This album was Brewer and Shipley’s sixth and their second last (the last was in 1975) before retiring from recording for twenty years.
Their first album, “Down in L.A” had been released on A&M records in 1968. The next four were on Kama Sutra and they set the musical style of Brewer & Shipley … folk rock, with associated harmonies sprouting socially conscious, occasionally barbed, lyrics all wrapped up in a rural slightly beatnik hippy vibe.
And, it was a good vibe.
Though not good enough for the public.
The times were a changin’ (sic) or, rather, had changed as this sound moved more and more into “soft rock” and “yacht rock” territory but there was a market for the organic folk of Brewer and Shipley, though an increasingly small one.
Brewer and Shipley, never big on the charts hadn’t had a chart position since 1972 (a #f98 for the fine “Shake of the Demon”). Their highpoint was the magnificent “One Toke over the Line” #10, 1971 and “Tarkio Road” #55, 1971 (both off the “Tarkio” album from 1970).
There had been two albums since then which didn’t do well, so, with this album they signed a deal with Capitol records which lasted until the next album, neither of which sold.
A new deal doesn’t mean a new sound, though the label, no doubt, wanted returns.
And, I suspect, a new sound wasn’t wanted. What was wanted, I think, was a tweaking of their old rootsy sound to bring them into line with the soft rockers, all who had come from a similar field (sic).
Their sound vibe was the same as Loggins and Messina, Seals and Crofts, Bread, England Dan & John Ford Coley and Crosby & Nash who were all over the charts. The only difference, apart from chart success, was that, with the exception of Crosby & Nash (who I don’t think are as good), Brewer and Shipley were more interesting, darker, nuanced and well thought out. The songs have, not so much a sadness, but a melancholia with a resigned regret feel to them. The 70s wasn’t all disco, dancing and good times.
The music, here, is given a sheen and gloss that a bigger label can do easily, with slicker production and more money spent on ace session musicians, but perhaps, because Brewer and Shipley were mid-westerners, they were unable to convincingly ditch the grassroots and adopt pure soft rock.
And, that’s not a bad thing though that didn’t pay the bills at the time.
This is fine music, but the public were just looking for good time vibes and some undemanding surface introspection.
Check out my other posts on Brewer and Shipley for biographical detail.
Produced by John Boylan. All songs Brewer & Shipley except where marked.
Tracks (best in italics)
Side A
Fair Play – (Steve Canaday) – Steve Canaday was co-owner of the New Bijou Theatre and sometimes member of The Ozark Mountain Daredevils. An acceptable piece of country rock.
It Did Me In – (Mark Baysinger) – a gentle ballad with beautiful harmonizing. With a gentle pedal steel and a “happier days over yon’ horizon” message this is ethereal. Wonderful.
Look Up, Look Out – waiting for and watching out for the four horsemen. Bad stuff was happening in 1974, and it is now.
Shine So Strong – (Mike Brewer) – a gentle love song.
How Are You – a melancholic question of a song which is a statement on the times.
Side B
Eco-Catastrophe Blues – a great song summed up by the title and just as relevant today.
Keeper Of The Keys – Written by Brewer & Shipley while staff writers for A&M Records. “Keeper Of The Keys” was released in 1968 by H.P. Lovecraft asa single and included on the ‘H.P. Lovecraft II’ album. It was originally on their ‘Down In L.A.” album from 1968 this is given a nice update here. There is a lot of drama in the song but it is retrained.
Bound To Fall – (Mike Brewer, Tom Mastin [uncredited]) – Stephen Stills’s band Manassas recorded this for their 1972 debut album. Tom Mastin was a folk rock songwriter. The song was written in 1966 as a demo for the short-lived “Mastin & Brewer”. Not unlike Shawn Phillips. Catchy.
Oh So Long – another slightly dreamy love song.
Ballad of a Country Dog – (Mike Brewer) – a funky country rock strut. Great harmonica and catchy lyrics.
And …
As good as anything coming out of the gentler side of music circa 1974. Why this didn’t do better is a mystery … I’m keeping it.
Gary Mallaber – Drums (sessionman for Steve Miller Band, Van Morrison, Bruce Springsteen, Peter Frampton, Poco, Paul Williams, Kermit the Frog (and why not) and others
Russ Kunkel – Drums (session musician for Linda Ronstadt, James Taylor, Jimmy Buffett, Dan Fogelberg, Stephen Stills, Harry Chapin, Bob Dylan, Neil Young, Stevie Nicks, Carole King, Jackson Browne, Joe Walsh, Neil Diamond, Glenn Frey, and Carly Simon and others).
Jesse Ed Davis – Electric Guitars (session man for Taj Mahal, Gene Clark, John Lennon, Leonard Cohen, George Harrison, Jackson Browne, John Lee Hooker and others)
John Boylan – Keyboards (future country rock producer)
Doug Haywood – Bass (sideman for Jackson Browne, Warren Zevon, Linda Ronstadt and others, later)
Sneaky Pete Kleinow – Pedal Steel Guitar (member of The Flying Burrito Brothers and as a session musician)
“The album’s title refers to its Capitol Records catalog number, a device previously used by Peter, Paul & Mary (Album 1700, 1967), and which would later be used for albums released by Dave Davies (AFL1-3603, 1980) and Yes (90125, 1983)”. https://en.wikipedia.org/wiki/ST11261
Who wants to hear a white doo wop band tackle hits from the late 1960s?
I do!.
Frequent readers of this blog will know I love the older acts from the 1950s and early 1960s as well as the trad pop crooners when they try to tackle late 60s (or later) material.
Partially it’s the fish out of water story I like.
I’ve always been partial to that.
Part of the pleasure is the insanity of it (on occasion), part is the pleasure in hearing a favourite or well known tune done in a different style, part of it is the joy in the ambition of the artists.
Ultimately, it’s a test of musical skills to see if it can be pulled off successfully..
The trick is to do it in your style, whilst making the song still sound contemporary.
Easier said that done.
And, for an established still successful star, it is brave (and so rarely done). You don’t play with the hit making formula until you have to. And, even when you have to, for an act that has dropped off the charts, it is, equally brave. They have nothing to lose in record sales but they have to convince a label to take a chance and they have to be careful to not lose what audience they have left. A successful star can lose a few fans without losing sleep.
The Tokens were past their prime and to “modernise” was a brave move, and they had made steps towards that over the preceding two years.
In early 1969 they had placed “Go Away Little Girl” at #118 in the US charts but their last Top 40 was “Portrait of My Love” in 1967 and their last big hit was their only Top 10, the #1 song forever identified with them, “The Lion Sleeps Tonight” in 1961. The recent songs placings were poor but they had started to incorporate “new sounds”.
They were still working but they weren’t a powerhouse act.
Most of the work they had been doing was behind the scenes
Beginning in 1963, the group began serving as record producers for other artists (The Chiffons, Randy & the Rainbows and, mainly, The Happenings). Their production company was called Bright Tunes and they also created their own record company, B.T. (Bright Tunes) Puppy Records and they had a few national US hits in the mid-60s including two Top 10s with the Happenings in 1966/1967.
The Tokens also released material under the B.T. Puppy label so I assume the jump to Buddah was money and better exposure and distribution (which is funny as Buddah (and it’s parent company Kama Sutra) was a large independent but still never had the clout of one of the major labels and found it hard to get exposure itself (though for a time it was distributed through MGM).
Buddah as a satellite label of Kama Sutra was (similarly) quite hip to new sounds, especially from the East Coast and NYC area (I love both labels).
The Lovin Spoonful, Brewer and Shipley were the big earners on Kama Sutra.
Buddah had Captain Beefheart and His Magic Band, Elephants Memory, Melanie, The Lemon Pipers, Lou Chrisite as well as the bubble gum 1910 Fruitgum Co. and Ohio Express.
I’m not sure where the attraction for Buddah was in signing The Tokens but I assume they thought that their smooth doo wop pop would fit in with the bubblegum which was all over the charts. And they were New Yorkers.
And it was a good idea. The Tokens’ doo wop was a special brand of pure pop as was bubblegum, and they had a strong folk influence (especially over their first two albums) which was suited to the folkie singer songwriter movement emerging in the late 60s.
But there was some hedge betting. The second side is mainly old Tokens songs revamped and re-recorded for early 70s, just to remind fans that they were the Tokens.
“Both Sides Now” … get it?
It nothing else it shows that the old tunes could be adapted to the news “sounds”.
It is also clear they had been listening to the late 1960s Beach Boys, ironically, given their chart success had taken a tumble.
This, then became their first (and as it turns out only) release for Buddah.
Some of the songs are taken from the Kama Sutra / Buddah back catalogue of acts and that makes sense, though it is a pity that The Tokens didn’t tackle Captain Beefheart … that would have been interesting.
25 year old New Yorker, Brill Building-er whiz kid Norman Bergen did the arrangements.
The singles didn’t do well and the album failed to chart. The Tokens though did two more albums of songs in their own style on their own label (and one as “Cross Country” for Atlantic) before hitting the revival circuit.
Check out my other comments on this blog for background on them.
Tracks (best in italics)
Side One
Both Sides Now – (Joni Mitchell) – Written by Joni but first recorded by Judy Collins who had a #8 with it (US) in 1968. The song has been often recorded but my favourite version is Frank Sinatra’s from his 1968 album “Cycles”. This starts off like “Lion Sleeps Tonight” before going into the song proper with references back to “lion” through the song. A smart mix of old and new. A new song but one that reminds you who the band was. It’s a wonderful version and becomes a sunshine pop tune. https://en.wikipedia.org/wiki/Both_Sides,_Now
Brandywine – (Les Emerson) – Emerson was the lead vocalist and guitarist for the American based Canadian band Five Man Electrical Band. As far as I know this hadn’t been recorded previously. Gentle and endearing pop with country flavours.
Green Tambourine – (P. Leka, S. Pinz) – a big hit for label mates The Lemon Pipers in 1967 (#1 US). A gentler version of the classic, still a little trippy, but MOR trippy. Excellent. https://en.wikipedia.org/wiki/Green_Tambourine
Beautiful People – (Melanie Safka) – not a chart hit but identified with label mate Melanie. I love Melanie so this is a treat. There is a great gentle organ in the background.
She Lets Her Hair Down – (P. Vance, L. Carr) – The song started commercial jingle as “Early in the Morning” (for Breck Shampoo) (apparently, one of the first “modern,” folk-rock style jingles of its type for a major national product and ad campaign). It was first released by Brainstorm in 1969 and covered by Gene Pitney the same year and then later by Bobby Sherman (1972). The Beach Boys would have loved this. An excellent version ..and more sunshine pop.
