The inception of THE BABYS began in Smalls Café on the Fulham Road in London 1973, where a chance meeting had taken place between two unlikely gentlemen: one a well-traveled, ever-aspiring musician; Michael Corby and the other, a clever, supremely-confident mentor; Adrian Millar, who presented himself as a financier of bands. Results, after a great deal of posturing and the dust firmly settled, ended with Corby giving way to allowing a band to be molded around his image. An ‘agreement’ was drafted and signed on September 4, 1974 with Corby as guitarist and Millar as the manager. Months of preparation ensued (plotting, actually) and plans were laid to form a coveted four-man rock outfit. Auditions would commence with only one goal in mind: become the Greatest Rock Band in the World! Through this mutually resourceful contractual effort, many talented ‘artistes’ were auditioned with hopes pinned on unearthing those equal in musical fortitude, charisma, personality and desire. The fruition of this intensely fierce and somewhat-testy union introduced the world to that of: (in proper order) John Waite, Tony Brock and Walt Stocker, effectively giving birth to THE BABYS!
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- THE BABYS STORY IN PICTURES -
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- THE BABYS/Broken Heart BGO Records Reissue -
The Babys Official Archives Addendum & Evaluation:
Firstly, The Babys Official Archives is supremely flabbergasted and caught somewhere in the middle of disbelief, euphoria and flattery for such an unexpected and much- needed reissue!
The goal here isn’t to offer a line-by-line assessment but rather an inspired literary exercise to clarify some minor (and some not-so-minor) slights while maintaining a respectful appreciation to the superb job of research and professionalism done by BGO and its liner note specialist, David Wells.
Before we get started, it’s highly advisable that you (the reader) promise (or at least try) NOT to formulate any concrete opinion that may shape or jeopardize the credibility of each perspective until you purchase a copy and digest the actual liner notes yourself.
We will now proceed with the assumption that you’ve just received your copy and are ready for the hard truths.
Are we all on the same page?
Great!
And now for some properly sourced perspectives:
During the first few paragraphs of the booklet, Mr. Wells uses the phrase “mascara-wearing pretty boys with a provocatively effete name” (common definition of the word ‘effete’: “marked by excessive self-indulgence and moral decay,” “a decadent life of excessive money and no sense of responsibility,” and "a group of effete self-professed intellectuals") to describe the image concocted by Millar and Corby during the band’s inception back on September 4, 1974.
~ Corby & Millar Signed Managed Agreement ~
Excuse me please, but that perception couldn’t be anything further from the truth, and one only need to look at the album cover on the eponymous The Babys album to see that the image reflected here is more of a mildly-sophisticated band of streetwise Brits, or as Babys aficionado Rik Fennell once put it, “At the time of the first album when I was just finishing art college, image and street credibility were key, and I aspired to their collective honest ‘come-as-you-are’ appearance…” Not exactly the kind of crew you would want to meet on the darkened street sections in Tooley Street, but far, far from being pretty boys. Then again, I guess it makes for a good lead into an already great story!
~ Promotional Photo Shoot by John Prew ~
The idea that The Babys were launched knowingly at the “height of punk” is also a huge misnomer as the band members had been busy honing their respective crafts long before the punk phenomenon hit full stride (or as the general population knew of it) and even longer before the term had been coined. The late Adrian Millar once recalled:
“I first met Mike Corby in the early ‘70s. From the very beginning of our association our outlooks, ambitions and destinies appeared to be very similar. We both had an obsession with forming a band with an obvious view to being extremely commercial and successful particularly in the larger music-oriented territories i.e. the USA, Germany, Japan and the UK. Shortly after our first encounter we developed a blueprint for the type of vehicle, (band/members), we would require.”
Statement of Witness: Adrian Millar (Witness) for Michael John Siddons-Corby (Plaintiff) and Chrysalis Records Limited (Defendant) Case: CH1987-S-No.406, filed in the High Court of Justice Chancery Division by Solicitors for the Plaintiff, dated February 15, 1984.
Millar concluded that it was merely by coincidence that punk seemed to arrive overnight and shortly after inking the multi-album deal with Chrysalis Records on May 4, 1976. Furthermore, the Babys weren’t exactly the only act to bolt for the States, but a case can certainly be made that they were in fact the last. Their unique beginnings being more accurately pinned on the tail end and perhaps even historically chronicled as being the last great rock band to leave the shores of Great Britain.
In direct contrast, the perception that John Waite had the notion to book a flight to Cleveland to start a rock band isn’t exactly a proper chain of events either. Clarification on that order comes from a telephone conversation had with former Boys drummer Joe Battaglia on the afternoon of September 5, 2004 that went like this:
“Disappointments in our original band ‘Granicus’ (pronounced Grann-ik-us) mounted when our lead singer (Woody Leffel) decided to quit the band, so our manager (George Frieje) quickly placed an advertisement in the ‘Melody Maker.’ A singer from Scotland called Jesse Ray answered the ad and after hearing his demo, was offered the position and flown out to Cleveland to begin working out with the band. No sooner had rehearsals begun, our bass player (Dale Bedford) decided to quit the band. With no bass player and the new singer’s voice steeped more in the traditions of rhythm and blues, we decided to give up on the idea for a reformed band, instead we changed musical directions and renamed the band ‘The Boys.’ Jesse then asked us to check out a friend he knew from London called John Waite who was immediately flown out to play bass guitar.”
During the conversation, Battaglia stated emphatically, “We hired John to play bass. I asked, did he do any singing and Jesse told me he might have sung a bit of backup, but he didn’t do any lead vocals, just bass. We even had to buy him a bass guitar; he didn’t bring one with him. It was a Fender and crazy as it sounds, when the band decided to call it quits, we had to ask for the bass back to pay for the plane ticket to get him home! (Laughs) It did feel sort of strange, buying the guy a guitar and then having to ask for it back?”
~ Battaglia, Frieje & Waite in Cleveland ~
An interesting tidbit here is that Jesse Ray (a.k.a. Phil Rae) was briefly a former member with Waite in Olly Alcock's band ‘England’ and still enjoys a career as a cult figure, singing and staring in videos, etc.
~ Jesse Rae Picture Sleeves ~
Further into the liners, produces necessary clarification regarding the suggestion that a “series of arguments with Waite” contributed to Gordon Hawtin’s departure, rather it’s important to note that Hawtin (a gentle giant), suffered greatly with low self-esteem and simply couldn’t stand one more rehearsal session with Waite’s incessant criticism of his vocals. Gordon’s e-mail dated June 1, 2004 insists:
“I first met Waitey in a pub called Swiss Cottage around 1973 while I was working at guitar shop on Shaftsbury Avenue called Guitar Village. In those days I was known as ‘The Village Idiot’ because I use to nail plectrums to the floor and watch mega-rock stars try to pick them up! Well, I’m a pretty good guitarist, referred to myself as a poor man’s Gary Moore (laughing).
Gordon (a.k.a. Gordon Rondelle) concludes: “I never really considered myself a singer, but I could sing you know and sounded a bit like Rod Stewart, just 12 bar rock stuff. Waitey did not like that telling me “Why do you want to sound like that?” and gave me brain damage insulting my singing. Really hurt my feelings because we had been really good mates before he joined, and all of a sudden he was slagging me down. I realized that my good will and honesty were only rewarded with contempt. Waitey had a big ego now, and I wasn’t very confident in myself, or my playing so this was particularly difficult. After rehearsals, they dropped me off outside my flat in Camden Town, I went ‘round to the boot of the car, got my gear (Vox AC30 & Les Paul Junior) and nobody said a word. I never phoned them, and they never phoned me; it was obvious that it was over for me. That was the last time I saw them until I bumped into Waitey shortly after I began seeing advertisements posted on the tube stations and double-decker buses for the release of their first EP. I asked him if he might give me a copy and instead he tells me “Go buy one yourself.” Really bothered me you know, I always considered him my mate....”
~ Three Track Single Promotional Poster ~
Incidentally, Gordon had or should we say, still has a lovely voice reminiscent of Rod Stewart’s delivery and looking back, it would have blended nicely with The Babys.
~ Gordon Rondelle Picture Sleeve ~
If you are listening to the re-mastered audio of the CD at this stage of the read, please express gratitude towards the superb job done by Andrew Thompson at Sound Performance, who did an excellent job of masking the reverberating vocal mix done by Bob Ezrin. The second track will offer a pleasant surprise in that BGO decided to use the original cut of ‘If You’ve Got The Time’ instead of the 45 rpm single mix ordered by Adrian after the Ezrin experience.
