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Spectropop V#0053

  • From: The Spectropop Group
  • Date: 3/15/98
  • ============================
      Vol #0053       03/16/98
         Disc Jockey Record 
    Subject:     Full Measure Revisited 
    Sent:        3/15/98 2:46 AM
    Received:    3/15/98 9:11 PM
    From:        Brent Kubasta,
    le_page_web wrote:
    > Bash wrote:
    >>if indeed there is inherent quality in music, 
    >>has existed in the same measure in every decade.
    > Couldn't agree more.
    couldn't *disagree* more. 
    no problem with the acknowledgment of "inherent quality in 
    music" in every decade. but to assert that "it has existed 
    in the same measure in every decade" seems a bit over the 
    such a perspective logically implies that when comparing 
    decades there will therefore be no peaks, valleys, golden 
    eras, or renaissance periods. after all, the level of 
    quality exists "in the same measure" in each decade, right?
    i don't bring this up because i favor one decade over 
    another. indeed, anyone is free to prefer what they prefer. 
    i mention it because i don't think such a, shall we say, 
    qualitative equilibrium is possible in any artform. how 
    could it be?
    > The important difference being that in 
    > the 60's, cool records had a fair shot at the Top 40. A lot 
    > of trendsetting records were huge hits. Today, a lot of 
    > really great records are known only to a small group of 
    > people who collect obscurities.
    i agree, though for me it seems particularly true when 
    assessing the 70s. as i mentioned in a prior post, i could 
    easily list a hundred killer 45s released during that 
    distrusted decade. many of them weren't heard on the radio, 
    but at least they were heard hundreds of times on my stereo.
    > In the peak 60's era, the 
    > ratio of *hits* with inherent quality was far higher than 
    > during either the preceding or following eras.
    but certainly this view suggests the logical, alternative 
    possibility that there were more "*hits* with inherent 
    quality" at the time merely and simply because there were 
    more records "with inherent quality" to choose from.
    and now i *will* play favorites. i believe the 1960s has 
    been rock and roll's greatest decade because of: 1) the 
    overwhelming quantity of quality records (note: the word 
    "quality" here seems generic in its understatement!); 2) the 
    astonishing range of styles, with each genre comfortably co-
    existing under the wonderful name "rock and roll".
    off the top of my head, here are the names of some 
    representative (if not favorite!) albums:
    a date with the everly brothers; odyssey and oracle; buffalo 
    springfield again; dusty in memphis; younger than yesterday; 
    the beach boys today!; the doors; nashville skyline; if you 
    can believe your eyes and ears; white light/white heat; hums 
    of the lovin' spoonful; eli and the thirteenth confession; 
    bee gees 1st; presenting the fabulous ronettes; aftermath; 
    nazz nazz; tim hardin 1; with the beatles; the gilded palace 
    of sin; i fought the law; up, up and away; there are but 
    four small faces; pickin' up the pieces; moby grape; a 
    christmas gift for you; face to face; james brown live at 
    the apollo; along comes the association; axis: bold as love; 
    going to a go-go; led zeppelin 2; bookends; where were you 
    when i needed you; music from big pink; pisces, aquarius, 
    capricorn and jones, ltd.; forever changes; the who sell 
    out. . .
    ok, ok, i'll stop now. but bear in mind that there are many 
    more titles i could list. i've limited myself to one album 
    per artist. and remember that this was a decade where for 
    many years the 45rpm single was considered the only game in 
    if you favor another decade, fine. no need to even disagree. 
    but i would find it hard to believe that anyone could listen 
    to the songs, artists, and records of the one under 
    discussion and not feel that (as page stated recently) 
    something very, very special--and probably unrepeatable--
    happened during those magical, whirlwind years.
    in a late 70s interview, brian wilson stated that rock and 
    roll had seen its renaissance period, that it occured during 
    the 1960s. maybe "renaissance" was the wrong word to use 
    (since it implies "rebirth"), but i agree with him. this was 
    rock and roll's most brilliant and creative decade.
    if the 21st century has something better to offer, i can't 
    wait to listen.
    now ... someone, please start reissuing the records in mono, 
    the way most of 'em were meant to be heard!
    ---[ archived by Spectropop - 03 /15/98 - 09 :41:37 PM ]---
    Subject:     Dean Torrence and Sinatra Jr
    Sent:        3/11/98 2:58 AM
    Received:    3/11/98 8:20 AM
    From:        Marie-J. Leclerc,
    For those who might be interested, here is the article about 
    Dean Torrence's involvement in the Frank Sinatra's Jr 
    kidnapping. It is worth reading.
    <A TARGET="_blank" HREF=""></A>
    Enjoy!  Marie
    ---[ archived by Spectropop - 03 /15/98 - 02 :00:20 AM ]---
    Subject:     Re: Spectropop V#0052
    Sent:        3/10/98 2:25 AM
    Received:    3/10/98 7:37 AM
    From:        David Feldman,
    > Back to me and the Cookies CD. Listen to "The Old Crowd" 
    > which became a Lesley Gore LP cut. That song was obviously 
    > written for the Orlons -- just dig that drum!
    I have GOT to get this CD to re-listen to Foolish Little 
    Girl and hear this for the first time. The "Old Crowd" is 
    my favorite Lesley Gore song. It's one of the best songs 
    about both friendship and nostalgia that I've ever heard.
