________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ______________ S P E C T R O P O P ______________ ________________________________________________________________________ ________________________________________________________________________ Supporting the initiative to send Ellie Greenwich and Jeff Barry to the Rock n Roll Hall of Fame - Read about it in an essay by Don Charles http://www.spectropop.com/hjeffandellie.html New! Jeff Barry at Spectropop! http://www.spectropop.com/hjeff_barry.html New! The Raindrops at Spectropop! http://www.spectropop.com/gg/raindrops.html ------------------------------------------------------------------------ There are 8 messages in this issue of Spectropop. Topics in this Digest Number 108: 1. Re: The Screw From: James A. Crescitelli 2. Re: The Crystals - The Screw From: Billy Spradlin 3. Sittin' on The Screw on eBay From: "GSPECTOR" 4. Motown LP artwork From: Jamie LePage 5. RE: Rainy Daze From: Jon Pruett 6. Leader of the Pack Ellie Greenwich story From: Phil McNeill 7. 1650 Broadway From: Rex Patton 8. Playlist for "Casa Nostra" 2.16.01 From: James Botticelli ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Wed, 21 Feb 2001 09:10:13 EST From: James A. Crescitelli Subject: Re: The Screw YIKES! : ) Sorry y'all... "bootleg" in my original post re this subject was a poor choice of wording. Anyway, thanks Paul: I hadn't realized that "The Screw" had been "re-issued." I listened to it again the other day... it sorta grows on the listener! And it's obvious, via the innocence and simplicity of the backing vocals, that those poor little Crystals had NO idea what they would be contributing to! --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Wed, 21 Feb 2001 20:22:33 -0000 From: Billy Spradlin Subject: Re: The Crystals - The Screw The "Screw" (which Goldmine's 45 Record Guide called "one of the most spiteful records in rock history") appeared on a bootleg CD called "Phil Spector's Flips and Rarities". The only caveat is that theres a bad skip about 2 1/2 minutes into the song, and some of the remastering of several songs is very tinny or harsh sounding, but that's par for the course of many boots. I made a MP3 of "The Screw" and did some digital editing using Sound Forge, fixed the skip and cleaned up some little "clicks and pops". Billy --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Wed, 21 Feb 2001 07:18:02 -0700 From: "GSPECTOR" Subject: Sittin' on The Screw on eBay > There's a blue-label copy of The Crystals' "The Screw" > on eBay... " This is where I buy all my Phil Spector items. Just type in Spector and you will be surprised at what you will find. I have seen things from Software to books by Judges all named Spector. I have bought contracts, 45's, LP's, and CD's there. I have also meet some very nice people buying wth Ebay. You can always find a ton of things by Ronnie and Phil Spector as well as anyone else named Spector. I hope someday to see my twin brother's artwork on Ebay. >From the Keyboard of: Gary P. Spector Not just another P.S. fan. --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Wed, 21 Feb 2001 08:49:22 -0000 From: Jamie LePage Subject: Motown LP artwork Hi all, Back from a short trip away from the internet and catching up on Spectropop messages. Great topic about Motown LP sleeves and the more general topic of packaging black music to sell to whites. Kingsley wrote: > whilst there may have been a glimmer of truth in the idea > of not featuring black faces early on, Motown soon became > very proud to say to the world "Here We Are!" I guess the Gordys were deliberately grooming these black urban kids to sell to the white public. In essence, dressing them up for whitey. At a time when Sonny and Cher were doing the fur vests and long hair, Motown acts were dressed for Vegas showrooms. Later in the decade, as social issues tugged at white America's conscience, "I'm black and I'm proud" became a political banner marketable to whitey, and the Gordys were more than happy to sell Marvin and the Temps "statement" records to the same white kids who a few years earlier were doin' Mickey's Monkey. The difference of course being that when it was the latest dance craze it was just fun music, and btw just happened to be exciting, fresh, creative and well crafted. Not a hint of any pretense of "art" anywhere. The cartoon monkey on the Miracles' album reflects that early Motown spirit, just as the later Motown spirit was reflected in the pseudo psychedelic/black awareness covers of the late60s/70s. Feldman adds: > I don't think this was an accident. Even when a black > artist was on the front cover during this period, the > lighting tended to be dark and done w/weird color > filters. I've never seen this subject discussed > before; I'd be extremely curious about what Berry Gordy > or Ahmet Ertegun's comments would be. Let's ask em! ;-) Well, if we could, we would probably get two different viewpoints judging from the different styles of the two organizations, Perhaps naively I believe Ertegun started out wanting to market black music to white America from a true love and appreciation of jazz and R&B. Regardless of motivation, however, the desired result was the same and the obvious precedent of such marketing is Nat King Cole, always dressed impeccably and photographed in a way to make his complexion appear to be pale. His movements were restrained and his vocal styling too was colorblind. David Gordon, whose analysis on this topic was amazing, wrote: > Saying that many early Motown covers featured white > people is an interesting quote but it's greatly > exaggerated. David, you are far too kind to this guy! When Paul queried the record exec about the quote, he replied: "There were several early Temptations, Four Tops, Smokey & the Miracles, Contours ... to name a few of the releases. Sounds like "I, er, um" to me. Yeah, there "were several early