Päätin helppouden ja selkeyden vuoksi tunkea Raittisten touhut samaan pötköön. Kursivoidut englanninkieliset tekstit ovat FinnArctic-esittelyitä.
One of the most celebratable figures in Finnish rock'n'roll history is Jussi Raittinen (1943-). Together with his brother Eero (1944-) he debuted in 1960 with a rather embarrassing single "Banjo Boy / Mustapha". The a-side was originally a Danish song, and the b-side is a love song to a man named Mustapha (Finland's first homoerotic recording!). In 1963-1964 they played in legendary guitar bands The Esquires and The Sounds, and made their first creditable recordings. Never keeping the same assignment for long, they formed their own band The Boys in 1964 and released the single "Kaikki rakkauteni / Salaisuuteni". Both sides were covers of Lennon-McCartney songs.
In 1965 the band got the honor of making the first Finnish pop LP, "Numero 1", whose vinyl version is very rare and expensive nowadays due to the rather small pressing of 2000 copies. The album is a mixed bag of singles and album filler, Finnish and English songs, covers ranging from Ray Charles to a surf instrumental. Nevertheless, an essential piece of rock'n'roll history.
In 1966 the follow-up "Numero 2" was recorded and released, but the trends had changed in music business, rendering plain R&B-based rock'n'roll bands outmoded, so the second album didn't sell nearly as well. It was sold in bargain bins in the early 70's, and because of a bigger pressing (3000 copies) it's not as rare and expensive in vinyl format as the debut LP.
The material was all previously unreleased, and very much similar to the first album. Songs in Finnish and English, and mainly cover material. Jussi Raittinen has a stronger hand as lyricist here.
After their two albums "Numero 1" (1965) and "Numero 2" (1966) Eero, Jussi & The Boys concentrated on the simple 7-inch format. Eero Raittinen showed increasing interest on a solo career, and eventually the band turned into Jussi & The Boys.
Eipä vaan Numero kakkostakaan näy enää missään divarissa, sen paremmin vinyylinä kuin CD:näkään. Nykypäivänä siitäkin varmaan nyhdettäisiin satasta, ja siinäpähän sitten kaivaisin kuvettani jotta saisin sen.
Oma kappaleeni tästä on kansiltaan jonkin verran kärsinyt kirjastopoisto, mutta ei se mitään, kun on soittokuntoinen ja liitekin on ihme kyllä tallella.
Eero Raittinen started a solo career in 1966 with the single "Lontoo / Tyhjää". The a-side was a tribute to the swingin' city of London, originally made by Peter Rolfe. "Tyhjää" was Little Peggy March's anti-war song "I Will Follow Him".
For the next single, the sight was turned to Sweden. The Swedish 1968 Eurovision Song Contest entry, Claes-Göran Hedenström's "Det börjar likna kärlek, banne mig" was chosen as the A-side, and Lenne Broberg's "Mälarökyrkan" was put to the flipside. The A-side was moderately popular, but it was the B-side, translated as "Vanha holvikirkko", that proved the real smash hit. The song about a cantor's boy who longs to follow his father's footsteps and enamour everyone with his music, and secretly practices in the church when no one hears, became an evergreen that's still played regularly on radio.
Some people seem to miss the version of Pekka Streng's drug trip song "Sisältäni portin löysin", released as a single by Tasavallan Presidentti in 1972 when Eero was in the band. Here it is!
Some songs are missing from this post, namely the single "Siitä vaan / Unohduksen kujalla" (1968), the song "Sen tietää kyllä saat" from the Eero / Kristian split-LP "Toinen puoli" (1968), "Mä luulen niin, on aika mennä kotiin" from the b-side of "Epäilet vain" single (I have it, but it's in such a bad shape that I decided to leave it out), and the songs "Toccata" and "Pois" from the aforementioned "Trio" LP.
While Jussi Raittinen had a field day with his Jussi & The Boys band and their successful records, brother Eero walked a path filled with rocks with his own solo career. A few fine pop hits in the late 60's - early 70's like "Vanha holvikirkko", "Rakkaudelta näyttää, hitto vie" and "Toivotaan, toivotaan", and the excellent blues album "Eeron elpee" aka "Blues From the North" (1968) remained his only commercially successful virtues.
