SIX DEGREES OF SEPARATION from “No Matter What Shape (Your Stomach’s In)”

PART 1: The Jingle, The Song, The Band, The Beatles…   

   What started out as a TV spot for Alka-Seltzer was later recorded as  a full length single“No Matter What Shape (Your Stomach’s In)” becoming  a hit for THE T-BONES in1966. And just like we can find  SIX DEGREES OF SEPARATION aka the KEVIN BACON GAME,as this one song will take us on a musical journey of the late1960’s and onward. 

   The original jingle was written by ALEXANDER BURLAND (The Nutty Squirrels) Producer JOE SARACENO turned the jingle into a full length instrumental recording using studio musicians credited to THE T-BONES (Tommy Tedesco guitar, Hal Blaine, drums;Carol Kaye electric bass; Lyle Ritz, upright bass). This studio band was actually part of THE WRECKING CREW, all “first call musicians” known for their exceptional studio chops for the hits of THE MONKEES, SONNY and CHER,THE RONETTES, THE TIJUANA BRASS and so many more. To tour as THE T-BONES would have cost them money as the  studio money was so much more profitable than touring money.

   The WRECKING CREW started in 1962 working at GOLD STAR STUDIOS on hits produced by PHIL SPECTOR (The CRYSTALS/THE RONETTES/IKEand TINA TURNER/THE RIGHTEOUS BROTHERS). As “first call” LA musicians they worked with producers as diverse as BRIAN WILSON, TERRY MELCHER, LOU ADLER, BONES HOWE, JIMMY BOWEN and MIKE POST.

LOU ADLER often seen court side next to JACK NICHOLSON at LA LAKER games or seen in the crowd behind the catcher at DODGER games LOU ADLER (with the signature white beret) was the originator of The Monterey Pop Festival, owner of DUNHILL Records and later ODE Records. He produced JOHNNY RIVERS, THE GRASS ROOTS, JAN and DEAN, THE MAMAS & THE PAPAS and won a GRAMMY AWARD for producing CAROLE KING’S “Tapestry” in 1972. He was Executive Producer of THE ROCKY HORROR PICTURE SHOW and films for CHEECH & CHONG. Early in his songwriting days with HERB ALBERT they wrote “Wonderful World” a huge hit in 1960 for SAM COOKE and in 1965 became a hit for HERMAN’S HERMITS. LOU ADLER was married in 1964 to SHELLY FABARES and produced a few hit records for his then wife, along with one son

JIMMY BOWEN produced FRANK SINATRA’S “Strangers In The Night” (1967’s Grammy for RECORD OF THE YEAR)among other hits. “Old Blue Eyes” hired BOWEN as a record producer (using THE WRRECKING CREW) for his newly established (1960) REPRISE RECORDS, thus giving a new meaning to “CHAIRMAN OF THE BOARD”. SINATRA garnered the fellowship of the RAT PACK by signing DEAN MARTIN, SAMMY DAVIS ,Jr ,also NANCY SINATRA, DINO, DESI and BILLY to the label. In later years BOWEN worked with GLEN CAMPBELL, KENNY ROGERS, HANK WILLIAMS,Jr, THE OAK RIDGE BOYS, REBA McEntire, GEORGE STRAIT, SUZY BOGGUSS, KIM CARNES, CONWAY TWITTY and GARTH BROOKS.

BONES HOWE originally was an engineer under ADLER. He later produced hits with THE WRECKING CREW for THE ASSOCIATION and the 5th DIMENSION.

TERRY MELCHER, the son of DORIS DAY, was a singer, songwriter and as a producer he helped develop the “California Sound” and “folk rock”. He sang as TERRY DAY, later in BRUCE(Johnston) and TERRY, and was also  in THE RIP CHORDS. MELCHER produced the first two BYRDS albums including the singles “Mr. Tambourine Man” and “Turn,Turn,Turn” as well as hits by PAUL REVERE and THE RAIDERS.Years later he produced the BEACH BOYS’ hit “Kokomo”. TERRY MELCHER is also known as the original target of CHARLES MANSON’S family attack on 10050 Cielo Drive the rented home that MELCHER shared with girlfriend CANDACE BERGEN and his friend MARK LINDSAY. They had moved out prior to that fateful day.

