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In the UK there were only two Top Ten hits – “Daydream” at no.2 and “Summer In The City” three months later at no.8.
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Yielding seven successive American Top Ten singles plus three more in the Top Forty between 1965-67. They inhabit a big goofy Gosh-Wow cartoon image that’s never allowed to impede their musical interactivity. What they produce got termed ‘Good-time Music’, an East Coast riposte to California’s vibrant Folk-Rock scene.Īt the time it seemed everyone else in the States was doing the Beatles thing, while the Spoonful were among the first few to devise a genuine American variant to the English invasion. Taking their collective name from a Bluesman John had backed onstage – a Mississippi John Hurt lyric from “Coffee Blues”, all four Spoonfuls share an extrovert sense of zany humour, and what ‘Village Voice’ journalist Richard Goldstein calls ‘longhaired striped shirt roundglasshiphugger dirty-booted uniforms.’ Together, they take elements of traditional Folk and a smattering of Blues with a streamlined jug-band sound melded into cohesion by pouring on what ‘Melody Maker’ termed an updated ‘heavy blood-bucket Rock ‘n’ Roll’ topping. Steve and Joe were harder, tighter, faster.
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John and Zal were freer, looser, bluesier. While John and Zal came out of Village Folknik sensibility. Steve and Joe were both versed in the rigours of Long Island dancehall bands, from the Sellouts to the Kingsmen. His brother, Skip Boone played bass with Autosalvage, a unit who benefitted from Frank Zappa’s patronage. Joseph Campbell ‘Joe’ Butler (born 16 September 1943 in Glen Cove, Long Island) was one of the few non-jazz drummers in the Village and Steve Boone (23 September 1943, North Carolina) – who claimed to be related to frontiersman Daniel Boone, was a rhythm guitarist in search of a group. A nudging prompt to them that to be a proper electric beat-group, they need a rhythm section. John and Zal were there, in Cass’s front-room, to watch the Beatles US TV-debut on ‘Ed Sullivan’. In fact, he’d been one of the folky Halifax Three, and briefly with John Sebastian in the Mugwumps, alongside future Mamas & Papas Cass Elliott and Denny Doherty. Zal said he’d once lived in a Laundromat for seven months. Through such studio connections, producer Erik Jacobsen encouraged John to put a group together to record his own songs.įirst link was to guitarist Zalman ‘Zally’ Yanofsky, a ‘tall Russian Jew’ born in Toronto (19 December 1944). He’s there on Tom Rush’s 1965 Elektra album. ‘You hear a cat practicing in the next room six hours a day, and you gotta pick up something.’ Neglecting NYU college work, John was soon backing Judy Collins or Jesse Colin Young on stage, or playing mouth-harp on sessions for Tim Hardin, Fred Neil, the Even Dozen Jug Band and others. Born 17 March 1944, he was a local boy, son of a classical harmonica player who cut singles for Cadence in the 1950s. What was to become the Spoonful came together in Greenwich Village in 1964. The English invasion shook the American music scene literally to its folk-roots. But suddenly there are new possibilities. Traditional songs by the Kingston Trio and the Highwaymen once topped the Pop charts, and the Rooftop Singers took twelve-string guitar onto mainstream radio by adapting the 1929 Folk-Blues “Walk Right In”. There’d even been what they called the Hootenanny fad. There’d been Folk music on the charts before. There was music in the cafés at night, and revolution in the air. In a coffee-house Sebastian sat, and after every number he’d pass the hat. Sol Publications - edit Steve Sneyd (UK - Aug 1999) Steve Rasnic Tem in ‘BLOOMSBURY REVIEW’ Sept/Oct 1987) (this poem singled out for review and extensively quoted by ‘RHYSLING ANTHOLOGY / BEST SF POETRY OF 1985’Īnthology Ocean View Books - June 1989 - USA
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‘PURPLE PATCH no.44’ (UK - November 1990)