BOC: Creativity and production

[John A Swartz]

>Let's not discount the creative abilities of the remaing three
founders here. I mean, Al's stuff is great, and probably the most
highly regarded in the eyes of true BOC fans...

The thing about Albert that I think perhaps make us feel he was the real
genius in the band is:

1.  He was prolific - he'd brind A WHOLE ALBUM's worth of material into
the sessions for BOC records.  Comparatively, the rest of the band could
write songs that were of the quality of some of Albert's, but, it took
them longer.  So, if Buck brings in say 4 songs, where 2 are really killer,
perhaps Albert brought in 8, and maybe 5 were really killer.  So, between
the two, you've got probably 6 killer tunes, but Albert obviously had
more.

2.  According to I think Buck (in the Goldmine interview I think), Albert
was very good at "fixing" and "finishing" songs - that is, if someone
was working on a song and got stuck as to how a certain part should go,
Albert often provided the solution.  Without such input, there were
probably many cool song ideas that went unfinished.


The other thing about Albert that we've now seen since tBS was formed,
is that he wrote a fair amount of material that was "un-BOC-like", and
so some of his material was probably rejected for that reason.  I think
songs like "Sally", "Soul Jive", and "Hansel & Gretel" are good examples
of this.  I'm just waiting for him to record "Cities on Flame with Disco"
and "She Fell in Love with Ritchie Blackmore's Dildo" with tBS - these are
actual songs that Albert demoed at some BOC sessions, according to the
fanclub newsletter Morning Final.

John