Prof. Wagstaff wrote:Dave Edmunds
What do you think of "Slipping Away," one of Edmunds' few hit singles? Takes me back to sixth grade and reminds me that there's not an act in the world Jeff Lynne can't turn into ELO.
Prof. Wagstaff wrote:Dave Edmunds
I too have fond childhood memories of that song (and seeing the video on MTV). There's no denying it's catchy and hooky, but the production leaves a lot to be desired to my 40-yr.-old ears. Apart from being drenched in cheesy synths, there's also the shitty '80s "drums", and the ridiculous vocal echoes. I'd love to hear a rock band cover it, 'cuz there's nothing inherently wrong with the actual song -- after all, Jeff Lynne was a heckuva songwriter (and I will be singing his praises in my ELO entry soon enough.) It's definitely better than the rest of the Lynne-produced Edmunds stuff (seriously, those albums are wastelands.) But it's not very representative of what made Dave Edmunds such a treasure. If you absolutely must listen to a badly-produced '80s Edmunds "hit" single (it went all the way to #91!), I'd recommend this one, from the Porky's Revenge soundtrack.Kenneth Burns wrote:What do you think of "Slipping Away," one of Edmunds' few hit singles?
Kenneth Burns wrote:reminds me that there's not an act in the world Jeff Lynne can't turn into ELO.
Prof. Wagstaff wrote:Duane Eddy -- I'm guessing some of my guitar-player friends will jump in to tell me how brilliant this stuff is, but beyond the obvious fact that Eddy is technically great, he didn't make very interesting records, IMHO.
Oh dear lord, I had kinda forgotten Lynne was partly responsible for the "reunion". I'm not a fan of his work with Harrison, and while the Wilburys made pleasant-enough music, I do find the production on those records pretty disagreeable. That said, not all of Lynne's productions are uniformly obnoxious. I think he did some great work with Tom Petty. "Free Fallin'" (which Lynne also co-wrote) is one of the most perfectly produced singles I've ever heard, although some of the other Full Moon Fever tracks he co-wrote are among my least favorite Petty singles: "Runnin' Down A Dream" and "I Won't Back Down" sound great, but they're pretty boring songs (there's other great stuff on the album, though, perhaps most notably the shimmery cover of "Feel A Whole Lot Better".) And Into The Great Wide Open, also produced and largely co-written by Lynne (and again containing a pair of boring Lynne-penned singles in "Learning To Fly" and the title track) is one of my least favorite Petty albums (probably second only to Let Me Up (I've Had Enough)).Kenneth Burns wrote:Also an up-and-coming little combo known as the Beatles.
I admit I haven't bothered listening to it in a dozen years or more but my memories of that and the 2nd Lynne-produced LP are of something truly wretched. Perhaps if a copy comes in stock in my store I'll give it another spin.Kyle Motor wrote:I think you're being a bit harsh on the Lynne-produced Edmunds. A few months ago I got a copy of Information and quite liked it. It gets a bit synthy here and there, but not nearly as bad as I was expecting.
My problem with Lynne's production isn't "datedness", it's (as a good friend used to say) "all the damn spaceships everywhere". It's not really a question of sounding "dated" when you were the only one to ever really do something in the first place. Yes, Edmunds albums have quirks, but they're his quirks, and I (mostly) find them endearing. Either way, the real difference between the self-produced albums and the Lynne-produced albums is the quality of material, which is far, far better on the former.Kyle Motor wrote:Some of his self-produced albums have production quirks that are just as dated as anything Lynne did
...I love their "Mr. Blue Skies"
Almost my favorite is "Turn to Stone"
And how 'bout "Telephone Line"?
I love that E.L.O.
This is fucking hilarious. Thanks so much for posting it.Kenneth Burns wrote:"Hold on Tight" made me a coffee achiever.
Because it's a gloomy, unmelodic slog (sorry to repeat myself, but "slog" is the word that best describes it. And it's the only classic-era hit that didn't make the cut on the ELO mix I made during this week's wig-out.) I'm certainly glad you enjoy it, though -- anything that's a gateway to greater ELO appreciation is ultimately a good thing. What else do you know/have? In particular, do you know A New World Record? 'Cuz it's much, much better than Out Of The Blue (or anything else they recorded), IMO.minicat wrote:I like "Can't Get it Out of My Head." Not sure why that one sets you off so much, Wags.
Prof. Wagstaff wrote:Before we get started, though, everyone should get in the mood by listening to this amazing, fantastic deep cut. And I mean DEEP. Buried as the kick-off track on Side 3 of their generally most-beloved album, I've never heard anyone else give this incredible confection any props whatsoever (unless I brought it up first.)
Prof. Wagstaff wrote:But man, "Sweet Is The Night" is great enough to warrant its inclusion in any complete record collection and "Birmingham Blues" is a pretty pleasurable romp, only marred by those nonsensical string additions I've already railed about at length.
Prof. Wagstaff wrote:Since I can't find my Discovery album, I can't give it a proper review here, but needless to say, "Don't Bring Me Down" is one helluva great single. "Shine A Little Love" embraces disco whole hog like they'd never done before. "Confusion" slathers on the keyboards and spaceships to drown what might have been an OK song. "Last Train To London" is just bad.
Prof. Wagstaff wrote:I'm pretty sure I've never listened to Time in my life and after that, what remaining ELO records exist are purely contractual obligation affairs. I have a CD of leftover tracks which includes all the above-mentioned Discovery tracks plus some later stuff, of which, only a handful are of any interest to me. "Hold On Tight" is pretty great, if you can get past the horrible '80s drums. Ditto "Rock 'N' Roll Is King". Don't get me started on "Calling America" though...
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