Posts Tagged ‘real gone music’

Hundred Word Reviews for August 2014, Part 2

Tuesday, August 12th, 2014

Today’s set of five 100-word capsule reviews looks at recently-reissued, previously-unreleased, and/or compilation albums.


How to Stuff a Wild Bikini: Original Stereo Soundtrack
What we have here, in my estimation, is a fascinating and extremely well-written essay that happens to include a CD. How to Stuff a Wild Bikini is not anyone’s idea of great cinema, but the 1965 American International Pictures release has its period charms. This record – originally released on The Kingsmen‘s Wand label – is the only soundtrack LP from the string of Frankie Avalon/Annette Funicello vehicles. Tom Pickles‘ liner notes put the soundtrack into perspective and context, explaining the musical contributions of The Kingsmen, Lu Ann Sims, Harvey Lembeck(!) and Mickey Rooney(!!). Skip the film, dig the soundtrack.


Spanky and Our Gang – The Complete Mercury Singles
Often thought of in the same category as The Mama’s and The Papa’s, this group, fronted by vocalist Elaine “Spanky” McFarlane, had deeper roots in a sort of Tin Pan Alley style. This collection presents 21 songs in their original punchier-than-stereo monaural mixes. The group’s hit “Sunday Will Never Be the Same” – a tune that rivals any single of the era for its transcendent mix of melodrama and shimmering vocal arrangement – is here, but many of the other tunes are nearly as good. Of special note is the group’s cover of The Beatles‘ “And Your Bird Can Sing.”


Billy Thermal – Billy Thermal
This band, led by Billy Steinberg, cut an LP in 1980 full of uptempo, nominally new-wave tunes. For various reasons, the disc went unreleased at the time, but the tapes served their purposes as songwriter’s demos: Steinberg’s “How Do I Make You” would be a hit for Pat Benatar Linda Ronstadt, and brought the man’s talents to the attention of The Bangles, Cyndi Lauper, Whitney Houston, Madonna, etc., all of whom would score hits with his songs. This collection includes bonus tracks, but the whole package – now rescued from obscurity by Omnivore Recordings – can be thought of as a bonus.


Stick Against Stone – Live: The Oregon Bootleg Tapes
At first hearing, this Pittsburgh group sounds like they’re from a provincial city (perhaps Leeds?) in working class, Thatcher-era England. Truth is, the era is the only detail that’s correct: this 1985 live set – long thought lost but recently discovered – sounds like a cross between Gang of Four, the two-tone ska movement, and Living Colour. Any written description of their complex sound will fall short, but I hear angular funk with plenty of assured polyrhythmic percussion, rubbery bass, and saxophone backing the Lene Lovich-sounding vocals of Sari Morninghawk. A modified lineup of the band (SASO) still performs today.


Buddy Rich – The Solos
The idea of a compilation of live concert drum solos might strike some as a surefire way to a headache, or at least folly. But when the drummer in question is the legendary Buddy Rich, the idea makes some kind of sense. Endlessly inventive and always swinging, the man with a bad haircut and a worse temper may have been sixty years old when these tapes were made, but what you’ll hear sounds like a man half his age. Power, finesse and humor can all be found in Rich’s solos. Background music for a cocktail party? Perhaps not. Essential? Indeed.

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Hundred Word Reviews for August 2014, Part 1

Monday, August 11th, 2014

Some familiar names and some true obscurities are highlighted in this, the first of five sets of five capsule reviews. This week I’ll review 25 albums, arbitrarily limiting myself to exactly one hundred words each.


Gene Rains – Far Away Lands: The Exotic Music of Gene Rains
Exotica – that early 60s genre featuring wide-panned stereo, vibes, “jungle” percussion and all manner of whoops, bird calls and such – was a big seller; the genre’s two primary exponents were Martin Denny and Arthur Lyman. The lesser-known Gene Rains cut three albums that are in the same league; all are long out of print and rare. This new compilation from Real Gone Music collects the best from those LPs, and adds an excellent new liner note essay from Randy Poe (and a lovely cheesecake cover featuring MeduSirena). This disc should be considered essential for fans of the genre.


Pete Seeger – Sing Out America! The Best of Pete Seeger
There seem to have been at least sixty compilations that have attempted to provide some sort of overview to the musical legacy of folk master and American treasure Pete Seeger. Some are long out of print; other remain available. Well, here’s another one. Sing Out America! features fifty tracks, variously credited to The Almanac Singers (an aggregation that also included Woody Guthrie), The Weavers, and Seeger solo. One can’t assail the quality of the music herein, but lack of liner notes and/or discographical info (recording date?) means that this set is a great listen, but unsatisfying as a historical document.


Peggy Lipton – The Complete Ode Recordings
Those of a certain age remember Peggy Lipton as a star of TV’s The Mod Squad (“One black, one white…one blonde!”). But they may well be surprised to learn Lipton had a recording career. And unlike some artists-turned-singers (see: Clint Eastwood), the recordings Lipton released on her self-titled 1968 LP and a handful of later singles show her to be a commanding vocalist. The nineteen tasteful Lou Adler-produced sides (including four previously-unreleased songs) owe a lot to the Laura Nyro school. Lipton composed a number of the tunes, and they hold up nicely alongside readings of classics like “Stoney End.”


Eric Clapton – Behind the Sun
Some insist that Eric Clapton should have hung up his guitar after 1970′s Layla and Assorted Other Love Songs. Clapton didn’t often rock very hard after that (the brief Cream reunion notwithstanding). This 1985 album – newly reissued on SACD – has its rocking moments, though it more often veers toward breezy, easy listening. Behind the Sun is easily identified as a product of its era: Simmons drum sounds abound; prominent synthesizer sounds are equally dated. In places it’s reminiscent of Roger Waters‘ 1984 The Pro and Cons of Hitchhiking (on which Clapton played). Not bad, but definitely not great.


