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Spectropop V#0048

  • From: The Spectropop Group
  • Date: 3/1/98 9
  •   =========================================
        S - P - E - C - T - R - O - P - O - P
        Volume #0048                 03/03/98
    Subject:     Petula, Scorsese, & Bread!
    Sent:        3/1/98 3:26 AM
    Received:    3/1/98 9:57 AM
    From:        Brent Kubasta,
    To:          Spectropop List,
    > From:
    > Jack Madani said:
    > > seems to me that Hatch understood that Gold Star 
    > > sound so well  that he was well capable of recreating it 
    > > in England; 
    > That's exactly right. Hatch's style is quite recognizable 
    >... I don't know if I'd go so far as to say he 
    >"recreated" the Gold Star sound, because as I mentioned 
    >before the Pet Clark sides I am so fond of are very 
    >British. Yet, Hatch-produced records certainly share 
    >common ground with the West Coast sound. Even if his   
    >production style was derivative, it worked.
    if hatch was trying to emulate the gold star sound in any way, it's worth 
    noting that he was taking a sound associated with teenage rock 'n' roll 
    and applying it to records appealing to an adult pop audience. (i've 
    heard a recording of a mid-60s radio interview with petula where she 
    laughs, though not condescendingly, at the dj's classification of her 
    records as rock 'n' roll.)
    > David Bash wrote:
    > >"I Can Hear Music: The Songs of Greenwich & Barry", and it 
    > >was created by Polygram Publishing.  
    >OK, a question about this. If memory serves, Barry/
    >Greenwich were signed  to Trio Music, which was a Leiber/
    >Stoller publishing firm. Trio is still  controlled by 
    >Leiber/Stoller to this day. How do PolyGram fit in?  
    when i bought the reissue of ellie's _let it be written, let it be sung_ 
    album in the late 80s, the album was on verve/polygram. perhaps she is 
    considered a polygram artist? or made a publishing/administration deal 
    with the label?
    >Although Jeff, Ellie and Phil wrote a relatively small 
    >number of songs  together, almost every one was of stellar 
    >quality and today retains great  value. All of these co-
    >writes are co-administrated with Phil's company  Mother 
    >Bertha, and it is ABKCO who administers Phil's interests 
    >(both  publishing and masters, btw).
    >Trio Music have most likely been a benefactor of ABKCO's 
    >careful  administration of Mother Bertha and Philles 
    >properties. ABKCO is known to  be very selective in 
    >granting licenses; rare in today's corporate  "maximize 
    >profits" mentality.
    thank goodness that abkco had the good sense not to be overly selective 
    when it came to _goodfellas_ and _casino_. spector's philles recordings 
    weren't merely well-placed in these films; they added absolute magic to 
    certain scenes. is there a single spectropop list member who will not 
    agree that the "then he kissed me" sequence in _goodfellas_ is one of the 
    coolest moments in the history of civilization?
    i'll bet that martin scorsese is friends with both phil spector and allen 
    klein: the use of philles and rolling stones masters in scorsese's films 
    goes all the way back to _mean streets_. (one can only imagine scorsese 
    and spector in the same room. how could four walls possibly withstand the 
    pressure from such a concentration of wiry, high-strung, nervous energy?)
    > I would guess an amicable agreement was  struck when the 
    >Jeff & Ellie CD was planned where funding might be more  
    >appropriately used to produce new masters of these classic  
    >Spector/Barry/Greenwich songs by contemporary artists. 
    >or it just might be spector not wanting to be generous in 
    >any way with his masters.
    A friend of mine in record retail told me that when the spector box was 
    released, spector/abkco didn't even send out promo copies of the complete 
    box. instead an *empty* box (i.e. with nothing but the lyric booklet) and 
    a stingy (7 or 8 songs) sampler cd were sent out. if this is completely 
    true, one can only deduce how phil would feel about lending out his 
    *master recordings* to a mere songwriter/publisher sampler!
