Stories behind memorable albums of the 1970s as told by the artists

Author: Mike Morsch Page 14 of 16

Mike Morsch is a 37-year veteran of the newspaper business, most recently as executive editor of Montgomery Media in Fort Washington, PA. He has been writing about music for the past 10 years and is also the author of "Dancing in My Underwear: The Soundtrack of My Life," also available at Biblio Publishing.
Among his favorite bands are the Beach Boys, Hall & Oates and America and he's also a supporter of local artists in the Philadelphia music scene.

Marilyn McCoo and Billy Davis Jr. offer new respect for The 5th Dimension’s ‘Earthbound’ album

Marilyn McCoo and Billy Davis Jr, original members of The 5th Dimension, have a renewed respect for the group's 1975 album "Earthbound." (Photo courtesy of Marilyn McCoo and Billy Davis Jr.)

Marilyn McCoo and Billy Davis Jr, original members of The 5th Dimension, have a renewed respect for the group’s 1975 album “Earthbound.”
(Photo courtesy of Marilyn McCoo and Billy Davis Jr.)

The cracks in musical cohesiveness among the members of The 5th Dimension were evident to the group’s members by the time they began work on the “Earthbound” album in 1975.

They had reunited with songwriter Jimmy Webb, who had penned the group’s first pop hit, “Up, Up and Away” in 1967. Webb was going to produce “Earthbound” and Marilyn McCoo and husband Billy Davis Jr. were both excited about working again with Webb.

But rehearsals were tense. Recording sessions were tense. At the center of the discomfort was the direction the band was heading by 1975.

Since the mid-1960s, the original five members – McCoo, Davis, Florence LaRue, Lamonte McLemore and Ron Townson – had produced a string of hits in addition to “Up, Up and Away,” including “Stoned Soul Picnic,” “Aquarius/Let The Sunshine In,” “Wedding Bell Blues,” “One Less Bell To Answer” and “(Last Night) I Didn’t Get To Sleep at All.”

But as the music of the 1970s continued to evolve, things were changing internally for The 5th Dimension.

“Part of the problem we were having inside the group was the discussion about do we continue to do the music the way we’ve been doing it and using the same formula?” said McCoo. “We saw the musical direction changing, and our music wasn’t clicking like it had before. Should we follow the market or do we stay where we are? And that was one of the conflicts that we were dealing with inside the group.”

A recent interview with Ms. McCoo and Mr. Davis revealed some of the backstory of “Earthbound,” which was to become the final album recorded with the original members of The 5th Dimension.

It was bonus information from McCoo and Davis, who would leave The Fifth Dimension and strike out on their own. In 1976, they recorded their debut album as a duo, “I Hope We Get To Love In Time” that featured the hit single, “You Don’t Have To Be A Star (To Be in My Show),” which earned them a Grammy Award for R&B Vocal Performance By A Duo or Group.

The making of “I Hope We Get To Love In Time” was the reason for the interview. That album will be a featured chapter in the book “The Vinyl Dialogues: Volume II,” scheduled for release in late spring/early summer 2015.

But the circumstances leading up to the making of that album included the fallout from the making of The 5th Dimension’s “Earthbound” album.

McCoo and Davis, who have been married for 45 years as of 2014, continue to perform today. They currently tour with a musical tribute to the hits and productions of their careers. Upcoming events scheduled include Oct. 17 in Century City, CA; Nov. 1 in Washington, D.C.; and Nov. 8 in Greeneville, TN. Go to www.mccoodavis.com for details on those and future appearances.

McCoo and Davis come off in an interview as quality individuals, loving and caring for each other, articulate and insightful. Their recollections of what happened nearly 40 years ago – with both the “Earthbound” album and the “I Hope We Get To Love In Time” album – are still pretty vivid.

Without giving away too much of what will be in The Vinyl Dialogues: Volume II chapter, the “Earthbound” experience is fascinating because McCoo and Davis both admit that they didn’t realize until many years later just how good the music is on that album.

The emotional toll it took to make the album clouded their ability to see it clearly as a superb piece of work at the time. If you’re not familiar with the album, seek it out either on vinyl – which is the preferred method here at The Vinyl Dialogues – or online and listen to it. Make sure to put headphones on and get the full effect. In addition to some Jimmy Webb tunes, there are other songs on the album written by John Lennon and Paul McCartney and Mick Jagger and Keith Richards.

