Fowley, Kim


Band members               Related acts

- Kim Fowley -- vocals

 

  supporting musicians (1973)

- Ron Burns -- percussion

- Justin Cheen -- percussion

- John Elstar -- harmonica

- Scott Kerry -- rhythm guitar, percussion

- Tony Mac -- drums, percussion

- Tony Marsh -- keyboards

- Charlie McCracken -- bass

- Peter Moss -- banjo, autoharp, keyboards, mandolin,

  recorder, vibes, etc.

- Glen Turner - lead guitar, rhythm guitar, percussion

 

 

 

- Kim and the Skippers

- Sand

- Skip and Johnny 

- Ron Scuderi

 

 

 


 

Genre: rock

Rating: 4 stars ****

Title:  International Heroes

Company: Capitol

Catalog: ST-11159
Year:
 1973

Country/State: Los Angeles, California

Grade (cover/record): VG+ / VG+

Comments: includes original inner sleeve with lyrics

Available: 1

Catalog ID: 5941

Price: $50.00

 

By my count 1973's "International Heroes" was Kim Fowley's eighth studio set in six years.  Not a bad catalog for a guy better known as a tireless schemer, manager, songwriter, and producer than as a singer.  Anyhow, in case you somehow managed to overlook it, the album photos (complete with lipstick, eye shadow (spotlighting his red, glazed-over eyes) and then-stylish hi-heeled shoes) made it clear that Fowley was interested in pursuing his newest musical interests - namely glam and new wave moves.  'Course that probably shouldn't have come as a major surprise given his recent work which included co-producing Jonathan Richman and the Modern Lovers debut album.   Produced by Jeffrey Cheen, tracks like 'King of Love', 'I Hate You', and 'Dancing All Night' certainly had a distinctive glam edge, but Fowley made certain that nothing was too far out there, ensuring that virtually every one of these ten originals had at least some commercial characteristics.  The other big surprise was that his voice was so well matched to tougher tracks.  At least to my ears, on earlier more pop-oriented releases his raspy voice simply sound unconvincing and out of place.  Not the case here.  This one is a pleasure from start to stop.   The album was also interesting for including brief comments about the songs (which I've included below).

 

- The lead off title track was one of five songs co-written with rhythm guitarist Kerry Scott.  Very nice slice of teenage angst that aptly served to showcase Fowley's growling voice and knack for penning commercial material.   Easy to picture Bowie, or Mott the Hoople having take a shot at this one.  Fowley described 'International Heroes' as: "A song written in the London Borough of Kensington by myself and Kerry Scott.  You will note upon hearing this splendid composition, that it is indeed an anthem as well as a plea for :International Heroes" to save us from the "Teenage Blues".  An employee of the British Vogue Magazine yelled "hit!" when this work of art was sung in my loving room by me."  Capitol seemingly agreed, tapping it as an instantly obscure single.   rating: **** stars

- Over his career Fowley wrote material for an unlikely list of acts ranging from Helen Reddy to Kiss.  Another act that he collaborated with were the early 1970s Byrds.  For a couple of years Byrds guitarist Skip Battin was a regular collaborator (if you doubt me simply check out The Byrds albums "Untitled" and "Byrdmaniax").  'E.S.P. Reader' continued the Fowley-Battin partnership.  Musically, thanks to Peter Moss's contributions, this was easily the album's prettiest composition.  The song also had kind of an ominous lyrical undertone.  Here's what Fowley had to say about the song:  "I am an E.S.P. practitioner.  It is fitting that I write a song about my interpretation of E.S.P.  Mott the Hoople can attest to this as I predicted my own car crash before their Northampton gig.  This epic was co-written by Skip Battin of the Byrds in his Topanga Canyon home the afternoon of the Strawberry Festival.  The song had a devastating effect on the Byrds' roadies, Al and Carlos who upon the completion of the writing of "E.S.P. Reader" drove a Porsche over a cliff in Malibu Canyon.  All the wonderful acoustic noises on this cut are provided by Peter Moss who is taller than I am (if that's possible).  The virtuoso bass pattern is laid down by Irish Charlie McCracken, Kerry's friend from Ireland and an ex member of Taste."   rating: **** stars

