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Spectropop V#0006

  • From: The Spectropop Group
  • Date: 11/3/97
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       Volume #0006                                 11/05/97
    Subject:     Christmas Album in stereo
    Sent:        11/3/97 5:15 PM
    Received:    11/3/97 6:54 PM
    From:        Paul Urbahns, purbaXXX@XXXXXXorg
    To:          Spectropop  List,
    I am probably one of the few that actually like to hear Phil Spector's 
    work in stereo. For me I was lucky to locate a cut-out of a Holland 
    release called "XMAS PARTY WITH..." on Duchesse CD352032 made in 1988. It 
    has the complete Phil Spector Christmas Album in stereo plus three Elvis 
    songs (which I skip over) in mono. Naturally the Elvis songs are the 
    primary concern but by listing the various Phil Spector artists 
    seperately it gives the impression of a various artists album. This is 
    the only known CD stereo release of the Christmas Album. Keep an eye out 
    in your used CD store for this one. If your local record store stocks 
    cut-outs from "Last Chance" (that's a distributor) check his catalog, 
    that's where mine came from. It doesn't sound like it's made from a 
    record, but rather an album stereo tape master. The same company put out 
    a Righteous Brothers CD about the same time, called "ALL THE HITS..." 
    also pretty good for those days.
    Paul Urbahns
    -----------[ archived by Spectropop ]-----------
    Subject:     Re: Favorite Lesser-Known Writers
    Sent:        11/3/97 7:37 PM
    Received:    11/3/97 9:40 PM
    From:        Marc Wielage,
    To:          Spectropop List,
    CC:          David Marsteller,
    David Marsteller said:
    >I thought it would be interesting if other list members would like to
    >share names of lesser-known 60's writers that they look for while record
    >browsing. One that I have fun looking for is Artie Resnick. Artie's two
    >big songs are "Under The Boardwalk" and "Good Lovin'".
    Here's the songs I know about that were written by Artie Resnick:
    "Chip Chip" - Gene McDaniels (Liberty 55405)
    "Good Lovin'" - The Young Rascals (Atlantic 2321)
    "I've Got Sand in My Shoes" - The Drifters (Atlantic 2253)
    "Keep the Ball Rollin'" - Jay & The Techniques (Smash 2124)
    "Quick Joey Small (Run, Joey, Run)" - Kasenetz Katz Singing Orchestral 
    Circus (Buddah 64)
    "Run, Run, Run" - The Third Rail (Epic 10191)
    "Under the Boardwalk" - The Drifters (Atlantic 2237)
    "Yummy Yummy Yummy" - The Ohio Express (Buddah 38)
    There's probably a lot more listed over on the BMI Web site.
     = Marc Wielage	      |    Internet: =
     = MusicTrax, Ltd.    |         CompuServe: 76702,1025 =
     = Chatsworth, CA     |                    AOL: mtrax6 =
    -----------[ archived by Spectropop ]-----------
    Subject:     Various
    Sent:        11/3/97 7:50 PM
    Received:    11/3/97 9:43 PM
    From:        Jamie LePage,
    To:          Spectropop List,
    Mike Bartolowits wrote:
    >I was listening to Darlene's Maybe I Know this morning...
    Is this a 60's recording or something done post "Lord If You're A Woman? 
    I don't remember ever hearing this
    Keith D'Arcy asks:
    >Does anyone out there know where I can get a copy of the Salt 
    >Water Taffy LP in relatively good shape?  
    Isn't this available on CD? I'm sure I have seen it a few times. I only 
    know one track off this. What's so good about this, really? 
    David asks:
    >Do any of you remember the "I Dream Of Jeannie" episode with 
    >Boyce & Hart and Spector?
    Thank you for mentioning that and I would very, very much like to have a 
    copy of this episode if anyone could oblige. Without access to Nick 
    Network we can't even look for it. 
    David Marsteller wrote:
    >I thought it would be interesting if other list members would 
    >like to  share names of lesser-known 60's writers that they 
    >look for while record  browsing. One that I have fun looking 
    >for is Artie Resnick.
    This is a good time to mention that the well-known songwriters (sometimes 
    producers) too are prime candidates for discussion here and I would like 
    to see discographies on these writers made available as internet 
    reference material; from Leiber/Stoller to Boyce/Hart in the Spectropop 
    definition of 60's music. Concerning lesser known writers, do Toni Wine, 
    Beverly Ross and Carol Connors qualify as lesser-known? Well known to me, 
    but household names?
    Marc Wielage wrote:
    >Pressing errors can and do happen sometimes, and the artist has 
    >no  control over screw-ups like this. Even Adler can't really 
    >be blamed,  since I think his main work today is counting the 
    >royalties, not making  the discs. :-)
    Whoa! No doubt about the latter statement, but I have a feeling Watson 
    wasn't talking about a pressing error!
    >I'd gladly trade a CD-R or MiniDisc copy of this for other King  
    >material  I don't have...
    Do you collect Carole King? I would very much like to archive a Dimension 
    Records discography, if anyone can help.
    -----------[ archived by Spectropop ]-----------
    Subject:   Re: Return To Brill Days
    Sent:        11/3/97 5:11 AM
    Received:    11/3/97 9:57 AM
    From:        Brent Kubasta,
    To:     Spectropop List,
    >The irony is that the Beatles, by emulating and glorifying 
    >Brill (and  Motown to a great extent), simultaneously destroyed 
    >its very concept...
