________________________________________________________________________ ______________ ______________ ______________ ______________ ______________ S P E C T R O P O P ______________ ______________ ______________ ________________________________________________________________________ Project 3 Records have achieved Total Sound! ------------------------------------------------------------------------ There are 13 messages in this issue of Spectropop. Topics in this Digest Number 307: 1. Free Design From: Richard Havers 2. Gidget vs. Karen From: Ron Buono 3. Cameo "boots" From: Doc Rock 4. Re: Big Hurt Sound From: Jane Wade 5. Re: Big Hurt Sound From: Jane Wade 6. JEAN DuSHON: THE CASE FOR THE DEFENCE From: Mick Patrick 7. Quincy Jones autobiography From: Matt 8. Quincy Jones From: Carol Kaye 9. Margo Guryan From: "Ken Levine" 10. George Harrison Rest in Peace From: LePageWeb 11. Toni Fisher, Wayne Shanklin, Carol Connors & more From: "Paul Payton" 12. Re: Free Design From: Scott 13. Carol Connors From: Brian Chidester ________________________________________________________________________ ________________________________________________________________________ Message: 1 Date: Thu, 29 Nov 2001 17:41:52 +0000 From: Richard Havers Subject: Free Design Hi all I just wanted to say that I have been listening to Free Design most of today while working. In particular the track called Love Does Not Die from 1973 is amazing....just beautiful. I would recommend anyone who has not got it to beg, buy borrow or purloin a copy. I say this for absolutely no reason whatsoever other than it is wonderful!! Best Wishes Richard --------------------[ archived by Spectropop ]-------------------- Message: 2 Date: Thu, 29 Nov 2001 12:44:27 EST From: Ron Buono Subject: Gidget vs. Karen In a message dated 11/29/01, Spectropop writes: > But the best thing about that darn show was the theme > song: Johnny Tillotson singing a Bobby Darin knockoff > of a Riddle/Sinatra knockoff. 35 seconds of pure > swingin' mainline hardcore. Hey Jack- I TOTALLY agree with you! And thanks for clearing up for me who sang that groovy theme song. I've always wondered who the kool kat was. We can start another huge debate here, but in my humble opinion, it rates second only to the Beach Boys theme to the short-lived TV show "KAREN". Anyone remember THAT piece of gold? ron --------------------[ archived by Spectropop ]-------------------- Message: 3 Date: Thu, 29 Nov 2001 17:48:08 -0500 From: Doc Rock Subject: Cameo "boots" >In answer to Michael Gessner's inquiry about the Cam-Park >CDs, I've been told that they are bootlegs. Supposedly >ABKCO is not involved, but how can those CDs contain >unreleased material unless someone had access to the >vault? Sounds like someone is making money but getting >around the issue of compensating the artists. Steve >Caldwell of The Orlons has been working very hard to get >his material legitimately re-released and he is not happy >about these CDs. >John Clemente Many labels made deals with overseas companies iin the '60s to release their material outside the US, primarily for US service members. A small market, too small for the US companies to serve. They'd send over copies of master tapes, often including all tracks from flip sides and LP cuts to unreleased material and unreleased takes. Now, over 30 years later, those tapes still exist, and ownership has been transferred from company to company over the years. Hence, we have non-US CDs by the Kalin Twins, Carl Dobkins, Jr., Brian Hyland, and tons of others that, while not totally kosher and not paying proper royalties, are not really bootlegs -- they have inherited the rights to the material. Doc --------------------[ archived by Spectropop ]-------------------- Message: 4 Date: Thu, 29 Nov 2001 06:32:38 -0800 (PST) From: Jane Wade Subject: Re: Big Hurt Sound --- Michael Rashkow wrote: > > Are you referencing "phase shift cancellation"--sounds > like wind swooshing through the music? If so, maybe I > can provide some help. Michael, yes that's it! Do tell. Jane --------------------[ archived by Spectropop ]-------------------- Message: 5 Date: Thu, 