Making It Happen - Eric Jupp And His Music (1969?)

Although they show up with some regularity, I’ve stopped buying Eric Jupp albums when I find them in op-shops these days. I’ve listened to a few, and Jupp’s LPs are typically schmaltzy lounge-room jazz firmly ensconced in an old-school, conservative musical mindset. It's pleasant enough stuff and features some great players, but not really my thing. I bought Making It Happen from the Salvos because it features an original composition by John Sangster, and due to the presence of some of my favourite sixties/seventies Oz jazz players (John Sangster, Don Burrows, George Golla, Derek Fairbrass, Warren Daly). 

This feels like an album where the young turks have dragged old fart Jupp into a more hip, modern set of songs. It’s not that hip though; there are still a number of soundtrack numbers and standards that are ever-present on these sorts of LPs - Theme From Exodus, Tara’s Theme from Gone With The Wind, Live For Life theme, Nino Rota’s A Time For Us from Romeo & Juliet and Hava Nagila. Most of these are pretty nice, if forgettable. 

The bulk of the set however is made up of instrumental arrangements of contemporary pop songs such as Puppet On A String (Sandie Shaw, 1967), Sounds of Silence (Simon & Garfunkel, 1966), The Other Man’s Grass Is Always Greener (Petula Clark, 1967), When I’m 64 (The Beatles, 1967), Help Yourself (Tom Jones, 1968) and Spinning Wheel (Blood, Sweat and Tears, 1969). A lot of these tracks are pretty great and the playing is always top-notch - for example, check out Burrow's echoey clarinet solo in the impossibly jaunty rendition of When I’m 64. 

The highlight is unquestionably Kaffir Song written by John Sangster. Most people would be familiar with this song from The Jazz Sound of The Don Burrows Quartet. In my opinion, the version on Making It Happen is superior. It’s a more fast-paced, less conspicuously ‘jazzy’ version and the interplay between the percussion and the bass is far more complex and interesting. (As amazing as the bass work is, the bassist is not credited in the liner notes - I’m guessing it’s Ed Gaston, but who knows?) It’s a looping, hypnotic trip into faux-exotica highlighted by Burrows high-pitched Bb school flute.

The other track which I really like is the Live For Life theme. From what I can tell, the original recording of this theme was a slow waltz - here Jupp reimagines the piece as a frantic whirlwind of exotic strings and horns, with the same picked bass tone as featured on Kaffir Song. It sounds like the kind of song that would played in a sixties movie over a montage of people doing important things very quickly. 

Label: Columbia

Released: 1969? (There is no date listed, but the latest of the cover songs was released in 1969). 

Players: Eric Jupp - piano, arrangements and musical direction.

Don Burrows - flutes, clarinet

Billy Burton - trumpet

George Golla - guitar

John Sangster - percussion, vibraphone

Derek Fairbrass - drums

Warren Daly - drums

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Hymn For Holy Year - Kim and Leanne (1974)

This is a lovely religious/psychedelic pop tune attributed to two singers known only as “Kim and Leanne”. Did they go on to achieve musical success? Did they go on to achieve ecclesiastical success? This, like the holy trinity, is a mystery that will probably never really be known by mankind. The label says that the track was written by Julie Atton and produced by Peter Martin - an online record shop I found says that this is “jazz heavyweight” Peter Martin (and such a man does exist) but I’m unsure as to how they would have distinguished between that Peter Martin and some random Peter Martin from the congregation of Kim and Leanne’s church. 

The single was released by Sydney’s 2SM radio station which was enormously popular in the seventies and eighties and pretty much molded the Top 40 radio format as we know it in Australia. However, despite their populist appeal, until 1992 2SM was in fact owned by the Catholic Broadcasting Company which in turn was controlled by the Catholic Archdiocese of Sydney. (The ‘SM’ apparently refers to Sydney’s St. Mark’s Church) I won’t go into it in depth here, but yes, running a popular radio station that was controlled by the Catholic Church did have it’s challenges; various songs couldn’t be played, such as obvious examples like Skyhooks’ sleazy seventies stuff but also songs like The Ballad Of John and Yoko due to its conspicuous use of the word ‘Christ’. (All information on 2SM stolen from the excellent Australian vintage pop site, Milesago.)

