________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ Viva-tonal Recording - The Records without Scratch ------------------------------------------------------------------------ There are 10 messages in this issue of Spectropop. Topics in this Digest Number 278: 1. doo lang, doo lang and so forth From: Jack Madani 2. Phil and Brian From: Tom Simon 3. Fw: Intentionally Deleted By: "Spectropop Administration" 4. Carole King and Barry Mann demos From: Peter van Dam 5. Re: Nashville 60s pop From: Will George 6. the vogues, etc. From: Carol Kaye 7. A Different Drum From: LePageWeb 8. The Gary Sound From: Alan Zweig 9. Re: 'Look for a Star' From: "Peter Lerner" 10. The Third Rail From: "Guy Lawrence" ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Mon, 29 Oct 2001 02:25:59 -0000 From: Jack Madani Subject: doo lang, doo lang and so forth For years I've carefully held close to my heaving breast a vinyl compilation from 1984, called "Where The Girls Are." I happened to stumble upon it in a cutout bin back in '84, back in the days when all I knew about girl groups was what I heard on the oldies station. And this album had like NOBODY at ALL on it that I knew of, save for the final track (Our Day Will Come, by Ruby & The Romantics). But I bought it anyway, because it also included Revolution, by Rachel & The Revolvers--the first non-Beach Boys production by Brian Wilson that I had ever heard. When I got it home, I put it on the turntable and proceeded to have my mind completely blown. Track after track was pure geeeeenius, absolutely pure gold--and I had never heard of these recordings before! Well, I sed to meself, there MUST be more of this sort of thing out there--and thus began my love affair with obscure girlgroup recordings. Thus also began my love affair with faux-Spector, because amongst the many magnificent tracks was one Baby That's Me, by The Cake. Oh, momma! Anyhoo, the amazing thing about this album is that out of the 15 new-to-me tracks, I think that only ONE has since ever shown up on a legit cd compilation (Let's Break Up For Awhile, by The Sapphires). A couple others have shown up on gray-area issues, but that's it. So I finally got around to transferring the album to digital so's I could enjoy it more than once a year (yipe! what if I scratched it?), and while doing so I sat looking at the back of the record jacket, and guess whose name is listed under the liner notes as well as under the "compiled by"? Our own Mick Patrick. Attaguy, fella! And finally, to the TRUE point of this post: There are a couple of songs on Where The Girls Are (the vinyl version) that just kill me because of the backing vocal chants. One, It Hurts To Be Sixteen by Barbara Chandler, has the girls singing "ratta tang ratta tang sh-tang sh-tang." Another tune, "You Better Leave Him Alone" by The Ginger Snaps featuring Dandee Dawson, is actually subtitled "The Sh-Down Down Song." You can guess what THOSE girls are singing in the background. Re-listening to these songs got me to thinking about all the crazy, wacked-out spectropoppish tunes that I have loved over the years that have similarly bizarre backing vocal chants. Doo-lang doo-lang, bop- shoo-bop, hey-la hey-la, buppee-ah-oo, lang lang lang lang, and so forth. And I'm not talking about those hey mister bassman fifties versions--for some reason, those male rama lama ding dongs don't stir my heart the same way they do when they're sung by a trio of gum- snapping high school cuties. What kind of warped genius does it take to come up with these pearls of wisdom, and are there some individuals who seemed to be particular masterful at this special task? Personally, I have to imagine that The Tammys would come in for Special Mention in this category. jack "shoop shoop" madani --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Sun, 28 Oct 2001 17:07:24 -0600 From: Tom Simon Subject: Phil and Brian At 10:42 AM 10/27/2001, you wrote: >Someone sent me this link - A revealing, sometimes >hilarious audio/video interview with Brian Wilson. > >"So what music have you been listening to lately, Brian?" >"Phil Spector....." > >You gotta check this out! I remember reading in Brian Wilson's autobiography several years ago that he was a big fan Phil Spector's music. At one point, Brian says he told Spector that the best record ever was "Be My Baby," to which Phil supposedly replied that his favorite was "And Then He Kissed Me." Tom Simon --------------------[ archived by Spectropop ]-------------------- Message: 3 INTENTIONALLY DELETED By: Spectropop Administration --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Sun, 28 Oct 2001 09:56:18 -0000 From: Peter van Dam Subject: Carole King and Barry Mann demos