Classic '70s Teenpop album: The Sweet/"Funny How Sweet Co-Co Can Be" (1971)



It's an indisputable fact that The Sweet always sold more singles than they did albums.  That is not to say their long players weren't up to scratch.  Far from it, since both "Sweet Fanny Adams" (incredibly enough their only L.P. to trouble the U.K. charts, not counting "Best of" compilations) and "Desolation Boulevard" are quintessential mid '70s rock albums - IMHO as good as anything either Purple or Zeppelin ever did.  Nonetheless, the band will always be best remembered for their impressive run of classic pop-glam 45's, a la "Ballroom Blitz", "Blockbuster", "The Six Teens", "Fox on the Run", et al.

Semi-conspicuously absent from the above rundown is the hidden gem that is The Sweet's debut album, "Funny How Sweet Co-Co Can Be", from 1971.  In essence a bubblegum record, it's a curious mix of the band's first hits ("Funny Funny" and "Co Co" - both Nicky Chinn/Mike Chapman originals), covers of '60s pop classics (Lovin' Spoonful's "Daydream", The Supremes' "Reflections"), some more Chinnichap filler ("Chop Chop", "Tom Tom Turnaround" - the latter originally a hit for New World), as well as some early band compositions ("Santa Monica Sunshine", "Spotlight").

About a year ago the Cherry Red Records imprint 7T's issued a double deluxe version of the album, including seventeen bonus tracks.  Among which are early hits "Alexander Graham Bell", "Poppa Joe", "Wig Wam Bam", and "Little Willy", single B-sides, and, on disc 2, the earliest non-charting Sweet singles starting with 1968's "Slow Motion" and concluding with 1970's "Get on the Line" (an Archies cover, no less).  A year later The Sweet's fate was sealed after they were taken on by the Chinnichap songwriting team, a veritable hit machine, and as a result, enjoyed their first taste of chart success with "Funny Funny".  And the rest is, as they are prone to say, history.



The entire "Funny How Sweet Co-Co Can Be" episode is a true testament to the earliest - and lightest - side of The Sweet; a period the band later often went to great lengths to distance themselves from.  And perhaps understandably so; most of the time session musicians were used on the records and the band wasn't allowed to include too many of their original compositions, and when they were allowed to do so, the material all too often ended up as mere B-side fodder.  Truth be told though, Chinnichap had the magic touch, were indeed supplying the band with chart-making material which, as time went on, did get heavier - and, indeed, better. 
Still, "Funny How Sweet Co-Co Can Be" can easily be enjoyed as what it was probably always meant to be: a light, fluffy piece of bubblegum pop - or, quite simply put, a '70s teenpop classic.

 

The Sweet in all their glam rock glory, circa 1973.



Rock and Roll is Dead...And we don't care!

 

Ever since I first plugged this release at the '70s Teenpop Facebook page a few weeks back, I've been pretty psyched about it: The first three Rubinoos albums remastered on colored vinyl with new artwork and bonus tracks!  Talk about the perfect Christmas gift for yourself.  Well, if you're that sad...and I very obviously am.
And now it's finally here!  And it is everything it was hyped up to be, and then some.  It's a lovingly and carefully assembled package from the good folks at Wild Honey Records in Italy - clearly a labour of love.  It sounds and looks absolutely beautiful.  When the original albums are getting increasingly harder to come by on vinyl, what better way is there to get re-acquainted with all the early Rubinoo classics ("I Think We're Alone Now"; "Leave My Heart Alone"; "I Wanna be Your Boyfriend"; "Rendezvous"; "Hurts Too Much", et al.) than head on over to StripedMusic.com and order yourself a set.  I do believe it's one of them "Limited Edition" thingys.  And I swear I am not in any shape, way or form paid to do and say this - it is just that sweet of a deal.
San Fransisco and the Bay Area in the late '60s/early '70s, with its obvious and all-too-recent hippie history, seems like an unlikely place and time for a band like The Rubinoos to flourish in.  The Saturday morning cartoon bubblegum of The Archies and the DeFranco Family were more their kind of thing, although Rock & Roll, Doo Wop, R & B, and the classic Girl Group sound also played part in cementing the Rubes' sound.  "The LP Collection Volume 1" exhibits The Rubinoos at their best.
Already anxiously awaiting Volume 2 in the series...



