Sunday, July 17, 2011

The Wild Oats - EP OAK




There are no re-release of this ep, only a few original ep's survivors.

 Today a pristine copy of the EP, complete with original sleeve, is valued by Record Collector magazine at a cool Ј500.

For the first time on the internet, only exclusive here on WingsOfDream

The Wild Oats - Ep  OAK RECORDS RGJ 117

 Original sleeve notes: 

This record explains in four exciting lessons the fantastic popularity of the Wild Oats and why they will be around for a long time to come. On side one, lead singer Willie offers Can't Judge A Book By It's Cover, an old Bo Diddley number highlighted by the solo of 19-year-old lead guitarist Trev Roland. On Walkin' The Dog, a recently revived Rufus Thomas number, the earthy feel of 20-year-old Willie comes across with devastating effect. Trev does some accomplished vocal harmony work on this track.
Vocalist Carl Harrison, 21, is featured on side two with a throbbing version of Will You Still Love Me Tomorrow, a number originally recorded by the Shirelles. Trev is also responsible for the vocal harmonies on this track, and the competence of rhythm guitarist Robin Hare, aged 19, is well illustrated. He produces from his single guitar a full, mellow sound. With Pitt The Blame On Me, an early Elvis number, Carl demonstrates the versatility of the Oats; 23-year-old "Stykx" Scarlett, drums, syncopates the middle eight heavily, producing almost a blue beat effect. Probably the least noticeable-he stands completely immovable on stage- but absolutely indispensable is bass guitarist Rod Goldsmith, 21, whose masterly handling. of the Oats' bass line alone makes this disc worth a spin.
So here are four aspects of the Wild Oats-four great standards-- de¬livered in a unique style by six young men with a glowing future and a fantastic feel for the blues that only a country background could possibly produce.
DAVID RATTLE, DAVID NICHOLSON.

SIDE 1 : WILLIE
Can't Judge A Book By Its Cover 
Walkin' The Dog

SIDE 2 : CARL
Will You Still Love Me Tomorrow? 
Put The Blame On Me

THE WILD OATS
Willie: vocals
Carl Harrison: vocals 
Trev Roland: lead guitar 
Robin Hare: rhythm 
Rod Goldsmith: bass 
"Stykx" Scarlett: drums

Lazy Smoke - Corridor Of Face


An obscure Massachusetts band of the late 1960s, Lazy Smoke offered a sort of Transatlantic psychedelic sound with roughly equal debts to American and British influences. Their biggest debt was to the Beatles, and although they were hardly exceptional in that regard, the resemblance commanded more attention due to the fairly close similarity of leader/chief songwriter John Pollano's vocals to those of John Lennon. Pollano's compositions bore a heavy Lennon stamp as well, often sounding like callower derivations of Lennon's more sedate White Album-era tunes. They pressed a few hundred copies of one album for the tiny Onyx label in 1969, Corridor of Faces, before splitting. The record has since attained a modest cult following, and was reissued on CD with a dozen bonus demos.



Lesser imitations of the early Beatles aren't hard to find, but it's much tougher to locate diligent imitators of the group's late-'60s sound. Here is one unheralded example, offeringa collection of mid-tempo, accessible late-'60s rock sung by a vocalist with a remarkable resemblance to John Lennon. But the songs, while not bad, are really unmemorable once the record's finished, making this more of an oddity than something to avidly seek. The CD reissue on Arf! Arf! adds a dozen previously unreleased acoustic demos by leader and songwriter John Pollano, mixing different versions of songs from the album with compositions that didn't make it onto the LP; these make his fixation with John Lennon '67-68 sound even clearer.

Thanks Cor for this !!!

The Monks - The Transatlantic Feedback ( Video)

Beat...Beat... Beat... movie


Beat Beat Beat - vol. 9



Beat Beat Beat - vol. 10 - Original Soundtrack

01 - Intro
02 - Info
03 - Late Last Sunday Evening / The Lords
04 - Don't Mince Matter
05 - Info
06 - Red River Valley / Cherry Wainer & Don Storer
07 - Info
08 - Sunny Girl / The Hep Stars 
09 - No Response
10 - Info
11 - That's Nice / Neil Christian
12 - Info
13 - Wedding / The Hep Stars
14 - Info
15 - Moanin / Cherry Wainer & Don Storer
16 - Info
17 - No Milk Today / Herman's Hermits 
18 - Dandy
19 - Info
20 - Two At A Time / Neil Christian
21 - Info
22 - Jezebel /  Herman's Hermits
23 - My Reservation's Been Confirmed

Monday, July 11, 2011

Markley - A Group (1969)


Repost in Flac

The final West Coast Pop Art Experimental Band album didn't even feature the band's name (although for once all four bandmembers, including Michael Lloyd, were properly credited in the liner notes): Bob Markley had suggested that they change the band's name for this release, and the rest of the group consented, perhaps simply tired of dealing with Markley's legendary egomania. 


Surprisingly, this is actually not a bad record at all (certainly it's better than the last-gasp efforts of the group's former labelmates the Electric Prunes and the Beau Brummels, which came out around the same time), including both some excellent string parts by Lloyd and some of Danny Harris' best vocals. (Brother Shaun Harris appears only on the final track, a superior remake of "Outside/Inside" from 1969's Where's My Daddy?) Musically, the simple, often delicate sound is most akin to the group's first indie album from 1966 (reissued on Sundazed in 1997). The soft-edged arrangements prominently feature Lloyd's keyboards and overdubbed harmonies courtesy of Harris and Lloyd; most of the guitars are acoustic for once. Lyrically, however, Bob Markley seems to be continuing Where's My Daddy?'s creepy themes of paranoia, class resentment (for someone who funded the band through his trust fund, Markley seemed to write an awful lot of songs about wealth redistribution), and, perhaps most tellingly in light of the lyricist's eventual legal troubles, a predilection for underage girls. That blend of musical beauty and lyrical ickiness is, at heart, the true legacy of the West Coast Pop Art Experimental Band. ~by Stewart Mason 


Mp3:

Sunday, July 10, 2011

John B. Sebastian - John B. Sebastian(1970)


When he led the Lovin' Spoonful from 1965 to 1967, John Sebastian experimented with a variety of styles, expanding from the folk, jug band, and rock & roll that were the band's basic mixture to include everything from country ("Nashville Cats") to orchestrated movie scoring ("Darling, Be Home Soon"). Freed from the confines of a four-piece band, he stretched further on his debut solo album, including the samba-flavored "Magical Connection" and the R&B-styled "Baby, Don't Ya Get Crazy" (complete with the Ikettes on backup vocals) in addition to traditional country on "Rainbows All Over Your Blues," which spotlighted Buddy Emmons on pedal steel guitar.


