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  1. 3 points
    My ranking of ELO albums: (1 thru 7 get various levels of A ratings) 1. Out Of The Blue 2. Time 3. Discovery 4. A New World Record 5. Zoom 6. Secret Messages 7. Face The Music 8. No Answer 9. On The Third Day 10. Eldorado 11. Balance Of Power 12. ELO 2
  2. 3 points
    Yes! Isn't it a knockout? I know what you mean when you say it's a song you "get" on first listen. You can't say that about a whole lot of music. Some of my favorites took multiple listens (and sometimes years) before I appreciated. But "Now You're Gone"—instant! Back in my music-magazine editing days—even a little before—I met a guy named Jake, a computer mag writer, who grew up with Jeff Lynne in Birmingham, toured with ELO as a technician and sometimes-backup vocalist, and stayed in touch with Jeff. He used to invite me over for dinner and play hours' worth of tapes he kept from early ELO studio sessions—lots of banter and horsing around and joking. He set me up with phone interviews with Kelly Groucutt (ELO bassist) and then Jeff Lynne. What a thrill that was....When I was editing CD Review mag, I later got to return the favor, in a small way, by setting up Jake to interview one of his heroes, John Mayall, for a magazine feature. I miss Jake—have talked to him since the early 1990s. In fact, he actually appears on several songs on Armchair Theatre (backup vocals—last name is actually "Commander"). Anyway, I remember when he came back from the recording sessions, there were weeks and weeks where he'd be taking up Armchair Theatre, and he was especially excited about "Now You're Gone," even though it wasn't a song he contributed to. So I had this anticipation. Sometimes you end up disappointed when something gets built up... but in this case, "Now You're Gone" lived up to Jake's advance excitement... and then some. Sorry for the "in the weeds" memory—I miss those old days. Jake was kind of a hero to me (he's about eight or nine years older), and I love how he regaled me with stories of ELO, knowing how much I LOVED the band back then (and still do). PS: Lew, thanks for the iLynne interview share above. Some great quotes in there! And yes, who'd have thought Jeff Lynne would have an Eric song in a personal jukebox?
  3. 3 points
    Here's my Top-10 reprinted, uh, I mean, copied from AllMusic.com: All Time Favourite Eric Carmen Songs (0/100) "Change of Heart" "Never Gonna Fall In Love Again" "Haven't We Come a Long Way" "Isn't It Romantic" "Foolin' Myself" "My Girl" "She Did It" "End Of the World" "Hey Deanie" "Living Without Your Love"
  4. 3 points
    Twitter’s days were said to be numbers years ago. The only thing keeping them afloat is Trump. Biting the hand that feeds them, no? Bernie
  5. 3 points
  6. 2 points
    What the heck. I decided to list what I consider my Top 30 favorites artist. These are the artists that I still listen to faithfully. There are many more that I like, that on any other given day may have made the list. But today...these are Top 30. 1. Beatles 2. Elton John 3. ELO 4. Billy Joel 5. Eagles 6. Paul McCartney/Wings 7. The Moody Blues 8. The Guess Who 9. America 10. UFO 11. Eric Carmen 12. Raspberries 13. Survivor 14. Foreigner 15. Barry Manilow 16. Journey 17. REO Speedwagon 18. Hall & Oates 19. Styx 20. Partridge Family 21. Chicago 22. Collective Soul 23. John Waite 24. Bread 25. Bob Seger 26. The Clarks 27. Led Zeppelin 28. Badfinger 29. Alice Cooper 30. Toto Honorable Mention: Poco, Ricky Nelson, Glen Campbell, Bee Gees, Icehouse, Steely Dan, Uriah Heep, Cheap Trick...and the list goes on
  7. 2 points
    1. Take It Easy 2. Ole 55 3. Desperado 4. The Last Resort 5. Hotel California 6. New Kid in Town 7. Try and Love Again 8. Already Gone 9. Tequila Sunrise 10. Best of My Love
  8. 2 points
    New Age instrumental group Wind Machine "Song For The Children" (from 1985 "Rain Maiden") (audio only). Heard that song on former Beautiful Music & Smooth Jazz format WCZY "COZY FM 104.3 FM" in Mount Pleasant, Michigan between mid 1991 through June of 1994. That station switched to Adult Contemporary soft rock in July of 1994 but kept the name of the radio station!!
  9. 2 points
    Here is an older post that I just updated...It’s been 20 years, this past June, since Sugarbabi7 passed on and we dedicate this post to her memory and the others that were pivotal in making EC.com the pantheon of musical website forums...This year, we place a permanent seat at the Roundtable to Lisa(Beatle Jay’s wife) who was a vibrant member of our community, who passed away a few months ago... I PRESENT TO YOU....................A ROUNDTABLE DISCUSSION IN HEAVEN................... Recently, there was a round table discussion in heaven, orchestrated/moderated by four of our dearly departed posters...Sugarbabi7, Don Krider, wickedgail and Lisa...They gathered some of the top minds in the afterlife to give their reasons why Raspberries were not bigger than they actually were... Here is a transcript of the proceedings: SUGARBABI7-First, I would like to thank you all for coming...Albert Einstein(genius), Johnny Cochran(lawyer), Ludwig Von Beethoven(musician), Isaac Newton(scientist) and Robert Merton(sociologist) ..I am seated with three of my fellow esteemed posters, critic Don Krider, Raspberries/John Waite fan wickedgail and our newest member, Lisa....I have asked you all to prepare your reasons as to one of earth's greatest mysteries...Why were Raspberries not bigger than they actually were... Albert...you are up first... AE-Thank you SB7...I have given the matter some serious thought and it just re-inforces my theory of E=MC2...Eric = mis-calculations( twice.)..It seems, that Eric cultivated a wonderful combination of musical ideology with his unique combination of British Invasion and Beach Boy stylings but it was a gross miscalculation...With all things being relative, and I am big on relativity theories, the time was past for that type of musical fodder...and when he finally had his solo opportunities, he miscalculated tastes again...His first two singles, although superb, All By Myself and Never Gonna Fall In Love Again, were another gross miscalculation on the current trends of the time...He, unfortunately, pigeonholed himself musically into an unappreciative musical genre and no matter how he tried to revamp to a harder edged style, in both cases, initial impressions are too difficult to overcome... SB7-How do you feel about this Johnny Cochrane? JOHNNY COCHRANE-I agree with Al...Your first impression is what sticks...Look, the defense had everything on OJ but a video of him committing the murder, but the jurors saw a football player and not a murderer...Eric...I'll tell you the same thing.that I told the court and I paraphrase..."If you have a hit, you must stick with the same shit"...But to be fair, I never even heard this dudes music...Can I hear something by him...Ludwig, bang out a little EC music...LUDWIG...LUDWIG!!!... SB7-He's deaf, remember... JC-Ok,,,Let me see a lyric sheet to one of his songs...I WANNA HEAR IT FROM YOUR LIPS... I axe you...What kind of jive is this?...He needed to change the words to a more contemporary meaning if he wanted street cred...Something like this... "I'm doin 5 to 10... For takin out some creep... Doin time, for a crime and I'm proud That I listened to my peep... You see,someone robbed my cell phone... From my gin, I took two sips, Then I shot that( n-word) through the lips... SB7-Any comments? Isaac Newton? ISAAC NEWTON-While I find that very entertaining JC, I dont think that's it...It was the whole RASPBERRIES thing itself...The name was all wrong...It should have been The APPLES...APPLES APPLES APPLES...Would I have discovered gravity if a raspberry had fallen from a tree?...NO...It had to be an apple...I wouldnt even had seen a raspberry if it fell...Would Johnny have had the same impact on history if he was Johnny Raspberry instead of Johnny Appleseed?...The Beatles recorded on APPLE records... An apple a day keeps the doctor away...Could you imagine saying to someone..."You're the raspberry of my eye"..And how about that poor bastard?...Would he have survived if William Tell shot a raspberry off his head? ...Just to reinforce my point, why doesnt someone go get Adam...He's in room 222 and ask him if he would have listened to Eve when she flashed some cleavage and said "Try a raspberry...They are delicious"...I could go on and on people...Do they roast a pig with a raspberry in his mouth?... ROBERT MERTON- If I can interject something...Gentlemen and ladies, in 1948, I wrote about a theory I had which is the self-fulfilling prophecy...Raspberries/Eric Carmen were doomed in a self-induced sabatoge state with their song titles alone..."Going Nowhere Tonite, Boats Against The Current, Foolin Myself, etc...They needed some uplifting themes and messages...Why couldnt they come up with some positive re-inforcement titles like, "Ecstacy" or aggressive assertiveness like "Tonight You're Mine"...Titles like that would have given them a strong positive approach... SB7-They did Mr. Merton...And that's what's confounding...Well, that about wraps it up here...As you can see, we dont have any answers, either...So we turn this discussion back to EC.com and see if you guys have any theories... LEW BUNDLES...Bye Gail, Don and Cherie and Lisa...We miss you guys...
