pierson

I think CarmenSmalley has a valid point, although Neil Sedaka wasn't really in the same boat as Fabian, Frankie Avalon, Adam Faith, Billy Fury etc... And the Monkees music, despite the manufactured side of it, was and still is better than most "original" '60s garage/folk/punk bands. Mainly because the songwriters hired (i.e. Neil Diamond, Carole King, Harry Nilsson, Boyce & Hart, Jeff Barry) were very good. And the Monkees themsleves were talented and had memorable voices and personalities. BOSTON's stance about "No Synthesizers" does deserve a small slam because, like Queen, it's acting as if the synthesizer was an afront to musical credability, which it isn't. In truth it would be more impressive if BOSTON or Queen could use synthesizers to their advantage (i.e. Roxy Music, Eno, David Bowie) not their detrement. They made it seem like a badge of honor that they created certain sounds with a guitar instead of a keyboard. Either way, it's a creative process, what a musician/artist does in the studio... what holds up is the music itself, not what instrument they use. It is "swindle" to think that bands who use guitars instead of sythesizers are better or more credible than those who use don't. Boston is a good pop/rock band who are a one trick pony and are THE MOST overplayed band on American classic rock radio. There are zillion others who are markedly better who will never be heard (i.e. Dwight Twilley Band, Raspberries [HELLO!], Artful Dodger) in such a way. THAT'S A SWINDLE!!!

"Second Avenue" was written and performed by Tim Moore, who also wrote "Rock & Roll Love Letter"

"We Built This City" (on rock & Roll, which the song lacks)--Starship

back last summer i spent an hour interviewing David Bowie... he was, of course, very cool, but also very down to earth and very open to discussing all stages of his career and life... on the strange side of life, i've met P.F Sloan and producer Jimmy Miller at the Chateau Mormont (sp?) in Hollywood... both very bizarre at the time (late '80s)... also around the same time, Kim Fowley who held up his rep for being a jerk...

EVEN THOUGH JANN IS ON THE BOARD, SHOULDN'T MAKE THE CHOICES REFLECT THE MAG'S OLD '70S MO (i.e. where bands like Black Sabbath, early Led Zeppelin, Jethro Tull were never given due props because they were more concerned with the hippie strain and singer songwriters).... YEAH, 3 DOG & HALL AND OATES ARE LESSER CHOICES, BUT COMPARED TO THE DELLS, THEY KINDA STAND OUT, TOO

OK, I may be missing some, but here it is as close to pecking order as possible... Also, it seems as if the R&R Hall of Fame has the "Rolling Stone" magazine syndrome where they vote for stuff like Bonnie Raitt and Jackson Browne before Black Sabbath or Alice Cooper... which is just wrong... so here those who deserve entrance, say, before Jackson Browne...not that there's anything wrong with him... 1. Alice Cooper 2. Black Sabbath 3. Todd Rundgren 4. New York Dolls 5. Larry Williams (wrote "Dizzy Miss Lizzy" and "Slow Down") 6. Hollies 7. Blondie 8. Iggy & The Stooges 9. The Troggs 10. Small Faces/Faces 11. Monkees 12. Sex Pistols 13. Arthur Alexander 14. Dave Clark 5 15. Zombies 16. Tommy James & Shondells 17. T. Rex 18. Roxy Music 19. Mott The Hoople 20. Jan & Dean 21. MC5 22. Donovan 23. Harry Nilsson 24. Randy Newman 25. Easybeats and these too: Turtles, Van Halen, Dick Dale, The Crystals, Nick Lowe, 3 Dog Night, Grand Funk, The Jam, Yes, Genesis, Jethro Tull, Chicago, Captain Beefheart, Shangri-Las, Quincy Jones, Hall & Oates, Lynard Skynard, Love, Rufus Thomas Inluences: Big Mama Thornton, Peggy Lee, Frank Sinatra, Shadow Morton, Arthur Crudup