29 Nov 2001 06:34:16 -0800 (PST) From: Jane Wade Subject: Re: Big Hurt Sound Thanks so much....and to Michael, whose note I read previous to this. I guess this answers the question. Jane --- Monophonius wrote: > I have an article from Modern Recording magazine > Feb/Mar 1976 issue in which Larry Levine is > interviewed. The piece is called THE MEN BEHIND THE > WALL OF SOUND. In it, Levine is asked about "The Big > Hurt": > > Larry Levine: Then I cut Tony Fisher's "The Big Hurt" > in 1958. > > Modern Recording: "The Big Hurt?" I remember that > record! It was really a strange-sounding record in its > day. Didn't it have a phasing effect in it? > > Levine: Well, yeah! But it didn't originally start out > that way. It was recorded 3-track and mixed. Wayne > Shanklin, the producer, loved the mix but didn't think > that Tony's voice was out far enough. He wanted me to > run a simultaneous copy--run the two copies > together--in order for her voice to be doubled and > more out front. I told him it wouldn't work, that the > machines wouldn't hold in sync. It didn't, but he > loved it. The phasing was very effective on the > "gliss" that was being played by the strings. So then > I recorded each 8-bar signature, allowing the machine > that was running faster to start a little later--and > then, in catching up and passing, the phasing would > happen. I did this with each section of the song and > then edited the pieces together. It was an > accident..that worked! --------------------[ archived by Spectropop ]-------------------- Message: 6 Date: Fri, 30 Nov 2001 00:29:23 +0000 (GMT) From: Mick Patrick Subject: JEAN DuSHON: THE CASE FOR THE DEFENCE Greetings, Previously on Spectropop: > Just a thought on the Spector/Ronettes settlement - it > took two to make THAT sound, Ronnie's voice and Phil's > production. Listen to the earlier May Records stuff, like > "Memory," my favorite track of the lot - she's great, but > the production doesn't keep up with her. Yes, I agree, the Ronettes would have probably amounted to NOTHING without Phil Spector. Let's face it, their Colpix and May output was just not special. But they still deserve to be paid whatever royalties copyright law dictates. However, it takes more than a few castanets, too much echo and a "Be My Baby" riff to make a good record. Too many Spector fans seem blind to this fact. Not every record WITH those ingredients is necessarily a good one. Similarly, a disc without "the Spector sound" is not a bad one. How boring to continually equate quality with Spectorishness. The two are not mutually exclusive. > And then there are lesser talents - > Jean Du Shon's Spector-produced "Talk To Me, Talk To Me" > is very fine stuff - a derivative, of course, like > another Maxine Brown, but a good one. I have a follow-up > 45 on Lenox by the same artist - very forgettable, right > down to the titles - and it hurts from bad production, > sounding like a 6th rate Shirelles outtake (that cheesy > early-60's Scepter-Wand sound badly reduced). Hmmmmm, (takes very deep breath) I'm all for diversity of musical taste. It's kinda fascinating how one can enjoy a piece of music someone else dislikes. I also applaud outspokenness. However, I MUST speak out in defence of an artist I admire who I feel has been unjustly written off. I feel JEAN DuSHON had more talent in her pinkie than Ronnie Spector had in her entire body. So Jean was not an artist of the girl group genre. Does that mean her music was less valid? Only to the musically blinkered. To imply she was a lesser talent based on such little evidence is an insult to a woman who had a long career in the music biz and made some excellent records. Her Lenox disc was one of her best. So the Scepter sound was "cheesy", was it? Go listen to some Chuck Jackson, Maxine Brown or Dionne Warwick records and say that. The Scepter/Wand family of labels used the best session-players on the New York scene. They were one of the prime outlets for the Brill Building songwriters Spectropoppers admire so much. The Scepter sound was magnificent, huge and dramatic, the epitome of uptown sophistication. Don't be misled, Jean Dushon's