Let It Ring For Evermore

One of Jeff Lynne’s signatures – as a songwriter, as a singer, and as a producer – is poignancy, his ability to match the melancholy with the sublime.

Have a listen to ELO’s Telephone Line.   I think it’s one the best examples: heartbreakingly sad but so beautiful it’s sweet.

Thanks, Jeff.

Dream Baby

Growing up, I never knew what to make of Roy Orbison.  Oh Pretty Woman was a great rocker, but it didn’t quite have the same edge as contemporary Beatles or Stones songs.  And the rest of his canon seemed better suited to my parents’ radio station than mine.

I know his tenor voice was operatic, but all those strings!  Sure, it was the doo-wop era, and rock had been tamed, bottled and homogenized, but where were the twangy guitars?  Where was the attitude?  Roy Orbison seemed more like Gene Pitney or Shelley Fabares than Elvis or Chuck Berry.

Pretty good with the sad songs, though.

Maybe it was just the production values of the time.  Much later on, in the 80’s working with Jeff Lynne, Roy proved he could rock out with the Travelling Willburys and U2.  And if you’ve ever seen Black and White Night, I’m sure you’ll agree his old classics sparked some great rock and roll moments when supported by the likes of Springsteen, Bonnie Raitt and Elvis Costello.

Ringo has said that Roy was the only act The Beatles didn’t want to follow.  With a different producer in a different era, Roy Orbison could have had ‘em all running scared.  Except it’s obvious everybody loved him just the way he was.

Runnin’ Down a Dream

Here’s the bio for the perfect rock ‘n’ roll star:  Grew up during a time when The Beatles, The Stones, Dylan and The Byrds dominated the airwaves.  Grew up in a place where there’s no shame in a country song, and rockabilly is still revered.

Had all the talent to write and perform some hard-driving rock that was at once familiar yet fresh.

Was lucky enough to meet – and become friends with – some of his boyhood idols.  Even made a record with them.  Then he used another member of this supergroup, an English cat who shared the same childhood idols, to produce his best work yet.  Through all the shifts and changes in pop music, he remained true to his roots, and his fans adore him.

Wait a minute; I’m describing Tom Petty.

Producers Rule

I keep stumbling over all these interesting lists, but it’s curious that there doesn’t seem to be one about record producers.  Let’s face it:  production can have a huge impact – positive or negative – on a recording.

So who should go on the list?  Well …

For sure:

George Martin, Sam Phillips, Jimmy Page and Roy Thomas Baker.  Geniuses, whose impact is undeniable.

Probably:

Bob Ezrin, Phil Collins, Glyn Johns and Bob Rock.  Successful, sought after, respected.

I Would Hope:

Jeff Lynne, Muff Winwood, David A. Stewart, Steve Lillywhite and – my favourite under-rated guy – Ian Thomas.  Talented guys who know their stuff.

I’ve left band-as-producer off the list because it’s too hard to tell who should really get the credit.

But no question producers are important.  Dunno about you but I have frequently had the same attitude about record producers that many people have about movie directors.  You know: if such-and-such made this, it must be good.

And I’m rarely disappointed.

It's Gibson's 10 Greatest Supergroups!

Gee, were there that many? Here's the list:
 Blind Faith
 Asia
 Traveling Wilburys
 The Firm
 The Highwaymen
 Them Crooked Vultures
 Chickenfoot
 CSNY
 Bad Company
 Cream

No order on their list, so no complaints allowed.

Lotta ground covered, but one common thread. Big egos and short life spans. OK that's two threads.

Not sure about the Wilburys and Highwaymen though. Were they groups, projects, or larks?

Also wondering just a little about revisionist history ... Blind Faith and CSNY were definitely hyped at their inceptions as supergroups. So were Emerson Lake and Palmer, who are happily omitted from Gibson's list. I remember similar hype about Asia (way too much actually), but I honestly don't remember hearing the term since.

Bad Company were big, and yes you knew there was some connection to Free, but did people really think it was a big deal that the bass player had come from King Crimson, and that they were a super group? Not so much.

And yes the whole concept started by revising history. Cream was referred to as a supergroup - and they were superb - even though, like really, only Clapton was known beforehand. Alexis Korner? The Graham Bond Organization? These hardly made Jack Bruce and Ginger Baker household names.

Anyway, the whole concept is a downer. "Oh boy! Just imagine how great it's gonna be when these guys get together! It's gonna be amazing!" Sets us up for disappointment, doesn't it. Best case is the band can't keep it together for long. Worse case is the music just doesn't live up to the hype.

We do like to set ourselves up, don't we?