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Неизвестные 60-е. Часть 23. Группа AeroVons

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Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: SkyElevator   Дата: 16.04.05 04:55:36
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Сразу скажу: сам группу не слышал. Наткнулся я на них по приведенной ниже длинноватой, но занимательной с участием знакомых всем персонажей, рассказанной одним из участников группы истории. Кроме того, меня заинтриговали рецензии на их альбом Resurrection, который критики в один голос называют "утраченным шедевром".
We were a young bunch of kids in St.Louis, Mo. Our band's name was The AeroVons. I was 17. We were a four-man group that did lots of Beatles tunes.
My Mom, who managed us, took our group and a demo that we had done to London (where we got the money, I have no idea) and got us appointments at Decca/London and EMI . Dick Rowe sat across from me and the group and listened, and then said "Well, not going to make the same mistake twice...," winked, and offered us a contract for a single (I didn't know what that statement meant until someone explained it later....is that wild or what?).
At EMI they loved us. Mom told them Decca had offered us an advance of a few thousand dollars (they hadn't) and EMI matched the offer. Geez, Mom was good ;)
The details of how we got in to EMI and Decca are a little involved, suffice to say it happened, out of sheer determination by her, really. She really wanted to capture this dream for me. She passed away last year and to the end, I still thanked her for it.
This was in fall of 1968. For some reason, EMI didn't want to record us until the next March. They told us to go home and write lots of songs all winter, and they said, while we were there, we should see the studio, and some key sights in London. They set us up with a pass to visit The Speakeasy, a private disco in London.
The night we went, Paul was there with Jane Asher (many have thought I was wrong and that by this time it should have been Linda....but it WAS Jane...I know, I had a huge crush...)
To make a long story short, we walked up to him and introduced ourselves. He stopped and leaned back against a wall and spoke with us for about 10 minutes. He was very, very nice. I asked him about some guitar sounds, and he asked us where we were from, all that stuff, and our bassist reached over my shoulder and handed him one of our cards, saying "Paul, I know this is a lot to ask...but...," whereupon Paul immediately said "Oh...a LOT to ask," and smiled. He signed it. I said "Nobody's gonna believe this when we get home" and Paul said "Ah, yes..but now you've got this....," holding it up and smiling. We thanked him and left.
Later that evening, we realized there was four of us, and one autograph. By the end of the night when the lights came up, I walked up to him again (youth knows no fear, but I did feel embarrassed as hell) and said "Paul, I'm sorry to bother you again, but our bass player just got very possessive with the autograph you gave, and..." He looked up and said "OK, alright, have you got a pen??" I whipped one out and handed him 3 more cards, and he signed them, smiled and we all said a huge thanks. Nobody can tell me that he's a jerk. He was really nice to do that. I still have the autograph, of course....
Later that week, we were given the tour of the studios. The guard that was walking us through was suddenly joined by Mal Evans right in the middle of the hallway, on the way to Studio 2. I recognized him immediately, and was thrilled to death. He was a big, friendly bear. He was flattered that we all recognized him. I asked him if he was really in that ice water in the mountains in "Help!" and he said "Yeah, that was really me." I said, "How did you not get frozen to death?" "Oh, just lots and lots of coffee" he chuckled. Pretty quiet and unassuming.
So we all walk in Studio 2, and the first thing we see is Ringo's drums, with the "LOVE" drumhead from Mystery Tour, sitting off in the corner.
"Are those Ringo's...", I stammered...
"Yeah..he just leaves him up, y'know.." Mal says.
So we're walking around when I notice someone who looks like George up in the control room, looking down on us.
"Is that George?" we ask .... (It's hard to tell..the control room is up some steps about 40 feet and it's hard to see through the glass clearly.)
"Yeah, he's working on a soundtrack right now." ("Wonderwall")
"Don't guess you could get him to come down?" "No, he's very busy."
So Mal, my Mom, and the others, including the EMI official giving us the tour, are rambling on about stuff like "Over there is the mike cabinets..." and I just said, "To hell with it, this is my only chance" and looked up at the window, pointed to him, and motioned toward us, as if to say "Come down here!". He immediately vanished from the window. I thought, "Great. That scared him off."
But wonder of wonders. Suddenly the control room door opens, out comes George, and he looks down at us, probably particularly at my Mom's big camera.
"Are you with a magazine?" he shouts down. "No!," I said. "We're just a group that's going to be recording here." "Oh, Ok," he says. And he starts coming down the steps.
We were astounded, stunned, you name it. This is two Beatles in one week. We are hitting the proverbial jackpot. But this is broad daylight, not in a nightclub, and George is coming toward us and holds his hand out to shake. You had some REAL nervous kids here.
I asked him if he had time for a few questions and he said, "Sure." So I proceeded to ask him about a million guitar questions. He asked us where we were from, told me Paul was wrong about the guitar question I asked him (George's answer made more sense ... and was ultimately true!). But he couldn't remember a lot.
I ask him something about the guitar in "Got to Get You Into My Life" and he said, "Was there brass in that one?" We all laughed a little.
He asked us if we had heard Eric Clapton, and said, "He practices like 12 hours a day, and then people call me a guitarist.."
We assured him he was indeed a guitarist, and asked him some more stuff. Finally, he excused himself. The picture is framed, and I can look up at it from where I type this, in my room. A remarkable day for me...
(продолжение следует)
P.S. Корвин, оставлял где-то вам вопрос, но ответа нет, может, пропустили, повторю еще раз: нужны ли МП3 трех песен хорошей британской группы Rainbow Ffolly для будущей темы? Среди прочих Drive My Car (не та!)
