http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ The First Name in Entertainment ------------------------------------------------------------------------ There are 6 messages in this issue. Topics in this Digest Number 154: 1. The London Chantelles From: "Ian Chapman" 2. Autumn Records From: Dee 3. Righteous Link, Brother From: "David Feldman" 4. Spector Stereo From: Paul Urbahns 5. Spector Cruise From: LePageWeb 6. Message from a Studio Musician From: Carol Kaye ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Fri, 20 Apr 2001 23:49:39 +0100 From: "Ian Chapman" Subject: The London Chantelles Patrick:- The Chantelles evolved from the Lana Sisters, the trio that was Dusty Springfield's first group. A couple of years after Dusty's departure to join the Springfields, the Lanas relaunched themselves with a hipper new image. They were led by Iris (Riss) Chantelle, who seemed to change her surname to suit the group she was in at the time - previously she was known as Iris Lana! They made several singles, including more than a few fab ones:- I Want That Boy/London My Home Town Sticks & Stones/The Secret Of My Success Please Don't Kiss Me/I Think Of You Gonna Get Burned/Gonna Give Him Some Love (above all on UK Parlophone) There's Something About You/Just Another Fool (UK Polydor) The Man I Love/Blue Mood (UK CBS) Out Of My Mind/More To Love (Than Moonlight) (US GNP) "I Want That Boy" is great Erect-a-Spector - a cover of a US single by Sadina, but with a far more hit-you-between-the-eyes production - one of my fave Brit girl-group records. By contrast, the flip "London" is pure rinky-dink, and both "Sticks & Stones" and "Secret Of My Success" are in a similar style. The trio sang both the girly "Please Don't Kiss Me" (not to be confused with the Charmettes song) and the ballad "I Think Of You" in the "Dateline Diamonds" movie - looking very mod with their matching blonde bouffants and brocade trouser-suits. "Gonna Get Burned" is more good uptempo pop, while "Gonna Give Him Some Love" is pounding northern soul. The northern circuit also picked up on the one-off Polydor single "There's Something About You", and this single is probably their most sought-after for that reason. The flip, "Just Another Fool", was also recorded by Lesley Gore. "The Man I Love" on CBS was a good uptempo reading of the Gershwin standard. The "Out Of My Mind" single is one of those curiosities recently mentioned in another post - a release by a UK act that was never issued in the UK, only the States. I'm pretty sure the reason for the added "Of London" tag on this release was just to allay any confusion with the US Chantels - in fact, when the Chantelles launched themselves in 1965, UK soul guru Dave Godin slated their choice of name, saying it was sure to cause confusion between the two groups. Riss Chantelle stayed in the music biz as a publisher, and has regularly been interviewed about her days as a Lana Sister with Dusty - you'll find references to her, or quotes from her, in most of the published bios on Dusty. Maybe one day she'll get the opportunity to tell the Chantelles' story. Patrick, if you're setting out to find the group's singles, a couple of pointers - around the same time as the CBS single, another UK girl group, the Chanters (later known as the Chanter Sisters), also had releases on CBS. Different group (but their records were great too!!) Also, you may see a 70s single by the Chantelles on the UK Black Magic label - this was a version of Del Shannon's "Runaway" recorded in the northern soul style by a studio group with a male soul falsetto lead, Gary Jackson - and it's pretty good too! Ian > I've been searching in vain for recordings by the > Chantelles (of London). Can someone shed some light on > this group. I'm under the impression there were a few > groups using "Chantelles" as a name, so that's why they > added "(of London)" at the end. I have two mp3s called > Out Of My Mind and More to Love (Than Moonlight). This > link tells me they were featured in a movie called > Dateline Diamonds (1965) also featuring Kiki Dee and the > Small Faces. > http://www.sandlotshrink.com/movierockroll60s.htm > This link (in German) mentions another 7 inch called I > Want That Boy / London My Home Town (Parlophone R 5271 [p], > 1965). Is that the same group? > http://www.icce.rug.nl/~soundscapes/DATABASES/ZZD/ZZD_5C.html > The two mp3s I have are excellent girl group sound! any > more info would be much appreciated! > Patrick --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Sat, 21 Apr 2001 14:12:56 -0700 (PDT) From: Dee Subject: Autumn Records I sent it to Stewart Mason, who asked, but anyone who wants an Autumn Records discography, please let me know and I'll forward it. I'm putting together a website at the moment. One question: liner notes from one Autumn Records discog refer to unreleased material being better than some of the released material, like that of Little Juarez. But I have no idea who this is or what it refers to, does anyone know? Another question: Northbeach was an Autumn subsidiary famous for releasing the Great Society (pre-Jefferson Airplane) single "Someone