FOUR PREPS / BRUCE BELLAND AUTOBIOGRAPHY

WAIT 'TIL YOU HEAR IT FROM ME: Theirs was one of the most all encompassing adventures through all phases of the entertainment industry. Editor / Publisher Michael McDowell celebrates Icons, Idols And Idiots Of Hollywood, the all new autobiography by BRUCE BELLAND of the FOUR PREPS (Click on above image to enlarge).

ICONS< IDOLS AND

IDIOTS OF HOLLYWOOD -

Bruce Belland (Bear Manor Media)

By Michael McDowell

"What a group!"

So said the late Ed Cobb in a landmark, three-part interview that was published in Blitz Magazine - The Rock And Roll Magazine For Thinking People in the 1980s. As co-founder of the iconic and groundbreaking vocal quartet, the Four Preps, it had taken Cobb years to come to terms with that phase of his extraordinary legacy. 

Cobb had subsequently gone on to work in various capacities (including composer, arranger and producer) with such legendary artists as Ketty Lester, Brenda Holloway, the Standells, the E-Types, Stark Naked And The Car Thieves and the Chocolate Watchband, to name but a few. In view of the extraordinary accomplishments of those artists, Cobb (who, at the time of that summit meeting with Blitz Magazine headed the Hollywood-based AVI label with Seymour Heller) had gone through a phase of self reassessment in terms of his own capabilities in the spotlight, which had led him to downplay his own role in that capacity for a season.

Ultimately, Cobb need not have worried. The Four Preps' unique mission statement of combining their impeccable vocal harmonies with material that often leaned towards humor, satire and socio-political commentary permanently established their formidable legacy. In turn, the Four Preps' remarkable vision was a direct inspiration for such like minded groups as the Cowsills, Harpers Bizarre and APO Hiking Society. 

Sadly, Cobb (who served as the group's bass vocalist) passed away in September 1999. Cobb's death came just six months after the passing of Four Preps tenor Marvin "Marv Ingram" Inabnett. Baritone Glen Larson followed in November 2014 at age 77.

All of which has left lead vocalist and Chicago, Illinois native Bruce Gerald Belland to tell the tale. Indeed, he does so quite candidly (with occasional irreverence) in Icons, Idols And Idiots Of Hollywood.

From a geographical standpoint, the Four Preps were at a decisive advantage. Belland, Cobb, Inabnett and Larson were students at Hollywood High School on Sunset Boulevard, which is located at about an equal distance from the Sunset Strip to the west, and their future record label to the east. An executive from that label (Capitol Records) spotted them at a talent show at the school in 1956, and signed the ambitious quartet to the label that same year.

One classic Four Preps single after another followed at Capitol. They included Dreamy Eyes, Twenty-Six Miles, Big Man (which was covered by Herman's Hermits in the late 1960s), Where Wuz You, Again And Again And Again, Cinderella, Lazy Summer Night, Down By The Station, Big Surprise, I Ain't Never, Got A Girl, a vocal rendition of Lawrence Welk's monster classic instrumental Calcutta, the comedic More Money For You And Me, The Seine, The Big Draft, Let's Call It A Day Girl (also recorded by the Razor's Edge for the Pow label) and Draftdodger Rag, among others. 

In turn, their studio albums for Capitol were rife with vocal harmony laden material.  They were augmented by acclaimed live albums that primarily showcased their aforementioned penchant for topical material.

While riding high with Capitol, the Four Preps were soon also working with rock and roll pioneer Rick Nelson. In addition to backing Nelson vocally during live appearances, the Four Preps also found themselves in recurring roles on Nelson's family's acclaimed ABC television series, The Adventures Of Ozzie And Harriet. 

To be certain, theirs was and is a tale with an abundance of aesthetic riches. Thankfully, Belland has chronicled it all in candid terms in this remarkable autobiography.

Being a part of the Capitol roster in that most productive period meant having a wealth of top drawer talent as labelmates. They included the Kingston Trio, Nat King Cole, Dean Martin, the Beach Boys, Frank Sinatra, Ron Goodwin, Gene Vincent, Peggy Lee, the Journeymen and Dwayne Hickman. And while the Four Preps crossed paths with most of them in various capacities, they in turn carved out their own equally formidable niche.

In the process, the Four Preps also found themselves in a variety of circumstances with such diverse figures as Ed Sullivan, Dick Clark, President John F. Kennedy and humorist Lenny Bruce. And given the various accounts of those encounters outlined by Belland herein, it is in some ways remarkable that the members of the Four Preps lived to tell those tales. 

Thankfully, Belland has done just that in this extraordinary account. In some respects, he has emerged from his own period of self reassessment with a candor that had apparently heretofore eluded him. In the process, apologetics (a most disconcerting byproduct of survival for veteran artists who had successfully endured the protracted aesthetic slump of the immediate post-Woodstock ers) have given way to an ad hoc "vengeance is mine" approach. 