MIKE POST produced the 1964 hit by THE MURMAIDS “Popsicles and Icicles”(written by DAVID GATES). Got his first GRAMMY (age 23) in 1968 for Best Instrumental Arrangement on MASON WILLIAMS (backed by THE WRECKING CREW) “Classical Gas”.  At 24 he was Musical Director on THE ANDY WILLIAMS SHOW, then got his second GRAMMY for his theme song for THE ROCKFORD FILES, He was the “go-to guy” for many TV shows producers including The A-Team, Baa Baa black Sheep, The Commish, Doogie Howser, MD, Magnum, PI, and many others. To me he is best known for his “dun, dun” sound effect he created for the “Law and Order” franchises.

BRIAN WILSON:simply stated the genius of The Beach Boys.

PART 2: The Beatles???

   What started out as  a TV spot for Alka-Seltzer was later recorded as  a full length single“No Matter What Shape (Your Stomach’s In)” becoming  a hit by THE T-BONES in1966. And just like we can find  SIX DEGREES OF SEPARATION aka the KEVIN BACON GAME, this one song will take us on a musical journey of the 1960’s and onward.

   THE T-BONES as recorded was: Tommy Tedesco on guitar, Hal Blaine, drums;Carol Kaye electric bass; Lyle Ritz, upright bass. This studio band was actually the basis of THE WRECKING CREW, all “first call musicians” known for their exceptional studio chops for the hits of THE MONKEES, SONNY and CHER,THE RONETTES, THE TIJUANA BRASS. To tour as THE T-BONES would have cost them money as the studio work money was so much more profitable than tour money.

   It was suggested that a “tour” band of THE T-BONES would be compiled to tour, photos etc…sorta like THE MONKEES (but not as famous). The T-Bones were now identified as JUDD HAMILTON, DAN HAMILTON, JOE FRANK CAROLLO and TOMMY REYNOLDS none who played on the original record, nor the (previous of course and) subsequent recording until the last album “Everyone’s Gone To The Moon”.

   Years later (1971) HAMILTON. JOE FRANK and REYNOLDS have two huge hits with “Don’t Pull Your Love (Out)” and “Fallin’ In Love”.

   THE BEATLES are connected to our KEVIN BACON GAME, so bear with me on this one. “Red Rubber Ball” a silly hit written by PAUL SIMON and BRUCE WOODLEY of THE SEEKERS was recorded by THE CYRKLE in 1966 climbing the BILLBOARD Chart to #2.  Original called THE RHONDELLS, the band was managed by BRIAN EPSTEIN of BEATLES fame who changed their name to THE CIRCLE, JOHN LENNON re-christened the band THE CYRKLE. THE CYRKLE opened on numerous US dates for THE BEATLES and played THE BEATLES last live date ever in San Francisco.

   Here’s the connection.  In 1976, Alka Selter stops using “No Matter What Shape” and now rallies around a new jingle “plop, plop, fizz, fizz”. This jingle was written by musician TOM DAWES, a former member of THE CYRKLE…

ON THE TURNTABLE:and the year was-1970

ON THE TURNTABLE: And the year was…1970
Every few weeks I post a review of the albums I listened to in a particular year. So today is one of those postings…AND THE YEAR WAS:1970

Strange freaking year for me.January of 1970 I just turned eighteen years old, awaiting graduation from high school, applying to colleges and possible facing the military draft. No matter what transpired the night before or what each morning brought upon us, we partied on.My job at the cassette factory recently closed so I had to find gainful employment to keep my obsession of attending live shows and buying recorded music. I found not one job but two; One working in a boat yard part time after school and full time on the weekends, as well as working evenings as a substitute cleaner/custodian in the local schools when called upon, which was regularly.That custodian gig paid off big time years later, but that’s another story altogether.I graduated high school in June, worked the summer, and headed off to college in September. There I immediately landed on the college radio station doing Friday night 11PM to Saturday 7 AM as well as an occasional afternoon show.

