Chateau Dietrich

If You Would Like to Hear This Record

Because of various problems with public blogs and rights problems, I have decided to take my blog and convert it to a private email. If you’d like to listen to this album (and more) or any other album I am posting here, just send me your email address at radiovickers1@gmail.com and I will put you on my list. Along with this album, I have a gigantic archive of my vinyl digitizations that gets added to every week. I do them myself and de-click them. Most sound pretty darned good, if I do say so myself.
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Monday, December 30, 2013

My Vinyl Attic - Mondo Rock - Mondo Rock (1985)



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The vinyl on this sounds great.  I may have bought this at a booth at a flea market in an industrial park in Oshawa.  Hard to say, but that's my guess.  The music is off it's time and pretty good.  






A1 Come Said The Boy
Remix – Scott Litt
3:56
A2 Take Me Away 4:13
A3 The Moment
Remix – Scott Litt
3:40
A4 Dark Secrets 5:17
B1 The Modern Bop
Remix – John "Jellybean" Benitez Written-By – Ross Wilson (2)
3:46
B2 Good Advice 3:40
B3 Flight 28 4:56
B4 No Time 4:57
B5 Marina 4:54

Credits


Info Stolen from This Great Site:

Mondo Rock were an Australian rock band formed in November 1976 by founding mainstay singer-songwriter, Ross Wilson (ex-Daddy Cool). Their second album, Chemistry was issued in July 1981, which peaked at No. 2 on the Australian Kent Music Report Albums Chart. It was followed by Nuovo Mondo in July 1982 which reached No. 7, The Modern Bop in April 1984 which appeared at No. 2 and a compilation album, Up to the Moment in June 1985, which peaked at No. 5. Mondo Rock reached the top 10 on the related Kent Music Report Singles Chart with "State of the Heart" (October 1980), "Cool World" (April 1981) and "Come Said the Boy" (December 1983). The group disbanded in 1991, although they have periodically undertaken reunion concerts. According to Australian musicologist, Ian McFarlane, "[b]y way of ceaseless touring and the release of a series of sophisticated pop rock albums, [the band was] one of the most popular acts in Australia during the early 1980s".


Early years: 1976–79

Mondo Rock were formed in November 1976 in Melbourne by Bob Bickerton on drums (ex-Rock Granite and the Profiles); Mike Clarke on bass guitar (ex-Mick Rogers and Eclipse); Greg Cook on keyboards and guitar (ex-Cam-Pact, Skylight, Phil Manning Band); Peter Laffy on guitar (ex-Fox, Freeway); and Ross Wilson (ex-Daddy Cool) on lead vocals and harmonica.
Wilson had been a prominent figure on the Melbourne music scene since he was a teenager in the mid-1960s and had success nationally in the early 1970s as the lead singer and principal writer of the popular, rock revivalist group, Daddy Cool. Following the first breakup of Daddy Cool in August 1972, Wilson and long-time collaborator Ross Hannaford formed the short-lived rock band, Mighty Kong in 1973, which recorded one album before disbanding. He followed with a reunion of Daddy Cool in 1974, but the group split again at the end of the next year. Wilson's career was temporarily stalled by a dispute with his former label, Wizard Records, which prevented him from recording for several months. He returned to the music scene in mid-1976 by working on the soundtrack to Chris Löfven's cult road movie, Oz. In August that year Wilson issued his debut solo single, "Livin' in the Land of Oz", from the soundtrack on his own Oz Records label.
To promote the single Wilson formed Mondo Rock with the above line-up in November. The name is translated as "World of Rock", Wilson's aim was to use temporary line-ups, without the restriction of a permanent group. By February 1977 the line-up were Wilson and Laffy joined by Trevor Courtney on drums (ex-Chants R&B, Cam-Pact, Vibrants, Skylight, Stylus); Barry Sullivan on bass guitar (ex-Chain, Renée Geyer Band, Silver Sun); and Ian Winter on guitar (ex-Carson, Daddy Cool, John Paul Young and the All Stars). This line-up broke up by mid-year. In November the next version was formed by Wilson with Gunther Gorman on guitar and backing vocals (ex-Home, Daddy Cool, Richard Clapton Band); Simon Gyllies on bass guitar; Iain McClennan on drums; and Tony Slavich on keyboards (both ex-Richard Clapton Band, Ariel). Gorman left before the group started performing again and was replaced by jazz guitarist, Chris Jones (ex-Zoo).
By mid-1978 Laffy returned and guitarist Randy Bulpin (ex-Toads, Ready Rubbed, One Nite Stand) was added. Slavich left but was not replaced shortly before Mondo Rock released its debut single, "The Fugitive Kind", on Oz Records in August that year. It reached the top 50 on the Australian Kent Music Report Singles Chart, it was followed by "Love Shock" in May 1979. In October that year the line-up of Wilson, Gyllies, Bulpin, Laffy and McLennan recorded their debut album, Primal Park, which was issued on the Avenue label via EMI Records with Wilson producing. Five of its nine tracks had been recorded live at Bombay Rock on 18 May. It yielded two singles, "Searching for My Baby" (September) and "Primal Park" (November). McLennan contracted hepatitis as the band was due to tour to promote the album, so he was replaced, first by Eddie Van Roosendael (ex-Stiletto), and then by Gil Matthews (ex-Billy Thorpe & the Aztecs) on drums, for the tour. Wilson again disbanded the group at the end of the year.