 But there were also delicate ballads like the string-filled "She's a Lady," a stripped-down remake of "You're a Big Boy Now," and "The Room Nobody Lives In," the last performed with only a harmonium and bass guitar. And there were pop/rock songs like "Red-Eye Express," "What She Thinks About," and the utopian "I Had a Dream" that you could imagine having fitted easily into the Spoonful's repertoire. The songs continued Sebastian's trend toward a more personal writing style, many of them containing images of travel that corresponded to his peripatetic lifestyle. Like Paul McCartney's McCartney, which followed it into the marketplace by a few months, the album was an eclectic but low-key introduction to the solo career of a former group member whose band was known for more elaborate productions, and all the more effective for that. (John B. Sebastian was the subject of a legal dispute between MGM records and Reprise records, with Reprise winning out, although MGM briefly issued its own version of the LP, apparently taken from a second-generation master. The MGM version is sonically inferior to the Reprise one and has different artwork, but the contents of the two LPs are identical.)


Personnel :

John Sebastian – vocals, guitar, harmonica, percussion
Stephen Stills – guitar, harmony vocals
David Crosby – guitar, harmony vocals
Graham Nash – harmony vocals
Dallas Taylor – drums
Buddy Emmons – pedal steel guitar, Moog synthesizer
Paul Harris – organ, keyboards
Ray Neopolitan – bass
Danny Weis – guitar
Reinol Andino – conga
Harvey Brooks – bass
Burt Collins – horn
Jose Cuervo – horn
The Ikettes – background vocals
Bruce Langhorne – tambourine
Gayle Levant – harp
Buzzy Linhart – vibraphone
Mr. Beutens and Mrs. Stanley and Friends – flute, lute, viola

Side 1
1 "Red-Eye Express" – 2:57
2 "She's a Lady" – 1:45
3 "What She Thinks About" – 3:04
4 "Magical Connection" – 2:49
5 "You're a Big Boy Now" – 2:49
6 "Rainbows All Over Your Blues" – 2:27
Side 2
7 "How Have You Been" – 4:12
8 "Baby, Don't Ya Get Crazy" – 3:00
9 "The Room Nobody Lives In" – 3:13
10 "Fa-Fana-Fa" – 2:48
11 "I Had a Dream" – 2:46

Lovin' Spoonful - Singles A's & B's




2 CD set that comes packaged in a digipak. This is the first time that all singles have been put together. Right on the tails of the Beau Brummels and the Byrds, the Lovin' Spoonful were among the first American groups to challenge the domination of the British Invasion bands in the mid-'60s. Between mid-1965 and the end of 1967, the group was astonishingly successful, issuing one classic hit single after another, including 'Do You Believe in Magic?', 'You Didn't Have to Be So Nice', 'Daydream', 'Summer in the City', 'Rain on the Roof', 'Nashville Cats', and 'Six O'Clock'.

Tracks :





Petula Clark - En Vogue (Beat En Francais)


This is a long-overdue double-CD volume, assembling 50 of Petula Clark's rock & roll sides cut for France's Vogue Records during the years 1959-1967. 


Some of the music, such as "Partir, Il Nous Faut" (aka "Nobody I Know") skew very close to MOR pop, but most of it is unimpeachable in its origins and intent, and enough of it is familiar to English-speaking audiences ("Bye Bye Mon Amour" being a translation of "Hello Mary Lou" and "Viens Avec Moi" being "I Know a Place," etc.). Some of the French versions of Clark's English-language hits, such as "Si Tu Prenais la Temps" (aka "A Sign of the Times") are interesting to hear for the differences in their arrangements, which expose different instruments from their familiar recorded versions. Additionally, she does amazingly well with Ray Davies' "A Well Respected Man" (aka "Un Jeune Homme Bien"), a song for which one wouldn't expect Clark to have excessive affinity, and "Tu Perds Ton Temps" (aka the Beatles' "Please Please Me"). There are also numerous tracks unique to the French pop marketplace that are decent early-'60s-style pop/rock, obviously influenced by such artists as Neil Sedaka and the slick Brill Building sound, plus some adaptations of familiar melodies ("Enfant Do" being "Cotton Fields" in French garb) -- and there's at least one jewel of a composition here, "L'Amour Que Tu M'As Donne," that ought to have been translated into English, plus one previously unissued track, "Donne Moi," that's got a harder electric sound than most of Clark's music. The sound is excellent and the annotation by Mick Patrick and Richard Harries is exceptionally thorough.


V.A.- Impossible But True :The Kim Fowley Story


The Kim Fowley story is one of the most interesting in rock, and the exhaustive liner notes to Impossible but True do a fine job of telling it. Producer, songwriter, manager, promoter, scenester, performer -- Fowley was omnipresent on the wild and seedy fringes of rock & roll in L.A. and London in the '60s and '70s. 