    Wonderful perceptive summary.
    >...since the end of  Brill artists were and are 
    >expected to write their own material.
    I think that "rock journalism" made this the rule of law.
    >>For some peculiar reason, Nashville doesn't attach this stigma  
    >>to its artists.
    Nashville didn't have a "rock press" mentality either. Perhaps this is 
    why Nashville still has a  fairly active songwriting community. And, I 
    think that country fans, even in a genre that indeed has 
    singer/songwriters, never had a problem with someone's talent being their 
    voice and personality.
    >>Do you think we might be able to come back to the approach  
    >>that an artist with a good song is just that, and not really 
    >>be  concerned on whether the song is self-written or not?
    >Probably not , and the first thing necessary would be to 
    >abolish the CCC  disease in U.S..
    No problem with the idea to stamp out the c.c.c., but I disagree with 
    your "probably not" for the very fact you mentioned earlier: the 
    existence of people such as Diane Warren or Desmond Child. Do most people 
    really care who composed the songs on the record they just bought? I 
    don't think most casual record buyers do. (maybe that's because the rock 
    press really doesn't mean anything anymore either!)
    If the professional songwriter *did* reemerge as a regular, ongoing, 
    active force in rock 'n' roll, it could only be a good thing.
     For a start, there's the obvious fact that talented non-performing 
    songwriters would have song placement opportunities for their material.  
    Second, this would reduce filler (read: lackluster original) material to 
    an absolute minimum. When Jamie discussed the Beatles tearing down the 
    Brill Building and putting the professional songwriter out of work and 
    out of rock 'n' roll, there was a consequence he didn't mention: the new 
    standard was a standard that most artists (then and now) couldn't reach. 
    Few people have the talent to deliver excellent, all-original albums as 
    artists such as the Beatles, Brian Wilson, Bob Dylan, etc. did (with 
    astounding regularity and dependability, I might add) in the 60s. These 
    brilliant players changed the rules of the game so astonishingly, they 
    left their competitive peers sitting on the bench to write filler 
    material between the occasional hit or two when given the opportunity to 
    go to bat and make an album.
    Third, if recording artists became unashamed (and uncriticised) for 
    depending on sources outside themselves for their material, maybe we'd  
    have a host of rock and roll bands as great as the Searchers.
    (Of course, all of the above is based on the assumption that most people 
    care about good songwriting, so feel free to laugh away!)
    >  search for "new" music is horizontal, not vertical, and 
    >it is always  exciting to discover music from that era that I 
    >wasn't aware of.
    You hit on something very important: Friends and I often discuss how 
    incredible it is that we're *still* discovering great music from 62-67.
    >It seems to me that as far as Oldies Radio is concerned, 
    >programming  leaves much to be desired.
    You ain't kiddin'. "Baby Love", "Hang on Sloopy" and "My Girl" are 
    amazing records, but I could care less if I never had to hear any one of 
    'em again. Sad, but true.
    >Cookies "I Never Dreamed"...
    I *love* this record.
    >By ignoring (lesser-lnown Spectropop era recordings, Oldies 
    >Radio ) actually contribute to their own format becoming 
    The oldies station is Cleveland is better than most, but of all the 
    *thousands* of records to choose from it's nearly always the same old 
    hits. e.g., instead of "Do You Believe in Magic", why not spin "Darling, 
    Be Home Soon."?
    >So when  did recordings start to eclipse compositions in terms 
    >of importance? I  think it came as a result of the advent of 
    >the 45 rpm record. Which one?  There probably isn't one 
    >particular record, but Mickey's Monkey by Smokey  comes to mind 
    >as a early recording that is more important than the song  
    I think the key question here is when did *sound* and/or performance  
    become more important or just as important as the song itself? "Mickey's 
    Monkey " is definitely sound and performance, as most great r&b/soul 
    ravers usually are. but you could go back even further to the earliest 
    days of r'n'r to see the same thing due to the nature of the songs at 
    hand.  e.g., did anyone want to buy the sheet music to Elvis Presley's 
    "Hound Dog" and play it on piano? nope--it was that incredible sound and 
    performance on the record.
    Of course, for me, the most devastating records are the ones where the 
    sound, performance, and SONG are *all* killer. (do the words "Brian" and 
    "Wilson" come to mind all of a sudden?)
    -----------[ archived by Spectropop ]-----------
    Subject:     Phil Spector Christmas LP
    Sent:        11/5/97 12:50 AM
    Received:    11/5/97 2:30 AM
    From:        Richard Globman,
    To:          Spectropop  List,
    Jamie asked about my copy of the Spector LP:
    >>Hey, Dicky, what label is your LP on? Is it on Apple or Warner with a 
    >>blue sleeve? Perhaps its the rare PSI pressing with the animated drawing 
    >>of Spector in a Santa Claus suit? These (all?) are in STEREO!!!  it right in front of me...actually off to the side a little. The 
    label says "Phil Spector International Records".  It is manufactured and 
    marketed by Rhino and dated 1987.  Front cover is white with pictures of 
    Darlene, Bob B. Soxx, Crystals, and Ronettes all popping out of gift 
    boxes.  It is not in stereo...digitally remastered momo.
    My best guess is that is worth about 8 zillion dollars.
    -----------[ archived by Spectropop ]-----------

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