The Legend of Genya Ravan
Genya Ravan released an album a year starting in 1969 with Ten Wheel Drive’s Construction #1 on Polydor, up to the 1974 release of Goldie Zelkowitz on Janus, but created her most popular recordings on 20th Century Fox in 1978 and 1979 when she released the self-produced …And I Mean It / Urban Desire one-two punch. Genya Ravan, her first solo disc which Columbia released after she left Ten Wheel Drive, was the catalyst for Ravan producing herself. Perhaps the most shocking thing about the record is that it is the only one she recorded for Columbia, a place that seemed like the perfect home for a woman with so many talents. Clive Davis originally wanted Richard Perry to produce, and it wasn’t the fact that he was Ravan’s first boyfriend that the idea was nixed, his pop work with Carly Simon was not what this artist is about.
Larry Fallon former partner of producer Jimmy Miller and the guy behind “Brandy (You’re a Fine Girl)”for The Looking Glass (he had also put strings on an unreleased version of “Wild Horses” for Jimmy Miller and the Rolling Stones ) was brought in. But “Brandy” was more pop than “You’re So Vain” if you think about it. To feel comfortable, Ravan asked for, and got, her original partners in Ten Wheel Drive, Aram Schefrin, and Michael Zager, and with the band Baby behind her, Goldie Zelkowitz made the first album of her career beyond Goldie & the Gingerbreads and Ten Wheel Drive.
It is a pure document of her transition. This is the shift between the sounds of Ten Wheel Drive and what would follow on 1973’s They Love Me, They Love Me Not and 1974’s Goldie Zelkowitz. She takes Rod Stewart and the Faces superb and little recognized “Flying” and makes it her own, a tune she would continue to perform live in concert. Stephen Stills’ “Sit Yourself Down” gets a total reworking, just as Gabriel Mekler would revamp Whipping Post with her in 1974, when Ten Wheel Drive was re-forming with Annie Sutton. It is an amazing thread of events, with players from both the Rolling Stones and Janis Joplin filtering through her recorded work, and where this album could have been Columbia Records replacing Janis Joplin with Genya Ravan, the singer opted to take her music into a realm where Diane Schuur would feel at home, rock influenced by jazz rather than high-powered blues rock.
Listen more: Mark Clarke
Indeed, the final track on side one, “Takuta Kalaba,” is blended into “Turn on Your Love Lights,” a song Janis Joplin did with the Grateful Dead if memory serves on one of the live tapes of theirs that has circulated over the years, so there was this thread, though the result is 180 degrees from where Joplin took it. Genya Ravan did not want to fill the Janis Joplin void for Mr. Davis — she wanted to be herself. Clive told her, “You are either a rock singer or you’re a jazz singer, but you cannot do both,” and maybe for short-term marketing he had a point, but for longevity and vision, the Larry Fallon-produced “I’m in the Mood For Love” is exquisite. Fallon had come from a jazz band with Jimmy Miller, who coincidentally produced Genya Ravan’s next album for his production company, released on ABC Dunhill.
James Moody’s saxophone solo is thrilling, and a real touch of class. The cabaret atmosphere seguing into the African drum sound of Michael Olatunji and his “Takuta Kalaba,” which was released as a single in Europe. Brilliant material which would certainly stifle the Janis Joplin comparisons. The soulful rendition of Leonard Cohen’s “Bird on a Wire” was tracked long before Cohen was considered chic. Columbia released “What Kind of Man Are You” from this album on a 45 rpm with the non-LP A side of “Morning Glory,” written by Michael Holmes, and produced by he and Dixon Van Winkle, making for five producers during these sessions! The single was the idea of Clive Davis, and it is beautiful, the style of music that Bette Midler was having success with at this point in time.
Midler eventually covered Genya Ravan’s “Stay With Me” for The Rose film and soundtrack, bringing things full circle. Genya Ravan is an album brimming with this creative woman’s personality, talent, and amazing vocal prowess. “Morning Glory” should eventually find itself on a Sony/Legacy re-release of Genya Ravan, important music that is continuously contemporary because of the long-range vision of the artist.
Recommended albums: Casey Kelly
The Legend of Ten Wheel Drive
Ten Wheel Drive was a highly influential rock/jazz group not afraid to push the envelope while exploring various musical styles. Though musicians came and went, including the original lead vocalist, by the time the fourth album was released, the records have stood the test of time, influencing the successful Bette Midler breakthrough film The Rose, inspiring women with the drive and ambition to front their own group in a once male-dominated industry, getting sold on auction sites like Ebay to be discovered by new generations of music lovers. The original lead vocalist and founding member, Genya Ravan, spoke with AMG concerning how she formed the band: “I went to see Billy Fields, he was going to manage me.