Nonetheless, that approach is tempered with the forgiveness maxim found in Matthew 18:21-22, which in part is in keeping with Belland's legacy as the son of Stanley Belland, the one time Senior Pastor of West Hollywood Community Church. All of which serves to make Belland's book an essential read. 

"It took me eight years to write", said Belland.

"What a kick it is to grab a pen and contribute to the fun".

Or, in the words of the aforementioned classic track from the Four Preps' 1958 debut album, Icons, Idols And Idiots Of Hollywood is a first class first person account that is worth revisiting Again And Again And Again.

CHERRY SLUSH INTERVIEW

DON'T WALK AWAY: First generation garage rock greats the CHERRY SLUSH took their own advice from the B-side of their 1967 signature single, I Cannot Stop You. The band is back with a vengeance with their all new single, Girl On The Beach. Editor/Publisher Michael McDowell discusses the creative process with drummer Dick Coughlin and guitarist Charlie Woodward below (Click on above image to enlarge). 

    

GIRL ON THE BEACH:

FIRST GENERATION

GARAGE ROCK GREATS

THE CHERRY SLUSH

CELEBRATE NEW SINGLE

By Michael McDowell

The Bells Of Rhymney have come full circle.

Inspired by the town of Rhymney in the county borough of Caerphilly, South Wales, The Bells Of Rhymney first rose to prominence in song via a 1958 live recording by Almanac Singers / Weavers alumnus Pete Seeger, who set to music the lyrics of poet Idris Davies. Most enduringly, The Bells Of Rhymney was covered in 1965 by the Byrds on their debut album for Columbia. That California quintet included in their ranks Jim "Roger" McGuinn, who had co-authored and recorded the July 1963 classic, Beach Ball for Capitol alongside Bobby Darin and Frank Gari as part of the City Surfers.

Also in 1965, an ambitious first generation garage rock outfit from Sagninaw, Michigan took their cue from that Byrds track. They signed with the Bossmen's late front man, Richard Allen "Dick" Wagner's Dicto label for a one off 45 deal as The Bells Of Rhymny.  

But by 1967, the group had reinvented itself as the Cherry Slush. They made their recording debut under that name for the Mount Morris, Michigan-based Coconut Groove label (also the recording home of the Haymarket Riot, the Frantics and the Nocturnal Day Dream) with the monster classic single, I Cannot Stop You, which was reissued at year's end on the USA label.

More than a half century after the fact, Cherry Slush drummer Dick Coughlin and lead guitarist Charlie Woodward have drawn from all of those inspirations with a brand new single that is fast becoming a highlight of the year to date, Girl On The Beach.

"A new original, written by Walt 'Hot Dog' Sima and (me)", said Couglin.

"I will never do a cover again. If I write it, it gets done the way I want it!"

For this project, Coughlin and Woodward have cherry picked a dream team Cherry Slush to help realize that vision. On board as percussionist and executive producer is the band's long time manager, Jimmy Hollywood, for whom the band recorded Birthday in 1969 on his Chivalry label. The present incarnation of the Cherry Slush is rounded out by Sima on lead vocals, along with rhythm guitarist Danny Parsons and bassist Steve Little. 

"It was a six month project" said, Coughlin.

"The radio stations tell me we're right on time. Spring fever is here for some, and it's going to be big during the summer".

Like their fellow first generation garage rock greats, the Cyrkle (whose all new Revival album for the Big Stir label is one of the year's most acclaimed releases to date) has astutely opted to confound expectations with their latest effort, rather than resting on their respective legacies. 

"It has a built in hook", said Couglin.

"After the verses, the background vocals sing, 'Stay with me, don't ever go away' ".

Aiding and abetting in the creative process were vocal coach Noah Scriber, who collaborated with Coughlin in arranging the background harmonies. Chris Lewis served as engineer at Saginaw's Fire Hyena Studios, with three-time Grammy winner Mack Woodward also contributing in that capacity at Mason Records in Atlanta, Georgia. 

"I did some voice overs for a station in Philly and for Bounce Radio in British Columbia", said Coughlin.

"It's number six on the regional indie chart. Whatever that is!"

Coughlin, whose professional endeavors are currently divided between the Cherry Slush and his role as an off ice penalty box official with the Ontario Hockey League's Saginaw Spirit club, is committed to the band's renewed success for the long haul.

"Charlie and me are fine", he said.

Woodward concurred.

"I'm really proud of Dick and Walt on this one", he said.

"Dick produced it and did an amazing job with the vocal arrangement".

For the moment, Girl On The Beach remains available only in a streaming capacity. Coughlin hopes to augment it soon with a vinyl release, despite the protracted turnaround times that have plagued the vinyl industry since the loss of a materials plant in a fire several years ago.

"Would I not check that out ahead of time?", he asked.

"Waiting to hear back from the pressing plant. Name recognition also helps!"

Indeed, the Cherry Slush is a name that has represented the best in first generation garage rock from the onset. And as Girl On The Beach underscores, their legacy is one from which (in the words of one of their classic B-sides) you Don't Walk Away.