http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ the most exciting sound in the world ------------------------------------------------------------------------ There are 5 messages in this issue of Spectropop. Topics in this Digest Number 62: 1. the divine Ms. Whoever From: "Jack Madani" 2. Re: Ain't No Mountain etal. From: Carol Kaye 3. Del-Fi/Bob Keane From: Bryan Thomas 4. Ronnie in Seattle (again) and in the studio From: "Spector Collector" 5. Jojo From: ELRONBEE ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Tue, 21 Nov 2000 07:49:46 -0500 From: "Jack Madani" Subject: the divine Ms. Whoever email@example.com writes: >>Claudine also turns in a way-cool recording >>of Ain't No Mountain High Enough. The music itself is >>almost as majestic as the Diana Ross original > >Ahem, Mr. Nitpick backatcha. Marvin and Tammi worked >that sucker to death back in Sexty-Seven....JB Bien Sur, Monsieur Nitpick. What I had in mind and was attempting to convey, which I failed to do, was the fact that Claudine's version copies the grandiose style of the Ross version as opposed to the R&B-ish version of Marvin and Tammi. Both of which I like a lot. jack --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Tue, 21 Nov 2000 12:43:57 -0800 From: Carol Kaye Subject: Re: Ain't No Mountain etal. >>>Claudine also turns in a way-cool recording >of Ain't No Mountain High Enough. The music itself is >almost as majestic as the Diana Ross original<<< Many of the same studio musicians on Claudine's as on the one we cut for Diana Ross at RCA late spring of 1968 (not released until sometime later, that was only the track) - this was recorded with about 70 musicians and background singers there at RCA, same studio we recorded the Henry Mancini things. The Detroit crew recorded the original hit of Ain't No Mountain High Enough with Marvin Gaye and Tammi Terrell in Detroit. > Did you play on this session, Carol? It sounds like your work . . That's Larry Knechtel on elec. bass and Lyle Ritz on string bass on "Guess I'm Dumb", it's not me -- Larry could and sometimes did play with a pick, that's Larry on the Byrds' things. > I am no expert on Bob Keane - I hope I didn't infer > otherwise in my post - but what little I do know of Keane > is the stuff of L.A. music biz legend Yes, Bob Keane (he spelled his name Keene back then, and that's where "Keen" Records comes from) was an early master in producing. But early on, he also worked with the fine producer Bumps Blackwell, whose expertise I'm sure rubbed off there....Bumps produced the early Sam Cooke hits, and other notable hits for Keen Records (about the time that Herb Alpert, and Lou were at Keen Records also). Bob is a very good Benny Goodman-type clarinetist also. We all worked for Bob quite a bit in the late 50s, early 60s. He's writing his biography about all this also. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Tue, 21 Nov 2000 19:20:03 -0000 From: Bryan Thomas Subject: Del-Fi/Bob Keane Jamie (and everyone), Thanks for the great response on Bob Keane and Del-Fi (i.e. "L.A. Music Biz Legend"). I showed Bob your response and he was very excited to read that people are still very interested in the records he produced. Bob also wants to remind everyone that he's still hard at work writing his autobiography -- The Oracle Of Del-Fi: The Bob Keane Story -- and we've had interest from several literary agents and it looks like this may indeed come to fruition. If Ritchie Valens is chosen to be inducted next year into the Rock & Roll Hall of Fame (we'll know in two weeks), this may even expedite getting the book out to stores sooner than anticipated. Bryan Thomas Del-Fi --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Wed, 22 Nov 2000 03:51:24 -0000 From: "Spector Collector" Subject: Ronnie in Seattle (again) and in the studio Two months to the day after her triumphant appearance at Seattle's "Bumbershoot" arts festival September 3, Ronnie Spector returned to Rain City as the keynote speaker at a conference sponsored by ROCKRGRL "no guilt trips or beauty tips" magazine. Following is the related text from Caitlin Cleary's November 5 Seattle Times article on the conference, "Conference exults in ROCKRGRL sisterhood," submitted verbatim for your dining and dancing pleasure: Motown legend and former Ronette Ronnie Spector gave the keynote speech Friday with her trademark gravelly purr and