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These songs by the Raspberries sound like the Beatles
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zippl...@gmail.com
Nov 10, 2014, 10:26:37 AM11/10/14
to
With the first song, the chord changes sound like Lennon, and the guitar licks
sound like Harrison in places. Eric Carmen is doing a McCartney vocal at end.
https://www.youtube.com/watch?v=Rn4p6uGYcvg
This second song actually sounds more like the Beatles than the one above.
The first part of the song sounds like McCartney, and it rotates back and
forth between him and Harrison. Guitar licks throughout the song
sound like Harrison. Towards the end of the song, those very low notes
on the guitar sound like Harrison, With Eric screaming again like McCartney.
https://www.youtube.com/watch?v=657MjGAhBnQ
sound like Harrison in places. Eric Carmen is doing a McCartney vocal at end.
https://www.youtube.com/watch?v=Rn4p6uGYcvg
This second song actually sounds more like the Beatles than the one above.
The first part of the song sounds like McCartney, and it rotates back and
forth between him and Harrison. Guitar licks throughout the song
sound like Harrison. Towards the end of the song, those very low notes
on the guitar sound like Harrison, With Eric screaming again like McCartney.
https://www.youtube.com/watch?v=657MjGAhBnQ
BlackMonk
Nov 10, 2014, 6:23:49 PM11/10/14
to
On 11/10/2014 10:26 AM, zippl...@gmail.com wrote:
> With the first song, the chord changes sound like Lennon, and the guitar licks
> sound like Harrison in places. Eric Carmen is doing a McCartney vocal at end.
>
> https://www.youtube.com/watch?v=Rn4p6uGYcvg
At the beginning and the middle, too.
> With the first song, the chord changes sound like Lennon, and the guitar licks
> sound like Harrison in places. Eric Carmen is doing a McCartney vocal at end.
>
> https://www.youtube.com/watch?v=Rn4p6uGYcvg
It's a nice song, but it has the same same flaw that a lot of 70s and
80s songs do. It takes something that would have made a great 2 and 1/2
to 3 minute song and stretches it out into four minutes.
jtees4
Nov 10, 2014, 6:42:19 PM11/10/14
to
intro to the second one sounds identical to Wings "Baby I'm Amazed".
Right at 10 seconds. A Paul sound alike, but the key is a bit too high
for him.
*************
Some of my music:
http://www.soundclick.com/bands/default.cfm?bandID=789610
zippl...@gmail.com
Nov 10, 2014, 6:49:29 PM11/10/14
to
On Monday, November 10, 2014 5:23:49 PM UTC-6, BlackMonk wrote:
> On 11/10/2014 10:26 AM, zippl...@gmail.com wrote:
> > With the first song, the chord changes sound like Lennon, and the guitar licks
> > sound like Harrison in places. Eric Carmen is doing a McCartney vocal at end.
> >
> > https://www.youtube.com/watch?v=Rn4p6uGYcvg
>
> At the beginning and the middle, too.
You're right.
> On 11/10/2014 10:26 AM, zippl...@gmail.com wrote:
> > With the first song, the chord changes sound like Lennon, and the guitar licks
> > sound like Harrison in places. Eric Carmen is doing a McCartney vocal at end.
> >
> > https://www.youtube.com/watch?v=Rn4p6uGYcvg
>
> At the beginning and the middle, too.
> It's a nice song, but it has the same same flaw that a lot of 70s and
> 80s songs do. It takes something that would have made a great 2 and 1/2
> to 3 minute song and stretches it out into four minutes.
Message has been deleted
BlackMonk
Nov 10, 2014, 9:16:44 PM11/10/14
to
On 11/10/2014 8:07 PM, poisoned rose wrote:
> I can't dispute BlackMonk's complaint that these two songs are a bit
> overlong, though. However, my biggest criticism of the Raspberries (and
> so-called "power pop" in general) is the missing sense of individual
> personality found in better bands like the Beatles and Kinks. There's an
> apparent objective to turn the songs more universal and "generic," where
> the lyrics are discardable and the music is stripped of stylistic
> quirks. When you hear "Let It Be," you hear Paul singing from the heart.
> When you hear "If You Change Your Mind," you just hear a songwriter's
> calculated craftsmanship.
It could be that none of the bands had more than a couple of great songs
in them. A lot of 70s power pop bands had a song or two that I love, but
every time I heard more, I was disappointed.
For instance, I think https://www.youtube.com/watch?v=1XbqfSBMKUo is a
great song, but the only other song by them that made any impression on
me is "Yachting Type." It seemed like the philosophy behind the albums
was "If you liked the hit, here it is, with some similar songs that you
won't mind hearing."
