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Volume #0334 October 20, 1999
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Use a Warner Bros. Vitaphonic diamond needle
Subject: WALLY STOTT
Received: Fri, 15 Oct 1999
From: "The Warners"
To: Spectropop List
Hi...
Larry Koch and Alec Palao have referred to Wally Stott
who was not only one of the fine md's at Philips in
London in the 50's and 60's, but was also an artist in
his own right on the same label. FYI, Wally had a
sex-change operation and became Angela Morley and under
that name, scored various television shows in the 80's
such as FALCON CREST and DYNASTY. Another Philips
connection is that Wally worked on a couple of movies in
the late 50's in which Frankie Vaughan starred. As you
may have heard, Frankie died quite recently.
Rock on!
Alan
--------------------[ archived by Spectropop ]--------------------
Subject: Re:Wally Stott & Klaatu
Received: Mon, 18 Oct 1999
From: Steve McClure
To: Spectropop List
In Spectropop Volume #0333, Alec Palao asked "Who
produced that stuff - was it Wally Stott?"
Being a fan of the classic 1950s BBC radio comedy series
"The Goon Show," I instantly recognized this name. The
Wally Stott Orchestra was the show's house band. "Stott
made a great contribution to the show with cleverly
written themes and comedic musical bits," in the words of
The Goon Show Preservation Society (http://www.goon.org/).
I would suggest that Stott's comedic background may go
some way toward explaining the overwrought,
hypermelodramatic quality of Scott Walker's oeuvre, which
is very hard (at least for this cynical curmudgeon) to
take seriously. Or at all... On another subject, in the
same edition of the always ultravital Sprectropop, "River
Deep, Mountain High" was referred to as a "Citizen Kane
of Rock Music" a very good metaphor, in my opinion, and
one which inspires another Wellesian analogy: the "'F' Is
for 'Fake'"of rock: anything by Klaatu.
Steve McClure
--------------------[ archived by Spectropop ]--------------------
Subject: Re: unreleased Sunshine Company
Received: Fri, 15 Oct 1999
From: Stewart Mason
To: Spectropop List
The Artist Formerly Known As Slaughter Joe writes:
>
>rest assured the Sunshine Co. disc is well worth buying, I
>don't know about a rumoured 4th album, neither Bill nor I
>could find more than 2 songs not issued on tape....perhaps
>someone knows something?? beyond rumours?.....best to you
>all...Joe Foster
The 1967-70 section of the impressively anal-retentive
Complete Imperial Records Discography at
http://www.iconnect.net/home/bsnpubs/imperialg2.html
lists two unreleased Sunshine Company records.
One, which lists no title, was given the catalogue number
LP-9384 (stereo LP-12384). According to this discography,
this catalogue number was the third-to-last assigned to
an Imperial release in both mono and stereo. (The next
two are an also-unreleased Classics IV album and ME ABOUT
YOU by Jackie DeShannon.) And then the very first
Imperial album which was released in stereo only was the
Sunshine Company's SUNSHINE AND SHADOWS. So my assumption
is that LP-9384 was only a planned mono release of
SUNSHINE AND SHADOWS, and that when they scratched the
mono release, they reassigned the number of the stereo
release.
But...later in 1968, the catalogue number LP-12425 was
assigned to an album called THINK by the Sunshine Company.
The only note given in the discography is [not released].
The catalogue number comes between REBIRTH OF THE BEAT by
Sandy Nelson and SWEET WINE/HOLD ME TIGHT by Johnny
Carver if that helps anyone peg an approximate date to
its planned release.
There's no indication in this discography if the album
was planned but not recorded (maybe the band broke up
before they hit the studio?) or recorded but not released,
but the fact that the album was already given a title
suggests to me that at least some songs were recorded, if
not the whole record. So the obvious question is, why
wasn't the album released and what happened to the tapes
if they do in fact exist?
