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I HAD A SMALL HEART ATTACK A COUPLE OF YEARS AGO AND AM SLOWLY LETTING GO OF MY ALBUM COLLECTION, THIS COMES FROM OVER 40 YEARS OF COLLECTING AND ALSO WORKING IN RADIO WHEN STATIONS WERE TRANSITIONING FROM LP's TO CD's.

ARTIST: STARK NAKED

TITLE: “STARK NAKED"

TRACK LISTING-SEE PHOTOS/BELOW:

A1

All Of Them Witches

8:50

A2

Done

5:47

A3

Sins

4:43

B1

Look Again

11:00

B2

Wasted Time

4:44

B3

Iceberg

5:08

NOTES: Recorded in RCA's Studio C, New York City.

Dynaflex record with Dynaflex inner sleeve.

YEAR: 1971

RECORD LABLE: RCA RECORDS

CAT.#: LSP-4592

RECORD CONDITION: THE RECORD IS IN EX/EX+ CONDITION. THIS IS SUPER CLEAN, NO LINES, FINGERPRINTS, AT ALL, NO DINGS, SCRATCHES, SMUDGES, BOTH LABELS IN MINT CONDITION (THERE IS A PERSONS NAME WRITTEN IN INK ON SIDE 1 LABEL, SEE PHOTO), NO AUDIO BETWEEN THE TRACKS, LOOKS AND PLAYS SUPER CLEAN.

JACKET CONDITION: THIS JACKET IS IN VG/VG-- CONDITION NICE CLEAN STRAIGHT EDGES, NO DINGS, TEARS OR WRITING ON THE COVER. LIGHT VISIBLE STORAGE & RING WEAR (SEE PHOTOS) NO SPLIT SEAMS. PREVIOUS OWNER WROTE THEIR NAME ON BOTH THE LABEL AND THE LEFT EDGE ON THE BACK OF THE JACKET (SEE PHOTO). LYRICS PRINTED ON THE BACK.

MORE INFO: THIS RECORD IS OUT OF PRINT. COMES IN ORIGINAL RCA “DYNAFLEX” PAPER SLEEVE. LISTENING TO IT, HAS A VERY JEFFERSON AIRPLANE SOUND, FEMALE LEAD SINGER, COOL GUITAR INTERPLAY, SOME HARD ROCKERS AND SOME LIGHT BALLADS.

ARTIST INFO:

STARK NAKED INFO-

Stark Naked was a psychedelic rock group from Long Island, New York. Their album was released by RCA and received rave reviews and features in Record World, Cashbox, and Billboard magazines. Single ‘Sins’ charted in the top-ten in Billboard’s Hot 100.

Members Lyne Bunn (vocals), Richard Belsky (lead guitar), Jim Monahan (guitar), Tom Rubino (bass), Paul Venier (keyboards), and John Fragos (drums) were either in their teens when their band’s self-titled debut was issued by RCA.

Where and when did you grow up? Was music a big part of your family life? Did the local music scene influence you or inspire you to play music?

Joey Lyne (formerly AKA Lyne Bunn): I grew up all over New York, basically between Brooklyn, Queens, and Long Island. My family moved about every two years, so it wasn’t until junior high when my folks bought a house in Levittown, Long Island, that I got a bit more stabilized.

Music was always a large part of my family life. My mother had a gorgeous voice and used to do those lounge-kind of gigs with the piano and vocalist. She told me she got out of it because she didn’t like the “stage fright”. However, she LOVED music, so I grew up listening to her vinyl, everything from Della Reese, Patsy Cline, The Platters, and Nat King Cole.

In my young teen years, I was inspired by those fantastic “girl groups” like The Shangri-Las, The Ronettes, The Shirelles, Darlene Love and The Crystals. That was the era of the Phil Spector’s “take over” (his Wall of Sound) with a good dose of rebels, motorcycles, and leather jackets.

Paul Venier: I grew up on Long Island, NY during the 60’s. One of my earliest musical recollections was watching my mother perform in the play, South Pacific. I knew at that young age of 3 years old that that was what I wanted to do, entertain audiences and have ever since the the age of 9.

When did you begin playing music? What was your first instrument? Who were your major influences?

