> anyway, where is everyone?
I, for one, have been working my ass off trying to pack about 70 new songs
into my head, heart, and hands in the space of about six weeks. I have
joined a fantastic new band since my old bandmates all decided to pack it in
and give up playing, and have persuaded the new band to do a few songs near
and dear to me. The first one of my imported songs was "Nights in White
Satin" in which I play a custom arrangement of my own creation which
includes the entire orchestral intro, and an abbreviated version of the
orchestral ending, as well as all of the Mellotron (NOT ON THE REAL THING)
and orchestral parts (and flute solo) in the body of the song.
OK, that's the back story. Now, don't get me wrong, this band is very
accustomed to favorable audience responses, and they got to the point of
being one of the highest-paid and most regularly booked bands in the area
just fine without me, but...
This song is amazing. We really do play it very well and it (in the seven
or eight times we have played it) ALWAYS gets long, loud applause and
screams, but...
We played it last night as a sound check song, sloppily...
And got a STANDING OVATION. For a SOUND CHECK. And everybody comes up to
me whenever our next break is and praises that specific song and the
authenticity of my sounds. I have never in my 30-plus years of performing
had a reaction to a song like I am getting with this one.
Proving once again the power of the music of Mellotrons. I shudder to think
what would happen if I started bringing out the real thing!
Jon E Salley
MiloJohnson@...M400 #886