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Spectropop V#0093

  • From: The Spectropop Group
  • Date: 05/29/98
  •    =======================================================
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        Volume #0093                           May 29, 1998
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        Flavour that lasts and lasts through a stack of pops!
    
    
    
    
    
    Subject:     Honey Cookies?
    Sent:        05/29/98 7:30 am
    Received:    05/29/98 2:13 pm
    From:        Jack Madani, Jack_MadXXX@XXXXXX2.nj.us
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    Sitting here listening to the Honey's He's A Doll on the Sea of
    Tunes' Beach Boys Unsurpassed Masters Vol.5, and suddenly I 
    notice that the structure of the vocal arrangement is more than
    a little like a typical Cookies number: the girls en masse sing 
    the main phrase, and then Earl-Jean (or Ginger) kicks in with 
    the bass response. The more I listen to it, the more I hear 
    Cookies. Of course, Earl-Jean never sang "gaw-juhs" the way 
    Ginger does, nor did the Cookies ever describe a boy as being "
    boss" (gad, how my buddies and I over-used that adjective to 
    death when we were kids in the sixties. boss, bossman, 
    bossereeno). Other than that....
    
    Coincidence, convergent evolution, or something more 
    intentional?
    -------------------------------------------------------------------
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540   Jack_MadXXX@XXXXXX2.nj.us
    "It is when the gods hate a man with uncommon abhorrence that they
     drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
    -------------------------------------------------------------------
    
    
    ====================[ archived by Spectropop ]====================
    
    
    Subject:     Jackie Trent
    Sent:        05/28/98 7:03 pm
    Received:    05/29/98 1:24 am
    From:        Kieron Tyler, kierXXX@XXXXXXorg.uk
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    A belated response on Jackie Trent...
    
    Here are some bare facts: 3 UK top 40 singles ('Where are you 
    now my love' and 'When the summertime is over' both 1965; 'I'll
    be there' 1969). 3 LPs 1965-7. She auditioned for Tony Hatch in
    1964 when he was a producer at Pye Records, and they started 
    co-writing pretty immediately ('Where are you..' being their 
    1st hit). She had been performing since 1953 (age 13!) and was 
    professional from 1957. She had made records for Oriole before 
    being on Pye. JT and TH started to perform together after being
    married in 1967 the year 'The Two of us' was a big hit in 
    Australia. From about 1970 she seems to have been mainly 
    concerned with stage show music and some TV music (they wrote 
    the theme to the terrible Australian soap Neighbours). Both JT
    and TH were resident in Australia for most of each year from 
    about 1970.
    
    I might be wrong, but it seems to me that the more 'swinging' 
    type songs she wrote were more a reflection of the times, 
    rather than a commitment to a particular type of pop music...
    
    
    ====================[ archived by Spectropop ]====================
    
    
    Subject:     UK label RPM
    Sent:        05/29/98 1:22 am
    Received:    05/29/98 8:24 am
    From:        Jack Madani, Jack_MadXXX@XXXXXX2.nj.us
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    Seeing mention of Jackie Trent's compilation disc on RPM has 
    reminded me that I believe there's also an RPM compilation disc
    for Julie Grant. Her recording "Lonely Without You" on the HCTG 
    V.4 disc is the greatest song Petula Clark never recorded: 
    total melancholia, total cool, lead piano that sounds like the 
    "desperation version" of "Downtown," and the greatest 
    deep-hurting quatrain outside of Brian Wilson and Bacharach/
    David's collected oeuvre:
    
    "Come back to me again, I implore you
    Come let this lonely heart of mine adore you
    There was no-one in the world before you
    and there won't ever be
                    anyone else for me"
    
    Orchestra crescendoes on the first two lines, suddenly drops 
    out to nothing on the third line, and then on the words "and 
    there won't e-vuh be" she sings crisp triplets.
    
    Produced by Tony Hatch, it goes without saying. And it's a 
    Hatch-Trent song, too.
    
    So is the rest of Julie Grant's disc as killer as this?
    