Lenox single was one of her best BECAUSE it had the Scepter sound. She really was an excellent artist. While I'm in the mood, here's a little something else I wrote for a CD booklet a couple of years ago...... Jean DuShon, whose "Feeling Good" is a current club favourite here in London, is one of those artists whose recordings appeal to soul and jazz buffs alike. This stylish New York-based singer debuted, inauspiciously, in 1960 with "Is It Wrong To Be Right" for ABC, following which she released a great version of Little Willie John's "Talk To Me, Talk To Me" on Atco. It was produced by an ambitious newcomer named Phil Spector. Next came top class and currently in demand singles on the Okeh and Lenox labels. In 1964 Jean signed with the Chess subsidiary Argo where she released her first LP "Make Way For Jean DuShon" on which she was backed by the Herman Foster trio. Her second long-player for the label, "You Better Believe Me", found her sharing billing with the illustrious Ramsey Lewis Trio, while her third, "Feeling Good", released on Chess' new Cadet imprint and her most soulful by far, saw her teamed with a variety of big name arrangers and musicians. Things went quiet for Jean following the issue of two non-LP Cadet 45s, "For Once In My Life" and the sensational beat-ballad "As I Watch You Walk Away", an obscure British song first cut by Pye artist Martha Smith. Jean returned to the label eight years later as featured vocalist on two tracks on Jack McDuff's 1974 LP "Fourth Dimension". The early 1990s found her performing with the band of Bill Doggett in New York where she is presently playing club dates in preparation for a comeback. MICK PATRICK PS: WANTED WANTED WANTED I urgently need a nice mint(ish) copy of "The Girl Who Stopped The Duke Of Earl" by DOROTHY BERRY (Little Star). Can you help? --------------------[ archived by Spectropop ]-------------------- Message: 7 Date: Thu, 29 Nov 2001 19:40:29 EST From: Matt Subject: Quincy Jones autobiography Hey everyone, I just thought I'd share with you all my findings in Q: The Autobiography of Quincy Jones. Listen to what he says about our very own Carol Kaye!! "Nicole Barclay, Gladys Hampton, the Fender bass player Carol Kaye, the trombonist and arranger Melba Liston--these were women who could do anything and leave men in the dust." Way to go, C.K. Matt --------------------[ archived by Spectropop ]-------------------- Message: 8 Date: Fri, 30 Nov 2001 03:07:28 -0000 From: Carol Kaye Subject: Quincy Jones I knew Melba, played the Women's Jazz Festival with her in 1979 at Kansas City Mo, wonderful woman. Quincy had told me a few times about her and he's sure right about her, she was great and a wonderful woman. We hung together one night and she told me about her arranging days at Motown-LA in the 60s too....she was kind of crippled up in 1979, living in Jamaica at that time, but later moving to NYC where she passed away sadly about 2-3 years ago. Fine trombonist. Quincy hired me for his films and a few record dates back in the 60s, he knew (like other musicians of his time) that women were fine musicians, no problem and was simply GREAT to work for, always. I just saw him again at his chat with Don Heckman at the Skirball Center about 2-3 weeks ago - just excellent....funny, informative, warm and just wonderful, and hadn't seen him since 1976 (but talked with him on the phone) before that. We hugged big-time and he and I had a few words, great to see him and he looked good......I think he's enjoying his celebrity and he should, he worked very hard, composed some great scores, and wrote some great music always. Some of the things I worked for him on: Pawnbroker (lead jazz guitar and elec. bass), rest are elec. bass -- Slender Thread, Heat Of The Night, To Sir With Love, In The Heat Of The Night (also did the Ray Charles single-record too), New Centurions, The Getaway, The Hot Rock, McKenna's Gold, Walk Don't Run, In Cold Blood and all of the TV film show "Ironside". Also the theme of the first Bill Cosby TV show, "Hikky Burr" both the TV show and the other recorded single on this, semi-hit...is now on the SmackWater Jack