http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ 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. Cheers, 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. jack 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! Better? All the best, Jamie P.S. Check out this page for an update on the status. http://www.surfsuprecords.com --------------------[ 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, 2047. *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 U.S.works 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 (www.loc.gov/ copyright). Forms and more are available in PDF format, for your own use for all "media", not only recordings. --------------------[ archived by Spectropop ]-------------------- End
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