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Spectropop - Digest Number 88

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       Manufactured in Seoul, Korea. Copyright licensed by KOMCA.

There are 5 messages in this issue of Spectropop.

Topics in this Digest Number 88:

      1. Re: Soundalikes
           From: "J.H. Ket" 
      2. Anyone see Jackie DeShannon on Letterman?
           From: "Hans Ebert" 
      3. RIP Specs:  What Are We Gonna Do Without You
           From: "Jack Madani" 
      4. Re: BBs liner notes
           From: Jamie LePage 
      5. Re: ELRONBEE's uncertainty over the length of a copyright, U.S. & Int'l
           From: eb11x 


Message: 1
   Date: Thu, 11 Jan 2001 19:57:34 +0100
   From: "J.H. Ket" 
Subject: Re: Soundalikes

Paul Urbahns wrote:

>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.

Thank you Paul for broadening my scope on the 
soundalikes. Till now I really overlooked this corner. 
I've never considered these albums to be soundalikes. 
But you're right, they are.

> 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

As far as I can remember (the situation in Holland), 
that kind of "Top of the Pops" soundalikes became 
popular in Europe during the second part of the sixties 
and during the seventies - the years without top 20 hits
for Spector (besides the Beatles related stuff). The 
development from "Grocer to Supermarket", the place were
these records were mostly sold (during the late sixties),
took place some years later in Europe than in the US.

> The names of the groups were made up because they 
> were Nashville's best session singers and musicians 
> involved.

Yes these kind of albums are getting more attention now,
specially when the news leaks (or just rumours) that b.e.
Tony Rivers (and the Castaways), Elton John or D. Edmunds
are playing on these albums. Mostly the artists are the 
last ones to admit they played as "copycats".

>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)

Are these tracks good/interesting copies of the original
or were they "flat" coverversions?

Friendly greetings,
Hans Ket

--------------------[ archived by Spectropop ]--------------------

Message: 2
   Date: Sat, 13 Jan 2001 10:58:14 +0800
   From: "Hans Ebert" 
Subject: Anyone see Jackie DeShannon on Letterman?

Did anyone see Jackie DeShannon on the Letterman Show 
last week? She looked just as great as ever.

Too bad, we, the viewers, never actually got to hear her
sing though we heard snippets of When You Walk In The 
Room, Needles And Pins and Bette Davis Eyes.

Judging by Letterman's comments about no one at home 
actually been able to hear her and how and why on earth 
this happened, I might not be the only complaining.


Hans Ebert

--------------------[ archived by Spectropop ]--------------------

Message: 3
Date: Thu, 11 Jan 2001 22:22:19 -0500
   From: "Jack Madani" 
Subject: RIP Specs:  What Are We Gonna Do Without You

The passing of Jack Specs Nitzsche saddened me greatly. 
Specs to me sits right in that same pew with Phil 
Spector and Brian Wilson, and I have always said so from
the first time I saw his name on a Spector compilation LP. 
When I submitted a song to the Pet Sounds Mailing List
"Net Sounds 3" project, I did it so that it would sound 
like my favorite Nitzsche-arranged track of all time, 
Lesley Gore's "What Am I Gonna Do With You"--and in the 
liner notes, I made darn sure that it was clear I was 
paying homage to Specs as much as to Phil and Brian. I 
don't think I've ever heard a Specs track that was less 
than brilliant.

Egad. He even had a cool nickname.

Anyhow, reading about his passing got me to thinking 
again about that favorite track of mine, and so I pulled
out my two Lesley discs, the twofer "It's My Party: The 
Mercury Anthology" and the earlier single-disc "The 
Golden Hits Of Lesley Gore." The versions of What Am I 
Gonna Do are very different on the two cd's--the Mercury
Anthology version is apparently the original mix, with a 
lot of the classic Gold Star echo on it and a more 
primitive stereo pan--instruments sort of huddled left 
of center, and Lesley over to the right and a little too
upfront. The version on the Golden Hits cd was apparently
remixed, although it doesn't say so anywhere on the disc 
(but then, it's not really great packaging; the arranger
for the track in question is listed as "Jack Nitzche"). 
It's lost some of the echo, but on the other hand the 
instruments are splayed more evenly across the 
soundstage, and Lesley is smack dab in the center and 
mixed down a little, so that you can crank it and really
revel in that big honkin' sleigh bell arrangement. The 
harpsichord is clearer, too.

The differences between the two tracks are very 
interesting, making it easier to pinpoint some of the 
tricks that went into creating the Wall of Sound. 
Goodness knows I put in a lot of serious headphone time 
with those two tracks before I tried to arrange my own 
Net Sounds cut. But now, with the news of Jack 
Nitzsche's death, I've been listening again to "What Am 
I Gonna Do Without You" in a sort of personal little tip
of the hat in his honor.