Don’t Worry Baby – (Wilson, Christian, Tokens) – the magnificent song by the Beach Boys from 1964. Wow, almost as good, perhaps better than the Beach Boys version. It has been suggested that the 70s Beach Boys must have heard this and revamped the song for their 70s shows. I don’t know about that but that could be the case. The Beach Boys were largely responsible for sunshine pop and this song makes that link clearer still. https://en.wikipedia.org/wiki/Don%27t_Worry_Baby
Side Two
The Lion Sleeps Tonight – (Peretti, Creatore, Weiss, Stanton) – the #1 smash by The Tokens updated. Close to the original though the arrangement is more layered. Still great. https://en.wikipedia.org/wiki/The_Lion_Sleeps_Tonight
Tonight I Fell In Love – (Margo, Medress, Siegel) – an update of their single from 1961 (one that they had produced for The Happenings also, on their self titled debut album from 1966). A doo wop given a bit of sunshine pep (yes “pep”).
I Hear Trumpets Blow – (Margo, Margo, Medress, Siegel) – an update of their single and album (“I Hear Trumpets Blow”) track from 1966. Not too bad though the lyric makes it sound older than it is.
He’s In Town – (G. Goffin, C. King) – an update of their single and album (“I Hear Trumpets Blow”) track from 1966.
If I Were A Carpenter – (T. Hardin) – Written by Tim Hardin but a big hit for Bobby Darin in 1966 (#8US) (Hardin recorded it in 1967). The Tokens would have loved Tim Hardin’s folkiness though Darin the native New Yorker with his folk pop version (amongst many other folk pop songs he did in the mid 60s) would have been the inspiration. Their powerhouse vocals also suggest Darin. A great version. https://en.wikipedia.org/wiki/If_I_Were_a_Carpenter_(song)
Some People Sleep – (Margo, Margo, Medress, Siegel) – recorded around this time and probably for this album. An original and one they would re-record for their album “Intercourse” (1972). Gentle and a little dreamy.
And …
A wonderful underrated album of sunshine pop. A minor obscure classic … I’m keeping it.
Chart Action
US
Singles
1969 She Lets Her Hair Down (Early in the Morning) #61 US Pop
“Accompanist” for the Tokens is listed as Shenny Brown who under Shenny “Goofy” Brown released a 45 on B.T. Puppy records in 1967.
I’m not sure what is up with the sleeve as only three of the tokens are featured and a not on the front sleeve says “Mitch was not available to be photographed when we did this picture, so please turn to the back to see Mitch and also see The Tokens “then”.”
Neil Sedaka was in the Tokens in the mid 1950s.
the humorous 1970 “hip” back sleeve which actually explains the history of this album:
Well, people of a certain age group obsess over them.
I must admit general ignorance of them.
General …
I have their “Greatest Hits Volume One” and I have their 1980 album “A”, which I bought when it came out and which I love (loved).
Odd?
A story …
On the holidays, as a very young teen (or late pre-teen), I’d hang out with my Aunt’s (who lived one street over from me) nephew, from her side of the family, when he came up, yearly, to Brisbane from Wollongong. When he was up we would go record shopping. Clearly Wollongong was limited in the record store stakes. On one occasion I recall us going into town (as the Brisbane CBD was referred to then) and him wanting to buy Kiss’ “Double Platinum” (from where I don’t recall but I think it was a “Chandlers” chain store). He didn’t have enough money even with his bus money added to the pile (it is a double album). So I gave him my money, not enough, my bus money, enough, he bought the album and we walked home. Luckily, living in an inner city working class suburb, as it was then, we didn’t have far to go. Twelve, thirteen, fourteen and fifteen year olds regularly, and innocently, roamed the streets, so we weren’t out of place. The story of course, is still recounted by the uncles and aunts … nutty kids spending all their money on music and walking home.
And I wasn’t even into Kiss.
I’ve gone off on a tangent.
My aunt’s nephew was a couple of years older than me, a Chilean migrant who seemed to know a lot more about contemporary music than me. I thought Elvis and Chuck Berry were contemporary in the mid to late 1970s. Well they were, but they weren’t the same sort of “contemporary”. So I listened to his Kiss, Peter Frampton, AC/DC, Led Zeppelin (I think) records (clearly he wasn’t into “new wave”), and on his recommendation I bought Jethro Tull (and this is long, convoluted and not particularly interesting “background” which I have mentioned in another comment on a Jethro Tull album on this blog).
“A” (1980) had just been released and I bought it … on cassette which was the latest musical format rage (though I since bought the vinyl, and now cassettes seem to be coming back in …).
It is not regarded as one of Jethro Tull’s best albums, or even perhaps, a good one, but, I loved it. I played it incessantly and at one stage I am sure I knew all the words to the songs.
It is that time in your life where certain things will have an effect on you regardless of their worth to the larger world.
My affection for Jethro Tull never progressed from there … an ongoing Elvis fascination, a discovery of the Kinks, American indie music and the new wave put them on the backburner.
Needless to say, like a lot of popular 70s album orientated acts their vinyl ended up in op shops and, needless to say, I have bought a few.
Now is the time to give them a listen …
Better late than never?
Allmusic, “Jethro Tull were a unique phenomenon in popular music history. Their mix of hard rock, folk melodies, blues licks, surreal, impossibly dense lyrics, and overall profundity defied easy analysis, but that didn’t dissuade fans from giving them 11 gold and five platinum albums. At the same time, critics rarely took them seriously, and they were off the cutting-edge of popular music by the end of the ’70s. But no record store in the country would want to be without multiple copies of each of their most popular albums (Benefit, Aqualung, Thick as a Brick, Living in the Past), or their various best-of compilations, and few would knowingly ignore their newer releases”.https://www.allmusic.com/artist/jethro-tull-mn0000850692/biography
Jethro Tull have been described by Rolling Stone as “one of the most commercially successful and eccentric progressive rock bands” which is a worry as I thought I hated progressive rock …
In my defence they aren’t strictly progressive in style, and had their roots in the UK blues boom …
Background, Allmusic, “Tull had their roots in the British blues boom of the late ’60s. Anderson (b. Aug. 10, 1947, Edinburgh, Scotland) had moved to Blackpool when he was 12. His first band was called the Blades, named after James Bond’s club, with Michael Stephens on guitar, Jeffrey Hammond-Hammond (b. July 30, 1946) on bass, and John Evans (b. Mar. 28, 1948) on drums, playing a mix of jazzy blues and soulful dance music on the Northern club circuit. In 1965, they changed their name to the John Evan Band (Evan having dropped the “s” in his name at Hammond‘s suggestion) and later the John Evan Smash. By the end of 1967, Glenn Cornick (b. Apr. 24, 1947, Barrow-in-Furness, Cumbria, England) had replaced Hammond-Hammond on bass. The group moved to Luton in order to be closer to London, the center of the British blues boom, and the band began to fall apart when Anderson and Cornick met guitarist/singer Mick Abrahams (b. Apr. 7, 1943, Luton, Bedfordshire, England) and drummer Clive Bunker (b. Dec. 12, 1946), who had previously played together in the Toggery Five and were now members of a local blues band called McGregor’s Engine … In December of 1967, the four of them agreed to form a new group”.
They have distinct periods of music which leached into other and cross referenced future and past periods … blues rock (1967-1970), progressive rock (1971–1976) hard folk rock (1977–1979), electronic rock (1980–1984), hard rock (1987–1994), world music influences and traditional (1995–now). This is part of their joy … they seem to be marching to the beat of their own drum and this is more often than not a good thing. There has been a lot of stinkers and some laughs amongst the strained seriousness but there has been some great tunes.
The band continued to release singles and albums with the albums, especially, consolidating their success on both sides of the Atlantic.
Their great run started in the early 1970s, in the US, with a string of hit albums “Aqualung” (1971) #7, “Thick as a Brick” (1972) #1, “A Passion Play” (1973) #1, “War Child” (1974) #2, “Minstrel in the Gallery” (1975) #7, “Too Old to Rock ‘n’ Roll: Too Young to Die!” (1976) #14, “Songs from the Wood” (1977) #8.
Having lasted into the late ’70s, Jethro Tull now found themselves competing in a new more (healthily) cynical musical environment. Their old fans grew old (and they tended to be older to start off with – post teens) and slowed down or stopped their record buying, whilst the new shoppers became fixated on the growing punk rock phenomenon.
Accordingly, from 1977 they gradually fell out of the mainstream public consciousness (even though they had some late Top 40s) as the mainstream was replaced by younger generations of musicians.
But here, they are on the cusp of international stardom.
This album was their first international success, and, especially significant is the US, given the size of that market.
This success is odd, perhaps, given the music is a distinctly English (thematic) take on US rock ‘n’ roll. US folkies had flirted, as part of their anthropological folk concerns, with English folk music but adapting it to rock was an exclusively English thing of the late 1960s.
Their thematic concerns were part ye olde England (the Kinks circa “Village Green Preservation Society”), part dancing pixie mystical (Shawn Phillips (an American in England), Donovan), and part religious (Jesus Christ Superstar).
It was “head” lyrics way back when though the feel of pure geek with an earthbound JR. Tolkien on a tour of England hanging out with whores, street people, bums, as well as schoolboys, nurses and bishops, is never far away.
People pontificate over the lyrics and always seem to be amused about how it would have offended the sensibilities of the time. If the “sensitive” people bothered to listen, I suspect they would have found the lyrics either obscure or overpowered by the music and emotive diction to be understood, and offended.
Musically, the album is a vivid summation of its times. Despite it being praised (rightly perhaps), its parts are all found in other bands 1968 -1971:
art rock – Emerson, Lake & Palmer, Frank Zappa, Procul Harum, The Moody Blues
progressive psychedelica – King Crimson, Pink Floyd,
electric blues – Fleetwood Mac, Led Zeppelin, Humble Pie, Spooky Tooth
hard rock – Black Sabbath, Uriah Heap Alice Cooper
English folk – Fairport Convention, Barclay James Harvest, Lindisfarne, The Incredible String Band, Fotheringay, Pentangle, The Strawbs, Steeleye Span
Jazz fusion – Nucleus, If, Nektar, Colosseum
Jethro Tull weren’t creating anything new so much as accumulating, reassembling and communicating their influences which is something as old as music itself.
This is not criticism, this is the zeitgeist they were travelling in, and I should say, it’s a two way street as Jethro Tull had impact on some of these “other” bands also.
The music is all done so well with enough originality that it’s hard not to be entertained despite the profusion of “profound” and “serious” issues (two words used a lot when it comes to this album) dealt with in a profound and serious way.
A bit of Dylan-esque humour (at their own position within the music world) would have made it even better.
There are still “heads” out there who consider this to be profound but there are some laughs here.
Especially after watching Ron Burgundy’s jazz flute show at Tino’s club … google it.
Some have called this a concept album though it’s not and Ian Anderson has said as much. There really was no full concept to this album. There are definite themes running through the separate sides (the sides are named after their title songs “Aqualung” and “My God”), but the central narrator character, if there is one, on the first side, is gone by the end of the side, and replaced by general rants against the Church of England.