Hi folks, Could somebody provide adress to catch the CDs with Carole King and Barry Mann demo material. If somebody willing to burn a copy for me, lots of vintage stuff of Van Morrison. Did someone tape the recent documentary on the Brill Building writers, as this was only seen on American TV. Thanks a lot for your reply, Peter van Dam P.O.BOX 73925 2507 AK Den Haag Netherlands firstname.lastname@example.org --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Sat, 27 Oct 2001 11:41:54 EDT From: Will George Subject: Re: Nashville 60s pop Don't forget Skeeter Davis! --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Sat, 27 Oct 2001 11:26:59 -0700 From: Carol Kaye Subject: the vogues, etc. > did you play bass on 'You're The One"?? Yes, on bass, tons of dates in my log for the Vogues. Kingsley is right....all the studio musicians were constantly adjusting for not only the studio mikes, styles of music, the sounds the arranger and/or producer usually liked, but also what we thought was appropo in our playing - that's why we were the "clique", the 50-60 of us who did most of the record dates (out of the pool of 350-400 hard-working regular studio musicians)....the sounds were built around the tune, the singer, and all these other variables. You get good at what you do when you do it 6-16 hours a day, year after year etc. Earl Palmer's book of "Backbeat...the Earl Palmer Story" has some in there about that too. In rhythm sections especially we could all get the sounds required of us, and sound like anyone in any style we wanted to. That's why on some dates, they'd play a demo of the kind of style and sounds they wanted, no problem - if they didn't have an arrangement or any written music, we could all easily write out the chords on blank music as the demo was played 1 or 2x too, no problem and quickly figure out what to play as our own role, no-one "led the way" at all except what the producer expressed what he wanted.......we all worked as separate entities in our instrumentation roles. Later on as dates were more arranged in the 60s, the arranger became the "leader" etc. I think it blows people away when they find out that a black musician can play hard-rock like a white guy and a white musician can play the lowest funkiest music like a black guy too.....we were always constantly doing that every day, no problem. Even Plas Johnson did some of the corniest famous chicken-sax solos and then told the producers "not to put his name on the recording" as he didn't want to get known for that. Other stories like that with us all. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Sun, 28 Oct 2001 23:28:45 +0900 From: LePageWeb Subject: A Different Drum Kingsley wrote: > [Hal Blaine:] "With Phil it was a bigger band, so I > had a higher snare designed to cut through the rest." > > Hal therefore did vary his tuning, and there may > have been some other natural variations between the > different sets that he had at Gold Star and Western > as well as possible miking (and mike) differences. > It's hard to imagine that such wonderful > professionals like Hal and Carol didn't almost > automatically make adjustments to fit the feel of > the recordings they were involved with. It's *impossible* to imagine, Kingsley, especially if you've heard the SOT sessions where they are making adjustments right on the spot! On the other hand, when Mark Tilley wrote he'd bet Hal Blaine was the drummer on Dum Dum Ditty, I thought "Yes...but it sounds more like someone affecting that style" was cooler than just taking his money. I mean, I understood what Mark was saying - the drumming does feature a lot of fills not dissimilar to those we all associate with Hal Blaine, even though it's not Blaine himself. OK - I could be wrong here - maybe Mike and Jerry actually did give crazy George the budget to fly out to the West Coast, book Western, hire all the "A" cats and cut the first single on the Goodies (who?) - and maybe at the session Hal and everyone then intentionally altered their sound on the date to get that groovy "Long Island" sound. I wouldn't bet on it, though (although maybe Goldner would). ---- Still, I definitely don't want anyone to confuse the Shadow Morton date with the important distinction Carol made - the "clique" did NOT sound the same on every record. That's for sure. Take the Gary Lewis recordings for instance. The drums on the Snuff sessions (arr. Leon Russell) have a tighter, more defined sound than do the drums on "Happiness" (prod. Gary Klein arr. Nitzsche). But even though Happiness has the "bigger band" drum sound, Blaine's drumming there is still more restrained than a typical Spectorian date, as if he was intentionally holding back in an attempt