The story of Jimmy Gilmer & the Fireballs is somewhat confusing, in that the Gilmer-fronted lineup was identical to the one that played on records simply credited to the Fireballs (see separate entry). The New Mexico band had several instrumental hits in the late '50s and early '60s in a slick Tex-Mex style, with staccato guitar lines that prefigured surf music. Using the same producer as Buddy Holly (Norman Petty), the group also performed controversial overdubs that were added to some of Holly's posthumously released material. Again following the lead of Holly and the Crickets, in the mid-'60s they recorded some singles credited to Jimmy Gilmer & the Fireballs. These were distinguished from most other Fireballs records in that they were vocal numbers, not instrumental, Gilmer (who was second guitarist in the Fireballs) being the lead singer.
Jimmy Gilmer & the Fireballs had a monster number one single in late 1963 with "Sugar Shack," a light pop/rocker dominated by the vibrating sound of a primitive precursor to the synthesizer, the Solovox. The song was singled out for special venom by Greil Marcus in The Rolling Stone Illustrated History of Rock & Roll, who called it "the worst excuse for itself rock and roll had yet produced." The public disagreed, sending it to number one; surprisingly, it also topped the R&B charts.
Gilmer and band made the Top 20 one more time with "Daisy Petal Pickin'," a transparent "Sugar Shack" soundalike, right down to the Solovox. They cut various flops for Dot in the mid-'60s, and Gilmer recorded a Buddy Holly tribute album on his own. Signing to Atlantic in 1967, the Fireballs had another Top Ten hit with Tom Paxton's "Bottle of Wine," without giving top billing to Gilmer, although he was still in the band. Gilmer left the Fireballs shortly afterwards, though, and the Fireballs saga petered out after a few other low-charting singles in the late '60s.
1. Jimmy Gilmer - Sugar Shack (2:00)
2. Jimmy Gilmer - Let's Talk (2:03)
3. Jimmy Gilmer - Linda Lu (2:50)
4. Jimmy Gilmer - Lonesome Tears (2:22)
5. Jimmy Gilmer - Let The Good Times Roll (2:11)
6. Jimmy Gilmer - Red Cadillac And A Black Mustache (2:31)
24 Hours (Everyday) collects highlights from not only the McAllen, TX-based Headstones, but from all the other groups the band's two leading members were in during the '60s. The result is a fitfully entertaining set of predictable garage psychedelia, but only the hardest of hardcore Texan psychedelia fans should seek this out
Dave Williams - lead vocals, bass
Glen Vanlandingham, lead guitar, vocals
Paul Veale, guitar, vocals
Mike Florence, organ
Winston Logan, drums on "24 Hours", vocals
Mike Rogers, drums on "Bad Day Blues"
Of the countless studios cranking out garage band crudity coast to coast circa 1966, few were as off the beaten path as Jimmy Nicholls' 2-track studio in McAllen, Texas, near the Mexican border. Yet J-Beck Records artists from Corpus Christi such as the Bad Seeds, to cite just one example, cut their toughest sides at this red hot recording outpost. Of a similar remarkable quality was McAllen's own Headstones who recorded for Nicholls' Pharaoh Records. "24 Hours (Everyday)" was the ravaging, "Gloria"-styled B-side for their debut single. While the Headstones achieved top ten status locally with their two singles on Pharaoh, it is this track and another Farfisa-drenched flip, "Bad Day Blues" that seal the Headstones' reputation as one of the great Texas garage bands. - Jeff Jarema, liner notes
Christy..., how little is written about you .... But you are the ...
....Before there was Christine McVie and before Fleetwood Mac became international superstars there was Christine Perfect.
Christine Perfect would rise to fame to England as the keyboardist/vocalist for the rock/blues group Chicken Shack. She would be honored as English female vocalist of the year two times and leave the band in 1969. By 1970 she married bassist John McVie and joined his group Fleetwood Mac. As a writer, singer, keyboardist for the band she would contribute to several of the best selling albums of all time including Rumours which has sold close to twenty million copies.
In between her membership in Chicken Shack and Fleetwood Mac she would record a number of tracks for the Blue Horizon Label, but would issue only one solo album for the company. Now The Complete Blue Horizon Sessions has gathered together all 16 tracks from her time with the label including four that have remained unreleased.
