Hudson Brothers Razzle Dazzle Show now on DVD!

I just laid down the cash for this DVD set on Amazon. I can't wait!

Update: We stayed up and watched all 3 DVDs the same night we got it. The show is really repetitive with some pretty boring skits using the same sets & costumes over and over but some of the recurring skits are cool. I especially liked Fabulous Freddy and Chucky Margolis. The uptempo music performances are hilarious. The Bros are constantly mugging to the camera with over-the-top lipsyncing. The slower numbers actually look closer to a real performances. Along with some covers, they do nearly all the songs from Hollywood Situation!

Pony article from World Pop News 1974

Pony - It's Gonna Be So Easy
Pony - 'Til I Met You

Pony Music Sparks 70's Pop Revolution
Author Unknown (Most likely Greg Shaw?) - World Pop News Vol.1, No.1 - July, 1974

LOS ANGELES - For years now, people have been looking for something new to happen in pop music, some group to come along and cause the excitement that's been absent for so long. And, according to advance reports from the few who've heard their forthcoming album, that group could easily be Pony.

Pony is a new group formed by four young musicians with extensive and varied music backgrounds and an intensive love for rock & roll. They all grew up in the Sixties, weaned on Mersey rock and '60s pop, sharing the same inspirations and respect for the sources of rock music's greatest vitality. Accordingly, Pony's original songs strike one on first impression as the most dynamic new approach to music since 1964.

Dan-Paul Milner and Brad Johnson grew up in the Minneapolis rock scene, which in the years 1964-69 was one of the nation's most prolific regional music centers. Brad got into music through Elliot Fine of the Minneapolis Orchestra, with whom he studied drums for seven years. Dan bought himself a guitar in 1965 at the age of 13 and was soon active in a band called the Visions, which lasted five years on the local circuit. When the Visions disbanded, Dan drifted west to Los Angeles, realizing that a musician could only become so big in Minneapolis, no matter how good he was.

It was in Los Angeles that he met John Polhert, an intense rock fan who had played on and off in groups since: age 13 and was particularly influenced by British pop and its American derivations like the Merry Go Round.

Like many a music-loving kid, he found a job at a record store, where by chance Dan-Paul Milner was also employed part time while waiting for opportunity to knock. It was soon discovered that they shared a similar outlook and philosophy of music. While listening to records popular at that time, inspiration struck: "We can do better," and they wrote the first of several songs together. The group Pony was soon to follow. Ron Jensen, a local friend, was brought in on lead guitar. Ron had several years musical experience himself, having been in his quota of teen groups and played with a fairly successful band out of Denver, the Five O'Clock Rush, during that city's brief mid-sixties peak as a local music center. At that point only a drummer was lacking, so Dan called on his old friend, Brad Johnson, with whom he had shared many a stage back home in Minneapolis. With the semester over, Brad left college and came to Los Angeles to complete the lineup of Pony.

From the start, Pony was a remarkably harmonious blend of talents. All were the same age, in their early twenties, all had cut their teeth on the electric excitement of the British Beat era, all had paid their dues in local bands for the better half of their lives, and when they began working out songs together it was as if they'd been playing with one another for years. Dan-Paul clicked with both John and Ron and together as well as by himself began turning out songs with an astonishing degree of sophistication, as well as energetic vitality and youthful exuberance. Moreover, all four could sing well enough to accomplish the kind of harmonies that had so enraptured them in the records of the Beatles, Hollies, Buffalo Springfield and other mid-sixties groups.

Although only together a short time, Pony has already made giant strides along the proper path to the pop stardom they all so intensely desire. They have gone unerringly to the roots of today's rock, searched out the original spark that has been too long stifled, and with it ignited their own original compositions.

Barry Kaye, the producer of Pony's debut album (scheduled for August release on 20th Century Records), has worked closely with them for nearly a year and deserves much of the credit for developing the group's sound and arrangements. Kaye has this explanation for Pony's startling impact: "It's simple, really. They've arrived where they are today through long years of the kind of dedication and hard experience for which there's just no substitute. On top of that, they have a common ideal of what pop should be and an unusual ability to actualize that ideal in their music. These guys are something special, and they're just what today's music scene needs."

