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Volume #0041 02/11/98
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Hitsville, U.S.A.
Subject: "I Can Hear Music-The Songs of Greenwich & Barry"
Sent: 2/6/98 11:04 PM
Received: 2/7/98 9:48 AM
From: Tweem
(Admin note: Posted to a different forum and
reprinted by permission of the author)
Do you remember a while back when we were discussing the Burt Bacharach
publishing box set? Well, I just got a similar set for the songwriting
team of Ellie Greenwich and Jeff Barry and it was just put out through
Polygram Music Publishing. If these two great songwriters names don't
sound familiar their songs will...this is prime Brill Building Pop Music
the combination of artists performing will also blow you away! These
sets are put together by the publishing companies to try and push songs
to advertising agencies and the like. Check out this tracking listing of
original HIT artists and recent covers of the songs of Greenwich & Barry
that appear on this disc:
Jason Falkner: Baby I Love You
The Beach Boys: I Can Hear Music
Fuzzy: Chapel of Love
Manfred Mann: Do Wah Diddy Diddy
The Minus Five: People Say
Lesley Gore: Maybe I Know
Redd Kross: Girls Can Tell
The Raindrops: The Kind of Boy You Can't Forget
The Exciters: He's Got The Power
The Supremes & The Four Tops: River Deep Mountain High
The Honeydogs: It's So Strange (The Way Love Works)
Crash Test Dummies: Da Doo Ron Ron
The Shangri-Las: Leader of The Pack
Connie Francis: Don't Ever Leave Me
Lesley Gore: Look of Love
Sonny & Cher: Why Don't They Let Us Fall In Love
IVY: Be My Baby
Beth Orton: I Wish I Never Saw The Sunshine
Ellie Greenwich: You Don't Know
Otis Redding: I Got To Go Back (And Watch That Little Girl Dance)
The Jelly Beans: I Wanna Love Him So Bad
The Moody Blues: I've Got A Dream
The Shangri Las: Out In The Streets
The Monkees: 99 Pounds
Triple Fast Action: Then I Kissed Her
U2: Christmas (Baby Please Come Home)
This might just be the best disc that I've heard all year!!!
--Matthew Kaplan---
--[ archived by Spectropop - 02 /11/98 - 01 :24:21 AM ] --
Subject: I Want Candy
Sent: 2/10/98 2:39 PM
Received: 2/11/98 1:09 AM
From: Scott Bauman, scottbaumsn.com
LePage Web le_page_ies.com wrote:
"It's interesting that there weren't more claims of infringement over
lifted melodies during the 60's."
A few years ago, I heard an interesting story about one infringement
claim that was made. The copyright owners of "Willie and the Hand Jive"
sued over the Strangeloves' song "I Want Candy." (This is kind of
interesting since both borrow heavily from Bo Diddley.) More
interestingly, though, the case settled, and as part of the settlement,
the Strangeloves agreed to record "Willie and the Hand Jive" and, more
remarkably, promised that their version would chart.
While you might think that it would be a difficult task to promise that
your version of a song will chart, if you look at the Billboard charts,
you will find that the Strangeloves' version of "Willie and the Hand
Jive" charted at number 100 for one week and then dropped off the charts.
(I wonder how they managed that one?!)
-- Scott
--[ archived by Spectropop - 02 /11/98 - 01 :24:21 AM ] --
Subject: Original "Where Were You When I Needed You"
Sent: 2/10/98 1:00 AM
Received: 2/10/98 7:42 AM
From: Jeff Glenn, Jeff_Gl.nba.TRW.COM
Reply to: Original "Where Were You When I Needed You"
<Paul URbahns asks :
Is this original version available on CD?>
The two-disc Rhino Grass Roots comp has it (in true stereo, no less).
For those of you wondering whether to get this set or the new MCA single
disc greatest hits, it's a no-brainer. The Rhino set has several great
minor hits ("Only When You're Lonely," etc.) that are missing from the
MCA comp, as well as lots of great album tracks (my favorite being the
transcendent "That's What Love Is Made For"). And Bill Inglot's
remastering is characteristically excellent.