1970 Music: in no particular order or favor:

To me NEIL YOUNG’s third album “After The Gold Rush” (August 70)was better than CSNY’s (March 70)“Deja Vu” but not nearly as exciting as Neil’s “Everybody Knows…”. It’s 1970, so “…Gold Rush” is the perfect collection for the 8-track tape players we all installed in our cars. One copy of “Gold Rush” moved from one friend’s cars to other friends cars. Perfect “pot smoking music” was how it was once described.

After I and II the new LED ZEPPELIN album had to entitled “ III”.They are original…or maybe not, anyway “Immigrant Song” kicks it off, on from there it was electric, acoustic,electric back to acoustic. Cool stuff. The tune“Since I’ve Been Loving You” was copped directly from the obscure “Grape Jam”. Robert Plant was good friends with BOB MOSLEY of MOBY GRAPE so Zep stole from every one, being unscrupulous,unmerciful, but good.

VAN MORRISON’s “Moon Dance” was another staple on the ole turntable, as well as the new turntable/stereo which I had updated at this time. I now had an actual stereo system with true speaker separation… And loud,too.

THE WHO- “Live at Leeds” I bought this (vinyl), threw it on, cranked up the stereo and almost blew out the windows to my room.Simply said, it’s “DA ‘HO”…played it a 1000 times.

THE BEATLES “Let It Be” well… everyone bought this. No biggie here for me, I did buy it but hardly ever played it. I did buy the “Naked” version years later and must say I like the Naked better.

TRAFFIC: “John Barleycorn Must Die”-Summer of ’70, six songs, thirty five minutes, bravo. I was so glad BLIND FAITH was over and TRAFFIC together for another go round. This was a quite different TRAFFIC sound and another great tape to bring out with the boys on the corner.

Two from ELTON JOHN, “Elton John” and “Tumbleweed Connection”- After seeing ELTON JOHN (the trio) open for LEON RUSSELL @ Fillmore East, I was sold, this guy would be huge, but how huge I did not know.

BAND OF GYPSYS “Band of Gypsy’s”-I appreciated his uniqueness, his innovative approach but still was not a huge fan as were most of my friends. Don’t get me wrong, his first album was a gem, and “Electric Ladyland”, wow. Then I wanted to go to this FILLMORE EAST show, New Years Day 1970, even had tickets but that’s another story. After I got this album, I really regretted not going and had a higher appreciation of the artistry known as HENDRIX.

THE DOORS- “Morrison’s Hotel”, this is their fifth album. Their fourth sucked, horns and all. This was a “return to the blues” so said one reviewer. Which blues, I’ll never know. Better than “Soft Parade”, I’ll give you that.

CSNY “Deja Vu” Funny how I liked most of the tunes, except the Graham Nash ones. To this day, I still laugh at the words to “Our House”.With “Two cats in the yard”…”flowers in the vase”…yuck, this is rock and roll, Graham.

T.REX- “T.Rex”(1970 release) After reading about T. Rex and DAVID BOWIE in MELODY MAKER I contacted the record company and received a copy of the album for the radio station in January 1971. I took it home on the winter break and never brought it back.

DEREK and THE DOMINOS-“Layla and Other Assorted Love Songs” I saw the band at FILLMORE EAST in October before the album was released. November ,we get it at the radio station, and I throw it on in the lounge. “Little Wing” grabbed my attention, then that “Layla” tune was kinda special. We saw the band again in December at Suffolk Community College (another story), they never played “Layla” but we did on the station, constantly. During one of my overnighters I played the entire album along with the original version of some of the blues numbers.

THE GRATEFUL DEAD- “Workingman’s Dead” and “American Beauty” both were heavy rotation on my show and in my room.

MILES DAVIS: “Bitches Brew”- “Miles Runs The Voodoo Down” followed by DR JOHN’S “ Gris Gris Gumbo Ya Ya” can get one in a bit of controversy with the radio staff, especially when you are the new guy (me) and the offended party is the outgoing “thinks he is a big shot Assistant Program Director”, a guy who regularly plays a “Melanie Half Hour”. I still swear he removed “Bitches Brew” from the record library. Smart me, I’ll bring my own and play it again, just for fun.

