Tag: Cheri Shack
Days Of My Life was a track recorded after the first Pulse album was finished and was intended for a second album from the original six-piece group based in Wallingford, Conn., at Syncron Studios.
The tune was written by Peter Neri and indicated his development as a writer. Peter had a wealth of material during this period and Days Of My Life was one of his best compositions to date. It showed off the band’s playing in a jazzier blues style along with Carl Donnell’s accomplished vocals and the band’s intricate arrangement of the track, always spearheaded by drummer Beau Segal.
We all make significant contributions to this track from Peter’s driving rhythm guitar to Jeff’s outstanding harp fills and solo to Richie’s keyboard layers. We were all very much involved in the construction of this one.
The tune was recorded in 1969 and is one of the best of the unreleased tracks by the band. It’s hard to say how many tracks are in the can that never saw the light of day, but it has to be in the 15 to 20 range but probably higher. Check out the video below.
My Old Boy is the B-side of a single from the Pulse album from 1969. The tune is interesting because it’s quite different from anything else on the album.
The album is heavily blues-rock oriented and most of the tracks are in the four-to-five minute range with some longer. But this track, which was written by our drummer Beau Segal and Harvey Thurott, a guitarist and friend who would become a member of the four-piece Pulse in 1970, shows another side of the band and is packed with just about everything you can fit into 2 minutes, 36 seconds.
I always believed the opening track of the album, Too Much Lovin’ was the single to pull from it. The A-side actually turned out to be a track I felt was even less commercial than either of these songs, my own Another Woman.
Beau may have been trying to write a single with My Old Boy. He failed miserably and instead created a whirlwind of a track that never lets up from its infectious opening rhythm guitar riff to the phased (old fashioned phasing) harmony vocals and relentless melody lines in the verses and bridge.
There’s some outstanding guitar playing by Peter Neri, although some of it is, if not buried, sitting in the background, and the arrangement overall is inspired with a lot of tight twists and turns.
I believe we played this tune live but not that often, and I’m pretty sure that live Peter used to alternate lines in the verse on the lead vocal with our singer Carl Donnell because of the breathless melody.
Mastered from vinyl. Listen for the crackles.
To recap part 2: At the end of the summer of 1967, two popular New Haven-based bands broke up at the prodding of manager/producer Doc Cavalier, who owned Syncron Studios (later Trod Nossel) in Wallingford. Three members from the Shags and three from the Bram Rigg Set joined to form The Pulse (the actual original name was The Pulse of Burritt Bradley). But after a failed single released on ATCO, the bubblegum confection Can-Can Girl, the group broke up after about six months. Pulse, a blues-rock outfit emerged with now four members from Bram Rigg Set, one lone survivor of the Shags and a new addition.
In January, 1968, Pulse started rehearsing in earnest to play some live dates and start recording its first album. The first gig was to be at a small club in Watertown, the Shack. We used to rehearse in what was called the Shed in back of Syncron Studios. The rehearsal room was an unfinished concrete-floored area no larger than a two-car garage with 2×4 framing exposed on the first floor of what looked like an old barn. This was perhaps the most dangerous place I’ve ever rehearsed, yet we carried on in the Shed for 2-plus years as Pulse.
The danger lay in the ceiling, which was probably less than a foot above everyone’s heads. In fact, there was no ceiling, instead it was the foil side of insolation tucked in between the framing. So, if you happened to lift the neck of your guitar a little too high as when you were taking if off and your hands were touching the strings, you were in for a maximum jolt of electricity, the kind that tenses your entire body. I’ve had a few of those in my days, several from the Shed and it is as you may know no fun and rather scary. Still, we persevered.
Soon after forming, we added a sixth member, Jeff Potter, who played a mean blues harp and also added percussion with a conga drum and eventually occasional keyboards. Ray Zeiner, the keyboard player from the Wildweeds, had recommended him. Jeff and Ray lived next door to each other right down on the Connecticut River up near Hartford. Those houses are no longer there since the area flooded every so often. The Weeds had recently come into the fold with Doc (via their terrific single No Good To Cry) and Jeff had grown up and gone to Windsor High with Al Anderson and other members of the band.
Jeff added an element we needed and loved. The band was influenced by the great blues-rock groups of the times and in ’67-’68 that meant Paul Butterfield, Cream, Jimi Hendrix, John Mayall and others. So the lineup was Carl Donnell (Augusto), lead vocals and rhythm guitar, Peter Neri, lead guitar and vocals, Rich Bednarzck, keyboards, Paul Rosano, bass, Beau Segal, drums and Jeff.
We set out putting together two sets worth of material that included some unusual covers and what few original tunes we had at the time. We chose cover material that was not the usual fare for local bands in the same vein as the Bram Rigg Set, which always played songs no one else touched. This was largely influenced by Beau and when Bram Rigg was together lead singer Bobby Schlosser. (continue reading…)