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the avid collector’s guide to wild in the streets part 2

THE AVID COLLECTOR’S GUIDE to Wild In The Streets Part 2 ad­dresses records made that are as­so­ci­ated with this movie—both sin­gles and al­bums. All were re­leased in the wake of the very suc­cessful movie in 1968, but few were hits. Be­fore com­mencing, I rec­om­mend that you first readOn Wild In The Streets As Polit­ical And Social Satire” and then the first part of this four-part se­ries of ar­ti­cles about the movie and its music.

This second part more or less fo­cuses on Davie Allan, with and without his band, the Ar­rows. Allan is a piv­otal figure around which so many of these Wild In The Streets record­ings re­volve.

 

Davie Allan and his Ar­rows have re­ceived little at­ten­tion from his­to­rians and golden oldies radio.

 

Long known to record col­lec­tors, Allan is all but un­known else­where: he has re­ceived little at­ten­tion from rock his­to­rians and his few sin­gles to make the charts in the ’60s never made it onto the ro­ta­tion of golden oldies radio.

So who is Davie Allan and why is he all over this ar­ticle? My fa­vorite an­swer comes from the Los An­geles Reader: “Davie Allan is per­haps the closest thing you’ll ever hear to a com­bi­na­tion of Link Wray, Dick Dale, and Henry Mancini.”

Huh?!!?

 

Streets part 2: front cover of Davie Allan's first album APACHE '65.

“The first of­fi­cial ses­sions were for the Apache ’65 single and then the album. At that time, there wasn’t a band ex­cept for me and Larry Brown. I played elec­tric rhythm on some of the tracks and then over­dubbed my leads. Harley Hatcher played acoustic, Andy An­drews from the Hon­dells played bass on some tracks, and Mike Curb was on elec­tric piano.” (Davie Allan)

The development of modern electric guitar

While that an­swer is clever, it doesn’t tell us much—unless you can make the con­nec­tions be­tween rockers Wray and Dale and easy-listening master Mancini. A more in­for­ma­tive an­swer can be found at the LAWeekly’s site:

“Davie Allan con­tributed mightily to the de­vel­op­ment of modern elec­tric guitar, and pro­foundly im­pacted Amer­ican ears in the ’60s. The six-string prodigy was a ground­breaking stylist whose re­liance on fuzz and dis­tor­tion never got in the way of his own ex­tra­or­di­nary vi­sion.

Allan’s rich sense of melody and at­mos­phere drew much from Henry Mancini and John Barry. Allan also ad­vanced the elec­tric guitar at a fright­ening pace. In the process, he be­came the ju­ve­nile Burt Bacharach of Hol­ly­wood acid-biker rock.

Allan’s overall style is a breath­tak­ingly cu­rated aural as­sault, one whose notes-per-solo quo­tient is prac­ti­cally stoic in com­par­ison to so many of his noodling con­tem­po­raries. Allan could meld sweet and sour into a con­vincing pre­sen­ta­tion, and de­liver it with such just-for-the-hell-of-it dis­re­gard that one never heard any­thing like this any­where else. The breadth and am­bi­tion with which Allan wielded his ax is still stun­ning.” 1

 

Streets part 2: front cover of Davie Allan's second album BLUES THEME.

“I’m not too thrilled with BLUES THEME, since most of the tracks were recorded years be­fore and didn’t work well to­gether. I didn’t think much about the drug freaks. We weren’t in­volved in that scene or even the biker scene ex­cept for the image.” (Davie Allan)

Who are Max Frost’s Troopers?

The ‘artist’ most com­monly iden­ti­fied with the music in Wild In The Streets is Max Frost, the fic­ti­tious char­acter played by Christo­pher Jones. The charis­matic Jones does an ex­cel­lent job of acting like a pop star, in­cluding very be­liev­able lip-synching and some Mark Lindsey-like steps that prob­ably pleased many a fe­male viewer over the years.

But in the movie, Max’s band is never named.

The name given that band by Mike Curb or Side­walk pro­duc­tions for use on records is the Troopers. This was de­rived from Max’s use of the term “troops” to de­scribe his teenaged fol­lowers in the movie.

For years, a per­sis­tent rumor among record col­lec­tors was that Davie Allan and his Ar­rows pro­vided all of the music on the three Wild In The Streets-re­lated al­bums: the sound­track album, the Max Frost album, and the Ar­rows album.

