The Spectropop Group Archives
presented by Friends of Spectropop

[Prev by Date] [Next by Date] [index]

Spectropop - Digest Number 148

______________                                            ______________
______________                                            ______________
______________        S  P  E  C  T  R  O  P  O  P        ______________
______________                                            ______________


There are 6 messages in this issue of Spectropop.

Topics in this Digest Number 148:

      1. Re: Studio Shangs
           From: Billy G Spradlin 
      2. Back to 'Back To Mono'
           From: "Phil Chapman" 
      3. Keith and Evie
           From: Jill "Mingo-go" 
      4. Re: Project - 20 Rock Songs that changed society
           From: "Brian Davy" 
           From: Warren Cosford 
      6. Re: Lester Sill
           From: Carol Kaye 


Message: 1
   Date: Sun, 08 Apr 2001 23:35:02 -0000
   From: Billy G Spradlin
Subject: Re: Studio Shangs

Also, is there a mono version of the

> unedited "Leader Of the Pack" (with the band playing a
> few more measures after the crash) available on any CD
> as well?   Tell me more, Tell me more.........

I have the Taragon "The Best of Red Bird/Blue Cat" CD
which has a stereo remix of "Leader" and it has a longer
fadeout and tire screech than any other version I have
heard before. 

Theres also an earlier stereo mix that has appeared on
many VA oldies LP's that has the line "One day my dad
said find someone new" strangely edited out. My guess is
the master tape got damaged over the years and someone
spiced the line out!

There is an alternate stereo version of "Remember
(Walkin' In The Sand)" with no echo and seagull sound
effects, (on a K-Tel oldies compilation) and I have
heard "Give Him A Great Big Kiss" in a alternate version
with the killer "Is a good dancer?" part (which makes
the record for me!) replaced with some gibberish about
the "butcher baker, candlestick maker" instead (this
take is on the Mercury "Greatest Hits" LP)

BTW: Im having a hell of a time downloading the stereo
Crystals MP3's. I keep getting unfinished downloads, and
after 10+ tries Im about ready go to give up. I dont
know the problem but it seems that Yahoo's Groups
servers are so lagged out (from all the lousy porn
groups) on the weekend and evenings. If anyone could
e-mail them to me I would appreciate it!  


--------------------[ archived by Spectropop ]--------------------

Message: 2
   Date: Mon, 09 Apr 2001 10:14:42 +0100
   From: "Phil Chapman" 
Subject: Back to 'Back To Mono'

mchlpiz wrote:
> I have a cd version of the album River Deep
> ........... Save The Last Dance For Me has
> a completely different ending

This is almost certainly a bootleg of the 1969 A&M
stereo release which had slightly different mixes than
the earlier unreleased Philles version issued on
London-American in the UK (1966).

 "I'll Never Need More Than This" was added, and "You're
So Fine" removed.

I&TT's stereos are among the few of Phil's 60s
productions that I think really benefit from stereo, the
arrangements being so rich. The album credits are Jack
Nitzsche, Gene Page, and Perry Botkin Jnr - does anybody
know who did what? As for the box-set fading "Save The
Last Dance For Me" before the original flamboyant
orchestral finish: that *must* have been a 'creative'
decision, and adds even more weight to the view that
Spector had little to do with it.

--------------------[ archived by Spectropop ]--------------------

Message: 3
   Date: Mon, 09 Apr 2001 11:07:48 +0100
   From: Jill "Mingo-go" 
Subject: Keith and Evie

> Does anyone have any information on this fantastic,
> unknown album from 1969

I only have the LP so it you don't have it, email me
direct about info and I'm more than willing to sell it.
Great cover, but I can't bear the music, despite the
first Keith LP being rather tasty. I know nothing about
the recording of this LP though. 

And as for Evie Sands with Belle & Sebastian..the track
is "Landslide" and was written by Isobel Campbell from
the group. There are plans to release it, and it is
performed by Evie and the Belles. But apparently the
hold up is around how to release an Evie Sands
release or a Belle & Sebastian feat. Evie Sands release.
And...there is an ultrarare acetate of their hit "Legal
Man" single, which if people on this list haven't heard,
I suggest finding's brilliant, which has Isobel
singing "Landslide" on the B side. I, unfortunately,
never got the acetate (for shame!!!! and they call
themselves my friends!), but it's a rare gem. 

xx Jill "Mingo-go"

--------------------[ archived by Spectropop ]--------------------

Message: 4
   Date: Mon, 09 Apr 2001 10:55:20 +0100
   From: "Brian Davy" 
Subject: Re: Project - 20 Rock Songs that changed society

> From: Steve
> I am currently working on a project regarding 20 rock
> songs that changed our society, (not the performance or
> performers but the music or record itself) e.g., The
> Twist--dance craze, adults came to accept it, it became
> a culture within itself, etc. Anyhow, I am seeking
> suggestions for songs, I have selected 20 already but
> really need to expand my horizons and see what other
> people have to say. Thanks.

