45’s ARE GO! (Singles That Should Have Been): For Pete’s Sake/You Just May Be The One

For every record-biz weasel who whines that he doesn’t hear a single, there are legions of fans who hear one just fine, thanks. 45s Are GO! celebrates the singles that never were, but should have been.


THE MONKEES: “For Pete’s Sake”/”You Just May Be The One”
Colgems, 1967; LP tracks from the album Headquarters
What were they thinking?

In 1967, The Monkees were arguably the hottest rockin’ pop combo in the world. Regardless of whether or not we believe the (disputed) claim that the group’s record sales in ’67 were greater than the combined totals of The Beatles and The Rolling Stones, there’s no denying that The Monkees were, at the very least, one of the most popular recording acts around. By ’67, the made-for-TV group–Micky DolenzDavy JonesMichael Nesmith, and Peter Tork–had succeeded in securing some small level of autonomy regarding the records that bore their brand name. After two blockbuster Monkees albums concocted as sweet-sounding puppets to the music and entertainment machine, The Monkees’ third album Headquarters would feature the band as players, co-pilots of this new flight into the fancy of pop rock ’67. Nesmith found a sympathetic producer in former Turtles bassist Douglas Farthing Hatelid (aka Chip Douglas), and the resulting album hit # 1 in Billboard

It stayed there for one whole week. Once The Beatles’ Sgt. Pepper taught the band to play, The Monkees were relegated to the # 2 spot for the remainder of the burgeoning summer of love. It’s not likely that anything–anything–could have been more popular, more omnipresent, than the counter-cultural flashpoint that was Sgt. Pepper’s Lonely Hearts Club BandSgt. Pepper was only the second rock album ever to reach # 1 without the benefit of a hit single.

Headquarters, of course, was the first.

What were they thinking?

I’m not saying that a big radio hit from Headquarters would have buoyed the album above Pepper; again, really, nothing in the summer of ’67 was going to compete with that Splendid Time Guaranteed For All. But the decision to not issue a U.S. single off Headquarters still seems puzzling, maddening, more than five decades after the fact. 

Looking back, there are a few factors to consider, I guess. The Monkees were, as noted above, in transition in ’67, transforming themselves from cogs in a pop machinery into more active participants in that machinery. It’s possible that the suits running Colgems Records lacked confidence in the hitmaking ability of Monkees Mark II. It’s also possible that the label was worried about overexposure, taking care not to milk its cash cow to a premature demise (as we’ll discuss below). And it’s also possible that the folks in charge of such things heard the tracks on Headquarters, and did not hear any potential hits. If the latter, then again: what were they thinking…?!

Even without 45 rpm validation, some Headquarters material eventually received exposure on the group’s TV show. “For Pete’s Sake,” co-written by Tork with Joseph Richards, became the show’s closing theme in its second season, an abbreviated version playing over the credits at the end of each episode. An earlier version of Nesmith’s “You Just May be The One” (sometimes referred to as “You May Just Be The One”) had appeared in some individual first-season episodes. “Randy Scouse Git,” “No Time,” and “Sunny Girlfriend” were also used during the show’s second season. However, by the time the second season commenced in September of ’67, the more than three-months old Headquarters LP was practically a golden oldie. (On the other hand, a number of Headquarters tracks were edited into summer reruns of the first season’s shows, giving them at least a little bit of contemporaneous airplay push.)

Meanwhile, as “Randy Scouse Git” became a # 2 single in England (under the less-rude name “Alternate Title”), The Monkees went from the March ’67 release of “A Little Bit Me, A Little Bit You”/”The Girl I Knew Somewhere” to the July ’67 release of “Pleasant Valley Sunday”/”Words” without a new 45 for the American singles market. From our smug 21st century vantage point, a mere four months elapsed between 45s seems like a flash of nothing; in the fast-paced pop world of 1967, it meant that Headquarters went entirely unrepresented in the American Top 40.

To be fair, we have to concede that Colgems never succumbed to the temptation to strip mine The Monkees’ albums for singles; there had been just one 45 release (“Last Train To Clarksville”/”Take A Giant Step”) off the eponymous debut LP, just one (“I’m A Believer”/”(I’m Not Your) Steppin’ Stone”) off the monster-selling More Of The Monkees, and then the non-LP “A Little Bit Me, A Little Bit You”/”The Girl I Knew Somewhere.” All of this–three albums, four singles (including “Pleasant Valley Sunday”)–hit radio and retail in the space of less than a year. No time, baby. While that’s a lot of product in a short span, it nonetheless shows a remarkable level of restraint at Colgems, given how hot The Monkees were in ’66 and ’67. 

