http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ Dedicated to the World's Greatest General Amusement ------------------------------------------------------------------------ There are 9 messages in this issue of Spectropop. Topics in this Digest Number 76: 1. Chad Stuart - Producer From: "Randy M. Kosht" 2. Re: chad and jeremy From: Andrew Hickey 3. Chad and Jeremy From: Jamie LePage 4. Shel Talmy From: "Joseph Scott" 5. Re: Mortimer From: "Spector Collector" 6. Boston 6T's Pop From: James Botticelli 7. Question for Ms. Kaye From: Jason Penick 8. Backatcha From: "David Feldman" 9. Why I appreciated the studio work so much. From: Carol Kaye ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Thu, 21 Dec 2000 09:28:33 -0800 From: "Randy M. Kosht" Subject: Chad Stuart - Producer In reference to the Chad and Jeremy discussion, Chad went on to produce for other artists. I have a wonderful album, "Gift of Song," by Judith Durham, former lead singer of the Seekers, that was produced by Chad Stuart for Almo Productions and released on A&M in 1970 (SP 4240). It featured compositions by Harry Nilsson and Mason Williams, among others. She recorded a second one for A&M UK that never came out stateside; A&M UK later pulled tracks from both albums for a budget re-issue on their Mayfair label, which I have. Best, Randy --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Thu, 21 Dec 2000 01:05:28 -0800 (PST) From: Andrew Hickey Subject: Re: chad and jeremy > PS Great to see Jim Gordon, a fantastic musician, > finally getting some credit on this list. Despite the > personal tragedy that scarred his reputation, he made > a very important contribution to music. He in fact > double drummed with Hal Blaine on many famous dates > too, if I'm not mistaken. Absolutely. Those who are interested in Jim Gordon might want to check this month's MOJO, which has a bit about him in the article on Derek And The Dominoes (and another article as well IIRC...) ===== Buy the new Stealth Munchkin album www.geocities.com/stealth_munchkin --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Thu, 21 Dec 2000 19:40:11 +0900 From: Jamie LePage Subject: Chad and Jeremy Chad and Jeremy... OK, so we've got Shel Talmy going to England, and with Joe Meek failing to get chart hits in his later days, independent US producers are suddenly all the rage in Britain. Mark Wirtz also comes to mind as an expat producer who made good with British bands. I didn't realize Talmy did the early C&J sides, and I have always associated him with the Who, Creation, Kinks kind of sound. According to AMG, "Talmy cut his teeth in the record business as an engineer in L.A. in the early 1960s. In 1962 he turned a European vacation into a job in Britain when he played acetates of Beach Boys and Lou Rawls songs to Dick Rowe of Decca Records, claiming them as his own productions (although they weren't)." That's a pretty amazing story! Anyone know where Talmy worked in LA? Maybe at the tower? (Both artists namechecked were on Capitol.) So Talmy does the early sides in UK, but somehow Chad and Jeremy end up at Columbia under the guidance of decidedly LA based Gary Usher. They make cameo appearances on a few LA produced sit-coms. So my question is, how is it that they ended up in LA for these shows and their work with Usher? I assume they relocated to LA at some point, obviously this would have been around the time they switched labels. How and why? All this talk has made me want to buy a few C&J CDs, and checking around I thought the following would be good. Opinions, please... **Very Best of Chad & Jeremy on Varese (concentrates on the World Artists sides from 1964-1965, including all of the hit singles plus four songs from 1965-1966 Columbia singles) **The Ark Sony (Japan) SRCS-009269 **Painted Dayglo Smile Is this still in print? Any further comments on this comp? About Before and After, although I am familiar with the C&J version, the Fleetwoods version too is very, very good, and it seems odd that C&J had the hit rather than the Fleetwoods.A great song written by Van McCoy, I believe the Fleetwoods recorded it first. Were there any Chad or Jeremy solo efforts? If so, are they any good? Very interesting topic. All the best, Jamie --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Thu, 21 Dec 2000 13:21:27 -0700 From: "Joseph Scott" Subject: Shel Talmy Hi all, Shel Talmy was one the most talented record producers in the U.K. e.g., listen to the production on the Who's first album, produced by Talmy, back to back with the production on the Who's second album, not produced by Talmy. Talmy knew how to make a punchy radio hit, and how. Talmy also had his own distinctive sound, like Meek or Spector (and a great sound it was). e.g,. compare the sound of the Creation to early Who. Groups putting Talmy down later -- imho that would be about things like sour grapes over financial deals, lawsuits, etc. Production-wise, they have a hell of a lot to thank him for. I think if you cornered Pete Townshend in a candid moment he'd admit that the early Who hits sounded a _ton_ like the early Kinks hits (which Townshend adored) in large part because of Talmy's expertise and distinctive approach. Best wishes, Joseph Scott --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Thu, 21 Dec 