  10. 2 points
    When someone corrects my Spanish down here (usually when I am making up Spanish words on purpose)....I tell them: "How did the Spanish language get to where it is today?.....by Spanish speakers advancing the language forward. I am doing the same, just that I´m doing it a little better." : )
  11. 2 points
    Over the 4th Of July weekend, Sirius XM radio played their "listener rated" Top 700 songs from the decade of the 70's. How did Eric & the Berries do? 291. Brook Benton - Rainy Night in Georgia (1970) 290. Eric Carmen - All By Myself (1976) 289. Little river band - Lonesome Loser (1979) 200. Chicago - Beginnings (1971) 199. Raspberries - Go All the Way (1972) 198. Rod Stewart - Tonight’s the Night (gonna be alright) (1976) Not bad at all.
  12. 2 points
    Not sure if I ever posted this before, but it’s always interesting to see some of the songs that some people slip into their top ten lists... n Songs Best Songs Top 10 Eric Carmen Songs Brian Kay 2 Months Ago No Comments FACEBOOK This Top 10 Eric Carmen songs list takes a look at the solo work of ex-Raspberries band member Eric Carmen. Eric Carmen was the driving force in many ways in The Raspberries. As time went on, it became apparent that Eric Carmen’s ability to write great songs, juxtaposed against his beautiful tenor voice, would lead to a successful solo career. After releasing four albums with The Raspberries from 1972 to 1974, Eric Carmen went out on his own in 1975. Eric Carmen’s solo career began with incredible success. His first solo album entitled Eric Carmen proved to be more successful than anyone would have imagined. It was one of the biggest selling albums of 1975 fueled by two huge singles. The album’s first single entitled “All By Myself,” went all the way to number two on the Billboard Hot 100. The follow-up single “Never Gonna Fall In Love Again,” just missed the top twenty peaking at number twenty two. Eric Carmen followed up his debut album with his sophomore work Boats Against The Current. I will never forget buying that album the day it was released and listening to the title track. It was one of the most beautiful songs I had ever heard. While Eric Carmen had been responsible for writing so many big hits for The Raspberries from “Go All the Way,” to his solo hit “All By Myself,” the song Boats Against The Current was on an entire different artistic level. It was no way as successful as his other hits, but it was a career defining moment for the man. Eric Carmen’s next three albums did not do as well as his first two solo albums. In 1978 he released the album Change Of Heart. Music had changed so much since 1975 with bands like The Ramones, Blondie, Talking Heads, and Devo dominating rock culture and radio in a battle with the superstars of disco like Donna Summer and The Bee Gees. Eric Carmen’s sweet melodies and pop hooks struggled for airplay at the end of the decade. In 1980, Eric Carmen released the album Tonight You’re Mine. The album yielded one top 100 single with the song “It Hurts Too Much.” The song peaked at number seventy five on the Billboard Hot 100 in 1980. The most successful song that Eric Carmen composed in the late 1970s was the success that his track “Hey Deanie,” found when Shaun Cassidy covered it. Eric Carmen disappeared from the music business for the first half of the 1980s. In 1984, Eric Carmen released his fifth solo album entitled Eric Carmen. The album yielded Eric Carmen’s first top 40 hit in almost five years with the lead single from the album entitled “I Wanna Hear It from Your Lips.” The song peaked at number thirty five on the Billboard Hot 100. Never count musical legends out. Time and time again we have seen musical artists make major comebacks in pop culture almost twenty years after their careers began. In 1987, Eric Carmen celebrated the second biggest hit of his career with the song “Hungry Eyes.” The song was released on the soundtrack to the massively successful movie Dirty Dancing. The song went all the way to number four on the Billboard Hot 100. Eric Carmen’s only other song for his career to chart higher than “Hungry Eyes,” was his big 1972 hit “Go All The Way,” which reached number two on the Billboard Hot 100. In 1988, Eric Carmen would trump his commercial success with the song “Hungry Eyes.” His single Make Me Lose Control would peak at number three on the Billboard Hot 100 making that one his second biggest hit of his career. The song also hit number one on the U.S. Billboard Adult Contemporary Tracks charts in 1988. Eric Carmen would once again disappear from the public eye for most of the decade of the 1990s when grunge, metal, boy bands, hip hop and rap ruled the industry. Eric Carmen released the album Winter Dreams in 1997. The album was released only in Japan. It finally saw the light of the CD stores in the United States in 2000 when it was issued under the title I Was Born To Love You. The album would stand as the last new Eric Carmen studio album of his career. In 2013, Eric Carmen released the single “Brand New Year” which now stands as the least new recording released by Eric Carmen. Our Top 10 Eric Carmen songs list presents 10 of our favorite Eric Carmen songs released outside of his body of work with The Raspberries. # 10 – She Did It We open up our top 10 Eric Carmen songs list with the great single She did It. The song was the first single released from his 1978 album Boats Against The Current The song peaked at number 23 on the Billboard Hot 100 in 1977. # 9 – I Wanna Hear It from Your LipsContinuing with our top 10 Eric Carmen songs list we turn to the big 1980s. The song was a bit reminiscent of Bruce Springsteen’s “Fire,” The song was released on Eric Carmen’s 1984 album entitled Eric Carmen. # 8 – That’s Rock and RollEric Carmen’s fun songs T”hat’s Rock and Roll,” was released on his debut album. It was placed perfectly as the second song on the album and just sounded right after the sweeping epic song “Sunrise.” Song placement used to be so important on vinyl albums. This was a perfect example of that. # 7 – Haven’t We Come a Long Way Eric Carmen’s “Haven’t We Come A Long Way,” was an R&B gem that should have been a bigger hit than it ever was. One of our favorite Eric Carmen songs in the singers great catalog. The song was released on Eric Carmen’s 1978 album Change Of Heart. # 6 – Make Me Lose ControlEric Carmen’s success with the song Hungry Eyes eventually led to his recording of this great song one year later in 1988. The song “Make Me Lose Control,” was another massive hit for Eric Carmen. The song peaked at number three on the Billboard Hot 100 making it second higest charting single of his entire career. The songs Drifters meets Phil Spector sound proved to be quite a success for Eric Carmen in 1988. # 5 – Hungry EyesEric Carmen’s big 1987 hit “Hungry Eyes,” was written by Franke Previte and John DeNicola for the film Dirty Dancing. The song was a huge hit. “Hungry Eyes,” reached all the way to number four on the Billboard Top 100 in 1987. # 4 – Sunrise. Eric Carmen’s “Sunrise,” was the opening track to Eric Carmen’s debut solo album in 1975. The song opens with an intense instrumental full of strings and a great guitar solo and then flourishes into a happy rock and roll track Eric Carmen style. This was an amazing album opener. You knew this was going to be a great album right away the first time you heard this one. I remember it like it was yesterday. The end of the song utilizes the same chords as Elton Johns “Love Lies Bleeding.” This album borrowed heavily from a lit of people including Eric Carmen himself. # 3 – All By Myself Eric Carmen’s hit single “All By Myself,”was the artist biggest hit of his career including the songs he released with the Raspberries. Carmen had a little help with this one as he borrowed from Rachmaninoff’s Piano Concerto #2 in C Minor, Op. 18. It was intentional borrowing in which Eric Carmen actually paid the Rachmaninoff estate twelve percent of the royalties from the song. “All By Myself has been covered by various artists over the years including Celine Dion, Frank Sinatra and Sheryl Crow. # 2 – Never Gonna Fall In Love Again Eric Carmen’s single “Never Going to Fall in Love Again,” was the follow-up single to his mega hit “All By Myself.” The song was not as successful as “All By Myself,” which was a top 10 hit. Nonetheless, it still made it all the way to number twenty three on the Billboard top 100 which is still a pretty big deal. Why is this one ahead of it “All By Myself?” Simply because we liked it a lot better. It may not be as complex or majestic as “All by Myself,” but the melody and the groove was one for the ages. # 1 – Boats Against The Current What may be surprising to many fans is our choice for the number one song on this top 10 Eric Carmen songs list. Most would have probably thought “All By Myself,” or even “Hungry Eyes” would have came in at number one. However this beautiful song Boats against the current is just too special not to place here in the number one spot. “Boats Against The Current,” was the title track to his 1977 album Boats Against The Current. It is one of the most heartbreaking breakup songs ever written. It’s genuine, its sad and it is an amazing work of art. Share
