Author: <span class="vcard">Dana Davidson</span>

Bound To Happen – Cashman, Pistilli & West

I have become a big fan of the three men who combined to write all but one song here, and produce this 1967 LP release – “Bound To Happen”. Terry Cashman, Gene Pistilli and Tommy West met while working for ABC Records. Cashman and Pistilli combined to write “Sunday Will Never Be The Same” that appears on this album, as well as being a successful single for Spanky and Our Gang, reaching #9 on the Hot 100 in the summer of 1967.

The three worked together and wrote 10 songs for the album and included one song written by Jerry Reed “Up ‘N’ Down (Baby What You Want Me To Do)” .

A little introduction to each man:

Terry Cashman is probably best known for his “Talkin’ Baseball” single from 1981 that turned into a series of songs highlighting the baseball history and famous names of each club. he was once in the Detroit Tiger minor leagues and made his first appearance on American Bandstand as a member of the do-wop group, The Cheverons, in 1960.

Gene Pistilli would move on to the original formation of The Manhattan Transfer and co-write 5 of the 10 songs on their first LP – Jukin’. The album was not a commercial sucess and Gene moved on. Pistilli reappeared as a solo act, singing in a fluid baritone and playing guitar, he blended western swing with a mid-swing era singing style. Billed as ‘the Hoboken Saddletramp’, he built a dedicated if localized following. He also wrote Randy Travis’ #1 song “Too Gone Too Long”. Gene passed away December 26th, 2017.

Tommy West was born Thomas Picardo Jr., he was part of The Criterions that charted with”I Remain Truly Yours” in 1963. While at Villanova, he became friends with Jim Croce, and would layer be instrumental, along with Terry Cashman, in getting Jim’s career off the ground. They produced all of Jim’s music until his untimely death. West also sang back-up vocals for Frank Sinatra, Perry Como and Sammy Davis Jr. Tommy and Terry also wrote 8 songs for The Partridge Family. After his successful songwriting time with Terry, Tommy moved to country music and produced 3 country #1 songs including Holly Dunn’s “Love Somebody Like Me”

“But For Love” is probably my favorite song on this album. It would surface twice on the charts. Jerry Naylor reached #69 on the Hot 100 and Eddy Arnold would reach #19 on the country charts in 1969.

Song List:

1 – bound to happen
2 – spring has a tear in her eye
3 – red is red
4 – i`d stumble & all
5 – a song that never comes
6 – sunday will never be the same
7 – port authority terminal
8 – but for love
9 – up n` down [ baby what you want me to do ]
10 – you can write a song
11 – the awakening
12 – bound to happen – reprise

Credits

All in all, a pleasing to the ear album that never got it’s due. I’ll close with one more cut – “A Song That Never Comes”. If you are interested in more Cashman, Pistilli & West, check out my podcast available here:

https://www.podomatic.com/podcasts/rearview/episodes/2016-02-11T08_31_24-08_00


Tinseltown album – Jimmy Rankin

Jimmy Rankin is a well-known country artist in Canada, He is also a member of the famed Rankin Family from Mabou, Nova Scotia, winners of many Canadian music awards.  In 2004 or there about, I saw Jimmy in concert opening for John Prine in St. John, New Brunswick. At the time he had recorded two solo albums – Song Dog and Handmade. I was struck by his writing and singing skills and played those first 2 albums a lot. Since then he’s recorded 4 more country/folk albums and a Christmas album, which I want to feature in this post.  Among the 12 songs, there are the usual standards but there are 4 songs included that Jimmy wrote or co-wrote. The one above is “Boogie Woogie Christmas” a nice uptempo song co-written by Pat Conroy. The title song is more of an introspective look with the typical Rankin vocals. 

The third original is “December”, very reminiscent of “Northern Winds” a favorite cut off the Handmade’ album. Jimmy has a way with the wistful song, his voice lends itself well to giving you that nostalgic feeling when listening to some of his music.  The final cut from this album is another excellent song – “Don’t Want To Say Goodbye To Christmas Yet” and a great way to say we need to extend that Christmas spirit beyond the holiday. All in all, an excellent addition to the myriad of seasonal albums that show up each year.