“I thought Billy did some of his best work on ‘Earthbound.’ He did some amazing things on that album. It’s brilliant,” said McCoo. “Jimmy (Webb) will remember the difficulty of the project because of all the other stuff that was going on. But we have told him recently about how special we think the ‘Earthbound’ project was and still is and that it was a shame that it got caught up in everything else that was going on.”

Indeed, “Earthbound,” the group’s 12th studio album, was among The 5th Dimension’s worst-performing albums to that point, peaking at No. 136 on the Billboard Top 200. It did, however, do much better on the R&B chart reaching No. 30.

Still, the conflicts within the band overshadowed the music at the time for McCoo and Davis. And after the group did a tour in support of the album, the couple made the break.

“We wanted to do a lot more woodshedding and sharpening of our tunes instead of just continuing to go out and work all the time,” said Davis. “When you work with a group, it is an ongoing fight. But the whole thing is that it gets to a point where it gets out of hand. Then it gets frustrating.”

“At the end of it (‘Earthbound’), we kind of looked at each other and said, ‘Wow, are we going to go through another project like that again?’ We started thinking seriously about making a change,” said McCoo.

But they didn’t come to the conclusion that “Earthbound” was some of their best work until decades later.

“We had so much emotion mixed up in the music itself that we couldn’t even rationally listen to it. It was a disconnected artistic evaluation,” said McCoo. “What was going on as far as getting along or not getting along is nowhere to be found in the recording. Whatever we were experiencing during the making of it didn’t come across in the production.”

For a long time, Davis and McCoo thought “Earthbound” was some of their worst work. But with the benefit of nearly 40 years of hindsight and reflection, the album has turned out to be a hidden gem in the great catalog of The 5th Dimension.

Something that true professionals like Marilyn McCoo and Billy Davis Jr. aren’t afraid to admit now.

The Empty Hearts: ‘Supergroup’ ready to hit the road with a new album

The Empty Hearts - Elliot Easton, Clem Burke, Andy Babiuk and Wally Palmar - are ready to hit the road in support of their new self-titled album "Empty Hearts."  (Photo by Robert Matheu)

The Empty Hearts – Elliot Easton, Clem Burke, Andy Babiuk and Wally Palmar – are ready to hit the road in support of their new self-titled album “Empty Hearts.”
(Photo by Robert Matheu)

This isn’t the first time Elliot Easton has cut a debut album with a new band.

In late 1977, he spent 21 days in London where he took only a day-and-a-half to lay down all his lead guitar parts for the record. He and the rest of the band were staying in a beautiful rented house in the Mayfair District of central London, and when not in the AIR recording studio – an independent studio founded by Beatles producer Sir George Martin – Easton would explore the area.

The punk movement was going strong by that point, and all the young people roaming the local markets in and around London were wearing mohawks and dressing outrageously.

“The first thing I wanted to do was go to the marketplace,” said Easton. “They had these stalls where you could get custom-made boots and clothes. I wanted a pair of snakeskin boots like Brian Jones had.”

Jones, who had died in 1969, was one of the original founders of the Rolling Stones and one of Easton’s musical influences.

By the end of the three-week stay in London, Easton and his Boston-based bandmates – Ric Ocasek, Benjamin Orr, Greg Hawkes and David Robinson – had cut an album that many would come to consider a rock masterpiece, the self-titled “The Cars.” By late 1978, the album would be certified platinum.

Oh, and Easton got those snakeskin boots.

More than 35 years later, Easton has a new set of bandmates and they have recorded their first album. Billed as a “supergroup” consisting of Easton, drummer Clem Burke of Blondie, Wally Palmar of The Romantics on vocals, harmonica and guitar and bassist Andy Babiuk of The Chesterfield Kings, the group has just released its self-titled debut album “Empty Hearts.”

Now the band is ready to hit the road in support of the album, opening a tour that kicks off with four dates in the northeast – Oct. 16 in Londonderry, NH; Oct. 17 in Ardmore, PA; Oct. 18 in Brooklyn, NY; and Oct. 19 in Cranston, RI, before heading to Tokyo, Japan, Oct. 22-23 for four more shows.

And Easton is having just as much fun this time around as he did three-plus decades ago with The Cars.

“Andy (Babiuk) called me and asked if I wanted to play in a band with guys I liked and have fun playing the kind of music that reminded us of why we wanted to play music in the first place when we were young kids,” said Easton. “And I told him that sounded like a wonderful idea.”