  13. 2 points
    Northeast Ohio rocker thrilled with sound of 'Essential Eric Carmen' by Mark Meszoros Apr 2, 2014 Comments Submitted<p>Eric Carmen, then of The Raspberries, performs at a TV studio in Cleveland in 1973. Facebook Twitter Email Print When he was a child, Eric Carmen used to put his head between the speakers of his parents wall-mounted hi-fi system and listen to his favorite songs and albums again and again. As part of this studying, he at times turned off the left speaker, then the right, listening intently on what emanated from each. '(I) tried to deconstruct what was going on,' says the frontman of beloved Northeast Ohio rock band The Raspberries and hit-making solo artist. 'I think that might be my greatest gift - the ability to deconstruct. 'I would play (The Beatles') 'Ticket to Ride' a thousand times, and there were places on that record that made the hair on my arms stand up,' he continues during a phone interview from his Gates Mills home. 'I had to figure out what that combination was.' Knowing that, it's easy to appreciate the incredible pleasure it was for Carmen to take part in the digital remastering of a handful of his solo recordings for the just-released double-disc affair, 'The Essential Eric Carmen,' a collection that also boasts tracks from The Raspberries and even one from predecessor Cyrus Erie. 'I'd never actually been in a remastering session,' he says. 'I've been in a mastering session. This was a whole new thing.' Carmen says that when he spent a day last year with producer Mark Wilder in a New York studio, the man with a great reputation for breathing new life into old tracks started with the Cyrus Erie track, 'Get the Message,' which opens the collection. After 20 minutes of Wilder messing with the digital file on a computer and twisting and turning the knobs of some vintage equipment, the guitar sounded better, the vocals clearer. Carmen requested more kick drum and got it. He then asked if there was a frequency that would make his voice sound 'less prepubescent.' Done. Carmen went from being embarrassed by the track to loving it. 'It actually sounded the way it sounded when we played it,' he says. 'And I realized this Mark Wilder guy is an absolute genius.' According to Carmen's official bio, he was singing before most kids could talk. As a kid, he spent a lot of time around the Cleveland Orchestra, tagging along to rehearsals with his aunt, who played the viola with the renowned group. He would hang out and play in the balcony, backstage and sometimes even on stage as the large ensemble performed. 'If that doesn't inspire you, you're dead,' he says. 'It was a pretty incredible experience to be able to sit in the middle of that orchestra when I was 7 years old.' He counts a wide range of influences, from Cole Porter and Rodgers and Hammerstein to The Rolling Stones and The Beach Boys, but he recalls two musical moments that pointed him toward chasing the rock-star dream. Like other rockers in their 60s, including Bruce Springsteen and Billy Joel, he vividly remembers that famous appearance by The Beatles on 'The Ed Sullivan Show' 50 years ago. 'It was like an epiphany for everybody,' he says. 'Girls were screaming at them, and they were cool.' The other happened when he was driving along Mayfield Road, he says. He heard The Byrds' cover of Bob Dylan's 'Mr. Tambourine Man.' The layered sound sent chills up and down his spine, and he had to pull the car over. 'I was overwhelmed by that sound.' Carmen grew up in Lyndhurst and went on from Brush High School to John Carroll University. 'I didn't go to John Carroll for very long,' he says. As an English major, there was still a math requirement. 'I went to the first couple of sessions, and I thought, 'There's absolutely no way I'm getting through this course,'' he says with a laugh. 'From a very early age, obviously, I was very focused on music,' he says. 'From the point I dropped out of college, I became even more focused because I thought, 'If I'm not successful at this, I'm not sure what else I can do.' ' The Raspberries - which also featured Jim Bonfanti, Wally Bryson, and John Aleksic, the latter being replaced by Dave Smalley - had a string of hits, including 'Go All the Way' and 'I Wanna Be With You.' The band was known for a sound that blended big melodies with power chords. Carmen recalls going to Mentor Headlands with Smalley back then, girls there asking him if he was the guy who wrote those songs. 'I would say, 'Yes I did.' It was a fun summer.' Of course, the fun eroded. Part of the problem, he says, is he was carrying too much of the songwriting load for a band that recorded four albums in two years - production 'unheard of in today's world' - meaning a lot of time spent alone at the piano in his apartment. Reluctantly, he says, he decided to go out on his own. 'I never really wanted to be a solo artist at all,' Carmen says. 'All the acts I grew up loving were bands, but there came a point in The Raspberries where there was just so much strife and friction and difficulty in everything that I really didn't have a choice anymore. 'I realized we were in a box we weren't going to be able to get out of, and it wasn't fun anymore and I realized it was time to leave.' Being 'All by Myself' - the title of his first solo single and hit - gave him chance to change his approach to songwriting, he found, freeing him from writing with the strengths of his former bandmates in mind. 'My songwriting was pretty much tailored to the band,' he says. 'Once there was no band, I thought, 'I can really spread out and try some things here. 'It was a very freeing experience writing only for me.' While he went on to co-write the hit song 'Almost Paradise' for the 1984 film 'Footloose' - sung by Mike Reno and Ann Wilson - he is probably better known for a movie song he didn't write but did perform: 'Hungry Eyes' from 1987's 'Dirty Dancing.' 'It's the gift that keeps on giving,' he says. The song was sent to him as a demo from an old friend asking him to consider recording it. 'I listened to the demo, and I thought, 'It's not bad. The chorus could be OK,' ' he says. 'I called (him) and said, 'You sure you don't want me to write something?' ' The answer was no, but Carmen was allowed to produce the song himself, recording it in Beachwood with a couple of musicians, some state-of-the-art tech of the time and a very small budget. 'In five days, we recorded the song, mixed, mixed a second time for movie theaters - because they have five speakers - and we were done,' he recalls. The movie comes out, he says, and two weeks he got a plaque in the mail because the movie's soundtrack album had gone triple-platinum. 'I thought, 'What's going on with this?' It just became a phenomenon.' The album went on to sell more than 30 million copies worldwide. Carmen can't expect that kind of success from 'The Essential Eric Carmen,' but the project has been hugely satisfying. Largely spearheaded by producer Timothy J. Smith, the two collaborated on picking the 30 songs, largely agreeing. Smith told him that some artists don't like to be very involved in compilations such as this, while others like to be heavily involved. Carmen told him he wanted to do everything he could to make it terrific and, along with choosing tracks and sitting in on some of the remastering, wrote a blurb about each song in the liner notes. 'They told me to keep the comments brief - they said just a sentence or two sentences. I said, 'For some of them, I can do that.' (With) others, like 'Get the Message,' I said it really is the story.' (In the notes, Carmen explains how the recording of that song served as a lesson as to how producers sometimes think.) When he got an early copy of the album, he went out to his car to play it in its Bose system. 'I was by myself in my car smiling,' he says. Carmen believes 'Essential' is a great representation of his work, one that should introduce some songs to casual fans and dispel the notion that he only wrote ballads after leaving The Raspberries. 'My fondest hope is that when people buy this record they're going to hear some of the best songs I ever wrote, that they never heard,' he says. 'It will be interesting to see people's take on this because as a 30-track album it's a career retrospective - it's not a collection.' He has had previous collections, but never one with this many songs or remastered cuts. 'I've never gone out and said, 'This is the one you should go out and buy,' but I can honestly say about this particular double CD, if they only buy one package of mine, it's this one because it has the best of everything and the sound blows every other record I've made away.' Facebook Twitter Email Print Want local news? Sign up for our newsletter and stay info
