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BS. He had wanted to move to the US for quite some time, but as he was deemed an enemy of the Nixon White House, he was legally stonewalled in his immigration efforts for years(you could say he was a 'dreamer'), let alone being hampered by individuals who wanted the 60's to just go away.
If Creedence hadn't signed with Fantasy, Saul Zaentz's label, which had been strictly Jazz and edgy comedy(Lenny Bruce) up to that point, you and the rest of the world would never had heard of them. Up to that point, no other label was interested in the band, the SF hippie rock signing goldrush was over, Fantasy was a Johnny-come-lately to the rock music phenomenon, but seeing how well it worked out for labels like Elektra, didn't want to miss out. That Zaentz became a greedy controlling bastard in relationship to Fogarty's solo career two decades later(beyond milking CCR for all they were worth)is an entirely different story.
The Brian Auger comment is as uninformed as it is disrespectful/dismissive; first of all, being in the Experience was no path to a long, financially successful career. So, what did Noel Redding do after being booted out, besides playing in a succession of floundering bands and dying an alcoholic in obscurity before he was 60? Even Mitch Mitchell, Hendrix's greatest asset, couldn't seem to get it together musically later on, in spite of being one of the most notable British drummers of all time. After suffering through heroin addiction, he sustained himself financially by selling off(for a considerable sum)the white Woodstock Strat which had been in his possession for years. Billy Cox ran a pawn shop. While Hendrix did employ keyboardists in the studio(Steve Winwood and Mike Finnegan the best known)and in the occasional jam, the way his music was structured in live performance, organ or whatever would have just been in the way. That doesn't mean that, had he lived, additional instruments wouldn't have enhanced his work, but he would have had to change his musical direction; we'll never know how that would have worked out. As far as Auger is concerned, while certainly no household name, he is no nobody, and I'm sure he has had no regrets. Besides giving Rod Stewart his first break, way before Jeff Beck, he had a band, Trinity(one of the, if not the first, organ/bass/drums bands in rock), that was successful in the UK, and went on to greater renown as backing band for jazz/blues singer Julie Driscoll, and that quartet had a number of hits. Granted, UK only, never could really crack the US market, but it's not like that didn't happened otherwise, there's been scores of worthy British bands that remained cult followed in America. What he did have going in America, in the 70's, was the Oblivion Express band, that got plenty of US FM radio airplay and gigs. He's played with Eric Burdon off and on for years, and has a current band fronted by his daughter. I saw them a few years back at a small jazz club in North Hollywood, the Baked Potato, and they were smoking. Oh, and he has the distinction of being the first (pop)keyboardist to rock the harpsichord, on the Yardbird's "For Your Love" session.
It actually wasn't intended to be dismissive, uninformed or disrespectful, but merely an observation. Obviously I know who Brian Auger is or else he wouldn't have made it onto the list. I think his work with Klaus Doldinger in Passport in the '80's was great, as well as The Oblivion Express. I just believe he would have been much more successful stateside had he partnered with Hendrix. That would have opened the doors for his later work (OE included). The Monkees tour was not so much a stunt as a "D'oh!!!" from a promoter. Badfinger? Tragic.
I meant the particular deal he made with Zaentz -- I thought there was an adjustment offered later (one article says "According to Cook and Clifford, the band were offered a deal that would have given them 10 per cent of Fantasy Records") that Fogerty refused. Anyway ... just thinking that the bad career move was Fogerty not having a savvy lawyer helping him negotiate in those early days.
The A&R fellow(s) from Deca Records who told The Beatles that they were "a fad" and passed on signing them
See now, I agree with Eddy who called that version the “Cadillac” version of VH versus the Volkswagen version. Hager actually sung the songs, whereas Dave mostly talked and had little screeches he would sprinkle into the songs. But the guy could jump around a lot and had a funny way about him.
Drummers don't quit.
I made one bad career move once, but only for a short time.
I don’t know that there were so much ‘creative differences’; mirevthat Sting was becoming a star in his own right and wanted his own stage. At least that’s what I remember from back in the day. I did see them on that first NA your at a bar in Poughkeepsie, NY. There were maybe 20 of us in attendance. Their act was, to see the least, raw. But, always love this band. And their team noon thing (2011?) was excellent too.
at the Chance, by any chance? (one of my old haunts way back when).
The Chance indeed. I think it was later renamed “the last chance”.at the Chance, by any chance? (one of my old haunts way back when).
Much much earlier had been "Frivolous Sal's Last Chance Barroom and Saloon" or something like that...
Saw some great shows there for sure.
Very cool. I met this dude in the Marine Corps (we were stationed in CA) and we both took leave on the east coast - him from Poughkeepsie and me from NJ. Only way I would’ve ended up there!Much much earlier had been "Frivolous Sal's Last Chance Barroom and Saloon" or something like that...