The 32 tracks that make up the musical portion of the package are comprised of tracks Fowley released in the '60s under his own name, songs he wrote or co-wrote, and songs he produced or at least had a hand in. Impossible but True: The Kim Fowley Story is a trip through an alternate history of rock in the '60s. Fowley had an ear for a great song and a weird streak a mile wide that kept things very interesting at all times. The disc kicks off with two Fowley performances from 1968: the beastly and rude hard rock of "Animal Man" and the hard rock, acid bubblegum of "Bubblegum." His unique vocal technique is best taken in small doses, and these (along with "The Trip," his hilarious psychedelic parody that is also included) are his best and best-known tracks. The rest of the disc bounces from style to style and from year to year. While most of the tracks Fowley did were pretty obscure, he did have a hand in some actual hits: he played on 1960's "Alley-Oop" by the Hollywood Argyles, discovered the Rivingtons (their "Papa-Oom-Mow-Mow" from 1962 is an R&B classic), released the classic instrumental "Nut Rocker" by B. Bumble & the Stingers on his Del Rio label in 1962, and he produced the girl group classic "Popsicles & Icicles" by the Murmaids from 1963. He also wrote a songs for Cat Stevens ("Portobello Road"), Paul Revere & the Raiders ("Like Long Hair"), and the Seeds (the wild "Fallin' off the Edge of My Mind") and produced Gene Vincent (1968's "Rainbow at Midnight") and the Soft Machine ("Feelin' Reelin' Squeelin'"). The rest of the disc is made up of the aforementioned obscure but excellent tracks like the hard-rocking garage track "Gloria's Dream" by the Belfast Gypsies (basically a Van Morrison-less Them), the British R&B of the 'N Betweens' (who later became Slade) cover of "Security," the snotty, spacy, and hilarious version of "Wild Thing" by Cathy Rich, and the folk-rock sweetness of "Daydreaming of You" by the Hellions. Fowley was always looking to wedge his way into every trend that came along, so there are stops made at folk-rock (the sweet "Daydreaming of You" by the Hellions), instrumental rock ("Charge!" by the Renegades), doo wop ("No More" by Little Victor & the Vistas), vocal pop ("Honest I Do" by the Innocents), cornball easy listening (his own wildly amusing "Space Odyssey" from 1968), and blues rock ("Louisiana Teardrops" by Elfstone). He also seemed to have invented at least one very specialized genre, ski rock. The songs by the Alpines ("Shush-Boomer") and the Snowmen ("Ski Storm, Pt. 1") are basically surf tunes with lyrics about skiing. Impossible but True is a fascinating historical document and a blast to listen to from beginning to end. Ace did a damn fine job putting it all together; it is a picture-perfect example of everything a good collection should be.


Index - Black Album/ Red Album/ Yesterday & Today (1967-70)


Formed at the University of Detroit in 1967, Index cut one of the most excruciatingly rare psychedelic albums of all time, pressed in an edition of a mere 100 copies. No, it's not worth the $3,000 it lists for in Goldmine's price guide, but it's certainly a nifty, even one-of-a-kind curiosity (and fortunately, it was reissued in the '80s).



A power trio with more or less equal links to the garage and psychedelic eras, Index enhanced their astral aspirations with an unholy amount of reverb drone. One reviewer likened their debut LP, pretty accurately, to sounding as if it had been recorded in a freight elevator. For a psychedelic act, Index's sound was uncommonly morose and minimalistic. They were prone to eerie, repetitious ragas, the reverb giving them a surfing-on-the-moon feel. Their originals were based around modal melodies and mournful, almost Nico-like vocals (although they were entirely male), and they wreaked slow-torture havoc with their drawn-out ragazations of "Eight Miles High," "John Riley," and "You Keep Me Hangin' On." Weirdest of all were their instrumentals, where melody took a distant second to cascading walls of reverb, wah-wah, and shrieking feedback that verged on the avant-garde. 

Their 1968 debut was heard by very, very few people, and their follow-up (also 1968) was possibly heard by even fewer. There was a slight upgrade in production values (it was recorded in stereo, whereas the first had been done in mono), but with no attempt to increase distribution; again, 100 copies were pressed, at most. Similar to the debut, but more song-oriented and not as swathed in reverb, it was also odd in that it reprised some of the songs from the debut in very similar versions, and had a couple of covers of tunes from the Bee Gees' first album. The Bee Gees connection isn't as odd as it seems; some of the best early Bee Gees songs were their mournful ballads, and that mournful quality characterized much of the Index's original material as well. 

Most of the copies of the Index LPs were given away to friends, and the group vanished after the '60s. It wasn't until the garage/psychedelic revival of the '80s that Index became known and respected in collector circles, especially after the first album was reissued by Voxx in 1984. Nothing has been heard from the bandmembers since 1969, although their manager (who couldn't believe that anyone was interested in the group after all these years) was located by Goldmine; undoubtedly, they'll have an interesting story to tell if they ever get tracked down.


Petula Clark - The EP Collection VOL.1-2



Petula Clark is the popular British singer whose success can be measured in terms of the 70 million records she has sold around the world.

Her rise to fame began when she toured as a child star entertaining the troops during World War II. When the war was over she began a film and television career, starring in several movies and hosting her own variety show. Her first album release was in 1949 and in the 1950s she enjoyed a string of hits in Britain starting with “The Little Shoemaker” in 1954. Her success spread to Europe as she signed with Vogue Records in France and began to release a series of foreign language albums. “Downtown” hit the charts in 1965 and marked her entry into American public affections. During the 60s she was a star but her commercial appeal began to wane towards the end of the decade. Nonetheless she continued to tour and performed to sell-out audiences across the world, juggled her work with a desire to spend more time with her family.

Even into the new millennium Petula Clark’s schedule remains packed, with one woman shows, tours and television appearances.


