http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ Also Available in Stereo ________________________________________________________________________ There are 8 messages in this issue #27. Topics in this digest: 1. Papa Loves Mambo From: paul urbahns 2. Re: mambo From: Tobias 3. Re: Vancouver Vinyl From: Michael Godin 4. BOUNCE: Non-member submission From: Spectropop: Archive | Bulletin Board 5. Chuck and Bones From: Doc Rock 6. Re: Ritchie Valens From: Carol Kaye 7. Bass stuff for Carol From: "Robb Lowe" 8. The Dano, Valens, Nitzsche, Turner and shark bait From: Carol Kaye ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Sat, 26 Aug 2000 14:33:45 EDT From: paul urbahns Subject: Papa Loves Mambo Hanes socks is currently using the song on commericals nationwide. Sounds like the original Perry Como version but I don't have it for comparison. Naturally this new found exposure in big budget commericals is not going to translate to airplay on stupid oldies stations. Paul Urbahns ---------------[ archived by the Spectropop Group ]-------------- Message: 2 Date: Sat, 26 Aug 2000 10:39:13 -0700 From: Tobias Subject: Re: mambo >I'd rather go out to >hear a great band, a real band, and dance the Mambo. As Homer Simpson says, "There isn't a woman in the world who can resist the mambo!" ---------------[ archived by the Spectropop Group ]-------------- Message: 3 Date: Sat, 26 Aug 2000 08:39:12 -0700 From: Michael Godin Subject: Re: Vancouver Vinyl At 08:28 AM 26/08/2000 -0000, "Ian Chapman" wrote: >I'll be visiting Vancouver late October and wondered if >anybody knows of any stores that sell good old 60s 45s in >the area? > >Ian Hi, there are a couple of oldies record stores in town that I know of. D&G Record Collectors on East Hastings Street. Another is Neptoon Records on Fraser Street. Both are in Vancouver. Also, the Vancouver Record Collectors Assocation will be having a huge meet and sale on Sunday September 10, from 10 or 11 to 5 at the Ukranian Centre Hall on Ash Street. Tickets are just $2.00 I think. It's a good way to guage the vinyl that's out there in collections and a fun way to spend a day. Hope this helps. Michael Godin Treasure Island Oldies Show www.TreasureIslandOldies.com ---------------[ archived by the Spectropop Group ]-------------- Message: 4 Date: Sun, 27 Aug 2000 04:05:54 -0000 From: Spectropop: Archive | Bulletin Board Subject: BOUNCE: Non-member submission Re: Barry Mann & Carole King early solo recordings Posted by Fred on Wed, 23 Aug 2000 http://www.escribe.com/music/spectropop/bb/index.html?bID=48 ========= Start of forwarded message ========= Hi I've been informed of the availability of the following CDs "Barry Mann : inside the Brill Building" (german BrillTone label) and "Carole King: Brill Building legends" (label unknown). They both focus on Mann & King's early solo recordings/demos and I'd be interested in listening &/or purchasing them; Now the question is "how"? I couldn't find any online CD stores selling them! Could anybody help? even further information about the CDs contents would be appreciated... Thanks! Fred ======== End of forwarded message ========= ---------------[ archived by the Spectropop Group ]-------------- Message: 5 Date: Sat, 26 Aug 2000 12:16:08 -0400 From: Doc Rock Subject: Chuck and Bones Here is an excerpt from my book, "Liberty Records." Bones was telling me about engineers, including Chuck Britz. Doc In 1961, an engineer named Bill Putnum moved to L.A. from Chicago and started United Recording. Bones remembers how this "put a pretty heavy assault on the engineering people in L.A. I had managed to stay put at Radio Recorders when the new Capitol and new RCA studios were established and people came hiring around L.A. But in 1961, I went to work for Bill and Tony Perry at United. They subsequently bought Western and that became the famous United Western Studios. "Chuck Britz was an engineer who was one of the owners of Western Recorders, which was a little dumpy place at 6000 Sunset. United was a shiny new place at 6500 Sunset a half block away. Chuck remained at Western when it was bought and merged with United. Western was like Gold Star was, a great sounding, funky kind of studio. Bill Putnum was a smart man who knew what you had to do to stay ahead and attract artists. If you can't build it, you buy it. When Bill told me he was going to buy it, I told him, 'Oh, that dump?' But he refurbished it, and Western studio #3 became the hot studio in town. "Another engineer was Wally Heider who owned Wally Heider Recording. He came out of the big band era in Sheridan, Oregon. He was a lawyer who had a portable recording outfit and he would go out on weekends. His wife wouldn't see him from Friday morning