Note: the original remix cuts at precisely 1:52 of the song and loops the chorus rather than showcasing the guitar mastery of Mike Corby that is prominent on this, the unedited master version.
Further rehashing with the naming of the band, it was merely a ‘meaning-laced’ ploy to garner some attention, and this long debated trivia can be simplified down to the final word on the matter by Corby when asked on “The Mike Douglas Show” in front of a live studio audience on March 15, 1977:
“We were looking for about the silliest name we could find and we succeeded basically” (as Waite clutches his throat in a mock-choking fashion).
The above statements not taking away from any of the other published perceptions, but the moniker was obviously derived because of the excessive squabbling going on between Corby, Waite and even Millar to warrant a name like The Babys!
~ Adrian Millar’s Original Logo Design ~
Millar’s role in the ruckus being his constant wrangling with Corby that Waite had begun to expose his ‘self,’ and if they continued much longer with his branding, it would have served the professional equivalent of the kiss of death vs. Corby’s foresighted insistence to stick with John’s rapidly developing vocal ability while strapped to the bass, standing directly in front of the ‘mic.’ Millar stated during a rare interview:
“The only problem here was that Mike didn't sing, and it just goes to show how a tiny little element can change everything. If Mike had been the one with 'the voice,' it would have balanced the status quo between him and John. Then, if you want to look at the bright side of things, we wouldn't have been forced into employing somebody like John Waite, a person who was so completely opposite of Mike Corby.”
Corby’s pal Lemmy suggested his sentiments towards employing a vocalist years earlier and in much fewer words, “The problem with that of course is that you get stuck with a f@%&*ing singer!”
Millar continued the thread in his final assessment of such a flaw by saying “The inherent built-in design fault that’s always going to come back and trip you up, electrocute or drown you in a cup of coffee was the fact that Mike Corby had all the looks and should have been the lead singer.”
~ L. A. Free Press (April 8, 1977) ~
Ultimately these dueling perceptions proved to have exacting and dire consequences on the careers of Messrs. Brock and Stocker as well. Then again, had Adrian not persuaded Corby to rejoin the band, even with such a voice as Waite’s, The Babys weren’t going anywhere without his face!
~ Michael Corby Photo Shoot by Duffy ~
As we venture on, perceptions in the liners that Ezrin perceived The Babys as being “still a long way from being a finished article” vs. a continued opinion that “Bon Jovi and Richie Sambora used the influence of ‘Wild Man’ as mold for their chart topping ‘Wanted Dead Or Alive,” we, in the same breath disagree whole-heartedly especially when coupled in with his expression of “the real meat” being the inclusion of perhaps the weakest song on the album ‘I Love How You Love Me’ (a song Corby often refers to in vain reference to Waite as “I Love How I Love Me”).
~ Paris Sisters Juke Box Label ~
Corby still insists that had John been willing to listen to the backlog of original tunes placed on the table by an agreeable young assistant guitar tech (instead of cozying up to Ezrin during each late night mix down); The Babys may have landed a 1 hit without having to resuscitate ‘If You’ve Got The Time’ or banking on Ezrin’s suggestion a re-make of the Paris Sisters’ jukebox smash “I Love How I Love Me.” (sic) Validation comes easily once you’ve properly identified the tech as being none other than a soon-to-be ‘80s’ rock icon called Bryan Adams!
~ Sound Stage Studios Recording Itinerary ~
Corby takes further aim with another stinging recollection:
“Ezrin borrowed £5,000 from the band to buy some more candy and never paid the group back, even bounced a check. So, here is the world’s so-called greatest producer, platinum records, Peter Gabriel, Alice Cooper and all the rest, screwing The Babys. You better believe it bothered me that he thought we were lousy musicians and if that was the case then how did we manage to record ‘Broken Heart’ less than a year later?
Perhaps a solution to the myth that The Babys were struggling to fill an albums worth of material comes in the form of overlooking two tracks, ‘And If You Could See Me Fly’ and the mesmerizing ‘I’m Falling,’ left waiting in the cue. Not too surprising, that both wound up making the cut on ‘Broken Heart.’
~ Broken Heart Acetate Test Pressing ~
On December 20, 2006 a woman named Judy Schneider contacted the archives with such important recollections that we’ve decided to include the bulk of her e-mail (it’s a doozy so, take five and we’ll hold the line while you get yourself a glass of spirits):
Dear Babys Archives,
I met Michael Corby while working at a Disco called Mingles. Michael and I hit it off right from the start. He invited me to come to Nimbus 9, which I did several times during the course of the recording of their first album. He also asked me to set up a tour of the then brand new CN Tower in Toronto for the band members. It was, at the time, the tallest free standing structure in the world. In fact, parts of the tower were still under construction. I took them to the CN tower and we spent a couple of hours looking around. The other members of the band were ok with it but it was Michael who was outwardly appreciative of the effort.
One evening, after Michael had finished at the studio, I took him out to the after-hours scene in Toronto. We went after hour’s club hopping. The most popular after-hour’s club at the time was called Jokers, and Michael was particularly pleased with it. Michael and I were just walking around when someone I knew called me over. I went to talk to see what he wanted. He said in hushed tones “Who the hell you with? He looks like a bum.” Michael was wearing jeans and a long sleeve t-shirt. Not what you might associate with Michael but there you have it. The guy making the comment was dressed in the signature Italian disco scene look; the look we now associate with John Travolta in “Saturday Night Fever.” However, the guy Aldo, making the comment was my ex-brother-in-law and it wouldn’t have mattered who I was with, they would have been a ‘bum’.
I told Michael what Aldo had said, and he said that Aldo had no idea what he was talking about. The jeans Michael was wearing were Italian jeans and very expensive, not your everyday pair of Wranglers. And, Michael’s t-shirt, as he pointed out to me, had no seams. Michael asked me if I’d ever seen a t-shirt without seams. Have to say I hadn’t nor do I think I have since. Again, a one of a kind type of clothing that Aldo had dismissed as being trash. Michael could never be accused of looking like a bum that’s for sure.
The first time I went to Nimbus 9 I brought a dozen donuts and sure enough that ingratiated me somewhat with the people there. I never felt unwelcome by anyone there except John Waite’. He was one arrogant son-of-a-disappointed-mother. Well I’m not sure whether she was disappointed or not but she should have been.
John Waite grated on my nerves, and I saw him as moody, always bitching about something and never satisfied. It was apparent that he and Michael did not get along. Michael was the gentle, reflective thinker while John was brash, combative and so full of himself. The saying that you are known as much by whom your enemies are as by whom your friends are is true. The fact that Michael and John clashed only stands as proof that Michael had good sense.
Tony Brock and Walt Stocker both seemed very quiet and forever trying to stay out of the way of John. When Bobby Ezrin was around they seemed to melt into the scenery. I don’t have many memories of them in the studio although I know that they must have been there and the reason is that they were both very reserved and quiet.
Bobby Ezrin on the other hand was one piece of work. I remember Bobby being around quite a bit as compared to what the others say, so I’m assuming that I just managed to be at the studio most often when he happened to show up. Lucky me.
There were a few instances that made me very upset with Bobby and what he was doing to The Babys and to Michael in particular, but I was too naive to understand what was happening and was way out of my element when it came to seemingly having any right to say anything to Bobby or John for that matter. It really wasn’t my place.
There were times in the recording studio that you could cut the air with a knife. I don’t remember all the details but I do know that Michael was surprised by decisions, which were being made, behind his back on more than one occasion. I remember sitting with him in a back room while he had to rework or rewrite, I don’t remember which, possibly “If You’ve Got The Time.” He was very upset. If I’m not mistaken he said that it did not need to be reworked but that Bobby insisted. And, it wasn’t as if anyone was in there with Michael collaborating. It isn’t that they felt the least tinge of compassion and understanding for Michael. They didn’t give a pig’s ass about him. In the short time that I knew Michael and the others I had seen and experienced enough to know that Michael was being lied to, shown a great deal of disrespect, derogated and disheartened. It was systemic and came from two sources John Waite and Bobby Ezrin.
After The Babys left Toronto I did not hear from Michael again until he went to Los Angeles. One night I received a call at 2:30 in the morning, 11:30 p.m. California time. My mother answered and ran to get me out of bed. Michael and I talked a few minutes. He just let me know he was doing well and working on another album. I never heard from him again. A couple of years later I had called Michael’s mother, he had given me her number if ever I want/needed to get in touch with him. She was very nice and told me that he was still in California and well. To know he is and has been well to this day and that there has come together a force to rewrite history from the side of facts verses from some people’s egos just makes me truly happy.