wicked humor. "I've been in rock 'n' roll for 40 years," Spector said. "I just did something in the studio the other day. ...It's called, 'I'm Never Gonna Be Your Baby.' " The audience roared. Her life story came out in fits and starts. From a 5-year-old singing on top of her coffee table in Spanish Harlem to the teenage star who toured with the Rolling Stones; from her song ideas that were ignored or for which the credit was taken by men to her marriage to Phil Spector that she said kept her a psychological prisoner for years. And how she initiated the longest-running legal battle in rock 'n' roll history - a suit against Spector for nonpayment of royalties - and won. Spector's message was this: Don't let one person take too much control over your career; don't let them read the fine print for you; and most importantly, don't let them tell you you're not worth anything. But the response of the ROCKRGRL crowd to Spector said more about the principles of this conference than anything else: building community and helping your sisters when they need it. Several times Spector backtracked over sentences she had read, lost her place, apologized. She was nervous, funny, fiercely emotional - and real. She spoke about recently recording with her old friend Keith Richards of the Rolling Stones. "He said, 'We all knew once you married (Spector), we'd never see you again,' " she recounted, before losing her place and starting to cry. Someone ran up to the podium with a tissue. The audience shouted: "We love you, Ronnie!" "I love you too," Spector shouted back, dabbing at her eyes. "Keep on rocking, rockergirls!" -- For diehard Ronnie fans, there wasn't much new to be learned from the words of her address. Most notable for me were her claim that Phil has blackballed The Ronettes >from the Rock 'n' Roll Hall of Fame and the revelation that the court judgment against him was for not only the $2.6 million award but also for interest on that amount >from the date the proceedings began. On the former topic, she says that the year The Ronettes were nominated, Phil sent a vaguely threatening letter to the board to the effect that, although it was nothing personal, he would greatly appreciate it if they were not inducted. She deemed the tactic a success, since not only were they not named that year, but they haven't been nominated again. Even for those who know her story by heart, however, it was a treat to see and hear her tell it in this context. For me, it amplified the simultaneously streetwise and vulnerable image that comes through in so many of her songs. She was refreshingly and contagiously bulls**t-free, and there wasn't a dry eye in the place as she looked back on how far she'd come. There was a palpable sense of love in the room during the long and heartfelt ovation. Afterward, Ronnie was extremely generous with handshakes, autographs, and photo opportunities (I finally got my first ever picture with her, as well as a couple of her with May Pang). I had a chance to talk with her husband Jonathan, who brought me up to date on the progress of the album they're recording. For one thing, I learned that the new song she'd played at Bumbershoot, which I called "You Shouldn't Have Told Me" in my last Spectropop post, is in fact the aforementioned "Never Gonna Be Your Baby." It's the one they were hoping to get David Bowie to play on; it's now recorded, and it now looks as though he will have no direct participation in the project, although he is lobbying her to record a cover of "Teenage Wildlife" from his "Scary Monsters..." album. "Never Gonna Be Your Baby" is written by Desmond Child, Eric Bazillian, and Daphne Rubin-Vega, and Jonathan bills it as "amazing." For more information on the progress of the album, go to http://www.sonicnet.com/artists/ai_singlestory.jhtml?id=1124868&ai_id=509086 (thank you, John Rausch, for turning me on to this article). Cheers, y'all, David A. Young --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Wed, 22 Nov 2000 01:43:30 EST From: ELRONBEE Subject: Jojo > And she had these absolutely horrid songs > out like "Pineapple Princess" and "Tall Paul", but she > was, after all, Annette and could get away with... Don't forget "Jojo the dogfaced boy" http://www.spectropop.com/go2/annette.html --------------------[ archived by Spectropop ]-------------------- End
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