WHEN MY BABY'S BESIDE ME (Bell-Chilton) Big Star Produced by Big Star Ardent 2902 Time: 3: 20 Flip - In The Street
by Martin Robert Cerf, Phonograph Record Magazine, Feb. 1973
Create-tivity. Inspiration. Sure do mean a hell of a lot fellas. Like I know this cat what's spent over a year completing an album that's supposed to stand for the answer to whatever question you might hope to put up. Sure, from December, 1971 up ta now. So, he just completed the mastering, spent months doin' that, blew all conceivable budgets in the first four months, and he held this really informal audition for some close friends. One of his buddies brought along a lady. The record started. She was asleep within twelve minutes flat.
Still another genius in Baton Rouge spent two years working on his first LP, one of them solo efforts where the guy plays, writes, produces, and amazingly engineers the whole shebang. Well, two years on, in mid-1971, the record was done. Just in time for the first Paul McCartney & Emmit Rhodes one-man-band LPs, and also, somethin' else he couldn't predict happened... two years passed, so when he finished the LP, the entire listening audience had caught up and passed where the guy's musical concepts were...The record never came out.
Then, about three months ago we were introduced to Big Star. Their first LP titled, presumptiously, NO.1 RECORD received just gobs of trade ads. Full color. And about six weeks of those advance "teaser" ads...you know the kind I'm talkin' about, the ones that progress in copy and art every week so that after six consecutive ads, if you save all your back issues of Billboard, you know what they're tryin' ta tell ya 'bout...That's called merchandizen'. So, the advance grease was in the skillet and ready for the test. Well, those that got the record must have been redlined-out, 'cause word has it within four days of receipt, DJ copies the nation over were showin' up in bargain bins everywhere...sealed. In fact, only one really bothered to listen, Jon Tiven, and he quacked in Fusion that, "Big Star are the greatest thing since The Count Five, The Yardbirds..." and so on...In short, the majority got a soft-on for Big Star's NO.1 RECORD.
And if matters weren't bad enuf, their record company which is owned and operated by the clever folk at Stax Records (The Dramatics, Carla Thomas) decided to finally hook up with a major record label, Columbia. And it was the age old situation which goes on every day in this hot biz where a group was caught up in the center of a problem beyond their control.
Oh, I forgot the important thing, the group's record is excellent. Not phenomenal, but certainly excellent. I'm speaking of the single of course, can't vouch for the LP though. Well, like in the first two stories I rambled off, there's a dramatic irony to the Big Star situation. So the record company is sold, group isn't workin', and it appears all is lost. Then this Fusion review comes out, and word of Columbia re-releasing the LP and applying a whole new effort there upon comes down. Terrific, a second chance for an act that well deserves a break. But hold on, now they wanna split up...that's not exactly true, only one member of the band is leavin', that's Chris Bell. But he's an essential part. 'Cause along with Alex Chilton he sang lead vocal and back up harmony, played lead guitar and at least co-produced and arranged all of the group's first LP...so tough shit huh. Nope. There's still this here single. And the AM market doesn't care if the band are androids or computers, long as it's in the plastic. Let me assure you people, this is one of those singles...
Like the first ten seconds explode with -this lead that sounds like The Guess Who at their best with some Alice Cooper thrown in for good measure. Then it forms this riff what coul embarrass Albert Hammond and the Troggs. And lyric content...you lookin' for any teenage these days, we always are, And Chris didn't forget it either..."Don't need to talk to my doctor, don't my shrink, don't need to hide behind no locked door, I don't need to think, 'cause when my baby's beside me I don't worry, when my baby's beside me all I know, when my baby's beside me I don't worry, when my baby's beside me I don't worry"* ...And it gets bitchier and bitchier. Then there's Jody Stephens who's working out on snare 'n cymbal better than the cats on Treat Her Right and Shakin' All Over, his stuff is real elementary, no Elvin Jones here, but it doesn't matter, it's great (like the stuff on early Sonny & Cher singles (i.e., Little Man). And the part about droppin' out of school makes it complete.
