Fusion 45

Richard Harris – MacArthur Park (#5)

According to Paul Zollo’s interview with Jimmy Webb (in the book “Songwriters on Songwriting”), MacArthur Park was invented “in Bones Howe’s head”. Howe asked Webb to write something “classical” for The Association. When they passed on Mac Park, it went “into the trunk,” Webb says, until Richard Harris invited him to London to make a record. Harris basically picked MacArthur Park from a stack of songs and the rest is history. (Interestingly, my post several months ago entitled “Richard Harris Is A God To Me” generates more Viagra spam than any other post I’ve done.)

For Blaine, MacArthur Park is the perfect palette, blending the orchestral chops of his soundtrack work with the rock and roll groove of The Beach Boys.

I heard my favorite version of this song just once. I was standing backstage at Broadway Junior High School in Elmira, NY. I was probably 12 or 13, listening to the stage band from the high school play an instrumental version. I watched the drummer, Steve Nixon, playing the fast part at the end and thought: “That’s really cool”. Steve later became a good friend in high school, helped me through some hard times and then, a few years after graduation, because a true acid casualty by stepping in front of an eighty mile-per-hour train.

The Association – Everything That Touches You (#10)

Like many kids growing up in the 1970’s, a good share of my indoor wintertime was spent with the neighborhood kids, playing air-guitar tennis rackets and beating the bed pillows with drumsticks. My best friend at the time, Deke Forrest, insisted on playing the tennis racket left-handed (because that the way Paul did it) and tapping his foot (because that’s the way George did it). I was disappointed he didn’t work John and Ringo in somehow.

There’s a certain understated funkiness to the rhythm track on this song. Blaine slips into the pocket, reprises his Mamas and Papas vibe and takes it home. (I saw The Association perform this at the Chemung County Fair around 1970-ish; my very first rock concert.)

Gary Puckett – Young Girl (#2)

Even though I was 6 years old when this came out, I understood clearly what Gary was singing about. This song (plus “Lady Willpower” and “You’ve Made Me So Very Happy”) was one of the first singles I owned. I spent hours listening to these songs, dissecting the horn, string and vocal parts. Obviously I’m regressing back to six years old. I’m wondering on how many songs Blaine straight fours on the snare drum (and somehow never sounded the same twice).

The Grass Roots – Midnight Confessions (#5)

This one features more straight fours but not before he did the great opening couple of bars. Nice snare fill at the end of the first chorus, too. If you think it’s simple, just transcribe it and play it and see how close you come to the groove, eh?

Kenny Rogers and The First Edition – Just Dropped In (To What Condition My Condition Is In) (#5)

So 60’s, so psychedelic! Kenny Rogers was so c-o-o-l back then with his long vest and fringed hair (or maybe it was the other way around). And he had yet to go country and make several kabillion dollars. Close your ears to the music (which is seriously flower-powered out, complete with vibraphone) and dig Blaine’s track. It’s totally funky.

Simon and Garfunkel – Mrs. Robinson (#1)

In my mind, the movie and the soundtrack to “The Graduate” are the 1960’s. I don’t know what Blaine played on this record but it never ceases to amaze me how the song just keeps pushing forward. I think the most that came out of the drum set were hi-hats on 2 and 4 during the chorus. Seemed to be enough…

The Fifth Dimension – Stoned Soul Picnic (#3)

It’s going toward 5PM on a Sunday afternoon. It’s a breezy 81 degrees. The backyard is looking like an oasis after a full day of gardening. The boys are hitting whiffle balls off the back deck, my wife is napping, my daughter is playing school. It’s a stoned soul picnic. A great groove from HB…

The Vogues – Turn Around Look At Me (#7)

Sometime in the late 60’s, my high school aged brother bought a jukebox. Don’t know why but I thought it was totally cool. It had “Windy” by The Association, “Silence Is Golden” by The Tremeloes, “I Love You” by People (which I just recently found on a 45) and this one. It sat in our garage for a few years, I played it a lot and then Dad got sick of moving the lawn mower around it and sold it for $20. Trip-o-let, trip-o-let, bah bah bah…

The Vogues – My Special Angel (#7)

While hippies were changing the world, Hal Blaine and The Wrecking Crew were helping to maintain the pop status quo…straight from the 50’s songbook…but a Top 10 hit nonetheless.

