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Spectropop - Digest Number 235

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______________        S  P  E  C  T  R  O  P  O  P        ______________
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         The Spectropop Group salutes the late Betty Everett

There are 9 messages in this issue of Spectropop.

Topics in this Digest Number 235:

      1. Betty Everett - Jay Black
           From: Paul Urbahns 
      2. More Goldie
           From: "Phil Chapman" 
      3. Genya Ravan
           From: John Clemente 
      4. Margo and Goldie
           From: Carol Kaye 
      5. Wall of Sound, "Back to Mono", and Stereo Ronettes
           From: Spectropop Admin 
      6. Nancy Adams
           From: Alan Miller 
      7. A&E
           From: Will George
      8. Re: A&E Biography pop music week
           From: "Mike Arcidiacono"
      9. A&E
           From: Jamie LePage 


Message: 1
   Date: Sun, 26 Aug 2001 16:45:56 EDT
   From: Paul Urbahns 
Subject: Betty Everett - Jay Black

> Betty Everett, made famous with It's in His Kiss (The
> Shoop Shoop Song) passed away. The newspapaper reports
> said her family found her dead in her home on Sunday
> (8/19). She was 61. 

She appeared in a duet with Jerry Butler on the Doo Wop 51
TV Special on PBS last year. I just received the new show
for this year on tape from my brother who lives in
Pittsburgh. It has a dynamite performance by 62 year old
Jay Black doing Cara Mia.

Paul Urbahns 

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Message: 2
   Date: Sun, 26 Aug 2001 18:30:47 +0100
   From: "Phil Chapman" 
Subject: More Goldie

Further Goldie research reveals an industrious four other
Genya Ravan albums recorded during the 70s, as well as
four albums as a member of 'Ten Wheel Drive' ('69-'74)
and three albums as a member of 'Gamma'('79-'82). Does
anybody here know these?

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Message: 3
   Date: Mon, 27 Aug 2001 00:59:47 -0400
   From: John Clemente 
Subject: Genya Ravan

Hello All,

Prior to Goldie & The Gingerbreads, Genya sang with a
male group on Coral Records in 1963 named Goldie & The
Escorts ("One Hand, One Heart/I Can't Be True" and "Back
Home Again/Something Has Changed").  About two or three
years ago, I listened to an interview with Genya Ravan by
Don K. Reed on WCBS-FM radio in NYC.  It was around the
time that all the original members of Goldie & The
Gingerbreads had gotten their picture in the New York
Daily News for an impromptu reunion.  During the
interview, Genya played a record she had recorded in
England (?) which was released on Island Records in the
early 70s(?), a seriously good version of The Hearts 1956
classic, "Disappointed Bride".  She recorded it under a
pseudonym, "(?) Saturday", I think.  

Anyone out there with the definite info?

John Clemente

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Message: 4
   Date: Mon, 27 Aug 2001 09:58:28 -0700
   From: Carol Kaye 
Subject: Margo and Goldie

Here's from Deb Hastings, bassist/conductor of the Bo
Diddley group that Margo Lewis books (and plays organ),
Sorry I got it wrong, I tho't she was "Goldie" -
evidently Margo was just in the group.........
Carol Kaye

> No, actually they have it correct - Margo was Margo
> and Goldie was Genya Ravan eventually. Same group -
> different people

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Message: 5
   Date: Tue, 28 Aug 2001 13:30:55 +0900
   From: Spectropop Admin 
Subject: Wall of Sound, "Back to Mono", and Stereo Ronettes

[From Spectropop Bulletin Board]

