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

Tag: Dewey Bunnell

Turning the clock back 40 years: A car, a girl and a song

J. D Malone and The Experts debuted the song "Blue Impala" May 6, 2017, at Steel City in Phoenixville, PA. (Photo by Mike Morsch)

J.D Malone and The Experts debuted the song “Blue Impala” May 6, 2017, at Steel City in Phoenixville, PA.
(Photo by Mike Morsch)

Among the many cool things I get to do with The Vinyl Dialogues series during interviews with the artists is to hear the inspiration and evolution of some of my favorites songs.

Daryl Hall has shared with me the story of how he wrote “Sara Smile.” Dewey Bunnell of the band America has told me the backstory on “A Horse With No Name.” Tom Johnston of the Doobie Brothers has explained to me his thought process on the writing of “China Grove.” Elliot Lurie of Looking Glass offered me great detail on the creation of “Brandy.”

But I’ve never gotten to “live” the evolution a song myself. Until now.

J.D Malone is a singer-songwriter who performs often in my area of suburban Philadelphia. I’ve followed his career for a few years now, seen him perform live a number of times and have all his CDs. His songs are well-crafted and pleasing to the ear and he puts on a great high-energy show. Admittedly, and with substantial bias, I think he’s a big deal and I think the rest of the world should think he’s a big deal as well.

J.D wrote a song called “My Own Paradise,” which is off his last CD “Town and County.” Look it up, buy the CD and listen to the song. It’s brilliant.

And it inspired me to do something that I’ve never before been inspired to do: to write a song. I don’t write music, I write about music. There is a big difference.

But listening to the lyrics of the song made me contemplate my own paradise. What was it? And after listening to “My Own Paradise,” over and over, I determined that I’ve been fortunate to have had several of my own small paradises throughout my life: to be a son, to be a father, a husband, to have been a college baseball player, to be an author.

But I kept going back to one experience in my life when I was 17 years old. My dad had a 1975 blue Chevy Impala, and it was the first car that I learned to drive. It was also the one I drove on my first car date.

It was the fall of 1976, my senior year in high school, and I had a new girlfriend. She was gorgeous. Long brunette hair down to the middle of her back, long legs all the way up to her backside. She was book smart, but shy in public. Shy around everybody but me.

That blue Impala had a bench seat in the front, and one of the coolest things in those days was that when I picked her up for a date, she’d get in the passenger side,  slide across the seat and sit next to me while I drove. Windows rolled down, her hair brushing against my cheek, cassette tapes cranked up on the sound system, her left arm on my shoulder, her hand stroking the back of my neck. It was the exploration and discovery of young love and it was a glorious time to be 17.

Whew. So I wrote a song about that. (Note to wannabe songwriters: If you’re going to write your first song about a girl, make sure it’s about your wife and not an old girlfriend, even one from 40 years ago.)

The urge to write a song was driven by the inspiration of J.D’s song plus the memories of the blue Impala. It was an incredibly strong pull, one that I had not experienced before as a writer. I didn’t even look up “How To Write A Song” on the internet, I just emptied the ideas in my head onto a computer screen.

But I wanted to know: Was there any “there” there? Could it be a real song? So I showed the lyrics to a couple of close friends, Greg Batton, my best pal in high school and somebody who knows not only music but also the girl in the song; and Craig Peters, a great music guy who I knew would offer an honest opinion.

Both of them loved it, so I was encouraged to take it a step further. I reached out to another singer-songwriter friend, Dan May, a brilliant artist and another favorite of mine. He had written a song for me a few years ago about my first book, “Dancing in My Underwear,” and we have had several frank and entertaining conversations over the years about music and life. I knew he would give me a professional songwriter’s opinion.

Dan took the lyrics and tried to put music to them. And as talented as he is, he couldn’t come up with anything that fit with my lyrics. We had a nice conversation about it and he offered me a short course on songwriting over the phone.

But as it turned out, the inspiration of trying to write a song was the most powerful part of the experience, not the finished product itself. I had given it a shot, trying to catch lightening in a bottle, and had swung and missed. I was content to go back to writing about music.

Several weeks later, I was at a J.D show and during one of the breaks, I related the above story to him. There was still something gnawing at me that there might be a song somewhere in that car with that girl on that bench seat.

“Why don’t you send me the lyrics,” said J.D.

“Nah, I can’t do that. It’s an amateurish effort on my part,” I said. “But what I can do is write the story for you and then maybe you can see if there is a song in the story.” It had not occurred to me at the time to offer Dan the story instead of just the lyrics I had written.

So I sent the story to J.D the next day. And he responded immediately: “Love the story and absolutely there is a song there. I would love to come up with something if you like.”

Of course I said yes. It was J.D’s song that inspired me to try to write a song in the first place. If I couldn’t make it happen, maybe he could. I was excited at the possibilities.

