________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ For maximum enjoyment store in protective envelope when not in use ------------------------------------------------------------------------ There are 10 messages in this issue of Spectropop. Topics in this Digest Number 134: 1. The Secrets' recordings From: Jimmy Crescitelli 2. Terry Black From: Glynis Ward 3. Re: No Big Deal For The Laurie Chiffons From: Billy G. Spradlin 4. Re: spector box set From: "GSPECTOR" 5. Spector box set From: john rausch 6. Re: Chris Montez From: Carol Kaye 7. Re: Chris Montez From: "Randy M. Kosht" 8. Re: Chris Montez From: LePageWeb 9. Re: Gerry Goffin From: Andrew Hickey 10. Journalists and "the show must go on" From: Carol Kaye ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Fri, 23 Mar 2001 21:15:24 EST From: Jimmy Crescitelli Subject: The Secrets' recordings As far as I know-- and Doc can probably confirm this via his Secrets article, which I don't have handy at the moment-- they only had 4 singles (8 sides) recorded... each of which, incidentally, is memorable. "Don-Don-Don-nieeeeee...... Don Don DON!!" It's archived on the Spectropop site... [ http://www.spectropop.com/go2/secrets.html ] They're a great group; the songs and vocals are phenomenal. Too bad the girls were ripped off like so many others; when they address this issue in that article, you can tell how much class they have by the way they answer. --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Fri, 23 Mar 2001 10:32:24 -0500 From: Glynis Ward Subject: Terry Black Terry Black was a house recording artist for ARC who had a few records passed along for US release. "I (Who Have Nothing)"/"Baby's Gone" is on ARC, recorded in 1966. The Candian Records Discography has it listed as his second to last single release. This book is not 100% accurate, but they have this ARC stuff pretty much nailed down. It looks like this 45 was a Canadian only release. Glynis shesaidyeye, Feline Frenzy & The Canadian 60's Garage Band Webpage --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Fri, 23 Mar 2001 18:15:25 -0000 From: Billy G. Spradlin Subject: Re: No Big Deal For The Laurie Chiffons > Nobody seems to know anything about the Big Deal > Chiffons that did a version of "Tonite's the Night". Thanks for clearing that up. I have seen several discographies and record collector books where it's listed as the groups first 45. If anyone has it please make a MP3, I would love to hear it. Now I'm wondering if the group that recorded "Doctor Of Hearts" for Reprise is the Laurie or Big Deal group. Billy --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Fri, 23 Mar 2001 03:48:45 -0700 From: "GSPECTOR" Subject: Re: spector box set > Hello, > > This may seem like an obvious question, but I was > wondering how good the "Back to Mono" Spector box set > was. is it better to buy that or to buy the individual > cds? > > any help is greatly appreciated > > -jennifer Hello Jennifer. This is an easy question. The Back to Mono set is the better buy for many reasons. 1st- You get some very hard to find hits. 2nd- It is a lot cheaper to buy this set then to piece it together at an Oldies record store. 3rd- You get your choice of formats to choose from. Either 4 CDs or 4 Cassettes. 4th- You get a very nice big soft covered 1/4" thick book that has a lot of really interesting things in it. 5th- You also get a Button that says "BACK TO MONO" to wear. And yes it is the exact same button PS wears. These are just a few of the reasons but the bottom line is, I think you will be very happy with the set. I know I am. If cost seems to be a factor you can check out Ebay. That's were I get my 45's, LP's, CD's and one 8-track. Thanks to the people there, my small collection is growing. Also welcome to this site. It is full of very nice people and you never know who you might meet. >From the Keyboard of: Gary P. Spector Not just another PS fan. --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Fri, 23 Mar 2001 11:17:32 -0500 From: john rausch Subject: Spector box set For Jennifer, The Spector box set is great if only to have most everything all together. The accompanying book is really nothing more than a song lyrics book. Spector/ABKCO concurrently released a best of the Crystals/Ronettes/Darlene Love as 3 individual cds, each with 3 bonus tracks not on the box set. And speaking of Spector. I want to mention to the group that Mark Ribowsky book "He's A Rebel" has been reissued and is now available in its entirety from the original '90s version that was taken off the market due to some legal reasons with Mr. Spector. So if you didn't get it first time around it is available again. John Rausch Phil Spector`s Wall Of Sound @ http://members.tripod.com/~rauschj/ --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Fri, 23 Mar 2001 11:54:32 -0800 From: Carol Kaye Subject: Re: Chris Montez Chris Montez is a talented singer, howbeit having a high voice.....he is a good guitar player too, having come over here and we've jammed some jazz on guitars. He's a wonderful talent, I'm playing guitar on his early things like "Let's Dance" and bass later on most of his things including "Call Me", there's no reason