What was your role in the New Yorkers? I pretty much functioned as a sideman. Bill played lead guitar, Mark played drums and Brett played bass. I played rhythm guitar, keyboard and banjo on a couple of novelty things. We all sang. While the brothers did most of the writing, we would have group writing sessions where we all contributed. I think my name is on a couple of things we recorded. Was the comedy schtick that defined the Hudson Brothers present during your tenure? The Hudson's grew up as The Three Stooges meet The Marx Brothers. From early childhood they were scripting plays and even making home-made movies that were filled with schtick. Some of it was funny, but most of it was really cornball. One time they wrote some kind of super hero bit that involved having Brett slide off the roof of their house on a sled. He actually lived. We didn't do much comedy on stage, as we were playing teen dance venues. But we did have one bit where we'd play some kind of mid-eastern riff and Bill would roll his stomach. People actually requested that one. Life in general around the house always had an air of silliness, which is the level of comedy that they pursued. I think that mentality is what landed them on Saturday morning TV. How after hanging with Harry Nillson and Van Dyke Parks, commuting between LA and NYC playing contemporary music could you have ended up joining The Brothers Four (who by that time had become little more than a nostalgic act in fading music format)and replacing Mark Pierson? First of all, let's spell Mark's name: "Pearson." And to answer the question, I guess it was a function of my impetuous youth, some of the abuse I suffered at the hands of the brothers (for example, I was allowed to use the van one day a week, but often that privilege was rescinded in favor of Mark's or Bill's needs) and a desire to be something other than the 5th wheel on a tricycle. I think I was under the impression that if it was that easy to jump into the LA/NY scene like we did, then surely I could find another way to do it that didn't involve sacrificing my own identity. Aside from my musical contributions I think the only respect I got from them was because I was over 21 and could buy beer and Ripple wine for all of us. It just came to a point where I wanted to move on and have more control over my own destiny. When I got the call to audition for The Brothers Four I felt like I was heading in the right direction. Having grown up on folk music it felt like a good fit. After all, I'd listened to The Brothers Four on the radio - this was a group that was already established with high credibility and for me that was a step up, even if the group was on a popularity decline at the time. I think I made the right choice. I was immediately accepted as an equal in the B4 and it was gratifying to have that respect from guys that I really respected. Mark was seriously pursuing his song-writing at the time. He had some Nashville connections and he was pitching songs there, so I think he just felt that he wanted to put all his efforts into developing that. Mark has written some very nice tunes, but I'm not sure if he ever placed any of them with major artists. Your comment about The Brothers Four being some of the nicest guys you ever talked with is dead on. We never had a situation within the group that we couldn't work out in a friendly way. I am happy to say that, to this day, I can't think of a nicer group of people in the entertainment business. And that applies to the current group as well as to all past members. (Well, Tom Coe was a little off-center, but he and I did have a good friendship during his tenure.) Hope that answers your questions!
Why did Pierson (sic) leave in the 70's?
Responses