Sunday, June 30, 2013

The Fenmen - Sunstroke (1963)





Essentially the story of The Fenmen after the departure of frontman Bern Elliot, this collection could be a real odds n’ sods assortment appealing to the beat group fanatic, but this isn’t the case at all. Oh, there are all the trainspotter details of BBC recording dates, the unissued acetates and great liner notes on each track by members Wally Waller and Jon Povey, but there’s also some simply outstanding music here, old and new with a lot of replay appeal!

You haven’t really heard The Fenmen until you’ve heard these recordings. Taking on a California harmony sound late in 1964, the quartet impress in their ability to match the Beach Boys and Mamas & Papas on covers of those groups’ hits of the day. This alone would be accomplishment enough for an English act, but with originals in the same league composed by Waller it becomes a story of what might have been. As great as the Pretty Things with Waller and Povey were to be, with recordings as tight as b side “Is This Your Way” on the last Fenmen single, you have to regret that these four guys would never record together again. In a vocal harmony hall-of-fame The Fenmen would be right up there with The Hollies and The Tremeloes. Which isn’t to ignore the playing, as Alan Judge’s lead is totally sharp while in service to the whole, and the rhythm section as solid as any in the land.

Interwoven with the cuts from 1965-66 are new recordings by Waller and Povey (as The Bexley Brothers), and in returning to themes of sun and seasons make a great counterpoint to and conversation with the vintage tracks. Fittingly the title track blurs the lines as being the completion of a 1966 instrumental by Waller. “California Will” is a modern day jewel to stand alongside the previously mentioned “Is This Your Way”. With lead guitar by Dick Taylor and harmony vocals by the two Fenmen this could’ve been the best recording of 2009. Sounding a little like a sunbaked Chris Rhea, Waller is magnificent. To round out the package of seventeen tracks, both sides of the very first but unreleased Bern & Fenmen recording are included. Showing that among beat groups they had no better, “Mashed Potatoes” b/w “Do You Love Me” were recorded March 15, 1963! Again, what might have been … “Do You Love Me” would launch The Tremeloes later in the year. ~  Rebecca Jansen



20 indfødte lyde - Native Sounds - Denmark Record-Labels





indfшdte lyde - Native Sounds - Denmark Record-Labels
vol. 20

Lennons - I Wonder Where My Baby Is Tonight
Lennons - I'm A Man Of Constant Sorrow
Lennons - Something Better Beginning
Lennons - You Better Stop
Lennons - You'll Be Mine
Les Candidates - Den Rшde Baron
Les Candidates - Iґll Go Now
Little Joe - Each Time You Leave
Little Joe - The Old Kalahari
Los Flamingos - Ride Your Pony
Los Flamingos - To Be With You
Maniacs - 300 Pounds Of Joy
Maniacs - Who's Been Talkin'
Master Joseph And His Disciples - Donna Donna
Master Joseph And His Disciples - Down The Road Apiece
Melvin & His Gentlemen - Hippy Hippy Shake
Melvin & His Gentlemen - Skinny Minnie
Mods - Get The Picture
Mods - Gloria
Mods - Where Have All The Good Times Gone
Moondogs - He's Gonna Step On You
Moondogs - They Call It Love
Moondogs - Trying To Make You See
Moondogs - With Her I Will Stay
Nice'n'Faithful - Rosie
Nice'n'Faithful - Walking Through My Dreams

VA - Beat & Psych In Belgium (1964-1973)









Gwiazdy polskiego big beatu - Dzikusy



Powstał w na przełomie 1963/1964 roku. Liderem zespołu był Wiktor Stroiński, a oprócz niego w grupie występowali m.in. Krzysztof Dłutowski, który przeszedł później do zespołu „KLAN” oraz Tadeusz Woźniak. Podobnie jak w przypadku Chochołów również The Shadows byli dla nich wzorem nr 1. Zadebiutowały na słynnej „Giełdzie piosenki u Ewy”, gdzie w połowie lat 60-tych rodziło się wiele muzycznych talentów, które potem występowały na festiwalu opolskim. Był więc występ na II festiwalu, był kryzys spowodowany licznymi zmianami personalnymi, poczym reaktywowanie się Dzikusów.