There certainly should have been a single taken from Headquarters. The album had some potential hit fodder, from the raucous workout “No Time” to the wistful “Shades Of Gray” to Nesmith’s “Sunny Girlfriend.” I do not think any of those would have been an optimal choice, nor do I believe a single of “Randy Scouse Git” would have duplicated the track’s British success. 

But a double A-side of “For Pete’s Sake”/”You Just May Be The One” would have been among the best singles of 1967. The peace-and-love vibe of “For Pete’s Sake” is perfectly emblematic of its day without seeming dated or trite, a still-compelling reminder that we were born to love one another, in this generation, in this loving time. “You Just May Be The One” is my favorite Headquarters track, a straightforward, country-tinged pop tune that belies Nesmith’s protest that he wasn’t suited to writing straightforward pop tunes. All four Monkees play on both tracks: “For Pete’s Sake” features Tork on guitar, Nesmith on organ, Dolenz on drums, Jones on tambourine, Chip Douglas on bass, and Micky singing lead with backing vocals by Micky, Davy, and Peter; other than some backing vocals by Douglas (with Micky, Davy, and Peter), “You Just May Be The One” is only The Monkees, unaided, the four guys from the beach house singin’ and playin’ like the real band they’d somehow become.

The release of this or any single off Headquarters would not have had much effect on the real-world trajectory of The Monkees’ career. Their next album Pisces, Aquarius, Capricorn & Jones, Ltd. was released in November of ’67, just a little over a year after the world heard The Monkees for the first time. Pisces was their fourth and final # 1 album; 1968’s The Birds, The Bees & The Monkees would peak at # 3, and The Monkees would never again crash the top 10 of the Billboard album chart. “Daydream Believer” (# 1) and “Valleri” (# 3) would be their last two Top 10 singles. As the TV show ended and their popularity ebbed and faded by late ’68, the imaginary gravitas of one extra pop hit 45 back in the summer of ’67 wouldn’t have mattered in the long run. 

Woulda been nice, though. “For Pete’s Sake” ultimately achieved some level of pop recognition and immortality simply because so many folks wound up hearing it in the ubiquitous reruns of the TV show. Although the song had only been the show’s closing theme during its second and final season, it wound up being edited into the commonly-seen episodes of the first season as they aired in reruns on Saturday morning and in syndication in the ’70s and beyond. In a way, it actually is the hit it should have been, a well-known and well-loved part of The Monkees’ canon. “You Just Me Be The One,” however, is frequently omitted from compact collections of The Monkees’ best. That should not be.

We know The Monkees’ legacy survived the downturn and downfall of fortunes it suffered in 1968. I still wish the original run of success had lasted longer (and that their brilliant ’68 movie Head and its magnificent soundtrack had found an audience at the time of their release). And I still wish there had been more, starting with the obvious notion of releasing a freakin’ 1967 single off a # 1 album by one of the most popular recording acts in the land. What were they thinking? Love is understanding. You know that this is true. “For Pete’s Sake”/”You Just May Be The One” is a single that should have been. That’s what I’m thinkin’, anyway.

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Our new compilation CD This Is Rock ‘n’ Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin’ pop, starring Pop Co-OpRay PaulCirce Link & Christian NesmithVegas With Randolph Featuring Lannie FlowersThe SlapbacksP. HuxIrene PeñaMichael Oliver & the Sacred Band Featuring Dave MerrittThe RubinoosStepford KnivesThe Grip WeedsPopdudesRonnie DarkThe FlashcubesChris von SneidernThe Bottle Kids1.4.5.The SmithereensPaul Collins’ BeatThe Hit SquadThe RulersThe Legal MattersMaura & the Bright LightsLisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here. A digital download version (minus The Smithereens’ track) is also available from Futureman Records.

THE EVERLASTING FIRST: The Turtles

Continuing a look back at my first exposure to a number of rock ‘n’ roll acts and superheroes (or other denizens of print or periodical publication), some of which were passing fancies, and some of which I went on to kinda like. They say you never forget your first time; that may be true, but it’s the subsequent visits–the second time, the fourth time, the twentieth time, the hundredth time–that define our relationships with the things we cherish. Ultimately, the first meeting is less important than what comes after that. But every story still needs to begin with that first kiss.

Some of the best stories start with a bunch of 45s. Even if the story itself never goes anywhere, you’ve still got a bunch of 45s. That’s a great start for anything. 

