It was pure formula, but it had to be hard to write for, because it stuck so strictly to same. I agree re "The Love Boat." But I loved that show, as fake and cliched and predictable as it was. Once upon a time, I couldn't stand steel guitar. Oh, and whatever that whale-talk noise was on "Muskrat Love," a record which should be banned from the history of pop music. Wikipedia: "(You Can Ring.) is noted for its innovative use of the Synare electronic drum." Innovative? What an insult to genuine creativity. Electronic drums-Disco's gift from Hell-drive me insane, and that horrible electronic-drum sound in "You Can Ring My Bell" had me wanting to vacate my species. Wucka-wucka guitar chords drive me nuts, too, and I can live without the electric piano. This album is like Christmas Day on the Love Boat. I remember being highly annoyed by electric organ rhythm effects back in the day, and, while I haven't grown to love them (in fact, they have me appreciating my Casio WK-3800's way better built-in beats), I've come to regard them as pricelessly hilarious. To call the effect unconvincing is an act of kindness, but it's sure cool in a "Dear God, that probably sounded cutting edge in 1982" type of way.
Notes: "Choir introduces the unique sound of human-like voices singing in perfect harmony"-a sound which starts out the LP, and I could swear Lowrey sampled a vintage vocoder. "Symphonizing" is obviously an elaborate, if cheesy-sounding, manipulation of a waveform or waveforms, so if much of this sounds like a cheap synth of today, it's only because the same sounds can be accomplished more simply and within a far smaller space. And you've got to admit that a number of the voices-including the notes produced by the "Solo, Orchestral and String Symphonizers" (to quote from the notes)-were likely sampled. In fact, doesn't sound synthesis date all the way back to the telephone? Voices don't literally travel through wires, any more than music literally swells up out of record grooves.Īnyway, I'm old enough to remember when the sounds on this LP sounded stilted but not comical (that took a few decades). Electronic organs, which date back to just before 1900, are the obvious ancestors of synthesizers, but (in my tech-limited mind), I've always considered them the original synthesizers, since the things had to generate waveforms, right? By one means or another, they had to create artificial sounds.
A repeated-note feature was employed, as shown in this YouTube video. It should be noted that Pete Townshend used a much earlier Lowery-a 1968 Berkshire Deluxe TBO-1-to create what sounded like a sequenced synthesizer on Baba O'Riley.
Two organs are played on this Lowrey Christmas promo-the Cotillion Model D-575 and The Lowrey Holiday Model D-350. This is from 1982, which maybe takes us into the digital area, and I have to wonder if some digital sampling (of a not-advanced type) is happening on some of these numbers.
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