Voi hitto, kirjoitinko tosiaan FinnArcticiin että Eeron elpee olisi ollut muka myyntimenestys? Taiteellinen menestys kyllä, muttei kaupallinen. Onneksi korjasin sen seuraavassa:
Eero Raittinen's second solo single "Rakkaudelta näyttää, hitto vie / Vanha holvikirkko" (1968) was such a big hit (especially the b-side) that as a reward he was greeted with the opportunity to record an LP of whatever music he wanted. His choice was a collection of blues tunes. Eero selected his old backing band Help to play on the album. They consisted of Jukka Tolonen, Heikki Virtanen, Vesa Aaltonen and Hillel Tokazier, and they play on about half of the songs. Jazz man Eero Koivistoinen's group and DDT Jazzband also do their best on several tracks.
In other words, the musicians were top class, and the record, which originally was christened "Eeron elpee" (Eero's LP) and released in 1970, has remained Eero's best artistic achievement. The sad thing is, that the record was ruined with a plain black sleeve with only Eero's autograph decorating it. The LP was hardly even marketed, so sales figures were poor. I haven't even seen the original pressing anywhere, but luckily in 1977 the album was released again with a different title and sleeve: "Blues From the North", which was also the title of the original 1970 cassette version.
I don't have this re-release either in my possession, but I do have the seven songs that have been released on compilation CD's.
Eero chose a very ambitious path when he formed his own band Rotox in 1975. He chose top musicians for himself: rock'n'roll pianist Hillel Tokazier, drummer Upi Sorvali, bassist Uppe Siitonen and guitarist Eero Lupari. Rotox played ambitious, almost overblown boogie, debuting with the single "Rotox robotti / Alan keisari". On the b-side, Eero spewed forth his bitterness, announcing that he's not a nobody, and that he'll show everyone by becoming an international star and then returning to Finland to take revenge on everyone in the music business who put him down. Hey, being a little humble wouldn't have hurt!
Rotox's sole LP "Etsikko" (1976) is a concept album about meritocracy, telling the viewpoints of various people who either keep trying but always fail, or lose once and give up trying. The lyrics range from depressed to angry to cynical, but the message stays clear: this competitive world we live in is too much to handle for those who basically just want to enjoy life and take everything easy.
The music is top class, with complex and often long songs filled with instrumental jamming that don't necessarily have any other function than to show off the skills of the musicians and the level of Eero's ambition. In fact, as great as "Etsikko" is production-wise, you get the feeling that just like some of the characters he sings about, Eero Raittinen tries too hard and ultimately fails. "Etsikko" didn't sell a great deal, and the band dissolved from lack of gigs.
But don't dismiss this record too hard. I love it, and though it's probably too much to chew on repeated listenings, "Etsikko" tells about subject matters I can easily relate to. I feel like I'm one of these characters on this album.
The front cover is more Raz lunacy. The post includes an extra large cover scan for you to enjoy, because of all the little details that get lost in smaller size.
Rotox evolved into Ball, who managed to put out two singles: "Ballgame / Leaving (For a New Land)" (1977) and "Busker / Frida's Bank" (1978). Lineup was:
Eero Raittinen: vocals
"Ballgame" is the better of these two 45's, and the b-side is particularly great. "Busker" is a little weaker, it feels like Eero had given up trying too hard and was now more down-to-earth.
Ammoin kirjastosta lainaamassani kappaleessa oli sanoitusliite sisällä, mutta nyt omistamastani yksilöstä se puuttuu. Onneksi on sentään vanha skannaus ja tulostus liitteestä tallella.
Another record I wish to find someday is the rhythm'n'blues / boogie album "Good Rockin' Tonight" (1976) that Eero quickly tossed off, working with his trusty companion, boogie pianist Hillel Tokazier. I've only heard the cassette version, and that was many, many years ago. However, I do have 10 of the 13 songs here, so the loss isn't that great. This album compiles songs that both used to perform on their club gigs, all old rock and R&B standards. No need for further introductions, just look at the tracklisting.
