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Cyrus Erie recordings...


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As a recent recipient of Marathon Man, a few questions come to mind as I read the book.

During the late sixties, as Cyrus Erie reigned in Cleveland, I remember the accounts that were written about these episodes of group members being hired & fired, recordings being released,concerts, and of course, the Hulaballoo's. This was a great time to be in Cleveland!! I can say that I witnessed the growth of Eric, from a young, shy, kid from Brush High, to a gifted musician & songwriter. I was one of those guys that just stood and watched, Eric, Wally, Bob, & Mike clone the songs that were on record. DO believe it when you read that the strings in "Nights in White Satin" were really there...from a Farfisa organ??????

So, as I'm jumping to the back of the book, it mentions that rehearsal recordings exist of the sets Cyrus Erie performed back then. Specifically, the 1967 rehearsals that typlified the overall type of music they played....my question is...Why hasn't there been at least a regional release of these tracks to fans of Northeast Ohio(and beyond!)? I'm sure they're quality is up to par, and I can only imagine that Eric controls the life of these recordings. To tell the truth, in a few more years, the desire for these recordings will wane, as our generation soon fades into our 60's. The fans would LOVE to hear these cuts...if only to bring back the memories of a time when the music meant so much from a band that meant so much.

I can't begin to tell all of you how this book and it's photos took me back to the 60's...even the simple photo of the bands' van excited me! I remember that van!

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  • 6 years later...
  • 3 weeks later...

Hello all, I am new to this forum, but I figured many of you here might be interested or can provide more information about something I just got -

An acetate by Cyrus Erie of "Sparrow" and "Painter". The recording of "Sparrow" is similar to the released 45 but there is a middle part that is different. "Painter" is not released, of course.

I remember reading one of the pieces in the Raspberries book (the Ken Sharp one) that this was recorded as a demo before the 45 and ended up with the producers in NY. I got it from the estate of Denny Randell who had worked with Sandy Linzer, who is credited on the Cyrus Erie 45.

The acetate has a label from Audio Recording in Cleveland, which was one of the 3 main recording studios in town at the time (Cleveland Recording and Agency Recording, which opened in 1968, were the other two). I don't know if the songs were recorded at Audio or the acetate was cut there.

Anyways, if someone can provide more details on this, I think it would be interesting to many of you. I can't provide sound files at this time as I don't want to violate any copyright laws, unless the principals on the recording are OK with it. However, the acetate is poor shape and has significant noise.



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The songs George is referring to were both recorded, and the acetates cut, at Audio Recording. The Painter is not an Eric song, I think it was presented to us by Frank Gary, and I think it was subsequently recorded and released by a Cleveland group named 'Damnation of Adam Blessing'. Sparrow is an Eric song and, unlike the single release that the producers made perkier and added "La La's" to, the demo version was a tad slower and more ballad. The middle section George refers to is ... I'm not sure what to call it but it makes sense when you hear it ... instead of an instrumental solo section (which is about where it occurs in the song), it is a somewhat elaborate harmony vocal section that transitions (to the best of my recollection) to the song's bridge before the song moves to the chorus.

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Maybe not so great a memory ... I was reflecting on this post and, not recalling a big ‘A’ on the original acetates, think the original demos and acetates were done at Cleveland Recording and that the acetate that George has was made later.

Regarding the rehearsal tapes, I don’t think they are what Brian would expect. I seem to recall that they were recorded on a two-track tape player and they were pseudo-demos that were more of a reality check to confirm if certain songs sounded the way we thought they did. For example, somewhere in this forum Bernie posted Cyrus Erie playing “Where Were You When I Needed Youâ€. Two items that were evident from the recording were (1) the vocal blend sounded the way we thought it did and (2) I needed a lot more treble on my guitar … digression …

In the infamous New Year’s Eve gig mentioned elsewhere in this forum … Eric and I not only didn’t own any guitars, we also didn’t own any guitar amps and were using the departed musicians’ amps that were still at the rehearsal site (hence, their consternation when it looked like we were going to start smashing stuff). Bob had begun using my bass equipment (Gibson EB2 and a 200w Sunn Coliseum – loved that amp) and Don Landanyi obtained a Fender Dual Showman with 15†speakers for my use. I was using the same amp settings as I previously used on my Twin Reverb (that had 12†speakers) and, as became evident after listening to “Where Were You When I Needed Youâ€, the larger Dual Showman speakers eliminated all the ‘highs’ and my guitar came out without any, or extremely little, treble.

… undigress … Finally, the string parts in “Nights In White Satin†were played on less than the Farfisa organ people think of. They were played on a Farfisa “min-compact†organ that sat on top of the electric piano. Anecdotally, in support of Brian’s observation, Jeff Beck commented that Cyrus Erie played the song better than the Moody Blues.

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