http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ Vocal With Instrumental Accompaniment ------------------------------------------------------------------------ There are 7 messages in this issue of Spectropop. Topics in this Digest Number 86: 1. Various LPs (mostly Bacharach stuff) From: "Tobias Bernsand" 2. Gale Noble of The Darlettes From: Geri & John Clemente 3. Keith Barbour From: Mullins Geoff 4. Phil Spector Sound-a-likes From: "Paul Urbahns" 5. Re: lawsuits - rights - credits From: "mikey1" 6. More on artist rights and the Beach Boys From: Jamie LePage 7. Playlist "Casa Nostra" 1.5.01 From: "James Botticelli" ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Mon, 08 Jan 01 21:08:32 +0900 From: "Tobias Bernsand" Subject: Various LPs (mostly Bacharach stuff) Some LPs I've picked up over the latest couple of months but haven't had the time to post about: *Aimi MacDonald and Ronnie Carroll: Promises, Promises 1969 This is not the offical Bacharach-David soundtrack but mainly the above two people covering the soundtrack... listened briefly to it, and it looks like it features an English cast from a London theatre....BUT, it doesn't include "Wanting Things" for some reason...I have never been able to find a copy of the original Broadway soundtrack, if such an LP exists, so I'd love if somebody could make a CDR of it for me [no tape - my cassette decks are both broken]. How can you resist this young puppy's request? :-) *Anita Kerr Singers: Reflect On The Hits Of Burt Bacharach & Hal David Of all the Bacharach tributes, this is among the better ones. The question which needs to be asked is how many versions of "Walk On By" do we need? More, if you ask me :-) No, but this LP contains a couple of Bacharach songs which are usually not covered: Are You There With Another Girl, In Between The Heartaches and Whoever You Are, I Love You. *Billy Vaughn Singers: Up, Up & Away Contains "Up, Up And Away" and "Cherish"...I wouldn't say they're the best versions I've heard. *Burt Bacharach: Woman 1979 I already had a tape copy of it, but the artwork is pretty cool so I had to buy the album...which was very cheap, thankfully. I like it better than Burt's other solo album in the late seventies (Futures), but some tracks have a sort of orchestral fusion feel --- if there's one thing I can't stand, it's fusion :-) *Dionne Warwick: I'll Never Fall In Love Again This record is great because it contains three unknown (to me atleast) Bacharach&David songs: The Wine Is Young, Loneliness Rembers What Happiness Forgets and Let Me Go To Him. I like Dionne's B&D albums from early Seventies the best. B&D's songs from this era are more moody and less upbeat than in the hit years. [BTW, why no April Fools or Another Night on the Bacharach box? Has anyone except for Dionne recorded Another Night?] *Johnny Mann Singers: We Can Fly! Up-Up And Away A group which should not to be confused with The Johnny *Marr* Singers :-) The music is not too bad at all - fine covers of songs like Up-Up And Away, Go Where You Wanna Go, Monda Monday and....Yellow Balloon! The highlight is the soft pop version of Gershwin's "I've Got Rhythm", which is like ten times better than anything by, say, The Mamas & Papas. I like this record a lot, who were Johnny Mann and his singers? *Nick De Caro & Orchestra: Happy Heart Features a cover of Caroline No....which is one of the few highlights on the album. He's probably a great arranger, but I don't care much for the other song selections. *Randy Newman: Little Criminals 1977 I've always wanted to own a record with a song called "Sigmund Freud's Impersonation Of Albert Einstein In America", so that was the reason to buy this one. *Stephanie Mills: For The First Time 1975 ...featuring 10 obscure Bacharach & David songs. They aren't very good, BTW. They're as inventive as always, but they don't have the energy or inspiration of the team's 1960-73 songs. Some of the songs are even dull, and the production has that numb cocaine feel that so many mid/late-Seventies records have. *Steve Douglas: Reflections In A Golden Horn 1969 I couldn't resist buying this one...it's Brian and Phil's favorite sax player, doing instrumental covers of Good Vibrations, God Only Knows, Caroline No, This Guy's In Love With You, etc...backed up by people like Hal Blaine and Larry Knechtel! As for the actual music, it's ...eh.....hmmmmm...uh.....it's *fun*. *Sunset Festival Orchestra: Non-Stop Bacharach 1971 *Tony Dillon Orchestra and Singers: The Greatest Hit Songs of Burt Bacharach ...both of which don't turn out to feature the greatest cover versions of Burt Bacharach. Maybe the world *doesn't* need yet another Burt Bacharach covers album, at least not one like these. There's nothing wrong with the arrangements or vocals, but it's kind of boring that the million Bacharach covers LPs found at every record fair feature the same songs... Tobias --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Mon, 08 Jan 2001 22:18:42 -0500 From: Geri & John Clemente Subject: Gale Noble of The Darlettes Hello, I am saddened to report the death of Gale Noble, one of the original Darlettes, who recorded one of Ellie Greenwich's tough talking anthem's "Here She Comes" for Dunes Records in 1963. Gale, Shirley Crier and lead singer Dianne Christian formed the group in The Bronx in 1961. Although The Darlettes never garnered national attention, they made a local splash in their native New York. Originally called The Rosettes, they recorded one single for Herald Records before changing their name to The Darlettes. They recorded two singles for Dunes, the most popular song being "Here She Comes", the tune that heralded the warning "gonna put her through the wall", forming the