The album has been said to be pro-God but anti-organised religion and this was a familiar theme in the 1970s as anti-church rhetoric was increasing in volume.
And I have no problem with the specifically anti-Church of England rhetoric … being a Catholic.
All songs by lead singer Ian Anderson unless noted.
Tracks (best in italics)
Side One
Aqualung – (Ian Anderson, Jennie Anderson) – The song was written by the band’s front man, Ian Anderson, and his then-wife Jennie Franks. A great song and later Pink Floyd I think owes a little to this. It starts of pretentious and silly at (perhaps) ends that way but it works out a great memorable groove in between ends it is hard to dislike. Actually it is excellent, and, there is no flute. https://en.wikipedia.org/wiki/Aqualung_(song)
Wond’ring Aloud – Piano and sensitive lyrics this comes across like the Left Banke on holidays in England. Still, it is quite good.
Up to Me – a jaunt.
Side Two
My God – the serious anti-religious song with some Black Sabbath influence, if they had a flute player.
Hymn 43 – Quite powerful. “Ian Anderson described the song as “a blues for Jesus, about the gory, glory seekers who use his name as an excuse for a lot of unsavoury things. You know, ‘Hey Dad, it’s not my fault — the missionaries lied.'” https://en.wikipedia.org/wiki/Hymn_43
Slipstream – a gentle short ballad
Locomotive Breath – apparently this is about overpopulation. It’s a magnificent progressive blues thumper. It neatly uses a blues trope, a train, to punctuate the theme of the song https://en.wikipedia.org/wiki/Locomotive_Breath
Wind-Up – a pro-God and anti-organized religion song (I think) which starts as a ballad and ends as a shouter. I could google the lyrics but …
And …
I’m not sure I could play this for (some of) my peers, well not straight-faced, but this is good, very good … I’m keeping it.
Chart Action
US
Singles
1971 Hymn 43 #91
Album
1971 #7
England
Singles
nothing
Album
1971 #4
Also:
1971 Australian Albums #3
1971 Danish Albums #3
1971 Canadian Albums #5
1971 German Albums #5
1971 Italian Albums #2
1971 Norwegian Albums #3
Various music magazine (aka wanker) accolades:
Classic Rock (UK) The 100 Greatest Rock Albums of All Time 2001
Rolling Stone (US) 500 Greatest Albums of All Time 2003
Q (UK) 40 Cosmic Rock Albums 2005
1001 Albums You Must Hear Before You Die (US) 2005
The album’s original cover art by American artists Burton Silverman.
Oddly, like the Kinks and Led Zeppelin their 70s albums sold more in the US than in their homeland. What I mean by sold more is that the US market is a bigger, harder market an album that reaches #40 there is the equivalent to a Top 10 in the UK (there are exceptions, I’m talking in generalities) that’s why UK acts are looking for that chart success in the US. Yes, yes I know there are more people in the US etc etc …
This Marin County (San Francisco) California New Wave band was, no doubt, named after the Looney Tunes wildfire cartoon character rather than the carnivorous marsupial from Australia's southern island state, Tasmania (even though the cartoon character was a caricature of the marsupial), and it is perhaps apt for a frantic bar band gone New Wave.
The Tazmanian Devils were one of the many bands who jumped onto the New Wave band wagon on the late 70s / early 80s.
How easy the jump was depends on how “rock ‘n’ roll” the band was before the transition.
For some, the jump was no more than getting haircuts, putting on suits and skinny ties, shortening their songs to under three minutes and doing away with extended guitar solos.
For others it was an overhaul of their whole image and sound.
What gives both away is that, as bar bands, they could play better (technically) than your average New Wave band being fronted by adolescents, despite not understanding the angst, the anti-authority-ism, or the rage of their younger compatriots.
And that isn't necessarily a good thing … the technical ability or the lack of understanding.
For some "power pop", then, isn't part a New Wave but a reaction against it by the status quo … adopting some of the stylings but nothing else.
I tend to disagree, the New Wave was big enough to encompass them all, though Power Pop is a slap in the face (rather than a punk fist punch to the head) to the status quo of rock music in the late 1970s.
But, to my ear, of all the bands that jumped ship, the former group always sound better. The latter always sound like they are hedging their bets.
The Tazmanian Devils were part of the former, but only just.
American bar bands that ‘jumped” into New Wave fall into three groups:
New Wave with a nod to the Beatles, meaning they are, inevitably, more power pop (The Romantics, The Knack);
New Wave with a nod to the Rolling Stones, meaning they are, inevitably, more rock ‘n’ roll (The Werewolves);
or, ones that straddle both the Stones and the Beatles and have their roots in US rock ‘n’ roll or pop rock (The Cars, The Motels, Earthquake, The Greg Kihn Band, The J Geils Band, The Flamin Groovies, Dwight Twilley Band).
The Tazmanian Devils were part of the latter, but only just.
If you need any convincing check the cover : there is a mishmash of styles going on there.
There is quite a bit of detail on the band on-line mainly because they are out there playing live again, so feel free to google, but …
They started in the mid-1970s, playing good time rock.
Bass player Duane Van Dieman then joined. “In the summer of ´76, I called Dennis, who I hadn´t seen but twice since we played together in High School in the late sixties. I was wondering if the new group he was performing with would be interested in playing a locally produced show put on by my roommate Steve Bajor (Marin Co. Homegrown Productions, now Pro Event). To my surprise, he said the reason he´d called earlier that day was that the groups' original bassist, Dave Mckay (a good friend from my College of Marin daze), was going on tour with Michael Nesmith and had wondered if I´d like to join up… He´d left a message that I hadn´t gotten! … I knew there was something special about this and the timing was perfect. Freeman was movin´ south to L.A. and I was looking for a new creative musical challenge. I knew everyone but Pat Craig (keyboards, vocs.) from our jamming together at Tam High in MarinCounty. The next interesting "coincidence" I noticed was that Pat and I were both born in the same hospital (in Eugene, Ore.)… and are both Libras with Leo rising (!) (for what that's worth) … We all decided then and there to become the hottest kick ass dance band in the Bay Area. That was our single goal. From 1976 thru ´78 we were averaging over 20 gigs a month, plus we found the time and energy to put up hundreds of promo posters. Most importantly, we decided together that if the group leveled off or became a drag, we wouldn´t beat it to death just for the money. Just one goal… and a lot of great times along the way … And so… through time we´ve remained a musical family – and have regrouped from time to time over the years just for the pure enjoyment of playing good music with good friends. The band is currently back together (sans Pat & now w/Parabar Martin Webber) and making some inspired new music”. http://www.funklub.com/Taz.html
Their website (http://www.tazmaniandevils.net/about.html) refers to their white rock sound with reggae influences. Reggae made its mark on English punk a little later (as well as on the English New Wave through The Police) but in 70s US rock it was decidedly anti-punk and New Wave, it was associated with pot smoking and good times and would be appropriated much (most significantly in Jimmy Buffet's country sounds and Johnny Nash's soulful pop). The band did though have the Rolling Stones influences as well as the 70s rock energy as epitomised by The J. Geils Band, a band, I suspect they were trying to aspire to.
In “The Illustrated History of San Francisco Rock Music,” Jack McDonough writes that the Tazmanian Devils had “perfected one of the best non-punk New Wave sounds to originate in the Bay Area – a zippy, churning mix of spongeball reggae rhythms, straight pop accents and Rolling Stones-J. Geils drive.”
Producer Erik Jacobsen, who had hits with Norman Greenbaum (“Spirit in the Sky”), the Lovin’ Spoonful and later Chris Isaak came knocking.
As hard as they worked, though, they never could break through nationally. There were too many albums flooding the New Wave market.
Two albums and then Warners dropped them.
In 1983 the band threw in the towel, just as a new San Francisco act, Huey Lewis and the News, was about to take their sound (more or less, slicked up with a little more "bombast") through to #1 on the charts.
This first album has all the stylings of the New Wave without any of the cynicism or philosophy.
I have no problems with that as long as the hooks are there …
And they are. The songs are hook laden though there is more "pop" than "power" in this power pop.
This is like a rockier version of The Police (and the Police are considered to be English New Wave) or a poppier version of Joes Jackson or some cross between Jimmy Cliff and the Beatles.
Tracks (best in italics)
Side One
Feel Alright – (Hogan) – Starts off as a surf type song before morphing poppy power pop. Like a gentle "Echo Beach". Great fun
Window Into Heaven – (Carlson, Hogan, Craig) – more of the same. Not bad but not as good as the first track.
Spy In The House Of Love – (Craig, Jacobsen, Delgadillio, Hogan) – The obligatory "spooky" song New Wave bands
Don't Slip – (Hogan) – some reggae beats are creeping in. Only slight but I can hear them, and that is enough. I don't like much (if any) white reggae sounds.
West Coast – (Hogan, Jacobsen, Craig) – a hoot. An ode to California's 'west coast". It starts off with a bass line that's lifted from Elvis' "Baby, I Don't Care (You're so Square)" before taking up the rhythm of "Dylan's "Subterranean Homesick Blues" and then referencing Australia's Skyhooks (that must be an accident, the Skyhooks were definitely underground in the US … though there is the "Tazmanian" thing again)
Side Two
Laura – (Hogan) – "Laura you know it's true, All the boys are hot for you" .. harr, perfect. This is the obligatory power pop young girl song (young girl being a teenager of age giving informed consent … that should be said in this day and age. In any event the narrator of the song pleads with Laura to open her door.
Sender To Me – (Hogan) – I like the pun in the title. I dislike the reggae stylings.
My Obsession – (Carlson, van Deman, Jacobsen, Craig) – a keyboard mood piece trying to be arty and angsty. Any song about "obsession" has to be arty and angsty.
Pressure – (Hogan) – not too bad but not memorable
Music – (Jacobsen, Craig) – a slow song that is a throwback to soft rock with some new wave edginess thrown over the top. Filler.
And …
A hard one. This is on the cusp. But, it does have obscura value if nothing else …. I'm keeping it.
Musicians: Dennis Hogan (vocals/guitar); Dave Carlson (guitar); Duane Van Dieman (bass/vocals); Barry Lowenthal (drums/percussion); Pat Craig (keyboards).
Careers:
Barry Lowenthal – toured with several San Francisco Bay Area bands and artists including two albums with (Sacramento, California) rock band Steel Breeze (whose first album was produced by Kim Fowley). He also recorded and performed with The KBC Band (Paul Kantner, Marty Balin and Jack Cassidy) and blues artist Alvin Youngblood Heart.
Duane Van Dieman played in a number of local San Francisco bands (Bop City, Secrets).
Dave Carlson teaches guitar and bass at his musical instrument store in Santa Rosa, CA. In1984 he formed FCC Lucky Star with Zoe Fox and Pat Craig. He has had his own recording studio where he recorded Chris Isaak, Buddy Miles, David Crosby, and others.
