Archive for the ‘Rich Fazekas’ Category

Donald Byrd

Wednesday, January 1st, 2014

Listen: Black Byrd / Donald Byrd
Black

Apparently, purists howled with indignation when Donald Byrd released his BLACK BYRD album, a full-fledged foray into R&B that erupted into a popular phenomenon. He was branded a sellout and a traitor to his hard bop credentials, especially after it became the biggest selling album in Blue Note’s history. What the elitists missed, though, was that BLACK BYRD was the moment when his brand of fusion finally stepped out from under the shadow of his chief influence, Miles Davis, and found a distinctive voice of it’s own.

Never before had a jazz musician embraced the celebratory sound and style of contemporary funk as fully as Donald Byrd did here, not even Miles Davis, whose dark, chaotic jungle funk stood in sharp contrast to the bright, breezy, danceable music on BLACK BYRD. He gives free rein to producer/arranger/composer Larry Mizell, who crafts a series of tightly focused, melodic pieces often indebted to the lengthier orchestrations of Isaac Hayes and Curtis Mayfield. adding a funky sense of groove that’s near irresistible.

Hence Blue Note’s decision to edit the album’s title track into an abbreviated single, given the solos are mostly melodic and in the pocket, yet allow the funk to take center stage. Despite the fact that the electric piano, sound effects, and Roger Glenn’s ubiquitous flute date the music somewhat, it’s really part of the charm.

The album and single were state of the art for 1973, when Rich Fazekas at United Artists, who distributed Blue Note, sent me a copy. BLACK BYRD set a new standard for all future jazz/R&B/funk fusions, of which there were many.

Doanld Byrd would continue to redefine his sound on equally essential albums like STREET LADY and the fantastic PLACES AND SPACES, but BLACK BYRD stands as his groundbreaking signature statement.

Thank you Rich Fazekas, Aquarianrealm, Steve Huey and Donald Byrd.

Amon Duul II

Friday, April 20th, 2012

Listen: Pigman / Amon Duul II
Pigman

Back when Rich Fazekas oversaw the college promotion department at United Artists Records with Marty Cerf, the label was pretty much my favorite. I was nuts about Family and anything Roy Wood had involvement with. That meant The Move, The Electric Light Orchestra and Roy Wood’s Wizzard, all on the roster. Then there was Hawkwind, Brinsley Schwarz and their distributed labels too, especially Blue Note, with Bobbi Humphrey and Marlena Shaw. He and I were on the phone daily, literally daily. Rich at the label’s Sunset Blvd office in Los Angeles, me at my college radio station’s pathetic office in Rochester New York, fairly desperate for a way to trade up, out and to a label job located in a real city.

Rich meanwhile, always tried to convince me about some of the German acts they had too. Occasionally he’d slip one of the UK pressings he’d been serviced with by bands like Neu or Can, and often pounded me on the US released albums from Amon Duul II. I was clearly more in pocket with the pop singles by Roy Wood’s projects or even Family 7′s, as opposed to six or eight minute meandering album tracks.

Then one afternoon, Rich called to say he’d just overnighted me a new Amon Duul II release, but this time it was a 7″. Well alright, a single by any prog rock act, usually sliced into three minutes from something much longer, had always been a form of collectibility. I never needed much justification to horde a 7″, and still don’t.

When ‘Pigman’ arrived the next day, the title alone had me interested. After all, it put everyone else at the station off immediately, a good initial sign. Although not what I was expecting, having aligned them more with Kraftwerk or Faust, I still wanted to like this, the label copy looked great. The band’s name being one I’d never seen on a 7″. These things excited me.

Those ahead of the curve college radio programmers never gave their albums much of a break with airtime, and ‘Pigman’, the band’s first and only US single, didn’t change the shut out. And I don’t understand it any more clearly now than then, given the record had tongue in cheek country verses with hard rock chorus riffs. Seems it should’ve been eaten up.

Oh well, a nice 7″ pressing to have. I never see it around much these days either.