Various Artists – Chicago Bound: Chess Blues, R&B and Rock ‘n’ Roll
England-based Fantastic Voyage has carved an excellent niche in the world of compilation albums. Their thoughtful collections have provided tidy surveys of long-lost music, more often than not from the USA. The legendary Chess label was home to a staggering list of classic artists, and this 3CD set brings together some of the best sides from artists including Sonny Boy Williamson, Chuck Berry, and Muddy Waters. It also highlights the work of lesser-known acts including J. B. Lenoir (“Eisenhower Blues”) and Bobby Saxton (“Trying to Make a Living”). Chicago Bound is up to Fantastic Voyage’s typical high level of quality.

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Short Cuts: July Mini-reviews, Part One

Monday, July 14th, 2014

The in-box here at Musoscribe World Headquarters is overflowing once again, thanks in no small part to my focusing on other matters (including my recent move and impending nuptials) in addition to keeping up my reviewing schedule. So here’s the first in another series of shorter-than-usual reviews. All of these albums were worth my time; they may well be worth yours as well. Dig.

Cowboy – Reach for the Sky
I’ve been meaning to cover this one for awhile. A reissue of a 1971 album originally released on Capricorn Records, Reach for the Sky rates notice as one of the label’s first signings; Cowboy got their deal with Phil Walden‘s label on the strength of a strong recommendation from one Duane Allman. The album is mellow, tuneful country rock, but (thankfully) you’re not likely to mistake this north Florida group for The Eagles. Allman associate Johnny Sandlin produced the album in a clean, unadorned, intimate style, and that approach perfectly suits the warm and friendly tunes.

Scott Schinder‘s liner notes tell the story of this modest group, and (unusually for a Real Gone Music release) the lyrics are printed in the booklet. Most of the gentle, harmony-laden tunes are written by (guitarists) Scott Boyer or Tommy Talton, but a couple are composed or co-written by piano/multi-instrumentalist Bill Pillmore, who today happens to live here in Asheville. He’s also my piano tuner; the world certainly is a small place. I saw a vinyl copy of this in a local record store just a couple of weeks ago; I might go snag it and ask for an autograph next time the apartment grand gets a tuning.

Tommy Bolin – Whirlwind
Though he lived until just past his twenty-fifth birthday, Tommy Bolin left behind an impressive body of work. Most notable as the guitarist who (a) took Joe Walsh‘s place in The James Gang and (b) replaced Ritchie Blackmore in Deep Purple, Bolin left behind a recorded legacy shows that his style and ability transcended the hard rock of those bands. He released two solo albums in the 70s, and a long list of posthumous live and compilation discs have been released, mostly since the turn of the 21st century.

His catalog, then, bears some similarities to that of Jimi Hendrix: seemingly there’s a push to release every note the man every committed to tape. That said, the quality of the new 2CD set Whirlwind is impressive and consistent. The eighteen tracks on this collection run the gamut from unfinished demo recordings to polished, why-wasn’t-this-released quality. The sequencing is seemingly haphazard, jumping around the various phases of Bolin’s career., but that won’t diminish the enjoyment of the set. Some of the music is meat’n'potatoes rock; some of it is much more ambitious. What most all tracks share is lead guitar work that manages to be both tasteful and flashy. The styles run from fusion to hard rock to gentle acoustic work, with some exploratory jamming tossed in for good measure. Every track here is either a Bolin composition or a Bolin co-write; the man clearly had ideas and energy to burn. An embryonic version of what would become “Marching Powder” on Bolin’s 1975 Teaser LP takes up a big chunk of the second disc; the 26-minute version on Whirlwind (titled “Marching Bag”) is a highlight, and will likely please fans of Hendrix’s later work, which it (in places) recalls. Keen listeners might hear shades of Jeff Beck in there, too, but in the end Bolin was a true original.

The Dramatics – Greatest Slow Jams
Best remembered for their hits “In the Rain,” Hey you, Get Off My Mountain” and “Whatcha See is Whatcha Get” (the first two of which are included on this new compilation), The Stax-Volt soul group’s main stock in trade was what we now (and for awhile now, really) call slow jams. This thematic collection was put together by late-night radio host Kevin “Slow Jammin” James – but of course it was – and may well serve as the soundtrack to your next 70s-themed evening of makin’ love.

The production and arranging on these twelve tracks are smooth and stellar; the Detroit band’s tight harmony is expertly backed by top-notch instrumentation. The band’s arrangers had a keen sense of the value of quiet; on numbers like the supremely melodramatic “In the Rain,” the audio shade and light take a relatively straightforward tune and make it into one for the ages.

Those looking for detailed information about the group and their music are advised to look elsewhere; the compiler of Greatest Slow Jams figures that (unlike me) you probably won’t be sitting around scanning the booklet while these tunes are spinning. Get busy, and enjoy. Greatest Slow Jams may only showcase one side of the Dramatics’ abilities, but it’s a damn fine side.

More “short cuts” to come.

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Keith Allison: Man of Action (Part Five / conclusion)

Friday, July 4th, 2014

Continued from Part Four

Bill Kopp: You first rose to fame as a cast member on Where the Action Is. Can you tell me how you got that gig?

Keith Allison: At the time, I was playing with The Crickets, as their guitarist. But when in town, I did all the Boyce and Hart demos at Screen Gems. Sometimes they’d go in at ten in the morning, and they’d cut Joe Osborne on guitars, and various people on drums. And they switched around: sometimes James Burton and myself on guitars. They’d get whoever they could, for whatever the song needed. And Bobby Hart would often play keyboards.

Back then, we’d make ten dollars a song. Three songs was thirty bucks. But thirty was the difference between finishing paying your rent and buying some groceries. So they owed me, like, forty dollars, as I had done four songs the week before. This was April or May of 1965. And I needed to pay my damn rent, or I was gonna get evicted. So I went to Screen Gems, and told Lester Sill – the director of Screen Gems on the west coast – that I needed him to cut me a check. And he said, “ I can’t sign a check unless Boyce or Hart sign a voucher, approving it.” And I asked, “Well, where are they?” “Some television taping. A new show. They’re down at the Whisky-a-Go-Go.” He said, “Take this, go get it signed, bring it back, and I’ll cut you a check.”

