________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ Incomparable stars of stage, screen, radio and records ------------------------------------------------------------------------ There are 9 messages in this issue of Spectropop. Topics in this Digest Number 279: 1. Definitive Rock and other tales From: Michael Rashkow 2. WHERE THE GIRLS ARE From: Mick Patrick 3. Gary, The Monkees and "Where the girls are" From: "Guy Lawrence" 4. Re: The Gary Sound From: "Mike Arcidiacono" 5. Re: Recorded sounds From: Carol Kaye 6. Circus of Horrors From: Jane Wade 7. Re: doo lang, doo lang and so forth From: "Jan Kristensen" 8. Re: BRILL TONE CDs From: Mick Patrick 9. Halloween Spooktacular From: Michael Godin ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Tue, 30 Oct 2001 10:30:26 +0900 From: Michael Rashkow Subject: Definitive Rock and other tales "Phil Chapman" wrote: > "Please Phil Spector" (writer: Mike Lendell)... Mike Lendell was a non de plume and a non de guerre for me Mike Rashkow --I gave it up after a period so some things show under one name or another and sometimes as both. > ...managed to find its way over to the UK as the > flipside of "Washington Square" released on Philips > BF1585 in 1967. The label credits production on both > sides by M. Rashkow & J. Cymbal - A Mother! Production. I never knew this was released. Never knew the "group" was called The Attack. It was supposed to come out on a label named Attack in the USA, which was owned by Nate McCalla ( a tough, black enforcer for Morris Levy owner of Roulette) and Jerry Schifrin, (Lalo Schifrin's cousin) who was a good guy and a good record man) Attack was a secondary label for them--the lead label was Calla. Calla was a one room operation on the second floor of the Roulette building--around the corner from the Brill. On the same floor they had a small demo studio which was partially owned by the arranger Don Costa and Teddy Randazzo ( writer, vocalist, producer-including I Think I'm Going Out of My Head). Guy Costa, Don's nephew ran it. I worked there. I wrote Please Phil Spector as a joke and a way of trying to get Phil's attention. Ellie had little contact with him at that time. We were writing and producing together and I wanted to find a way to get involved with him--so I did the thing and had her send it to him. He never responded. The track was just a group of demo players--piano, bass (possibly Chuck Rainey) guitar ( possibly Hugh McCraken) drums ( Herb Lovell-Bernard Purdy-Bobby Greg???, one horn a trombone can't remember the guy's name but a good sesssion player...possibly Garrett Brown). I engineered the track and I think I did the vocal inside the booth with the monitors off. It was basically a joke, we gave it to Calla for the B side because we had nothing else and they didn't care. Washington Square was written by Dennis Lambert (lots of hits later on--a few before--Don't Pull Your Love Out on me Baby, etc.). I had engineered the piano voice demo he did on the tune. We did it in the little demo studio next to Calla. We may have used the piano track as a base starting point--can't remember. Loved the song. Johnny Cymbal and I cut a track (sloppy) as a demo for us to present, and Johnny was the original lead singer. Nate and Jerry gave us a budget to finish it and bought the master for giving us the budget. For some reasons, including the fact that he was back in Cleveland when Schifrin wanted the record in his hands, I did the vocal. Not so wonderful-a singer I was not. John was displeased with this and it did cause a rift in our relationship for a while. I am proud of the background parts I wrote for the bridge. who sang them? I don't know. Possibly the guys from Cashman Pistilli and West, maybe added Ellie and my ex-wife Mikie Harris. Maybe just John and me. It's a long time ago. > I associate this record with another amusing but > clever record around at the time by The Definitive > Rock Chorale - "Variations On A Theme Called Hanky > Panky" containing the line "I can't stand this song..." > - I think Ellie & Mike Rashkow were involved with > this? YES, THIS WAS OURS. I came up with the concept for doing Hanky Panky in a variety of musical styles. Ellie and I worked out the rough arrangements. We also did the old Bye Bye Love as a 6/8 pop gospel kind of thing--cute, but difficult and never got that completed though we tried with a group of gospel girls from Brooklyn later on. Anyway, we cut the tracks in Bell Studio B--can't remember who actually wrote the charts, possibly Wisner, possibly Joe Renzetti, possible Ron Frangipane--it's probably on the label. Had a top notch group of session guys--I know that Jerome Richardson a great jazz man was one sax, Herb Lovell was the drummer. I think Joe Macho was the bass. It was a bad weather day, the charts were there, but I don't think the arranger made it. I had made arrangements for Cornell Dupree (later with Aretha) to fly in from Texas where he was living at the time because his father was sick. He'd made it very late and a guy named Alan Ferguson (???) was the only guitar. Eddie Smith, Phil Macy or Harry