Thank you giving me a chance to let some steam off and to add a small part to your efforts to try and get history back on the right track.
I apologize if my writing has sounded more like ramblings as I do not profess to be much of a writer. Yet, perhaps, you will be able to cut through the brambles and make sense of it all. It was a traumatic time for me. I met a beautiful, gentle creature in Michael and had to watch while John and Bobby treated him so horribly. I have never bought any of The Babys' albums; it would have only reminded me of that time.
All the best,
Judy
~ Judy Schneider & Michael Corby at Yorkville / Bay ~
Touching back on the liner notes detailing “vague mutterings of a remix” needs further clarification for Adrian stopped just short of delivering a pair of concrete shoes choosing instead to writing a scathing letter to Ezrin, a 2004 Canadian Music Hall Of Fame inductee. Not so surprisingly, after searching the internet for nearly ten years we are still hard pressed to find any statement whatsoever that ‘Bobby’ has ever made regarding his experience with Adrian Millar, apologizing to or commending any member of The Babys for that matter.
Knowing Adrian as we did, the saving grace for ‘Ezzy’ was Millar’s perception that if he pushed things too far with the complete and total album remix, it would have tipped the already tenuous scales on the relationship that was developing between him, the band and U.K. Chrysalis execs (Christopher Norman Wright to be exact), along with unexplained expenditures (such as more perks ordered up by ‘My Own Production Company, Ltd’) unpaid bills, no publishing deal and still without any definitive American royalty rates, etc.
The truth of the matter was that the band’s rock ‘n’ roll wheels already needed greasing because while the band was recording in Canada, the official punk waves were smacking into Britain with such vengeance that The Babys were (as Adrian put it) ‘yesterday’s news’ before getting started. Incidentally, this constant battering prompted Mr. Wright to dump the bands hefty contract onto his American counterpart (T.C. Terrence Ellis) as a ‘good gestured bill of goods’ for his fledgling U.S. label launch.
The clever acronym equates to being: Chris + Ellis = Chrysalis Records U.S.A.
When the band arrived in Los Angeles to hoards of the ‘teeny-bopper’ press (the first product of Ellis’ by-product), well-researched opinion indicates that even Millar had notions to what the liners termed as a “ruthless putsch,” and when you do the methodical-math on how A&R man Russ Shaw was instructed to hang ‘Ade’ out to dry during the initial stages of the “There’s A Buzz On The Babys” campaign that raged across the States, the story evolves into the band being ‘kidnapped’ and becomes even more absurd as we defer again to the late Adrian Millar’s entertaining thoughts:
“It (the kidnapping) was the only way they (Chrysalis) could see of getting rid of me, childish isn’t it? All they had to do was call a meeting to discuss my pay off and it would have been over…after all, what kind of record company kidnaps its own band? They should have kidnapped Adrian Millar! The whole episode lasted all of about 5 minutes. 24 hours later I was sitting poolside over at the Arden Mansion with Freddy Beinstock and a Chrysalis board guy called Sal Licata swings by telling me that Corby advised the ‘Butterfly-Boys’ to brick the front entry and bar the doors.
~ Cream Magazine Article (Sept 1977) ~
Millar continues the story: “A few hours later, they send Elliot Roberts out to negotiate with me. Roberts comes pulling up in a little Ford Capri. When he gets out of the car he looks like he is going to start to cry, pleading with me “I had nothing to do with this, I was simply asked to take over the management of the band.” I say, “So, you’re the big man are you?” He says “I don’t want any money for this; you can have my management commission.” (Adrian laughing as he remembers this incident) All I wanted was my investment back and looking at what happened to the rest of Babys, I think I was the only one to get any money out of the deal.
Millar confided to the archives that in order to get Wright & Ellis to make good on their ‘bailout,’ he had to have (2) richly-adorned caskets delivered to their doorsteps, C.O.D. at 2:00 in the morning…
Yes, really!!
~ Circus Magazine Article (June 9, 1977) ~
At this stage of our read, we are well onto a second whisky, full of laughter and totally enthralled as if it were the first time ever hearing such recollections, and this must be where the ‘pride factor’ figures in for it’s now obvious that the information contained within the booklet is the byproduct of numerous Internet sources inspired by the launching of “The Babys Official Unofficial Archives and Chronological History” back on September 4, 2004:
The stealth contributors over at Wikipedia are also doing a remarkable job comparing the true history of the band from what had been pooling up in the laughably inaccurate information on the now varyingly-defunct ‘Waite-Sites’ that have clogged the Internet and previous attempts at liner noting for nearly three decades.
Closing the last chapters and flipping the pages of this enjoyably accurate reading, our heart was speared with some extremely good formulations in the liners about the ‘Broken Heart’ era recording sessions, introducing us to a glowing report on the efforts put forth by renowned producer Ron Nevison while attaching some well-earned, yet seemingly lofty comparisons to Bad Company, Paul Rodgers and the almighty Led Zeppelin!
All hats go off to BGO for taking a bold stance behind David Wells’ assessment that the track titled ‘And If You Could See Me Fly’ sounded “for all the world like an outtake from Physical Graffiti (an album Nevison had worked on in an engineering capacity). Although this may be a first time realization for some, the music press made identical comparisons during The Babys’ first American Tour in early 1977.
All this ‘Zepping’ around fills the order to properly setup the next phase of our critique, with legendary comparisons for our drummer Tony Brock in form of a compliment paid by the late John Henry Bonham. This coincidental meeting took place at ‘The Rainbow’ following a sold-out Zeppelin show that ‘Brockie’ had just witnessed at the Inglewood Forum in the L.A. area. During the discussion, Bonham praised Tony indicating he was duly impressed after seeing Tony’s performance on a recent television appearance. Corby notes:
“I would have to say that Zeppelin played an abominable show at the L.A. Forum in June of ‘77 only to rescue it during ‘Kashmir’ and remind us of precisely why they were, without doubt, the most incomparable heavy rock band in history for approximately twenty minutes, after which the memories of their shameful crucified renditions of their classic repertoire, which had been an endurance test for most of the show, simply evaporated. That was Zeppelin all over. Hours of mess and twenty minutes in a dimension that unquestionably justified their magnificent and unassailable right to the crown and sceptre of rock. Certainly, those twenty minutes were rivaled by nothing…ever!”
Corby’s footnote describes: “I observed Tony Brock transfixed by Bonham’s devastating, Thor-inspired delivery of the goods that night during ‘Kashmir,’ and it is my personal belief that it was that very moment which inspired that which was arguably Brock’s finest performance, a track called ‘The Golden Mile’ on our ‘Broken Heart’ album.
~ Record World (Jan 21, 1978) ~
Adrian Millar often quipped: “Do you know who the greatest rock and roll drummer was? (pause) It’s between Keith Moon, Ginger Baker and John Bonham. (pause) Shall I give you a hint? (pause) Neither, it was Brockie, only until recently though…with the advent of the drum machine!”
This is great that Wells chose to recognize Tony Brock’s lead vocal contributions on both Babys albums. In one respect it was well deserved and can also be summed up with Tony’s appreciation towards Corby who acted the part of ‘big brother’ (mainly with Walt Stocker), often voicing their ‘muted’ opinions and making sure that each had proper album/songwriting credits. Corby notes that he didn’t want any talents going by the wayside like George Harrison’s did during The Beatles era and says he fought to have Tony’s lead vocal track on each and every album.
~ Record World (Jan 21, 1978) ~
This was armchair quarterbacking the decision not to have ‘Silver Dreams’ as the follow up to Isn’t It Time. We offer a fairer assessment taking into consideration that Tony was featured playing a brilliant white grand piano, center stage on the “Mike Douglas Show” live from the Las Vegas Hilton (February 4, 1978) and appealing to new viewers as well as an audience teaming with Babys fans who absolutely adored this Mr. Brock contribution. Quite honestly, we don’t know that the same worldwide fanfare would have greeted their lead album track ‘Wrong Or Right’ or their side-two opener ‘Broken Heart’ with any better chart results. Although ‘Silver Dreams’ wasn’t exactly ‘Moby Dick,’ it definitively serves as Tony’s well-earned day in the sun!