    And thanks for the excerpt from your book, Doc. Great stuff!
    Dave Feldman
    ---[ archived by Spectropop - 03 /15/98 - 02 :00:20 AM ]---
    Subject:     Liberty King
    Sent:        3/15/98 1:51 AM
    Received:    3/10/98 1:58 AM
    Doc Rock, docroXXX@XXXXXXom wrote:
    >>I have a question about another pair of competing versions: 
    >>the Cookies and the Shirelles both recorded the song 
    >>"Foolish Little Girl." Which is considered to be "the" 
    >When you ask what is the definitive version, do you mean 
    >best, or original? Any song the Cookies did is the original 
    Yes! Good to point this out. I always believed these Carole 
    King sides were Brill demos that happened to turn out  
    unbeatable; released through the backing of Aldon to their  
    great fortune, no doubt.
    >the Cookies were...demo singers...others participated 
    >on the recordings...Listen carefully to the Cookies 
    >CD, and you'll hear Carole in there. 
    YES! Thanks for saying that and I believe Earl-Jean's 
    "style" was to a great extent simply doubling Carole's guide 
    vocal. Anyone else?
    >Following an excerpt from my book, "Liberty Records," 
    OK, hold on a minute...
    Do tell more. I am very keen to know more about this book. 
    Is it available? Details, Doctor R, details!
    >...The style of Carole King's demos for Bobby Vee and 
    >other Liberty artists endured beyond Liberty and King's demo 
    >work. Lou Adler: "When I went in to cut Tapestry with her, 
    >that was the sound I went after. A simple sound to try to 
    >recreate what she had been doing with the piano way up 
    That is incredible because Tapestry sounds nothing like 
    Carole's Dimension-era sides. I understand Adler's 
    explanation but in retrospect Tapestry was the fatal blow to 
    the Girl Group genre, much of which Carole King created. I 
    dunno, I find it hard to agree that GG evolved into 
    Tapestry. Something wrong there, I think for some reason. X-
    Offender comes to mind as an example of why...
    I think the Ode deal was the end of Carole King as genius 
    Tin Pan Alley songwriter. I appreciate that she moved on and 
    wrote more than a few immortal songs in the post Brill 
    Building days, but I just love the songs she banged out in 
    that small office on Broadway.
    >(Lou Adler:) "Jackie DeShannon was also close to it. The 
    >music business in Los Angeles and Hollywood at that time 
    >was very close knit. It was all around Vine Street and up 
    >to La Brea. Sharon Sheeley, Sonny Curtis, Roger Miller, 
    >the Everly Brothers and more were all in one group, and it 
    >wasn't very big. So there was a lot of good exchange of 
    >ideas and a lot of great fun. The camaraderie was such 
    >that everyone wanted everyone else to make it."
    That's right. There was a buzz around that area. Of course,   
    the Local #47 is there, and that's where Gold Star and  
    Western were. A few blocks away was KFWB, a top ranking AM  
    Top 40 station. All the music publishers were there too. 
    Hollywood High, IHOP, Liberty and, lest it be forgotten, 
    Martoni's Italian on Cahuenga; great baked mozzarella.
    >If Carole King's demos were so great, then why not release  
    >them like Jackie DeShannon's hit demo of "Needles and  
    >Pins"? In fact, Carole King's 1962 Dimension hit "It Might  
    >As Well Rain Until December" was a Bobby Vee demo.
    Sure sounds like a Bobby Vee song! I adore this CK single.
    >(Screen Gems music) had a label called Dimension. A lot of  
    >our demos came out on Dimension. If no one would do a song  
    >we felt strongly about, we'd put the demo out.
    See, this is what is so genius about Dimension, Red Bird 
    etc.. They could actually release their original demos 
    and have hits!!! Many of these these "demos" are 
    wonderful records that have become standards over the 
    The book, Doc, the book!
    ---[ archived by Spectropop - 03 /15/98 - 02 :00:20 AM ]---
    Subject:     some folks say, he's out there still
    Sent:        3/9/98 9:17 PM
    Received:    3/10/98 7:37 AM
    From:        Jack Madani,
    >Some say the sixties began when....
    Others say that he can never be killed, that he's a kind of 
    god, and that the Indians measure their greatness by the  
    greatness of their enemies....
    Oh wait, sorry, that's not the sixties, that's Jeremiah  
    Johnson. Never mind.
    jack "made his way into the mountains" madani
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540
    "It is when the gods hate a man with uncommon abhorrence that they
     drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
    ---[ archived by Spectropop - 03 /15/98 - 02 :00:20 AM ]---
    Subject:     2 Great Dionne Warwick Cuts
    Sent:        3/16/98 4:47 AM
    Received:    3/16/98 7:17 AM
    From:        Richard Globman,
    Local oldies radio station did about an hour worth of DW 
    stuff this morning and after playing the usual stuff, they 
    ended with two absolutely killer cuts I've never heard 
    before..."You've Lost That Lovin' Feeling" and "Do You 
    Believe In Love At First Sight." The first was a soulful 
    rendition of the old Righteous Bros. number and the second 
    is a fabulous up-tempo rocker...anyone know anything about 
    either of these two and if they are on any of her albums?
    ---[ archived by Spectropop - 03 /16/98 - 07 :20:20 AM ]---

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