Posts Tagged ‘Capitol’

Lothar & The Hand People

Monday, October 18th, 2010

Listen: Machines / Lothar & The Hand People LotharMachines.mp3

When, of all people, Mort Shuman wrote ‘Machines’, I wonder did he intend it to sound like this. Given that this and Manfred Mann’s versions are all drums and bongos and such leans towards a “yes”.

Lothar & The Hand People first and foremost had a killer name. Immediately uncomfortable sounding. On first look, you could’ve mistaken them as one of the San Francisco bands, which indeed I did for a while. Being on Capitol Records blindly reinforced the possibility, as the label seemed to lean west coast when it came to domestic signings. Indeed, the band were New York based, and who knows, may have stumbled on ‘Machines’ at The Brill Building. It’s possible.

Supposedly one of the first electronic rock bands to use Moog in the lineup, as with Silver Apples, seems they set the stage for Suicide a few years down the line. Lothar in fact refers to the band’s theramin as opposed to a member.

‘Machines’ got a lot of late night AM radio play summer ’68. All things were leaning underground, as the genre was called, and many of the major market Top 40′s were programming the sound of youth culture at night. Nowadays, US pop radio just swims as hard against that tide as possible.

It’s how I heard it – and only ever heard it via the transistor radio under my pillow until snatching a copy in a shoe store running some kind of tie-in with one of the local Top 40′s. Buy a pair, get a free single. I was having none of that. Sweet talked about fifteen 7′s out of a peer working the register.

The Stone Poneys / Linda Ronstadt

Monday, October 11th, 2010

Stone Ponies - Different Drum

Listen: Different Drum / The Stone Poneys StonePoneysDifferentDrum.mp3

Ok, so a follow up single isn’t always better than the hit preceding it, as was maybe the case with ‘Up To My Neck In High Muddy Water’. It’s hard to top ‘Different Drum’. In fact, Linda Ronstadt never did. At least I don’t remember her doing it, possibly due in part to my general lack of interest toward country leaning music back then.

‘Different Drum’ was indeed another story though. It became a radio staple not long after Jefferson Airplane’s somewhat similar sounding ‘White Rabbit’, and at the same time as both ‘Itchycoo Park’ by The Small Faces and ‘Zabadak’ from Dave Dee, Dozy, Beaky, Mick & Tich.

‘Different Drum’ felt a bit psychedelic, even though it wasn’t. Maybe it was by association. Nick Venet was the producer and his work covered many genres. As a Capitol in house employee, seems he was handed all their youth culture signings of the day, thus slotting The Stone Poneys sessions between The Leaves, Lothar & The Hand People or Hearts & Flowers. It was one of many historic times at the Capitol Tower.

Stone Ponies - Up To My Neck picture sleeve

Listen: Up To My Neck In High Muddy Water / Linda Ronstadt & The Stone Poneys StonePoneysUpToMyNeck.mp3

Long before Simon Cowell, the ruthless corporate machine gnawed it’s way through bands, carving out the superstar for investment and mainstream marketing, leaving the other members to survive somehow. As when Clive Davis butchered Big Brother & The Holding Company for Janis Joplin, so too, it seems, did Capitol decimate The Stone Poneys for the asset now known as Linda Ronstadt.

‘Different Drum’ by The Stone Poneys was literally still on Billboard’s Top 100 when ‘Up To My Neck In High Muddy Water’ was released as Linda Ronstadt & The Stone Poneys. Housed in a full color sleeve, big things were expected. The record stalled at #93, but the setback was only temporary. She skyrocketed. It’s a great single despite the misery.

Linda Ronstadt was particularly critical of The Ramones, having gone to CBGB’s, catching an early performance and trashing them the very next day in a local New York paper. It was a hurtful moment that they talked about on occasion. So when Elektra threw a rather lavish party for her in New York, upon release of a successful new album, CANCIONES DE MI PADRE, the mischievous idea of inviting the band was impossible to resist and they were happy to attend.

