Back to Clients
Brute Force’s mixed bag of songs is predictable only in its strange catchiness and the accompanying urge to sing along. For example, while listening to “In Jim’s Garage,” you may find yourself transported to the same repair shop where the loving, though considerably greasy, Jim holds his lover in his arms. Similarly, it’s difficult to avoid humming along to the nonsensical warbling of Brute’s song “Sitting on a Sandwich,” which, comically, is literally about sitting on a variety of sandwiches. The verdict is still out on whether there is a deeper meaning in said sandwich-sitting, but either way, Brute’s hyper-catchy songs are consistently great, and it’s guaranteed that you’ll be immediately drawn into their universe, strange as it may be.
Polished by George Harrison, championed by John Lennon, and released by Apple Records, “King of Fuh,” which appears as a bonus track on this release, is a timeless anthem, a song rightfully deserving of the Beatles’ seal of approval. The song, which at first seems to resemble a straight-forward piano ballad, complete with a saccharine string section and simple drumbeat, reveals Brute’s droll sense of humor as he reaches the chorus and the king’s more common moniker is revealed: “I said the Fuh King – he went to wherever he wanted to go/Mighty, mighty Fuh King/All hail the Fuh King.”
But not even the Beatles’ praise would be able to secure airtime for a song with such a controversial, albeit clever, chorus. Friedland’s record label, Capitol/EMI, expressed its disapproval of “King of Fuh” by refusing to release it, and the song was banned from the radio. This is not to say that Friedland or Apple Records gave up. Apple Records privately pressed 2,000 copies of the single, along with its b-side, “Nobody Knows,” his version of the Chiffons’ 1965 hit. Soon after, Friedland drove from New York to Los Angeles, pushing his single along the way. To his disappointment, this proved to be a fruitless journey, and, a few years later, plagued by rejection and disillusionment, he left the music industry.
While working for his father as a paralegal in Edison, New Jersey, he continued songwriting. Eventually regaining his confidence in the ‘80s and ‘90s, Friedland performed as a musical stand-up comic under his given name. In 2001, Gareth Jones, bandleader of Misty’s Big Adventure, an eight-piece band from Birmingham, England, sent him an email. Jones had read about Brute in Irwin Chusid’s “Music in the Key of Z,” and found “Tapeworm of Love,” a song of Brute’s that appears on this album, on the Internet. He began covering the song with his band, and hoped that Brute would come to England to tour with them. Brute accepted his offer, and since then has toured with Misty’s Big Adventure, as well as with his own band, which features his daughter, Lilah, performing as Daughter of Force.
Bar-None Records is honored to release this classic album. After forty-six years of near obscurity, its time has finally come. I, Brute Force – Confections of Love is an album for the ages, an under-appreciated love letter to the world, and, most importantly, a desperately needed escape from reality.