In reply to Johh, who wrote to the Spectropop Bulletin

> I have heard brief descriptions of how Phil Spector
> produced "the wall of sound," sound. Does anyone really
> know or have a description of what these sessions looked
> like physically? This was before the days of
> multitracking right? So, this meant everyone who was on
> a recording was there at one time playing together,
> right? Also, these were mono recordings right? Since
> Spector knew these songs would be played by kids mostly
> in cars. Right? I have heard that Spector was trying to
> get the best sound he could for that kind of delivery
> system; i.e. a single car speaker. And, he was trying to
> actually get a stereo sounding monon recording. Is any
> of this true? 
> Thanks a bunch. 
> You should hear what I've told some people what I've
> imagined the wall of sound to be. 
> Peace

RICK replied on Mon, 27 Aug 2001

Hope I don't come off like a know-it-all, 'cos I

More specifically, the aural density (my term!) of PS's
records is partly due to the peculiarities of the 3-track
recording system, and the specific characteristics of
both the original Gold Star recorder as well as the echo
chamber in that studio. 

When recording on a 3-track (be it MONO 3-track STEREO
3-track) ONE track is ALWAYS left "open", i.e. TR 1
Rhythm, TR 2 (perhaps) Strings, TR3 "open" 

When TR1 is combined with TR2 it isn't a simple addition
- a "bounce" effect is heard: that is, the ambience of
the tracks has a multiplier effect rather than a straight
combination when it's "bounced" to TR3. It's known as
"tape echo", "reverb" etc but's technically none of the

It's all about exactly what degree of ambient echo is
bounced - not simply echo-for-the-sake-of echo: you have
to start with a beefy rhythm track otherwise theres no
density to the final mix and you'll end up with a watery
Spector imitation. And the end product has to be be
mastered rough & tough - needles need to bounce off the

PS's STEREO: Superb '63, '64 Stereo for a US producer!!!
But was it done with (true) Stereo mikes and a Left &
Right channel configuration throughout the entire
recording, mixing and mastering process? No on your
life!!!The brilliance of PS's Stereo lies in the fact
that HE created it - not a machine... 

Related subject: The highly under-rated BONO-PHONIC Sound
Process...Check out the original Cher "Bang Bang" in
Stereo for starters: "R" channel's the mixed down MONO
orchestral track, "L" channel is Cher's vocal in Gold
Star's echo chamber with sound leakage from blasting
speakers outside the chamber. (Most early S&C Stereo was
actually Bono-phonic...but - lets face it - he got closer
than anyone else) Hope these jottings are of interest and

--------end of forwarded message--------

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Message: 6
   Date: Mon, 27 Aug 2001 04:16:29 -0400
   From: Alan Miller 
Subject: Nancy Adams

The internet has thrown up scant information on Nancy
Adams whose 7' release "i wanna hear it from you" i have
been trying to track down for a couple of years.

Anyone have the good word on Nancy??  Or maybe even a
spare copy of the above?


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Message: 7
   Date: Mon, 27 Aug 2001 15:19:15 EDT
   From: Will George 
Subject: A&E

I have A&E at home, but unfortunately I'm not at home
this week so will miss the programs. But... A&E usually
has an offer to sell the videos of their shows. I'd
suggest checking their website after the broadcast to
see if they are offering it. And if they aren't, try
emailing them and requesting a copy. Can't hurt.

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Message: 8
   Date: Mon, 27 Aug 2001 21:05:27 -0400
   From: "Mike Arcidiacono" 
Subject: Re: A&E Biography pop music week

Hey folks.

I'm watching the Brill building show on A&E tonite.  They
just showed the Shirelles singing "Will You Still Love Me
Tomorrow" LIVE!!   It wasnt a lip sync like so many of
the '60s clips were. It looks like a Tv appearance. The
backing band was WAILING on the guitars. They looked a
little like the Nooney Ricket Four.

Does anyone know what the appearance was? Anybody have a
complete copy of this?  I've gotta have it!!


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Message: 9
   Date: Tue, 28 Aug 2001 12:20:08 +0900
   From: Jamie LePage 
Subject: A&E

Just a quick note following my request regarding the A&E
special. I've happily sorted this out now. Thanks to all
who responded. You guys are the best!  


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