The Sunday Funnies
Band members Related acts
line up 1 (1970) - Ron Aitken -- vocals, bass, guitar - Richard Fidge -- vocals, percussion - Dick Jordan -- lead guitar - Richard Kosinski (aka Richard Koz) -- keyboards, vocals - Richard Mitchell -- drums, percussion - Danny Ray Raines -- rhythm guitar, backing vocals
line up 2 (1970-71) - Ron Aitken -- vocals, bass, guitar - Richard Fidge -- vocals, percussion - Richard Kosinski (aka Richard Koz) -- keyboards, vocals - Richard Mitchell -- drums, percussion - Danny Ray Raines -- rhythm guitar, backing vocals
line up 3 (1971-72) - Ron Aitken -- vocals, bass, guitar - Richard Fidge -- vocals, percussion - Richard Kosinski (aka Richard Koz) -- keyboards, vocals - Richard Mitchell -- drums, percussion
line up 4 (1972-75) - Ron Aitken -- vocals, bass, guitar - Richard Fidge -- vocals, percussion NEW - Ross "Rosco" Helco -- drums, percussion (replaced Richard Mitchell) - Richard Kosinski (aka Richard Koz) -- keyboards, vocals - Gary Quackenbush -- guitar
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- The Big Wha-Koo (Richard Kosinski) - Boone’s Farm Band (Danny Ray Raines) - Richard Kosinski (solo efforts)
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Genre: rock Rating: 3 stars *** Title: The Sunday Funnies Company: Rare Earth Catalog: R
526 Country/State: Detroit, Michigan Grade (cover/record): VG+/VG+ Comments: faded promo stamp on back cover Available: 1 Catalog ID: -- Price: $40.00
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By the time they were signed by Motown's Rare Earth, The Sunday Funnies members had spent years playing on Detroit's party and club scene. They found a sponsor in music store owner Al Nalli. Nalli and partner Larry Feldman were eager to get into the music business and signed the group to a management contract. Nali subsequently put the band in touch with Bob Seger manager Punch Andrews who had the band record a couple of demo tracks. Those sessions saw the release of a single on Dave Leone and Andrews' Detroit-based Hideout label:
- 1970's 'Path of Freedom' b/w 'Heavy Music' (Hideout catalog number 1070)
The original 'Path of Freedom' was a rousing garage rocker that showcased Fidge's wicked voice. The flip side was a cover of a Bob Seger and the Last Heard track. It was actually the Seger original with Fidge handling the lead vocals and the rest of the band on backing vocals. Manager Andrews apparently used the single as a threat and a way to get a reluctant Seger to start touring again. Dropped by Hideout, they ended their relationship with Nalli and Feldman. Detroit DJ and television host Robin Seymore signed up as band manager after seeing them at a Dearborn club. Seymore started to get the band better gigs, including an opening spot for a Blood- Sweeat and Tears Detroit date. He also arranged for Motown talent scouts to take a look at the group. A year later Motown signed them to their newly formed Rare Earth subsidiary. By the time the band went into Motown's studios, the line-up featured bassist Ron Aitken, singer Richard Fidge, keyboardist Richard Kosinski and drummer Richard Mitchell.
"The
Sunday Funnies" track listing: 1.) Walk Down The Path Of Freedom 4:05 2.) It's Just A Dream 3:18 3.) You And I 3:16
(side
2) 2.) The Axe 4:23 3.) Crack In A Bell 3:00 4.) Let The Son Shine In 4:01 5.) Child Of Mine 4:02
https://www.facebook.com/ron.aitken2?fref=ts The band released only one single on the Rare Earth label. “Walk Down The Path To Freedom” was a re-recording of the Hideout song and was backed by another original called “It’s Just A Dream”. The songs were recorded in Motown’s famous Studio B at Hitsville U.S.A. The band members did all their own tracks – none of the Funk Brothers played on any of their recordings. Listen to "It's Just A Dream" at https://www.youtube.com/watch?v=FgvBBof5w-I Their debut album was the self-titled “Sunday Funnies”. Their first producer was R. Dean Taylor who had to leave when his single, “Indiana Wants Me”, became a national hit. They were recording a song with Taylor called “What A Day To Get Higher” that Aitken felt could have been a hit but it was never finished. In his MRRL interview, Fidge stated that the band's cover of Carole King's "Child Of Mine" from their first album was discussed as a possible second single, but it was never released. Listen to "Child Of Mine" at https://www.youtube.com/watch?v=929ZpVVXbos There was some debate in the band over who was going to finish producing their debut album. According to Fidge, his choice was Norman Whitfield, producer of the Temptations, but he said that Aitken and the rest of the band were big fans of the Beatles and the other English bands, so Whitfield was out and the choice was either Tony Clarke or Andrew Loog Oldham.Andrew Log Oldham Andrew Log Oldham Taylor was briefly replaced by Tony Clarke, producer of the Moody Blues. Then Motown brought in Andrew Loog Oldham, the famed manager and producer of the Rolling