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Voldar: , . Top ten bands never nominated for Rock Hall of Fame It's always fun to debate the merits of which bands/artists belong in the Rock and Roll Hall of Fame. Below I've compiled my Top Ten list of bands which have never been nominated but have been eligible for at least ten years. (Otherwise, I would have included The Cars--eligible for nine years). KISS and Deep Purple fans, keep in mind that your band has been nominated before. And remember, an artist isn't eligible for the Hall until 25 years after their first album is released. This list strictly adheres to those who've never even been listed among the eligible nominees. 1. Hall and Oates -- (Years eligible: 15) In my opinon, THE biggest snub, bar none. I put Hall & Oates in the category of The Everly Brothers, Simon & Garfunkel, The Righteous Brothers and Sam & Dave. These are all duos that are in the Hall of Fame. Great songwriters, R&B influencers from "Sara Smile" to "Rich Girl" to "You Make My Dreams Come True". Check out Daryl Hall's tv show "Live From Daryl's House" and see for yourself how many of today's artists are influenced by his songs. 2. The Moody Blues -- (Years eligible: 23) Influence? Innovative? Longevity? Check all three categories for the Moody Blues. One of the most essential British bands from the 60's and they are still recording and touring today. 3. Yes -- (Years eligible: 18) See above description of The Moody Blues. In fact, from a pure musicianship standpoint some might argue that this is the greatest band ever. Spawned future supergroup band "Asia". 4. ELO -- (Years eligible: 16) Has any other band in history blended rock with the sounds of a symphony orchestra any better than Electric Light Orchestra? The skill that frontman/producer Jeff Lynne used in crafting out radio friendly hits like "Evil Woman", "Mr. Blue Sky", "Hold On Tight" and "Don't Bring Me Down" (pre-digital era) is still unmatched by anything out there today. 5. Cheap Trick -- (Years eligible: 10) Shouldnt a band that has played in virtually every club and arena in the world get a nomination? 60's pop meets heavy metal and punk. These road warriors haven't stopped moving since the mid-70's and they continue to churn out new records. Classic Rock radio stations still never tire from playing "I Want You To Want Me", "Surrender", "Dream Police" and more. Inventive for the 12 string bass, zany double-neck guitars. Drummers want to sound like Bun E. Carlos and singers can only hope to come close to the dynamic range of Robin Zander. 6. Chicago -- (Years eligible: 18) Great horn section. Wonderful vocals. Early years had blistering guitar parts. Tons of radio hits. This one is hard to figure out. 7. Doobie Brothers (Years eligible: 16). A lot of band members through the years but Tom Johnston's distinctive vocals have persevered through the years. "Long Train Running", "China Grove", "Black Water", " "Listen to the Music", etc. Add in the Michael McDonald years and well, you'd be a "fool to believe" they aren't deserving of a nomination. Still touring today. 8. Journey -- (Years eligible: 12) No offense to the Bon Jovi fans out there but I cannot understand how they got nominated before Journey. This band is probably lumped into the "corporate rock" term so often used in the 70s' with the likes of Styx, REO Speedwagon, Boston, Foreigner and others but I think there is a distinct separation with Journey-- not to mention the band's longevity and continued success even with a new lead singer. Still touring today. 9. Boston -- (Years eligible: 11) Only a handful of albums, but they are all fantastic. The debut album alone is worthy of Rock Hall induction. Tom Scholz's creation of the Rockman developed an electric guitar sound never heard before. Brad Delp's soaring vocals were stellar on every track. These guys wrote rock anthems. 10. Judas Priest (Years eligible: 13) This is a close one between JP and Iron Maiden. Both are deserving but I would go with Judas Priest first. Where is the love for these British Metal heads? Certainly they weren't the first metal band but Rob Halford's vocals took this music beyond what Ozzy Osbourne could do in Black Sabbath. Almost always cited as a huge influence from current metal bands. Not to mention, Priest had a way of making Metal, FM friendly with its catchy hooks in "Breaking The Law", "Living After Midnight" and "You've Got Another Thing Coming." http://www.examiner.com/list/top-ten-bands-never-nominated-for-rock-hall-of-fame

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Voldar: , . A conversation with producer and ELO frontman Jeff Lynne Hello? Hello? Hi, is this Jeff? Is this Jeff? This is Jeff. Heya. This is Jeff, too. All of a sudden were in a Monty Python sketch. Well, you could be in my group, actually. Oh, yes. I saw the video [for Mercy, Mercy, from Lynnes new Long Wave" album]. Itll be the Jeff Group! So began my brief but memorable chat with Jeff Lynne, former member of ELO and the Traveling Wilburys and producer to George Harrison, Tom Petty, Paul McCarney, Ringo Starr and, of course, The Beatles. Lynne was promoting two new albums, his first since 1991s solo Armchair Theater and 2001s ELO release Zoom. I know Im not supposed to start with this, but this is a real thrill for me, I confessed to Lynne at the outset of our conversation. Youve made some of the seminal records of my life, and not just with ELO. Ah, well thats good, he responded, jokingly. Its