Chesapeake Juke Box Band (1971-1972)

Sometimes written online as the Chesapeake "Jukebox" Band but the cover and labels have it as two words so I'll go with that. I finally found a copy in my local shop today of the album on Greene Bottle Records (GBS 1004) and can't stop flipping it! Released in 1971 or maybe early '72 (the copyright date is '71 but I see '72 everywhere in write ups), it's a little behind the times being self proclaimed and adherent "Beatles freaks" and like many a record of that ilk in the early 70's (see: Jamme, Rockin' Horse, Sleepy Hollow) it flopped hard and whatever copies pressed from the small label began collecting dust in the cut-out bins.

The earliest I can go back on the two who comprised the "band" is Steve Katz (not that Steve Katz) and Freddie Natarz, who for whatever reason changed their names to Steve Sawyer and Freddie McFinn, meeting in New York and beginning a collaboration on what they thought was going to be the next ''Sgt. Pepper's''. They moved to L.A. and landed a contract with a guy named Charlie Greene, who had managed Sonny and Cher and Buffalo Springfield. In 1971 they head back to NYC into the Record Plant with musician and producer Ron Frangipane (who played and arranged with everyone from The Archies to The Beckies), around the same time Lennon was in there recording parts to 'Imagine' and even allegedly borrowed their mellotron for his sessions. They hole up in the studio for a good chunk of time (explaining why they maybe started early '71 and the record wouldn't come out til the following year) and "use half the New York Philharmonic on the record". And so it finally comes out and "the thing dies a slow death. Sells maybe 1,500 copies. All of a sudden, their self-esteem goes into a spin, and they go into driving cabs."

All this mostly gathered from a few scarce blog posts and this 1988 NY Times article that fills in some of the post-CJBB story but not nearly enough to my satisfaction and really only from Sawyer's side, driving cabs and selling office supplies in New York. He apparently never released much of anything again outside of something called “Tribute To The Beach Boys 1976″ on 45 with a version of the Tokens, which as best as I can tell was a medley of Beach Boys hits. The Times article seems to insinuate he founded some sort of talent agency and was still writing which is something to go on. As for McFinn, I'm just starting to dig around on the ol' interwebs and I'm sure I'll post again if I find anything of note.

I know at least a person or two who works for/with Rev-Ola is on here and I'd love to hear if they had any personal interaction with the members. One of the blogs I linked to has a "R.I.P. Steve Sawyer" in the comments section which I hope isn't true. Really love the stories that come out of musicians of that era having their work discovered by new generations and truly appreciated and though the CD release was undoubtedly some affirmation, this really is one of those where quality to obscurity ratio is way off.

 

Good to hear the luv for this band. I have the Rev-ola CD and will pull it out to listen anew.

 

I appreciate that people like the album. I am Freddie McFinn, Co-Founder of Chesapeake Jukebox Band. Steve Sawyer was my dear friend and musical partner. He did suddenly pass away in 2007. We both co-wrote and co-produced the album and Ron Frangipane was the arranger. Yes, we did drive cabs. Prior to Chesapeake I was a staff writer for MRC/Three Bridges Music in Manhattan. It was the publishing arm of Mercury Records. I produced records for Mercury, White Whale and Roulette Records between 1969-1970. In 1973 or 74 we recorded several demos that we included in the 2005 ReVola remastered re-release of the album. In 1975 Steve and I went our separate ways musically but still remained great friends and in contact by phone almost daily. In 1975 I moved to L.A. and produced artists for United Artists Records as well as for my own label. The reason the album did not do well was political. So here is the story in a nutshell. Charlie Greene's Greenebottle Records made a deal with Gulf & Western, the major conglomerate that owned among other things at that time Paramount Pictures, Consolidated Cigars and distributed boutique record labels like GreeneBottle. Other labels were Artie Ripp's Family Records (Billy Joel's first album) and Neighborhood Records (Melanie) to name two. We actually got good reviews in Billboard, Cashbox and Record World and started to get airplay. Charlie, being a wise ass insulted the three piece suit wearing Board of Directors of Gulf & Western in a meeting I will never forget. He called them every name in the book. When the album was released and starting to get airplay we called around and noticed in those areas the record stores (that's right record stores) did not have copies to sell of either the album or the single " Until We Meet Again" . When we confronted Charlie he made excuses. Then we learned the real story. We were called into Tony Martell's office, the President of Gulf & Westerns music division. He actually apologized to us telling us he liked the album but the way Charlie spoke to those gray haired Wall Street Type Board of Directors was to much for them and the quashed the album in revenge. Not only our album but basically all of Greenebottles. When the album bombed we were still signed to Charlie and manager, publisher and record label (conflict of interest don't you think) and could not work during that period, thus the driving of cabs during the morning and writing during the afternoon. The attorney for Gulf and Western liked us and he arranged for Charlie to come to 1Gulf and Western Plaza (Central Park West & W. 58th Street to meet us to sign the release so that we could work again. We got in the elevator headed for the 25th floor (the record division) and at the 24th floor the door opened and Charlie was standing there. He got in the elevator and Steve lost it and started choking him. By the time we arrived at the 25th floor Charlie was screaming "you'll never work in the record business again". The commotion brought the attorney out of his office and separated us from Charlie. Needless to say it took several weeks to get Charlie to sign the release, this time without us there. We signed soon after. So now you have the skinny on Chesapeake Jukebox Band. Correction we did not loan Lennon the Mellotron, he loaned it to us to use.