 

Davie Allan ad­vanced the elec­tric guitar at a fright­ening pace, be­coming the ju­ve­nile Burt Bacharach of acid-biker rock.

 

As this ar­ticle makes plain, such is not the case. In fact, you will read that the fol­lowing:

•  Allan was a part of the Wild In The Streets sound­track recordings—and ap­par­ently without the Arrows—but not on the hit record most closely as­so­ci­ated with the film.

•  Los An­geles ses­sion mu­si­cians were a part of the sound­track record­ings but not on the hit record most closely as­so­ci­ated with the film.

•  An­other band played on the hit single.

•  While the Ar­rows were not the Troopers on this sound­track, they were the Troopers on an­other sound­track.

•  The last Ar­rows single on Tower did not fea­ture any of the Ar­rows.

 

Streets part 2: front cover of Davie Allan's third album CYCLE-DELIC SOUNDS.

“For the most part, CYCLE-DELIC SOUNDS made sense: ex­cept for a few older tracks, that album was put to­gether as an album and not just thrown to­gether. Tracks like Cycle-Delic and Mind Trans­feral were ac­tu­ally thought out and not just jam ses­sions as some might be­lieve. It re­ally is amazing to me that we weren’t high when we recorded them. We were just a bunch of boring, non-drugged out guys having a ball!” (Davie Allan)

Are the Arrows really the 13th Power?

The band re­spon­sible for the Top 40 hit Shape Of Things To Come orig­i­nally called them­selves Mom’s Boys. (Shudder.) They wisely al­lowed their name to be changed to 13th Power, which is the name they used when they were brought in to record the bulk of the songs for the movie and the sound­track album. But that name didn’t last long:

“Back in the mid-’60s, I signed a group to Side­walk Records called Moms Boys and I be­lieve we changed their name to the 13th Power. The reason we changed the name of the 13th Power to Max Frost & The Troopers was be­cause the lead actor Christo­pher Jones played the role of Max Frost and we felt that we would have a better chance of breaking the record under the name of Max Frost & The Troopers.” (Mike Curb)

This group ap­par­ently played and sang those tracks cred­ited to 13th Power and Max Frost & The Troopers on the sound­track record. They may have had the as­sis­tance of ses­sion mu­si­cians, al­though Allan’s state­ment above can be read to mean that the boys cut the tracks on their own.

 

“I didn’t think much about the drug freaks. We weren’t in­volved in that scene or even the biker scene ex­cept for the image.”

 

At this point in the story, it gets con­fusing and rereading my orig­inal ar­ticle didn’t help much. I had a se­ries of quotes from fan-extraordinaire Seth Man con­cerning his re­search into these ses­sions, fol­lowed by my text. In this rewritten ar­ticle, I have sim­pli­fied every­thing by moving Seth Man’s quotes from the body of the ar­ticle to the foot­notes sec­tion at the end of the ar­ticle. 2

 

Streets part 2: front cover to the soundtrack album THE GLORY STOMPERS.

THE GLORY STOMPERS sound­track album with the first ap­pear­ance of Max Frost & The Troopers was re­leased months be­fore the re­lease of the Wild In The Streets movie and the in­tro­duc­tion of Frost as a fic­tional char­acter.

The first Max Frost & The Troopers

The movie Wild In The Streets was re­viewed in the May 30, 1968, issue of The New York Times (Blunt Phi­los­ophy With Dual Ex­hausts and a Clear Logic:Singer Runs Country in ‘Wild in the Streets’”), in­di­cating a gen­eral re­lease to the­aters in early June ’68. The sound­track album WILD IN THE STREETS (Tower SKAO-5099) was re­viewed in the June 22, 1968, issue of Bill­board, in­di­cating a sim­ilar re­lease date in early June.

It is pos­sible that all ini­tial press­ings of the al­bums (the jacket and the record) for the sound­track album cred­ited five tracks to 13th Power, with no men­tion of Max Frost & The Troopers. In fact, the first use of that fic­ti­tious group name may have come months be­fore the re­lease of the movie sound­track.

An­other AIP movie The Glory Stom­pers was re­leased to the­aters on No­vember 22, 1967. The sound­track album to the movie was re­viewed in the Feb­ruary 10, 1968, issue of Bill­board. This would in­di­cate a re­lease date during the last week of Jan­uary 1968, al­though most discogra­phies list this as being re­leased in 1967. 3

 

The name Max Frost & The Troopers was used on a record months be­fore any record from the movie Wild In The Streets was re­leased.