Would you consider the Television Personalities as power pop? They would
definitely be an exception to both of our criticisms.
Here's a later band that I thought was strong enough to sustain an
album. https://www.youtube.com/watch?v=oJ2Cdw8THX8
Oddly, while Big Star was obviously an influence, I'd rather listen to
them than either of the first two Big Star albums.
> I can't dispute BlackMonk's complaint that these two songs are a bit
> overlong, though. However, my biggest criticism of the Raspberries (and
> so-called "power pop" in general) is the missing sense of individual
> personality found in better bands like the Beatles and Kinks. There's an
> apparent objective to turn the songs more universal and "generic," where
> the lyrics are discardable and the music is stripped of stylistic
> quirks. When you hear "Let It Be," you hear Paul singing from the heart.
> When you hear "If You Change Your Mind," you just hear a songwriter's
> calculated craftsmanship.
It could be that none of the bands had more than a couple of great songs
in them. A lot of 70s power pop bands had a song or two that I love, but
every time I heard more, I was disappointed.
For instance, I think https://www.youtube.com/watch?v=1XbqfSBMKUo is a
great song, but the only other song by them that made any impression on
me is "Yachting Type." It seemed like the philosophy behind the albums
was "If you liked the hit, here it is, with some similar songs that you
won't mind hearing."
Would you consider the Television Personalities as power pop? They would
definitely be an exception to both of our criticisms.
Here's a later band that I thought was strong enough to sustain an
album. https://www.youtube.com/watch?v=oJ2Cdw8THX8
Oddly, while Big Star was obviously an influence, I'd rather listen to
them than either of the first two Big Star albums.
hislop
Nov 10, 2014, 9:16:59 PM11/10/14
to
On 11/11/2014 12:07 PM, poisoned rose wrote:
> I love the Raspberries (and incidentally, I merely "like" Badfinger). I
> didn't know more than a couple of Raspberries songs until I was sent
> their Collectors Series compilation in 1991. That disc was a real
> eye-opener for me.
'power pop'
is the missing sense of individual
> personality found in better bands like the Beatles and Kinks. There's an
> apparent objective to turn the songs more universal and "generic," where
> the lyrics are discardable and the music is stripped of stylistic
> quirks. When you hear "Let It Be," you hear Paul singing from the heart.
> When you hear "If You Change Your Mind," you just hear a songwriter's
> calculated craftsmanship.
that sounds somewhat right. It's the 'becoming' of a sound that counts.
>
> didn't know more than a couple of Raspberries songs until I was sent
> their Collectors Series compilation in 1991. That disc was a real
> eye-opener for me.
>
> I can't dispute BlackMonk's complaint that these two songs are a bit
> overlong, though. However, my biggest criticism of the Raspberries (and
> so-called "power pop" in general)
I haven't heard a lot of The Raspberries, but that is a real 70s term,
> I can't dispute BlackMonk's complaint that these two songs are a bit
> overlong, though. However, my biggest criticism of the Raspberries (and
> so-called "power pop" in general)
'power pop'
is the missing sense of individual
> personality found in better bands like the Beatles and Kinks. There's an
> apparent objective to turn the songs more universal and "generic," where
> the lyrics are discardable and the music is stripped of stylistic
> quirks. When you hear "Let It Be," you hear Paul singing from the heart.
> When you hear "If You Change Your Mind," you just hear a songwriter's
> calculated craftsmanship.
>
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BlackMonk
Nov 10, 2014, 11:45:27 PM11/10/14
to
On 11/10/2014 9:34 PM, poisoned rose wrote:
> prominent around the time the Knack, the Plimsouls, 20/20, Translator,
> the Cars, the Romantics, Dwight Twilley, the Smithereens, Marshall
> Crenshaw, Let's Active et al were emerging as sort of a sidebar to New
> Wave.
>
I'd divide it into two periods. There's the first wave, which was mainly
influenced by The Beatles, The Who, and other sixties groups, and I'd
say that was roughly from The Raspberries though the very early 80s.
Then, there was a second wave of post-REM groups that were influenced by
the early part of the first wave and by New Wave groups, and who didn't
stick as closely to the sixties sound, though it was still a big part of
what they did. Compare "What I Like About You" to "Every Word Means No,"
for instance.