Camelot 3000


The first DC maxi-series printed on Baxter paper was Camelot 3000, a 12 issue series written by Mike W. Barr (the creator and writer for the original Batman & The Outsiders series and contributor to many DC and Marvel comic series) and penciled by Brian Bolland. Bolland was an English artist best known for his work on Judge Dredd. Barr based his story on the reincarnation of King Arthur and his cast of characters, pulled into the future to battle a foe summoned up by Morgan Le Faye.


I have always been a fan of the Arthurian histories so this was right up my alley. Bolland’s artwork was very detailed and the storyline kept my interest until the last couple of issues where I felt the story faltered in getting it to it’s conclusion. I loved the covers and have included several of them in this post.



Kasenetz-Katz Singing Orchestral Circus

Jerry Kasenetz and Jeff Katz were arguably the biggest producers of bubblegum music. Their company was Super K Productions and among the artists they “produced” were The 1910 Fruitgum Company, The Ohio Express, and The Music Explosion.  They put together several of their “groups” to form The Kastenetz-Katz Singing Orchestral Circus. The album listed 8 groups (the above mentioned 3 plus Lt. Garcia’s Magic Music Box, Teri Nelson Group, 1989 Musical Marching Zoo, J.C.W. Rat Finks, and the St. Louis Invisible Marching Band. This fictitious super group would be responsible for 3 albums.  In reality, Joey Levine and a bunch of studio musicians were successful with their second single “Quick Joey Small” reaching #25 in October 1968. Their follow-up was “I’m In Love With You”. The song spent the first 3 weeks of 1969 “bubbling under” , getting as high as #105. 

If you happen to be wondering what their first single was, it was “Down In Tennessee” which had also “bubbled Under” in July 1968, peaking at #124.

Joey Levine and Artie Resnick wrote all three of these songs. Levine & Resnick wrote a ton of bubblegum music together, they were also members of The Third Rail and Joey’s voice may be one of the most recognizable voices in the business. All the big Ohio Express songs are his vocals, along with the Reunion hit “Life is A Rock (But The Radio Rolled Me)”


We’re All Playing In The Same Band – Bert Sommer



Bert Sommer – the least well-known artist to perform at Woodstock. Bert played a 10 song set on opening day of Woodstock, including a rendition of Simon & Garfunkel’s “America”which was reported to be the only song at Woodstock to get a standing ovation (have to think about that one, everyone was already standing, it was bring your own chair). Bert’s performance has been mostly ignored in any of the documentaries, it’s claimed that his performance is still in the archives but not included in the Woodstock histories simply because he was signed to Capital Records at the time and Warner Brothers was the official  record company of the festival.





Bert’s first appearance on the national music scene was when he replaced lead singer Steve Martin in The Left Banke, the group who had already had their biggest two hits. Bert and the Michael Brown, the brains behind the group, combined to write the B side of their next single “And Suddenly”. It would later be a minor hit by The Cherry People in the summer of 1968.





Bert playing Woof in the original Broadway production of “Hair” in 1969 and 1970. He also wrote “We’re All Playing In The Same Band” based on his Woodstock experience. The song would reach #48 in September of 1970, his only charting hit. Bert’s message of we’re all in this together is just as relevant today as it was then. The 17 year old that fell in love with this song back then is still very much with me some 49 years later. Described as a gentle soul but musically brilliant, Bert passed away of a respiratory illness in 1990.


There are 3 albums of Bert’s work hanging out somewhere – I found one in it’s entirety on Youtube. There is also an excellent website dedicated to Bert: Bert Sommer


Beginnings – Chicago



There are some songs that should speak for themselves and this would be a prime example. In January of 1973 I picked Chicago’s “Beginnings” as my 3rd most favorite song of the 5 years between 1968 and 1972 and I would still rank it in my top 10 songs of the rock era. Off the original Chicago Transit Authority LP, it’s album version was a wonderful 7 minutes and 55 seconds long with a great percussion and horn center.  The 3 minute and 14 second single edit that was the second single from the album failed to chart  but it was re-released in 1971 with “Colour My World”, the single reached #7. Robert Lamm wrote the song and sings the lead on it. Terry Kath plays the distinctive  guitar on the recording.

