The Banana Convention on the Road with Some Points Inbetween

                                                           

TBC

*Some Points In between

 CD and DVD Media Collection

The Banana Convention has expanded their vision with this enormous multimedia project. The music is superb and the lyrical themes have a coming of age relevance that speaks of diverse themes such as adult love relationships political awareness, class warfare and life as a traveling musician. The band is hitting on all its cylinders. Shar Molina is stands front and center as the focal point of the band. She has emerged as uniquely soulful vocalist and has found her voice. She is emboldened by her road worn maturity and through her liberation she has gained a growing sense of identity. She is discovering who she is. Each one of the supporting musicians is critical in the scaffolding of Shar Molina’s growing craft. Sean Drysdale is a monster musician and is the conscious of the band. Monte Nothelfer is the visionary, the leader. Chris Howard has become the earthen warrior pounding out the beats as a message to his comrades – the great communicator.  The guitarist Jake Voisine just may be the heart of the band with his fluid lines are more than just notes. They are the color of BC’s musical landscape.

Some Points In Between and all of the live tracks were mixed and mastered at the   Reed Recording Company. 

Live audio engineers: Matt Harvey, Matt Hulcul and Monte Nothelfer. All the live tracks were recorded at the Bay City Mason’s Lodge except:

Head: Recorded in Austin; Entertainer: recorded in LA; Taking Back The Fun: recorded in Denver; Fine, Dammit: recorded in Dallas: Jessica Fletcher; recorded in Chicago

Website: http://www.FunTBC.com/SOMEPOINTS

The CD review follows…

So, strap on your seatbelt and secure the safety bar, you are about to enter BC’s  high speed chase for the holy grail through a filmed tour of shocking unspeakable musical statements that turn you upside down and rival the Aerosmith ride @ Disney. Let’s go…

Grand Illusion is neither soul nor rock though there are elements of both in this energetic workout. Drysdale’s bass line is solid and the rhythm guitar is funky while the tough drum pattern has just enough restraint to give the song some space. This has Indie all over it and its better than most everything you hear on Top Forty Radio. Its theme speaks volumes to any touring musician. Welcome to life on the stage

Head gets your attention right away – it forces you to listen to it and in the bridge you can dance your ass off. Jake Voisine’s fluid guitar strokes drive the rhythm section to dizzying heights of reptilian passion, rock hard and ready to go. Iggy Pop meets the Raspberries. Everyone needs a little Head (room).

There is a musical interlude that segues to The Entertainer.  It’s an unassuming, funky little rocker that gallops through the song at a frantic pace. It’s about the truth behind the lie - the dark side of being in a hardworking touring band. This is a tribute to all the musicians and bands who work their ass off for nickels and dimes and it’s just enough scratch to pay the bills – sometimes. But onstage the singer sings her song and makes you smile.  It’s alright…in the moment

 

Two Houses is built around an insistent minor chord pattern that evokes the backdrop for this breakup song. Molina’s vocals are mature and nuanced. She gets a lot of mileage from every syllable. She doesn’t just spit the lyrics out she embraces them like a sensitive and giving lover. Molina sings about loss and love from a worldly perspective. She stands outside of the pain and is triumphant as she sings about “a sad little thing that no one knows.”

Saddled (with no tears) is a mid-tempo rocker with a prominent in yer face John Bonham nuclear drum lesson. Howard drives the tempo with an ancient tribal beat that that signals an attack. Shar’s vocal presence is incredible from straight up and in your face or coy and tart with a few gymnastic vocal asides. The great irony of this song is that love is broken up and battered and yet the singer’s tears are dried up. There is nothing more to grieve. It is done.

The New Guy is Monte Nothelfer’s tour-de-force, a tongue-in-cheek brilliant song. It has a boy likes girl – girl ain’t having any scenario. You see… there’s a new guy in town and he’s hot - much hotter than Monte. I’ll let Monte fill you in:

The new guy is hotter than me – damn

He has perfect skin and a real cool tattoo

He’s been around, even to Madrid

Compared to him, I’m kind of a dick

-         courtesy of the wicked demented mind of Monte Nothelfer

LOVE IT!

Taking Back The Fun – recorded live in Colorado with Nothelfer trading off lead vocals with Shar Molina. Is a high energy rocker with a hard rockin’ backbeat and some sweet e-string leads by Jake Voisine. Somehow TBC is able to end the song with an almost defiant exclamation Super Freak

Call To Arms opens with Shar Molina doing a cool-ass rap with a message of universal love and diversity…a call out to human rights and involvement in the democratic process. She addresses us as Sisters and Brothers insists that we leave negativity at the door. It’s as political as it gets and it speaks to the entrenched class warfare in America. This needs to be said. It must be spoken

Go Fly a Kite has a heavy backbeat up front in the mix and pushes the band to catch up or die. Voisine is on fire doing heavy metal Chuck Berry riffs like he’s ringing a church bell. This is one of the best songs I’ve heard in recent years

Folded. The drummer creates an intricate jazzy percussive pattern. Molina’s voice emerges and comes to the forefront. Howard picks up the pace and the frantic breathless tempo rages forward at breakneck speed. Molina screams above the wall of sound, “Subtract and Multiply. We’ve folded.” This is one of the most pertinent political statements by any artist since CSN recorded Ohio seventeen days after the shootings at Kent State.

Fine, Dammit! is a high energy rocker that has some righteous Alanis Morrisette anger folded into the lyrics. “Send me a self-addressed letter and I might write you back someday”…hmm. The bluesy middle eight makes it all real – for a minute. But when Voisine goes ape shit on a Townshend-esque rapid speed strumming tutorial it becomes a free for all.  Everything ends well, it’s ok. How could it be otherwise.

Jessica Fletcher is a TBC oldie and it has practice what you preach message that isn’t quite delivered. It is more like a modern Sermon on the Mount that rails against deceit, cruelty and lies. But there are too many years of false promises –t just another set of tales from the crypt. It’s not just corruption in government and Wall Street; it’s about you and me and the small ways we betray each other. It is signaled by the lack of everyday courtesies - a simple hello or opening a door for someone. It’s No Country for Old Men.