  14. 2 points
    Here's today's ten for me: Boats Against The Current Love Is All That Matters Desperate Fools The Way We Used To Be All For Love Sleep With Me I'm Through With Love American As Apple Pie Never Gonna Fall In Love Again I Was Born To Love You
  15. 2 points
    Grammy-Nominated Artist Eric Carmen Complains Twitter Is ‘Suppressing’ Him By Heather Moon April 10th, 2020 4:25 PM Grammy-nominated singer/songwriter Eric Carmen (@RealEricCarmen) is battling Twitter. The open conservative and supporter of President Trump often complains that his tweets are being suppressed and that Twitter is deleting his followers. For example, in an April 2 tweet, Carmen said that Twitter is “rolling off followers, and suppressing my tweets.” Carmen, who has amassed over 112,000 followers on Twitter since joining in 2009, has taken to asking his followers if they can see certain tweets he has made, and to retweetthem if they can. Many of his followers report that, while they can see his tweets if they visit his profile page, they can not see his tweets in their feeds. One follower commented on his April 2 tweet that it was “the first post I’ve seen from you in several days.” This is the common definition of shadowbanning, with the Merriam-Webster Dictionary explaining it as when "the user's account is still active, but is prevented from appearing in the feeds of other users." At times over the last few months, Carmen said he even voluntarily deleted some of his tweets in an effort to loosen the apparent restrictions on his account. The reports of suppression continue, however, with the latest on April 7. Twitter Terms of Service (TOS) explicitly state that it “may also remove or refuse to distribute any Content on the Services, limit distribution or visibility of any Content on the service, suspend or terminate users, and reclaim usernames without liability to you.” This appears to be in contrast to Twitter’s previously stated stance, expressed by CEO Jack Dorsey in a 2018 radio interview with Sean Hannity, that, “We do not shadowban according to political ideology or viewpoint or content, period.” The current TOS seems to indicate that Twitter can utilize shadowbanning, and makes no comment on the reasons it may do so. The Washington Times further summarized Dorsey’s comments from the same interview, suggesting the platform’s goal was to maintain “an atmosphere of civility and courtesy for all,” while attempting to keep “posts free of regulation and restriction.” A Twitter representative responded to a request for comment, stating that Twitter “took no enforcement action” against Carmen’s account.
  16. 2 points
    I closed my twitter account a few days ago. I joined Parler, a competitor to twitter that, because of twitter´s deceit, has about doubled its # of users over the last days. We gotta start voting with our dollars, our feet and our keyboards. A ton of big names have joined Parler over the last week. A ton. I hope Eric and the president do the same soon. Now that there is an apparently real alternative to twitter, complaints about twitter will become cheap. Just exit, let´s put our money where our mouth is. James
  17. 2 points
    CBC sign off from 2005!!
  18. 2 points
  19. 2 points
    ...of a tree can be determined by the fruit that comes from it. This song / fruit is evidence that our society back in the day, was healthier than our society of today:
  20. 2 points
    Rockers Recall The Most Impressive Live Gigs They’ve Seen Eric Carmen (Raspberries): Trying to pick one concert by one act is pretty difficult. I never got to see the Beatles live, so it can’t be the Beatles. I caught the Rolling Stones in 1966 or 1967 at the Cleveland Arena. They were very cool, but not great musically. I guess the two best shows I’ve ever seen were the Who in 1968, when my band, Cyrus Erie, opened for them, and Elton John‘s “Yellow Brick Road” show, for completely different reasons. The Who were the most exciting band I’ve ever seen, and I think they were at their peak in 1968...Pete Townshend was so riveting onstage that I almost forgot to watch Roger and Keith (who were also spectacular). It was like watching Rudolph Nureyev with a guitar. They were all just incredible performers and musicians, and, of course, I loved their music. They were the ultimate combination of great songs, flash, and pure British cool. The Elton John “Yellow Brick Road” show was simply perfect from start to finish. Great band, perfect staging, perfect sound, perfect song selection and pacing. Elton blew everyone away that night.
  21. 2 points
    There's a song from 'Tonight You're Mine' that rarely makes the conversation when talking about our favorite Eric tunes. Inside Story is a rockin' little piece of power pop heaven. The intro grabs you- it's unique- yet there are parts of several of my favorite intros incorporated into it: Go All The Way, the yet to be written You Took Me All The Way, and Elton's Saturday Night's Alright For Fightin' all come to mind. For the next 3+ minutes we are treated to a sonic delight. After the intro we're swept through a verse that sets up an acoustic section to start the chorus and builds to a climax at the end of the chorus. It's one of those Eric songs that sounds like it just flowed out of him on the first attempt. Take another listen and see what you think:
  22. 2 points
  23. 2 points
    (Going against Kirk’s suggestion), Lester, Clara Bell and I are at the Belize border... Just one little set back...As we approached the Customs agent, I asked, ”Que manera de encontrar a James”... The Customs agent looked at me and said, “This is Belize...This is not the United States...We speak English here”... We forgot that Belize is the only Central American country that speaks English... Lester said, “Well, dag nabbit...Who’d a thunk it?... The Custom Officer said, “ENGLISH...NOT AMERICAN”... He waved us through and we continued our journey... JAMES, WE ARE A COMIN’... P.S....This made me think of a spontaneous work of art... James has disappeared... It looks like, he’s hidin’... Maybe he’s holed up in his basement, Just like Joe Biden...
  24. 1 point
    As noted on the Eagles LP thread... my Top 20 is very hits-heavy. I'm sure I'll come up with other choices after a drilling deeper.... 1. I Can't Tell You Why. A non-Henley/Frey song at the Top of an Eagles list? This is so great, though. 2. Lyin' Eyes 3. Hotel California 4. One of These Nights 5. Take It to the Limit 6. Wasted Time 7. Best of My Love 8. Take It Easy 9. Pretty Maids All in a Row 10. Try and Love Again 11. Peaceful Easy Feeling 12. Tequila Sunrise 13. Last Resort 14. Love Will Keep Us Alive 15. Desperado 16. New Kid in Town 17. In the City 18. Witchy Woman19. Already Gone 20. Heartache Tonight I do like "The Long Run," actually. And honorable mention to "Please Come Home for Christmas." And just like that, I have an Eagles playlist!
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  26. 1 point
    James, you have the same order as Pete. Mine: 1. Starting Over 2. Fresh 3. Raspberries 4. Side 3
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    There are several of us on this board who are published authors, albeit some more freewheeling than others with the rules of the grammar road. It has been said that once one has proven that one has mastered the rules of grammar, one is then permitted to break them. ☺️
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    He also arranged strings, and I believe he wrote virtually every song between ELO II and OOTB.
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    Another note about "Latitude 88 North"—it's so odd and cool-sounding, and has such a memorable melody. Trying to picture Jeff finish OOB and say, "I'll leave Latitude off this one. Not quite up to snuff." Heck, there was room for it! "Latitude" found him playing to his strengths at a time when he was on an absolute roll. Just think about the quantity and quality of material he created between 1973 and 1977—six albums, one of them a double LP, of course, in five years, from ELO II to Out of the Blue. What a run! And Lynne was main songwriter, main singer, lead guitarist, producer.... I don't know if any other artist or band can match that output for a five-year period, outside of the Beatles. Most acts trip up at least once over five years and deliver a clunker....
