Elephant's Memory
Elephant's Memory was an American rock band formed in New York City in the late 1960s, characterized by its prominent horn section and a style blending psychedelic, garage, and hard rock elements.[1][2] The group originated from collaborations involving saxophonist and vocalist Stan Bronstein and drummer Rick Frank, emerging from the city's underground music scene.[1] The band gained wider recognition as the backing ensemble for John Lennon and Yoko Ono from late 1971 to 1973, performing under the name Plastic Ono Elephant's Memory Band and contributing to Lennon's politically charged album Some Time in New York City.[3][4] Prior to this association, Elephant's Memory released a self-titled debut album in 1969, featuring tracks like "Old Man Willow" that appeared on the Midnight Cowboy soundtrack, earning a gold record certification.[5] Known for their street-level political activism in Greenwich Village, the band's raw energy and horn-driven sound complemented Lennon's live shows, including the 1972 One to One benefit concerts.[4] After the Lennon collaboration, they issued additional albums but disbanded by the mid-1970s, leaving a legacy tied to New York's vibrant rock underbelly and countercultural performances.[2][1]History
Formation and Early Development (1967–1969)
Elephant's Memory was founded in 1967 in New York City by saxophonist, clarinetist, flautist, and vocalist Stan Bronstein and drummer Rick Frank, with bassist and trombonist Myron Yules as an early core member.[6][1] The band drew from the vibrant New York scene, blending rock, jazz, and soul elements in its initial sound.[1] The early lineup underwent several vocal changes; Carly Simon briefly served as a backup singer in 1968 before departing, followed shortly by Martha Velez and then Michal Shapiro on vocals.[1] Additional members joined for performances and recordings, including keyboardist Richard Sussman, guitarist John Ward, and guitarist Chester Ayres.[1] This evolving ensemble gigged in local venues, honing a psychedelic-infused style amid the late-1960s counterculture.[1] In 1969, the band signed with Buddah Records and released its self-titled debut album, produced by Wes Farrell, featuring an eclectic mix of tracks such as "Old Man Willow" and "Jungle Gym at the Zoo," the latter included on the Midnight Cowboy soundtrack.[1][7] The album, issued in February 1969 under catalog BDS 5033, showcased psychedelic rock with horn sections and experimental arrangements, though it received limited commercial attention.[7] A single, "Crossroads of the Stepping Stones," was released to promote the record.[1]Breakthrough Albums and Performances (1970–1971)
In 1970, Elephant's Memory released their second studio album, Take It to the Streets, on Metromedia Records in November.[8] [9] The LP featured 10 tracks blending hard rock, psychedelic elements, and jazz-funk grooves, with production by Ted Cooper emphasizing the band's horn section and improvisational style.[10] A standout single from the album, "Mongoose" (written by drummer Rick Frank and saxophonist Stan Bronstein), reached number 50 on the Billboard Hot 100 in early fall, marking the band's first national chart entry and providing modest commercial exposure amid a competitive rock landscape.[11] [12] This track's infectious riff and energetic brass-driven arrangement exemplified the group's fusion approach, drawing comparisons to contemporaries like Chicago but with a rawer, New York edge. The success of "Mongoose" elevated Elephant's Memory's profile, leading to increased live bookings in key venues. The band performed at the Fillmore East in New York City, including slots in horror-themed bills that highlighted their experimental sound alongside acts like Stone the Crows.[13] These appearances, often featuring extended jams and horn-heavy sets, solidified their reputation as a dynamic live act capable of blending rock improvisation with soulful undertones. Album sales for Take It to the Streets remained limited, failing to crack major charts, yet the single's airplay on progressive radio stations helped sustain momentum.[14] Transitioning into 1971, Elephant's Memory issued the single "Skyscraper Commando," which garnered industry attention for its bold, urban-themed lyrics and rhythmic drive, though it did not replicate the prior hit's chart performance.[15] Live performances continued to showcase lineup staples like Bronstein's saxophone leads and bassist Gary Van Scyoc's rhythmic foundation, fostering a grassroots following in the Northeast club circuit. This period's output and gigs positioned the band for higher-profile opportunities, reflecting a gradual ascent driven by musical versatility rather than immediate blockbuster success.[2]Collaboration with John Lennon and Yoko Ono (1971–1973)