So I went down to the Whisky and I saw all these film trucks. I walk in, and I look up. I see Dick Clark. The first time I’ve seen him in person. Dancers and such, too. I saw The Raiders on the staircase, and I said, “Hey, guys!” I already knew them. I had done a show with them in Honolulu, and I had run into them a time or two. I had known them for about a year. Not well, but kind of hi-how-are-you-guys.

Tommy Roe was about to sing “Everybody” onstage. And a stage manager said, “We need butts in seats!” So I sat down. One of the dancers, Joy [Ciro], saw me; I was wearing Levi’s and a Levi’s jacket, a yellow turtleneck, and I had a black leather cap on. And boots. A very sixties British-looking outfit. So Joy knew when the cameras would be on her. I was just clapping along and smiling. The camera did several shots of me, about four or five seconds each.

So after that I went off to Las Vegas with The Crickets, to Texas, playing at the Thunderbird Hotel for a month. Two or three shows a night. And I got this telegram from Dick Clark Productions. They needed me to come in on my day off; they had a prepaid ticket for me at the airport. They gave me the address to meet with the Executive Producer. I thought, “What the heck is this about?”

What had happened was, they got bags of fan mail after that show aired, with this kid with one of the dancers. “Who is that?” And they pulled in everybody they could, asking them who it was. Finally they pulled in the girls from the front office: receptionists, young girls. And one of them said, “Ah! That’s Keith Allison. He plays with The Crickets. They’re supposed to be in Las Vegas right now.” So that’s how they found me.

So I flew in on my day off, and went over to Rosalind Ross‘ house; she lived right behind the Dick Clark offices on Sunset Boulevard. I knocked on her door. She opened it, looked at me and said, “Oh my god! Can you start today? And you play guitar?” I said yes. “Can you dance?” I said, “A little.” She said, “Come on in! We have a guitar here. Would you play something?” So I played “Maybe Baby” and “Not Fade Away,” some Crickets songs.

She said, “Do you mind if we cut your hair?” I said, “What!?” My hair was kinda long and unruly; it wasn’t a proper haircut. They had a hairdresser already there, so they trimmed my hair. Then she said, “We need you at Will Rogers State Beach at seven o’clock tomorrow morning.” I said, “I have to fly back to Vegas tomorrow!” “We know what time your plane is; you’ll be out by noon.” So I started Where the Action Is that morning.

BK: That’s a Cinderella story!

KA: It’s like Lana Turner at Schwab’s Drugstore. So I showed up that day wearing the same outfit: the yellow turtleneck and all. They’d show The Raiders playing, and then they’d cut to me, running down the beach with about 50 to 75 girls screaming and chasing me. They did those teaser shots for weeks, so people would say, “Who is that?” They’d build this thing up; that’s how they presented me.

BK: That’s pretty shrewd marketing.

KA: Then finally one day they’d say, “Well, you’ve been seeing this guy, and now he’s joining our Where the Action Is family. Ladies and gentlemen, it’s Keith Allison!” and I said, “Thank you, Dick.” The first song I sang on camera was “When Will I Be Loved” by the Everly Brothers.

But after that first episode, I flew back to Vegas to The Crickets. And my cousin Jerry Allison asked me, “So what happened?” Because he already knew about Rosalind Ross. He knew her from back in the Buddy Holly days when she was an agent with Premier Talent in New York.

“They asked me to join this television show,” I told him. He said, “Really!” So I went back to Los Angeles, and was working on Where the Action Is full time. And then [DCP] didn’t want me playing with The Crickets any more. I kinda felt bad about that. Because I liked playing with them, and my leaving left them hung up, briefly.

BK: I almost didn’t ask you that question. And I am so glad that I did.

Keith Allison’s In Action: The Complete Columbia Side Plus! is available on Real Gone Music.

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Keith Allison: Man of Action (Part Four)

Thursday, July 3rd, 2014

continued from Part Three

Bill Kopp: A guy I vaguely know put together some unauthorized DVDs of It’s Happening episodes. He sent me copies and I reviewed them. The next day he got a cease-and-desist order from Dick Clark Productions!

Keith Allison: I just talked to the archivist over there [at DCP]. They contacted me; they’re talking about putting together a bunch of Where the Action Is stuff, and putting it out on DVD.

BK: They are finally thinking of doing that?

KA: Well, they contacted me a couple of years ago, and they came back and said it would cost so much money. But [this time] they said, “What if we didn’t use any of the stuff from the record company, but used the stuff that you guys recorded [at Armand Steiner's Sound Recorders]. Who owns that stuff?” I said, “Dick Clark Productions!” We were work-for-hire, and it was cut at Steiner’s or wherever. So all they’d need to do is get song clearances from the publishers.

BK: and that’s the stuff that all us hardcore fans really want! Because those tracks are the whole band – including Revere – playing live in the studio.

KA: Yeah. It’s The Raiders, and me. On guitar and/or piano. And Steve Alaimo and Linda Scott, the whole cast doing the “family numbers,” y’know.

Someone sent me a bunch of DVDs of kinescopes of Where the Action Is. And I was surprised that Steve and I did so many duets. We did medleys of Little Richard songs, and medleys of something else. One of the greatest cuts of all was all of us doing [the doowop arrangement of] “Blue Moon.” [sings the bom-ditty-bom part] We each took part of that part and drew it out; it was the funniest thing you ever heard.

When I joined the show, The Raiders – before they got so busy – would cut fourteen, sixteen songs in an afternoon. And there were no overdubs; it was two-track.

BK: that material is the Holy Grail for Raiders fans…

KA: Do you know that I had the tapes for all those tracks? In a storage place. And I lost it all. Every one of the damn quarter-inch playback tapes. I had every one of ‘em. It was a big box full of ‘em.