when he left for his office, to Monday night. He would fly to New Jersey or wherever Woody Herman or Les Brown or someone was playing and he would tape them. I was making lots of big band records in the studio, and we would trade tapes all the time. He worked as a mixer at United, but he went off and started his little studio doing voice recordings and mix downs until finally he had four studios there. He died a couple of years ago, but was a great guy, a legendary figure. He was smart, he gave away free sessions to get people in there. He duplicated studio 3 at Western, and Heider 3 became the hot studio, literally a better room. I did all my work there from '68 on. "During my time at Radio Recorders, I used to run into Herbie Alpert and Lou Adler all the time. They were hanging around Bumps Blackwell and Keen Records at the time, and they ended up producing some records in that period." Later, Herb and Lou told Bones that he was recommended to them as an engineer for their records by Radio Records management, but that Lou had avoided working with him because he was a jazz engineer. But his non-jazz credits as engineer in fact included the pre-Liberty Imperial LP by Ricky Nelson, Rick in 21. ---------------[ archived by the Spectropop Group ]-------------- Message: 6 Date: Sat, 26 Aug 2000 10:39:13 -0700 From: Carol Kaye Subject: Re: Ritchie Valens >as a brash Elvis wannabe and a Mexican stereotype (for >lack of a better term, no offense intended) rather than >the down-to-earth local-boy-makes-good we know from the >film "La Bamba". Which is more closer to the truth: "La >Bamba" or Buddy? Any thoughts Ms. Kaye? Jeffrey, I loved the Buddy Holly film personally, but forget how Ritchie was portrayed...somehow it didn't seem out of character at the time I think, but I'd have to watch it again. Ritchie was a down-home person, very very sweet. I have no idea how he was on-stage...knowing and working for him, I'd say, like all other entertainers, he probably just came to life on-stage and was probably a different person, I don't know. Sorry, that's all I can remember. Call me Carol please, thanks. Best, Carol http://www.carolkaye.com/ ---------------[ archived by the Spectropop Group ]-------------- Message: 7 Date: Sat, 26 Aug 2000 04:22:30 -0400 From: "Robb Lowe" Subject: Bass stuff for Carol I have a question for Carol that others might enjoy.. I know you play with a pick, and these days - thats considered taboo for a bassist. One of the main people point out as being a pick player that rocked was Berry Oakley of the Allman Bros. Band. Any thoughts on him, or any other of the "name" bassists of the era? It also might interest some of you that when asked what he thought the greatest musical milestone of the 20th century was, Quincy Jones cited the Fender Bass as it. Robb ---------------[ archived by the Spectropop Group ]-------------- Message: 8 Date: Sat, 26 Aug 2000 11:44:15 -0700 From: Carol Kaye Subject: The Dano, Valens, Nitzsche, Turner and shark bait from Jake: > 'Mirwood' output (or to be more specific, did you play the > bass on 'Oh My Darlin' and/or 'Darkest Days' by Jackie > Lee?). No, I don't think so, don't remember seeing that company in my log and the name Jackie Lee doesn't ring a bell. > Also, while we're still close to the subject of the > Danelectro Six-String Bass, any idea who played 'Dano' on > Jack Nitszche's 'The Lonely Surfer'? I'm pretty sure that I did that one on Dano...was doing practically all of Jack's dates and it's about that time that I was it for the Dano (outside of Bill Pitman, but Bill was more or less the Dano player on the sweet pop dates, Dean Martin, those kinds of dates, he played guitar on the rock dates mainly). Jack was interesting to work for, I liked him and Gracia very much...he and Gracia were good together as a couple but then Jack got really busy. They both joined my then-husband and myself on our boat for some shark-fishing (about 1961-62 or maybe even '63)), and that was very adventurous....there were so many blue-sharks swimming around our 28 footer, and getting bigger by the minute (we caught 3 8-foot sharks with 10-pound test line, they weighed some 100s of pounds...we had to play them until we wore them out and then netted them). We had chummed the water quite a bit with our earlier catches of Benita (a fatty fish) and for the heck-of-it when we started seeing little baby sharks, and then the whole school of sharks encrouched around our boat swimming lazily around us (we were only about 2-3 miles off of Zuma Beach but there was no-one there, so felt it was OK to do that chumming). One biggie shark came sidling up to the boat, you could reach over and touch him, he was curious and Jack took a gaff and