With new men Måns Groundstroem on bass and Tomi Parkkonen on drums, Ball became Boxcar, and under the production of Richard Stanley, they cut the album "Necktie Party" (1978). This, too, was a thematic album, about a Finnish immigrant in 19th century wild west calling himself Kid Hoover. He desperately tries to find a place in society, but ends up being a criminal, outlaw, and fugitive.
The music is now American-style down-to-earth rock. The second Ball single "Busker" received new lyrics and was rechristened "Kid Hoover".
I remember that when I read about this album many years ago, I had a particular idea about what the record might sound like, and ended up a little disappointed when I found and bought a vinyl copy. "Take Me Back", "Hobo" and "The Fugitive" come closest to what I originally thought I would hear here. Of course the LP quickly grew on me, and it's stayed with me all these years. Well, sort of... I don't have the LP here where I live, it's in my parents' place and as I rarely visit them, it's remained in their record shelf for years now. So I don't have proper artwork to give you, only an image I scanned from a CD.
Yep, "Necktie Party", the "Ballgame / Leaving (For a New Land)" single and most of Eero's and Hillel Tokazier's rock'n'roll duet album "Good Rockin' Tonight" (1974) (excluding three tracks) was crammed on a single CD last year. What a silly re-release policy! Why not give "Good Rockin' Tonight" its own CD, and put BOTH Ball singles as bonus on the Boxcar CD?
Oh well, forgive me my ranting and dig into the music.
Jep, ostin Boxcarin LP:n jostain divarista joskus 1994-1996 siihen aikaan kun minulla oli niitä opiskelu- ja sivarikuvioita muilla paikkakunnilla, ja asuin niiden välissä kesäisin äidin ja isäpuolen riesana Espoon Mäkkylässä. Necktie Party -LP jämähti sitten heidän levyhyllyynsä, ja vasta syksyllä 2010 sain haetuksi sen sieltä pois. Esko Lehtosen Suomalaisen rockin tietosanakirjasta olin saanut tietää levystä, ja kiinnostuin siitä heti. Minulla oli tosiaan vähän väärä ennakkokäsitys levyn sisällöstä. Luulin, että musiikki olisi ollut tunnelmallisempaa, ehkä progehtavampaa ja sovituksiltaan kunnianhimoisempaa. Take Me Back, Hobo ja The Fugitive osuvat aika lähelle sitä mitä kuvittelin koko levyn olevan.
Ja sitä Boxcar / Ball / Eero & Hille -yhdistelmä-CD:tä en tosiaankaan halunnut hankkia, koska se on mielestäni täysin älytön ja kelvoton paketti sellaisenaan. Kun vanhaa musiikkia julkaistaan uudelleen, se pitää tehdä kunnolla eikä puolinaisesti alkuperäisiä albumeja raiskaten. Heidän olisi mieluummin pitänyt julkaista tupla-CD, jossa olisi ollut Eeron ja Hillen yhteinen levy kokonaisuudessaan yhdellä CD:llä, ja toisella CD:llä Boxcarin albumi jonka perässä molemmat Ball-singlet bonuksena. Sitten julkaisu olisi ollut järkevä.
The brothers re-teamed in 1980 for their 20 year career celebration and cut this ode to their old home address in Helsinki. "Hämeentie 38" includes covers of pop, rock, soul and country songs with Finnish lyrics by Juice Leskinen. Surprisingly, no less than five songs were penned by Mickey Jupp! There were lots of musicians working on this LP: Nono Söderberg's band, Vanha Isäntä and The Boys. The back cover credits nine (9) guitarists!
With the new wave movement raging, the LP sold poorly.
Lainasin vuonna 2008 tämän levyn Leppävaaran kirjastosta ja rippasin sen koneelle tarkoituksenani laittaa sen jakoon FinnArcticissa. Minulla oli silloin vielä surkea levysoitin, jonka äänivarressa oli toinen johdoista mennyt rikki. Niinpä se mitä oli tungettu vasempaan kaiuttimeen ei kuulunut ollenkaan. Sillä levarilla tein kaikki varhaiset vinyylirippaukseni FinnArcticissa, ja aina häpesin kovasti lopputulosta. Vaan Hämeentie 38:sta ja Vanhan Isännän levyistä tekemiäni rippauksia kuunnellessani vasta häpesinkin. Soittajan vaimosta jäi kitarasoolo kokonaan kuulematta ja Vanhan Isännän levyilläkin oli aika paljon soolo-osuuksia keskitetty vasempaan kaappiin. Kuulosti niin pahalta, etten voinut muuta kuin todeta itselleni, että on pakko nyt vihdoin ostaa se USB-levysoitin, että saa kunnon vinyylirippauksia aikaiseksi.