BK: When you say “lost…”

KA: The place was robbed, or flooded, or something. All my memorabilia. Amplifiers. Multi-track masters of Ringo and me at Tittenhurst. All kinds of stuff. But the biggest loss was every one of those tracks we cut for Where the Action Is. Evidently, whoever got all that stuff kept the stuff that looked like it was worth money: armoires and stuff. They probably looked at the box of tapes and thought, “Throw this shit out.” They probably had no idea what they had.

BK: One of your original tunes – in fact, the only original on the first release of In Action album – “Freeborn Man” went on to become something of a standard. I don’t know how many versions of it have been recorded…

KA: I don’t either. I’ll tell you, one time – I don’t know what year this would have been…must have been around 1970 – Johnny Cash had the TV show in Nashville. It was very successful. It was eclectic, and a highly watched show. Well, he went on tour with that, and he had The Oak Ridge Boys, Carl Perkins. Anyway, one might my sister called me from San Antonio: “Keith! You won’t believe this, but we went to see the Johnny Cash show. And Carl Perkins opened the show with ‘Freeborn Man’!” And then I found out that all the great bluegrass guys started cutting it.

When I did it, when we put on the vocals, Mark had come in to sing on it with me. After I was finished with that, I was moving on to background vocals for the album with Gary Usher and Glen Campbell. We did that on the all the songs I cut, with the exclusion of The Raiders things. Glen had shown up when we were still working on “Freeborn Man.” And he was in the control room. He said, “That’s a great song! Who wrote that?” I said, “We did.” He asked, “Would you guys send a tape over to Capitol?” So we ran off a quarter-inch tape of it. Then he cut it, and it was going to be his next single.

And then his producer said, “Y’know, I got this other song in. I want to cut this other song before we release ‘Freeborn Man,’ and see how it turns out.” and then they cut “Gentle on My Mind.”

BK: Always the bridesmaid, never the bride, huh?

KA: Yeah! How many times can I tell you this kind of story? And every one of ‘em is true.

So he had it in the can. It wasn’t the single, but it ended up on an album. And then he had “By the time I Get to Phoenix.” But it’s on an album called A New Place in the Sun. It sold well over a million copies. And then The Outlaws cut it down in Georgia, and they sold well over a million copies.

BK: Junior Brown did a great version of it…

KA: Bill Monroe cut it. Jerry Lee Lewis cut it. Jimmy Martin cut the definitive bluegrass version of it. Dan Tyminski of Union Station does it; it’s fabulous. One night I was watching TV in bed in New York. I was channel surfing because my wife was already asleep. I ran across some show, a Pine Knob Theatre thing out of Lexington Kentucky. This song starts, and it’s the Rounder Records All-stars. It was Alison Krauss, Jerry Douglas, Bela Fleck, and Tony Rice. And they’re into the second verse before I realize. I was half asleep. I bolted straight up in bed and yelled, “Holy shit!” And I turned it way up. It blew me away.

BK: So I guess when you wrote it, you had absolutely no idea it was going to be a hit.

KA: It was well into a life of its own before I even heard about it. It’s kind of like Mike Stoller coming back from Europe, getting off the boat, and Jerry Leiber saying to him, “We’ve got to get to work. We’ve got a hit with ‘Hound Dog.’” And Stoller says, “’Hound Dog’ with Big Mama Thornton?” “No. It’s this kid, Elvis Presley!” “Who the hell is that?” “I don’t know. But the damn thing’s taking off!”

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Keith Allison: Man of Action (Part Three)

Wednesday, July 2nd, 2014

Continued from Part Two

Bill Kopp: I ought to know the answer to this, but did any of your solo singles or the In Action album make a dent on the charts?

Keith Allison: They didn’t do much of anything. “Action Action” was what you’d call a turntable hit. The show [Where the Action Is] was on national television five days a week. So it got a lot of coverage. And I went out and did a tour right when it first came out, at the end of the summer of 1966. Mitch Ryder and the Detroit Wheels and myself co-headlined a tour on the east coast. Lou Christie was on it, The Critters, Tony and the Tigers…several other acts. Lou was pretty popular at the time, and the Detroit Wheels had those two big hits in a row: “Jenny Take a Ride” and “Devil with a Blue Dress.”

Oh…and The Trashmen! Of “Surfin’ Bird” fame. They were the backup band. They backed me up. They had a trash can onstage, came out in overalls. I’d come onstage in my little stage outfit, and there’d be these garbage guys behind me! [laughs] The first day of the tour, we played Nassau Coliseum.

BK: The addition of bonus tracks on this new Real Gone Music collection (“Glitter and Gold,” “I Ain’t Blamin’ You,” “Look at Me,” “Who Do You Love,” “I Don’t Want Nobody But You,” “Birds of a Feather,” “To Know Her Is To Love Her,” “Johnny B. Goode/Whole Lotta Shakin’ Goin’ On,” “Toad Jam Blues,” “Everybody,” and “Wednesday’s Child”) more than double the album’s run time. What’s the story behind these? Are some of them previously unreleased? And if so, when were they recorded in relation to the In Action tracks? And what was their original intended use?

KA: A couple of ‘em were unreleased. One of them has the wrong title [on the new CD]. It should be called “Shakin’ Johnny.” I told Mark [Lindsay], “ I want to cut two songs together like Mitch Ryder does. I love that stuff, and I want something really rockin’.” So we came up with “Johnny B. Goode” and “Whole Lotta Shakin’ Goin’ On” together. So we went and cut it; it was going to be my next single on Columbia. We were on the road; if I’m not mistaken, we were flying from Boston to Chicago. We got on the plane – Freddy [Weller] was sitting next to me – and Mark came and said to Freddy, “Can you change seats with me? I need to talk to Keith.” He had a long look on his face, and I went, “Uh-oh.”