In late 1971, Elephant's Memory began collaborating with John Lennon and Yoko Ono after Lennon attended a band rehearsal at Magne Graphics studio in Greenwich Village, New York City, facilitated by an introduction from activist Jerry Rubin based on a WLIR radio tape of their music.[5] This led to the formation of the Plastic Ono Elephant's Memory Band, which combined the full Elephant's Memory lineup—consisting of Stan Bronstein on saxophone and vocals, Gary Van Scyoc on bass and vocals, Wayne "Tex" Gabriel on guitar and vocals, Adam Ippolito on keyboards and vocals, and Rick Frank on drums, vocals, and percussion—with Lennon on guitar and vocals, Ono on vocals, and occasional additions like drummer Jim Keltner.[3][5] The band's primary studio contributions occurred during recording sessions for Lennon's album Some Time in New York City, with studio tracks captured between December 1971 and March 1972 at locations including the Record Plant in New York; the double album, credited to John & Yoko/Plastic Ono Band with Elephant's Memory and Invisible Strings, was released in June 1972 in the United States.[16][5] Elephant's Memory also received production support from Lennon and Ono for their self-titled second album, released in 1972, which featured a cover photograph by Peter Beard and showcased the band's raw, politically charged rock sound aligned with Lennon's evolving activism.[3] Additionally, the band backed Ono on her 1973 album Approximately Infinite Universe, completing sessions at the Record Plant amid the broader collaborative output.[5] Live performances under the Plastic Ono Elephant's Memory Band banner were limited due to Lennon's ongoing U.S. immigration challenges, including threats of deportation related to his visa status.[5] Key appearances included television spots on The Mike Douglas Show and The Dick Cavett Show in 1972, followed by the high-profile One to One benefit concerts at Madison Square Garden on August 30, 1972, comprising afternoon and evening shows that raised funds for mental health and retardation services through the Willowbrook State School advocacy; these events, with guest musicians like Keltner and Frank Zappa, were later documented in posthumous releases such as Live in New York City (1986).[5] Rehearsals for a larger U.S. tour took place at the Fillmore East, but legal hurdles prevented it from materializing.[5] The partnership dissolved around July 1973, aligning with a temporary personal separation between Lennon and Ono, after which Elephant's Memory shifted focus to independent projects while Lennon retreated from public performances until 1974.[5] This period marked the band's peak visibility, leveraging their street-level New York rock energy to support Lennon's politically explicit phase, though internal dynamics and external pressures curtailed deeper touring commitments.[17]Final Albums and Disbandment (1973–1976)
Following the termination of their collaboration with John Lennon and Yoko Ono in 1973, Elephant's Memory returned to independent recording efforts. The band signed with RCA Records and released their final studio album, Angels Forever, on February 1974.[18] The LP featured 10 tracks, including the title song "Angels Forever," "Running Man," and "The Jumping Jew," produced by the band with engineering support, emphasizing their established rock sound infused with horns and political undertones but achieving negligible chart performance or sales.[19] [20] Angels Forever marked the conclusion of Elephant's Memory's original output, as subsequent activities dwindled amid internal shifts and waning momentum post their high-profile Lennon association. Band members, including bassist Gary Van Scyoc and drummer Rick Frank, pursued session work and solo endeavors, with some contributing to other artists' recordings in the mid-1970s.[5] The group formally disbanded in 1976, after nearly a decade of activity, without issuing further material under the Elephant's Memory name.[21] Core personnel dispersed into freelance music roles, reflecting the era's challenges for non-mainstream acts reliant on prior celebrity ties for visibility.[22]Musical Style and Influences
Core Elements and Genre Fusion