The four got together in Babiuk’s studio in Rochester, NY, to write and record. They added another friend, Ian McLagan of Faces and Small Faces to help on keyboards, and a producer that they all knew, Ed Stasium.

And the end result came out great, according to Easton.

“We’ve all known each other for a long time and we’ve all liked each other. We just wanted to have a band without drama and just have fun. We’re not trying to change the world, we’re just trying to play music we love that’s good,” said Easton.

Choosing a band name presented a bit of a challenge, that is until another friend, Steven Van Zandt from the Rock and Roll Hall of Fame E Street Band, suggested “Empty Hearts,” chosen from his personal list of “secret” unused band names.

Van Zandt, along with his rock and roll pedigree, also starred as the consiglieri Silvio Dante in the long-running HBO series “The Sopranos.” And nobody in the “self-proclaimed band of rock and roll lifers” was going was going to disagree with Silvio Dante’s “suggestion” for the band’s name.

“There was no pressure. We all have nothing to prove. We’ve all had great careers and have a lot to be grateful for. So the only pressure is what we put on ourselves to just do good work,” said Easton.

“We’ve all made tons of records, we all know how it’s done, what to do. And we knew the kind of record we wanted to make. I think it was obvious to us that it wasn’t going to be one of those laboratory records. It was going to be a real rock and roll record with people playing off each other. So that’s what we’ve got.”

The band is now in rehearsals preparing to hit the road. Easton said the goal is to capture some of the fire of the band and translate that into the live shows.

“When the band is firing on all cylinders, it’s a really good band. It’s a raging band. We just want to get on the road and start rocking and having a good time with people,” said Easton.

For more information about the album and the tour schedule, visit www.theemptyhearts.com.

 

You can go home again: John Oates shines solo at ST94

John Oates, shown here at a 2104 summer Hall & Oates concert in Atlantic City, performed a solo gig at the Sellersville Theater Thursday, Sept. 25. (Photo by Mike Morsch)

John Oates, shown here at a 2104 summer Hall & Oates concert in Atlantic City, performed a solo gig at the Sellersville Theater Thursday, Sept. 25.
(Photo by Mike Morsch)

John Oates is comfortable coming home to Pennsylvania, especially when he performs solo gigs at the Sellersville Theater 1894.

As he is fond of saying when performing there, the theater holds a special place in his heart. It was where Oates, as a newly licensed driver in the mid-1960s, took a young lady from nearby Silverdale borough on his first car date to the venue to see a movie.

The locals will tell you that the intimate movie-theater-turned-concert venue has been the site of a lot of memorable moments ever since that Oates date.

And on Thursday night, Sept. 25, John Oates created another of those memories for himself. Six songs into his set, his drummer and bass player exited, leaving just Oates and his guitar on stage.

“I want to dedicate a song to my mom,” he said.

The Oates family is from North Wales, PA, in Montgomery County, the northwest suburbs of Philadelphia. A little further west in the county is where Daryl Hall grew up, just outside Pottstown, PA.

For years, at least at all the East Coast Hall & Oates shows that I’ve attended in Pennsylvania and New Jersey, John’s parents have been in the audience. They were there again in Sellersville Thursday evening.

Oates proceeded to relate a story about how when he was 5 or 6 years old, his mother had him perform at a local park, dressed to the nines in a red blazer. But the young Oates was more interested in getting some ice cream than he was in performing. In an effort to persuade her son to focus more on his song and less on the ice cream, Mrs. Oates insisted that the star of the show – a young Irish tenor by the name of Dennis Erickson – certainly was more interested in his music than he was ice cream and that John should be, too.

It was enough to do the trick, and John sang his song. It was the last time he sang that song until Thursday night.

The tune John dedicated to his mom was “Me and My Gal,” written in 1917 by George W. Meyer, Edgar Leslie and E. Ray Goetz. But it was Judy Garland and Gene Kelly who made it into a hit in the 1942 film of the same name.

And this is how music connects us. Not only did Oates create a special memory for himself and his mother, he created one for me as well.

Of the songs my mother used to sing to me as a toddler, the ones I remember are “Paper Doll” by the Mills Brothers. And “Me and My Gal” by Judy Garland and Gene Kelly.

