pekka Halonen Message: 2 Date: Fri, 21 Jul 2000 17:13:45 -0700 From: Carol Kaye Subject: Comment from Perry Botkin Jr. I quoted something and sent this to Perry Botkin Jr., prolific arranger of a lot of the 60s hits - we all worked a lot for the wonderful Perry who sort of pooh-poohs his importance in that era, he was always great to work for, and wrote some good decent stuff... ....he did tons of arrangements for dates back then, and here is what he replied, tho't you all would be interested: > 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. >From Perry: " I arranged this album and think I'll order a CD from Collectors Choice. Should be fun hearing (without clicks and pops) what I was up to all those year's ago. You probably played bass on the dates. All I remember was that Jessie Sails was the drummer. Wow! that is a while ago. I feel that with Jessie Sailes on the drums, it was probably very early 60s, as Hal Blaine and Earl Palmer really took over most of the dates back then altho' Jessie still worked and so did Sharkey Hall, but it was mainly Hal and Earl by around 1963-64. Interesting that Perry remembers those dates. His website is at: http://home.earthlink.net/~pbotkin/ BTW, I sort of remember I also played on the Donna Loren dates, sure is in my log. Carol Kaye http://www.carolkaye.com/ Message: 3 Date: Sun, 23 Jul 2000 15:24:40 -0400 From: Jack_Madan Subject: mann/weil I happened to catch Barry Mann and Cynthia Weill on NPR's Fresh Air program. It was an interesting interview, nothing earthshattering but interesting nonetheless. Points of interest: they compared the Animals' version of We Gotta Get Outta This Place with Mann's own version on his new cd (which I think was the real reason for Mann/Weil to be on the radio--hawking the new product, ya know?). And ignoring the age of the two recordings, you really could hear an ocean's worth of difference in the approach to the song. Mann said he was thinking of getting out of his little N'Yawk neighborhood, whereas he said the Animals were singing from the perspective of getting out of one of those dirty coal mining towns that they came from. Mann said that the British Invasion forced him to have to think in terms of guitar-based melodies, giving as an example the opening bass riff of We Gotta Get Outta This Place (on his own singer/songwriter version, the riff was played on the lower end of the piano). Weil said that the words in the chorus to "You've Lost That Lovin' Feelin'" were actually dummy lyrics, and that Spector told her to leave them, they were perfect as is. Weil said how her lyrics mostly never really fit in with the girlgroup vibe, whereas Goffin and King had that down cold. Mann sang a few bars of an alternate version of "Only In America," a darker, cynical view of how America treated minorities. Mann and Weil were stumbling to explain to the host just what Spector contributed to the songwriting process that would justify his name on the writing credits. I love Spector, love him love him love him love him. Great producer. Great great great. But after reading that Ribowsky book, which albeit definitely had a point of view about Phil the not-so-good personal guy, and then hearing Mann and Weill not being able to say exactly what Spector added to songs, I'm still not so sure about his contributions to those songs where his name is the third one on the songwriting credit. By the way, Barry Mann co-wrote the theme song to Disney's animated version of Oliver back in the late eighties. Sung by Huey Lewis and with plenty of BW '88 synthy production, the song "Once Upon A Time In New York City" nevertheless has that unmistakeable Uptown sort of spanish harlemy feeling, combined with the pedal point bass thing that pops up in all those Righteous Brother tunes, that I associate with a Mann/Weil type of song. jack Message: 4 Date: Fri, 21 Jul 2000 13:43:26 -0700 From: Carol Kaye Subject: Quote from Toronto Globe re: Brian Wilson > This is, after all, a man who was so traumatized by the > outside world that he had a sandbox built in his very own > living room, and pretty much lived in it for two or three > years back in the late sixties. Yet another person making up a fantasy. Sure Brian had sand around his piano, capturing a mood-sense for a tune, composing. David Rose used to sit in his miniature train for ideas and power his train around his Sherman Oaks mansion....both of the "crazy"? Not if you're a musician and understand the creative-process that so many people are mystified about. Paul Horn recorded in an Egyptian pyramid for the sounds he could get there, other musicians do all sorts of things that wouldn't be considered "normal" for getting ideas and sounds for their music creating. >From that Houston article I'd say, there were other things going on in his life, not a "nervous breakdown" as they called As for how Brian was in those 60s years, I was working for him practically ALL the time, and never saw any "bizarre" behavior at all! In