Elliot achieved many "firsts" as a trailblazing
woman in Rock music in the 1960's. She was the first
major female rock star to play Las Vegas, she was the first
female artist to be the subject of a Rolling Stone
One area in which she also struck primacy was that of
production. Cass Elliot produced no less than four
different acts' recordings, during the late 1960's. The
groups were as different as her own taste in music. No
other woman in rock was working in production in 1967-68
when these endeavors began.
In 1967, Cass produced an album by the group "3's A
Crowd" on the Dunhill label called 'Christopher's Movie
Matinee', which was a sort of Canadian "Spanky &
Our Gang." That same year she produced a single
by "The New Phoenix" which was comprised of the
guys who played in "The Hard Times,'" and namely,
close Cass associate Lee Kiefer played in this band.
The songs on the single: Give To Me Your Love/Thanks are now
available on CD. Their music was more lite-psychedelia
Shortly thereafter, Cass produced a single for Roberta
Sherwood on Dunhill with the songs, "I Taught Him
Everything He Knows" and "His Is A World I Can't
Live In." Roberta Sherwood was a tremendous
nightclub personality who had begun in Miami and then, after
being discovered by Bing Crosby, became a television
favorite and acclaimed torch song singer. This
material was country tinged pop and a real pointer to the
"middle of the road" music that Cass loved.
Cass also produced a single by The Organ Grinders on Smash
Records in 1969. Zany and fairly psychedelic,
"Babylon" and "Precious Time" are
whimsical tunes by this group which hailed from Baltimore
and "camped out" at Cass' house, and she landed
them a recording deal, while they were making their way.
Cass' final studio album from the summer of 1972, "The
Road Is No Place For A Lady," is a recording with much
of Cass' influence in the production. She worked with
Lewis Merenstein, the record's producer, and brought a great
deal of her own creativity and ideas to those tracks.
The variety of this material, couple with actual accounts of
Cass being in the studio and involved with the process,
confirms that these production credits were not just in
If you know more about any of these records or Cass'
involvement, we are constantly compiling further history
about this part of her professional life.
Copyright © 2004 - Richard Barton Campbell. All
"3's A Crowd" photo courtesy of