"There have been
several attempts to recreate the
Slicker sound since (Spike) Jones' heyday.
The Clams came
closer than most with 'Close to You'."
"Why do birds
suddenly appear, every time I come near?
Just like you, they long to be, close to me!"
"Spike Jones Off The Record:
The Man Who Murdered Music"
New York, NY 1974
If it'll make you
feel any better,
scholar-types have wasted time here.
A Brief History
"The Clams" was a 70s novelty
band. Most accurately described in current terms, it was a Spike Jones tribute band.
The band lasted two days, did one recording session, played no live gigs, had a bonafide
national top-40 hit single that sold less than 100 copies, and faded quickly into
history. Later on The Clams returned to the studio and did five more
tracks, trying for an album deal. Nobody was interested. (Same
history as above, except without the hit single part.) They also did some
Doctor Pepper radio commercials for Don Elliott Productions which were summarily
rejected by the ad agency's executive producer, who claimed that when they asked for 'humor', they didn't mean 'that'.
- as good a place to start as any:
Q. Where did the name come from?
A. The band's name intends no risqué or double entendre meaning; so
cleanse your mind! A "clam" is musicians' slang for a wrong note. The
inspired several working album titles, although an album never got
made. Under consideration were, "The Clams: Live at the Casino", "The
Clams: On The Half Shell", "The Clams: Fried!" You get the idea.
Q. Can I buy those albums?
A. No. Pay attention please. You can't buy those albums; They
never got made.
You might find the 45 single on Ebay, but that's about it.
Q. Is there a Clams album reissue available on CD?
A. The album never existed, so how could it be reissued
on CD? Pay attention!
(That's it for the FAQ; Actually, we don't get all that many.)
The Clams was the inspiration of bassist TONY LEVIN (Peter Gabriel, King Crimson) who
brought the project to his brother, keyboardist/arranger PETE LEVIN
(Gil Evans, Annie Lennox) in 1974. Both grew up listening to Spike Jones and Stan
Freberg and are still big fans. The collaboration produced two tracks in
the style of Spike Jones' manic City Slickers band, utilizing Spike's formula of
satirizing currently popular songs. "Cocktails For Two" was a hit
record in Spike's day, and a juicy target for his brand of satire. 24
years after Spike's death, Burt Bacharach's "Close To You" was a chart-topping
record featuring Karen Carpenter's sensitive, award-winning vocal performance.
Possibly the most-requested wedding song during that period, it was a beautiful,
expressive ballad just waiting for someone
to come along and trash it.
Accordingly, The Clams' rendition - up-tempo ragtime "corn" - is peppered with gun
shots, duck calls, glass smashing, slide whistles, alarm clocks, etc. ... your basic love
song. We can't speak for the Carpenters, but for the Clams, good taste was never a
Tony and Pete brought several friends into the project.
Drummer STEVE GADD (Paul Simon, Eric
Clapton), pianist/musicologist MICHAEL HOLMES and guitarist/washboardist
VINNIE PASTERNACK. Grammy award-winner
DIXON VAN WINKLE
came on board to engineer the session. Dixon also took a tuba solo, but
due to length considerations it was edited out for the single release. (You had to
keep it under 3 minutes back then.) Tony played bass, and also took a lead solo on saw. (Yes, "saw" ... that's not a typo)
Pete played banjo; Tony, Pete & Vinnie did the SFX, vocals and the kazoo
ensemble chorus. Looking for a different sound, Steve laid down the
groove with brushes on a New York City phone book. The recording sessions
took place over a weekend at the legendary A&R Studios on 48th street in
New York City.
Not counting one unfinished track ("The Godfather Does
The Soft-shoe") the Clams' session produced two covers, The Carpenters' "Close To
You" and Roberta Flack's "The First Time Ever I Saw Your Face."
Steve Gadd was doing a lot of high-visibility session work during at that time,
which undoubtedly helped to open the door at Creed Taylor's CTI Records, a major
international jazz label.
The 2 Clams
tracks were subsequently released as the A and B sides of a 45 single by Three
Brothers, a sub-division label of CTI.
But Creed Taylor hadn't authorized the release; in fact, he didn't even know
about it. So with no money authorized for manufacturing and promotion, the CTI
machine just pressed enough promotional copies to send to radio stations
and called it a day, probably hoping that nobody would notice.
That would have been the end of the story but for Bruce "Cousin Brucie"
Morrow. Bruce was the #1 DJ on New York City's WNBC, at that time one of
the most influential top-40 AM radio stations in the country. Making no
bones about it, Bruce thought the recording was garbage. Undoubtedly
having a bad hair day, he played "Close To You" to show his listeners the kind
of crap he got in the mail every day from record companies. But much to
everyone's surprise, the phones 'lit up': His radio audience loved it, and
"Close To You" was officially put into heavy rotation on the station's play-list.
In the days following, as these things used to go, top 40 stations all over the country picked it up because WNBC was on it. For 2 or 3 weeks,
The Clams' "Close To You" was a national
turntable hit getting extensive airplay and The Clams were a household word, demonstrating yet again that
in America, poor taste is contagious.
By the way, it's an antiquated term now, but
"turntable hit" was used to describe a record that is very popular on the radio but you can't buy it anywhere.
Remember, CTI hadn't pressed any copies to send to stores.
go well. The only ones who emerged unscathed were composers Burt Bacharach and
Hal David, whose quarterly ASCAP checks
presumably went up a notch.
Other than that, "Close To You" - The Clams' version, not The Carpenters'
- was an enormous flop, financial and otherwise.