This is not the complete pop Christine McVie of her classic Fleetwood Mac Days. Rather she is a gritty, blues style vocalist. Despite this, many of the songs hint at the musical evolutionary road that she would travel during the next ten years. She wrote nine of the sixteen tracks and much of the music would show the beginning of a pop leaning which would increasingly dominate her compositions.
The first two tracks set the tone for the album. “Crazy ‘Bout You Baby” features her smooth flowing keyboards and some subtle brass in support of a bluesy vocal. “I’m On My Way” is a slow blues number with a sultry style and minimal instrumental backing.
“No Road Is The Right Road” is the strongest of her original compositions. There is some nice piano and bass interplay with a classic vocal delivery. The old Chuck Jackson rhythm and blues song, “And That’s Saying A Lot,” provides the vehicle for one of the sexiest songs of her career. “Wait and See” is a moody track with minimal piano backing....
Mortimer evolved out of a later incarnation of the Teddy Boys, from Hyde Park, NY, who recorded a handful of singles for MGM and Cameo Records in 1966 and 1967. They masqueraded under a somewhat psychedelic pseudonym, Pinocchio & Puppets, for an two-sided instrumental single (the B-side was an Eastern raga rock version of "Cowboys and Indians," but is probably not the Michael Lloyd song), which was released by Mercury in 1967. In May 1968, the future members of Mortimer were in the front row of the live TV audience at The Tonight Show and got the chance to meet John Lennon and Paul McCartney, who were in New York to launch their new Apple label and appear on the show. The band eventually ended up in London, where -- under the supervision of Peter Asher -- they recorded a few sessions for the label (an acetate of Mortimer's version of the Beatles' "Two of Us" is said to still exist in the vaults, although it apparently bears little resemblance to the Beatles' version). The group apparently came very close to signing with Apple, but ended up signing a production deal with U.K. record producer Daniel Secunda (brother of Procol Harum manager Tony Secunda) and his B.B.& D. Productions, Inc. The group cut a self-titled album, from which two singles were released, for Philips, but dissolved soon thereafter.
A British singer/songwriter of the '60s whose voice was far better suited for reaching the back row of Broadway auditoriums than soul or rock, Jackie Trent (born Yvonne Burgess in 1940; she changed her name to Jackie Trent at the age of 14) nonetheless operated on the fringe of the U.K. pop scene in the manner of other femme belters like Cilla Black, though her efforts were usually even more middle of the road. Her one big triumph was her number one British single in mid-1965, "Where Are You Now (My Love)"; that would be her only Top 20 entry. If she can often sound like Petula Clark crossed with Shirley Bassey, there's a good reason for that; she shared Clark's producer, Tony Hatch, who would become her songwriting partner and husband. Trent and Hatch, in fact, penned several of Clark's hits, though (with the exception of "Where Are You Now") the composers weren't nearly as successful when applying their songwriting/production talents to Jackie's discs. Trent recorded quite prolifically for Pye in the '60s (including some duets with husband Tony), but it's as a songwriter that she'll primarily be remembered.
BONUS FROM McLuhan's Garden
Jackie Trent – Where are you now, my love (1965) EP
Jackie Trent's best work was done in partnership with Tony Hatch who was to become her husband, but her singing career began much earlier. She began singing professionally during the late 1950s and, although she was a popular singer at the small venues she played, she remained fairly unknown nationally. Her first recordings were with Oriole, which is now a label noted for being a little more adventurous with its signings than some of the better known ones. However, her work remained in relative obscurity until she auditioned at Pye for Hatch. The couple obviously liked each other's company because they soon began working together on a number of musical projects.
The first fruit of the new collaboration was 'Where Are You Now My Love' which they co-wrote, and which gave Jackie Trent her first and only #1. She had only two further minor hits in the UK, although her popularity and that of Tony Hatch was probably greater in Australia which was a country they frequently visited together.
Although they wrote several more well known songs together they were turned into hits for other singers - in particular Petula Clark. Since then their best known work is probably the composition of the theme tune for the Australian soap 'Neighbours'.