- Opening up with a great Beatles-styled guitar chord (courtesy of guitarist Glen Turner), 'King of Love' quickly exploded into a galloping rocker that should have provided Fowley with a massive commercial hit.  Simply a great song with Turner pulling out a solo that would have made Chuck Berry proud.  Fowley's comments on the song:   "King of Love" is written by boy genius Glen Turner and Kim.  Glen is 1 and comes from Sheffield, England.  His Melbourne friend Ron Charles provides the eerie howls at the beginning of each verse.  Glen and I wrote the song for Silverhead in Kensington where "King of Love" was conceived.  In "King" I announce that I am normal and straight.  I hope you are too."    rating: **** stars

- In spite of the cumbersome title, 'Ugly Stories About Rock Stars and the War' was one of the album's catchier songs.  Kicked along by a Peter Moss banjo pattern, the song actually sounded like a late-inning Byrds composition.  Quite catchy.  "Another Kerry Scott/Kim Fowley song that deals on a West Coast revelation level with the distastes of yellow dog journalism.  As we live in an oral literature subculture it is rather useless to comment on the printed word, but then again magazines have always been a source of information for me, as well as a source of knowledge and amusement, since I choose to spend most of my time alone.  You might even interpret this work as a shrewd machine, and if you choose to believe this you're absolutely right."   rating: **** stars

- Along with the title, 'I Hate You' was one of the most glam-influenced tracks on the album.  Supported by some wonderful chiming lead guitar from Glen Turner, this was the song Ian Hunter and Mott the Hoople were always looking for.  Fowley's comments: "A musical event of subtle, frightening brilliance it was written and composed by Lynn de Wolfe and Kim Fowley in Vaxholm, Sweden.  The song is directed towards the negative aspects of being intimidated by the mechanical - military - industrial complex.  After  listening on stunned surprise, you will surely come to the conclusion that I am a most ingenious villain; if you gave grasped anything at all.  You will also note that I an truly the leader of the darker side of glamour.  Ask Angela, the Montana Mining Magnate's daughter; she's a fan of Mae West just like me, as is Johnny Duncan whose instrumental subtleties add a razor edge to this and other cuts."  rating: ***** stars

- The album's first mild disappointment, 'Something New' was catchy enough in a jangly Byrds way, but sounded like Fowley doing a Byrds trying to mimic a Bob Dylan song.   See Fowley's own comments about the influences: "A Kerry Scott and Kim musical extravaganza that is the favorite of our engineer Mike Ross, written in Chelsea off the Kinds Road, not less, even though it sounds like it was written at Ciro's on Sunset Strip in 1965.  In 1965 at Ciro's on Sunset Strip I was a featured dancer with "Vito and the Hands", who performed nightly at all the Byrds gigs.  Perhaps this influence rubs off years later.  It was after one of those Ciro gigs that I jammed across the street with Bob Dylan on guitar and me on vocals,  His influences are here too.  Incidentally, if you have any doubts about Dylan and I jamming together, Danny Hutton of Three Dog Night will verify the story as he was there and smiling."   rating: *** stars

- Yeah, it sounded like The Byrds doing a sea shanty, but that may have been part of the song's appeal.   Perhaps the album's most commercial track, the song also sported another great Glen Turner solo.   "Another Skip Battin/Kim Fowley song written in Honolulu and Topanga Canyon.  The song is for She-Wolf and should alleviate the fears of anyone who considers me a male chauvinist pig.  Speaking of She-Wolf, Walter Samuel at the 16 track would like to meet her if she promises to ballet dance during overdubs.  Madeline Bell is her vocal alter-ego at the end of the record."   rating: **** stars