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Re: Неизвестные 60-е: Aerovons
Автор: SkyElevator   Дата: 16.04.05 05:08:32   
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Окончание истории:
A couple months later, my Mom and I returned to London to sign contracts. (Why didn't we do it by mail? I have no idea) While I was there, EMI asked if I'd like to see a recording session, and said I could see Frankie Vaughn or The Hollies. I jumped on the Hollies invitation.
I watched them record a song called " Man With No Expression", which was only recently released on their huge compilation CD set. After staying for awhile (and going to a pub with them for a drink on a break!!!), I said thanks and left, only to find The Beatles were now down the hallway recording "Yer Blues" and "Sexy Sadie."
I just roamed around the studio for a while, and that's how I saw them working on those tunes. That was truly amazing.
I didn't hang too long, because they would look up and you could tell they were starting to notice that someone was hanging around.
To make things worse, a groupie came down the hall and really squelched it. I don't know how she got in.
Paul came out of the control room and said "Are you all with someone?" I felt like an idiot. I said "Uh, no, I was just here with The Hollies, and I'm waiting to be picked up." That seemed to please him, but he told the girl, "Well, you see, we're working, and if you hang around out here, we can't work well, y'know." I walked off with him basically telling her she should leave. Still, another example of him really being cool when he could have said "Beat it." I wonder how many of today's groups would be that polite.
We returned in March and did our LP. One day, or night, I don't remember, we heard them working on "Old Brown Shoe" seemingly forever. I saw George in the hallway and talked to him again for awhile (he didn't remember meeting me the previous fall ). Again, very gracious and patient with the questions, and explained the strange "Value for Money" principle at EMI. That said that a given record shouldn't have too much bass, or treble on it, because the buyer wasn't getting his money's worth if it did. Is that weird or what? George was kind of shaking his head and rolling his eyes about it.
We went on to record our LP with an engineer who was a fellow Beatle fan as our tape operator. He played us "Oh! Darlin' " one night after The Beatles had left, and it was amazing. We heard it in the control room, off the 8-track master. Stunning. We just wanted to shoot ourselves and go home. We were truly in the land of the Gods.
For a while, Norman Smith was our producer. We asked him some Beatle things, but I don't think we understood who he was. We knew he did a bunch of their recordings, but for some reason I don't remember badgering him much about it. I asked him why "I'm Looking Through You" had a false start on the American stereo LP (or was it the mono..I forget...) and he was surprised. He knew nothing about it. Then I asked him why the cymbal crashes in "No Reply" are cut so short after each "I saw the light" line. He didn't know. Finally, I remember asking him if he remembered the "I Want to Hold Your Hand" session, and he said," They were very loud, I remember that." So much for Norman.
On a few tracks Geoff Emerick sat in. That was a treat. A truly great engineer, extremely soft spoken and polite. A true gentleman with terrific ears. We didn't get him much, as he was with the Beatles doing "Abbey Road" most of the time.
Know what was really weird? Recording in Studio 2 late at night. These red "mood lights" would be on, casting an eerie glow on the big studio, and the other lights would be off. I'd look around if I was down there by myself doing a guitar part or something and think "This is where "She Loves You" and "I Want to Hold Your Hand" were made. What AM I doing here???"
Particularly spooky was the harmonium over in the corner. I played the "We Can Work It Out" pattern on it and it sounded like the record. Your hands would actually tremble. I'm not kidding. The Steinway was there (with lots of cigarette burns) and playing "Lady Madonna" on it was equally disconcerting. This was truly the room it all came from, and it was really obvious.
Final quick story. We kept our equipment in the same room as The Beatles. It was apparently a storage room, and since their stuff was there, EMI just said, "Go ahead and keep in there, just don't bother their stuff." So naturally, late at night, we did. We took a load of pictures with us holding their guitars, and me holding the famous "The Beatles" drumhead. I've got one of those framed too.
Anyway, one day I shorted out a guitar cable during a session. I went upstairs, heading for the equipment room, to get another. Our drummer said, jokingly, "John's down the hall, ask if you can borrow one of theirs. I don't think we have another one." It was just kinda of a joke. I said "OK, I will."
I had intended to walk toward John and then walk right by, to fake Mike out, but as I got closer, John, who was standing in the hall talking to Yoko, looked at her and said "Just a minute...." and looked right up at me as I came near. I felt like a jerk. Now I HAD to say something.
"Uh, John," I said, "we're recording in Studio 2 and I just broke a guitar cable. We keep our stuff in your equipment room. Do you have a cable I could borrow?" "Do you know Mal or Kevin?," John asked. "Yes," I said. "Yeah, well go tell them I said it was OK," John said.
"Aw, thanks John, thanks," I said, stumbling off, almost running.
So that was my big meeting with John. But see, he didn't say "get lost" either. They really were like ordinary guys. Walking around them, you just couldn't believe it was really them. One day Paul came out and saw us sitting on the couch in the front waiting room. "Hi " he said, and we all acknowledged.
Ten minutes later, he comes out again, walks by, looks at us and points a finger. "I'm not gonna say hi this time ....," smiles and keeps walking. So we even got a little Beatle humor, too.
Anyway, that's some of it all. Needless to say, it was the thrill of a lifetime. Еще бы!
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Re: Неизвестные 60-е: Aerovons
Автор: Slavik   Дата: 16.04.05 08:46:20   
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Статья из журнала Record Collector #282 feb.2003

