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Blue Cheer update from Eric
Albronda...............Ruben , I finally got my copies of Blue Cheer 7
which is on vinyl and colored blue naturally with numbers 1-500 for the
collectors . I produced this album along with Jim Keylor in 1978-9. It
was put on Ice and is now released very little is out just yet about it
but I believe I gave you the contact of Rich Patz the owner of the
I would suggest contacting him immediately with my reference and
referral so that you might get some of this quickly ahead f everybody
else . I would be happy to answer your questions as always but hearing
it from the 'Man" might be better in this case.
Hope you are well, as always,
some interesting stuff
The recording and producing of "Blue Cheer 7"
Jim was the leader of the pack of misplaced genius's. while in high
School in /Davis, California Jim developed a science of personal growth
called the "Dyno"
system of human potential. fro example while
constructing the BSU Studio Jim collected newspapers and articles from
all of his famous friends and had a machine called the "Dyno Knowledge
Enhancer " . In its most simple explanation this machine would devour
all of the news papers and grind them up until well into the pul;p range
thus fusing all of the knowledge of the day and would then inject this
liquid knowledge into the walls of the studio for insulation purposes .
as Jim was the leader he had a gift of mobilizing his fringes talents
to accomplish a common goal, In this case the construction of BSU
Studios. the work day was long yet rewarding in that after a hard day
Jim would treat everyone to a visit to "The Ness" where for some reason
ones spirits would be exalted beyond belief .
also at the end of the
day Jim would sometimes treat everyone to a fine dinning experience at
the Universal Cafe on 24 Th. Street distinguished by the menu of way
over 300 entrees none above $1.50.so you can see being in Jim's care
Jim is also a great Bass Player however ,
decided not to play bass on the BC7 Project but rather be the overseer .
from his experience with the band, The Oxford Circle , Jim was already
famous as their name appeared on many of the early Posters from the
sixties and they played at "The Fillmore Auditorium" and "The Avalon
Ballroom" in San Francisco. So, when it came time for the actual
recording Jim used his musical genius to instill an atmosphere of
collective greatness for the project as Co Producer.
Jack May refused a full ride scholarship to Harvard University but
turned it down instead to become one of the most talented musicians and
technicians of his day -We all miss Jack very much.
The very first
time , I met Jack , he was playing at the Fillmore Auditorium with
Dickie Peterson in a band called Group B. He looked like a telephone
pole as he invented this box he wore around his waist about a foot
square that contained
a patented circuit from which extended
probably ten wires minimum who gave his guitar the desired sound . Now
this technology was secret and barely after the invention of the
transistor . Jack called this The "Ferkel 415".
Jack was funny all
the time and a true comic genius as his IQ was off the map and he showed
the world what it meant to laugh-a lot .
Jack was also an integral part of the wiring of BSU Studios . Jack invented the
.56 Sound elongation system using the latest Ferkel transducers and collective
Thermulator Switching System ( his invention )which allowed the
microphones to ride up and down the stands to capture the best
positioning of the .56 Sound elongation system This is a very important
step in recording science and evidenced in the quality of the BC7
recordings. Also Jack manufactured the very first BSU Patching system .
The idea came to Jack after examining the brain scans of famous
musicians. At any rate Jack spent weeks designing and building by hand
the brains of the BSU Studios main terminal and axis center.
seemed to always be thirsty for some reason so in-between gulps of his
favorite beverage he would entertain us all with his quick wit and
theories of the
Cosmos. Yep, Jack May , a true original , one of the best. Missed by all who knew him.
Also known as Izzy - When Izzy was young his parents noticed he would
never talk to anybody but rather would sing his words so everything came
At the time a famous Stanford Surgeon invented an
operation and mechanical device called the Lyric Crossover Speech
Transverter. Charlie was lucky enough to have one of these devices
implanted in his head . The results were alarming and the only side
affect was that Charlie now talked all of the time 24/7 as it was.
Now thats all fine except when something needed to be accomplished .
What better job for Charlie then being a Cab Driver for city Cab and
also a student at the Jean Sheldon , school of Acting in San Francisco.
we all went and saw Charlie in his graduation solo performance . All I
remember is that it went on and on for over two hours and I have no idea
what it was about or what he said .
Charlie wrote one of the best
songs , along with Jim Keylor, on the BC7 album-Title- 'I want you once
Again" and in the case of Charlie again , and again ,and again and
We all loved Charlie and miss him greatly. Charlie lived
in the loft he made at Jim Keylor's house. Charlie would accompany us
all to the Universal Cafe and we were never bored.
Another of Jim Keylors genius friends. Jim reminded me of the famous
Scientific American Article called " Joy the Mechanical boy " or" the
boy in the bubble" from which Paul Simon wrote the lyric , "the boy in
the bubble and the baby with the valve in its heart, these are the days
of miracle and wonder ……………" all of which describes Jim Alcivar, except
the valve in his heart he had none.
Jim had played keyboards with
the famous Ronnie Montrose , recently deceased , in a band called Gamma .
Jim also was a genius of sound and you could tell because I never
understood what he was talking about . He would take off on a tangent
and not touch down long enough for me anyway , to understand him. Jim
did however get along with everyone because he could do what ever was
needed as far as musical ideas or mechanical ones or whatever to make
our jobs all the easier. Sort of the opposite of Dickie Peterson yet
together they would entertain me for hours at their differences of style
and humor. Jim worked well with Tony Rainier , the guitar player , for
some reason they hit it off and would compliment each other well. Jim
was great during the actual recording because when present he would
suggest things that seemed to fit in a positive way although as I said I
never understood what he was talking about. but thats OK really because
I rarely did anyway.
Eric Albronda- Now Eric had worked on
five of the six Blue Cheer albums as mostly a producer but did sing on
two of them and wrote a few songs for Leigh Stephens the original guitar
player of Blue Cheer. Eric had a unique production style because
basically he would just hold up a mirror to the musicians and show them
themselves and what they were doing ……Not easily intimidated in that
Eric was a classically trained musician he said what ever came up and
was definitely not a "Yes Man" such things as " go home , your playing
"Hay , man you are out of tune ". Get off the floor you idiot but wake up first.
"That song was the Sh…, so come back tomorrow ." Here , take this
money and get your bass out of hock and while your at it here is some
money for tomorrow too."
Eric had years of working with Blue Cheer
and this job of production was only natural for him and with Jim
Keylor's help has produced a very important and timeless piece of music.
And so went the recording of Blue Cheer #7
Eric Albronda April 2012
Thanks Eric! rdc