Jonkin ajan päästä USB-soitin saapui, ja ensimmäiseksi siirsin sillä digitaalimuotoon Lemon-yhtyeen esikois-LP:n Words and Music By Leif Kiviharju. Sain myös Vanhan Isännän LP:t lainatuiksi uudelleen kirjastoista, mutta Hämeentie 38:a ei löytynyt enää. Se oli joko lainattu tai korjattavana, en muista kumpaa. Kesti kauan, ennen kuin sain sen taas lainatuksi ja ripatuksi uudelleen, ja jaetuksi FinnArcticissa.
Hämeentie 38 oli pitkään sellainen levy, jonka perään tuskailin, kun sitä ei näkynyt missään divarissa tai levymessuilla. Yritin tilata sen netitse Anselmin Aarteet -divaristakin, mutta Anselmilta tuli viestiä, että levy oli juuri mennyt eikä hän ollut ehtinyt poistaa sitä nettisivultaan. Viime kesäkuussa levy vihdoin viimein löytyi Black and Whitesta.
1973 was a breakthrough year for Finnish rock'n'roll. Apart from progressive bands, this type of music wasn't too common here - especially not rock'n'roll in Finnish. Dave Lindholm proved that you could make Finnish rock lyrics that work, with his solo debut "Isokynä Lindholm" in 1972. That encouraged other singers to come forth with their own songs.
1973 produced many truly classic albums: Hector's second album "Herra Mirandos", Juice Leskinen's debut "Juice Leskinen & Coitus Int.", Hurriganes' "Rock and Roll All Night Long", Rauli "Badding" Somerjoki's second album "Näin käy rock'n'roll", Lindholm's second, "Sirkus"... and "Mä tahdon rokata" by Jussi & The Boys.
The versions of "Rip It Up" and "Summertime Blues" are practically cornerstones in this genre, the latter is done even better than Eddie Cochran ever did (IMHO). The lyrics just keep making me chuckle.
"Pojat asialla" (The Boys Doing Their Business) is a live album, taped in Tavastia Club in Helsinki in May 1974 (the sleeve erroneously states April as the recording date).
Jake Nyman suunnitteli kannet tälle levylle.
In 1975 Jussi & The Boys took part in the yearly national Syksyn Sävel pop song contest with "Metsämökin tonttu", a nonsensical, funny rocker that was practically a children's song. The song wasn't anticipated to be a great success in the contest, so the band decided that they had to come up with something special so that the song would stick in the heads of the TV audience and get more votes. They decided to scrounge the wardrobe of the TV broadcasting company MTV and choose something funny to wear on TV while they performed the song. Jussi Raittinen was dressed as a barefoot monk, keyboardist Kaj Westerlund became a hussar, drummer Aikka Hakala, who had recently gotten married, wore a tuxedo, guitarist Antero Jakoila resembled the Finnish cartoon character Pekka Puupää with his daisy-decorated hat, and second guitarist Nono Söderberg wore a bear suit.
Since "Mä tahdon rokata" (1973) and "Pojat asialla" (1974) had been done with a relatively meager budget, and "Kantri & Rock" was a quickly tossed-off hodgepodge effort, producer Matti Laipio started convincing Scandia that a more ambitious Jussi & The Boys album might be appropriate.
"Kehä kaartuu" was recorded in the Marcus Music studio in Sweden, and the musicians included bassist Pekka Pohjola, organist Jukka Gustavson, vocalist Eero Raittinen, and a five-man Swedish jazz horn section. The level of ambition here is signified by the daring decisions to cut "You've Lost That Loving Feeling" and "River Deep, Mountain High", linked together with an instrumental bridge that's quite stupendous. Other covers include The Band's "The Night They Drove Old Dixie Down" and "Will the Circle Be Unbroken". Amongst these songs a simple drinking song like "Korkataan taas" feels almost anomalistic.
