LINER
NOTES FOR
THE NEW YORK ROCK & ROLL ENSEMBLE'S FAITHFUL FRIENDS
By
Richie Unterberger
Over
the course of their
first three albums in the late 1960s, the New York Rock & Roll
Ensemble made their mark as one of the few bands of any era to
comfortably integrate classical music and instrumentation into a rock
format. Their 1968 self-titled debut had been co-produced by Shadow
Morton (famous for his work with the Shangri-Las, Janis Ian, the
Vanilla Fudge, and later the New York Dolls), and also showcased a
quintet that could skillfully blend instrumental, compositional, and
vocal input from five distinct and diverse musicians. The group's 1969
follow-up, Faithful Friends,
solidified and expanded their assets while allowing themselves to take
a stronger voice in the production.
"Faithful Friends reflected our
first more concentrated efforts at 'producing a record,' zeroing in on
our songwriting and musical strengths and trying to more effectively
use the positive experiences we were at that time collecting on the
road," says bassist/cellist Dorian Rudnytsky today. "We tried to
improve specifically on our classical-rock arrangements while, at the
same time, strengthen on rock songs writing. Also, Adrian Barber
and Bruce Tergesen moved into the roles of producers with us for this
album, and the effects of working together are there as well." Tergesen
(who'd engineered numerous jazz albums for Atlantic in the '60s) and
Barber (who'd played alongside the Beatles in Liverpool in the early
'60s as part of the Big Three, and would go on to work as an engineer
or producer with the Allman Brothers, the Velvet Underground, the Bee
Gees, and Aerosmith) were also managers of the New York Rock & Roll
Ensemble. In fact, Tergesen had engineered the first demo session that
got the band their Atlantic contract.
Most of the songs on Faithful Friends were original
compositions, and owed more to rock than classical music, with all five
members contributing as songwriters. The band also inserted brief
classical pieces by Bach ("Trio Sonata No. 2 in G Major") and Thomas
Morley ("Aria"), as well as a lengthier adaptation of Bach's
"Brandenburg." On top of all this was a cover of one of Jimi Hendrix's
less celebrated songs, "Wait Until Tomorrow." With the frequent
incorporation of oboe and cello into the arrangements, and the group's
oft-noted performances in tuxedos and tails, they didn't quite sound or
look like any other act on the late-'60s rock scene—quite a feat, at a
time when so many artists were trying to outdo each other in
eclecticism or outrageousness.
"On the one hand, we were an ordinary rock and roll
band," notes Rudnytsky. "But included were also two classically trained
oboe players, and a classically trained cellist. Since the keyboard
player was one of the oboe players, the drummer the other, and the bass
player the cellist, the intriguing possibilities were there right from
the start. We were able to quickly include some straightahead classical
pieces into our sets, and from this came the first efforts to include
these instruments within our non-classical pieces. Since we were
naturally inclined to experiment, and since we somehow from the very
beginning understood and felt the power of rock music, it was very
natural and quite easy for us to include the classical instruments
within that framework without ever feeling we were somehow discrediting
either the rock music, or the classical. The cello very naturally fits
into the lower registers anyhow and was never a problem with ballads,
while the special nasal characteristic sound of the oboes rides very
clearly and beautifully on top of the all-out 100 Watt Marshall stacks."
Dorian also sees the division of most of the lead
vocals between keyboardist/oboist Michael Kamen and rhythm guitarist
Brian Corrigan as an asset. "Michael had the more 'cultured' voice,
with some early stage experience in musicals prior to the NYR&RE
(also in early bands)," he notes. "He wanted badly to be the American
John Lennon. Brian had [a] more bluesy voice, and could be more easily
compared with Jagger. The combination was great for us and helped to
set off the songs, and also helped us to remain slightly enigmatic and
not so easy to cubbyhole (are they classical? Rock? Or what?)—which was
both an advantage and disadvantage." Adds lead guitarist Clif Nivison
(who also takes a lead vocal on "Lazy Man"), "No band I've been in
since had people who could all sing lead and harmony. Michael and
[drummer/oboist] Marty [Fulterman] could both hear oboe parts in almost
all songs, and the cello is such a beautiful sound; it always adds
color."
Of the original songs on Faithful Friends, perhaps the most
familiar-sounding to the general rock audience is "Sing Lady Sing," due
to its similarity to a different record that ended up getting much more
exposure. "Buddy Miles took pretty much all the guitar lines that
Michael and I wrote and used them in 'Them Changes,'" says Nivison. "It
is the same song with a different vocal." As for the group's cover of
"Wait Until Tomorrow," written by a musician with whom Miles was soon
to (briefly) play, Clif explains, "Michael and I were great Hendrix
fans. He heard us play his song at [the New York club] The Scene in
1969. He told us he really liked it."
The Bach and Morley pieces found a natural home on
the album since, as Rudnytsky notes, "We were performing the trios live
as part of our act. It was logical to us and totally fine to include
these into our records. Everywhere we played, audiences loved it when
we played these short classical pieces. 'Brandenburg' was a special
piece. Leonard Bernstein invited us to play a Young People's Concert
with him, and we created this arrangement for that concert. We
did it with the NY Philharmonic with a band-made arrangement, following
a NY Philharmonic performance of the original, and afterwards included
it in our sets as well for some period of time as a closer for either
the first half of our show, or the end of the night. The final chord
often fell into total cacophony, depending on our moods. [It was] a fun
arrangement, an experiment that worked at that time. If Bach had heard
it, he would not have quit composing."
It was original material, however, that was at the
core of Faithful Friends,
often blending rock and classical flavors into the same track without
either element clashing with or overwhelming the other. "'Asking Too
Much' remains one of my favorites from this album," observes Dorian.
"The instrumental break in it is not the greatest...but kind of fun and
typical of lots that we did live. Perhaps this reliance on
spontaneity was a drawback for us in a way. Later on, I often
thought we should have really thought a bit more about certain
instrumental breaks, and even lyrics or parts of songs, and the results
might have been even better than they were. I'm convinced today that
this is one of the main reasons we never had a hit record. It was
there, in our songs. We just didn't really dig it out properly and with
enough thought, sensitivity and care."
Continues Rudnytsky, "'Thinking of Mary' is another
personal favorite. There is no other song ever that has an opening
lyric like Brian's 'Eating a sandwich...' I love it! The instrumental
break worked out very well, and also worked well in live performance
(not always the case with the mixed instrument pieces we did in the
studio). 'Faithful Friends' was the first real Marty composition for
the band, and came to us as a big surprise. Excellent song, fun to
play, great lyrics. We learned it quickly in Fire Island during a gig
there and it was a staple of our live performances for years."
Although the New York Rock & Roll Ensemble were
happy with how their music was progressing, Faithful Friends, like their debut,
was not a big seller, possibly because it was so hard to categorize. "I
think the media was still having problems with us, our image, and our
'place' in the rock developments of that time," feels Dorian. "The West
Coast was coming on strong—hippies, war resisters, the whole '60s thing
was exploding all around and we were exploding with it. However, we
still had our tuxedos and tails we wore playing live, and we were still
often connected to the New York 'Beautiful People' scene—a difficult
image that was becoming more and more of a burden. In fact, during the
time of this record's release, we were breaking away from that, and so
I guess we were getting mixed signals—very positive from our fan base,
and more restrained from the new audience we were beginning to reach
out to." The band's association with Atlantic Records was already on
the verge of ending, but not before a third album of a very different
sort, Reflections, emerged—a
story told on Collectors' Choice Music's CD reissue of that unusual
recording. -- Richie Unterberger
unless otherwise specified.
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