California girl group the Honeys was formed in 1961 by siblings Marilyn, Diane, and Barbara Rovell; originally dubbed the Rovell Sisters, the trio cut their teeth on the local amateur talent circuit, and in time Barbara was replaced by their cousin Sandra Glantz, who adopted the stage name Ginger Blake. Through producer Gary Usher, the Rovells were introduced to the Beach Boys' Brian Wilson, who agreed to produce the group. Rechristened the Honeys -- a nickname for female surfers -- they reeled off a series of outstanding Capitol singles including "Shoot the Curl," "Pray for Surf," and the Phil Spector homage "The One You Can't Have," none of which made any kind of commercial impact. A move to Warner Bros. preceded 1964's superb "He's a Doll"; on December 7 of that year, Brian Wilson and Marilyn Rovell were also married. Despite their continuing lack of chart success, the Honeys remained sought-after backing vocalists on sessions for the Beach Boys and Jan & Dean. During the mid-'60s, the trio also recorded as Ginger & the Snaps, although by the time of their 1969 swan song "Goodnight My Love" the Honeys name had been restored. When Blake left the group to pursue a solo career, Marilyn and Diane worked under the name American Spring, although the Honeys did eventually reunite for a disappointing comeback record, 1983's Ecstasy.
Heimatliche Klaenge - Deutsche Schallplatten-Labels
Native Sounds - German Record-Labels
A Stop International Produktion By Giorgio Moroder
Mon Thys (Die Anderen / Apocalypse / Peter Mьller)
01 - Wenn der Sommer kommt Ariola 14 629 1970
02 - Hey Hey
03 - Hot Love Ariola 10 089 1971
Stop Stop Stop
05 - Help Sally Help Ariola 10 387 1972
06 - Tennessee
07 - San Marino Ariola 12 160 1972
Wenn die Liebe nicht wдr'
09 - Rock-A-Bye Ariola 12 737 1973
10 - Glaubst du
11 - Sugar Baby Love Ariola 12 401 1974
12 - Gib mir den Sommer zurьck
13 - Allein, mit dir ganz allein Ariola 13 694 1975
14 - Jedermann
WARNING - no beat >> german schlager !
Gerd Mьller was born 04.08.1947 in Kiel. He played in many bands (Die Anderen / Apocalypse) until he met Enrico and later joined "Chimes of Freedom". As composer Gerd had a large stake in the band's sound. After the band split he released German versions of international hits such as T Rex's "Hot Love", Mungo Jerry's "In the Summertime" and Rubettes "Sugar Baby Love" as a solo artist. Gerd Mьller is a freelance producer and lives in Nashville, USA.
So in 1965, they reinvented themselves. They set up their own production company JRA productions. They exchanged their suits and thin CIA ties for casual shirts, t-shirts and jeans and grew their hair long, guitarist Theo Penglis switched to keyboards and they added a vocalist, Johnny Rebb. Johnny Rebb had been a rock star in Australia in his own right in the late 1950s. Indeed he had at one time been known as the "Gentleman of Rock". With Johnny on vocals they proceeded to release a number of tough sounding singles starting with a hard rockin' revival of Little Richard's "The Girl Can't Help It" and Bo Diddley's, R 'n B, "You Can't Judge A Book By Its Cover". They recorded songs with a variety of styles between 1965 and 1970 including a cover of The Beau Brummels' top 40 hit "You Tell Me Why" with 12 string guitar hook & harmonies, and an instrumental, "Take A Trip," under the pseudonym band name as The Gift of Love. However they only succeeded chart-wise with an excellent version of Screaming Jay Hawkins "I Put A Spell On You", which reached #29 on the Sydney charts in 1966. In 1967 they put out the song that is now widely regarded as a classic punk/garage track, Peter Hood's "Come On". During this time Johnny Rebb continued to release a number of singles under his own name with The Atlantics backing him. They also provided backing on a string of singles for Russ Kruger, Johnny Rebb's brother, and female singer Kelly Green. It was during this time that The Atlantics started their own independent label, Ramrod. They were one of the first Australian bands to set up their own independent label. From September 1967 all their recordings and all those for the above artists were released on their Ramrod label. As well they put out recordings by other bands such as The Motivation.
