________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ A non-profit organization dedicated to the betterment of recorded music ________________________________________________________________________ There are 4 messages in this issue #23. Topics in this digest: 1. Steve and Edyie From: Doc Rock 2. Re: I Want to Stay Here From: Al Quaglieri 3. Re: I Want to Stay Here & Home of the Boy I Love From: LePageWeb 4. Re: Today's Music From: Carol Kaye ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Sat, 19 Aug 2000 11:02:34 -0400 From: Doc Rock Subject: Steve and Edyie "I Just Want To Stay Here" was a Top 10 45 in the Summer of '63 in Kansas City. I've had the Columbia 45 for 37 years, I love it! By and large, Steve and Edyie's hit 45s are excluded from LP or CD compilations. They are ashamed of them. Steve's top 5 hit cover of "Party Doll" is a prime example. Doc Carol King at Spectropop http://www.spectropop.com/hcaroleking.html --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Sun, 20 Aug 2000 12:43:09 -0400 From: Al Quaglieri Subject: Re: I Want to Stay Here Bobby Lloyd Hicks wrote: >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 It can't be found. It's only on a 45. Steve and Eydie bought back all their masters from Columbia in 1982 or thereabouts. Through a close friend of theirs, I've been trying to convince them to let me compile their Goffin-King/Mann-Weil material recorded during Columbia's brief alliance with Nevins-Kirschner. This includes: Steve Lawrence - Go Away Little Girl (Columbia 4-42601) (Goffin-King) Eydie Gorme - Blame It On The Bossa Nova (Columbia 4-42661) (Mann-Weil) Steve Lawrence - Don't Be Afraid, Little Darlin' (Columbia 4-42699) (Mann-Weil) Eydie Gorme - Don't Try To Fight It, Baby (Columbia 4-42790) (Goffin-Keller) Steve Lawrence - Poor Little Rich Girl (Columbia 4-42795) (Goffin-King) Steve and Eydie - I Want To Stay Here (Columbia 4-42815) (Goffin-King) Eydie Gorme - Everybody Go Home (Columbia 4-42854) (Goffin-King) Steve & Eydie - I Can't Stop Talking About You (Columbia 4-42932) (Goffin-King) Eydie Gorme - I Want You To Meet My Baby (Columbia 4-43082) (Mann-Weil) According to the Sony archives, there are at least another 8-10 such tracks recorded during that period. Unfortunately, Steve and Eydie have tried (quite successfully, it seems) to erase most traces of their teen-pop days and tried to reinvent themselves as crooners of sophisticated music. Al Q. Carol King at Spectropop http://www.spectropop.com/hcaroleking.html --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Mon, 21 Aug 00 16:29:03 +0900 From: LePageWeb Subject: Re: I Want to Stay Here & Home of the Boy I Love Re: I Want to Stay Here >Subject: > >"I Want to Stay Here" is haunting my brain. I found out that >it's an old Steve and Eydie tune...Anyone know what collection >it's on and where it can be found? Hi Bobby, I thought I could turn this one up somewhere, but no luck. Now I've become curious, because I am rather fond of the other King/Goffin songs I've heard recorded by Steve and/ or Eydie. I have the following: Go Away Little Girl (SL) - 1993 Commemorative CD for NY production of Tapestry (no cat #). Poor Little Rich Girl (SL) I Can't Stop Talkin' About You (S&E) - Carole King Masterpiece Volume 2 [A-Side 439172]. I'd love to hear more of these Steve & Eydie/King/Goffin recordings. -------------------------------------------------------- Re: Home of the Boy I Love While looking through various CDs looking for Bobby, I stumbled across another strange piece of the Home of the Boy I Love puzzle. On CD 1 of Bary Mann's "Inside the Brill Building" is a track listed as "Home of the Boy I Love" (Mann/Weil), and the artist is listed as...Cynthia Weil! Per the recent thread on this song, I am convinced this is not a Mann/Weil song despite numerous examples crediting them, so naturally I am skeptical as to whether this is really Cyn singing this version. If so it is pretty rare. I can't think of any other Weil lead vocals in circulation. The point, though, is if Bob Keane received this demo sung by Cyn, and Barry was scheduled to produce the Lori Martin side for Keane, then this may be a clue as to how Keane eventually released the record with Mann/Weil incorrectly credited as writers. By the way, for the longest time I pronounced Cyn's family name as "wheel". I was recently told the correct pronunciation is "while". Can anyone corroborate? All the best, Jamie Carol King at Spectropop http://www.spectropop.com/hcaroleking.html Barry Mann & Cynthia Weil at Spectropop http://www.spectropop.com/hmannandweil.html --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Sat, 19 Aug 2000 09:01:02 -0700 From: Carol Kaye Subject: Re: Today's Music >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 We used to kid in the studios back in the 60s when we were making up parts (before the arrangers got hip to the rock arranging), and making the music groove -- the songs weren't very good a lot of the times and we'd have to *dress them up* -- we'd say "can you imagine today's baby boomer generation dancing to this music we're cutting 25 