Stones, to finish the album. Where Tony Clarke was very reserved, Oldham, who was described by Aitken as “taking Percocet and a wild man” in the studio, hit it off with the band. Fidge also felt that Oldham was much more into it than Clarke, who he quickly replaced. Fidge said this of Oldham: “He was a fun guy to work with. He was high all the time and the label used to supply him with cocaine.” They were all fans of the Rolling Stones, and Oldham shared lots of stories about his days with the famous band. Aitken remembered him as “an artsy dude who looked at the band ironically”. For the album cover, the band originally wanted to use a mural from the Dutch artist Peter Breugel called The Procession to Calvary. Oldham told them he could secure the rights but got Breugel’s Triumph of Death instead. The album art ended up being not exactly what the band had hoped for. Oldham envisioned a cover that looked like a comic strip in the Sunday funny papers but with images of death and mayhem that were the polar opposite of the usual lighthearted fare. It wasn’t the direction the band wanted to present, but it made for the most striking cover ever released on the Rare Earth label."Sunday Funnies" debut album "Sunday Funnies" debut album In their MRRL interviews, both Fidge and Aitken stated that they didn’t hang with any of the other Rare Earth acts. Fidge said that many of the albums recorded by acts such as the Pretty Things, the Easybeats, and Toe Fat were recorded and produced at studios outside of Detroit and Motown then distributed them on its Rare Earth label. With support from Motown, the Sunday Funnies also did a number of short tours as the opening act for the James Gang, Deep Purple, Three Dog Night, Fleetwood Mac, and Savoy Brown, including a show with the English band at the old Saginaw Auditorium that also featured Brownsville Station. In looking back on the Sunday Funnies’ Rare Earth years, Fidge stated that he wished the band had better management. He felt that Robin Seymour was a very nice guy, but he made the mistake of letting them choose what they wanted to do. Fidge believes they needed a stronger hand, and that the band was killed because they were being booked by several different agencies who would put them out for a number of gigs and then expected the band to sign with them. Hoping to get the best deal, the band didn’t want to commit to any one agency and, as a result, lost out on the companies that might have been able to take them to the next level. Fidge believed that signing with a major agency might also have helped them get more support from Motown, who seemed to be all in for the first album but not very much for the second."Benediction" album "Benediction" album The Sunday Funnies' second album, “Benediction”, also had an unusual cover. It was designed by Mati Klarwein, famous for his cover art on Santana’s second album, “Abraxas”, and “Bitches Brew” by Miles Davis. Andrew Oldham also produced the second album, and Aitken stated that he stayed in a hotel on Jefferson across from Cobo Hall while working on it. Listen to "Get Funky" from "Benediction" at https://www.youtube.com/watch?v=RBnFZJov64I Looking back, Aitken says that although Barney Ales and Ralph Seltzer were basically “good guys”, Motown didn’t do much to promote and support the band; and their albums never seemed to be in the stores in the cities they played despite giving the label ample notice of their touring schedules. The Sunday Funnies were dropped from the Rare Earth label following the release of their second album. During the band's Rare Earth years, they started performing regularly on stage at the Ledge Rock, a large bar capable of holding over 600 people. The Sunday Funnies replaced Jamie Coe and the Gigolos who were no longer the draw they once were. The band eventually became part owners with Leo Speer. After renaming the bar the Funny Farm, the Sunday Funnies agreed to play for 33% of everything that came through the door or over the bar. They more than doubled the take the first week they were in residence, and it never slipped below that figure. The Sunday Funnies played the Funny Farm four nights per week and the other three were covered by the Boone’s Farm band with Danny Raines.Paul Jamieson, Ron Aitken, Richard Fidge Paul Jamieson, Ron Aitken, Richard Fidge There was some controversy over the Funny Farm name since the bar was located just down the road from the state mental hospital. Aitken defended the name, however, by stating that since Boone’s Farm played three nights a week and the Sunday Funnies played four, 'Funny Farm' was just a combination of the names of the venue's two regular bands. After the situation with Rare Earth dissolved, Richard Mitchell left the band following a promo gig at the Bitter End in New York City. He had a nervous breakdown before taking the stage, and the other band members weren’t sure if he could make it through the show. Mitchell was depressed after