"Kehä Kaartuu" is the only Jussi & The Boys album that's available on CD, even though it sold poorly at the time. Jukka Gustavson had a hand in creating the great cover art.
In 1976 Jussi & The Boys cut the LP "Mennään melomaan" (Let's Go Rowing). I haven't been able to find it anywhere, but here are 9 of the 13 songs included. Some were recorded in USA with local rock'n'roll legends, like the "Memphis Medley", which includes "Blue Moon of Kentucky" and "I'm Left, You're Right, She's Gone". These recordings were a little poorly engineered, as the vocal track became distorted. So instead of putting these two songs on the LP separately, this radio medley was conceived. K.W. Blomqvist, Jussi Raittinen's old friend, plays the Memphis DJ who supposedly plays both sides of Finnish "John's" new single on his radio program.
Guitarist Pekka Tammilehto sings his own song "Vaahto peilaa", and Jussi gets his finest moment on the album with a cover of "Gentle on My Mind" - "Takaa ajatusten virran".
I hope you don't mind too much that four songs are missing.
In July 1976 Jussi went on a long-planned second trip to USA with producer Matti Laipio, pianist Kaj Westerlund and good friend K.W. Blomqvist (1947-2006), who's written songs both for Jussi, humor band Hullujussi and old time rock band The Agents.
With them they brought two albums worth of material. "Nashville" (1976) got its name from the place where it was recorded. The engineer and second producer was Scotty Moore, Elvis Presley's guitarist. The record fulfilled Jussi's dream of cutting a country album in Nashville with local legends, and the results certainly are something to be proud of!
"Nashville, Tennessee" took part in the yearly national Syksyn Sävel pop song contest, finishing fifth.
"Rollin' the Rock" (1977) was cut in New Orleans and Van Nuys, California, and it's a collection of traditional rock'n'roll.
A slight mishap occurred with the song "I'm Comin' Home", which Jussi originally intended to be Charlie Rich's composition. The band had received the song list in advance, and when they noticed the song "I'm Comin' Home", they said that Johnny Horton's song is one of their bravura numbers. So when the tune was about to be played in the studio, Jussi started singing Rich's song, and the band playing Horton's namesake song. After some confusion and discussion, Horton's "I'm Comin' Home" was finally selected to be recorded. Unfortunately that song didn't quite suit Jussi's voice, so the vocals were re-recorded in Finland. The result still wasn't good enough, but the song stayed on the album.
"Lapsilta kielletty" (1979) has become something of a sought-after rarity over the years - it seems that the master tapes for this album are lost and a CD release is thus not probable. This last Boys album until 1986's "Numero 3" consists of only cover material, of which the best choice IMO is the great Nick Lowe's "I Knew the Bride (When She Used to Rock'n'Roll)", originally written for another great rocker, Dave Edmunds. This song has the honor of opening this set, which otherwise is restricted to rock'n'roll oldies like Chuck Berry's "Thirty Days" and "Too Much Monkey Business", and a reworking of Jussi's early hit "Liisan koira" (Walking the Dog).
The most fondly remembered song here seems to be new guitarist Pekka Tammilehto's outrageous version of "Love Potion Number 9". Here he finds a bottle of Koskenkorva vodka, drinks it, throws up and gets locked in jail. Tammilehto used to play in a semi-legendary group called Kalle Kiwes Blues Band. They never made any records, probably because their songs were considered too raunchy. "Tää Koskista on vain" is the only song from this period that has been immortalized on vinyl.
Tammilehto later took on the artist name Topi Sorsakoski and started a successful career as a light pop crooner.
Lapsilta kielletty -levyn kuulin ensimmäistä kertaa jo 1983-1984 Kasavuorentiellä isäpuolen luona. Frejllä oli se kasettina, ja kuuntelin sitä muutaman kerran, vaikka se oli lapsilta kielletty (hehehe). Useat kappaleet jäivät mieleeni. Omakseni sain levyn vuonna 2005 kun seurustelin Järvenpään / Keravan Marian kanssa, ja kävimme Järvenpään Puistobluesissa. Minä selasin levymyyntikojujen laatikoita, ja äkkäsin tuon aarteen.
