Robben Ford Discussion

[Cal]

Daved,

Recently came across these guys and really like them. I understand you teched with them. Any insight on their guitar rigs? What are they up to now?

Thanks

Cal

[Daved]

Cal,

Ah, yes.... the Jellyfish.
Amazing band. Simply put... simply amazing!
With, sadly, an untimely (and quite un-necessary) Spinal-Tap-esque end.

At the time I came onboard, original members from the first album, "Bellybutton", Jason Faulkner and Chris (Roger's brother) Manning, had already left to pursue solo careers.

In mid April of '93, during a lengthy break in Satriani's "Extremist" tour, I was asked to temporarily tech for Andy Sturmer (drums/vocals) for 2 weeks of their tour. I agreed under the understanding that I am primarily a guitar/keyboard tech. Drums being an instrument that I can, but don't, usually wish to deal with.
Those 2 weeks went well and I was asked to return as their 'permanent' guitar/key tech in June, which I agreed to.

So, after working with Paul Kantner and his Starship during May of that year, I returned to the Jellyfish for 6 months to help them finish out the remainder of their "Spilt Milk" tour, little realizing at the time that it would also be the end of the band itself.

But while the band DID exist, they were awesome!

Andy Sturmer, drums & vocals, was the 'John Lennon' of the group. I would set them up in a straight line across the front of the stage with Andy in the middle, standing as he played his 3-piece drum kit and sang.

To his right was Tim Smith (who came to the Jellyfish from the band, The Producers) on bass and vocals. Tim used an SVT rig and an assortment of vintage basses.

On Tim's right was Roger Manning, the band's 'Paul McCartney', on keyboards, guitars, and vocals. In their San Francisco rehersal studio Roger used a large variety of keys (see the foldout photo in the "Spilt Milk" CD booklet) , but onstage he only used one keyboard synth (If I remember correctly, it was a Korg M1) which he used 2/3 of the time and the rest of the time he played a couple of guitars (I remember his main electric ax was a vintage Gibson Firebird) thru a Twin Reverb.

Stage left of Andy was Eric Dover on guitars and vocals rounding out the band. Eric also had a Korg M1 which he used on a couple of songs, but mostly it was Les Pauls, Telecasters, and SG's thru a 2-12 Matchless amp.

They all sang and played acoustic guitars.
The regular routine was, that every showday after soundcheck, they would go to their dressing room where I would bring them a couple of acoustic guitars, and they would then work on their vocals, sometimes acapella, sometimes with acoustic accompaniment, till show time. I would often stand outside the closed door and be amazed as I listened to the harmonies coming out of the room.

In my 20+ years of doing what I do, I have never worked with a group that had the industry buzz that I saw going on around these guys. Anybody who was anybody wanted to see them. HUGE stars around the world attended their shows. Every established artist, musician, actor, etc. that I personally knew, upon finding out I was working with the Jelly's literally begged me to get them into the sold out shows in their areas. Everytime I turned around I was blown away by the caliber of the guests who were back stage raving about these guys. Actors like Anthony Perkins, Jack Nicholson, musicians like Harry Niilsson, Ringo Starr, members of Badfinger... I could go on & on with a list that would blow you away.

It was pretty much acknowledged in the industry that all these guys needed was one more album yielding a good, solid, commercial hit single to put them over the top and make them mega stars.

But, alas, it was not to happen.
Yes, I was one of the few who was there the night it all came to an end and bore sad witness to the implosion of the band.
There is a rock & roll tale there, but I choose not to reveal the details. Not yet at this time anyway. Perhaps someday.

Let me just say, that in MY opinion, it should NOT have happened. Yes, the band was overworked. Yes, there were egos and personality clashes involved. But these were all things that could have been overcome. Unfortunately, there was also another burr in the saddle, insidiously destructive, which is what finally devided the players and irrepairably damaged an amazing musical unit.

One week from the end of their grueling touring, one week from the break that would have finally allowed them to at last get some rest, refresh themselves, and start working on what could very well have been their "Sgt. Pepper's"... it all came crashing down in one ugly night.

It truly was a shame and a pitiful loss to the public as well as the entertainment industry.

I'm not sure what Andy went on to do, but I heard at one point that Tim was working with Sheryl Crow.

I do know that Roger and Eric followed up the Jellyfish with a group called Imperial Drag which released only one CD. When Slash put together his Snakepit Eric was the vocalist. I believe that Roger worked and toured (maybe he still does, I don't know) extensively with Beck. Both Eric & Roger have done session and film work (Look carefully at the 'band' in the Brady Bunch Movie and you'll see them).

BTW, Cal, I see you live in Toronto.
If you like this band, or power-pop groups in general (a la Beatles and Nilsson), may I also recommend that you check out the Bob Segarini material which is FINALLY (!!!) seeing the light of day on CD.

Bob has lived in Toronto for many, many years. And has worked locally up there as "Toronto's Iceman" on local radio, as well as being a fixture in the local music scene as a producer and artist.

He works heavily with Goddo, the Henman brothers (April Wine), Terry Draper (Klaatu), ex-Mashmakan member's and others.

His own current group, Cats & Dogs, often performs around Toronto and is working on their 3rd album. Segarini's album "Gotta Have Pop" is the only thing that has been available for years, but Collector's Choice has now just released his one Roxy album and his three Wackers albums from the early and mid 70's, while the Canadian Bullseye label is getting ready to issue his four Segarini albums from the mid 80's.

Bob is a personal, longtime friend of mine (we went to the same Stockton, California, Highschool together back in the 60's) and has a fascinating 'unsung' history in rock and pop which is FINALLY being recognized and catalogued.