the Motown deal fell apart and basically couldn’t play anymore. When they got back to Michigan, Mitchell’s mother had him admitted for treatment of his mental health issues, and he was replaced by original drummer Ross “Rosco” Helco who had completed his hitch in the Navy. Saxophonist Gary “Daddy G” Churchill also played in the Sunday Funnies for a while toward the end of the band’s run.Aitken, Helco, Kosinski, Fidge Aitken, Helco, Kosinski, Fidge Richard Mitchell’s story had a sad ending. According to Aitken, he underwent electro-shock therapy and was never the same again. Mitchell had given up a full-ride football scholarship to play in the band and, after that ended, lived as a homeless person for most of the rest of his life. Mitchell died alone in a dive hotel in Detroit, the victim of an apparent suicide. When Mitchell left, the band was working on new material and hoping to get another record deal. They continued to perform for a couple more years, playing regular gigs at the Funny Farm as well as larger concerts with other notable Michigan bands at Gallup Park in Ann Arbor and Rouge Park in Detroit. Near the end, former SRC guitarist Gary Quackenbush joined the Sunday Funnies. The new lineup recorded a number of tapes in a small studio they constructed, described by Aitken as a “converted chicken coop”, on Ford Road and Middlebelt. Although the tapes were said to be very good, nothing was ever done with them and the band finally ground to a halt in late 1975.Gary Quackenbush (bottom left) Gary Quackenbush (bottom left) Following the break up, Kosinski decided to stay in music and went out to Los Angeles with band roadie Paul Jamieson. There, Jamieson became the ultimate roadie, working on tours with Toto, Rare Earth, the Wallflowers, Boz Scaggs and others; and he then moved on to work as Mariah Carey’s stage and production manager for 19 years. Jamieson's impressive studio credits include working with Bruce Springsteen; Steely Dan; Stevie Wonder; Eric Clapton; Michael Jackson; Chicago; the Doobie Brothers; Diana Ross; Earth, Wind & Fire; the Bee Gees; Crosby, Stills & Nash; the Eagles; Pink Floyd; Stevie Ray Vaughn; Neil Young; Bonnie Raitt; Journey; Cheap Trick; Heart and many more.(L to R) Ron Wood, Abe Laborial Jr., Charlie Watts, Paul McCartney, Jim Keltner, Steve Ferrone, Will Lee, Paul Jamieson (L to R) Ron Wood, Abe Laborial Jr., Charlie Watts, Paul McCartney, Jim Keltner, Steve Ferrone, Will Lee, Paul Jamieson Shortly after he arrived in California, Richard "Koz" Kosinski hooked up as the keyboardist with the Native American band Redbone who had just scored their biggest hit, “Come And Get Your Love”. He eventually went into commercials and also won a Peabody Award for a ballet he composed. He is still active in the music business and is currently sharing a studio with Tony Valentino, formerly of the Standells of “Dirty Water” fame, and is reportedly doing some recording. Fidge followed Kosinski and Jamieson to California a short time later. He found a steady gig singing with a band at Universal Studios for over a year. When the gig ended, Fidge took a job as a truck driver while looking for a recording contract. Richard Michaels, former bass player for SRC, had moved out to California and helped Fidge find a place to stay. Michaels had auditioned for an early version of the band Journey, and he took Fidge to the band's audition for a major record label featuring their new singer, Steve Perry. When Journey and Perry didn’t get signed at that particular showcase, Fidge said to himself, "If a band that talented couldn’t get signed, I might as well go back to Michigan."Fidge, Jamieson, and Helco Fidge, Jamieson, and Helco After his return, Fidge sang in a number of bar bands six nights a week and made enough money to both live on and put a down payment on a house. He started singing with a local horn band called 'In the Pocket' eighteen years ago. The group is now finding a good deal of success performing as a tribute band for the popular group Chicago. The experience of the Rare Earth years had a lot to do with Aitken’s decision to leave the music business on New Year’s Eve in 1975. The band members shook hands, and sold the truck and the P.A. Aitken went on to earn a BBA from Eastern Michigan. After the break up, Aitken worked in insurance for a number of years and then was employed by Northwest Airlines. After moving to Florida, where he currently resides, he became successful in the real estate business but is now retired. Aitken still plays guitar and now he’s back performing music again, playing solo gigs in Florida bars. The Sunday Funnies were voted in the Michigan Rock and Roll Legends Internet Hall of Fame in 2017. Their recording of "Get Funky" was voted a Legendary Michigan Song in 2018. MRRL Hall of Fame: https://www.michiganrockandrolllegends.com/mrrl-hall-of-fame Sources: Phone interviews and emails with Ron Aitken and Richard Fidge. Photos from Ross "Rosco" Helco.