But getting something special out of a John Oates solo concert isn’t at all unusual. As much as we all like the Hall & Oates concerts, they’re different than what Oates gives fans at a solo show. And different in this context is really good.

I love the Hall & Oates album “Abandoned Luncheonette” from 1973. In fact, interviews with Daryl and John about the making of that album were the inspiration for “The Vinyl Dialogues: Memorable albums of the 1970s as told by the artists.”

If you go to a Hall & Oates show, you’ll get “She’s Gone” and “Las Vegas Turnaround” off “Abandoned Luncheonette.” But if you go to a solo Oates show, you’ll get the Oates-penned “Had I Known You Better Then,” an absolutely great song and a personal favorite off that album.

Oates solo shows do feature H&O classics, like “Maneater,” “Out of Touch” and “You Make My Dreams Come True,” but they’re Oates versions of those songs, with Oates vocals, Oates interpretations, Oates arrangements and Oates tempos.

In addition to great storytelling to set up each song, the set list Thursday night featured “Camellia” (another personal H&O favorite), more recent solo efforts from Oates’ albums “Mississippi Mile” and “Good Road to Follow,” as well as performances of “It’s All Right” by Curtis Mayfield, “Come Back Baby” by Lightnin’ Hopkins, “Little Queenie” by Chuck Berry and “Deep River Blues” by Doc Watson.

Fortunately, there was a whole lot of good at this show that overshadowed a bit of the not-so-good.

We’ve all been to concerts and sat next to people who don’t know how to keep quiet during the performance. And Thursday night it was my turn to sit next to not one, but three of them.

Since it was on Oates’ home turf, in addition to his parents, he had a lot of friends and acquaintances in the audience, including a crowd from Temple University where he went to college. Part of this trip home for Oates includes his being presented – along with Brian Williams of NBC News and others – the Lew Klein Excellence in Media Award from the university. Klein is a Philadelphia-area philanthropist and former television executive who hired Dick Clark to host American Bandstand. The ceremony was scheduled for the night after this particular show.

So it was no surprise that the three women who sat next to me claimed to have some kind of connection to the star. As they took their seats 15 minutes before the show, one of the women announced, “Where are you John? Your high school sweetheart is here.”

Apparently, in his early years, Oates dated mostly jibber-jabberers who thought that rock shows were supposed to start 15 minutes earlier than the 8 p.m. time printed on the ticket. And this woman wouldn’t quit talking through the entire show. That not only shows a lack or respect for the artist, it’s rude to the people in the immediately vicinity who paid to hear John Oates perform.

I’m guessing one of the reasons that she’s not Mrs. John Oates today because she wouldn’t shut up long enough for him to propose to her back in the 1960s.

Nevertheless, it was the only glitch in an otherwise stellar performance by the bona fide Rock and Roll Hall of Famer and all-around nice guy.

I even called my mom on the way home after the show and we sang a line or two of “Me and My Gal” together over the phone.

Thanks to John Oates and his music, I was reminded of a cherished childhood memory of my own. And no amount of jibber-jabber can overshadow that.

Vinyl memories: A conversation with Al Jardine of the Beach Boys

Longtime Beach Boys bandmate Al Jardine will be joining Brian Wilson for three upcoming California shows.  (Photo by Randy Straka)

Longtime Beach Boys bandmate Al Jardine will be joining Brian Wilson for three upcoming California shows.
(Photo by Randy Straka)

It was 1965 and I was thumbing through my parents’ 45 rpm vinyl collection when I came upon an orange and yellow-labeled record that caught my eye.

I put it on the record player and for the next few minutes was enthralled by the sweet harmonies, sounds that I had never before heard in my young life.

The song was “The Little Girl I Once Knew” by the Beach Boys. I was 6 years old. And I was hooked on that sound for life.

That was nearly 50 years ago. One of the voices coming off that record was that of Al Jardine, who along with Brian Wilson, Mike Love, Carl Wilson and Dennis Wilson co-founded the Beach Boys.

The story of the Beach Boys is well documented. So when I heard Al Jardine’s voice on the other end of the phone this week, I wondered what questions I could possibly ask him that he hasn’t already been asked many times over in his career.

Jardine, as he has several times in the past, is joining Brian Wilson for three upcoming shows in California: this Saturday, Sept. 27, at the Vina Robles Ampitheatre in Paso Robles; Oct. 9 at the Mary Stuart Theatre in Modesto; and Oct. 11 at the Carpenter Performing Arts Center in Long Beach. (That show is already sold out but tickets remain for the other two.)