"good" sad vs. bad sad (or maudlin)... good "sad": i prefer "Trouble" by Cat Stevens (featured in "Harold & Maude") "Sometimes It Snows In April"- Prince "If You Change Your Mind"- Raspberries "Without You"- Nilsson (via Badfinger) "Bookends Theme"- Simon & Garfunkel "God Only Knows" and "Caroline No"- Beach Boys" "The Sun Ain't Gonna Shine ANymore"- Walker Bros "Alfie"- Trash Can Sinatras/Dionne Warwick "Give Me Another Chance" Big Star "Hook Line & Sinker"- Jon Brion "Dear Friend"- McCartney "Isn't It A Pity"- George Harrison "Happy X-mas"- John Lennon "A Case Of You"- Joni Mitchell "Back To The Old House"- The Smiths "Flaming Wreck"- Pernice Bros "I Don't Want To Tie You Down"- Todd Rundgren "Waterloo Sunset"- Kinks "That I Remember" and "Sincerely"- Dwight Twilley Band

i forgot to put my reply to what Tom said.... pop/rock is far from dead... and it's rediculous that "go all the way" is not played when badfinger is... it's fallen under the radar only because people aren't giving it due props.. the people who program oldies radio have lost touch... a quick perusal of Billboard's top 40 hits book will unearth numerous big hits which do not receive airplay (i.e. henry gross' 'shannon' which went gold)... the only way an old hit will remain in the consciousness of the masses is if it gets airplay... classic rock radio has turned several songs that were rarely played on '70s FM radio into staple songs...

Yes & No.... It should NOT be remixed... that would alter the essence of the song & the performance. It SHOULD be remastered, which will give it more bottom. Darlene's point is correct, it isn't any more dated than the majority of hits from the '60s and '70s. Still, radio stations should be spinning it as much as any song that sold a million copies (which it did) and received so much airplay.

This is something which seems more troublesome over the past 5 years or so. It seems that the Raspberries and their legacy are becoming increasingly obscured and silenced. Since I live in the tri-state area, it's a virtual wasteland with no oldies station playing "Go All The Way." It would be almost insane to think they'd play any of the other top 40 entries, and I don't expect them to. Still, with Big Star remaining a looming (& still growing) cult figure of major importance in the print media and Badfinger, solidly holding on to their legacy via reissues and continual radio airplay, it's a major tragedy to see the 'Berries slowly disappearing from the rock and pop culture landscape. They deserve equal footing as those aforementioned bands. Are the rest of the people out there experiencing such a silence (on oldies stations)? I already know that the rock press ain't giving them the love they deserve, although, without any new product/reissues to tout it's hard to reignite the flame.

YES.... TO AVOID TAXATION, I BELIEVE

Originally posted by Carmen Smalley: The Wind...were first Debby¥s band and Episode Six were another 60¥s band.Although I think I didn¥t understand your question OK.

and 11. Tomorrow (oops) (Carmen Smalley was correct, Steve Howe was in the band)

with the exception of two (alias questions) these work in the vein of Cyrus Erie/The Choir=The Raspberries... match/explain (if needed): a. Steve Howe b. Jon Anderson c. The Hollies d. Barry Wom (The Rutles) e. The Clash f. Rolling Stones g. Thomas Dolby h. Huey Lewis i. Debbie Harry j. Maroon 5 1. Bruce Wooley & The Camera Club 2. The Wind & The Willows 3. Kara's Flowers 4. Elvis Costello 5. L. Ransford 6. Nanker Phelge 7. Timon 8. Timebox 9. Episode Six 10. The Warriors

4-h 5-b 3-J5 the rest are mainly '70s LA sessioneers and are all a blur (quite incestuous).... i would guess Jimmy Page played on the Joe Cocker track

vinyl aprrox 2,500 LPs maybe 300/400 45s, cassettes: 600, CDs between 2-3,000

Actually, as Greg Shaw said, "Power Pop began with The Who..." but he went on to say: "The Raspberries were the essence of power pop, more than the Who or any of their prototypes. On their best records, every nuance, every tiny bit was flawlessly designed to create an overall impact that's never been matched." He also stated, "It's singularly important, in attempting to follow the thread of power pop over the years, that we clearly distinguish it from its closely related form, pop-rock. Pop-rock goes back to the Zombies, Hollies, Searchers etc., and while these groups often ventured into hard rock, the foundation is in pure pop, and the sphere of pop-rock encompasses all varieties of soft rock, stretching back to the blandest inanities of Gilbert O'Sullivan or Hamilton, Joe Frank etc.... Since pop-rock is by nature commercial, it's always been around, and in the hands of this or that exceptional group, sometimes approached the splendor of power pop. There was a period in the early '70s when so many musicians turned against the vapidity of mainstram rock that it seemed a kind of spontaneous pop revival was taking place. We had a wealth of groups and records that were, if not power pop, than certainly powerful pop-rock: "Do Ya," "Tonight" and "Chinatown" by The Move, "Baby Blue" and others by Badfinger, "Love Is In Motion" and "Darling" by Stories, "September Gurls" by Big Star, "Some Sing Some Dance" by Pagliaro, "Orbit" by Thundermug and dozens more....The only problem was, these records either became hits and sold to the AM masses, or more often they stiffed and were never heard.... The only pop revival band that could really have done it was the Raspberries. What a perfect band!...Their first 4 records were smash teen hits, entrenching the Raspberries in AM radio and the teen mags. They were beloved by the press and the cult rock audience of the time, even if neither of these factions was then potent enough to give more than encouragement. Most of all, they made the best damn records I'd heard since 1967." IN ESSENCE I THINK HE WAS TRYING TO SAY THE RASPBERRIES WERE A BREED ALL THEIR OWN. Badfinger were great but were never "intense" like the Raspberries. The 'Berries were the supreme creators of classic power pop.

