HYPES....
The following news release is reprinted in order that you, out there, can see some of the strange side of the music business. This was written by an agency, which shall remain unnamed, paid to write “hypes”. Pay Careful attention to how seriously they describe this album, which, according to this release, will revolutionize all music.
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HYPES....
The following news release is reprinted in order that you, out there, can see some of the strange side of the music business. This was written by an agency, which shall remain unnamed, paid to write “hypes”.
Pay Careful attention to how seriously they describe this album, which, according to this release, will revolutionize all music.
Not all news releases are this bad. Mostly they just tell you who the album is by and what it’s called. Still — Make of it what you will. I find it very amusing.
One of the most unusual concepts in music has been recorded on Warner Bros. — Seven Arts Records, the THE NEON PHILHARMONIC, a newly formed and unique musical aggregation.
Their first album, “The Moth Confesses” is the first condensed “rock opera” ever to be written and recorded.
The guiding forces of NEON RAINBOW are Tupper Saussy, who worked on its creation for more than a year after leaving an executive position in an advertising agency in Nashville, and Don Gant, a singer who previously recorded for Monument and produced for such artists as Roy Orbison.
The opera deals with desperation. It deals with a young “moth-like” boy and his very first encounter with love. He emerges from his cocoon in the first song and through the rest of the album attempts to re-create that first fleeting, imcomparable moment that we all' have, first love. The re-discovery of that feeling holds the listener in fascination.
The album came about simply because Tupper Saussy wanted to write an opera. He has studied opera, good and bad and come up with this incredible compromise between rock and classical music.
Don Gant conveys this desperate feeling of young love so convincingly that you insist he must be a lad of 16.
Pierre Menard — concert master, Rufus Long and Chuck Wyatt -flute and piccolo, Don Sheffield, George Tidwell and Dennis Good — brass, Norbert Putnam, Chip Young and Jerry Kerrigan with Kenneth Buttery — rhythm section and the expert production technique of Robert McCluskey with the aid of Glenn Snoody, Ronald Gant and Wesley Rose made this the most controversial album in music today.
Both Saussy and Gant were at opposite ends of the world as far as previous careers are concerned. Saussy was an advertising drop-out who wanted to take off a year and write his kind of music — which he accomplished quite successfully. Gant was recording in Nashville when he decided that the end of the music business which most interested him was “behind the scenes”, where he remained, as the man behind the famous Nashville Sound — until this album.
Listen and you’ll be glad that Don is no longer behind the scenes and that Tupper is no longer wasting his precious talents on Madison Avenue.