Wizzard

Wednesday, August 31st, 2011

Listen: I Wish It Could Be Christmas Everyday / Wizzard
I

Pay attention. This might get complicated.

A famous writer once told me Roy Wood’s songs were never about topics that the critics and public assumed. For example, at the height of LSD psychedelia, we’re talking summer ’67, ‘I Can Hear The Grass Grow’, recorded by his band The Move, was indeed based on a children’s fantasy story, not drugs. This particular detail, in fact, from Roy Wood himself. Apparently, he never did drugs.

So it’s an interesting theory that ‘I Wish It Could Be Christmas Everyday’ was indeed not a seasonal song at all, but instead about one’s beloved coke dealer. Pay close attention to the lyrics: “When the snowman brings the snow…”, etc. Quite a hilarious double entendre indeed.

More interesting to myself though are the details about this single’s actual appearance into the UK marketplace.

Roy Wood and his band, Wizzard, were red hot property in ’72. And after two consecutive #1 singles, the first, ‘See My Baby Jive’ reportedly being one of the all time biggest selling UK singles, at least for a while, he could basically write his own ticket.

Possibly resulting from both bad judgement and advice, Roy Wood prematurely signed to Warner Brothers after a very successful run with the EMI group’s various labels, and planned on releasing ‘I Wish It Could Be Christmas Everyday’ via his new label home. Warners even pressed up copies, complete with an elaborate picture cover, the front of which is pictured above. In actuality, the sleeve was a gatefold, and an absolute beauty.

Someone, somewhere put a halt, I’m guessing by pointing out that EMI’s Harvest label indeed still had the rights to his output, and so the Warner Brothers copies were withdrawn, subsequently never to be seen again. Well until now, above.

The existing sleeves, however, now housed the Harvest pressing, without the bother of even stickering over the Warner Brothers catalog number. And why not? The record still barreled to a UK #4 in ’73. A true work of genius, right down to the children’s choir, possibly signing about the joys of cocaine. How funny if indeed this were fact, but given Roy Wood’s public aversion to drug use, probably not the case.

To slightly complicate these details and unfortunately ruffle some hard core collector’s coloured feathers, Roy Wood’s US label at the time, United Artists, basically chickened out on giving ‘I Wish It Could Be Christmas Everyday’ a proper release, so instead pressed up weird bootleg looking copies, servicing them to radio.

Huh? Is this a way to make stations feel a commitment to your act? Stupidity of the highest degree, but as a result, adding incredible value to the handful of copies in existence. Thank you Rich Fazekas for mine.

Two years ago, I was in a Bed, Bath & Beyond, scouring some last minute gifts for obligatory friends, when what came over the store sound system? ‘I Wish It Could Be Christmas Everyday’. Only took thirty five years.

More importantly, a classic song is forever just that, a classic. Roy Wood has been recognized as a living Beethoven, and I am front of the line in agreeing.

‘I Wish It Could Be Christmas Everyday’ has re-charted in the UK many times during the holidays: ’81, ’84, ’07, ’08, ’09 and ’10. I’m betting on ’11 to repeat that process.

Country Gazette

Thursday, December 16th, 2010

Listen: Teach Your Children / Country Gazette CountryGazetteTeachYourChildren.mp3

Graham Nash seems a good egg. Having written so many great songs, his patience with Crosby, Stills & Nash must be admired. Unlike The Hollies or he as a solo artist, that band just never seemed to breathe life into any of his compositions. I didn’t pay them a lot of attention mind you, and only when it was a Graham Nash song did Crosby, Stills & Nash seem to catch my ear.

How glad was I to finally find an inspired version of ‘Teach Your Children’ in a pile of A labels, saved so generously for me by my pal Graham Stapleton in London. Check out our history elsewhere on the blog.

Even before giving it a spin, hopes were high. Jim Dickson had produced. His many recordings with The Byrds, he demoed and managed their original lineup, were always powerful.