Jussi's children's albums are quite a different kettle of fish. He had sung a couple of children's songs on an album called "Pingviiniherran liivinnappi" (1974), but in 1979 he cut a whole LP of such music.
The concept was built around writer Mika Waltari's and artist Asmo Alho's comic strip characters, two roosters called Kieku and Kaiku (1927-1975). Not an ordinary comic strip, since it had no speech bubbles. Instead every panel had a rhyme written underneath. The one-page stories usually carried a moral of some sorts.
M.A. Numminen wrote the songs, and chose "Kekkonen-rock" from Suomen Talvisota 1939-1940's album and Numminen's early solo recording "Jenkka hevosen puhdistamisesta" to be re-recorded. "Kuldakapja Kôrvikene" is an Estonian traditional, and the short closer "Onnee!..." a Finnish traditional.
"Jussi merihädässä" (1982) assembled mainly old material, which causes the record to lose some freshness. Still an enjoyable sequel.
1. Lapsenvahdin rock (Babysitter Rock)
Kun Kvaakissa oli Kuukauden haasteena piirtää sarjakuva aiheesta "Lastenlaulu, jota olen aina inhonnut", Mikki-hiiri merihädässä oli kakkosvaihtoehtoni. Minähän tein sarjiksen Mari Laurilan Aja hiljaa isistä.
I don't have the 1972 album by Tommie Mansfield Group, but I can give you a compilation of Jussi Raittinen's basement tapes - Mansfield plays guitar on five songs.
Tommie Mansfield (real name Pekka Nurmi, 1940-1981) was an eccentric character - a nature boy and wild guitar genius who was completely self-taught with his instrument. He built his first own electric guitar in 1955 and learned to play rock'n'roll by listening to the records sent to him by his big sister Hanna, who had moved to America. Pekka invented his stage name after seeing the Jayne Mansfield movie "The Girl Can't Help It". He practically disowned his real name after this, because it reminded him of his bad childhood memories. One of them was probably the severe meningitis and the constant headaches he suffered ever since - this must have been one of the reasons for his odd personality.
Tommie gained much fame with his incredible guitar playing while touring with other artists in 1960 and 1961. Despite being undisciplined, having difficulties in concentrating and being a perfectionist with his playing, when he really let go on stage there was nobody that could match his style. Tommie also made a name for himself as a guitar manufacturer.
Tommie was a great admirer of anything American, and the clothing sense he developed reflected this: stetson hat and boots - although he had to compromise with the latter, as real American-style boots were hard to find in Finland. So-called mersey boots with diagonally-cut heels had to do. For some reason, though, he refused to wear a belt, and so his trousers fell down more than once during his stage performances. This was still not so weird compared to his taste in food and his eating habits...
With the passing of years styles changed both in terms of music and clothing, but Mansfield refused to change his appearance. In the beginning of the 70's, though, he had lost his spark for rock'n'roll after listening to Lloyd Green, and his head was filled with only country music.
Tommie Mansfield died in 1981 from an ulcer. He was THE true original in Finnish rock'n'roll history, a grown-up child, a guitar hero whose whole life consisted of his guitar and his playing. Not much recorded evidence is left from him, he recorded an album with his and Jussi Raittinen's band Tommie Mansfield Group in 1972. That album must trade owners with quite a fortune nowadays.
So, here's a collection of Jussi Raittinen's rare tapes, made between 1962 and 1967. Merely recorded for the fun of it and never intended for public release, record company Johanna released them in 1983 on the subsidiary label Etnomono. "Suomalaista Historockia 3 - Jussi Raittinen ystävineen" (Finnish Historock 3 - Jussi Raittinen with his friends) contains recordings with the Esquires, duets with Eero Raittinen, Tommie Mansfield and Pertti Kilpeläinen, and recordings with some army buddies. As the sleeve states, the rarity of these recordings and the pure joy heard in the playing should compensate for the poor sound and other technical shortcomings.
