Tag Archives: Connecticut

Pulse: My Old Boy



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.

Farnham’s fresh take on solo artistry




A few weeks back on a Friday night, I randomly decided to take a ride over to Border’s in Meriden to browse the books and the store’s ever-shrinking CD collection.

kala-farnham-epFrom the moment I walked in I was struck by the sound of a young woman’s voice. She was set up in the cafe playing solo, accompanying herself on a Yamaha electric piano. As I walked around I kept being drawn to the woman’s accomplished classical-leaning playing and her smooth, proficient and captivating vocals.

Finally I walked to the back of the cafe, sat on the window ledge and listened to the rest of her set. The character of her voice was pleasing and compelling. And her songs were something else.

I was so impressed I bought Kala Farnham’s seven-song EP, Raincloud, and have been listening to it since. In some ways her music is a throwback to the singer/songwriter era of the early 1970s. Her classically-oriented playing reminds one briefly of Joni Mitchell, but the style, composition and melodic structure of her songs are clearly Farnham’s own.

At first the CD didn’t seem to quite capture the impact she made live for me. But after repeated listenings and growing more familiar with her material, the EP started making its mark. It proves a strong showcase for Farnham’s talents. Continue reading Farnham’s fresh take on solo artistry

Concerts, Vol. 5: Farewell Cream



A little more than two months after seeing Cream at Yale’s Woolsey Hall in New Haven, the second time I had seen them live in about six months, the group was booked to play two shows — afternoon and evening — at the Oakdale Theatre in Wallingford, Connecticut on June 15. It was the next-to-last show of an exhausting five-month tour of the States that started in February and turned the group into mega-stars.

Eric Clapton plays a Gibson ES-335 during Cream's Farewell Tour, 1968.
Eric Clapton plays a Gibson ES-335 during Cream's Farewell Tour, 1968.

The Oakdale was a summer theatre in-the-round with a circular stage and a canvas roof. Where the theatre stood is now the lobby of the new Oakdale (now named the Chevrolet Theater, sacrilege!). It booked mostly summer stock, traveling Broadway musical companies and shows of that ilk along with traditional singers from Tony Bennett and Engelbert Humperdink to Ray Charles and many more. I even saw the figure skater Perry Fleming perform there once, when they flooded the stage area with ice. She was actually quite good.

But by 1966, it was also booking rock acts. Because of its size — it was quite small by today’s standards with a seating capacity of no more than about 2,000 if that — and intimacy, it was an outrageous place to see bands such as Cream, Led Zeppelin, The Doors and The Who, all of whom played there, among many others.

Because my friend and band mate in Pulse, Beau Segal, had an in there, we scored excellent seats in the front row for the evening show. I turned up for the afternoon concert as well, which didn’t appear to be sold out, and stood in the area between the theatre and dressing rooms, which was an open-air walkway. Continue reading Concerts, Vol. 5: Farewell Cream