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For people whose names make music
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There are 15 messages in this issue.
Topics in this digest:
1. RE COKE SPOTS
From: Michael Rashkow
2. Re: Stereo
From: Mark Wirtz
3. Rick Nelson
From: Mark Wirtz
4. Norman Newell
From: Mark Wirtz
5. SQUISH, SQUASH, KILL THAT ROACH!
From: mick patrick
6. Left Banke ads
From: Stewart Mason
7. Re: free Love
From: Joseph Panzarella
8. Re: Stereo Wirtz
From: Mark Frumento
9. The Mickettes
From: Jimmy Crescitelli
10. White Levi's
From: Country Paul
11. Re: Commercials
From: Roland
12. RICKIE PAGE
From: mick patrick
13. TAMI Show and Commercials
From: Vlaovic B
14. Re: Stereo
From: richard hattersley
15. Re: Rick Nelson
From: Michael Edwards
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Message: 1
Date: Sat, 13 Apr 2002 21:14:40 EDT
From: Michael Rashkow
Subject: RE COKE SPOTS
beatle bob wrote:
> Speaking of 60s songs in commercials, I recently purchased
> a cd that featured about 50 orginal Coca-Cola commercials
> from the 60's that featured some of the biggest stars of
> that decade singing songs about Coca-Cola, usually with
> the lyric content containing the lines "Things go better
> with Coca-Cola, things go better with Coke."
Interesting heads up on the Coke jingle CD.
By any chance does it include "Dusty Roads" by The Fortunes:?
"Dusty Roads, the sun's so hot, the pack upon my back is not
as light as it once was when we first started"......etc.
Credits might be to The Wes Farrell Organization.
When you get a chance----thanks
Rashkovsky
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Message: 2
Date: Sun, 14 Apr 2002 00:20:31 EDT
From: Mark Wirtz
Subject: Re: Stereo
Richard Hattersley wrote:
> You said you used to record the whole track live across
> 2 tracks in true stereo....However I wondered if you
> had problems when making the mono singles a good mix...
It would be untrue to say that I recorded EVERYTHING or EVERY
recording stage in true, locked-in stereo back then. I still
kept the kick drum and bass (both together) on one track, for
instance. Working 4-track to 4-track, I would then combine all
rhythm track signals into one stereo pair, leaving 2 tracks for
orchestra. Then I combined all that into a stereo pair on the
third 4 track master, leaving 2 tracks for vocals and background
vocals. Quite frequently (as did the Beatles) we would add
additional parts live during the final (mono) mixdown. Obviously,
those additions are missing in stereo mixes because the musicians,
or artists that performed during the mono mix down were not present
for the stereo mix. That is why on numerous albums (notably the
Beatle's "Sgt Pepper"), you can hear musical parts that are on the
original priority mono mix, but absent in the stereo mix. It might
only be a tambourine, or such, but nevertheless, it's not there
in the stereo.
In the late 60's, all singles and most pop/rock albums were only
released in mono. That's why, while spending hours on mono mixes,
stereo mixes were typically rushed and not taken seriously, or not
bothered with at all. (I just had a thing about stereo, and in
retrospect I am glad I did.) In fact, after having spent a few weeks
mixing Sgt Peppers in mono, when George Martin mixed the stereo
version (not even in one of the main rooms but a tiny mixing booth
on Abbey Road's second floor), the Beatles didn't even bother to
show up for the sessions.
Regarding the 3-5db center lift when combining true stereo tracks
into mono, Geoff had a way of compensation for that lift of the center.
Also, when you listen closely to a lot of our true stereo mixes,
nothing is ever quite centered, but either a bit to the left or right
to minimize the mono center lift. Careful peak limiting will usually
even out the rest.
By the way, whereas the Grocer Jack stereo version on comp albums is
my original stereo mix, "Sam" is NOT, but a later "contrived" stereo mix.
Geoff's and my original stereo mix of "Sam" has gotten lost somehow.
(It was a hundred times better than the recently released one, and
seamless, opposed to the phoney mix, which should NOT be listened to
through headphones - it reveals, as if awkwardly chopped up, all the
edit points that I smoothly cross-faded in my original stereo mix .)