Now at first glance this might appear like any number of other fine pop singles available, don't be fooled, this is another Bus Stop, Don't Bring Me Down or Have I The Right. Christ, Alex was with the Box Tops and you know how important all those AGP records from the mid-sixties were, now don't you?
Now there's still 3/4ths of Big Star together. They still have this new LP out there. And there's still this single. Oh, it's got a fine B side too, which could be an A side...In the Street is like The Doobies' Listen To The Music; sounds great on a car speaker or burned out Silvertone. And dumb lyrics...you get a whole shit-load here. Big Star sound like the Byrds too. A lot, really. No, this is a group you don't wanna pass up, believe me. And, you may never hear of them again, God forbid, so let's do what we can to make sure they're around for some time...We suggest you write off the the benevolence at Ardent Records for a free copy of this single, they must have hoards of R/A's by now and they promised to cooperate too! Write to Ardent Records, 2000 Madison Avenue, Memphis, Tennessee. (Big Star are as hot as our good buddies - the Raspberries, don't dare miss 'em)...
Thundermug AFRICA (B. Durst-J. DeAngelis) Produced by Greg Hambleton Big Tree 154 time: 3:21 Flip -No Information Available By Martin Cerf - Phonograph Record Magazine - 45 revolutions Per Minute Column.
It was a rainy, shitty night -on U.S. 23 drivin' down from Grand Rapids, Michigan. Just finished attendin' this college radio convention, Christ, these kids get it on better than their old men attending those annual Gallencamp Shoes get togethers in San Francisco where side-burned, tweeded out head horn-toads score for the first time in twelve months...So, just out of Lansing it starts to blast over the Budget Rent-A-Car shoddy Impala speaker, the perfect proving ground where singles make it or break it. HOT STUFF.
It's like The Immigrant Song taken to the extreme, none of that pseudo stuff like Crazy Horses. The distortion here is stiffer than the AUDIO FIDELITY STEREO CHECK OUT track which'll take you up to 40,000 decibels...lt's guaranteed to rip the finest of speakers.
I was certain it was either the new Alice Cooper or Roy Wood, couldn't be anything else. Then the slutty sell-out voice didn't even mention who these dudes were, no, he went right into that Johnny Rivers voter registration, public service record...For shame, that's like gettin' a cashier's check tor eight grand drawn on the Bank of Managua, like it was no use. Certainly I'd never hear it again. Then a reprieve, a local Detroit personality, Bo Clifford (no relation to Cliff Richard, Clifford Brown, Boax Gentry, boa-constrictor, Clifford Coulter) got wind of the side again and got word to us, fortunately. Thank goodness.
OK, there is very little known about the group. Most probably a studio act. It's a UK record, and will unquestionably be very hard for you to find. But those who had the opportunity ta catch Do Ya by the Move, Some Sing, Some Dance by Pagliaro, or Little Willy by the Sweet, well you'll not be able to justify your existence till ya hear this. There might be some possibility of locating it in one of the major retail record stores specializing in singles, 'cause it's on Big Tree. This is an incredible label; buy every record you can find on Big Tree. They've had fifty-seven singles so far (I've got 'bout 50) and the first twenty-five are already worth two bucks apiece. The label has (has had) stuff by Lobo, Dave & Ansel Collins, Neighborhood, April Wine, The Magic Lanterns, James Vincent, the Sugar Bears, Brownsville Station, The Happenings...How could you pass up records with titles like the pleading I Need Love or the nostalgic Working My Way Back To You or the intellectual Rock With The Music ...no way...and Africa is the definitive Big Tree record...The fellas at this label know how to pick 'em...Not a bad one in the lot and Big Tree is responsible for bringin' us over 58% of the novelty records produced today, definitely a company to be reckoned with...Thundermug are the greatest since Bull Angus and Sir Lord Baltimore...good gosh...