    > >Subject:     KHJ
    > >From:        Paul MacArthur, rtf_XXX@XXXXXXdu
    > > Some say the sixties began when Kennedy was shot and ended 
    > > with Nixon's  resignation. I think in terms of musical 
    > > excellence, it started a  little earlier than that, circa 
    > > Phil Spector,  but after Nixon's resignation we had a 
    > > dramatic down turn in the quality of popular (and  less 
    > > popular) music.
    i don't want to waste spectropop space on sociological conjecture, but i 
    think any decade takes a couple years to "get going".
    and i don't want to waste spectropop space on a large subject that might 
    be out of the forum's agreed limits, but i must say this: i think people 
    have developed a far too narrow, negative view of the 70s. without any 
    problem, i could list a hundred *great* singles released during that 
    maligned decade; i wouldn't even attempt starting such a list regarding 
    the 80s or 90s. 
    granted, a good number (a majority?) of these treasured 70s records might 
    not have been on the radio. but some *were* on the radio, and those that 
    weren't had at least been written, recorded, produced, and 
    released--giving me joy in the present and hope for the future. 
    personally, it wasn't until the 80s kicked in that i truly felt like a 
    stranger in a strange land.
    > Nice one, Paul. That's a pretty good description of what 
    >"Spectropop" encompasses.
    not that i'm trying to set a chronological limit on this forum (see
    above!), but if i'm clear on page's vision of "what 'spectropop'
    encompasses" i'd say it ended at the woodstock festival, obviously 
    long before nixon's resignation. 
    > > Gates...does Gates not receive enough credit when the 
    > > great pop svengalis are written about?
    > I really don't care to mention Bread etc. as all that is 
    > from the 70's and after. 
    david gates wrote some *incredible* songs. if i don't dig listening to 
    'em all that much, it's only because those bread records are casualties 
    of clean, soft, sterile, 70s multi-track production. five years earlier, 
    had gates been in a band such as buffalo springfield and provided them 
    with "everything i own" and "let your love go", i'm sure those songs 
    would be held in high regard by all spectropop list members.
    ---[ archived by Spectropop - 03 /3/98 - 02 :23:39 AM ]---
    Subject:     Re: Nino & April
    Sent:        3/1/98 4:49 AM
    Received:    3/1/98 9:57 AM
    From:        Alec Palao,
    To:          Spectropop List,
    >> "I Love How You Love Me," is a masterpiece, perhaps my
    >> favorite non-hit  record from the mid-sixties.  Nino and
    >> April belt it out, complete with  bagpipes and electric
    >> guitar!  Hey, it worked for me when I bought the  single
    >> in 1965, and it's even greater in stereo CD sound.
    >I still find the bagpipes to be a distraction from an 
    >otherwise rocking track, but I certainly won't begrudge you 
    >the right to like it.  In general, the whole album has 
    >grown on me since my first impressions.
    Interestingly enough, the 'bagpipe' arrangement of this track was pinched 
    by others - Paul & Barry Ryan in the UK, The Fair Sect Plus One in New 
    Zealand. I actually think the bagpipe riff works quite well, in the 
    context of a more 'uptempo' rendering of the song.
    ---[ archived by Spectropop - 03 /3/98 - 02 :23:39 AM ]---
    Subject:     who'dathunk
    Sent:        3/1/98 9:22 PM
    Received:    3/2/98 10:03 AM
    From:        Jack Madani,
    To:          Spectropop  List,
    Guess what I picked up for real cheap and have been loving:  
    "It Must Be Him:  The Best of Vikki Carr," part of the EMI 
    Legendary Masters series.  Tracks date from 1962 to 1969; 
    there's the Easy Listening stuff one'd suspect (Can't Take 
    My Eyes Off You, Summer Samba, It Must Be Him, San 
    Francisco, the last on which Vicki sounds amazingly like 
    Judy Garland), but there's also a lot of Fifth Dimension/
    Partridge Family/Gary Puckett style charts.  There's also 
    some of that Big Beat stuff that I dig so very much, 
    sounding like Mel Carter's Hold Me Thrill Me Kiss Me, and--
    holy cow--there's even a couple of girl group cuts!  Love 
    that combination of picked bass/distorted guitar plucking 
    out the bass line.  There's lots of it on this disc.