I had a virtually virgin acetate of the genuine stereo mix that could
have been used for re-mastering, but that, unfortunately, was stolen
from me :(
M
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Message: 3
Date: Sat, 13 Apr 2002 23:18:00 EDT
From: Mark Wirtz
Subject: Rick Nelson
Is there a "Best Of..." Rick Nelson CD out that has
"Just A Little Too Much" on it??
M
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Message: 4
Date: Sat, 13 Apr 2002 23:15:38 EDT
From: Mark Wirtz
Subject: Norman Newell
Ian Chapman writes:
> It's produced by Norman Newell, who could often be
> a little too far across the MOR line for me.
It was "Aunty" Norman who signed me to my first ever recording
contract to EMI in 1963, as Mark Rogers and the Marksmen - to
the vociferous protest and objection from his assistant, John
Burgess (Manfred Mann), who claimed that I had no talent. Not
long after, Norman asked me to do my first ever studio arrangement
that resulted in me replacing Norman's absconded arranger, John
Barry, who had hooked up with James Bond movie scores and a
production post at Ember Records (Chad & Jeremy). Yes, Norman was
a passionate MOR producer and writer ("More"), but he was one of
the old guard of producers who felt talent in the gut and shot
from the hip, regardless of what others thought. Another one of
the ignored greats - there wasn't a better MOR producer in London!
And hey - the guy was darn hip too - the stuff he did with
Adam Faith (arr John Barry), for instance, still stands up today
so far as I am concerned. It was by looking over Norman's
shoulders I learned my first lessons in producing.
Here's a toast to Norman!! A genuine music lover and gentleman.
Well, ahem, certainly gentile ;)
> It's more Wirtz than Spector, and in fact, Mark, it bears
> such a strong similarity to some of your productions (I'm
> thinking Russ Loader), I have to ask - did you have any
> uncredited involvement in this?
I was not aware of these recordings but I would be most
interested in hearing them. Who arranged them? The Russ Loader
recordings, btw took place in 1965, by which time I no longer
had any contact with Norman who had left EMI to be independent.
We had a reunion when he hired me as arranger conductor for
the "Marlene" Marlene Dietrich LP (replacing Marlene Dietrich's
prior personal arranger and pianist Burt Bacharach who had
deserted her to do a Doris Day movie score as well as
"What's New Pussycat"), an EMI UK/GERMANY/FRANCE co-production.
Those of you interested, ask me to tell you the story of THIS
one sometime - a riot in many ways, especially as Marlene had a
cow when she was first introduced to me, screaming that "I vill
not vork viz a child!!!" and Norman was in manic depression
over his poodle having been run over. The sessions went great
though and some timeless magic was created.
M:)
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Message: 5
Date: Sun, 14 Apr 2002 09:08:02 +0100 (BST)
From: mick patrick
Subject: SQUISH, SQUASH, KILL THAT ROACH!
Hi,
Anyway, getting back to THE ALLEY CATS for a moment...
You've all seen the movie HAIRSPRAY, right? One of the more
obscure delights featured on the soundtrack, the Steve Venet-
produced "THE ROACH" by GENE & WENDELL with THE SWEETHEARTS (Ray
Star 777, #117 Billboard, 1961), was co-written by the Alley Cats'
ALONZO WILLIS. Gene & Wendell's backing group, the Sweethearts,
comprised CAROLYN WILLIS (later of the Girlfriends and the Honey
Cone, of course), Noraniece Allen and sisters Elaine & Charlotte
Brown. These are the same Sweethearts who cut some great Motown-
ish tracks for Kent in 1965/6, not Oma Heard's group of the same
name who waxed for the Hi III label. Carolyn and her three chums
also recorded as THE NIGHTINGALES (Ray Star) and THE TWILETTES
(Darcey). Got that? Do keep up!