“Silver Dreams” (February 24, 1978):
THE BABYS were on the crest of their fame, riding high on the charts with their current hit single “Isn’t It Time.” Shortly before embarking on a massive 38 City U.S. Concert Tour, they were scheduled to perform on THE MIKE DOUGLAS SHOW Live from Las Vegas! A widely anticipated week-long series of shows featuring all the glitz and glam of the most popular entertainers of that time. Although THE MIKE DOUGLAS SHOW was a popular daytime variety show with a robust following, the viewers were especially keen on the once a year gala’s booked in Vegas, plus there was an already ripe climate developing due to the upcoming ALI vs. SPINKS Heavy Weight Title Bout. As the daytime extravaganza labored on, cue cards were eventually turned and the audience, loaded with BABY FAN FAITHFULS, reached a fever pitch as the curtains suddenly rose, exposing a brilliant white upright and grand piano. Topping the bill was a stunning center stage vocal performance of “SILVER DREAMS” by Sir Tony Brock (Notice Mr. Stocker sitting in on the drum kit). Appropriate now to offer a huge round of applause for the greatest rock and roll drummer ever…TONY BROCK!!!
Besides, once The Babys had reached such a pinnacle of music success, they earned the right to flex a bit of muscular growth that had been seeded by the chart success of ‘Isn’t It Time,’ a song that evokes even more discussion.
Kudos here for the additional research provided in the liners regarding writers Conrad and Kennedy, adding a spice to enhance more flavor to the importance of this magnificent track, however Corby’s account differs slightly:
“The climate in Los Angeles was a hotbed for songwriters, who solicited band members that frequented the Rainbow. I have recollections of discussions with Sandford (Chas), Conrad (Jack) and Kennedy (Ray). It was Jack (Conrad) who came by my apartment to fine-tune ‘Isn’t It Time.’ However, the first of the two tracks from ‘outside’ writers that were to be put in front of me was ‘A Piece Of The Action’ written by my friend Mike Japp, whom I’d known from my early days in London. The trick here was that we had to pow-wow with Nevison in order to morph them into the sessions being that Japp’s co-writer Sanford had already approached John in The Rainbow Bar & Grill on Sunset Strip and had been told to “piss off!"
Previous conversations with Corby provided recollections that at his apartment (955 North Kings Road, West Hollywood), ‘Isn’t It Time’ was rehearsed; the piano part was spruced up a bit (by Corby) with a few added left-hand notes before introducing it to the band. Even the reluctant Waite thought it would be an instant hit. Interesting to note that Ray Kennedy had also approached Michael at the famed ‘Tramp’ nightclub in central London back in 1980/81, handing him a slip of paper with his handwritten name and telephone number so as to discuss further musical possibilities.
~ Ray’s Malibu Telephone Number ~
Let’s face it, with ‘Isn’t It Time’ flying high at the top of the charts; ‘Broken Heart’ was destined to be a monster!
~ Billboard Magazine (Sept 17, 1977) ~
Nearing an end to our evaluation, we regret only that we at The Babys Archives weren’t notified so as to avoid any glaring errors/omissions, and thankfully there are only a few up to this point. One being the reference to Adrian Millar as ‘Andrew’ Millar and the misconception that The Babys (in its original form) had actually toured Japan. Clarification here is that the appearance was a highly anticipated promotional tour prior to releasing their next 33-1/3 rpm long player, although there certainly were “scenes reminiscent of Beatlemania.” Actually, it’s a very significant piece of The Babys’ history, for we’ve related before, that had the band actually conquered that climate of a frenzied music loving public, the band would have launched itself into the ‘Frampton Comes Alive’ / ‘Cheap Trip Live At Budokan’ stratosphere!!! When looking at film footage of the new band arriving in Tokyo shortly after Corby’s departure it becomes more than clear that this remarkable opportunity was ludicrously forfeited. Instead of the ten thousand hysterical girls that had awaited the original band’s arrival at Haneda Airport (Tokyo International) only months earlier the reception committee of fans was now actually reduced to numbers that could be quite literally counted on one hand. There could be very little doubt at all as to why this happened.
Although the booklet, mostly black and white, does not contain much in way visually (which has compelled us to spruce things up a bit with our presentation), it does hatch perhaps one of the greatest phrases ever coined in any liner note packaging, and it comes in this form of “The Babys managed to snatch defeat from the jaws of victory.” That has to be the most compelling statement ever made in context with summing up the career of The Babys (think about this whilst daubing your tears and listening to all twenty tracks in their entirety).
The liners suggest/assume that it was Terry Ellis who did not like what he heard on one of the earliest rough mixes of ‘Head First’ and ordered a change in band chemistry….not true at all! In fact much of the hoopla began when the each member was handed his own personal cassette and became equally aghast at what he heard on first listen as well. A mysteriously pivotal piece of the puzzle introduced itself in the form of a supposed Babys ‘outtake track’ from the incomplete ‘Head First’ album sessions on a 1992 Chrysalis Records release titled ‘Essential John Waite – 1976 – 1986’ (catF2 21864). A listen to a lovely little ditty called “Love Is A Rose” (or as Corby jousts “Love Is A Dose” from the “Non-Essential”) intertwined with the fact that not one member of the band participated in the recording session proves beyond reasonable doubt that the powers ‘that were’ conspired in a three-way plan to test Waite’s solo mettle by using paid studio musos. To further elaborate would only serve to diminish the reputations of others, therefore we shall stay mum for the time being as the plot thickens.
~ Teen Generation Magazine (May 1980) ~
The truth-in-tragedy ‘lies’ deep within a multitude of suggestions that John Waite’s liaisons with high-ranking Chrysalis underlings (if that makes any sense), and his willingness to buy into their secret desires to bring forth a solo career is more on the order than ridiculous claims of ‘musical differences’ that had absolutely no credence then, now or ever!
So, let’s reset the tables, have a little fun with numbers, and allow you to do some math. Here we go: (1) The Babys just return from a hugely-successful Japanese promotional appearance in early May 1978, (2) tour dates were booked in anticipation of the new album, (3) Corby is a newlywed having married Evita and is expecting a son born Xavier Michael Siddons-Corby on August 18, 1978, (4) with three months left before the year end release date, (5) the album is technically finished and well into the mixing stages.
And (6) The Corbys are now free to rejoice in the domestic exhilaration of their family union, aside from the fact that nobody is being paid, including the roadies. (7) There is no visible compound to The Babys’ fracture, (8) no inkling of dissatisfaction towards direction of music nor does Corby question the lack of dictations from Nevison, as it was his custom to call when and if he wanted you in the studio, (9) all of Mike’s guitar and keyboard work was completed weeks earlier, and (10) there certainly was no need to be fiddling about the control room in the wake of greeting your first child.
So, what’d you come up with?
Amazingly we get (10), exactly the same number of tracks that were intended to appear on the original ‘Head First’ album:
California (When I Came Back Home)
Fools Dream
Money
Please Don’t Leave Me Here
Run To Mexico
Sleep Walkin’
White Lightning
World In A Bottle
You (Got It)
Your Mama Don’t Mind
An 11th track titled ‘Last Chance For Love’ also emerged from these sessions (refer to the MySpace music player) and it’s sad to think it or any other track could be bumped in favor of “Dose.”
On August 28, 1978 (only ten days after the birth of his son), Michael Corby received a phone call urging that he attend a meeting at the Lookout Management Offices on the Sunset Strip. When he enters the room he is given the thoughtless ultimatums of his firing and as he departs…Brock, Stocker and Waite are gazing at the floor.
~ Playboy Photo Shoot (circa 1978) ~
Michael painfully recalls: “My rent was never paid again, and I was asked to quit my apartment at the end of September 1978. I received no more wages, and my medical and furniture bills also were not paid again. At the time of my dismissal I had no legal visa status. Subsequent to the above meeting I was offered $2,500 as a severance payment if I were to release Chrysalis from their record contract guaranteeing the band $I, 055,000.00. I refused!”
~ Xavier not 24 hrs old (Hollywood Hills in background) ~
Again, there is no need to elaborate on Corby’s sacking for obvious reasons (the names can’t be changed to protect the innocent), however we do feel the need to tackle one comment that in one fell swoop, glazes over nearly every word written so far in the liners indicating the opinion that there was somehow an “upshot” to Corby’s removal from the band he started with the decision to usher in the honky-tonk piano replacement of Jonathan Cain ..s (respectfully). Whereas, there certainly is level of improvement with local club scene journeyman Ricky Phillips taking over on bass guitar (respectfully). Make no bones; the sacking of Michael Corby produced no upshot!
Michael Corby, ever the maker of mischief, refers to this evolution as ‘Cain & Abel Join The Iscariots’ and suggests: “The more time passes, the differences between the original Babys and the Mk2 version become more apparent than ever. The 'Americanized' band were more in the vein of 'artistes' (public performers) who played what they thought the public wanted to hear whereas I introduced the audiences to musical nuances that they didn't know they wanted to hear. I’ve always been a true 'artist' (a person whose creative work shows sensitivity and imagination) and that's something that just a year or so in art school won't qualify you as.”
