________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ File under: Female Vocal ------------------------------------------------------------------------ There are 8 messages in this issue #35. Topics in this digest: 1. Re: Terry Black From: Lee Dempsey 2. Robin Ward From: "mike arcidiacono" 3. Thunderstorm Effects From: "WASE RADIO" 4. Ronnie From: "GSPECTOR" 5. Re: Lou Christie From: Ron 6. Re: Ronnie in Seattle From: "LePageWeb" 7. Re: Contractor, "Lonely Surfer" From: Carol Kaye 8. Live at the Bohemian Caverns... From: "WASE RADIO" ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Tue, 12 Sep 2000 16:42:14 EDT From: Lee Dempsey Subject: Re: Terry Black Antonio Vizcarra wrote: > As for Terry Black, another unsung sixties hero, anybody > knows what records he made after The Black plague album? Sloan/Barri/Adler protege Terry Black is alive and well, and living in Vancouver, Canada. I recently spoke to him, having transferred his two albums (THE BLACK PLAGUE and ONLY SIXTEEN) and several singles to CD-R for him at the request of a mutual friend. A complete discography of Terry's Canadian releases can be found at: http://www.canoe.ca/JamMusicPopEncycloPagesB/black.html I've also posted it here: Singles as TERRY BLACK 1964 Unless You Care (ARC) 1965 Everyone Can Tell (ARC) 1965 Say It Again (ARC) 1965 Little Liar (ARC) 1965 Only Sixteen (ARC) 1965 Poor Little Fool (ARC) 1966 Rainbow (ARC) 1966 Baby's Gone/Ordinary Girl (ARC) 1967 Wishing Star/Kick Me Charlie (ARC) 1972 Ridin' A Daydream/Boutique (GRT) as BLACK & WARD 1972 Goin' Down (On The Road To L.A.) (Yorkville/ARC) 1972 Warm Days And Warm Nights (Yorkville/ARC) 1974 Love Is The Feeling (Yorkville/ARC) 1975 Back Up (Against Your Persuasion) (RCA) 1976 Long Time (RCA) with DR. MUSIC 1972 Sun Goes By (GRT) Albums as TERRY BLACK 1965 Only Sixteen (ARC) 1966 The Black Plague (ARC) as BLACK & WARD 1982 All Night Long (Duke Street) with DR. MUSIC 1972 Dr. Music (GRT) Sorry, but I don't have all of the B-sides to the singles, but several have non-LP B-sides. For instance, "Baby's Gone" is a Sloan/Barri song. The single "Wishing Star"/"Kick Me Charlie" was a revelation to me, as the label indicates that both sides were produced by Curt Boettcher! By the way, the "Ward" in Black & Ward is Terry's wife, Laurel Ward. THE BLACK PLAGUE and ONLY SIXTEEN have a considerable amount of overlap. PLAGUE includes two cuts ("Dry Bones" and "Sinner Man") that predate his Dunhill/Trousdale involvement. SIXTEEN includes a couple more cover songs, as well as alternate versions of "Ordinary Girl", "Only Sixteen", and "Poor Little Fool". Hope this helps. Lee Dempsey --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Tue, 12 Sep 2000 10:32:15 -0400 From: "mike arcidiacono" Subject: Robin Ward -----Original Message----- >Could anybody tell me if Robin Ward released after the >"Wonderful Summer" album other records? if so how many?. I >think it's a shame she didn't have more success in the 60s >as she was in the same league as Lesly Gore or Shelley >Fabares. Mikey says: She sure did!! "In His Car" released in late 1964 was, in my opinion, a MUCH better girl group record than Wonderful Summer. She also did a bunch of duets with a singer named Dale XXXX, which werent worth a damn, IMHO. By the way, Robin Ward was really session singer Jackie ward, who sang on TONS of early '60s productions, and in fact, dubbed Linda Evans voice in one of the Beach Movies, cant remember which one right now. A great talent. There is a bootleg Cd of most of her releases, which is pretty OK. Hope this helps. Mikey --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Tue, 12 Sep 2000 23:09:02 -0400 From: "WASE RADIO" Subject: Thunderstorm Effects Doug Morris: The thunderstorm effects on "Rhythm of the Rain" and "Walking in The Rain" sound identical to me. On "Raindrops" I do not know. The first two songs mentioned here were recorded at Gold Star. "Raindrops"- I do not know. Michael Marvin WASE radio --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Tue, 12 Sep 2000 03:40:27 -0600 From: "GSPECTOR" Subject: Ronnie To: David Young. You are 100% correct. What little I remember of Ronnie living with us (in the early 70's) is that she means well and is a very kind person. I believe she gets that >from her mother who too was a very kind and helpful person for the short time I knew her. As I grew older I lost contact with her