Petula Clark -  The EP Collection  Vol.1 (Mono/Stereo)



This 29-song EP, clocking in at 77 minutes, is more generously programmed than any other collection of Petula Clark's hits, and it may well delight fans of Clark's voice. On the other hand, those who are admirers of the sound of Clark's familiar mid- to late-1960s' hits may find it rough sailing, because half the material on this disc predates the advent of that part of her career, when Clark was still an adult pop singer in the Doris Day or Rosemary Clooney mold. For real fans, however, it is a veritable celebration of her voice in all of its guises, from 1956's "With Your Love" through "Downtown" (which appears right at the track 15 spot here), to 1967's "Don't Sleep in the Subway." The stylistic range of this material will astound casual listeners, who only know Clark's post-"Downtown" career. Not all of the material is especially noteworthy -- "Welcome Home," although nicely arranged and well sung, might as well be a lesser Patti Page recording -- but some of the material does, indeed, command serious attention. The most notable track here, unique on CD to this collection, is Clark's lyrical, slow ballad version of the Honeycombs' hit "Have I the Right," an extraordinary reinterpretation that could and should have challenged the original. And Clark's cover of the Bacharach-David song "True Love Never Runs Smooth" is a lost '60s pop/rock treasure that was released (in England) in tandem with "Downtown." Oddly enough, several songs that don't fit in especially well with her album releases on CD work beautifully here, most notably "We Can Work It Out" and "Here, There and Everywhere." Clark's own work as a composer is reasonably well represented, with "Gotta Tell the World," "Hold On to What You Got," and "While the Children Play." The notes are a little sketchy about specific songs, but otherwise, this and its companion volume are a good compromise for fans who don't want to buy the complete Petula Clark reissue catalogs of the 1950s and 1960s.


***

Petula Clark -  The EP Collection Vol.2





Saturday, July 9, 2011

Beat...Beat... Beat... movie



Beat Beat Beat - vol. 9




01 - Intro
02 - Info
03 - Serre-Moi La Main / Les Knack
04 - The Price of Love
05 - Info
06 - Happy Organ / Cherry Wainer & Don Storer
07 - Info
08 - Complication / The Monks
09 - I Can't Get Over You
10 - Info
11 - Out Of Time / Chris Farlowe
12 - Info
13 - Cuckoo / The Monks
14 - Info
15 - Love For Sale / Cherry Wainer & Don Storer
16 - Info
17 - The Nitty Gritty / Manfred Mann
18 - You Don't Know Me
19 - Info
20 - Ride On Baby / Chris Farlowe
21 - Info
22 - Semi-Detached Suburban Mr. James
23 - Hound Dog

The Common People - Of The People, By The People, For The People (1969)


The Common People issued a little-known album in 1969 on Capitol that tread toward the slightly dark side of psychedelia. It deserves its obscurity, as despite some attempts to vary the arrangements with strings, horns, and period late-'60s electric keyboard sounds, it's dull and melodically unimaginative, seldom getting out of a gray mood.
Members:
Denny Robinett - Vocal, guitar
Jerrald Robinett - Drums
John Bartley III - Guitar
Michael McCarthy - Bass
William Fausto - Piano, organ



The Common People's only album is melancholy psychedelia, quirky but in a pretty forgettable way. The mood's set by the opening "Soon There'll Be Thunder," where an appealing two-chord melancholy melody is set to raindrop-falling haunting electric keyboard and sweeping, gloomy strings. It's a groove that's mined too often by the subsequent tracks, which are passably pleasing moody pop-psychedelia in limited doses, but too similar to each other when grouped so closely. The constant rain-cloud-hovering-over-a-hung-head ethos begins to turn sour rather than soothing after a few songs, even though the string arrangements used on just a few cuts have a nicely shivering, weepy quality. "They Didn't Even Go to the Funeral" is a most unfortunate departure into mock vaudeville humor, and while a couple other songs get dressed up with some peppy horns, it's hard to tell whether the embarrassing grunts in "This Life She Is Mine" are an attempt at funky soul or simulations of the moment of orgasm. The pace does get broken up by the hard but monotonous fuzz-guitar piano rock of "Go Every Way," as well as some more folk-rockish and melodically limited sullen stuff.


Thursday, July 7, 2011

The Knickerbockers - 20 Classic Tracks (1965-1967)


In early 1966, the Knickerbockers hit the Top 20 with "Lies," the best and most accurate early Beatle imitation ever recorded; the lead vocals were a dead ringer for John Lennon and the whole production could have fit in snugly on the second side of A Hard Day's Night. Actually a frat rock band from New Jersey who didn't write much of their own material, they never made anything else as successful. A couple decent follow-ups -- "One Track Mind" and the similarly mock-British Invasion "High on Love" -- were small hits, but their albums were even blander than many of the era's other one-shot artists. Their three noteworthy singles were all featured in Rhino's Nuggets series. Drummer and singer Jimmy Walker briefly replaced Bill Medley in the Righteous Brothers.





The Knickerbockers' "Lies" is one of the greatest songs the Beatles never wrote -- an American-born soundalike single that hit the charts nearly two years after the onset of the British Invasion. The group managed to produce two more chart hits, "One Track Mind" and the frantic "High on Love," before exhausting the faux-Beatles formula and shifting into Four Seasons-like vocal group songs ("Please Don't Love Him"), psychedelic pop ("Sweet Green Fields"), and blue-eyed soul ("Come and Get It"). The 20 Classic Tracks! concentrates on the group's Challenge singles, including all of the above-mentioned tunes, and adds a handful of album tracks and unreleased recordings for the mollification of collectors.

 The falsetto "Jerk Town" tries to please everyone by roping together surfing, hot rods, and dance crazes in one mildly ridiculous song, while a cover of Barrett Strong's "Money" and a hard-rocking "Chuck Berry Medley" touch base with earlier rock & roll traditions. Former teen idol Jerry Fuller produced the sessions and contributed a few compositions, as did future soft pop stars Seals & Crofts. A pre-Bread David Gates arranged "My Feet Are Off the Ground," and Glen Campbell may or may not have sung background vocals on "Can't You See I'm Tryin'," which he co-wrote. Sundazed has subsequently released a number of other Knickerbockers album reissues and anthologies, but The 20 Classic Tracks! remains a comprehensive anthology of the group's Challange recordings from 1965-1967, featuring all of the group's Top 100 hits and more.



