![]() This incarnation of lyme and cybelle lasted into 1967, when Erwin fired Santangelo.įollowing the demise of lyme and cybelle, Santangelo left the music business. The first and only single issued by the second version of lyme and cybelle was "Song 7," backed with "Write If You Get Work," both allegedly written by Erwin, although credited to "Joe Glenn." The single was produced by Curt Boettcher, who had just produced The Association's first album. Zevon was replaced by a new "lyme," Monkees guitarist Wayne Erwin. Santangelo claims that she walked away from Zevon because of his excessive drinking and drug use. ![]() Some accounts claim that Zevon became more uncompromising in his artistic vision. Several reasons have been given for why Zevon departed. Īfter the failure of their second single, Zevon left the duo. According to Santangelo, the single began selling well, only to have its momentum crushed when Bill Gavin, a powerful radio industry figure, claimed the song was sexually suggestive. The resulting single, a cover of Bob Dylan's " If You Gotta Go, Go Now" backed with "I'll Go On," failed to make a dent in the charts. Rather than having the duo record an album to cash in on its success, White Whale opted to have Howe produce a second lyme and cybelle single. ![]() The single, backed with the lush ballad "Like the Seasons," reached number 65 on the Billboard pop charts in April 1966. Early success and rapid declineīones Howe produced their first single for White Whale, called "Follow Me." Howe, famed for his production work on hits by The Association and The 5th Dimension, later considered "Follow Me" to be the first psychedelic pop record. Through this connection, Zevon and Santangelo obtained a contract with White Whale to record a single as lyme and cybelle. On one occasion, the duo sang songs for a group of friends that included child actor Michael Burns, whose mother worked at White Whale Records. The pair fashioned their names in lower case in the style of American poet e.e. Zevon took the stage name of Stephen lyme, while Santangelo called herself cybelle, a name inspired by the 1962 French film Sundays and Cybele. The two became close platonic friends and quickly found they shared musical interests, singing songs by The Beatles. Mutineer was Zevon's last album for Giant Records and he would be without a label for five years after this was released, and despite his impressive track record, it's hard to blame an A&R man for not seeing a lot of promise in the guy after listening to this.Zevon and Santangelo met in early 1964 while attending Fairfax High School in Los Angeles, California. (There's also a splendid cover of Judee Sill's "Jesus Was a Cross Maker.") But the performances are poorly focused and lack punch, and the banks of keyboard noodling on "Piano Fighter" and "Similar to Rain" are uncharacteristically self-indulgent. The material on Mutineer is quite strong for the most part, especially the bitterly philosophical "The Indifference of Heaven," the witty tale of white collar crooks on the run "Seminole Bingo," and the title cut, which manages to make something honestly romantic of Zevon's outlaw reputation. ![]() ![]() While the live album Learning to Flinch demonstrated how compelling Zevon could be all by his lonesome, Mutineer suggests that without an audience or collaborators, he had a hard time working up the enthusiasm to make his songs come to life. Bad Example, Warren Zevon apparently grew to enjoy working on his own, and for 1995's Mutineer, he recorded the bulk of the album in his home studio, handling most of the instrumentation himself and bringing in some friends to help sweeten some of the tracks (among them David Lindley, Bruce Hornsby and Rosemary Butler). After touring as a solo act in support of his album Mr. ![]()
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