Breakthrough: 1980–84

In February 1980 Wilson launched a new version of Mondo Rock with Matthews, and James Black (ex-Rum Jungle, Russell Morris Band) on keyboards and guitar; Paul Christie (ex-Kevin Borich Express) on bass guitar; and Eric McCusker (ex-The Captain Matchbox Whoopee Band) on guitar. This line-up recorded, with Ern Rose producing, their first major hit single, "State of the Heart" (October 1980). It peaked at No. 6 on the Kent Music Report. The track was written by McCusker, who contributed many songs to the band's repertoire, taking some of the pressure off Wilson, who was experiencing temporary writer's block. Matthews left after the single appeared and was replaced by Andy Buchanan (ex-Darryl Cotton Band) and then by John James "J. J." Hackett (ex-Stars, Fabulaires) in March 1981. Their next single, "Cool World", which was written by Wilson, appeared in April and was also successful on the chart, reaching No. 8.
In July 1981 the line-up of Wilson, Black, Christie, Hackett, and McCusker, released their second album, Chemistry, which reached No. 2 on the Kent Music Report Albums Chart the following month. Other than "State of the Heart", all the tracks were produced by Mark Moffatt. The title track, released as the next single, reached No. 20 and it was followed by "Summer of '81", which peaked at No. 31. The royalties for that single were donated to Amnesty International. "State of the Heart" was also released in the United States and United Kingdom although their US label, Atlantic Records, felt it was too long for radio and edited it for release there, much to the band's chagrin. In 1985 expatriate Australian, Rick Springfield covered "State of the Heart", which reached No. 22 on the US Billboard Hot 100, his version was similar to Mondo Rock's original full-length recording.
In July 1982 they issued their third album, Nuovo Mondo, on RCA / WEA with Peter McIan producing, which reached No. 7.  according to McCusker the lead single, "No Time", which he wrote, was inspired by The Beatles' "Don't Let Me Down", as a tribute to John Lennon. Also released in June, it peaked at No. 11. Christie left the group in September and subsequently formed an all-star band, The Party Boys; he was replaced on bass guitar by James Gillard. A second single, "The Queen and Me", from the album appeared in November which reached the top 40. Another single, "In Another Love", appeared in February 1983 which reached the top 100. An album track, "Touch of Paradise", co-written by Wilson and Gulliver Smith (aka Kevin Smith, ex-Company Caine). In February 1987 it was covered by Australian pop singer John Farnham (ex-Little River Band), as his third single from his album, Whispering Jack (20 October 1986), which reached the top 30.
Concurrent with Mondo Rock's success Wilson scored another hit in August 1983 with the novelty song "Bop Girl", written for his then-wife Pat Wilson as a solo singer, who was backed by Wilson and his former band mate, Hannaford. The single reached No. 2, and its music video featured a young Nicole Kidman as an extra. Also in August the Mondo Rock line-up of Wilson, Black, Gillard, Hackett, and McCusker started recording their fourth studio album, The Modern Bop. Initially McCusker thought they would have a bunch of "gently grooving" songs, only to find the first tracks "turned out to be quite tough and I think we'll end up with a rock 'n' roll disc". By October 1983 McCusker told Juke Magazine that it was the longest he had ever remained in a group – usually for a year or so "before I got bored or the band broke up". The album appeared in April 1984 and peaked at No. 2.
Back in December 1983, the album's lead single, McCusker's "Come Said the Boy", a provocative tale about the loss of virginity, was issued. It was banned by many radio stations including Sydney's then top-rated 2SM – which was affiliated with the Roman Catholic Church. Despite this "Come Said the Boy" became their most successful single, peaking at No. 2. The music video was filmed at the beach stairs on Maroubra Beach. The album featured two more singles, "Baby Wants to Rock" (April 1984), which peaked at No. 18 and the title track, "The Modern Bop" (July), which charted in Top 100.