The story of my discovering the music of the Turtles doesn’t exactly start with a bunch of 45s, but a small collection of 7″ singles served as an integral early part of that story. The setting was Jean Price’s front porch in Syracuse’s Northern suburbs, 1967. Jean wasn’t there at the time; she was older, and she certainly wouldn’t have been hanging out with a bunch of seven- and eight-year-old children. In truth, I don’t even remember Jean herself, and I have no recollection of why I was hanging out on her porch with a small group of the other neighborhood kids.

But if I don’t remember the why, I remember the what. We were looking through a box of 45s, presumably Jean Price’s 45s. Memory won’t surrender the identities of most of those singles, though I think the stash included either “Liar, Liar” by the Castaways or “Wipe Out” by the Surfaris, or maybe both of those. But I clearly, clearly remember seeing the White Whale Records logo, as I stared at the Turtles’ “Happy Together” single.

I knew the song from the radio. I had no other specific tether to it in the moment. But in that moment, for whatever mystic forces manipulated (but fail to explain) the situation, “Happy Together” by the Turtles became immediately important to me.

My Mom thought it was even more important to me than it was. I must have mentioned the song a time or two, prompting a reasonable presumption that the Turtles were my favorite group, and  “Happy Together” my # 1 favorite record in the world. I don’t think that was ever the case, but I sure did like it. A lot.

Still, over time the Turtles faded into a secondary realm of awareness, no longer a current hit, no longer a part of everyday life. If I heard any more of their music on the radio in the ’60s–and I must have–none of it registered with me as THE TURTLES!, at least not at the time.

That changed for me in the ’70s. As a teenager, I developed a consuming interest in the rockin’ pop of the ’60s, both the stuff I remembered from childhood and stuff that was essentially new to my post-adolescent ears. Oldies radio hooked me on the Turtles’ pop classics “She’d Rather Be With Me” and “Elenore.” “She’d Rather Be With Me” became the first Turtles track I ever owned, courtesy of a various-artists set called 20 Heavy Hits, scarfed up at the flea market. “Happy Together” followed, with a purchase of a (very) used copy of the cheap-o early ’70s Do It Now compilation in the spring of 1977, my senior year in high school. 

One evening in that same spring ’77 time frame placed me in the audience for Rock Of The ’60s, a presentation of rock ‘n’ roll TV clips screened at Syracuse UniversityRock Of The ’60s gave me a glimpse of the Turtles on (I think) The Smothers Brothers Comedy Hour, alongside clips of other ’60s luminaries like Buffalo Springfieldthe Kinksthe Whothe Byrdsthe Holliesthe Yardbirdsthe Lovin’ Spoonfulthe Rolling Stones, and the Beatles. By then, I’d learned that the Turtles’ Howard Kaylan and Mark Volman had a post-terrapins pop life as Flo and Eddie; I’d seen them on The Midnight Special and read their Blind Date column in Phonograph Record Magazine

My first Turtles album was the 2-LP anthology Happy Together Again, a dusty and well-worn used copy rescued from the basement of Record Revolution in Cleveland Heights in the summer of ’77, right before the start of my freshman year in college. This was my real indoctrination into all things Turtley, introducing me to wonderful Turtles tracks like “Outside Chance,” “Grim Reaper Of Love,” “Love In The City,” and more.

Happy Together Again accompanied me to college in Brockport. I met a pretty Long Island girl named Eleanor (never mind the spelling), who of course loved the Turtles’ “Elenore” but would have greatly preferred me refraining from singing it to her. Back home in the summer of ’78, I played the album for my doomed friend Tom, who liked the Turtles but hated one line in “Let Me Be:” I am what I am and that’s all I ever can be. That apparent expression of limitation bugged Tom; looking back decades later, I can’t wrap my mind around how to reconcile that sentiment with the fact of Tom’s suicide in 1979.

It’s weird the things we wind up remembering. A friend objecting to an innocuous lyric he heard a year before he killed himself. A box of 45s on a neighbor girl’s porch. I became a big fan of the Turtles, and I own each of their original albums via CD reissues on the Sundazed label. I missed a chance to the Turtles/Flo and Eddie at a club show in Buffalo in the mid ’80s, but saw them in Syracuse a decade later. I play the music of the Turtles at home, in my car, and on the radio. The story didn’t really start with a box of 45s. But by God, it should have. Happy together? Imagine me and you. I do. Brothers and sisters, friends and lovers and random passers-by. Together. We’ll do the best we can in that regard.

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Categories
Pop-A-Looza TV

The Turtles / She’d Rather Be With Me

The Turtles released She’d Rather Be With as a single in 1967. It also appeared on their Happy Together Lp. Hitting the Top Ten in several countries, it became an international smash.