Elephant's Memory's core musical elements centered on a robust horn section, driven by saxophonist Stan Bronstein's lead lines on tenor, soprano, and clarinet, complemented by trombonist Myron Yules' contributions, which provided wily, improvisational brass accents amid rock foundations.[1] The rhythm section—featuring drummer Rick Frank's propulsive beats, bassist Myron Yules' grooves, and guitarist Gary Van Scyoc's riffing—anchored pile-driving rock 'n' roll energy, often layered with keyboards like Doors-inspired organ swells and occasional Latin-funk percussion evoking Santana.[1] Vocalist Michal Shapiro's ethereal delivery added spaced-out psychedelic textures, while absurd, surreal lyrics (e.g., references to "hot dog men" or yogurt) infused an avant-garde whimsy.[1] The band's genre fusion primarily merged psychedelic rock's experimental edges with jazz-rock improvisation and soul-R&B grooves, drawing parallels to late-1960s horn-driven ensembles like Blood, Sweat & Tears and Chicago, yet leaning more toward the absurdist, free-form rock of the Mothers of Invention.[1] This synthesis yielded soul-rock rhythms punctuated by big-band jazz flourishes and free-jazz horn solos, as heard in tracks blending tremolo guitars with arpeggiated organs and funky basslines.[1] Psychedelic elements manifested in ethereal ballads and spaced-out soundscapes, while pop accessibility occasionally tempered the avant-garde leanings, creating an eclectic sound that resisted strict categorization.[23] Their brass-heavy approach distinguished them in New York's underground scene, fusing rock's raw drive with jazz's harmonic freedom and R&B's rhythmic swing.[1]Evolution and Innovations
Elephant's Memory's early musical style in the late 1960s emphasized an eclectic fusion of rock, jazz, soul, and psychedelia, drawing on avant-garde and absurdist elements reminiscent of the Mothers of Invention. Their 1969 debut album featured pile-driving rock'n'roll grooves intertwined with free jazz via electric soprano saxophone and trombone, alongside ethereal psychedelic ballads and R&B tracks infused with surreal twists, such as nonsense chanting and siren-like scatting.[1] Innovations in their sound included the integration of live-recorded street conversations for urban authenticity and diverse instrumentation like Doors-inspired organ riffs over Latin-funk beds, creating a raw, experimental texture that distinguished them in New York's underground scene. Tracks like the seven-minute "Old Man Willow" exemplified this psychedelic extension, while "Hot Dog Man" blended funk with absurd lyrics about yogurt and anthropomorphic food, pushing boundaries of rock lyricism.[1] By 1972, following significant lineup changes—retaining only saxophonist Stan Bronstein and drummer Rick Frank from the original ensemble—the band's style evolved toward harder blues-rock during their tenure backing John Lennon and Yoko Ono on Some Time in New York City. This shift prioritized energetic, straightforward grooves to support political anthems, tempering earlier experimentalism with a more accessible, horn-driven rock edge suited to live performances and Lennon's raw delivery.[1] The collaboration marked a pragmatic adaptation, channeling their genre-blending roots into a looser, ragged backing role that amplified Lennon's voice without overshadowing it, though core elements like brass flourishes persisted. This evolution from psychedelic absurdity to potent, activist-oriented rock reflected broader New York scene influences, prioritizing visceral impact over pure innovation.[1]Band Members
Original and Core Lineup
Elephant's Memory was founded in 1967 in New York City by saxophonist and vocalist Stan Bronstein and drummer Rick Frank Jr., who met while performing in the local strip club circuit.[1] [24] Bassist and trombonist Myron Yules, who had previously collaborated with Bronstein in big band settings, joined as an early core member.[1] This initial lineup emphasized a fusion of rock, jazz, and R&B influences, reflecting the founders' backgrounds in varied musical ensembles. In 1968, the band briefly incorporated vocalist Carly Simon as a backup singer before her departure to pursue a solo career.[24] [25] By 1969, for their self-titled debut album, the lineup expanded to include vocalist Michal Shapiro, keyboardist Richard Sussman, guitarist John Ward, and guitarist Chester Ayres, alongside the founders Bronstein and Frank, and Yules.[1] [25] These members formed the core group during the band's early recording and performance phase, contributing to their psychedelic and garage rock sound on the Buddah Records release.| Member | Instrument(s) | Period |
|---|---|---|
| Stan Bronstein | Saxophone, clarinet, flute, vocals | 1967–1970s |
| Rick Frank Jr. | Drums, vocals, percussion | 1967–1970s |
| Myron Yules | Bass, trombone | 1967–1970s |
| Michal Shapiro | Vocals | 1969–1970s |
| Richard Sussman | Keyboards | 1969–early 1970s |
Personnel Changes and Contributions
