P.F. SLOAN & STEVE BARRI - Sloan & Barri, Vol. 2

Though seldom thought of as a 1960s songwriting team on par with the greatest Brill Building composers of the same era, Los Angeles-based songwriters P.F. Sloan and Steve Barri were in the same league when it came to penning catchy pop/rock tunes. This 3 CD set has 87 examples of their material from their mid-'60s heyday (a few of which credit Sloan as sole composer), blending big hits with small hits, intriguing flops and obscurities, and little-known interpretations of songs more familiar as done by other artists. There are a bunch of big hits here, none more so than Barry McGuire's "Eve of Destruction,"  The Grass Roots' "Where Were You When I Needed You," Herman's Hermits' "A Must to Avoid," Jan & Dean's "I Found a Girl," and the 5th Dimension's "Another Day, Another Heartache." Sloan's more serious, Dylan-influenced side is also heard on the Turtles' "Let Me Be" and the Searchers' "Take Me for What I'm Worth." (Allmusic)

The Fantastic Baggys had their brief moment in surf music history with "Tell 'Em I'm Surfin'," a well-made if unsuccessful song. If it sounds familiar, it should: The song was re-cut by Jan & Dean. In fact, the Baggys didn't even exist: They were just another manifestation of the songwriting team of Phil Sloan and Steve Barri, who'd been thrown together by the West Coast office of Screen Gems Music to write follow-ups to hits. They'd already made records as the Lifeguards, Willie & The Wheels, Themes Inc., and several other groups, and Lou Adler, their boss, had faith in them.
Sloan was born Phil Schlein in 1945, and Steve Barri was born Steve Lipkin in 1942. But although they were both New Yorkers, their parents moved their families to Los Angeles, where Sloan started writing and recording songs for small labels and Barri got a job in a music store, where he heard lots of records and learned some guitar chords. Sloan was Screen Gems' token teenager, and as well as writing songs, he was supposed to listen to records. In 1963, a British guy named Brian Epstein sent him some records by a group called The Beatles, and he was floored. Adler tossed them, at which point Sloan offered to buy them from him. Adler was impressed enough to get on the phone with Vee-Jay Records, who wound up buying the rights.
In 1965, Sloan had another revelation: Bob Dylan. The kind of formulaic songwriting Screen Gems produced was over, and a new day had arrived. Sloan sat down and wrote a bunch of new songs, one of which, "Take Me for What I'm Worth," was immediately recorded by a band from Liverpool called The Searchers.
At this point, Lou Adler saw what was happening and left Screen Gems to set up the Dunhill label and music publishing firm, offering Sloan and Barri double their present salaries to come work for him. Sure enough, one of their first efforts was another fake band, The Grass Roots, which had a big West Coast hit with its first record, "Where Were You When I Needed You?"
But another artist on Dunhill didn't need a fake name. Sloan's discovery of Dylan was pushing him further from pop and closer to what he called "people's music." In 1965, Dunhill released the first album by P.F. Sloan, Songs of Our Times, which included "Eve of Destruction," a track he'd written for a former member of the New Christy Minstrels.
"Eve of Destruction" was a No. 1 hit for Barry McGuire, while Sloan's version stayed on his album. And, while the McGuire record was banned by many radio stations, "Sins of a Family," the single Sloan released, was banned by almost all of them.
Dunhill packed Sloan and McGuire off to tour England, where both records had taken off, and when Sloan returned, he saw things differently. The kids wanted protest music, he'd decided, but in America, The Man was keeping it from them.
In retrospect, though, it looks a little different. "Eve of Destruction" didn't really have a viewpoint, and "Sins of a Family" clubs you over the head with one. What Phil Sloan and Steve Barri did best was pop, and throughout 1966, they wrote hits for Herman's Hermits, The Mamas and the Papas and The Turtles. But eventually, Sloan simply walked out and disappeared. For years, all people knew of him was his name, thanks to a song by Jimmy Webb, whom he'd helped get started in the songwriting business. Steve Barri kept producing for Warner Bros. and Motown, and Sloan reappeared with an album in 2006 and has done some touring. But the last great song factory in L.A. was closed. (NPR)

trax:
1. He's My Man - Ann-Margret 2. You Sure Know How To Hurt Someone - Ann-Margret 3. Someday Soon - Betty Everett 4. (Here They Come) From All Over The World - Jan & Dean 5. That's Cool, That's Trash - The Kingsmen 6. These Are Bad Times (For Me And My Baby) - Paul Revere & The Raiders 7. The Sins Of The Family - P.F Sloan 8. This Morning - P.F Sloan 9. Ain't No Way I'm Gonna Change My Mind - P.F Sloan 10. What Exactly - P.F Sloan 11. Midnight At Pinks - Hal Blaine 12. From A Distance - P.F Sloan 13. Child Of Our Times - P.F Sloan 14. Troubled Mind - P.F Sloan 15. This Precious Time - P.F Sloan 16. Upon A Painted Ocean - P.F Sloan 17. The Man Behind The Red Balloon - P.F Sloan 18. My First Day Alone - Peter & Gordon 19. I Wonder Who The Lucky Guy Will Be - Freddie & The Dreamers 20. Drums A Go-Go - Hal Blaine 21. See Ya' Round On The Rebound - Sandy Posey 22. Out Of Touch - The Grass Roots 23. Wake Up, Wake Up - The Grass Roots 24. Melody For You - The Grass Roots 25. Cling To Me - Johnny Tillotson 26. Baby, You Do It Well - The Grass Roots 27. I Can't Help But Wonder, Elizabeth - The Grass Roots 28. City Women - The Grass Roots 29. Secret Agent Man - The Ventures
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