 

Classic '70s Teenpop Album: The Osmonds/"Crazy Horses" (1972)

 

From the opening chords of "Hold Her Tight", a none-too-distant relative of - yup! - Led Zeppelin's "Immigrant Song", it is obvious that this is a very different sort of Osmonds album.

 

Twelve original Osmond compositions, produced by Alan the oldest Osmond and the brothers' regular producer Michael Lloyd, that are overall not only somewhat harder-rocking than the previous Osmonds albums fodder, but come with a message as well.  It is not a spiritual message, like their next album "The Plan" (1973) would bring, but an environmental one - decades before that would become the accepted norm in popular music.  Eat your heart out, Sting!
The title track is not only the single greatest thing the Utah born and bread brothers ever recorded, but also one of the greatest singles the 1970's ever produced.  Period.  Just ravel in its glorious unbound madness.  Why didn't they do more of this?

 

The would-you-believe-it semi-bluesy "Life is Hard Enough Without Goodbyes" (Is that a theremin I hear in there?!) is yet another style-breaking surprise.  And so is the mid-tempo "We All Fall Down", all horns and harmonies.

Thankfully though, the record is not without its dose of sweet Osmond balladry.  Admittedly, there's nothing here that equals 1974's "Love Me For a Reason" - that was still a couple of years ahead - but "What Could it Be" definitely ranks as one of their best ballads nonetheless.

 



 

Although some of their most memorable stuff was still yet to come (The aforementioned "Love Me For a Reason", as well as "One Way Ticket to Anywhere" from "The Plan") as far as I'm concerned, when it comes to the Osmonds, "Crazy Horses" is where it's at.  A solid, all-original album, and a classic kick-ass single.  You can't ask for much more than that.  The white Vegas-era Elvis jumpsuits we can - and should - just forgive and forget.

Vikivaki

From what little info I can gather these guys first came together in Götenburg, Sweden in 1973.  Iceland-born brothers Jón-Erik Gíslason (Drums) and Hans Gíslason then got together with Swedes Tommy Eriksson (Bass) and Christer Modin (Guitar), recorded, self-financed and released indie single (limited to 2.000 copies) "Manual Sister Mary"/"Sweet Little Rock 'N Roll" (Plump Productions, PS 004).



A year later, Icelander Steinar Árnason had replaced Tommy Eriksson on bass and the quartet recorded debut album "Oldsmobile", which was then released on Polydor Sweden (#2462 149).
Fast forward a couple of years and a third Gíslason brother Gunnar (Guitar, vocals) had been drafted in, in place of Christer Modin, and Kenny Olsson had replaced Tommy Eriksson on bass, and Vikivaki's best-known work, the album "Cruising", was releasead via CBS Europe (# 82009) in 1977. 

Produced by occasional ABBA collaborator and an all-around Swedish pop legend Claes af Geijerstam, "Cruising" is an ambitious piece of work taking in various music styles, including disco-lite (Sample lyric: "K.C.& the Sunshine Band, Tina Charles and George McCrae.  They turn you on and up the way you want to, and it's all you care to play"), Status Quo-esqe rock and American sounding soft rock.  Meanwhile, image-wise at least, Teen Pop seems to have been the order of the day.  Hilarious 7" promo sampler courtesy of CBS Sweden has to be heard to be believed (scroll down).

"Crazy Daisy" became a minor hit in Sweden, while "Soulstar" caused ripples elsewhere in Europe.  However, major success eluded Vikivaki and the CBS deal promptly expired.

 

Seemingly, by 1979, Vikivaki was down to the trio of the Gíslason brothers and, as such, recorded released their final single in Sweden (and, presumably, in Swedish) only: "Motorcykel"/"Tokyo" (Bohus # BGS 532).

Around that time, I read somewhere that Vikivaki had changed its name to Iceland.  However, then the trail goes cold...(no pun intended :-)

As always, any and all further info would be greatly appreciated.

My appreciation to Musikon.se. 

   

 

Update, November 9th 2015.

 

Iceland doesn't seem to have been as inactive as I previously thought.  By the very early '80s the band consisted of no less than four Gislason brothers: Jon, Gunnar, Hans, and newcomer Björn.  And as such, they issued at least two Sweden-only albums, in 1980 and '82, and a handful of singles well into the 1990's!

 



 

Iceland discography:

 

LP's:

 

"On the Rocks" (1980)

"Breaking the Ice" (1982)

"Funky Street" (1993)

 

Singles:

 

"Breaking the Ice"/"Chicago" (1982)

"Masquerade"/"Movin' On" (1983)

"Cold as Ice"/"Fantasy" (1986)

"Blue City"/"Back on the Track" (1987)

"Caroline"/"Got My Eyes on You" (1989)

"Breaking the Ice"/"Money Talks"/"Lean on Me" (1994) CD single.

