Archive of the former Yahoo!Groups mailing list: The Mellotron Group

Thanks Frank!

 

 

Mattias - This is not intended as a dig at you in any way. 

 

I'm rather surprised you'd think you were being lumped in with the type of mentality I'm talking about.

 

I mean - are you young in your maturity, insecure, ego centered, have a desire to over-promote yourself in the media, dishonestly pass samples off as real "mellotron" in liner notes to enhance CD sales, pretend you own a mellotron when you don't, take credit for things others have done before you, or not have the class to know when to censure youself ?

 

I'd like to believe "no".  You've made some intelligent contributions here, have you not? 

 

 

About me having heard your music - you were supposed to send me a CD a while back while we were discussing the "possible Chamberlin for sale" thread. But you never did......... so I don't know quite what it sounds like, and am in no position to comment on it.

 

So - in no way could I be referring to you, nor other list members here, or any other mellotron caretakers. And if I was, I would be a hypocrite - as my age and perceived disposition could also include me in the "Johnny come lately" demographic as well.

 

But I try my best to ensure that never happens. (When is the last time I drew attention to my own projects here or anywhere else?)

 

 

So please don't misconstrue what I'm ranting about (and you really probably shouldn't have posted my words out of context on Facebook - but no big deal)

 

Anyway - my rant - specifically - is about newer and immature bands using mellotron samples (or borrowed real mellotron) and blathering on endlessly in interviews about how interesting their band is over others, or how much they love the sound (said more really for their own publicity) - and....... that this kind of "interview"  is really a veiled "band promo" or "product placement" and should probably be kept to a minimum  - specifically in Dianna's movie......

 

 

WHY?......

 

 

Because there is a lot of untold history that hasn't been getting out there, and that needs to get out there.....and it can only be told with any credibility by those who were there during the golden age and who were interviewed for this film.

 

If this wasn't the case - I would be more than happy to hear "insert post- modern bands name here" on how special or interesting they think they are because they use real mellotron or samples.

 

But this isn't what's happening these days....

 

We hear the same trivial information repeated in books, film, video, the internet etc, and other more important and historical things that we have wondered about on this list are being forgotten about.

 

 

As far I'm aware - filling this void was one of the goals of Dianna's film, - to uncover some untold history. This was also a condition for certain people in agreeing to be interviewed in the first place. As a matter of fact - I was the guy who had to persuade some of these "elders" to do it, to freely discuss as much info as they did.

 

So yes, admittedly I have a personal interest in hearing the likes of John Bradley, Richard Chamberlin, Geoff Unwin, Dave Biro, Frank Levi, John Kasche, Bill Eberline, etc. over everyone else in the movie. 

 

And in my opinion, it would be a bloody shame to see their "unheard of before contributions" edited down to promote say -  the likes of Chris Dale, Mattias, Jon Brion, Opeth, the Flower Kings, Kanye West or anyone else - because this stuff can be found elsewhere and the other info can't.

 

The only others who could probably remedy this void at any length are Dave Kean, Martin Smith, Jerry Korb, Marcus Resch, and Pea Hix.  

 

 

Dianna's film seems an excellent opportunity for us to learn some unknown history (which I know we all would find very interesting) and I sincerely hope enough of it survives the final cut. I imagine it will if she has or had total control over the editing.

 

 

 

So to sum up  - if it's a hypothetical choice between learning about: 

 

 

Category 1:

 

 

Barry Frederick - first Chamberlin session musician

Harry Chamberlin's early recording equipment

The special room Harry created to record in

Lawrence Welk's offer to fund Chamberlin manufacture

Bill Fransen's false residence 

Harry's selling of the violin sound to Streetly

Geoff Unwin's Mellotron promotion

Story of  Yamaha / Wurlitzer adding the instrument plastic tabs to their organs to spitefully compete with the Chamberlin

Frank Levi correcting Bill Eberline's Sound Sales "modifications"

John Lennon's Birotron order / music session at the Record Plant

McCartney visit to the Birotron factory

Harry's lawsuits / deal with Optigan Corporation

Dave Vankoevering's attempted deal with Roy Chilton

Musician's Union ban and destruction of tape replay instruments

Pepperidge Farm Foods funding of digital Birotron

Bob Moog being asked to help with Godley / Creme's Gizmo

Mellotron or Chamberlin maintenance 

 

 

or Category 2:

 

 

Kanye West's opinion of the Chamberlin

Maroon 5 and how much they like the sound

Martin Orford's complaints about the Mellotron

How Opeth uses the Mellotron

How Bigelf uses Mellotron

How Mellotron samples are replacements for the real thing

M-Tron and which bands are using it

Memo tron

How me, you , or your friends, or your friends' bands use a real mellotron and what we all think of the sound

Any overly-self promotional material

 

 

Well - no offense to anyone - but I know which category I'd find more interesting and would rather watch.  

 

Granted - there has to be a certain amount of time given to "how" and "who" uses these things now, but certainly not at the expense of necessary history which has been buried over time.

 

A film like this - such arcane material -  should be more about the history of the instruments, and less about stroking our own egos and promoting our own musical endeavors. That's what our respective websites are for.

 

In comparison, we have lots of time for our own interviews, thoughts on mellotron sounds, music promos etc.

 

The original Mellotron, Chamberlin, Birotron, Orchestron, and Optigan "elders" don't.

 

We don't know what we don't know.

 

Let's learn while we still can.

 

Mattias - hypothetically  - say you got a broken Chamberlin one day, and you found out Richard died, but before he went he recorded some repair tips  but........ they were cut from the movie - I'm sure you'd trade your spot in a heartbeat to have those bits from Richard back in. Ditto John Bradley or Dave Biro.

 

This is the kind of stuff I'm talking about - info that once it's gone - it's gone.