okay. I like it. Carry on. So while our chat was brief owing to Lynnes hectic promotional schedule, it was loose and fun. And, best of all, Lynne promised me a follow-up where hed share more about his time in the Wilburys and working on The Beatles and their various solo sessions. Jeff Slate: So Im of course curious about the story behind Long Wave, but Im intrigued by your revisiting the ELO material too. When I listen to those new ELO recording they just sound fantastic. They still retain that magic that they had when I first heard them as a kid, but your voice sounds phenomenal and is really well recorded, so it sounds maybe better than the old days, and it does seem like from a producers standpoint that youve taken what you knew back when you made the original records and imbued the new recordings with 30 years worth of experience. So lets talk about the ELO record and why. Jeff Lynne: Okay, well youve almost answered your own question. I started out with Mr. Blue Sky because Id been listening to my songs on the radio or sometimes playing the records, you know, and I just felt like they didnt quite sound like I thought they did. You know, everything was a bit wooly and some things that I know were there you cant hear or are very indistinct. So even though I still like them there were enough things about them that I thought something should be done about it. So like you said, after all those years of producing, for the last 30 years, Ive had that much more experience. So I had an idea of what to do with them. And what you said at first, about how theyre now clear but they still retain the feel of the old ones, thats what I wanted to try to do. I didnt want to alter anything about them, because I liked the tunes the way they were and everything. You know, some people would be tempted to mess with them. But I wanted to be faithful to them but just make them sound better so I can be more pleased or proud of them when I hear them, instead of going, Ooo, ouch! You know, like I wish that was a bit better. I wish Id left that bit out. But that is exactly why and there it is, so you almost said exactly what I would have said. JS: But when you got in there, as a producer, and having learned all those lessons, did you find it was enough to get cleaner, clearer sounds? Or did you want to mess about with them? Because as both a songwriter and a producer you had to have gotten in there and thought, Ive got a different idea for a harmony or Ive got a different idea for a melody line or Heres a guitar part I didnt think of in 1974. So how do you both free yourself and constrain yourself as a producer and a performer? JL: Well, what I did was just exactly what I did the first time around. Because dont forget I played these songs on stage for years so I knew them inside out, and I didnt really want to change anything. Because even though you do change things a little bit performing them over the years phrasing and such doing them live I noticed I had done that, just getting lazy or sloppy. So in going back I noticed that in listening to the original recordings my timing was a little different, but I wanted to get it just right, just the same, but sounding better and more punchy and a bit more clarity. JS: So did you literally A/B them? Did you literally go back and try to recreate them note for note? Because you did and you didnt try to capture the exact same tonal qualities. They are similar and yet it does take away that wooliness, so it is a different experience listening to these recordings, which opened up things considerably from a sonic standpoint. The palette of sounds is much larger but the parts are virtually identical. So did you study them or did you just know them that well? JL: Well, I just knew them inside out and backwards because thats all I ever did for years was play those songs in ELO. JS: Okay, well the song choices to me or any ELO fan are fairly obvious, but as the songwriter revisiting that catalog did you choose them because you felt if you were going to hear them on the radio or in a movie or in a commercial you wanted to hear these versions so Im going to go for the big hits, or were these simply the songs that were nearest and dearest? JL: Well all these songs are dear to me, of course, because you go so deeply into them when you write them and they become like your little pals and you dont want to seem them trodden on or anything. But actually I did enough for two volumes, so this is just the volume of songs I chose to use this time around. So Ive been doing this ELO album and Long Wave for three years straight, six days a week. And its been great and I cherish each one because each album had its own amazing and unusual thing going on but this was really just rebuilding old tunes. JS: Well, that gets us easily into Long Wave. I guess the one that shocked me you know, She is such a perfect opener, its like youve turned on the radio in 1959 or something, so that one really puts you in the mood, but yet still gives you that clarity and feel weve been talking about but then there you are a few songs in doing Roy Orbison. So was that a song you loved or a nod to Roy as a performer, or really was it a message to an old friend? Because Ive spoken to Tom Petty about Roy, and when we did he just lit up. So I guess I wondered when I heard it if it was as much for yourself as for the listener? I suppose it always is, right? JL: Of course. You do it for yourself in the first place, because you do it because