Venturing back over to liner note perceptions, we are pleased to see that proper credit has been given to our friend Mike Japp for writing ‘A Piece Of The Action’ however, he also contributed ‘I Was One’ (a.k.a. Make Believe), along with backing vocals, to yet another stellar composition added to the eventual track listing on “Head First.” Injury to insult here is that Cain and Phillips never played a note on the official release nor was Corby properly credited, his photo having been completely removed.
Mr. Japp recalls that he once came down to the studio at the request of Nevison to secretly work out with the band and demoed the song ‘Make Believe’ at this time. Japp was apparently offered a position in the band to replace Corby, but after years of similar predicaments, he decided he didn’t want any part of this end of business and chose to keep his relationship with Corby in tact on the friendliest of terms (and still is). Japp also knew Adrian Millar quite well, (wink, wink) and he much liked the idea of freely walking the earth…in the living form.
In 2005, Mike Japp released his long awaited solo CD titled “Dreamer.” For a sampling of his new version of ‘A Piece Of The Action,’ please visit Mike’s Official website:
Touching upon one more lingering aspect of the notes, we have to go full circle in regards to “Adrian Millar’s other glam-rock protégés, the Rats,” it should be noted that David ‘Kubie’ Kubinec’s career wasn’t geared anywhere near ‘glam’ and his Rats were actually a hard-rock quartet and most certainly the archetypical predecessors to The Babys.
Just last month (November 2008), Kubie inked a deal with ‘Voiceprint Music’ to release a (6) CD compilation that will, in a sense, display his life’s work. The first to be issued on this ticket will be the unreleased “Rats Second Long Player Record,” with yet a third long player still in the can!
True to form, and shortly before his sudden passing, Adrian was busy working out the licensing details to release Kubie’s catalogue under another of his cleverly-coined monikers…‘The Pleasure Of My Company, Ltd’
The liners conclude appropriately with a lackluster praise of John Waite’s forever-stalling solo career leaving the reader to multiply the most absurd of rock and roll tragedies or watch the film ‘This Is Spinal Tap’ to understand that there was more to the Corby sacking than a mild conflict of interest(s). Over this past year, Michael Corby published an open letter to John Waite in an effort to resolve a few lingering issues and possibly reform the band that made them both famous, but Waite chose to stay mum on the project, apparently refusing delivery of a registered mailing of the letter (you can view Corby’s poignant letter on his personal MySpace site):
Upon reading the liner notes himself, Michael Corby served up the following summation:
“The re-release of the first two albums is a mere continuance of the greed that has always repulsed me. The liner notes are, at least, neutral and that is a breakthrough. They are still littered with inaccuracies, such as crediting John as the sole writer of ‘If You’ve Got The Time,’ but there again, if there was not at least some degree of crediting John with things he had little part in I would probably find the shock of it to be beyond my ability to withstand. I also find it quite staggering that people fail to realise that I am not the lead guitarist on some of the tracks. Suggesting that Walt was the guitarist that played lead on everything [including Read My Stars, Looking For Love and If You’ve Got The Time] merely establishes one more incredulous time that profound deafness is a necessary qualification for any rock critic worthy of respect. I therefore bow in gratitude to the impressive ignorance of the latest in a very long and unbroken line of well-established literary imbeciles. Give ‘em what they want and never forget that bullshit is the favourite dish of the well-informed…”
In closing, had we not embarked on ‘Project Babys’ back in 1999, the liners included here would most certainly be predictable, and thanks to the diligence of BGO Records and literary expertise of David Wells, fueled by non-stop passionate fan stirred debates on the Internet, the true beginnings and full story of The Babys is finally beginning to make more sense. Regrettably ‘The Babys Official Archives’ website was not mentioned or credited, and none of any of the original members were contacted to our knowledge.
With as much said, we would be remiss if we didn’t offer our thanks to a few who are responsible for much of the inspiration that floats the enthusiasm necessary to complete this composition. None of which would be united had Michael Corby never crossed paths with Adrian Millar and they are:
Alasdair Baird
Dave Baird
Richard Blatt
Gary Borress
Sharon Conroy
Rik Fennell
Martha Hicks
Petra Machulla-Meier
Sonja Peterson
Phil Sharkey
Ken Sharp (for getting things rolling)
And many, many more . . .
The above writing shall also be recognized as a tribute dedicated to the memory of the late Adrian Millar who passed suddenly on this the 9th day of December, two years ago in 2006.
Adrian Millar (6th November 1949 - 9th December 2006)
“Providence says stay tuned, as the double-barreled Michael Siddons-Corby Story is coming to a theatre near you!”
- END ADDENDUM & EVALUATION -
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The Babys Official Unofficial's Friend Space (Top 39)
Hi, just wanted to let you know we are excited that our songs are now on I-Tunes, Rhapsody,E-Music, Amazon, and Napster for .99 cent downloads. Much love to you, and thanks for listening and hanging with us on myspace! anne-marie and green bracelet
~~~Hug Me Til I Hug U Back~~~ ~~~Trust Me Til I Trust U Back~~~ ~~~Watch Ur Front Cuz I Got Ur Back~~~ ~~~Any True Friend Would Get This Back~~~ ~~~Pass This On To All Ur True Friends~~~ ~~~See How Many U Get Back~~~ COURT ORDER!!! You are accused of.... crawling into my HEART... And hijackin my SMILES... With your CUTENESS... HOW DO YOU PLEAD..... GUILTY?!?! YOU are sentenced... TO BE MY FRIEND FOR LIFE!!!!!! NO BAIL...... ;o) Send this to all your friend's... Including ME!!! IF YOU GET 10 BACK......!!!!!!!! YOUR FRENDSHIP IS WORTH KEEPIN
Dear Mark, Thank you for the new Baby's songs. The live tracks especially are just brilliant. This band had it all, and lacked nothing in my opinion. Their music is still relevant today and The Babys go down in history I believe as one of the greatest rock 'n' roll bands ever to leave the shores of Great Britain.
~ TONY BROCK ~
~ MIKE CORBY ~
~ WALT STOCKER ~
~ JOHN WAITE ~
~ Corby & Millar Signed Managed Agreement ~
Excuse me please, but that perception couldn’t be anything further from the truth, and one only need to look at the album cover on the eponymous The Babys album to see that the image reflected here is more of a mildly-sophisticated band of streetwise Brits, or as Babys aficionado Rik Fennell once put it, “At the time of the first album when I was just finishing art college, image and street credibility were key, and I aspired to their collective honest ‘come-as-you-are’ appearance…” Not exactly the kind of crew you would want to meet on the darkened street sections in Tooley Street, but far, far from being pretty boys. Then again, I guess it makes for a good lead into an already great story!
~ Promotional Photo Shoot by John Prew ~
The idea that The Babys were launched knowingly at the “height of punk” is also a huge misnomer as the band members had been busy honing their respective crafts long before the punk phenomenon hit full stride (or as the general population knew of it) and even longer before the term had been coined. The late Adrian Millar once recalled:
“I first met Mike Corby in the early ‘70s. From the very beginning of our association our outlooks, ambitions and destinies appeared to be very similar. We both had an obsession with forming a band with an obvious view to being extremely commercial and successful particularly in the larger music-oriented territories i.e. the USA, Germany, Japan and the UK. Shortly after our first encounter we developed a blueprint for the type of vehicle, (band/members), we would require.”
Statement of Witness: Adrian Millar (Witness) for Michael John Siddons-Corby (Plaintiff) and Chrysalis Records Limited (Defendant) Case: CH1987-S-No.406, filed in the High Court of Justice Chancery Division by Solicitors for the Plaintiff, dated February 15, 1984.
Millar concluded that it was merely by coincidence that punk seemed to arrive overnight and shortly after inking the multi-album deal with Chrysalis Records on May 4, 1976. Furthermore, the Babys weren’t exactly the only act to bolt for the States, but a case can certainly be made that they were in fact the last. Their unique beginnings being more accurately pinned on the tail end and perhaps even historically chronicled as being the last great rock band to leave the shores of Great Britain.
