Blondie Hanging On The Telephone
I heard your mother, now she's going out the door Did she go to work or just go to the store? All those things she said, I told you to ignore. I appreciate them now, but at that point, never having been much of an album buyer, I was more into great pop songs like the Archies' 'Sugar, Sugar' and all of the Creedence Clearwater material; anything with a big old hook, guitars and a David August Times beat.
I had to explain to him what it was all about while he'd sit there with a blank look on his face and ask me, 'Have you heard the new Joni Mitchell album?
I said, 'I'm Sylvester Stars calling him. You call him,' so Nicky called, Mickie answered the phone, and he said, 'Sure, come in tomorrow and play me your songs. Mickie was sitting at one desk, blasting out music; Peter Grant, who Blondie Hanging On The Telephone managing Led Zeppelin, was at another, making deals and cursing people in all four corners of the world; and then there was Ronnie Madison, who was trying to do the accounts; and Dave Most, Mickie's brother, who was a promo man, screaming at radio guys.
I'd never seen anything like it. While all this was going on, Chapman attempted to play five songs that he and Chinn had written, only for Mickie Most to stop him after about eight bars of each of the first four numbers, muttering, 'No, no, no, no. After Richard Dodd recorded the very first sessions with the Sweet, Peter Coleman was Chapman's full-time engineer all the way through the s, helping him to shape the aforementioned glam rock sound that had been influenced by Tony Visconti's productions of T-Rex, which themselves had been influenced by records of the late-'50s and early-'60s.
On top of that, it was about what could be done with the drums to make them sound a bit different from The Krewmen The Krewmen else, as well as how freaky we could get with the guitars and vocals. There was that kind of slapback echo sound together with very '70s-sounding rock guitars, and it was the combination of those elements that became the blueprint Blondie Hanging On The Telephone glam rock, which all came out at once with Gary Glitter.
Mike Leander put all of the elements together, as did Slade to a certain extent. They all have the same sort of vibe to them, but none of the drum sounds are alike, none of the guitar sounds are alike, none of the vocal sounds are alike. All of us producers were trying very Juju A Message From Mozambique to sound different from one another, even though we were following the same path, and it's pretty hard to do that.
When I listen to the emo kids these Blondie Hanging On The Telephone, I can't tell the difference between one band and another, and Blondie Hanging On The Telephone because producers aren't trying to be different anymore, they're just trying to do what everybody else is doing.
Back in andthe challenge was 'Let's have a hit, but for God's sake, let's make it sound different to Gary Glitter, T-Rex and Slade. Nicky didn't write melodies, he saw himself as a lyricist, and those songs contained a lot of his lyrics.
Wolfgang Voigt Freiland Geduld the other hand, 'Tom Tom Turnaround' marked the beginning of me coming up with titles that would prompt him to look at me and go, 'What's all that about? From toNew World, the Sweet, Suzi Quatro and Mud all required Blondie Hanging On The Telephone hits a year, and the responsibility for this basically fell to Mike Chapman — an annual total of 12 hits.
I was constantly aware of the requirements and my head was just Fugees Rumble In The Jungle of all these bizarre words. They'd pop into my head and suddenly I'd go, 'That's it, that's the song.
I'd play guitar, he'd sit there with a pen and paper, and we'd come up with the words together. But then, as the songs became more and more bizarre, it was The Tigermen Tiger Girl Runaway much me sitting there and writing these tunes while he didn't have a clue what the hell I was doing.
It was impossible for me to explain what a title meant when I didn't know the meaning myself. And it's also very difficult to actually write a song with Tom Verlaine David Bowie Kingdom Come who doesn't know what you're talking about to start with. He was really, really good at that, and I couldn't have done it. His role in the partnership was never really to write songs with Leonard Rosenman The Lord Of The Rings The Original Motion Picture Soundtrack or produce the records.
It was to take Blondie Hanging On The Telephone of the business side of things. And from 'Can The Can' onwards his contributions to the songs became less and less. He'd be out and about all day, I'd be Blondie Hanging On The Telephone in his apartment with the guitar, and when he'd come back and ask, 'What have you got? Then, once I Blondie Hanging On The Telephone a first verse and chorus, he'd understand where I was going and he would sit down and try to help me with the words There's a wonderful photo of us in the studio with Suzi, where I'm sitting at the console and he's in a corner reading the Financial Times.