blueprint for other rowdy girls' songs like Blondie's "Rip Her To Shreads". After the breakup of The Darlettes, Shirley got married. Dianne and Gale continued with solo careers. Gale was featured as one of the promising new soloists for 1968 in Cash Box. Unfortunately, she never followed up on her initial success and exited the music business. Gale recounted her days as a Darlette with fondness when I interviewed her for "Girl Groups" in 1996, surprised that anyone remembered the group. I am sorry to say that although we spoke on the telephone many times, we never had the chance to meet in person. She gave me a beautiful publicity shot of her as a soloist that, unfortunately, did not make it into the book. I am happy that I was able to document Gale's contribution to pop music. Bless you, Gale! John Clemente --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Mon, 08 Jan 2001 21:33:50 +1100 From: Mullins Geoff Subject: Keith Barbour Dear members: Can anyone provide some info on Keith Barbour. I have always liked his track "Echo Park' and know that he recorded some singles for Epic, Barnaby and Private Stock in the late 60's/early 70's. Anything else would be appreciated. Geoff Mullins --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Sun, 07 Jan 2001 11:37:54 EST From: "Paul Urbahns" Subject: Phil Spector Sound-a-likes The true definition of a sound-a-like is a record which sounds like another. Some of these have become hits over the years like Terry Stafford's Suspicion sounds like Elvis. But ever since records have been made there have been sound-alikes made of the Top Hits of the day and sold at discount prices. For over thirty years I have been seriously collecting Hit Records from Nashville TN which sold their sound-a-likes of the current pop and country hits from 1962 to 1972. There isn't hardly a top 20 song they didn't make a sound-a-like of including these Phil Spector songs: He's A Rebel by The Gleams Da Doo Ron Ron by Alpha Zoe Then He Kissed Me by The Dacrons Second Hand Love by Connie Dee (actually Connie Landers) Be My Baby by The Georgettes You've Lost That Lovin'Feeling by Wayne Harris (actually Bobby Russell) All the Spector songs were recorded in stereo (something Phil didn't do). The names of the groups were made up because they were Nashville's best session singers and musicians involved. the recordings were all made at the time the original version was climbing the charts and sold in places like drug stores, discount stores, hardware etc. To people who liked the songs but never stepped into a record store. In the early 60s a record store was about the only place to buy a record. What a concept! So you don't have a complete Spector collection without the sound-a-likes. Paul Urbahns --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Sun, 07 Jan 2001 09:42:15 -0500 From: "mikey1" Subject: Re: lawsuits - rights - credits >From: "Andrew Hickey" > The second is that these recordings will *not* be > 'indefinitely unavailable' - international copyright > law as it currently stands means that the copyright to > a recording only lasts 50 years - Elvis' recordings > will start going out of copyright in 2004, the Beach > Boys' in 2011, the Beatles' in 2012, and so on, hmmm...if this is true, how is it that MCA (Decca) still owns Bing Crosbys "White Christmas", which was issued in 1942? It would seem that the copyright would have expired in 1992. Perhaps copyrights are renewable under some cirumstances? Mike --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Mon, 08 Jan 01 21:08:48 +0900 From: Jamie LePage Subject: More on artist rights and the Beach Boys Hello Andrew, First of all, I think we are on the same page here, and thank you for your informed and considered comments which I found most interesting. Andrew Hickey wrote: >whether it is convenient for us or not, the artists >should have the right over their own material. Sure, ideally artists should have rights over their creations. But typically they don't. Consider it a necessary evil of art meeting commerce. For some reason, we tend to think recording artists should have some intangible right to their performances, yet we don't believe the same of an actor in a film. An "artist" often involves a number of people, who sometimes fall out - who is the "artist" then? (Imagine David Marks saying "OK, I am never going to approve further use of MY rights in the Beach Boys records".) So just as a group must protect ownership of their intellectual property, the owner of the recordings must likewise protect its right to market their recordings. That's what the contracts are for. And if the rights become blurred, sales of records are suspended until the dispute is settled. The idealistic concept that artists should have rights over their work simply doesn't factor in this practical necessity. If an artist pays for and makes their own recordings, they certainly should have the rights over their material, and in fact they do. They always have. Is that not what Dave Clark, Apple, Brother, Bizarre etc. did? Isn't that what the Stealth Munchkins is about? Here's something to think about - when ARTISTS start their own label, guess what kind of agreement they offer to the artists THEY sign? Brian's latest album is like that. It's his baby - he happens to be the artist too. But if Brian (as the owner) wants to license a track to Disney, do you think Foskett should have the right to stop him by claiming Brian doesn't own the master? The answer can only be yes if that was the original agreement. As stipulated in the contract. So yes, it would be ideal if artists always owned their own work, though I'm not convinced it's practical. >...the recent change in US law to make