fact, he was very very normal. I heard one day that yes, that he didn't "want to travel with the BB's anymore" and worked for him on his record date "after that decision", he was absolutely NORMAL, great to work for, a fine producer, handled himself and us studio musicians (and believe me, we spent HOURS with him each time) in a very professional way, was the same man both before when he was traveling and afterwards, no problem. When anyone got angry, flipped out, or just plain didn't act themselves, this was called a "nervous breakdown", and nothing else should be read into that from today's standards at all. This is a far cry from anything anyone is trying to imply with an incident of someone getting upset over something. I repeat, Brian never exibited ANY tendencies other than being himself, a great producer, a young talented man fun to work for, a leader really - extremely cool and collected, all-business (as the bootlegs belie with his talking, his instructions, his handling of the production of recording) on the record dates. And I can tell you, as he and Marilyn right after they got married, came over to my house socially too a couple of times. While Marilyn and I mostly chatted while watching TV, Brian enjoyed using my Niagara Massage/Heat lounger chair with the rollers, he loved that chair and just luxuriated in it. I know I said something about how it "helps my neck, shoulders, etc." after he said "Carol I love this chair" and I pointedly remember him saying "yeh, my neck hurts badly and am having bad head pains, but this is really helping me a lot". About 15-20 years ago I lived in horrendous pain from TMJ (jawjoint). If you've got constant pain in your head, ears, neck, shoulders, back etc. that can drive you nuts, especially if you're FLYING!! Your ears are affected by flying as you all know, all of you who fly, and to have the damaged ear that Brian had, that had to be extremely painful. His remarks at my house have always stuck with me as it was the FIRST time that Brian had ever complained he was in bad physical pain a lot of the time....he loved my massage chair back then. I'm not writing this to "get Brian out of anything that really happened", no way, but this is insane for these types of rumors and myths to be carried on in an age when it should be plain for people to see, with all the lawsuit,s what people's real motivations are.. Now I hope that people can be wise enough to put the two things together and see why some of what people say in the past (if they said it) has been misunderstood and misconstrued to mean something else....the man was in pain and probably going through changes too. Maybe pain wasn't the cause of him being upset, but you'd better believe it had something to do with it.......who can be totally calm, and serene, functioning well when they're living in god-awful pain almost all the time? I never saw him use drugs at all in the studios nor anywhere else - that doesn't mean I believe he didn't use drugs. Of course he used drugs, he later told us all that, but do you think he used any "more" drugs than anyone else in those years? And he functioned professionally with us, and we were super-critical of ANY young producer back then, about 95% of them had no idea what they were doing, and we knew it! But we also knew that Brian KNEW what he was doing, and admired him for it, the rest couldn't do what he could do. We admired Brian, he knew what he was doing in production, his arrangements, his engineering, etc, I saw him bring in his own written parts of the music (no, maybe not for harmonica!), saw him conduct himself absolutely great like any other older experienced professional producer...we all admired him, respected him and thought he was the best to work for! Is this the same man described in that hearsay article? I'd say not, someone is pulling the wool over your eyes for reasons which probably the public will never know. I don't have to lie about these things, I don't have to say anything, no I'm not being hired by Brian for any recording work, nor am on tour with him, I'm just sick and tired of all these lies out there that do NOT describe the man I know and have worked for. Had this been Herb Alpert, I'd be writing this to defend him too, and all the rest of the fine people I've worked for. Brian was just the "kid" of them all and one of the greats to work for. The above Quote from Toronto Globe illustrates how lame journalists sometimes are, they love to invent rumors and myths and then they are in turn quoted. You see how this stupid stuff keeps on going. Glad I'm not a star! It's tough enough just being a recognized studio musician "did you have trouble being a girl?" No, I just kicked them in the pants and everything was fine. Hahaha. I sure wouldn't want to be Brian Wilson for all the money in the world with all this dumb stuff out there. Just reflecting, thank-you. Carol Kaye http://www.carolkaye.com/ End
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.