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Spectropop - Digest Number 311


                  
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           Here are the great songs. The unbelievable excitement...
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There are 11 messages in this issue of Spectropop.

Topics in this Digest Number 311:

      1. Kal Mann
           From: LePageWeb 
      2. Tell me in the Sunlight by Margie Day
           From: "Spectropop Administration" 
      3. DARLENE LOVE
           From: Mick Patrick 
      4. Re: Irene Reid / Lady Luck and the Lullabies
           From: Simon White 
      5. BLAME IT ON THE BOSSA NOVA
           From: Mick Patrick 
      6. Q&A from Digest Number 310
           From: "Paul Payton" 
      7. Re: Paul Griffin
           From: Michael Rashkow 
      8. HE'S SO FINE
           From: Mick Patrick 
      9. Phil Spector Letter
           From: Michael Rashkow 
     10. He's So Fine
           From: LePageWeb 
     11. Re: WALL OF SOUND
           From: "Spectropop Administration" 


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Message: 1
   Date: Thu, 06 Dec 2001 09:52:27 +0900
   From: LePageWeb 
Subject: Kal Mann

Lyricist Kal Mann, who co-wrote classic hits like Elvis
Presley's "Teddy Bear" and Chubby Checker's "Let's Twist
Again," died last Wednesday in Pompano Beach, Fla., of
Alzheimer's disease. He was 84. 

Mann was a major influence on the Philadelphia sound and
co-founded Cameo/Parkway Records with friend and
songwriter Bernie Lowe. Cameo/Parkway Records was home to
many rock n' roll staples such as Chubby Checker, the
Dovells, and Bobby Rydell.

With songwriting partner Dave Appell he wrote many early
60s standards including Orlons' 1963 hit "South Street" and
the Dovells' 1961 hit "Bristol Stomp". 

http://dailynews.yahoo.com/h/nm/20011203/re/people_mann_dc_1.html



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Message: 2
   Date: Thu, 06 Dec 2001 10:27:09 +0900
   From: "Spectropop Administration" 
Subject: Tell me in the Sunlight by Margie Day

Posted to Spectropop Bulletin board by by Randon 
 on Tue, 04 Dec 2001

http://www.escribe.com/music/spectropop/bb/index.html?bID=261



My Mother once went by the name "Margie Day." She did a
couple of songs for GoldStar. "Tell me in the sunlight"
and "I have been searching hi and lo to try and find a
better recording than my mother has. All we have is a
broken copy and then the test vocals recording. I did a
search on google and found one hit on this site in the
archives. On March 31, 1999 a fellow named Ian said that
it still existed in acetate form. I would am trying to
get a copy of that or anything else that I can get. I
just don't know where to search. I am planning to clean
up whatever I do find with some digital audio software
and then make a CD or DVD for posterity sake. If anyone
can help I and my family would greatly appreciate it.

-Randon


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Message: 3
   Date: Wed, 05 Dec 2001 21:09:02 +0000 (GMT)
   From: Mick Patrick 
Subject: DARLENE LOVE

Greetings,

> -----Original Message From: big.puff
> Would someone answer me a question? When was 'Lord If
> You're A Woman' actually recorded ? Not released.
> Recorded.

Well,.....er.....big.puff, LORD, IF YOU'RE A WOMAN by
DARLENE LOVE was recorded at A & M Studios in Hollywood in
August 1975. It was first released in 1977. Details are:

1. U.K. Phil Spector International 2010 019, B-side JOHNNY,
BABY PLEASE COME HOME.

2. U.K. Phil Spector International one-sided twelve inch
45 rpm promo, LPSP 003.

3. As above but mislabeled, actually plays JOHNNY, BABY
PLEASE COME HOME. (It's possible to hear CHER as plain as
day above the other backing vocalists on this track).

4. U.S. Warner-Spector SPS 0410, B-side STUMBLE AND FALL.

Just for the record, "Lord, If You're A Woman" was written
by Barry Mann & Cynthia Weil, not Phil Spector as stated
on the PSI version. The track was engineered by Larry
Levine & Pete Romano and arranged by Nino Tempo. This
information is missing from PSI copies. Darlene herself is
not that fond of this track. This might have something to
do with her having one disagreement too many with Phil
during the sessions. She was pregnant at the time and in
no mood his working methods, which had become too bizarre
for her to bear. Me? I love it, especially the final
version, not the "underdub" released on Darlene's
Abkco/EMI CD. Mmmm, I seem to recall I have said
unfinished version on an acetate somewhere.