Pat Craig was in FCC Lucky Star with Dave Carlson
“The Tazmanian Devils (aka Taz) played their first gig in 1976 at the Sleeping Lady Cafe in Fairfax. Their New Wave/reggae rhythms created a strong following and after a few years on the club circuit the band got the chance to record two albums for Warner Brothers and a live EP on the local DubLab label in 1980 and 1981 (see discography below). As a matter of fact the albums didn't succeed and the band decided to disband. Even though the band disbanded they stayed in touch as friends, played together from time to time and finally decided to record a new album”. http://www.bay-area-bands.com/bab00094.htm
Search this blog and you will see I like (love?) Dennis Linde.
Check out my other comments for biographical details on the man.
Linde will forever be associated as a country songwriter (because of the number of country acts who have covered his songs) and performer despite the fact that his music encompasses all sorts of styles. To be sure he was based in Nashville and he was recorded by a number of country artists but his to pigeonhole him thus is unfair, only insofar as he wasn’t a strict country writer.
This isn’t a country album by any stretch of the imagination. There are songs that range across several styles including; blues, rock, country, funk.
And, there are elements of American and even experimental country.
This was all possible in the Nashville of the early 1970s.
And it is not something you normally associate (now) with Nashville.
Whatever the reason, Nashville had to adapt to new sounds.
The rising popularity and dominance of rock was one factor.
Also, there were all the rock artists from the east and west coast who had incorporated country sounds into their music (and were recording in Nashville) and., there were all the younger country kids who had grown up familiar with rock.
It was an amazing time for country music.
Country music, never shy of being blunt about the realities of life, was given extra realism with the new openness allowed in public and in the performing arts.
It was also a time for experimentation, self-expression and expansion of musical boundaries.
These were encouraged and welcomed.
Especially, on some labels more than others. This is on Elektra, one of my favourite labels and as I have said before on this blog “anything on Elektra in the 60s and 70s is worth a listen I reckon: David Ackles ,Tim Buckley, The Butterfield Blues Band, The Dillards ,The Doors, Jimmie Dale Gilmore , Love , MC5 , Phil Ochs , Roy Orbison ,Leon Redbone , Charlie Rich, Mark Spoelstra ,The Stooges ,Tom Waits to name a few”
And Linde was quirky, as this obituary refers to, “Drawing on the influence of writers such as Mark Twain, J.D. Salinger and John Steinbeck, composers such as George Gershwin and Cole Porter and the rock'n'rollers Little Richard and Fats Domino, Linde developed the quirky, idiosyncratic, individual style which would lead him to write colourful hits such as 'Bubba Shot The Jukebox' and 'It Sure Is Monday' for the country singer Mark Chesnutt, and 'Queen Of My Double Wide Trailer' for Sammy Kershaw, another country star, in the early '90s” https://www.independent.co.uk/news/obituaries/dennis-linde-429897.html
And, as I have said elsewhere on this blog, “Linde was a country singer-songwriter, but like his contemporaries John Hartford, Mickey Newbury, Billy Swan and Terry Allen, a lot of his music doesn't sound particularly country, in that he doesn't mind mixing up the genre, turning it on its head and bringing in other styles that he likes (Oddly, or perhaps not, Elvis covered most of these guys). Linde, like many country singer-songwriters, started off as a songwriter working for a label (country is probably still the only music where a person can have a career as a non-jingle writing songwriter) and wrote hundreds of songs, though his own recorded output is quite small”
Of course, to get your foot in the door you need something.
Dennis Linde had that. Elvis took his song “Burning Love” to #2 (#7UK) in 1972 (Elvis would record another two Linde tracks in the 70s) and that is enough to get a contract.
This was his second solo and last album for Elektra (and this third solo album overall). He had recorded an album (1972) as part of the band Nashville rock band “Jubal”. Randy Cullers, Alan Rush and Rob Galbraith, who do session with him here, were with him in Jubal.
I said this about Linde’s first self-titled Electra album from 1973, and I think the same applies here, “Notoriously reclusive and a bit nutty (like John Hartford I believe, or Jerry Jeff Walker) Linde is a magical songwriter – his songs cover all the familiar country themes (women, alcohol, infidelity) but not in familiar ways. He also tackles (like some of his contemporaries) subjects not normally covered in traditional country music – modern living, freaky individuals, alienated outsiders, and the state of the world generally. His songs rarely fail to interest and he as a singer isn't too bad either. This was his second album and released after Elvis had the hit with "Burning Love" – to cash in on some of the songs success. That's not to say the album was rushed though I suspect some of the songs had been sitting around for some time waiting to be recorded by Linde. Also, the songs on this LP aren't particularly country though they have a country feel – perhaps "alt country"?”
Don’t get me wrong, I thought that earlier album was a “minor classic’.
This album is of it's era, the mid 1970s. It is rock with touches of country and a bit of quirk. The rock sounds like what Jeff Lynne would be doing later and the country is buried though permeates the songs. Horns add to the rock 'n' soul and the matter of fact lyrics are of the country outlaw type (though more cryptic).
It is an individual album, and if not individual then an album that belongs with a small group of others of the time. It is both commercial and outside the mainstream.
But, no sales meant Linde was dropped (the standard two album deal it seems). He recorded one more album in 1978 though he kept working till he died in 2006.
Produced by Dennis Linde. All songs written by Dennis Linde unless indicated.
Tracks (best in italics)
Side One
O'Clock – a stonkin 70s rootsy rocker.
He Likes To Hurt You – a big "hurt" ballad with country and soft rock overtones. Sort of like what Billy Joel would be recording if he was recording in Nashville. I quite like the "opera" in this song.
Trapped In The Suburbs – (Dennis Linde, Alan Rush, Bobby Ogdin, Randy Cullers, Rob Galbraith) – first done by Dennis. Written by Dennis and his former band mates from "Jubal". This may be a left over. An interesting mix, of country rock and funk. This could be a song to a blaxploitation film that goes to, errr, you guessed it Nashville.
Country Steel Man – a country singer-songwriter ballad. IO really like this. It has a dreamy other worldly feel like some of Mike Nesmith's country work.
Burn Away My Blues – a bit of rollicking mid-tempo old -time carousel rock that Dennis' friend Billy Swan was doing. Very good.
Side Two
Hell Or High Water – (Dennis Linde-Billy Swan) – from the hand of another from the (fringe of the) Elvis world, Billy Swan. This was first done by Dennis. This has Beach Boys / Beatles / McCartney overtones, but with quirky tempo shifts that are all Linde.
Peaceful – a slightly hippy rumination. Sort of like Jesse Colin Young, if he was recording in, errrr Nashville.
My Guitar – another ode to the "guitar" / "guitar player" in the style of "Guitar Man" or "Johnny B Goode". Quite good(e)(sic).
Just To Think – a great mid 70s ballad, that sounds like … someone I can't put my finger on.
I'm Rollin' – a catchy poppy rock song with a "Bone She Nine" refrain does as a 50s chorus (and sung by someone called "Bone Wasp" … must be a pseudonym). Cool.
And …
Wow. Not a masterpiece (but close). It is really, really good. Most of the songs are strong and there is a vibe across the album that makes it memorable … I'm keeping it.
Personnel: Bass, Lead Guitar, Orchestra [Effects], Acoustic Guitar – Dennis Linde / Guitar, bass – Alan Rush / Acoustic Guitar – Johnny Christopher / Pedal Steel Guitar – Lloyd Green / Lead Guitar – Jimmy Colvard / Guitar [Tremelo Intro That Was Too Fast For Dennis on “Pesaceful”] – Chip Young / Piano – Bobby Ogdin / Tenor Saxophone, Baritone Saxophone – Ronald Eades / Trumpet, Trombone – Harrison Calloway / Congas, Gong [Leg], Bell tree – Farrell Morris / Clavinet, Organ – Bobby Emmons / Drums – Randy Cullers /Backing Vocals – Lea Jane Berinati, The Hollidays, Hershel Wiginton / Other [Rhythmic Consultant] – Rob Galbraith/ Strings arranged by Bill Justis (on “Trapped in the Suburbs”).
Alan Rush was an American songwriter, musician, singer, engineer and producer. He was directly involved in 5 of the six songs that Elvis wanted to record in January 1977. Alan plays Guitar, Bass and Harmonica. He also did some guitar and vocal overdubs on some Elvis albums in the 70s (as did Rob Galbraith and Dennis Linde).
Country session player (who plays on this album) Bobby Ogdin was in Tennessee band the Sierras in the 60s before moving to Nashville and into session work and writing. He played in the 70’s with Jubal, Lynn Anderson, Bobby Bare, Melanie, Buffy St Marie, and in Elvis Presley's TCB Band amongst others. https://en.wikipedia.org/wiki/Bobby_Ogdin . Lots of time on the road, no doubt, gives you time to compile eateries: http://bobbyogdin.com/Pages/Eateries.htm
“Linde's daughter, Mary Elizabeth, called "Lisa" (Days of Our Lives, The Darkling) married Hollywood actor James Marsden (X-men, 27 Dresses).[20] The couple sponsored a benefit for the Coalition for Pulmonary Fibrosis in 2009 to honor Dennis Linde, entitled "A Night of Burnin' Love" that included Rascal Flatts, Montgomery Gentry and Mark Chesnutt and others. Lisa Linde filed for divorce in 2011 after ten years of marriage”. https://en.wikipedia.org/wiki/Dennis_Linde
“Linde had bizarre challenges for himself; i.e., daring himself to write a song starting with every letter in the alphabet, leading to the creation of "X Marks The Spot" and "Zoot Suit Baby"”. https://en.wikipedia.org/wiki/Dennis_Linde
Fabian was “rockin’ hot” in 1961 though mainly in film rather than music.
His days as a music teen idol were already behind him and he was 18 years old (he started when he was 14). His chart career lasted one, maybe two, years (1959-1960). He had three Top 10s, one Top 20, and another three Top 40s in 1959 alone. Impressive, though short lived. In 1960 he had charted only one Top 40, his last chart appearance.
This was his last studio album (his fifth in three years).
But, by then, he was concentrating on his film (and television) career which had started with “Hound-Dog Man” (1959) and had the hit films “High Time” (1960) with Bing Crosby, “North to Alaska” (1960) with John Wayne, and “Love in a Goldfish Bowl” (1961) with Tommy Sands. He would follow those up with A Grade features “Mr. Hobbs Takes a Vacation” (1962) with James Stewart, “Five Weeks in a Balloon” (1962), the all-star spectacular The Longest Day” (1962), “Ride the Wild Surf” (1964), “Dear Brigitte” (1965), again, with James Stewart, and “Ten Little Indians” (1965) before slipping into American International B features and drive in films, which are not without merit. In fact, Fabian was quite a good actor. He really stretched his skills but he is always pleasant and natural on the screen.
