________________________________________________________________________ ________________________________________________________________________ ______________ ______________ S P E C T R O P O P ______________ ________________________________________________________________________ ________________________________________________________________________ Support the initiative to induct Jeff Barry and Ellie Greenwich into the Rock & Roll Hall of Fame by signing the online petition. http://www.spectropop.com/hjeffandellie.html ------------------------------------------------------------------------ There are 8 messages in this issue of Spectropop. Topics in this Digest Number 110: 1. The Motown Album Cover Story... From: Paul MacArthur 2. Re: Curt Boettcher, The Ballroom, The Millennium, Sagittarius and Gary Usher From: Billy 3. Screwed? From: Stewart Mason 4. Leader of the Plaque From: DJJimmyBee 5. Current Spectropop Music From: "Kingsley Abbott" 6. The Attack From: "Jamie LePage" 7. Re: 1650 Broadway From: "mikey1" 8. Re: Digest Number 109 From: Rex Patton ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Fri, 23 Feb 2001 10:36:17 -0800 (PST) From: Paul MacArthur Subject: The Motown Album Cover Story... Jamie LePage asked: > 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? Well, gang here's the story (and I'd really like Carol Kaye and anyone else who was around in the '60s to weigh in on this). Radio and Records published an article in their February 9, 2001 edition called "Giant Steps: A frank discussion of race and culture." (This was their smooth jazz special edition - the one time they give lip service to jazz). In fact it's just a roundtable discussion with Lawrence Tanter (PD KJAZ-AM), Joe Sample, Carl Griffin (Prez. N-Coded Music) and Chris Jonz (Director of Jazz and UAC Promotion @ Warner Bros.). Actually, they really just pontificate about race issues and a lot of it is less than insightful. Let me give you the context of Jonz's statement by the showing Griffin's first: Griffin: There are not enough black executives in positions of power who have managerial and A&R skills, as well as the sensitivity to further all forms of music. A few years ago, when rap was the medium and a number of black artists were topping the chart, suddenly all those black executives went away. Now we've got a generation of Eminems and 'N'Syncs, while Boyz II Men are no longer important. Black artists have been replaced by what white executives think is more commercial in America: white artists. That's a major form of racism, dividing the music between white and black instead of letting it breath as a natural form. And not only are there not enough African-American executives in jazz today, the ones that preceded us - like Dr. George Butler of United Artists, Blue Note and Sony -- haven't gotten the recognition they deserve. Their contributions need to be acknowledged. Jonz: In the early days of Motown you never saw the artist on the album cover; you saw a white couple on a beach or blonde, blue-eyed go-go dancers. We have to respect that in the time this took place -- 25 or 30 years ago -- what Berry Gordy did made sense from a marketing standpoint, but Motown's motto was "the sound of young America," not "the sound of young black America." It was created and performed by black artists, but it was universal young people's music. Okay, so after reading that, I sent this email to Jonz: Saw your comments in R&R and enjoyed the article. However, I have to question you on something. You noted that "In the early days of Motown you never saw the artist on an album cover: you saw a white couple on a beach or blonde, blue eyed go-go dancers." How early do you mean? In 1963, the Supremes were on pictured on Meet The Supremes (the stool cover). Supremes '64, Where Did Our Love Go LP - features Diana, Mary and Flo on the cover. 1962, Mary Wells is pictured on the single The One Who Really Loves You (on the back is a picture of Marvin Gaye). Meet the Temptations from '64, they're on the cover. Etc. So are you talking late '50s? Because I can't find any covers with the Blonde Blue Eyed go-go dancer on them. Mr. Jonz's responded with this: There were several early Temptations, Four Tops, Smokey & the Miracles, Contours ... to name a few of the releases.. Exact years? I don't have them immediately available but Billboard reference books circa 1960 - 1963 should reveal your answers. Incidentally, "never" in the article was used figuratively literally. I used the example to make a point which I feel you missed. I sent a polite self-effacing a note back to Mr. Jonz, essentially saying that he should be more careful with his choice of words. The word never is not figurative and his statements misrepresent what was happening. I never got a response. I also sent him a copy of the Spectropop where many of you corrected his mistake. No response. So that's what's happening. Talk to me. - Paul ===== ---------- Album of the Week: Jeff Beck YOU HAD IT COMING Song of the Week: Jeff Beck "Nadia" Book of the Week: George Orwell 1984 Movie of the Week: The Nasty Girl --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Fri, 23 Feb 2001 22:49:43 -0000 From: Billy Subject: Re: Curt Boettcher, The Ballroom, The Millennium, Sagittarius and Gary Usher > 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! Yes it is, my guess is that it was a "work in progress" when these tapes/acetates were made and that Curt (or