Beyond the Valley of the Dolls

by

Stu Phillips

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One of the things that made Beyond The Valley Of The Dolls a groovy movie was the soundtrack, that 60's psychedelic pop and the songs done by the girl group Kelly Affair/Carrie Nations. I was miffed that it was unavailable until I discovered that a special edition had been issued this year. A quick look at the titles made me raise my fist in triumph, as I recognized the songs.

The main title sequence has the opening music from the start of the movie conjoined with bits of the title theme sung by the Sandpipers. The mostly instrumental title theme is included later.

OK, the Carrie Nation songs. "Find It" and "Sweet Talking Candyman" are two upbeat psychedelic power-pop numbers, and there are two versions for reasons I'll explain later. My favorite Carrie Nation songs are the Beatle-ish/Mamas and Papas flower-power of "Come With The Gentle People" and the mid-paced ballad "In The Long Run." The former exudes an extended hand of welcome and peace. Message here is: "help us to light the way/and let us free the people who are hung up and who are afraid/love can be a way of life if you open up the door/love can overcome the fear and life can be so much more." I was definitely born in the wrong decade. The second is curious in that there's a slap at flower power: "The sweet smell of clover won't make the world over/you spend idle hours talking to flowers who won't even talk back to you." More love than flower power in the chorus: "in the long run, you'll need someone to trust and count on/somewhere along the way/in the long run, will there be someone that you can lean on, come a rainy day?" However, there is room for a world that can be imagined instead of what already is: "If you find a world that's enchanting/it's up to you to start expanding." Strings and a brass section highlight this wonderfully upbeat late Motown-like number.

The Strawberry Alarm Clock's two numbers done at Z-man's party, the slow-paced grind "Girl From The City" and the hard blues-rocker with a Cream-style guitar "I'm Coming Home" are included. Unless I'm mistaken, they aren't available on any of their studio albums. Then there's "Ampersand (&)" by Stu Phillips, a rocking jam complete with a pronounced rhythm guitar and organ.

Other instrumental scores are variations on the main theme "I Need You So Very Much" and "Dinner Party", or in the case of "Late Night Visit," a slow version of "In The Long Run."

"Let The Games Begin!" is an excerpt from Paul Dukas's tone poem "The Sorcerer's Apprentice" and was played when Z-man's guests were imbibing the potion for his soon-to-turn-tragic orgy. Remember Mickey Mouse and the enchanted broomsticks in Fantasia? Yes, THAT number!

The real treat are the original vocalists behind the Kelly Affair/Carrie Nations. Lynn Carey and Barbara Robinson's versions of "Sweet Talkin' Candy Man," "Come With The Gentle People," and "Look On Up At The Bottom" are the actual ones used for the movie. The other versions feature Ami Rushes, who is actually quite good, but doesn't possess the vocal power of Carey, plus the sonic quality's not as good as the Carey versions. The reason, as explained in the liner notes is that Lynn Carey's contract did not allow her renditions to be included on the original soundtrack. Carey's vocals resemble early Cher with a lot of deeper soul mixed in. If I'd first heard "In The Long Run" or "Look On Up At The Bottom," with my eyes closed, I would've pictured a soul group like Honey Cone.

The liner notes are extensive, as they detail Stu Phillips' recollections of working with Russ Meyer, which is a mixture of respect and exasperation. I did however, find myself agreeing with Alex Patterson, a fan who wrote in the liner notes that "If 21st Century AM radio offered the musical nirvana of "In The Long Run" or "Gentle People", I might actually turn the damn thing back on. But it doesn't, so I don't." Right on! Also, Roger Ebert's 1980 recollections ten years after the movie was made is included. And there's lotsa shots of the pretty girls who appeared in the movie, including a topless shot of Dolly Read (Kelly).

So glad that I finally got this rare find, and kudos to Stu Phillips, who did the score and songwriting on this album!