MICK PATRICK


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Message: 4
   Date: Wed, 05 Dec 2001 08:41:17 +0000
   From: Simon White 
Subject: Re: Irene Reid / Lady Luck and the Lullabies

Don Charles wrote:

> 
> I can't help you locate a copy, but I can tell you that
> The Drifters (Rudy Lewis on lead vocals) recorded this
> song under the title "Beautiful Music."  It was not
> released at the time, but was recently made available on
> Sequel Records' fabulous and now regrettably out-of-print
> series of DEFINITIVE DRIFTERS ANTHOLOGY CDs.  "Beautiful
> Music" is probably the original version of the tune,
> written by Barry Mann and Cynthia Weil before Leiber and
> Stoller's revisions.
> 
> Don Charles

Cheers Don.

 In fact I have 'Beautiful Music' on a  U.K. Hallmark
budget  album from the 70's.  I believe this was its
first release. It's always been a favourite. I love the
way you can hear Johnny wailing away in the background !
But I had always assumed it to be a later recording than
the  Irene / Tippie ones. 

Simon  'Stomper' White


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Message: 5
   Date: Thu, 06 Dec 2001 07:29:22 +0000 (GMT)
   From: Mick Patrick 
Subject: BLAME IT ON THE BOSSA NOVA

Greetings,

> Original Message-----
> > Can any of you lovely people help with locate a copy
> > of Irene Reid "My Heart Said The Bossa Nova" - I
> > realise this may not be the exact title but I confuse
> > it with the Tippie and the Clovers version.

> Original reply.....
> I can't help you locate a copy, but I can tell you that
> The Drifters (Rudy Lewis on lead vocals) recorded this
> song under the title "Beautiful Music."  It was not
> released at the time, but was recently made available on
> Sequel Records' fabulous and now regrettably out-of-print
> series of DEFINITIVE DRIFTERS ANTHOLOGY CDs.  "Beautiful
> Music" is probably the original version of the tune,
> written by Barry Mann and Cynthia Weil before Leiber and
> Stoller's revisions.

A little extra info from me.....

THE BOSSA NOVA (MY HEART SAID) by TIPPIE & THE CLOVERS,
was the first issue on Jerry Leiber & Mike Stoller's
Tiger label in November 1962, catalogue # 201. The
DRIFTERS' BEAUTIFUL MUSIC (the same song but with
different lyrics) was recorded a year later in December
1963. It's possible, of course, that it was recorded on
an earlier date and completed on the December '63
session. The track was first released in 1972 on a UK LP.
MY HEART SAID (THE BOSSA NOVA) by IRENE REID was
released in 1963 on Verve 10286.

The Tiger and Verve labels both list Jerry Leiber, Mike
Stoller, Barry Mann & Cynthia Weil as the composers of
the song while the Drifters' version fails to identify
any writers at all. I believe the four songwriters
concerned worked together briefly in the latter half of
1962.

The Tippie & the Clovers track is available on the CD
THE RED BIRD SOUND, VOL 3: THE TIGER & DAISY STORY (UK
Diamond GEMCD 019, 1997). The Drifters' version is on
the CD DRIFTERS ANTHOLOGY FOUR: UP ON THE ROOF (UK
Sequel RSACD 833, 1996). Unfortunately both of these
wonderful CDs are officially deleted but it should not
prove too difficult to track them down. To my knowledge
Irene Reid's version of the song is not available on a
legit CD. Which is a shame because I trod on my Verve 45
some months back and snapped it in half. Note to self:
take more water with it in future.

Mmmm, Eydie Gorme, Tippie & the Clovers, Ruby & the
Romantics, Elvis Presley, Irene Reid.....I feel a Bossa
Nova '63 concept compilation CD coming on. More
suggestions, anyone?

MICK PATRICK


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Message: 6
   Date: Wed, 05 Dec 2001 16:47:06 -0500
   From: "Paul Payton" 
Subject: Q&A from Digest Number 310

Mick Patrick wrote:

>  [Evie Sands'] WOMEN IN PRISON and was released in the UK
> on CHIP TAYLOR's Trainwreck label. Try their website for
> more information www.trainwreck.com .... the best of
> which was COOL BLUE STORY, a duet with Lucinda Williams. 

I do remember that as being the best track - there were
others. Hope I can find it again.....

Ron Weekes wrote:

> Now didn't Phil produce "He's So Fine"?

Nope - that was The Tokens/Bright Tunes Productions.

Peter Van Dam - the Paul Griffin article is excellent.
Thank you! I'll also be exploring more of the Steely Dan
website.

Marc Miller wrote:

> Didn't you used to be a radio guy (or maybe you still
> are) ??

