http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ The Result of the Most Modern Recording Techniques in the Phonograph Industry ------------------------------------------------------------------------ There are 7 messages in this issue of Spectropop. Topics in this Digest Number 121: 1. The real McCoy From: LePageWeb 2. Big Tribute in NY to Brian Wilson From: Carol Kaye 3. Re I Stand Accused From: Richard Havers 4. Stage Door & I Stand Accused. From: Dean Scapolo 5. Re: The Origins of "Stage Door" From: Alec Palao 6. Stage Door From: "Ian Chapman" 7. House of Usher Productions: Preserving a Legacy From: "Spectropop Admin" ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Thu, 08 Mar 2001 14:44:09 +0900 From: LePageWeb Subject: The real McCoy David Gordon wrote: > It's a shame that Van seems to be best remembered for > his least interesting records. Van was a great music man and one far too often overlooked in discussion of Brill Building era writers/producers. I mean, the guy was doing A&R for Florence Greenberg at Scepter in the early 60s! Those guys in the roundtable discussion for R&R's "Giant Steps: A frank discussion of race and culture" talked about the need for acknowledgement of black execs' accomplishments. Instead of whining about it and making irresponsible comments about Motown, why not actually acknowledge black execs' accomplishments? Van McCoy transcended all that crap about "dividing the music between white and black" having worked with people like Chad & Jeremy, Vikki Carr and Lesley Gore. Van McCoy is a prime example of a black music man whose accomplishments should be acknowledged! > I haven't checked yet but wasn't he only in his late 30's > when he died? Van passed away as a result of heart failure in July 1979 at the age of 35. > If I can find the time it would be interesting to do a > chronology of his writing / production work. That would be excellent! I do hope at some point you can find the time for this. > Thanks to John Clemente for revealing that Kenni Woods > and Kendra Spotswood are one and the same. Yes, thanks to John and to David for the info on Van. He wrote one of my very favorite songs of all time - "Before and After" as recorded both by the Fleetwoods and by Chad & Jeremy. He even wrote "When You're Young and in Love" for crying out loud! I would love to learn more about his career and his music if anyone can share anything further. Jamie --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Tue, 06 Mar 2001 23:31:13 -0800 From: Carol Kaye Subject: Big Tribute in NY to Brian Wilson This is just in to me from David Leaf...I was asked to go, but sorry I can't get away for this wonderful tribute to Brian Wilson.....with so many stars including Elton John, Paul Simon and Matthew Sweet to name a few in NYC on Mar. 29th (think it's the 29th)....see the Billboard story at: http://www.billboard.com/daily/2001/0306_08.asp Carol Kaye http://www.carolkaye.com/ ________________________________________________________________________ ________________________________________________________________________ Message: 3 Date: Wed, 07 Mar 2001 21:36:50 +0000 From: Richard Havers Subject: Re I Stand Accused Just a little extra. I Stand Accused by Tony Colton is available on a Castle CD that came out recently called, 'The Roots of Rock'. It is a fascinating collection from the Pye vaults. Someone wrote that the Elvis Costello cover of the song on Get Happy was the Jerry Butler version. I am certain that it is the Colton/Smith version. -- Best Wishes Richard --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Thu, 08 Mar 2001 09:29:51 +1300 From: Dean Scapolo Subject: Stage Door & I Stand Accused. Hi all. Stage Door was also recorded by a New Zealand group, although it didn't make our charts. The group was called The Ahmed Dahman Group and this was their only significant single. However, it is a beautiful recording. I Stand Accused was also recorded by the Glories, however, I don't know if it is the same song, since I haven't heard any of them, even though I have the Glories 45. Dean in New Zealand. --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Wed, 07 Mar 2001 16:45:04 -0800 From: Alec Palao Subject: Re: The Origins of "Stage Door" >Seems to me that I read somewhere that Tony Jackson >learned the song from a Carole King publishing demo. I >would say that his version IS the original. His version >certainly has a Carole King piano feel to it! > >Can anyone else report if this song has been recorded by >anyone else? It was covered by the Ahmed Dahman Group in New Zealand in 1967, with a warbly vocalist a la Robin Gibb. Its on the excellent Kiwi comp "How Was The Air Up There?" Incidentally, the NZ cover of the Ballroom's "Spinning Spinning Spinning" by the Simple Image was a huge hit there circa 1969. I'd go as far to say its a better version, largely 'cos of a mega-dose of phasing in the production. Archivally yours Alec --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Thu, 08 Mar 2001 00:30:43 -0000 From: "Ian Chapman" Subject: Stage Door >Geoff Mullins wrote: >Can someone enlighten me on a Goffin/King track called > "Stage Door". >Mike C. replied: >Seems to me that I read somewhere that Tony Jackson > learned the song from a Carole King publishing demo. I > would say that his version IS the original. His version > certainly has a Carole King piano feel to it! > > Can anyone else report if this song has been recorded by > anyone else? Hi Mike and hello again Geoff, There were two US versions of "Stage Door". The first, which I always assumed to be the original, was by Peter James on Reprise 0383. It came out in '65, same year as Tony Jackson's. I don't have it, but I do have another '65 Reprise single by Peter, the Jackie de Shannon song "You Won't Forget Me". That boasts a Jack Nitzsche arrangement, with production credited to Jimmy Bowen. I'm wondering if his version of "Stage Door" also has the Nitzsche magic touch - can anyone confirm? Vocally, Peter comes over as something of a PJ Proby soundalike. The flip of his "Stage Door" is listed as "People Say" - would this be the Greenwich Barry song? In '66, the Grads, a group with a sound similar to the Vogues, released their version of "Stage Door" on A&M 797. This one's a Tommy LiPuma production, arranged by Nick De Caro, and anyone into mellow soft pop and smooth group vocals should go for this in a big way. Ian --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Thu, 08 Mar 2001 07:49:50 -0000 From: "Spectropop Admin" Subject: House of Usher Productions: Preserving a Legacy PRESS RELEASE - 07 MARCH 2001 House of Usher