Les Fradkin & Left Banke : Annexe 1

Les Fradkin,
from The Left Banke to California

Les Fradkin recounts how the attempt to reform The Left Banke  gave birth to his ongoing project California

• Playlist + french version of the interview
• Summary table of songs in Annex 2

1970-1972 : Aborted reunion

"Firstly, my involvement with the Left Banke stretches across several decades across many varied projects.

I befriended The Left Banke back in 1970 when they came in to Sound Exchange Studios in NYC (where I was recording my MGM/Sunflower album). They were there to record “Two by Two” and “Love Songs In The Night” which was eventually issued by Buddah Records as part of the Motion Picture Soundtrack “Hot Parts”.
I was working as a Record Producer and offered to Produce the Left Banke to try and get them a new recording deal. Among the songs we recorded for that project was “I Could Make It Last Forever” for Bell Records. While it remained unreleased for decades, I decided to release it on my album “Goin’ Back” in 2006 (...) with additional overdubs of Mellotron Brass and a new lead vocal by yours truly.

[NB : To celebrate the 50th anniversary of the title, a version with new vocals by Les and Loretta Fradkin was released in March 2023]

In fact, Tom, Steve and George originally came for a project I recorded with a lady singer named Dianne Ellis, who co-wrote”I Could Make It Last Forever” with me. It wasn’t until that recording was nearly completed, that the boys and I discussed the possibility of doing a Left Banke deal with a record company, and then, I approached Bell Records on their behalf, to secure a production deal for them as their producer and musical arranger under the name “The Left Banke”. 

Present on that recording are: 
Les Fradkin - Lead Vocals, Electric 12 String Guitar, Mellotron 
Mike Brown- Piano 
Tom Finn - Bass, Background Vocals 
Steve Martin Caro- Guitar, Background Vocals 
George Cameron- Drums, Background Vocals 
Harry Lookofsky (Mike's father) - Violins 
Recorded at A-1 Sound Studios, NYC (1972) 

Tom, Steve and George appear on other recordings owned by me - namely, “Where Have All The Heroes Gone”, “Willin'", “Ivy, Ivy” and “I’ll Be There Tonight” which were recorded in 1972-1973. The latter appears on my “Les Fradkin Story” collection, while new versions of “Willin'" and “Ivy, Ivy” appear on my new “California Loves You” album. “Willin'" also featured Mike on Harpsichord. With Ivy, Ivy, they were originally intended as tracks for the Left Banke but, post Bell, “Willin'" was released as the B Side of a Tom Selden solo single in 1973. Other titles we did at that time were “Lori’s Song” and “The Way You Said Goodbye”, both never released. 

PGB : During the 1972 sessions, did you try any new Brown composition ?

LF : We did a new version of “Hello People” which had been cut by Stories. I sang it. I still have that recording. I co-wrote “Lori’s Song” with Mike, and a tune with Steve called “Let’s Make A Deal” at that time. Both remain unreleased.

PGB : In terms of production, did you plan to use orchestral arrangements, or did you go for a more rock sound during these sessions? Were you constrained by budget limitations?

LF : There was no issue with the budget. I had whatever funds were needed to do things properly. We always planned for strings because the band’s past reputation warranted that decision. And Harry was available to help his son out, as usual, although I didn’t want him controlling the deal since that had ruptured the band before. 
I also wanted to add brass because Chicago and Blood, Sweat & Tears were hugely popular and Bell Records wanted that addition as well. 
My production plan was to update the Left Banke sound for the 1970’s and take over arrangements to give them a new kind of perspective and a level of support and trust they hadn’t had before. 

The rock thing was favored by Steve who didn’t want too many ballads. And that is why I was able to step in as a primary songwriter. All of these elements would have been seen together if the boys had performed, which we did as California.  

PGB : Was « You Say » (later rerecorded for "Strangers...") part of the sessions ?

LF :  Yes it was. “You Say” was written mostly by Steve and George in 1972. I know that cause I was at Steve’s apartment when they started it. Tom finished it off. I was going to use it for the B Side of the 1st Bell single.