but until today my favorite song has been "I Can Hear Music". I wish I could have been there to hear a live performance. I certainly consider you to be a very lucky person to also have had a chance to talk to her in person. Just wondering, did you get any pictures? Gary P. Spector [Non-text portions of this message have been removed] --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Tue, 12 Sep 2000 09:16:48 EDT From: Ron Subject: Re: Lou Christie Hello, Are there any Lou Christie fans out there? I am trying to get some out-of-print copies of some of his fan club's "Lightning Strikes" newsletters. I'd even take a xeroxed copy at this point! Can anybody out there help me? Thanks, Ron --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Wed, 13 Sep 2000 02:52:31 -0000 From: "LePageWeb" Subject: Re: Ronnie in Seattle David Young wrote: > Ronnie Spector, backed by a crack seven-piece band, played > to a large and enthusiastic audience at the ironically > named... Bumbershoot... That is kind of funny. Did you point that out to her? She probably doesn't know that record anyway... > She strutted the stage with lusty, self-assured sexuality, > peppering her performance by teasingly lifting the front > or back of the top from time to time to reveal a glimpse > of the tightly covered naughty bits, or by pulling the > neckline to the side to expose a bit o' bosom. Wow, that sounds quite a bit more animated than when I saw her last year. There she had abandoned the hot sex kitten image she had in the 80s for a more subdued, simpler stage presence which I for one thought was more fitting than the strutting Ronnie of the 80s. > I have no idea how this would've struck someone who'd > never heard of her, but for me, she seemed to have a > self-aware sense of humor and perspective, and was just > having a good time playing on her image. She also showed that self-awareness when I saw her, rolling her eyes when singing "Whey do they say we're too young to go steady" and shaking her bootie during the drum break in Be My Baby adding "I always liked this part". > I do believe I can be objective about her singing, however, > and I'm happy to say that she was in very good, very > strong voice...her entire range was forceful and in tune. Good to hear that. She was great when I saw her, and to my delight, she sang nearly everything true to the originals. > "...Breakin' Up" was a particularly powerful highlight, and > it was great to hear live versions of Ronettes tunes I'd > not heard her do in concert before. Absoolutely. By the way, you mentioned she did I Can Hear Music. Did she omit the shuffle section "I hear the music hold me tight now baby"? That was my only disappointment when seeing her perform. > I was lucky enough to get a chance to talk with Ronnie and > her husband Jon before the show. Gosh I hope you didn't mention the way I ragged on her attorney a few days ago! ;-) Just kidding...It is reassuring to see Phil's songs in her set list, though, doncha think?. > They confirmed that sessions are underway for a new > album...Slim Moon of Kill Rock Stars hasn't agreed to > release it until he hears the tapes; it depends on the > overall direction the music takes as the sessions > progress. Well, it sounds to me like a self-produced effort (as in financing the recording, not supervising its creative direction). Unfortunately that usually doesn't pan out well for the artist. It's too easy to pass on someone else's investment by saying the direction isn't right or whatever. I don't understand why she doesn't get a deal in place first, at least for one or two territories, so there would be some backing for the project. That is, unless she wants to market it herself using indie distributors and internet direct marketing, in which case it makes a lot of sense. Somehow I don't think that's what they have in mind though, because I guess they would have said that instead of "Slim hasn't committed yet." > I'd love to have more than ten minutes with her sometime, Who wouldn't??? > Thank you for reading, Spectropoppers, and for your > support of Ronnie's music. Thank *you* for reporting, David. Ronnie's music lives on!!! All the best, Jamie --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Tue, 12 Sep 2000 11:09:35 -0700 From: Carol Kaye Subject: Re: Contractor, "Lonely Surfer" Doug Morris wrote: > I always (perhaps ignorantly) assumed that in those days > Phil or Brian or Jan or whomever could call up a the > session "contractor" who would arrange to secure the > services of the individual studio band members. You're right...however, the call could always be done by "someone" else (Phil's office, for instance - or even the record co's office), but someone had to be the "contractor" on the date and fill out the necessary paperwork to send in to the Musicians' Union so we could all be paid. This was the "contractor's" true function. He/she didn't have to put out the actual calls to the musicians; a secretary could do it, an arranger's assistant could do it, anyone could do that...they simply left word with the phone exchanges, gave them the list of players -- and alternates if they couldn't make it -- simple like "Phil Spector's office wants to know if you can do a date for him on such a such day/time etc." or "Fox studios wants to know if you can do MASH at such-such time/day etc.", or "Ben Barrett's office wants to know if you can do a date at RCA for Ed Ames" etc.etc.etc.. Hal Blaine, Earl Palmer, Don Randi, Steve Douglas, many many wound up as "contractors" as a courtesy -- which meant they'd get triple scale that way for a few minutes work of filling out a Union contract....any Union member could do that. I was even a contractor on a few dates, very few tho'. By "independent contractors", that term means (in our case) as free-lance studio musicians....we were our own "contractors" to get work work independently....the Union did not get us any work at all. Similar to when a company contracts outside work out to "independent contractors"....we're not a part of the company but they hired our services....independently. That's what I mean by Hal "insisting that we were all called 'wrecking crew'"...no such phrase existed back then at all -- that's strictly the name of his book. On a filming about 3 years ago, Tommy Tedesco was really giving Hal the business (teasing unmercifully) about it: "what do you mean, calling us the "wrecking crew", of all the years we worked together you know we were never known as that, why do you do that, you just want to be a bigshot, etc.etc.etc. blah blah blah"...it was very comical but the way Tommy kidded, it was the truth. Many are downright angry about its implication with just such a confusion as what you're asking about....that it implies that he was "the contractor, sort of a 'boss'" of us all, not true. We were all called studio musicians, and a few of us (50-60) were called the "clique" if anything. From what I understand, Darlene Love's backup band was called "the wrecking crew" back in the 80s in NYC and that is where Hal got his phrase from. Earl and others will back me up on this......no-one ever heard that phrase of 'wrecking crew' until Hal published his book ----- Actually, I introduced Hal to David of Mix Magazine, who published Hal's book, David is a longtime friend of mine, and in fact I wrote a regular "studio musician" column for Mix back in the early 80s. Just heard from Russ Wapensky, no I'm not playing on Lonely Surfer at all, Jack Nitzsche's hit. I somehow 1/2-way tho't I was on that recording, I worked so much for Jack, but Russ clears it up with "no". Joseph writes: > When I think of Gary Usher and Carol Kaye, I think of the > best Beach Boys-influenced single of all time, "My World > Fell Down" by Sagittarius, which charted in '67. BTW Carol, > the highly acclaimed '60s box set Nuggets explicitly > credits you on this track, along with Blaine, Knechtel, > Glen Campbell, Bruce Johnston, and Terry Melcher. Joseph, thanks for that information, it's really nice to know that they do give some credits....am very grateful for that to Gary Usher, etc.. Yes, we had to keep it a big secret about being "jazz musicians". Oh Paul, you almost had me there about "In Crowd", hahaha. Best, Carol http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Tue, 12 Sep 2000 23:04:06 -0400 From: "WASE RADIO" Subject: Live at the Bohemian Caverns... To Paul: You are thinking of the Ramsey Lewis Trio's version of "The In Crowd" and was a hit the same year (1965) as the Dobie Gray version. The latter version was recorded very live at the Bohemian Caverns in Washington D,C. have a smiley day:):):):):):):):):):) Michael G, Marvin WASE radio --------------------[ archived by Spectropop ]-------------------- End
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