________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ http://www.spectropop.com ------------------------------------------------------------------------ There are 4 messages in this issue of Spectropop. Topics in this Digest Number 149: 1. New Spector? From: Marc Miller 2. Brit girl group "The Other Two"? From: Scott Swanson 3. from Perry Botkin re: Lester Sill From: Carol Kaye 4. Red Bird is the word From: LePageWeb ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Tue, 10 Apr 2001 12:03:54 -0400 From: Marc Miller Subject: New Spector? Hi All - The soundtrack to the film Quadrophenia has just been remastered/reissued. As you may know, the LP had all the Who stuff, plus Be My Baby, Da Doo Ron Ron, He's So Fine, and a few other tracks that were featured in the film. I know the Who stuff is from a new master. Does anyone know about the rest of it? Marc --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Tue, 10 Apr 2001 12:21:49 -0700 From: Scott Swanson Subject: Brit girl group "The Other Two"? Does anyone out there have any info on a British girl group called The Other Two? They featured Caroline Attard and Jemima Smith, who later married Andy Bown (ofThe Herd, Storyteller, etc.) and Duane Eddy, respectively. I would especially be interested in obtaining copies of their recordings. Thanks, Scott --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Tue, 10 Apr 2001 13:21:22 -0700 From: Carol Kaye Subject: from Perry Botkin re: Lester Sill >re: Lester Sill In 1972 Barry DeVorzon and I got a phone call from Lester. (He was running the Columbia Pictures music publishing company). He said that C.B.S Television was starting a new "Soap" and was looking for a theme song. He asked us if it would be alright if he submitted a short dramatic music cue that we had done for the film "Bless the Beasts and Children". We said "Sure...why not". After all it was just a piece of background music that really meant very little to us. Well, C.B.S. went for it. The "soap" was "The Young and the Restless" and It's been running for 29 years, not only in the U.S., but world wide. In 1974 the song hitchhiked on the fame of Nadia Comaneci and became "Nadias Theme". Made it to the top 5. Not bad for an instrumental record with no drums. >From the 1950's until his death, Lester was one of the publishing giants. I'll never forget him. Perry--via Carol Kaye (Perry Botkin is a dear friendof mine) http://www.perrybotkin.com/ http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Fri, 13 Apr 2001 00:15:59 -0000 From: LePageWeb Subject: Red Bird is the word Billy wrote: > > 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. I've just learned that next month, Varese will release a new CD compilation of Red-Bird girl groups. Don Charles wrote the liner notes for it (Don sponsors the ongoing Rock 'N' Roll Hall of Fame petition). I understand tracks were remixed from multitrack tapes where available, although I don't know if these are the same 'Taragon "The Best of Red Bird/Blue Cat"' remixes. Artists included are The Dixie Cups, The Shangri-Las, The Ad-Libs, Evie Sands, The Jellybeans, The Butterflys, The Goodies, Cathy Saint, Bessie Banks, Roddie Joy and Ellie Greenwich. Speaking of the Goodies, their Dum Dum Ditty has that odd sounding, low monotone "yeah yeah yeah" just before the track breaks into the tag. On one version I have, which I know is the same recording, probably the same mix/edit and most likely only different mastering, that part of the record sounds like the entire track was "dipped" for the overdubbed "yeahs" then surged back in at the top of the next measure. A very strange sounding segue even for the time. Anyone else notice this? Any ideas on the technique used to achieve this rather abrupt effect? > 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 > spliced the line out! That's always bothered me and I too guess that's what happened. It ended up on a whole bunch of cut-rate comp albums in that butchered form. Strange how that happens >from time to time. Peter and Gordon's I Go To Pieces suffered similar mutilation. Then there is the case of Tell Him by the Exciters which for years was only available with a botched vocal on the 2nd verse (which I came to like after hearing it so many times! It sounds like the lyric goes "If you want it...Makes your heart sing out"). Any other examples like these come to mind? -- "Phil Chapman" wrote on the subject of '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 > > As for the box-set fading "Save The Last Dance For > Me" before the original flamboyant orchestral > finish: . I never noticed the early fade - goes to show how seldom I listen to the B2M box. I adore that grandiose finale with the crashing orchestra cymbals. > that *must* have been a 'creative' decision, > and adds even more weight to the view that Spector > had little to do with it... Then who? Surely not Larry Levine! Allen's son, maybe? Why would anyone cut the ending like that? > 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. I agree with this, at least to the extent that you can hear much more in the stereo than in the mono mixes on the 45s. But however muddy I&TT's mono mixes may be, the balance is superior to my ears. In mono the records seem to have more power as well. Especially on I'll Never Need More That This. By the way, mchlpiz wrote about two CDs I had never heard of before: River Deep Mountain High from Alvorado Music in Spain with The Checkmates album, and a Teddy Bears CD entitled To Know Him Is To Love Him. Are these CDRs? Sound like counterfeits to me. Too bad Morris isn't around anymore. "Hey Rocky, go see da guy about the Tina Turner rekkid..." > Phil as we know never thought too highly of stereo > versions from his Phillies period to the point of > saying that the stereo versions had nothing to do > with what he had originaly created. Then why were the Christmas record and PSI Ronettes album released in stereo mixes *instead* of in mono in the 70s? Remember, Phil controls his own masters, so this is all rather curious. > Back To Mono then I guess is what Phil Spector > intended his music to sound like... I don't know. You uncovered the I&TT mistake, and we recently dissected the Fine Fine Boy oddity - I am becoming less and less convinced. >I think Back To Mono was/is easily worth its cost. > Though I still wish Mr.Spector would release > everything he ever touched upon cd! I agree, and I think it's a sentiment shared by nearly all Phil Spector fans. Jamie --------------------[ archived by Spectropop ]-------------------- End
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