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Sweet vs. Joan Jett "AC/DC"


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Here's the dumbest part of Steve's little diatribe.

I was just beginning to tour in support of my first solo album.

When I started the tour, "All By Myself' had just made the charts. Never in my life have I had the luxury of "taking a grand piano on tour" with me. That's the kind of stuff you can do when you're Elton John or Paul McCartney. The best I could do, at that point, was to stipulate in my rider, that the promoter had to provide "a Steinway or Baldwin grand piano, not less than 6 feet long, tuned the day of the show."

And I sure wish I had the budget to fly my own piano tuner around with me (blind or sighted) but in those days, that would have been out of the question. I wonder how the promoters in every city managed to find a "blind" tuner, to drive Steve and his mates nuts?

I do understand though, how the sound of all that tuning could become so annoying,. You don't have to bother with that sort of tedium when your whole act is ON TAPE, YOU WANKER!!!!

HAHAHAHAHAHA! :lol::lol:

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Oh, and by the way, I don't think you get to qualify for Led-Zep status when your producers write all your hit songs.

Last time I looked, writing your own songs was kind of key ingredient.

Can you imagine how seriously we would take Bruce Springsteen or U2 if their producers wrote their songs? What a joke.

I can imagine I might have looked a bit "stiff" to Sweet. After all, I actually had to stand in one place and sing into my microphone, something you don't have to worry about WHEN YOUR WHOLE ACT IS ON TAPE, YOU WANKER!!!! :lol:

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Eric Carmen said:

Oh, and by the way, I don't think you get to qualify for Led-Zep status when your producers write all your hit songs.

Last time I looked, writing your own songs was kind of key ingredient.

Can you imagine how seriously we would take Bruce Springsteen or U2 if their producers wrote their songs? What a joke.

Ok Eric you line about the 'blind' piano tuner in every city had me rolling on the floor with laughter.

Nicky Chinn and Mike Chapman certainly had a hand in the majority of Sweet's hits, but after the "Desolation Boulevard" album, Sweet wrote all their songs, including the hits "Fox On The Run", "Action" and "Love Is Like Oxygen."

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Wow! Great stories!

I saw the EC/Sweet tour in Columbus. Styx played in between them. I thought Eric sounded great (missed Wally, though - I was still trying to get over the Berry Breakup!) and Styx had some great dramatic moments in their set, too. But to my ears, Sweet sounded unbelievable! Amazing fullness of instruments and vocals!

Of course, now I find out it WAS unbelievable! LOL.

Funny thing - the electric went out during Sweet's set, and they had to stand around shouting things at the audience to pass the time until it came back on. Maybe they should have just given us all a copy of the tape they were using and we could've all gone home early!

Wankers, indeed.

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Thanks for your take on the Sweet Tour. I was very hesitant in posting that because I didn't want to disrespect you on your message board.

Another section in Steve's book he mentions how 2 years later in 78 when Sweet supported Bob Seger it occured again much to Sweet's annoyance with Bob Seger's grand piano being tuned during their sound check." It was reminiscent of Eric (All By Himself) Cardboard" was Steve's words.

Sweet did go on to say in the 70's that Queen copied them.

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Eric, here's that L.A. Times review that you referred to earlier in this thread:

AT THE ROXY

Eric Carmen, Pop-Rock Incarnate
By Richard Cromelin

The Raspberries, America's leading, disciple of, mid-'60s pop-rock and irrepressible teen-age eroticism, has dissolved, but the elixir devised by its leader, Eric Carmen, contains the group's most. enticing ingredients, as well as the consistency and effervescence that often eluded the erratic Raspberries.

At the Roxy over the weekend, Carmen showcased a band that completely fulfills the Raspberry/Carmen dream. Its two, sometimes three guitars lend the sound a biting edge; two and three keyboards provide a tasteful orchestral dimension; the drum duo savagely hammers any hint of excessive lushness out of the room, and (certainly not secondary in Carmen's design) all six players contribute voices to the backing harmonies and magnificent choral parts.

Anyone with the slightest bent toward a melodic pop style must be dazzled by Carmen and his new configuration. At times the crisp, rich sound is uncannily like the Beach Boys', his grand ballads might be dedicated to Badfinger, and the captivating melodies and imaginative arrangements with their constant, surprising shifts reflect the pervasive influence of the Beatles.

But Carmen's personality and vision are entirely his own. His stance has a measure of youthful innocence and arrogance (the latter emerging most tellingly in his reading of "On Broadway"), while much of his lyrical concern deals with rock itself.