It wasn’t the first time I had talked with Al. As a newspaper reporter and editor for 38 years, I interviewed him first in 2006 to preview a series of shows he was doing with Brian on the 40th anniversary of the release of the “Pet Sounds” album. I actually got to meet Al and Brian after one of those show at the Keswick Theatre in Glenside, PA.

We spoke once again for a story before the the kick off of the Beach Boys 50th anniversary tour in 2012 and then again that same year for a story on Al’s solo album “A Postcard From California.”

For these three California shows, though, it’s going to be mostly a celebration of the Beach Boys.

“We’re going to cover three different eras, I think: the early stuff; the middle era, the 1970s, which is turning out to be my favorite era; and the 1980s material,” said Jardine.

“It will be primarily Beach Boys music. I don’t do my personal stuff and Brian doesn’t do much of his personal stuff either because we’re really celebrating the Beach Boys. Believe it or not, that’s who we are.”

Al deadpanned the “that’s who we are” line and added a little snicker for emphasis. Like there is anybody left on the the planet who doesn’t know that the Beach Boys are the Beach Boys. In other words, they’re not likely to try and be something they’re not.

But they never have.

The rest of the interview was more of a conversation, like two guys sitting around at a backyard barbecue, lifting a few cold ones and shooting the breeze about music, their families and life in general. Two guys in Hawaiian shirts, of course.

I told him I really liked the song “San Simeon” off his solo album. It very Beach Boys-ish. Go figure.

“America (Dewey Bunnell and Gerry Beckley) does such a great job on that song. It has an authenticity to it. My son Adam did a great job on it, too. He’s the one singing that real pretty deep reverb that goes into echo. He doesn’t get much credit because there are such big names on the album (Brian and the rest of the Beach Boys, Glen Campbell, David Crosby, Stephen Stills, Neil Young and Steve Miller, among others). But he came up with that part. I have to give him all the credit,” said Jardine.

With no disrespect to The Mystics, who were the first to record it, I told Al that I thought the Beach Boys version of “Hushabye” – covered on their 1964 album “All Summer Long” – was better than the original. And that when Al’s son Matt joined the Beach Boys in the 1990s and took over the high lead on that song, I thought he did a great job with it.

“Yea, Matt can really sing. He nailed that song,” he said. Spoken like a proud father.

The conversation then turned to the 1970s. “That’s my wife’s favorite era of music. She educates me every day to it on Sirius Radio,” said Jardine. And then to the 1972 Beach Boys album, “Carl and the Passions – So Tough,” on which Al shares songwriting credit on two cuts: with Carl and Mike on “All This Is That” and with Brian and Mike on “He Come Down.”

“That is an amazing song. I can’t believe it’s us,” said Al of “He Come Down.” “It was a meditation song, and it turned into some kind of a spiritual. And it’s really good. Somebody ought to cover that thing. I should probably talk to Brian about that.”

We rounded out the conversation transitioning from music to the environment, specifically talking about recycling. Al is a longtime environmental advocate and a big recycling proponent.

“I start preaching on stuff like recycling. I drive everyone crazy with it. I probably should write a song called ‘The Recycle Man,’” he said.

Jardine is working on a couple of solo projects that he’s not ready to detail yet, but he’ still having a lot of fun doing what he’s doing and teaming up with Brian yet again.

“Just to be able to go down to the studio and work up a new song – or even an old song – is fun,” he said. “When it stops being fun is when you should stop doing it. But I’m looking forward to working with Brian on these next three shows. That’s always a gas.”

Just like it’s always a gas to talk to Al Jardine. Nothing heavy, just one Rock and Roll Hall of Famer talking about music with a guy who has been writing about it for years.

For a moment, I considered pulling my Hawaiian shirt out of the closet – the one with the surfboards on it that my wife hates – and throwing it on just to try and extend the summer for another day.

Instead, after I hung up the phone with Al, I went over to my vinyl collection, thumbed through the 45s, and pulled out “The Little Girl I Once Knew,” put it on the turntable and drifted right back to 1965.

It sounds as sweet today as it did nearly 50 years ago.

Sun, sand and cigars: A shore way to motivate and inspire

This is the view from Music Pier in Ocean City, N.J. A perfect place to write about music from the 1970s.