Colin Larkin in his "Encyclopaedia of Popular music" somewhat at harshly says … "Fabian's limited vocal range should not be held against him: he became a puppet and he danced; out of it he traded a doomed musical career for a credible career". There is some truth in that. For a year (1959) he was continuously in the charts though there is no doubt his film career had more legs.
Most of the rock ‘n’ rollers / poppers (Elvis, Bobby Darin, Pat Boone, Ricky Nelson, Bobby Rydell, Tommy Sands, Frankie Avalon, Connie Francis, Johnny Cash) just like the trad poppers before them (Frank Sinatra, Dean Martin, Sammy Davis Jr, Bing Crosby, Guy Mitchell) had a crack at films and film stardom.
It also doesn’t hurt that Fabian came out in that time when Elvis was in the army and there was a softening in rock ‘n’ roll.
He returned to singing in about 1973 and hit the “oldies” circuit though he recorded no further music (well, a couple of singles).
Fabian made the most of his career and did exceptionally well. Teen idols are difficult enough to maintain at the best of times and he wasn’t as natural or strong a singer as his Philadelphia contemporaries, Bobby Rydell and Frankie Avalon.
During the payola scandal of the 1960s. Fabian testified before Congress that his recordings had been doctored electronically to "significantly improve his voice." https://en.wikipedia.org/wiki/Fabian_Forte
He was pursued by manager, record label owner, Bob Marcucci, on his looks alone (pompadour, youth, youthful rebellion) before he even heard him sing.
But, there is a playful innocence in Fabian’s music that always makes it interesting to me. Because Fabian is not naturally gifted or a trained singer his awkwardness around a song actually becomes somewhat charming and makes him sound like a boy everyman, though with spunk. Something the teens could relate to.
What the music does have (intentionally) is Fabian’s verve, and the backing of some smart pop rock producers, arrangers and musicians.
That for me is enough.
This album is an album of recent hits, and songs written for Fabian all arranged for his voice and personality which is what makes this listenable (and even enjoyable). There is some quirky music work going on also which is a lot of fun. The backing are an orchestra and chorus by Russell Faith and Peter DeAngelis. The sound is a little full but, if there was an orchestra most, of the instruments were isolated to concentrate on the beat instruments. The chorus is pure Jordanaires type backing.
As reflected in the album title, here all the tracks lean towards rock 'n' roll. And, surprisingly a lot of it works. It is perhaps Fabian's most complete rock 'n ' roll album. He isn't stretched in any of the songs but he is convincing in most. And he is, inadvertently, a precursor to the Lou Reed style of speaking singing.
Which is smart.
The producers are playing to his strengths and not accentuating his weaknesses.
And, check out that album cover … image is everything.
For biographical detail check my other comments on Fabian.
Tracks (best in italics)
Side One
Tongue Tied – (Don Covay, John Berry, Mark Lewis) – First recording and first release by Wanda Jackson in early 1961. It was also recorded by Betty McQuade in the same year. “Dungaree Dolls” get a mention here as they did in Little Richard’s “Ready Teddy” from 1956 (and Eddie Fisher’s song “Dungaree Dolls” 1956). Fabian is channelling Elvis circa 1956 here. This is quite good, actually, very good.
Nobody – (Claude DeMetrius) – Written by Claude Demetrius ho is often associated with Elvis Presley for whom he wrote (he wrote for Elvis' publishing company) specifically “Hard Headed Woman” (#1 1958). The beat is hard with some nice guitar work. The vocal is pop. Still, it's fun.
Somebody Else – (Diane DeNota) – Diane DeNota was a close friend of manager Bob Marcucci, which led to him placing several of her songs with his charge Frankie Avalon (who had hits with two of them) and Fabian. So so.
Singin' The Blues – (M. Endsley) – First recorded by Marty Robbins (#1 Country, #17 Pop 1956-1957) but a gigantic hit and identified forever with Guy Mitchell ( #1 1956-1957 for ten weeks). It's good hearing Fabian singing this song but that invites comparison with Guy Mitchell, and he doesn't come off favourably. Nice loopy guitar work though. https://en.wikipedia.org/wiki/Singing_the_Blues
Little Meanie Jeanie – (Dicicco, Faith) – first done by Fabian. Russ Faith was another US composer and producer (and arranger, lyricist, conductor, vocal coach, pianist, guitarist), often associated to Robert P. Marcucci as a producer, including on this album. Not too bad and one of the many adjective noun songs that came out in the 50s.
King Of Love – (R. Faith) – first done by Fabian. Written by producer Russ Faith
Side Two
Hey Little Girl – (Stevenson, Blackwell) – First release by Thurston Harris (1959) and then done by Dee Sharp (1959). It has been done many times since, Bobby vee (1965), Dave Berry (1966), Donny Osmond (1971), Brownsville Station (1974), by co-author Otis Blackwell himself (1977) and many others. With a nod to “Bo Diddley” this song is a hott and done well here.
Kansas City – (Leiber – Stoller) – A staple of R&B and early rock ‘n’ roll by the great Leiber and Stoller. First release by Little Willie Littlefield (1952). Other versions include Little Richard (1959), Wilbert Harrison (#1US 1959), Freddy Cannon (1960), Bill Haley and His Comets (1960), Dion (1961), Clyde McPhatter 91962), Trini Lopez (1963), Pat Boone (1964), The Beatles (1964), Billy Lee Riley 91964), Fats Domino 9965), Everly Brothers (1965), Tom Jones (1966), Billy Fury (1977), Hound Dog Taylor and the Houserockers (1982), Paul McCartney (1987) and many others. Okay. https://en.wikipedia.org/wiki/Kansas_City_(Leiber_and_Stoller_song)
A Special Kind Of Love – (Peter DeAngelis, Robert Marcucci) – first done by Fabian. DeAngelis and Marcucci co-owned Chancellor records. The narrator is looking for "plenty of loving of the "special kind of love". You can read between the lines. I know these were the supposed "tame" years between Elvis and The Beatles but this is a million miles from "I Want to Hold Your Hand" thematically.
Written In The Book – (Diane DeNota) – first done by Fabian. Pop
My Babe – (W. Dixon) – Blues, R&B, rock standard. Written by Willie Dixon for Little Walter (#1 R&B US 1955). Dixon based the song on traditional gospel song "This Train (Is Bound for Glory)", recorded by Sister Rosetta Tharpe as "This Train" (1939). It has been done by everyone including Ricky nelson (1958), Dale Hawkins (1958), Cliff Richard and The Drifters (1959), The Coasters (1962), Bo Diddley (1962), Peter & Gordon (1964), Ike and Tina Turner (1964), The Everly brothers (1965), Elvis Presley (1969), Chuck Berry (1975), Sleepy LaBeef (1979), Ronnie Hawkins (1979), Link Wray (1989), '68 comeback (1999), Dion (2007) and many others. A great song and its done well. https://en.wikipedia.org/wiki/My_Babe
Tomorrow – (Joe Phillips) – first done by Fabian and similar to his hit "Tiger". It has the casual swagger that Fabian loved to use in his vocals as well as some great guitar work. A hoot.
Check out my other comments for Bobby Rydell detailed biographical detail, but … Robert Ridarelli was born 26 April 1942 in Philadelphia. He won first prize on "Paul Whiteman's TV Teen Club" at age eight, and was a regular on that show for three years. After changing his last name to Rydell, Bobby played drums in Rocco and the Saints, a group that also featured Frankie Avalon on trumpet. Rydell signed with the Cameo-Parkway label in early 1959, and eventually became that company's second most popular artist, behind Chubby Checker, securing hits into the mid-1960s. He remains active on the "oldies" circuit and has toured as part of The Golden Boys stage production since 1985 (with Frankie Avalon and Fabian).
They are my words though in a late night haze maybe I lifted them from somewhere unintentionally.
Bobby Rydell was from Italian dominated South Philadelphia. This may not be the "mean streets' but it wasn’t a walk in the park either …
Working class first and second generation migrants from southern Europe, specifically Italy, may create a vivid and vibrant environment but not one without hardships that any similar enclave will have.
Rocky Balboa may be the most famous South Philly resident even if he is fictional but he couldn’t sing (or doesn’t yet).
Frankie Avalon, Fabian, James Darren, Mario Lanza, Al Martino, Jim Croce and others either grew up or where one time residents of the area.
And it wasn’t all Italians either. Jewish Eddie Fisher and Afro-American Chubby Checker were also from South Philadelphia.
Music was a way to escape the working class existence. And, many Italian-Americans jumped at the chance.
Early Bobby Rydell was in many ways the Justin Bieber of his day – a child star who had a huge following as a teen (he signed a recording contract and by 1959, at 16, had his first hit).
He branched out into television and film but his Career at the top was over within five years.
But his work at the time is so specific to the time and place and milieu that, even now, you can listen to the music and make no mistake as to what it is and where it is from.
I like that, and, I think that the milieu is so persuasive that it reflects on Bobby’s place in popular culture. For instance, it is not surprising that Grease (the musical / film) is set in 1959 at the Rydell High School.
And Bobby referred to that “Oh, I mean, what an honor!' Rydell says. "You know, in a major motion picture which became a classic, it was so nice to know that the high school was named after me. And I said, 'Why me?' It could have been Anka High, Presley High, Everly High, Fabian High, Avalon High. And they came up with Rydell High." http://www.mcall.com/entertainment/mc-bobby-rydell-book-20160721-story.html
This first album is made up of variety of different song sources. Hits of the day, familiar songs from eras past and importantly, songs written for and designed to showcase the new artist.
Central to the album are the seven songs written by Kal Mann and Bernie Lowe for Bobby. They signed him to their label, they nurtured him and directed him (he was after all only sixteen years old). Mann (a lyricist) was good friends with Lowe who was a songwriter, record producer, arranger, pianist and bandleader. Mann and Lowe (both Philadelphia born) were the founders and owners of Bobby's label, Cameo (later Cameo-Parkway) based in Philadelphia. That's one way to get your songs recorded (own the label). To be fair there was a bit of talent in them. They had written "Teddy Bear" for Elvis Presley (#1 US Pop 1957), "Remember You're Mine" for Pat Boone (#6 US Pop 1957), "Teen Age Prayer" for Gale Storm (#6 US Pop 1955) (also a #19 US Pop for Gloria Mann in 1955). They knew their way around a pop tune (from writing through to recording).
The other songs are either recent rock hits (something familiar for the young ones) or trad pop songs updated (something familiar for the older crowd). Italian Americans love their trad pop, even the rock and rollers. The covers, mainly from the trad pop stable reflects this, though Mann and Loew, both born 1917, are the right vintage for knowing all the trad pop tunes.
The surprising thing about the originals written for Bobby is Mann and Lowe’s pop sensibility. This is pure pop rock. Harder than Pat Boone but without losing its appeal to ears who didn’t like the regional accents or the rough edges of Elvis and the first generation rock ‘n’ rollers.