“Selling all my records. $40. Call 555-5555 for more information”.

He could’ve saved himself the $3 he spent for the newspaper ad and simply emailed me directly.

Two hours later, I was in Dick’s living room looking at “all” his records: three boxes of albums and a couple of boxes of singles. Turns out Dick sold cars from his front yard for “20-some” years and had some experience stretching the truth. Turns out that “all my records” were the 150 or so leftovers he hadn’t moved to his girlfriend’s 96-year old father’s house. “The state bought me out,” he smiled, looking a little bit like a low-fi Ted Turner, “‘cuz they’re putting an overpass right about where you’re standing”.

“I guess I’d better step over here, then,” I said, as I flipped through the third box for the third time. After taking enough time to make him itchy but not too cranky, I offered him $10 for the one box of compilation albums and the two boxes of singles.

“But, those are the best ones,” he said, “the rest of the stuff is kind of, well, ‘quirky’ I guess is what I think they call it”.

“Yeah, that’s true,” I said, “those are the best ones and the others are…well, ‘quirky’ is a nice way of saying no one would really want them”.

Dick seemed hurt. “Really? I used to listen to them all the time.”

“Iszatso? What’s your favorite song from, um, this one…”Toni Carroll Sings The Hits of The 20’s”.

“Tell you what: give me 12 bucks and I’ll give you the whole deal,” he said, the look of a car dealer who’d just bought a lemon himself.

Revision: “Selling a bunch of records that only a junkie could love. $12. Stop by anytime”.

Here are some B-sides and out of print stuff from Dick’s collection, in the raw (complete with noise and needle drops).

Charlie Rich - I Washed My Hands In Muddy Water (Written by J. Babcock/SMASH S-1993)

Before Charlie Rich was found “Behind Closed Doors” with “The Most Beautiful Girl” (and, by some accounts, a case of bourbon and numerous livestock), “The Silver Fox” was a rock and roller. He played piano and guitar for numerous Sun recording artists, including Jerry Lee Lewis and Johnny Cash, as well as recording his own records. In 1964, he left Sun to score a hit with “Mohair Sam” on the SMASH label. This B-side has that great Sun legacy written all over it. Also recorded by: Spencer Davis Group, Stonewall Jackson, Buddy Knox, Lonnie Mack, Elvis Presley, Johnny Rivers and George Thorogood. Should be recorded by: Solomon Burke

Cornelius Brothers And Sister Rose - Lift Your Love Higher (Written by E. Cornelius/UA 50910)

Shortly after scoring hits with two great 70’s soul songs (”Too Late To Turn Back Now” and “Treat Her Like A Lady”), brothers Carter and Eddie Cornelius disappeared from pop music for religious pursuits. Eddie became and ordained minister and Carter followed a black Hebrew sect under the name Prince Gideon Israel. Carter considered a return to pop music but died in 1991 from a heart attack. Eddie continues to perform Christian music. This song, the B-side to “Too Late To Turn Back Now,” could very well being telling a spiritual story. Out of print. Also recorded by: no one. Should be recorded by: Jamiroquai.

Lou Christie - Cryin’ In The Streets (Written by Lou Christie and Twyla Herbert/MGM K13412)

For Lou Christie and his records, it’s all about the name. Lugee Alfredo Giovanni Sacco was going to record under his first name, Lugee, until 1962 when his single, “The Gypsy Cried,” was accidentally released under the name Lou Christie. What’s more, his partner’s songwriting credit, on both this tune and “Lightnin’ Strikes,” is given to “Twiler” (rather than “Twyla”) Herbert. Even so, “Lightnin’ Strikes” was voted #33 in WCBS’ all-time list of great rock and roll hits and has supported Christie’s falsetto habit for 40 years. This B-side, on the other hand, confirms that lightning strikes only once on any given record. According to his website, he’s recently written an Italian language song and is looking for a place to sing it. Also recorded by: no one, gratefully. Should be recorded by: Robert John, Leo Sayer or no one, depending on who raises his hand first.