The mood shifts and Molina begins Safe and Sound, a soulful journey through love’s depths. She sings “I’m there for you” despite the hidden pain, the ambivalence within all love relationships. She’s hip to the double-edged coin of love and hate in the lovers’ bed. It is a grave disappointment when you discover love’s perfect imperfection.

A perfect end to a disc filled with truth and no small measure of ambivalence about love, music and the state of the world. This is a credible leap to relevance  by a maturing band.

The DVD is an incredible document, flaws and all. The band members act as if the cameras are running. They don’t seem to require makeup for blemishes or towels to wipe off the sweat. They don’t pose or play rock star. They don’t do a rock star primp and strut. It was shot by three separate cameras that give it a documentary feel. In word and deed it is a documentary of one of Michigan’s most evolved bands.

The DVD disc opens with Shar Molina’s wordless double tracked vocals and a cascading soundscape of heavenly harmonies. It evokes a sense of transcendence that is painted in day-glow colors and reflected within a prism of other-worldly love…

If you want to see and hear the real truth about Some Points In Between you can buy the package for only $10 @ www.FunTBC.com website

 

Peace

Bo white

 

 

Neil Young - Waging Heavy Peace

                                                            

NEIL YOUNG

WAGING HEAVY PEACE

A Life In Review

It seems that the ever aging-out baby boomers have risen up from their  affair with modern country schlock to find some kind of meaning to their lost promise and dreary lives. We were confident that we would top our parents in some way. After all we were children in the Age of Aquarius…but somehow we lost our way.  It happened incrementally without us even noticing. We have class reunions that few bother to attend - so & so’s mother passed away and our entire class mourns but doesn’t even remember the classmate let alone the parent. We have 401 K’s instead of pensions. We worker longer and earn less than our parents. Our music will never die but it doesn’t chart. It’s this dark cloud on the horizon signaling the end of our youth and our shrinking relevancy to the stage of public opinion. Lately it has been decreed (by no one in particular) that 2012/2013 is now The Golden Age of Rock & Roll Biographies - seems like our old heroes have something to say even if they can’t secure financing for their next big project. This is how you do it; imagine a three-pronged media blitz consisting of a book signing @ Barnes & Noble, a record release and a massive coast-to-coast tour with 12 dates scheduled in Europe. Only nobody comes to the book stores because they don’t carry books, only NOOKs; the tour is expensive and folds after a few dates in the artist’s home state and there isn’t enough cash to pay for studio time – even if it’s free. Sound familiar?

Well, that isn’t what Neil Young’s book is about. It is a thoughtful stream of consciousness tome poem about friends, lovers and compatriots who have touched the life spirit of Mr. Neil Young.  There are 68 chapters though several run only a few pages. Young is an uninhibited writer who effortlessly mixes fantasy or dreamlike passages when writing about his father or dear friends who have passed on with nuts and bolts details of his Lincvolt electric car or his fascination with Lionel Trains (which he purchased).  His style and approach to writing a book appears to be similar to his approach to making music – following his muse and trusting his impulse to free associate. He is one of the original free spirits – a hippie who altered his consciousness through dope, booze, love, sobriety and self-reflection. He is a musical genius and a renaissance man who can shape a cracked broken down rock with hammer and anvil to create the perfect alchemy, turning lead into gold.

The initial chapters rest comfortably amongst the memories and other artifacts of Young’s keen mind. Each story links to emotional connections with people with whom he collaborated or loved. Lionel Trains was a lifelong pursuit and it was more than just a hobby. The time and creativity that Young devoted to his trains was inextricably linked to his mostly successful attempts to find ways of communicating with his son Ben Young, who was born quadriplegic. Ben’s birth was a sentinel event for the family and Neil made every effort to help his son communicate and enjoy his life despite the physical obstacles. Though Ben was non-verbal, Neil made every effort to communicate with his son meaningfully. He even recorded an album entitled TRANS in which he sang through a machine. Most people couldn’t understand what he was saying – that was the point! Young was trying to communicate across barriers from one world (verbal) to another world (non-verbal)–TRANS was the bridge

Young praised Buffalo Springfield especially the singing of Steven Stills and Ritchie Furay. He maintains that if drummer extraordinaire Bruce Palmer would have not been deported the Springfield would not have imploded so early in their career. He recalled opening for the Byrds (one of his favorite bands) and blowing them off the stage. Buffalo Springfield were that good and yes, the Byrds were that bad! An early influence was Randy Bachman, the founder and leader of the Guess Who. Bachman was the premier guitarist in Canada at the time was nice enough to give Young some tips about fingering positions on his guitar and equal levels of encouragement.

Despite all the high-profile acrimony between CSN&Y Young only praises his former partners – especially Steven Stills. Young refers to him as a genius with one of the most naturally soulful voices he’s ever heard. Young writes about how incensed he was with then Kent State massacres and his immediate visceral response of “disbelief and sadness” that led him to compose Ohio. He recorded it the next day in an LA studio. It was on the radio within a week (this was before the Internet and You Tube). Young felt that CSN& Y were speaking for a generation (they were – their influence cannot be overestimated). Young writes that the U.S. government has still not apologized to the families of the four fallen students. Shame.

Crazy Horse has always been Young’s favorite band and he’s done some of his best work with them including Cinnamon Girl (their first song), Down By the River, Cowgirl in the Sand, Keep on Rockin’( in the Free World), My My, Hey Hey. Young says it’s simple down-to earth rock & roll. In introducing Cinnamon Girl to the band, he described the modal instrumental theme as “Egyptians rolling giant stones up to a pyramid on logs. It’s huge and it’s moving. Unstoppable” YES! He describes his deep long term mourning for the loss of the Danny Whitten, a great spirit in the sky who sang and played great rock & roll.

One of the most poignant moments in the book was Young’s collaboration with filmmaker Jonathon Demme. The film Neil Young: Heart of Gold was a sensitive yet powerful performance that captured Young in a triumphant performance of his critically acclaimed album Prairie Wind and classic hits like Heart of Gold, Harvest Moon and the Pianter. He had a great group of players and singers including his wife Pegi Young, Emmylou Harris, Ben Keith, Spooner Oldham and Rick Rosa. Buy this DVD it is the musical companion of Waging Heavy Peace. Read and listen!