To Love". This was the label's first single. Another single by the Chosen Few was their third. But what was the second? (Maybe it was by Little Juarez!) thanks in advance, Dee --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Fri, 20 Apr 2001 11:40:37 -0500 From: "David Feldman" Subject: Righteous Link, Brother On 20 Apr 2001, at 8:12, Ian wrote: > Thanks to Peter Richmond, surely the world's greatest > Righteous Brothers fan and expert, for letting me know > that the woman pictured with Bobby Hatfield on the back > sleeve of the "Back to Back" album is his first wife, > Joy Ciro. > > Check out Pete's Righteous Brothers Discography web site Ian, Thanks for the link. That's a wonderful website. I wasn't aware of the Bill Medley/Darlene Love duet on (You're My) Soul & Inspiration. Is there any way to hear that? Have just the two of them recorded anything else? --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Sat, 21 Apr 2001 17:34:23 EDT From: Paul Urbahns Subject: Spector Stereo Mike wrote: > Phil Spector has every single multitrack master he > recorded for phillies locked away safe and sound. the > ongoing belief is that he will not remix them because he > feels that he could not recreate the magic of the > original 1960s mixes, so whats issued are the mono > mixdowns that were hits. Mike, Phil gets studio time every project he puts out. He remixes the tracks each time they are issued. We are not hearing the original Philles mixes unless you are playing a stack of 45s. He just keeps remixing in mono. Paul Urbahns --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Sun, 22 Apr 2001 01:17:29 -0000 From: LePageWeb Subject: Spector Cruise Back in April of 1997, Variety reported that Tom Cruise and Cameron Crowe were in early talks to reteam on a Phil Spector biopic for Universal. Cruise had long wanted to play the role of Spector and was working towards producing a film with Spector and Allen Klein. Cruise and Crowe met with Spector in Los Angeles (remember, this is four year old news), and Crowe reportedly got "reams of research from Spector and ABKCO." Filed under "yeah, sure," that was sure to be the last of it, I thought. But, on April 5, 2001, in a Variety article reporting that "Almost Famous" author Cameron Crowe had just completed "Vanilla Sky" with Cruise, the article said "don't dress just yet for their long-planned biopic of music producing legend Phil Spector." No surprise there... The new article goes as far as to say that Cruise and his partner Paula Wagner actually *made* a deal several years ago with Spector and Allen Klein for the picture, and that Cameron Crowe recently said he loves the script he's written but hasn't found a satisfactory way to complete the story. Between takes of "Vanilla Sky," Cruise went into a full impression of Spector that broke everyone up. Crowe said this incident left him hoping that the proper ending presents itself soon according to the article. I dunno, unless the film ends with Spector alone in his house watching Citizen Kane after the US rejection of RDMH (which would leave out all the Apple years and everything after), how could one end the film? Ramones? Yoko Ono? How about Spector driving off into the sunset in his '64 Cobra with Dion's Born to Be With You on the CD player? Nah... This doesn't sound like such a good idea anyway. I mean, can you imagine the soundtrack full of re-recordings by flavor-of-the-month MTV acts (e.g., Backstreet Boys' Spanish Harlem or Eminem's Instant Karma)? This may be one film better left unmade after all. Jamie --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Fri, 20 Apr 2001 10:55:59 -0700 From: Carol Kaye Subject: Message from a Studio Musician This is a message on my new Forum on my newly-designed website I tho't you'd like to see. Someone had said some nice words about my 1965 multi-guitar single that had gotten on the charts called "Ice Cream Rock" and this is a synopsis of being a studio musician back then. I hope this won't be "edited"...you can read the whole version intact on my Forum. Thank-you, Carol Kaye http://www.carolkaye.com/ [Editorial note: For the avoidance of any doubt, Spectropop moderators confirm the following message from Ms. Kaye is not "edited" and appears here intact.] Hi JB! Yes, "Ice Cream Rock" quickly got on the charts even, so yes, it is catchy, was starting to be played a lot on the air but the reason for cutting that commercial album was so I'd have the usual "introduction" into the commercial market for clout for my jazz....and Ice Cream Rock was the furthest one from the kinds of music I wanted to play, so I had them pull that. If you can't be happy in music, especially as an artist, I'm simply not into to "making it" regardless of the artistic cost like they do today (and look at their problems too!), no way....I could do that happily by staying in the studios and and at least creating what I more or less wanted to on hit records on the bass and then walking away from it, going to the next date, and then going home "free", which is exactly what I did. I had the record dropped from airplay in 1965 after my decision based on the