Listen: Money Is / Little Richard
Money Is / Little Richard

How do you take a period piece blaxploitation style soundtrack composition, and make a proper song out of it, one that might actually get heard and become a radio hit? In the case of turning ‘Money Runner’ (below) into ‘Money Is’ (above): bring up the electric guitar chords, the love hangover Rhodes keys and add a RnR legend. Voilà.

Oh, don’t forget one other ingredient. Quincy Jones. Check out his discography sometime. How did he do it all….and when? Did this guy ever sleep?

I bet there’s recordings so obscure, so off his radar, even he doesn’t remember. Troll through your old Mercury soundtracks some time. Or just check credits on Mercury releases from the mid 60′s. Start with Lesley Gore.

Not until filing stuff from last summer’s trip to London did it even come to my attention he’d worked with Little Richard at all. It’s constantly a mad dash against time, sorting through piles of promos every trip to Graham Stapleton’s basement shop in Fulham. I just end up grabbing, then reading the fine print a later.

Listen: Money Runner / Quincy Jones
Money Runner / Quincy Jones

Incidental music for films, many times more experimental and mesmerizing than those intended works meant to push the envelope could ever be. The rare talent of turning actions into sounds, like the ending of ‘Money Runner’, is what separates us common people from Quincy Jones.

I never saw the film, but it sure sounds like a heist to me.

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″.

Listen: Little Boy / The Crystals CrystalsLittleBoy.mp3

How is it possible that ‘Little Boy’ was not a hit. It will always be one of the unexplained wonders of the world. No surprise Phil Spector flipped his lid. This (#92), ‘River Deep – Mountain High’ (#88), The Ramones ‘Baby I Love You (never charted at all). How appalling. What an embarrassment.

I do recall hearing the record a lot in my hometown though. All the Phillies singles seemed to get played upstate. And when ‘Little Boy’ was current, I neglected to get me a copy. It wasn’t until summer ’73 when I finally bought one for 35p at Graham Stapleton’s stall outside Cheapo Cheapo Records on Rupert Street in London’s Soho. What a bargain. As always, the label copy name checks included Larry Levine and Jack Nitzsche.

Fast forward to the late 80′s. I’m working at Island, A&Ring Marianne Faithfull. The company was searching for something a bit more current on the upcoming album. She’d done STRANGE WEATHER prior, and it’s old Europe Prague winebar angle was getting tired. I’d suggested New Order produce. Chris wasn’t feeling that. It was apparently too young a look. Somewhere in the mix, Jack Nitzsche became the possible candidate, so off to LA went Marianne to try writing with him, see if some result could develop.

He had just produced the soundtrack to THE HOT SPOT, a truly terrific album with John Lee Hooker, Miles Davis and Taj Mahal. There was even a single released, and that’s posted elsewhere on this blog.

Jack actually called me one day with an update, basically saying nothing much was getting done. Not the best news, but getting a call from Jack Nitzsche with any news at all was huge in my book.

No sooner did he ring than Marianne was on the phone.

“I need to get out of here. All he wants to do is fuck me”

“So do it”

“Kev!!!”

She was back in NY days later. So much for that collaboration.

Above: Jukebox Tab signed by LaLa Brooks