The Mellotron Group

I'm thinking , Mini Series..." Anyone else?
 
 
In a message dated 9/27/2009 1:04:47 P.M. Eastern Daylight Time,  
unobtainiumkeys@gmail.com writes:

 
 
 
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 <WBR> 
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 
<WBR>in Dia 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 <WBR>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) <WBR>and I 
sincerely hope enough of it survives the final  cut. I imagine it will if she has 
o total control over the  editing.
 
 
 
So to sum up  - if it's a hypothetical <WBR>choice between  learning a 
 
 
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.....but.....<WBR 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.
 
 
 
 
 
 
 
  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 



On Sat, Sep 26, 2009 at 5:11 PM, <_lsf5275@aol.lsf_ 
(mailto:lsf5275@aol.com) > wrote:


 
 
 
He said "Johnny come lately..." not Mattias come lately...
 

 
In a message dated 9/26/2009 3:03:41 P.M. Eastern Daylight Time, 
_Mattias.olsson5@Mattias.o_ (mailto:Mattias.olsson5@comhem.se)  writes:

Hi Chris, I am Mattias. Nice to meet you.  Have you heard my band ?