One of the greatest instrumental surf groups did not even hail from America. The Atlantics, despite their name, were an Australian combo who not only emulated the sound of California surf music, but ranked among its very best practitioners. Featuring a reverb-heavy, extremely "wet" sound, the Atlantics attacked original material, standards, and movie themes with a nervy blend of precision and over-the-top intensity. As in Dick Dale's music, touches of Middle Eastern influences can be detected in the rhythms of melodies (some members of the group claimed Greek and Egyptian heritage). Their second single, "Bombora," went to the top of the Australian charts in 1963, and the follow-up, "The Crusher," was also a big hit. But Beatlemania spelled commercial death for the Atlantics, as it did for U.S. surf combos, in 1964 and 1965. After several albums and a few more equally fine instrumental singles, the Atlantics became a vocal group in the last half of the '60s, but are most renowned for their instrumental recordings.
South Africa had relatively few rock bands in the mid-'60s who were playing energetic rock & roll in the British Invasion style. The A-Cads were one of them, sounding and looking like some of the rawer R&B-based British bands of the time. That's the good news. The bad news is that virtually everything on their sole LP, 1966's Hungry for Love, is a cover, usually of the kind of R&B and soul covered by British bands like the Rolling Stones in their early days. The A-Cads do play these both tough and well -- unlike many U.S. garage bands or Continental European bands playing in the style from a geographical and cultural remove, these sound like they pretty much could have fit in as filler on a British Invasion band LP of the time by a decent (yet not great) group. But, to be heartless, almost none of their interpretations match the originals or the best covers of these songs, making this pretty inessential for those collecting on the basis of quality rather than rarity. The exception, perhaps, is "Hungry for Love," done with more raunch than the U.K. hit version by Johnny Kidd & the Pirates (or the version by the Searchers). The 1999 CD reissue adds four similar, if not as well produced, cuts from the acetate of an unreleased EP, as well as three tracks from a solo album (This Strange Effect) done by guitarist Hank Squires shortly before the A-Cads formed. Note that this CD includes most but not all of the A-Cads' recorded output, missing a few tracks that appeared on mid-'60s singles.
The Mascots were a fairly successful Swedish sixties group, issuing around twenty singles and two LPs between 1964 and 1968, and reaching the Swedish Top Ten with five of their 45s. Although they wrote much of their own material, most of their output was extremely imitative of British Invasion pop, and they (like virtually all Swedish acts of the time) were unknown to the English-speaking world. However, if you're on the hunt for lightweight, but sometimes charming, pseudo-Merseybeat, the Mascots made some pretty enjoyable (and some extremely awkward) tracks along those lines. In particular, the ultra-catchy, close-harmony number "Words Enough to Tell You" is a gem of the genre. As it made #6 in Sweden in 1965 and was included in the best and most widely circulated compilation of Swedish 1960s rock (Searchin' for Shakes), it's the Mascots track non-Swedes are most likely to be familiar with. Alas, none of their other recordings were up to this level, although "A Sad Boy" (another Swedish Top Tenner) and a few other mid-1960s cuts were fair mock Merseybeat. The 1966 single "I Want to Live" was proof that they could get a little tougher and weirder, and has been included on some compilations of rare "freakbeat, " but this direction wasn't explored by the band on other efforts. The Mascots' grasp of English (which they sang in exclusively) was slighter than that of some other Swedish groups, and this--combined with some corny Nordic folk-influenced Merseybeat on some early recordings, and some dull middle-of-the-road pop-folk-rock on their late 1960s releases--makes a compilation of their output erratic and hard to sit through in its entirety.
...The second of the two singles was released in December 1969. It was a composition Mason had put together while they were in the studio recording their album. The group had forgotten about it, but Peter Dawkins saw great potential in it, which was evident by the amount of work he put into the production. The single was "Nature"/"Home" and in the first few weeks of January 1970 it had reached number 1 on the national charts. "Nature" also won Wayne the prestigious APRA Silver Scroll Award. Their third album they had recorded before departure was also released. It was called "Creation" .....