THE EVERLASTING FIRST: The Ohio Express

Continuing a look back at my first exposure to a number of rock ‘n’ roll acts and superheroes (or other denizens of print or periodical publication), some of which were passing fancies, and some of which I went on to kinda like. They say you never forget your first time; that may be true, but it’s the subsequent visits–the second time, the fourth time, the twentieth time, the hundredth time–that define our relationships with the things we cherish. Ultimately, the first meeting is less important than what comes after that. But every love story still needs to begin with that first kiss.


This was originally posted as part of a longer piece. It’s separated here for convenience.

In the ’70s, there was a persistent rock ‘n’ roll legend–not a true story, but a persistent one–that singer Rod Stewart had collapsed on stage during a concert, and had to be rushed to the hospital. In the ER, it was said that Stewart’s stomach was pumped, revealing that he had ingested 10cc of seminal fluid. And again, this absurd and homophobic story was not true. But when I first heard it, its nonsensical nature didn’t stop me from immediately quipping that Stewart went straight from the ER to the studio to record his cover of The Ohio Express‘ bubblegum hit, “Yummy Yummy Yummy (I Got Love In My Tummy).”

This was, of course, not where I first heard of The Ohio Express.

The Ohio Express were never going to be candidates for The Rock And Roll Hall Of Fame, no way, no how. They were less a band and more a means to an end, a vehicle, or really just a name for a vehicle Kasenetz-Katz–producers Jerry Kasenetz and Jeff Katz–could drive to the bank, a bubblemobile loaded with cash taken from eager adolescents in exchange for chewy-chewy catchy-catchy 45 rpm records to spin on Close-N-Plays across the USA. There was another vehicle called The 1910 Fruitgum Company, and other limited-use vehicles with names like Kasenetz-Katz Singing Orchestral CircusCrazy Elephant, and Lt. Garcia’s Magic Music Box. The whole fleet was built for speed, not durability, slapped together by an assembly line that valued a fast joy ride over safety, comfort, or aesthetics. But these were sweet rides nonetheless–sweeter than sugar. None was sweeter than The Ohio Express.

It’s a common misconception to say that The Ohio Express didn’t really exist, that they were strictly a fictional construct for Kasenetz & Katz’s to toil within as a DBA shell company. This is almost true, but not quite 100 % true. There was a band called The Ohio Express. It’s just that this band called The Ohio Express didn’t really have anything to do with most of the records credited to a “band” called The Ohio Express. This was certainly the case with the very first Ohio Express single, a stunning garage stomper called “Beg, Borrow And Steal.”

“Beg, Borrow And Steal” by The Ohio Express may be The Greatest Record Ever Made, and it will get its turn in that particular Boppin’ blog spotlight. After that single was released and starting to chart in 1967, Kasenetz & Katz recruited an Ohio band called Sir Timothy & the Royals to be The Ohio Express, playing live dates to promote this new single, even though Sir Timothy and company had nothing to do with the record. In fact, the record predates even the concept of The Ohio Express; “Beg, Borrow And Steal” had previously been a failed 1966 single credited to The Rare Breed on the Attack label, and that very same Rare Breed track became an Ohio Express single on Cameo Records. Lawyers, start your engines!

Creative branding aside, The Ohio Express did one album (Beg, Borrow & Steal) for Cameo, which included the title track, a couple of tracks by future superstar Joe Walsh, a charting cover of The Standells‘ salacious “Try It,” and a simply superb LP track called “Had To Be Me,” the latter written by Jim Pfayler of the Royals and the Express. Real success came when The Ohio Express moved on to the new Buddah Records label, and embraced a new marketing concept: bubblegum music.

Joey Levine, the singer/songwriter who’d penned “Try It,” provided the scratch vocal for a demo of “Yummy Yummy Yummy,” a song he’d co-written with Artie Resnick, and which Jay & the Techniques had rejected as too juvenile. Yes, it was rejected as too juvenile by the group that hit big with “Apples, Peaches, Pumpkin Pie.” Holler Oy! By contrast, Kasenetz & Katz flipped out over the demo, and released it–scratch Levine vocal and all–as the next Ohio Express single in 1968. It was an international Top 10 hit, # 4 in the U.S., and far and away the best-selling record to ever bear the Ohio Express brand name.  Levine never joined the band, but he became their de facto lead singer on subsequent singles “Down At Lulu’s,” “Sweeter Than Sugar,” “Mercy,” and “Chewy Chewy.” A later studio incarnation of The Ohio Express recorded a Graham Gouldman song called “Sausalito (Is The Place To Go);” that studio incarnation included Gouldman, Eric StewartKevin Godley, and Lol Creme, a combo that would later be known as 10cc.