Millie Small - Something’s Gotta Be Done (Written by Tony Washington/SMASH S-1893)

After recording reggae tunes at Coxsonne Dodd’s legendary Studio One, Small went to London, where she recorded “My Boy Lollipop”. It was a major smash on both sides of the ocean and lead Small to be known as “The Bluebeat Girl” (after the style of island music that became know as Blue beat). This is the B-side from “My Boy Lollipop,” clearly from the same songbook. Out of print. Also recorded by: no one. Should be recorded by: Lou Christie?

? Mark and The Mysterians - Got To (Written by The Mysterians/Million Seller MS-800-8)

Named after a Japanese sci-fi flick, The Mysterians, Question Mark and The Mysterians were actually Rudy Martinez and his mates from Bay City, Michigan. Setting the precedent for both rock star eccentricity (and garage rock, too, for that matter), Martinez to this day insists he was born on Mars and lived with dinosaurs. If this were true, then Sun Ra would’ve covered “96 Tears,” not Garland Jeffries. On the flip side of “96,” is this little nugget called “Got To”. As with most Q-Mark songs, it’s all about the organ. Also recorded by: no one. Should be recorded by: Tom Waits.

? Mark and The Mysterians - I Need Somebody (Written by The Mysterians/Cameo C-441 A)

Also included in Dick 45’s was this tasty little bit of garage punk. As near as I can tell, it’s the B-side of “8-Teen” (or maybe it’s the other way around). Complete with reference to “Mary Had A Little Lamb,’ this sounds even better for all the dirt and scratches. Also recorded by: The Pretenders. Should be recorded by: Air Traffic or Smashmouth.

The Animals - Club A-Gogo (Written by Eric Burdon/MGM K 1331)

Before they hit it big, The Animals were part of Giorgio Gomelsky’s stable of artists, playing blues and R&B around London. That explains why this tune, which was likely written by Burdon while brushing his teeth, sounds like The Yardbird’s “I’m A Man” (which sounds like “Mannish Boy”). Pretty cool piano sound, though, and he’s unapologetic about name checking the blues at the end. Also recorded by: no one. Should be recorded by: Ian Siegal.

The Drifters - I Don’t Want To Go On Without You (Written by Bert Berns and Jerry Wexler/Atlantic 45-2237)

There have been so many iterations of The Drifters, it would take three Mensas (or the soul mensa himself, Larry, over at Funky 16 Corners) to figure who’s on this record. There’s a renewed interest in the writing and production of Bert Berns, however. This one, the B-side to “Up On The Roof”, was a bit like a mix of Boudleaux Bryant and Allan Sherman. Also recorded by: The Searchers, The Moody Blues, Van Morrison, Patti LaBelle and The Bluebelles, Ginger Baker and, believe it or not, Nazareth. Should also be recorded by: Metallica.

The Honeycombs - Please Don’t Pretend Again (Written by Meek and Lawrence/Interphon IN-7707)

The Honeycombs’ name was created by founder Martin Murray, who combined a tool of his day-time trade as a hairdresser (”comb”) with the name of his assistant (and drummer) Honey Lantree. This flip side of “Have I The Right?” was written by legendary producer Joe Meek and was likely a B-side throwaway. Out of print. Also recorded by: no one. Should also be recorded by: Belle and Sebastian.

The Jackson 5 - One More Chance (Written by The Corporation/Motown M 1171)

It’s pretty spooky to hear 12-year old Michael Jackson sing: “Everybody loves a star/When he’s on the top/But no one ever comes around/When he starts to drop”. By all accounts, this B-side to one of the great pop soul songs of all time, “I’ll Be There,” included a session drummer named Gene Pello. Strangely enough, Pello also played drums for Captain Beefheart. Out of print. Also recorded by: no one. Should (NOT) be recorded by: Mariah Carey.

The Vogues - Some Words (Written by Willett, Cohen and Ferry/Co and Ce B-229)

Progenitors of grandiose vocal pop well beyond it’s time, The Vogues continue to tour around the country playing a half-dozen dates every month (often with other vocal groups of the time). This is the B-side to “You’re The One” and is a classic example of the genre. Out of print. Also recorded by: no one. Should also be recorded by: no one. Grab your favorite girl (or guy) and go see them sing.

When I die, I want my tombstone inscribed with the following epitaph:

“Herein lays a man a-rest, nothing left to do/For what killed him was his lovely wife, she bit off more than he could chew.”

