________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ Spectra-sonic-sound ...the ultimate in High Fidelity ------------------------------------------------------------------------ There are 3 messages in this issue #44. Topics in this digest: 1. Re: Brian, Lennie Breau From: Carol Kaye 2. spector box set status? From: Jack Madani 3. For Emily, Wherever I May Find Her From: LePageWeb ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Thu, 28 Sep 2000 06:15:41 -0700 From: Carol Kaye Subject: Re: Brian, Lennie Breau >From the Motherlode dates about April 1969 in Toronto, I had met the great Lennie Breau, and invited him to my house to stay while he was working out here in Hollywood. Needless to say, practically every fine guitarist was at Dontes to hear Lennie, the place was packed -- George Van Eps, Howard Roberts, Barney Kessel, Dennis Budimer, Tommy Tedesco, you name them, they were all there to pay homage to Lennie. Dennis quickly copped Lennie's brilliant harmonics-style of playing for some nice studio things. I can remember driving my Benz up and down the Laurel Canyon road, having a good conversation with Howard Roberts, Gibson's Bruce Bolin (who works for Fender now), and Lennie in the car......only to be caught by a motorcycle police man near Sunset Blvd. who was trying to catch me since the start of the ride from Ventura Blvd. to give me a speeding ticket -- anyway, Lennie came down to some of my recording dates, including a couple of film calls. He wanted to move to LA but not to do studio work tho' he said. He just wanted to play his jazz. The Motherlode, after that great hit of theirs, had a few minor things on the charts from what we recorded then, and did well with that record. They still play "When I Die" on the radio in Canada quite a bit. That was really a joyful time in Toronto, I enjoyed working there so much, recording, and the group was comprised of hugely-talented people, another plus.....no more "Hollywood shuck and jive of *being* some group who pretended to cut their own records" -- these guys could really play, compose, and were fun to work with on their recordings. I was a guest of Nancy Sinatra's in a good box seat to hear and see Brian at the Hollywood Bowl. The place really filled up. David Leaf tho't it was around 12,000 people. I tho't it all suffered from a poor sound mix for quite awhile, no bottom nor mid-ranges, just top end for the longest time, but it finally got good after awhile. That's when the applause got going more too - you have to hear it right to be moved by music even Pet Sounds. You sure have to give Brian, the Mints, and Jeff Foskett credit for some fine vocal sounds, and the music became better with the better sound mix. Nancy was really moved, and almost dancing to the music while Michael Lloyd and I commiserated about the "mix" at first, etc. -- we enjoyed it..... Perry Botkin says the Bowl never gets a great sound mix, but I've played there twice and heard Ella Fitzgerald there, and it was pretty good. Think it depends upon the music (as like what Perry says....they tend to do poor mixes on the rock styles, I'd sure agree on that one, and they finally got it together that night, nice night for Brian). Michael Lloyd and his wife Patty were there as well as pianist Don Randi and Hal Lifson, manager of both Jackie DeShannon, and Nancy Sinatra. Watch for Jackie DeShannon's CD coming out, she's doing an autograph signing here in Hollywood's Tower Records, "You Know Me", first thing she's put out in years, Friday Oct. 6th at 7PM, and appearing also at the Whiskey-A-Go-Go Oct. 9th. The best part for me was when Brian picked up the bass, it all of a sudden started to really groove then, even tho' the sound on both basses wasn't very good -- note-definition was definitely lacking (a 25 cent piece of foam underneath the strings to slightly mute the strings' over- and under-tones would have solved that in a flash on both basses - I play with a hard pick, so my muting is a doubled-up piece of felt-muting on top of the strings, works every time, live or recorded). We saw Jan Berry (with his wife Gertie) backstage, Don Randi and I did....was very nice to see him again. Quite a few people stopped by our box to say hello, was very nice....David Leaf, who just got back from London and Florida, shooting a documentary on the Bee Gees was also there. Another huge achievement for Brian, who was very happy backstage about the turnout -- he and Melinda were being swamped with so much happening, was very happy for them both! Jeff Foskett was wonderful and Darian of the Mints did a good job as did the symphony led by Charles Brown (name?), but even there, the mix was very strange. Guess I'm spoiled by hearing Pet Sounds, the Bob Alcivar-arranged version recorded by the London Symphony.....Brian's music is timeless, that London CD really brought tears to my eyes, as to the depth of the beauty of Brian's music. Carol Kaye http://www.carolkaye.com/ More on Brian Wilson's September 24th performance at Hollywood Bowl http://www.spectropop.com/go2/petsounds.html --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Sat, 30 Sep 2000 21:19:41 -0400 From: Jack Madani Subject: spector box set status? Collector's Choice Music has listed the Phil Spector box set as being on sale as a "closeout." Is something up with the Spector box? Is it going out of print or something? jack Phil Spector on CD http://www.spectropop.com/hspectorboot.html --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Tue, 03 Oct 00 02:46:38 +0900 From: LePageWeb Subject: For Emily, Wherever I May Find Her Listening to Rewind LP by Jimmy Webb/Johnny Rivers tonight. Sandwiched between Rivers' cover of Baby I Need Your Lovin' and a great Spectropop fave Rosecrans Blvd., "For Emily..." gets lost. But it is a great track on its own. Use of celeste is a plus, especially in conjunction with the use of harpsichord and flute. Great combination of instruments. The lyric seems so suited to Rivers, I wonder if Paul Simon at this point was writing specifically for other artists. Rhythmically the track falls apart in the fade; regrettable, of course, but it segues into Rosecrans Blvd!!! Who can fault it? What a great record. Go back and listen again. You'll appreciate it. N.P....Rewind by Johnny Rivers Jamie "what a groovy day" LePage --------------------[ archived by Spectropop ]-------------------- End
Spectropop text contents & copy; copyright Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.