Shindig! Issue 40
THE MUSIC MACHINE
THE MUSIC MACHINE burst out of LA and into the charts with their seminal 1966 single, ‘Talk Talk’. Like so many of their peers and admirers, they never troubled the charts again. Instead, their single-minded leader SEAN BONNIWELL took his band into deeper and darker places, his black-gloved hand firmly on the steering wheel.
LENNY HELSING talk talks to the surviving players about the complex and often misunderstood second album, The Bonniwell Music Machine.
“Each song became one of Sean’s children and all songs were treated equally and with the same love, caring and respect”
After Barry McGuire’s recording of ‘Eve Of Destruction’ topped the US charts in September 1965, its author, PHILIP ‘PF’ SLOAN, was thrust into an 18-month whirlwind of writing, recording and personal appearances. During this time he penned hits for the likes of The Turtles, Jan & Dean, Herman’s Hermits, The Grass Roots and Johnny Rivers, played guitar on The Mamas & The Papas’ early smashes, became the in-house songwriter (with sometimes partner Steve Barri) at Lou Adler’s newly-minted Dunhill Records and kept company with The Beatles, the Stones and Elvis.
By the time The Summer Of Love rolled around, he was exhausted. The hit songs were becoming fewer and his concurrent solo career had yielded little commercial success. The folk-rock sound that Phil had both pioneered and popularised was deemed passé by many. The times were indeed a-changin’.
In this extract from his imminent autobiography, Sloan and co-author SE FEINBERG recall the highs and lows of that mythical summer, and paint eye-opening pictures of the characters that populated it.
THE JAYHAWKS came to national prominence in the early ’90s with Hollywood Town Hall and Tomorrow The Green Grass, a pair of albums that updated the classic sounds of Neil Young and The Byrds for the grunge generation, and saw the Minneapolis band heralded as champions of a spurious alt-country/ Americana movement.
Then co-founder Mark Olson promptly quit, allowing his partner GARY LOURIS to rebuild the band and lead it down new musical avenues.
As the resulting triptych of Jayhawks albums – Sound Of Lies, Smile and Rainy Day Music – are expanded and reissued this month, ANDY MORTEN talks to Louris about the bad, bad old days.
“I remember thinking, this is probably our last record and, if nobody else likes it, let’s make sure we go out with a bang not a whimper”
Female vocal trio THE HONEY CONE crafted a string of sassy, soulful early ’70s pop symphonies for Holland-Dozier-Holland’s Hot Wax imprint, including a US chart-topper in the perennial ‘Want Ads’.
Now, as many of those sides appear on a new deluxe box set celebrating H-D-H’s formidable post-Motown output, ANDY MORTEN tastes the sugar
THE BEVIS FROND
NICK SALOMAN has been making records and playing live as THE BEVIS FROND for nigh-on 30 years, during which time his endearingly mangled take on psychedelia and punk; songcraft and improvisation, has earned him a fanatical following and widespread critical acclaim.
On the eve of a major campaign to expand and reissue all 20 Bevis Frond studio albums (some of which originally occupied three LPs), Shindig! caught up with Nick to talk about his formative days in the ’60s, life as a sexagenarian and still blowing all your money on records and football.
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