 

Along with four tracks by Davie Allan and his Ar­rows, THE GLORY STOMPERS (Side­walk T/DT-5910) in­cludes The Stomper’s Ride by Eddie and the Stom­pers along with Theres A Party Going On and You Might Want Me Baby by Max Frost & The Troopers!

In 1967, Band Without A Name (fea­turing singer Eddie Haddad) con­tributed two tracks to the sound­track album THUNDER ALLEY (Side­walk T/ST-5902). They were also given a small part in the film! The two album tracks were also is­sued as a single, Theme From Thunder Alley and Time After Time (I Keep Lovin’ You) (Side­walk 913

The single and the album did not sell well and the group broke up. Haddad then formed the Amer­ican Rev­o­lu­tion, who cut one album for Curb’s Flick Disc label in 1968. Alas, this group also had a short shelf life.

 

Streets part 2: front cover of the picture sleeve to 13th Power's I SEE A CHANGE IS GONNA COME.

Mom’s Boys changed their name to the 13th Power be­fore ‘be­coming’ the second ver­sion of Max Frost & The Tropers. This is the pic­ture sleeve to one of their early sin­gles.

There’s a party going on

The Amer­ican Rev­o­lu­tion also con­tributed three tracks to the sound­track album for THE GLORY STOMPERS (Side­walk DT-5910), but not as Amer­ican Rev­o­lu­tion: The Stomper’s Ride was cred­ited to the non-existent Eddie & The Stom­pers while both Theres A Party Going On and You Might Want Me Baby were cred­ited to the non-existent Max Frost & The Troopers! 4

THE GLORY STOMPERS album fea­tures four tracks by Davie Allan and his Ar­rows, in­cluding The Stom­pers’ Party. This in­stru­mental by the Ar­rows was then used as the backing track to the max Frost recording There Is A Party Going On!

Mike Curb wasn’t through con­fusing disc-jockeys and record buyers alike: the track cred­ited to Eddie & The Stom­pers was then is­sued on a single as There Is A Party Going On / The Stom­pers’ Ride (Side­walk 938), with both sides cred­ited to Max Frost & The Troopers!

There­fore the name ‘Max Frost & The Troopers’ was used on an album is­sued months be­fore Wild In The Streets the movie or any record from that movie. 5

 

Streets Part 2: front cover of Davie Allan's fourth album WILD IN THE STREETS.

“When I did the Ar­rows ver­sion of the sound­track, I over­dubbed my leads but they de­cided that I should NOT use the fuzz. They felt it was passé!?! Even 38 years later, I still have to say Aaaar­rrrrgggggh!!!!!!!” (Davie Allan)

The second Max Frost & The Troopers

In 1967, a group with the un­gawdly name of Mom’s Boys (fea­turing Paul Wi­bier) signed with Side­walk. They im­me­di­ately con­tributed two tracks (Yellow Pill and Up Or Down) to the var­ious artists album FREAKOUT U.S.A. (Side­walk T/DT-5901) and a third (Chil­dren Of The Night) to the RIOT ON SUNSET STRIP sound­track album (Tower T/DT-5065).

The group then sagely changed their name to 13th Power and recorded their first single, Cap­tain Hassel / A Change Is Gonna Come (Side­walk 927). It was this group, Mom’s Boys/13th Power, that was called upon to pro­vide the music that Christo­pher Jones and the other ac­tors would mime in the film as Max Frost and his un­named band. 6

So it was that 13th Power con­tributed five tracks to the WILD IN THE STREETS sound­track album: Shape Of Things To Come, Fifty Two Per Cent, Four­teen Or Fight, Free Lovin, and Love To Be Your Man.

At least one pressing of the record for the album credits those five tracks to the 13th Power. That may have been the ear­liest pressing of the record. All other press­ings credit the five 13th Power record­ings to Max Frost & The Troopers!

So, Mom’s Boys were Mom’s Boys on two al­bums, then the 13th Power for an­other album, and then they were never heard from again (al­though Paul Wi­bier did record under his own name).

 

Streets Part 2: label of Max Frost's single SHAPE OF THINGS TO COME..

Streets Part 2: label of Davie Allan's single SHAPE OF THINGS TO COME..

The Max Frost single with Shape Of Things To Come (above) was a good-sized hit and copies can be found for $10-15 each in NM con­di­tion. The Ar­rows ver­sion (Tower 446) how­ever was not a hit of any kind and is a rather rare record.