I’m not in love. I don’t have love in my tummy. The things we do for love in my tummy!

Um–don’t tell Rod Stewart about the 10cc/Ohio Express bit.

Me? I first heard The Ohio Express on AM radio, warblin’ about all that love they had in their tummies. Yummy! I may have heard it when it was a hit, or I may have caught up to it later on oldies radio in the ’70s. My first copy of the song came on a flea-market purchase, a sampler LP called 20 Heavy Hits20 Heavy Hits was a 1970 release on the Crystal Corporation label, though I snagged mine several years after that. I may have bought it just to get The Turtles‘ “She’d Rather Be With Me,” but it had a varied wealth of pop single tracks, from The Amboy Dukes‘ “Journey To The Center Of The Mind” to The Delfonics‘ “La La Means I Love You.” Among these was “Yummy Yummy Yummy,” but I was far more taken with the pumpin’ “Down At Lulu’s,” which I’d never heard before. Consider that track a plank on my path to punk and The Ramones.

I liked “Yummy Yummy Yummy” a little. I liked “Down At Lulu’s” a lot. But The Ohio Express, whether creation or contrivance, never meant much to me until one evening around 1983 or so. I was at a Buffalo, NY nightclub called The Continental, and the DJ was noted rock ‘n’ roll journalist (and key Boppin’ [Like The Hip Folks Do] inspiration) Gary Sperrazza! I don’t remember many specifics of what Gary played that night–if it was Buffalo in the ’80s, I was probably drinking–but one track stands out with crystal clarity: “Beg, Borrow And Steal” by The Ohio Express. I had never heard the song before. It was love at first spin.

Over time, I developed a bit more appreciation for The Ohio Express. “Down At Lulu’s” was the theme song for a great radio show of the same name, hosted in the mid ’80s by DJ Cal Zone on Buffalo’s WBNY-FM. In the ’90s, I interviewed Joey Levine for my massive Goldmine piece An Informal History Of Bubblegum, and became a big fan of the song “Sweeter Than Sugar.” Much later, I tracked down a beat-up copy of the Beg, Borrow & Steal  LP, and played The Ohio Express’ version of “Try It” on This Is Rock ‘n’ Roll Radio. Then Mike McDowell of Blitz magazine said to me Sure, fine, “Try It,” great. But you should be playing “Had To Be Me.” I pulled out the LP, which I’d only purchased for “Beg, Borrow And Steal” and “Try It” before filing it away, and I gave “Had To Be Me” my first listen.

Damn. When Mike’s right, Mike’s right.

“Had To Be Me” went on to become one of the defining tracks of This Is Rock ‘n’ Roll Radio‘s long mutant existence; my pal Dave Murray chuckles at the notion of an Ohio Express album track receiving saturation airplay, but we all agree that the track deserves it. Yummy Yummy Yummy indeed. It had to be The Ohio Express.

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Our new compilation CD This Is Rock ‘n’ Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin’ pop, starring Pop Co-OpRay PaulCirce Link & Christian NesmithVegas With Randolph Featuring Lannie FlowersThe SlapbacksP. HuxIrene PeñaMichael Oliver & the Sacred Band Featuring Dave MerrittThe RubinoosStepford KnivesThe Grip WeedsPopdudesRonnie DarkThe Flashcubes,Chris von SneidernThe Bottle Kids1.4.5.The SmithereensPaul Collins’ BeatThe Hit SquadThe RulersThe Legal MattersMaura & the Bright LightsLisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here.

Jim Basnight / Jokers, Idols & Misfits

Jim Basnight 

Jokers, Idols & Misfits (Precedent Records) 2020

https://powerpopaholicproductions.bandcamp.com/album/jokers-idols-misfits


Actively involved in music since the mid-seventies, Jim Basnight has certainly made great strides throughout his ongoing journey. Having fronted noted acts such as The Moberlys, The Rockinghams, The Jim Basnight Thing and The Jim Basnight Band, the Indianola, Washington based singer, songwriter and guitarist also boasts a very rewarding solo career.


Although recognized for his excellent original material, Jim chose to compile an album of covers for his latest release, Jokers, Idols & Misfits, which stages an A-grade job of paying homage to his wide-ranging influences. Recently issued as a single on the Big Stir label, Prince Jones Davies Suite is an industrious medley of Prince’s Sometimes It Snows In April,” David Bowie’s Win and World Keeps Going Round by The Kinks.