PGB :  In your opinion, what prevented Left Banke from reforming in 1972 ?

LF : "Several things. First, I was younger than the boys and so being their producer, it was somewhat difficult to keep them focused on the music.

Second, Bell Records wanted my song, “I Could Make It Last Forever” to be the first single and that proved to be a problem for getting their full cooperation and support. That’s the song that Bell records felt would be a smash hit and the only reason it didn’t come out back then was because Tom Finn didn’t want it to happen. I probably still have that track mixed with Steve, who loved it, singing the lead vocals but I haven’t seen it in a while, so I’m not sure where that tape is.

Thirdly, this was a new situation for them. They were used to trusting Mike for directions. Then Tommy Finn took over leadership back on “The Left Banke Too” album. Then I stepped in. I had a production deal in New York City with Bell Records in 1972  to deliver Left Banke recordings as their producer. Evidently, this arrangement was not comfortable for Tom Finn. Still operating as if he still held [his] position, he went around my back to try to sell “You Say” to Bell, without my involvement, after I had recorded and mixed it for my Bell Left Banke Production deal. Some of the boys had divided loyalties, [but] Steve was trying to be loyal to me and would not do the Bell deal without my involvement. When I found out about Tom’s meeting, I was not a happy man. And the deal died with that event. It really damaged my relationship with Tom Finn."

1973-1978 : California and various sessions

"After the collapse of the Bell deal, I sat down with George , Steve and Michael, and discussed the fact that I had interest from Laurie records ( whom Mike had worked with Montage in 1968) in doing a new record deal under a new name. So because that prospective new deal did not involve using the name of the Left Banke, which Tom co owned with George and Steve, then, when I invited Steve, George and Mike to participate in the initial California sessions, I decided that I didn’t want Tom involved and so he wasn’t involved in any incarnation of California for Laurie records. So California became my deal as owner of the band name California for the Recording agreement with Laurie Records. Adding Beverly Warren on vocals, we signed with Laurie Records in NYC on January 10, 1973.

By this time, Mike had left Stories and Buddah Records and George and Steve did not have a recording contract with anyone. Having been burned by various past agreements, the boys did not want to sign a recording contract with anyone at that time. So George, Steve and

Mike, who were good friends of mine, were hired as session musicians to perform with me on the initial California singles of “See You In September” b/w “Ivy, Ivy” (1973) and “Abraham, Martin & John” (1976).

We did a couple of shows. I wanted to tour with strings and brass with Steve and George. But there were problems getting that to a reality. And without Mike being there for live performance, even more complicated.

Later incarnations of the band did tour such as the one that had the hit with the Beach Boys "Summer Fun Medley" record in 1981. We opened up for Todd Rundgren and Utopia and The Troggs and did quite a few shows around the Northeast. We also were seen and heard on Dick, Clark’s American Bandstand, but that was many years after the Left Banke guys were no longer involved.

In 1978, I participated on other session with the boys at RCA studios, which were other sessions besides the ones for “Strangers On a Train” which I helped them with. They were for an Italian Pop singer named Remo Capra. I wrote a song with him called "E = MC2" which was a pop song about outer space. Remo wanted musicians to play on the sessions at RCA Studios so I asked Steve and George to help and they gladly did. The boys were interested in any work I could offer them. I was happy to help. I’m not sure if Mr. Capra ever released the song I produced it with him and I caught it with him. I don’t have any of those sessions saved."

PGB : It may be a rumour (or mere fans fantaisies), but some say that Mike Brown was there at the beginning of these sessions and then left quickly. Do you know anything about that ?

LF: Mike experienced some personal issues from time to time which compromised his ongoing involvement in several projects. 

I always got along with him, found him to be a consummate professional and we were best friends.