* When Creed Taylor found out about the record, he
fired the staff A&R man who signed The Clams.
(Word was that the guy wanted out anyway, and had signed The Clams just to piss Creed off.
We were never able to verify that.)
* Three Brothers, created as a new pop division of CTI,
released a total of 9 recordings, The Clams' single being one, and went out of business.
* The much larger parent label, CTI, overextended and having major financial problems,
eventually went under too.
* Inspired by his listeners' enthusiastic response to
The Clams, Cousin Brucie started a "Bomb Of the Week" segment on his show, but
it fizzled out within a month.
* WNBC became a 24-hour news and talk radio station. No music.
* Bruce Morrow moved on to doing freelance commercial voice-over
work. Later he joined WCBS-FM and had a street named after him in New York
* Engineer/producer Phil Ramone sold A&R Studios, which later went out of
* Pete, who sang lead on "Close To You", was never
asked to sing lead again by anybody.
* Tony, possibly one of the most recorded and most
recognizable bassists in the business, never got another chance to play saw.
He'd hoped to get some calls for session work, but it didn't happen.
That's his only recorded performance.
Not to say that all that was precipitated by the Clams'
recording. We'd like to think it was all going to happen anyway. Gosh, we were
just having some fun!
legendary 48th street A&R Studio space is now the offices
of American Federation of Musicians, local 802. Impress your friends!
* In 1982, Steve Gadd recorded a percussion track
playing with brushes on an AMPEX 24-track tape box. Possibly he wanted a
fatter sound than he'd gotten on the Clams session with the NYC telephone book.
* More trivia: There was a rumor that Steve Gadd wanted to
record the basic track for Paul Simon's 1979 hit single "Late In The Evening" drumming on a phone book, but Paul
insisted that playing with 2 drumsticks in each hand was much funnier. This
probably isn't true.
* And more trivia: At the height of their
popularity during the mid-70s, The Carpenters had a weekly prime-time TV variety show. On one of the shows,
shortly after The Clams' release, they
put together a Spike Jones-style backup band and performed the
Clams' arrangement of "Close To You" complete with sound effects. So, if you're
The Carpenters had a big hit with their recording of "Close To You."
Clams covered the Carpenters' hit recording and had a big hit of their own.
Then The Carpenters covered The Clams' hit
recording on network TV.
That's got to be some kind of music history landmark - assuming anybody cares.
A few years ago Pete ran into Bruce Morrow in a New York
City recording studio; Bruce was doing a voice-over for a commercial. Pete
introduced himself and thanked him for breaking the Clams way back then.
Bruce denied any recollection of the record or the band. Now there's a
testimonial! Sheesh! As mentioned earlier, we were just having some
fun. Apparently Bruce wasn't.
The Clams hang on in a few memories though. Ted Hering, Spike Jones' archivist remembers.
And author Jordan Young immortalized The Clams with that nice comment
in his biography of Spike Jones, quoted
at the top of this page. Thanks, Jordan! In fact, its probably the
only nice thing anyone ever said about The Clams. Other than that, its a very good book.
Now, you know. Keep reading and
you'll know more!
* The following is courtesy of
excerpted from his DISCOGRAPHY & HISTORY OF CTI RECORDS.
This section was added August 1998.
CTI Records & Creed Taylor
"Creed Taylor left Verve Records in November 1967 to
align himself with trumpeter Herb Alpert's successful independent pop label, A&M
Records. Taylor was guaranteed $1,000,000 over a five-year period by Alpert's company.
A&M distributed CTI records, with their distinctive white borders and classic Pete
Turner photography on the cover (featuring a prominently-placed CTI logo), from 1967
"Gathering early critical and (especially substantial) financial success, Taylor
launched CTI Distributing Corp. in mid 1972. This overly ambitious entry into the
"rack-jobbing" business represented Taylor's effort to control and maximize the
distribution of his company's product to retail outlets throughout North America. This
uniquely unprecedented concept proved to be more difficult - and more outrageously
expensive - than Taylor anticipated and, by 1974, brought about extreme financial hardship
to the company. Despite basking in the success of his company's largest-ever hit (the Top
10, Grammy-winning "Also Sprach Zarathustra" by Deodato), Taylor was forced into
a distribution arrangement with Motown Records.
"At this point in 1974 (beginning approximately with CTI 6040 S1), the first
generation of CTI "stars" (Freddie Hubbard, Stanley Turrentine and George
Benson) were leaving for or seeking more lucrative contracts at major labels while the
next generation of jazz lights were finding new life at CTI (Milt Jackson, Bob James, Paul
Desmond and Chet Baker). Motown Records distributed much of CTI's product through early
1977 (ending with CTI 6072 S1) and Taylor, whose distribution network had long since shut
down, initiated litigation proceedings against the Detroit giant (which ended up getting
Grover Washington, Jr. out of the deal)."
(Here come The Clams ...
the Three Brothers label)
"Devised as a "popular" subsidiary of Creed
Taylor, Inc., Three Brothers (the name of one of CTI's publishing companies) issued one
album by Lou "Lightning Strikes" Christie in 1974 and a 45 by The Clams, a
"Spike Jones tribute band" featuring bassist Tony Levin, his brother keyboardist
Pete Levin and drummer Steve Gadd. The Clams single became a Top 40 hit, even though
only 100 promotional 45s were issued. The Lou Christie album, produced by Tony
Romeo, resulted in quite a number of 45s issued between December 1973 and December
Now, you know a lot!
Impress your friends!