why people should be surprised that he recorded....he is a fine talent and really great guy too. Looks almost the same today as he did back then and he's still the same person. He's touring a lot and has a ton of fans out there. Claudine Longet was a very nice person, I'm playing bass on her things but wasn't a real singer I'd probably say.....Tommy Tedesco was full of the devil sometimes and I had forgotten on an Andy Willams date that I was playing a guitar overdub (I always played bass on his things in the 60s and early 70s) and the mike was really close. So Tommy asks me "what do you think of Claudine's singing?" Hahaha, Tommy knew I'd be honest and so I said: "well she's a nice gal but she sure can't sing" (blowing the account with that outspokeness) knowing full well that Andy would hear it in the booth and so I didn't work for Andy for a short time, not until Pet Clark insisted on having me on their duet things a little later and I got back in his good graces -- Andy was very very gracious to me when I saw him in 1992 backstage in Denver too....he was musing about those days recording at Columbia, how great it all was etc. but he told me "am on my way to living and performing in Branson soon". Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Fri, 23 Mar 2001 08:57:27 -0800 From: "Randy M. Kosht" Subject: Re: Chris Montez Hi, Alan: You wrote: > I love the two or three Chris Montez records I've > had...[f]rom the "Call me" period. Are those singles by Chris Montez or albums? I first heard of him via "Call Me" and was totally unaware of his 1962 smash "Let's Dance" until about a year after I started buying his A&M sides. > ...he did classic crooner stuff...[b]ut I'm still > somehow surprised he made records. Is there a story > there? The story is, he was inspired musically by Ritchie Valens, and was originally signed as a rock & roller in the early '60s; he appeared on a concert bill in England (1963) with Tommy Roe and the Beatles. "Let's Dance" has been reissued a couple of times in the U.K., that's how big it was. When he signed with A&M Records, Herb saw him, as one reviewer has claimed, as kind of the "Frank Sinatra for those who don't trust anybody over 30." Thus the crooner stuff, which I loved on its own level. With the apparent backing of Pete Jolly on piano and John Pisano on guitar (both uncredited on the LPs), and arrangements by Nick De Caro and Herb Alpert, and production by Tommy LiPuma, Chris is now being seen as a pop-jazz singer on those recordings... and I'm told he plays pretty good jazz guitar. Unfortunately, there are just the four albums on A&M (Chris was literally the beginning of my interest in A&M, along with Herb's recordings). His U.S. recorded output is sparse since then, except for reissues. In the '70s there was an album on Caytronics, and in 1983 he reappeared on AyM Discos (A&M's Latin division) with an all-Spanish LP, "Cartas de Amor." The title track is a re-working of Ketty Lester's "Love Letters" done in a style reminiscent of "Call Me." The rest are new songs; the album is great and highly sought after by Chris fans. The B-side of "Call Me," an original by Chris and produced by Marshall Lieb, is "Go Head On." It's a rocker, in vivid contrast to his smoother material. And on a personal note, I will add that I finally met him in '87 and he was as nice a person as I always hoped he'd be. Hope this helps... Randy Kosht, A&Mania Publisher, "A&M Records: The Discography" --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Sat, 24 Mar 2001 11:47:25 +0900 From: LePageWeb Subject: Re: Chris Montez AZ wrote: > I love the two or three Chris Montez records I've > had...from the "Call me" period...but I'm surprised > other people did". Hi Alan, What surprises me is not that others liked his A&M records, but rather that he radically changed his style >from the earlier Ritchie Valens-esque "Let's Dance"/"Some Kind of Fun" Latin rocker. Then again, Valens' "Donna" was one of the earliest soft pop hit records, so maybe Chris's later "LA bossa" style was also inspired by Valens, though his A&M style was perhaps more contrived than his Monogram-era style. His A&M records often featured that "party in the studio" effect. Earlier records with that effect by Frank Guida and Phil Spector worked well, but it seems a bit overused on Chris's A&M records (merely a slight distraction - Chris Montez' records are great favorites). Considering other A&M records of the time by Claudine Longet, Roger Nichols, Sandpipers, and Sergio Mendez, we can conclude that what we now collectively refer to as the "A&M Sound" was heavily A&R'd by the label chiefs (a similarly heavy-handed A&R team was concurrently forging their "Burbank" sound on the other side of Barham with acts like Harpers Bizarre, Mojo Men and Little Feat). > I guess I don't expect singers with such "slight" > voices - if that's the right word - to get signed or > to do the kind of material he did. > > Is there a story there? Although I don't know the details (if anyone does, please post them), I imagine the story of how he was signed to A&M is not the stuff of Hollywood legends; probably something along the lines of "jaded LA Latino rocker gets second