Well, to my query. The Willis clan were a musical lot, with brother
Freddie and sister Diane also cropping up in various groups. I have
a theory that BETTY WILLIS, the big-voiced chick who recorded for
Phil Spector's Phi-Dan label and, as lead-singer of RACHEL & THE
REVOLVERS, for producer Brian Wilson, is another member of the same
family. Can anyone confirm my suspicion?
MICK PATRICK
Obviously still entranced by his copy of Steve Propes' book L.A.
R&B VOCAL GROUPS www.lavocalgroups.com
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Message: 6
Date: Sun, 14 Apr 2002 11:39:24 -0400
From: Stewart Mason
Subject: Left Banke ads
Bob Rashkow writes:
> Better yet - the
> LEFT BANKE doing a Coke ad??!! Wow man - "Somewhere a
> mountain is movin'"!!! TOO deep.
Somewhere on a CDR I have a pair of Left Banke commercials,
one for Toni home perms and one for, of all things,
Hertz Rent-A-Car. I'll send them along to musica if I ever
turn it up.
Stewart
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Message: 7
Date: Sun, 14 Apr 2002 11:47:19 -0400
From: Joseph Panzarella
Subject: Re: free Love
David A Young writes:
> I recently discovered that a movie called "All I Wanna Do"
> from a coupla years ago, now playing on cable and available
> on video, features two Andy Paley-produced songs by
> Darlene Love.
...on the subject of Darlene Love, she has a great track on the
"Idol Maker" soundtrack LP: A&M SP4840 from 1980 titled
"OO-WEE-BABY" written and produced by Jeff Barry...also on the
LP are two cuts by Nino Tempo. The soundtrack is a really well
produced and recorded piece of work...I've added the Darlene Love
track to musica for all you Darlene Love fans.
Joe Panzarella
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Message: 8
Date: Sun, 14 Apr 2002 11:33:33 -0400
From: Mark Frumento
Subject: Re: Stereo Wirtz
From: "richard hattersley
> Also, where can I hear these stereo versions. I only have
> original Parlophone singles of your teenage opera work which
> were of course mono. And I ve heard 'excerpt' on a few 60's
> hit cds but it has still been mono.
The two stereo mixes are available on Teenage Opera The Original
Soundtrack Recording that was released by RPM a few years ago.
The stereo version EFATO is really beautiful. I love the song
"Sam" and it's nice to hear it in stereo but as MW points out
it is a bit sloppy... even my amateur ears can distinguish faults.
The CD is really worth getting. It comprises some other wonderful
songs like Cellophane Mary Jane and several nice intstrumental
pieces including backing tracks of the hits. Though, as Mark will
tell you, it is by no means THE Teenage Opera it's a nice attempt
to gather related material from the period and is creativly packaged.
I got my copy from Amazon
http://www.amazon.com/exec/obidos/ASIN/B000006YZZ/qid=1018803108/sr=1-2/ref=sr_1_2/002-2245521-6961639
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Message: 9
Date: Sun, 14 Apr 2002 16:00:40 EDT
From: Jimmy Crescitelli
Subject: The Mickettes
Thanks Mick! As ever, I can always count on you to enlighten
and educate me whenever I need help with all those Various-ettes.
Rickie Page's high-end soprano is awesome on "Little Boy," and
her backing group is super professional-sounding... wonder who
they were? There are a few Blossomian note-turns in there...
; )
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Message: 10
Date: Sun, 14 Apr 2002 16:43:49 -0400
From: Country Paul
Subject: White Levi's
Mike Anderson - the Jefferson Airplane ad I remember was for
White Levi's, and had a drone (sitar? guitar?) with Grace
intoning "White Levi's" on one note in a most psychedelic
distended form. I only sort of remember that one spot, but
seem to remember that there were two.
Country Paul
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Message: 11
Date: Sun, 14 Apr 2002 17:00:03 EDT
From: Roland
Subject: Re: Commercials
There are two different Coke Comercials CDs: 'Things Go Better
With Coke' (put out by the Philadelphia based Distortion Records)
and 'Coca-Cola Commercials' which I believe is an import. Each
has a few cuts not on the other. There's also a red wax boot LP
that came out some time ago that has 38 commercial & promo spots
including the Hondells for Honda & the Chiffons for H.I.S. clothing.