Yes, indeed; thanks for remembering me! Your (WBCN's)
one-time sister station, WHCN in Hartford, CT, was one of
my alma maters (1971-73, 1974-77) as Music Director and
on-air both times. I started with progressive rock at WBRU
in Providence at about the same time as WBCN started, so I
come by a lot of what's on this list - especially the
soft-psych and early progressive - from first hand
experience playing it on the air. Both 'BRU and 'HCN were
totally freeform, meaning that we may not have always been
consistant, but the highs were super-high - like 'BCN in
its best days, too. Later rockers included WCCC, Hartford
(where Howard Stern worked for me for three days - but
that's a discussion for another list) and WPLR in New
Haven. I did a bunch of country and top 40 as well.
Fulltime voice-over freelance now, but I still listen to
freeform WFMU a lot plus whatever else I can find that's
good - the Spectropop streams, for example! 

Dan Hughes: Yes, I've visited
http://www.spectropop.com/go2/delerium.html

and it's wonderful. Found a fave from the late 60's, Bo
Grumpus, through it. Their one album had great songs, but
was overproduced by Felix Pappalardi who spread himself
thickly over it. Through Borderline, I found their bassist
Jim Colegrove, who sent me a clean alternate mix of one of
the tracks and who has a new CD as well - and worth a
listen. Great site!!! (I'll check yours out too!)

Merry and Happy Hanukkah/Solstice/Christmas/Kwanzaa/New
Year/Other (please specify)!

Country Paul
(now an off-air radio guy, always a music guy)


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Message: 7
   Date: Wed, 05 Dec 2001 22:08:38 EST
   From: Michael Rashkow 
Subject: Re: Paul Griffin

> The session pianist Paul Griffin died in July 2000
> small article by Joel Selvin, San Francisco Chronicle
> Music Editor Sunday July. 9 2000.

Didn't know this.  He was a great and very busy session
player in NYC--first call for most dates.  The keyboard
guys around the studios then were he and Frank Owens, and
George Butcher and then--uh,uh along cam Richard Tee. 
Also was married to Valerie Simpson for a couple of years
until she and Nick Ashford her writing and singing
partner got together and made it permanent.  Not the
easist guy to work with, but absolutely pro.

I believe he became an important factor at GRP Records.

> "Gene Pitney remembers seeing producer Phil Spector and
> Griffin lying on a studio floor, Spector humming the
> arrangement he wanted for " You've Lost That Loving
> Feeling" in Griffin's ear while Griffin dutifully wrote
> it down. He didn't get the credit on the record."

  Did Phil fly him to LA????  What was Pitney doing there??
Not in that little Liberty studio on 55th street was it? 
Well maybe Phil just happened to be east.  Sounds strange
to me.


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Message: 8
   Date: Wed, 05 Dec 2001 07:44:44 +0000 (GMT)
   From: Mick Patrick 
Subject: HE'S SO FINE

Greetings,

Ron wrote....

> Now didn't Phil produce "He's So Fine"?

Huh?!?!

Whoever told you that was speaking through their bottom.
"He's So Fine" by the Chiffons was produced by the
Tokens/Bright Tunes. 

MICK PATRICK


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Message: 9
   Date: Wed, 05 Dec 2001 22:00:40 EST
   From: Michael Rashkow 
Subject: Phil Spector Letter

In a message dated 12/4/2001, weekesr writes:

> Now didn't Phil produce "He's So Fine"?  

Yeah?  I'm surprised.


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Message: 10
   Date: Thu, 06 Dec 2001 21:52:49 +0900
   From: LePageWeb 
Subject: He's So Fine

Hi Ron,

Thank you for your comments which I found most
provocative. In fact I've been thinking about them today.
While the thoughts are fresh in my mind do allow me to
tell you what I've been thinking about.

> I don't want to sound crass or anything, but how do we
> know this letter is the real thing from Phil Spector and
> not some sort of Internet hoax, etc?

We don't know, I guess. At least I don't. Except - what
would be the point? It isn't humorous, it isn't
scandalous, it's kinda boring really if you think about
it (except for hardcore Spector fans). I'm as skeptical
as the next guy but you gotta ask why would anyone do
this as a hoax, or more to the point, if someone would do
it as a hoax, why wouldn't they make it more interesting?
One thing for sure - the web page is in html which means
that it indeed is not a scan of the original, and there
is a disclaimer that certain comments were excluded to
protect the privacy of the writer and recipient. Also,
remember Spector could stenotype and worked as a court
reporter, so it is consistent that he would type rather
than hand write comments for George. I dunno. There just
isn't anything in there that sounds like a hoax. 