And, it paid off in spades.
Of course it came at the right time
In the late 1950s, rock and roll was undergoing (perhaps inevitable) changes as it was adopted into the mainstream industry. Some major stars dropped from public view … Elvis Presley was drafted 9for two years though he was raely out of the public eye), Buddy Holly, Richie Valens and the Big Bopper died in 1959 and Eddie Cochran died 1960 in an accident that also left Gene Vincent scarred, the Everly Brothers were shaken by close friends Holly’s death, Chuck Berry was in jail, Jerry Lee Lewis had been disgraced by press reports that he married his 13-year-old cousin, Bill Haley and fats Domino were in their 30s and creeping towards middle age, Little Richard had turned to God, and Johnny Cash was fighting personal demons (and in any event turning more to country music). .
There were many less well known musicians sticking to their “rock ‘n’ roll” guns but there was a general softening of the sound in the mainstream.
It had been coming … for every rough rock tune Elvis cut there was another pop tune and a (rock) ballad. People always seem to forget all the pop and ballads Elvis recorded in the 50s. (arguments may rage about who “invented’ rock n roll but the rock ballad and mid-tempo pop rock tune is his own creation and a product of his own sensibilities).
He wasn’t adverse to pop and balladry (albeit with a rock attitude normally).
And, second to Elvis in sales in the youth market was Pat Boone, who made a career of crooning pop ballads with ties to the trad pop past.
Pop was always in the air and would exert its influence (despite hat lazy music “historians” say).
This was good news for careers of Ricky Nelson, Tommy Sands, Bobby Vee, Frankie Avalon, Fabian, Dion, Connie Francis, Gene Pitney, Del Shannon, Brenda Lee, Bobby Darin and Bobby Rydell.
Bobby Rydell and the Italian-Americans from Philadelphia with their Neapolitan sensibilities, and music mentors from the east coast trad pop scene were (especially) well placed to take advantage of the same.
Don’t get me wrong there is some choice material here and it may be pop but then so was a lot of what Elvis did (before and after the army), the Beatles did, and many others did.
Bobby Rydell fits in perfectly. He may be young, the girls may like him, and he may be non-threatening to parents but if he can’t sing this doesn’t amount to much.
He can sing, he his own distinctive voice and he is quite a stylist.
As the back sleeve says "Looks + Talent + Personality = Bobby Rydell"
What is most interesting here I that, being a first album, there is quite some experimenting with Bobby’s “sound”. It’s all pop rock but there are ballads (some rocky, some bluesy, some trad pop) and rock tunes (some pure pop, some, more rock ‘n’ roll) which are quite different in musical texture. I don’t think he ever got as much room to play around with different songs as he did on this album.
And importantly, the styles attempted are all held together my Bobby’s sensibilities.
Tracks (best in italics)
Side One
We Got Love – (Kal Mann, Bernie Lowe) – a great poppy ballad given some gentle rock attitude.
Ain't That A Shame – (D. Bartholomew) – written by Fats Domino (not credited initially) and Dave Bartholomew and released in 1955 reaching #1US R&B, #10 US Pop. Pat Boone covered it in 1955 and took it to #1 US Pop. It has been often covered. Bobby does a credible and good version. https://en.wikipedia.org/wiki/Ain't_That_a_Shame
You're The Greatest – (Kal Mann, Bernie Lowe) – a trad pop of the style Pat Boone would be doing with sweet, angelic backing vocals.
Home In Your Arms – (Kal Mann) – a up-tempo popper with a "Down by the Riverside" feel.
Teach Me Tonight – (Sammy Cahn, Gene DePaul) – A jazz standard, often covered including Jo Stafford (#15 Pop US 1954), The DeCastro Sisters (#2 Pop US 1955), and Italian-American Helen Grayco (#29 US Pop 1954), and Johnnie Ray did a version on his 1958 album "'Til Morning". This is what it is though it is given a contrmporary (1959) preppy feel. https://en.wikipedia.org/wiki/Teach_Me_Tonight
Like A Baby – (Paul Anka) – written by the prolific Paul Anka and first recorded by Bobby. Annette Funicello recorded it in 1960 for her “Annette Sings Anka" album. It is ver Paul Anka, not surprisingly. One to make the girls swoon. And, it is very catchy.
Side Two
Kissin' Time – (Kal Mann, Bernie Lowe) – This was Bobby's first Top 20 hit and has been often covered including by Kiss, covered on their debut album (1974). Bobby would re-record (?) it for his 1963 album “Wild (Wood) Days”. It's very catchy and can be transposed to many places in the world. https://en.wikipedia.org/wiki/Kissin%27_Time_(song)
Because Of You – (A. Hammerstein, D. Wilkenson) – a often covered trad pop song. Tony Bennett had a #1 with it (US Pop 1951). Connie Francis recorded a version in 1961. https://en.wikipedia.org/wiki/Because_of_You_(1940_song)
Lovin Doll – (Kal Mann, Bernie Lowe) – Bobby would re-record (?) it for his 1963 album “Wild (Wood) Days”. Another up-tempo pop song. Great fun.
All I Want Is You – (Kal Mann, Bernie Lowe) – a big ballad with strings.
You Were Made For Me – (Kal Mann, Bernie Lowe) – a gentle popper with whistles and all. Not bad and not unlike some of the songs Elvis would be cutting for films in his post army career.
That's My Desire – (Loveday Kresa) – another often recorded trad pop song. Frankie Laine had a #4 US Pop hit with it in 1946. Louis Armstrong recorded it in 1947 (and 1952), The Channels (1957), Dion and the Belmonts (1960), Buddy Holly (1958), The Lettermen (1961), Jim Reeves (1957) amongst others. The pacing, pronunciation and backing vocals are all v erfy Elvis like. I like it. https://en.wikipedia.org/wiki/That%27s_My_Desire
What'd I Say – (Ray Charles) – Ray Charles' classic R&B, soul, rock song from 1959 (#6 US Pop, #1 R&B US 1959). The song has been covered hundreds of times though Bobby's version is, perhaps, the first cover. Jerry Lee Lewis had a #30 with it in 1961 and it was central to a dance sequence in the Elvis film "Viva las Vegas" (#29 Pop 1964). It has also been done by Cliff Richard (1961), Bobby Darin (1962), Teddy Randazzo (1962), Clyde McPhatter (1962), Rod McKuen (1962), Trini Lopez (1963), The Searchers (1963), Roy Orbison (1964), The Ronettes (1964), Brenda Lee (1964), The astronauts (1964), The Righteous Brothers (1965), Johnny Cash and June Carter (1967), Nancy Sinatra (1967), Bill Haley & The Comets (1968), '68 Comeback (1999), Lyle Lovett (2000), etc etc. A great song and Bobby gets the groove. https://en.wikipedia.org/wiki/What%27d_I_Say
And …
I like this music. I like this album. It is happy and uncomplicated. It is perfect for dinner parties or drinks and finger food. Is that rock 'n' roll? No. But try eating dinner or finger food to Pink Floyd's "The Wall" and see how far you get. In other words there is a time and place for everything. And, that is important … I'm keeping it.
The album was released as "Wild One" in the UK in 1960 with "Wild One" replacing "We Got Love". “Wild one: was a #7 hit in the UK in 1960 whilst “We Got love” didn’t chart.
I like the Beau Brummels, having picked up their debut album in the 80s sometime. Since then I have managed to get hold of all the others albums (and commented on a few on this blog) and learned to like and frequently love them.
I've not thrown myself at this album because I’m generally wary of "comeback" albums … they are usually not great, inevitably being a poorly conceived updating of the band’s sound to a new era.
Rick at Rocking Horse Records (in Brisbane) urged me to put this album on (particularly praising the first track) so here I am.
The Beau Brummels were the California band for a while, if not in chart placings, then in philosophy.
The band has always captured the record obsessive's heart.
Perhaps it’s because they epitomised the California sound after the Beach Boys and before the rise of heavy acid. Perhaps because they epitomised the conciliatory American response to the British invasion (rather than freezing them out they adapted the ‘new’ sounds from the UK). Perhaps, it’s because they were one of the first bands to dabble in country rock. Perhaps it’s because Sly Stone from Sly and the Family Stone worked with and produced them.
Perhaps, it’s a mix of all of that.
As has been suggested:
“The Beau Brummels managed to capture the imaginations of people who had their ears to the ground. There was music happening, in fact there was a whole scene developing during the mid-60s. Like a lot of what was going on, The Beau Brummels (and many of the bands which followed) took a deep-seated tradition of Folk and twisted it around. Coupled with the impeccable harmonies of Sal Valentino and Ron Elliott, they became the basis for the San Francisco Sound, which began shortly after Laugh Laugh was released and became an international best seller. Produced at first by Sylvester Stewart (i.e. Sly Stewart of Sly and The Family Stone fame) and signed to Autumn Records, a Bay Area label founded by noted Disc Jockey Tom Donohue – the band scored new heights with a string of follow-up singles and albums before calling it a day in 1969”.
“While they only had two big hits, the Beau Brummels were one of the most important and underrated American groups of the 1960s. They were the first U.S. unit of any sort to successfully respond to the British Invasion. They were arguably the first folk-rock group, even pre-dating the Byrds, and also anticipated some key elements of the San Francisco psychedelic sound with their soaring harmonies and exuberant melodies. Before they finally reached the end of the string, they were also among the first bands to record country-rock in the late '60s”.
For whatever reason they were respected by those in the know … almost like a west coast Velvet Underground, though without the New York pretensions.
What they did do was combine folk rock with English beat to create catchy and thumping music that was more melodic than the English and more percussive than the folk rockers.
With this is a base they moved into mild psychdelica and then finally into country rock.
Central to the band were the vocalist and occasional songwriter, Sal Valentino, and guitarist, and main songwriter, Ron Elliott.
Valentino could sing, and sing really well, Elliott could play guitar and write songs that were catchy and distinctive. They complimented each other.
But, California in the 1960s was an incredibly fertile musicland.
And, the Beau Brummels got lost in the rush.
I suspect that had something to do with the fact that they were on a smaller label, Autumn Records, for their first two albums and they lost whatever momentum they had by the time they joined Warners (for their last three 60s albums).
They seemed to be in the shadow of The Byrds but more respected than the not dissimilar Paul Revere and the Raiders (though, arguably, not as good).
Chart wise, the band was always marginal.
Their only album that charted well was their first "Introducing the Beau Brummels" which went to #24 in 1965. Singles wise they had petered out by 1966. They only had one Top 10 in the US, "Just a Little” (1965) and two other Top 40s, "Laugh Laugh" (1964) and You Tell Me Why” (1965).
So, it couldn’t be to revive past success that this album was recorded. Though it did do (US #178) better than their last charting album, “Triangle” which went to #197 in 1967.
