Saint Steven
Band members Related acts
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line-up 1: (1969-70) - St. Steven (aka Steve Cataldo) - vocals, guitar
supporting musicians (1969) - Ian Bruce Douglas -- guitar - Kerry Frangione -- backing vocals - Russell George -- bass - Donald McDonald
-- drums, percussion - Murray Shiffrin (RIP) -- guitar - Barbara Vanderloop -- backing vocals
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Page Review (Steve Cataldo) - The Reflectors (Steve
Cataldo)
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Genre: psych Rating: *** (3 stars) Title: Over the Hills Company: Probe Catalog: CPLP-4506 Year: 1969 Country/State: Boston, Massachusetts Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $150.00 Cost: $66.00
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Not to be confused with the Ohio-based One St. Steven, this Boston, Massachusetts-based outfit was one of those mystery acts nobody seemed to know all that much about. While some references refer to it as a band, 1969's "Over the Hills" was actually a one-man show featuring former Front Page Review singer/guitarist Steve Cataldo. Contrary to a lot of references, Cataldo was not a member of Boston's Ultimate Spinach, rather worked with Ian Bruce Douglas in a pre-Ultimate Spinach outfit called The Underground Cinema.
As Cataldo tells the story, he sold his guitar and bought a bus ticket to New York City where a got a hotel room and then walked around to every record label he could find. It wasn't until he visited ABC that anyone even paid attention to him. His break came when producer John Turner took pity on Cataldo and agreed to take a listen to his reel-to-reel demo tape. Impressed by what he heard, Turner signed him to a contract with the company's newly formed Probe subsidiary. Turner was also responsible for the "Saint Steven" moniker. Even more impressive was the fact Cataldo was nineteen when he recorded this album.
It's easy
to understand the confusion since the album was credited to "Saint
Steven" while the thirteen tracks are credited to 'St. Steven'. Probe Records
added to the confusion by marketing the single "Ay-Aye-Poe-Day" under the
'St. Steven' nameplate. Produced by Turner, the album was apparently
intended as a concept piece. Side one was labeled "Over the
Hills" while
side two was entitled "Batisch". I had to look the word up as I had
never encountered it - referring to an obnoxious or
contemptible person; reflecting a combina
1.) Over the Hills (St. Steven) - 0:40 rating: *** stars The
title track was little more than a sound clip rather than a true
composition, but ... well it was pleasant. In
spite of the background sound effects which angry crowds, trumpeting
elephants, goats, stampeding horses, martial drums and other sound effects,
"Animal Hall" was surprisingly commercial, aptly showcasing Cataldo's
likeable voice. Hell if I have a clue what it was about. "Gladacadova"
(as far as I know it isn't a word), found Cataldo adding more sound effects
including an un-credited Robert Moog on synthesizer, a modest
"English" flavor and a ripping guitar solo to what was another
nice pop song. The
spoken word segments captured the 1968 Republican National Convention voting
for their Presidential candidate. To be honest, it basically made it
impossible to focus on the music that made up "Poor Small". Once again
I was left clueless with respect to the point Cataldo was trying to make,
other than the Republicans running the 1968 RNC were apparently senile. "Ay-Aye-Poe-Day" finally delivered a complete song - in this case a tasty garage rocker. No irritating studio effects; not background noises; just Cataldo and a hot band screeching their way through a song that would have sounded great on FM radio had anyone been paying attention.
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1969's "Ay-Aye-Poe-Day" b/w "Grey Skies" (Probe catalog number CP-45-463)
6.) Grey Skies (St. Steven) - 2:51 rating: *** stars Opening
up with some lovely acoustic guitar, "Grey Skies" was the album's prettiest
performance. Bucolic - even when the rest of the band kicks in I can
feel my blood pressure dropping a couple of points. The song also
appeared as the "B" side on the Ay-Aye-Poe-Day" 45. The title track refrain ... I've always wondered why the song was haphazardly split into two when it would have been much better as a single entity.
(side
2) aka "The Batisch" Kettle
drums ? Angelic chorus ? Certainly not what I was
expecting. Unexpectedly about half way through the song suddenly
morphed into a nifty rocker complete with treated vocals and some soaring,
melodic lead guitar. Shame it faded out so soon. Hum,
"Voyage To Cleveland" made me wonder of Cataldo had overdosed on Donovan
albums. Not sure who provided the lead guitar, but I've always loved the
tone he got out of his instrument. To
my ears Cataldo was at his best when playing it relatively straightforward
and "Sun In the Flame" was one of the highlights. Again, not sure who
provided the fuzz guitar, but it was excellent. This would have been a
great choice for an FM single. The
atmospheric, jazzy ballad "Bright Lights" was one of my favorites, but
clocking it at a minute the song was just too short. Docked a star for
its brevity. To
my ears the country-tinged "Louisiana Home" sounded completely out of place
on this album.
Cataldo also has a Facebook page at: (2) Steve Cataldo | Facebook
© Scott R. Blackerby June 2023
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tion of the words 'Bastard' and
'Bitch'. If it was a concept piece I have to readily admit
I've never figured out the plotline. If anyone knows the story, pass
it on. And while I've always enjoyed the album, I've got to be honest
and admit its biggest challenge was inconsistency. Exemplified by the
pretty title track and the ballad "Grey Skies" about a third of the set
reflected commercial folk-rock moves. Backed by an array of
un-credited New York studio musicians, the single "Ay-Aye-Poe-Day",
"Voyage To Cleveland" and "Sun In the Flame" were more conventional rock
oriented numbers providing most of the album highlights. "Animal
Hall"
and "Poor Small" offered up more experimental moves with lots of
period sound effects. In spite of the lack of focus Cataldo was a more than decent
singer and capable of writing attractive and quite commercial material.
Shame he didn't ditch some of the experimentation and extend some of the
more conventional rockers. Tracks like "Bright Lights" were just too
short. And most of those criticisms are muted when I remember the guy
was 19 years old when he recorded the album. Geez, what did I
accomplish when I was 19, or 29, or 39 ....