Later years: 1985–91

In June 1985 Polydor Records released Mondo Rock's compilation album, Up to the Moment, which peaked at No. 5. It provided two new singles, "Good Advice" (November 1984) and "The Moment" (May 1985). On 13 July 1985 Mondo Rock performed four tracks for the Oz for Africa concert (part of the global Live Aid program) – "Cool World", "The Moment", "Modern Bop", "Come Said the Boy". It was broadcast in Australia (on both Seven Network and Nine Network) and on MTV in the US.
The group's sixth studio album, Boom Baby Boom, appeared in September 1986 with the line-up of Wilson, Gillard, Hackett, and McCusker, joined by Andrew Ross on saxophone and Duncan Veall on keyboards. Their chart popularity was beginning to wane, although "Rule of Three's" (September) reached the top 100 and "Primitive Love Rites" (November) made the top 40. In 1987 "Primitive Love Rites" became a minor hit on the US Billboard Hot 100 and reached the top 40 on its Mainstream Rock chart. In late 1987 they issued a five track extended play, Aliens. Wilson disbanded the group early the following year and recorded a solo album, The Dark Side of the Man, which included a top 40 single, "Bed of Nails", in June 1989.
In 1990 Mondo Rock reconvened with Wilson and McCusker joined by a studio super group, with Ian Belton on bass guitar (ex-QED, Ian Moss Band); Ricky Fataar (ex-The Beach Boys) on drums; Waddy Wachtel (ex-Linda Ronstadt) on guitar; and Bernie Worrell (ex-James Brown, Funkadelic) on keyboards. They recorded the group's sixth studio album, Why Fight It?, with Wachtel also producing, which was issued in May 1991. Three CD singles were released from the album, "Why Fight It?" (November 1990), "I Had You in Mind" (February 1991) and "Soul Reason" (May). During 1991 Wilson dissolved the group again.

After disbandment

After disbanding Mondo Rock, Wilson initially formed RAW with Barry Deenik on bass guitar; Michael Sheridan on guitar (ex-No); and Craig Waugh on drums (ex-Uncanny X-Men). They performed on the pub rock circuit until 1993 and then Wilson continued his solo career. Black had left in 1984 and worked in a variety of groups including GANGgajang (1984), Men at Work (1985), and The Black Sorrows (1985, 1994, 2004). By the mid-1990s McCusker was a director for the Australasian Performing Right Association. Mondo Rock have occasionally reformed, in 2003 the line-up of Wilson, Black, Christie and McCusker promoted a 2× CD compilation album, The Essential Mondo Rock. They appeared in the 2006 Countdown Spectacular concert series, performing a medley of "Cool World" and "Summer of '81", and a full version of "Come Said the Boy". From 2005 Black features on the Australian TV quiz show, RocKwiz, on SBS as a member of the house band, RocKwiz Orkestra. Christie was the founding partner of Almost Famous, a corporate team-building and events company. In 2013 McCusker delivered lectures in song writing at Monash University

Radio Vickers Speaks It's Mind no. 2



Guess Who’s Not in the Hall of Fame


Anytime anyone has put pen to parchment or thumb to I-phone to craft a well-intentioned list of things meritorious, people have lined up for days to ladle the cold and lumpy vomit of their disgust down the back of that individual’s shirt collar.   Today is no exception.  Pull out your shirt collar, Rock ‘n’ Roll Hall of Fame, because I’ve got my whisky-barrel-sized ladle and it’s full to brimmin’ with the icy cold sick of my discontent.
 