Joey Lyne: I think I was singing since birth, probably shouting out of my mother’s womb! I picked up an acoustic guitar when I was 12. I was listening to “renegade folk” back then, Phil Ochs, Country Joe & The Fish, early activism. I was shy so speaking out was important to me. The first concert I attended was Donovan (I was enamored by his voice, guitar style, and charisma, haha, I still am).

Early on most major influences came from my sister’s and mother’s music…the heart and soul of Ray Charles, Elvis Presley, Everly Brothers, and an ole’ fav of mine was Mickey and Sylvia (Mickey “Guitar” Baker) with ‘Love Is Strange’ – All around great songwriting! Once I heard the music coming out of California’s San Francisco, Haight-Ashbury, I was definitely STRUCK! Between Jefferson Airplane and Big Brother and the Holding Company (female rocker “royalty”) I knew I was SOLD! HA!

Paul Venier: I began playing the accordion at age 9 and then the Beatles appeared on The Ed Sullivan Show. I started to teach myself piano and guitar and by 16 years old I started being in bands and playing all over the Island.

What bands were you a member of prior to the formation of Stark Naked?

Joey Lyne: Through high school, I played solo shows with acoustic guitar, and worked with members of Hazy Shades as well (guitarists Rich Belsky and Joey DeVito).

Paul Venier: Before Stark Naked I was in a few bands and played in Battles of the Bands contests. One was called Her Majesty’s Navel and Vested Light. Our competition back then were Eddie Money (who was in a band called The Grapes of Wrath) and Billy Joel (who was in a band called The Hassles).

Can you elaborate the formation of Stark Naked?

Joey Lyne: Stark Naked was a growing-together process for us musically. The band started with guitarist Rich Belsky, Tom Rubino on bass, and me on vocals in my garage and Rich’s basement (Richie’s brother, Jim Belsky played guitar with us for a short while). We had our eyes on this HOT drummer who was in another band named “Radical” – that amazing drummer was our very own John Fragos. Jim Monahan joined us on rhythm guitar/vocals (replacing Jim Belsky) then Paul Venier on keyboard/vocals completed our rock-fam. Paul being a multi-instrumentalist gave us a far better ability to explore additionally, with three lead-capable singers and countless arranging abilities.

Paul Venier: Stark Naked was already formed before I joined. Two of the members, Richard Belsky (lead guitarist) and Jimmy Monahan (rhythm guitar) were friends of mine growing up in Levittown, NY and the other members were Thomas Rubino (bass guitar) and Lynne Bunn (vocals and acoustic guitar).

When and where did Stark Naked play their first gig? Do you remember the first song the band played? How was the band accepted by the audience?

Joey Lyne: Our very first gigs were high-school based frat-parties, and in my high-school “Hullabaloo” we opened up with Jefferson Airplane’s ‘White Rabbit’ and Janis’s (Joplin) ‘Piece Of My Heart’.

We had fab audience reception, it was a tumultuous time, there was a great sense of camaraderie growing in the air. Vietnam, black arm bands, Woodstock, the battle lines were being drawn.

Paul Venier: Once I joined we started playing more originals and scored a record deal on RCA within the year. The first song I remember playing was an original song I wrote called ‘Or Else You Must Leave’.

What sort of venues did you play early on? Where were they located?

Joey Lyne: Early on we played local college hang-out bars, and we jumped on every opportunity to perform! We played a wild club on Long Island, NY called “Nanny’s”. Growing a sweet and loyal following is integral to any new band. Another outrageously fun gig we did, we had the opportunity to open for The James Gang with guitarist Joe Walsh – that was a mind-breaking introduction to the use of the Echoplex/Spring Reverb with that incredible tape-loop! We performed mostly up the entire East Coast to the Canadian border!

Paul Venier: We played all the the clubs on Long Island and once the album hit we started playing theaters and arenas all over the country, plus all the A list clubs.

How did you decide to use the name “Stark Naked”?

Joey Lyne: Originally, we were going to use the name “Count Zeppelin & His Fabled Airship!” Then we shortened it to “Count Zeppelin.” Soon after, Led Zeppelin hit the airwaves big time, so by majority vote we became “Stark Naked” – (being the only female in the band, I was quite outnumbered), HA!