Instrumentally, the track is rather sparsely furnished, but Jim’s impassioned delivery lends a fierce intensity to the moody movement. 
The Kinks are saluted again on the crisp and crackly This Is Where I Belong, while the hypnotic blush of Jim (aka Roger) McGuinn and Gene Clark’s You Showed Me – which The Turtles scored a hit with in 1969 – contains a splash of cool brass work, supplying the song with a bit of a jazzy touch.

Subsequent jazz inspirations appear on a slowed down version of  Brother Louie that The Stories took to the top of the charts in 1973. Horn arrangements, as well as gospel-flavored harmonies, add an extra layer of inventiveness to Happiness Is A Warm Gun, which is just as potent as the recording we are all acquainted with by The Beatles
T.Rex’s stomping Laser Love locks in as another ace cut on Jokers, Idols & Misfits, along with a wicked reprise of The Who’s classic I Can See For Miles. True Believers are acknowledged with care and respect on the hooky power pop of Rebel Kind, and the sounds of the sixties Pacific Northwest style arrive in the shape of the swaggering Good Thing (Paul Revere and The Raiders) and the brooding teen folk rock of It’s You Alone (The Wailers).

In honor of The Lurkers, there’s the kinetic kick of New Guitar In Town, where She Gives Me Everything I Want revisits the popping rockabilly of The Hollies.


What sets Jokers, Idols & Misfits apart from most albums of its type is that the majority of songs are not merely paint-by-number doodles, nor are they misty-eyed nostalgic sojourns. Jim’s own personality and identity figure strongly in each entry, permitting the material to shine with a reinvigorated spirit. The artists celebrated on Jokers, Idols & Misfits would be mighty proud to hear these fine tributes.

THE EVERLASTING FIRST: Cheap Trick

Continuing a look back at my first exposure to a number of rock ‘n’ roll acts and superheroes (or other denizens of print or periodical publication), some of which were passing fancies, and some of which I went on to kinda like. They say you never forget your first time; that may be true, but it’s the subsequent visits–the second time, the fourth time, the twentieth time, the hundredth time–that define our relationships with the things we cherish. Ultimately, the first meeting is less important than what comes after that. But every love story still needs to begin with that first kiss.


A tabloid called Phonograph Record Magazine was a starting-point for a lot of my rock ‘n’ roll revelations in the ’70s, and it’s where I first heard of Cheap Trick. Flo & Eddie (aka Mark Volman and Howard Kaylan, formerly of The Turtles) had a regular PRM column called “Blind Date,” which featured our happy-together heroes reviewing new releases without being told upfront what the hell they were reviewing. For one 1977 “Blind Date,” they were given the eponymous debut album from Cheap Trick, and offered the clue that the band’s name was like an inexpensive subterfuge. That was my introduction to Cheap Trick.
It seems likely that I must have heard Cheap Trick on WOUR-FM a time or several in ’77, but I have no recollection of that. As was the case with many other new rockin’ pop discoveries for me in 1977, my first conscious memory of hearing Cheap Trick came in the fall of ’77, when I was a freshman at the State University College at Brockport. Most of the new music I heard then was courtesy of the campus station WBSU–“The station where we BS you!”–but Cheap Trick first filled my ears on a commercial station in nearby Rochester, either WCMF-FM, or maybe even the usually-lame Magic 92. The song was “So Good To See You,” a track from the second Cheap Trick album, In Color. I think the cut got a little bit of subsequent radio play as well, though it wasn’t really a hit. In my mind, I hear it alongside “See Forever Eyes,” a then-contemporary prog-pop song by a group called Prism. I liked both “So Good To See You” and “See Forever Eyes,” though neither was specifically at the toppermost of my poppermost.

So I can’t claim to have been ahead of the curve in adoring Cheap Trick. I caught on to the irresistible appeal of Rockford’s Phenomenal Pop Combo about the same time everyone else did: with the track “Surrender” on their third album, Heaven Tonight, in 1978, and full-tilt Cheap Trick mania with Cheap Trick At Budokan, released as an import in late ’78 and–by overwhelming popular demand–domestically in 1979. There was a brief period there were everyone seemed to like Cheap Trick. For once, I was in the mainstream!
The “everyone” in this example included my lovely girlfriend (and now lovely wife) Brenda. We each bought our own copy of Cheap Trick At Budokan–me, to play with my Ramones and Jam records, and her to play with her Santana and Earth, Wind & Fire (plus the Buddy HollyRolling Stones, and Who LPs she’d “liberated” from my collection; she also bought a copy of The Kinks‘ Greatest Hits at the flea market, so her horizons were already expanding). Harmonic convergence!