  30. 1 point
    Pretty cool—good find! Did I see Bernie with a guitar bopping around amidst the performers?
  31. 1 point
    Thanks, Craig—I need to reacquaint with Time and all later ELOs. In fact, I just put Time on, and I'm having a flashback as to my early impressions and how a defective CD knocked me off my beam. I remember LOVING the single "Rain Is Falling," and buying the vinyl LP right away. CDs started coming out three years later, and one of the first I got was Time. However—the copy I got (a promo from CBS) was defective and wouldn't play! If I had bought it in a store, no doubt I'd have returned it. But back then, I remember we (my staff and me) had boxes and boxes of promo CDs arriving every day, so I had tons of music to listen to, and I lost track of Time. (Literally and figuratively!) Listening to it again, I'm loving it—a futuristic pop gem. I'd give it a solid B, ranking it alongside or just below Discovery. "Twilight," "Ticket to the Moon," "The Lights Go Down," "21st Century Man," the single "Hold on Tight"—all quality songs. "The Way Life's Meant to Be" sounds like John Lennon doing an old 1950s classic... except it's one Lynne wrote for Time. And how about "Yours Truly, 2095" — a look ahead to Jetsons time, when the voice in the song is talking about driving a hover-car and dating a woman who's actually "an IBM" ("She's only programmed to be be very nice/BU she's as cold as ice...")? Is this what we want? Is this really what we want? I love the line "Time has the final word." So true.... I'll have to go deeper on the other post-Time albums over the next few days: Secret Messages (1983), Balance of Power (1986), and Zoom (2001), and then on to "Alone in the Universe" and "Out of Nowhere" from 2015 and 2019. I have all except the last two (I can't believe I let ELO lapse out of the "must buy, sight unseen" category. Love "When I Was a Boy"—I did enjoy taking that one in again, so thanks for the link share. And I'll take any Lynne performance of "Mr. Blue Sky." PS: Also, Kirk, I'm jealous you saw mid-1970s ELO, if it was prior to the spaceship tour of 1977. Or was that the tour you saw?
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    1. Boats 2. My Girl 3. Sunrise 4. Runaway 5 Never Gonna Fall in love Again 6. Love is All That Matters 7. Inside Story 8. No Hard Feelings 9. Foolin Myself 10. Heaven Can Wait
  33. 1 point
    First time that I heard The Electric Light Orchestra was the 1976 "Ole ELO" (greatest hits) on cassette that my older brother Mark bought back then in December of 1976!!
  34. 1 point
    I’ve been a fan of ELO all along. Their mid 70’s concert I saw at the forum ranks as one of the best I’ve seen.
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    James, you're right that OOTB marked a more pop direction for Lynne. I think I was a bubbling-under ELO fan when OOTB came out. I believe it was the first of their albums I bought, but I was really intrigued by their sound because of the singles "Can't Get It Out of My Head," "Strange Magic," "Evil Woman," "Telephone Line," and, of course, that crazed reading they gave "Roll Over Beethoven" (the long version). In fact, I may have bought their first greatest-hits package even before OOTB. After OOTB, I climbed on board fast and furious, backtracking to pick up all of their early albums. Lately, I've had tons of fun building ELO playlists on my iPhone... which is how I ended up being moved to write the above on Out of the Blue. Even though that's the album that "secured" me as an ELO fanatic, I love everything leading up to it. Today, here's how I rank ELO's albums; for now, I'll give my "great eight," because I have to reacquaint myself with Time, Secret Messages, Balance of Power, and Zoom (all of which will be in the C area, as I recall). I also want to listen to the two "Jeff Lynne's ELO" from recent years. 1. A New World Record (A+). Surprise! This one, I felt, was the bridge between their innovative earlier albums and the more mainstream-ready Out of the Blue. And what a bridge it is. "Tightrope," "Rockaria," and "Do Ya" are satisfying rockers. "Telephone Line" is the perfect pop hit. And I'm still very moved by "View Above the Clouds" and "Shangri-La." Not a clunker in sight. 2. On the 3rd Day (A). Surprise again! On the 3rd Day was so innovative and raw and bizarre, how can you not love it? "On No Not Susan" is one of the great pop songs ever (and like Eric did in "Starting Over," Jeff dropped a subtle F-bomb into the chorus)."Bluebird Is Dead" is an awesomely edgy power ballad. "Ma-Ma Belle" starts off with that killer hook, and "Showdown" is right up there with it. And there's lots of other great racket here. 3. Face the Music (A). Actually, maybe this—not A New World Record—is the bridge between early ELO and hit-making ELO. It's got two superb singles in "Evil Woman" and "Strange Magic," along with some of the craziness that marked the early records: the instrumental "Fire on High," the majestic "Nightrider," the bombast of "Poker," and bizarre country/pop/classical mix of "Down Home Town." But... "One Summer Dream" is my favorite here. "Waterfall" is pretty close—love those early ELO ballads. 4. Out of the Blue (A). See above. More pop, but hey, after putting out the string of ground-breaking LPs you noted above, Lynne probably wanted some big chart action, and he got it. 5. Eldorado (A-). This album kicks along at a relentless pace, and is probably the most "classical" of ELO's classical-rock mixtures. It's the home of "Can't Get It Out of My Head" as well as "Boy Bue," "Laredo Tornado," the ultra-cool "Illusions in G Major," and my other favorite here, "Mister Kingdom." 6. ELO II (B). "Roll Over Beethoven"! My favorite version of the song (just edging the Beatles' cover). 7. Discovery (B). Started getting a little too slick, influenced by the disco era. But there's still some great material here, including "Last Train to London," "Midnight Blue," and "Don't Bring Me Down." And—you've gotta love "The Diary of Horace Wimp"; it's always on the verge of being a horribly bad song, but you keep listening, and it ends up being kind of charming. 8. No Answer (C+). The debut album and an "in-development" sound—a little too rough and raw overall, but it has its moments. I love "10538 Overture" and "Nellie Takes Her Bow" especially.