Let’s start with The Guess Who, shall we?   Is it because they’re Canadian?  That they eat round instead of strippy bacon, so they can go fuck themselves?  Surely, no other plausible explanation can be proffered for this find exemplary band’s inexplicable snubbing at the hands of that strangely shaped building in Cleveland.  Obviously, those American bastards still haven’t forgiven us for setting fire to their goddamn White House or dropping Celine Dion on them.  It really boils my garters when I think of some of the musical lightweights that have been joyously, and with much ceremony, trotted into that big glassy pyramid.  One cannot help but wonder whether Wavy Gravy is handing out Syd Barrett levels of the leftover Brown acid from Woodstock during their selection meetings. 

A Case in Point:
 
Sure, the Dave Clark Five and Donna Summer had their moments in the sun – but do either of them have the hits or the staggering catalogue that Bachman, Cummings, Winter and Troiano bestowed upon the world?  This is not a close call, folks.  NOOOO, they fucking don’t!  The Guess Who were pumping out top notch rock albums from the mid 60’s thru 1975.  Now, I know that Donna Summer is dead, but that’s no excuse.  Being dead is not a body of work.  It’s just a body.  By all means, put her in the Disco Hall of Fame or the Over-Produced-Ass-Wag-Music Hall of Fame but Rock ‘n’ Roll?  Really?  Can you even name a Donna Summer song that could honestly be described as rock ‘n’ roll?  And her horrifying reinvention of McArthur Park made about as much sense as the song’s lyrics.  That’s got to be worth a few demerit points.  

 


But perhaps I’m being unfair.  I can sort of buy the “Apples and Oranges” argument.  Why not compare a bunch of white guys with instruments with a different bunch of white guys with instruments?  
Yes the Dave Clark sold a few billion copies of Glad All Over, Bits and Pieces, Do You Love Me and….and…well, you name another song of theirs that’s lasted more than a week or two in the bowels of the Charts.  Does anything spring to mind?

Whereas The Guess Who Tallied…
1965 Shakin' All Over
1969 These Eyes
1969  Laughing
1969 Undun
1970 American Woman
1970 No Sugar Tonight
1970 No Time
1970 Share The Land
1970 Hand Me Down World
1971 Rain Dance
1971 Albert Flasher
1971 Hang On To Your Life
1972 Heartbroken Bopper
1972 Sour Suite
1972 Running Back To Saskatoon (live)
1973 Follow Your Daughter Home
1974 Clap For The Wolfman
1974 Star Baby
1975 Dancin' Fool
            Most of these songs are Classic Rock radio staples.  When was the last time you heard “Over and Over” coming through the car speakers on a clammy summer’s night? 
And the Guess Who weren’t just a singles band.  How about Orly, Glamour Boy, Rich World/Poor Word, Dirty, Nashville Sneakers, All Hashed Out, Bye Bye Babe, Glace Bay Blues, Truckin’ Off Across the Sky, Those Show Biz Shoes, Hoe Down Time etc. etc. ??? 
 But, receiving “the big invite” is obviously not just about being great songwriters.  Worthy inductees Jackie Wilson and the Supremes didn’t pen their own tunes. 
What if performing prowess is a large portion the nomination equation?   Imagine, if you will, that you had to wager a large dollop of your procreative appurtenances on whether the Dave Clark Five were a better and more rockin’ band live than The Guess Who.  Would you even entertain placing the wellbeing of your nut sack or growler on the former Fab Five for a second?  Have you heard Live at the Parmount?  
Well, if it isn’t the hits, songwriting or performance that put the DC5 way out ahead of the GH, how about musicianship?
Is Lenny Davidson a better or more inventive lead guitarist that Randy Bachman, Kurt Winter or Domenic Troiano?  Grow the fuck up.
Is Mike Smith a better singer than Burton Cummings?  Mr. Smith is a workable warbler but Burton Cummings in one of the very best rock singers of his generation. 
We’re running out of possibilities here.
Is Dave Clark a better drummer than Garry Peterson?  Not even if Garry had as many arms as that guy from Def Leppard (and possibly a few toes on his hi-hat foot missing). 
So, what is this mystical metric that these mavens of the music biz are utilizing when they pick these nominees? 
And here’s a further puzzler.  What drunken evil warlock spell made them decide to induct Frankie fucking Lymon?  He barely had a career!  Let’s face it, being found dead next to a toilet is as close as this guy will ever get to being Elvis Presley.  Deep Purple were eligible to be nominated that year.  Can you, in any universe or hitherto unknown dimension, picture a scenario where Frankie Lymon gets on a stage and out-rocks Deep Purple?   