 



Eric Carmen

 

The lead singer/songwriter for one of the greatest bands of the early '70s, the Raspberries, Eric Carmen went solo in 1975, after what seems to have been a particularly painful break-up within the band.  Having penned - and sung - power pop classics such as "Go All the Way", "I Wanna Be With You", and "Overnight Sensation (Hit Record)" for his former band, it was abundantly clear that the Cleveland native was no slouch in the singing-songwriting department.  



 

And so, with former Raspberries producer Jimmy Ienner and Clive Davis' newly established Arista Records in his corner, Eric Carmen confidently went out on his own.  And, to make a long story short, his debut self-titled solo album issued in late 1975 is a triumph - a minor pop classic in fact.  The lead-off single, power ballad "All By Myself", quickly hit no. 2 on the U.S. Billboard singles chart, eventually becoming Carmen's best known composition to date yielding covers by both Celine Dion and Frank Sinatra - to name but two.

 



 

Other songs off the album include "That's Rock 'N Roll" (a U.S. Top 10 for Shaun Cassidy in 1977.  The Runaways also included it in their early stage show but regrettfully never recorded it), "No Hard Feelings" (about the Raspberries' break-up), and another power ballad - and a Top 20 U.S. hit - "Never Gonna Fall in Love Again".

 



 

Nothing against Barry Manilow, but as accomplished as the "Eric Carmen" album on the whole was, it unfortunately veered too much towards BM territory at times, which sort of colors many folks' (perhaps unaware of his power pop past) perception of Carmen to this day. 

But to be fair, the Raspberries' repertoire also always had its fair share of blatant balladry.  A case in point: "Starting Over", the title track and a highlight from their fourth and last long player in 1974.  Also, the Bay City Rollers, with the aid and, undoubtingly, under the influence of Raspberries/Carmen producer Jimmy Ienner, took a competent stab at one of the 'berries best melodic moments, "Let's Pretend" ("If 'Don't Worry Baby' and 'Mr. Tambourine Man' had a baby" - Eric Carmen, 2013), which appeared on their 1976 album "Dedication".

 



 

"Boats Against the Current", the difficult second album, was issued in the summer of 1977.  The title track, duly covered by both Frankie Valli and Olivia Newton-John, was yet another piano-based ballad.  The Beach Boys-influenced single "She Did it" went Top 20 in the U.S. while the excellent "Marathon Man" unjustly flopped.  With the album an overall disappointment, both artistically and commercially, Carmen could though find some solace in the fact that Shaun Cassidy hit the Top 10 with another one of his compositions, "Hey Deanie", which was also included on the next Eric Carmen album "Change of Heart" in 1978.  The title track went Top 20 as a single but the album as such flopped miserably.  And thus ended Eric Carmen's association with Arista - for the time being.

 





Although managing a minor hit here and there over the next few years (1980's naughty "Tonight You're Mine" was, well, interesting) Eric Carmen was no longer a viable option, or so it seemed.  That is, until a certain blockbuster movie called "Dirty Dancing" became the surprise hit of 1987.  And Eric Carmen just happened to have a song, "Hungry Eyes", on the otherwise - almost - oldies dominated soundtrack album (one of the other new songs included was "I've Had the Time of My Life" by Bill Medley & Jennifer Warnes).  And with that, Eric Carmen was back up where he belonged again - in the Top 10...

 



 

1988's "Make Me Lose Control" was an even bigger hit, peaking at no. 3 Stateside - his highest chart placing since "All By Myself"...

 



 

"The Best of Eric Carmen" compilation was issued on Arista.  It did especially well on Compact Disc - the new format all the kids were raving about.  Albums were soooooo out!

And so, apparently, was our Eric.  Instead of following this success up properly he seems to have slipped into a semi-retirement from recording, although touring with Ringo Starr's All Starr Band in the new millennium, and with the temporarily reformed Raspberries a few years later kept him somewhat active in the live arena as time went on.

In 2014 his first new recording for over a decade appeared on a new "Essential Eric Carmen" double CD issued by Arista/Sony Legacy; the Brian Wilson-esque "Brand New Year", where he was aptly enough backed by some of his hero's much lauded backing band: Jeffrey Foskett, Darian Sahanaja and Nick Walusko.  The latter two being also members of power popsters Wondermints.  Let us just hope it is indeed the beginning of something brand new for Eric Carmen...