Productions: Preserving a Legacy Ron Weekes http://www.GaryUsher.com I never met Gary Usher, but his music was a great influence on my teenage years in the 1960s. Spending Saturday afternoons mowing the lawn then washing and waxing the car while listening to the radio play Gary Usher and Brian Wilson penned songs like "409" and "In My Room" was part of growing up in California's San Joaquin Valley. Like most of my friends who dug the California sound of surf and hot rod music, we wondered what happened to Gary Usher during the Seventies. In the early Eighties we briefly heard from Usher unfortunately for the last time. Along with a small group of musicians recording as Celestium, they released the album "Sanctuary." Additionally, Usher produced the motion picture soundtrack for Frankie and Annette's reunion, "Back to The Beach." Usher disappeared so much from the visible music scene that I don't even recall reading about his untimely death in May of 1990. To be honest, I had completely forgotten about Gary Usher until several years ago when I read Stephen J. McParland's book detailing Usher's studio work with Brian Wilson during late 1986 and early 1987. Although these important sessions have not been legitimately released, they paved the way for Wilson's first solo album in 1988. Reading McParland's book made me mad! Mad about how such a great musician and producer like Gary Usher was treated by others throughout these sessions. But Usher, the consummate professional, endured it as long as he could due to his love for his longtime friend, Brian Wilson. I reconnected so much with Usher's music that I grew up on, I wanted to know more about the man who co-wrote so many memorable songs with Brian Wilson, created studio groups like The Hondells and Sagittarius, and produced The Byrds and Simon and Garfunkel. The problem was I couldn't find anything, not even on the information laden Internet. So I undertook the task to create a small page on the Internet devoted to the musical legacy of Gary Usher. But preserving the legacy of Gary Usher on the Internet just isn't enough. One of the more common questions I receive is "when will we see more of Gary Usher's material released?" To this point, Sundazed Records of Coxsackie, New York has been the most prominent domestic reissue label making Usher's catalog available to the masses. For a while, One Way Records had the complete Superstocks and Weird-Ohs catalogs available on compact disc. Last year, the Usher family utilized the services of Gary Usher biographer Stephen J. McParland to catalog all the musical archives owned by the Usher estate. The first fruits of McParland's archiving were seen last year when the Usher estate licensed to Varese Saraband's Varese Vintage label, two Usher produced instrumentals. Recorded by The Tri-Five (Carl Wilson, Dennis Wilson, Gary Usher, Richie Burns, and Randy Thomas), "Come and Get It" and "Like Chop" were part of Varese's reissue of The Beach Boys' famous Hite Morgan sessions. The impetus behind the licensing of The Tri-Five recordings is Usher's name sake and son, Gary Usher, Jr. A musician and producer in his own right, Usher is the first to recognize that even though his father's music is timeless, the master tape recordings from sessions as long as forty years ago don't have much more time before they begin to deteriorate. I recently had the opportunity to discuss with Gary Usher, Jr. just what his tentative plans are to preserve his father's musical legacy for future generations to enjoy. Working under the same production company name that his father created years ago, House of Usher Productions, Usher recently licensed to the Japanese market, three Gary Usher produced albums: Curt Boettcher's "California: Passionfruit," Sagittarius' second album "Blue Marble," and for the first time ever released in any form, the Gary Usher produced "Symphonic Tribute to Brian Wilson." This last album recently hit the number one Oldies spot in Japan. Besides licensing Gary Usher recordings in Japan and possibly the European markets, House of Usher has not forgotten the American fans. Usher states that he currently has offers from U.S. labels to issue the three previously mentioned albums that are currently only available on the Dreamsville label in Japan. But the issuing of his father's musical material will not stop there. Besides negotiating with domestic labels to release these first three Usher produced albums, the biggest project that Gary Usher, Jr. has on his list is to get the so-called "Wilson Project" sessions from 1986 finally released. Usher describes these demos from sessions between his father and Brian Wilson as basically "homework sessions" to get Wilson back into the studio for the first time in almost ten years. Although some of these sessions have surfaced over the years, none have been legitimately licensed from House of Usher Productions, the owner of the recordings. Even though considered strictly high quality demos, Gary Usher was such a studio perfectionist that the demos stand on their own as highly listenable music House of Usher would also like to release the entire Together Records catalog plus other Gary Usher produced albums. Some of the albums being considered for release for the first time ever or on compact disc include: Gary Usher and Dick Campbell's unreleased "Shadow of A Doubt" album, unreleased Dick Dale material, and The Byrds "Preflyte" album. Usher states that he is also considering releasing demos written and created by his father while signed as a writer for both Four Star and Beechwood Music. The House of Usher archives also include material that Usher created as soundtracks for American International Picture's beach party films. In his studio, Gary Usher, Jr. is also creating test discs for possible compilations of his father's timeless music >from the Sixties, Seventies, and Eighties. Other long range projects might include a book about learning from and working with his father and a possible video documentary depicting his father's career. There is much available in the House of Usher archives. Most of which we have heard, but some has never seen the light of day. The Usher family is even considering creating their own label if deals cannot be established with domestic labels. But time is of the essence. Master tapes cannot last forever. Rest assured, with Gary Usher, Jr. at the helm, he will find the proper sanctuary for his father's music and legacy to live on for future generations to enjoy. --------------------[ archived by Spectropop ]-------------------- End
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