> Now didn't Phil produce "He's So Fine"? 

No, that would be Allen Klein (he said with tongue firmly
in cheek).

> I find it interesting that in this letter to George
> that he didn't make any mentions of "similarities"
> between "My Sweet Lord" and The Chiffons track. 

Well, Spector was Harrison's record producer, and the
letter to George is merely Spector's post-production
notes about the tracks. If that letter said "By the way,
I just realized My Sweet Lord sounds like a rip of He's
So Fine - maybe we better shelve it," everything else in
the letter would be pointless. If it did say that, then
I would too might suspect it to be a hoax.

If Spector would have ever mentioned it, it should have
been around the time Harrison first played the demo for
him, certainly not after spending a ton of money on it
and making it sound like a #1 smash. And as it turned out,
My Sweet Lord was the big hit single that catapulted
Harrison right up there, establishing him as a viable
solo Beatle. Who knows if Spector noticed the similarity
at the time, but let's say he did. Strictly from the
producer's point of view, he's better off keeping it to
himself and getting the smash hit for Harrison rather
than trying to convince Harrison to shelve the most
commercial track on the album. I sure the heck wouldn't
discourage him, that's for sure! Besides, MSL vs. HSF
was a precedent setting case. At the time, who could have
known Bright Tunes would claim infringement, and even
though they eventually did, the lawsuit itself never
affected Spector one way or the other. On the other hand,
huge success of My Sweet Lord must have further endeared 
Spector to Apple Corps, for whom he produced a long string 
of hit records during that time.

Finally, the one thing I find fascinating about the
letter is that here we can see Mr. Spector as producer
talking to the artist as a peer, not talking down to him
like a puppet or alienating him with an entourage of
gun wielding bodyguards. Upon reflection, this period at 
Apple may very well have been the least eccentric chapter 
in the man's career.

Best always,

Jamie

n.p. A Christmas Gift For You - first time this season!


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Message: 11
   Date: Thu, 06 Dec 2001 10:33:33 +0900
   From: "Spectropop Administration" 
Subject: Re: WALL OF SOUND

Posted to Spectropop Bulletin board by CLAIRE
on Tue, 04 Dec 2001

http://www.escribe.com/music/spectropop/bb/index.html?bID=258


I AM A 21 YEAR OLD FEMALE SINGER IN ENGLAND. I WAS
COMPLETLY INFLUENCED BY RONNIE SPECTOR, SHE STARTED ME
OFF. MAINLY BECAUSE I ALWAYS THOUGHT I HAD TOO MUCH OF A
HIGH PIERCING VOICE AND THEN I HEARD RONNIE AND MY VOICE
SOUNDED SO MUCH LIKE HERS I WAS NO LONGER AFRAID TO LET
PEOPLE HEAR IT. I HAVE BEEN IN A SIXTIES COVERS BAND NOW
FOR ABOUT A YEAR NOW. WE DON'T JUST PLAY SPECTOR SONGS
WE PLAY A LOT OF BACHARACH SONGS, DUSTY SPRINGFILED,ETC..
WHAT I REALLY WANT TO DO IS TO FIND OTHER MUSICIANS THAT
I CAN GET TOGETHER WITH TO CREATE A WALL OF SOUND AND
CONCENTRATE ON JUST THE SIXTIES GIRL GROUP SONGS. I AM
HAVING NO JOY SO FAR. DOES ANYONE KNOW THE BEST COUNTRY
TO BE IN WHERE THIS COULD BE POSSIBLE? 

GOING ONTO A DIFFERENT REQUEST, I WAS LUCKY ENOUGH TO
MEET A GUITARIST WHO THINKS AND LOVES THE SAME MUSIC AS
I DO. INFACT IT WAS HIM WHO INTRODUCED THE SOUND OF PHIL
SPECTOR TO ME. HE WRITES SONGS AND WANTS TO RECORD THEM
IN ANALOG - MONO, BUT HE IS HAVING HUGE PROBLEMS FINDING
FIRSTLY THE QUALITY MUSICIANS NEEDED, TO START WITH A
PIANO PLAYER IT SEEMS IMPOSSIBLE TO FIND A PIANO PLAYER
HERE, THEN HE FACES THE PROBLEM OF THE RECORDING STUDIOS
HAVING STACKS + STACKS OF UP TO DATE DIGITAL EQUIPMENT
WHICH HE REFUSES TO USE AS HE WANTS TO RECORD IN ANALOG
MONO ONLY!! CAN ANYONE HELP US ON THIS ONE? THANKS VERY
MUCH - ALL INFORMATION GRATEFULLY ACCEPTED!


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