> hislop<takecar...@gmail.com> wrote:
>
>>> I can't dispute BlackMonk's complaint that these two songs are a bit
>>> overlong, though. However, my biggest criticism of the Raspberries (and
>>> so-called "power pop" in general)
>>
>> I haven't heard a lot of The Raspberries, but that is a real 70s term,
>> 'power pop'
>
> Actually, I think of it as more of an early '80s term. Seemed to become
>
>>> I can't dispute BlackMonk's complaint that these two songs are a bit
>>> overlong, though. However, my biggest criticism of the Raspberries (and
>>> so-called "power pop" in general)
>>
>> I haven't heard a lot of The Raspberries, but that is a real 70s term,
>> 'power pop'
>
> prominent around the time the Knack, the Plimsouls, 20/20, Translator,
> the Cars, the Romantics, Dwight Twilley, the Smithereens, Marshall
> Crenshaw, Let's Active et al were emerging as sort of a sidebar to New
> Wave.
>
I'd divide it into two periods. There's the first wave, which was mainly
influenced by The Beatles, The Who, and other sixties groups, and I'd
say that was roughly from The Raspberries though the very early 80s.
Then, there was a second wave of post-REM groups that were influenced by
the early part of the first wave and by New Wave groups, and who didn't
stick as closely to the sixties sound, though it was still a big part of
what they did. Compare "What I Like About You" to "Every Word Means No,"
for instance.
BlackMonk
Nov 10, 2014, 11:45:27 PM11/10/14
to
>>> I can't dispute BlackMonk's complaint that these two songs are a bit
>>> overlong, though. However, my biggest criticism of the Raspberries (and
>>> so-called "power pop" in general)
>>
>> I haven't heard a lot of The Raspberries, but that is a real 70s term,
>> 'power pop'
>
>>> overlong, though. However, my biggest criticism of the Raspberries (and
>>> so-called "power pop" in general)
>>
>> I haven't heard a lot of The Raspberries, but that is a real 70s term,
>> 'power pop'
>
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BlackMonk
Nov 11, 2014, 12:17:27 AM11/11/14
to
On 11/10/2014 11:43 PM, poisoned rose wrote:
> Knack is pre-REM, etc. Heck, even the dB's were pre-REM.
I'd consider The Knack first wave. They were more the Romantics than
Let's Active. I'm really not as familiar with the dBs as I should be,
though. I liked "Amplifier" a lot, and for some reason, I saw Peter
Holsapple do an acoustic version at least three times one summer, and
there was a Chris Stamey solo record in the mid-80s that I enjoyed,
though I have no idea which one it was, but if you mention them to me,
my first association is probably going to be "the group with Amy Rigby's
ex in it."
> BlackMonk<Blac...@msn.com> wrote:
>
>> Then, there was a second wave of post-REM groups that were influenced by
>> the early part of the first wave and by New Wave groups, and who didn't
>> stick as closely to the sixties sound
>
> I don't think "post-REM' really figures much into the equation. The
>
>> Then, there was a second wave of post-REM groups that were influenced by
>> the early part of the first wave and by New Wave groups, and who didn't
>> stick as closely to the sixties sound
>
> Knack is pre-REM, etc. Heck, even the dB's were pre-REM.
I'd consider The Knack first wave. They were more the Romantics than
Let's Active. I'm really not as familiar with the dBs as I should be,
though. I liked "Amplifier" a lot, and for some reason, I saw Peter
Holsapple do an acoustic version at least three times one summer, and
there was a Chris Stamey solo record in the mid-80s that I enjoyed,
though I have no idea which one it was, but if you mention them to me,
my first association is probably going to be "the group with Amy Rigby's
ex in it."
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BlackMonk
Nov 11, 2014, 1:24:27 AM11/11/14
to
>> Here's a later band that I thought was strong enough to sustain an
>> album. https://www.youtube.com/watch?v=oJ2Cdw8THX8
>> Oddly, while Big Star was obviously an influence, I'd rather listen to
>> them than either of the first two Big Star albums.
>
> Well, I definitely like the Big Star albums much better. I have all the
>> album. https://www.youtube.com/watch?v=oJ2Cdw8THX8
>> Oddly, while Big Star was obviously an influence, I'd rather listen to
>> them than either of the first two Big Star albums.
>
> Game Theory stuff (weirdly pricey for collectors now!) but I've never
> been a huge fan. Game Theory devotees are REALLY fanatical, though.
> Phew. Scott Miller was just about the most brilliantly unassailable,
> greatest songwriter of all time, if you ask them. And even before he
> died, they were verrrrrrry hyperdefensive about him.
>
> Years ago, I sold off a vinyl copy of Lolita Nation for $6 or $7. I
> probably could get $50 for that now.
A year ago, you could have gotten more, but their whole catalog is being
reissued. I'm intrigued, but I'm not sure I need the entire catalog.