And then I didn’t hear anything from J.D for weeks and weeks. I thought it might have been a dead deal.

Then at the end of March, I got a Facebook message from J.D: “Hey Mike, ‘Blue Impala’ is about finished! I’ve got a couple more lines to complete. It’s rockin’! I plan to have it in the set (at the May 6 show by J.D Malone and the Experts at Steel City in Phoenixville, PA). The band should be able to grab onto it quickly.”

Whoa. This had the potential to be off the charts cool. How was J.D going to interpret my story and how much of the story would make it into his song?

Of course, I was pretty excited the night of the show. We arrived at the venue and got to speak to J.D before the performance. I asked for permission to video the song, which he graciously granted. “Blue Impala” was to be the last song at the end of the band’s first set.

The songs in that first set were a bit of a blur for me. Unfortunately from my seat, when I was looking at J.D on stage, there was a clock right behind his head in my sightline on the back wall of the venue. I kept looking at that clock trying to figure how close we were getting to the end of the first set.

Then with a short introduction, in which J.D mentioned that he was debuting a new song that was inspired by a story that I had sent him, I heard “Blue Impala” for the first time.

And. It. Was. Simply. Awesome. (As an aside, The Blonde Accountant even liked the song. If your wife likes a song that’s about a girl other than her, that’s some pretty good songwriting right there. Thanks for keeping me out of that doghouse, J.D.)

It’s difficult, even for a word guy like me, to describe the excitement I experienced at hearing the song for the first time. It was almost as exciting as sitting on the bench seat in that blue Impala with that girl 40 years ago.

Almost.

Unfortunately, in all the excitement, I botched the video. I got only the last verse and end of the song. J.D sent me a copy of the lyrics the next day and I was able to see how much of the story ended up in the song’s lyrics.

“Roll down the window let the summer wind blow your hair
All the kids are talking shit
But we don’t even care
I’ve got this blue Impala and the motor is running just right
So let’s keep on going baby
You and me into the night”

J.D shared with me that he plans to record the song and put it on his next album. How cool is that?

And the girl? Well, we stayed together for two years, through our first year in college. We split up in the summer of 1978 and I haven’t had any contact with her since. I hope life has been kind to her.

My dad is gone, too. And so is the blue Impala. But for a few minutes Saturday night, I got to be 17 again and relive the memories of being in that front seat of my daddy’s car.

That car. That girl. That era. This song, which beautifully captures that moment in time and preserves it forever.

Thanks for that special gift, J.D.

The story behind ‘A Horse With No Name,” straight from the horse’s mouth

Dewey Bunnell of the band America wrote and sang lead on the song "A Horse With No Name." (Photo by Mike Morsch)

Dewey Bunnell of the band America wrote and sang lead on the song “A Horse With No Name.”
(Photo by Mike Morsch)

There’s a sign that makes the rounds on Facebook that frequently gets posted to my timeline. It reads: “All I’m saying is, at any point during that ride through the desert, he could have given that horse a name.”

The reference is, of course, to the song “A Horse With No Name” by the band America. My friends know I am a longtime fan of the band, so that’s why this sign is frequently posted on my Facebook page.

It turns out, though, that I have a little insight on this, thanks to the guy who wrote it.

The song was written by Dewey Bunnell, who along with Gerry Beckley and Dan Peek, founded the band America in 1970. Its self-titled debut album, released in 1971, didn’t initially contain the song. But after “A Horse With No Name,” which featured Bunnell on lead vocals as well, became a hit and went all the way to No. 1 on the U.S. Billboard Hot 100 chart, the “America” album was re-released in 1972 with the track.

But the controversy surrounding the song wasn’t that the horse didn’t have a name, it was that some radio stations refused to play it because of its supposed references to heroin use. “Horse” is a slang term for heroin.

HorseNoNameSignI first interviewed Bunnell in 2006, and subsequently two more times over the years: once about the 1974 album “Holiday,” which is featured in “The Vinyl Dialogues,” and again recently about the making of the 1975 album “Hearts,” which will be detailed in “The Vinyl Dialogues Volume II: Dropping the Needle,” due to be released in August 2015.

And straight from the horse’s mouth, you might say, Bunnell has told me that “A Horse With No Name” is not about drugs.

“Not at all. It actually has changed a little bit in my mind as the decades have gone by,” said Bunnell in the 2006 interview.

“The central theme [of the song] was ‘solitary thinking in a peaceful place.’ The horse was really just a vehicle to get out there. I always loved the desert as a kid. ‘The heat was hot’ was an important feeling that I was trying to re-create there. [The song] was just a travelogue with an environmental message in there about saving the planet,” said Bunnell.

Bunnell said that when the band shot the cover for its third album “Hat Trick,” which was released in 1973, the photo shoot did include horses and band members did go out into the desert for a couple days to get some shots.

