Tag: Connecticut rock bands
Love You Ever Day was a tune I wrote in 1977 and was one of the first that Napi Browne recorded. To be exact, it was the third song we recorded during a home session over a few days during the summer of ’77 in the basement apartment of guitarist Nick Bagnasco (Nicky Nasko).
We had a control room set up in the furnace room of Nick’s house, and used my TEAC 3340S four-track machine along with a Ludwig mixing console that was also our PA mixer, along with a variety of mics, some borrowed, to record the proceedings. At one point Nick had a mic in the oven in the main part of the apartment to record his guitar. We cleared out his bedroom to set up a vocal booth, and we had guitars, bass and drums scattered throughout over the course of the two or three days. Complete chaos!
Still, this track has a very clean sound to it, some tasty guitar playing by Nick and Dan Gulino, our other lead guitarist, and a very funky percussion track by the group’s second drummer George Wilson, who had joined the group in late 1976 after Richie Catalano left the group.
It also benefits from an extraordinary group of background singers that included Jayne Olderman and Sarah and Peggy Heath. We were so lucky to have them join us on the vocal overdubs and their parts throughout are amazing. Just what I wanted for this tune, and it was a kick singing with them.
This was a bit of a departure from the group’s usual fare because in our early days most of the original material was straight-ahead rock. The song starts in a pop vein but quickly develops into something more jazz-rock oriented structurally and especially instrumentally.
I’m not sure where the inspiration came from. Well, actually I do but more on that later. Right now, I’m talking about the inspiration for the feel of the track, chord changes, melody and instrumentation. I was listening to a lot of fusion and Latin jazz in the ’70s and some of our cover list included jazz-rock material. So, that’s likely what inspired me.
Both Nick and Dan take nice solo turns on the track, Nick plays an infectious rhythm throughout and George is locked in on the funky Latin grooves. Nick takes the first solo during the main section of the song with a decidedly jazz feel. Dan takes three choruses at the end of the main section building throughout, incorporating more rock and jazz-rock ideas. Then we turn the rhythm around twice and he plays some incendiary fills against the background and lead vocals on the tag.
This song was a mainstay live in our early days. Eventually, I believe we dropped it from the set list as we wrote newer tunes.
The inspiration comes from one source emotionally, my wife, Lynne. We weren’t married yet but Lynne was an extraordinary inspiration then as she has been over the years.
The two tunes below were intended for the second Pulse album, Reach For The Sun, which never saw the light of day.
Both were written while the original six-piece band was together but weren’t arranged and recorded until 1969 during the transition period to a four-piece group that included second guitarist Harvey Thurott along with Beau Segal, Paul Rosano and Peter Neri.
Sometime Sunshine was the only tune on which Peter and I collaborated in Pulse. Peter wrote the main part of the song in late 1968, during a hiatus from the band for several months. When he came back in late ’68/early ’69 he had written a plethora of outstanding tunes that included Too Much Lovin’ (the Pulse album opener), Hypnotized, Garden Of Love and Days Of My Life (another unreleased gem), among others.
Sometime Sunshine was one of the band’s favorites of these tunes but Peter had no bridge for it. In early 1969 I had a song fragment that I believed would work in the middle of the tune. We tried it and somehow we made it happen in that little rehearsal shed at the back of the parking lot at Syncron Studios, our home base.
The song also became a showcase for the contrasting guitar tones and styles of Peter (Guild) and Harvey (Strat) as you can hear in the middle section call and answers between the two. And it was one of the highlights of the four-piece band’s live set.
Peter sang the middle section and I joined him in unison and harmony, one of my first recorded vocals.
The other tune, Heaven Help Me was one of my early compositions. At that time, I couldn’t pull off the opening acoustic and voice section of the tune so I taught the melody and changes to Peter, who developed the fingering style acoustic part and sang the melody exactly as I wanted it. I always thought that was amazing.
I sing the middle section, which still included Richie Bednarczyk on Steinway Grand, which attests to this being recorded during the transition, and Peter and I sing in unison mostly on the third section, which concludes the 7-minute tune.
An interesting side note on this song:
A license to use the song in a film by a Yale student was granted for an undisclosed (by my manager) sum of money. In fact, I didn’t even hear about this until weeks later when one of my fellow band mates mentioned it. When I went into the office of my manager/producer/publisher, he looked sheepishly at me, feigning disbelief that I didn’t know. He wouldn’t tell me for what the granting of the song’s rights were sold. Eventually, I was handed a check for $100, not an insignificant sum in the late ’60s, but for some reason I always felt it wasn’t commensurate with what it should have been.
One of the things that made me feel this was that when my manager’s accountant handed me the check he smirked and sarcastically remarked that I didn’t deserve to receive that much! Ah, the music business. Yet another familiar tale.
Anyways, I always liked both of these tunes and they were an indicator of where the band was headed. Unfortunately, this version of Pulse was no more after December of 1970. That then led to the New York-based Island.
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.