The Salvation Co.
Band members Related acts
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line up 1 () - Yolande Bavan -- vocals - John Bergeron -- keyboards - C.C. Courtney -- vocals - Ragan Courtney -- vocals - Chip MacDonald -- rhythm guitar - Boni Enten -- vocals - Marta Heflin -- vocals - Peter Link -- vocals - Leon Medica -- bass - Joe Morton -- vocals - Bootsie Normand -- lead guitar - Anne Rachel -- vocals - Bobby Thomas -- drums, percussion
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- Gate's Express (Leon Medica) - LeRoux (Leon Medica)
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Genre: pop Rating: ** stars Title: Earl of Ruston Company: Capitol Catalog: ST-465 Country/State: New York, New York Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $20.00
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Over the years I've bought and owned some weird-as*ed albums. This 1970s LP ranks up there with the weirdest of them.
There was no Salvation Co. band, rather it reflected the talent and vision of former soap opera actors C.C. Courtney and Peter Link and associated sessions players. Taking a page out of the public's sudden interest in "Jesus" music, plays and movies (think "Godspell" and "Jesus Christ Superstar"), the pair had previously enjoyed some success with their off-Broadway rock-opera "Salvation" and an accompanying soundtrack album ("David Black Presents Salvation The New Rock Musical" (Capitol catalog number SO 337). While not a massive success, the project gave the pair enough recognition and resources to move on to their next project - that being the ill-fated "Earl of Ruston".
Released in 1970 and credited to The Salvation Co., "Earl of Ruston" served as the cast album for an obscure and short-lived off Broadway play. Produced by Nickolas Venet, the album was built around a true character - the late Earl D. Woods. Woods only claim to fame seems to have been he was a nice guy living in the small town of Rustin, Louisiana who unfortunately suffered from a myriad of mental health issues and died young. The story and songs were largely penned by Ragan Courtney and C.C. Coutney (the two Courtneys were cousins) and writing partner Peter Link. The Courtneys actually starred in the play - both playing the main character Woods (frequently at the same time). The show got off to a start playing small theaters in Louisiana before being picked up to open in New York City.
I actually found myself wondering if this was some kind of joke, or it had really been a musical. After poking around the internet ... well it was a real off-Broadway show. I even found a May, 1971 New York Times review by the late actor/critic Clive Barnes. Can't say much for Barnes insights, other than he somehow made it through the show and his comments provided a vague idea of the plotline (you have to wonder if there really was such a thing). For anyone curious, the show took place at the Billy Rose Theater and closed after three days and four previews and five performances. Not exactly a blockbuster.
"Earl was crazy and he lived in Ruston. His nephews have written a country rocker about him, and his mother [played by Leecy Woods-Moore] appears in it and it is called, reasonably enough, “Earl of Ruston.” It opened last night at the Billy Rose Theater. It lasts a long time with
no intermission and it establishes very thoroughly that Earl was bath crazy
and lovable. So is the musical—but much more crazy than lovable. It was book and lyrics by C. C. Courtney and Ragan Courtney and music by Peter Link. The first Mr. Courtney and Mr. Link, a couple of seasons ago, were responsible for the lively rock musical “Salvation.” This is not nearly so lively. Indeed, it takes garrulity to insane lengths. It murmurs on and on inconclusively, and never really tells us anything more about Earl D. Woods than we knew from the beginning. He was a charming, harmless eccentric who liked eating toothpaste and banana pie and playing at soldiers. He falls in love with a crazy girl, Leda Pearl Crump, and they get married. He works desultorily, sweeping floors or delivering telegrams, and every so often he goes back into the mental hospital. In the end, Earl dies from internal bleeding. He dies at home, happy. The idea behind the musical is an attractive one, perhaps: a mixture of “Our Town” and “Hair,” with a little amiable eccentricity and grass-roots small-town America thrown in on the side. The two Courtneys have the bright idea of both playing Earl. They look rather alike, and they can thus let Earl establish a dialogue with himself. It opens with them reading their grandmother's account of Earl's last two days and death. This letter is then set to music and we are off and away. Unfortunately, although at first we may fail to realize it, we are not going anywhere. A few incidents appeal, such as Earl's pretending to be Hitler, or talking to his to totally disturbed uncle, who then jumps off a building. But the story, which tries so hard to be touching, seems monotonously flat. Sincerity is not enough, and even the most personal of documents needs to be shaped with more art than was here apparent. The music was a also a disappointment, especially after “Salvation.” A stirring revivalist-style hymn actually recalls the earlier rock score, and a couple of the rock ballads, including one called “Easy to Be Lonely,” are reminiscent of Galt Mac Dermot's “Hair.” The musical has been resourcefully staged on a few wooden ramps and rostrums, with the rock band, Goatleg, at the back of the stage. The designing by Neil Peter Jampolis has the virtue of simplicity, and there is plenty of resource in C. C. Courtney's direction. Taken on their own
these nine tracks didn't have a lot going for them. Musically the
collection offered up a mixture of country ('The Guitar Song'), Gospel
('Revival'), pop ('Silver's
Theme') and
rock influences ('Earl
Is Crazy'). On tracks like the
opener 'Just Your Old
Friend' those musical sty
It was just a weird concept to start with and not the most upbeat collection that will cross your turntable.