choice of cut that was played etc. It would have been equivalent to having Barney Kessel playing a surf-rock tune for the rest of his life in public. I'm glad you like the recording...and of course it's got the hit-feeling of that 1965 period...and that's wonderful, but at that time, it wasn't what I wanted to do...was trying to restore my former career as a reputable jazz guitarist - was recording so many years both on guitar and bass since then, but quickly saw the error of my ways and stayed in the studios...coming out live again in the 70s to play jazz bass, this time with Hampton Hawes, the fine legendary jaz pianist. You're right, it is sickening to see all the pretense of the syncing done on the past TV shows and they're still doing that (btw, Timi Yuro was a pretty decent singer), but at that time, it didn't seem to matter much...the kids wanted the music, recorded music that made them dance, made them happy and of course that was all studio musicians doing their job.... playing rock and roll for many years back in the late 50s and 60s -- was sort of fun as it was brand new music and we had free rein as to how we played to create the hit-lines, the hooks, the arrangements even if some of the tunes had arrangements....they still needed our experienced and dedicated group of free-lance studio musicians to do the job of the recordings.... no-one else could play as well and of course a lot of the time, we'd cut the track first and then they'd put the "group" together (if the tracks hit, and most of the time they did...we were the "golden" bunch, what Hal Blaine calls the wrecking crew, except NONE of us were known as that at all back then...that's his pet phrase for the title of his 1990 book..... the name of "the clique" sometimes was used...we were all independent of each other, there was NO SET RHYTHM SECTION at all for anyone, but different artists known as "accounts" to us preferred certain musicians and it got to the point in 1969 that I quit totally recording for ANYONE for 8 months -- outside of the Academy Awards in 1970. I was sick of recording for the Monkees, groups like that, they were all sounding the same, with the same recording formulae (wasn't fun at all) was totally burned out and when I came back, I wouldn't record for those kinds of groups again...kaput, that was it for me >from 1970 on....and I only recorded for people and their music I liked a lot: Mancini, Ray Chas., etc.etc. and opted more for the movie scores and TV-film shows I was already doing in the 60s: see the Paid Re-Use List of Movies on this website, and the TV shows too which included: MASH, Haw. 5-O, Room 222, the 1st Bill Cosby show, Mission Impossible, Kojak, Brady Bunch, Sts. of San Fransciso, Ironside, Love American Style, FBI, Mannix, Addams Family, the list just goes on and on. That music was more rewarding to me as a musician....you can only do so many 12-hour days so many years of surf rock or what we'd call the ice-cream candy rock and roll (there I go again). Hope you understand what I'm saying...and I DO APPRECIATE your nice words of appreciation of that music believe me....just that after some years of it you do get burned out finally altho' you're working with the finest musicians too. Which reminds me: Once in awhile, I get an email from some nice person, meaning well, that says: "you were so lucky to know and play with such fine musicians" and the way it would be worded was such that it implied that I was so "lucky" almost a put-down......well....I have to email back to them: "They were lucky to play with me too -- I was ONE of the finest musicians and the No. 1 call on elec. bass back in the 60s totally....they were lucky to get me to help them make a hit record". It probably never occurred to them my status...that I was some dumb little girl who because she looked "cute" (and believe me up-close, you saw the buck-teeth, I was NOT cute) and was "nice" that she talked her way into some "big-time stuff" (whee) and so everyone probably patronized her etc.etc..... it's hard for some to believe that I out-played everyone! They have NO idea of all the fine woman jazz musicianship back in the 40s and 50s at all -- hanging on to that mysogny (damn, I can't even spell that word, it's not in my vocabulary at all) or something. I think the woman-thing plays into their minds sometimes....strange, I never used to think this way as a "woman" before, I was SO ACCEPTED as a top recording musician in the world - it made no difference that I was a "woman"....I was one of the guys. Anyway, we ALL played hard, created hard, and were very intensive in the studios back in the 60s...it's a wonder any of us is alive today from all the hard labor....they find mummies with bone evidence in them worn out from their back-breaking labor, well that was US! When I die, they'll probably do an autopsy and find not only some very worn-out bones from playing but also many creative basslines stuck in my pea-brain ready to do the "next hit record" hahahaha. Thanks for writing! --------------------[ archived by Spectropop ]-------------------- End
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