Marcus Hook Roll Band - NATURAL MAN (Vanda-Young) Produced by Wally Allan Regal Zonophone RZ 3061 Time (very long) Flip -Boogalooing Is For Wooing
By Martin Cerf - Phonograph Record Magazine - Jan. 1973 - 45 revolutions Per Minute Column
I'm not really concerned that this record hasn't been released in the United States any more. Well, mebbe juz a little. You see, I'm in an interesting position. A lucky one for which I'm grateful. If I come across a great single, or group, I get to call it to the attention of this here record company called United Artists who presumably will check it out. There's a couple others around who hold a similar relationship. Like Ralph Gleason at Fantasy, Don Heckman at RCA, Ed Ward (with all good companies) and others. And why not use our good sense? Rockridics like Ed Ward know what they're talking about...He's documented the subject matter for so long, obviously he's able to analyze the demographics of a specific recording and judge its worth against the competition.
(Ward's tastes have brought Asleep At The Wheel, Mott The Hoople and Commander Cody to the surface. And John Mendelsohn was tellin' us consistently about the Kinks, David Bowie, the Move and Christopher Milk so long ago I almost forget I'm teenage.) Which brings me to the matter at hand, the Marcus Hook Roll Band. Where did I first hear Natural Man? Over the phone, from this guy, Ron Eyre, who works out of UA in New York City. He wanted to know what I thought...He's always playin' stuff on the phone and sending tapes and what not...But most of the material he sends is second rate (which is only natural as quality, innovative stuff numbers few)...Ron said "Ya know who these cats are don't cha? It's Vanda and Young, and they made a lot of money for United Artists back in 1968." Sure, Vanda and Young, they were to the Easybeats what Wood and Lynne are to the Move. And in some ways they're a better combination (since they have been able to stick together for so long).
Eyre said Capitol Records had turned down the master, wasn't interested in another foreign act... You see Capitol has first option on all EMI material in the States. Then it comes to VA. Well, I asked Ron to send out the single to Bill Roberts (my partner) or myself and we would listen close up.
It was about fourteen days later when one of the faces from the VA A&R Dept. plodded into my office with the single and expounded lazily, "Ah, say, here's that Marcus record from England you wanted to listen to..." Our A&R wizz-kid wasn't keen on this record, "Take a listen to it and see if it's any good." To say he wasn't motivated is to say little.
So, I call trusty ol' Greg Shaw, anglophile expert that he is, into my domain. With the A&R hopeful still present, I inform Greg who we were. gonna listen to then Dropped the cartridge. Hearing that repetitive fender staccato chording intro, Greg and I were, fifteen seconds in, jumpin' up and down to the music of the Easybeats reincarnated. All the promise Vander and Young implied with Gonna Have A Good Time Tonight in 1969 they live up to here. If you can imagine what the Easybeats would have sounded like four years on should they have stayed together, then you know what Natural Man is all about.
Wazit sound like? It's got a snare that tears speakers. It's got protest lyrics. It demands you dance. It's got Beatle harmonies. It's got a riff the best this side of the Hollies' Long Cool Woman and Heaven Knows by the Grass Roots, and a hook, well, now I know the reason for the group's name…Towards the end of the record the riff slows; then stops, then builds through the use of: (1) a nasal lyric, (2) Cow Bell, (3) Sizzlin' guitar progression and, and, and... Then it leads into the most inherent repetitive verse: "In-it to the rhythm, in it to the top, everybody 's talkin' to ya never gonna stop, well don't cha worry bout me, I'm a Natural Man... in it to the rhythm; in it to the top... " etc.
As is obvious, Greg and I beseeched the A&R people to jump on the side immediately, pick it up for our heroes, United Artists... Well, I'm not about to categorically list all the events that followed, all that matter~ is UA don't have it. And those folks who originally turned the side down, Capitol, they have decided to exercise their option after all...
