Category: artists

Best of the Lemon Pipers liner notes

Click to purchase The Best Of The 1910 Fruitgum Company

THE LEMON PIPERS by Kim Cooper

Bubblegum music was largely the brainchild of producers Jerry Kasenetz and Jeff Katz, with more than a little marketing help from youthful Buddah Records general manager Neil Bogart. The core of the sound was basic American garage rock, two parts “Louie Louie” to one part “96 Tears.” But the lyrics took a giant step backwards, avoiding teenage concerns (girl trouble, mean bosses, bad luck) in favor of the defiantly infantile (sugar-drenched oral gratification, nursery rhymes). It was a style just waiting to explode onto the charts, pushed by a preteen rock audience enjoying their first brush with the thrills of a weekly allowance.

So when in 1967 bubblegum kings Kasenetz and Katz needed a new band for their Super K Productions stable, they knew exactly where to look: central Ohio, which had already provided them with fine raw garage band material in the Music Explosion (which hit with “Little Bit Of Soul” for Laurie Records) and the Ohio Express.

In Oxford, OH they found Ivan & the Sabres, a somewhat progressive Miami University band that was willing to change their name to the Lemon Pipers and follow K&K back to New York City. It was a smart move. Within six months they’d have the #1 record on the pop charts, “Green Tambourine,” just one of many Paul Leka (music)/ Shelley Pinz (lyrics) compositions they’d record.

The Lemon Pipers probably didn’t realize it at first, but Kasenetz and Katz expected that they’d have hits, by any means necessary. If they could knock out a terrific bubblegum single on their own, that was great, but the psychedelic, Byrdsy rock they favored was going to end up as album tracks, if it was released at all.

Nevertheless, the Lemon Pipers would prove the most psychedelic of the so-called bubblegum bands recording for Buddah, as well as the only one that is generally accepted to have played on all their own records. As their producer and main writer, Paul Leka gave them playfully far-out numbers that made use of elaborate orchestration and charmingly simplistic lyrics full of alliteration and fanciful pairings. The result: two of the more cohesive bubblegum albums ever made, and a pair of minor hits to follow the one smash.

The band didn’t think much of “Green Tambourine” on first hearing, and initially refused to record it. A gentle warning from Bogart that they’d do just that if they wanted to stay on Buddah was sufficient to coax out a fine performance. It would be the first Buddah bubblegum single to top the charts.

The Green Tambourine album shows the Pipers in a whimsical Beatlesque vein, dodging Liberace piano trills and raga riffs as they sang about how rice was nice on one’s wedding day, as was living in love’s world of blueberry blue. Leka’s arrangements are dense without heaviness, witty and enjoyable. It’s lightweight orchestral pop fun.

But kids who stuck around till the last track on side two were in for a big surprise. “Through With You” was a 8 1/2 minute garage rock rave up with a great propulsive energy and a mind-expanding, channel-hopping Byrdsy solo leading into an eerie section that’s like a psychedelic whale song, sounding like another band entirely. The same can be said for their first single, another Bartlett original reprised on the album. “Turn Around Take a Look,” is a deceptively simple little tune about stalking, with an insidious hook.

Somewhere between these two sounds was the real Lemon Pipers. You can see why the band was skeptical about becoming a musical mouthpiece for K&K, Bogart and Leka. While “Turn Around” could have been recorded by a number of groups, there weren’t too many that could explore spacerock dimensions and keep a listener’s interest for almost ten minutes. But eight-minute songs don’t sell many singles, so the Pipers’ progressive ambitions were kept carefully in check throughout much of the band’s life.

So who were these Lemon Pipers? Vintage 1968 press releases and liner notes offer some peculiar clues. We learn that 20-year-old singer and rhythm guitarist Ivan Browne digs motorbikes, weird clothes and climbing trees, and lives in a belltower, which helps him get up in the morning. Bill Bartlett (21), lead guitar, from South Harrow, Middlesex, UK, is a senior in the fine arts department, digs Ravi Shankar and aluminum foil, and claims to have seven pet cats –quite an accomplishment for someone in a hit touring band. Organist R.G. “Reg” Nave (22) enjoys SCUBA and skydiving, preferably at the same time. New Zealand-born Steve Walmsley (18) plays bass, and is a poet who likes to catch passing freight cars, with or without trains attached. Drummer Bill Albaugh (18) got himself a pilot’s license for kicks.