Temptations, Four Tops, Smokey & the Miracles." There was even *one* Contours. I think Paul knew that much already. The question was which album had blue-eyed go-go dancers etc., and the guy failed to even namecheck the Isleys! (btw, the Contours' sole 1962 album most definitely has six black males in suits doin' the mashed potato and the twist on the cover.) I'd like to know in what context this exec made the comment. Why are we being so secretive? Who was it and why was he talking about Motown selling black music to whites? In any event, he got it WRONG. Dig the 1961 "Hi! We're the Miracles" LP sleeve, or Mary Wells' Two Lovers and other Great Hits" sleeve from 1963. They are brilliant! Far more interesting and less manipulative than later 60s and 70s Motown sleeves. Good to be back! Jamie --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Wed, 21 Feb 2001 09:50:41 -0800 From: Jon Pruett Subject: RE: Rainy Daze It was probably either "That Acapulco Gold" or "Fe Fi Fo Fum". I just saw a copy of it on ebay myself. They were a great psych band out of Denver, Colorado. Worth tracking down... -jon -----Original Message----- >From: Freeman Carmack You know how a fragment of a song becomes a quest like SIDDHARTHA? I was listening to an aircheck from KBLA, dated 6/16/67, the last hour before a brief format change, and heard a snippet from a song that I haven't heard since the late 60s; I thought I caught the name Rainy Daze. I thought I remembered a psychedelic band by that name-the only line that made the cut for the aircheck went "...Patterned wings of butterflies". If anyone can reply, I'd appreciate it. Sincerely, Freeman Carmack --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Wed, 21 Feb 2001 09:11:17 -0000 From: Phil McNeill Subject: Leader of the Pack Ellie Greenwich story I saw the play last night in Richmond, England, and a couple of things puzzled me. How come it claims Greenwich wrote Remember Walking In The Sand when the label says it was written by Morton only? How come it claims Jeff Barry was shocked by Leader Of The Pack, when he actually wrote the prototype for it Tell Laura I Love Her? It was a pleasant enough play, but the downgrading of the roles of Messrs Spector and Morton seems petty. --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Wed, 21 Feb 2001 14:17:59 -0500 From: Rex Patton Subject: 1650 Broadway Just a message to those who might make a pilgrimage to the Brill Building sometime - I hate to disappoint you, but the Brill Building wasn't home to Carole and Gerry, Jeff and Ellie, Barry and Cynthia, the Neils (Diamond and Sedaka) and the others. The Brill Building, at 1619 Broadway, was home to the Broadway tunesmiths who had been there for years. The writers you're thinking about were ensconced across the street at 1650 Broadway where Aldon Music (among others) was located. As Doc Pomus put it "I always hear stories about the Brill Building being the home of rock and roll. It just wasn't true! It was the home of the old, stodgy Broadway guys and they hated us." The Brill Building had been used for musical purposes the longest so the name became a generic for the two buildings. Marc Wielage wrote: > >> I went up to NYC with a group of middle schoolers to see >> a couple of plays (Les Miserables matinee, and then an >> evening performance of The Fantasticks) as part of a >> "mini-course" on theatre. We were walking down into >> Times Square, when all of a sudden what do I run into but >> the Brill Building! I stopped and touched the wall and >> spent 10 seconds of silence paying tribute. > >>---------------------
--------------------< > >Yeah, almost the same exact thing happened to me back in >1994. A friend of mine and I had taken a trip to NY as a >vacation, and we had just gone by the Ed Sullivan Theater >on Broadway (1697 Broadway, as a matter of fact). The >following day, we went by a friend of mine's recording >studio, which was just a few blocks away. > >Imagine my surprise when we were looking at the street >numbers, trying to find the right one, when I realized, >"holy crap! This is the Brill Building!" I believe that >was 1600 Broadway, or close to it. There was a small >brass plaque commemorating the spot. Man, that really >gave me goose bumps, knowing the history of that place. --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Tue, 20 Feb 2001 15:30:52 EST From: James Botticelli Subject: Playlist for "Casa Nostra" 2.16.01 "Casa Nostra" Airs on WMBR-FM 88.1 Cambridge at MIT Fridays at Midnight Streams in Real Time http://wmbr.mit.edu Hit the "listen" link Plays Mood and Groove music from The Space Age to The Bass Age Della Reese-Come On-A-My House-Cha Cha Cha LP Flabby-Baluba Shake-E Allora Mambo OST George Romanis-8 On The Lam-OST Brass Impact-Baubles, Bangles & Beads-Brass Impact Sam Paglia-Nightclub Tropez-Nightclub Tropez Stereo DeLuxe-Blue Rita-12" Bella Donna-House's Echo-House's Echo Ripple-Ripplin'-Ripple LP Gershon Kinglsey-Scarborough Fair-Music To Moog By Kai Winding-China Nights-More Clebanoff Orchestra-Mima-Lush, Latin, And Bossa Laila Amerzian-Singapore-Expresso (siesta) Ursala 1000-Jackie Go!-Shake EP Sunny Face-Voodoo Mood-Temptation Seksu Roba-Cha Cha Moon-Seksu Roba Lalo Schifrin-Aftermath Of Love-Bullitt OST Friends Of Distinction-Its Sunday-Highly LP Pizzicato 5-Barry White Meets Dionne Warwick-Great White Wonder Malente-Pertig-Spirit of Malente Boys From Brazil-Bom Bom De (Los Chicharrons remix)-12" Dogliotti-Canmdombe-Mondo Bossa Boricua All Stars-Boricua House Party-7" Fantastic Plastic Machine-Bachelor Pad-FPM Megamix Sophia-Femme Femme-Nymphomania 2 Monday Michiru-How Deep Is Your Love-Monday Michiru EP Armando Trovajoli-Sun City-Erotica Italia Balanco-Intrigo A Franco Forte-12" Thanks for reading, James Botticelli --------------------[ archived by Spectropop ]-------------------- End
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