________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ http://www.spectropop.com ------------------------------------------------------------------------ There are 7 messages in this issue. Topics in this digest: 1. Other Two From: Ian Chapman 2. new york help From: Jennifer 3. Stereo Spector From: Ian Chapman 4. I wanna say yeah yeah yeah From: Jack Madani 5. Back To Mono From: Michael Pizzo 6. Re: New Spector? From: Billy G Spradlin 7. Re: Tell Him, plus label discographies From: Stewart Mason ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Fri, 13 Apr 2001 21:19:48 +0100 From: Ian Chapman Subject: Other Two Scott enquired:- > 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. Scott, They had three UK releases:- I Wanna Be With You/Grumbling Guitar - Decca F11911 ('64) Don't You Wanna Love Me Baby/Hold Back The Light Of Dawn - RCA 1465 (US 47-8607)('65) I'll Never Let You Go/Not At Night - RCA 1531 ('66) The first single, produced by Charles Blackwell, is very much in the British Beat vein, and the flip "Grumbling Guitar", is nine-tenths instrumental. Apparently at Decca they also recorded a Jackie de Shannon song called "Breakdown Baby", but it wasn't released due to its controversial lyrics. At RCA, they cut Goffin & King's "Don't You Wanna Love Me Baby" - theirs seems to be the only released version of this song - does anyone know another? (BTW, a NY demo acetate of this turned up on a London market in the 80s along with some other NY studio acetates, but that's another story). "Hold Back The Light Of Dawn" is the same song as done by the Tammys. "I'll Never Let You Go" is a J.J. Jackson song, and he actually plays on both sides of the record. Topside was also done a couple of years later by US girl-group the Terr-rells on ABC. There's also a Jerden single credited to the Other Two ("Don't Lock Me In/Look Around" - '66). Never heard this, so I don't know if it's the same group, but it could well be - Jerden had releases on several UK artists at the time. If it is them, it's one of those strange-but-not-unheard-of instances where a Brit group had a US release that never materialised back home (see also Blue Orchids, Chantelles, Simone Jackson....) They did a lot of live work, and were on Chuck Berry's UK tour of '64. Appearance-wise, they were quite a striking duo. At the time of the first single they sported quite a beatnik look - all-black and pretty serious in tight slacks, boots and polo-necks, blonde Jemima contrasting with dark-haired Caroline. Performing their second single on TV in 1965, they'd switched to a softer and more mod Carnaby Street look - paisley/floral bell-bottoms and such. As Scott said, Jemima married Duane Eddy and the group folded in 1968. Caroline became part of Storyteller in the 70s and married Andy Bown. In a 1998 interview with Mark Paytress, Caroline said she liked their Decca single, but expressed distaste with the two RCA releases - she didn't even know they'd done a Goffin & King original! Personally, being more gg-oriented than beat, I prefer both RCAs to the Decca 45 every time! Ian --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Fri, 13 Apr 2001 16:19:56 -0000 From: Jennifer Subject: new york help Okay so I'm a wide-eyed girl going to NYC for the first "non field trip" time to see the Zombies play. Can anyone tell me the must sees for a 60s fan. I remember someone talking about the Brill Bldg. All help is greatly appreciated!! --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Fri, 13 Apr 2001 21:50:45 +0100 From: Ian Chapman Subject: Stereo Spector > > Phil [has gone] 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?c > > 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. Thought I'd just throw this in the ring. I just picked up an original stereo Philles 4009 (Righteous Brothers' "Back to Back") - as Jamie said, if Phil was so anti-stereo, why sanction this release? It's true, you do notice things in stereo that aren't apparent in the mono mixes. On "Hung On You", the vocals and b-vox are centre, the strings are on the right channel, and everything else is on the left. This has the effect of making the strings sound much richer and you can pick out things like pizzicatos that just get lost in mono. Having said that, I do think that having all the percussion coming out of just one channel has the effect of diluting the overall power of some Spector tracks, and for sheer listening pleasure (as opposed to scrutiny, fascinating though it is), I'd much rather hear the mono mixes of "I Wonder" and "I'll Never Need More Than This". But this isn't always true - I happen to think the enhanced effect of the strings on the stereo Christmas album gives it an added festive dimension. Finally, don't you find your reactions to a track vary depending on whether you're listening through 'phones or speakers? I certainly do. BTW, Carole, is that you pictured on the back cover of "Back to Back" in conversation with Bobby Hatfield? Ian --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Fri, 13 Apr 2001 23:00:10 -0400 From: Jack Madani Subject: I wanna say yeah yeah yeah Jamie wrote >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? No ideas of any worth to offer, Jamie. Only an extremely hearty endorsement of the genius stature of that crazy yeah yeah yeah. The ennui, oh the ENNUI!! Like something worthy of the Shangri-Las. Only it's NOT on the Shang's version. What's up with that? jack --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Sat, 14 Apr 2001 10:50:34 EDT From: Michael Pizzo Subject: Back To Mono The River Deep Mountain High cd I mentioned in my first post was according to it's credits "licensed" from "Phil Spector Records", this then I assume makes it a legit release and not a bootleg but I don't really know? Quickly I'll add that the Teddy Bears cd is the entire Teddy Bears Sing! album plus the first 4 tracks Phil, and the other Teddy Bears recorded at Gold Star and were of course released on Dore Records. This cd was put out oddly enough by a company called "Door" records who I know zippo about and quite possibly could be bootleg though the sound quality is not bad if not rather good. I always got the impression that Mr.Spector has his master tapes locked away and hermetically sealed off >from the world but this seems not to be the case? If it was where are these master tapes or master copy tapes coming from? Lastly I also agree that as the stereo versions of the River Deep Mountain High album remains quite a piece of art, though I also perfer the mono versions especially for the title track though both versions of I'll Never Need More Than This are I think quite great. My comments concerning Phil's own views on mono and stereo come from the fascinating chapter "Stereo Spector" from "Collecting Phil Spector" by Fitzpatrick and Fogerty. In this chapter besides comparing and contrasting several Phillie's records including Walking In The Rain the authors also quote Phil many times through out the years with negative remarks about his music in stereo, though your right there is the question about the 1970's stereo releases on Apple and Warner/Spector? Anyway it is good we are talking about the worlds greatest producer! Michael Pizzo --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Fri, 13 Apr 2001 10:17:21 -0000 From: Billy G Spradlin Subject: Re: New Spector? Marc Miller wrote: > 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 I never bought the soundtrack on CD, But I believe the Who removed the oldies from the soundtrack album to make it all fit onto one CD. Billy (BTW: when are they ever going to settle that suit with Shel Talmy and get back the masters for the "My Generation" album??) --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Fri, 13 Apr 2001 10:46:52 -0600 From: Stewart Mason Subject: Re: Tell Him, plus label discographies Jamie LePage writes: >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"). That's not intentional? Huh! That's the only way I've ever heard that song! I always figured it was like "Please Please Me" where John starts singing the wrong line in the last verse, or that utterly indecipherable line in the second chorus of "Tell Her No," which Colin Blunstone claims happened because he was half-asleep when he recorded the vocals. So what line is supposed to be in between? Also: I don't believe I've asked this here before, but does anyone know where I can lay hands on relatively comprehensive Autumn Records and Warner Brothers (up to about 1970) discographies? Stewart --------------------[ archived by Spectropop ]-------------------- End
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