The Fireballs - Blue Fire & Rarities (1960;1993)


Truly a compilation of rare material, this 31-track disc features alternate takes of some of their best known sides ("Yakky Doo," "Rik-A-Tik," and "Torquay"), as well as many tracks seeing the commercial light of day for the first time. But the real bonus here is the first time issuance of "Blue Fire," a concept album which was recorded in 1960. Not the place to start listening to The Fireballs, but a great place to visit after you've heard the hits. 
This New Mexican group was the primary exponent of the Tex-Mex sound in the instrumental rock & roll of the late '50s and early '60s, landing three Top 40 hits, "Torquay," "Bulldog," and "Quite a Party." Paced by the clean, economic guitar lines of George Tomsco, their moody, laconic arrangements and dextrous picking was similar in essential respects to the Ventures. The Fireballs, who used the same Norman Petty-run studio in Clovis, NM, as Buddy Holly, had a much more prominent "border" music feel to their melodies than the Ventures. The Ventures, on the other hand, had a much more full-bodied and versatile attack, accounting to a large degree for the Fireballs' comparatively slight place in history. 

The Fireballs, who occasionally sang on their recordings, are actually much more famous for their controversial contributions to the Buddy Holly legacy. In the early '60s, in association with Petty (Holly's former producer and manager), they overdubbed some of Holly's demo tapes for posthumous release. Some Holly fans claim that these performances should have been left to stand as they were; Petty, and others, have claimed (dubiously) that they were only salvageable for commercial release via such overdubs. 

In 1963, the Fireballs hooked up with singer Jimmy Gilmer. As Jimmy Gilmer & the Fireballs, they had one of the biggest hits of 1963 with a number-one smash lightweight-pop ditty, "Sugar Shack." A similar follow-up, "Daisy Petal Pickin'," made the Top 20, but the British Invasion wiped them out immediately. The Fireballs, sans Gilmer, made one last unexpected comeback in 1968, when their "Bottle of Wine" (featuring vocals by the group themselves) made the Top Ten.


The Nazz - Open Your Eyes The Anthology


Inspired by a variety of British Invasion groups, from the omnipresent Beatles to cult favorites the Move, Todd Rundgren and his Woody's Truck Stop colleague Carson Van Osten formed the Nazz in 1967. Taking their name from an obscure Yardbirds song, the Nazz were arguably the first Anglophiles in rock history. There had been many groups that drew inspiration from the Beatles and the Stones, but none had been so self-consciously reverent as the Nazz. One of their first singles, "Open My Eyes," twisted the riff from the Who's "I Can't Explain," and much of their music felt like homages to Brit-rock from the Kinks to Cream, thereby setting a precedent that was followed by scores of North American guitar-pop bands from the Raspberries to Sloan. 
Todd Rundgren - Guitar, String Arrangements, Mixing Arranger, Horn Arrangements, Vocals
Robert “Stewkey” Antoni - Keyboards, Organ, Piano, Vocals
Thom Mooney - Drums 
Carson Van Osten - Bass, Vocals


Playing lead guitar and bass, respectively, Rundgren and Van Osten were joined by drummer Thom Mooney (formerly of the Munchkins) and lead vocalist/keyboardist Stewkey (b. Robert Antoni). The Nazz had their first concert in July 1967, landing an opening slot at a Doors concert. By September, the group received some financial support from the local record store Bartoff & Warfield, who also put them in touch with John Kurland, a record promoter who was looking for a guitar-pop band. Kurland took a shine to the Nazz and signed on as their manager. Throughout the fall, they practiced in their new home base of Great Neck, NY. Kurland and his associate, Michael Friedman, prevented the band from gigging regularly, believing that a lack of performances would increase demand for the group. The managers also were convinced that the Nazz could be marketed as a sharp, stylish boy band for the teenybopper audience, and helped the quartet members to refashion themselves in that mode. 

With a wardrobe of clothes and an album's worth of material ready, Kurland and Friedman had the Nazz sign with SGC Records -- an offshoot of Atlantic Records and Columbia-Screen Gems -- in the summer of 1968. Their debut album, Nazz, appeared in October, supported by the single "Hello It's Me." Although the song would later become a major hit for Rundgren as a solo artist, the dirgey original version barely scraped the national charts, largely due to mismanagement. The managers wanted the Nazz to play only large halls, which was virtually impossible for an unknown, unproven band with a newly released debut album. As a result, most of the group's publicity was limited to glamour shots and puff pieces in teen mags. Ironically, many of the articles emphasized the band's "electrifying" live performances. 

"Hello It's Me" managed to reach number 71 on the charts, and the record -- particularly the Nazz's self-production of "Open My Eyes" and "Hello It's Me" -- attracted some good notices. Taking this as a cue, the Nazz headed to England to cut their second album, but they became embroiled in work visa problems. Undaunted, they returned to America and began work on an ambitious self-produced double album named Fungo Bat. By the time it was released in April 1969, it was trimmed to a single album, Nazz Nazz. Although the project's scale was diminished, the music remained dizzyingly diverse, as the record ran the gamut from psychedelic rockers to pop ballads. One problem emerged, however. In the process of editing, much of Rundgren's newer, Laura Nyro-influenced material -- which he had sung himself -- was left on the shelves. Neither the management nor his bandmates gave Rundgren much encouragement to sing, nor was his new introspective direction warmly received by his colleagues. Faced with a no-win situation, Rundgren left the group not long after their summer 1969 tour; by that time, Van Osten had already departed the band. 

Stewkey took control of the Nazz, erased Rundgren's vocals from the album sitting in the vaults, and replaced them with his own. The result was released as Nazz III in 1970, but it stiffed. Mooney departed the group, later to play with such bands as the Curtis Brothers, Tattoo, and Paris. Stewkey joined Fuse, an Anglophile power pop group featuring future Cheap Trick guitarist Rick Nielsen. Mooney also played with Fuse, but left before Cheap Trick bassist Tom Petersson joined and the group became Sick Man of Europe.