lp...and the Chump Change that I believe is on that same lp, others too. Last I recorded for Quincy and just heard it at Skirball, sounds good...was the hit single with the Brothers Johnson, "I Heard That", did the multiple guitar things riff on that, sounds a little like a synthesizer but much-better on guitar --funny how a real instrument beats the synthesizer any time -- I recorded the multi-guitar parts at super-slow speed in 1976 at A&M Recorders. Q had just had his aneuryism surgeries at that time and had told me it drastically changed his outlook on life....but was his usual chipper self. Q has always been gracious, full of humor and kidding, and really loved being "one of the guys", still is that way....I'm very happy for him, wonderful person, and genius talent. He's a good man. Carol Kaye http://www.carolkaye.com/ --------------------[ archived by Spectropop ]-------------------- Message: 9 Date: Thu, 29 Nov 2001 23:12:01 -0800 From: "Ken Levine" Subject: Margo Guryan Am I the only one who's heard of and loves Margo Guryan?? If Claudine Longet could actually sing and write and produce she might be Margo Guryan. And Margo has no felony charges (at least none that I know of). --------------------[ archived by Spectropop ]-------------------- Message: 10 Date: Fri, 30 Nov 2001 17:43:27 +0900 From: LePageWeb Subject: George Harrison Rest in Peace The slant of course is that another Beatle has died. I've just heard the news - it still hasn't hit all the newswires. So before I get jaded by the inevitable media blitz... He sang "Take Good Care Of My Baby" on the Decca Audition tapes. His "All Things Must Pass" epitomizes 1970 wall of sound. Tandoori Chicken, Try Some Buy Some...and a whole lot of other great things that truly enriched my life. Thanks, man. Jamie --------------------[ archived by Spectropop ]-------------------- Message: 11 Date: Fri, 30 Nov 2001 01:34:38 -0500 From: "Paul Payton" Subject: Toni Fisher, Wayne Shanklin, Carol Connors & more Peter Lerner wrote: "Speaking of Toni [Fisher], I've bought several of her subsequent 45s, but only West of the Wall stands out as at all worthy - the first protest song of the 60s?" Possibly - and an underrated one at that. By the way, the sound Jane Wade refers to is "phasing," which can be done with two turntables playing the same record almost simultaneously so that the soundwaves cancel themselves out. With strong-motored broadcast-quality TT's, you can vary the speed of one slightly with pressure from your finger to get the rising and falling phased sound. By the way, the phasing effect was quite the novelty when I worked in the '70's at WHCN in Hartford, CT, a commercial (!) progressive/freeform station in that era with three turntables which allowed us the luxury of phasing records "live" on the air for additional psychedelic impact (while always having something cued up for afterward). Thinking of Wayne Shanklin, he also produced much or all of the Art & Dotty Todd Era recordings. As an early overdub group with female lead, do they qualify in this discussion group? (I know Dotty Todd died within the past year....) They never equalled "Chanson D'Amour" - too many vocal gimmicks cluttered up potential hits otherwise suited to their style - but their vocal "stack" was lush and beautiful. Which puts me in mind of Bill and Doree Post - they had a 45 called "Wait For Me" (may have been a B-side) which was sweet as syrup but really lovely. I think they were known on the west coast more than here in the east. Didn't they also have a hit on Crest called "Valley High"? Any info, anyone? To Brian Chidester: is that the Storytellers with Annette K/Carol C who did "Only Time Will Tell" (on Dimension, I think)? Beautiful Spectors-3-like background on the chorus, too. Jamie LePage: THANK YOU for the discography. I would crave a CD like the one you suggested, especially if the above and "Angel My Angel" are typical of her post-Teddy Bears output. And yes, PLEASE add Spectors 3 tracks. (Was she in that group too?) To David Ponak, what is the source of Brute Force's "Vicky" (label, year)? I know it's not on "Confections...." Thanks to everyone