When Country Gazette were current, and releasing records on United Artists, yours truly was the label’s New York State college rep, having gained notice from Rich Fazekas. Basically UA, as we all called them, were the US outlet for a few of my top favorites from the period: Roy Wood via his various releases with The Move, Wizzard and solo; plus Family. Racing their singles and albums to the top of our college station’s playlist alerted the UA home office. Fandom expanded to business relationship. Exactly what going to college is really all about, making connections for the real world.

Once firmly in place as the UA college rep with a trunk full of promos, I blindly championed the aforementioned English acts, while unfair lack of attention was bestowed on the Blue Note catalog and various Nashville leaning artists like Townes Van Zandt and Country Gazette. Big regret. Apologies.

Luckily, the ‘unable to throw anything away’ gene meant I saved a copy of every last record I was supposed to promote, and can now repent for my sins by finally trying to spread the word about Country Gazette, even if Graham Stapleton hadn’t saved me this 7″.

Brinsley Schwarz

Friday, May 21st, 2010

BrinsleyHappyUSA, Brinsley Schwarz, Nick Lowe

Listen: Happy Doing What We’re Doing / Brinsley Schwarz BrinsleyHappy.mp3

Never much interested in American flannel shirt country rock easily lead me to brush off similar bands from the UK. I was equally dismissive of Man, Help Yourself, Brinsley Schwarz, any of that early stuff hiding behind the pub rock shield. One listen and as soon as The Band/Woodstock detector would sound in my head – immediately off came the vinyl and back into the sleeve it went. Besides, I noticed Brinsley Schwarz were playing The Fillmore East with Van Morrison and Quicksilver Messenger Service. This just didn’t feel right for my palate.

Having preceded themselves as Kippington Lodge, a more mod, colorful pop Marmalade meets Herd lightweight singles band, they too never registered on my radar, oddly, despite Mark Wirtz as producer. So the evolution of Brinsley Schwarz basically was a rather unnoticed one for a while.

I softened a bit to some singles by The Band, and actually liked ‘Up On Cripple Creek’. Interestingly, their first few 45′s were higher, much higher chart achievers in the UK than here. I know, not an obvious guess, but true.

By ’72, I was fast friends with Rich Fazekas out at UA’s west coast office – a connection initialized by the label suddenly being the hip home to Family and The Move. He implored me to give their newly released fourth Brinsley Schwarz album, NERVOUS ON THE ROAD, a fair listen. I did and guess what, it became a favorite for a patch. There are a bunch of songs worthy of 7″ status on that one, and I was perfectly content to have ‘Happy Doing What We’re Doing’ be someone at the label’s choice. I just wanted a Brinsley Schwarz single from that LP in my collection.

Being a completist, I eventually surrounded ‘Happy Doing What We’re Doing’ with their singles prior and following. Some of them are fun, and real keepers, but nothing tops this one still, not for me at least.

Bobby Womack / The J. Geils Band

Friday, March 26th, 2010

JGeilsLookinUKA

Listen: Looking For A Love / The J. Geils Band JGeilsLooking.mp3

I used to pretty much ignore The J. Geils Band during this period, well always if the truth be told. They were a six piece, one too many in my imaginary rule book, and man did they look bad. Endlessly touring, always playing upstate New York, mostly with some up and coming UK band as support. So, I’d go to the show, but usually found my way backstage to talk with said English group, stalking them for obscure info and details while they boogied through their headline set. It was way more exciting to stand in a crowded dressing room talking to Steve Marriott or Phil May than listen to The J. Geils Band’s blues jams.

Now I wish I could have found a way to do both. Eddie & The Hot Rods were big fans, and I started to appreciate them in hindsight. Barrie Masters constantly pestered everyone about them. So now, I can listen and appreciate them a lot more. Please accept my apologies guys, but you did need a visual make over I’m afraid.