Warner Bros/Columbia) was still figuring out the track listing. Are there any dates on these tape boxes or acetates? Dawn Eden's liner notes say "We do know that the album was nearly finished by November 7, 1966, when a work reel was made, that it was completed by December 1, 1966 when a mono master was made: and that at the time of its completion the group had yet to attain a record deal". Its interesting to me that Curt had the whole album finished before the band signed a deal with a record company, quite an elaborate demo. I dont know why Warners or Columbia didnt release it the way it is (and was mixed in stereo). Perhaps it was a a little bit ahead of its time in late '66-early '67. I'm also wondering what "Spinning Spinning" is. An instrumental version? Would love to hear it. Rev-Ola's Ballroom CD has a different order of the original "Columbia" LP. "Lead Me To Love", "5 AM" and "Spinning Spinning" are missing. 1. Spinning, Spinning, Spinning 2. You Turn Me Around 3. Would You Like To Go 4. Forever 5. Loves Fatal Way 6. Its A Sad World 7. Crazy Dreams 8. Magic Time 9. Musty Dusty 10. I'll Grow Stronger 11. Baby Please Dont Go (Tracks 12-22 are Curt's demos and singles by Summers Children, Sandy Sailsbury and Sandy moonlighting as "Puppet") The good news is that David Bash just told the Audities (Power Pop) mailing list that Sundazed will be issuing a 3 CD(!) box set of Curt's productions this year. I hope they find some more goodies from the vault and get some of Curt's productions like Lee Mallory's "That's The Way It's Gonna Be" on (a legal) CD. Billy --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Fri, 23 Feb 2001 02:45:08 -0700 From: Stewart Mason Subject: Screwed? Is anyone else having trouble finding "(Let's Dance) The Screw"? It's a shame, the song is far weirder than I'd ever imagined, and remarkably wonderful. Stewart --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Fri, 23 Feb 2001 16:49:37 EST From: DJJimmyBee Subject: Leader of the Plaque In a message dated 2/23/1 3:59:34 AM, you wrote: > 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 wasn't sure about > shelling out 50 bucks for it. If anybody else has seen > this play please review it here!! Jennifer, would you let a fellow Boston boy in on the details? Muchos grat..c-ya's! --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Fri, 23 Feb 2001 10:55:26 -0000 From: "Kingsley Abbott" Subject: Current Spectropop Music Hi Everyone A new thought here: Over here in England it's sometimes tricky to stay up to date with modern groups/soloists who are putting out the sort of music that Spectropoppers really like, so could we maybe add in news of good stuff as it arrives. I'll kick off with some I do know of - girlie stuff from It's My Party ( www.itsmypartyonline.com ) which I really like, sunshine from Ladybug Transistor (www.spacelab.net/~ladybug), Brian Wilson influences on Scott Brookman's work (www.tweekitten.com), the great California Sounds albums >from Jeff Foskett and Jeff Larson (www.new-surf.com) and the Chewy Marble "Bowl of Surreal" album (www.chewymarble.com). Add these to album from The Wondermints, Linus of Hollywood, the output from Poptones (Curt et al, Cosmic Rough Riders, etc), and the great new Free Design album on Marina there seems to be a lot happening out there in our brave new millennium. So what else can be recommended?? Kingsley Abbott --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Sat, 24 Feb 2001 05:51:48 -0000 From: "Jamie LePage" Subject: ATTACK Hola amigos, I remember hearing the song Please Phil Spector once many years ago on Rodney's KROQ annual Xmas tribute to Phil Spector. For years I wondered about it. Recently I was fortunate enough to receive a copy from a very dear friend which I am certain every Phil Spector fan will want to hear. I don't know a thing about the record except that it's hilarious. Can anyone give the background on this novelty disc? Year? Label? People behind it? Adios, Jamie --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Fri, 23 Feb 2001 16:16:02 -0500 From: "mikey1" Subject: Re: 1650 Broadway I guess I take things for granted as I live here in Manhattan, and I pass the Brill Building and 1650 Broadway all the time. I used to work a few doors down at 1633. Its nice to take in the history of the place but it's a real bummer to walk into 1650 and look for "Aldon Music" on the directory, and have the Spanish guy at the door say...."Who?...No, they no here...." Mikey ________________________________________________________________________ ________________________________________________________________________ Message: 8 Date: Fri, 23 Feb 2001 13:30:49 -0500 From: Rex Patton Subject: Re: Digest Number 109 To all the naysayer/nitpickers with attitudes who replied to my (in my mind) innocent post regarding the Brill Building: All I was trying to do was clarify what building most, if not all of the writers that this board reveres and talks about were working out of. While I understand (and mentioned) that the Brill Building became a generic term for different buildings in the immediate area, in regards to the specific building where the rock and roll/ 60's pop writers worked, in case someone actually goes there looking for where the majority of them worked, I'll stick with Doc Pomus. After all - he was there. --------------------[ archived by Spectropop ]-------------------- End
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