ACTUALLY, SAYING THAT HE STOLE FROM THE BEACH BOYS IS A GOOD THING. I MEANT IT AS TO POINTING OUT A FACT. NOW, SAYING THAT ERIC HAS NEVER WRITTEN SONGS TO CREATE A NEW SOUND OR STYLE, IS A CRITICISM BECAUSE, IN FACT THE RASPBERRIES DID CREATE A NEW STYLE: POWER POP. EVEN THOUGH POWER POP WAS A MIXING OF GENRES, IT WAS NEW, ESPECIALLY IN 1972. AND THE SOUND THE RASPBERRIES CREATED ON "GO ALL THE WAY" WAS THE DEFINING MOMENT FOR POWER POP AND ALL THAT WAS TO FOLLOW.

Are there any other Raspberries/Eric Carmen fans besides Bob Allen and myself, who have heard Van Duren's sole 1977 gem, "Are You Serious?"???? Luckily for Van Duren, his album was reissued on the Japanese label Air Mail Recordings. On the downside, the disc is extremely rare (copies are limited). The label also issued Van's 2nd unreleased album, "Idiot Optimism," a live radio broadcast, and stuff from Van's '80s band, Good Question. Van's '70s output is heavily influenced by Eric Carmen, Paul McCartney and Todd Rundgren. His voice bears a strong resemblance to Eric's and his material is very strong.

It's cool to see Thundermug getting props. Their first (?) single, "Orbit" came out in late '72 and was the closest competitor (that year) to "Go All The Way" as something that merged hard rock with a pop sense. Since they were a bunch of bearded Canadians and had your typical boogie/metal streaks going thru them, they didn't explore such stuff often. They did release a single called "I Wanna Be With You" which beared no resemblance to the 'Berries, though. "Orbit" remains their definitve power pop moment.

There's a part of "I Can Remember" that's a direct steal of a part of the Beach Boys' "She Knows Me Too Well" from "Beach Boys Today"

DUSTY SPRINGFIELD Hope Sandoval (Mazzy Star) Tori Amos Elizabeth Fraser (Cocteau Twins) Aimee Mann Dominique Durand (Ivy) Nina Peterson (Cardigans) Chrissie Hynde (Pretenders) Siouxsie & The Banshees The Passions Sam (Leslie) Phillips Joni Mitchell

1. Van Duren 2. Even Johansen 3. Something Happens 4. Flashcubes/ Screen Test 5. Dumptruck 6. Posies 7. Pernice bros 8. Hamell On Trial 9. Mood Six 10. 20/20 11. The Dictators 12. Dirty Looks (US 1980) 13. Kara's Flowers 14. The Sighs 15. The Action 16. The Creation 17. Red House Painters 18. Lilac Time/ Duffy 19. Artful Dodger 20. Tin Tin 21. Nada Surf 22. Johan 23. Justin Clayton 24. Jon Brion 25. Howie Beck 26. Trash Can Sinatras 27. Adorable/ Polak 28. The Chills 29. Grant Lee Buffalo 30. The Libertines

I scoured all the posts for this one and it's amazing that no one mentioned the most obvious stand-out... and this proves how "not well-known" he is...Ross The boss from The Dictators... of whom i posted on some other chat about before-- He is absolutley the greatest hard rock lead guitarist I've ever seen. His ability is in the league of the masters (speed) but his style (with The Dictators, not Man-O-War) was fused with classic punk attitude. He comes across like Johnny Thunders with Eddie Van Halen's chops. Live he's a monster, and mix that with the greatest rhythmn guitarist, Scott (Top 10) Kempner and it's the most incredible hard rock guitar attack ever. At times it's reminiscent to Thin Lizzy or Kiss, but with more intensity...