Here's another batch of quick takes on some vintage obscurities, plucked from local bargain bins and lent by friends.
The Poor Boys:Ain't Nothin' in Our Pockets But Love
I say this without qualification: This is the the best bubblegum album I've heard in a while, and it didn't originate from the Kasenetz-Katz factory. Full of short, catchy songs, cheesy organ, fuzzy guitar, and occasionally trashy lyrics with falsetto backing vocals, The Poor Boys have it all. Who are these guys, how did they end up on a Motown subsidiary, and where did they promptly disappear to afterward? Well, a trio is pictured on the cover, and several songs are written by an unfamiliar threesome of "R. Fazio, T. Corio, E. Corlis," who I'm guessing must be the group. A bit of Google searching turns up some first names of Robert, Thomas and Edwin, respectively -- but that's about it. In the production chair is the always-reliable Michael Valvano, a familiar name on Motown and other Detroit area productions. And that's about all I can tell you about it. Billboard notations indicate this came out toward the end of 1970, a couple years late for the bubblegum genre, which could be part of why this is so obscure; I wonder if it's another album/band that the label essentially sat on for a time, as with Milwaukee's Messengers? (Rare Earth, RS 519, 1970)
Libby Titus: Libby Titus
A rare LP release on the short-lived, Capitol distributed Hot Biscuit Disc Company, Libby Titus's debut features the wispy-voiced singer on a collection of covers by '60s stalwarts The Beatles, Lovin' Spoonful, Bee Gees, Joni Mitchell, Tim Hardin, Simon & Garfunkel and the Bonner-Gordon songwriting team. Libby Titus is well produced -- if unremarkable -- carefully orchestrated pop. Since this is all covers, I was surprised to learn online that she's much better known as a songwriter, including collaborations with heavy hitters like Donald Fagen and Carly Simon, as well as being co-writer of the oft-recorded "Love Has No Pride" with Eric Kaz. (Hot Biscuit Disc Company, ST 9101, 1968?)
: Why Don't You Try Me
Bay Area rockers Earth Quake are a bit better known for their later '70s efforts on the Beserkley label, formed for/by the band with manager/producer Matthew King Kaufman. Encountered less often are their first two albums, yet another example of overlooked rock music on the softy-pigeonholed A&M. Why Don't You Try Me was their second album, and is all solid proto-power pop and straight-up classic rock, plus an NRBQ-esque Jackie Wilson cover. (A&M, SP-4337, 1972)
Magic: Magic
Yet another obscure release on the Rare Earth label, Magic is in more of a standard hippie rock mode than the b-gum Poor Boys. A Michigan band made up of former Next Exit members; their first album is a well-regarded, self-released (and rare) psych LP. Their second disc must not have sold many more copies than their debut, because it doesn't turn up either. Magic features solid songs throughout, with more of a country influence than psych. Sometimes the group seems to be pulled in opposing directions; "No Know" mashes together some country picking, minor key psych chording, what sounds like a Mellotron, a sax break, other horns and strings yet somehow doesn't fall apart. The best tracks are "Pacifying Burn" and the shoulda-been-a-hit "Velvet Underwear." Stevie Wonder plays piano on a few tracks. (Rare Earth, R 527 L, 1971)
Hope: Hope
An interesting example of straight-up Christian rock on a major label, Hope received a "Special Merit Pick" in the April 22, 1972, issue of Billboard as a new Canadian band to watch. However, Hope was actually from the La Crosse area, and included former members of the Jesters III. The best info out there on the band is on the always informative Badcat Records website, courtesy an email from keyboard player Boyd Sibley. The short version of their story is the group formed out of a late night jam in 1969, spent about a year living together writing music on a farm in Esofea (an unincorporated area between Coon Valley and Viroqua), and got serious about Christianity after a revival at the Westby Theatre. A chance meeting with Buckinghams drummer John Poulos eventually led to their record deal with A&M. Hope is easily one of the best sounding albums of the '70s from a Wisconsin band, courtesy of producer Jack Richardson. The band's sprightly rural rock lives up to the careful production, and it really sounds like they had a special musical bond through their many hours playing and living together. The copy I found is pretty ratty, and I'll be on the lookout for a better one! (A&M, SP-4329, 1972)
Cashman, Pistilli & West: Bound to Happen
The trio of Terry Cashman, Gene Pistilli and Tommy West are probably remembered more today for their various songwriting and producing credits in the 1960s and '70s. During that time they also maintained a recording career of their own, initially as a trio and eventually without Pistilli. Bound to Happen is the first collaboration, and is a cleverly-arranged -- and not overproduced -- slice of harmony drenched folk-pop, well worth checking out for fans of the genre. Includes their version of "Sunday Will Never Be the Same," a hit for Spanky and Our Gang the same year. (ABC, ABCS-629, 1967)