Speaking of fun…THE STOOGES “Fun House” was not welcomed at my parent’s home nor at the radio station…no fun zone, I guess. Nor was the VELVET UNDERGROUND’s “Loaded” welcomed but I played “Sweet Jane”, “Who Loves The Sun” and “Rock & Roll” to no end. Throw in the MC5 “Back In The USA” and one can see why I was hosting a very late night radio show. rather than “the Breakfast Hour”.

And then there was THE KINKS “Lola Versus Powerman and The Money Go Round”, JETHRO TULL’S“Benefit”, VAN MORRISON’s “His Band and Street Choir” wonderful follow up to “Moon Dance”,
WOODSTOCK “TheSound Track, JOE COCKER’s“Mad Dogs and Englishmen”, ROD STEWART’s “Gasoline Alley,THE BEACH BOYS “Sunflower” and of course SPIRIT “Twelve Dreams of Dr. Sardonicus”.

Funny, by Spring of 71 I was in charge of the record library at the station, a true benefit for any record collector, AND was doing Tuesday and Thursday afternoons, with a weekend show… 16 hours total air time…AND NO HOLDS BARRED.

TICKETS TORN IN HALF: September 24,1971:The Beach Boys@Carnegie Hall (late show)SURF’S UP Tour-

TICKETS TORN IN HALF: September 24,1971:The Beach Boys@Carnegie Hall (late show)SURF’S UP Tour-

My first “BEACH BOY” experience was a Midnight show at CARNEGIE HALL, fourth row to the left. We arrived early only to find the first show was still in progress, a good omen I hoped. Finally inside I retreated to The Carnegie Hall bar for an eye opener as it was now close to 1AM and then moved on to our seats. After all is said and done you know you attended a great show when the band opens with GOOD VIBRATIONS and closes with an amazing “new” tune, SURF’S UP, followed by HEROES AND VILLAINS before being called back to play DO IT AGAIN (which to me has the greatest back beat). Then, the band returns once again to thunderous applause to do LITTLE DEUCE COUPE, SURFER GIRL, HELP ME RHONDA, and JOHNNY B. GOODE. The only bummer of the night was Mike Love’s ode to Transcendental Meditation. The massive CARNEGIE HALL stage was filled with musicians, about 16, and hidden in the group on keyboards was one Daryl Dragon aka the Captain later of Tennille fame. And THE BEACH BOYS did not have on matching suits, no stripped shirts, as a matter of fact they looked kind of like the audience, long haired and bearded.

 

TICKETS TORN IN HALF:September 1,1977 The Beach Boys/Ricci Martin@The Great Lawn in Central Park

TICKETS TORN IN HALF:September 1,1977 The Beach Boys/Ricci Martin@The Great Lawn in Central Park

This is my fourth BEACH BOYS show and today we have Brian Wilson on the GREAT LAWN in front of an estimated crowd of150,000. During my walk around the perimeter I was greeted by a few guys from THE DICTATORS (Top Ten and Ross The Boss) who called me over to say hello.Every body loves THE BEACH BOYS.The GREAT LAWN was scattered with coolers, blankets,and picnic baskets. The sweet aroma of marijuana spiced the air, and it was only noon. I had a few beers in the hot sun and got ready for RICCI MARTIN who hit the stage about 12:30. The crowd of mostly 20 to 30 plus years old was receptive but not overwhelmed.Then, THE BEACH BOYS hit the stage about 1:30 and played a ninety minute set. Frisbees and beach balls abound.The sound system sucked.But BRIAN WILSON (the eternal teenager) was there, seated at a piano looking quite uncomfortable, in the midst of 17 musicians on the stage. While I enjoy early BEACH BOYS songs it was the Smile, Surf’s Up, etc stuff I wanted to hear and with an ensemble this large I thought for sure we were in for that kind of BEACH BOYS show. Unfortunately, The BEACH BOYS are also the biggest nostalgia band of that time and that’s what this crowd wanted and got.