Loss is a pervasive theme in Young’s book. At this stage in his life he’s lost his parents, family members and many friends. He mourns the loss of Kurt Cobain as he felt they shared a special connection. Cobain left a suicide note quoting one of his songs, “It’s better to burn out than to fade away.” Before Cobain’s death, Young attempted to reach him and take him under his wing – it struck a deep chord in Young that resonates to this day.  Young also talks about the death of his longtime collaborator Ben “long Grain” Keith. Ben Keith played pedal steel and can be heard on countless Neil Young sessions including the entire Harvest LP. Old Man and Heart of Gold are just two examples of Ben Keith’s signature sound. When Young first heard of Keith’s death he let out a primal screen thinking it was his son. Then someone told him it was Ben Keith and a different sadness took over and settled in.

The last few pages of Young’s autobiography  are a fantasy piece in which Young is riding in his Continental his mind wanders and he thinks of all the women he has met and loved and he comes up to Pegi, his wife and he feels really good. Family business is on the agenda. It is a time of reckoning – all the houses and properties, maybe too much to handle. Suddenly the traffic slows to a crawl. The radio plays Da Doo Ron Ron. Somehow he’s connected to a vintage radio show, He decides to get off the Interstate and take a two-lane road. It’s very quiet and Neil pulls over near a creek. He enjoys the taste of the fresh clear water. He gets back on the two lane and continues down the road to an old café. Two of his old friends David Briggs (Record producer; died in 1995) and Larry Johnson (the filmmaker- Journey Through The Past; died 2010) are there drinking coffee. Young walks over and sits down. They don’t talk much. David says something about an old friend and Larry Gets up to make a call. He wants some more coffee. Briggs looks at Young and asks, “What have you been doing?”

I Love this book and recommend it to anyone who is interested in sixties Rock & Roll, Folk Music and The Summer of Love. You can purchase Waging Heavy Peace @ Barnes & Noble

Peace

Bo White

Book Review -Pete Townshend Who I Am

 

 

 

 

 

Who I Am

Pete Townshend

 

Before I excavate all the lies, half-truths, and braggadocio that color this overly ambitious tome to extended adolescence, I must admit I hero-worshiped the Who like I hero worshipped the Beatles or the Stones and countless other great bands from the golden age of R-O-C-K.  Let me warn you now. This auto-erotic wannabe tell-all gets boring real fast and by the mid-mark I was falling asleep, getting migraines and feeling constipated. I could make other excuses but Pete Townshend is not a sympathetic character. He’s self-absorbed and shallow despite his intellectual and spiritual longings. He seems to wear his altruism like a cloak that can be taken off and discarded without a passing thought. Townshend is part of that upper echelon rock star mythos that  perpetuates the almost cultish devotion to narcisstic rock gods who are hopelessly infantilized by their hero-worshipping dip shit fans...like me. Now let’s take a peek inside the cover and read between the lines.

Townshend carves out three “ACTS” in this 500 page monster. I’ll comment on the chronological progression represented in each of the acts from the earliest days of the Who to their ascendance into the highest nether-regions of the rock god worship to their ultimate decline as a creative force.

ACT ONE: War Music

The opening sequence involves the Who’s first show in June 1964. The music is as raw as the musicians and Townshend accidently punched a hole in the ceiling with his guitar, stumbling upon the formula of destruction as a gimmick or as a statement. The next few pages jumps back in time to the end of the war in 1945. Townshend’s father was a musician and performed swing. It was the center of the post-war universe and helped pave the way for early rockets like Bill Haley, Little Richard and Elvis. Townshend lets us into a secret. He stole his famous windmill style of playing rhythm guitar was stolen from none other than Keith Richards. Townshend observes that the guitar became a primary instrument in rock & roll like a saxophone was in jazz and swing. This chapter covers a lot of ground from the creative tension between mods and rockers (the Who were mods) to the Who’s first great single I Can’t Explain and the baroque undercurrent in My Generation and the Kids Are Alright that also spoke to class hostility. This is Townshend’s most realized part of the book with a keen emphasis on the considerable craft of Townshend’s glorious pop singles such as Pictures of Lily (an ode to the joy of masturbation), Happy Jack (McCartney inspired) , I Can See For Miles, and Substitute (an homage to Smoky Robinson via The Stone’s 19^th Nervous Breakdown).  Shel Talmy was the producer of many of these gems up until Substitute. His ouster led to a nasty law suit that the management team of Chris Stamp and Kit Lambert were powerless to prevent. At one point Townshend considered making a pact with the devil in the personage of Allen Klein, one of the most notorious exploiters of rock and roll stars.

Their incredible performances at the Grande Ballroom and Woodstock in 1969 are sketched out nicely as well as an extended examination of Townshend’s first (and perhaps only) masterpiece Tommy which was released on May 17^th 1969. Townshend was only 24 years old. It was a busy and creative time for the Who including the release of Live at Leeds that revealed an incredible growth in their craft that was tantamount to a leap across the Grand Canyon. This ushered in a new phase for the Who, the quirky pop songs were replaced by thunderous high energy rock. A perfect coda to the first act.

 The First Act was well written and paced nicely so as you don’t lose interest. The rest of the book is a bit spotty like a teenager covering his zits with Clearasil not realizing that everybody can see that dried up goo all over his pimply mug.

 

ACT TWO: A Really Desperate Man

This begins the decline of the Who even when the are at the peak of their powers. Townshend seems to get hung up on rock operas and follows Tommy with Lifehouse, an incredible concept that produced such great songs as Pure & Easy, Won’t Get Fooled Again and Behind Blue Eyes. Eventually Lifehouse became Who’s Next, a masterful album that helped the Who ascend to the top of the heap. The seventies ushered in a decade of substance abuse, mental health problems and unencumbered infidelity and promiscuity. There were a few sentinel events in ACT II had crushing effect on the future of the Who. In September 1978 Roger Daltry called Townshend and said, “He’s done it.” Keith Moon had died. On December 3^rd, 1979 the Who was at the Riverfront Coliseum in Cincinnati. They performed their usual high energy performance. It went over well but after the show their new manager Bill Curbishley assembled the band and crew to tell them that eleven kids had died. There was a problem at the entrances and kids were trampled.

