________________________________________________________________________ ______________ S P E C T R O P O P ______________ ________________________________________________________________________ Take a virtual pilgrimage to the Brill Building and sign the Jeff and Ellie petition http://www.spectropop.com/hjeffandellie.html ________________________________________________________________________ There are 10 messages in this issue of Spectropop. Topics in this Digest Number 109: 1. Re: 1650 Broadway From: Marc Wielage 2. re: 1650 Broadway From: "Jack Madani" 3. Re: 1650 Broadway From: Tom Simon 4. Re: 1650 Broadway From: Jamie LePage 5. Re: The Screw From: Mark Landwehr 6. Curt Boettcher, The Ballroom, The Millennium, Sagittarius and Gary Usher From: "Ron Weekes" 7. White people on black artists' covers From: "James F. Cassidy" 8. Motown sleeves From: Glenn Sadin 9. leader of the play From: "Jennifer Sullivan" 10. Rainy Daze From: "Antonio Vizcarra" ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Thu, 22 Feb 2001 02:13:12 -0800 From: Marc Wielage Subject: Re: 1650 Broadway Rex Patton commented on the Spectropop group: > 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. >-------------------------------
-----------------------------< Yeah, I know. Sedaka went into it in great detail in his auto-biography. 'Scuse me for livin'. Still, it was all a couple of doors down, in the same neighborhood. Just to be within a block of that incredible place was pretty damned cool. --MFW -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- -= Marc Wielage | "The computerized authority =- -= MusicTrax, LLC | on rock, pop, & soul." =- -= Chatsworth, CA | =- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Thu, 22 Feb 2001 07:03:01 -0500 From: "Jack Madani" Subject: re: 1650 Broadway rex writes: >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. Noooooooooooooooooooooooooooo!!!!!!!!!!!!!!! jack "Khannnnnnnnnnnnn!!!!!!" madani --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Thu, 22 Feb 2001 10:05:24 -0600 From: Tom Simon Subject: Re: 1650 Broadway Rex Patton wrote > >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. > In defense of Marc Wielage and to point out to some who may even have been there in the late 50's /early 60's: over the years, the term "Brill Building" has come to signify a style of music that was written, produced and recorded in a series of five or six buildings in the area around 1619 Broadway in New York City. At least, that is my understanding of it. So, someone who is referred to as a Brill Building songwriter, for instance, could be someone who was writing songs in a building across the street from the actual Brill Building itself. --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Thu, 22 Feb 2001 21:01:20 -0800 (PST) From: Jamie LePage Subject: Re: 1650 Broadway Jack Madani writes: >> the Brill Building! I stopped and touched the wall and >> spent 10 seconds of silence paying tribute. Brother Marc Weilage adds: >"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. *sigh* I wondered if anyone was going to do it... ...and Rex Patton did: > 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. The Brill Building had > been used for musical purposes the longest so the name > became a generic for the two buildings. Virginia, your little friends are wrong. With all due respect to Rex, who appears to have meant well in his tactful attempt to clarify, Marc Weilage was more accurate when he wrote: "'This is the Brill Building!' I believe that was 1600 Broadway, or close to it." Exactly. For the Brill Building sound really came from the entire strip along Broadway between 53rd and 49th. Aldon was at 1650, other centers of activity were at 1674 and 1697. The actual Brill Building (named after the Brill Brothers clothiers who occupied the first floor and later bought the building) was at 1619. The building at 1619 Broadway was completed just as the Great Depression set in, and the building's landlords found it necessary to let out space to music publishers in lieu of other takers. Early publishers housed in the Brill Building included Famous, Mills and Southern. Music biz tenants grew until by 1962 the Brill Building had well over 150 music publishers housed within its walls. By the early 60s, the Brill Building was the total one-stop shopping center for Teen Pan Alley rekkid biz whiz kids. You could go in and pitch a song, get a lead sheet done, have copies run off, run over to one of the demo studios and cut a quick demo using the musicians and singers who were always hanging around (some themselves aspiring writers), and then get an acetate cut. You could then take the acetate around to the various publishers, record companies, artist managers - all without ever leaving the building. The Brill Building page at Spectropop http://www.spectropop.com/hbrill.html#start has a pic of 1619, yet it leads to pages on many of the Brill Building writers who worked out of 1650, including Carole King. It doesn't seem like a mistake. On Spectropop's Carole King page there is a Gavin Report interview in which Carole King says: "...we didn't operate in the Brill Building. It was widely thought that we did, but we operated out of 1650 Broadway around the corner." Despite the fact that Aldon was at 1650, nearly all musical historians and fans consider Carole King an important Brill Building writer. And here's a quote I found from a Jeff Barry interview: "I met [Leiber and Stoller] when I was signed to TM Music, Ed Burton's firm. It was right next door to Leiber and Stoller's offices in the Brill Building." Jeff and Ellie, of course, were not Aldon Music writers during the Brill Building era. They were signed with Leiber/Stoller's Trio Music, which Jeff appears to be saying was based at 1619. Clarifications, anyone? So if anyone makes a pilgrimage to the area from where the Brill Building sound emanated and wants to pay tribute at the shrine of that glorious era we celebrate here, by all means do visit the Brill Building. Jack, did you even notice 1650 Broadway? Believe me, you touched the wall of the right building... Regards to all, Jamie n.p. "Up on the Roof: Songs from the Brill Building" by Neil Diamond --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Thu, 22 Feb 2001 16:05:51 -0500 From: Mark Landwehr Subject: Re: The Screw Sorry to have to put my two pennies in on this, gang, but I feel I have a right...More so than all but about 4 other people on this planet. The blue-label "The Screw" that's resurfacing now is a