Stewart
*************************FLAMINGO RECORDS*************************
Stewart Allensworth Mason
Box 40172 "Instantaneous death does not amount
Albuquerque NM 87196 to torture."
www.rt66.com/~flamingo
*******************HAPPY MUSIC FOR NICE PEOPLE********************
--------------------[ archived by Spectropop ]--------------------
Subject: River Deep, Mountain High also Mod Folk Quartet
Received: Fri, 15 Oct 1999
From: Summer Petersen
To: Spectropop List
I was wondering, In "He's A Rebel" the biography, the
information states that during the time of the
recording sessions, Tina Turner thought that "River
Deep, Mountain High" was such a strange song, she
wouldn't even sing it to Ike when he asked her how it
sounded. In another reference, it claimed Phil played
the song on his guitar and sang to Tina in her home,
and she immediately loved it. Anybody have some more
reliable info on this topic? I want to know if Tina
loved the song or not, because, of course, we all do.
Does she ever sing this song at her live shows?
Also, anyone heard of the Modern Folk Quartet ever
getting back together for anything, even one-time
shows? Their one song Phil did is one of my all time
favs.
Thanks. -Summer
=====
--------------------[ archived by Spectropop ]--------------------
Subject: Re: various
Received: Fri, 15 Oct 1999
From: wuxxxxxet.se (Pacific Ocean Bluto)
To: Spectropop List
--
First of all, a BIG thanks to Carol Kaye for her
leeeeengthy reply to my question about the Spector
session's loudness! I don't know if you're working on one,
but you should really write a book about your 35+ years
as a studio musician.
Fran Youngwerth wrote:
><<(guitar solos on a Carpenters record?!?!?!?!) >>
>
>Not sure what you mean, but "Goodbye to Love" has almost
>as much (wailing) solo guitar as it has Karen, and it's
>one of their best.
What I meant with "guitar solos on a Carpenters record?!?!?!"
is that, atleast for me, guitar solos are as far away as
you can get from music like The Carpenters. I like the
discipline of sixties records by people like Phil Spector,
the idea that *the song* is the most important thing
which leaves - or should not leave - no room for 'showing
off your licks'. I am from the post-post-post punk
generation which just can't stand guitar solos. It's pure
self-indulgence in 9 out of 10 cases, and it's just such
a cliche to have a guitar solo, *always* after the second
chorus, btw... :)
Stewart Mason wrote:
> I disagree -- my favorite thing about the Carpenters is
> that they were a classic singles band who were capable of
> doing extremely bizarre things on their albums,
I have nothing against bands doing bizarre or weird
things, but I just find the Carpenters *in this case* to
be a just as embarrassing listening experience as "The
Beach Boys" (The BB's 1985 LP which sounds like the theme
to Miami Vice...)
>Better they should do something utterly weird than play it safe
>all the time.
This I agree with!
Todd McMullen wrote re The Sunshine Company:
> Gee, I hope I dig 'em more than you do, Tobias, seeing as
> how I just put my check in the mail for the Rev-Ola comp.
> I've only heard a few of their tunes, but it sounds like
> well-produced soft pop/light psych stuff to me, and you
> gotta love their taste in covers! Care to elaborate on
> your disappointment?
Actually, I've changed my mind, having listened to the LP
a little more. I was mainly put off at first by "Up Up
And Away", which to me sounded like a sloppy
note-for-note remake of the 5th Dimension's hit. But the
album has grown on me a lot, and I even like the Beatles
covers (strange since I don't like The Beatles' music). I
will definitely be checking out the Rev-Ola reissue!
Greg Matecko wrote:
>This guy wrote Lesley Gore songs! I've seen his name on at
>least two of her records; "Sunshine, Lollipops & Rainbows"
Oh, that song is by Lesley Gore? Chief Wiggum really
really dug it in a Simpsons episode and I've wonder who
sang it since then :)
>and one of my all-time favorites, "California Nights."
Is this the same "California Nights" as on The Four King
Cousins' LP? Have to agree with you, brilliant song...
Kingsley Abbot wrote re Sunshine Company:
> I have been enjoying their particular brand of soft
> summer pop since 1967 when it was not in any way hip in
> Britain. Was it ever? Joe and I hope that it will help to
> spread the word
Well, look at the modern equivalent of bands like the
Sunshine Company and how much they sell in UK. The High
Llamas, to name the obvious, doesn't sell *anything* in
England - if it wasn't for the European continent and the
States, the group would have to pack it in! I don't think
soft pop will ever be popular as in 'profitable' anymore.