I eventually acquired all of Cheap Trick’s early catalog–Cheap TrickIn ColorHeaven TonightBudokan, and Dream Police–and loved ’em all. When The Ramones’ fab flick Rock ‘n’ Roll High School played on campus in 1980 (the second time I’d seen the film), it was accompanied by a cool video promo for Dream Police; fitting, since Cheap Trick had been an early choice to star in that film (some time after director Allan Arkush convinced producer Roger Corman that the film shouldn’t be called Disco High, but before Johnny, Joey, Dee Dee, and Marky were cast).
I have to confess I lost interest in Cheap Trick after Dream Police. I didn’t care for the George Martin-produced All Shook Up in 1980, and it would be a while before I was interested in any new Cheap Trick albums. Turns out I missed some pretty cool stuff in that period. But I got back on board the Cheap Trick bandwagon with 1997’s underratedCheap Trick album on the Red Ant label. I had a chance to finally catch the Trick live on that club tour.

In the summer of  2016, our daughter Meghan accompanied Brenda and me to see Cheap Trick at an outdoor concert in Syracuse, and that was an even rarer harmonic convergence right there. Mommy’s all right, Daddy’s all right, we just seem a little weird. An inexpensive subterfuge? Cheap f***ingTrick!
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Pop-A-Looza TV

The Archies / Sugar Sugar – The Complete Albums Collection

The Archies 

Sugar Sugar – The Complete Albums Collection (Cleopatra Records) 

The story of The Archies dates back to 1942, when they began life as comic strip characters. Based in a town called Riverdale, Archie Andrews and a core group of friends – Betty Cooper, Jughead Jones, Veronica Lodge and Reggie Mantle – were teenagers involved in various dramas and adventures where good clean fun was always the name of the game. 

Flash forward to 1968, when The Archies were granted a Saturday morning cartoon show. Not only were the kids now television stars, but Don Kirschner – the man behind the phenomenal success of The Monkees – turned them into rock stars.  Rather than hiring a “real” band to do the job, he employed a crew of studio musicians and songwriters that would focus strictly on recording.

The folks Don Kirschner selected to masquerade as The Archies were  experienced professionals with credible reputations. Jeff Barry, Ron Dante, Joey Levine, Andy Kim, Toni Wine, Hugh McCracken and Bobby Bloom were among the talent responsible for the music of The Archies.

During their heyday, The Archies delivered five albums, which are included on Sugar Sugar – The Complete Albums Collection as individual compact discs. Frequently criticized for their fictional existence and bubblegummy sound and image, The Archies actually produced a wealth of incredibly well-crafted material that seriously ranks as some of the best pop rock of the era, or any era for that matter.

The band’s first album, The Archies, featured their introductory single, Bang-Shang-A-Lang, which reached number twenty-two on the charts in the autumn of 1968. Pronounced by a big and bouncy chorus aligned with a foot-stomping beat, Bang-Shang-A-Lang announced the arrival of The Archies in ear pleasing splendor. Those who purchased The Archies on the basis of the single would encounter further nifty nuggets, particularly Truck Driver and Hide And Seek, which were both cut of a robust garage rock fiber, and You Make Me Wanna Dance, a fast-paced floor shaker. 

Late summer 1969 saw The Archies score a transatlantic number one hit with Sugar Sugar. Mixing bubblegum bliss with a nip of a soul-studded swagger, the insanely catchy tune appeared on the band’s second album, Everything’s Archie. While Sugar Sugar stands as the crowning achievement, the album offers a brace other tasty treats. For example, there’s the snarky bite of Don’t Touch My Guitar and You Little Angel You is a dandy doo-wop delight. A rather melancholic mood houses Circle Of Blue, and the perpetually peppy Feelin’ So Good (S.K.O.O.B.Y. D.O.O.) refers to having a picnic in the grass with Mama Cass. 

The third Archies album, Jingle Jangle, birthed a winner in the form of the title track that peaked at the number ten spot in the final weeks of 1969.  Juicy bubblegum flavorings, aided by soulful vocals and a super-sized choir of la la la la la la la’s were the intoxicating ingredients couched in the song. Devised of crunchy George Harrisonesque chords, You Know I Love You, the countrified spunk of Look Before You Leap and the smartly-structured pop rock zing of She’s Putting Me Thru Changes sail in as subsequent picks to click on the Jingle Jangle album. 