An anthology is usually understood to be a selection of material, but Sanctuary's compilation of recordings by the Nazz, Open Our Eyes: The Anthology, actually collects all of the band's legitimately released tracks on two CDs with a running time of over two hours and ten minutes. That's the 34 songs that made up the albums Nazz, Nazz Nazz, and Nazz III, plus an outtake cover of "Train Kept a Rollin'" first released on the 1985 LP Best of the Nazz and making its CD debut here. But if compiler Kieron Tyler exercises no judgment about what to include, he does take it upon himself to provide a new sequence rather than just running one album after another in the order they were released originally in 1968-1970. There is some justification for this. Nazz Nazz was first intended to be a double album but truncated into a single one, with the extra material being released as Nazz III 20 months later. So, Tyler, after extracting the novelty song "Loosen Up" (a parody of the Archie Bell & the Drells hit "Tighten Up") from Nazz III to lead off the compilation, takes a shot, in the last seven tracks of the first disc and all of the second disc, at assembling a version of that never-released double album. This does not explain, however, why he also finds it necessary to re-sequence the ten songs from the first album. The new sequencing is not an improvement on the old, and for Nazz fans accustomed to the running order of the old LPs after 30 years, it will sound odd. But in whatever order, the package contains all of the group's recordings on one album. Tyler's liner notes, detailing the band's history with the help of Todd Rundgren, are excellent and contain new information.


The Fenmen - Sunstroke (1961-1967)





The Fenmen made just four rare singles under their own name in 1964-1966, but were notable players in the British Invasion on a couple of counts. At the beginning of their recording career, they operated as the backup group in Bern Elliot & the Fenmen, who had U.K. hits in 1963 and 1964 with covers of "Money" and "New Orleans." Not long after their final single, two of their members became key components of the psychedelic lineup of the Pretty Things. Their meager recording legacy as a self-contained outfit shows them to be a good vocal harmony group strongly influenced by American stars the Four Seasons and the Beach Boys, though they didn't start to record original material until shortly before they broke up. 


The Fenmen formed in early 1962 in a suburb in Kent, England, the act originally getting billed as Bern Elliot & the Fenmen. With Elliot as frontman, they had a number 14 British hit in late 1963 with the oft-covered "Money," and a smaller one with their follow-up, a version of Gary "U.S." Bonds' "New Orleans." They also did an EP and a couple live tracks on the compilation At the Cavern, their recorded repertoire dominated by covers of American rock and soul songs. 

Elliot and the Fenmen separated in 1964, leaving the Fenmen to develop a different style heavily derivative of American pop/rock vocal harmony outfits. A couple flop Fenmen singles for Decca in 1964 and 1965 found the Four Seasons flavor especially strong, including a cover of the Seasons' smash "Rag Doll." The move to CBS for a couple of singles in 1966 was no more successful, including a cover of the Mamas & the Papas' "California Dreamin'" and, more impressively, the Wally Waller composition "Rejected," which showed the emergence of a more original style building off the group's vocal harmony base. 

The Fenmen ended, however, at the beginning of 1967, when rhythm guitarist/singer Waller reconnected with childhood friend Phil May, lead singer of the Pretty Things. After the two wrote "The Sun" together, May invited Waller to join the Pretty Things, with Fenmen drummer/singer John Povey also joining the Pretty Things lineup. "The Sun" would appear on the Pretties' 1967 album Emotions, and Waller and Povey would be an important part of the band's transition from an R&B-oriented group to a far more psychedelic one in the late '60s and early '70s. The Fenmen's two Decca singles can be found on the Bern Elliot & the Fenmen CD compilation The Beat Years, while three of the four tracks they released on CBS (as well as some BBC sessions and unreleased recordings) are on the Fenmen compilation Sunstroke.





Bern Elliott - Vocal
Alan Judge - Lead/Vocal
John Povey - Drums/Vocal
Wally Allan (Alan Wally Waller) - Vocal/Guitar b. 9.4.1944, in Barnehurst, Kent
Eric Willmer - bass guitar








The Fenmen are known mostly for backing Bern Elliot, who had a couple of hits in the U.K. near the beginning of the British Invasion, and for two of their members (Wally Waller and Jon Povey) joining the Pretty Things as that group evolved into a psychedelic outfit. The Fenmen did do some recording on their own in the mid-'60s, however, and this CD compiles some of their most worthwhile odds and ends, as well as seven 2009 recordings done by Waller and Povey especially for this project. The ten '60s tracks on this 17-song CD are naturally the ones that will attract the most interest, including three from rare 1966 singles; three from a June 28, 1966 BBC radio session; two January 1965 studio outtakes; and two from a March 1963 acetate backing Elliot. Those checking out this compilation because of the Pretty Things connection might be surprised to find the Fenmen a quite poppy and vocal harmony-oriented outfit, influenced by the Beach Boys and the Four Seasons at least as much as British Invasion groups. Covers of the Beach Boys' "The Warmth of the Sun," and "California Dreamin'" make those influences obvious. But they're put to more impressive effect on the 1966 Waller-composed single "Rejected," an intricate and moody number that's by far the best recording the Fenmen managed on their own. Though the 1963 demo acetate covers of "Mashed Potatoes" and "Do You Love Me" by Bern Elliot & the Fenmen suffer from rough sound quality, they're exuberantly and surprisingly infectious versions of these oft-covered American soul-rock classics. The seven new recordings undertaken by Waller and Povey for this CD have a gentler, folkier, and more nostalgic tone than the '60s material, and include a reworking of the first song Waller wrote with the Pretty Things' Phil May, "The Sun" (which appeared on the Pretties' 1967 album Emotions). The package includes extensive track-by-track notes by Waller and Povey, along with numerous vintage pictures.

