![]() ![]() It was definitely something not for our market. The Thunderclap Newman album sounded excellent despite its poor carrier, and I was attracted to “Hollywood Dream” as it really didn’t sound like rock music it had elements of vaudeville, lyrical sleight-of-hand and an assemblage-like character - Newman referred to it as a “mosaic” - shot through with typically dry English wit. In America, Atlantic treated Track Records as an afterthought and pressed their LPs on cheap, styrene injection molded crap usually reserved for singles, though the much later “L.A.M.F.” was on genuine vinyl for all of the good it did in terms of the sound of that record the singles drawn from it - still injection molded, even in the U.K. I didn’t know anything about them, but their LP was on Track Records which I knew because I already owned “The Crazy World of Arthur Brown” and the Heartbreakers’ “L.A.M.F.,” both on Track. I first came into contact with Thunderclap Newman around 1979 when I found their lone album, “Hollywood Dream,” in the 99 cent bin of a used record store. ![]() ![]() Moreover, Thunderclap Newman was fostered by none other than The Who’s Pete Townsend in a project undertaken while he was working on the rock opera “Tommy” in what was likely his finest creative period. I’m not surprised it’s in keeping with his group Thunderclap Newman’s history of underachieving un-success, despite introducing a song that represents a key tenet of the counterculture revolution and including - in addition to Newman himself - two of the major talents of the British music scene of the 1960s. The announcement I posted on my facebook account noting the death of pianist Andy “Thunderclap” Newman at the age of 73 elicited little interest or comment. ![]()
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