“We had fun, but I don’t recall the name of the horse I rode while I was out there,” said Bunnell. “A lot of horse people think I have a real working knowledge of the animal, but I don’t.”

So there you have it. Even when Dewey Bunnell had the chance to actually ride a horse in the desert, he still didn’t give it a name.

Next time I talk to Dewey, I’ll have to ask him flat out if in subsequent years, he’s ever thought if that horse he wrote about has a name.

The Beach Boys and America: As close to a perfect evening as possible

Bruce Johnston of the Beach Boys performs at the Borgata in Atlantic City. (Photo by Mike Morsch)

Bruce Johnston of the Beach Boys performs at the Borgata in Atlantic City.
(Photo by Mike Morsch)

While waiting for the Beach Boys/America concert to start in the ballroom of the Borgata in Atlantic City Saturday evening, April 18, a little old lady came in and sat down beside me.

I don’t think she was from Pasadena. Atlantic City is, after all, a long way from California. (Beach Boys fans will get that joke.)

She was quiet throughout the hourlong set by America – Dewey Bunnell and Gerry Beckley – who sound as good today as they did 40 years ago when they were making their fifth studio album, “Hearts,” which will be featured in “The Vinyl Dialogues Volume II: Dropping the Needle.”

America has always been one of my favorite bands, but this was the first time I had the opportunity to see them live. There aren’t enough adjectives to describe how good these guys are and how much I love their songs. So it’s no surprise to say that I enjoyed their performance.

When America finished its set, closing with “A Horse With No Name,” the first hit single for the band, which was released in 1971, the little old lady turned to me and said, “Was that the Beach Boys? Is that all?”

I explained to her that it was the band America that we had just seen and that the Beach Boys would be coming out next.
“Oh, I wasn’t sure. Those guys didn’t sound like the Beach Boys,” she said.

After the Borgata show, we got to meet Bruce. That's daughter Kiley, Bruce and the author.

After the Borgata show, we got to meet Bruce. That’s daughter Kiley, Bruce and the author.

No, they didn’t sound like the Beach Boys to me either. For one thing, they’re younger, a joke that Beach Boys frontman Mike Love made himself later in the show. But Bunnell will tell you that he and Beckley love the Beach Boys, that they did influence America and that members of the two bands have been friends for decades and have performed on the same bill many times over the years.

The Beach Boys and America – they are the fabric of American music – provided much of the soundtrack of my life when I was growing up in the Midwest in the 1960s and 1970s.

This was a special concert for me for a couple of other reasons as well. I was accompanied by my oldest daughter, Kiley, who grew up with this music. We have a special bond that is linked in part by Beach Boys music. I did feel somewhat bad stealing her away from her husband on a Saturday night, but only for a little bit. From a selfish standpoint, she’s still my little girl. But as an adult, she’s great to hang with and she appreciates the music.

Dewey Bunnell, left, and Gerry Beckley of the band America sound just as good today as they did in the 1970s.  (Photo by Mike Morsch)

Dewey Bunnell, left, and Gerry Beckley of the band America sound just as good today as they did in the 1970s.
(Photo by Mike Morsch)

It was also a special evening because we were the guests of Bruce Johnston of the Beach Boys. Bruce provided a great interview in “The Vinyl Dialogues” detailing his role as producer of David Cassidy’s first two solo albums after Cassidy’s TV show “The Partridge Family” had ended its run. I hope to interview Bruce again for Volume II, this time about a Beach Boys album.

It wasn’t the first time I had met Bruce. In 1986 at a Beach boys concert in Rockford, Illinois, I was part of a media contingent invited to a pre-concert “Beach Party.” Bruce was the only band member to appear at the event, so he was inundated by the media. There is a photo of me standing next to Bruce, pen and reporter’s notebook in hand, and sporting a full head of curly hair.

The Beach Boys themselves – the Mike Love/Bruce Johnston group – still rock. There is still an energy coming from the stage that can make one forget that these guys are in their 70s and that they’ve been doing this for more than 50 years.

For the record, I don’t get into all that offstage Beach Boys hoo-ha. I love Brian Wilson, Al Jardine and that band. And I love Mike Love, Bruce Johnston and that band. I loved that they were all together for a series of 50th anniversary shows a few years ago and that I got to see one of those shows with my daughter.

But for me, it’s only about the music and what it means to me.

We were fortunate to meet Bruce after the show. He was gracious, signed a few autographs – including the photo of him and I from 1986 – posed for a photo and chatted a bit.

“I’ve been coming to Beach Boys concerts since I was three years old,” my daughter said to him.
“Me too,” said Bruce.

It was as close to a perfect evening as it could be.

Oh, and the little old lady? Without saying a word, she just got up and left about two-thirds of the way through the Beach Boys’ set.

Maybe she was headed back to Pasadena after all and wanted to get ahead of the traffic.

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