UNTITLED (1970): Split into a 'live' and studio disc, this double-album is a curious mix of highlights and thin spots.

https://samtimonious.com/uneven-the-byrds-untitled/

LONDON TOWN (1978): With a running time of 51 minutes, some lukewarm tracks among the 14-song entity, give the album a lightweight, meandering feel.

https://samtimonious.com/in-the-city-wings-london-town/

Hello progressive rock historians and vinyl collectors,

Following our introductory invitation, today we continue our journey as we finally arrive in Milan. In this chapter, we experience the thrill of stepping onto a real stage at the Voom Voom, standing in awe before legendary gear, and experiencing the legendary "Festival effect" with the local staff. However, we also face the harsh, uncompromising reality of the music business through an unexpected ultimatum from the venue's owner. This is Chapter 9: First Part – Illusion and Compromise.

***

In Milan, we faced quite a few problems just trying to find where the venue was located, but in the end, we reached our destination. The instruments were unloaded, and the stage—a real stage, finally!—was set up for the imminent thirty-minute attraction.

That was what the contract stated: thirty minutes of attraction. This time limit allowed us to express ourselves to the fullest, performing the tracks that the band preferred and interpreted best.

As usual, we immediately bonded with the waiters, the bartenders, and the cloakroom staff. As soon as they found out that we, Il Sistema, were from Sanremo, they rushed to leave us their addresses so they could receive a postcard from the "City of Flowers." Such was the power of the Sanremo Festival.

In a corner of the stage stood the monumental Hammond C3 belonging to Brian Auger. We were filled with great emotion and deep veneration.

Before the performance, everyone went out to dinner with the venue owner, who was very kind and attentive. Apparently.

It was an extremely luxurious restaurant, with numerous courses and refined food. However, one thing became clear immediately: "Guys, I can cover your expenses regarding food and lodging, but you should consider it an honor to be able to play in a venue as famous and renowned as mine. Therefore, if you agree, perhaps in the future I will offer you the opportunity to play in other venues I own here in Milan and the surrounding areas, and on those occasions, we can see about agreeing on some form of compensation. If you decide to accept, fine; otherwise, our relationship ends right here."

Naturally, Il Sistema accepted. We certainly couldn't turn back and go home just as the adventure was truly beginning.

Shortly before that evening's debut, a loud roar coming from the entrance of the venue shattered the peace and concentration needed to kick off Il Sistema's first real performance.

No one seemed startled, except for us musicians.

We were later informed that a paper bomb had been detonated right in front of the main entrance leading inside. In those early seventies, such intimidation tactics were fairly common and no longer caused much apprehension or fear.

Nevertheless, the performance during those fateful thirty minutes was greeted very warmly by the audience present. We were becoming increasingly aware of our worth and the quality of our musical vision.

Upon our return home, we were booked by numerous venues across the Ponente Riviera for just as many gigs.

However, we also had another important appointment on our calendar: arranging a meeting with Leonardo Lagorio to explore the real possibilities of starting a fruitful musical collaboration. The goal was to blend the various musical styles already present within Il Sistema with the Imperia-born musician's inclination and love for Jazz, Free Jazz, and improvisation.

On a cold late winter afternoon in early 1971, Cavanna and I were invited by Lagorio to a meeting, just to have a chat, at the Piccardo pastry shop in Oneglia. There, in a vintage, almost nineteenth-century atmosphere, and over a steaming cup of delicious hot chocolate with whipped cream, we sealed that fusion which would lead Il Sistema to become a complete band in every aspect.

[To be continued in Chapter 10]

Inner Garden Records

See you next Friday, the story of IL SISTEMA continues.

In the meantime, you can explore how these historical avant-garde roots evolved across five decades directly here:

👉 https://ilsistema.bandcamp.com/

#ProtoProg #ItalianProg #ProgRock #MusicHistory #1970Music #IlSistema #CiroPerrino #VinylCommunity

Hi friends,

I'm a documentary/TV producer working on a passion project about baseball history and recently released a video on the fascinating history of the song, "Take Me Out to the Ballgame," that has its roots in the women's suffrage movement. Not sure if this is the exact kind of music y'all are interested in, but if so, below is the link to the full episode.

Thanks for watching! If you like it, feel free to subscribe for more!

https://www.youtube.com/watch?v=pAg6lNNsKYA&

For all their massive success, The Beatles and The Rolling Stones had one thing in common: their debut singles did not reach the Top 10 on the Billboard Hot 100. Neither did the initial singles by many other major hitmakers of the 1960s.

That matters because we're looking at a very specific chart achievement: consecutive Top 10 hits beginning with an artist's very first release.

And one of the most remarkable examples came from an unlikely group: Gary Lewis & The Playboys.

How the streak began

After years as a successful in-house producer, Snuff Garrett went independent and chose The Playboys as his first project.

The band had been performing at Disneyland, with Gary Lewis on drums. In the studio, however, Garrett moved him into the lead singer's role.

To back the group, Garrett brought in a team of experienced Los Angeles session musicians, including a young Leon Russell, who worked as an arranger.