The original lineup of Elephant's Memory, formed in the late 1960s by saxophonist and vocalist Stan Bronstein and drummer Rick Frank, initially included bassist and trombonist Myron Yules.[1] In 1968, vocalist Carly Simon briefly joined as a backup singer before departing prior to the band's 1969 debut album.[1] By 1969, the group expanded into a septet for their self-titled debut, incorporating vocalist Michal Shapiro (who co-wrote the track "Old Man Willow" and provided lead vocals), keyboardist Richard Sussman, bassist John Ward, and guitarist Chester Ayers, alongside the core trio of Bronstein, Frank, and Yules.[1][26] This configuration emphasized brass-rock and psychedelic elements, with Bronstein's electric soprano saxophone and reeds contributing to the album's experimental sound, while Yules added electric trombone for rhythmic and textural depth.[1][23] Significant turnover occurred by 1971–1972 as the band transitioned to backing John Lennon and Yoko Ono, with only Bronstein and Frank remaining from the founding members.[1] New additions included guitarist Wayne "Tex" Gabriel (vocals), bassist Gary Van Scyoc (vocals), and keyboardist Adam Ippolito (vocals), forming the Plastic Ono Elephant's Memory Band lineup that appeared on Lennon's Some Time in New York City (1972) and the band's own Apple Records release Elephant's Memory (1972).[3] Gabriel's guitar work and Van Scyoc's bass lines supported the ensemble's raw, politically charged rock style during live performances like the 1972 One to One benefit concert, where session additions such as bassist John Ward and drummer Jim Keltner augmented the core group for specific dates. Further personnel shifts marked the mid-1970s, leading to radical changes that diluted the original identity; the band released Blind Alley (1975) and a final album in 1976 before effectively disbanding, with Bronstein pursuing session work with artists including Aerosmith.[27] Individual contributions evolved accordingly: Frank's percussion anchored the rhythm section across eras, enabling the band's genre fusion from psychedelia to protest rock, while Bronstein's multifaceted horn and vocal roles—spanning R&B-inflected leads and improvisational solos—remained central to their sonic signature.[1][28]Discography
Studio Albums
Elephant's Memory released five studio albums between 1969 and 1974, spanning psychedelic rock, funk, and protest-oriented sounds reflective of their New York underground roots and later political engagements.[15][2]| Title | Release Year | Label | Key Details |
|---|---|---|---|
| Elephant's Memory | 1969 | Buddah Records | Debut album featuring psychedelic tracks like "Old Man Willow" (7:08) and "Jungle Gym at the Zoo"; produced with a raw, experimental edge drawing from the band's theater background.[29][2] |
| Songs from Midnight Cowboy | 1969 | Buddah Records | Soundtrack-inspired collection with originals and covers tied to the film Midnight Cowboy, including "Old Man Willow" and "Midnight Cowboy"; blends folk-rock and psychedelia.[30][31] |
| Take It to the Streets | 1970 | Metromedia | Funk-infused effort with socially charged tracks like "Mongoose" (instrumental hit reaching lower charts) and "Piece Now"; emphasizes groove and street-level activism.[10][2] |
| Elephant's Memory | 1972 | Apple Records | Post-collaboration with Lennon/Ono, featuring raw rockers such as "Madness" and "Gypsy Wolf" (with Lennon vocal contributions on some pressings); shifted toward harder, politically infused rock.[32][2] |
| Angels Forever | 1974 | RCA Victor | Final album with groovy, classic rock tracks like the title song; recorded amid lineup changes, showcasing sax-driven energy but limited commercial traction.[33][19][34] |
Singles and Compilations
Elephant's Memory released several singles between 1969 and 1975, primarily on labels including Buddah, Metromedia, Apple, RCA Victor, and Atlantic.[35] Their most successful single, "Mongoose," peaked at number 50 on the Billboard Hot 100 in October 1970.[4] [36] Other singles, such as "Crossroads of the Stepping Stones," received limited airplay but did not achieve significant chart success.[12]| Year | A-Side | B-Side | Label | Catalog Number | Notes |
|---|---|---|---|---|---|
| 1969 | Crossroads of the Stepping Stones | Jungle Gym at the Zoo | Buddah | BDA 98 | From debut album |
| 1970 | Mongoose | I Couldn't Dream | Metromedia | MMS-182 | Peaked at #50 on Billboard Hot 100[4] |
| 1970 | Don't Put Me On Trial No More | Hot Dog | Buddah | BDA 209 | - |
| 1971 | Skyscraper Commando | Power | Metromedia | MMS-210 | - |
| 1972 | Liberation Special | Madness / Power Boogie | Apple | 1854 | Alternate B-sides issued |
| 1974 | Rock 'N' Roll Streaker | Angels Forever | RCA Victor | APBO-0268 | - |
| 1975 | Shakedown | Brother, Can You Spare a Dime | Atlantic | 45-3257 | - |