The Beau Brummels recorded the “Bradley's Barn” album in 1968. That album featured Valentine and Elliott only, aided by shit hot Nashville session men (David Briggs, Kenny Buttrey, Norbert Putnam, Jerry Reed).
It was a wonderful early example of the country rock sound but one hard to capitalise on (even if it had been a hit) as there was no rhythm section.
The “band” split formally.
Six years later the band reforms and records again.
I suspect it seemed to come out of nowhere but in some ways it made commercial sense.
The country rock sound that was so cutting edge in 1968 on “Bradley’s Barn” was now mainstream with The Eagles, The Doobie Brothers and others all over the charts.
The band started recording where they left off in 1968 though this time a little more slicker (as the mid-70s would require) and, more importantly, with a line-up which featured all five original band members (John Petersen, Ron Elliott, Sal Valentino, Ron Meagher, Declan Mulligan) for the first time since the band's debut album, 1965's “Introducing the Beau Brummels” (John Petersen had left in 1967 to join Harper’s Bizarre, Ron Meagher was drafted in 1968 and Declan Mulligan had left the band in 1965).
This is country rock though surprisingly rootsy for a west coast band (at times). They have though played with their country rock giving it baroque touches at times and injecting some (quite little) 70s rock guitar in places, and soulful asides in other places. It's country rock stylings are matched by a gentle, dreamlike almost trippy groove. A bit like what you would get if late period (circa 1971) Young Rascals had of discovered country music.
This album is full of joys. Valentine is in magnificent voice (and there is a lot of great harmonizing) and main songwriter Elliott has more than one song left in his repertoire. The album washes over you and hasn’t dated. It is slick but restrained.
In any event, once again they were lost in the flood of country rock bands circa 1975.
The album tanked and they called it quits (again) as a band.
Elliott’s co-writer was Butch Engel who had been in 60s California bands, The Showmen and Butch Engle & the Styx, whose material was written by Engel and Elliott. According to Engle, "Ron, Sly Stewart [later known as Sly Stone], [and Autumn Records executives] Tom Donahue and Bobby Mitchell would choose which songs would go on [a Beau Brummels] album, and then we could take what we wanted from whatever was left". https://en.wikipedia.org/wiki/Butch_Engle_%26_the_Styx
The album was produced by Lenny Waronker and Ted Templeman. Producer Templeman had been in vocal pop group Harpers Bizarre before turning over to production and co-producing Van Morrison, Captain Beefheart as well as producing The Doobie Brothers, Little Feat and many others). Lenny Waronker was married to the delectable Donna Loren (but that’s a bit off track). He produces the Beau Brummels albums “Triangle” (1967) and ‘Bradley's Barn” (1968) as well as Harpers Bizarre, Arlo Guthrie, Ry Cooder, Gordon Lightfoot, Randy Newman and all sorts of other rustic types for Warner Brothers. (He later became president of Warner Bros Records, and then co-Chair of DreamWorks Records). Interestingly, drummer Petersen married Roberta Templeman, sister of Ted Templeman, in 1969. Roberta Templeman became a vice president at Warner Bros Records in the 1980s
All songs by Ron Elliott unless otherwise specified.
Tracks (best in italics)
Side One
You Tell Me Why – a reworked version of their #38 single from 1965. The original version was very Byrds like. And this one still is though they have incorporated some of the country rock sounds of the day. A wonderful song. This particular version has a gentle dreamlike bounce that really relaxes, and massages, the brain. shttps://en.wikipedia.org/wiki/You_Tell_Me_Why
First in Line – (Elliott, Engle) – a rootsy stroll through someone's first love affair.
Wolf – this is straighter country rock of the time. Nothing wrong with that and very well done but a little familiar.
Down to the Bottom – (Elliott, Engle) – a weird song … some 70s electric guitar way back in the mix … which is a good place for it on this time of song. Normally I wouldn't like this type of song but this one appeals.
Tennessee Walker – Here they move into Randy Newman / Harry Nilsson territory. It is quite beautiful. An ode to the south (from some Californians).
Side Two
Singing Cowboy – rose coloured glasses but quite wonderful. And, what better place to sing the odes of a singing cowboy than California, the home of Hollywood's singing cowboys and many other westerners who drifted in to try their hand in the music industry.
Goldrush – (Elliott, Engle) – a catchy song about greed.
The Lonely Side – quite beautiful (and magnificent) and not dissimilar to what (to my ears) Mickey Newbury was doing at the time.
Gate of Hearts – Country rock with some Dylan-esque touches which also sounds like something else i can't put my finger on.
Today By Day – (Elliott, Engle) – another beautiful songs. Ad, is that an accordion i hear, way back in the mix. The strings compliment this perfectly. Again, quite beautiful.
And …
A minor (and perhaps major) gem. Ripe for re-discovery by any number of alt-country bands … I'm keeping it.
Vocals – Sal Valentino / Guitar, Vocals – Ron Elliott, Ron Meagher / Bass, Vocals – Declan Mulligan / Drums – John Petersen /Guitar, Banjo – Dan Levitt / Percussion – Victor Feldman / Piano – Mark Jordan / Arranged By [String Arrangements] – Nick DeCaro
Sal Valentino (born Salvatore Willard Spampinato in San Francisco), following a stint in 1969 recording solo singles for Warner Bros assembled a new band, Stoneground after The Beau Brummels imploded. They released three albums in the early 1970s, Valentino left the group in 1973. He recorded three solo albums in the 2000s.
There have been two subsequent albums to The Beau Brummels 1975 … one of new material "Continuum" (2013) (Ron Elliott teamed up with producer Lou Dorren to record, with contributions from Brummels members Sal Valentino, Ron Meagher, and Declan Mulligan and John Petersen. Petersen died in 2008, but Elliott and Dorren discovered an unused drum track he had recorded, and it was used as the basis for one of the album's songs) and a live album, "Live!" in 2000 which was of a 1974 recording of a live show near Sacramento, California (and which contains three songs from their 1975 album including the revamped “You Tell me Why”).
This is one I have had for a while but a better copy has come into my hands so why not revisit it.
Regular readers of these pages will know of my love of Rod McKuen.
Those who don’t know who he is refer to the other comments for biographical detail and lots of ruinations by me.
McKuen was extremely popular in the 1960s and 1970s with middle aged people and older than middle aged singers who covered him. McKuen’s world view was always older than his years (though, I suppose he caught up to them) and he always seems to have one foot in the past, despite his lyrics of a brighter future.
It resonated with middle aged people beaten down (insert dramatic music) by the small cruelties of life.
But there is a dirty secret and that is that McKuen also appealed to (the hipper and more thoughtful) kids and punks.
I suspect this was a result of the multitude of his records in thrift / op shops across the US, Australia and England that were the regular haunts of indie kids looking for old music.
I have travelled and I can attest to their prominence.
I still op shop in Australia and I have managed to put together quite a collection of Rod McKuen albums, rarely spending more than a couple of dollars.
Sooner or later, just like I did, many years ago, you buy a Rod McKuen album and when you play it, it resonates and transcends generations.
It always did but it wasn’t cool to listen to old people s music.
Sure, some people send up the hipster kitsch in their McKuen covers but a large body do him totally straight.
John Doe, Nirvana, Gene Ween, The Beat Farmers, Black Box Recorder and many others are unlikely acts that have covered Rod.
Despite its cross generational appeal and, as much as I loved his music when I discovered in my 20s (it was everywhere in op shops), it seems that his music has more emotional gravitas the older I get.
Maybe that’s why it appealed to older (than him) trad pop singers like Sinatra, Al Martino, Jerry Vale, Matt Monro, Andy Williams, Robert Goulet and others …
This was Rod McKuen’s tenth (or so) album.
This is low key compared to later orchestrated McKuen and the sparseness of the songs accentuate the lyrics and the lonesome mood.
McKuen’s style was firmly set, as it had been since his third of fourth album. Lounge-y jazz trad pop folk baroque with a beatnik world weary world view embraced by a search for love and meaning in an increasingly mechanised, computerised and ordered world.
He is a crooner for the cold war modern age.
He incorporates elements of the (feminine) torch song into his ruminations on the way people interact with each other in an environment which favours alienation.
Sounds pretentious, ehhh?
Well, pretentiousness be damned, listen to McKuen and you will get what I mean.
He is American by birth and European by outlook which is not surprising as he one of the many art driven American writers, painters, etc who flocked to Paris and the continent in the 1950s and 1960s.
He becomes the American musical equivalent of the French chanson, of Jacques Brel, of continental (more southern than northern) temperament, with an occasional touch of Jacques Tati’s Monsieur Hulot.
A young man looking forwards with an old man’s knowledge.
Much like, at times, Brian Wilson, though a whole less hip.
The beauty here is that Rod, who loves a good orchestra, has a small band behind him and they rarely intrude. They just add some mood and punctuate some emotions.
It is a quiet, lonesome album (with the usual Rod drama and occasional bombast) but one that (especially) highlights Rod's vocals and the lyric of the songs.
Tracks (best in italics)
Side One
Seasons In The Sun – (Brel, McKuen) – a magnificent lounge ballad. One of the greatest. Rod says "For the record, Jacques wrote "Le Moribond" in 1962. I adapted it to "Seasons In The Sun" three years later. It was an international standard in both French and English thanks to recordings by The Kingston Trio, Nana Mouskouri, Bud & Travis and even Pearls Before Swine before Terry Jacks recorded it in 1974 for Poppy Family Productions. He had a big hit with it and I've always appreciated the royalties his recording brought me, they helped pay for a new roof on my house. Oddly enough his follow-up single was "If You Go Away," another Brel-McKuen collaboration. Alas, Lightning did not strike twice". http://www.rodmckuen.org/flights/020699.htm. This is a great (un-orchestrated) version of the song. Almost like a bohemian folk song with a touch of paranoia. Wonderful. for a discussion on the hipster relevance of the song http://www.slate.com/articles/arts/music_box/2005/03/goodbye_papa_its_hard_to_die.html The song was a #1 around the world for Terry Jacks in 1973. The first recording of the English-language version (lyrics by McKuen) was released on 1963 album “Time to Think” by The Kingston Trio. https://en.wikipedia.org/wiki/Seasons_in_the_Sun
Love Song – (Mason Williams) – first on (apparently) the obscure “Folk Baroque” album by Mason Williams (with Paul Sykes) in 1963. Williams’ temperament, as a home grown beatnik, suits Rod. Recorded for the first time here.
The Lovers – (Rod McKuen) – another excellent , and slightly cynical, love song.
They hold the boulevards and bars
They pray to wishing wells and stars
They ride the hurricane of hope
Not looking back but only go towards the distance and deceiving
And all the while they keep believing
They are special and apart
The lovers,
The lovers of the heart,
The lovers
You Pass Me By – (Rod McKuen) – Perfect in mood and an excellent song, if a smidge under those above. It was first sung by Molly Bee in the film "The Young Swingers" (1963).