This gives me chance to put forward my nomination for
Most Influential Song of the 20th Century: Hey! Baby
(Bruce Channel). Reason: back in 1962, a certain young
aspiring rock singer & guitarist really liked the
accompaniment on what we English call a mouth-organ,
(played, rumour has it, by long-time country singer
Delbert McClinton). Because of this, he went to his
local music shop, bought a mouth-organ, and set about
learning to play it. When this musician and his group
went into the studio, he played his mouth-organ on the
tracks that became the group's first two singles.
Without the distinctive sound of the mouth-organ, those
two singles would have sunk without trace, and the world
outside Liverpool would never have heard of John Lennon
or The Beatles.


--------------------[ archived by Spectropop ]--------------------

Message: 5
   Date: Sun, 08 Apr 2001 20:56:53 -0400
   From: Warren Cosford 

 Steve wrote
> I am currently working on a project regarding 20 rock
> songs that changed our society, (not the performance or
> performers but the music or record itself) e.g., The
> Twist--dance craze, adults came to accept it, it became
> a culture within itself, etc. Anyhow, I am seeking
> suggestions for songs, I have selected 20 already but
> really need to expand my horizons and see what other
> people have to say. Thanks.


1) Rock Around The Clock - White Kids were tearing
theatres apart
2) That's All Right Mama - Elvis's first record.
Finally...a good looking White Kid singing Black
3) Hound Dog - Elvis's first most attention getting song.
4) The Way I Walk - A Jack Scott mid-Chart item in The
50's. But a "Punk Anthem" by Robert Gordon & by The
Cramps 20 years later. Stands the "test of time" for
Garage Bands.
5) The Beatles - You pick it
6) San Francisco (Flowers in your hair) Scott
MacKenzie's Commercial for The New Pop Culture
7) Times They Are A Changing - Bob Dylan's Commercial
for The New Pop Culture
8) My Generation - The Who's Commercial for The New Pop
9) (I Can't Get No) Satisfaction - The only Stones song
worth playing forever.
10) You Lost That Lovin' Feeling-The Righteous Bros/Phil
Spector record blew out my speakers the first time I
heard it. Is it still the most valuable copyright ever?
11) Stairway To Heaven. You don't need a Hit Single Par 1
12) Born To Run. You don't need a Hit Single - Part 2 
13) Layla. A Hit Single despite being "too long for Top
40" 14-20 - I've got to leave you with something to do.

Warren Cosford Producer: The First Beatle Radio
Documentary in Syndication (1970) Producer: The Only
Radio Documentary on Elvis's Life authorized by him
(1975) Producer: The Evolution of Rock....64 hours (1977)

All are still in syndication.  

--------------------[ archived by Spectropop ]--------------------

Message: 6
   Date: Mon, 09 Apr 2001 11:51:53 -0700
   From: Carol Kaye 
Subject: Re: Lester Sill

> Lester Sill was the business end of the company whereas
> Phil made most of the records. In the early days Sill
> did authorize release of some non Spector productions
> and they went no where.

Paul, you're right, that was the style in those days to
release as many as they could.  I had the priviledge of
knowing and working quite a bit for the great Lester
Sill who taught so many the ropes in producing back in
those days in Hollywood, he was a gracious but strong
person (you had to be strong in Hollywood) but never
once did I ever hear a disparaging word about Spector's
handling of their partnership from him.  It was after he
had died that I heard some of these things and it made
me angry......

Mr. Sill had helped and taught so many the craft of
producing in the studios and if anyone should be given a
lot of credits, he should.  His sons have carried on in
the record and TV business, and in fact I worked for one
of them teaching someone elec. bass for the film "What
Lies Beneath", and still very impressed with that family
headed by the great Lester Sill who was hired by the way,
later to head up the Jobete Publishing Co., which is the
main work-horse of Motown's Berry Gordy who knew he
could trust Lester Sill with the importance of re-uses,
pushing the publishing to be a high-profile co.

Mr. Sill is sorely missed by us all. 

What you said about the way he ran the co.for Phil
Spector coincides with all the information I've heard
about this too.

Carol Kaye

PS.  I have to say something about
too....Chuck Kelley did the finest interview I've ever
done, his professionalism is so superior, I sincerely
hope someone picks up this fine company headed by Chuck
(who btw has the rights to the name LuxuriaMusic)
somewhere else. I've done upwards about 1,000 interviews
and no-one was as knowledgeable nor as fun to be with as
Chuck, who btw did an excellent job with Brian Wilson
too who also enjoyed Chuck Kelley.

--------------------[ archived by Spectropop ]--------------------

Click here to go to The
Spectropop Group

Spectropop text contents © copyright Spectropop unless stated otherwise. All rights in and to the contents of these documents, including each element embodied therein, is subject to copyright protection under international copyright law. Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited. All rights reserved.