But something real curious happened the other day though. Capitol's greatest asset, Ken Sasano, told me they reversed their decision once more and they didn't want the record after all. So I put in a call to the head of International A&R at the Tower and lightly queried him as to the company's position on the recording..."Where the hell did you hear we weren't releasing the record. I heard Natural Man in July while in England and decided then to release it on Capitol. So whoever said we weren't puttin' it out, is crazy"...My, my so defensive...The cat seemed really pissed there Was any question at all...Why he was so adamant that I absolutely freaked when .I found out the record still isn't released and it's now three months since they picked up the master. Rumor has it the record is comin' out sometime in January. Such priority.
So, in the meantime, you can only get Natural Man as an import on the EMI sub label Regal Zonophone. And it's worth the 2 bucks you'll have to lay down for it...The B side, Boogalooing Is For Wooing is a whole other subject...It's so great, I might just save it for the next column. (89 points, both sides.)
The Hudson Brothers - Ba-Fa (Rocket/ MCA 2169) By Martin Cerf - Phonograph Record Magazine, Nov. 1975
Some close friends of mine in FM radio are going to look at the heading above and be real put off. I can hear Ed Sciaky over at WMMR-FM in Philadelphia saying, "The Hudson Brothers? Forget it, Marty." And while I would never punish him for his love affair with Yes and the other cerebral-rock splinter bands which have emerged from that same act over the last couple years, I still can't understand why fine two, and three part harmonies such as the Hudsons serve unfailingly isn't universally accepted in the circles Ed moves in. Vocal greatness when combined with relevant lyric seems to remain a West Coast indulgence, occasionally Anglo.
The Hudson Brothers, originally from Seattle (the city that gave us Paul Revere & The Raiders, Don & The Goodtimes and The Ventures too), have recently teamed up with former Beach Boy Bruce Johnston (co-writer of the Hudson's recent hit "Rendezvous") and his influence on Ba-Fa is clear and essential throughout. Especially on "Oh Gabriel" and "Lonely School Year," both would have fit nicely on The Beach Boys' Friends from 1968.
This is the Hudsons' fourth album, their first since Totally Out Of Control (Rocket/MCA 460) which tracks easily from start to finish. Nothing unpleasant on this release like "The Adventures of Chuckie Margolis," a six minute, incredibly boring narrative from last year's Hollywood Situation (Casablanca 9008). Ba-Fa was produced by Bernie Taupin (he worked on Out Of Control) and marks the band's return to Elton's Rocket Records label. (Rocket is a record manufacturing outlet which with the help of Neil Sedaka, Kiki Dee and Nigel Olsson is developing a reputation among record collectors as the Amy-Mala-Bell of the seventies. All Rocket releases are mandatory pop-library inclusions.) More than just records, Rocket's chief product is fun, and the Hudsons certainly service that market. But, dear reader, there's no need to be afraid of the concept. Even though their Saturday morning CBS-TV show of this summer past was a maze of corny, silly skits you'll find this release neither embarrassing or offensive even to cynical ears. The Hudsons would like nothing more than to blitz the entire media (TV /radio/records/films) simultaneously, but they've been making fine pop records too long to do so at the expense of an individual release. Ba-Fa is a convincing effort on the band's part, and does indeed demonstrate their high pop intelligence quotient.
At times The Hudsons can match the soft-crimson sweetness of Abbey Road period Beatles and then change gears into Good Vibrations era Beach Boys, and back again ("Bernie Was A Friend Of Ours"). The string arrangements by Bob Alcivar are highly crafted and work remarkably well throughout the album, especially on "Bernie." The songs here are brief (averaging 3:30) but the time is allocated with skillful precision. Ba-Fa is obviously the first real Hudson Brothers album (as opposed to a compilation of single sides) for this act that has been recording polished pop since 1967 under a bargain-basement full of names (My Sirs, New Yorkers, Everyday Hudson, Hudson).
The Hudsons have surely mastered the complicated art of simplicity and not since Straight Up by Badfinger and Rundgren's Something/Anything has it been so pleasing.