Summer Song – (Dave & Lola Brubeck) – First release by The Dave Brubeck Quartet featuring Paul Desmond (1956) as an instrumental. Brubeck then collaborated with Louis Armstrong on a vocal recording (1962) with lyrics written by his wife Lola for the musical show "The Real Ambassadors".
Kearny Street – (Rod McKuen) – the lyrics were included, later, in his book of poetry "Stanyan Street & Other Sorrows" (1970). This a (largely) spoken word with music about a San Franciscan street and the vagabond who traversed it.
The Last Day Of Summer – (Rod McKuen) – another beautiful song and suitable melancholy as you would expect from a song called "The Last day of Summer".
Side Two
The World I Used To Know – (Rod McKuen) – a great song, one of Rod's best. Often done by him, here it has little instrumentation and orchestration. A guitar and harmonica. It had been recorded by Jimmie Rodgers and Glen Yarbrough and has been done many times since.
Black Orpheus (Manha de Carnaval) – (Antonio Maria – Luis Bonfa) – From the film "Orfeu Negro" (Black Orpheus) (1959) which introduced Bossa Nova to the world. It has been recorded many times by trad pop singers and jazz musicians. Added vocals by The Sherwood Singers … wordless vocals from them and Rod until almost the end. https://en.wikipedia.org/wiki/Manh%C3%A3_de_Carnaval
Take Me Home Again – (Rod McKuen – Skip Redwine – Ron Stephanson) – Stephenson was in Atlanta folk quartet "The Town Criers" and Redwing was a conductor and arranger who worked with Rod on occasion.
It Was Me (C'Était Moi) – (Gilbert Becaud – Norman Gimble) – Written by Gilbert because who also recorded it as did Tony Bennett. The first release was by Gilbert Bécaud (1960). Norman Gimbel wrote English lyrics (according to the sheet music) and its first release was by Tony Bennett (1963) though the record lists Norman Gimble (composer, arranger and electronic music innovator with introducing the Moog) at the same time. It seems more likely to be the former.
Stanyan Street – (Rod McKuen) – the lyrics were included, later, in his book of poetry "Stanyan Street & Other Sorrows" (1970). A very personal song for Rod. He even named his record label "Stanyan Records".
Five Hundred Miles – (Hedy West) – A folk song first released by The Journeymen (1961). The most commercially successful version of the song was Bobby Bare's in 1963 (#10 Pop US, #5 Country) but is identified with the folk movement, Kingston Trio (1962) and Peter, Paul & Mary (1963). Rod slows it down, but it works. https://en.wikipedia.org/wiki/500_Miles
Seasons In The Sun – (Brel, McKuen) – a reprise of the magnificent title tune
And …
Magnificent. One of Rod's best and one of the best trad pop albums of the 1960s … I'm keeping it.
Chart Action
Nothing nowhere
I don't get the charts. It's clear that Rod sold many albums. You find them everywhere, he recorded many albums (there isn't new product if there aren't sales), and, articles often mention that he sold 100 million (or more) albums world wide
And, yet he doesn't appear in the charts.
Is there a conspiracy out there?
Unlikely, but I suspect the charts are very poorly administered when it comes to trad pop stars.
Produced By Dave Hubert (and Ed Habib and Rod McKuen). Arranged and conducted by Jim Helms. Harmonica solo's by Tommy Morgan.
Personnel: Rod McKuen (vocal), Jim Helms (guitar), Tom Morgan (harmonica), Hersh Hamil (bass), James Bond (bass), Mel Zelnick (drums), The Sherwood Singers (vocals), The Troubadour Singers (vocals).
The Australian version of the album (this album) omits: The Voyeur (While Walking In A Lonely Wood)(Rod McKuen) and Night Song (Rod McKuen – Mort Garson).
Regular readers of this blog will know my affection for Connie Francis.
Please refer to other comments regarding ravings as well as biographical detail.
Regular readers will also know of my fondness for albums of film song interpretations.
I love films and I love film themes from the “classic” age so Connie plus film themes is going to be a winner.
And, the bonus here is, if Connie runs true to form she will put her own stamp on the songs.
This is all important.
It is also a challenge to the listener. Film themes by their nature are well known (and usually well loved) so any individuality has to respect the original whilst also taking the song somewhere else.
You could say this applies to all covers, and it does, but with film themes there is an extra emphasis on “respect” as the film themes dovetail, usually, emotionally into the individual’s love of the film.
In other words, people get narky if the new version offends either the original tune or their memories of the film.
Connie, a poppy rock singer with a solid grounding in trad pop balladry was (like most trad pop singers) not against covering as many bases as possible.
Her regular pop rock albums were joined by Christmas albums, latest trends (the twist, Latin) albums, Broadway song albums, country song albums, gospel albums etc. It was inevitable that she would tackle a Hollywood film theses album (which were commonplace in the late 50s, early 60s).
In fact it was her second album of themes … her first being “Connie Francis Sings Never On Sunday and Other Title Songs from Motion Pictures” from 1961. She would do another in 1966, “Movie Greats of the 60's”.
It came about (apparently) as follows: “In April 1962, Connie Francis was working mostly in Europe, recording several German language songs at Austrophon Studio, located in the basement of the Konzerthaus in Vienna. Between April 26 and 28, Francis spent three days in Rome, recording a set of thirteen songs intended for an album of Academy Award winning songs with the rather lengthy title Connie Francis sings Award Winning Motion Picture Hits … The playbacks to these songs had been pre-recorded at EMI's famous Abbey Road Studios in London under the supervision of Francis' British producer Norman Newell and were conducted by Geoff Love. The tapes of these playbacks had been shipped to Rome, where Francis overdubbed her vocals at RCA Italiana Studios. Francis was unsatisfied with the results and it was decided to postpone the album's release which had originally been planned for early summer of 1962. The album remained in the vaults until March 1963. When Francis decided to record the winning song from the 1963 Academy Award ceremony, "Days of Wine and Roses," plans were made to include this recording to the set of songs from the 1962 sessions. Yet, Francis still was not satisfied with the whole album and asked orchestra leader Don Costa – who had arranged and conducted her # 1 hit "Don't Break the Heart That Loves You" in November 1961 and was also in charge of Francis' recording of "Days of Wine and Roses" – to create and record new playbacks for the 1962 recordings while keeping Francis' original vocals. Between March 15 and April 4, 1963, Costa recorded new playbacks to twelve of the thirteen songs; some of them even underwent a second treatment until Francis was finally satisfied with the results”.
She was certainly a work house and what is surprising is the high quality of her work.
And this album is no exception.
Many singers have released these songs, and a lot sound the same. Not Connie. I am always surprised by her singular interpretation of every song she sings.
Not all the covers replace the originals but they are never uninteresting or throwaway.
And, that is, usually more than enough. Anything else is a bonus.
And, there are many bonuses.
Here she leans to middle of the row standards, as you would expect from movie songs of the time. It is hard to make these songs sound your own because they are so identified with prior acts but Connie does make them sound fresh, which is no mean feat. There are moments of pop balladry perfection here.
The beauty is the songs are updated to 1963. They aren't rock but they are pop with some (ballad) beat. Think, (especially) Bobby Darin, (perhaps) Bobby Vinton or (even) Elvis Presley if he worked with a full band of about the same time. And, the songs would be aimed at the same market … older teens, twenty-somethings and "older" types who like the old tunes.
Strings are kept in check (lush ones are on the outer), backing vocals have a touch of the pop rock shooby doo bahs and some of the arrangements are a little quirky.
These are all good things.
But, it would not be enough, with the wrong singer.
Connie is the right singer, she nails these songs.
Tracks (best in italics)
Side One
Days of Wine and Roses – (Henry Mancini, Johnny Mercer) – beautifully sung as any song about love and alcoholism. Quite wistful as it would and should be.
Secret Love – (Sammy Fain, Paul Francis Webster) – another wonderful interpretation. It may forever be associated with Doris Day but Connie almost matches it.
Zip-a-Dee-Doo-Dah – (Allie Wrubel, Ray Gilbert) – an oldie given a jazzy treatment with some crazy organ work.
When You Wish upon a Star – (Leigh Harline, Ned Washington) – the Judy standard is give a rock ballad interpretation with some Jordanaires like backing.
Whatever Will Be, Will Be (Que Sera, Sera) – (Jay Livingston, Ray Evans) – another song forever associated with Doris Day. The continental flavour with accordion is glorious.
Over the Rainbow – (Harold Arlen, E. Y. Harburg) – another wow performance. Connie does this standard much like Elvis did the (few) standards he did. She takes the essence of the song but makes it a pop rock ballad.
Side Two
Moon River – (Henry Mancini, Johnny Mercer) – a great song, given a great interpretation. Perhaps one of the best ever.
Lullaby of Broadway – (Harry Warren, Al Dubin) – more crazy organ, and great fun.
You'll Never Know – (Harry Warren, Mack Gordon) – Gentle and perhaps a little old fashioned, but, well sung.
The Last Time I Saw Paris – (Jerome Kern, Oscar Hammerstein II) – heavy on Parisian atmosphere. If it's from continental Europe let's use an accordion. Works for me.
High Hopes – (Jimmy van Heusen, Sammy Cahn) – This swings more than Frank Sinatra's gently swinging version.
The Way You Look Tonight – (Jerome Kern, Dorothy Fields) – gentle and suitably romantic.
All the Way – (Jimmy van Heusen, Sammy Cahn) – beautifully sung. It's not Sinatra but it is one of the best female versions I have heard.
Song archaeology
"Days of Wine and Roses" from Days of Wine and Roses (1962)
"Zip-a-Dee-Dooh-Dah" from Song of the South (1946)
Done by everyone though Bob B. Soxx & the Blue Jeans, a Phil Spector-produced American rhythm and blues trio from Los Angeles, had a US#8 with it in 1963.
Sung by many artists it became Andy Williams’ signature song. Williams' version was never released as a single, but it charted as an LP track on his hit album of 1962, "Moon River and Other Great Movie Themes" (US #3)
"Lullaby of Broadway" from Gold Diggers of 1935 (1935)
Done by everyone. Doris Day recorded the song twice in 1950, with the Norman Luboff Choir and the Buddy Cole Quartet and then with Harry James and his orchestra.
"You'll Never Know" from Hello, Frisco, Hello (1943)
The song is associated with Alice Faye who sang it in the film (she also sang it in the 1944 film "Four Jills in a Jeep"). Frank Sinatra had a US#2 1943 with it. Doris Day recorded a version in 1958 on her "Hooray for Hollywood" album, and Connie's close friend Bobby Darin recorded a version for his 1962 album, "Oh! Look at Me Now".
The back sleeve lists twelve songs beginning with "Moon River". You will note the front specifies an "added attraction", "Days of Wine and Roses". It starts the first side off whilst "Moon River" becomes the opening track on Side Two. The labels reflect the correct playing order.