Anyway, the song itself is great, Kim and Leanne are sweet, unpretentious singers, the phrasing of the melody kind of reminds me of Radiohead’s Optimistic and you literally won’t believe their use of primitive synths. The lyrics are rubbish and are in reference to the Catholic holy or jubilee year of 1974 - now this weird: the B-side features Father John Murphy talking about the Holy Year of 1974, but all the media I can find on the web says that the year in question was in fact 1975. Another Biblical mystery, on par with the resurrection, no doubt. So, enjoy this unique gem and give thanks to reader Rex who sent me this single. Amen.

Label: 2SM

Released: 1974

Players: Kim and Leanne - vocals

Peter Martin - production

No other musicians credited.

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The Unique Sound of Andy Sundstrom - Andy Sundstrom/Sven Libaek (1963)

Earlier this year I wrote a post about a single by Andy Sundstrom from 1963 playing a couple of songs composed and produced by Sven Libaek. I have now come across the EP from which this single was taken thanks to Urban Bowerbird reader Rex. The Unique Sound of Andy Sundstrom features the two songs from the single - Northern Territory and Theme From Black Orpheus - and two more Libaek-penned tunes; Free Fall and Theme From An Unwritten Movie. Although I didn’t realise this after hearing the single, Sundstrom plays these songs not on a guitar, but on a balalaika. This has added a whole new layer to the music for me and makes Andy a bit of a pop oddity. Whoever thought that balalaika surf-pop from the early sixties Australian music scene even existed? Two of the tracks, Northern Territory and Theme From An Unwritten Movie would be recorded by Sven with his usual jazz ensemble of the time and included on The Music Of Sven Libaek released four years later. The third track, Free Fall, was written by Libaek and performed by Australian surf group The Atlantics on their Bombora LP from 1963. (I’m not sure who played it first - both recordings came out in 1963).

Back cover liner notes: Three years ago ANDY SUNDSTROM came to Australia as a crew member on the 38 foot ketch “Sarong”. He had a guitar under one arm and a balalaika under the other. He wasn’t planning to stay too long, as all his family live in Denmark, his country of birth. However, he fell in love, with Australia, as do so many other visitors and migrants - and he’s still here! He hasn’t wasted his three years here either, on the contrary, he has established himself as one of Australia’s leading entertainers. 

ANDY’S speciality is the balalaika and in playing it he has been referred to as the “fastest man on strings”. However, his first CBS disc was far from a fast one. It was a haunting melody simply entitled “THEME FROM AN UNWRITTEN MOVIE” and although it was not a hit for ANDY it certainly made a stir among the public as well as disc jockeys and show business personalities. It was NORTHERN TERRITORY that really established Andy as a top pop artist with his balalaika. His beautiful rendition of THEME FROM BLACK ORPHEUS also became extremely popular with the public. All these tracks you will find on this E.P. and in addition, his latest entitled FREE FALL, a virtuoso surfin’ number.

This collection could easily have been entitled - “The Best of Andy Sundstrom”, but THE UNIQUE SOUND OF ANDY SUNDSTROM seemed more appropriate. It is indeed a unique sound - this strange haunting and brilliant way of playing that rather unusual instrument the balalaika, with a pop flavor. ANDY has created a new branch of Australian entertainment business. A branch that is growing in popularity every day.

Label: CBS, produced and composed by Sven Libaek

Released: 1963

Players: Andy Sundstrom - balalaika, guitar (no other musicians credited)

EDIT: Urban Bowerbird reader "randbasic" emailed me a reconstructed version of the artwork for this record. It looks great.

EDIT 25/09/2016: Here's a short article talking about Andy's work on this EP from Australian Womens Weekly in 1962. 

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Hayman Island Promo Single - Jimmy Parkinson (1957)

Sandy Scott was glad he lost his heart in Sydney - and Jimmy Parkinson lost his heart on Hayman Island. Presumably in the fifties and sixties you couldn’t walk around a popular Australian tourist spot without tripping over some pop-star's lost, dismembered heart. This recording is a nice little Oz exotica single from the late fifties featuring crooner Jimmy Parkinson singing a couple of tunes about Hayman Island.