Yarmark was on the board. The strings and vocals were done in Bell Studio A about a week later. There were a lot of voices used-- John Cymbal, Ron Dante, Toni Wine, Ellie Greenwich, Tommy West (Picardo), Terry Cashman, Dennis Minogue, and a Puerto Rican girl (she only stayed in NY for a few months - I have no idea what her name was). Eddie Smith did the overdubs I think. I remembered that Jimmy Radcliff did the "James Brown" style vocal where the line "I can't stand it, I can't stand this song" was sung--My line parodizing James Brown--Ellie never complained. Radcliff passed away several years ago. He was a good writer and did a lot of demo work and jingle work. By the way, Ron Dante was mentioned by someone. I guess you know that Dante was the Archies and about ten other groups and pseudonyms. He also was Barry Manilow's producer when he was hot. Last time I saw his name it was as one of the producers of the Broadway revival of Guys and Dolls. Had he done the lead on Washington Square, we might have had something. I sure couldn't help. Also, John Cymbal and I wrote again in the mid 1970's--some very good things that went nowhere. One song, Words and Music was recorded by several artists including a way over the top version by a girl named Julie Budd. We alos had a #1 hit in Jamaica, Julie On My Mind. "David Gordon" wrote: > All the Definitive Rock Chorale singles (3 on Philips, > 2 on Bell) were produced by Ellie Greenwich and Mike > Rashkow who formed a production company together after > Ellie and Jeff Barry has split up. > > The Definitive Rock Chorale were a studio group - the > vocals on "Hanky Panky" were Ellie, Ron Dante and > Valerie Simpson. I don't think Valerie was on this one, but maybe so. She was the best ever as a studio singer. You'd sing her the idea and as you were singing she'd be singing it with you. Perfect pitch, great talent, nice human being. She was on a lot of other stuff for sure and also Tasha Thomas. LePageWeb wrote: > It occured to me that "A > Mother ! Production" might have been a inside joke/pun > on Mother Bertha with the "!" being the appropriate > expletive. Not a play on Mother Bertha as I remember it, but the rest is right. "Don Charles" wrote: >The record is Ellie Greenwich Composes, Produces and >Sings. Half the songs are originals. I don't think >they're quite the classics some of her other tunes are >but I like the arranging - by Hutch Davie... Hutch was his nickname--real name Bun--I don't know why. >From Bun to Bunny to Hutch. Those that he arranged, I was co-producer on but I didn't get credit for some reason. Hutch did some memorable stuff including The Name Game but was classically trained and worked in that field as well. Gary Sherman (a podiatrist also by training--never wore shoes--only sandal things) >and Jimmy Wisner (Philly boy--did a lot of hits for a lot of people then disappeared) Of the things on this album, I was most responsible for Nicky Hokey. Chose the song and functionally arranged it. Also blocked out the background parts which were done by the Sweet Inspirations (as I remember). Most of this stuff was done at the old Mirasound studio with Brooks Arthur on the board. i was just starting to work with Ellie at this time. She wasn't too interested in the project--had an obligation contractually to deliver it. > >Of the five originals, I think maybe "Goodnight >Goodnight" could have been a hit. If it wasn't. Agree `100%. One of the best things Ellie ever wrote although I'm not sure who was key on it-her or Crewe. I still love that song. It was done before I worked with her. >I don't recognize any of the originals myself. I think Artie Butler did that chart, I know Artie Kaplan did the little sax solo. "Goodnight, Goodnight" is great, isn't it? That and "The Sunshine After The Rain" are my faves from Ellie's first album. I was lucky enough to find a copy years ago, at a reasonable price. I'll bet dealers want an arm and two legs for it nowadays! I saw it for $25 in New Orleans a few years back. It may be on a more recent compilation. > >Anyway in the liner notes it says she's about to produce > >a group called The Definitive Rock Chorale. Did that > >happen? That sounds interesting. > > Yes, Ellie did produce singles by The Original Rock > Chorale, with Mike Rashkow, who was her partner in the > late '60s. I think one of the titles was "I Hear The > Grass Singing'" with Tony Passalacqua on lead vocals. How did you know his name was Passalaqua? The label only says Tony Pass, right? Actually, Tony only did the B side Let Me Be Forever which was written by Steve Tudanger, who Ellie and I were just starting to work with. Wonderful writer, never got lucky. Tony had grown up with Ellie in Levittown, NY and had done some things as a kid with no success. He was not in the business at the time but we got him in to do that one. The vocals on I Hear The Grass Singing were done by Ellie and Danny Infantino a writer/singer/guitarist from a duo, Infantino and Ivans, whom Ellie and I were trying to get a deal for. Never did...but they had some great stuff...a little ahead oftheir time. An interesting