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Soon the masters made it over from Arista and after looking them
over, Ray quickly bored with the proceedings and returned to his
townhouse on the upper West Side..
Even though he was out of my hair, my problems were just
beginning. Hundreds of master tapes filled every square inch of
floor space of the Transfermat. Many tapes seemed to be missing.
Worse yet, I was given the job of pairing "bonus tracks" or unreleased
outtakes and B-sides with the appropriate album. As much of a
Kinks authority as I was, I was way over my head. I did what the
real James Bond/007 would have done. I called Moneypenny.
Moneypenny was the nickname Ray had given Jayne Grodd. Jayne and
I had met about a year earlier in Toronto and became fast friends
due to our mutual experiences and frustrations in the music biz.
She was a super fan but not a fanatic. And boy she knew everything,
I mean everything about the Kinks. I had been in contact with
her before I came to New York, and I knew she would be the only
one who could help me. And help me she did.
Jayne's a tall, dark, angular woman. She dresses always in black,
has jet black hair, and porcelain white skin. A tiny bit prissy
maybe. She used to pull down big bucks as vice president of EMI
records until they closed down their US operations. Yet when she
arrived at the Transfermat, she buckled down like a New
Jersey longshoreman. I was flabbergasted at how hard she worked
to help me wade through the boxes and boxes of dusty tapes.
Maybe she enjoyed some sort of euphoria handling all those original
Kinks masters. But by 2:00 PM that afternoon everything was sorted
and I had located enough actual masters to start dubbing. She
had also matched rare "bonus track" cuts to the appropriate albums
too. I was also able to figure out which tapes needed baking as
well. And I determined that sixty Arista reels were still missing.
I called Miriam and told them to search their libraries with a
finer toothed comb. (continued)
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