stab at stardom under the auspices of fellow LA muzo Herb Alpert." What intrigues me is how British producer/writer Tony Hatch placed Call Me with Montez. Even here, though, I suspect it is a fairly uneventful song plugging story. > Yeah, If he'd done stuff like "Sweet Pea" or sugary > novelty material, maybe it would have made more sense. > But he did classic crooner stuff. It isn't all that surprising if you consider that a characteristic of both the Burbank sound and the A&M sound was the tendency to include covers of standards. Conversely, neither school catered to the market for sugary bubblegum-type material. > Like I say, I love the records. They're literally like > nothing else I have or I've ever heard. In their own way > they exist in this world of their own, sort of like Scott > Walker if that's not too much of a stretch. LOL! Well, there is no doubt Scott's records exist in a world of their own, but it might be just a wee bit of a stretch to compare Plastic Palace People to Call Me! ;-) Thanks for bringing this up, Alan. It made me pull out the Montez discs and I've been listening all morning. Great stuff. All the best, Jamie --------------------[ archived by Spectropop ]-------------------- Message: 9 Date: Thu, 22 Mar 2001 17:06:30 -0800 (PST) From: Andrew Hickey Subject: Re: Gerry Goffin > As a devoted fan of '60's pop music I've often > wondered why we never hear anything in the way of > interviews or quotes from Gerry Goffin. He's interviewed in the excellent book 'Songwriters On Songwriting' by Paul Zollo (Da Capo) ===== Subliminal message: Buy the new Stealth Munchkin album - www.geocities.com/stealth_munchkin --------------------[ archived by Spectropop ]-------------------- Message: 10 Date: Thu, 22 Mar 2001 23:25:33 -0800 From: Carol Kaye Subject: Journalists and "the show must go on" Something that a journalist reported in the LA Times today about how Michael Jackson's career "could be adversely affected because he refused to sing at a recent Awards show as urged by a few in the audience for him to do so", just struck me as being incredulously crass..... Michael Jackson was on a cane, with either a sprained or broken ankle (and believe me I'm barely recuperating from a sprained ankle myself that hurt as badly as when it was broken years ago -- 4 weeks and I'm barely able to get around with a cane....and with all this pain do I feel like singing?)......and Jackson, a lifetime dancer, might be facing the end or a curtailment of his dancing career because of this injury as a relatively young man....and the journalist predicted that because he said "no" to singing, that that might mean his career is going downhill -- ??? This kind of thinking, and using of stars just for a story idea is not only insulting, cold, and uncaring, but totally bespeaks of some of the inanity that people who are biggies in the music business go through with some journalists.....I'm remembering a lot about what Brian Wilson had to go through in the past too, but he was good.....he sensed when journalists didn't give a whit about him, just went for the story and he'd put them on in the way he could do (us studio musicians know all about his sense of subtle humor) -- and he'd say anything to get rid of that journalist....unfortunately, sometimes it all backfired tho' as they'd literally print every word he said as "the truth" (am chuckling here and yes, Brian doesn't do that anymore)...... Having been interviewed by 100s of people -- radio, TV, online, magazines, newspapers, films, book writers -- I know exactly what everyone goes through. Yes, there's many fine writers with good integrity but there's also a good chance of some real bad guys too, or at least inexperienced ones just out for the story with no respect for the artist (fierce competition for a story?)....and that writer's negative opinion of Michael Jackson because he wouldn't spontaneously perform to please a few in the audience, really struck a nerve with me. Gimme a break, the guy is facing possibly the end of his dancing career...and yet like robot or something on a string, they expect him to perform singing-wise (?) and then wrote some trash because he wouldn't perform.....with no consideration of how badly he felt about his injury or how much pain he was in - this evidently didn't matter to the journalist. I'm glad Jackson said "no" -- it belies the fact that he is thinking straight, concerned about his health (like the journalist wasn't). Maybe we need a few more Calif. black-outs to put in perspective that the news media doesn't have the power they think they have, especially when it comes to this type of exploitation. Carol Kaye http://www.carolkaye.com/ [Ed. Note: A search of the LA Times website found the following March 21, 2001 article by Times Pop Music Critic Robert Hilburn about Michael Jackson and the 16th annual Rock and Roll Hall of Fame induction dinner held on March 19 at the Waldorf-Astoria. Whether this is the article to which Ms. Kaye refers is unconfirmed. http://www.latimes.com/print/calendar/20010321/t000024358.html ] --------------------[ archived by Spectropop ]-------------------- End
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