thing about that side is this: Ellie and I had a deal to write 6 or 8 songs for a animated TV show caled the Hardy Boys. There was really no group. The stuff was produced in Chicago with studio people. We went out and did a couple of the things...but the deal we made was that the demo tracks became our property. This record was made on the demo track, sweetened. I did all the engineering at Broadway Recording where I worked during this period. We sweetened the demo with charts done by a guy we met when we were out in Chicago producing the Hardy Boys. One of the reasons (besides bad memory at 60) that I'm not sure of this stuff is that all of my records and memorabilia is in storage now that I'm a full time RV'er. Thanks everyone for your interest. Let me know if you'd like to know anything else. I'd like a copy of Please Phil Spector on Phillips. All I have is a single test pressing with no label and it is worn down to the bottom. I do have some DRC 45's and Ellie 45's etc. If anybody really cares. Best regards, Michael Rashkow --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Mon, 29 Oct 2001 20:40:31 +0000 (GMT) From: Mick Patrick Subject: WHERE THE GIRLS ARE Greetings, Jack "Shoop Shoop" Madani wrote: > For years I've carefully held close to my heaving > breast a vinyl compilation from 1984, called "Where > The Girls Are."...Thus began my love affair with > faux-Spector...and guess whose name is listed under > the liner notes as well as under the "compiled by"? > Our own Mick Patrick. That was the first LP I compiled, Jack. It was the brainchild of my colleague Andy Croasdell and might have been the first ever girl-group compilation album. Anyone know for sure? So you quite like it, huh? Every time I hear "In His Car" by Robin Ward I will picture in my mind your beloved copy of Kent LP 016 locked between your solid arms and your pounding chest. I'm presently putting the finishing touches to WHERE THE GIRLS ARE #5. My pal Mike Carter and all the other "CK heads" out there might like to know that it will contain not one, two or three but FOUR Goffin/King compositions. Jack continued: > There are a couple of songs that just kill me because > of the backing vocal chants..."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...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? This one could run and run. As I'm sure you're aware, Barbara Chandler's back-up dolls lifted those "ratta tangs" directly from the superior original version by Andrea Carroll who had the extreme good fortune to have not only the Chiffons but also Ellie Greenwich in her backing-group. DOO FREAKIN' LANG! Here are a few more of my favourite examples to start the ball rolling. And guess what, some of these babies ARE available on legit CDs but, for once, I'll refrain from plugging my own compilations. It's not as if I'm on a royalty or anything. Personally, when I decide I want a track, I'm unable to get my beauty sleep until I've tracked down an original vinyl copy. Hey, it's a mucky job but someone has to do it: "Doo d boppa kow kow kow" - the Jelly Beans' "Ain't Love A Funny Thing" "Ska da da, skada shweeby ska" - Tammi Terrell's "Sinner's Devotion" "Bop bop sookie doo wah" - the Velvelettes' "He Was Really Saying Something" "Wah wah chuffa chuffa" - Caroline Day's "Steam" MICK PATRICK --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Mon, 29 Oct 2001 18:02:56 -0000 From: "Guy Lawrence" Subject: Gary, The Monkees and "Where the girls are" Whatever the answer is to the "Gary sound", the Monkees certainly DID play their own instruments on all their live dates albeit augmented here and there and, later on, with a full backing group. If you don't believe me ask Rhino Handmade! "Where the girls are" certainly was a great album, one of my first girl-group comps too, but (and I hate to introduce a note of negativity) I've always thought "In His Car" by Robin Ward was the worst girl-group record I've ever heard! Don't get me wrong, I can take as much G.G. as Mick Patrick can throw at me, I just find it really wet! Regards, Guy Lawrence. --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Mon, 29 Oct 2001 01:03:16 -0800 From: "Mike Arcidiacono" Subject: Re: The Gary Sound Alan Zweig wrote: >I agree that there is (sort of) a Gary Lewis sound. But >this begs the question "where did that sound come from?" >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. Well, for me, it's in the arrangements and production. Gary's voice is a part of it, but in almost every GL hit, youll hear the piano very clearly from the backing instros , the drums up front in the mix, and of course, the famous glockenspiel trills before a drum fill. The other thing, as I mentioned, were the quarter note "steps" like at the end of "Count Me In". You always knew it was a Gary Lewis record when you heard those, even if you didnt hear Gary's voice!! Its interesting, when Gary did a couple of Coke commercials, they got the trademark GL sound down pat, even tho Snuff Garrett didnt produce!! So it must have been pretty obvious how to create the GL sound. Mikey --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Mon, 