 

ERIC CARMEN/"Brand New Year" (Video)

 

Eric Carmen, recommended listening:

 

Eric Carmen/"Eric Carmen" (Arista LP, 1975)

Eric Carmen/"The Essential Eric Carmen" (Arista/Sony Legacy 2CD, 2014)

 

It's Christmas!

Have a very merry one...  :-)

The Rubinoos Turn 45!

It's nothing less than mind-boggling to comprehend, but those lovable rascals the Rubinoos are currently celebrating their 45th year as a working unit.  And although only singer Jon Rubin and guitarist/main songwriter Tommy Dunbar still remain from the original pre-teen line-up (bassist Al Chan is also a longish serving/suffering member), it's pretty darn impressive to have stayed together this long, never mind sustained a career out of it (the band enjoys especially loyal following in both Japan and Spain), but to be still issuing albums of new and original material truly tops it all.
Admittedly, although primarily a big fan of their first two albums, 1977's "The Rubinoos", and 1979's "Back to the Drawing Board" (and the career-spanning "Everything You Always Wanted to Know About The Rubinoos" CD box set from a few years back is also a must), I haven't been keeping up much with the Rubes recently.  So, the other day, after reading a favorable review of their latest outing, the simply and aptly titled "45", I found myself inclined to improve on that sad situation.  And, upon heading straight to www.rubinoos.com I dutifully ordered their two latest CD's, the aforementioned "45", as well as 2010's Spanish-import "Automatic Toaster" - not to mention, for good measure, an XL-sized T-shirt.
In 2010 the Rubinoos teamed up with Power Pop legend and former child actor (I'm not even going to mention cousin Oliver here!) Robbie Rist, who not only produced the "Automatic Toaster" album, but also played drums on it.  Clocking in at just under the half hour mark, it's a sparse and to the point effort.  It's also ample in energy and sheer power...pop, as opener "Two Guitars, Bass, And Drums" very ably demonstrates, like this live version from Spanish television perfectly proves.

 

The Rubinoos' goofy, Monkees-like humor is also never too far from the precedings, which might be one of the reasons why "Earth #1" was also recorded for their children's album(!) "Biff-Boff-Boing!" (2010).

 



 

All in all, "Automatic Toaster" is an enjoyable and hook-heavy Power Pop primer from true masters of the genre.  The wheel isn't exactly being invented here but who cares.  Only unnecessary cover "Black is Black" and novelty (children's?) songs "Zombie Night in Madrid" and "Cave Girls" test this listener's patience.

*** (3 out of 5)

 

 

Four years later and we're up to date with the brand-spanking-new Rubinoos album "45".  Off the bat,  it's obviously not quite as energy-driven as its predecessor.  The guitars have been turned down a tad, there's balladry a plenty and the Rubes' love of early pop styles such as Doo Wop is very well served indeed - especially in the sole cover here which comes in the form of Lou Christie's "Rhapsody in the Rain" (their cover of Christie's "If My Car Could Only Speak" from a good decade back is excellent and far exceeds the original IMHO).  Their love of Richard Berry's Garage Rock classic "Louie Louie" is even addressed in, well, "I Love Louie Louie".  But it wouldn't be a proper Rubinoos album without the pure pop hooks and here they are in abundance.

Unfortunately there don't seem to be any videos to songs from the album on the otherwise almighty YouTube, so you, much like I did, just have to head over to www.rubinoos.com and order the ACTUAL CD - you won't be sorry.

**** (4 out of 5)   

And yes, the T-shirt's very comfy.  ***** out of 5, as a matter of fact :-)

 

And just in case you aren't entirely convinced of the Rubinoos proper '70s Teen Pop credentials, here are a few minor, near and non-hits they scored during the latter part of that fabulous decade.  Enjoy...



 

Update, February 10th 2015.

 

I received the following e-mal from Rubinoo Tommy Dunbar yesterday:

 

Thanks for the nice review of our recent recordings, glad you liked them! I only wanted to mention that our drummer Donn Spindt has been with us since 1970. He was off doing other things for a moment in the 80s, but he's been with us almost all of that time. Our bass player (Al Chan) has been with us since 1980. He's the NEW guy! ;-}  

 

Duly noted, Tommy.  And sorry for the blunder!  Rock & Roll on :-)