Listen: Jennifer Eccles / The Hollies
Jennifer

What on earth was Graham Nash thinking? Leaving this band?

Seems every once in a while, some visiting UK group lost a member to the lure of the Los Angeles folk contingent. None of that soft rock ever appealed to me, not to mention their unkept and drab dress sense. But probably in the 60′s, the modern living, mid-century designs that still prevail to this day were so magnetic, who could resist champagne bubble wall dividers, sparkle ceilings and aqua kitchens.

I can’t quite recall when he actually made the move, seems around ’68. Still somehow, The Hollies vocal sound didn’t really change. Not to my ears.

US radio were always very fickle when it came to their records. The wise man’s “be happy with life’s small pleasures” slogan applied here, and at least The Hollies got some airtime. I even recall, shortly after their switch to Epic, with ‘Carrie Anne’ going Top 10, former label Imperial re-released ‘Pay You Back With Interest’ as a 7″. It too got on the air, eventually charting in BILLBOARD (#28).

Luckily, all of the band’s records were played regularly on the upstate New York stations. Even WNDR, the most commercial Top 40 in Syracuse stayed loyal. ‘I’m Alive’ sounded massive over my little orange transistor, and ‘Jennifer Eccles’ was everywhere airwaves-wise during the Spring of ’68. Right there next to my other successful radio request line missions: The Small Faces ‘Lazy Sunday’, Grapefruit ‘Elevator’ and The Scaffold ‘Thank You Very Much’. Oh, and Madeline Bell too.

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″.