We all met at Paul’s Lounge on 3rd and 10th, now a drug store, for a drink, then proceeded uptown to the event. Monte of course came along, Michael Alago and Arturo Vega did too. Everyone cleaned up on designer Mexican food, the album theme being traditional Mexican folk songs, and waited patiently for her to make the rounds, greeting her guests. The moment when she turned towards our table was classic, but it was too late to turn back. Obviously, she’d not been forewarned. Her look was priceless. DeeDee smiled and stared very menacingly, John just glared. Joey, after about five or ten seconds, decided to break the silence with “So Linda, long time no see”.

Nervously: “How are you guys doing?”

“We’re fine” replies John before she’s even finished her last word.

Incredible singer, successful artist but at that moment, Linda Ronstadt was stumped. Wincing, she backed away and slithered into the crowd.

Touché.

Peggy Lee

Tuesday, August 31st, 2010

Listen: Fever / Peggy Lee PeggyLeeFever.mp3

Ever driven through the eastern tip of Maine and up to Nova Scotia? It’s like Norway. And if you haven’t been there, well they’re all basically greener and cleaner than anywhere else. Nova Scotia is particularly another world onto itself. An oasis of cool, almost fall-like weather in August, amongst many other exotic things.

Do the drive sometime, with absolutely no plan in place, stop and flop wherever. The bed and breakfasts are mindblowing. Family friendliness, spotlessly clean, overly comfortable, they’re heaven. And the food – be ready – you will over eat, happily. For some real fun, fire up the scan function on the FM wireless, something called a radio that was popular during the last century and interestingly still in most cars. Our scan gives you a ten second soundbite per station. That means they have exactily ten seconds to stand and deliver or it’s ‘next’.

To their credit, the things you’ll hear are shocking. Remember, this is Canada, and they generally tend to be a bit more English in many ways. Through the years, lots of the UK acts got exposure and traction there, hence into the Canadian charts they went. Now, the most unexpected songs can be found on their oldies stations. I like this.

Then there’s the AC stations – absolutely fascinating time warps. Even more bizarre and inviting than those oldies formats. Believe me, that ten second scan function will have you amused for hours.

Peggy Lee’s rendition of ‘Fever’ is certainly a well known classic, you don’t need me to let you know that bit. But have you heard it lately? Wow. When it came on, it sounded truly fantastic.

Standing out like nothing I can describe, the production and arrangement brought me right back to her live performance. I was lucky enough to get tickets for one of Peggy Lee’s last New York performances in the 90′s, at The Rainbow Room in Rockefeller Center, where she performed in a wheelchair. Didn’t matter. She blew everyone away.

All the lights went dark, and I mean pitch black, for ‘Fever’. The audience was ready, and religious. A single, intense, perfectly precise spotlight lit her snapping fingers as the extra long intro teased the crowd up to that first lyric. Sparsely lit throughout, beams highlighting just the right musicians, their musical body parts and instruments throughout. The visual direction was a work of art.

Listen to the song, your imagination won’t need to work hard to envision what went down. I really hope you all got to see her live too.

Unforgettable.

Seatrain

Monday, August 30th, 2010

Listen: 13 Questions / Seatrain Seatrain13.mp3

Despite my preference for the British bands from the 60′s and 70′s, there’d many times be an American group as part of those three band live lineups so prevalent at the time. Like there were always three at The Fillmore. Three bands were kind of a given.

No recollection which bill Seatrain were part of, ’13 Questions’ was current at the time and I remember liking the set.

Besides, I did fancy the look of the Capitol label around this time: those lime green with purple/black logo albums, then the circular orange and red with graphically matching blue/yellow bullseye 7″ label/sleeve combos. Plus, Capitol used a lot of recycled vinyl, whereby they’d grind up and melt down returns and defectives with the label still affixed, hence ‘Capitol surface noise’ as we all coined it. Example: did you EVER hear a Quicksilver Messenger Service album without it during the quiet patches? There you go. The proof.

I must admit, it made all those records by Joy Of Cooking, The Band and yes, Seatrain sound a touch desirable to one person at least. I liked Capitol’s particular sound of crackle.