2000 18:58:42 -0000 From: "Spector Collector" Subject: Re: Mortimer Antonio Vizcarra wrote: >Another group who had really good harmonies, this >time a trio not a duo, were Mortimer. I have his >self-titled album released in 1968 and is a thrill to >listen. I don't know if they released more records, >singles or albums but they also met with >dissapointing sales. Antonio, it's good to learn a little something about Mortimer. I have an acetate on Apple that's credited to them; do you know anything about their having been signed to that label? (I know that nothing was ever released by them on Apple.) It's an instrumental track only, and although the label gives the title as "Two of Us," I can't imagine how it could've been the backing to a cover version of the Beatles tune by that name, as I don't hear any melodic similarities. Kristofer Engelhardt's book "The Beatles Undercover" credits Peter Asher as the producer of Mortimer's Apple sessions, but this acetate (which came >from Bertha Spector's estate) seems to clearly have Phil's stamp on it. Any definitive info from list members on any of this? Thanks, David A. Young --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Thu, 21 Dec 2000 12:52:57 EST From: James Botticelli Subject: Boston 6T's Pop Its nice to see the Bosstown Sound of the Sexties brought up here. I was there and remember the hype very well. And make no mistake, it WAS hype. It started with local DJ Dick Summer who, perhaps schilling for M-G-M Records following his successful 2 hour AM Sunday night "Subway" show on WBZ, began urging us all to "wear an 's' and spread the sound". The 's' was supposed to be a paperclip we bent to form said 's'. Many were called but few were chosen to make the sound work. It even got a Time magazine story. After all was said and done, rest assured that far more was said than done, and there remained but a handful of bands with record contracts, mostly on M-G-M. I think that for this list the sound of Orpheus best exemplifies the soft pop sound. Many of the bands were San Francisco sound knockoffs, or had listened to Jimi Hendrix' "Foxy Lady" a few too many times....Oh well, thanks for the indulgence James Botticelli Host "Casa Nostra" WMBR-FM, 88.1 Cambridge http://wmbr.mit.edu --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Thu, 21 Dec 2000 11:34:46 EST From: Jason Penick Subject: Question for Ms. Kaye Just wanted to wish all the Spectropoppers a happy holiday season! Ms Kaye, I spoke with Merrell Fankhauser recently, and he informed me that you were one of the musicians who played on the track for his late-1968 version of "Everybody's Talkin'", recorded at Gold Star. I was wondering if you have any remembrances of working on this session, or with Merrell in general. He's a brilliant west-coast musician who's been putting out great records from 1962 to today, yet gets very little credit for his role in the scenes he's helped develop (surf, folk-rock, psychedelia and many more). Also, I was curious about the time you spent with the Association working on Insight Out! and Birthday with Bones Howe... were these the only sessions you cut with them? How did you relate to the guys personally? Thanks! Jason Penick --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Thu, 21 Dec 2000 11:42:09 -0500 From: "David Feldman" Subject: Backatcha > Spectropop Group Members, an Internet Greeting Card has > been sent to you by Spectropop Admin and is waiting for > you at Bravenet virtual post office!. > Thanks for the gift of this mailing list and website all year long. Hope 2001 is a great one for all Spectropoppers. --------------------[ archived by Spectropop ]-------------------- Message: 9 Date: Thu, 21 Dec 2000 19:17:24 -0800 From: Carol Kaye Subject: Why I appreciated the studio work so much. I posted this on my Message Board, and tho't some of you might like to see this too. Many many of our bunch of fine studio musicians also came from very humble beginnings and so when we all sort of came together to record the hit records coming out of LA, it was with so much appreciation for the money, the prestige and not having to go on the road away from our kids etc: My heart always goes out to people having problems at Christmas time... having some tough Christmases in the past makes you appreciate the better times in your life for sure. I remember a very hard time when I was trying to keep the family going in Phoenix, and was working 2 jobs, had my guitar and amp hocked for food, and still we couldn't make it....I was so tired I was stuttering all over the place, not being able to talk well really has it's downers! And there was an office party in the laundry where I was working on Christmas Eve. Feeling blue and exhausted, I sat on the can and just prayed...we didn't have anything for Christmas, and not much food either, we were sharing a bath with a drunk in the back and wind and icy cold was sifting through the cracked walls...I'm sort of chuckling as I write this - sounds so melodramatic, but yes it was that bad and worse. Did some hard praying on the can and just as I finished saying "Amen", the phone had rung and it was a call for me -- 5PM, Christmas Eve - what a strange time for someone to call. It was Reynolds Aluminum calling (I had applied for a job there 2-3 months