years from now saying 'darlin', they're playing our song'"? And then we'd laugh in disbelief....none of us tho't that music would last more than 10 years. We all thought that future studio musicians could create, play like us in the future and it would evolve into "better music". Well........those golden oldies are the main funder of a lot of income for the record companies, and a little bit goes into the phonograph royalty fund in our Musicians Union too (how I know it's the hottest bunch of sellers out there - it's a huge part of the funder of our Phonograph Royalty Fund, but we don't see the money...... the present crop of recording musicians get all the fund... you have to keep working in the studios to benefit from that fund). But the "thud-thud-thud" can't be doing all that great as record companies are having to merge to even stay in business, they're hurting very badly. See what happens when you lose the bass among other things that sound good on a recording? >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? Jake, that was one of Brian Wilson's productions where you did hear the 2nd bass, the upright bass along with me..... the blend is there on that one cut very well, both basses about equal in volume. Usually, and even Lyle Ritz would kid "I'm just pantomiming" you didn't hear the string bass very much, altho' he's playing on most of Brian's recordings with me. I always use the flatwound strings, play bass with a very hard pick (gets the finest fattest sounds and easy to play the correct pickstrokes with, up on the upbeats and down on the downbeats), and I was always miked just in front of one of the 4-10" speakers I always had on my Fender open-back Concert amp....a little later, I used the very clean Versatone amp (low-powered) around 1967-68 which was also always miked in the studio.....Brian never took me direct. The sound you heard in the studio is what you got on the tape. I played very hard which is easy and sort of non-exhausting with the pick technique I use and have always taught -- Dave Hungate, formerly of Toto and others use that pick technique successfully I taught them all very well too......you have to use flatwounds playing with a pick but even the finger players back then used flatwounds ....those strings just sound the best. But the special sounds are also there because of the doubled up felt muting on top of the strings I *always used*....you have to mute your strings to kill the sound-killing over- and under-tones. Muting doesn't do anything outside of making your sound really defined....the notes still will ring on the bass. Others have bought 1,000s of dollars of additional gear to EQ, compress, etc. their bass sounds....you don't need all that, only a piece of felt on top of your strings if you play with a pick, or a piece of medium-ply foam underneath the strings if you play with the fingers, barely touching the strings (1-1/2" width) in front of the bridges. This makes your sound very defined, a real *note* vs. ringing strings (and their orchestra, hahaha) that get lost with the rest of the band. I've personally gone to hear Lou Rawls (who btw was on the very first record date I recorded with Sam Cooke, Dec. 1957, it was his first date too) and he had a good live band with him about 1997. I could see the bass player play with his refrigerator-sized amp system, but it all came out "woof-woof-woof", no notes at all.......he didn't have a mute on his strings so you heard no notes at all coming >from his bass. I guess another reason for amplying the drummer's bass drum huh?! Yes, I always used a Fender Precision bass and was so busy, that instead of changing the strings myself (I always wiped the strings underneath and ontop every record date, somtimes 3-4 of them a day, we were all working extremely hard every day, all days and nights), I would trade in the bass every 2 years. I used the Fender Precision exclusively until I started to branch back out to play live jazz with Hampton Hawes in 1974, and used the Gibson Ripper for a short time, but it didn't get the punch I liked with the Fender Precision, so went back to Fender happily (was my own decision....someone at Gibson told the higher-ups that I was "enticed" back to Fender, not true, I can't be "bought"....but go with my own likes and dislikes). Finally not liking Fender because of that heavy neck and imbalance (something they still have last time I checked), I started using other basses late 70s, Music Man, G&L ( Leo's company), Alembic, others, but settled finally on the Aria which gets that recorded sound and has the fine jazz sounds too. I always used the Fender medium-gauge flatwounds. Today, I use the Aria Steve Bailey-designed bass which gets very close to that sound with its Seymour Duncan pickups (Basslines), ebony neck and Polytone amp -- great clean sounds, very warm and punchy, with the great Thomastik Jazz flatwounds.....and that's what you hear on Matthew Sweet's "In Reverse" album, that was all miked too and recorded analog. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- End
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