CALIFORNIA GIRLS

DARLIN’

SLOOP JOHN B (BRIAN SINGS)

LITTLE DEUCE COUPE

IN MY ROOM

SAIL ON SAILOR

CALIFORNIA SAGA

AIRPLANE

BACK HOME

SURFER GIRL

LADY LYNDA

CATCH A WAVE

BE TRUE TO YOUR SCHOOL

HONKIN’ DOWN THE HIGHWAY

IT’S OKAY

LOVE IS A WOMAN

ROLLER SKATING CHILD

EVERYONE’S IN LOVE WITH YOU

FEEL FLOWS

HEROES AND VILLIANS

HELP ME RHONDA

WOULDN’T IT BE NICE

I GET AROUND

GOOD VIBRATIONS

SURFIN USA

FUN,FUN,FUN

AT THE MOVIES: THE T.A.M.I. SHOW

AT THE MOVIES: THE T.A.M.I. SHOW

I guess television was not enough to brainwash the youth of AMERICA ( and other points of interest) with that sinful Rock N Roll so now the movies will be utilized. Sure, movies offered ELVIS and SINATRA in plenty of starring roles, with a few tunes thrown, but this one, this time, The TAMI SHOW was meant for us, the teens to experience a live concert setting in all its grandeur. The screaming girls (and guys), the bands hitting the stage one after the other while giving the audience their hits, as well as their movements. Oh, yes, the movements; the hip shaking, the choreography, the microphone tricks, the guitars, the drums, all of it which you can’t experience (see) on vinyl. So here it is. I just turned 13, saw the ad for the movie playing in the next town and NEEDED to go, not just wanted to go, I truly NEEDED to go. My friends were not as interested as I was so I walked alone with my 35 cent admission to experience THE T.A.M.I Show. What a line up of acts, a lineup that so many years later I truly enjoy more.These were the “heavies” of their day at their moment in time. Jan and Dean were the”hosts” as well as guests. Chuck Berry hits the stage playing his guitar “like ringing a bell”, Gerry and The Pacemakers serenade us,LESLIE GORE- truly a gem- a feminist before her time,The BEACH BOYS with their stripped shirt ensemble, Marvin Gaye- a bit nervous but soulful, THE MIRACLES-what moves, THE BARBARIANS- almost bought their album “Are You A Boy Or A Girl?”, JAMES BROWN- move upon move like no other, especially “Please, Please, Please” with the cape, and finally The Rolling Stones-oh my. THE STONES with Brian on teardrop guitar and KEITH killing it on his solos, they THE ROLLING STONES made the whole afternoon for me. Again, I wanted, no I needed more live music.

IN THE HOUSE: June14,1974- THE BEACH BOYS/KIKI DEE @NASSAU COLISEUM

IN THE HOUSE: June14, 1974 -THE BEACH BOYS/KIKI DEE @NASSAU COLISEUM

This was a live radio broadcast and subsequent album release with Elton John guesting on “Barbara Ann” and Paul Simon doing “Fun Fun Fun”. My fourth shot at seeing the band, two at Carnegie Hall one in 71 and next in 72, then 73 with CHARLES LLOYD guesting at St. John’s University and now at the caverns NASSAU COLISEUM complete with its HIPPIE SQUAD of goons looking to bust folks for smoking herb or drinking in the parking lot in or around the arena. The other venues were a joy, this time not so much. Too say we were uncomfortable is an understatement.

KIKI DEE was a minor sensation in the UK until she became a star with the help of ELTON JOHN and a huge hit at home and abroad with “I GOT THE MUSIC IN ME”. Little known fact is KIKI DEE was the first white girl signed to TAMLA RECORDS.

THE BEACH BOYS tonight perform as an 8 piece outfit sans their star BRIAN WILSON who is still on hiatus.So, it was mainly the hits tonight,starting with “Wouldn’t It Be Nice”, Sail On Sailor ( I love that tune), a few others throw in before the band tears it up with SURFER GIRL, GOD ONLY KNOWS, HEROES AND VILLAINS, HELP ME RHONDA, I GET AROUND, AND GOOD VIBRATIONS. CALIFORNIA GIRLS is the first encore, then BARBARA ANN with Elton John,next up was SURFIN USA, and lastly FUN,FUN,FUN with PAUL SIMON???