I suspect a lot of this on this list are asked questions at work or by
friends to settle arguments or just provide information on obscure music.
At work last week someone asked me who did the song "Next Plane To
London." We all know the answer is The Rose Garden (1967, if I'm not
mistaken; I'm not at home to look at the LP), but is this song available
anywhere on CD? I've never seen it; not even on any Japanese
compilations (I'm surprised the original LP hasn't been issued the CD in
Japan, 'cause they issue just everything!).
Great song; it needs to be available.
Jeff
--[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
Subject: Petula Clark
Sent: 2/11/98 1:03 AM
Received: 2/11/98 1:09 AM
From: le_page_ies.com
Lenny wrote:
>...I love the records Hatch produced for
>Pet Clark.... Very jazzy and hip. I
>don't know where this concept of Clark as the
>ultimate schmaltz artist came from, but I hate it.
The concept didn't come from me!! Pet Clark epitomizes Swinging Sixties
London to my ears. I hear two bars of "I Know A Place" and images of
kinky boots, miniskirts and Carnaby Street come to mind. Already a pop
veteran at the time, Pet Clark may not have been as cool or trendy as
Sandie Shaw or Marianne Faithful, but her mid-60's records sure were.
Tony Hatch cut some brilliant sides with her. It's been mentioned here
before, but _Here Comes the Girls_ reissue series on Sequel has many
wonderful Tony Hatch recordings, some very obscure. Check out You'd
Better Come Home by Pet Clark off Volume One. Also, if you like Pet
Clark's records, check out Jackie Trent, who was also produced by Tony
Hatch. Trent/Hatch co-wrote many hits together.
LePageWeb
--[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
Subject: Petula Clark
Sent: 2/10/98 2:51 PM
Received: 2/11/98 1:09 AM
From: Scott Bauman, scottbaumsn.com
Big L, bimail.com wrote:
"I dunno, but I love the records Hatch produced for
Pet Clark, especially Colour My World, The Other
Man's Grass..., ... Subway.... Very jazzy and hip. I
don't know where this concept of Clark as the
ultimate schmaltz artist came from, but I hate it. I
can think of many artists far more schmaltzy."
Recently, I've been listening to several old Petula Clark records.
Although I really enjoy her collaborations with Tony Hatch, my favorite
album by Pet is Warm and Tender, which was produced, arranged and
conducted by Arif Mardin. Instead of collaborating with Hatch, Petula
admirably tackles (and excels on) tracks by such notable songwriters as
Joni Mitchell, Carole King, Laura Nyro, Paul McCartney, Dan Penn, Paul
Williams, Burt Bacharach, and Henry Mancini. I believe that the record
was recently reissued on CD.
-- Scott
--[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
Subject: Re: Spectropop V#0040
Sent: 2/10/98 1:13 AM
Received: 2/10/98 7:42 AM
From: David Feldman, felderables.com
> I dunno, but I love the records Hatch produced for
> Pet Clark, especially Colour My World, The Other
> Man's Grass..., ... Subway.... Very jazzy and hip. I
> don't know where this concept of Clark as the
> ultimate schmaltz artist came from, but I hate it. I
> can think of many artists far more schmaltzy.
>
I couldn't agree more, Big L. I love the harder edged songs,
especially, You'd Better Come Home, Don't Sleep in the Subway, and the
extraordinarily under-heard single, Cat in the Window" Great stuff.
Dave Feldman
Best CD of 1997: The Beach Boys Pet Sounds Sessions
CD of the Month: Net Sounds
Best Time Killer of the 90's: Filling out the gender survey at
"http://www.imponderables.com"
--[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
Subject: Re: Spectropop V#0040
Sent: 2/10/98 12:36 PM
Received: 2/11/98 1:09 AM
From: Javed Jafri, javedja.ca
> From: Big L, bimail.com
> On another note (probably high C), I am compiling a
> list of great records, that were big hits, that are
> largely ignored by the oldies stations. Maybe we can
> get a thread going on this. Here's a few...