    And how can people in the USA get RPM discs?
    -------------------------------------------------------------------
    Jack Madani - Princeton Day School, The Great Road,
       Princeton, NJ  08540   Jack_MadXXX@XXXXXX2.nj.us
    "It is when the gods hate a man with uncommon abhorrence that they
     drive him into the profession of a schoolmaster." --Seneca, 64 A.D.
    --------------------------------------------------------------------
    
    
    ====================[ archived by Spectropop ]====================
    
    
    Subject:     Re: uncredited Spector
    Sent:        05/27/98 8:52 am
    Received:    05/27/98 11:38 pm
    From:        Marc Wielage, XXX@XXXXXXrax.com
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    le_page_XXX@XXXXXXies.com commented:
    
    >Although I hadn't
    >heard the Presley story before, I have seen it written that
    >Spector at one time or another claimed he produced some of the
    >Leiber/Stoller records he was involved with. I personally think
    >he did both Home of the Brave and Close Your Eyes by Bonnie,
    >along with the only Spector/Wilson song ever Things Are
    >Changing. I guess he (and Nitzsche) had a strong hand in a few
    >big Stones singles off Out of our Heads: Satisfaction, Last
    >Time and Play With Fire. The percussion is a big hint at that.
    >The sloppiness of the other tracks on the album is another.
    >Theory, I keep waiting for someone to either support it or
    >knock it down.
    ------------------------<snip>------------------------
    
    The only Leiber-Stoller song I know of that Spector was 
    definitely involved with was Ben E. King's late-1960 #10 hit
    "Spanish Harlem." Leiber & Stoller claim they produced 95% of 
    the session, but that Spector performed rhythm guitar -- but 
    they acknowledge that his sound was part of the song being a 
    hit. Spector claims he produced "most" of the session, but he 
    gives different accounts in different interviews. I think it's 
    fair to say his influence was there, but maybe not to the 
    extent Spector remembers.
    
    As to The Stones, it's true that all three of these songs were 
    recorded at RCA Studios in Hollywood in late-1964/early-1965, 
    so it's possible for Spector to have been present there. 
    According to legend, Spector played Maracas on "Not Fade Away" 
    & "Little by Little (both recorded in London), and also 
    participated with their album track "Now I've Got a Witness 
    (Like Uncle Phil and Uncle Gene)," where the title refers to 
    Spector and Gene Pitney.
    
    But as far as the three songs you mention, as far as I know, 
    Spector did play guitar and Nitzsche played organ on "Play with
    Fire." But that's the extent of his involvement.
    
    --MFW
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
    -= Marc Wielage      |   "The computerized authority     =-
    -= MusicTrax, Ltd.   |       on rock, pop, & soul."      =-
    -= Chatsworth, CA    |         XXX@XXXXXXrax.com         =-
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
    
    
    ====================[ archived by Spectropop ]====================
    
    
    Subject:     Various
    Sent:        05/29/98 9:13 pm
    Received:    05/29/98 10:13 pm
    From:        le_page_XXX@XXXXXXies.com
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    Re: 50's 60's New Orleans R&B
    ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
    
    Claudia SED:
    
    >>One genre of R&B seldom talked about is...New Orleans...
    
    Richard "Ace up his sleeve" Globman REPLIED:
    
    >Oh man, they were the best...and the best of 'em all, Huey 
    >"Piano" Smith and The Clowns.
    
    Right on, Dicky! I adore "Don't You Just Know It." Records just 
    don't get any better than this.
    
    >there was Frankie Ford ("Sea Cruise") who plays a wicked 
    >boogie-woogie piano...
    
    Hold on, dear brother...Am I mistaken or is not Sea Cruise a 
    discarded Huey Smith and The Clowns track that Johnny Vincent 
    used to overdub Frankie's new vocal over Huey Smith's original?
    Inquiring minds want to know!
    
    
    Re: Uncredited Spector
    ^^^^^^^^^^^^^^^^^^^^^^
    
    
    Jeez, I post a lazy, totally unresearched off-the-top-of-my-head
    recollection and Brad Elliott comes up with virtually every 
    quote I didnt't research. Whaddya gonna do? Thank you, Brad!!!!!!
    
    >From Mark Ribowsky's book (He's A Rebel, E.P. Dutton, 1989):
    
    >As Bennett needed signs that Spector would peform well for 
    >Liberty, [Snuff] Garrett assigned Phil the unfinished mix of a 
    >song Clyde Otis had cut with Timi Yuro, 'What's the Matter Baby.' 
    >'He went into Mira Sound and redubbed it down,' Garrett said, 
    >'and he did a heluva job on it.'"
    
    OK, I didn't recall that, but can anyone speculate on what 
    exactly Phil could have done to make Garrett say he did a 
    helluva job? As far as I know, dubbing down a two or three 
    track tape is not a very complicated process. Sounds like a 
    pretty routine gig to me! Are we hearing Spector fingerprints 
    on this record? I think not.
    