Lopuksi pari leikettä Suosikin numerosta 3/1980, jotka paljastavat Jussi Raittisen itse asiassa tekopyhän suhtautumisen 50-luvun rockin diggailuun ja halveksivan asenteen tuolloin Suomessa riehunutta diinari-ilmiötä kohtaan. Holle Holopainen, joka toimi "Pop eilen tänään" -ohjelman juontajana, haastatteli 20. tammikuuta 1980 Raittista tavalla, joka sai Markku Veijalaisen tarttumaan kirjoituskoneeseen ja kirjoittamaan avoimen kirjeen Hollelle, joka sitten julkaistiin Suosikissa. Jammu-palstalla eli Suosikin lukijoiden mielipidepalstalla "joukko todellisia rokkaajia" ärähti samasta ohjelmasta ja samasta syystä.
Holopaisen vastine Veijalaisen kirjoitukseen julkaistiin Suosikin numerossa 4/1980. Holle kierteli vastauksessaan asioita kuin kissa kuumaa puuroa eikä vastannut yhteenkään Veijalaisen kysymykseen. Kehtasi vielä arvella, että kirjeen kirjoittikin Suosikin päätoimittaja Järki Hämäräinen ("Hyvä Järki!") Veijalaisen kynällä.
Väkevästi tuotettua psykedeliaa lahjakkaan mutta aivan liian vähälle huomiolle jääneen Ernie Grahamin ensimmäiseltä bändiltä. Jotkut sentään kuuntelivat tarkkaan ainakin tätä bändiä, sillä australialaisen Dave Miller Setin samana vuonna ilmestynyt single "Mr. Guy Fawkes / Someone Is Sure to" on kokonaan Eire Apparentin levyltä coveroitu. Hyvät biisivalinnat, nuo tuntuvatkin Sun Risen kohokohdilta.
Hieman kantrahtava singer-songwriter -pala "Got to Get Away" ja suoraviivainen rokki "Rock'n'Roll Band" tuntuvat itseasiassa oudoilta tapauksilta kaiken happoilun seassa, ja ilmentävätkin Grahamin todellista mielenlaatua musiikintekijänä. Eire Apparent oli hänelle vain yksi vaihe, jolle saattoi surutta jättää hyvästit kun psykedelia meni pois muodista.
Levyn ainoa heikko lenkki on "Captive in the Sun". Kuka sen sitten piipittääkään, hän estää kappaletta olemasta se eteerisen melodinen ja kaunis tunnelmapala joka se olisi voinut olla.
Perusrokkia tämä. Hyvin toimii, mutta paha sanoa kahden biisin perusteella mitään definitiivistä bändin potentiaalista.
ELOn neljä ensimmäistä levyä ovat turhan raskaasti sulavaa kamaa. Olivat parhaimmillaan 1975-1979 jolloin Lynnellä riitti hyviä biisejä eikä ollut vielä jumittunut omiin maneereihinsa. Discovery oli lapsuudenkotini levyhyllyssä, joten se on päässyt muodostumaan jossain määrin rakkaaksi albumiksi. A New World Record on kuitenkin bändin mestariteos, se albumi on yhtä klassikkoputkea.
Time vuodelta 1981 on levy, joka on parhaimmillaan silloin kun kuulee niitä biisejä ihan vain yksittäisinä. Lynne muuttui suuruudenhulluksi sillä levyllä ja tunki soundimaailman niin täyteen suhinoita, vocoderia ja muuta ihmeellistä, että kuuntelukokemus on uuvuttava. Eivätkä korvat saa levätä biisien välilläkään, sillä nekin kohdat on täytetty ihmeellisillä väliosilla, yhden kappaleen muuttuessa toiseksi ilman taukoa. Biisijärjestys on Timella mietitty hyvin, sillä jokaista huippubiisiä seuraa vähän heikompi pala, jonka jälkeen tulee taas jokin hitti tai ainakin potentiaalinen sellainen. Materiaali on siis vahvaa, kunpa Lynne vain olisi hillinnyt itseään tuottajana ja antanut mieluummin hyvien sävellysten puhua. Seuraava albumi Secret Messages kärsii vähän samasta ylituotantoviasta, mutta sillä levyllä sävellyksetkin ovat mitäänsanomattomampia.