Are the Arrows really the Arrows?

The fourth studio album by Davie Allan car­ried the un­gainly title of THE ARROWS PLAY MUSIC FROM THE SCORE OF THE MOTION PICTURE WILD IN THE STREETS (Tower ST-5139). Re­leased shortly after the sound­track album, this title would lead anyone to be­lieve that it is Davie Allan and his Ar­rows playing in­stru­mental ver­sions of ten songs from the movie, yes?

Not so!

It is ac­tu­ally Allan over­dub­bing guitar parts onto eight pre-recorded in­stru­mental tracks that had al­ready been used on the sound­track album! Two ad­di­tional tracks (Pen­tagon Square and Rocky Road To Wash­ington) were done by ses­sion mu­si­cians under the di­rec­tion of Harley Hatcher, and may not have even fea­tured Allan let alone any Ar­rows!

“I wish I could say that we were Max Frost & The Troopers, but un­for­tu­nately, it’s just not true. I did play on the Wild In The Streets sound­track along with studio mu­si­cians known as the Hol­ly­wood Wrecking Crew, but none of us played on Shape Of Things To Come. A band was hired to do that one and it was kept a se­cret as to who the mem­bers were!

The mix-up started when my in­stru­mental ver­sion was re­leased as the last Ar­rows single on the Tower Records label. All I did was play lead on that pre-recorded track, so everyone as­sumed that we and Max Frost were one and the same. I am on some of the Max Frost tracks, in­cluding the ones that ap­peared on The Glory Stom­pers sound­track.” (Davie Allan)

 

Streets Part 2: 1968 newspaper advertisement for the movie WILD IN THE STREETS..

FEATURED IMAGE: The art­work at the top of this page was lifted from an ad­ver­tise­ment for the movie that ap­peared in news­pa­pers around the country in 1968. The four in­ter­con­nected ar­ticle can be found here:

•  The Avid Col­lec­tors Guide to “Wild in the Streets” Part 1
•  The Avid Col­lec­tors Guide to “Wild in the Streets” Part 2

•  The Avid Col­lec­tors Guide to “Wild in the Streets” Part 3
•  The Avid Col­lec­tors Guide to “Wild in the Streets” Part 4

 


FOOTNOTES:

1   Quotes lifted from “King Fuzz!” by Johnny White­side for LA Weekly as a re­view of the (long-overdue) Sun­dazed reissue of Allan’s APACHE 65, BLUES THEME, and CYCLE-DELIC SOUNDS (the latter clev­erly deemed Al­lan’s “re­venge on the Summer of Love” by White­side).

2   I con­tacted Davie Allan with some ques­tions and he pro­vided me with an­swers based on his mem­o­ries of his ex­pe­ri­ence in the studio in the ‘60s. He also put me in touch with super Ar­rows fan/collector and publisher/editor of FUZ mag­a­zine, The Seth Man

3   Please note that most al­bums in the ’60s were as­signed cat­alog num­bers as soon as the A&R man could tell the com­pany that the sched­uled ses­sions were com­pleted and the re­quired takes mas­tered. Due to the fact that most pop artists fol­lowed the clock, ac­tual re­lease dates and cat­alog num­bers usu­ally cor­re­sponded to give a rea­son­able chronology for each company’s cat­alog.

This makes it gen­er­ally easy for re­searchers to make some kind of de­ter­mi­na­tion about any given record’s date of release—usually within a spe­cific quarter of any given year. While this was al­most al­ways a more ac­cu­rate state­ment for LPs than 45s, it was not as ac­cu­rate for sound­track al­bums, as their re­lease was con­tin­gent upon the re­lease of the movie to the­aters, over which the record com­pa­nies had no con­trol. The Bill­board re­view of THE GLORY STOMPERS in­di­cates a Jan­uary or Feb­ruary re­lease, but Side­walk may have mailed promo copies to re­viewers and then held up gen­eral re­lease for months.

4   “There was an­other [group who had recorded as] Max Frost & The Troopers for Tower and Side­walk. In 1967, this band—under their orig­inal name, Band Without A Name, led by singer Eddie Haddad—appeared not only on the sound­track album THUNDER ALLEY, but also in the film.

Their two tracks on that album, Theme From Thunder Alley and Time After Time, were also is­sued as a single cred­ited to the Band Without A Name. Haddad copped an­other artist’s credit on the album with an in­stru­mental (Riot In Thunder Alley) under his pro­fes­sional nom de plume, Eddie Beram.