It seems I’m infected with the same curse of blind ambition as my lovely red-headed wonder-wife: this Hal Blaine series has taken on a life of it’s own. This is the 3rd post on him and we’re just now covering the year nineteen sixty-five.

I’ll venture to say that never in the history of the twentieth century did music and politics so clearly mirror each other than in ‘65.

This kit of a dozen songs featuring Hal Blaine shows us two different versions of America as seen through pop music. On one hand, we have traditional conservatism brought forth by the likes of Jay and The Americans and Mel Carter, over-the-top pop groups with Spector-like arrangements who sounded old even in their own time.

At the other end of the spectrum, we heard marching drums and protest songs, embodied by The Byrds and Barry McGuire, portents of what is now considered ‘normal liberalism’. In between, The Beach Boys (though becoming more experimental) were California past and present while Johnny Rivers started showing us a little about what SoCal rock was going to look like in the 1970′

Jay and The Americans - Cara Mia (#4)

No one was more over the top than Jay And The Americans and nothing I remember hearing from them was farther over-the-top than ‘Cara Mia’. (This was actually sung by David Blatt who, by this time, had replaced the original ‘Jay’ (John Traynor) as the lead singer). Like Connie Francis’ version of ‘Mama’, we hear again how much pop was co-opted from other sources (like Italian opera, strangely enough). If you listen closely to what Blaine’s doing on this song, you recognize a march-like drum line that’s very similar to what he plays in the protest songs.

The Vogues - You’re The One (#4)

The Vogues were a crazy band. Not crazy in the Ozzy Osbourne sense but more in the Kinks-Meets-Gary-Puckett sense. They did one of the most bombastic pop songs of all time (”Turn Around, Look At Me”) and one of the swinging-est pop tunes of all time (”Five O’Clock World”). With “You’re The One,” we get one part Johnny Horton (the guitar opening), one part Zombies (the lead vocal) and one part Jay And The Americans (the harmonies). Behind it all, Blaine gives us a delicate semi-surf beat, complete with jangly ride cymbal and sixteenths on the fours. Crazy, man!

Mel Carter - Hold Me, Thrill Me, Kiss me (#8)

Could it be that Mel Carter is actually David Blatt’s long lost twin? Sounds that way. To truly appreciate this song, I have to block out Carter and the Elvis-Meets-Mitch-Miller backing vocals and hear the brilliance of the orchestra arrangement and reverb-laden snare drum. Reference Barry Manilow for an even greater use of this technique.

Gary Lewis And The Playboys - This Diamond Ring (#1); Count Me In (#2); Save Your Heart For Me (#2) and Everybody Loves A Clown (#4)

What I love about Gary Lewis (besides the fact that he was Jerry Lewis’ kid and, seemingly, unembarrassed by that fact) is the band’s ability to sound like everyone else who was popular at the time (and some who yet to be popular): Roger Miller, Herman’s Hermit’s, Leo Sayer. You name it, they copped it. He was one of the first pop stars of the TV generation, laying the path for The Monkees and The Partridge Family, two others who were supported by Hal Blaine. Great tympani part on ‘This Diamond Ring’ (gives it that Hawaii 5-0 surf vibe); I believe that’s Leon Russell (a sometime member of ‘The Wrecking Crew’) playing piano on ‘Count Me In’.

The Beach Boys - California Girls (#3) and Help Me, Rhonda (#1)

Even though he was still kicking out Top 40 surf anthems in 1965, it was clear the end of the innocence was coming for Brian Wilson. ‘Pet Sounds’ (which also featured Blaine) was just around the corner and things were getting more experimental. I’m still not sure what the fade-in/fade-out thing in ‘Rhonda’ was all about but I remember banging out the drum pattern to ‘California Girls’ on my bed more than a few times (with pillows as tom-toms). I don’t know what it is (the tempo, the key, the harmonies) but there’s a fatigued sense of melancholy about ‘California Girls,’ with the march tempo in the chorus that says pop music is taking a turn from which it’ll never return. The next year, with ‘Pet Sounds,’ bore that out.

The Byrds - Mr. Tambourine Man (#1) and Barry McGuire - Eve of Destruction (#1)

This version of MTM, from their pre-Flyte album, sounds much different from the one we’re used to hearing on the radio. We’re marching off to war, on the eve of destruction.