ACT THREE: Playing to the Gods

This final act describes the Who’s descent into irrelevance. They lost touch with their fan base in the late seventies during the rise of punk. The addictions piled up, mostly booze though cocaine and heroin took their toll on Townshend and John Entwhistle (one of rock & rolls greatest musicians). There was a farewell Tour and several reunions that were motivated more by potential earnings as opposed to craft. Townshend became an editor and writer for Faber’s magazine with a focus on popular arts (mostly music, books/novels and poetry. He began to expand his circle of acquaintances to include writers, models, and movies stars. He was particularly fond of William Golding a generous man with a keen mind. He wrote the iconoclastic Lord of the Flies.

Townshend was friendly with Paul and Linda McCartney and when she died Paul asked Pete to do the eulogy.

By 1999 John Entwhistle was broke and in debt. Townshend dropped his current projects in order to reform the Who and embark on an extended tour to help his old friend. On June 27^th, 2002, Entwhistle died of chronic health problems exacerbated by the use of cocaine.

This final act also addresses Townshend’s arrest and trial for possessing child pornography. On January 11^th, 2003 he was accused and the tabloids had a field day. Ultimately, Townshend agreed to accepts a caution and a low-profile listing for a limited time as a sex-offender. A few years later Townshend was vindicated when an investigative journalist Duncan Campbell did a forensic examination of the Landslide (porn) website and found no evidence that Townshend had ever accessed the site.

The book ends on a positive note as Townshend and his old bandmate Roger Daltrey made amends and became close friends.

Never mind my grousing Who I Am is an incredible journey to a magic kingdom of princes and pawns, kings and paupers, everyday people.

Peace

Bo

Zig Zeitler -Comes Full Circle

                                                                     

Zig Zeitler

Everything I Ever Did Wrong

Is Right

I first met Zig Zeitler around 1999 when he popped up @ White’s Bar and started jamming with Marty Viers. I had never heard anything like Zig before or after. He possessed an other-worldly voice that made me sit up and take notice. I wasn’t sure what he was singing about but it seemed like a mix of ancient French Bayou, English and Pig Latin. I remember his oddly distinctive version of Mustang Sally. He didn’t do the Wilson Pickett version but instead copped to his own muse.

Mustang Sally

Guess you gotta slow your Mustang down

You’ve been running all over town now

Guess you gotta put your smelly feet on the ground

It was perfectly rebellious and hilarious at the same time. In that very moment I was a true believer. He became my ayatollah of creole-la and my snooze ya lose the blues kingpin. He went on to establish the White Crow Conservatory of Music with his wife Siusan O’Rourke in the northwest part of Saginaw. They’ve been creating, developing and booking talented singers, musicians and songwriters from across the country.  They also have established a popular music program for children and adults who want to learn to play instruments such as piano, guitar. They also have voice coaches who instruct singers on how to improve their singing technique and develop their voice

Zig has performed for over 40 years and has released 18 CDs of original music. He has shared the stage with such legendary artists as Lazy Lester and Buckwheat Zydeco. He and Siusan continue to crisscross the country in pursuit of taking his music to every nook and cranny of the country where people gather to listen to authentic Americana, Zydeco, Roots, Blues and Irish music. He is a master craftsman and a multi-instrumentalist who is a student of musical expression and a true believer. It is always reassuring to me whenever I hear Zig perform. We need him to remind us of that which is pure and beautiful….the voice of the everyman.

Zig’s latest release is a throwback to those early rock & roll rhythms that recall Elvis as well as Jerry Lee Lewis, Carl Perkins and Dick Dale & the Del-Tones. Listening to this disc is like eating a warm slice of apple pie with a scoop of vanilla ice cream and knowing for a brief moment that everything is aligned and in its place. All is well. So cast your mind back to those halcyon days and astound to Zig Zeitler’s loving tribute to rock & roll, surf and rockabilly.

He opens with Stray Dog a rockabilly number with a hot walking bassline, harmonica flourishes and jangly guitar from bass to e-string and back. Zeitler sings it low and cool like a native Cajun in the French Quarter. He captures the essence of early rock & roll and sounds a bit like Brian Setzer. He does an about face with I’m so tired. The Peter Gunn riff and heavy bass string boogie is irresistible. Zeitler is an underrated picker. He can make the guitar smile out loud like a kid on Christmas morning. The title song is a winner. It’s cool go-daddy-go rockabilly with a just enough tremolo and a tip of the hat to 12 bar blues based on the Sufaris version of Wipeout. Zeitler gets down to his Cajun/Zydeco roots with Bad Spell, a minor chord gem about some bad juju. The mojo just ain’t working this time. He even tips his hat to the 9-to-5 working stiffs who are happy just to have a job. I hear the anger in the lyric:

Ain’t I lucky

Sure is ducky

All I have to do

Is work nine to five

Zeitler is an accomplished musician who understands a minimalist approach and allowing undisturbed spaces for the music to breathe. This is true of his song Aby Lynn. The sparse instrumentation provides the space to build upon Aby’s cool invisible voodoo that no man can resist. For Zig the only alternative is to fall in love. The best song on the disc is Allous Dancer Mon Cher. This is up-tempo Bayou Blastin’ music of the highest pedigree. Zeitler sings in French as well as English, a purist indeed! The mix of ancient rockabilly/zydeco sounds provides the perfect soundscape for a great time. It is perfectly charming. Zeitler even throws in an ode to the surfing craze with Surf Butz. It opens with a single bongo workout and the unmistakable wipeout riff and some over-the-top cool tremolo guitar that would make Dick Dale smile like a Cheshire cat. Zeitler recreates the sounds of surf guitar with fast scales, reverb and that dynamic wet sound that makes you wanna go the beach and hang out with moon doggie. I’ve Got a Woman is Zeither’s tribute to Don Rich and the Bakersfield Sound. This is stripped down elemental rock & roll. You don’t hear too much of that anymore. It’s precious and should be preserved. The disc ends with a be-bop jump and jive ditty called Abigail. It’s some kinda tasty. Roll over Chuck Berry, dig them Blue Suede Shoes.