From Wikipedia: Hayman Island is the most northerly of the Whitsunday Islands, part of the Cumberland Islands, which are located off the coast of Central Queensland, Australia at 20°03′S 148°53′E. Hayman is a private island open to the public, most famous for its luxury resort which was built in the 1950s by millionaire Reg Ansett, who also founded Ansett Australia. The island is a significant drawing point for tourism in Queensland.

Jimmy Parkinson was an Australian born singer who had a significant hit in the UK with ‘The Great Pretender’, released a few singles and one LP. This single features two tunes about the tropical wonders of Hayman Island with backing by Bob Gibson, His Orchestra and Chorus. It was a promotional single produced by the Royal Hayman Hotel. The two tracks are (Pack Up A Dream) And Head For Hayman Island and I Lost My Heart On Hayman Island - both done in a late fifties exotica style; Queensland via Honolulu.

My copy has no picture sleeve, but apparently one exists (picture above borrowed from popsike.com who borrowed it from eBay).

Label: EMI Custom

Released: 1957

Players: Jimmy Parkinson - vocals

Bob Gibson - Orchestra

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I'm Glad I Lost My Heart In Sydney - Sandy Scott with Edwin Harrison and His Orchestra (1969)

To follow on from my last post on the brilliant A Place To Stand, a song extolling the virtues of Ontario, here’s a track a little closer to home. I’m Glad I Lost My Heart In Sydney is a charmer of a song with a musical theatre swing and a few local references to keep the New South Welshmen happy. The vocals are by Aussie crooner Sandy Scott, who was huge in the sixties and seventies. The b-side is an instrumental version, showcasing the talents of Edwin Harrison and his Orchestra. I can find very little information about this single and the people involved, but it’s a nicely done piece of late-sixties Australiana. 

Lest you think I’m not bringing you the quality music you’ve come to expect, fear not: this song is award winning! According to the information on the disc, this song, written by one Freddie Morgan, was the winner of Sydney radio station 2GB’s International Song Competition. If any one has any information on this tune, let me know in the comments.

Label: ATA Records (Distributed by Festival)

Released: 1969

Players: Sandy Scott - vocals

Edwin Harrison and His Orchestra - music

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A Place To Stand (Ontar-i-ar-i-ar-i-o) - Dolores Claman (1967)

Despite its unsurprising popularity in Canada, I suspect that few non-hosers are familiar with this charming geographical pop oddity from 1967. This EP is the soundtrack to an Oscar winning short film intended to promote the Canadian province of Ontario, first shown at Expo 67. "So popular has this music become that a demand arose for an original sound track recording, in stereo", the liner notes inform us. 

It begins with a concise vocal version of the song - a jaunty, catchy melody sung with hearty enthusiasm by a chorus of female and male singers. I have unashamedly loved this song from the moment I heard it. It has all the elements of a great pop song and I wholeheartedly suggest incorporating this track into mixes for a bit of unexpected flavour, like adding a dash of fine maple syrup to a meal. The remainder of the EP is taken up by the actual soundtrack to the film, in two parts. These two tracks contain some great material occasionally evoking jazz, Gershwin, SMiLE-era Brian Wilson and general late-sixties soundtrackery.

The song and the soundtrack were written by Dolores Claman who is the subject of some veneration in her home country due to having penned, not only this unofficial anthem, but also the theme to Hockey Night In Canada. In partnership with her husband and lyricist Richard Morris, she composed over 3000 commercial jingles over a 30 year period.

