Mike Melvoin

[Charles LePage @ ComicList]

I did not know until today that Mike Melvoin, who played in BB sessions in the 1960's, was the father of Wendy Melvoin, who was Wendy in Prince's band in the 1980's.

http://enjoyment.independent.co.uk/music/features/article351675.ece

[Mitchell]

Jonathan Melvoin, too.

[b.dfzo]

I love his album, "The Plastic Cow Goes Mooog".  I might post a link with MP3s if anyone is interested.

[c-man]

Was Joathon Melvoin the guy who played keys for Smashing Pumpkins, and died of a heroin OD?  That was a real tragedy.  Their drummer served time for getting him hooked on it. 

CMan

[Mitchell]

Yeah, he's the one.

That Cow Goes Moog thing looks amazing!

[rb]

I love his album, "The Plastic Cow Goes Mooog".  I might post a link with MP3s if anyone is interested.

I, for one, would be well interested in hearing these mp3's. Please do post a link if you wish to share.

[c-man]

Wendy Melvoin also played guitar on Sheryl Crow's "My Favorite Mistake".  Great record of a great song.

C-Man

[Joshilyn Hoisington]

Mike didn't work with Brian a whole lot, but when he did, his contributions were wonderful.  In particular I love his masterful, nuanced touch on IJWMFTT, on harpsichord.

[Mitchell]

Do you know if he played on You've Lost that Lovin' Feeling? Those two songs have a similar feel.

[Joshilyn Hoisington]

It's possible.  Apparently Mike arranged that song for Denny Doherty's (of Mamas and Papas fame) solo album?

[Daniel S.]

Mike didn't work with Brian a whole lot, but when he did, his contributions were wonderful.  In particular I love his masterful, nuanced touch on IJWMFTT, on harpsichord.

He played piano bridge on Good Vibrations, no? You know, the part that they can never recreate live on stage. The piano builds up and then they sing "I don't know where but she sends me there..." It begins at 1 minute; 42 seconds into the song - "Tations....." I dig that part.

[b.dfzo]

I like how you said that, and have to agree across the board, no matter what song it is: I love the parts on the record that can never be recreated onstage, ever.

[♩♬🐸 Billy C ♯♫♩🐇]

That is....one of the....COOLEST album covers I've seen. I dunno why, I just like it.

[b.dfzo]

Okay, without furthur ado, The Plastic Cow Goes Moooooog:

http://www.speedshare.org/cgi-bin/upload.cgi?a=show&file=54686520506c617374696320436f7720476f6573204d6f6f6f6f6f672e7a6970&big=1

(There is one pop up, but it's all good after that.)

Tracks:

Medicine Man
Spinning Wheel
Lady Jane
The Ballad of John and Yoko
Tomorrow Tomorrow
The Plastic Cow
Born to be Wild
One Man, One Volt
Brown Arms in Houston
Lay Lady Lay
One
Sunshine of Your Love

Liner notes:

"Hey, man, I'd like to hear a little more of that phased rubber band."

That's just one of the comments that went down at the time this album was recorded. Because "The Plastic Cow Goes MOOOOOOg" is a pioneer effort in many ways, an entirely new language had to be created for its production. According to composer/arranger/performer Mike Melvoin, "The public misconception of the Moog synthesizer, in my opinion, is that it's a bloodless, body-less sound-producing machine. This came to be the case because so many Moog albums, in the past, have relied on Moog effects rather than communicative musicianship for their foundations. This album is based on musicianship, performances, and repertoire more than effects. I think it's the first pop electronic album with a soul. It's a very human electronic album."

Just what is a Moog synthesizer? It's an electronic device that can create the four different basic sound waves with their characteristic tambours. After the initial production of the basic sound wave, a variety of different modulation devices enable the player to create innumerable different sounds and effects. The sounds of "old" standard musical instruments can be simulated, but more importantly, as in this album, entirely new musical instruments can be created.

The first recording session for this album produced the rhythm tracks for all the cuts.

Guitarist Dennis Budimir, drummers Paul Humphrey, Earl Palmer, and Colin Bailey, and Melvoin playing the bass register on the Moog laid down the rhythmic base for all the tunes. Future sessions involved Melvoin playing only the Moog as a composer/conductor "plays" an orchestra. The sounds in this album are within the ranges of all the standard musical instruments, but were not designed to duplicate their sounds.

Technical assistance was provided by Bernie Krause and Paul Beaver, electronic masters of the Moog synthesizer. They, along with producer Tom Mack, and Melvoin are the men responsible for the creation of the new Moog language needed to put together this album. Listen, if you will, for such onomatopoetic sounds as a "phased rubber band," a "glass shower," "damped bells," and a "soprano with a gurgle." They're there. You've never heard them before, but you will hear them again!

Mike Melvoin, originally from the jazz world, was the Musical Director of the nationally syndicated Woody Woodbury television show, and in the last several years has recorded with and for every major West Coast recording artist as a keyboard performer. One of America's most talented young musicians, he here makes great inroads in the electronic music field. The trail has been blazed, the sound has been phased. Sopranos with a gurgle . . . and listeners with an ear . . . may never be the same!

[Daniel S.]

All that came up was a page offering to sign up for their service.

[SMiLEY]

That's a pop-up. Get rid of it and the download window will be underneath.

I got'em. Nice!! Thanks!!! 

[Daniel S.]

I've got it now. Thank you.

[Daniel S.]

This is really brilliant stuff.

 

[b.dfzo]

I know!  This record totally rocks my socks.