The Electric Range reunion album was produced by Randy Meisner for the Dayton, Ohio band Electric Range in 1996. In the band are Peter Bradstreet, John Alden, Pat Aicholtz, Robin Lamble, and Billy Darnell. Billy Darnell was in both Open Secret and the Roberts Meisner Band with Randy.
When the group first formed back in 1971, they were called Starbuck. Randy also added some vocals and bass to the album: Black Satin, Far Away, Riding Down the Canyon, & Sailing Home.
The audios of the songs Randy participated on are at the bottom of this page.
Electric Range reunion CD front & back (Henry Diltz, photographer)
CD inserts (Henry Diltz, photographer)
“Randy was brought on board to produce the self-titled debut and he also played bass on one track and contributed backing vocals to three others. Chris Hillman contributed mandolin parts to two songs and Hoyt Axton came to town to add a booming bass vocal to the closing track ‘Far Away’.”
A review from wowhd.dk (a Denmark website)
Jim Foremen (project manager), Randy, and Henry Diltz with Randy’s old Ford truck
Kenny Day and Randy Meisner at Refraze Recording Studio in Dayton while Randy was producing the album for Electric Range
Newsbank – Feb. 17, 1995
“He’s a good choice for a producer, said Refraze owner and engineer Gary King. You can tell he spent a lot of time in the studio.”
Dayton Daily News (Dayton, OH) – June 5, 1995
“Randy Meisner, a former member of the Eagles and Poco, served as producer and even added his voice on a few cuts. Hoyt Axton came to town for a couple of days last fall to record the final song.”
“The record represents a culmination of sorts of a project set in motion more than 25 years ago, when four current Electric Range members – area natives Patrick Aicholtz, John Alden and Pete Bradstreet along with California addition Billy Darnell – were part of Starbuck, a Los Angeles-based band. Starbuck had a record deal with Atlantic, but the project fell apart and the band disbanded.”
Dayton Daily News (Dayton, OH) – Nov. 1, 1996
“Because of Randy’s familiarity with the style, and in particular with the process of recording the three and four-part vocal arrangements, he was thought to be a perfect fit.”