Label: RCA Victor
Released: 1967
Players: Dolores Claman - composer
Richard Morris - lyrics
Jerry Toth - arranger
Rudy Toth - conducter
Larry Trudel - French lyrics

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Seasons Of Love - Gerard Kennedy/Sven Libaek (1972)

I first saw this album on the old Votary Records trades page, listed as ‘for Libaek completists only’. It’s a fair assessment of this LP - Libaek merely provides accompaniment for Australian seventies television star Gerard Kennedy as he recites Rod McKuen-style poetry over a smooth jazz backing. It may be instructive to focus on the music and the poetry separately:

THE MUSIC, BY SVEN LIBAEK. Sven’s compositions on the LP are quite good, if a little innocuous (it is intended as background music after all). There are some great moments though, which is not surprising as this was recorded right in the middle of Libaek’s golden era - he would go on to record the soundtrack for Inner Space a year after this release. None of the musicians are credited, but I am pretty confident that the usual suspects are playing on this record: George Golla on guitar, Don Burrows on flutes, John Sangster on vibes and percussion and so on. Many tracks also feature the addition of string sections which tends to bring out great stuff from Sven. The frustrating thing is that there are very few moments on the LP where the music is brought to the forefront and given a chance to be heard. Autumn is one such track, where we get a chance to hear haunting flute lines cycle over orchestral strings with a cool jazz underpinning from the rhythm players. The twin, harmonising sax lines bookending Spring are another lovely touch. A few themes are repeated and developed over a couple of tracks which adds some depth, and was not something that Sven usually did. But unfortunately, any moments of Libaek goodness invariably get interrupted by Gerard Kennedy’s awkward, artless spoken word.

THE POETRY, BY GERARD KENNEDY. Let me be blunt; the poetry on this record is bad. Really bad. Really, really bad. I think I could state without risk of hyperbole that this is the worst poetry I have ever heard. Gerard affects a bad boy, outsider persona for the poetry, but also injects a strange sort of cutesiness that, while not necessarily at odds with the material, fills me with an intense sort of simultaneous rage and embarrassment. Embarragement?

Throughout Seasons Of Love, Kennedy’s turn of phrase is embarrassingly unselfconscious and pretentious - I could pick almost any line from the album to illustrate this, here’s a random sample: ‘[Let’s] put up a maze of love with walls a thousand thoughts thick’ from I Think I’ll Build A Wall or “You moved [...] proud and graceful like a young gazelle picking her way through the forest.” from The Quiet Time Of Reason. There are really only two themes that are touched upon in the poems (if I was being kind, I’d call it consistency): Gerard describing how he is an outsider (Travel Broadens The Mind, I Am An Island) or musings on wanting to find love, but being too much of a free-thinking bohemian to be able to love just one woman (all the other tracks). Gerard is always alone, even in a crowd. The rain is his brother, and the wind is his friend.

Of course, Kennedy can’t be blamed for the abysmal standard of the poetry because despite the strongly personal nature of the verse, he didn’t actually write it. The poetry itself is credited to one Warwick Randall. One website I read even suggested that ‘Warwick Randall’ was a pseudonym for Kennedy, but from what I can ascertain, Randall is a real person. He has a couple of books of poetry to his name, is credited as working with Kennedy on a number of television shows and wrote for Melbourne broadsheet The Age in the early eighties. 

The fact that Kennedy didn’t even write the words that he delivers with such hammy enthusiasm only adds to the weirdness of this record. Did Kennedy recognise his limitations as a poet and outsource the job? Did he think that his friend was a criminally under appreciated poet and wanted to bring his work to a wider audience? Perhaps Gerard just wanted to portray himself as a tough yet arty nonconformist but didn’t actually have the poetic skills required for an LP of this nature and so turned to a lesser known, but confident poet whom he happened to know through work? I have so many questions about the execution and production of this LP, but I suspect that everyone involved with Seasons Of Love instantly forgot about it soon after it was released.

...And yet, I keep listening to this LP. I tend to eschew the ‘so bad it’s good’ school of music appreciation (I prefer music that’s ‘so good it’s good’) but there’s something about Seasons Of Love that keeps me coming back. There’s something mesmerising about this seventies wannabe alternative pin-up boy effusing cringe-inducing poetry (that he didn’t even write) over a backdrop of sweet, smooth jazz from a composer who was at the top of his game and probably wrote this material in his sleep. If nothing else, it’s a fascinating cultural artifact - when, where, could this have ever been considered cool?

Label: Festival

Released: 1972

Players: Gerard Kennedy - spoken word

Sven Libaek - composer, arranger

Musicians uncredited.

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