...When the boys received the news of the success of their single in New Zealand, they didn't really care as that part of their life was behind them, as was the style of music that "Nature" represented. They were now free from audience demand and could concentrate their efforts on a more aggressive sound. They did however use their New Zealand success status to keep the pressure on Decca. A follow-up single, "Make Me Happy"/"Lord, I'm Coming Home", struggled on the charts, only making it to number 19. HMV released a fourth album called "The Fourmyula Live (With Special Guest Star Shane)"....
On her last album of the '60s, Shaw proved that she was hipper than a lot of people would have suspected. Moving away from the usual light pop and MOR, she chose a set of covers heavy on material by the likes of Bob Dylan, the Lovin' Spoonful, the Rolling Stones ("Sympathy for the Devil"!), Led Zeppelin's "Your Time Is Gonna Come" (double exclamation point!), Donovan, Dr. John, and the Bee Gees. Which doesn't mean it's a great album. It's thoughtfully arranged and energetically delivered, but Shaw's slight, wispy voice is as ill-suited for some of the material as a nun is for the mosh pit. Hearing her attempt even the slightest hint of funky menace, as on "Sympathy for the Devil" and Dr. John's "Mama Roux," is apt to induce snickers, however heartfelt the endeavor might have been. On the other hand, there's a nifty, slinky, jazzy cover of the Beatles' "Love Me Do," and her version of the Spoonful's "Coconut Grove" is also good. [The 2004 CD reissue on EMI adds two bonus tracks: a cover of Paul McCartney's "Junk"" and "Frank Mills" from Hair.]
British singer Sandie Shaw had a string of girl group-styled singles in the mid-'60s before she retired in the early '70s. Shaw was discovered by pop singer Adam Faith in 1963, who led her to his manager, Eve Taylor; she released her debut single, "As Long as You're Happy," the following year. It didn't hit the charts, yet her next record, "(There's) Always Something There to Remind Me," hit number one in the U.K.; the single hit number 52 in the U.S., yet Shaw was never as big a star in the States as she was in the U.K. For the next three years, she had a string of hits -- most of them written by her producer Chris Andrews -- that kept her at the top of the charts. In 1967, Taylor began to move Shaw into cabaret territory; the approach proved a success when the Bill Martin/Phil Coulter song "Puppet on a String" hit number one. She recorded one more Coulter song, "Tonight in Tokyo," before returning to Chris Andrews. However, none of her further work with Andrews resulted in hit singles. Released in early 1969, her English version of the French "Monsieur Dupont" managed to crack the Top 20; it would turn out to be her last hit.
In 1970, Shaw tried to become a family entertainer, yet those plans were scuttled by a failed marriage and scandalous rumors that circulated in the British newspapers. She subsequently retired for the rest of the '70s. Shaw returned to recording in the early '80s when BEF, a Heaven 17 side project, prompted her to record "Anyone Who Had a Heart," an old Cilla Black hit. The Smiths' lead singer Morrissey began championing her in interviews, as well, which led her to record a version of the band's "Hand in Glove" supported by the Smiths themselves; the single briefly appeared on the U.K. charts. Shaw recorded a version of Lloyd Cole's "Are You Ready to Be Heartbroken?" in 1986; like "Hand in Glove," it scraped the bottom of the pop charts. In 1988, she recorded an entire album, Hello Angel; although it featured songs by the Smiths and the Jesus and Mary Chain, it failed to make a large impression on the pop charts.
Consisting of songs performed on her short-lived BBC television series, The Sandie Shaw Supplement was a very mixed bag, reflecting the repertoire of the all-around entertainer that she was apparently trying to become. The renditions of pop standards are okay, and the covers of pop-rock hits like "Satsifaction," "Homeward Bound," and "Route 66" mediocre-to-embarrassing; there are also some tunes like "Change of Heart" that are reasonable continuations of her pure pop singles of the mid-'60s. It's a very uneven effort--selected tracks will be enjoyed by her fan club, but it will convert few new listeners to her cause. The CD reissue on RPM adds eight tracks from 1968-69 singles, mixing competent Chris Andrews-penned throwbacks to the vintage Shaw sound with some of her worst material (the vaudevillian "Show Me," an ill-conceived cover of "Those Were the Days"). But one of the singles, 1969's "Monsieur Dupont," would be her last big British hit.