For years I campaigned for Chicago to be in the Rock and Roll Hall of Fame. Two years ago that dream became a reality. The group who put a horn section in the forefront, leaders along with Blood, Sweat & Tears (the performers on one of the two songs I placed ahead of this on my list mentioned above), and Lighthouse, in the use of the horns.

One more video of a live version recorded for Soundstage in 2003



How To Tell Bad News – Anonymous

Mr. H.: Ha! Steward, how are you, old boy? How do things go on at home?

Steward: Bad enough, your honour; the magpie’s dead.

H.: Poor Mag! So he’s gone. How came he to die?

S.: Overeat himself, sir.

H.: Did he? A greedy dog; why, what did he get he liked so well?

S.: Horseflesh, sir; he died of eating horseflesh.

H.: How came he to get so much horseflesh?

S.: All your father’s horses, sir.

H.: What! Are they dead, too?

S.: Aye, sir; they died of overwork.

H.: And why were they overworked, pray?

S.: To carry water, sir.

H.: To carry water! And what were they carrying water for?

S.: Sure, sir, to put out the fire.

H.: Fire! What fire?

S.: Oh, sir, your father’s house is burned to the ground.

H.: My father’s house burned down! And how came it to set on fire?

S.: I think, sir, it must have been the torches.

H.: Torches! What torches?

S.: At your mother’s funeral.

H.: My mother dead!

S.: Ah, poor lady! She never looked up, after it.

H.: After what?

S.: The loss of your father.

H.: My father gone, too?

S.: Yes, poor gentleman! He took to his bed as soon as he heard of it.

H.: Heard of what?

S.: The bad news, sir, and please your honour.

H.: What! More miseries! More bad news!

S.: Yes sir; your bank has failed, and your credit is lost, and you are not worth a shilling in the world. I make bold, sir, to wait on you about it, for I thought you would like to hear the news.

–by Anonymous, from A Treasury of the Familiar (1942), ed. Ralph L. Woods.



Another poem from “A Treasury of The Familiar” edited by Ralph L. Woods. My mother had a copy of this book and I quite often picked it up to find Biblical passages, famous speeches (Gettysburg Address), limericks, epic poems, whimsical verse, and other literary tidbits. I have always thought that whoever wrote this must have hoped that he could have this kind of conversation with someone of the rich and famous, just to cut them down to size.


Rhinoceros



Elecktra Records decided to hold auditions for a “supergroup” in 1967. Here’s the details from the Wikipedia article on Rhinoceros:

“Paul A. Rothchild, then Elektra Records’ talent scout and house producer, and fellow producer Frazier Mohawk (formerly Barry Friedman), decided to individually sign talented young musicians and form them together into a group in this fashion. While Mohawk had been instrumental in coordinating band membership for what became Buffalo Springfield (encouraging Stills to form Buffalo Springfield following his Monkees audition), the establishment of what became Rhinoceros involved a more formal third party role.

Rothchild and Mohawk initially invited twelve musicians to audition in September 1967, at Mohawk’s house in Laurel Canyon. Included in this initial group were Doug Hastings (guitar) and Alan Gerber (keyboards and vocals). A second audition was held at a Los Angeles motel in November 1967, where approximately twenty musicians were reviewed. After this meeting, John Finley (vocals) and Danny Weis (guitar) were chosen to work with Hastings and Gerber. Finley and Hodgson were both former members of Jon and Lee & the Checkmates, a band which Rothchild had expressed an interest in signing as early as 1965 that had broken up in September 1967.

Weis had been an original member of Iron Butterfly and played on their debut album. Hastings had been a member of Seattle’s Daily Flash, and briefly served as Neil Young’s replacement in Buffalo Springfield, during one of Young’s departures from the group. Other members of the Daily Flash were invited to audition for Rhinoceros, though only Hastings was chosen.