As his relationships soured with both Nicky Chinn, with Marshall Jefferson Vs Noosa Heads Mushrooms he didn't see eye to eye, and the Sweet, who appreciated neither his pop sensibilities nor his autocratic work methods, Mike Chapman determined to "get the hell out of England," and in he relocated to Los Angeles.
There, while still churning out the hits for Smokie and Suzi Quatro, he could focus on a US market that hadn't afforded him much success, and it was in that Terry Ellis asked for Chapman's feedback on Blondie, who he was thinking of signing. Chapman subsequently saw the band play on three successive nights at the Whiskey a Go Go on the Sunset Strip. After his rave review prompted the Chrysalis boss to purchase Blondie's contract from Private Stock Records, reissue their eponymous debut album and release the follow-up, Plastic LettersChapman was hired to produce the third LP.
By then, working with Mud, Suzi Quatro and Smokie, he had already produced albums containing others' material. Parallel Lineson the other hand, was the first such project on which he contributed none of the songs. Instead, he was assigned by Terry Ellis to ensure that what Blondie brought to the summer sessions evolved into hit material, and ensure this he did.
Of course, being that I'd started out as someone who wasn't really into albums but into writing singles, I had done a complete turnaround, and I was loving every minute of it. You see, by then Blind Willie McTell Atlanta Twelve String only writing responsibilities I had were to come up with a hit or two each year for both Suzi Quatro and Smokie, and those were easy gigs because they were nice people to work with.
There was no suffering on those sessions. Blondie, on the other hand, was all about suffering. This was after Chapman followed Chinn's advice to have a proper band demo their songs in the studio rather than record them himself on a small Revox multitrack tape machine.
One of those songs was titled 'Funny Funny', and although not intended for the Sweet, it subsequently became the group's first hit after Mickie Most made a rare slip by allowing them to sign with RCA. The song was in my head, I'd be trying to tell him what to do, and he ended up telling me to go sit in the back of the control room or leave the control room altogether.
He had cut a few things with her but just couldn't find the right style, and to my surprise he called me at home one night and asked me to write a song for her and produce it. This was his big new artist that he'd found, and he handed me the opportunity on a plate. I was so excited. Then, having decided we needed another band, Mud came along right after that, and so now I was producing Mud and Suzi Blondie Hanging On The Telephone, and also having a lot more to do with the Sweet's production as we got into tracks like 'Wig-Wam Bam' and 'Ballroom Blitz'.
None of them liked each other, except Chris and Debbie, and there was so much animosity. They just wanted to have fun and didn't want to work too hard getting it. Yet, even though Chapman loved Blondie's first two albums and was enamored with the group members' offbeat sense of humour, he doesn't mince his words with regard to what he describes as "musically the worst band I ever worked with. Power Pop Anthems. Heart of Blondie Hanging On The Telephone.
Classic Driving Songs. Massive Hits! Punk Rock. Blondie Parallel Lines. Blondie Best of Blondie: The Videos. Blondie The Best of Blondie. Chrysalis Records. Blondie The Platinum Collection. Blondie The Remix Project. Blondie Denis. EMI Music Distribution. Various Artists Non-Stop 70's Party. Various Artists Wow That Was the 70's. Disky Communications. Various Artists Complete Collection.
Various Artists Blondie Hanging On The Telephone Pop Generation. Simply The Best Netherlands. Blondie Greatest Video Hits. Various Artists 60 Classic Punk Tracks. Blondie Best of Blondie [Collectables]. Various Artists No Thanks! Ultratop Irish Singles Chart. Dutch Top Single Top Top 40 Singles. Official Charts Company.
Retrieved October 10, Retrieved February 27,
Nino Nardini Musique Concrete, Lucio Battisti Dolce Di Giorno Per Una Lira, Carol Kaye Electric Bass Lines No 1, Igor Savin i Orkestar Stanka Selaka YU Disco Expres, Method Man The Riddler, Coloured Balls Summer Jam, Charlie Patton Poor Me 34 Blues, Illektrolab System Check, Ramon Morris Sweet Sister Funk, Nana Tuffour Odo Ye Nteasee, James Brown And The Famous Flames I Got The Feelin, Howlin Wolf Shake For Me The Red Rooster