Belle & Sebastian (The Free Design of the '90s?) are as
far as I can see the only exception. Western society is
continuing to speed up, the social climate is getting
harder and harder, and the notion that 'bigger' 'faster'
and 'harder' equals 'better' is more widely spread and
common now than ever before. There simply is no room for
soft pop music on today's market, unless it's full of
dreaded irony or kitsch. And bizarrely enough, the
artists of today who do take the soft pop influences
seriously, are discarded as being nothing more than
ironic. Like, can you read a Stereolab review without
seeing the word "kitsch", even though the group is
passionate and serious about its influences? Stereolab's
most known song, "Ping Pong", was based on The
Association's "Along Comes Mary", btw. It seems like few
people today think it's actually possible to listen to,
say, Roger Nichols or The Innocence, for the simple
reason that the music is good.
> Why don't fellow Spectropoppers put up suggestions for
> other possible Revola projects that we could get our
> teeth into. Please bear in mind that single albums are
> difficult. Two plus possibly maketh an album...
Alright, here's some suggestions:
*The Fun And Games - "Elephant Candy" (Never seen this
Gary Zekley project on CD) *The Collage - "The Collage"
(did they release other albums?) *Harpers Bizarre's four
albums (five if you count the one from 1975). I know
these have been released by Warners but that's only in
Japan. Maybe Rev-Ola could release them in Europe. *The
Sagitarrius 2nd album, "Blue Marbles", which hasn't been
released on CD. *That Hep Stars album with the Boettcher
covers.
T.
--------------------[ archived by Spectropop ]--------------------
Subject: Re: CTI
Received: Fri, 15 Oct 1999
From: DJJimxxxxxcom
To: Spectropop List
--
In a message dated 10/15/99 11:20:37 AM, you wrote:
>>>has there ever been any discussion of Creed
>>>Taylor on this list?
>>Not as far as I know. Who is he?
>Jazz producer, mostly associated with Verve and Astrud G.
ALSO, started his own label, CTI Rekkids in the late
6T's, responsible for the introduction of the term
"fusion" into the musical vernacular and IMHO created
the Kenny G "Fuzak" types that pass for jazz on the
radio today. BUTT, before you get hot under your
collective or individual collars, please recall the LP
"Lonelyville" by the Creed Taylor Orchestra recorded
around 1961. It is the exxence of Crime Jazz and is the
single Greatest LP Cover EVER.
Cheers,
Jimmy Botticelli
--------------------[ archived by Spectropop ]--------------------
Subject: "River Deep"
Received: Fri, 15 Oct 1999
From: Carol Kaye
To: Spectropop List
> >From Frank: As seen from Europe where, as you say, it
> was a major hit in the UK, this track definitely remains
> the greatest ever recorded. A sort of "Citizen Kane" of
> Rock Music. And whatever happened during the recording
> session, Phil certainly did not lose his edge on this one.
> Its failure certainly never had anything to do with its
> quality.
I have to capitulate and agree with you Frank. I just
remember how "loose" the date seemed to be, kind of a
party-atmosphere, very different from his other dates --
and that always kind of made me wonder.
And yes, I've always tho't it ranked right up there, but
you know the fickle charts here in the USA....still
surprised it didn't make it up there, the side still
sounds great.
Carol
http://www.carolkaye.com/
http://www.experience.org
--------------------[ archived by Spectropop ]--------------------
Subject: MFQ
Received: Sun, 17 Oct 1999
From: Stewart Mason
To: Spectropop List
Saw THE BIG TNT SHOW for the first time in years last
night and I was once again struck by its opening song, the
Modern Folk Quartet's "This Could Be the Night," one of my
all-time favorites. Not to take anything away from "River
Deep, Mountain High," which is every bit the wild
masterpiece everyone says it is, but I think "This Could
Be the Night" could well be Phil's most over-the-top
production ever.
When you have Tina and a song with that kind of dynamic
range, of course you'll want an enormous, epic production.
But this Harry Nilsson song is pretty simple, and the MFQ
had no powerhouse singers, so the fact that Phil's
production is even more overwhelming than usual really
stands out! The sound is massive and the rhythm section is
particularly relentless, but everything is so completely
drenched with echo that it also sounds really distant.
Carol, did you play at this session? Do you remember
anything in particular about it?
Whatever happened to the Modern Folk Quartet, anyway,
other than Chip Douglas briefly joining the Turtles and
then producing my two favorite Monkees albums?
