________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ Providing the finest monophonic performance from any phonograph ------------------------------------------------------------------------ There are 5 messages in this issue #22. Topics in this digest: 1. I Want to Stay Here From: Bobby Lloyd Hicks 2. Re: Misunderstanding about Joe Osborn From: Carol Kaye 3. Re: bass From: Len 4. Re: Jamie, you're right about thud-thud From: Carol Kaye 5. Bass Question for Carol Kaye From: "jake tassell" ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Fri, 18 Aug 2000 11:03:48 EDT From: Bobby Lloyd Hicks Subject: I Want to Stay Here I was listening to the Tiny Tim/Brave Combo collaboration "Girl" and the song "I Want to Stay Here" is haunting my brain. I found out that it's an old Steve and Eydie tune, but can't find it on any of their records listed at cdnow or amazon.com. Anyone know what collection it's on and where it can be found? Thanks Bobby Lloyd Hicks --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Fri, 18 Aug 2000 02:18:39 -0700 From: Carol Kaye Subject: Re: Misunderstanding about Joe Osborn Alex Valdez of the "Yellow Balloon" recordings and I have been discussing the misunderstanding of Joe Osborn and some other things surrounding the recording of Motown dates in LA during the 60s....very nice person Alex is, I'm impressed. He remembers a lot about the Lewis Sisters, a couple of nice white girls who were singing while we were laying down tracks for Motown with Armin Steiner engineer for LA-Motown (their mikes were not plugged in -- we were complaining about the tracking not being paid for, so Motown producers Hal Davis, etal. put them up there as a front). Alex got it confused with acoustic Jimmy Bond, thinking he was Joe Osborn. Evidently one of the Lewis Sisters was pulling his leg saying "Carol won't work without him on bass because she's dating him", totally FALSE. I wasn't dating at all during those years for #1, and #2, Jimmy is black and Joe is white and not an acoustic bass player. I don't know why she said that unless she was just kidding around, I didn't know those women hardly at all...only saw them a few times when they were attempting to sing (and not very well either, but they were friendly). Jimmy played on 1 or 2 dates at the most with me (and Alex remembered it correctly -- they had him in back of me standing up). I did remember the one date when we recorded the hard triplets of "Love Is Here And Now You're Gone" track for the Supremes. James Bond (we called him 007) is a fine jazz bassist and we both enjoyed playing those hard triplets together. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Fri, 18 Aug 2000 02:22:40 -0700 (PDT) From: Len Subject: Re: bass Jamie - you basically said - " a lot of "today's music" ain't music" i know many people who agree with you.. and i am one of them |=================================================================| | Len | | | | '63 1/2 Galaxie 500 fastback - 289-V8, auto | | '69 Galaxie 500 Sportsroof (fastback) - 429-V8 | | http://www.geocities.com/donutbandit - my "Radio Legends" pages | | | |=================================================================| --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Fri, 18 Aug 2000 02:10:55 -0700 From: Carol Kaye Subject: Re: Jamie, you're right about thud-thud Jamie, I suspect you're one of a great majority of listeners who are very tired of hearing the "thud-thud-thud" in the recordings of today. And also, it's probably (imo) because there is no bass, or little bass, why so many turn up the bass drum so there is "something" on the bottom. I'm busy teaching a lot of bass players here in LA (both privately and at the Mancini Institute, and seminars around the country), who are quickly being put to work so that's a good sign in live-playing -- they all play real notes, know how to support the band tastefully, playing the right kinds of patterns for the multiple styles required, etc., IOW, a throwback to the 60s and 70s for good bass work -- and they're enjoying playing real music like the audiences enjoy hearing real bass too, very rewarding all the way around. Yes, if the drummer is playing too much, then it becomes a "drum" record. When good hit recordings were created, parts were played simply and supported the top end (singer, instrumentalist) -- that was the role. There was no starring role underneath. You played what was required for the song, the singer, the arrangement (whether head, that is, improvised - made up by the studio musicians which was the case early in the 60s until the arrangers such as Perry Botkin, Don Ralke, others got their arrangements going and even then needed the lines sometimes that studio musicians could make up)....it didn't matter what style and less was more -- everyone back then was cognizant of what the listener and the dancer required for music. But there again, I've often wondered especially lately just how important "songs" are now to people vs. how important the beats, and songs were back then to people. People lived their lives through songs, singers, the dance-beats, etc. back then (60s-70s) but just how relevant and important those elements are to people's lives now? It's an interesting situation. People still enjoy hearing a lot of live musicians, that fact is very clear, the live musicians are greatly appreciated, but for recording....they are all used to synthesized, and layered-on sounds.....not the real sounds of the instruments, and not the real feelings of musicians playing together, communicating together, but rather robot-like performances, and technically oriented sounds. A sort of split personality in the music business. I'm finishing up teaching at the prestigious Henry Mancini Institute at UCLA, and I can assure you we will have some of the finest musicians out there more and more with the excellence that is taught and experienced with this fine institute but we all hope there will be the finest of jobs for them besides the regular symphonies too. Recording work here in LA is in flux, sometimes not very good. Nashville is having some slow-downs too as is NYC, other places are not happening well. We'll see how it evolves -- if the public still wants to hear good live musicians, good music, etc. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Fri, 18 Aug 2000 10:46:02 +0100 From: "jake tassell" Subject: Bass Question for Carol Kaye Hi Carol A question you've probably been asked a thousand times. I've often wondered how you got the bass sound on The BBs 'God Only Knows'. Did you use a Fender Precision? Flat-wound strings or roundwound? And was the bass recorded with a mike/directly-injected, or both? Thanks Jake [Non-text portions of this message have been removed] --------------------[ archived by Spectropop ]-------------------- End
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