http://www.spectropop.com ________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ Dedicated to the betterment of recorded music and literature ------------------------------------------------------------------------ There are 10 messages in this issue of Spectropop. Topics in this Digest Number 192: 1. Re: Golden Oldies From: Frank 2. Posted requests From: Ton Borsboom 3. Aooooga From: "David Mirich, Ph.D." 4. King of Pop From: "Hans Ebert" 5. Re: Other "thefts" From: Frank 6. Three Geniuses - was Other "thefts" From: "Florie Gray" 7. VDP quote From: LePageWeb 8. Beatles, Smile, and musique concrete From: "Joseph Scott" 9. France Gall/Petula Clark/cops From: Stewart Mason 10. Records on PHI-DAN From: Barry.Green ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Sun, 24 Jun 01 07:47:53 +0100 From: Frank Subject: Re: Golden Oldies Thanks Martin, I love it when Spectroppers give us info on what's being released in their neck of the world. The only thing I will never understand is where anyone can find any relations between Francoise Hardy's recordings and Phil Spector ? Frank Martin wrote: > >Francoise Hardy "The Vogue Years" UK BMG74321 822322 rel >'01 A must buy. 50 tracks of the very best of French,UK >(Charles Blackwell) & even US (Mickey Baker) pop. Can't >find any of my favourites missing, great Spector Sound A >Likes, great attitude & great looks! Good colour booklet. >All of these are French language recordings so I'd guess >English vocal's compilation to follow. But don't wait >buy this now! For those new to Francoise's charms start >at track 14 her version of The Joys "I Still Love Him" --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Sun, 24 Jun 2001 10:31:05 -0000 From: Ton Borsboom Subject: Posted requests Thank you all for the information on Darlene Love (#1321), The Metros (#1329), The Crystals (#1339). Regards, Ton --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Sun, 24 Jun 2001 09:24:47 -0600 From: "David Mirich, Ph.D." Subject: Aooooga I dunno Marc. The very baritone and multi-singer chorus of "Aooooga Chaca ooooga", is such a distinctive musical footprint, especially for 1967 pop experimentation. That Jonathan King was a very innovative person doesn't per"Swede" me that this could have been invented in a parallel form at a later time-- it is just tooooo identical to BWs SMiLE segment. But I do agree with how Led Zep ripped some things from others. What is the song from the Millennium that reminds me so much of a later Zep song? BTW, Rbt. Plant is covering many artists on his latest tour, including 3 songs from Love. Dave Mirich Marc W. wrote in part: > Not necessarily. That arrangement was created by > British singer/producer Jonathan King for his own Top 30 > British hit, which was the first to add a reggae beat > and "ooba-chakas" to the refrain. Could King have heard > the SMILE session tapes? Anything's possible, but I > personally think he was a fairly innovative guy in his > own right, especially for his time. > > Dave had prevously written: > > > the hit song from 1973 called "Hooked On A Feeling" by > > Blue Swede. There is a segment that goes "A oooga, > > Chaca ooooga ooooga ooooga, Chaca ooooga ooooga ooooga." > > This group must have gotten their hands on a Brian > > Wilson Smile session bootleg --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Sun, 24 Jun 2001 16:24:02 +0800 From: "Hans Ebert" Subject: King of Pop First, a few things about Jonathan King which most US readers might not know about... Having interviewed him in Hong Kong many moons ago when a young journo, all I can say is that "bit" from Hooked On A Feeling is all his. As he did with his first solo hit, the very tongue-in-cheeky Everyone's Gone To The Moon, King, who, by the way, also named 10cc, loved to "mix it up" and take the p*** out of the recording industry and record buyers. He still keeps the same flag flying at his popbitch.com site which is never short of good true stories from today's poposphere. To me, King is up there with Brian Wilson, Spector, Joe Meek, Derek Taylor et all for his eclectic, eccentric and even elegant glance at the music scene and music. On another note, BJ Thomas: Is he still recording? Would anyone also know if Jimmy Webb plans to release anything soon and if he even has a recording deal? As for 'soundalike' recordings, how many songs have been "born" out of Gordon Lightfoot's "If You Could Read My Mind?" Listen to this song again, listen to the chord changes, listen to the melody and ou should hear that many have blatantly lifted "bits" of it to create something "new...." but very borrowed. Cheers, Hans Ebert --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Sun, 24 Jun 01 07:47:54 +0100 From: Frank Subject: Re: Other "thefts" >Michael Bolton - "Love is a Wonderful Thing." Bolton got >sued big-time on this by The Isley Brothers, who wrote >an identically-titled (but very different) song. While >I don't think those songs are all that close -- even >though Bolton eventually lost, to the tune of millions >of dollars -- his song is very close to that of Marvin >Gaye's 1969 Top 5 soul hit "Too Busy Thinking About My >Baby." [I think this might be the all-time biggest >plagiarism suit, just under George Harrison's "My Sweet >Lord / He's So Fine" from 1970-71.] And don't forget two others incredible law suits : Feelings the Morris Albert song that was lifted (note for note - with the help of his publisher) from an obscure French song. The Brasilian publisher who published the orginal French song was found guilty of having masterminded the whole thing. Albert lost the suit. And more recently another very big one : Macarena. Frank --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Sun, 24 Jun 2001 23:41:14 -0000 From: "Florie Gray" Subject: Three Geniuses - was Other "thefts" David Mirich, Ph.D. wrote to Spectropop Group > What are other examples of blatant "lifting" of songs > or segments of songs? Three names immediately come to mind: Charles Ives Carl Stalling Van Dyke Parks All three have liberally borrowed from the works of others, used them well and made the finished product their own. Florie Gray --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Sun, 