He said, “I’m sorry. I’ve got some bad news. Before I left the hotel, I was talking to Columbia in New York. They’re not going to release your single.” I said, “What!?” I really liked the thing, and I thought it had a shot at the time. But they had just signed this kid from Texas called Johnny Winter, and he recorded “Johnny B. Goode.” And since they had paid $700,000 for him, Clive [Davis] wanted to get some of his money back. So I said, “Sonofabitch!” [laughs]

That kind of thing happened to me several times. I cut “To Know Her is To Love Her,” and was going to release it. Bobby Vinton cuts it and releases it, and he’s coming off of a number one record, “I Love How You Love Me.” So what can you do? I said, “Well, at least I know I can pick a hit song! It’s just that someone gets them out before I do.” I was so pissed…not at Bobby Vinton, but at the situation. And with Johnny Winter, the same thing. I mean, I like Johnny Winter. I’m really good friends with his brother, Edgar Winter. We go to dinner together; he doesn’t live too far from me.

But it had nothing to do with Johnny; it was a corporate thing, y’know? And I understand it: they did pay a lot of money for Johnny Winter.

BK: It’s almost as if The Raiders‘ curse rubbed off on you. They, of course, cut “Louie, Louie” and “(I’m Not Your) Steppin’ Stone.”

KA: But they just did “Steppin’ Stone” as an album cut…

And “Louie, Louie” they cut first, and it was number one in Vancouver, Portland, San Francisco, and Honolulu. Years ago, when the radio stations in those cities did an oldies weekend, they played The Raiders’ version.

Roger Hart, their manager, took it in to Columbia. They were the very first rock act ever signed to Columbia. In those days, Columbia had Doris Day, Johnny Mathis, The Ray Conniff Singers. They didn’t know what the hell to do [with The Raiders]; the sales people, they hated that stuff. They lost the record! They could have had the hit! They’d say, “I’m not taking that stuff to the stations.” It wasn’t until The Raiders played “Steppin’ Out” at the record convention in Miami. They played for all the Columbia people, and no one knew how huge they were; kids had all watched Where the Action Is all summer long. They turned ‘em loose in that place, and the kids all started screaming and rushing the stage. After that, well hell, the salesmen and promotion people all went, “Holy shit!”

But that’s “corporate city.” They never knew what was going on. All the little independent labels, they were the ones who knew what was going on. The corporate labels would take one of their artists and cover [the indie release] and run ‘em out of business.

BK: A couple cuts (“Who Do You Love” b/w “Don’t Want Nobody But You”) were released on the Amy label in 1968. I am guessing that was right before you officially joined The Raiders, though I believe that you’ve told me before that you were playing on records during that time anyway. So why a single release on a smallish label in 1968?

KA: Amy was a subsidiary of Bell. That one was cut in Memphis; Chips Moman produced it. I hadn’t joined The Raiders yet; that was in the first part of March, 1968. Our road manager at the time was Jerry Williams, and he was from there. The Raiders had just cut Goin’ to Memphis. The r&b stuff. They used American Studios, and they used that whole band with The Memphis Horns.

BK: Except for the single off that LP, I don’t think there are any Raiders on the album, except Mark.

KA: No. They went there, though, and hung out. In fact I stayed in the same hotel.

So I was there, and Chips said, “Scoot him over.” I had left Columbia, and I had been working on a Sonny [Bono] album, a Cher album, and a Sonny and Cher album all in one year, in ’67, right after Where the Action Is went off the air. Sonny said, “You need to get off that label; they aren’t doing anything for you. I’ll get you on Atlantic.”

So [laughs] I broke my contract with Columbia, and I cut some stuff at Gold Star Studios with Sonny producing. And I listened back to those tapes and thought, “He doesn’t understand me, either! He doesn’t get it at all.” It was bizarre sounding. It never came out. It’s in the can somewhere, among the Sonny and Cher files.

So nothing happened with that, and I had left Columbia. So I was free. Then this came up. Chips said, “I think I can cut a hit with Keith.” So I spent a week in Memphis. The tunes he’d got, he had their staff writers bring. He brought ‘em in and said, “Okay, play Keith what you’ve got.” They had this song called “My Little Red Book,” and I thought, “No, that doesn’t suit me, I don’t think.” And that’s about all they had. I went, “Oh, god!”

So I went to the record store and started looking through the old records. And I came up with “Who Do You Love.” And I had written “Don’t Want Nobody But You,” that nobody had heard. So we cut those.

Then the next week after I had left town, after we had cut this stuff, B.J. Thomas goes in there and cuts “Hooked on a Feeling.” And The Boxtops cut “Cry Like a Baby.” So it was luck of the draw, what the writers had the week you came in. If I had come in a week later, they would have had those, and I would have said, “That great! I’ll take that!”

So after being in Memphis – it was cold as hell, must have snowed two feet while I was there – I flew to Detroit and started a tour with The Raiders. We played Cobo Hall, I think, and then started a 35-date early Spring tour. Then I went with Boyce and Hart to do the Seattle Teen Fair. While I was there, I got a call from Dick Clark Productions; they wanted me to come in immediately to co-host a show with Paul [Revere] and Mark [Lindsay] called It’s Happening.

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Keith Allison: Man of Action (Part Two)

Tuesday, July 1st, 2014

Continued from Part One

Bill Kopp: You cut a couple singles with Mark Lindsay and Steve Alaimo as The Unknowns

Keith Allison: Mark and I, of course, were signed to other labels, so that’s what we had to do. We couldn’t put our names on the record. We cut those at Radio Recorders in Santa Monica.

BK: The second Unknowns single was “Tighter.” And I think that is the best version; I think it even beats the (first) official Paul Revere and the Raiders version by a bit.

KA: Y’know, we were working on an album years later; Mark said, “We need more songs! What are we gonna do?” I said, “Why don’t we re-cut ‘Gone Movin’ On’ and ‘Tighter’?” He said, “Yeah, let’s change it up.” So we did it again.

BK: You mention “Gone Movin’ On.” Several years ago when I interviewed Mark for the first time, I mentioned that there’s a really cool UK group version of it. The genre name didn’t exist at the time, but nowadays we’d call it freakbeat. It was by The Factory, the outfit that did “Path Through the Forest” that’s on Nuggets II: British Empire and Beyond. It’s an amazing version from 1968. Mark had never heard it; I sent him a copy.