"Earl of
Ruston" track listing: 1.) Just Your Old Friend (Leecy Moore - Peter Link - Ragan Courtney) - 10:10 rating: *** stars The ten minute 'Just Your Old Friend' started as a pleasant, heavily orchestrated, mildly country-tinged ballad. It bounced through various segments including an up-tempo section, instrumental segments, whistling and even a rock section. In terms of the plotline the song seemed to reflect his wife and friends posthumously painting Wood as a sweet guy who didn't like hospitals. Not sure who the female lead singer was, but during the first part of the suite her high-pitched, fragile voice had the same effect as chalk on a blackboard. Yeah, it was kind of a mess. 2.) R:U:S:T:O:N (Leecy Moore - Peter Link - Ragan Courtney) - 2:35 rating: ** stars Opening with Bobby Thomas' pounding kettle drums, 'R:U:S:T:O:N' certainly woke you up. One of the songs more commercial tunes, the town certainly sounded like a happening place. Not. 3.) The Guitar Song (C.C. Courtney - Peter Link) - 2:45 rating: * star Well the title was at least accurate, 'The Guitar' offering up an extremely hokey number country influenced tune. Imagine Roger Miller at his worst. 4.) Silver's Theme (C.C. Courtney - Peter Link) - 4:10 rating: *** stars The mother's rememberence of her son (?), 'Silver's Theme' showcased the album's prettiest melodies, though you'll have to listen hard to understand the "mom's" heavy Southern accent. 5.) It's Easy To Be Lonely (C.C. Courtney - Peter Link) - 4:30 rating: ** stars The album's "Big" ballad ... Very Broadway-esque.
(side
2) Opening up with some Gregorian chanting, the tune quickly morphed into a slice of organ powered, Sunday morning Baptist revival Gospel before closing out with a pretty, but anonymous slice of soundtrack orchestration. Yeah, it seemed pretty clear side two was going to be as weird as side one. The 2.) Earl Is Crazy (Leecy. Moore - Peter Link - Ragan Courtney) - 1:35 rating: ** stars The album's rock song, the song seemingly had something to do with Wood volunteering for WOrld War II military service and utlimately being rejected by the service. 3.) Earl was Ahead (Leecy Moore - Peter Link - Ragan Courtney) - 4:15 rating: *** stars Obviously there were gaps in the plotline since 'Earl was Ahead' suddenly found the character living in an asylum where he met his wife. The melody was actually sweet, though the lyrics detracted from the overall effect. 4.) Just Your Old Friend (Signature) (Leecy. Moore - Peter Link - Ragan Courtney) - 2:05
Capitol also released a non-LP single:
- 1970's 'Tomorrow Is the 1st Day of te Rest of Your Life' b/w '1001' (Capitol catalog number P 2669)
Ragan Courtney has a web presence and briefly touches on the play at: http://ragancourtney.com/
© Scott R. Blackerby
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les
were all mixed together.
At least in the play the band "Goat Leg" (great band name) provide
musical support. There
were also multiple singers, including Yolande Bavan, Boni Enten,
Marta Heflin, Joe Morton
and Anne Rachel (all who had appeared in the earlier "Salvation"
project. All
were pretty good, particularly when they avoided Broadway excesses.
Since my copy of the album lacked detailed liner notes, it was
impossible to tell who the performers were. The fact the songs were
all tied together in a loose plotline didn't exactly help when it came to
the lyrics, or trying to figure out what was going on. At least part of
those plotline gaps was explained by the fact, the play featured 16
songs. The album only had nine tracks. Missing in action were
the potential classics 'Standing', 'Der Blues - Traditional', 'Probably',
'Mama, Earl Done Ate the Toothpaste Again', 'Mama, Mama, Mama' , 'I've Been
Sent Back to the First Grade', 'My Name is Leda Pearl', 'Insane Poontang'
and 'You Still Love Me'. Odd tidbit, Wood's grandmother Leecy
Moore was credited with co-writing five of the songs (I think those are the
ones that include her spoken word recollections). A non-actor, the
also appeared in the play.