Alan Betrock on The Jook

The Jook "Alright With Me/Do What You Can" RCA 2279 (UK)
The Jook "Shame/City & Suburban Blues" RCA 2344 (UK)
The John's Children saga never dies!!! Here we find The Jook, a new London quintet, being managed and produced by John Hewlett---late of John's Children---. And who is the drummer in this very same Jook? None other than Chris Townsend, the notorious skin-beater for John's Children!!!!!! While John's Children went thru various phases of image-making: the mod look; the short-hair look; the nude look; etc., The Jook seem to be experiencing the same kind of molding. They started out as a "long-hair" band, but now have embraced the short-hair look. Coupled with that is the return to 1967 Mod clothes, combined with the futuristic garb sported by David Bowie. Picture if you will a combination of the mod and rocker aesthetic and enter The Jook. Their first record, "Alright With Me" is a commercial sing-along rocker with some early Slade production bits thrown in---the highlight, tho, is the killer 1967 psychedelic guitar solo ala Pete Townshend!! It probably goes over quite well in concert….

The second Jook release "Shame" doesn't live up to the promise indicated by their premier effort. An updating of the Willie Dixon song doesn't really get anywhere, and lacks power & punch---however, there is another "My Generation" guitar break which almost make the whole thing worth having…
By Alan Betrock The Rock Marketplace no.2 July 1973

The Jook "Oo Oo Rudi/The Jook's On You" RCA 2368 (UK)
Undeterred by their lack of record-selling success The Jook return with "Oo Oo Rudi" which is clearly their most commercial release to date. An anthem-like guitar riff weaves its way throughout, conjuring up visions of the Jook marching thru the streets followed by their legions of space-mod fans. The melody line is too simplistic and a bit overbearing, but the lyrics continue in the 1967 Mod-rebellion style: "All we hear and all we see/And everything we learn from/Is planned by the older Generation"….."If they knew/If only they knew/What we're all about/Maybe then they'd understand that their way won't last…." And yes, they do treat us to some more killer guitar breaks.
By Alan Betrock The Rock Marketplace no.3 October 1973

Also coming next issue: …our friends the Jook keep on coming with two newies! Speaking of the Jook, they've just been signed to backup the British Sweet tour, so perhaps they will finally burst onto the charts. Their next single is rumored to be a 1974 mod classic---the working title of which is: "Bish, Bash, Bosh". Not exactly as original as Creation's "Biff, Bang, Pow", but a great move nonetheless…
By Alan Betrock The Rock Marketplace no.5 April 1974

The Jook "King Capp/Rumble" RCA 2431 (UK)
The Jook "Bish Bash Bosh/Crazy Kids" RCA 5024 (UK)
The Jook have issued two new singles since we last checked in with them. The first "King Capp" was a rather plain rocker which saw little action. Perhaps that's why they switched producers to John Burgess for "Bish Bash Bosh". This is one of the groups most commercial singles to date, a driving rocker with an upfront vocal and backing vocal chorus. The drums are especially well recorded, and if it wasn't so repetitive, it might have been a big hit. The flip is one "B" side that the group took seriously, and I really like it more than the "A" side. It shows that the group finally are developing a sound of their own, as well as a confidence and lack of imitative pretense which marred much of their earlier work. The lyrics are fine, the beat is strong, and the hook chorus is their most commercial and memorable one to date. It's too bad that the group broke up after this single was released because they showed signs of finally breaking thru. But there are rumors that they may reform with some new members. Let's just hope they pick up from where they left off.
By Alan Betrock The Rock Marketplace no.6 July 1974