gaffed him in the head. The shark jumped up in the air, which broke the gaff (Jack was left holding the handle) and swam away with the gaff in his head....Jack was pretty worried about that one. But we were all so busy trying to keep from entangling our lines from the sharks we had hooked into that we didn't have time to worry about that. Gracia hooked onto what looked like a whale, it was as long as our boat, and going underneath our boat and bumping it on the bottom. I had to call out to HB Barnum's sister, Billie, great studio singer btw (she tours with Neil Diamond, was Nat King Cole's backup singer long ago) who was laying on top of the deck, sunning to get down in the hold - told her to get down from the deck -- she couldn't believe we were in a large school of sharks but looked down and quickly got in the hold....was dangerous. So my husband then cut Gracia's line as it was too dangerous being hooked up to a shark that large. After about 2 hours, we tired of it all, and went back to the Paradise Cove pier where it was big news about the sharks we caught. We all divvied up the shark meat, it was good white meat, but I could never bring myself about to cook it at all. Finally threw it out. I ran into Jack about 15 years ago in an elevator in Century City, good to see him, he looked pretty much the same, spoke about how he missed those days recording with us, me too I told him, and he mentioned that episode, how much fun it was, etc. We wished each other well. I'm sure that's me on the Dano on that one you ask about, he was hiring me on Dano quite a bit then too. Glenn wrote: > Was that really Ritchie playing those scorching lead > guitar parts? Speaking of the Dano, have you tried the > reissue Danelectro baritone basses? How do they compare > sonically to the originals in your opinion? No, that's got to be an overdub of Rene Hall playing that solo......am sure it's Rene, he was a hot lead guitar player (as well as a fine Dano player and even on Elec. bass too, excellent musician as well as a fine arranger, he wrote and arranged a lot of music for earlier black movies too). Ritchie could play, but not that well. It's like most of the guitar solos on Brian Wilson's recordings, all done by studio musicians. To tell you the truth, I wouldn't give a plugged nickel for any Dano, older or newer. They're not real good instruments. I'm sure they'll do well as people out there like that trashy sound. But to make the instrument playable to record with in the studios, I had to change the pickups (for good hotter sounds), the bridges and the strings, etc. to make it a real instrument to play on and then it was OK, but not great. I'm sure Bill Pitman, others did the same things....they're cheaply made, not real instruments imo. I'm sure they're probably the same or nearly the same as the original Danos. Fun to play around with, sure, and you should have seen and heard Ike Turner play his...that amazed me when I first saw him do that in the studio, was just awed. But seeing me (on that first record date) being so interested in the way he played, he came over to me, sort of flirty, and I quickly picked up my guitar and played some heavy bebop lines and he backed away fast like my playing shot him down or something....it was pretty funny haha-wise....and he was the best to work for after that - very respectful. Tina was over to one side, I don't think she saw that. I'll never forget that time...we worked for hours and hours (I was still married at that time, and my husband did NOT like me working in the studios with men at all - he had no cause for concern, I'm a very faithful person but that was just him), and I called home to tell my husband I'd be late getting home, instead of 12 midnite, probably 2-3 AM, and he hung up on me. OK.....I knew I was in trouble. We all worked until about 3AM or later and we all got paid in cash, stacks of $5 dollar bills that Ike had brought to the date in a big black valise bag. It was a BUNCH of $5 bills I took home, opened our bedroom door, turned on the light, and threw them all on the bed at my then-husband. He was so busy counting the money, he forgot why he was angry at me! hahahaha. It worked. I later divorced him after one more kid, Gwyn, after whom I named my publishing co. (which I started on my kitchen table). The publishing company was a big success with not only my bass books (1969-through now) but with the fine Joe Pass books, tapes etc., as well as other items by fine studio musicians and Charles Dowd's Funky Primer for drums also -- it was a lot of work, believe me. Carol Kaye http://www.carolkaye.com ---------------[ archived by the Spectropop Group ]-------------- End
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