  36. 1 point
    There Is a site called rock’s back pages that has tons of articles but a subscriber rate of $220 a year(my devotion does have limits)... Here are previews or teasers of the articles... Total word count of piece: 302 The Raspberries: Fresh (Capitol) Greg Shaw, Phonograph Record, July 1972 I ALWAYS HELD that the next revitalization of pop music would be heralded by a resurgence of interest in the mid-'60's, but I couldn't have imagined a year ago that things would come so far so fast. The old songs are not being reworked as much as I'd hoped (yet), but stylistically it might as well be 1965 as far as a large and growing number of groups are concerned. The Raspberries: Fresh Metal Mike Saunders, Rolling Stone, 6 July 1972 IT STARTS OFF with that unforgettable drum fill from 'Loco-Motion', now over a decade old, and then right into the opening chords from 'One Fine Day'. That's the intro of 'I Wanna Be With You', the single and opening cut from the Raspberries' second album. The lyrics aren't bad either: If we were older We wouldn't have to be worried tonight Ooh! I wanted be with you Raspberries are Blowing Loraine Alterman, Melody Maker, 21 October 1972 LORAINE ALTERMAN talks to the group that's bringing'smartness' back to rock The Raspberries: Fresh (Capitol) Mark Shipper, Phonograph Record, December 1972 THEY'RE A monument to youthful exuberance, a triumph of pure adolescent joyousness over post-teen disillusionment, and maybe just the last straw it's gonna take to break the back of an obsolete and outdated culture whose mere presence has clotted up the environment for the past five years more than ten thousand Chevrolets ever could. They're the Raspberries, and their great new album, FRESH is here and the time has never been riper. The Raspberries: Side Three Ben Edmonds, Phonograph Record, 1973 MENTION THE RASPBERRIES, and right away you're caught in a crossfire. In one corner are those (a few over-zealous rock critics and enough real kids to make the rest nervous) who could drive anybody up the wall with their boorish insistence that the Raspberries are the one true path to rock & roll salvation. In the other are the FM nazis and progressive pinheads who'd have you believe that simplicity is the enemy and AM radio a threat. But in the unbending self-righteousness with which they rush to make their point, both factions manage to miss it completely. In the middle of all this are the Raspberries, a good band that is progressing with enough intelligent self-evaluation to indicate that what is now good might one day be great. The Raspberries: Side 3 Metal Mike Saunders, Rolling Stone, 11 October 1973 SINCE THEIR last time out, the Raspberries must have heard Blue Ash, or some vaguely threatening noises from the other side of Ohio, because a lot of Side 3 shows real instrumental power. Strong guitar tracks and powerful drumming dominate the album, the group apparently inching to prove they can record in other veins besides the lightweight pop of their first two LPs. The Raspberries: At Carnegie Hall, September 26, 1973 Alan Betrock, Phonograph Record, November 1973 FOR THE RASPBERRIES, this night was something special. They had been waiting almost a decade to play in New York, and this was their debut (they almost made it to N.Y. last year when, at the last moment, their backup spot on the Hollies tour was terminated). They opened with a few measures from 'Ticket To Ride', which led into 'I Wanna Be With You', and the energy level was high with Eric straining in the higher registers and Wally slashing sway at his guitar. The Raspberries Metal Mike Saunders, Biography for Capitol Records, 1974 YOU KNOW the group's story by now: how the Raspberries came out of nowhere in Summer 1972 to score with their million selling single, 'Go All The Way', followed by two more hits ('I Wanna Be With You' and 'Let's Pretend') and a total of three Capitol albums before their recent personnel change. Raspberries: Side 3 Ben Edmonds, Creem, January 1974 MENTION THE RASPBERRIES, and right away you're caught in a crossfire. The Raspberries: Starting Over (Capitol) Gene Sculatti, Zoo World, 26 September 1974 MAYBE YOU had 'em pegged wrong, in the matching mod suits, Eric Carmen mincing like the late Paul McC with an Ohio accent. But hey, now they say "shit" in their lyrics, the songs often stretch past 2:45 and the suits are back in the closets. The Raspberries - Starting Over Max Bell, New Musical Express, 22 February 1975 I DON'T KNOW why but it always seems odd when American groups try to sound English, although the reverse is quite acceptable. The Raspberries: Starting Over Ken Barnes, Rolling Stone, 24 October 1974 THE RASPBERRIES have at last realized their potential. They've clearly become the premier synthesizers of Sixties pop influences, extant. Even more importantly, the end results of their adroit collages of musical knowledge often equal or surpass their models' original creations. The Raspberries: Starting Over Andy Childs, ZigZag, March 1975 APPARENTLY UNKNOWN to most of the British pop press and record buyers alike, the Raspberries have made six highly successful singles (five of them made the American charts), and three consecutive hit albums. This new release is their fourth album and contains possibly their seventh big single. The Raspberries: Starting Over Dave Marsh, Let It Rock, April 1975 A YEAR AGO, the Raspberries seemed like nothing so much as a prefabricated rock band in the tradition of the Monkees. The Raspberries: Best Of The Raspberries(Capitol) Penny Valentine, Melody Maker, 17 March 1979 THE ONE clever thing that Eric Carmen's earlier outfit did was to put Overnight Sensation out in the summer, the one time the record could exploit its full potential – especially on American FM radio, given that the number itself used the sound of the airwave medium: "Hit record, yeah!" The Raspberries: Rebirth Of The Cool Dave DiMartino, MOJO, November 2002 Who are they? The inspired combination of two of Cleveland's finest unsung rock bands of the late '60s – Cyrus Erie and The Choir – this gleefully anachronistic quartet formed in 1970 and included Eric Carmen (bass), Wally Bryson (guitar), David Smalley (guitar) and Jim Bonfanti (drums). Following a brief 1973 break-up, Carmen, Bryson, and new members Scott McCarl and Michael McBride recorded the band's fourth and final album, the tragically mistitled Starting Over. The Raspberries: House of Blues, Los Angeles Bill Holdship, LA CityBeat, 27 October 2005 IN 1972, NOTHING sounded quite like the Raspberries' 'Go All the Way' and 'I Wanna Be With You' when they came roaring out of mono car radios. Of course, it's now obvious that the Cleveland quartet sounded like a lot of things that came before it, merging the Who's power chords with the Beach Boys' sweet melodies and vocal harmonies and delivering it all with a decidedly Beatlesque rhythm and feel. Lead singer Eric Carmen even sounded uncannily like Paul McCartney on those two biggest hits. The Raspberries' 'Go All The Way
' Johnny Black, Blender, July 2006 VITAL STATISTICS LABEL: Capitol PERFORMERS: Eric Carmen – vocals/piano/guitar Wally Bryson – lead guitar David Smalley – bass Jim Bonfanti – drums PRODUCER: Jimmy Ienner CHART DEBUT: 19 August 1972 HIGHEST CHART POSITION: 5 Total word count of piece: 814 Go All The Way: A Thing Called Power Pop Dave Laing (Australia), I Like Your Old Stuff, 25 March 2017 "Pete Townshend coined the phrase [power pop] to define what the Who did. For some reason, it didn't stick to the Who, but it did stick to these groups that came out in the '70s that played kind of melodic songs with crunchy guitars and some wild drumming. It just kind of stuck to us like glue, and that was ok with us because the Who were among our highest role models. We absolutely loved the Who." - Eric Carmen, The Raspberries
  37. 1 point
    The Way We Used To Be from a radio station half way across the world:
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  39. 1 point
