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Posts posted by pierson

  1. Marvin,

    yeah... AC/DC's success was mainly because they had an edge and really were a definitive hard rock band... I think you're right, to some degree... Like T. Rex, Slade's huge onslaught of top 10 UK hits doesn't show much in the development department, say, like The Raspberries... T. Rex & Slade never really evolved... Slade did have some gems, like "Cos I Luv You" (their 1st UK #1--and probably their best), "Far far Away," "When The Lights Are Out" and "Do We Still Do It." During the hits-streak, they rarely hit a lull, despite being a bit lightweight and repetitive... They're standard stayed consistent, unlike, say April Wine, who I find very hit & miss... England has a way of over-hyping things and they embrace it for the 5-year or 3-year sprint... Slade's huge UK chart success (12 top 3 singles--6 #1s) is a bit crazzeee, but it sure gave rock and roll some levity in such a serious period where almost everyone was getting too BIG for their own 6-strings (extended solos, beards, opera...). Sounds like the Raspberries' concept.

  2. I bet for the Australian band Jet..

    yes and no... Jet come from a more pure rock and roll (less pop) background than the Raspberries, although they do have decent slow songs... The Raspberries also had this emotional depth few capture... the only new band who hits that deep is Keane, although they lack the rock and roll side that the 'Berries excelled at... if you could mix Keane with Jet, You would have today's Raspberries...
  3. Eric's right there with who I refer to as the classic semi-popular "Pop Geniuses"... guys like Dwight Twilley and Alex Chilton (and Chris Bell), Pete Ham... what they did in the early '70s was create the most important moving heartfelt pop/rock music since The Beatles... Todd Rundgren was just a notch ahead... what any of them did after 1978, doesn't mar their creative highs...

  4. Be that way.

    Me curmudgeon boy.... actually, compare/contrast Flashcubes vs. The Knack... i always thought the boys from Syracuse were on the right course... despite the fact that The Knack (and The Cars) made it possible for almost all new wave era power pop bands to get a major label deal--and tragically The Flashcubes didn't land a deal...

    The Knack were a novelty success (risque lyrics, Beatle clothes)... The Cars were a studio band... if you were looking for a band to represent and capture the essence of The Raspberries, The Flashcubes did (i.e. "No Promise," "Girl From Germany," "It's You Tonight," "I Wanna Stay All Night")... at their prime, they are the real deal like Paul Collins' Beat, 20/20, Cheap Trick, The Plimsouls... and they're still able to pull it off live these days (their live set at TT Bears in Boston in Nov. 2003, was GODHEAD!)... and i wasn't wearing rose colored glasses...

  5. They were a fun band for sure, but their rather predictable music was probably a reason why they never caught on this side of the Atlantic.


    Than why AC/DC??

    plus Slade wrote some top notch ballads: "How Does It Feel," "Everyday," and the mid-tempo "Far Far Away" amply proving they had more dimensions to them than your run-of-the-mill glitter rock band...

  6. here it is.... as listed in the special power pop issue of BOMP! magazine in 1978... some of the obscure '60s tracks (i.e. Masters Apprentices, Smoke, The Thoughts) surfaced on the Nuggets II box set...

    his omissions (Hollies, Badfinger, Beatles, Artful Dodger, Crabby Appleton) are those he deemed "pop/rock" artists who lacked the sufficient "danger" element-- something which is a conflict with the inclusion of Twilley, Pagliaro, and Abba--

    The Hollies' "I Can't Let Go" and "When Your Lights Turned On" should be on the list as well as Artful Dodger's "Alright" and "Think Think" and Badfinger's "Baby Blue" and "No Matter What" as well as Crabby Appleton's "Go Back," The Pop's "You Oughta Know," Cheap Trick's "Oh Candy," "Come On Come On," "So Good To See You"... still, a pretty darn definitive list....