The Thrill Of A Lifetime

Produced by Norman Smith recorded at Abbey Road, gaining the Fab’s blessing – for a brief, heady moment the AeroVons had it all
David Wells takes up the story

It's widely acknowledged by genre buffs that EMI's Abbey Road recording studios were one of the key constituents in the shaping of the British psychedelic pop sound, hosing classic productions from the Beatles, the Pink Floyd, Donovan, the Hollies, the Pretty Things and а swathe of equally essential peers.
But despite its clout within the industry, Abbey Road was also responsible for an unfeasibly large number of top-drawer psych-era projects that inexplicably failed to see the light of day. The second Simon Dupree & the Big Sound album, Mark Wirtz’s semi-legendary Teenage Opera, а host material from Tim Rice/Andrew Lloyd Webber popsike proteges Tales Of Justine, even а fabulous late-period baroque psych album from post-Mandrake Paddie Steamer band the Corn & Seed Merchants - all these and more were left to gather dust in EMI’s bounteous archives.
Arguably, however, these lost-in-action marvels are all eclipsed by а more recent discovery.
An obscure US Beatles-obsessed teenage outfit called the AeroVons released а couple of neglected Parlophone singles in 1969 before returning to their St. Louis, Missouri base with tall tales of their adventures in the bowels of Abbey Road. They left behind an aborted album, of which just а handful of test pressings have survived. This suggests that, remarkably, they may have been the band that the Beatles were looking for when they chanced instead upon Badfinger.
Following а limited edition vinyl reissue of the album in 2001, this is the AeroVons story, and if it all sounds too good to be true - well, that's just the way it is.
Assembled by guitarist and singer Tom Hartman in 1966, the AeroVons quickly became а leading local band in their area. Like fellow Anglophiles the Choir and the Nazz, the group were influenced by the Beatles, but also by the Who, the Bee Gees, the Kinks and, in Hartman's own words, "others who were masters of the hook-laden single".