    English English / India Español USA: 1-800-4GIBSON Europe:00+8004GIBSON1 PRODUCTS STORE NEWS-LIFESTYLE LESSONS COMMUNITY 24/7 SUPPORT Showtime! The 10 Greatest Rock Venues of All Time Russell Hall | If there’s a characteristic shared by many great rock venues, it’s that they’re rarely about glitz, glamour, or Vegas-style flash. Oftentimes, the best venues have a raggedly dilapidated quality that feels part and parcel of rock music itself. Many great artists served apprenticeships and honed their crafts in such settings, performing on low-tiered rickety stages. With just a couple of exceptions, the legendary venues below prove that shifts in the direction of rock can sometimes occur in the unlikeliest of places. Whisky A-Go-Go (Los Angeles, California) The L.A. rock scene was essentially born on the day the Whisky A-Go-Go opened its doors in 1964. Located on Sunset Strip, the club served as the breeding ground for such acts as Alice Cooper, Buffalo Springfield and The Doors. As its name implies, the club also spawned the relatively short-lived phenomenon of go-go dancing. The Who, Led Zeppelin, Cream, and countless other pioneering bands made their southern California debut on The Whisky’s stage. The Fillmore (San Francisco, California) No venue had a greater impact on ’60s counterculture than the original Fillmore did. A focal point for the psychedelic movement, the venue achieved notoriety not just for the musicians who appeared there, but also for an ambiance built around strobe lights, light-show projections, and, of course, its famous posters. Jefferson Airplane, The Grateful Dead, Jimi Hendrix and Pink Floyd were among the notable artists who bolstered their paisley reputations by playing The Fillmore. Such diverse artists as Otis Rush, Miles Davis and Otis Redding performed there as well. CBGB (New York, New York) Founded in 1973, CBGB was originally intended to be a showcase for its namesake blend of country, bluegrass and blues. Instead, the venue quickly became an incubator for the burgeoning American punk scene and the new wave movement. Blondie, The Ramones, Television, Talking Heads, and Patti Smith are among the elite artists who honed their skills in front of CBGB audiences. Fittingly, Smith staged the final concert at the venue, performing there just prior to its October 2006 closing. 40 Watt Club (Athens, Georgia) Many rock fans think of southern rock as a stylistic niche limited to The Allman Brothers Band, Lynyrd Skynyrd, The Black Crowes, and other bands of similar ilk. More than any other venue, the 40 Watt Club demolished that stereotype. Since opening in 1978, the unassuming structure has served as a musical laboratory for the likes of R.E.M., Indigo Girls, B-52s and the late Vic Chesnutt. In addition to being a must-stop for virtually every alternative band who tours through the South, the 40 Watt is currently home-base for Drive-By Truckers, Of Montreal, and other bands that comprise the thriving Athens scene. Max’s Kansas City (New York, New York) Founded in 1965, Max’s Kansas City was originally a gathering spot for such legendary artists and writers as William S. Burroughs, Roy Lichtenstein, and Willem de Kooning. Andy Warhol was a regular as well, which is how the Velvet Underground came to perform their final shows there in 1970. Max’s went on to become home-base for the ’70s glam scene, with Iggy Pop, Lou Reed and the New York Dolls putting in regular appearances. The venue later became a cradle of punk, and in fact Sid Vicious staged many of his notorious post-Pistols solo shows on Max’s stage. Marquee Club (London, England) The Marquee Club’s place in rock history was assured on July 12, 1962, when an upstart band called The Rolling Stones took the stage for their first-ever live public performance. In subsequent years, the venue’s small stage was graced by the likes of The Who, The Yardbirds, Led Zeppelin and the original Syd Barrett-led Pink Floyd. Perhaps most famously, David Bowie chose the venue as the setting for his Ziggy-era “1980 Floor Show,” which was broadcast to American audiences on The Midnight Special in 1973. During the ’80s, such notable bands as Def Leppard, Iron Maiden, and Metallica played the Marquee as well, sometimes in the form of surprise appearances under assumed names. Cavern Club (Liverpool, England) Liverpool’s Cavern Club was originally founded as a jazz venue, in 1957. Thanks to Britain’s skiffle craze, however, the club soon began staging “lunchtime sessions” that featured burgeoning skiffle acts, including an upstart band called The Quarrymen Skiffle Group led by 16-year-old John Lennon. Long story short, by mid-1961 England’s Merseybeat scene was in full bloom, with The Beatles at its center. To this day, many who saw The Beatles play at The Cavern during those years say those performances were the band’s best-ever. First Avenue and 7th Street Entry (Minneapolis, Minnesota) First Avenue’s main stage was memorialized forever as the place where Prince and the Revolution performed their searing music in the film, Purple Rain. Indeed, throughout the ’80s, the Purple One often tried out new material at the venue. Meanwhile, First Avenue’s sister venue, 7th Street Entry, served as a breeding ground for The Replacements, Husker Du, Soul Asylum and other Minneapolis-based bands. One wonders if the Midwest alternative explosion would have occurred at all were it not for this cornerstone venue. Crocodile Café (Seattle, Washington) Opening its doors with little fanfare in April 1991, this legendary venue quickly became prime stomping ground for the burgeoning Seattle music scene. Nirvana, Pearl Jam and Alice in Chains headed the all-star list of grunge bands who took “the Croc’s” stage as up-and-comers. Even as the grunge explosion tapered off, the venue remained a favorite site for alternative acts, with such notable groups as R.E.M. and Sonic Youth including it as a must-stop on tours through the Northwest. Apollo Theater (New York, New York) Though the Apollo Theater is not commonly thought of as a rock venue, rock music would likely have a much different sound were it not for the performers who honed their skills there. An incubator for the likes of Stevie Wonder, James Brown, Aretha Franklin and The Isley Brothers, the venue correctly asserts its claim as the place “where stars are born and legends are made.” The wide range of talent that graced the Apollo Theater’s stage is evidenced by two legendary acts who, early in their careers, won amateur contests presented at the club. One was The Jackson 5. The other? Jimi Hendrix, in 1964...
  40. 1 point
    Big fan of both of these groups. Many romantic moments accompanied their music.
  41. 1 point
    Sara Bareilles does the remake of the 1972 song "Free To Be...You And Me" (originally done by The New Seekers). In 1974, ABC did a TV special starring Marlo Thomas And Friends.
  42. 1 point
    One of my favorites of Eric´s. I´ve given it ink here a lot.
  43. 1 point
    By the way, The Euclid Beach Band sang "There's No Surf In Cleveland" in 1978!!!
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    I don’t think this was posted here before, but it’s a pretty good review... 2017 THE RASPBERRIES “Pop Art Live” (Omnivore Recordings) By Admin - August 30, 2017 1580 0 Share on Facebook Tweet on Twitter BY ELENI P. AUSTIN If you want to make a perfect pie or cake, all you need is a recipe and the right ingredients. Follow the instructions and voila. That’s basically all it takes. Creating the perfect song is a trickier proposition. You certainly know a perfect song when you hear it. It’s difficult to quantify why, to break down the details, you just know. Todd Rundgren’s “I Saw The Light,” the Jackson Five’s “I Want You Back,” those are perfect songs. More recent examples include “No Rain” from Blind Melon, “Hey Ya” from Outkast, “Single Ladies” from Beyonce and “Happy” from Pharrell Williams. Undoubtedly the most perennially, all-time pluperfect song ever is “Go All The Way” by the Raspberries. This is a fact, and it’s not up for debate. The Raspberries originated in Cleveland, Ohio in 1970. They rose from the ashes of two popular local bands, the Cyrus Erie and the Choir. Eric Carmen was lead vocalist for Cyrus Erie, which had a huge live following. Guitarist Wally Bryson, drummer Jim Bonfanti and bassist Dave Smalley anchored the sound of the Choir, which actually accrued a few hit singles on local radio. Very briefly, Eric even persuaded Wally to join the Cyrus Erie too. In 1970 Eric, Wally and Jim recruited John Aleksic for bass duties, (Dave Smalley was serving in Vietnam). John played with the nascent four-piece until Dave returned. At that point, Eric shifted from rhythm guitar to bass and Dave took up rhythm guitar. Although Eric the nominal lead singer, Wally and Dave also took turns fronting the band. They spent considerable time woodshedding and playing local clubs. Their demo caught the ear of producer Jimmy Ienner and after an intense bidding war the Raspberries were signed to Capitol Records. Their music drew on the seminal sounds of British Invasion bands, especially the Beatles and the Who. Their self-titled debut arrived in the Spring of 1972 and included a scratch n’ sniff sticker that actually smelled like raspberries. (Ahh, the ‘70s!) The album peaked at #51 on the Billboard chart, but the Second single, “Go All The Way” managed to climb to #5 on the singles chart. A remarkable feat, for an unknown mid-western band. For the next three albums, the band refined their sound. Sticking to the style Pete Townshend referred to as “Power Pop,” catchy and wildly melodic, it was accented by crunchy guitars and thundering drums. Not six months after their debut, the follow-up, Fresh, arrived. But by the time their third album, Side 3 was recorded in late 1973, inter-band tensions fueled a more raw and aggressive sound. Tensions soon escalated and Dave Smalley was booted from the band. Not long after Jim Bonfanti quit and bassist Scott McCarl and ex-Cyrus Erie drummer Michael McBride stepped in for what would be the Raspberries’ fourth and final album, 1974’s Starting Over. Although it wasn’t as popular as its predecessors, the album had some high-profile fans like John Lennon and Bruce Springsteen. Not long after, the band called it quits. Eric Carmen went on to have a moderately successful solo career, writing and singing the lachrymose ballad “All By Myself,” (which he took to #2 on the charts and was later made even more lugubrious by Celine Dion), as well as the song “Hungry Eyes” from the Dirty Dancing