to keep some consistency between the earlier "small combo" sound that Leon got and the Spectorian "bigger band" sound Nitzsche was going for. Intentional or not, by the time of Happiness, there was apparently no need to maintain the illusion that the Playboys were actually playing on their records. Happiness sounds like a full blown Spector Xmas date! OK, it's true that the Monkees caught flak for not playing their instruments around then, but I think the Monkees thing was more because they didn't play at their live shows. I'm pretty sure GL & the Playboys actually did go out and perform at places like the Tomorrowland Terrace Stage, even though their live sound had nada to do with how Gary's hits were made. If you think about it, Tommy Garrett could have easily recorded Brian Hyland or Bobby Vee on This Diamond Ring and probably had the same hit. The track is suitable for either. If Garrett had a specific "pop" style as a producer, I would say these three artists best exemplified it. Billy Spradlin on "Happiness": > The back cover of "Listen!" credits "Producer: Gary > Klein, A Product of Koppleman-Rubin Associates" dont > know anything about him. Any relation to (the > infamous) Allen? I don't know much about Gary except that he's a great guy. Gary wrote the immortal "Bobby's Girl" and a bunch of other songs, worked with Koppleman/Rubin, and ended up at one of the majors after Koppleman and Rubin sold. I think he produced a Janis Ian album too - maybe Restless Eyes. No blood relation to Allen and Betty, methinks, but I am interested to learn more about Gary's career if anyone can help out. Jamie --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Sat, 27 Oct 2001 14:51:14 -0400 From: Alan Zweig Subject: The Gary Sound "Mike Arcidiacono"wrote: >Carol's comments are right on...Hal could sound VERY >diferent when need be. For instance, on the Gary Lewis >records, he doesnt play like Hal at all...he seems to >intentionally downgrade his playing to appear simpler and >more basic....as Gary would have sounded. On the >Playboys records, Hal repeats the famous triplet roll >from snare to small tom on many of the fills. This helped >define the Gary Lewis sound, I agree that there is (sort of) a Gary Lewis sound. But this begs the question "where did that sound come from?" I don't think it came from Gary but if Hal Blaine changed his sound to achieve the Gary Lewis sound, then clearly he was working in service of another vision. I have tremendous respect for the session musicians of that era but sometimes the discussions about them - on this list and elsewhere - remind me a bit of talking about the (talented) crew members on films. The key crew members make tremendous contributions and some of them have become semi-famous in their own rights. But the various films they worked on, were quite different. Their job was to serve a vision, not create one. Anyway, anyone have any idea how the Gary Lewis sound was arrived at. It had something to do with his voice. His records really don't sound like anyone else's. They resemble a lot of others but you always know it's him. AZ --------------------[ archived by Spectropop ]-------------------- Message: 9 Date: Sun, 28 Oct 2001 17:24:38 -0000 From: "Peter Lerner" Subject: Re: 'Look for a Star' > > ...Buzz Cason (the writer of Everlasting Love) aka Gary > > Miles, doing 'Look for a Star' > > Wow! I didn't know that! So who was Gary MILLS, who also > had a hit record with the same song? Gary MILLS was British and had the UK hit with Look for a Star on Top Rank. Methinks this was the original, and Buzz changed his name to Gary MILES for this record to cash in. I have a nice version of the song on Liberty by Vicki Vote. So who was she? Peter --------------------[ archived by Spectropop ]-------------------- Message: 10 Date: Sun, 28 Oct 2001 12:22:00 -0000 From: "Guy Lawrence" Subject: The Third Rail Hi everyone! Yep, the Revola reissue of the Third Rails "Id Music" contained several bonus tracks, mopping up all their non-lp tracks except "Beggin' Me To Stay". These included some of the best stuff released under the Third Rail name, especially the truly amazing "She Ain't No Choirgirl" which sounds like a psychedelic Detergents! The moral of this story is - dont lend anyone your precious CDs! Someone borrowed my copy about three years ago and I never got it back. Since Creation records (of which Revola was a spin-off) ceased trading a couple of years ago all the Revola releases have been deleted. I checked with their U.K. distributor and they knew nothing of them. Regards, Guy Lawrence. --------------------[ archived by Spectropop ]-------------------- End
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