Having conquered St. Louis, the AeroVons booked а local studio to record а couple of original tunes, including the Beatles sound a like, 'World Of You'. Within а matter of days, the studio notified them that а representative of Capitol Records (which had а distribution office in the town) had slopped by, and heard the group's demo tape. Would they be interested in going to Los Angeles to audition for Capitol? With the arrogance of youth, Tom Hartman airily replied that he would prefer to go to London and record at the same studio as the Beatles.
Astonishingly enough, Capitol agreed to put the AeroVons in touch with EMI's UK chief, Roy Featherstone. In the autumn of 1968, the group and their manager (actually Tom's mother) duly arrived in England for appointments with not only Featherstone, but with Dick Rowe at Dесса -the man who had famously turned down the Beatles back in 1962.
After receiving а firm offer from Featherstone, the group then called at Rowe's office, where they played their demo of 'World Of You'. He took the bait, declaring "I'm not going 'to make the same mistake twice -I'd be interested in doing this song". However, the AeroVons merely used Rowe's interest as leverage, telling Featherstone that Dесса had offered them an advance of several thousand dollars (they hadn't). Not only did EMI agree to match the offer, but they set the group up with passes for the Speakeasy Club (where they secured Paul McCartney's autograph) and threw in а tour of Abbey Road, where the group received some friendly advice from George Harrison and watched the Beatles record 'Yer Blues' and 'Sexy Sadie'. Roy Featherstone then sent them back to St. Louis for the winter to write some new material.
Returning to London in March 1969 with rough demos of about 20 new songs, the AeroVons were initially assigned to Beatles/Pink Floyd soundman Norman Smith, but the group were unhappy with his early input. Tom Hartman took over as producer, ably supported by tape operator Alan Parsons (who also played recorder on the album's epic closing track, 'The Children'), with Jeff Jarrett and the vastly experienced Geoff Emerick sharing the role of chief engineer.
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Re: Неизвестные 60-е: Aerovons
Автор: Slavik   Дата: 16.04.05 08:47:40   
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продолжение

With Featherstone's approval, the AeroVons enthusiastically embarked on recording their debut album. "The songs varied from acoustic ballads to full orchestral productions," remembers Hartman. "It was all very Beatles-inspired, of course, but we were also influenced by everyone from the Lettermen ('Words From А Song') to Dinah Washington ('Quotes And Photos'). We also did 50s-based things like 'Say Georgia', which unfortunately lifted а bit too much from 'Oh!
Darling', which our engineer had played us one night after the Beatles had left. The similarity was unintentional, but that's what happens when you're avid Beatles fans and writers. Ask Oasis!”
Unsurprisingly, the AeroVons album was drenched in а typically florid late-60s Abbey Road production: "I had а flair for the dramatic," admits Tom. "After discovering EMI's sound effects library, I loaded the LP down with waves, seagulls and everything else from bagpipes to playground noises. Perhaps, in retrospect, it was а bit overdone! We also sequenced the tracks very close together, so that one song would burst right into the next." Not everything in the garden was rosy, however. The two single releases ('The Train'/ 'Song For Jane', released on Parlophone in July 1969, and 'World Of You'/'Say Georgia', which appeared two months later) were well received by radio DJs, but failed to find favour with the general public. Both are valued at f30 each, although we've heard of the latter reaching triple figures. Rhythm guitarist Phil Edholm, who had only recently joined the group, was sent home after а personality clash, while the remaining three members were unable to get а work permit to perform in the country. Nevertheless, they did play one gig at Hatchetts, the London nightclub/disco, where they were given а standing ovation.
Working in Studio 2, the group were surrounded by examples of the Beatles' omnipresence. "I played the 'We Can Work It Out' pattern on the harmonium that was in the corner, and it sounded just like the record," recalls an awed Hartman. "I'm not kidding - your hands would actually tremble. The Steinway was also there, and playing 'Lady Madonna' on it was equally disconcerting."