BobbyWomackLookinUSA, Bobby Womack, The J. Geils Band, United Artists, Atlantic

BobbyWomackLookin, Bobby Womack, The J. Geils Band, United Artists, Atlantic

Listen: Lookin’ For A Love / Bobby Womack BobbyWomackLookin.mp3

Bobby Womack, on the other hand, was always a favorite. Funny enough, the English group fan in me had a lot to do with that as well. I was very friendly with Rich Fazekas from United Artists’ LA office in the early 70′s, when they had two distinct sounds to their roster: one a bunch of UK bands like The Move, Hawkwind, Brinsley Schwarz and Family; then the other RnB via Ike & Tina Turner, Monk Higgins, Marlena Shaw, Donald Byrd and Bobby Womack.

It was Roger Chapman who cornered me at the label’s LA location on Sunset, giving a stern lecture about both Bill Withers and Bobby Womack. He took me into Marty Cerf’s office and forced several new tracks from Bobby Womack’s then current COMMUNICATION album on me, at the same time recounting he and Family’s first exposure to Bill Wither’s ‘Ain’t No Sunshine’. It was on the car radio somewhere between Houston and Dallas, and they would literally pull over every time it came on, drooling as it played. Being a Family freak, I hung on his every word of advice, hence my initial Bobby Womack crash course and eventual worship.

War

Sunday, March 21st, 2010

WarCiscoUSA, War, United Artists, Island

WarCiscoUKA, War, United Artists, Island

WarCiscoUKAIsland, War, Island, United Artists

Listen: The Cisco Kid / War WarCisco.mp3

Today is the first full day of spring, according to my neighbor who knows all these things. Actually it started yesterday at around 1:15, so that didn’t count. Whatever. When it’s about 70°, no humidity with clear blue skies, and I find myself digging through boxes of doubles stockpiled for some 15 years back out in the garage, I know it’s spring. It’s the first thing I do, having itched to get at something or other all winter – and that’s exactly how yesterday was spent. The place is actually a scene from that new TV show about hoarding, the latest condition a doctor will give you tablets for. Corinne went in to get something, and being her first time for a couple of years, and just flipped out on me. So I needed to do some shuffling around anyways.

Brought one of those portable suitcase record players out with me. I bought this one for a steep $20 sometime in the late 80′s when those two parking lots on 6th Ave and 26th St had the weekly junk sales, dealers of everything covering the two spaces. I got into a habit of getting there at dawn, and found records even I can’t believe. One time, I got it into my head I needed a wlp of The Faces debut on Warner Brothers, and found it that very day. Like I willed it to be there. True story.

The player still works, perfectly in fact. It’s one of my favorite pieces, complete with interchangeable 45 adapter spindle. So off I go to the garage to dig and spin. First box, first handful, I find a copy of ‘Cisco Kid’. I’d forgotten Island UK licensed their catalog off Jerry Goldstein around ’75, and proceeded to be his English outlet for War, although quite why United Artists there didn’t hold on to his Far Out Productions was probably a mistake in hindsight.

I freaking love ‘Cisco Kid’. It reminds me of April ’73, when I took my pal and college radio rep for United Artisits in LA, Rich Fazekas, up on his offer to come on out and visit Easter week. The Pretty Things were making their US debut at the Whisky Au Go Go. Did I need more reason? We tooled around non-stop. He turned me on to Mexican food – there was no Mexican food in my college town of Rochester. I’d never had a taco, and given Rich is Mexican, he knew the real deal places to go.

‘Cisco Kid’ was easily the soundtrack to the trip. It was being played everywhere, you remember how hits used to be unavoidable. By early summer when I went to London, it had migrated to their airwaves, and I heard it constantly all over again.

So this time of year brings that all back, and to find a copy in that first handful I grabbed does make me feel frighteningly connected to my records. I love those records.

The Pretty Things

Thursday, June 18th, 2009

prettythingscryuk, the pretty things, fontana, phil may, the rolling stones, freeway madness, warner brothers, mo ostin, whisky,

prettythingscryusa, the pretty things, fontana, phil may, the rolling stones, freeway madness, warner brothers, mo ostin, whisky,

prettythingscryus, the pretty things, fontana, phil may, the rolling stones, freeway madness, warner brothers, mo ostin, whisky,

Listen: Cry To Me / The Pretty Things PrettyThingsCry.mp3

I don’t need much prompting to give The Pretty Things a shout out. Phil May is one of music’s greatest vocalists. When I was running The Medicine Label at Warner Brothers in the 90′s, I asked then chairman Mo Ostin, during casual hallway conversation, if he’d let me reissue their 1973 FREEWAY MADNESS album, which was ripe for CD format. No problem.