What influenced the band’s sound?

Joey Lyne: I know we all brought our musicality from different backgrounds. Some of the groups we listened to were The Yardbirds, Peter Green (early Fleetwood Mac), Beatles (and the entire British Invasion), Buffalo Springfield, The Byrds, Hendrix, Yes, and Zeppelin…For me, being the female vocalist, raising the bar was the Bill Graham/Fillmore era. This was, notably, Janis Joplin and Grace Slick. Several other “chick-singers” were pumping it, like Pattie Santos (It’s A Beautiful Day… ‘White Bird’), Christine McVie (formerly Christine Perfect…. ‘I’d Rather Go Blind’) and Fleetwood Mac; Lydia Pense (Cold Blood…. ‘I Just Wanna Make Love To You’).

Paul Venier: We were very heavily influenced by the psychedelic sound that was beginning to permeate the airwaves, plus we had tremendous harmonies and performed some awesome ballads as well.

How did you get signed to RCA Victor?

Joey Lyne: We played a packed club for New Year’s Eve, and really rocked it! A producer (Joey Day) and friend dropped in for a brew and freaked! He turned out to be legit (with MCA Music Publishing/Universal). We recorded a TON of original songs with him. Shortly after, MCA set up a “LIVE AUDITION” at RCA Records. By the time we packed our equipment for the ride home, they told us we “had the deal.” We were REVVED! It was probably the highest energy audition I ever did (except perhaps, for me playing the Bitter End Cafe, in The NYC Village when I was 12)!

Paul Venier: We were playing a club in Smithtown, NY and at the end of the show the club owner said that someone from MCA, Joey Day, saw us and was going to contact that week and wanted to hear all of our originals. We performed them in our bass player’s garage for him. He signed us to a publishing deal and promised to get us a record deal within the year or else the contract was null and void. He got us a deal within the month and we were on our way.

What’s the story behind your debut album? Where did you record it? What kind of equipment did you use and who was the producer? How many hours did you spend in the studio?

Joey Lyne: The band was gigging a lot in Upstate NY and all-over New England. We talked with the graphic artist (Nick Aristovulos) regarding album cover ideas and told him about countless “paranormal” experiences we’d had in the “haunted hotel” we stayed in. He then created the cover photo of the sculptured face with 5-guys and me…STILL creepy after all these years!

We recorded the album in RCA’s Historic Studio C, a great space with those tunable walls. I believe we mainly used our own gigging equipment, and the engineer (Ray Hall) did a fab job miking the guitar amps LIVE with some hefty condensers and isolating sound baffles.

Our main man was producer, Joey Day. I believe we recorded for several weeks doing everything in daily 6-hour sessions. (We were extremely rehearsed before stepping into the studio, so everything went pretty smooth for newbies.) Paul played that gorgeous Steinway Grand, and John got to smash that beautiful Chinese Gong. Tom Rubino was the ultimate timepiece on bass and always kept it moving.

Paul Venier: We recorded the album in the historic RCA Studio A on 44th street in NYC and was produced by Joey Day. We recorded the album in about a month and was released by October of 1970, I believe. I played a Steinway Piano, Hammond Organ and acoustic guitar and we all used state of the art at that time amplifiers. Great studio and we had Carte Blanch

There was also a single released together with the album, right?

Joey Lyne: Yes, an edited single was released. We were doing live-radio interviews with Midwest DJs who were giving us airplay. We cruised out across the U.S. promoting the single which was ‘Sins0. Richie and I penned that groove in my garage, and it became quite the on-fire rocker, rising to #6 on the charts, and getting reviews in Cashbox and Record World Magazines, plus hitting Billboard’s Hot 100.

Paul Venier: Yes the song, ‘Sins’, was released as a single but we should have followed it up with one of the two ballads, ‘Done’ or ‘Wasted Time’, because that was the type of songs that were doing well on the radio at the time. RCA wouldn’t do it and our album started to slide from Number 6 on Billboard downward.

Did the size of audiences increase following the release of your debut?