Surfacing in June 1970, Sunshine marked the fourth Archies’ album, which was not as bubblegum oriented as previous efforts. No major hits emerged from the album, except for A Summer Prayer For Peace, that climbed to number one in South Africa. Draped in droning instrumentation, the chant-like dialogue listed countries throughout the world, urging all to practice peace. The ecology-minded Mr. Factory favored a bluesy pitch and Who’s Your Baby brandished a funky groove. Incorporating bits and bobs of The Kingsmen’s Louie Louie with A Little Bit ‘O Soul by The Music Explosion, Over And Over dialed in as a neat slice of bubblegum garage pop, and the equally fetching Waldo P. Emerson Jones paid homage to a cool cat who attended the Woodstock Festival and counted The Beatles, Jimmy Page and Simon and Garfunkel as buddies.

Issued early 1971, This Is Love was pressed in limited quantities and vanished quickly from the shelves, making it a mighty rare speciman. By far the band’s strongest album, This Is Love can easily be considered an obscure classic. Be it the rollicking romp of Little Green Jacket, the sparkling mid-tempo ballad, This Is The Night, the plucky punch of Don’t Need No Bad Girl or the firm grip of Carousel Man, the album posts as a perfectly realized pop rock affair. Even the peculiar What Goes On – which possesses a jazzy San Francisco hippy jam vibe shaped of twirling rhythms, funky brass arrangements and the whistling whirr of a flute – seems right at home on the album. 

So there you have it – Sugar Sugar – The Complete Albums Collection – in bright and shiny glory. Airtight with electrifying energy, helmed by herds of happy harmonies and solid gold hooks, the box set documents the pop rock precision of The Archies with impressive effects. Armed with ace construction and composition skills, not to mention great singing and playing, the band was never placed in the same category as their contemporary heavyweights, yet it is no exaggeration to say a lot of their work is just as worthy as choice creations from artists such as The Beach Boys, The Hollies and The Turtles. Those acquainted only with the hit singles of The Archies are sure to enjoy the many similarly-inclined gems strewn across these discs. 

Garden Of Earthly Delights / An XTC Celebration

Various Artists

Garden Of Earthly Delights – An XTC Celebration (Futureman)

https://futuremanrecords.bandcamp.com/

Arriving on the scene in the late seventies, XTC proved to be a bit too quirky and clever for the general public. Yet the British band gained favor with the critics, developed a loyal fan base and have been cited as a prime influence by many musicians. 

For those not acquainted with the genius of XTC, the band really can’t be categorized. Mainly inspired by the holy trinity of sixties pop, psychedelia and art rock, the band also regularly dipped dashes of punk and new wave into the bin for modernized measures. Courageously experimental, XTC still managed to flaunt a distinctive sound that allowed instant recognition. Novel songwriting and arranging skills, compounded by a natural and nervous energy, granted the band’s material with an equal balance of sophistication and primal instincts. 

A double CD set, consisting of 32 tracks, Garden Of Earthly Delights features a smartly-selected cast of musicians from the indie community who are not only avid admirers of XTC, but render the band’s compositions with knowledge and respect. Not your average tribute album, Garden Of Earthly Delights avoids simply going through the motions as the artists telegraph their own personalities into the songs. 

Considering the volume of songs, there is obviously a lot to digest here. But because each entry is so catchy and the sequencing is astutely-organized, Garden Of Earthly Delights reins in as an easy and enjoyable listen.

Attempting to pick the best of the bunch is impossible, but for starters, there’s Coke Belda and El Inquito Rogue’s take on the bippity boppity “Standing In For Joe,” and the comparably sunny spunk of “Everything’ll Be Alright” from The Corner Laughters. Chris Price lends a gentle acoustic touch to “The Ballad Of Peter Pumpkinhead” and Bebopolula’s “Vanishing Girl” retains the same Monkees-meets-Turtles flower power pop flourishes of the original recording, which XTC actually released under the pseudonym of Dukes of Stratospheare

Gretchen Wheel’s emotive version of “The Last Balloon” is positively dazzling, while Randy Sky’s “Books Are Burning” carries a haunting feel, and Chris Church’s “Stupidily Happy” rings and rocks to a cool beat. Pete Donnelly turns in a terrific treatment of the robotic romp of “This Is Pop,” where The Kickstand Band’s “Life Begins At The Hop” wiggles with nifty squiggles. 

Bottled tight with harmony and color, Garden Of Earthly Delights – An XTC Celebration stresses the inventive spirit of the band in full force. Wall-to-wall with credible covers, created with love and reverence, this collection effectively salutes XTC’s flair for mixing ambition with a fun factor. An exciting audio adventure is guaranteed! 

By Beverly Paterson