For their first release, Garrett selected "This Diamond Ring," a song previously recorded by Sammy Ambrose in late 1964 with a dramatic R&B arrangement.

Garrett and Russell reworked it into a radio-friendly pop recording.

On February 20, 1965, "This Diamond Ring" reached #1 on the Billboard Hot 100, replacing The Righteous Brothers' "You've Lost That Lovin' Feelin'."

And the hits kept coming.

Seven consecutive Billboard Top 10 hits

Gary Lewis & The Playboys' first seven singles all reached the Billboard Top 10:

1. "This Diamond Ring" (1965): #1
2. "Count Me In" (1965): #2
3. "Save Your Heart for Me" (1965): #2
4. "Everybody Loves a Clown" (1965): #4
5. "She's Just My Style" (1965): #3
6. "Sure Gonna Miss Her" (1966): #9
7. "Green Grass" (1966): #8

That's seven consecutive Top 10 hits, beginning with their debut single, a remarkable achievement for any recording act.

The streak was also duplicated on the Cash Box chart.

But the story gets more interesting when you compare the charts.

During the 1960s, Billboard wasn't the only major publication tracking popular music. Cash Box and Record World compiled their own national rankings, and their results didn't always agree.

On Record World, the group's next single, "My Heart's Symphony," reached #10.

The same song peaked at only #13 on Billboard and #15 on Cash Box.

That meant Gary Lewis & The Playboys achieved eight consecutive Top 10 hits on Record World, compared with seven on Billboard and Cash Box.

The Record World result also gave them an edge over The Lovin' Spoonful, another major 1960s act whose first seven singles reached the Top 10.

It's an interesting reminder that historical chart records sometimes depend on which trade publication you're using.

The Beatles had the charisma, The Stones had the swagger, and Gary Lewis & The Playboys had seven Top 10 hits right out of the gate.

For a group sometimes overshadowed in discussions of 1960s pop history, that's an extraordinary achievement.

What other artists managed similarly impressive chart streaks beginning with their debut singles? And how much weight should historians give to Billboard versus competing charts like Cash Box and Record World when comparing these records?

At this point, it is necessary for me to resume the case of the bassist whom I had previously mentioned a few lines above (in Chapter 16). I shall omit his name here, as I would not wish to embarrass him, especially since he is, after all, a friend. Fact remains that when the day arrived to begin the studio sessions—predominantly dedicated to electric bass and drums—once we arrived in the recording room and performed the various customary sound checks to establish, above all, the right balance for each individual component of the drum kit, we moved on to focus specifically on the sound of the electric bass.

I feel it necessary to specify here that I am particularly meticulous and demanding when it comes to shaping the sound of percussions, and the drums in a special way. Generally, it requires spending at least half a day, if not at times the span of an entire day. However, in the new journey of CELESTE, I had already decided that the drums would have to return to occupy a far more crucial role than they did in "Principe di un Giorno." Returning to the bass, as soon as we laid hands upon the sound, I immediately noticed that something was not going the right way. The performer seemed scarcely motivated. The sound he managed to generate was weak, lacking presence, almost timid, and nothing good allowed me to foresee a successful outcome for the remainder of the recordings. Yet, I decided that I should wait for that magical moment when we would actually begin to record for real, without harboring prejudices or jumping to easy and hasty conclusions.

But my sensations were not of the best, and when I feel this way, unfortunately, I am rarely mistaken. Regardless, we pressed on! We started with the first track which, if I am not mistaken, was "Fonte Perenne"—a piece that featured a bass line alternating between highly intense moments and others that were deeply delicate and soft. Unfortunately, after several takes, I had to conclude that the doubts experienced during those initial bars were entirely well-founded. Without dramatizing the situation too much, I asked the bassist to try and commit himself a little more. We spent hours attempting to assemble at least acceptable recordings, but... nothing!

In the end, with a profound heavy heart, I faced one of those moments that one never wishes to experience in a recording studio. I had to, as the saying goes, "protest" the musician. Since he was a friend, the task cost me far more than one might think. However, by his own admission, he confessed to me that he had not studied the music sheets and had not dedicated the necessary time to learn them. This partially relieved my spirit, but now I had quite a significant problem to solve.

To listen to the absolute sonic essence born during those legendary analog sessions and explore the full historical discography of CELESTE, you can visit our archival page here:

👉 CELESTE Official Bandcamp: https://celeste4.bandcamp.com/

Inner Garden Records

See you next Thursday for the next episode!

LIKE A ROCK (1986): Mid-80s production traits and some average material make this a Bob Seger LP of the time rather than one of lasting resonance.

https://samtimonious.com/rock-steady-bob-seger-like-a-rock/

Spending five weeks at Number One, 'Simple Dreams' was, after 'Tapestry', the second biggest selling album by a female artist in the '70s.

https://samtimonious.com/dreaming-big-linda-ronstadt-simple-dreams/

Hey everyone, I spent the last few days trying to create a playlist that represents the best songs of our modern music era-from 1936 to 2024- Feel free to give feedback what I could improve maybes. 👋