you really feel a need to do it. But I always loved Roy Orbisons stuff. It was unbelievable. And Roy actually told me because I used to get him to play little bits of his tunes for me when we were just hanging about with guitars in between writing songs for the Wilburys or whatever and he once told me Running Scared was his favorite one that he ever did. JS: Mine too. JL: Yeah, mine too! But what about all the others as well? So I said to him, And mine. But what about all the others? Because theyre all marvelous. So I did it as a tribute to Roy, really. He was such a sweet man. Very, very kind and funny. He was great. So I did it. And when I finished the backing track I went into the vocal room and I was really scared of even approaching it. You know, I was going Oh my God. Ive got to sing this now. So I crossed my fingers and had a go at it. And I was dreading hearing it back, but when I listened to it it was actually quite good and I wasnt totally blown away by how bad it was but in fact it was really good. And I thought I can get this if I keep trying. So I did about 10 or 12 takes, just trying to get it smoother, because you know its Roy and all. Because it was daunting and I did kind of think I shouldnt be doing it because Im not Roy Orbison. But I just loved the song and I actually ended up liking my version, so Im very pleased with it now. JS: Its a little bit of Jeff and a little bit of Roy in there, isnt it? Certainly from a fans standpoint. Its a beautiful thing. JL: Aww, thats great. Thanks. JS: Well, lets talk a little bit about the lessons youve learned because Ive followed your career for a long time and, you know, people always talk about the Jeff Lynne sound as though theres something universal about it in every record and yet from my standpoint, as a musician/producer/songwriter too, I hear something very different every time. JL: Definitely. JS: For instance, Armchair Theater is nothing like Highway Companion. And Zoom is nothing like the earlier ELO records. Although they retain that sort of fundamental Jeff-ness, theyre different. So ELO had the natural trajectory of a successful band. You know, Ringo always says a band shouldnt last more than eight years. So while maybe you guys stretched that out a little bit it was basically that trajectory and every record built on the last. But then you get to the end and youre looking around for something to do and you hooked up with George. I mean that album the finished product, Cloud Nine was a huge leap forward for you as a producer. It sounded very different, to me. JL: Well, that was the greatest opportunity of my life, really. The greatest opportunity I could have wished for. Because for a while after ELO ended I just stayed at home, practicing in my home studio. I was learning how to really use the equipment; really know the studio. I was learning how to engineer and all and I actually got pretty good. I got the hang of the [mixing] desk and everything and I by the time I was ready, as luck would have it, I was having dinner with Dave Edmonds one night and he said, Oh, George asked me to ask you if youd fancy working with him on his new album. Um, yeah. You bet. So I went up to Georges house and we had a meeting and he wanted to make sure wed be good pals if we were going to work together. So he said, You fancy going with me to Australia to the Grad Prix? I said, Ha! Yeah, okay. I mean Id only just met him like a few days before. And he said, Meet me in Hawaii and well go from there. So thats what happened. We went and we had a great time and it was fantastic and thats where we wrote When We Was Fab, in Australia. So that was the start of ten wonderful years of making records with George. JS: Did you ever ask him why he reached out to you through Dave Edmonds like that? JL: Well, he didnt know how to get hold of me and he knew Dave. JS: Well, but I mean why he chose to work with you? JL: Well yes I think I do, because in fact Olivia tells me in my little documentary that Ive got [Mr. Blue Sky: The Story of Jeff Lynne and ELO]. She says that we both loved each others songs. I think that was the initial reason why he wanted to work with me because he liked the sound I made and he liked my style of songwriting. JS: Okay, so then youre driving in the car here in LA on Thanksgiving Day and you run into Tom Petty and you end up producing Full Moon Fever. AndCloud Nin was a big hit. So youre going from strength to strength. But again Full Moon Fever sounds similar, but very different too. Its not Tom doing George or you doing Tom doing George. Its a whole different sound. JL: Well, thats the funny thing. Me and Tom sat together and wrote all these songs; all but one I think. And wed never worked together before, so there wasnt an attempt to create a sound. We just sat in a room in Toms house and made up these tunes. And they just happened to be really good ones. And we made a fabulous sound in Mike Campbells garage, of all places. That was where we recorded it. So it was a strange session, but the garage sounded really good. Its just a garage with a concrete floor full of motorbikes and stuff, so whenever we recorded in there thered be motorbikes everywhere. But it was a great but strange little atmosphere to record in so how could they sound the same? JS: Well, that begs the question. I assume Friar Park is a full, proper studio whereas Mike Campbells garage would certainly not be as elaborate or fancy. What sort of mics and board and so forth did