After the group broke up, Haddad formed the Amer­ican Rev­o­lu­tion, who cut one album for Curb’s Flick Disc label in 1968. Now this is where it gets re­ally com­pli­cated. The same year, the Amer­ican Rev­o­lu­tion also briefly ap­peared inThe Glory Stom­pers, and on its sound­track album as both Max Frost & The Troopers as well as Eddie & The Stom­pers!

On THE GLORY STOMPERS album, the Max Frost track There Is A Party Going On def­i­nitely fea­tures Davie Allan on lead guitar. The in­stru­mental track The Stom­pers’ Party—which is cred­ited to the Arrows—is the exact same recording as There Is A Party Going On but without Haddad’s vo­cals.

You Might Want Me Baby is the other Troopers ap­pear­ance and it could have been an old unis­sued Band Without A Name track left in the Side­walk vault. But the film The Glory Stom­pers was out in Feb­ruary 1968, months be­fore the re­lease of Wild In The Streets, so who knows?”

Streets Part 2: front cover of first issue of FUZ magazine.

This is the first of two is­sues of The Seth Mans Fuz mag­a­zine with the cover story de­voted to our hero, Davie Allan.

5   “While cred­ited to Eddie & The Stom­pers, The Stom­pers’ Ride is tech­ni­cally Max Frost & The Troopers. It was is­sued on a single as the other side of There Is A Party Going On (Side­walk 938, where both sides are cred­ited to Max Frost & The Troopers). And con­tin­uing the com­pli­ca­tions, it isn’t even Max Frost & The Troopers: it’s a vocal overdub by Eddie Haddad onto a remixed backing track of a 1967 single (The Wild An­gels Ride Tonight) recorded by pro­ducer Harley Hatcher for a com­pletely dif­ferent biker film, The Wild An­gels Ride Tonight! As one would guess, Davie Allan is on guitar.

Ei­ther someone at Tower or at Side­walk used the name Max Frost & The Troopers be­cause they knew de­tails of the up­coming films char­ac­ters, or THE GLORY STOMPERS sound­track album was is­sued months after both its name­sake film and Wild In The Streets and those in charge just wanted to get the name more ex­po­sure.”

6   “In 1967, a five-piece group called Mom’s Boys fea­turing vocalist/songwriter Paul Wi­bier with Barney Hector, Dale Beckner, Stewart Martin, and Gary Mc­Clane recorded Yellow Pill and Up Or Down for the FREAKOUT U.S.A. album. The same year, they con­tributed Chil­dren Of The Night to the RIOT ON SUNSET STRIP album. Chil­dren Of The Night is of in­terest to us here, as the sped-up guitar rhythm is im­me­di­ately rec­og­niz­able as the same styl­istic riffing used as the in­tro­duc­tion to Shape Of Things To Come.

Mom’s Boys then changed their name to 13th Power and recorded their first single, Cap­tain Hassel / A Change Is Gonna Come. They would con­tinue with this name on their next project, five songs that would com­prise nearly half of the sound­track album for Wild In The Streets. These were Shape Of Things To Come, Fifty Two Per Cent, Four­teen Or Fight, Free Lovin, and Love To Be Your Man. The recording of Free Lovin is the backing track of Cap­tain Hassel with new lyrics, pos­sibly penned by Guy Hemric.” (Seth Man)

 

Streets Part 2: front cover of Davie Allan anthology album DEVIL'S RUMBLE.

During 1965-1968, Davie Allan & The Ar­rows’ record­ings were orig­i­nally spread out over four studio al­bums, dozens of hard-to-find sin­gles, and var­ious sound­track al­bums, often un­cred­ited. To re­store Allan to his rightful place atop the ranks of fa­bled guitar gun­slingers, Sundazed com­piled a double LP (28 tracks) and double CD (40 tracks) an­thology that rounds up the best of these mind-splattering rar­i­ties. Each in­cludes a full-color 16-page booklet filled with a band his­tory, in­ter­views, un­seen photos, orig­inal album graphics, and AIP poster re­pro­duc­tions.

 

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great ar­ticle neal, it gives me many more records to watch for, good thing i still have a good memory. here’s a record buying tip--buy any­thing that has “stomp” or “stom­pers” on the label. i sent you an ex­ample via your hot­mail.

it de­pends on what type of music you stomped to.