Zeitler is on a mission to keep music alive and this disc is the living proof. It is a comforting throwback to an era when rhythm, melody and harmony mattered. Dig the warm analogue sound

 Long Live Zig Zeitler

You can purchase Everything I Did Wrong Was Right at the White Crow Conservatory located at 3736 Mackinaw in Saginaw; Call Zeitler @ 790-2118. Music makes a great gift!

Peace

Bo White

Lost Treasures The Four Seasons Genuine Imitation Life Gazette

                                                                  

 

The Four Seasons

The Genuine Imitation Life Gazette

The Four Seasons were an unstoppable hit-making machine juggernaut blending teen pop anthems with adult themed MOR orchestral rock. In the early sixties they ascended to the top of the charts with their simple pop arrangements, romantic adult lyricism and glorious four part harmonies led by the soaring falsetto of Frankie Valli. It seemed they could do no wrong. Bob Gaudio composed the music and wrote the lyrics and Valli’s vocals gave it a totally unique otherworldly sound. There was simply no professional singer who could replicate Valli’s vocal power. He could leap from a pitch perfect tenor to a soaring falsetto and then effortlessly come back to the lyric/verse. The Gaudio/Valli team was simply unbeatable; creating one hit after another from Sherry, Big Girls Don’t Cry, Rag Doll, Walk Like A Man and Save it For Me to their last big sixties hit Will You Still Love Me Tomorrow. From 1962 to 1968 the Four Seasons registered 50 chart-making Hits. They were at the apex of their creativity forging compact pop songs with big band arrangements. There was nobody on the pop scene that could match the craft and beauty Four Season’s music. By 1965 pop music was shifting to a more sophisticated sound and complex arrangements using instruments not typically associated with rock & roll; The Beatles song Yesterday was a prime example of the new rock & roll. Gaudio’s creative juices were fermenting a mighty broth of adult oriented songs that went beyond teen oriented moonin’ and junin’ love songs. In 1965 Gaudio brought Joe Long, a classically trained musician, into the fold with founding members Tommy Devito and Valli. It was prescient move as Long proved to be the pivotal component in helping Gaudio advance his vision of melding Four Season’s harmonies with jazz and big band arrangements and adult lyrics. He brought in a Jake Holmes, a Greenwich Village folkie who wrote songs about politics, false prophets, divorce, Wall Street wolves and entrepreneurial hippies. Several of the songs were over six minutes long with comples tempo changes and layered musical segments. The album included a four page insert filled with photos and faux advertisements. The cover motif appeared as a daily newspaper with headlines (What’s a Hippie), articles (Mothers Into Third Month of Work Slowdown), Market Statistics (National Confusion - volume 581, 900), weather reports (brisk, even sparky), and anti-war statements (the Dow Jones casualty average rose 3.23 to 967.43 for the week). The song list and lyrics were cleverly placed within body of the newspaper. The cover itself attained legendary status and is credited for inspiring similar covers by John Lennon and Jethro Tull. The stage was now set for the Four Seasons to create their Magnum Opus; The Genuine Imitation Life Gazette

American Crucifixion Resurrection (6:48)

The King is dead – long live the king

This epic pop symphony opens to an atmospheric swirl of voices and percussion, the tympani thunders and the orchestra creates an explosive texture of sound that signals a gradual build-up of sound and fury; a dramatic shift in tempo as the piano pounds out 32^nd notes and the violins squeal in staccato fits and spurts. A second temp shift to a slower pace signals unison group vocals wordless and powerful. Then…Valli sings

I taught him to love.  

I taught him to laugh

I taught him to share

 And when he was afraid

I held his hand

 I gave him hope

I gave him pride

Then I gave him to the world outside

Mrs Stately’s Garden (3:12)

A piccolo passage opens the song like a butterfly flitting from a petal to the flower. It’s a light and breezy, a sweet interlude before the drum roll segues to a syncopated rhythmic piano trill with the bleat of jazzy horns. Valli sings – “such pleasant company in Mrs Stately’s garden.” This is a story about the gossip and rumors that pass through neighborhood bars, churches, backyard brunches and bar mitvahs. It’s like a wildfire or radar that rips through the lives of those unfortunate souls that are shoe-horned into the neighborhoods of our cities and towns. Mrs. Stately could be anyone of us. She reads the headlines and comments on all the trouble and woe in the world. It could be about a rape or a death, but contains no sympathy just an odd curiosity - without caring or concern for others. It is the fate of human kind; people swarming like mosquitos ready to bite and draw blood.

Look Up, Look Over (4:42)

A minor chord is the clarion call, an instant cloud of melancholia. Valli sings from the diaphragm, he digs deep into that inner reserve that borders darkness and light. He steps outside of the sorrow and looks deeply into the void. He sings about the deep sadness of losing someone you love dearly. It’s about falling out of love and not quite knowing why.

Look through her eyes; There is no love

She may smile when I touch her hair

We kiss and although she’s there, she’s gone

I know she’s gone.

LOOK UP, IT’S OVER

Something On Her Mind (2:44)

The song opens with a pounding syncopated piano trills. It has an upbeat mid-tempo gallop that implies confidence and conveys a sense of promise. It has complex signature changes and ambivalent, yearning lyrics. Valli begins with a question,

 Is she really looking at me, Is a feeling really happening?

It’s so easy to see something’s on her mind

Is she really as free as the girl she pretends to be?

Does she know that I see something’s on her mind

Valli eventually has to let her go, she’s with another man. The promise is lost, or is it? There are several tempo shifts, a slow-down and a quiet passage followed by a staccato piano riff that ends the song with a dramatic question mark.

