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Spectropop - Digest Number 23

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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.


Carol King at Spectropop

--------------------[ 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 Anyone know what collection it's on and
 >where it can be found?
 >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 

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

--------------------[ 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

>"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 

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,


Carol King at Spectropop

Barry Mann & Cynthia Weil at Spectropop

--------------------[ 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 

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 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* 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 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

--------------------[ archived by Spectropop ]--------------------

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