The first album reveals an apparent obsession with footwear. “Shoeshine Boy” has an interesting double tracked vocal, and a mournful “Penny Lane” quality. “The Shoemaker of Leatherware Square” is spookily medieval, and quite an odd subject for a pop song. Add these to frothy singles like “Rice is Nice,” “Blueberry Blue,” and of course “Green Tambourine” and you have a strange trip through a psychedelic fantasy land where life is simpler, more sugary, and ones’ shoes look nice.

Album two, Jungle Marmalade, shows the Pipers slipping deeper into demented metaphor with highly entertaining results. The album’s hit (stalling at #51) was Leka and Pinz’ “Jelly Jungle (of Orange Marmalade),” in which the Pipers made a rare attempt at matching the lyrical double entendres practiced by their Buddah colleagues the Ohio Express and 1910 Fruitgum Co. Over an infectious riff the group entices you to “take a trip on my pogo stick/ bounce up and down/ do a trick/ I’ll play a beat on your pumpkin drum/ and we’ll have fun in the sun.” And check out the tongue-in-cheek tribute to enlightenment, “Love Beads and Meditation,” where the singer intones “the tangled mass of membranes that used to be me/ is a memory!” Moving away from orchestration, a countryish side ias revealed on “Catch Me Falling” and on a fine cover of Goffin-King’s “I Was Not Born To Follow.” “Wine and Violet” is cool apocalyptic psych with a freaky backwards tape section, and the 11:52 “Dead End Street/ Half Light” closes the record with some heavy psych slipping into spaced-out reverie.

A lack of chart action seems to have spelled the end for the Lemon Pipers, and the name was retired following album #2. But guitarist Bill Bartlett stayed in touch with Kasenetz and Katz, and his band Autumn again recorded for Buddah in ’73. Four years later, as a member of Ram Jam, he brought K&K a countryish cover of Leadbelly’s “Black Betty” that had earned some minor local airplay. K&K re-recorded it in a rock arrangement and saw it reach the Top 20.

Thanks to Gary Pig Gold and James Porter.

Best of the Ohio Express liner notes



Click to purchase The Best Of Ohio Express

THE OHIO EXPRESS by Kim Cooper

The Ohio Express are the quintessential non-animated American bubblegum band but if their story weren’t so well documented, you’d swear it was a tall tale dreamed up by a drunken record collector.

It’s hard to talk about “The Ohio Express” without confusion, because the name refers both to a touring band based in Ohio, and a studio concoction out of New York City. While both Ohio Expresses contributed to the group’s albums, the East Coast version had most of the hits and were responsible for their signature sound. But we’re getting ahead of ourselves.

The story begins with a perfectly good mid-American high school garage band, popular at teen dances and occasionally pegged to open for national acts like the Turtles. That was Sir Timothy & the Royals, the pride of Mansfield, Ohio. The leader was Tim Corwin (drums), and the Royals were Dale Powers (lead guitar), Doug Grassel (rhythm guitar), Jim Pfahler (organ) and Dean Kastran (bass).

Sir Tim and the boys might have ended up with a song or two on a Pebbles comp had producers Jerry Kasenetz and Jeff Katz not shown up one day circa 1967, inspired by the Music Explosion’s success with “Little Bit Of Soul” to check out another promising Ohio combo. The underage band was quickly signed to a production contract, and rechristened the Ohio Express, because the producers felt their name sounded too English.

Kasenetz and Katz were fast moving pros whose specialty was making hit records and licensing them to labels. They picked up the Royals because they heard something lucrative in their sound-but who knew how long it might take these kids to write a hit of their own? K&K happened to already have a great song, not so loosely based on “Louie Louie,” that had been a minor hit when released by the Rare Breed on the Attack label. That group reportedly didn’t want to be musical puppets, and declined to work further with K&K. So “Beg, Borrow & Steal” was re-pressed with the Ohio Express name on the label, and it hit the top 40. This opened the door for more Ohio Express releases, but didn’t bode well for any hopes of creative autonomy the band may have had.

With the group headquartered 500 miles from New York, even with frequent visits Tim’s boys never got a chance to be fully in the loop. Their producers searched out songs for the Ohio Express; if it wasn’t convenient for the group to record them, studio musicians would instead. It was around this time that K&K decided to rework the banned Standells single “Try It” as an Ohio Express song. This fairly innocent anthem to sexual experimentation was penned by “Under the Boardwalk” writer Artie Resnick and 17-year-old Joey Levine, who played together with Resnick’s wife Kris in a group called the Third Rail. The Ohio Express liked the song, but the rush to release it meant the single only had Dale Powers singing lead over a session track.