This is the view from Music Pier in Ocean City, N.J. A perfect place to write about music from the 1970s.

In an effort to find inspiration and motivation, I took off Wednesday, Sept. 17, in search of an ocean.

My hope was that the combination of the late summer sea breeze, the sound of the waves, a slice or two of my favorite boardwalk pizza and possibly a leisurely go at a mild cigar after lunch would be just the thing to kick off the Opening Day of Writing for The Vinyl Dialogues: Volume II.

It was a well-calculated plan. I had been watching the weather report for 10 days in advance, trying to free up a day where it was the just the sun and me. And I picked Ocean City, N.J. because it is relatively close and it has an historic concert hall called Music Pier that stretches out from the boardwalk and touches the ocean. I figured that the extra music mojo coming off Music Pier couldn’t hurt the writing process of a book about memorable albums of the 1970s.

I anticipated that because summer vacation season is over and the kids are back in school that the boardwalk would be virtually deserted.

For the most part it was, with the exception of three things I discovered when I got there:
(1) Old people.
(2) Old people.
(3) And old people.

Considering that I am on the doorstep of OldGuyHood myself, it should not have surprised me that other people would have been thinking the same thing that I was thinking on a nice day this time of year. But it did.

Still, I am sometimes surprised at how much I am surprised sometimes.

Having completed four interviews to this point, transcribed the notes, done some research, and let all of that ferment inside my head for several days, I was anxious to get the writing process started. My hope was that I could get first drafts done for two chapters of about 2,500 words each with the ocean as my background music.

I had decided to start with the chapter on the 1978 album “Entertainers On and Off The Record” by the Statler Brothers. Don Reid, lead singer and primary songwriter for the group along with his brother Harold Reid, was the final interview for the first Vinyl Dialogues book. It was such a wonderful interview that I asked him to participate again for Volume II, and he agreed, much to my delight.

It made sense to start the next project right where the first one had left off.

A word here about country music in general and Don Reid specifically. If country music is not your preferred genre, know that the Statler Brothers are one of the greatest country music groups in the history of country music. Their harmonies, songwriting abilities and accomplishments are virtually unmatched in country music. And Don Reid himself is a superstar who doesn’t act like one and a gentleman who does. He is a treasured storyteller and a gracious interview subject, the kind of guy that makes me want to build a porch on the front of my house, buy a few rocking chairs, grab a six-pack of cold beer, invite him over and just listen to him talk for three or four hours on a Saturday night.

To get in the right frame of mind, I rolled down the car windows and listened to “The Best of the Statler Brothers” CD twice on the drive from suburban Philadelphia. It was kind of like a baseball player in the on deck circle warming up by swinging a leaded bat preparing for his turn in the batter’s box.

By the time I got to Music Pier, I was primed to write. I stationed myself in my chair just outside the great music hall in its open air annex, where I could see, smell and hear the ocean, and pulled out my laptop.

And promptly took a nap. Zzzzzzzz. See, writers are Major League procrastinators. And and when it comes to distractions, as previously stated, I can be as much of an old guy as the next old guy.

Fortunately, I was able to recover quickly and banged out a first draft of about 2,500 words on “Entertainers On and Off The Record” with the information that Don had provided in the interview. It took about two-and-half hours.

And then I took another nap. Zzzzzzz. After that, I grabbed a couple of slices of pepperoni pizza from Manco and Manco – if you’re from this part of the East Coast, you know how good it is – a chocolate and mint frozen yogurt cone for dessert, packed up my chair and laptop and drove home.

I didn’t get quite as much work done as I had initially planned, and there is no smoking on the boardwalk so I didn’t get to the cigar. But the writing for The Vinyl Dialogues: Volume II, has officially commenced.

For the first time in my life, I got to create something while peeking at the ocean over the top of my computer.

And it was glorious.

Daydreaming of a simpler time: Teenage love, teachers in tight pants and a mob boss

My dad, Edward E. Morsch, circa 1956 or so, looking much more like a mob boss than an elementary school superintendent.

My dad, Edward E. Morsch, circa 1956 or so, looking much more like a mob boss than an elementary school superintendent.

This isn’t a music-related post. It’s just a fond memory of teenage love, school teachers in tight pants and a mob boss existence in a much simpler time.

My dad was a school superintendent in central Illinois, where I grew up. We lived in his district, so when it was time for me to start at Rankin Grade School, a small rural school grades K through 8, he sat me down and had a talk with me.