Heimatliche Klaenge - vol.86


The Daisy Clan - Joachim Heider & Michael Holm 



Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.86   Golden 12

Daisy Clan - Joachim Heider & Michael Holm 

01 - Hippy Hippy (as The Hippies)
02 - Love In (as The Hippies)
03 - Billy Vanilly
04 - Hound Dog Bob & Lena
05 - Muny, Muny, Muny
06 - Friends
07 - Bonnie Bonnie Bonnie (version UK)
08 - Mr. Walkie Talkie
09 - Lions In The Tree
10 - Love needs love
11 - Glory be
12 - San Francisco Chinatown
13 - Ridin’ A Rainbow
14 - Let It Happen Tonight
15 - Love Be Good To Me
16 - Das geht vorueber
17 - Kama Baby

El Amor Necesita Amor = Love Needs Love
Gloria = Glory Be


Wednesday, July 6, 2011

The Beach Boys - Beach Boys Party !



Capitol, which had already released ten Beach Boys albums in three years, was bugging the group for product that it could release in time for the 1965 Christmas season. To buy time while Brian Wilson began conceiving the Pet Sounds masterpiece, the group issued a set of covers, mostly of the '50s rock and R&B they had listened to as schoolboys. Packaged as if it had been recorded at an actual party, it was in fact recorded in the studio, with friends and romantic partners adding sounds and vocals to create an informal atmosphere. With the exception of a bass guitar, all the instruments were acoustic; the acoustic guitar-and-bongo arrangements, in fact, give this a hootenanny campfire feel. In recent years, this album has gone up a few notches in critical esteem, praised for its loose, casual feel and insight into the group's influences. 


Realistically, though, its present-day appeal lies mostly with dedicated fans of the group, as fun and engaging as it is. Others will find the material shopworn in places, and the presentation too corny. It does have the massive hit "Barbara Ann," which actually features Dean Torrence (of Jan & Dean) on much of the lead vocals; other highlights include "Mountain of Love," an unexpected version of "The Times They Are a-Changin'," and three Beatles covers. [Beach Boys' Party!/Stack-O-Tracks, a Capitol two-fer CD, combines this and Stack-o-Tracks onto one disc, adding three previously unreleased backing tracks to the Stack-O-Tracks half of the program.]


The Beach Boys - Stack-o-Tracks (1968)



One of the oddest albums released by a major rock group in the '60s, Stack-o-Tracks consisted of instrumental backing tracks to 15 of the Beach Boys' more famous songs, stripped of their vocals to encourage karaoke-like singalongs. It's an indication of how low the Beach Boys' commercial stock had fallen at Capitol that the label was desperate enough to put out the kind of release that usually only surfaces via bootleg. It's thus of interest mostly to collectors and Beach Boys scholars who want to dig a little deeper into the instrumental tracks than they can otherwise (although on some of the tunes, you can hear some faint remnants of the vocal lines bleeding in). A 1990 Capitol CD combines this and Beach Boys' Party! onto one disc, adding three previously unreleased backing tracks (of "Help Me, Rhonda," "California Girls," and "Our Car Club") to the Stack-o-Tracks half of the program.


Beginning their career as the most popular surf band in the nation, the Beach Boys finally emerged by 1966 as America's preeminent pop group, the only act able to challenge (for a brief time) the overarching success of the Beatles with both mainstream listeners and the critical community. From their 1961 debut with the regional hit "Surfin," the three Wilson brothers -- Brian, Dennis, and Carl -- plus cousin Mike Love and friend Al Jardine constructed the most intricate, gorgeous harmonies ever heard from a pop band. With Brian's studio proficiency growing by leaps and bounds during the mid-'60s, the Beach Boys also proved one of the best-produced groups of the '60s, exemplified by their 1966 peak with the Pet Sounds LP and the number one single "Good Vibrations." Though Brian's escalating drug use and obsessive desire to trump the Beatles (by recording the perfect LP statement) eventually led to a nervous breakdown after he heard Sgt. Pepper's Lonely Hearts Club Band, the group soldiered on long into the 1970s and '80s, with Brian only an inconsistent participant. The band's post-1966 material is often maligned (if it's recognized at all), but the truth is the Beach Boys continued to make great music well into the '70s. Displayed best on 1970's Sunflower, each member revealed individual talents never fully developed during the mid-'60s -- Carl became a solid, distinctive producer and Brian's replacement as nominal bandleader, Mike continued to provide a visual focus as the frontman for live shows, and Dennis developed his own notable songwriting talents. Though legal wranglings and marginal oldies tours during the '90s often obscured what made the Beach Boys great, the band's unerring ability to surf the waves of commercial success and artistic development during the '60s made them America's first, best rock band. 





Peter Maffay - Und Es War Sommer (1976 ) & Steppenwolf (1979)



Peter Maffay - Und Es War Sommer (1976 )
1. Peter Maffay - Und Es War Sommer (4:12)
2. Peter Maffay - My Love (4:15)
3. Peter Maffay - Liebe Heisst Das Lied (3:51)
4. Peter Maffay - Coca Cola, Maedchen Und Rock 'n' Roll (2:58)
5. Peter Maffay - Ich Such Meinen Stern (4:15)
6.Peter Maffay -halifax
7. Peter Maffay -der wind erzaehlt ein lied
8.Peter Maffay - heute nacht
9. Peter Maffay -ich bin eine insel
10.Peter Maffay - ich bleib nur eine nacht
11.Peter Maffay - maedchen-wild wie das meer
12.Peter Maffay - ein bild kann nicht lachen so wie du

Peter Maffay - Steppenwolf (1979)


1. Peter Maffay - So Nicht (3:33)
2. Peter Maffay - Steppenwolf (3:32)
3. Peter Maffay - Auf Dem Weg Zu Mir (4:27)
4. Peter Maffay - Jane (3:59)
5. Peter Maffay - Mach's Gut, Mein Freund (3:26)
6. Peter Maffay - du hattest keine traenen mehr
7. Peter Maffay - so bist du
8. Peter Maffay - spuren einer nacht
9. Peter Maffay - roadie
10. Peter Maffay - das ist mein traum
11. Peter Maffay - liebling wach auf
12. Peter Maffay - wahrheit


Peter Maffay - It's You (1972) & Josie (1975)



Born in Brasov, Romania, the son of a German (Transylvanian Saxon), he was 14 when his family relocated to his parents' native Germany in 1963. In the same year, he started his first band, The Dukes. After completing his education and working for Chemigraphics, an art manufacturer, Maffay worked in clubs, where he distributed his music.
Peter Maffay's career started with the publication of his first single, "Du" (You in German). It was the biggest German hit in 1970 and brought Maffay instant fame. With the album Steppenwolf in 1979, Maffay became a major music star in Germany. The album sold 1.6 million copies, making it the best selling LP at that time. In 1980, the album Revanche (Revenge) broke his previous record, selling 2.1 million copies.