Stewart
************************FLAMINGO RECORDS************************
Stewart Allensworth Mason
Box 40172 "Instantaneous death does not amount
Albuquerque NM 87196 to torture."
www.rt66.com/~flamingo
******************HAPPY MUSIC FOR NICE PEOPLE*******************
--------------------[ archived by Spectropop ]--------------------
Subject: The Brothers
Received: 10/20/99 8:44 am
From: Barry Taylor, exxxxxrport.net
To: spectxxxxxities.com
Hi,
I recently came across a single by a group called Brothers
(White Whale 255). It had a warren Zevon song on one side (
"The Girl's Alright") and a Randy Newman song produced by
Ted Glasser ("Love Story") on the other. It appeared to be
middle 1960s. Does anyone know who these Brothers are?
Thanks.
Barry
--------------------[ archived by Spectropop ]--------------------
Subject: nowadays dreck
Received: 10/20/99 8:44 am
From: Glenn Sadin, glenn_mxxxxxhlink.net
To: Spectropop List, spectxxxxxities.com
The great Carol Kaye sez...
>Still too much EQ and compression is used unnecessarily
>imo, killing the fine sounds peole need to feel good by...
>and those pesky synthesizer 1-man bands are still out
>there creating scores for films and TV shows, ugh, the
>budgets are so low. OK, I'm a throwback to the 60s era,
>but we've passed the point of good sounds with all that
>technical garbage I think.
Truer words were never spoken, Ms. Kaye. And it's a pity.
I've long held that the vast majority of rock records cut
before 1967, even super lo-fi ones like "Louie Louie" and
"California Sun", sound better than 99.9% of what's being
released today. I *LIKE* hearing mic bleed on records!
Mark Neil and Deke Dickerson are about the only
contemporary producers I can think of who understand how
to accurately capture the "sound" like they did in the
'60s, and Deke at least relies on vintage tube gear to do
it.
Glenn
Glenn Sadin
glenn_mxxxxxhlink.net
Guitarist, vocalist and songwriter for THE BERKELEY SQUIRES:
http://www.termites.com/BerkeleySquires.html
Read about JAPANESE POP MUSIC from the 1950s thru the 1990s:
http://home.earthlink.net/~glenn_mariko/nihon.htm
--------------------[ archived by Spectropop ]--------------------
Subject: re.soft pop reissues
Received: 10/20/99 8:44 am
From: Harvey Williamxxxxxnetuk.com
To: spectropop, spectxxxxxities.com
>
> Kingsley wrote...
> >Why don't fellow Spectropoppers put up suggestions for=20
> other possible Revola projects that we could get our teeth
> into. Please bear in mind that single albums are difficult.
> Two plus possibly maketh an album...
>
A few spring immediately to mind. A coupling of the first
Paul Williams solo album, 'Someday Man', with the Holy
Mackerel's LP from, 1969, both on Reprise. I'm pretty sure
'Someday Man' is available in Japan on CD, but as far as
I'm aware, the Holy Mackerel LP has never been reissued
anywhere since its initial release. Also, how about a
domestic issue of the Complete Roger Nichols & the Small
Circle of Friends CD? I can't think of a better way of
compiling Nichols' 60s output than this Japanese
collection (unless anyone out there can locate his 'St.
Bernie the Sno-Dog' single from 1965?!), but it would be
great to see a UK repackage. Another alternative is to
package the two CDs together, & as a bonus, include the
demo LP Williams & Nichols recorded for Almo/Irving
publishing....perhaps a bit ambitious, that one.
The LP by (Michael Lloyd's) Smoke is an absolutely
essential SoftPop record, which desperately needs to be
reissued, (maybe with 'Markley, a group', or another of
Lloyd's projects from around this time?) but I guess
that's now all owned by Mike Curb, who has, I believe,
been unwilling to license his back catalogue in the past.
A Together Records comp would be nice too, collecting the
otherwise unavailable sides by Curt Boettcher, Sagittarius
(maybe even the whole of The Blue Marble?), Sandy Salisbury
& others. But I fear this may all be tied up with Mike Curb
too...
(BTW, on a not-unrelated note, St. Etienne were using The
Millennium's 'Prelude' as their walk-on intro music during
their last tour...) Any other suggestions?
All the best,
Harvey Williams.
(ps, I just picked up vols 3 & 4 of Ripples. Utterly
charming....) >
--------------------[ archived by Spectropop ]--------------------
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