Now, if someone would Just release his classic Family Tree album, "Miss Butters" (aknowledged by most music historians and artists like Pete Townsend, as the first rock concept album), his Dudes album "We're No Angels", and a host of other projects he's done thru the years, he might finally start gaining some of the recognition he's so richly earned.

Great stuff!

BTW, if you run into him, be sure to say "Hi" for me!
_________________
B C-ing U!
( }:-Daved
"This boy's diseased with rhythm!" -Bing Crosby (Road To Rio, '49)

[JohnnyZ]

Daved, that was the most interestingly informative and well-written post I've read in a while. Thanks.

Not to stray from the subject, but you mentioned several artists/bands you worked with. Some have been mentioned before, and some were new info. Someday, I'd really be interested to see, as I'm sure others would too, a comprehensive list of all artists and bands, with respective time periods, who you've worked for/with...

Also, what's up these days, and, and news on future gigs?

Thanks,
JZ

P.S. now to go check out Jellyfish. Never heard of them till now!
_________________
Soul on Eleven

[Red Suede]

The guitar parts for Spilt Milk were written by my friend Lyle Workman, who also played on the album. I know this because we were roommates when I got to hear the original demos, done on one of those 8 track Tascam midi cassette machines. When they went to do the record, the producer went to replace Lyle and his tracks with one of his cronies. This failed (if you've ever heard Lyle play you'll know why) so they had to call Lyle back to play the parts again on the Spilt Milk album (since he wrote them in the first place!) so justice was served. Lyle now plays with Sting, played with him at Live 8, and will probably be on the next album.

[Bill Morgan]

[Cal]

Daved,

The Iceman was one of the coolest staples of Toronto rock radio, a favourite of mine. I really liked Segarini. As a big power pop fan, I had a live EP of his where he did the most amazing cover of Slade's "When The Lights Are Out". I don't listen as much to rock radio as I did a couple of Decades ago, but I think he might be back on the air on occassion. Amazing voice and knowledge.

Did you spend a lot of time in Toronto? Just curious.

Thanks for the Jellyfish info.

Cal

[JohnnyZ]

[Daved]

Cal,

I'm not familiar with that EP, but I suspect that the "When The Lights Are Out" cut came from the Segarini LP "Live In The Studio", an album recorded with a small audience, live in a radio station, as the show went out over the air. Slade, along with Ducks Deluxe, the Doors, and (of course) the Beatles, were some of Bob's favorite bands in his younger years.

The "Live In The Studio" LP has never been released on CD, but is one of the Segarini vinyl discs due to finally find it's way to CD thru Bullseye in the hopefully near future.

Bob's original studio cut of "When The Lights..." is from his "Gotta Have Pop" album (considered by most fans as Segarini's 'Sgt. Peppers'), which IS still available on the Permanent Press lable:

<< A long-lost power pop classic, "Gotta Have Pop" remains the peak moment of cult-hero Bob Segarini's career, a joyous resurrection of classic AM radio sights and sounds highlighted by 'Love Story,' one of the finest and most affectionate Beatles tributes ever recorded. The 1996 reissue includes the bonus track 'Groucho Marx,' as well as a number of unlisted cuts including early demos dating back to Segarini's days with the Wackers. A Permanent Press release. >> -Amazon review

<< Hard to believe that this album and Bob Segarini didn't achieve great fame. Well, the cynical side of me says, "No surprise." Afterall, how many radio stations would dare to play the very lyrical "Steady Eddie" with its satirical play on Beaver Cleaver and his television clan? "Don't Believe a Word I Say" scrutinizes the dating scene and all the phoney bravado it generates. "Gotta Have Pop," "When the Lights are Out," and other tunes here just delight with great melodies and pretty doggone entertaining lyrics that don't insult the listener's intelligence. All in all, a real delightful listening experience. >> -Amazon customer review

<< Canadian Bob Segarini is one of those artists who toiled in relative obscurity for many years yet consistently turned out outstanding material.(Can you say.."Martin Newell"?) This was his first solo outing after helming several projects in the 70's, including the Dudes and his most well-known group, the Wackers. Originally released in the early 80's, this collection is an unsung power-pop classic. I would place the album's best tune, "With The Lights Out" up there with Todd Rundgren's "Couldn't I Just Tell You" or Cheap Trick's "Surrender" any day. Nary a weak song on this CD...power poppers dig in! >> -Amazon customer review

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Tho I did live in Vancouver, BC, for 4 months in the late 80's while recording the Dan Reed Network's first album at Little Mountain Sound, I've otherwise only visited Canada many, many times thru the years, both for pleasure, love (I've had a couple of beautiful Canadian girlfriends in my time), and business.

Touring has often brought me to Toronto, a city I very much enjoy every time I am there. And, of course, I always enjoy my visits with Bob, who almost always attends whatever show (including Robben's) it is that brings me to town.
_________________
B C-ing U!
( }:-Daved
"This boy's diseased with rhythm!" -Bing Crosby (Road To Rio, '49)

[Daved]

[Cal]

Daved,

I remember the Gotta Have Pop Album. "Don't Believe A Word" was the song that got the airplay up here and it was truly great. I think it is just amazing that the reviewer compared him with Rundgren, another of my personal favourites and Cheap Trick another band I love.

Good stuff. Everyone should check him out -- I seem to remember he was an SG man -- I might be imagining that, but I had (and still do own) a 67 SG Special so it seems to stick in my head.

Thanks for reminding me and I look forward to the re-release. Now that you mention it, it seems to me the record I was referring to was an in studio recording -- Q-107 the station he was at used to do a lot of live to air things.

Cal

[Cal]

BTW Daved,

I'm not familiar with Ducks Deluxe. Could you tell me a little bit more about them? Also, as a big power pop fan, I'd love to hear any other recommendations.

Thanks,

Cal