 

Mr. McFinn,

I want to reach out ASAP so as to catch you before you disappear back into the interwebs..

Can't say how pleased I am to have you chime in to give some clarity to the story of the Chesapeake Juke Box Band. Not a surprise to hear Greene Bottle and Family had some sort of connection. One of my equally revered albums of that era by a band called Sleepy Hollow from a kindred spirit by the name of Richard Billay met a similar fate: an album and artist destined for greatness thwarted by suits and/or non-creative types acting in their own self interests or just acting out in general.

I'm so sorry to have it confirmed that Steve passed. I had really hoped it wasn't so. Had you seen the NY Times article i linked to from 1988? The writing itself was a bit flippant and hard to discern the author's motives but had some tidbits about him that I found intriguing and in part was the impetus for me to post on this forum.

I personally haven't obtained many modern CD reissues so haven't seen the liner notes to the recent Revola release so please forgive me for being redundant with any info already out there, but you both changed your surnames from Katz and Natarz to Sawyer and McFinn respectively?

I came across another Ronald Frangipane produced album this week: Chris Smither's "I'm A Stranger Too!". Just wonder if you have any memories of working with him in the studio.

Have been literally flipping your album while writing this out and it still stands the test of time. A lost classic!

 

Received this cd as a gift about 10 years ago and really enjoyed the music. It’s been a while so will have to give it a listen again soon.

 

This is very interesting! I was in a band with Freddie around 1976. He never used the name "Freddie McFinn." He used "Rusty McFinn."

 

John,

I am Stephen Katz-Sawyer's son. Was on a bit of a nostalgia kick this morning and it was so nice to find and read your posts. My father would be thrilled at your interest. Yes, my dad did pass in 2007 from a sudden heart attack, which took everyone by surprise due to his age (59) and his health - the guy really took care of himself. Like, no joke, he was in better shape than me at the time and I was in my 20's and hitting the gym almost everyday. I grew up quite close to Ron Frangipane's family, his son is still my dearest friend. Unfortunately, Ron passed away from COVID complications earlier this year. But I'd be happy to share any details you feel are still lacking and I'm sure Ron's son would be happy to do the same. And, if either of us are stumped, I'm sure our mothers could help.

I'll see what questions of yours I can answer here, now. So, my father legally changed his name to Stephen Katz-Sawyer, though he did often go by Steve Sawyer. The story I was told was that it was a tribute to Tom Sawyer for my dad and Huckleberry Finn for Freddie. I never got more than that but always suspected it was because of the other Steve Katz and/or Cat Stevens. Maybe a differentiator? Dunno.

He did start an office supply business that supported out-of-work artists - Performing Artists Diversified (PAD). They would sing doo-wop to their customers over the phone and other equally bizarre things. They actually did extremely well in the 80's but the bottom dropped out in the recession of the 90's and they filed for bankruptcy. My father would reinvent himself again, starting a business in corporate events that did alright but never again reaching the successes of PAD.

Ron's accomplishments in the music industry are too numerous to type out, plus I suspect you might already be aware - he arranged for Lennon and produced Grace Slick and Gene Simmons (to name a few). He also ran the music department at Monmouth University.

Anyway, like I said, happy to fill-in any missing details, if you're still interested. And absolutely no offense taken if not.

Again, I appreciate the interest, it would have brought a smile to my dad.

-Devin

 

Devin! Hello! Saw this come through around the holidays and have been meaning to get back. So nice of you to take the time to reply and expressing appreciation for my interest CJBB. I actually own a small record shop and someone bought a "Ron Frangipane And His Orchestra" record (one of a two we had in the shop on the Mainstream Label along with a copy of the CJBB LP ) and I couldn't help informing them of your father's and Freddie's amazing group.

So the Steve Katz I have come across, and it took me years to stop getting excited that it may be something from "one of the guys from Chesapeake Juke Box Band", was in some projects with Al Kooper including most famously Blood, Sweat & Tears. So with the popularity of that band and the fact that he had a fair amount of writing credits in the early 70s, it could make sense that that could be a reason for the name change.

Good to have some details on PAD, especially giving your father credit for actually starting the business and what an eccentric yet successful enterprise it was versus the "failed musician selling office supplies" painted in the Times article. Sorry to hear about Ron's recent passing. Have become even more familiar with his work in the last few years having the record shop, his name pops up frequently all across the board and on some of my favorite pet small labels from the 70's, namely Poppy, Paramount and the aforementioned Bob Shad's Mainstream Records.

But very good to have made contact and have some details laid out here for anyone else who becomes interested in the Chesapeake Juke Box Band. Thanks again!

-John