>
> Smokey Robinson - More Love; The Love I Saw In You
> Was Just A Mirage
> Petula Clark - Colour My World
> Temptations - Since I Lost My Baby; You're My
> Everything; Cloud Nine
> Four Tops - 07 Rooms Of Gloom
> Tommy James & the Shondells - I Like The Way
> Buckinghams - Back In Love Again
Off the top of my head I don't believe that any of these songs were top
10 records except maybe Cloud Nine and Colour My World. And you know what
I still hear those two records on the radio every now and then. In fact
Cloud Nine even gets a bit of classic rock air-play. Save for these two
songs I don't think you can classify these songs as big hits. Your point
is well taken however and I firmly believe that oldies radio needs to
expand their play lists and get away from playing the same old tired
moldy oldies.
There are a whole bunch more regional hits and songs that only scraped
the bottom of the top 40 charts that you never hear anymore.
Actually there are a fair amount of top 10/ top 20 national hits that you
hardly hear anymore. If I could add to the list above :
Tommy James & the Shondells--Mirage
The Ohio Express--Beg, Borrow and Steal
People--I Love You
Buckinghams--Mercy, Mercy Mercy
The Critters--Younger Girl
The Silke--You've Got To Hide Yur Love Away
Paul Revere & The Raiders--I Had A Dream
There are so many more......
Javed
--[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
Subject: Spector vs Dion
Sent: 2/10/98 2:04 PM
Received: 2/11/98 1:09 AM
From: Marie-J. Leclerc, ron.ca
Hi, the first week I was on this list, I recall someone wondering what
happened to the Celine Dion/Spector sessions. I have since read the
authorized bio by Georges Hebert-Germain (Celine, LibreExpression 97),
and here is the translation of Chapter 34, called " Un brin de folie "(
A bit of madness). This is in no mean my opinion , I am only giving a
translation, I hope you will enjoy. Marie (please forgive the obvious
grammatical errors) -- Spector was standing behind the board and he was
shouting at the musicians. During the recording session, he sent Celine
many dozens of red roses. He was giving her long insisting looks that she
felt weighting on her. When she looked at him, he continued to
insistently looking at her, shrinking his eyes as though he wanted to see
inside of her. He told Rene (Celine's husband/manager) that he didn't
want him in the studio... (Spector brought a crowd of 50 peoples,
including Ike Turner and Isaac Hayes)
He was constantly talking against the other producers that were supposed
to work with Celine on the album, telling that they all have stolen his
ideas and that they owed their success to him.
Three songs were recorded...Magnificiants. But after four sessions, the
tension had become unbearable. One night, Spector made Celine wait...he
was working on his wall of sound, shouting at his musicians. It was 3, 04 , 05 o'clock in the morning. In a few hours, Celine was supposed to be in
shape for the recording of a video. Dave Platel dared to ask Spector when
the tapes would be ready so that Celine could sing. And Spector proposed
to him to go outside, in a back street with his bodyguard. He was
clenching his teeth, telling Platel that he would be happy to crush him,
that he had a revolver in his pocket. His reaction was so excessive that
it looked like a bad joke...
Celine said: "I looked at Rene. I knew exactly what he was thinking and
what he was going to do. And I was perfectly agreeing with him. I stood
up and I got out of the studio. I than understood, that I would never put
my feet in that studio again and that I would never work with Phil
Spector again. Rene followed us in the car, a few minutes later. He was
very calm. He is always very calm when he is angry. He told me what
happened. Spector didn't even notice that I went out. Rene came near him.
He told him that it was over, that I was gone and would not come back.
Even if Spector told him he was sorry, Rene didn't care. He told him that
he never permitted anybody to treat his friends like that, and that
artists, even the greatest, don't have all the rights."
Celine said that she will never work again with someone with bad
vibrations like that. That's how began the adventure of Falling Into You,
with a bad start.
----
End of story
--[ archived by Spectropop - 02 /11/98 - 01 :24:22 AM ] --
End
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