Then came The Jook, whose story has been recounted in these pages over the last few issues. Basically Chris Townsen formed the group, and John Hewlett managed and produced them. Whether consciously or not, the group image-wise and music-wise was a 1970's version of John's Children---short hair; matching mod clothes; driving guitar-drums music; and teenage rebellion lyrics. But the Jook, like John's Children, never caught on in a big way (although they did release 5 singles within a year, just like John's Children) and in May of this year, after recording their acclaimed new single "Bish Bash Bosh", the Jook split up. Two Jook-ers joined Sparks, but now after a few weeks in limbo, the Jook have reformed anew and the personnel seems to have been finalized. It is: Chris Townsen (ex-John's Children-drums); Martin Gordon (ex-Sparks-bass); David O'List (ex-Nice-guitar); and yes, folks, Andy Ellison (ex-John's Children) on lead vocals!!! If this band can stay together and get some money behind them, the musical results are endlessly fascinating. With a slew of new bands, (Cockney Rebel, Sparks, Arrows, etc) making serious and important inroads in the British music scene, the new Jook stands and excellent chance of making it. The talent, creativity, and experience are all there, that's for sure…

By Alan Betrock from John's Children Article in The Rock Marketplace no.6 July 1974

Greg Shaw on Badfinger, PRM 1974

Badfinger
Badfinger (Warner Bros.)
Ass (Apple)
By Greg Shaw - Phonograph Record Magazine, Jan 1974

Two Badfinger albums in one month! What more could a fan ask for after a two year drought? If only it were so... actually, the fans will be asking plenty, and Badfinger has a lot to answer for, because these two mediocre albums are already one of the biggest disappointments of the new year.

Let's start with the Apple album. Nobody knows why it exists. It was never explained why Badfinger mysteriously stopped recording right after "Baby Blue" and "Day After Day", the two biggest smashes of their career, when Nilsson was hot with their song "Without You" and it seemed they were on the verge of becoming truly huge. The most believable story I heard was that they were just sick of Apple, and waiting for their contract to expire. Maybe somehow they were forced to put out one more album before ending the relationship, but how stupid to have it come out the same time as their first release on Warners!

If the Warners album were any good, it would have nothing to fear from the Apple one. Ass sounds like what it probably is, a collection of out-takes and practice tapes. There is a rough, unfinished aura about the album and a lack of really distinctive touches even in the best songs that goes against everything we've come to expect from this polished band. Once known for their exquisitely crafted singles, the best they could do here was "Apple Of My Eye", easily their worst single ever. My choice would have been "When I Say", but that's no big deal. One thing's sure: there's no three or four hit singles on this album -especially not the eight minute "Timeless"!

There are always excuses to make for a bad last album. Not so when you've taken over a year putting together your debut album for a new label. And actually, 'The Warners album is a bit more encouraging. "I Miss You" is an engaging McCartney-esque ballad, "Shine On" and "Love is Easy" make for tolerable listening, "Why Don't We Talk" almost makes it, and "Island" would be really good if it weren't so aimless. That seems to be their problem throughout the album melodies and song structures .are simply not as strong as could be, so that songs like "Where Do We Go From Here?" and "Lonely You" emerge as pleasant where they might, with some effort, have been as striking as the group's previous work.

Once we've faced the fact that Badfinger has not given us a proper sequel to No Dice and Straight Up, it's possible to derive considerable enjoyment from this album. Most of the songs are very nice; only "Matted Spam", which sounds like Buddy Miles, can actually be called bad. This is a good example of minor Beatlerock, definitely worth having, but nothing Grapefruit didn't do as well four years ago. And that's the shame of it, because I was really counting on Badfinger to bridge the gap between mere Beatle stuff and a new level of pop altogether. I believed that they, of all the groups who were trying, had it in them. And maybe they do. But the proof of that will have to come later - if Badfinger can manage to survive the double blow to their career these albums unfortunately represent. For what it's worth, I'm still hoping.

Mike Saunders on Blue Ash, PRM 1974

Blue Ash by Mike Saunders - Phonograph Record Magazine, Jan. 1974

You remember Blue Ash. They put out an album last year that all the critics loved. It was sort of Beatle-Byrdsish, yet quite original in its way, and full of what those who are supposed to know would swear were extraordinarily commercial songs. Yet like other such albums by groups such as Big Star, the Wackers, Stories and the Raspberries, it was totally ignored by radio and the majority of the record-buying public. Stories was lucky enough to score a left-field hit single, but even that didn't draw attention to their other songs, and the rest of the groups have not done so well. In fact with the exception of Blue Ash, they've all broken up or regrouped. How long can Blue Ash survive?