In 1976 by way of example, he approached me about playing keyboards on the road with The Beckies since he no longer wanted to tour. I declined because I had just gotten the job portraying George Harrison in the Original Cast of Beatlemania. With respect to the “Strangers On A Train” sessions, I am not sure if Mike played, and, if so, on which tracks. None of his songs were involved so his participation is questionable. Even though Michael’s songs were not involved on released California recordings, he was willing to play because he was paid to be there and since he was such a close friend, and Steve and George were involved, he was happy to help me. 

PGB : Can you tell us about the song "God Bless California" and its deluxe cast… and how you managed to get the McCartneys on board ?!?

LF : "They were brought to my session. They were recording Ram in NYC. The song and its recording dates from 1971. This song was originally cut at Sound Exchange studios in NYC and was one of the tunes I was working on mixing the night the Left Banke appeared at sound Exchange to work on “Love Songs In The Night”. So there was a sort of synchronicity there. The session musicians are the same ones who appeared on my song “Black Gypsy”. [including Dennis Seiwell, future Wings member]."

PGB : I've read you've worked with the legendary Wrecking Crew...

LF : "As far as my own work, I recorded with them in 1996 in California on my song “God Bless California (Oooh L. A.)”" 

PGB : Have you been in contact with Daniel Coston [see interview], who produced the last Left Banke reissue ? He claims that there are other unreleased songs waiting to be released... Are you involved in that process ? 

LF : "Yes. We have corresponded. Daniel’s recollections are, unfortunately, in error with respect to early 1970’s Left Banke history. I was there. He was not. Thus that Goldmine article has several inaccuracies. 

All of this is complex because the individuals were complex. And because I was assembling material not knowing precisely what the end results would be. The sessions were paid for by me to allow me maximum flexibility to decide which of the tunes ended up where. 

It was a long time ago. I worked with many people at that time, including doing sessions for Tommy Kaye at Elephant V studios where some of sessions [with The Left Banke] were done in 1969. I would have to hear the recordings to answer your question accurately as to any of my  involvement.

As to my involvement in previously unreleased material, which was released after Michael passed away, I offer the vocal versions of “As Eagles Fly in the Night”, “Jesus Can Save” all co-written by Mike, myself and my wife Loretta, as well as my version of “Until The End”, all of which appear on my album “The Cross In The Sky”, which was released in 2022."

Mike Brown's last recordings (2014)

"In 2014, I did an instrumental EP with Mike Brown called “Finale”, which included his immediate family (his wife Yvonne Vitale and his twin sons). It was Mike’s last recording before he passed away. Ever since Mike recorded "Circles" for Stories, back in 1972 he had wanted to do an instrumental record, and I spoke to him on the phone and we decided to make one.

And here is the video Mike and I did in 2014 : https://youtu.be/mytknRH6DxY
Mike plays keyboards, I play Guitars, Bass and Ztar and Mike’s sons Skylar and Adrian also guest on Violin, bass, guitars. 
Here’s the story behind that : https://skopemag.com/2014/12/10/the-eagle-has-landed-for-les-fradkin-and-michael-brown"

In fact, at Michael Brown‘s funeral service, one of his twin sons, Skylar, made a nice speech about how I had brought Michael back into music and had a massive impact on his Dad’s life and legacy.(https://youtu.be/0A2_OYlV4BY?t=1208). We hadn’t seen each other in 40 years but were still best friends.

New California album : "California Loves You”

"The album has received terrific reviews and support and features a number of Baroque Pop treasures including “Willin’”, “Ivy, Ivy”, “We Still Love You”. We would be thrilled if you could add us to your Baroque Pop Encyclopedia."

Trivia

"By the way, in 1967 the Left Banke were offered the opportunity to record Happy Together and Sunday Will Never Be The Same, and they turned them both down because they didn’t write them. It actually is one of the reasons that Mike left the band because from his perspective he’s already written two major hits, so why would they have to suffer the consequences of covering other peoples material ? The answer is he didn’t want to."

"I composed a huge hit for a French Chanteuse Mireille Matthieu back in the early 70’s."

"Warm Regards, 

Les Fradkin"

Bandcamp pages for Les Fradkin & California / YouTube Channel