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Genre: rock Rating: 3 stars *** Title: Benediction Company: Rare Earth Catalog: R
538L Country/State: Detroit, Michigan Grade (cover/record): VG+/VG+ Comments: faded promo stamp on back cover Available: 1 Catalog ID: -- Price: $25.00
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Like their debut
album, 1972's "Benediction" was produced by Andrew
Loog Oldham. Keyboardist
Richard Kosinski and bassist Ron Aitken again provided virtually all of the
material. The exception was a radically reworked cover of The Four
Tops' 'Reach Out I'll Be There'. To my
By the time the album was released Motown had lost interest in Rare Earth and little was done to promote the collection. The label didn't even bother to release a single. Plans for a third album were quickly dropped and the band called it quits.
"Benediction" track listing: 1.) Get Funky (Richard Kosinski - Ron Aitken) - 3:52 rating: **** stars Geez, save what you will about these guys, but Fidge had one growl of a voice. And anyone who didn't think a much of hippy white guys could get down and funky should check out the opener. Shame Motown had lost interest in these guys by the time their second album was released. 2.) Double Grace (Richard Kosinski - Ron Aitken) - 3:36 rating: **** stars 'Double Grace' was a great example of the band's biker band sound. Powered by Kosinski's stabbing keyboard fills (little Uriah Heep going on here); Fidge's growling voice and Aitken's thundering bass and fuzz guitar, this thing generated some real energy. My only complaint is the abrupt ending. 3.) Two Halves of A Whole (Richard Kosinski - Ron Aitken) - 4:40 rating: **** stars Just when I was getting acclimated to their take-no-prisoners attack, 'Two Halves of A Whole' came out of left field. A breezy ballad with a sweet melody, great harmony vocals and thoughtful lyrics ... was this the same band? The secret sauce on this one came in the form of Richard Mitchell's masterful drumming. 4.) Keep on Truckin' (Richard Kosinski - Ron Aitken) - 4:48 rating: ** stars The most interesting thing about the blues number 'Keep on Trucking' was the fact it sounded like they'd recorded it in a cave and somehow a stoned trumpet player managed to stumble into the recording sessions. The reference to marijuana guaranteed radio wouldn't go near the song. 5.) Rock Me Lord / Friends Indeed (Richard Kosinski - Ron Aitken) - 6:04 rating: ** stars Well, the opening of 'Rock Me Lord' demonstrated Fidge could hold a note for a long time. Unfortunately elsewhere their rocked-up versions of 'Sweet Chariot' and 'Rock Me Lord' were a mess. What they saw as energy came off as almost comical. Listening to it reminded me of David Clayton Thomas and Blood, Sweat and Tears at their worst. At least 'Friends Indeed' saw them taking their collective feet off the accelerator and allowing a bit of breathing space.
(side
2) Apparently a band signed to Rare Earth was expected to include at least one Motown cover on their album. = ) I wasn't expecting much from this one. I will tell you initially their cover was very different from the original. The melody was still there, but their slowed down arrangement gave it a totally different feel. The spoken word sections make me laugh. 2.) We're All On The Same Side Of The Fence (Richard Kosinski - Ron Aitken) - 4:44 rating: **** stars Opening up with some pretty Kosinski keyboards, 'We're All On The Same Side Of The Fence' was another atypical performance. Starting out as a barebones ballad, the sweet refrain and uplifting message was startling. As the tune rolled along it gathered considerable momentum. 3.) Power & The Glory (Richard Kosinski - Ron Aitken) - 2:44 rating: **** stars Showcasing Kosinski's Hammond B3 and a full chorus, 'Power & The Glory' combined a Gospel flavor with one of the album's strongest melodies. It also caught Fidge finding the balance between his natural power and the inclination to try to "power through" performances. Nice. 4.) Brother John (Richard Kosinski - Ron Aitken) - 4:38 rating: **** stars The opening B3 keyboards recalled something off a Procol Harum album. 'Brother John' also showed what a great singer Fidge was when he didn't try to belt a lyric out. Complete with sweet harmony vocals and Tom Baird's background orchestration it was one of the album's prettiest performances. 5.) The Pillow (Richard Kosinski - Ron Aitken) - 5:38 rating: *** stars The album's "big ballad", 'The Pillow' sounded like it was intended for radio consumption. The tune had a pretty melody a big, catchy chorus and one of those heart-tugging lyrics that make sensitive folks choke up. Sadly Motown wasn't interested.
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