Maffay holds the German record for the most number one ranked singles in the single and album sales charts, including 12 albums.[1] In addition, most of his studio albums reached the top ten.[1] He also holds a German record for most albums to have sold over one million copies, with 14. His latest album ,Laut und Leise (Loud and Quiet), became the fourteenth.
Altogether, Maffay has sold over 35 million records. Since 1980, each of his 13 tours (roughly every 2 years) has ranked among the three most visited attractions each season in Germany, with nine of them ranked first in that category.
Maffay also created a string of fairy tales about a little green dragon named Tabaluga, which was spread out onto four albums. The piece was also turned into a musical. Maffay went on tour individually with Tabaluga & Lilli in Germany; he later released a live album, DVD and live TV broadcast. The tour included Peter Maffay, Alexis, Nino de Angelo, Rufus Beck, and Carl Carlton among others.
In 1998, Maffay created an album in collaboration with artists from all corners of the world, including Aboriginal singers and musicians from Israel, called "Begegnungen". Julia Neigel, another famous German artist, is one of the musicians he usually works with in lyrics and singing in duets. She wrote two of his top singles - "Freiheit Die Ich Meine" and "Siehst Du die Sonne", a cover of Michel Polnareff's "Le Poupeé qui fait non".
He also starred in two films directed by Peter Patzak: The Joker in 1986, and Captured in Yemen in 1999. In addition, Maffay played a supporting role in the feature "The Polar Bear".
On 12 March 2011, Maffay received the Steiger Award (Germany).





Friday, July 1, 2011

Mike Kennedy( Kogel ) - Recital en La Zarzuela (1970)





This is a live album recorded "without" postproduction or posterior retouching 
and remixing.
 It seams as it was made for the fan club.



"...Yes, the Beatles came first. In fact, the name Los Bravos was chosen for the spanish band because it starts with the letter "b". But who cares, there is one thing the beatles they never had: 
The voice of Mike Kennedy (It's actually Kogen, changed to an English sounding name in order to not frighten the snoby british press).

He was born (in Germany) with the most gorgeous voice. Masculine, yet 
exquisite. He was a great singer too, meaning, he knew how to use that "tool" of his 
voice. Exploding and fully living those songs with a punctuated delivery both in english 
and spanish. Los Bravos also had the great "touch" of the marvelous british orchestral arranger: Ivor Raymond (the same one as Dusty Springfield) and Alain Milhaud (pop-tops). His early solo records were aranged by: " Jean Bouchety " . The Beatles wrote all their own songs (with exceptions). This could be good or bad. Even though Los Bravos co-wrote many of their hits, they also were open to other outside professional writers. This in my opinion is great, because a great song is a great song no matter who wrote it. Since being based in Spain, its clear that the Brits and Americans were not gonna make life too easy for the band (trying there best not to give them airplay time), so naturally they are not as well know as they should be. In fact, some of their most important "singles" were never released in the UK/USA and are very hard to find today..."

****






RECITAL MIKE KENNEDY en LA ZARZUELA  
Segunda Parte: Vol. II


Mike Kennedy ex Los Bravos
(MIchael Kogel - Germany: 
aka Michael, Michael & The Firebirds, Mike Rat & The Runaways, The Beat-Mixers)


CARA A:
01 - WHOLE LOTTA LOVE
02 - RIVER DEEP MOUNTAIN HIGH
03 - NIGHTS IN WHITE SATIN

CARA B:
04 - QUE TE OUIERO! (Que je t'aime)
05 - BLACK IS BLACK 
06 - LIVIN' LOVIN MAID (She's just a woman)
07 - FINAL RECITAL

08 - MY WAY
09 - IN THE GHETTO


MIKE KENNEDY

LUIS FRANCH, piano y organ.
LEN NELDRETT, guitarra.
BILL ROBINSON, bajo.
ALAIN RICHARD, bate,

MERCHE, CRISTINA y MARIA JESUS, coro femenino.
(Las voces de este magnifico trio •La,la le•.
ausentes de la Zarzuela a causa de su participa-
cion en el pre-eurofestival de Barcelona, se 
anadieron en el estudio, al realizar la mezclale). 

JOAOUIN PRAT, presentador

A causa de una material falta de tiempo  -el 
Ballet de Praga estaba anunciado para las siete de
la tarde-  hubo que terminar el recital cuando 
faltaban aun seis canciones del programa previs-
to. Para que quedaran fuera de estos discos.
dos de esas canciones, seguramente las mas be-
llas. My Way e In the getto (volumen 2).
se han grabado despues, en Estudios Celada, tal 
como iban a ser interpretadas en publico.

La sonorizacion de la sala fue realizada con
equipos Music Son. bajo la direccion de su crea-
dor Joaquin Benavent.

Grabado en el Teatro de la Zarzuela de Madrid. 
el domingo 15 de febrero de 1970, a las 4:30 
de la tarde. con un equipo movil de 4 pistas de 
Estudios Regson.
Sonido: Jose Valeira. 
Direccion technica: Pedro Mengibar
Produccion: Alain Milhaud


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