I believe that another reason they remixed People Take Pictures... was to remove the big-band segment quietly playing at the end as it may have been copyrighted material or something like that.
Agree! I think the Procol might've been Live with the Edmonton Symphony Orchestra, which came out in April '72.
Yes. You are probably right. I don't have that record, but isn't that considered a really good live album? I'll have to listen.
Yes. I am a fan of the band. I especially love the song "A Salty Dog" which is also on that live album.
Ha ha. He has the best chance at being right with Creedence and The Hollies which are already my two least favorite bands on that list. I'm intrigued now though! I will report back!
I haven't heard this album in decades, and the only tracks that I even remember are the last three on side 2. I may or may not decide to comment on anything before they are arrived at.
Yep. He was spot on with the Creedence and The Hollies albums. I tried listening to both, but didn't get very far. That makes it even crazier that he lumped in The Kinks, Stones, Arthur Lee, and the others with these two awful albums. I just listened again to Everybody's In Showbiz on the old turntable. The entire album makes for a delightful listening experience. I wish the studio side had a couple more tunes. It feels much shorter than we are use to with The Kinks. Maybe that also adds to the reputation that it's not as epic as the last few records?
It does pass very quickly though and seems more like an album that even the band didn't take as seriously. A brief fun little album with some new songs that they could add to the live set list. I think after the last several masterpieces they just needed to put out a looser album that wasn't labored over as much. The studio side is 36:51. Muswell Hillbillies was 44:34. Arthur was 49:17!
That is a long single album. You’re right. (The only equivalents that I owned was the Japanese-only release ‘All About Steppenwolf’ (48 minutes and the first album I bought) and UFO II (otherwise known as Flying, 60 minutes).
Given your almost constant (feeble) attempts at humour, I believe you are entitled to a lifetime emoji dispensation. However, if you insist there are a number of editing icons at the top of the reply box. The emoji icon is so obvious that either you can figure it out for yourself or you are not qualified to use the feature. The one trick is that if your device uses a virtual keyboard you may need to close it to see the emoji selections or scroll up to reveal it.
On the other hand, those two were quite long for the era. After all, the C90 blank cassette was spec’d at 45 minutes per side so that almost all LPs could have their entire contents copied to a single side of the cassette with room to spare. The shorter length also enabled the the vinyl to better handle the wider range and greater dynamics of the master tape.
The only album I am familiar with from the period referenced would be Saint Dominc's Preview by Van Morrison. If the critic considered that album and Everybody's in Showbiz "abysmal" then I would suggest he was in the wrong job.
Oh I can find them just fine but lack your vast qualifications to have them consistently attach to posts after selecting them so don't bother, plus when overused they are a bit twee.
I know/knew both Mike Saunders and John Mendelssohn. The first thing that comes to mind is that John is practically a foot taller. No exaggeration, Mike was brimming with bad attitude, either real or feigned. John had/has a lot going for him, which eventually embittered him, as he saw many he believed to be of lesser talents out-achieve him. Both of them played in bands. Mike was in Angry Samoans, a sort of horror/comedy hardcore band influenced by Richard Meltzer and the Dictators. John was in several: Half-Nelson, The Pits and of course Christopher Milk. All very melodic and Anglophile. Anyway, to draw this sidebar to a close, “Metal” Mike’s overview of the albums of 1972 shows you all you need to know about where he was at by then. I don’t know what John ever really liked after The Kinks, Bonzos and early Bowie. I do know he hated The Clash. As for the album(s), I always loved the live sides, despite their chopped up nature, with Ray’s outsized performance. I was very pleased to get the Legacy expansion. On the studio sides, there is one classic, one demi-classic, a hit single and a few other worthy efforts including Dave’s. But as a Muswell Hillbillies lover, I’ll say this one has more filler than any since the Kinks entered their golden age. I don’t get off the train here - or anywhere though. I think the percentage of great songs is higher on the next album than this one.
I enjoy The Hollies 'Romany' album. It sounds little like them, what with their new Swedish singer. I guess, even they though would now look back and call it a failed experiment!