24 Jun 2001 23:55:11 -0000 From: LePageWeb Subject: VDP quote Hi all, I received a few off-list emails about the VDP quote in my recent post, and I realize I should have mentioned the source (not of the quote, but of where I read it...) It came from an article residing on the cabinessence site called "A Road Less Travelled - Reflections on the Career of Van Dyke Parks" "Idiosyncratic. Eccentric. Innovative. Legendary. These words only begin to describe one of the most important figures in popular music history. This page is a wonderful biographical study of the man who has contributed some of the most enduring and beautiful music and lyrics of the last generation." as it says on the Spectropop automated links page Super highly reccomended reading... http://www.cabinessence.com/agladwin/parks Enjoy! Jamie --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Sun, 24 Jun 2001 15:24:05 -0600 From: "Joseph Scott" Subject: Beatles, Smile, and musique concrete Hi all, Jamie quoted Van Dyke Parks: "The year before [Sgt. Pepper], the Beatles had gone to LA to listen to the eight-track Smile sessions, and what they were looking for is revealed on that album. It was improper for the Beatles to take the musique concrete approach that Brian had started, and it was grievous.... (London Guardian, 12.10.99)" This is not accurate. The Beatles, particularly Paul, became seriously interested in musique concrete through friends in the U.K. in late '65 and early '66. In December '65, Paul gave the other three Beatles copies of "Unforgettable," a musique concrete recording he'd made in his demo studio. The Beatles' first commercial recording to include musique concrete was "Tomorrow Never Knows," recorded in early April '66 and released on Revolver in early August '66. The Beatles visited L.A. in August '66 promoting Revolver. None of the Beatles visited L.A. again until April '67, when Sgt. Pepper had already been recorded. Joseph Scott --------------------[ archived by Spectropop ]-------------------- Message: 9 Date: Sun, 24 Jun 2001 10:51:30 -0600 From: Stewart Mason Subject: France Gall/Petula Clark/cops Martin Roberts wrote: > France Gall "Baby Pop" French? Philips 539 842-2. Didn't > hold out that much hope for this when bought - but hard > to leave a record shop empty handed! Her most well known > (in Britain) 65 Eurovision Song (winner?) "Poupee de > Cire Poupee de Son" is not on this straight LP reissue > from '66 only 12 tracks but it's great! I'm sure I've said this here before, but it bears repeating: any fan of '60s girlypop who does not seek out France Gall is doing themselves a tremendous disservice. Barely a teenager when she was having her first hits, France Gall was primarily the Gallic equivalent of Lesley Gore, but in keeping with the French styles of the time, she also did some perfectly credible jazz-pop songs ("Pense a Moi" is a favorite in that style) and her psychedelic explorations were worlds better than anyone else in the country managed. You can't go wrong with anything she released in the '60s. (She's still performing, but her material since the early '70s has largely been forgettable.) And, it must be said, France Gall was the most drop-dead gorgeous female pop singer of the '60s. [Ed. note: 2 France Gall sound clips:
http://www.kolumbus.fi/jarpen/poupee.wav">http://www.kolumbus.fi/jarpen/poupee.wav] > Keeping in the Gaelic mood:- Petula Clark "En Vogue > (Beat en Francais)" UK Castle CMDDD 214 rel'01 another > 50 track double CD, great pics and with Mick's name at > the end (along with Richard Harris) great sleeve notes. > All songs sung in French and most more Girl Group > slanted than her usual 'pop' style. Some very good > recordings but I still find her to "clean/smiley, smiley" > for my tastes. Jack Nitzsche produced her, "Downtown" is > a classic and sleeve notes talk of sales of over 68 > million, think this is my problem not hers! There's a multi-disc series on Vogue called ANTHOLOGIE (six or seven discs, maybe more) that collects all of Petula's French-language recordings, many of which are terrific. Her French-language Beatles covers are surprisingly wonderful. Dan Hughes wrote: > I have always been struck by the identicality (?) of > the line in the chorus of the Drifters' I Count the > Tears: "Nah nah nah nah nah late at night" and the > line in the chorus of the Grass Roots' Let's Live For > Today: "Nah nah nah nah nah live for today." An oddly pedantic part of me feels the need to point out that it was actually "Sha la lala lala live for today." As someone else might have already pointed out here, the Motors' "Forget About You" sounds way too close to the Grass Roots' Gary Zekley-penned hit "Sooner or Later" for comfort. (The Motors had a habit of copping other folks' choruses--their last single "Love and Loneliness" is a direct cop of Stephen Stills' "Love the One You're With.") And of course, speaking of Stills, you can't fail to mention Neil Young's blatant cop of the "Satisfaction" riff on the Buffalo Springfield's "Mr. Soul." Or for that matter, the way he not only swiped "Lady Jane" for "Borrowed Tune," he wrote lyrics about why he did it. Stewart --------------------[ archived by Spectropop ]-------------------- Message: 10 Date: Sun, 24 Jun 2001 17:02:54 -0000 From: Barry.Green Subject: Records on PHI-DAN Hi, I am a new member to the Spectropop group and am finding the posts very informative. This may have been discussed before but I have not seen anything in the archives so far. I have often wondered about the 'gaps' in the PHI-DAN singles that are documented in the various Spector books. With Phil having released from 100 to 136 on Philles with no missing catalogue numbers I am intrigued as to why there are no numbers relating to 5002 - 5003 and 5004 on PHI-DAN ? Does anyone know if any 'demo's' or 'test-pressings' have ever turned up for the missing numbers. Is there any rumours or stories about any of these ? Hope someone can shed some light on this ? All the best, Barry --------------------[ archived by Spectropop ]-------------------- End
Spectropop text contents & copy; 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.