before, nothing), could I be ready to work for them the day after Christmas? At twice the money I was getting? You can't know how good that felt - what a shock, and I borrowed some money from someone and bought some little things to take home. To me that was miracle. This following story happened a lot later on in the 50s - my kids love to remember this: A Christmas Story. Seeing all these sort of teeny "toy" scooters reminds me of when my kids found out there was no Santa Claus, eldest daughter 7 and youngest boy was 3. BTW, They made REAL scooters back then, nice big wheels, good strong bodies, very safe big toys that got around great and were really fun to ride. They weren't these current dinky ones they're charging outrageous prices for....oh well. To the story. My mother, my 2 kids and myself had just moved to the Valley in 1958 from the South Bay area, and I had been working some record dates throughout 1958, mainly for producer Bumps Blackwell (Sam Cooke, others) and was starting to work for other people too. However, even with the jazz gigs at nights, the am't of record dates was not quite enough to sustain all 4 of us, even in the nice cheap apartment we lived in just off of Vineland, north of 5 points, Camarillo, Lankershim/Vineland in No. Hollywood. The apt. is still there, the back door opening up on the west side of Vineland, 02 blocks north of the 5-points. So I had to get a day job again to pull us through in late 1958 and '59 -- this time at Bendix Publications where I was the lead head technical typist (110-115 wpm on those IBMs, getting the top-secret manuals out, typing all those Greek formulae etc.) and had just bought a lot of Christmas toys about 3 days before Christmas of '58.....It was the very first Christmas I could afford to buy nice toys for my kids for.....believe me, it was a very thrilling happy time to have enough money to do that for my kids after some very tough years since I was a child. I had kept the new Christmas toys in the trunk of my car, a '53 Cheve coupe which I had just bought used (remember those? mine was yellow, a pretty car too) and was going to wrap the presents, a big scooter for my eldest girl, a nice wagon for my son, nice things for my dear mother who kept care of my kids (and had been gladly supporting her) etc., going to wrap them Christmas Eve, 02 days away. Well, getting up that next day, there was no car parked in back! I called the police who checked on it, and I was informed "your car was repossessed by a repo company for unpaid bills"....uh-oh....and I found out my ex-husband didn't pay the bills he was supposed to as decreed in our divorce. There was nothing to do - I didn't have the money for the exorbitant bill, and I was out a car and the gifts for my kids who loved Santa Claus and Christmas and its meaning too, and were so excited to get something that year.......they were such great kids, just loving, wonderful kids (still are) and tho' we were very poor, they had fun anyway and we were a close family. But....it looked like a bleak Christmas for them, how was I going to tell them. Thank God for the extra playing gigs I had that December, and it was great that one of the band leaders I had been working for came over and picked me up that night to work the gig.........however after the gig, I had wait in the back of his Cadillac while he "collected monies" from many different women that night all over LA (big street education I got, hahaha....same person who paid us studio musicians in "TV" sets on a record date one time, we dubbed him the "Midnight Service"). :-) Anway, I finally got home around 5AM, and with 1 hour sleep, took the bus to work that day. After a few calls from work, I found out where my car was. That night, taking a chance, I took my oldest kid, and she and I walked the mile or so to the lot where my car was kept locked up. The lot was closed, and in the dark I saw my car....so I hopped over the fence, barking dogs or no, and got into the trunk and hurredly ran the toys over the fence. My daughter found out there was "no Santa Claus" right then and there, but she sure was happy to get that red scooter which she rode home and my son rode in the red wagon..his wagon! I put the other gifts in the wagon and we made it back, relieved to get the gifts. And yes, I had to pay the bill, eventually getting my car back...my ex was indisposed, drinking and not working etc. Thank God I was working day and night and could get us through that. The kids have happy memories about our "tough" times, and that's what it's about isn't it?! The Spirit of Christmas...God does provide - maybe you have to work a little hard for it, but hard work never hurt anyone...it builds character and respect for others. And I happily worked hard and within the year I could quit the day-job and just work in the studios and was determined to make sure my kids didn't know how tough being that poor was in the years before that special Christmas....we were all lucky to provide well for our families in the 60s with studio work. May you All have a great Spirit of Christmas with you and your families and friends....with you all, we've got the Spirit right here too. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- End
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