Listen: I’m Willin’ / Seatrain SeatrainWillin.mp3

Seems ’13 Questions’ had a fair share of airplay on the FM stations in it’s day. I know I heard it on occasion, as was the case with their version of Lowell George’s ‘I’m Willin”. Despite Seatrain’s general lack of lyrical ability, seems they were not alone. Lowell Geroge, on this particualr song at least, is clearly no poet. I mean, are these words supposed to be funny?

Still, I’d acquired a taste for violin in rock, when well done as in the case of Family, it can make one quite open minded. Then I saw The Flock support John Mayall’s Bluesbreakers, and Jerry Goodman was setting the place ablaze. Really good stuff. Likewise with Seatrain. Richard Greene was a much more subtle but classy violinist. His playing was never overdone.

Live, they were pretty raw. In the studio though, with George Martin producing, no doubt wearing his signature shirt, tie and suit coat, they were sadly cleaned, polished and de-souled. He did have a knack for white washing things in the booth. See my post on The Action.

Got home that night after seeing the band and played both ’13 Questions’ and ‘I’m Willin” a good half dozen times each, until I could stand the ‘Capitol surface noise’ no longer.

Wanda Jackson

Thursday, May 27th, 2010

Listen: Let’s Have A Party / Wanda Jackson WandaParty.mp3

Who doesn’t love Wanda Jackson?

I’ll tell you who – only people that don’t know about her. Dragging along a big old impressive history that included Elvis, her real unheard of at the time talent was being a rockin’ ass guitar player. My guess is way more rockin’ than the recordings give evidence to.

‘Let’s Have A Party’ was her first Billboard hit after signing to Capitol, when rockabilly safely walked hand in hand with country.

Listen: Cool Love / Wanda Jackson WandaCool.mp3

It’s B side, ‘Cool Love’ features touring band members pianist Big Al Downing and guitarist Roy Clark. Other than The Duchess and Cordell Jackson (no relation), she had no competition for years and years. Neither did they.

And then there was Ivy.

Paris

Monday, February 15th, 2010

Paris2061USA, Paris, Capitol, Bob Welch, Glenn Cornick, Fleetwood Mac

Listen: Big Towne, 2061 (Mono) / Paris Paris2061.mp3

While going through the library for my previous Mica Paris post, I couldn’t resist also listening to her alphabetical predecessor, Paris, the band.

Baffling how this post Fleetwood Mac, pre solo success Bob Welch era hardly gets a mention. Almost as though his band, Paris, never existed.

Firstly, nowhere near enough credit is afforded to the Fleetwood Mac/Bob Welch chunk of albums. Being just prior to their Stevie Nicks/Lindsey Buckingham skyrocket, it’s sadly dwarfed. As with the Peter Green era just before it, both include must have singles.

I was a serious Glenn Cornick fan, for ages considering him the best bassist out there. From seeing Jethro Tull’s first US show at The Fillmore East, I was in. THIS WAS and STAND UP, have remained big favorites. That band just plummeted downhill once he was replaced by a very stiff someone or other. All of the band’s soul was robbed.

Therefore, with much interest did I approach Paris. BIG TOWNE, 2061, their second album, oddly didn’t register with FM radio, a strange twist given the Fleetwood Mac and Jethro Tull history. Not to mention it’s quality. Seemed Capitol didn’t care, never do I recall much press or visibility. Add bad timing to the equation as this preceded punk by less than a year, so in no time, the sound was passe.

Still, a good single. I forced it on everyone around for ages, which clearly didn’t help the big picture at all.

The Doobie Brothers

Saturday, September 12th, 2009

doobiedoctor, The Doobie Brothers, Capitol

Listen: The Doctor / The Doobie Brothers DoobieBrothersDoctor.mp3

It rocks, as they say, with clinical precision. Not sure why this became such a favorite of mine. I don’t think any of my friends ever believed I was being serious. The Doobie Brothers represented the type of band and music that we all labelled ‘enemy’, as un-English as you could get. One can only imagine how much the band enjoyed hearing this final mix playback through big studio speakers.

Not unlike the occasional Journey, Heart or REO Speedwagon track, I still play this often.