you use? Because you are getting a great sounds in both environments. JL: Proper mics. All the proper mics and proper gear, except Georges studio was a real beautiful one obviously. Its very ornate and has a lovely room to work in. And then Mikes control room was just a spare bedroom in the house next to the garage. So it was a bit odd. But then of course we mixed in full blown studios. But to record them all we did them all in there. JS: And did you ever run up against a problem where you couldnt get the sound you wanted? Because maybe this is true or maybe not, but I think I remember you being quoted as saying you dont like to use EQ, you like to get the sound that you want on tape and then work from that. Did you ever find that to be difficult, lets say, in Mike Campbells garage? JL: Not at all, really, because its the way you get things down. I mean, its not that I wont use EQ, I will if I have to if something sounds much better by just nudging things up a little bit here or there in a few frequencies. Then of course Ill do it. So I wont avoid it just on principal. You know, Oh, I wont do that. But what I dont like to use is reverb willy nilly all over everything. I just do not like that. And I never have. So I only use it as an effect, or really as a joke maybe on the end of something. You know, to make a big bang. Claaaang. So its mainly that naturalness of the room I like to record that with a mic a little bit off whatever Im recording so, you know, you get a little bit of the room sound and the air moving. JS: Do you combine close and distant mics, then? JL: Yes. Like for lead guitar I like to combine a close mic right on the speaker and a distant mic probably eight feet away or so. JS: I know weve only got time for about one more question but Ive got about 30, so Ill have to ask the obvious question about working with The Beatles. JL: Yeah, of course. Dont worry well catch up again soon. JS: Great. So by the time you worked with The Beatles youd done the Wilburys, some tracks on Ringos Time Takes Time album, and though you hadnt yet done Flaming Pie with Paul youd done a host of records with all these heroes of yours and you are asked to go to Pauls studio to work on these songs. Technical problems aside, put the people reading this in the room. I mean many Beatles fans have heard you talk about this, but convey something that we might not expect that you observed or got from that experience. JL: I suppose the experience of walking in the room with George and then being with the three of them in the same room for the first time in years and years, that was an indescribable experience in and of itself. Then sitting down with the three Beatles, its really just me and them three. Thats it. And Im just sitting there listening to all this wonderful chat, you know, about the old days and stuff. That was so marvelous to hear these stories from their mouths, the real thing, you know? Not the edited version, but the real great stuff. So that was one of the most amazing things, to get involved and be in this little club with The Beatles. It was just superb. JS: Did they make you feel like one of them? Or did you feel like an observer? Because who couldnt help feeling that way? JL: Oh no, they were totally cool with me. You know, I was in there. I was part of the team, you know? And I was actually the leader of the team, believe it or not. So there you go. JS: How about that? So will we ever hear Grow Old With Me or All For Love or Help Me To Help Myself? JL: I dont think well ever hear the extra one. There was one other song that we listened to and I think we may have played on it once or they may have played once through it but it was never done or finished or anything like that. JS: Too bad! Well have to talk more about that next time. Okay, so youre working on a solo record of original material, and youre obviously promoting Long Wav and the ELO set. Are you going to go out on the road and do some shows? Are you at least coming to New York City? Will we get to see the documentary in wider release? Whats next for Jeff Lynne? JL: Hopefully, yes to all those questions. I havent got any plans to tour, you know Im just trying to figure out a way to do it. JS: Because I had tickets for the Zoom tour, so youd better honor those. JL: Ah well, sorry about that. But I have no plans again at the moment. But Im going over to England tomorrow to do some TV shows and some things. And then Ill be back here doing some promotion. And its going well. In England Long Wav is the BBC Album of the Week, which is a really good thing. JS: Fantastic. JL: Yeah! So Im really chuffed about that. JS: So well maybe see another volume of the ELO along with a solo album of new Jeff Lynne material sometime soon? JL: Well, I have got 8 songs of new material towards the new album. And, you know, I probably need another three and so thatll be ready for next year, I hope. And the thing about those other ELO songs Ive finished already is, Craig my manager always wants bonus tracks. No matter what Im doing or how many tracks I give him he always wants bonus tracks. So Ill probably run out of those ELO tracks before I can make another album out of them! JS: Well Jeff, it was a pleasure. I really appreciate it. And hopefully when you get to New York we can catch up and Ill ask you the rest of my questions. JL: Alright, well thanks Jeff. Id like that. Be good mate. http://www.examiner.com/article/a-conversation-with-producer-and-elo-frontman-jeff-lynne