I've had Big Shot Chronicles since the 80s and I got a download of
Lolita Nation from the Loud Family website after Miller died. Not sure
why I never bought it, but I seem to remember seeing it in so many used
bins that it was more of an annoyance than anything else. I love Big
Shot Chronicles, Lolita Nation not as much. I have a feeling that it's
something that should be heard as a whole, though. Maybe someday I'll
sit down and listen to the whole thing and I'll hear why people love it
so much.
BlackMonk
Nov 11, 2014, 1:41:39 AM11/11/14
to
On 11/11/2014 1:11 AM, poisoned rose wrote:
> BlackMonk<Blac...@msn.com> wrote:
>
>> I'm really not as familiar with the dBs as I should be
>
> The first two albums "Stands for Decibels" and "Repercussion" (when
> BlackMonk<Blac...@msn.com> wrote:
>
>> I'm really not as familiar with the dBs as I should be
>
> Chris Stamey was involved) are fantastic. Beyond that, the music turns a
> bit more humdrum and "journeyman."
I'll give those albums a listen. We had one of the later albums at the
radio station, and, yeah, from what I remember "humdrum" was a good word
for it. That's probably the reason why I never explored their catalog.
Turns out the Stamey song I liked was "When We're Alone." I'm guessing
it's something of an anomaly in his catalog, though.
hislop
Nov 11, 2014, 9:29:05 AM11/11/14
to
>>> I can't dispute BlackMonk's complaint that these two songs are a bit
>>> overlong, though. However, my biggest criticism of the Raspberries (and
>>> so-called "power pop" in general)
>>
>> I haven't heard a lot of The Raspberries, but that is a real 70s term,
>> 'power pop'
>
>>> overlong, though. However, my biggest criticism of the Raspberries (and
>>> so-called "power pop" in general)
>>
>> I haven't heard a lot of The Raspberries, but that is a real 70s term,
>> 'power pop'
>
> Actually, I think of it as more of an early '80s term. Seemed to become
> prominent around the time the Knack, the Plimsouls, 20/20, Translator,
> the Cars, the Romantics, Dwight Twilley, the Smithereens, Marshall
> Crenshaw, Let's Active et al were emerging as sort of a sidebar to New
> Wave.
>
It at least seemed applied retrospectively to 70s acts, namely Big Star,
> prominent around the time the Knack, the Plimsouls, 20/20, Translator,
> the Cars, the Romantics, Dwight Twilley, the Smithereens, Marshall
> Crenshaw, Let's Active et al were emerging as sort of a sidebar to New
> Wave.
>
it hovered around Nick Lowe.
I read a Rolling Stone article once, which is where I get this idea from.
I should look it up, and I probably can.
> And it still gets used for newer acts too. Names like Sloan, Fountains
> of Wayne, Matthew Sweet, Brendan Benson, Jason Falkner, the Posies,
> Teenage Fanclub, etc. Look hard enough and I bet you can even find
> Maroon 5 described with that label. (Yup, Google just confirmed that for
> me.)
>
It gets overused obviously.
hislop
Nov 11, 2014, 9:30:38 AM11/11/14
to
>> Then, there was a second wave of post-REM groups that were influenced by
>> the early part of the first wave and by New Wave groups, and who didn't
>> the early part of the first wave and by New Wave groups, and who didn't
>> stick as closely to the sixties sound
>
> I don't think "post-REM' really figures much into the equation. The
> Knack is pre-REM, etc. Heck, even the dB's were pre-REM.
>
Anyway, I would never give that label to The Knack, I thought more of
>
> I don't think "post-REM' really figures much into the equation. The
> Knack is pre-REM, etc. Heck, even the dB's were pre-REM.
>
them, they weren't ones for gratutious sounds, a little more authentic,
at least at first.
BlackMonk
Nov 11, 2014, 1:35:47 PM11/11/14
to
The Knack. More authentic how? Musically, I don't hear anything more
authentic about "My Sharona" than, say, "Girl of My Dreams" or "Starry
Eyes," and the Knack's image was anything but authentic.
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BlackMonk
Nov 11, 2014, 6:52:59 PM11/11/14
to
>> It...seemed applied retrospectively to 70s acts
>
> That is my impression.
This might be where the use of "Power Pop" to describe a genre
originated.
http://biteitdeep.blogspot.com/2012/10/greg-shaw-on-powerpop-bomp-magazine-feb.html
>
> That is my impression.
This might be where the use of "Power Pop" to describe a genre
originated.
http://biteitdeep.blogspot.com/2012/10/greg-shaw-on-powerpop-bomp-magazine-feb.html
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