for the excellent and informative contributions. My want list grows daily! Country Paul --------------------[ archived by Spectropop ]-------------------- Message: 12 Date: Fri, 30 Nov 2001 04:44:29 EST From: Scott Subject: Re: Free Design There are a series of Free Design LPs ... though all have the same general sound. They're an acquired taste, especially to folks who a more mainstream rock taste. Because of that weird MOR sound, it's easy to see why they're gained a certain cult status among lounge lovers. They're mentor Enoch Light also put out some oddball stuff. Scott --------------------[ archived by Spectropop ]-------------------- Message: 13 Date: Thu, 29 Nov 2001 18:25:59 EST From: Brian Chidester Subject: Carol Connors > I have "Listen to the Beat" on a comp CD and it's > pretty good although different from the Teddy Bears > style. Yes, different, but very cool. Which CD is it on? > You Are My Answer / My Diary COLUMBIA 41976 "My Diary" is very dainty. Very cute. Kind of reminds me of the Ginger & The Snaps sides. > Listen To The Beat / My Special Boy COLUMBIA 42155 Much more Spector/Nitzsche-ish. Big sound. > What Do You See In Him / That's All It Takes COLUMBIA 42337 Never heard that one. Would love to. Anyone got it? > Yum Yum Yamaha N.T.C. 3131 When I listen to this one, I kinda think it sounds like a Yamaha commercial. "We're havin' fun, fun, fun in our yum, yum yamaha." > Never / Angel My Angel CAPITOL 5152 > Big Big Love / Two Rivers ERA 3084 > Tommy Go Away / I Wanna Know ERA 3096 I don't have any of these either. Wow! I'm really losing bragging rights. > My Baby Looks But He Don't Touch / Lonely Little Beach > Girl MIRA 219 These sound like Ronettes imitations. Very "Be My Baby"-ish. I love these the most. > And, I guess Annette Bard's "Alibi" is also Carol > Connors??? Would seem so. You got it? > That's a grand total of 17 tracks! Not just yet. Bryan Thomas told us about two more she did with a Del-Fi group that included Arthur Lee. Then, you have to add to that: "When Two People" b/w "Time Will Tell" -- The Storytellers. Those two songs are written by S. Barri/C. Connors. Steve Barri sings the verses and Carol Connors sings the choruses. Also: "Go Go G.T.O." -- Carol & Cheryl. Another killer 45 that has the same song on both sides. Then, on the Swingin' Summer soundtrack, besides Carol's groooooooovy title song, she also wrote "Red Hot Roadster," which, let me just say - for those who have never heard "Red Hot Roadster," I think it is the best song the Rip Chords ever recorded. Don't know who the Rip's were on this track, but it is totally genius. Carol also wrote a song called "Masked Grandma" for the California Suns. She didn't sing on it, as it sounds all male, but the songs is a cool comedy pastiche song, with contemptible lyrics: "She's the little old lady just a little meaner than the little old lady from Pasadena." Also, Carol sings two songs from The Girls On The Beach movie -- "Why Do I Love You So?" and "We Wanna Marry A Beatle." Then add "The Book Of Love" from Catalina Caper and the song she does from the movie Red Line 7000, and you have a compilation that is nearing 25, I'd say. > I've heard only five of these 17 tracks. Only five! Which five? > Sure would be nice to hear some of the others if > those with bragging rights would care to play them > for us... 'tis the season doncha know. Feliz Navidad. > Give the gift of music, my *musica* pals! ;-) Jamie, I'm defintely willing to play them and make copies for you. But, why don't we try and complete the Carol Connors collection and make a big compilation? Sounds like a plan to me. If anyone has any of these songs or any others we don't know about, please write me at the above email address and we'll work something out. By the way, I've got those three movies in my collection, but my copy of Red Line 7000 isn't very good. I haven't been able to find a copy that is not dubbed, so if anyone has a good copy of that movie, that would be really good, as well. Hang 10! Brian Chidester --------------------[ archived by Spectropop ]-------------------- End
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