Just in case the upload wasn't announced automatically, 
I uploaded both versions of the song to the Spectropop 
egroups folder. If anyone would care to listen to the 
files I would enjoy discussing the differences with you-
-and indeed, would enjoy namechecking the many other 
marvelous recordings that Specs had a hand in.


p.s. my email addy has changed--note the sig file below-
-and while my school administrator assures me that I 
will continue to receive email at the old addy, well, 
you know how those things can go.....

Jack Madani - Princeton Day School, The Great Road,
   Princeton, NJ  08540   XXXXXXX@XXXXXXXXXXX
"You knew the job was dangerous when you took it, Fred." 
 --Henry Cabot Henhouse III

--------------------[ archived by Spectropop ]--------------------

Message: 4
   Date: Thu, 11 Jan 2001 20:52:19 +0900
   From: Jamie LePage 
Subject: Re: BBs liner notes

On Tue, 09 Jan 2001 08:26:07 EST
Dmirich wrote:

> >   The ironic thing is, [if the BBs regain control 
> > of this music] and release it themselves, guess who 
> >  would be hired to do the liner notes!!! 
> >  
> I don't think it would be Brad Elliot, who Capitol and
> the BBs will no longer employ for liner note writing
> (look at the notes from the new 2fers).  Besides, Mike
> Love would have good reason to not want Brad's
> participation in any future projects because of the
> strong stance against him that Brad has taken over the
> years in discussions on the various BB mailing lists and
> newsgroups.
> Dave Mirich

Hi Dave,

After all those SOTs saturated BB fandom, I sort of lost
interest and unsubscribed from PS. But all the years I 
was there I never perceived Brad Elliott taking a strong
stance against Mike Love. I searched his name in the 
archives but found nothing there to corroborate. I've
always perceived Brad to be neutral - his book and the 
liners I have read certainly take a neutral approach.

And, to tell you the truth, I haven't obtained any of
the new 2fers either, so I honestly didn't know. Thanks
for the clarification. 

So, in consideration of David Mirich's comments, I
retract my previous statement and in its place...

Wouldn't it be ironic if they were to somehow get the
rights and release it themselves, then hire Ron Furmanek
to put it together for them!


All the best,

P.S. Check out this page for an update on the status.

--------------------[ archived by Spectropop ]--------------------

Message: 5
   Date: Thu, 11 Jan 2001 16:27:45 -0000
   From: eb11x 
Subject: Re: ELRONBEE's uncertainty over the length of a copyright, U.S. & Int'l

To quote from the Library of Congress:

"Copyright Protection is Automatic. Under the 1976 
Copyright Act, which became effective January 1, 1978, a
work is automatically protected by copyright when it is 
created. A work is created when it is "fixed" in a copy 
or phonorecord for the first time. Neither registration 
in the Copyright Office nor publication is required for 
copyright protection under the present law.

NOTE: Sound recordings fixed before February 15, 1972, 
were generally protected by common law or in some cases 
by statutes enacted in certain states but were not 
protected by federal copyright law. In 1971 Congress 
amended the copy-right code to provide copyright 
protection for sound recordings fixed and first 
published with the statutory copyright notice on or 
after February 15, 1972. The 1976 Copyright Act, 
effective January 1, 1978, provides federal copyright 
protection for unpublished and published sound 
recordings fixed on or after February 15, 1972. Any 
rights or remedies under state law for sound recordings 
fixed before February 15, 1972, are not annulled or 
limited by the 1976 Copyright Act until February 15, 

*What Is Renewal of Copyright?* For works copyrighted 
before January 1, 1978, the copyright law provides a 
*first term of copyright protection lasting 28 years*, 
followed by a second term of protection known as the 
renewal term. However, these works were required to be 
renewed within strict time limits to obtain a second 
term of copyright protection. If copyright was 
originally secured before January 1, 1964, and was not 
renewed at the proper time, *copyright protection 
expired permanently at the end of the 28th year of the 
first term and could not be renewed.* Public Law 102-307, 
enacted on June 26, 1992, *amended the copyright law 
with respect to works copyrighted between January 1, 
1964, and December 31, 1977, to secure automatically the
second term of copyright and to make renewal registration
optional. The renewal term automatically vests in the 
party entitled to claim renewal on December 31 of the 
28th year of the first term. Public Law 105- 298,enacted
on October 27,1998,extended the renewal term an 
additional 20 years* for all works still under copyright, 
whether in their first term or renewal term at the time
the law became effective.The 1992 and 1998 amendments do 
not retroactively restore copyright to that 
are in the public domain.

For information concerning the restoration of copyright 
on certain foreign works under the 1994 Uruguay Round 
Agreements Act,request Circular 38b."

So according to the Library of Congress, a copyright for
a recorded sound work applied after 2/15/1972 can last 48
years. All anyone need do to find more information about 
these matters is visit the LOC website (
copyright). Forms and more are available in PDF format,
for your own use for all "media", not only recordings.

--------------------[ archived by Spectropop ]--------------------

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