BOOTLEG, totally unauthorized and unlicensed (which is basically the definition of a bootleg)! What's wrong with using that word, Paul!!! Someone had a copy and pressed it wo/anyone's permission - They didn't even try to fix the skip at 2:00!!!...That's pretty poor "mastering", if you ask me. No matter what the "intentions" were (this could be passed off as an original to the uneducated - I've seen sellers on eBay try to do that ), it's an illegal pressing, period. Just because someone didn't want to "make money" off of it (which I don't believe for a second), let's not avoid calling the kettle black...B-O-O-T !!! And, this ain't no "re-issue" either, altho I sense that Jimmy's reference was tongue-in-cheek. With that off my chest, the positive side is that this is one of the few ways that people can hear this aberration (and was for many years) and I have to give credit & thanks to whomever for that (I've had several copies for 20+ years) - The CD that was mentioned only has Side One...The flip is more of the same at a much slower tempo. How many have heard THAT??!! Hey, Billy Spradlin, MY "copy" doesn't have the skip in it either ;-)) Mark Landwehr The Phil Spector Record Label Gallery @ http://home.toltbbs.net/~msland/Spector --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Thu, 22 Feb 2001 16:43:24 -0700 From: "Ron Weekes" Subject: Curt Boettcher, The Ballroom, The Millennium, Sagittarius and Gary Usher Knowing that a lot of you on this list are interested in the great music created by the folks listed in the subject line, I thought you might be interested in the interesting read I'm having with Stephen McParland's volume three of his Gary Usher biography series. I have just started it, but if you want to know more about any of the above artists and how Gary worked with them, along with many other Columbia recording artists like The Byrds, The Peanut Butter Conspiracy, Simon and Garfunkel, etc. this book is a must read!!! One interesting point is McParland has illustrations depicting two possible track line-ups of the only until recently released The Ballroom LP. I don't have my Rev-Ola CD here so I can't compare how that CD was actually sequenced. The mono master tape boxes list this sequence: Side One: Would You Like To Go 5 A.M. Forever Love's Fatal Way Crazy Dreams You Turn Me Around Side Two: Musty Dusty Magic Time It's A Sad World It'll Grow Stronger Lead Me To Love Baby Please Don't Go On the acetate dubs we see this sequence: Side One: Spinning, Spinning (Vocal) Spinning, Spinning Musty Dusty Lead Me To Love Would You Like To Go Side Two: 5 AM You Turn Me Around It's A Sad World (Crossed out with a pen) Crazy Dream Baby Please Don't Go Of course the dilemma is which of these is supposed to be the true track listing? Maybe it's a situation with Brian Wilson's proposed track listings for a similar unreleased album, SMiLE. We can only speculate. But 'tis great music! For more information on how to order this book "The California Sound: An Insider's Story...The Musical Biography of Gary Lee Usher" Volume Three, pay a visit to http:www.garyusher.com/cmusic.html. I hope to have a full color (colour) scan of the book's cover on the front page of www.garyusher.com early next week. Ron Weekes http://www.spectropop.com/go2/curtboettcher.html --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Thu, 22 Feb 2001 12:14:24 -0500 From: "James F. Cassidy" Subject: White people on black artists' covers People shouldn't read too much into the selection of cover art for albums from the late '50's and early '60's, for several reasons: 1. Record companies weren't sophisticated marketers back in those days. 2. Most independent labels were cheap. They weren't about to pay the high cost of a professional photo shoot - with props, lighting, hair, make-up, etc., if they could avoid it. A cheap illustration costs less than a photo to produce, and less than a color photo to print (especially back then). 3. They often used stock photos to save money. In that era, virtually all stock photos were of white people. 4. Expediency. If a group had a sudden smash on their hands, a label would want to rush out an album to cash in quickly. That might preclude doing photos (if the group was on tour, for example). 5. Albums were not a top priority for record companies then. And they certainly weren't considered "art"! This is not to say that racism wasn't a factor in record company decisions. It might well have been in some cases. There were also probably some white soul singers whose photos were kept off their record sleeves in an effort to conceal their race while marketing to the black community. Jim Cassidy --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Thu, 22 Feb 2001 18:29:01 -0800 From: Glenn Sadin Subject: Motown sleeves > The Miracles first greatest hits album showed a bland > ocean sunset, for no apparent reason. "From the Beginning" is the title of that LP. As if the music contained is from the beginning of time! It looks like a tacky gospel LP cover, fer gosh sakes! Nevertheless, it's one of my all-time favorite albums! Glenn Read about Japanese pop from the '50s & '60s! NIHON NO POPS: http://home.earthlink.net/~glenn_mariko/nihon.htm --------------------[ archived by Spectropop ]-------------------- Message: 9 Date: Thu, 22 Feb 2001 09:38:49 -0500 From: "Jennifer Sullivan" Subject: leader of the play I'm so glad someone posted a review of this play because they just announced the show dates here in Boston. It looked interesting but I wasnt sure about shelling out 50 bucks for it. If anybody else has seen this play please review it here!! Thanks! Jennifer --------------------[ archived by Spectropop ]-------------------- Message: 10 Date: Wed, 21 Feb 2001 21:28:43 +0100 From: "Antonio Vizcarra" Subject: Rainy Daze Hi Freeman The song you mentioned is called Snow and Ice and Burning Sand. It is a beautiful and moody song that is also the last track of the Rainy Daze's only album. Unfortunately I bought this record through a mail order record shop. It was listed as VG+++ but I found that the guy that graded the condition of the record maybe had a look only at one of the sides, as the other is really unplayable. So, my question to all members of this list would be the following: is there any reliable mail order record shop who do not overgrades the records they offer? Any suggestion is really welcomed. All the best. Antonio. --------------------[ archived by Spectropop ]-------------------- End
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