There was even more tangible evidence that, in Hartman's words, "this was truly the room it all came from", as he now reminisces. "We kept our equipment in the same room as the Beatles. It was apparently а storage room, and since their stuff was there, EMI said 'Go ahead and keep it there, just don't bother their stuff'. So, naturally, late at night, we did. We took а load of pictures with us holding their guitars, and me holding the famous 'The Beatles' drumhead. I've got that picture framed!"
Having finished the album, the АеrоVons returned to St. Louis to await а release date. It was at this point, how-ever, that the group started to unravel. Drummer Mike Lombardo was rocked by family problems that apparently sent him into а rapid decline: already one member down from Edholm's dismissal, the AeroVons were now а duo - Hartman and Lombardo's brother Billy on bass.
When ЕМI discovered that the group would be unable to promote the record, they reacted swiftly: to Hartman's horror and lasting despair, the release was cancelled. Nevertheless, they offered him an extension of his contract if he agreed to relocate to London. Still only 17 years old and already homesick, he made the fateful decision to decline the company's invitation. "Looking back, it might have been the biggest mistake of my life," Tom now admits. "But I like to think not."
Hartman briefly moved out to LA, where he recorded а single for Bell under the aegis of staff producer Mike Post before deciding to go back to his studies. After graduating from the
University of Miami, he returned to the music industry, recording for commercials and documentaries. He now operates а home studio, recording local bands as well as his own music. But, as the song goes, а teenage dream is hard to beat, and the adventures of the AeroVons at Abbey Road loom large in his personal history. As he now reflects, "it was the thrill of а lifetime."
Thanks to Tom Hartman.

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Re: Неизвестные 60-е: Aerovons
Автор: Slavik   Дата: 16.04.05 08:53:34   
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AeroVonsAeroVons
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Re: Неизвестные 60-е: Aerovons
Автор: Mr.Moonlight   Дата: 16.04.05 10:15:09   
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Это надо в генеральную музыку переместить.
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Re: Неизвестные 60-е: Aerovons
Автор: лед и сталь   Дата: 16.04.05 11:03:57   
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есть у меня этот альбом - поп психический, довольно радикально попсовый - мне сколько помню не занравился

но ежли надо пошарю как нибудь
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Re: Неизвестные 60-е: Aerovons
Автор: SkyElevator   Дата: 17.04.05 05:51:10   
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А что, давайте. Весна, солнце, гараж как-то не тянет слушать, может, покатит.
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Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: Corvin   Дата: 18.04.05 19:18:59   
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Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: лед и сталь   Дата: 20.04.05 16:56:41   
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Вопрос  
Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: SkyElevator   Дата: 23.04.05 03:03:49   
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А может, лучше опубликуете ссылки прямиком на песни, которые, на ваш взгляд, у них лучшие будут? А то сайт не открывается, хоть ты тресни.
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Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: лед и сталь   Дата: 23.04.05 09:40:51   
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у меня все открывается и дома (рол модем) и на работе (сеть астелит)

может с провайдером чо не так - не догоняю

а насчет лучших песен я пожалуй воздержусь - вобще не в моем вкусе
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Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: SkyElevator   Дата: 12.05.05 05:58:07   
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Вот за что люблю такте группы: послушайте внимательно Resurrection и услышите завуалированную Across the Universe. Чудесная битловская мелодия, а при этом слушается, как в первый раз. Вообще странное ощущение: каждая песня по отдельности хорошая, а все вместе - утомляют.
Здорово!  
Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: Бека   Дата: 12.05.05 09:51:26   
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2SkyElevator:

У AeroVons битловская линия очень откровенно выставлена. В песне Say Georgia слышатся нотки Oh Darling, например... Хотя группа мне безумно понравилась. Особенно Song For Jane. :)
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Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: Corvin   Дата: 12.05.05 10:51:37   
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Song For Jane вполне симпатичная вещь. With Her понравилась меньше.
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Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: Corvin   Дата: 20.06.05 17:02:06   
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Biography by Richie Unterberger

The Aerovons' story sounds like a fairytale, and in most respects it was a fairytale come true, except for the anticlimactic grim ending. It was probably the dream of millions of teenage American boys to meet the Beatles and record at Abbey Road Studios in the late 1960s.

The Aerovons, unlike virtually every other such band, did so. Personnel instability intervened, however, and the group only got to issue a couple of rare singles before splitting up. They did record an entire album of promising material heavily influenced by the late-'60s Beatles, which finally saw release on CD in 2003.