When “Try It” charted in February 1968, Levine and Resnick were asked if they had a follow up in mind. Levine offered “Yummy Yummy Yummy,” which Jay & the Techniques had rejected because it sounded too juvenile. Not a problem for a Super K band! A demo was recorded with Jimmy Calvert’s group, K &K’s house band. Levine sang a dummy lead, only intended to sell the song. Neil Bogart loved his nasal whine, and decreed that he should be the permanent voice of the Ohio Express’ singles. To Levine’s surprised dismay, it was this demo version that showed up on the radio soon after, and climbed to #4 on the charts.

Joey Levine’s promotion to sometime lead vocalist created a conundrum for the touring band. Obviously the successful young songwriter wasn’t about to relocate to Mansfield to join the group. So the five band members took turns trying to sing in Levine’s distinctively bilious style, and Dean Kastran’s pipes provided the nearest approximation. Henceforth the Ohio Express found themselves in the unenviable position of having to learn their own hit records from the recordings.

The first Ohio Express album, Beg Borrow & Steal, was released on the Cameo/ Parkway label, where Neil Bogart worked as A&R man. Soon Bogart entered into a partnership with K&K, bringing them and the Ohio Express over to the new Buddah label, which would soon be known universally as bubblegum central. The first album blended folky garage, soul and frat-rock songs, some from the pens of band members Jim Pfahler and Tim Corwin. The more poppy material came from established writers. A full accounting is hard to come by, but the underproduced originals were probably recorded by the touring band, and the rest by the session team. The cover had a photo of the band surrounded by views of their psychedelic tour van, emblazoned with self-conscious countercultural slogans like “You Have Just been Passed By A Happening.”

The Ohio Express, album #1 for Buddah, opened with the organ- and bass-heavy kiddie pop sound of “Yummy Yummy Yummy,” but it also featured some strong band originals, ranging in style from punky garage to psychedelic pop. But by the Chewy Chewy album the Ohio band was nowhere to be seen. On this and Mercy (both released in 1969), lead vocals and between-song patter were almost exclusively handled by Joey Levine, with material written by Levine and other Super K staffers.

“Mercy” proved to be the last Ohio Express hit. Not only was the bubblegum fad’s popularity waning, but the pressure was taking a toll on both Joey Levine and the touring band. Organ player-and one-time main songwriter-Jim Pfahler had been missing shows. A band argument in the van on the way to a Cincinnati gig with the Lemon Pipers deteriorated until Pfahler hopped out with the keys. Tim Corwin hot-wired the engine and they ditched Pfahler. But there were more problems in store for the group. Turning on the radio, they heard for the first time “their” new single, “Chewy Chewy.” Humiliated by fans calling for the song they couldn’t play, Dean Kastran and Dale Powers quit soon after.

Meanwhile, Joey Levine was exhausted from his frenetic schedule as the Ohio Express’ writer, arranger, lead singer and engineer, and irked that he wasn’t making more money. He and Artie Resnick accepted an offer from MGM’s Mike Curb, and relocated to L.A.

In the absense of all the interested parties K&K tried to keep the Ohio Express name alive, releasing several more singles with a revolving crew of musicians. Replacement keyboard player Buddy Bengert sang lead on “Pinch Me,” while the countryish “Sausalito” was recorded in England by the group that would become 10cc, led by songwriter Graham Gouldman. In 1970, the name was quietly retired.

Today Joey Levine is a successful writer of advertising jingles. His work includes the very bubblegummy Almond Joy theme “Sometimes You Feel Like a Nut,” “Just For the Fun Of It [Diet Coke],” “Sitting on a Ritz [Cracker]” and dozens more. Out on the road, drummer Tim Corwin continues to tour with a version of the Ohio Express that occasionally includes rhythm guitarist Doug Grassel. And on oldies radio, the Ohio Express still chugs along, sending kids of all ages into paroxysms of glee at their obscenely catchy riffs, snotty vocals and hilarious double entendres.

Thanks to Carl Cafarelli, Becky Ebenkamp, Bill Pitzonka and James Porter

Tommy James & The Shondells

Tommy James & The Shondells
by Bill Holmes

Jeff Barry and Ellie Greenwich reportedly wrote the song in twenty minutes as a filler track that became the b-side of a failed single. The Spinners, then trolling the bus tour circuit, had it in their repertoire to help get a few people out on the dance floor. Tommy James, nee Jackson, grew up near the Michigan/ Indiana border and would often check out the Chicago and Detroit bands that came through the area. And when James needed another song to cut with his band the Shondells for a local DJ named Jack Douglas, he remembered the dumb riff that caught his ear. Having only heard the song once, James didn’t even know the words, so he made some up and mumbled the others. It was just a riff after all. Douglas released the song on his Snap Records label, and after the usual brief local buzz, the record faded away.