Two such songs, in fact, bookend his entire mystique. The Raspberries' "Overnight Sensation" addresses the obsessive ambition that drives the rocker on, while his new "That's Rock 'n' Roll" celebrates the equally crucial basics: "It's the roadies and the crowd. It's when the band's playin' way too loud."

Carmen's gift is that he embodies rather than reports on such sentiments. That, indeed, is rock 'n' roll.

—Los Angeles Times, December 21, 1975

__________

O.k. so it was Richard Cromelin instead of Robert Hilburn, easy to confuse- they were the #1 and #2 music critics for the Times. It's also the reason I pursued Cromelin so hard during the Raspberries reunion shows in L.A.

You absolutely ROCKED during those Roxy shows!

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A thousand "thank you's" Richard, for the revue of a lifetime.

I had read some pretty nasty reviews that made fun of the way some of my band members looked, and to be perfectly honest, they really upset me. I felt great affection for those guys and the insults were designed to be hurtful. I also thought they were irrelevant.

They were a great bunch of guys who were fine musicians and great singers. It felt like someone calling your kids "ugly."

There wasn't a single person at the Roxy that was in the least bit concerned about anything but the music.

Richard Cromelin's revue reflected that feeling. Those were really ELECTRIC shows. We had a ball playing the Roxy, and so did the audience.

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Eric Carmen said:

The pipe organ and the acoustic guitars continued for a bit and after another minute or so of the intro, the band turned to the audience and, for the first time, began to play their instruments.

Would like to comment on a few things. Please do not be offended in any way. We all have our little versions. And I'm not trying to defend Steve - he will have to do that on his own. Mick Tucker however is not here anymore, so here goes ...

;)

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I really didn't mean to put the band down as musicians. I meant to put them down as POMPOUS F*%#ING WANKERS!!!! HAHA!

They just had a bit of a bloated sense of self-importance. I suspect it was just insecurity. It was early in their career. And they were in a strange land, touring with "Eric Cardboard."

And he was playing that damned "All By Myself" with a well-tuned piano, and no pesky tapes to worry about. It must have been frustrating and a bit unnerving.

The idea that QUEEN copied THEM is, to anyone sane, quite laughable. Brian May and Freddie Mercury created something truly original, and I think most people would find the idea that the band that wrote and recorded "Bohemian Rhapsody" needed to copy from the band that recorded "Little Willy" flat out ridiculous.

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Mr. Cardboard, don't you think that YOU too appear as some kind of pompous fcuking wanker with some of your comments?

You seem to be up your own arse so much that you fail to recognise how BIG Sweet actually were. Little Willy Vs Bohemian Rhapsody is NOT a comparison.

L.W was released way before B.R (1972) You got stuff much later in the U.S. Sweet were way ahead of the 'others' in the high harmony department.

You are very quick to dismiss 'Sweet' as a pre-recorded (tapes) band. They only used tape for intro's and effects, NOT for bolstering their vocals or technical abilities on stage when playing 'live'.

Sweet were MASSIVE on a global scale with the likes of Ritchie Blackmore joining them on stage at the 'Santa Monica Civic' to play a tribute to Paul Kossoff who should have been supporting the 'SWEET' that night with his band "Back Street Crawler".

SWEET were SUPPORTED by many bands including; Status Quo, Journey, Cheap Trick, Wishbone Ash and YOU!!! to mention but a few and I think that your "Wanker" remarks are just 'sour grapes' on your behalf and it's quite possibly TRUE.....You are really, truly, Mr. Cardboard Carmen?

As a footnote; your 'fans' seem to be quite brainless as they agree with your every word, be it right or be it wrong (wrong mostly)

Goldenreats 'tried' to put things straight but in a far too nice a way....... GET A GRIP GOLDENGREATS.

ANYONE covering a SWEET song is a sign of RESPECT for that artist. Many, many have covered SWEET songs, check it out.

This is not a good first post but then I never started it, let's talk more.............................YOU WANKER.

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Eric's a class act.

He was responding to a guy who demeaned him in a book (for the world to read!)..calling Eric "Cardboard" etc etc.

Given that backdrop, I think Eric's strong reply using the word "wanker" etc. can be understood, or even expected.

It's not Eric that's in the wrong here.

P.S. I dig the Queen (and she digs me)..

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Hahahahahahahahahahaha! The Sweet are such a footnote.

The Raspberries are acknowledged as the Godfathers and masters of powerpop by their peers, including Bruce Springsteen.

While I am more of a fan of The Raspberries than Eric's solo music, he did have quite a successful solo career.While Sweet...Fa...d...e...d.... a.....w......a........y.

I like some Sweet songs. Too bad they never wrote a song as Good as 'Go All The Way' or 'Ecstasy' or...well you get the picture. KTHNXKBYE.

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