recordings now >count as 'works for hire', thus making the record company >rather than the artist the legal author of the recording, >and *any* move towards the rights of the artists as >opposed to the record companies is, IMHO, to be welcomed. The law you mention and the opposition to it is an interesting issue, and it makes me wonder why anyone even considers an artist deal where the label owns the recordings. If you sell enough Stealth Munchkin records on your website to attract interest from a label, you might negotiate a straight license deal, or a P&D deal, or maybe a joint venture. But say you can only sing and dance a little but don't have a clue about song writing, musicianship, arrangement, production, manufacturing, management, touring, publicity, promotion, marketing, business affairs or accounting. Or maybe the front money is too good to pass up. Or maybe you are just sick of stuffing your CDs in envelopes and cashing $12.00 checks. Just maybe that artist deal is worth considering after all. It must be. After all, artists still sign 'em even today - AND with the advice of experienced attorneys. But thankfully now the internet has provided an alternative to artists that don't want to record for a label. Brian's using it. So is Jeffrey Foskett. So are you. That's what Deck and Surf's Up intend to do, too, and it's encouraging to fans like me to see dot-com ventures by the self-contained indies doing well. >These recordings will *not* be 'indefinitely unavailable' >- international copyright law as it currently stands >means that the copyright to a recording only lasts 50 >years. You are absolutely right.. I should say.'indefinitely unavailable' until expiry of copyright. I wrote "indefinitely" rather than "permanently" for that very reason but decided to leave the issue out of the discussion because, after all, once recordings are in the public domain, the whole question of ownership rights and use of intellectual property without authority becomes a non-issue. But since you brought this subject up, I believe even after recordings fall out of copyright the original owners (or their successors) will continue to sell the recordings as they did when copyright was still in effect. We see that happening already. Their challenge will be to improve the quality, or give added value with informative liner notes, interviews, photos, unreleased bonus tracks, etc. That certainly is what Warner did with their cartoons that fell out of copyright. So there may be a sub-market of stuff mastered from PD analog copies while the majors continue marketing new, copyrighted, enhanced versions. Before Japan changed its copyright term from 20 to 50 years, for a time Elvis, Beatles and Stones recordings were in the public domain. Yet, BMG, Toshiba and Polydor never stopped marketing their official versions, and it goes without saying they continued to pay the designated royalty to their respective licensors (who theoretically continued to pay the artists). I've got a few CD comps >from Universal US comprised of Decca recordings that are already in the public domain (Bing Crosby's White Christmas for one). I don't think the owners will be dissuaded from continuing to market their recordings and paying the stipulated royalty. But let's return to the point - the allegation that Deck do not have the rights to the early Beach Boys recordings and the expressed indignation of those who would use without authority intellectual property belonging to others. >In fact, [if the BBs regain control of this music], this >would make it very much in Mike Love's interests...to >allow a well-annotated, well packaged issue of these >recordings in the best possible quality. Isn't that what we all expect the currently disputed Hite Morgan set to be? But you're right about Mikey's interests - that's what the suit is all about. The ironic thing is, if they were to somehow get the rights and release it themselves, guess who would be hired to do the liner notes!!! >Having said all this, I must reiterate that I suspect >Brad is an entirely innocent party caught in the >crossfire here, and I hope he does not suffer from this >lawsuit... As I said I believe we are on the same page here, and regardless of any differing opinions, your comments are most appreciated, Andrew. Jamie --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Sun, 07 Jan 2001 16:41:38 EST From: "James Botticelli" Subject: Playlist "Casa Nostra" 1.5.01 "Casa Nostra" airs on 88.1FM WMBR Cambridge MA @ MIT >from Midnight-2 Fridays "Casa Nostra" plays loungecore, breakbeat, e-z house, softpop & exotica from Space Age to Bass Age "Casa Nostra" is hosted and produced by James Botticelli (THANX FOR READING) Cecil Holmes Soulful Sounds-2001 Les Gammas-Service Mr. Bond Hugo Montenegro-The Shark (from Lady In Cement) Lego-Contemplation Stacy Kidd-Jazzy Dayz (Chicago House track) Ted Heath-Johnny One-Note Russ Garcia Orchestra-Lost Souls On Saturn Cubismo Grafico-Salon Sunday Mohawks-Soul Organ Jacknife Lee-Sweet Potato Brass Impact-On My Mind Nicola Conte-Il Cerchio Rosso Senor Coconut-Trans Europe Express Chim Kothari-Downtown Losfeld-20,000 Records Men From The Nile-Watch Them Come Neal Hefti-Here's To My Lover (from How To Murder Your Wife) Tipsy-Hard Petting (version that uses Sally Go Round The Roses as sample) The Match-Through Spray Colored Glasses Piero Piccioni-O Rugido Do Leao (remix) Sunny Face-late At Night Bobby Byrne-Barbarella Natural Calamity-That's Saying A Lot Wei Chi-Heaven Wondermints-Don't Go Breaking My Heart Can 7-Cruisin' (thanks Br Cleve) Dells-One Less Bell To Answer --------------------[ archived by Spectropop ]-------------------- End
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