See, he was the boss at school (at home, too, but that’s another story). It was the mid-1960s and in those days, the school superintendent was like a mob boss. What he said was the law. He wasn’t a big guy, maybe 5’10” and 165 lbs. But he walked around that school like Andre the Giant. Every kid, teacher and parent in that district knew it.

If you were a student and stepped outside his rules, he had a paddle in his office. And believe me, he was a baseball player, so he knew how to swing a piece of wood.

So on my first day of school in 1965, he sat me down for a little talk. You know how the mob boss kind of whispers in a guy’s ear? That’s how this talk went down.

“Young man,” he said, coffee breath right in my face. “I want you to understand that if you get in trouble at school, you’re going to get in trouble again when I get home.”

Even in my 5-year-old pea brain, it didn’t make much sense to get two punishments for the price of one infraction. So I kept my nose clean for eight years at his school.

Almost.

By the time I had reached eighth grade in 1972, I had begun to notice girls. In fact, I had a girlfriend that was already a freshman in high school, Patti Flynn. Man, she was so pretty. I was maybe 13 years old and didn’t quite understand why I liked girls, I just knew that I did.
Our eighth grade teacher was a divorced woman named Mrs. Muren. Thinking back, she must have been in her mid-30s at the time. I didn’t much care for her as a teacher, but I and the other 13-year-old jamokes did on occasion sit up and take notice when she wore a particular pair of white, very tight pants. We didn’t know what the hell we were looking at, but we liked what we thought we were seeing. (This may explain why to this day, I’m an ass man.)

Nevertheless, I was head over heels for Patti Flynn. Mrs. Muren and her tight, white pants were only a distraction. I got to kiss Patti Flynn.

So one day in class, I was daydreaming about Patti while I was doodling in my notebook. Actually, I was a writer back then, I just didn’t know it.

With true Hemingway pinache, I wrote in my notebook, “Mike loves Patti.” (It was, after all, only the beginning of a writing career.)

At that point, I sensed something was amiss. I glanced up out of my stupor to see Mrs. Muren standing right over my desk, eyes glaring.

“Give me that note, young man!” she screamed at me.

Now remember, I had gone almost eight years without getting in trouble at my dad’s school. That was about to change.

“No ma’am I’m not going to give you this note,” I said, as I crumpled up the piece of paper with my declaration of love for Patti Flynn and shoved it into my pocket.

“Get out into the hall!” screamed Mrs. Muren. All of a sudden her ass didn’t look so good in those pants after all.

Now at our school at that time, the “hall” was actually the gymnasium. If one stepped outside the classroom, one set foot right onto the basketball court. There were four classrooms like that just off the gymnasium. But the gym was also the center of the universe then at Rankin. If one was going anywhere in that small school, one was passing through the gym.

There I was for all to see, standing there like a mope, trying to figure out as fast as I could how to dispose of the incriminating note.

My first thought was if I eat the note, then there’s no evidence. That made sense. But eating paper and ink didn’t. So I opted for the next best solution I could come up with on short notice: I folded up the paper, took off my shoe, shoved the note down my sock to the bottom of my foot, and put the shoe back on.

Just as I had completed that task, I saw my dad come through the doors at the other end of the gym. He was walking with a purpose, and obviously going to some other part of the building on some other important duty.

Until he saw me standing outside the classroom. Then he made a beeline right in my direction. With a purpose.

Oh, shit.

“What’s going on here?” he asked, surprisingly calm.

Here was another thing about my dad at that time: You just didn’t lie to him. I didn’t think twice about lying to Mrs. Muren or defying her orders. But not with the old man. That just didn’t happen.

“I wrote a note in class and Mrs. Muren wanted me to give it to her but I didn’t want to do that so she screamed at me and sent me out here,” I rambled.

“What did the note say?” he asked.

Shit.
“It said, ‘Mike loves Patti,’” I said without hesitation. Gave it right up to the boss.

“Well . . . don’t do it again,” he said, pivoting on one foot and heading back to the task at hand. He didn’t even ask for the note.

That’s the other thing about my dad. He was the sweetest guy in the world and had a great big heart, especially for his children. And for the children in his care at school. He could be tough when he wanted to or had to. But those other times, he was just a softie.

I had kept my record in tact – for the most part – of not getting in trouble at school. My dad never said another word to me about the incident.

