Rastus....The First LP!

The First Rastus LP!

Fall of 1969

Rastus had been playing The Scene in Milwaukee, Wisconsin for several months and had developed quite a following there. The folks from Milwaukee were mighty nice to us all and we felt we had found a home in that fine city.

Benedetta Balistrieri ran The Scene with an iron hand but she was very gracious to us and helped the band a great deal.

When it was decided we would record Rastus' first record at a small R&D studio in Wauwatosa, Wisconsin; the boys in the band each had to figure some place to stay during the process. Some of them stayed with various friends and the others brought sleeping bags and stayed in the studio itself.

Sonad Studios was housed in the basement of a small, L shaped mini-mall located directly in the center of Wauwatosa. Four streets ran into one junction in the tiny town and each had a stop sign to control traffic at the intersection. Directly across from the mall was an old fountain which spit water twenty-four hours a day.

The mall itself consisted of a Baskin-Robbins ice cream shop at the end closest to the fountain. Then there was an electrical repair shop adjoined by an empty Household Finance slot. On the corner of the mall was a Chinese restaurant where we all would eat breakfast when we could afford it. There was a small dress shop which was dying and on the end, another vacant slot. All in all, it seemed as if the mall was in it's death throes.

Sonad Studios was designed by an old man named Curt Knoppel. Knoppel had hooked up with a great man named Bernard Barker who had developed an electrical circuit he called Sonad. Mr. Barker had, at one time, been a radar operator on a bomber during World War Two. He culled the ideas for the Sonad circuit from his knowledge of radar.

Here's how Sonad worked in a nutshell....One would take an audio signal (mono at that time) and enter it into the Sonad circuit. The Sonad circuit then split the signal into two equal parts (a piggyback). While one audio signal remained clean, the other could be manipulated in real time. One could adjust the Sonad signal in an infinite variety of ways. At the end of the process, you mixed the clean signal with the Sonadized signal. The end result was amazing! The sounds seemed to jump out at you through the speakers. As an engineer, I could see the true worth of the product and I got on board myself to help raise the money for Research and Development.

Our investors were local corporate men and women as well as elderly folks looking for a good investment. The money came in and the studio was completed and ready to make records.

The studio consisted of four rooms and a control room. The control room was designed like a large living room with several lounge chairs and a couch against the wall. The studio rooms themselves were small. There was a guitar room which was about 8X10 feet; a piano room with an old upright grand, which was about 6X8; a horn room which also doubled as a vocal room and a bass room so we could all stay out of Don Nagy's way.

We started by recording the band tracks for the individual songs. We used an 8 Track, 3 M machine. That recorder was state-of-the-art at the time and I considered myself lucky to have it. The band tracks took about a week to record and the following week I had in mind overdubbing vocals, horn solos and other miscellaneous sounds. However, something was wrong. I couldn't get the machine to sync correctly with the Fairchild console we were using. Then we found that the guy who wired the Fairchild board had done the job incorrectly and the board had to be re-wired which took almost a week. That meant the band had little to do during that time. Rastus and boredom were not a great combination to say the least.

One night about 3 in the morning we were hanging out in the control room when someone yelled down the stair well, "Check out the fountain in front! It's foaming at the mouth!" We all ran upstairs with John Taylor conspicuously missing. To my horror, I saw the fountain gurgling up bubbles as fast as it spit water. The soap was already down to the intersection and had caused several late-night drivers to slide through the stop signs and into each other. There was one car lying on it's side next to a pancake restaurant. This, of course, brought the police. All six of them.

The cops were already aware there were a group of hippies holed up in the strip mall and several nights after the fountain debacle, walked in through the back door of the studio. No one noticed them as we were in the middle of Mike Geraci's horn intro for "I-75 Riff". When Mike had finished we were all very excited as Mike had blown the perfect intro. I stopped the machine, turned around and then saw the police standing in the back of the darkened control room. The control room reeked of pot and everyone froze for a minute or so. Then, there was more tap-dancing than you would have seen in a Fred Astaire movie. I finally turned on the lights and welcomed the police to Sonad Studios. They asked what we were recording and I played them the rough version of "I-75 Riff" sans the vocals. They loved it! After that evening, the police laid off us a bit and never came in again....thank God.

It took us a total of one month to record the studio sides of the first Rastus LP and they are listed below in the order they appeared on the record.

Just to let you know....none of us have ever received as much as a statement from GRT Records, much less a check for royalties after the initial payment was made to the band to lease the master. There are publishers to which I have written who say they hold the copyrights to the original songs (many of which are mine)that have never returned to me in any respect. We will keep trying. It would be nice to get this all sorted out.

Within the next couple of weeks, I'll put up the next part....The First Rastus LP....The Live Sides, with all the respective songs in order of appearance. Also, I will tell you the horror story that happened with the Sonad patent and the Sonad Studio....and me.