    First track is He's A Rebel, which if I understand the 
    history of it, is actually the "original" recording of the 
    song, which Spector managed to hear before it was released 
    and then he recorded and released the famous Crystals 
    version, thus forcing Vikki's version to stall at #115.  
    Vikki's version is inferior to Spector's, being built atop 
    an extremely martial rhythm; it's like what Sgt. Barry 
    Sadler's version might've sounded like.  However, it's 
    interesting to note that Vikki's version also features the 
    surprise key change just before the first chorus, just as 
    the Spector version did.
    The second track is the gem here, total girlgroup manna:  "I 
    Got My Eye On You," a previously unreleased track that has 
    no songwriting credit but which based on the liner notes I 
    infer was arranged by a fellow named Bob Florence.  With its 
    doubletracked vocals that split into two-part harmony on the 
    choruses, and the bubbly rhythm track, it reminds me of 
    Skeeter Davis's "I Can't Stay Mad At You" or "Let Me Get 
    Close To You."  Yowza, hit the repeat button on the cd 
    player for this one.
    Other tracks of interest include: "My Heart Reminds Me (And 
    That Reminds Me)," which reached #31 on the 1966 Easy 
    Listening Charts for the Vikkstress and which the liner 
    notes mention was also covered by Della Reese; however, the 
    notes make no mention of another version of the same song 
    which members of this list may know, a recording by the 
    Dolls on the Warner Brothers compilation disc "60's Girl 
    Groups."  The Dolls version is total Spectorish wall of 
    sound; Vikki's version is considerably cleaned up, but still 
    features a cello line in the instrumental break that will 
    put the listener in mind of the break from the Ronette 
    recording of Be My Baby.  And those clean, crystal-clear 
    drum fills--it's gotta be Hal Blaine.
    "(Walk In The) Sunshine" begins with harpsichord and cello 
    working out over unusual chord sequences, before becoming 
    more conventional on the choruses.  Not too far in feeling 
    from psych-pop, if you would replace Vikki's strong single-
    voice lead with a Spanky & Our Gang sort of group-harmony 
    "A Bit Of Love:"  Starts off like the Fifth Dimension's Up 
    Up And Away, and then screeches to a halt and cops the 
    chorus from Pet Clark's Don't Sleep In The Subway.  There's 
    an awful lot of stuff on here that sounds like Hal Blaine on 
    drums, and therefore I would suspect the rest of the LA cats 
    are on here as well.  Co-written by Dick and Don Addrisi, in 
    case that means anything to someone here (Jamie?).
    "The Silencers" is the theme song from the Matt Helm movie 
    of the same name.  Cool spy music.  I've seen this song on 
    at least one "lounge" compilation.
    I have seen this disc in a number of bargain bins already, 
    but it was only when I had a chance to hear it before buying 
    did I finally pick it up.  In the price range of three to 
    five dollars, it'd be worth it just for the handful of cuts 
    that I mentioned, but if you also like stuff like Pet 
    Clark's Kiss Me Goodbye or Who Am I, or Sinatra's music for 
    moderns as appears on the Strangers In The Night album, 
    you'll probably go for this disc in a big way.
    Interesting how confusing the music scene was in the first 
    half of the sixties, where an "adult" artist like Vikki Carr 
    could wax girlgroup tracks, or a "youth" artist like Lou 
    Christie would fill up half of his Lightning Strikes album 
    with covers of standards.
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540
    "It is when the gods hate a man with uncommon abhorrence that they
     drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
    ---[ archived by Spectropop - 03 /3/98 - 02 :23:39 AM ]---

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