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Our little cul de sac in Los Angeles was short and narrow, just off Laurel Canyon and just south of Ventura Boulevard. Except for the occasional airport trip when I would call for a town car to pick me up, limos were generally scarce in our neighborhood — so when a big black stretch limo pulled up at about 6:30 one weekday evening, the neighbors knew somebody of some note must be visiting. John and Judy Belushi, accompanied by their driver/assistant Smokey and Paul Cooper of Atlantic Records, came into the house, and we introduced everyone to our daughters Julia and Nina, who were then eight and five. We had some drinks and some hors d’oeuvres, and John was as hyperkinetic as anyone I had ever known, even when he was sitting down. Every minute he was doing something with his hands or jiggling his feet, talking nonstop or walking around looking at things in the living room. At one point, while fooling around with Nina , who was a very petite five-year-old, he literally tossed her over the back of the couch onto the floor – she wasn’t hurt, but she still hasn’t forgotten.
At dinner, John explained that he was on the wagon at the time, and that Smokey was along to make sure he didn’t drink and to “take the cocaine out of his nose.” After dinner, we repaired to my music room, where John proceeded to thumb through my 1500 vinyl albums, and we pulled out a bunch of records and started to compile a list of songs that he would enjoy doing. He danced with my sister, who was visiting us, and we had a pretty enjoyable evening. We agreed that I would meet with Dan Aykroyd in New York, and further discuss what might happen on the next record. Some days later, I met with Danny at the midtown office he shared with John (where one of the office decorations was the actual passenger door from a Chicago police cruiser). (more…)
Unknown to nearly everyone save the most devoted power-pop and glam aficionados, the Quick were managed by legendary Los Angeles scenester and Runaways cofounder Kim Fowley. Fowley also coproduced the Quick’s one and only LP, Mondo Deco (1976), alongside Earl Mankey, formerly of Sparks — quite notable, since at first listen the Quick come off as slavish imitators of the Mael Brothers.
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