Saturdays Father (3:10)

This is an incredible song from the music to the lyrics. It has a multi-layered perspective that introduces the story from the eyes of the mother and the children. The father’s lament is in the third person. His side of the story may be too painful to explore directly. This is a melancholy look at the emotional ravages of divorce. The emotional valence is understated giving the feelings a deeper, more complex texture.  The longing and regret are enveloped in the weekend visitations, the de-facto roles and duties of the adults and the wishes of the children. The accapella harmonies on the coda provide the storage for all the muted and unexpressed feelings. Valli gives a spectacular reading. It’s a heartbreaking message; a missing piece forever detached from each member of the family. If only…

Wall Street Village Day (4:26)

An opening piano riff provides a lulling hypnotic interlude that gradually increases the tempo as the drums and percussion build the rhythmic structure. The tempo gradually speeds up to a rock steady 55mph as the intricate jazzed up piano trills picks it up and lay it down. The song is about a typical day in Greenwich Village. The counterculture visionaries mingle with the educated and elite, watching each other from a distance. The players watch the people and the people are there for a show. The unison vocals and sloppy group harmonies are perfect, delightful – the voice of the everyman with Valli intoning the truth.

Paisley people dressed in colors

Wearing what they have to say

Some are paisley some are grey

See them masquerading on a Greenwich Village Day

Genuine Imitation Life (6:15)

The harpsichord intro colors the music like a marionette controlled by the puppet master. There is an unseen power of shadow people; it’s so easy to manipulate of the masses. The dirge-like tempo casts a pale over the soundscape and is interrupted only by the whimsical harpsichord and Valli’s impassioned singing. This is a dialectical dilemma about mind control and singular lives. Orwell warned us and it came to be. Plastic people are wearing masks never really knowing themselves or the other. The Hey Jude coda (complete with the phrasing) appears to be a tribute to the Beatles’ influence in expanding the boundaries of rock & roll music.

Chameleon changing colors while crocodile cries

People rubbing elbows but never touching eyes

Taking off their masks, revealing still another guise

GENUINE IMITATION LIFE

IDAHO (3:03)

Sly Stone-styled horns funk up this cool travelogue that could have been commissioned by Idaho’s tourism industry. An insistent bass groove infuses the song with a tough energy and sense of movement. The layered harmonies are slightly off the mark, going off sharp at times but giving the song a Midwestern applesauce and cinnamon flavor that is simply scrumptious. The singers may be reading the tongue-in-cheek lyrics too literally but they sure do sound like they are having fun. Idaho sounds pretty cool especially the hiking, rock climbing, wildflower watching, flush toilets and avalanche classes. Hmm, healthy lifestyles meet the grand ennui.

Wonder What You’ll Be (3:25)

This is a thoughtful ode to fatherhood and the sometimes painful rapproachment that occurs between fathers and sons. This in the resolution of the conflict of being close yet separate; Independent yet needing the other. Like any other parent, the singer is feeling the tension between keeping his son close and letting him go. This is a thoughtful and loving tome poem about an existential dilemma that parents face every day. More so it is a father’s oath to his son; I’ll always be there for you. This is a piano-led musical excursion that sounds a bit like Lennon on Instant Karma. Love it

I’ll make the most of every day

I’ll hold you in my arms

And keep you by my side

Till you must go away

Wonder what you’ll find

Soul of a Woman (7:05)

This is an inspired ballad with an incredible a wash of piccolo, woodwinds and piano. The instrumentation is gorgeous and the tempo is sensuous and slow and conveys thoughtful, eyes wide open relationship; a young love on the precipice of a more adult relationship, warts and all. It is romantic with less heat. A deep melancholy colors the musical landscape prompting more questions than answers…as it should. It’s a perfect imperfection; a pocket symphony with several movements similar to Brian Wilson’s Good Vibrations. The only question I have is the use of the groovy lyric. It’s confusing. The lyricist may be using it to color her breezy freedom yet it seems to obfuscate the darker tendencies in the message. The dilemma rests in the contrast of a free-wheeling lifestyle and staying in a committed relationship.  This may be a flawed masterpiece but Valli saves the day with his intuitive and mighty tenor. Gaudio’s layered musical construction is pure genius and helps deliver the competing messages.

She can laugh, she can cry.

She can love and not care why

She can trust ‘cause no one told her not to

Look at her, she’s groovy

Woman in love, you’re a woman in love

You live for him, he lives for you

There’ll be a home, a child or two

And now the flower is open all the way

It’s a beautiful day, but it’s not here to stay

The Four Seasons Genuine Imitation Life Gazette is available @ amazon.com and eBay on vinyl and CD formats. This is a forgotten treasure that deserves greater attention. Buy it now, its money well spent!

Peace

Bo White

 

 

A Forgotten Treasure

The Hard Ride

By

The 1910 Fruitgum Company

Blues, Jazz and Psychedelia

The Hard Ride represents the dying gasp of an underrated band. The 1910 Fruitgum Company had morphed several times since their inception in 1967. As the Jeckell & Hydes they enjoyed massive success in their hometown of Linden New Jersey. They were talented garage rockers who could play the hits of the day whether it was the Beatles, Hendrix or the Vanilla Fudge or throw in a few of their own compositions. The nucleus of the band included Frank Jeckell (guitar, vocals), Mark Gutkowski (lead vocals, organ), Pat Karwan (guitar, vocals), and Floyd Marcus (drums). It seems almost incomprehensible that the band who hit the big time with Simon Says. Sure, the song was based on a game intended for pre-school children but nonetheless it had a great wooly bully organ riff and the vocals were stoned perfection. But by 1969, Mark Gutkoswski was the only original member left in the group. He was a great singer and a multi-instrumentalist and a superb songwriter. He was a gifted leader who insisted on excellence and set the bar high. Hard Ride is the culmination of Gutkowski’s career as a rock & roll hit-maker and it stands today as a forgotten treasure, a eulogy for a great band that has been misplaced in time as something to be scorned or even vilified. I stand here today to correct that misperception. I saw the 1910 Fruitgum Company in February and again in December of 1969 and the draconian changes carved out by Gutkowski were astonishing. In February Gutkowski the band had already made inroads to the new sounds that Gutkowski would hear in his head. By December, this new, more complex music was a reality. The band now had a funky horn section and an excellent B3 player. Gutkowski switched to bass and he shared vocals with the phenomenal Ritchie Gomez.  This is a review of The Hard Ride

Don’t Have to Run And Hide (2:58) (M. Gutkowski, T. Gutkowski). This is pure Gutkowski-bred rock & roll. Mark’s voice is matured and soulful and his falsetto ooh’s punctuate the end of each verse. The horn section is funked up and brings the energy level up a few notches. This is a classic rocker with a verse, middle and chorus structure. It should have been a top forty hit. A great song.