 More Cavilling:

Since we’re happily slopping the frigid and lumpy regurgitations about, let’s take a quick gander at the career of Status Quo.  So, is Cleveland home to “The Rock ‘n’ Roll Hall of Fame” or is it “The American Only and Nobody Else Rock and Roll ’n’ Hall of Fame?”  Quo started recording in 1967 and continue putting out top-selling, head-boppin’ albums to this very today.  They’ve had 63 chart hits in the UK (more than any other group).  They have 22 top 10 singles.  They’ve sold 128 million records worldwide.  I saw them live in a sea of screaming Mexicans in Hollywood and they blew the roof off.  Why, I don’t believe even a rock god the magnitude of oh, say…FRANKIE LYMON could have put on a better, more rockin’ show.  They’ve been eligible to be nominated for 23 years, Goddammit!  What do these guys have to do, short of shitting Beatle wigs, to get in to the Hall? 
I don’t even get me started on Cliff Richard. 
 

My Final Chunk Puddle of Irritation:
I know there’s been a lot of talk about the questionable methodology of the Hall’s decision makers.  Apparently, these industry big wigs have been accused of casting a very kind eye on artists connected with their own record labels.  Say it isn’t so!
Even Murray the K. was somewhat covert about his corrupt practices.  He didn’t get on the air and announce, “The only reason I’m playing this single is because I just received a trunk full of Jacksons from the record company and the lead singer’s wife jerked me off into my silly straw fedora.”  The nominating board isn’t even that subtle in their monetarily rewarding selection process.  But, let’s put aside the sordid and unpardonable history of this ethical No Man’s Land where talent and merit hold about as much weight as the helium in Katy Perry’s tits. 
Let’s take a look at this year’s nominees and see who is worthy?
 
Yes – Abso-fucking-lutely!  These guys should have been inducted in their first year of eligibility.  They invented art rock as we know it today.  So what if Jon Anderson couldn’t find a decent lyric if someone nailed it to the end of his Nous Sommes Du Soleil.  When one takes a look at their body of work and the staggering musicianship…
Bill Bruford?  Steve Howe?  Rick Wakeman?  Heard of any of these rhythmically advanced fellows?  Musically, they are the best of the best and every prog band out there has stolen from them.  This is their first nomination.  Chic have been nominated 8 times.  Society has gone mad, I tell you.  Is it any wonder that our children turn to drugs and violent I-phone games involving fruit. 
 

Kiss – Again: pure insanity these guys are not already in.  They may not have written more than three good songs in a 40 year career but who cannot marvel at their contributions to the stage craft and spectacle of rock.  Sure, Gene Simmons is a world class jerk but Chuck “let me videotape you while you’re taking dump” Berry isn’t?  
 
Linda Ronstadt – Sadly, she will probably get in because she is ailing.  That’s no reason to put someone in the Hall.  The reason Ms. Ronstadt should have been welcomed in a decade ago, is because she’s damn fine singer and she’s had a massive career.  Her mega-successful albums with Nelson Riddle sent every fading rock star in sight scrambling in search of an orchestra.  Plus, millions of today’s middle-aged men grew up masturbating to that poster of her sitting with pigs.  Even the great Neil Diamond can’t make that sort of boast.
 
Hall and Oates – Not really my cup of tea but they probably deserve it.
 
NWA – No fucking way.
 
The Paul Butterfield Blues Band – Yes.  

 
Peter Gabriel – It’s lucky it isn’t the Prolific Hall of Fame because he wouldn’t even get a single vote.   Peter is so slow; he couldn’t even come up with titles for his first three solo records.  But he definitely should be in the Hall.  
 
LL Cool J – No.
 
Chic – No. No. No. No. No.
 
Nirvana – A short career but (like the Velvet Underground and the Stooges) one which spawned a whole generation of admirers and imitators.   Perhaps they shouldn’t get in on their first nomination but one day. 
 
The Meters - They should definitely be in the mix.
 
The Replacements – I have a soft spot in my crusty heart for this band.  I’m a huge Westerberg fan and they probably deserve to be in.  Plus – they have a dead member – that seems to hold some sway with the board (See Lynyrd Skynyrd).
 