A real low budget affair, there's no labels or record title just
a paper insert.
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Message: 12
Date: Sun, 14 Apr 2002 22:49:27 +0100 (BST)
From: mick patrick
Subject: RICKIE PAGE
Hi,
Yep, bat-eared Jimmy Crescitelli is quite right, it sure does
sound as if RICKIE PAGE got some vocal support from THE BLOSSOMS
on THE GEORGETTES' "LITTLE BOY" (Troy 1001). Next to the Rag Dolls,
I find this adorable record the nearest thing to a female 4 Seasons.
I love it.
Incidentally, some copies of the previous release on the label,
"WHITE LEVIS, TENNIS SHOES, SURFIN' HAT AND BIG PLAID PENDLETON
SHIRT" by THE MAJORETTES, came with a picture sleeve. Rickie and
Sheila Page are two of the four girls in the photo. It's the only
shot of Rickie I've ever seen.
MICK PATRICK
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Message: 13
Date: Sun, 14 Apr 2002 18:11:13 -0400
From: Vlaovic B
Subject: TAMI Show and Commercials
Suprised to find the the TAMI show may not be available on video.
I have a copy of it, minus the Rolling Stones. For some reason,
when it was aired some 12 years ago by Much Music, the RS section
was deleted (including Jan and Dean's lyrical reference to them
in the opening song). Legal issue? Anyone in Toronto looking for
a copy? Go to the St. Lawrence Flea Market on Front Street on
Sunday morning, NE corner of the selling space. A gentleman there
has VHS copies of RnR movies for sale, some used, some pirated dubs.
He always has a copy of TAMI as well as the BIG TNT show for sale.
Looking for commercials from the 60s? Try this link:
http://tesla.liketelevision.com/
May not be exactly what you're looking for but a whole mess of 60s
stuff (and commercials) to keep you occupied for days.
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Message: 14
Date: Sun, 14 Apr 2002 21:14:57 +0000
From: richard hattersley
Subject: Re: Stereo
Mark Wirtz explains:
> Working 4-track to 4-track, I would then combine all
> rhythm track signals into one stereo pair, leaving 2 tracks
> for orchestra.
Oh I get it.
So you recorded music on a 4 track tape and then did a tape to
tape reduction mix. Instead of doing it to one track (mono) like
the beatles often did, you did it to two tracks, giving you a
stereo backing. Thanks for the reply. There is a lot to learn
from 60's recording done by people such as yourself.
I used to work as a recording engineer a few years back and I
think I learned more from Mark Lewhisons Beatle session book
more than anything! Along with listening to 60's recordings.
People tend to be amazed that such stuff was done on four track.
I guess its because they immediately think of their home cassette
Porta-Studio or something, not a big reel-to-reel 1" tape job.
I think if some of today's artists had to go back and record on
that equipment,there would be some headaches!
Cheers
richard
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Message: 15
Date: Sun, 14 Apr 2002 20:42:53 -0400
From: Michael Edwards
Subject: Re: Rick Nelson
Mark Wirtz wrote:
> Is there a "Best Of..." Rick Nelson CD out that has
> "Just A Little Too Much" on it??
Mark,
Rick has 52 items in Amazon.com's catalog. Vol 1 of his
Legendary Masters is still available and does contain
"Just A Little Too Much". They've got a deal whereby you buy
Vol 1 & 2 for $23.96. Vol 2 contains a superb lesser known song,
"There's Not A Minute", from the pen of Clint Ballard Jr.
http://www.amazon.com/exec/obidos/search-handle-form/002-2245521-6961639
Over in the UK, on Amazon.co.uk, you can find a Feb 2002 release
from EMI, Greatest Hits, for #8.99. Amazon's UK site has 46 items
for Rick.
http://www.amazon.co.uk/exec/obidos/search-handle-form/202-0352074-6404609
Now for a "thick" moment: I only found out last Thursday, while
looking around RPM's website, that you were the man behind
"A Touch Of Velvet A Sting Of Brass". Great record!
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