All These Things (2:38) (R. Gomez) is a Beatlesque ballad with a complex arrangement with prominent horns and several tempo changes. Gomez rich tenor provides just the right amount of angst and a pitch perfect reading of the lyrics. Gutkowski’s thumping bass grooves stand out as the rhythmic center that gives the percussion an air-tight vice grip beat as the horns wash over the musical landscape 

Beggars Epitaph (3:50) (M. Gutkowski, T. Gutkowski). This is Mark Gutkowski’s swan song, a prayer for forgiveness. It uses a minor chord motif to cast a pale over the singer’s plea. The song is driven by a frantic high chase beat with a scorching organ backdrop and E-string trills. The horn players, Roth and Cohen took a few tips from Chicago and BS&T and it’s all for the better. Gutkowski sings that he sold his soul to the devil and pleads;

 Help me lord

Now my time is almost here.

I hear lord that you will forgive a man

If he’s sincere

I’ve sold my soul to the devil Lord

This I won’t deny

Oh god I don’t want to die

Help me Lord

Help Me

The somewhat elusive lyrics appear to be a slam directed to Kasenetz & Katz, the architects of the bubblegum sound and their almost total control over the product created in their hit-making factories. It speaks to the dearth of artistic freedom of artists who sign their rights over to the Machiavellian image makers in the mansions on the hill

Eulogy (2:00) (1910 Fruitgum Company) is an up tempo blues with tongue firmly in cheek. It is brisk and saucy and a rockin’ good time. The organist excels on this homegrown ditty. This is a fine example of unison singing – reminiscent of the Grateful Dead.  It’s a down home hootenanny with a great sense of humor. The lyrics tell the story

When I die

I want to be buried

 In a pot garden

When I die

 I want to be buried

In a pot garden

If you can’t find a garden

Bury me in the grass

Selub (7:21) (T. Gutkowski, D. Christopher). A drum solo serves as a transition to some sweet/nasty and slow twelve bar blues. It has some tasty harp that is prominent throughout this little exercise in our homegrown heritage. The B3player Pat Soriano is back in the mix but the solos are funky and soulful like Felix Cavaliere on Come on Up or Lonely Too Long. Soriano is the lead singer on this song. He jumps in with screaming high pitched vocal like Dan McCafferty grousing all pissed and throaty after a night out on the prowl and needing a little hair of the dog. But you can’ beat the guitarist who fills the void with those big full bodied notes and the fantastic interplay between the B3 and the slide guitar. Don Christopher’s Mike Bloomfield-inspired guitar workout gives the vocal performance even greater power. It’s a traditional bluesy heartbreak song merging love with raw boned eroticism. The lyrics tell part of the story

Come on Home

All I want is you, child

Ain’t nobody else gonna do

Come on home gal

All I want is you

YOU

I’ve never loved a woman

The way I get down to lovin’ you

In the hotel room

Any way you want it

The Train (2:30) is another gem written by Ritchie Cordell, Jeff Katz, and Jerry Kasenetz. These are the masterminds of the bubblegum music that was all the rage in 1968. This is a well-constructed rock song with a bluesy organ and a top notch horn section and another great vocal performance by Mark Gutkowski. He was at the top of his game and was singing with more depth of expression. Like any good pop song The Train hints of a night of carnal pleasures and Dionysian excess. Hallelujah!

SIDE 2

Creations of Simon (3:40) (J. Roth, R. Gomez, T. Gutkowski). The title is conceived as the evolution from Simon says. The song opens side two with some tasty wah wah guitar. The horns power in and the rhythm section has a vice grip on time like Entwhistle and Moon keeping Townshend in check. The syncopated beat heats it up like a totally demented but sober Sly Stone. There are several tempo changes that display the skill of the band like switching from a 3 step waltz to some raw funk and soul train spew and then suddenly, out of nowhere a flute appears for a brief calming interlude followed by some brutal back door sax. The band is tight and…it works. This is bump and grind music for when you get down with your honey bunch. The guitarist stretches out, up and down the neck from the e-string to the bass, very fluid. Pat Soriano sings a few verses about being yourself, to be exactly who you are. Good advice.

Collections of Thoughts (5:08) (D. Christopher) opens with an insistent walking guitar riff, poppin’ bass, organ washes and then horns. The unison vocals are compelling and recall power pop at its best – a touch of Beatles and a hint of Chicago. There are spot on signature changes, chunky, scratchy guitars and elusive spoken word backdrops ala Pink Floyd (“just to be part of it”; it’s just too much” when you stand with me, it’s exciting). Christopher has a great voice and his lyrics are almost Zenist, multiple truths and middle paths

There’s nowhere to sit

But where do I stand

I need her

The mirror reflects all the things…

break it… left with reality

a) In the Beginning (1:30) (1910 Fruitgum Company). This snippet of an intro has Hendrix fuzztone with the music crashing in a fury of competing sounds. The synthesizer creates a mosaic of electronica that hints of the new age electro/dance/synth/trance movements that evoke a hypnotic effect. Without missing a quark or a squeal the music segues to…

b) The Thing (3:40) (M. Gutkowski, T. Gutkowski)

The Thing. It’s a well-produced and engages the listener with a crisp sound – it pops! It has it all -fuzz guitar, a boppin’ bass line, and a screaming B3. The horns color the musical landscape and give it some jazzy syncopation. Wah Wah guitar effects signals the horns to enter into the fray. In ’69, this band of young musicians were on the cusp of discovery, stretching out and testing the limits and taking chances like a new band on the rise, not a fading bubblegum act that sings Simon Says to former fans that now dig Led Zeppelin or Foghat. They were making a statement.  