McGuinness Flint

Friday, July 24th, 2009

mcguinesswhen, mcguiness flint, tom mcguiness, capitol, manfred mann

Listen: When I’m Dead And Gone / McGuinness Flint McGuinnessWhen.mp3

mcguinessmalt, mcguiness flint, tom mcguiness, capitol, manfred mann

Listen: Malt And Barley Blues / McGuinness Flint McGuinessMalt.mp3

Manfred Mann, despite having several massive US hits, would always find it hard getting radio attention for the two or three followups each time. US radio never had any loyalty to many artists or it’s listeners. The audience takes a record to #1, but there’s no responsibility to let that same loyal customer hear the followup – unless of course the station was brown bagged an incentive. Manfred Mann were no exception. So it was really surprising when the McGuinness Flint (featuring Manfred Mann’s Tom McGuinness and Hughie Flint from John Mayall’s Bluesbreakers) debut, a very British sounding single ‘When I’m Dead And Gone’, got immediate play – and became a bit of a hit (#47). Guess what, it didn’t last. The above pattern fell right into place. It’s followup, the equally great ‘Malt And Barley Blues’ got not an airing.

Long forgotten, I was reminded how much I valued them and as ‘When I’m Dead And Gone’ suddenly came in to my head the other night, I couldn’t get home fast enough to pull it out of the library. There next to it was ‘Malt And Barley Blues’. Been playing them both steady for a good couple of days ever since.

The Koobas

Saturday, July 18th, 2009

koobastakemeuk, koobas, columbia, capitol, kapp, keith ellis
koobastakemeps, koobas, columbia, capitol, kapp, keith ellis

Listen: Take Me For A Little While / The Koobas KoobasLittleWhile.mp3

I originally passed up the US ‘Take Me For A Little While’ sleeve upon release, and never ever saw another. Desperate for it as the years past, Mike Goldsmith came to the rescue while at a record fair a few years back. What a relief. Sometime during the 90′s, I stumbled on a UK pressing at London’s Record & Tape Exchange in Notting Hill. This copy appeared to be autographed. How does one ever verify that?

koobasfirstcutuk, koobas, capitol, columbia, kapp
koobasfirstcutusa, koobas, columbia, capitol, kapp, keith ellis

Listen: The First Cut Is The Deepest / The Koobas KoobasFirstCut.mp3

The record itself was most pleasant British Beat at the time, but in no way hinted toward the psychedelic greatness that their ‘First Cut Is The Deepest’ would be. Despite being dwarfed chart-wise by P.P. Arnold’s version, historically it’s equally vital.

Billy Preston

Tuesday, July 7th, 2009

billyprestonbagsue, billy preston, apple, george harrison, doris troy, beatles, sue records, capitol, sunny, bobby hebb

Listen: Billy’s Bag / Billy Preston BillyPrestonBag.mp3

Sticking with the euphoric fantasy of 60′s Mod clubs around London’s Soho I touched on in the last few posts, it’s irresponsible not to include Billy Preston. ‘Billy’s Bag’ was christened hip, no small reason being it’s issue on the Sue label. Nice hammond groover, as the in crowd would say.

billyprestonsunnyuka, billy preston, apple, george harrison, doris troy, beatles, sue records, capitol, sunny, bobby hebb

Listen: Sunny / Billy Preston BillyPrestonSunny.mp3

It’s not news that I’m a sucker for covers of ‘Sunny’. I hated the song when it was current, check my Bobby Hebb post from November ’08, but have since sobered up and done my penance. Amongst my collection is this fake (I’m guessing) live version apparently attempting to recreate one of those very club nights mentioned above. Again, nice hammond groover, again as the in crowd would say.

Bobbie Gentry

Wednesday, October 15th, 2008

Louisiana Man / Bobbie Gentry

Listen: Louisiana Man / Bobbie Gentry
Louisiana

Even when covering material, like this Doug Kershaw song, she always picked just the right stuff lyrically, as well as for her voice, often coined husky by the press. Not unlike the self written ‘Ode To Billy Joe’, thematically this is southern trailer trash. Probably more respectable descriptions prevail, but I like to think of them more as part of the America’s scummy underside. And what other singer could really pull these songs off?

‘Louisiana Man’ had the unfortunate misfortune or perfect luck, depending on your take, of reaching BILLBOARD’s Top 100 for one lonely week, peaking at #100.