    >From Richard Williams' book (The Sound of Phil Spector, Abacus, 1974):
    >
    >"Spector intimated that he'd produced many more records than people 
    >believed - and the most startling item of information was the 
    >suggestion that he'd been responsible for the late Richie 
    >Valens' 'Donna,' a top five hit on Del-Fi 4110 in late '58... 
    >But then Phil also claimed, in the same discussion, to have 
    >composed the music for several Elvis Presley movies -- and 
    >later insisted that he'd written some of the singer's biggest 
    >hits, without getting composer credits."
    >
    >But, of course, there's no evidence to substantiate any of 
    >those claims. And I think most R&R historians have written them
    >off as the ravings of a madman.
    
    LOL! I guess so!
    
    >>I personally think he did both Home of the Brave and Close 
    >>Your Eyes by Bonnie (and) Things Are Changing.
    >
    >I thought it was fairly well accepted that "Things Are Changing" 
    >featured a Spector-produced track. From Fitzpatrick & 
    >Fogerty's book (Collecting Phil Spector, Spectacle Press, 1991):
    >
    >"The backing track, originally intended for a proposed Ronettes
    >version of the Beach Boys' 'Don't Hurt My Little Sister,' was 
    >produced by Spector with Brian Wilson on piano."
    
    Fine. So the Riopell credit IS bogus, as I had thought. Thanks 
    for that, Brad.
    
    >Fitzpatrick and Fogerty elsewhere describe Riopelle as 
    >Spector's "young protege," crediting him as having "expertly 
    >recreated Spector's sound on this ['Home of the Brave'] and 
    >several subsequent productions." 
    
    Again, my call is that (to paraphrase F&F) Riopell was credited
    as having successfully recreated Spector's sound on ['Home of 
    the Brave'] and several subsequent productions because Spector 
    didn't want his own name on productions unless he was confident
    they would be hits.
    
    >Has this man ever been interviewed?
     
    Yes, but not to any great extent that I have ever seen.
    
    >Is he even still alive? I bet he'd have a lot of 
    >great stories to share! (Hey, Doc, there's one for you.)
    
    Yeah, Doc! I think Riopell lives in Arizona now. Besides the
    Spector/Zekley/Wilson connections, Riopell was the force behind 
    A&M's often overlooked soft rock combo the Parade (sooper 
    highly recommended btw). A definite candidate for an in-depth 
    look at the LA scene during 65-68. 
    
    
    Re: Say Goodbye To Hollywood
    ^^^^^^^^^^^^^^^^^^^^^^^^^^^^
    
    
    Madani wrote: 
    
    >I wouldn't mind hearing Ronnie's recording of Say Goodbye To 
    >Hollywood with the E Street Band. Anybody got a copy of that? 
    >What's that sound like?
    
    Yes, somewhere I have a copy. It doesn't vary much from Joel's 
    take on it, save for Ronnie's trademark vibrato. It's been 
    years since I've heard it, but my recollection is that while it
    is an interesting listen, it is far from essential.
    --
    le_page_XXX@XXXXXXies.com
    RodeoDrive/5030
    
    
    ====================[ archived by Spectropop ]====================
    
    
    Subject:     Pixies Three CD or Pixies 3-CD
    Sent:        05/27/98 1:16 am
    Received:    05/27/98 7:25 am
    From:        joel thomas, aoirXXX@XXXXXXies.com
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    Professor Jack wrote:
    > I'm confused about Pixies 3 on cd: What's this about a 
    > three-cd set of all their stuff? Where can one get it?
    
    sorry, i may have confused you all, i recently referred to 
    Pixies 3 on cd and said we listened to it at work. actually, 
    what we listened to was called "Death to the Pixies" and that 
    was a 3 cd set. i remember at least some of it being live. 
    sorry for any confusion.
    
    > Does anyone have any opinions on the Roy Orbison live cd that 
    > apparently is available only through Best Buy? How are the 
    > performances and how is the sound quality?
    
    the 2 cuts i've heard are "only the lonely" and "cryin" and 
    they were both of good quality. yes i have the right cd this 
    time.
    
    ICQ #9848515
    AOL IM screenname:  lazarusjt
    
    
    ====================[ archived by Spectropop ]====================
    
    
    Subject:     May 29
    Sent:        05/29/98 7:43 pm
    Received:    05/29/98 8:13 pm
    From:        le_page_XXX@XXXXXXies.com
    To:          Spectropop List, spectroXXX@XXXXXXies.com
    
    On May 29, 1959, perhaps the very first outdoor rock n roll concert 
    was held in Atlanta. On the bill: RAY CHARLES, B.B. KING, and the 
    DRIFTERS.
    
    In 1966, on this day the number one record in US was "When a Man 
    Loves a Woman" by Percy Sledge. In the UK, the Stones held the 
    #1 position with "Paint It, Black."
    --
    le_page_XXX@XXXXXXies.com
    RodeoDrive/5030
    
    
    ====================[ archived by Spectropop ]====================
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