Cat Stevens – To me, he’s borderline.  Some nice songs but a short career of quality work, followed by some real drivel before he quit music to call for the religious assassination of Salman Rushdie and to educate little children. 
 
The Zombies – Probably too small a canon to warrant their inclusion. (See Dave Clark Five)  Perhaps Rod Argent should be admitted for the Zombies and Argent combined.
 
Link Wray – As sidemen go – he probably deserves it.  However, I don’t see him making the top five in this mega-talented group.
 
Deep Purple – A touching personal story.  When I was in Nobby Clegg – we had the pleasure of warming up for Ian Gillan at the El Mocambo for two nights.  The legendary rocker and former Jesus was a superstar asshole to us.  First, he made us change in the El Mocambo kitchen because we weren’t worthy of being in his presence.  Then, during the performance, his tech crew refused to give me monitors.  Huh?  Was the singer of “Smoke on the Water” and “Space Truckin’” actually afraid that I was going to wipe the vocal floor with him, if I were allowed to actually hear myself?  Probably not.  He was just being a fucking overweight, drunken prick.  But…even having suffered such shoddy and reprehensible treatment at the hands of this steel-tonsiled, criminally inconsiderate troubadour, I still believe he should be in the Hall of Fame.  (And I hold on to grudges.)

My five top picks for the Hall from this year’s nominees. (Obviously, the Hall chose to disregard these sage words.  That's why they're soulless bums.)


1.      Yes
2.      Kiss
3.      Linda Ronstadt
4.      Peter Gabriel
5.      Deep Purple – Even including that son of a bitch they’ve got singing for them.




Friday, December 27, 2013

My Vinyl Attic - Elephant's Memory - Elephant's Memory (1969)



If you’d like to listen to this album or any other album I am posting here, just send me your email address at 
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The vinyl is is great shape.  I have two sealed copies of this, so I cracked one open.  The music is much better than I had imagined.  I guess I thought they were far more experimental that they are.  An enjoyable album from the period.  They were also ahead of their time.  Painting naked women is all the rage today. 

A1Don't Put Me On Trial No More2:50
A2Crossroads Of The Stepping Stones2:54
A3Jungle Gym At The Zoo2:56
A4Super Heep5:27
A5R.I.P.1:40
A6Band Of Love4:07
B1Takin' A Walk3:47
B2Hot Dog Man3:33
B3Old Man Willow7:03
B4Yogurt Song2:55
B5Brief Encounter4:40

Credits


Info stolen from This Great Site:
Although chiefly remembered these days for their role as John Lennon's loose and ragged backup band on his Some Time in New York City album from 1972, Elephant's Memory have a bit more to their history than that. Formed in 1967 by drummer Rick Frank and saxophonist and clarinetist Stan Bronstein, who reportedly met on the New York City strip-joint circuit, the group specialized in an eclectic Frank Zappa-like mix of psychedelia, jazz, and acid-tinged rock, and delivered a truly bizarre stage show complete with inflatable stage sets. Their first album, simply called Elephant's Memory, was released in 1969 on Buddah Records, a label more famous for bubblegum pop groups than whacked-out horn bands.
Two tracks from the LP, "Jungle Gym at the Zoo" and "Old Man Willow," found their way onto the Midnight Cowboy movie soundtrack later that year, which gave the group some visibility, but it didn't exactly translate into sales for the debut album. A second LP, 1970's Take It to the Streets, had even less commercial impact. Then came John Lennonand Some Time in New York City, and Elephant's Memory had their moment in the sun. They released a third album, also called Elephant's Memory and featuring David Peel, on Apple Records later that year, then backed up Yoko Onoon 1973's Approximately Infinite UniverseAngels Forever, which turned out to be the group's swan song, appeared in 1974.
Elephant's Memory left behind what is probably best described as a footnote legacy, since they will undoubtedly always be linked chiefly to Lennon and Ono. An impressive number of musicians passed through the band in its seven-year run, including Frank and Bornstein, as well as Carly Simon (yes, that Carly Simon, who was a member of the group for about six months), Jon SachsGary VanScyocMichal ShapiroChris RobinsonMartha VelezJohn WardChester AyresMyron YulesRichard SussmanWayne "Tex" GabrielDaria Price, and John Labosca. Footnote they may be, but Elephant's Memory made more of an impact than anyone ever might have suspected from a scuffling New York City street band.