- Sonically 'So Good, Wish You Would' was the odd man out in this collection.  Co-written by Clear Light member Ralph Shuckett, the song had a very 1960s vibe possible explained by the fact the song was likely written in the late 1960s.  Regardless, great track with a nice funky beat.  Not sure what the mid-section lyrical breakdown was about.  Sounded like Fowley was suffering a stroke, but based on his liner notes, I suspect it may have been something else happening in the studio.  "A Ralph Shuckett/Kim Fowley song, Ralph had played with Clear Light, Jo Mama, and Moogy and the Rhythm Kings, as well as on the Carole King album.  We wrote this song together in Laurel Canyon after a wild party I staged in my dog-hole.  The lead vocal on this selection like all the others on the LP was done in Marrakesh, Morocco.  My Moroccan girlfriend at the time began an exotic dance which cause the vocal fire which you hear during the solo.  Speaking of the 'vocal fire' in the solo, my producer Jeffrey Cheen can't stand it, and asked that I mention that he wanted it removed, and only out of kindness did he allow it to remain on the album.  A definitive expression  of sleaze, and a wonderful song to listen to on a wet and windy night."     rating: **** stars

- 'World Wide Love' was a breezy, surprisingly commercial pop song.  That made it one of the album's biggest surprises and unexpected delights.  Capitol should have tapped it as a single.  "A Kerry Scott/Kim Fowley musical statement of blonde, California Zydeco.  This musical smile happened in Kensington, and is one of Martin Kitcat's favorite cuts on the LP.  It is also a thank-you to She-Wolf and her reassuring phone call.  It also describes my weariness of having lived in Toronto, Helsinki, Vaxholm, The Chateau Marmont, Anderson Valley California, Seattle, Memphis, Atlanta, Washington, DC, Philadelphia, The Modern Lover's House in Boston, Detroit, Chicago, Minneapolis, Houston, Honolulu, Demark, and Munich during the last three years."    rating: **** stars

- The title captured the song's energy perfectly - 'Dancing All Night' was easily the album's toughest rocker and another song that Bowie or Hunter would have killed to have written. "Words and music by Kerry Scott and Kim Fowley.  Should remind interested parties that this Chelsea-written composition is definitely all night rock material.  The piano on this and other tracks, except for contributions of Peter Moss, is performed by Tony Marsh."   rating: **** stars

 

As mentioned above, Capitol tapped the album for a single though I've only seen promo copies:

 

 

- 1973's 'International Heroes' (stereo) b/w 'International Heroes' (mono) (Capitol catalog number 3534) (did not chart in the States)

 

One of my favorite recent discoveries and if there is truly such a creature, deserves to be labeled as a 'lost classic'.  Shame Capitol had no idea how to market the collection.  Bowie, Ian Hunter, and scores of other mid-1970s glam acts should be sending royalty checks to Fowley.

 

The English release sported the same track listing, but different cover art.

 

  

 

"International Heroes" track listing:
(side 1)

1.) International Heroes   (Kerry Scott - Kim Fowley) - 3:19

2.) E.S.P. Reader   (Skip Battin - Kim Fowley) - 2:47

3.) King of Love   (Glen Turner - Kim Fowley) - 3:18

4.) Ugly Stories About Rock Stars and the War   (Kerry Scott - Kim Fowley) - 3:00

5.) I Hate You   (Lynn DeWolfe - Kim Fowley) - 3:17

 

(side 2)
1.) Something New   (Kerry Scott - Kim Fowley) - 4:03

2.) Born Dancer   (Skip Battin - Kim Fowley) - 2:36

3.) So Good, Wish You Would   (Ralph Schuckett - Kim Fowley) - 4:09

4.) World Wide Love   (Kerry Scott - Kim Fowley) - 2:56

5.) Dancing All Night  (Kerry Scott - Kim Fowley) - 3:11

 

For anyone interested, Fowley has an interesting website at:

http://www.kimfowley.net/

 

 

 

 

 

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