That was until Mad Mike Metro, a Pittsburgh DJ, found the record in a bargain bin and started playing it repeatedly on his show, until it eventually soared all the way to number one in the area. By the time he was able to track James down, some local entrepreneur had already bootlegged it and sold thousands of copies. To capitalize on the success of the single, James quickly tried to reassemble the original band, who had all graduated from school and started to go their separate ways. In one of the classic bad career moves of rock

Crazy Elephant

Crazy Elephant
by Bill Pitzonka

“There is no Crazy Elephant,” insists writer-producer Ritchie Cordell. “That was just Bob Spencer.” Robert Spencer was a member of the Cadillacs, who recorded the rock and roll classic “Speedo,” a #14 hit from 1955. In the years that followed, Spencer kept active in the industry, often penning songs and selling them off without just compensation, according to Cordell. In 1969, Spencer linked up with Kasenetz & Katz just as their Super K bubblegum machine was churning out the hits full-throttle.

Kasenetz & Katz hooked him up with Cordell and Joey Levine, who together had penned the soulful “Gimme Gimme Good Lovin’.” The searing single, featuring Spencer’s scorching lead vocal and an obvious background vocal assist by Levine, was submitted to Buddah Records, the New York-based label with whom Kasenetz & Katz had been so continually successful. “We played it for [Buddah General Manager] Neil Bogart,” the Super K boys recall, “but he said, ‘No, I don’t hear it.'” Undeterred, they walked Crazy Elephant over to Larry Uttal at neighboring Bell Records, who snapped it up. By May 1969, “Gimme Gimme Good Lovin'” hit #12 in Billboard. Its stateside success prompted a British release, where it also peaked at #12.

Kasenetz & Katz recruited a five-piece band of college-age youths to support the single on the road, pose for pictures, and fill out the inevitable album. According to the credits on that sole self-titled LP, the lucky winners of this strange sweepstakes were Larry Laufer (leader, keyboards and vocals), Ronnie Bretone (bass), Bob Avery (drums), Kenny Cohen (flute, sax, and vocals) and Hal King (vocals). The whole process was standard operating procedure for bubblegummeisters Kasenetz and Katz. More often than not, according to Cordell, they would “send five bands [with the same name] out on the road. They’d stick them in a room with the album and have them learn all the songs.”

“Gimme Gimme Good Lovin'” was the only Crazy Elephant record for Cordell and Levine. When the Spencer-soundalike follow-ups “Sunshine, Red Wine” and “Gimme Some More” failed to click, Kasenetz & Katz took Crazy Elephant in a new direction

Captain Groovy and His Bubblegum Army Are Coming to Take You Away

Captain Groovy and His Bubblegum Army Are Coming to Take You Away
by Bill Pitzonka

Early in 1969, a corporate summit occurred between limited-cel animation kingpins Hanna-Barbera and bubblegum cottage industrialists Kasenetz-Katz. Though seemingly a marriage made in marketing heaven, negotiations ultimately broke down between the two notoriously control-conscious purveyors of prepubescent product, but not before one semi-official act of business could be completed. Ritchie Cordell, who had recently joined the stable of Kasenetz-Katz Associates after a string of huge hits with Tommy James & the Shondells, was commissioned to create the theme for Captain Groovy And His Bubblegum Army. Cordell co-wrote the song with “1, 2, 3, Red Light” tunesmith Sal Trimachi, based on Kasenetz & Katz’s original concept. Cordell recalls that the lead vocal on the single was “Bobby Bloom sped up [on tape],” eerily replicating the nasal vocal stylings of Joey Levine, who had recently parted company with Kasenetz & Katz to found his own Earth and L&R labels with Artie Resnick. In the way that all things come full circle, L&R scored their biggest hit in 1970 with Bobby Bloom’s “Montego Bay.”

Kasenetz & Katz, meanwhile, had been given their own Super K imprint through Buddah Records. As one of their very first releases, they issued the rather dark Captain Groovy theme song (“Captain Groovy and his Bubblegum Army are coming to take you away,” as the lyric so ominously intoned). Despite the fact that the cartoon series never made it past the drawing board, a poster of the actual characters exists somewhere in the Super K offices. Without the series, the sole offering under the Captain Groovy banner managed to bubble under the Billboard Hot 100 for a few weeks, peaking at #127.

Boyce & Hart

Boyce & Hart
by Kim Cooper

Rock star? Feh! What a fifth rate ambition. Okay, say you got yourself an electric guitar, took some time and learned how to play, and now it’s happened. You’re signed to a big label that baby-sits your body in exchange for skimming just 90% off the top