Casper Giles McCloud - "Why Oh Why?" on Youtube

My first post was about Caspar Giles McCloud. Since then the "Messin' Around" single was reissued by Vinyl Countdown. Zac Webb has dug up a video clip of Caspar doing an unreleased song "Why Oh Why". I hope he can dig up a studio recording!

Martin Cerf on Big Star, Feb. 1973

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)...

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.

Song on MGM

Song: "Like We Were Before"/"Sugar Lady"; MGM 14157

And speaking of Curt Boettcher, how could we let a Discoveries column go by without the mention of another Boettcher effort? This time it's Song on MGM, a group that featured Mickey Rooney's son. These two sides were produced by Curt and Keith Olsen, and are quite delightful. "Like We Were Before" is the real standout sounding like Badfinger, the Nazz and Merry-Go-Round all rolled into one. Strong melody, excellent vocals and fine instrumentation throughout. "Sugar Lady" is a bit heavier, without any real melody to hook you, but there still are a couple of nice touches. Look for the review of the Song Lp in these pages next issue!
- Alan Betrock, The Rock Marketplace no.4 December 1973

"Like We Were Before" is a perfect song and a perfect record - a mix of heavy guitars and melody with tremendous phased drumming. Just like the Nazz, Song was a band of Anglophile Americans playing powerpop before there was such a thing. That makes "Like We Were Before" both behind the times and ahead of the times.

I don't think Alan Betrock ever got around to reviewing the Song Lp in TRM. I had the single for a year or so before I found the Lp. The first time I brought it home, I had such high expectations, hoping for an album's worth of "Like We Were Before". What I found was closer to an album's worth of "Sugar Lady" - not horrible, but much too wanky. Apparently, this is one of the productions that Curt Boettcher did under duress. He was under contract as a producer, and was doing this album to pay the rent. The good news is that "Like We Were Before" is on it. But so is "Sugar Lady". I shelved the album, thinking Song was only good for one song on one side of one single. Mickey Rooney Jr. was the main songwriter and singer as well as rhythm guitar player. I don't know if this was a vanity project for a Hollywood brat or what.

I came back to the album a year later, though. I found a really cool song called "Eat Fruit" that sounds like an early John Lennon solo track, kind of like one of those Hudson Brothers songs where they sound more like Lennon than he did at the time. There's also a track called "Whenever I Think Of You" that is really catchy and melodic - a mellow Merseybeat sound for the 70's, again like what the Hudson Brothers, the Wackers, Badfinger and Rockin' Horse were doing. The tracks I thought were awful before aren't that bad after all. "Banana High Moon" is really melodic and has great harmonies inbetween frantic bongo-handclap breaks. "10 x 10" is sort of a husky Creedence boogie with some nice jangly Badfinger guitar. On a whole, the first side is great.

Some overly husky vocals on "I'm Not Home", which has a bit of an English Isles folk sound like Fairport Convention. "Wife" is a beautifully understated ballad, like Bread or Paul McCartney's "Mother Nature's Son". "Sugar Lady" and "Meatgrinder" are unexceptional midtempo rockers and "Medicine Man" is a progressive jazz-rock jam complete with a drum solo. So that make's 3 great tracks, 3 good ones and 4 duds. I've read that Mickey Rooney Jr. made some solo records later on. Has anyone out there heard 'em?


Song - Album Lp - MGM SE-4714

Clark Garman: Lead Guitar
Mickey Rooney Jr.: Rhythm Guitar
Rob Lewine: Bass
Shelly Silverman: Drums

Side One
10 x 10 2:28
(Garman - McDonald)
Like We Were Before 2:05
(Rooney Jr. - Covington)
Eat Fruit 2:28
(Garman - McDonald)
Whenever I Think Of You 2:06
(Rooney Jr. - Blanchard)
Banana High Noon 6:00
(Garman - Rooney Jr.)

Side Two
I'm Not Home 3:42
(Rooney Jr. - Sardo)
Wife 1:42
(Rooney Jr.)
Sugar Lady 2:45
(Garman - Rooney Jr. - McDonald)
Meatgrinder 2:58
(Garman - Rooney Jr. - McDonald)
Medicine Man 7:19
(Garman)

Produced by Curt Boettcher &
Keith Olsen for Portofino Productions

A&R Coordinator: Michael Lloyd
Recorded at Sound City

Caspar - Fabulous Powerpop Two-sider

This one's a bit Twilley and a bit Eric Carmen. Caspar Giles McCloud is American but this single was recorded at 10CC's Strawberry Studios. My friend Andy found this one a few years back. I have Caspar's Lp on Atlantic from a few years later and it's not very good. Notice how the intros to the two tunes are virtually identical...

Messin' Around
Make You Feel Like You're Mine