Mo was the ultimate executive, they literally don’t make them that way any more. Prior to getting the green light to set up Medicine, I had a memorable meeting/job interview with him. I wanted details of when he signed both The Kinks and Family, which he ever so graciously recounted. And that was only the beginning of the many fascinating stories.

FREEWAY MADNESS, one of those Mo signings, holds some serious sentimental placemarks. Plus it afforded the band their first US tour. How insane is that? Despite their legendary status almost instantly, it wasn’t until spring ’73 that The Pretty Things played their initial US show, at LA’s Whisky A Go Go. I up and flew to California in April, like the senseless Anglophile that I was. Turned into a fantastic trip. Rich Fazekas, then part of United Artists hip college radio department, put me up for the week and introduced me to old Hollywood. UA had Family, Hawkwind, Ian Whitcomb, Man, The Move, Wizzard, endless Blue Note acts. It was the place to be. We raided, with Greg Shaw, UA’s publishing office, then anxious to dispose of their 7″ library. Talk about timing. We saw Tim Buckley at The Troubadour and of course The Pretty Things at The Whisky several nights straight. One month later, I booked them back at my college. May 19, 1973 to be exact.

Fast forward to last night. At a friend’s for dinner, I became engrossed in THE ROLLING STONES ALBUM FILE & COMPLETE DISCOGRAPHY, by Alan Clayson, that was meant to be casual coffee table glancing. I intended taking a quick look, then couldn’t put it down. Learn something every day – and with this book you’ll learn many somethings. For instance, March 7, 1965. Manchester. Following a stopped Rolling Stones show at The Palace Theater, Keith and Mick taxied across town to leap onstage with The Pretty Things (Brian Jones was a room mate of The Pretty Things at the time) at The Manchester Cavern that evening. Among the songs that Mick duetted with Phil May: ‘Cry To Me’.

Montrose

Saturday, October 11th, 2008

Listen: Rock The Nation / Montrose
Rock The Nation / Montrose

Montrose. If it’s good it’s always good. You may remember a time in punkcentric ’77 when Montrose was a nasty word, representing the hard rock, metal hair band, LA Sunset Strip. A frozen in time culture when we were all teens and knew way more than those folks did. Yeah right. Like the reality of every musical movement, there were great things happening which we happily turned our nose to at the time. I secretly didn’t. Montrose was one. I went to LA for the 1st time in May ’73 at the invitation of Rich Fazekas, then promotion guy for United Artists. We’d stuck up a friendship (lasting until this day) as a result of him promoting their UK signings (The Move, Family. Hawkwind, Man, Help Yourself). This resulted in my self-serving position of playing them on my college station even though no one was probably listening, which was basically the situation for all of us in small towns acting as cities. Still it got me a relationship with Rich. So in May ’73, at his invitation, I schlepped to LA. Bless his heart, Rich introduced me to mexican food, took me to the Troubadour for a jaw dropping Tim Buckley show, we raided a publishing company with Greg Shaw that was dumping all their 7″ singles (I got many sick things like several copies of The Alan Price Set’s ‘I Put A Spell On You’) and took me to see The Pretty Things 1st US shows at the Whisky (which was the ultimate point of the trip originally). Somewhere in that 4 day blur, we went to Warner Brothers Studios to see Montrose making their 1st album. I vividly remember this song being recorded – but I’m not choosing to post it for nostogia or show off reasons – instead becuase it is so ‘the real thing’ and sounds it until this day – and in mono my friends, straight from my 7″. I hope you love it like I do. I never hear it anymore – not that I did then. Hopefully someone will discover it here and make Montrose some well deserved $.