soundtrack. He also wrote the douche-tastic Ann Wilson-Mike Reno duet, “Almost Paradise,” which was featured on the Footloose soundtrack. Jim Bonfanti and Dave Smalley formed their own short-lived band, Dynamite. Wally Bryson resurfaced in Tattoo and then joined Fotomaker for three albums in the late ‘70s. Fast forward to 30 years after the Raspberries’ break up and the impossible happened. After years of rumors and stalled reconciliations, the Carmen/Bryson/Bonfanti/Smalley line-up reconvened. Coincidently, House Of Blues was opening a club in the band’s home town, Cleveland. It seemed like the perfect place for a reunion concert. The show went so well, a nationwide tour followed, along with a VH1 special and Capitol Records even issued a new Greatest Hits compilation. Now the fine folks at Omnivore Recordings have released Pop Art Live, that legendary Cleveland concert in its entirety for the very first time. The album crashes through the speakers with the classic track “I Wanna Be With You.” A fusillade of drums and ringing guitar cushion Eric’s yearning tenor as he is joined by the remarkably tight harmonies of Wally, Dave and Jim. The packed audience roars with delight as the song limns the limits of teenage sexual frustration. Each of the band’s four albums is represented on this two-disc set, but the lion’s share of songs come from the second record, Fresh, and the third, Side 3. Released six months after their debut, Fresh confirmed that these Cleveland kids were more than one-hit-wonders. Wally Bryson takes the lead on “Nobody Knows,” and “Might As Well.” The former is a gritty treatise on teenage alienation and unrequited love featuring rippling guitar riffs. The latter blends mandolin and banjo accents that are crisp and countrified. Portraying a beleaguered commitment-phobe, Wally offers mock exasperation as he admits his feelings; “might as well give in and say I love you.” Meanwhile, “Let’s Pretend” pivots from tender to angsty to melodramatic. Eric’s falsetto vocals are as sharp and crystalline as they were 32 years earlier. “It Seemed So Easy” frames a break up post-mortem in a Merseybeat melody that echoes British antecedents like the Hollies and the Kinks. Jangly acoustic guitars and beatific high harmonies nearly belie the slightly masochistic groveling of “If You Change Your Mind” Side 3 songs include the candy-coated crunch of “Tonight.” On “Last Dance” the arrangement opens with ringing, Byrdsy guitar before downshifting into a rollicking Hee-Haw hoedown. Dave Smalley handles lead vocals on two of his compositions, the rock solid groove of “Makin’ It Easy” and the prickly “Hard To Get Over A Heartbreak.” Although “Ecstasy” and “I’m A Rocker” are ostensibly Eric Carmen’s songs, they both showcase the titanic talent of drummer Jim Bonfanti. “Ecstasy” crackles with authority as Jim pounds his kit with a Keith Moon-like abandon. That said, his percussive assault never overpowers the winsome melody. A whip-crack rhythm drives the action on “…Rocker,” as Eric insists “Back beat boogie got a hold on me, make me wanna jump and shout.” Playing a two and a half hour concert on their home turf allowed the band to spread their wings creatively and honor musical heroes as well as their humble beginnings. Three Beatles tracks pop up, the see-saw, sad sack waltz of “Baby’s In Black,” the rippling samba of “No Reply,” and the ringing Rickenbacker riffs and jagged off-kilter rhythms of “Ticket To Ride.” The third song of the first set is a note perfect rendition of the Who’s “Can’t Explain.” A three chord stomp, it features phased guitars and a pile-driver beat. They even manage to excavate a triad of songs from the late ‘60s Choir era. “When You’re With Me is lush and yearning, echoing both the Beach Boys and Chad And Jeremy. “It’s Cold Outside” is almost too perfect and polished for Garage Rock, and the mid-tempo “Should I Wait” simply shimmers. Even though Dave and Jim weren’t on board for the Starting Over record they acquit themselves beautifully on the title track, “Play On,” “Party’s Over,” and “Overnight Sensation.” “Starting Over” is a majestic, piano-driven ballad that has as much gravitas as any early ‘70s Elton John song. Wally handles lead vocals on the sinewy “Play On,” (which he dedicates to bassist Scott McCarl), the tune blends a driving rhythm and walking bass lines with a lush chorus and wicked guitar work. He also nails the Psychedelic Soul of “The Party’s Over.” Muscular guitar licks wash over tinkly piano, serpentine bass fills and thwoking percussion. “Overnight Sensation (Hit Record)” is the Raspberries’ magnum opus, matching the sonic ambitions of Phil Spector and Brian Wilson. It loses none of its grandeur live. Ethereal piano chords cascade over spiky guitar, rippling castanets and a walloping backbeat. A precis on the vagaries of Rock N Roll songcraft, its equal parts wide-eyed and cynical. Eric insists he’s not “in it for the money,” but confides “I’ve been trying to write the lyric, not offensive but satiric too.” Pretty soon the monster hook kicks into overdrive and Bonfanti unleashes a tsunami of crashing percussion as celestial harmonies chant “hit record yeah, want a hit record yeah, (number one).” Although the debut is allotted only five cuts, they’re all potent entries. “Don’t Wanna Say Goodbye” shapeshifts from a lachrymose piano ballad, quickly building to a crescendo before the instrumentation retreats and then roars back for a bluesy climax. The song closes with a spitfire guitar solo. “I Can’t Remember” feels as Cinematic as a Rock Opera overture. “I Saw The Light” ping-pongs between choir-boy sweet and yowly sourness. “Come Around And See Me” fuses Latin percussion to a twangy Country Rock song. 27 songs in, the band wraps it up with their ne plus ultra hit, “Go All The Way.” The distorto opening riffs still growl with authority, boomerang bass and pummeling backbeat feel equally thrilling. Eric’s vocals crackle with intensity as he revels in that magic moment of concupiscence. What seemed sexually suggestive in ’72, (the BBC banned the tune because of risqué lyrics), seems rather sweet and innocent in retrospect. Amazingly, the song still resonates, which is why it shot back into the Top 10 when it was featured in the 2014 movie, Guardians Of The Galaxy. Here it serves as a victory lap for a band whose musical prowess will never go out of style. To replicate the sounds the Raspberries created in the studio all those years ago, on stage, the four-piece enlisted a quartet of musicians they christened The Overdubs. Paul Sidoti added guitar, keyboards and vocals, Billy Sullivan provided more guitar, harmonica and vocals, Jennifer Lee also played keys and sang back-up and Derek Braunschweiger supplied additional percussion. This live set gives the Raspberries their final moment in the sun. On stage, the band struts and swaggers, but they also display a level of hometown humility that is shot through with sincerity and grace. The album provides an excellent introduction for millennials who got hooked via Guardians Of The Galaxy. (In fact, a three-record vinyl set of Pop Art Live will be released on Black Friday-Record Store Day in November). For anyone who came of age in the late ‘60s and early ‘70s, weaned on the golden age of AM Pop radio, the record is a potent reminder that the Raspberries had the goods. In fact, they still do.
  46. 1 point
    What's not too like about that interview- good job! Yeah, I know, a couple of inaccuracies, but still a winner!!
  47. 1 point
    What a waste of time. "The Search is Over" and "Look Away" are not even on my Top 1 Million. Bernie
  48. 1 point
  49. 1 point
    Soooo... the interesting part of the review is that it was written by John David Kolodner. The same John David Kolodner that signed Eric to the Geffen label eight years later! Bernie
  50. 1 point
    Rum Holiday Cake Recipe Once again this year, I've had requests for my Rum Holiday Cake recipe so here goes. Please keep in your files as I am beginning to get tired of typing this up every year! (Made mine this morning!!!!) 1 cup sugar1 tsp. baking powder1 cup water1 tsp. salt1 cup brown sugarLemon juice4 large eggsNuts1...large bottle of Rum You may need more2 cups dried fruitSample a cup of Rum to check quality. Take a large bowl, check the Rum again to be sure it is of the highest quality then Repeat. Turn on the electric mixer. Beat one cup of butter in a large fluffy bowl. Add 1 teaspoon of sugar. Beat again. At this point, it is best to make sure the Rum is still OK. Try another cup just in case. Turn off the mixerer thingy. Break 2 eegs and add to the bowl and chuck in the cup of dried fruit. Pick the fruit up off the floor, wash it and put it in the bowl a piece at a time trying to count it. Mix on the turner. If the fried druit getas stuck in the beaterers, just pry it loose with a drewscriver Sample the Rum to test for tonsisticity. Next, sift 2 cups of salt, or something. Check the Rum Now sh*t shift the lemon juice and strain your nuts. Add one table. Add a spoon of sugar, or somefink. Whatever you can find. Greash the oven. Turn the cake tin 360 degrees and try not to fall over. Don't forget to beat off the turner. Finally, throw the bowl through the window. Finish the Rum and wipe the counter with the cat.