In direct contrast, the perception that John Waite had the notion to book a flight to Cleveland to start a rock band isn’t exactly a proper chain of events either. Clarification on that order comes from a telephone conversation had with former Boys drummer Joe Battaglia on the afternoon of September 5, 2004 that went like this:
“Disappointments in our original band ‘Granicus’ (pronounced Grann-ik-us) mounted when our lead singer (Woody Leffel) decided to quit the band, so our manager (George Frieje) quickly placed an advertisement in the ‘Melody Maker.’ A singer from Scotland called Jesse Ray answered the ad and after hearing his demo, was offered the position and flown out to Cleveland to begin working out with the band. No sooner had rehearsals begun, our bass player (Dale Bedford) decided to quit the band. With no bass player and the new singer’s voice steeped more in the traditions of rhythm and blues, we decided to give up on the idea for a reformed band, instead we changed musical directions and renamed the band ‘The Boys.’ Jesse then asked us to check out a friend he knew from London called John Waite who was immediately flown out to play bass guitar.”
~ Battaglia, Frieje & Waite in Cleveland ~
An interesting tidbit here is that Jesse Ray (a.k.a. Phil Rae) was briefly a former member with Waite in Olly Alcock's band ‘England’ and still enjoys a career as a cult figure, singing and staring in videos, etc.
~ Jesse Rae Picture Sleeves ~
Further into the liners, produces necessary clarification regarding the suggestion that a “series of arguments with Waite” contributed to Gordon Hawtin’s departure, rather it’s important to note that Hawtin (a gentle giant), suffered greatly with low self-esteem and simply couldn’t stand one more rehearsal session with Waite’s incessant criticism of his vocals. Gordon’s e-mail dated June 1, 2004 insists:
“I first met Waitey in a pub called Swiss Cottage around 1973 while I was working at guitar shop on Shaftsbury Avenue called Guitar Village. In those days I was known as ‘The Village Idiot’ because I use to nail plectrums to the floor and watch mega-rock stars try to pick them up! Well, I’m a pretty good guitarist, referred to myself as a poor man’s Gary Moore (laughing).
Gordon (a.k.a. Gordon Rondelle) concludes: “I never really considered myself a singer, but I could sing you know and sounded a bit like Rod Stewart, just 12 bar rock stuff. Waitey did not like that telling me “Why do you want to sound like that?” and gave me brain damage insulting my singing. Really hurt my feelings because we had been really good mates before he joined, and all of a sudden he was slagging me down. I realized that my good will and honesty were only rewarded with contempt. Waitey had a big ego now, and I wasn’t very confident in myself, or my playing so this was particularly difficult. After rehearsals, they dropped me off outside my flat in Camden Town, I went ‘round to the boot of the car, got my gear (Vox AC30 & Les Paul Junior) and nobody said a word. I never phoned them, and they never phoned me; it was obvious that it was over for me. That was the last time I saw them until I bumped into Waitey shortly after I began seeing advertisements posted on the tube stations and double-decker buses for the release of their first EP. I asked him if he might give me a copy and instead he tells me “Go buy one yourself.” Really bothered me you know, I always considered him my mate....”
~ Three Track Single Promotional Poster ~
Incidentally, Gordon had or should we say, still has a lovely voice reminiscent of Rod Stewart’s delivery and looking back, it would have blended nicely with The Babys.
~ Gordon Rondelle Picture Sleeve ~
~ Adrian Millar’s Original Logo Design ~
Millar’s role in the ruckus being his constant wrangling with Corby that Waite had begun to expose his ‘self,’ and if they continued much longer with his branding, it would have served the professional equivalent of the kiss of death vs. Corby’s foresighted insistence to stick with John’s rapidly developing vocal ability while strapped to the bass, standing directly in front of the ‘mic.’ Millar stated during a rare interview:
“The only problem here was that Mike didn't sing, and it just goes to show how a tiny little element can change everything. If Mike had been the one with 'the voice,' it would have balanced the status quo between him and John. Then, if you want to look at the bright side of things, we wouldn't have been forced into employing somebody like John Waite, a person who was so completely opposite of Mike Corby.”
Corby’s pal Lemmy suggested his sentiments towards employing a vocalist years earlier and in much fewer words, “The problem with that of course is that you get stuck with a f@%&*ing singer!”
Millar continued the thread in his final assessment of such a flaw by saying “The inherent built-in design fault that’s always going to come back and trip you up, electrocute or drown you in a cup of coffee was the fact that Mike Corby had all the looks and should have been the lead singer.”
~ L. A. Free Press (April 8, 1977) ~
Ultimately these dueling perceptions proved to have exacting and dire consequences on the careers of Messrs. Brock and Stocker as well. Then again, had Adrian not persuaded Corby to rejoin the band, even with such a voice as Waite’s, The Babys weren’t going anywhere without his face!
~ Michael Corby Photo Shoot by Duffy ~
As we venture on, perceptions in the liners that Ezrin perceived The Babys as being “still a long way from being a finished article” vs. a continued opinion that “Bon Jovi and Richie Sambora used the influence of ‘Wild Man’ as mold for their chart topping ‘Wanted Dead Or Alive,” we, in the same breath disagree whole-heartedly especially when coupled in with his expression of “the real meat” being the inclusion of perhaps the weakest song on the album ‘I Love How You Love Me’ (a song Corby often refers to in vain reference to Waite as “I Love How I Love Me”).
~ Paris Sisters Juke Box Label ~
Corby still insists that had John been willing to listen to the backlog of original tunes placed on the table by an agreeable young assistant guitar tech (instead of cozying up to Ezrin during each late night mix down); The Babys may have landed a 1 hit without having to resuscitate ‘If You’ve Got The Time’ or banking on Ezrin’s suggestion a re-make of the Paris Sisters’ jukebox smash “I Love How I Love Me.” (sic) Validation comes easily once you’ve properly identified the tech as being none other than a soon-to-be ‘80s’ rock icon called Bryan Adams!
~ Sound Stage Studios Recording Itinerary ~
Corby takes further aim with another stinging recollection:
“Ezrin borrowed £5,000 from the band to buy some more candy and never paid the group back, even bounced a check. So, here is the world’s so-called greatest producer, platinum records, Peter Gabriel, Alice Cooper and all the rest, screwing The Babys. You better believe it bothered me that he thought we were lousy musicians and if that was the case then how did we manage to record ‘Broken Heart’ less than a year later?
Perhaps a solution to the myth that The Babys were struggling to fill an albums worth of material comes in the form of overlooking two tracks, ‘And If You Could See Me Fly’ and the mesmerizing ‘I’m Falling,’ left waiting in the cue. Not too surprising, that both wound up making the cut on ‘Broken Heart.’
~ Broken Heart Acetate Test Pressing ~
On December 20, 2006 a woman named Judy Schneider contacted the archives with such important recollections that we’ve decided to include the bulk of her e-mail (it’s a doozy so, take five and we’ll hold the line while you get yourself a glass of spirits):
Dear Babys Archives,
I met Michael Corby while working at a Disco called Mingles. Michael and I hit it off right from the start. He invited me to come to Nimbus 9, which I did several times during the course of the recording of their first album. He also asked me to set up a tour of the then brand new CN Tower in Toronto for the band members. It was, at the time, the tallest free standing structure in the world. In fact, parts of the tower were still under construction. I took them to the CN tower and we spent a couple of hours looking around. The other members of the band were ok with it but it was Michael who was outwardly appreciative of the effort.
One evening, after Michael had finished at the studio, I took him out to the after-hours scene in Toronto. We went after hour’s club hopping. The most popular after-hour’s club at the time was called Jokers, and Michael was particularly pleased with it. Michael and I were just walking around when someone I knew called me over. I went to talk to see what he wanted. He said in hushed tones “Who the hell you with? He looks like a bum.” Michael was wearing jeans and a long sleeve t-shirt. Not what you might associate with Michael but there you have it. The guy making the comment was dressed in the signature Italian disco scene look; the look we now associate with John Travolta in “Saturday Night Fever.” However, the guy Aldo, making the comment was my ex-brother-in-law and it wouldn’t have mattered who I was with, they would have been a ‘bum’.
I told Michael what Aldo had said, and he said that Aldo had no idea what he was talking about. The jeans Michael was wearing were Italian jeans and very expensive, not your everyday pair of Wranglers. And, Michael’s t-shirt, as he pointed out to me, had no seams. Michael asked me if I’d ever seen a t-shirt without seams. Have to say I hadn’t nor do I think I have since. Again, a one of a kind type of clothing that Aldo had dismissed as being trash. Michael could never be accused of looking like a bum that’s for sure.
The first time I went to Nimbus 9 I brought a dozen donuts and sure enough that ingratiated me somewhat with the people there. I never felt unwelcome by anyone there except John Waite’. He was one arrogant son-of-a-disappointed-mother. Well I’m not sure whether she was disappointed or not but she should have been.