Fifty years later, I don’t even remember how it all got resolved. I guess I was allowed back in class, and besides, I was the kid of the boss. I assume Mrs. Muren didn’t want to press the issue with him over a silly little love note.

I kissed Patti Flynn a few more times that year, mostly after home basketball games. She eventually married Perry Martin, a classmate of mine in Mrs. Muren’s eighth grade class and witness to the whole note fiasco.

Me, I’d love to just sit and ask my dad if he remembers that story. What I wouldn’t give for that.

If you’re going to cover Hall & Oates on their home turf, know all the words to ‘Sara Smile’

Daryl Hall, along with John Oates, wrote the classic H&O song "Sara Smile."

Daryl Hall, along with John Oates, wrote the classic H&O song “Sara Smile.”

If you’re going to be a cover band that plays in Montgomery County, PA, and you’re going to include a Hall & Oates song in your set list, then at the very least you ought to know all the words to the song.

See, Montgomery County – north and west of Philadelphia – is the sweet spot for Hall & Oates. John was raised in North Wales, PA, and Daryl grew up near Pottstown, PA, just 15 or so miles further west. Both are in Montgomery County.

It’s the home turf if ever there was a home turf for the Rock and Roll Hall of Famers.

When I moved to Pennsylvania in 2000, I lived in Royersford, PA, a little closer to the Hall family homestead than the Oates territory. In fact, my house was only a few miles from the final resting place of the “abandoned luncheonette,” the one that graces the cover of the 1973 Hall & Oates album of the same name. The structure itself was long gone by the time I got here, having been destroyed in a controlled burn by the township in the early 1980s. (Daryl and John talked extensively in separate interviews about the making of “Abandoned Luncheonette” in “The Vinyl Dialogues.”)

Several years later, I moved to Montgomeryville, PA, but my mailing address is North Wales, PA, the same place where Oates’ parents still reside to this day.

Outside of this area, the rest of the world knows Hall & Oates as Philly guys. But for those of us who call Montgomery County home, they’re our guys.

So as it often does, Saturday Night Date Night this week included dinner and a local show. My wife and I are supporters of local musicians and we enjoy the artists that grace the Philly music scene.

I’m not going to name the venue – although it was smack dab in the middle between Oates’ North Wales and Hall’s Pottstown. We’ve enjoyed several good bands there over the years. And although I should, I’m not going to name the band, because I respect the effort that it takes to put oneself out there in front of people and create music that is going to entertain them. It’s not as easy task for any number of reasons.

But if you’re going to cover a Hall & Oates song in Montgomery County, PA, the lead singer should at the very least know all the words to the song the band is covering. Did I mention it’s the very heart of H&O territory?

So when the four-piece group broke into the opening of “Sara Smile,” my wife and I looked at each other and smiled. We love Hall & Oates and we love that song. It’s arguably one of the most – if not the most – recognizable songs in the vast H&O library of great songs.

(In fact, I wanted to name by first daughter Sara Smile, but it was a different decade, a different wife and a different set of circumstances. She’s 26 years old now, and her name isn’t Sara Smile, but she knows that story. And just last year she and I went to a Hall & Oates concert in Atlantic City, N.J. When they played “Sara Smile,” she laid her head on my shoulder for the entire song. It’s a quaint little family story and it provided us with a special father-daughter moment.)

But this local cover band absolutely butchered the song. They butchered the music, they butchered the lyrics and they butchered the moment, for at least two of us in the audience. Hey, we know all the words to the song, we could have sat in with the band on vocals for this one. And neither my wife nor I can carry a tune in a dump truck, a backhoe, a wheel barrow, on a stretcher or in a bucket.

As it became painfully apparent that this version of “Sara Smile” was going to fall far short of our expectations, I leaned over and whispered in my wife’s ear.

“These guys really shit the bed on this song,” I said, trying to prevent my beer from shooting out of my nose and into her ear, further ruining the moment even more.

“Ya, they’re not very good,” she whispered back.

So we left. It was just too much for our Hall & Oates sensibilities. It was so bad that we yukked it up all the way home.

While writing this, I mentioned to my wife that I couldn’t think of an appropriate ending for this story.

How about “They sucked,” she said.

You know, if you want to be free, all you got to do is say so.

Page 14 of 16

Powered by WordPress & Theme by Anders Norén