29 Oct 2001 11:42:25 -0800 From: Carol Kaye Subject: Re: Recorded sounds > 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. Our group of musicians were very capable of changing our sounds and took our cues from the producer. The kind of music it was, even the sounds that were mixed in different studios were quite different....the Playboys stuff was cut in the big studio at Western from what I remember. Instrumentation has a lot to do with the sound identity of a group, and the sound ideas imparted from the arranger who wrote the charts too....charts that we always added our invented lines on, especially in the 1960s (if there were charts...as I've said many a time, sometimes there weren't charts or just the barest of chord charts). Everyone goes with the sounds and direction of their first hit, if that worked, then keep the formula. > remind me a bit of talking about the (talented) crew > members on films. You cannot compare us to a film crew at all, this is the music business, not the movie business (altho' lately I think they mix quite well 8-) We were hired guns yes, but we took our different accounts seriously. For Sonny and Cher, I knew they wanted a certain sound from me on my elec. 12-string for a string of recordings....it was part of their "identity" - the formula that they were getting hits from: sounds of us all, our creating of lines, the Gold Star studio sounds, the musician feeling of us all together, plus the instrumentation, and I knew about the right elec. 12-string guitar sounds Sonny wanted too (as other musicians did too on their instruments), no problem. I knew the kinds of bass sounds that Brian Wilson wanted on his BB dates, and on down the line. You pleased everyone and you pleased yourself too when you could make the recording happen by the groove you created. Much much different than the creating of a film score.....we were the "writers" and the "actors" and several other main roles in the music dept. sometimes helping the engineer to get a good sound too by suggesting different mikes, and then going in the booth to listen to the sounds to make sure they were coming off good enough for the product. It's wayy too different to even begin to write about here, you cannot compare us to film-making. To compare us as like a film crew, is a disservice but I'm not surprised at this.....no emphasis was given to studio musicians before for good reason: marketing. We cannot be controlled for publicity purposes for marketing for latter-day people who jump on the bandwagon of fame and/or fortune either. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Mon, 29 Oct 2001 09:07:15 -0800 (PST) From: Jane Wade Subject: Circus of Horrors "Look for a Star" came from the Hammer horror classic, "Circus of Horrors", a lurid little meller from the mid 60's...which was quite a nifty little flick. I recommend it! The song is played throughout the movie, during the high wire scenes when the damsal in distress is being menaced by the killer/owner of the circus. Recommendation: Leave the lights on and don't view alone. J. --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Mon, 29 Oct 2001 18:00:06 +0100 From: "Jan Kristensen" Subject: Re: doo lang, doo lang and so forth In addition to "Where the girls are" there are also at least 2 vinyl compilations from 1985 from the hands of Mick Patrick - "Stop, look and Listen" and "Girls About Town". Most of the songs on these LP's are to be found on CD's today, the only 2 I haven't seen is Dawn: "I believe they're all talking about me" and The Cheese Cakes: "Heading for a heartbreak" on Stop, Look and Listen. But Mick - who are the 3 girls on the cover of "Stop, Look and Listen" - Just models or a girl group? Jan K --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Mon, 29 Oct 2001 08:28:53 +0000 (GMT) From: Mick Patrick Subject: Re: BRILL TONE CDs Greetings, > Could somebody provide adress to catch the CDs with > Carole King and Barry Mann demo material. Peter, the Brill Tone bootleg CDs by Barry Mann, Jeff Barry, Carole King and Ellie Greenwich are available... These CDs are made in Holland so you should be able to find them for a lower price if you tried a local bootleg merchant. MICK PATRICK --------------------[ archived by Spectropop ]-------------------- Message: 9 Date: Mon, 29 Oct 2001 11:28:33 -0800 From: Michael Godin Subject: Halloween Spooktacular Hi Fellow Spectropoppers, Just wanted to drop off a line to invite you to listen to the 5th Annual Halloween Spooktacular of my Oldies Internet show, Treasure Island Oldies. This special edition is available on demand at: www.TreasureIslandOldies.com By the way, frequent contributor to Spectropop, Ian Chapman, has a weekly feature on the show: Ian Chapman's Girl Groups. It's a nice tight short piece where Ian provides the background story to a particular girl group and then I play the song relating to his story. Very cool. Happy Halloween to you all! Michael Godin Treasure Island Oldies --------------------[ archived by Spectropop ]-------------------- End
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