KA: Really!? Here in Los Angeles we have a record store called Freakbeat. I bought a Raiders album there; it had Collage and Indian Reservation on one CD. An Australian import, I think. It was twenty, twenty-one bucks. I went up to the counter, and the guy looked at it, and he looked at me. And he said, “Are you on this?” I said, “Yeah. And it’s kinda sad when you gotta buy your own record.”

BK: Did he give you a discount?

KA: I don’t think so! [laughs] I also got a vinyl of Ringo‘s Y Not that I played on. I knew that they had made 10,000 units of it on vinyl; they had it in the store. I had seen it one other time; I went back and it was still there. So I thought, what the hell, and I bought it. I don’t even have a record player.

Well, a guy just gave me one recently, so I do have one. It’s one of those new ones where you can transfer to MP3, right into your phone or iPad. I was about to buy a [traditional] one, but he said, “Here! You need to have this.” I still haven’t plugged it in. I guess it works.

BK: It’s well known that you played on a number of Monkees recording dates. Are you on their version of “I Wanna Be Free,” one of the songs you cut as a solo artist? I know the Monkees recorded two very different versions of that song.

KA: No, I don’t think so. That’s Louie Sheton and Gerry McGee on that one. Y’know, some things I don’t know I played on, and some things I do know that I played on. I was surprised: they just did a reissue of The Birds, The Bees and the Monkees. I co-wrote “Annie’s Municipal Court” with Mike Nesmith. And I played guitar on it. And there were a bunch of cuts with Davy [Jones] and/or Micky [Dolenz], cuts that never were released before. And it listed me as playing guitar. “Oh my god!” I vaguely remember going to those dates in the studio with Davy, but I didn’t remember those songs at all. We cut ‘em, and they were gone; we never heard ‘em again. I was pleasantly surprised that I had played on that much of that album, though.

And I played on, uh, Circle…

BK: “Circle Sky”?! Wow…that’s one of their best tunes!

KA: Ah, good! [laughs] That was all cut around the same time as Birds. Nesmith was in the studio, and they were working on stuff, and that one ended up in the movie Head.

BK: On this new In Action collection, there’s a Columbia B-side called “Glitter and Gold.” It’s a really strong cut – unusually strong for a b-side – and I think an exemplar of what we now call “Sunshine Pop.”

KA: Terry Melcher found that one. He got Hal Blaine and, I think, Carol Kaye. I think.

BK: Well, if you’re not sure who played bass on a 60s pop track, say Carol Kaye, and you’ll probably be right.

KA: More often than not, I used Joe Osborne. I never ever hired Carol Kaye, although I did an awful lot of sessions with her. For Sonny and Cher; she was on a lot of sessions for them. Joe was a friend, and I got on with him. Not that there was anything wrong with Carol.

BK: And I believe you told me several years ago that he’s on bass on some later-period Raiders stuff as well…

KA: Yes, he is. Freddy [Weller] had moved back to Atlanta, and Smitty was up in Carmel, and so sometimes it was just Mark and me in town. Now, in the studio, when I was in the group, I nearly always played bass on everything. And guitars. But sometimes, I’d play guitar, Joe would play bass, and Jim Gordon would play drums. We got really tight as a unit. We’d set up in a circle, facing each other.

On [late-period Raiders singles] “Seaboard Line Boogie,” “Song Seller,” all that stuff. The basic tracks were cut with that trio. “Prince of Peace,” “The Shape I’m In.”

BK: The Raiders version of Laura Nyro‘s “Save the Country”?

KA: That’s me on bass. That’s on Collage, isn’t it?

BK: Yes.

KA: The way we used to record, when I joined The Raiders, we’d work on getting a drum sound. And Freddy and I would play acoustic guitars, facing each other. Close to the drums. We were playing as a trio: two guitars, drums. That’s it. We did it with headphones on. And if we needed it for reference, Mark would sing into a mic someplace just so we’d know where we were in the song.

Once that was locked in, Freddy and I would re-record the acoustics. Because they were drowned out by the drums. So then we had a real clean track of exactly the same thing: drums and acoustic guitars. And then I would put on bass. Then we would put on electric guitars. And then we would put on background vocals, and percussion.

And then Mark would put on his lead vocal at the end. So he had a full-on track to work with. He liked to do it by himself. Sometimes we would help him. But he liked singing with everything else done, so it was like doing a show.

Collage and the whole Hard and Heavy (With Marshmallow) albums were done exactly like that. It might be a bizarre-sounding way to do it, but it worked for us. Because if you’ve got it right with two acoustic guitars and drums, you have a track.

Sometimes we’d cut a track with me on bass, Freddy on guitar and Junior [Joe Corerro Jr.] on drums. I think The Raiders’ “Birds of a Feather” was cut that way. And a few others.

When I started recording, [laughs] you had to do everything live! It was mono. When I first started, it was 1959 or so. You’d be scared to death, because you had to get it right. I think Elvis did thirty-six, thirty-eight takes of “Hound Dog” before they got one they liked.

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Keith Allison: Man of Action (Part One)

Monday, June 30th, 2014

Calling singer-songwriter-actor-musician Keith Allison a Zelig of rock music is a bit wide of the mark, but the Texas-born Allison does seem to have shown up at key points in the pop music scene of the 1960s. Originally a member of the post-Buddy Holly lineup of The Crickets, he went on to fame as a cast member of Where the Action Is, co-starring with Paul Revere and the Raiders. He’d play on a number of Raiders studio sessions, and would eventually become a key member of that group, while still doing plenty of session work for others. After his long tenure with The Raiders (1968-1975) ended, he went on to do more music work, and did more film and television acting. Recently he’s appeared on albums by his pal Ringo Starr, and he’s part of a regular gig with Waddy Wachtel in Los Angeles. One of his most notable recent appearances was joining the band at the Wild Honey benefit for autism; he did a cover of The Beatles‘ “Got to Get You Into My Life” with former Wings guitarist Laurence Juber.

Allison released one album back in his Where the Action Is days, the now-rare In Action. Real Gone Music recently reissued that eleven-song album on CD, appending it with a dozen bonus rare and/or unreleased cuts.