Joey Lyne: Absolutely! We had a huge following as we incorporated a very wild theatrical aspect to our performances. We were burning 8-foot crosses onstage in our finale, and often opened-up with faux bolted-machine guns aimed towards the audience with a barrage of thunderous drums and music. It was always about the element of shock and surprise, long before Alice Cooper’s cacabre!

Paul Venier: Yes, most definitely. We were really starting to draw large audiences, especially in the Midwest, where the album was selling very well.

Would you share your insight on the albums’ tracks?

Joey Lyne: We often worked on songs and arrangements with Paul at his piano. Our vocals and harmonies fell together naturally. We created off each other’s energies, jamming till we knew it just felt right. Creativity is a balanced exchange. There were no major puzzle pieces; we all needed one another to define the full picture.

Paul Venier: I wrote ‘All of Them Witches’ after seeing the movie, Rosemarie’s Baby. That was the title of the book in the movie and it sparked the song. I wrote ‘Done’ as a lost love kind of song for my band mate, Jimmy. He was dumped by a girl and that inspired that one. ‘Wasted Time’ was written by Jimmy and I in my parent’s patio one night, under the influence…lol. ‘Look Again’ just came out of nowhere but was inspired by the phrase, “You Can’t Judge A Book By It’s Cover”. ‘Iceberg’ was inspired by a Jethro Tull feel. ‘Sins’ was written by Richard and Lynne I believe.

Was there a certain concept behind the album?

Joey Lyne: Maybe not intentionally…our collective backgrounds brought us together in a time when we were allowed to speak our minds and say it LOUD. I’d have to say, we crisscrossed that supernatural veil so many times on the road, the conceptual aspect boldly revealed itself. I personally stand strong with Ephesians 6:12 – “For our struggle is not against flesh and blood, but against the rulers, against the authorities, against the powers of this dark world and against the spiritual forces of evil in the heavenly realms.”

Paul Venier: Not really, we just did what we felt was in our hearts and felt right to us. We weren’t really going for any kind of concept. We were just young kids just happy to do what we loved to do.

How about the cover artwork? What’s the story behind it?

Joey Lyne: I believe Nick Aristovulos (graphic artist) wanted to portray us in a conduit struggle between Good and Evil. So many people think the Supernatural isn’t real, until they fall victim to ancient and organized evil. The band expressed our many paranormal, weird, and often dangerous experiences in that world, so Nick then came up with the sculpture (which still creeps me out)!

Paul Venier: The cover was a photo of an award winning sculpture that someone made by taking different characteristics of everyone in the band. It was very cool.

Were you inspired by psychoactive substances like LSD at the time of writing the album?

Joey Lyne: Not one of us was involved in anything “recreational” at that time. We had enough to handle the wackiness of powerful paranormal activity on its own, straight and sober. We operated purely on collective creative energy, writing and submitting songs for consideration…MCA and RCA had the ultimate last word.

Paul Venier: The only song we wrote under the influence was ‘Wasted Time’. Jimmy and I were tripping on Orange Sunshine…lol Back in those days we mostly only smoke pot or hashish. We really didn’t dabble in the heavy stuff that often.

How pleased was the band with the sound of the album? What, if anything, would you like to have been different from the finished product?

Joey Lyne: We were happy with the album. We were told later that during the RCA/MCA executive premier of the “New Album Releases” we received a standing ovation in the theater from the attendees. I would’ve loved to see that one, LOL! (“smiling”).

I think if we had a better vocal-harmony balance in the final mix it would have been better. I don’t think the blend between our vocals was as pronounced as what we REALLY sounded like LIVE; We had a dynamic blend that just fell in place when we sang together and some of those tones really got buried. Musically, the guys were so tight, pounding, and rehearsed – they really kicked it! Rich’s guitar work in ‘Sins’ still blows me away as one of the best lead guitar solos I’ve ever heard. The album was re-released in 2006 in CD format on Fallout Records as a UK Import (available in four different formats worldwide – Vinyl, CD, MP3, and Streaming).

I recently found out the album was REMASTERED in 2013. I haven’t heard the “Remastered Version” yet, but it should be interesting over my studio speakers.

Paul Venier: I personally would have liked the songs to not be so dry. I would have liked a little more reverb or effect to the instruments. Our producer was a great guy but mostly had only produced gospel music and never recorded heavy metal or hard rock before.

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