He had a friend in New Jersey that befriended two guys that were writers and they were looking for someone to sing their songs. Billy asked me if I wanted to hear them, I said ‘OK’ since I was always looking for material, so I met with Mike Zager and Aram Schefrin at a dinky little piano studio in Times Square. They played “Polar Bear Rug” and “I Am a Want Ad” and got me interested even though I thought they sounded more like show tunes, I was also an actress, so I liked it. At this time, I had an R&B; band and they came to hear me in some sleazy bar and they liked what they heard and saw. They did not have a band nor musicians in mind, I knew some good jazz players, so (we) got the musicians and started to audition and rehearse.”
When asked how the idea took shape, Ravan replied: “When I heard Blood, Sweat & Tears — (the) first record with Al Kooper ( Child Is Father to the Man), my fave. I said, oh I want a horn band. It was 1969, we started to rehearse at the Bitter End, Sid Bernstein joined in the management with Billy Fields. It was a very exciting time, we played the Atlanta Pop Fest. Every great band that lived played that gig, that gig is what broke our band (and) we were an instant success.” On the material, Ravan said she “seldom wrote with Ten Wheel Drive…Aram was a brilliant lyricist, Mike and Aram were easy to work with, so I wrote some, it made me feel good, because the ones I wrote turned out to be the most soulful, like “Pulse,” “Tightrope.” I came into my writing more during the Urban Desire and …and I Mean It! recordings.” Those were the albums that came out on 20th Century Records at the end of the ’80s, apart from Ten Wheel Drive.
The group signed with Polydor when Sid Bernstein brought Jerry Schoenbaum to the band’s rehearsal and to one of their gigs at the Bitter End. The vocalist noted: “Jerry flipped. Signed us immediately.” There were artistic consequences to having phenoms like bassist Bill Takas and drummer Leon Rix moving on to LaBelle and Buzzy Linhart, Rix recording with Bette Midler as well. Over the span of four albums, guitarist Aram Schefrin and keyboard player Mike Zager (no relation to Zager & Evans of “In the Year 2525” fame, though because of the point in time, there was some confusion in rock circles) worked with more than a dozen and a half different players. When Ravan was asked about this, she replied: “It turned out to be good for us, fresh blood, it was creative, I love changes like that. I did not like the canning of musicians, but I was the one that had to do it.
New blood is always exciting, You know how laid-back jazzers can be, they get excited for the first five minutes.” The band played Carnegie Hall on Ravan’s birthday and she cites the Central Park gig for WNEW when the Nightbird disc jockey Allison Steele hosted it, as well as the Atlanta Pop Festival as just two of the highlights of their brief but important career. Steele would later co-write the liner notes to Bill Levenson’s 1995 16-track compilation on Polygram, The Best of Ten Wheel Drive With Genya Ravan. With all the excitement the band generated live, there was, unfortunately, no full concert performance on video or record. “One of the last gigs we did was a show at Carnegie Hall with a symphony,” Ravan said. “Mike and Aram were geniuses. This was their forte — they wrote this rock opera of “Little Big Horn” and it was brilliant, Polydor did not want to record it, I swear ’til this day, had it been recorded, Ten Wheel Drive would have gone down in history, it was one of the reasons I was disillusioned into leaving the label, it made me want to quit the business.”
There were no unreleased gems recorded and left in the vaults, Ravan stating that everything happened all too fast. And then she left the group she founded: “Things started to get complicated. The music was not the main thing anymore, it was too expensive to have that many people involved. We had accountants, lawyers, roadies, and of course the group, we could not tour Europe because it was to expensive to get there and stay there. I just felt like there would be no future for me with the band anymore, also some personal stuff went down, that made it awkward. It just felt like it had hit the end for me.” Ravan recorded a solo album in 1972 for Columbia Records with Schefrin and Zager co-producing. They enlisted the Rascals vocalist Annie Sutton to sing on the self-titled 1974 Capitol release that featured Hall & Oates on backing vocals, but it wasn’t the same. The band created essential music and has a revered place in rock history. Schefrin practices law in Rhode Island, having produced other records after the final breakup of Ten Wheel Drive; Zager does soundtrack work; and Ravan continues to record.
More to list at itsaboutmusic.com