I had spoken to Allison before, a few years ago, in connection with a cover story I did on The Raiders for UK magazine Shindig! Then as now, I found him to have an amazing memory for details of the long-distant past, and he was open and engaging about it all. I proudly present this five-part conversation with Keith Allison – bk

Bill Kopp: Several of the cuts on the In Action album – “Louise” and “Good Thing,” in particular) feature the same backing tracks as The Raiders‘ versions, and I have a couple of questions about that. First, did you play on those sessions?

Keith Allison: On “Good Thing,” I put piano on that. A driving thing, a rhythm piano part. You can hear it. With a bunch of glisses [glassandi]. And I sang it. On “Louise…I might have put an electric rhythm guitar part on it. But basically, I didn’t change them much. They didn’t need much; perfect like they were. They’re a little different mix. I liked both the songs at that time, so I went with those. “Louise” was a single for me.

BK: Do you know if your versions or the Raiders ones were released first?

KA: The Raiders’ were. “Good Thing” had already been a hit, and “Louise” was an album cut. I was looking for something to pay homage to The Raiders; we were so close anyway. I talked to [Paul] Revere, and I said, “Look, we’re finishing up this album. Instead of me cutting these tracks from scratch, taking all the time and money to do that, why don’t I just use your tracks, and change ‘em a little bit?” Revere said, “Let me think about it a little bit.” And he called me back and said, “Go ahead.”

Terry Melcher had produced The Raiders tracks. We were on the same label, in the same studio. So they gave us access to those tracks. So we took the masters, ran off duplicate copies of them, and pulled Mark [Lindsay]‘s vocal off.

BK: Not long ago there was a thread on an internet discussion board, about the Raiders playing live. One commenter says he saw the band in the mid 60s before you were a member, but in the period when you would tour and do a set with them backing you. He insists he saw you in the wings with a guitar, playing second guitar behind Drake Levin (or possibly Jim “Harpo” Valley). Can you confirm, deny or otherwise comment on that?

KA: Right after Harpo left the group, Drake came back in. And Phil Volk was on bass. I was on the tour anyway. And there had been a bunch of songs recorded after Drake had gone into the Army [National Guard] and came back out. So he hadn’t been working as a member of the group, but since he was familiar with the early tunes and so forth, he put on the costume and did it. He and Phil knew all the steps. So it was just like the group before Harpo.

But the songs had gotten more complicated guitar-wise. So I said, “Why don’t I play with you guys, but not onstage?” A couple of times, though, I played from behind the Super Beatle amps, next to the drum riser! But it didn’t work out, because I couldn’t hear what I was playing. And then you tend to play too loud. Someone said, “Yeah, it was good, but God! Keith was loud.” So we quit doing that. But yes, I did that a few times. Only to fill in. But only until Drake became more familiar with the songs. That’s my memory of it, anyway.

Melcher brought me in the studio…we started tracking “Hungry,” and then Phil got all bent out of shape. Drake wasn’t there; he was someplace else. Phil got upset because it wasn’t “the group” playing on all the tracks. I don’t think Smitty [drummer Michael Smith] was there either. But we spent several hours working on “Hungry,” and Phil got really despondent about it. There was a version of the song with me, but I think they re-cut it later on. That was one of the first times I played on a Raiders track. And then I played on “Ups and Downs,” and I played on “Him Or Me: What’s it Gonna Be?”

BK: It’s probably one of those things where, at this late date, nobody’s totally sure who’s on the released version…

KA: Yeah. They’d cut something, and then they’d go out of town. And Terry would go through the tapes, pull stuff off, put stuff on. That was a common thing. I think at one point – it might have even been “Hungry” – they pulled Smitty’s drums off and put Hal Blaine on. Which brightened it up and changed it and all that. Melcher would say, “I cannot wait for you guys to be in the studio.” He wanted to be cutting tracks while they were out of town. And that really upset some of ‘em, because they really wanted to play on everything. Which I can understand.

But by the same token, when you cut such good tracks with The Wrecking Crew, who cares?

BK: Good point. I think of the example of Brian Wilson around the time of Pet Sounds. The Beach Boys were on tour – briefly even with Glen Campbell in Brian’s place – and they would show up in the studio and just overdub their vocal parts onto the tracks Brian had cut without them.

KA: They did that way before Pet Sounds. Glen’s playing on “Little Deuce Coupe” and “I Get Around.” He’s playing on “Fun Fun Fun.” He’s playing the twelve-string on “Dance Dance Dance.” Brian knew what he liked, and the people that he wanted. He used Carol Kaye on bass, and Glen on guitar, and Hal on drums. That was the rhythm section. And then he would build and stack it all. In fact, he would often start all the background vocals before they [Carl Wilson, Al Jardine, Dennis Wilson, Mike Love etc.] got there.

I went into the studio at Columbia one time. Columbia had eight-track machines – most of the studios did not – and I was walking through Studio A, and Brian was stacking vocals. I guess he was working on “Heroes and Villains.”

BK: Oh, wow

KA: I said to him, “Man! Are you doing this all?” He said, “You wanna sing on it?” I said yeah, so I did “oohs and ahhs” with him for about two hours. He would go on and on and on; he would record two or three tracks, combine them to one, erase all those, and then build up more. But I got to sing with him just because I happened to be walking through the studio. Anybody who came through, they got put to work. Usually.

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Capsule Reviews: Still More from Real Gone Music

Tuesday, June 10th, 2014

Wrapping up the series (for now, at least), here’s the last of four entries presenting short looks at recently-released reissues and/or compilations from Real Gone Music.


Vanilla Fudge – The Complete ATCO Singles
Most rock fans with any sort of memory are familiar with Vanilla Fudge, and they know the band’s deceptively simple approach to interpreting the songs of others: up the melodrama quotient, and in equal measure, slow down the tempo. Sometimes it worked very well on both commercial and creative levels: the band’s “You Keep Me Hangin’ On” is a stone classic (and there ain’t nuthin’ I can do about it). The approach generally lent itself best to longer workouts, like “Shotgun,” where ideas (such as they existed) had a chance to unfold. Within the context of the much briefer single, sometimes the power was lost (as far as subtlety, there was precious little of that to lose). As a result, the single edit of the Supremes cover is very good, but not great like the longer edit.

