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Lew Bundles

Rock Back Pages Archived Raspberries Articles

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  • 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over post-teen disillusionment, and maybe just the last straw it's gonna take to break the back of an obsolete and outdated culture whose mere presence has clotted up the environment for the past five years more than ten thousand Chevrolets ever could.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


LABEL: Capitol


Eric Carmen – vocals/piano/guitar

Wally Bryson – lead guitar

David Smalley – bass

Jim Bonfanti – drums

PRODUCER: Jimmy Ienner

CHART DEBUT: 19 August 1972


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












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