Weis then suggested former Iron Butterfly bandmate Jerry Penrod as the bass player for Rhinoceros; his suggestion was accepted. Former Checkmate keyboard player Michael Fonfara was then invited to join the lineup. Fonfara had joined The Electric Flag in mid-November 1967, for sessions and a brief tour of the northeast U.S. and California. During mid-December, he ran into Finley and Hodgson at the Tropicana Motel in Los Angeles, and was encouraged by Finley to sign on to the Rhinoceros project. Based on Finley’s recommendation, Fonfara was brought into Rhinoceros, following the completion of his obligations to the Electric Flag. John Keleihor, former drummer for The Daily Flash, contributed to some of the group’s early recordings, but departed early on. The final member chosen, in early 1968, was Billy Mundi, former drummer for the Mothers of Invention.”

Their first album was not the hoped for smash but contained some great music:



“Apricot Brandy” was the charting single from the group, it would peak at #46 and spend 10 weeks on the Hot 100. Another single from that from LP that failed to chart was “You’re My Girl (I Don’t Want To Discuss It)”, the B side, which made the chart on WPTR in Albany, New York, was “I Will Serenade You”, written by band member John Finley. Five years later Three Dog Night” would reinvent the song and reach #17 on the Hot 100



I 1969 they released the “Satin Chickens” LP and “Back Door” was the single that failed to chart. Their final album was “Better Times Are Coming”, they released two final singles, again failing to chart. Listening to their music 50 years later, it was much better than the public recognized and it’s stood the test of time. I’ll close this post with the first single off the last LP “Better Times”




For more on the continuing history of Rhinoceros, here’s the link to the band’s website: Rhinoceros: The Band


(Ghost) Riders In The Sky: A Cowboy Legend


Stan Jones, western actor and songwriter, wrote “Ghost Riders In The Sky” in 1948.  The song is based on the tune of “Johnny I Hardly Knew ya”, a traditional English melody that also begat “When Johnny Comes Marching Home Again”. Since then it has been performed by many of the great acts in the music world. I have over 50 versions of the song in my iTunes collection from the country greats like Johnny Cash, Gene Autry, Slim Whitman, Willie Nelson, and The Highwaymen, the great guitar players like Duane Eddy, Chet Atkins, Roy, Clark and Glen Campbell, the sublime like Burl Ives, Debby Harry, and Marty Robbins, to the ridiculous (Spike Lee, The Trashmen & Na Sha Sha).

 


Above is an electronic version done by Debbie Harry for the movie “Three Businessmen” I include it here because it shows the variety of styles this song has been treated to. Dick Dale, known as the father of surf music, has a version that fits the surf instrumental style proving this song has crossed over many genre lines and the licks in this can be made to fit any style. Many of the instrumentals versions have incorporated a line two from other great guitar songs. Here’s Roy Clark and Glen Campbell doing it live:

 


I’m not sure if it’s the story here or the great melody lines in this that endears it to me but I continue to search out old or new versions of this classic.So many great guitar versions of this – The Outlaws and The Shadows come to mind but I’ll leave you with The Ventures version:

 



It is said that the song has a basis in fact, here’s a link to the legend of Stampede Mesa in Texas:
<Legend of The Ghost Riders<


Give A Damn – Spanky & Our Gang



“Give a Damn” was released as a single in the summer of 1968. In spite of being banned in several states because of the profanity in its title – and in some cases due to the fact that it was a comment on racial equality that became the theme song for the New York Urban Coalition – the song became a regional hit where released and overall made #43. I still like the expression of equality it preaches, no matter what group you attribute it to.


Spanky and Our Gang would be among my favorite groups of the late 60s, Built around Elaine “Spanky” McFarlane, this group bridges the gap between The Mamas And The Papas and The Manhattan Transfer. Great harmonies, folk-rock, jazz, and not taking themselves too seriously made this group so enjoyable listen to. The death of Malcolm Hale in late 1968 was pretty much the end of their 2 year run. They lost Lefty Baker 3 years later as well. I happen to own the LP that is pictured in this video. Their biggest hits were “Sunday Will Never Be The Same”, and “Like To Get To Know You”.


Spanky became the lead singer of the New Mamas & Papas in 1982