The Aerovons were formed in 1966 in St. Louis, and in late 1967 guitarist/pianist Tom Hartman recorded a demo of his composition "A World of You" at the instigation of his mother. The demo was heard by a representative of Capitol Records, and though he offered the group a session in Los Angeles, Hartman's mother told him the band wanted to record in London. In early 1968, the still-young Aerovons — Hartman was 16 — flew to London to play their demo for EMI. EMI was impressed enough to sign them when Hartman and his mother returned to London in August 1968, and the Aerovons even got another offer at the time with Decca.

The whole band came back to London in March 1969 to record.Over the next few months the group cut about an album's worth of material at Abbey Road. Unsurprisingly considering the surroundings, and considering that the Beatles were the group's heroes anyway, the material sounded much like the Beatles did circa 1967-1969, though on the lighter side of what the Beatles themselves came up with. More surprisingly, the album was produced by Hartman himself, who also wrote most of the songs laid down in the studio. Though the sessions were quite well-produced and well-arranged, with some of the settings also reminiscent of the late-'60s Bee Gees or (more distantly) Hollies, the songs were still too derivative to have stood much chance of making a big mark had everything been issued at the time.In a perfect world, perhaps such a young group should have been given some more time to hone a more original sound. It was and is an imperfect world, however, and before an album could even be released, fate intervened to end the Aerovons' brief career.

The sessions had themselves been done as a three-piece, although they'd come over to London as a quartet, when guitarist Phil Edholm left before recording began. Shortly after returning to St. Louis in mid-1969, drummer Mike Lombardo left. EMI, concerned about the personnel shifts, canceled the album, and the band split up shortly afterward, though a couple of rare singles were issued on Parlophone in 1969. Hartman did a single for Bell in 1970 before abandoning the record business to go to college, though he later got into writing music for television, radio, and film. The Aerovons' canceled album was issued on CD by RPM in 2003, with both tracks from a non-LP single, a demo, and an unreleased song added as bonus cuts.

http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:su1m962ojep3~T1
Сообщение  
Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: Монстр66   Дата: 16.10.09 10:36:16   
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Кстати, наши сделали очень приличную пиратку, я себе взял. Тоже очень понравилась эта группа The Aerovons. Это американцы, они специально приехали записывать альбом в Англию на Эбби роуд, в 69 году
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Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: Игорь Цалер   Дата: 17.07.12 12:55:58   
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Послушал альбом, очень понравился! Явные битломаны.Послушал альбом, очень понравился! Явные битломаны.
Это американцы, которые в 1969 году полетели записываться на студию Abbey Road. Много отсылок к песням "Битлз". Причем "Oh! Darling" и "Across The Universe", с которых явно сделаны "Say Georgia" и "Resurrection", к тому времени еще не вышли, и парни услышали их в студии, раньше всех, и успели сымитировать раньше всех! :)
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Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: Sunjam kal   Дата: 24.06.16 13:34:13   
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2Бека:

>2SkyElevator:
>У AeroVons битловская линия очень откровенно
>выставлена. В песне Say Georgia слышатся нотки
>Oh Darling, например...

+1. Еще пример - в "Something of Yours" middle 8 "Michelle". И так везде - одни очевидны, другие надо долго слушать, чтоб понять. Голос певца на манер P.F. Sloan. Такой же...как сказать...сонный? Сравните Fantastic Baggys "Alone on the Beach" и "Children".Короче, не нравится. Лучше послушаю Битлз чем такое исполнение.

Однако плюсы есть. "World of you" почти классика. "Everything's Alright" - супер! Лучший трэк в стиле Битлз: гитарные проигрыши и на подпевках "Джон". "Here" словно из-под пера Пола. "Hey Jude" meets "Here There & Everywhere". Даже высокое "Ууу" есть.:) И, наконец, "The Years" оч. красива! Самая "небитловская". Жаль длится 1:37.

Кому интересно, даю ссылки на эти песни ("Here" отдельно нет, но можно весь альбом в youtube послушать, посл. трэк):



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Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: audi   Дата: 04.03.19 18:48:47   
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Компакт с их Родины получил из Сент Луиса.Компакт с их Родины получил из Сент Луиса.
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Re: Неизвестные 60-е. Часть 23. Группа AeroVons
Автор: audi   Дата: 04.03.19 19:30:37   
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