So great bands, bands that might've become the Beatles, Stones, Beach Boys of this decade, are forced to grovel in local bar circuits. Maybe that will turn out to be a good thing, in the long run. At least it makes us all the more thankful when a group like the New York Dolls manages a brief breakthrough. For Blue Ash, the breakthrough may never come, but if it doesn't it won't be for lack of talent. Their story could be taken as one of the classic object lessons of our time.

The big question here: Can Blue Ash sell records? That was the topic of discussion during part of Mercury's recent semi-annual sales meeting, according to A&R man Paul Nelson. "Bearing in mind how few copies Blue Ash's album sold, I was a bit apprehensive that the group might be dropped from the label without further discussion," explained Nelson, the man who discovered Blue Ash in a pile of unsolicited demo tapes. "So I was quite frankly surprised, to say the least, when a full two hours were spent discussing the group's music, their future, their strengths and weaknesses"

The decision reached was that Blue Ash will get one more single... If the 45 shows some action, the group then gets to put out a second album (already recorded). If the single flops, Blue Ash will be dropped - and their recording career quite possibly finished before it's even off the ground. Not even a second LP in the tradition of ex-Phonogram stars Bull Angus and Sir Lord Baltimore. Nothing. Nada.

Actually, seeing as how the first album didn't put Blue Ash over, it's unlikely that the second one would either, unless given a N. Y. Dolls-type push. After hearing the rough tapes a few times, it strikes one as less flashy, less immediately familiar than No More No Less - but still good enough to indicate that this is a good, potentially great, group. Curiously, there's only one loud, flashy Mod-ish rocker, "Start All Over Again." The other stand out songs are much less visceral than the bulk of No More, No Less, rocking moderately while stressing melody rather than raw energy.

After being praised as having the guts their fellow Ohioians the Raspberries lacked; it's really kind of surprising to see Blue Ash switching to a lightweight pop emphasis; while the Raspberries have gotten a new bass guitarist and drummer and claim that their next LP will be "very Who-influenced" (they ought to know - Eric Carmen's late 60's group Cyrus Erie used to regularly perform a 14-song Who medley!). But Blue Ash's new stuff is nice anyway. "Halloween Girl" and "With You On My Mind" would sound super on a jukebox at 45 RPM - remember the naivete of "I'm Happy Just To Dance With You"? Three cuts are pretty weak (especially the Berry-influenced "Rock On, Rock And Roller"), indicating that Blue Ash need someone to whip their ensemble sound into shape, a sound engineer who knows what he's doing, and more variation in shading and arrangement from song to song.

What they don't need is the scenario of being dropped from Mercury, turned down by the remaining majors, and finding that they'll have to remain dependent upon their Midwest bar circuit for a livelihood. On the other hand, maybe the only answer these days is to retrench back to some sort of local scene while waiting for something to change in the record biz and American popular music. It's no easy business, playing rock & roll in 1973. A couple examples come to mind: the Flamin Groovies' disastrous past two years in England, after having been turned down by every record label in the U.S. They're now considering moving to Detroit, just so they can play bars and eat regularly again. And a Bay Area group called Earthquake, dropped by A&M after two albums, who have now taken to releasing 45s on their own label, Beserkely Records. The key issue seems to be one summed up a while back by the true Dean of American Rock Critics, Mark Farner, in one word: survival.

You could blame it on lots of things. A rampant breakdown in the field of A&R for one -if you accused the majority of A&R departments of hating hard rock, you wouldn't be wrong. Paul Nelson, renowned for bringing the N.Y. Dolls and Blue Ash to Mercury, knows a lot about the frustrations of battling the inertia everywhere. He had to put his job on the line to get the Dolls, was vetoed by his higher-ups on Elliott Murphy, and ditto with Christopher Bell (the spark behind Big Star's LP and an excellent songwriter). So I asked Nelson, do you ever get frustrated, feel like you're banging your head against a wall, don't you ever just want to grab one of those balding rock-hating company executives by the collar? No answer. So you can imagine what Blue Ash feel like when they can't even find their album on the racks in their home town.