John Waite grated on my nerves, and I saw him as moody, always bitching about something and never satisfied. It was apparent that he and Michael did not get along. Michael was the gentle, reflective thinker while John was brash, combative and so full of himself. The saying that you are known as much by whom your enemies are as by whom your friends are is true. The fact that Michael and John clashed only stands as proof that Michael had good sense.
Tony Brock and Walt Stocker both seemed very quiet and forever trying to stay out of the way of John. When Bobby Ezrin was around they seemed to melt into the scenery. I don’t have many memories of them in the studio although I know that they must have been there and the reason is that they were both very reserved and quiet.
Bobby Ezrin on the other hand was one piece of work. I remember Bobby being around quite a bit as compared to what the others say, so I’m assuming that I just managed to be at the studio most often when he happened to show up. Lucky me.
There were a few instances that made me very upset with Bobby and what he was doing to The Babys and to Michael in particular, but I was too naive to understand what was happening and was way out of my element when it came to seemingly having any right to say anything to Bobby or John for that matter. It really wasn’t my place.
There were times in the recording studio that you could cut the air with a knife. I don’t remember all the details but I do know that Michael was surprised by decisions, which were being made, behind his back on more than one occasion. I remember sitting with him in a back room while he had to rework or rewrite, I don’t remember which, possibly “If You’ve Got The Time.” He was very upset. If I’m not mistaken he said that it did not need to be reworked but that Bobby insisted. And, it wasn’t as if anyone was in there with Michael collaborating. It isn’t that they felt the least tinge of compassion and understanding for Michael. They didn’t give a pig’s ass about him. In the short time that I knew Michael and the others I had seen and experienced enough to know that Michael was being lied to, shown a great deal of disrespect, derogated and disheartened. It was systemic and came from two sources John Waite and Bobby Ezrin.
After The Babys left Toronto I did not hear from Michael again until he went to Los Angeles. One night I received a call at 2:30 in the morning, 11:30 p.m. California time. My mother answered and ran to get me out of bed. Michael and I talked a few minutes. He just let me know he was doing well and working on another album. I never heard from him again. A couple of years later I had called Michael’s mother, he had given me her number if ever I want/needed to get in touch with him. She was very nice and told me that he was still in California and well. To know he is and has been well to this day and that there has come together a force to rewrite history from the side of facts verses from some people’s egos just makes me truly happy.
Thank you giving me a chance to let some steam off and to add a small part to your efforts to try and get history back on the right track.
I apologize if my writing has sounded more like ramblings as I do not profess to be much of a writer. Yet, perhaps, you will be able to cut through the brambles and make sense of it all. It was a traumatic time for me. I met a beautiful, gentle creature in Michael and had to watch while John and Bobby treated him so horribly. I have never bought any of The Babys' albums; it would have only reminded me of that time.
All the best,
Judy
~ Judy Schneider & Michael Corby at Yorkville / Bay ~
Touching back on the liner notes detailing “vague mutterings of a remix” needs further clarification for Adrian stopped just short of delivering a pair of concrete shoes choosing instead to writing a scathing letter to Ezrin, a 2004 Canadian Music Hall Of Fame inductee. Not so surprisingly, after searching the internet for nearly ten years we are still hard pressed to find any statement whatsoever that ‘Bobby’ has ever made regarding his experience with Adrian Millar, apologizing to or commending any member of The Babys for that matter.
Knowing Adrian as we did, the saving grace for ‘Ezzy’ was Millar’s perception that if he pushed things too far with the complete and total album remix, it would have tipped the already tenuous scales on the relationship that was developing between him, the band and U.K. Chrysalis execs (Christopher Norman Wright to be exact), along with unexplained expenditures (such as more perks ordered up by ‘My Own Production Company, Ltd’) unpaid bills, no publishing deal and still without any definitive American royalty rates, etc.
The truth of the matter was that the band’s rock ‘n’ roll wheels already needed greasing because while the band was recording in Canada, the official punk waves were smacking into Britain with such vengeance that The Babys were (as Adrian put it) ‘yesterday’s news’ before getting started. Incidentally, this constant battering prompted Mr. Wright to dump the bands hefty contract onto his American counterpart (T.C. Terrence Ellis) as a ‘good gestured bill of goods’ for his fledgling U.S. label launch.
The clever acronym equates to being: Chris + Ellis = Chrysalis Records U.S.A.
When the band arrived in Los Angeles to hoards of the ‘teeny-bopper’ press (the first product of Ellis’ by-product), well-researched opinion indicates that even Millar had notions to what the liners termed as a “ruthless putsch,” and when you do the methodical-math on how A&R man Russ Shaw was instructed to hang ‘Ade’ out to dry during the initial stages of the “There’s A Buzz On The Babys” campaign that raged across the States, the story evolves into the band being ‘kidnapped’ and becomes even more absurd as we defer again to the late Adrian Millar’s entertaining thoughts:
“It (the kidnapping) was the only way they (Chrysalis) could see of getting rid of me, childish isn’t it? All they had to do was call a meeting to discuss my pay off and it would have been over…after all, what kind of record company kidnaps its own band? They should have kidnapped Adrian Millar! The whole episode lasted all of about 5 minutes. 24 hours later I was sitting poolside over at the Arden Mansion with Freddy Beinstock and a Chrysalis board guy called Sal Licata swings by telling me that Corby advised the ‘Butterfly-Boys’ to brick the front entry and bar the doors.
~ Cream Magazine Article (Sept 1977) ~
Millar continues the story: “A few hours later, they send Elliot Roberts out to negotiate with me. Roberts comes pulling up in a little Ford Capri. When he gets out of the car he looks like he is going to start to cry, pleading with me “I had nothing to do with this, I was simply asked to take over the management of the band.” I say, “So, you’re the big man are you?” He says “I don’t want any money for this; you can have my management commission.” (Adrian laughing as he remembers this incident) All I wanted was my investment back and looking at what happened to the rest of Babys, I think I was the only one to get any money out of the deal.
Millar confided to the archives that in order to get Wright & Ellis to make good on their ‘bailout,’ he had to have (2) richly-adorned caskets delivered to their doorsteps, C.O.D. at 2:00 in the morning…
Yes, really!!
~ Circus Magazine Article (June 9, 1977) ~
At this stage of our read, we are well onto a second whisky, full of laughter and totally enthralled as if it were the first time ever hearing such recollections, and this must be where the ‘pride factor’ figures in for it’s now obvious that the information contained within the booklet is the byproduct of numerous Internet sources inspired by the launching of “The Babys Official Unofficial Archives and Chronological History” back on September 4, 2004:
~ Record World (Jan 21, 1978) ~
Adrian Millar often quipped: “Do you know who the greatest rock and roll drummer was? (pause) It’s between Keith Moon, Ginger Baker and John Bonham. (pause) Shall I give you a hint? (pause) Neither, it was Brockie, only until recently though…with the advent of the drum machine!”
This is great that Wells chose to recognize Tony Brock’s lead vocal contributions on both Babys albums. In one respect it was well deserved and can also be summed up with Tony’s appreciation towards Corby who acted the part of ‘big brother’ (mainly with Walt Stocker), often voicing their ‘muted’ opinions and making sure that each had proper album/songwriting credits. Corby notes that he didn’t want any talents going by the wayside like George Harrison’s did during The Beatles era and says he fought to have Tony’s lead vocal track on each and every album.
~ Record World (Jan 21, 1978) ~
This was armchair quarterbacking the decision not to have ‘Silver Dreams’ as the follow up to Isn’t It Time. We offer a fairer assessment taking into consideration that Tony was featured playing a brilliant white grand piano, center stage on the “Mike Douglas Show” live from the Las Vegas Hilton (February 4, 1978) and appealing to new viewers as well as an audience teaming with Babys fans who absolutely adored this Mr. Brock contribution. Quite honestly, we don’t know that the same worldwide fanfare would have greeted their lead album track ‘Wrong Or Right’ or their side-two opener ‘Broken Heart’ with any better chart results. Although ‘Silver Dreams’ wasn’t exactly ‘Moby Dick,’ it definitively serves as Tony’s well-earned day in the sun!