Love you all....

John Rhys

Wizard Of Oz Medley - Sinnin' For You

The "Wizard Of Oz Medley" was crafted by John Taylor as the intro for "Sinnin' For You." "Sinnin' For You" is an original song Rastus borrowed from the British group, The Keefe Hartley Band. Danny Magalen did a solid vocal at about 2 o'clock in the morning at Sonad Studios in Wauwatosa, Wisconsin. An amazing thing happened with this song....After we had recorded the track, we all felt that Tony Corrao's guitar solo was a bit too long. As I was re-winding the tape, the 8 track went into edit mode for some reason and when I hit the stop button, it stretched about five feet of the tape down to quarter inch size. I could either try to edit the tape or re-record the track. I decided to edit the tape. I marked just ahead of the beginning of the stretch and slightly after the stretch then joined the two unstretched pieces together. To all our amazement, the solo was perfect in every way. The band thought I was a genius. I knew I was just very lucky. Title: Wizard Of Oz Medley Publisher: Leo Feist, Inc. Writers: Harold Arlen/E.Y. Harburg Title: Sinnin' For You Publisher: Bleu Disc, Inc. ASCAP Writers: K. Hartley, P. Dines, S. Hewitson, F. Finnegan

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Farmer Jo

This song, written by Laura Nyro was the second cover Rastus attempted. The first Rastus lead vocalist, Richard D'Amato (Muggsy) did an excellent job and will be available later in the series. However, Marc Roman went all out and literally took possession of the song as you will hear. There are distinct differences in the mixes between Mugsy's and Marc's renditions. Title: Farmer Jo Publisher: Celestial Music, Inc./Tuna Fish Music BMI. Writer: Laura Nyro

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I-75 Riff

This song, written by John Rhys, employs the gifted playing of Mr. Mike Geraci on the Tenor sax solo at the very beginning of the tune. If I remember correctly, Mike played the intro once and that first time was perfection. Tone and choice of notes is what Mike Geraci is all about. Title: I-75 Riff Publishers: Synergistic Music/New Road Music, ASCAP Writer: John Rhys

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Desperately Mrs. Jones

Written by John Rhys and Don Nagy, this song had a definite 40s feel so it was natural that the band slipped into that time zone when recording it. It just happened that while over-dubbing the horn section they automatically went to the song "Ja-Da" at the end to complete the bouncy feel. However, when it came time to notify the publisher, Leo Feist Music, Feist refused to make a deal and the song wound up costing us money. Let that be a lesson to you musicians out there. Always make the deal first. Title: Desperately Mrs. Jones Publishers: Synergistic Music/New Road Music, ASCAP/Leo Feist, Inc. ASCAP Writers: John Rhys, Don Nagy, Bob Carleton

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Sailin' Easy

This song, written by the Ann Arbor band SRC, was quite unique at the time. I over-dubbed some sound effects at the end where you can also hear the voice of Rastus' manager, Angelo Crimi as the barker. Title: Sailin' Easy Publisher: Big Casino Music, ASCAP Writers: G. Quackenbush, A. Wilmot, S. Richardson, E.G. Clawson

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Black Cat

Drummer, Smokey Smelko roars on the drum solo of this song. Smokey was one of the finest drummers with which I ever had the privilege to work. His timing was impeccable and he never seemed to get tired. We all worried about Smokey every time he got behind the drums as he was a victim of rheumatic fever as a child and every time he played, he took a big chance that he would never finish the set. Title: Black Cat Publisher: Cotillion Music Writer: Brian Auger

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El Congo Valiente

This Johnny Richards tune was re-visited by Rastus via John Taylor as the intro for the song "Warm" which was written by John Rhys. It's complete jazz arrangement was styled by Rastus, showing their broad range of musical interests. Title: El Congo Valiente Publisher: Benton Publishing Inc. ASCAP) Writer: Johnny Richards

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Warm

Written one afternoon in a booth at Nagles in Cleveland, I never really knew until later that I had written the song to my second wife, Susan. It's funny how the human mind works. I stayed married to Susan for several years after "Warm" was written but the writing was on the wall as our divisive careers pulled us slowly apart. We were divorced in 1973. She's a marvelous lady and I miss her. I hope she is well and happy. Title: Warm Publishers: Synergistic Music/New Road Music, ASCAP Writer: John Rhys

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Multicolored Taxicab

I really don't know why Rastus decided to do this song. I think ultimately it was a political favor. The song was written by their friend, Artie Feldman, whom I think was a cab driver in Chicago. What is interesting about this song is that Vic did his horn solo through a brand new electronic effect. If I knew the name of the effect, I'd tell you. Hopefully someone out there will know and write it in to me. Title: Multi Colored Taxicab Publisher: Lyman - Feldman Publishing Inc. BMI Writer: Artie Feldman

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