    1. THE RASPBERRIES: Go All The Way; Ecstasy; I Wanna Be With You; Tonite

    2. THE WHO: The Kids Are Alright; I Can See For Miles; Anyway Anyhow Anywhere; Cal Me Lightning; Substitute; Legal Matter; etc.

    3: THE RAMONES: Oh Oh I Love Her So; Sheena Is A Punk Rocker; Rockaway Beach; etc

    4. THE EASYBEATS: Friday On My Mind; Sorry; Good Times; Easy

    5. CREATION: Making Time; Biff Bang Pow; Painter Man

    6. BIG STAR: September Gurls

    7. SMALL FACES: Afterglow; All or Nothing; Tin Soldier; Sha La La Lee; Sorry She's Mine; etc.

    8. KINKS: Till The End Of The Day; All Day & All Of The Night; You Really Got Me; Who'll Be The Next In Line; too many more to list!

    9. THE BOYS: The First Time

    10. ABBA: So Long; Waterloo; Rock & Roll Band

    11. GENERATION X: Your Generation

    12. MARCUS HOOK ROLL BAND: Natural Man

    13. THE JAM: In The City

    14. JOOK: Crazy Kids

    15. MASTERS APPRENTICES: Wars Or Hands Of Time

    16. THE QUICK: Pretty Please Me

    17. PAGLIARO: Lovin' You Ain't Easy; Some Sing Some Dance

    18. THE SMOKE: My Friend Jack

    19. THE FLAMIN' GROOVIES: Shake Some Action; I Can't Hide

    20. BAY CITY ROLLERS: I Only Wanna Be With You; Saturday Night

    21. DWIGHT TWILLEY BAND: I'm On Fire

    22. WIZARDS: See You Tonight

    23. STREAK: Bang Bang Bullet

    24. EQUALS: I Can See But You Don't Know

    25. SWEET: Hellraiser, Little Willy; Blockbuster

    26. THE MOVE: Do Ya

    27. THE THOUGHTS: All Night Stand

    28. EDDIE & THE HOT RODS: Do Anything You Wanna Do

    29. STANLEY FRANK: S'cool Days

    30. SLADE: Cum On Feel The Noize

  7. i saw the Knack once in the '80s and they sukked (sorry Bob)-- ended with a cover of a Doors song-- absolutely dreadful-- they were as far away from the Power pop dream as the Grateful Dead... their 1st album has a few OK songs--but they were 'train-jumpers' whereas the romantics, shoes, 20/20 were the real deal... also check out The Pop and The Quick's 1st albums...

    PLEASE, check out the bands listed on the 1st post-- unlike the Knack, hardly anyone has ever heard them-- and they are a closer breed of brilliance like our beloved Raspberries...

  8. It bugs the **** out of me when people put Paul down and give John all the credit for the Beatles. Greg is right: In the Beatles, Paul needed John and vice versa. They clicked in a way no two other songwriters ever have - even if they wrote a lot of the stuff separately.


    Definitely true-- I think it's fair to examine where the strengths lie and how the two made each other stronger. They truly worked off each other and really pushed the other to excell in places they wouldn't had the other person been absent. Not to mention, they also pushed each other to explore all the stuff going on around them (i.e. Dylan, Beach Boys, avant garde scene etc.) and take it all into consideration.
  9. the bee gees got all wrapped up in the "disco" thing because of saturday night fever...

    Not really, they were ahead of the "disco" curve with "Main Course" in 1975 and "Children Of The World" in 1976--these albums helped expand disco's demo to a wider audience with hits like "Nights On Broadway," "Fanny Be Tender," "Jive Talkin'" and "You Should Be Dancing." It wasn't until '78 that "Stayin' Alive" and the "SNF" LP was released... you're right, though--the songs would've been hits in any era... After "Saturday Night Fever" exploded, disco became an obnoxious redundant genre with nary a memorable moment... even the Bee Gees got worse...
  10. For many this will be old news, but since no one checked out my Van Duren post (he IS the guy everyone should hear, in my opinion) I will again list artists who most Raspberries fans should dig or check out:

    1. Van Duren (late '70s singer songwriter from Memphis--part of the Big Star circle but bears more resemblance to Eric Carmen, Todd Rundgren, Emitt Rhodes and Paul McCartney--and at his best ["Are You Serious"] he's as good as those guys--really. Marvin recently had trouble tracking down "Are You Serious"--it still might be available via www.notlame.com)

    2. Dwight Twilley Band

    3. 20/20 (1st album)

    4. Artful Dodger

    5. April Wine (1972-1977)

    6. Flashcubes (especially the song "No Promise")

    7. Chamber Strings

    8. Jon Brion

    9. Pernice Brothers

    10. Pezband/ Off Braodway

    11. Edward Bear

    12. Pilot

  11. In my opinion, (Which, let's face it, is the only opinion that really counts) the only band who's songs still consistently hold up from that otherwise embarrassing disco era is KC And The Sunshine Band. The BeeGees songs would have held up if they weren't all sung chipmunk style. frown

    KC is a clumsy fat excuse for "disco"--the best stuff is usually from its nascent days (73-76) with artists like First Choice, George McCrae and Carol Douglas-- and cool stuff like Bowie's "1984" Donna Summer's "I Feel Love" (her only great song) and Roxy Music's "Angel Eyes"

    i just heard the Bee Gees' "nights on Broadway" recently and was extremeley surprised to hear how amazing the "bridge" is--it's almost a seperate song on it's own--and very much akin to their 68-72 pop phase--absolutely gorgeous-- and "Fanny Be Tender" is an amazing pop song as is the one they wrote for Yvonne Elliman, "If I Can't Have You"--their voices can get on the nerves, but their songs are very good--even The Talking Heads (Tina Weymouth) were fans

  12. I'm getting excited about this group from the rave reviews from you guys, even though I don't think I've ever heard one of their songs. Do the Rubinoos have any slow songs / ballads? Or is it all upbeat pop?

    The Rubinoos were as adept at ballads (if not better) than they were at uptempo power pop. Songs like "Promise Me" and "Crash Landing" are top notch pop that guys like Kyle Vincent excell at.
  13. i wouldn't expect most Raspberries/Carmen fans to dig The Smiths or Morrissey although they should appreciate their melodicism. Check out Morrissey's "Everyday Is Like Sunday" or The SMiths' "There Is A Light That Never Goes Out."

    The Jesus & Mary Chain are not entirely noisey... only their 1st album ("Psychocandy") is drenched with feedback & noise--underneath it all is some of the finest rock and roll created ("My Little Underground" and "Just Like Honey" and "Sowing Seeds")--after that they toned it down quite a bit and remained melodic with great stuff like "Head On," "Almost Gold" and "Tumbledown." Even though it's droney, "Stoned & Dethroned" is their most accessible work for the uninitiated and less alt-minded people. It also includes the "hit" "Sometimes Always" which was a duet with Mazzy Star's Hope Sandoval.

  14. Paul McCartney was not that great. It was John Lennon that made the Beatles.

    Not really, although I think Lennon's breakthroughs were far superior and more important. McCartney's energy and pop sense pushed Lennon much harder than if he was left to his own devices. McCartney's greatness is all over "Sgt Pepper" where the "core" material (bar "A Day In The Life"--Lennon & the band's crowning acheivement) is made up of Paul's work...
  15. Linndrums,Synare,Fairlight and 80Â¥s instruments.

    Definitely true--

    also any synth that tries to duplicate a piano just never sounds right (sorta like how diet soda never tastes like the real thing)...

    improper use of Fender Rhodes keyboards usally mars stuff... as does keyboards/synths (i.e. ELP's "Lucky Man") that sound cheesey...

    One of the most underrated instrument/device is the mellotron which gives many late '60s and early '70s recordings amazing feel (i.e. Big Star's "Give Me Another Chance" and April Wine's "like A Lover Like A Song"). The 12-string Rickenbacker ain't shabby either.... and a Les Paul thru a Marshall amp rarely sounds wrong...