“Silver Dreams” (February 24, 1978):
THE BABYS were on the crest of their fame, riding high on the charts with their current hit single “Isn’t It Time.” Shortly before embarking on a massive 38 City U.S. Concert Tour, they were scheduled to perform on THE MIKE DOUGLAS SHOW Live from Las Vegas! A widely anticipated week-long series of shows featuring all the glitz and glam of the most popular entertainers of that time. Although THE MIKE DOUGLAS SHOW was a popular daytime variety show with a robust following, the viewers were especially keen on the once a year gala’s booked in Vegas, plus there was an already ripe climate developing due to the upcoming ALI vs. SPINKS Heavy Weight Title Bout. As the daytime extravaganza labored on, cue cards were eventually turned and the audience, loaded with BABY FAN FAITHFULS, reached a fever pitch as the curtains suddenly rose, exposing a brilliant white upright and grand piano. Topping the bill was a stunning center stage vocal performance of “SILVER DREAMS” by Sir Tony Brock (Notice Mr. Stocker sitting in on the drum kit). Appropriate now to offer a huge round of applause for the greatest rock and roll drummer ever…TONY BROCK!!!
~ Ray’s Malibu Telephone Number ~
~ Billboard Magazine (Sept 17, 1977) ~
Nearing an end to our evaluation, we regret only that we at The Babys Archives weren’t notified so as to avoid any glaring errors/omissions, and thankfully there are only a few up to this point. One being the reference to Adrian Millar as ‘Andrew’ Millar and the misconception that The Babys (in its original form) had actually toured Japan. Clarification here is that the appearance was a highly anticipated promotional tour prior to releasing their next 33-1/3 rpm long player, although there certainly were “scenes reminiscent of Beatlemania.” Actually, it’s a very significant piece of The Babys’ history, for we’ve related before, that had the band actually conquered that climate of a frenzied music loving public, the band would have launched itself into the ‘Frampton Comes Alive’ / ‘Cheap Trip Live At Budokan’ stratosphere!!! When looking at film footage of the new band arriving in Tokyo shortly after Corby’s departure it becomes more than clear that this remarkable opportunity was ludicrously forfeited. Instead of the ten thousand hysterical girls that had awaited the original band’s arrival at Haneda Airport (Tokyo International) only months earlier the reception committee of fans was now actually reduced to numbers that could be quite literally counted on one hand. There could be very little doubt at all as to why this happened.
Although the booklet, mostly black and white, does not contain much in way visually (which has compelled us to spruce things up a bit with our presentation), it does hatch perhaps one of the greatest phrases ever coined in any liner note packaging, and it comes in this form of “The Babys managed to snatch defeat from the jaws of victory.” That has to be the most compelling statement ever made in context with summing up the career of The Babys (think about this whilst daubing your tears and listening to all twenty tracks in their entirety).
The liners suggest/assume that it was Terry Ellis who did not like what he heard on one of the earliest rough mixes of ‘Head First’ and ordered a change in band chemistry….not true at all! In fact much of the hoopla began when the each member was handed his own personal cassette and became equally aghast at what he heard on first listen as well. A mysteriously pivotal piece of the puzzle introduced itself in the form of a supposed Babys ‘outtake track’ from the incomplete ‘Head First’ album sessions on a 1992 Chrysalis Records release titled ‘Essential John Waite – 1976 – 1986’ (catF2 21864). A listen to a lovely little ditty called “Love Is A Rose” (or as Corby jousts “Love Is A Dose” from the “Non-Essential”) intertwined with the fact that not one member of the band participated in the recording session proves beyond reasonable doubt that the powers ‘that were’ conspired in a three-way plan to test Waite’s solo mettle by using paid studio musos. To further elaborate would only serve to diminish the reputations of others, therefore we shall stay mum for the time being as the plot thickens.
~ Teen Generation Magazine (May 1980) ~
The truth-in-tragedy ‘lies’ deep within a multitude of suggestions that John Waite’s liaisons with high-ranking Chrysalis underlings (if that makes any sense), and his willingness to buy into their secret desires to bring forth a solo career is more on the order than ridiculous claims of ‘musical differences’ that had absolutely no credence then, now or ever!
So, let’s reset the tables, have a little fun with numbers, and allow you to do some math. Here we go: (1) The Babys just return from a hugely-successful Japanese promotional appearance in early May 1978, (2) tour dates were booked in anticipation of the new album, (3) Corby is a newlywed having married Evita and is expecting a son born Xavier Michael Siddons-Corby on August 18, 1978, (4) with three months left before the year end release date, (5) the album is technically finished and well into the mixing stages.
And (6) The Corbys are now free to rejoice in the domestic exhilaration of their family union, aside from the fact that nobody is being paid, including the roadies. (7) There is no visible compound to The Babys’ fracture, (8) no inkling of dissatisfaction towards direction of music nor does Corby question the lack of dictations from Nevison, as it was his custom to call when and if he wanted you in the studio, (9) all of Mike’s guitar and keyboard work was completed weeks earlier, and (10) there certainly was no need to be fiddling about the control room in the wake of greeting your first child.
So, what’d you come up with?
Amazingly we get (10), exactly the same number of tracks that were intended to appear on the original ‘Head First’ album:
California (When I Came Back Home)
Fools Dream
Money
Please Don’t Leave Me Here
Run To Mexico
Sleep Walkin’
White Lightning
World In A Bottle
You (Got It)
Your Mama Don’t Mind
An 11th track titled ‘Last Chance For Love’ also emerged from these sessions (refer to the MySpace music player) and it’s sad to think it or any other track could be bumped in favor of “Dose.”
On August 28, 1978 (only ten days after the birth of his son), Michael Corby received a phone call urging that he attend a meeting at the Lookout Management Offices on the Sunset Strip. When he enters the room he is given the thoughtless ultimatums of his firing and as he departs…Brock, Stocker and Waite are gazing at the floor.
~ Playboy Photo Shoot (circa 1978) ~
Michael painfully recalls: “My rent was never paid again, and I was asked to quit my apartment at the end of September 1978. I received no more wages, and my medical and furniture bills also were not paid again. At the time of my dismissal I had no legal visa status. Subsequent to the above meeting I was offered $2,500 as a severance payment if I were to release Chrysalis from their record contract guaranteeing the band $I, 055,000.00. I refused!”
~ Xavier not 24 hrs old (Hollywood Hills in background) ~
Again, there is no need to elaborate on Corby’s sacking for obvious reasons (the names can’t be changed to protect the innocent), however we do feel the need to tackle one comment that in one fell swoop, glazes over nearly every word written so far in the liners indicating the opinion that there was somehow an “upshot” to Corby’s removal from the band he started with the decision to usher in the honky-tonk piano replacement of Jonathan Cain ..s (respectfully). Whereas, there certainly is level of improvement with local club scene journeyman Ricky Phillips taking over on bass guitar (respectfully). Make no bones; the sacking of Michael Corby produced no upshot!
Michael Corby, ever the maker of mischief, refers to this evolution as ‘Cain & Abel Join The Iscariots’ and suggests: “The more time passes, the differences between the original Babys and the Mk2 version become more apparent than ever. The 'Americanized' band were more in the vein of 'artistes' (public performers) who played what they thought the public wanted to hear whereas I introduced the audiences to musical nuances that they didn't know they wanted to hear. I’ve always been a true 'artist' (a person whose creative work shows sensitivity and imagination) and that's something that just a year or so in art school won't qualify you as.”
Venturing back over to liner note perceptions, we are pleased to see that proper credit has been given to our friend Mike Japp for writing ‘A Piece Of The Action’ however, he also contributed ‘I Was One’ (a.k.a. Make Believe), along with backing vocals, to yet another stellar composition added to the eventual track listing on “Head First.” Injury to insult here is that Cain and Phillips never played a note on the official release nor was Corby properly credited, his photo having been completely removed.
Mr. Japp recalls that he once came down to the studio at the request of Nevison to secretly work out with the band and demoed the song ‘Make Believe’ at this time. Japp was apparently offered a position in the band to replace Corby, but after years of similar predicaments, he decided he didn’t want any part of this end of business and chose to keep his relationship with Corby in tact on the friendliest of terms (and still is). Japp also knew Adrian Millar quite well, (wink, wink) and he much liked the idea of freely walking the earth…in the living form.
In 2005, Mike Japp released his long awaited solo CD titled “Dreamer.” For a sampling of his new version of ‘A Piece Of The Action,’ please visit Mike’s Official website:
Touching upon one more lingering aspect of the notes, we have to go full circle in regards to “Adrian Millar’s other glam-rock protégés, the Rats,” it should be noted that David ‘Kubie’ Kubinec’s career wasn’t geared anywhere near ‘glam’ and his Rats were actually a hard-rock quartet and most certainly the archetypical predecessors to The Babys.
Just last month (November 2008), Kubie inked a deal with ‘Voiceprint Music’ to release a (6) CD compilation that will, in a sense, display his life’s work. The first to be issued on this ticket will be the unreleased “Rats Second Long Player Record,” with yet a third long player still in the can!
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