Other times, the approach feels overwrought, even within the confines of a (two-sided, two-part) single, such as the “Fudge-ized” (their term; I prefer “Fudge-ified”) reading of Donovan‘s “Season of the Witch.” Some gems do exist on this collection of all the band’s 45s: while it doesn’t best the original Lee Hazlewood/Nancy Sinatra duet/weirdathon, “Some Velvet Morning” is suitably over the top. A couple tracks from the band’s 80s reformation try to update the Fudge sound for the MTV era. Hint: it didn’t work. Verdict: good, but listeners are better served by picking up the first album.


Eddie Kendricks – Love Keys
It must be said that reissuing this album is a curious move. Though Eddie Kendricks achieved great fame as a lead vocalist in The Temptations, and enjoyed some hits during his string of nine solo LPs on Motown, once he left Berry Gordy‘s label, he stopped having hits. More troubling was the fact that his voice was largely shot, thanks to a lifelong chain smoking habit that would eventually result in the lung cancer that would end his life. Love Keys was the sole album Kendricks cut for Atlantic, and it neither charted nor yielded a hit single. Moreover, it’s a significant departure from the style of his earlier efforts.

But it does remain the final full-length from the man who gave us so many hits, so for that reason alone it deserves a hearing. This Muscle Shoals-flavored album heads in a southern soul direction, but the arrangement and production scream “1981,” and from where I’m sitting, that’s rarely a good thing. Still, any Kendricks is worthwhile, so if you can listen past the cheesy synth lines and discofied beats that crisscross perfectly good Muscle Shoals horn charts, Love Keys is…okay.


The Ohio Express – Beg, Borrow & Steal: The Complete Cameo Recordings
When most people hear this band’s name, they immediately think of the whole Kasenetz/Katz bubblegum scene. But this here is an actual album, not a collection of singles. And it’s from the period when The Ohio Express aimed for what we’d nowadays term a garage rock sound, not a bubblegum one. Once the railway sound effects subside, the title track – a tune that shamelessly rips off at least three other songs I can think of offhand – sets the tone for most of the rest of the disc. To call the album faceless is unfair, but the fact that two completely different bands (with only slight personnel overlap) contributed to it isn’t all that sonically obvious.

Nearly every song on Beg, Borrow and Steal sounds like another song: “Had to Be Me” is a ringer for The Choir‘s “It’s Cold Outside,” and “Let Go” is a thin rewrite of “Hi Ho Silver.” This all leads one to wonder snarkily if the record’s title doesn’t identify it as some sort of concept album. Still, originality wasn’t the goal; fun and commercial success was. Overall, though, the long-out-of-print Beg, Borrow & Steal documents the band’s early guise(s), and is a worthwhile purchase for fans of the genre.

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Capsule Reviews: And Yet Three More from Real Gone Music

Monday, June 9th, 2014

Here’s the third of four collections of brief reviews of recently-released reissues and/or compilations from Real Gone Music.

Dr. John, The Night Tripper – GRIS-gris
Dr. John (aka Mac Rebbenack) was a well-known fixture on the New Orleans music scene long before he cut this, his debut album in 1968. And while he’d later enjoy commercial success with his 1973 single, “Right Place Wrong Time,” this album makes no concessions to the marketplace. As Richie Unterberger‘s liner notes mention, Atlantic head Ahmet Ertegun is reputed to have asked, “How can we market this boogaloo crap?” It’s a weird, spooky gumbo of cajun, voodoo, jazz and funk styles, all filtered through a thick, (hard-) druggy haze. The audio quality on some tracks – notably “Danse Kalinda Ba Doom” makes it sound as if the mics were all in the next room over from the musicians (who sound as if they’re dancing over a cauldron while playing).

Definitely weird stuff and not for the faint of heart, GRIS-gris is nonetheless a historically important musical document. For a bit of fun, compare Dr. John’s reading of “I Walk on Guilded Splinters” (sic) with the one cut live by Humble Pie. If you’re open to the sonic equivalent of a bad trip sprinkled liberally with Louisiana hot sauce, this is the ticket.

Irma Thomas – Full Time Woman: The Lost Cotillion Album
Speaking of New Orleans, here’s a previously unreleased cache of recordings from the vocalist known as the “Soul Queen of New Orleans.” Irma Thomas had cut a pair of albums for Imperial in the mid 1960s, and even earlier (1960) enjoyed a brief chart presence with “(You Can Have My Husband But) Don’t Mess With My Man.” And in the early part of the 70s, she was signed to Atlantic associated label Cotillion, for whom she cut fifteen songs. Only two were released: “Full Time Woman” and its b-side, “She’s Taken My Part.” For reasons that seemed to have to do with changing popular tastes, none of the other material was ever released.

But once again, Real Gone Music comes to rescue, and the results are quality stuff, very much in line with what Aretha Franklin was doing in those days. David Nathan‘s liner notes tell the story in rich detail.

Patti Labelle and The Bluebelles – The Complete Atlantic Sides Plus
If you like your r&b female vocal a little gritter and soulful than The Supremes, then if you don’t already know about Patti Labelle & the Bluebelles, you owe it to yourself to check out this comprehensive set. Acts like The Bluebelles were always focused more on singles than album-length releases, so with this collection – forty tracks including all the single releases the group had on Atlantic, plus some other scattered gems including several previously-unreleased cuts – listeners get a good overview of what they were all about.

Despite their efforts, not a single one of these tunes (other than “All Or Nothing” b/w “Over the Rainbow”) dented the pop charts. Of course once they’d altered their approach and shortened their name to Labelle, they’d hit it big with 1974′s “Lady Marmalade.” But these earlier sides – dating 1965 to 1969 – are quite good and have sadly been long overlooked.

Still more on the way.

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