  16. "The Paul Simon Songbook" was recorded and released in the summer of 1965 while Paul was living in England. Paul moved there in late 1964 after the first Simon & Garfunkel album ("Wednesday Morning 3AM") flopped.

    During the fall of '65, record producer Tom Wilson revamped "The Sound(s) Of Silence" a la Dylan's "Like A Rolling Stone" and The Byrds' "Mr. Tambourine Man," thusly turning it into a folk/rock smash in December of '65. The success brought Simon back to the states to re-join Art Garfunkel (of whom he had a musical partenrship with, starting as early as 1957 when they were called Tom & Jerry).

    Unlike any of Eric's unreleased backlog, this album was a legit recording that remained a rare import over the past 4 decades. Re-releasing it makes sense for both, historical and commercial interests. It's a key album in the evolution of folk rock and '60s pop.

    It would be nice if Eric released a "rarities" disc which culled stuff from Cyrus Erie, The Quick, early 'Berries and one-off pre-Berries solo recordings that could be available to members of the website. And of course any demos of Raspberries material would also be very cool.

  17. Eric could do a couple of things... he could try to do something like Elton John's "Songs From The West Coast" which, for Eric could be something like a modern "Boats Against The Current"... he could also try to do stuff with fans/musicians like the Wondermints who are currently working with Brian Wilson and do something that's (stylistically) a mix of his best solo work (i.e. "Sunrise," "It Hurts Too Much" "love Is All That Matters") and his more universal stuff in the 'Berries ("Starting Over," "I Can Hardly Believe You're Mine," "Let's Pretend, "Nobody Knows," "Don't Want To Say Goodbye"). I would not like to hear him re-record anything. Cover versions aren't bad, but need to make sense and not be a nostalgia trip.

  18. Well, "The Paul Simon Songbook" was NOT released before he teamed up with Art. Paul went to England after "Wednesday Morning 3AM" tanked in '64--which was years after working w/ Art as the duo Tom & Jerry (57-62)--and recorded a solo album in the summer of '65 which was only released in the UK that same year. Right around the same time Dylan's "Like a Rolling Stone" and The Byrds' "Mr Tambourine Man" were huge hits. Back in the states producer Tom Wilson took the original acoustic "Sound(s) of Silence" and revamped it a la Dylan and The Byrds with what was the trademark folk/rock sound. The single was released in December of '65 and went to number one and Paul decided to reform the duo.

    With Eric or Raspberries, the commercial success probably doesn't warrant a rarities CD and unlike Paul Simon, he doesn't have a rare gem like "The Paul Simon Songbook" in the vaults. Eric could do such a thing (w/ a rarities CD), in limited release for members of this website, though.

  19. unless there's a rare case... and i don't believe there is... all major religions (and small ones too) have their fanatical factions of which most of the majority of inhumane actions and atrocities have been the source of... fanatical christians can be as scary as fanatical muslims--they just haven't been nearly as opressed... once anyone with a fanatical belief feels they've been unduly thwarted or cast aside by the society they will feel it's their 'god-given' right to strike back...

    despite the impossibility of it all; if you took religion out of the equation, mankind would probably get along swimmingly--with the usual bumps and grinds --and it's very hard to sway believers from the fact that religion is the concoction of men who think they're divine, which as it stands (divinity, that is) is just a concept made up by humans... humans, who thought they were touched by the "hand of god"

    love, on the other hand, should never be taken out of the equation... how it got swept up with a supreme being/creator or whatever you wish to wrap it up in, is just another insane thing to ponder...

  20. well, "Got No Mind" by The Flashcubes, of course...especially in the live version (Raw Power Pop: Live In Japan) where drummer Tommy Allen steps out (mid-song) and does an amazing oboe solo---that and "Go ALl The Way" by The Raspberries...... Wally has always been a magnificent Oboe-ist.... just kidding, of course... Troggs' "Wild Thing" almost counts, but it's called an ocarina or something like that...

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