Togetherly Alone (Five Movements) (5:30) (J Roth, T. Gutkowski) is an obscure dialectical reference that provides the scaffolding for this pocket symphony. The song is crafted as a minor chord lullaby with cascading organ trills that drench the musical backdrop in rich sepia toned colors, like an ancient Christie brand pipe organ. The tempo shifts and Ritchie Gomez lays down the vocal, Gomez is a flat out great singer. He can be a chameleon sounding like Paul or George but on this song his rich vocals resemble Tommy James from his Crystal Blue Persuasion era. He possesses great tone and pitch; a pure tenor. The tempo changes to a simple but powerful 4/4 marching beat each instrument joins in unison. The buzzing bass and synth lines give the song a psychedelic tone and the inverted chords, trumpeters swan and classical guitar phrases give the song a rich baroque feel. Richie’s vocals are exquisite;

We have each other forever

Now we’re together

Forever together

no longer together

togetherly alone

The record ends with a mad professor’s organ trill and a guitar crescendo. There is a false ending; Silence then 14 bars of an upbeat mid-tempo instrumental tip of the hat to Gary Brooker (Procol Harum) and one last goodbye.

The end of a great LP; an honest effort, a grand experiment!

Hard Ride is a great LP, an undiscovered treasure. Don’t let the bubblegum label fool you. This LP is a major statement by a great band that never got its due. It’s available on Amazon or Ebay. Buy it now. You won't be disappointed

Ghetto Priest

Ghetto Priest

They Call I Black

At the age of 33 years I arrived at a point in my life where the psychological illusion of 
a safety net that I had created or implanted in my mind pertaining to family, culture, society, religion and environment was stripped down to its bare bones. This mini album is a testimony to my 33 years on the planet earth

-          Ghetto Priest

Ghetto Priest is an artist that hit his stride with Adrian Sherwood’s the On-U Sound back in the ‘90’s. He cut his teeth as singer and percussionist for African Head Charge and by 2004 he cut his first album for the label entitled Vulture Culture. Later that year he teamed up Scottish artist Graham Fagen for a remake of Robert burns song “The Slaves Lament.” He even found time to hook up with activist dub-punks Asian Dub Foundation and appear on Fortress Europe from their Enemy of the Enemy album. He went on to front their exciting stage shows for the next four years. He has released several singles including Dungeon, A Long Way, Armageddon and the lion Of Judah Hath Prevailed. He has recorded with The Process, Detroit’s own iconoclastic reggae punks. This is Ghetto Priest’s Sermon on the Mount and the six songs on this disc are the beatitudes. Listen

Wrapped in Prophecy

This is a genre blending musical score that pushes boundaries. Despite the sometimes preachy vibe, this song is about feeling happy and finding bliss. The synthesized backdrop colors the song with a dream-like quality that seems like an alien dissociated state in which the normal processes of consciousness and memory are suspended. Ghetto Priest sings in low conversational tones as if he’s in the kitchen sharing a cuppa with a friend and confiding his most intimate thoughts, despite the title and the low-fi production, this is music for the masses. It has a cool cross-over appeal even with some of its more preachy tones. It is music with a transcendent message:

 I feel there’s somewhere else wrapped in prophecy   
You see the light only twice
Once when you are 
Once when you die

Ghetto Priest is clearly embracing an almost universal spiritual precept of the meek inheriting the earth as when Jesus names a group of people normally thought to be unfortunate and He pronounces them blessed.

Open Up (Let Your Light Shine)

Ghetto Priest sings about spirituality, redemption and Judgment Day with a minimalist backing  with just light percussion and synthesized accents, Ghetto Priests honey glazed vocals colors the song with a sense of warmth and intimacy. The listener joins in with the singer and they are one. He lulls the listener into complete and total submission.  Like a love junkie that never has enough, you cannot stop asking for more. He’s so quiet and unassuming, you have an urge to stop, quiet your mind and really listen. His lyrics are about courage and redemption:

Don’t give up  
Never say die  
Seek and you shall find
Let your mind fly
touch the stars 
Life keeps moving on
Don’t lose your faith
Slow down the pace

The Devil & The Deep Blue Sea

This is an extraordinary beautiful ballad, a substantial piece of music that can stand on its own merits. It opens with a lonesome acoustic guitar playing a minor chord, a swoosh of a cymbal roll and Ghetto Priest’s winsome “oooh”. There is a musical economy that provides space for the instruments and vocals to co-exist peacefully.  He sings:

I wonder if good can conquer evil
could we ever be free
Down on my knees
Caught between the devil & the deep blue sea
asking for forgiveness for all our sins

This is a breezy pop song with a message. It has hooks galore, melody and a great lead vocal.

It could be a radio hit!

Bruised is a genre hopping master piece. A reggae infused declaration of courage against all odds. The verse is pure reggae bliss:

I’m bruised but I’m fighting
I’m blind but I can feel
every tumble I take
is making me stronger

The bridge includes a jangly guitar riff and a 2/4 beat:

When you tell me it’s alright
Nothing will break me down
If you need me I’ll be around
a shoulder to lean on 
When you hold me in your arms
There’s no doubt in my mind   
Everything’s gonna be alright

Ghetto Priest moves skillfully from reggae to pop without missing a beat. He even throws in some primitive Dylanesque harp as a means of tipping his hat to the master, a kindred soul whose music and lyrics created the soundtrack  for the sixties peace movement.

The Time Has Come is another genre defying song. It is a statement of change and rebellion and  love and freedom. This is an historical declaration that is centuries old but had its most recent incarnation in in 1967 as it flowered and overflowed in Laurel Canyon where the ideas about freedom, peace and love were embraced in San Francisco and elsewhere.  Ghetto Priest sings it cool and low and the harmony vocals by the ladies gives the chorus a boost. The swirling synthesizer blips and grumbles and helps define the overall sound. The percussion is muted but the rhythm of the guitars helps keep the time.

The lyrics tell the story:

The time has come
when we can sail into the ocean
we felt no fear and no regrets
the time has come
we can hold hands together
and march to the promised land

The Devil & the Deep Blue Sea (dub edit)

              The swoosh of the synthesizer colors the dub edit of this incredible musical statement. The prominent echo gives Ghetto Priest’s vocals a heavenly tone and hue. He sings beautifully. This is a stone masterpiece that deserves a wider audience. This is a fully realized song that goes beyond simple craft to a soulful exploration of musical blending and boundaries. His lush tenor sounds a bit like Usher which may convince a younger fan base to sit up and take notice . From the musical execution to the lyrical brilliance, Ghetto Priest is on the cusp of something much bigger. This should be the vehicle to greater notoriety. Keep on!