Od lewej: 

Bohdan Gorbaczyński, Tadeusz Woźniak (Daniel Dan), Wiktor Stroiński i Robert Świercz.
Amatorski zespół instrumentalny utworzony w 1963 r. w Warszawie w składzie: Jan Głowacki g., Jan Goethel g., lider, Adam Górka dr., Wiktor Stroiński bg. Debiutował w klubach studenckich stolicy. W latach 19641967 działał jako zespół wokalno-instrumentalny. W 1964 r. tworzyli go: Zbigniew Bieliński dr., Zbigniew Jaryczewski g., Wiktor Stroiński g., voc., lider, Robert Świercz bg., w 1965 r.: Zbigniew Bieliński dr. (wkrótce zastąpił go Andrzej Kowalski), Krzysztof Dłutowski org., Bogdan Gorbaczyński g., Wiktor Stroiński g., voc., lider, Robert Świercz bg. W 1966 r. dołączył do niego wokalista Tadeusz Woźniak, z którym zespół wziął udział w Wiosennym Festiwalu Muzyki Nastolatków i w Telewizyjnej Giełdzie Piosenki. Występował na koncertach w kraju z własnym repertuarem, towarzyszył także na estradzie Joannie Rawik i bułgarskiemu piosenkarzowi Emilowi Dymitrowowi. Dokonał nagrań dla archiwum Polskiego Radia oraz na małe płyty Veritonu, Muzy i Pronitu[1].


Zespół wokalno-instrumentalny Dzikusy powstał w Warszawie na przełomie 1963 i 1964 r. Zespół tworzyli: Jan Goethel - gitara, lider; Jan Głowacki - gitara; Wiktor Stroiński - gitara basowa; Adam Górka - perkusja.
  Początkowo formacja grała do tańca w klubach młodzieżowych stolicy. Wzorem dla grupy byli The Shadows, z przeboju których (The Savage) zaczerpnięto nazwę zespołu. Dzikusy zabebiutowały wiosną 1964 r. na V "Giełdzie u Ewy", cyklicznej imprezie muzycznej organizowanej w Warszawie. Szerszej publiczności zespół przedstawił się na jednym z koncertów II KFPP w Opolu. Zastąpienie na czas festiwalowego występu J. Goethla i A. Górki muzykami z konkurencyjnych Chochołów spowodowało kryzys, zakończony rozwiązaniem zespołu w sierpniu 1964 r.
  Nie zrażony tym faktem W. Stroiński, tym razem jako gitarzysta i wokalista, jeszcze w 1964 r. zorganizował grupę na nowo. W jej skład wchodzili: W. Stroiński - gitara, śpiew; Zbigniew Jaryczewski - gitara; Robert Świercz - gitara basowa i Zbigniew Bieliński - perkusja.
  W 1965 r. grupa przeszła kolejną reorganizację. Najpierw Z. Jaryczewskiego zastąpił Bogdan Gorbaczyński, zaś w grudniu dołączyli Krzysztof Dłutowski - organy, pianino i Andrzej Kowalski - perkusja. Zespół zainteresował się teraz rhythm and bluesem spod znaku The Rolling Stones, The Animals i The Kinks.
  Najlepszy okres w karierze Dzikusów datował się od chwili przyjścia do grupy Tadeusza Woźniaka, występującego pod pseudonimem Daniel Dan. Już z nim w lutym i czerwcu 1966 r. Dzikusy przeszły pomyślnie eliminacje oraz warszawski półfinał Wiosennego Festiwalu Muzyki Nastolatków. Grupa dokonała także nagrań dla Programu III PR (Kiedy mówisz coś; Na dobre i złe; Stale to samo; Piastelsi) i Młodzieżowego Studia "Rytm" (piosenki do wierszy J. Tuwima). Później Dzikusy akomapaniowali m.in. Joannie Rawik oraz wystąpili w Telewizyjnej Giełdzie Piosenki, prezentując utwór "Magdalena".
  Ówczesny repertuar grupy tworzyły kompozycje W. Stroińskiego do tekstów R. Świercza, Marka Gaszyńskiego i Krzysztofa Dzikowskiego, śpiewane przez T. Woźniaka i W. Stroińskiego. W czasie koncertów dominowały jednak nadal utwory brytyjskich zespołó rockowych i standardy rhythm and bluesowe.
  W 1966 r. Dzikusy otrzymały wyróżnienie w Wiosennym Festiwalu Muzyki Nastolatków. Przez niemal cały okres wakacji 1966 r. formacja występowała w "non stopowych" imprezach na Wybrzeżu, m. in. w Jastarni i Sopocie, gdzie grała do tańca obok Czerwonych Gitar. Wreszcie znalazła sięw warszawskiej hali "Gwardii" razem z Niebiesko-Czarnymi i grupą Phantoms.
  Pod koniec wakacji grupa przestała istnieć, na skutek rozbieżności co do repertuaru i stylu zespołu. Pierwszy po lipcowych występach w sopockim "Non Stopie" odszedł, zainteresowany balladą T. Woźniak, a w sierpniu K. Dłutowski. Choć Dzikusy oficjalnie zakończyły działalność, reaktywowały się pod koniec roku na nagranie płyty dla Polskich Nagrań i koncerty.
  W. Stroiński latem 1967 r. występował w zespole R. Poznakowskiego, a w latach 70-tych współtworzyłzespół Sezam m. in. z Romanem Pawelcem - gitara basowa i Janem Goethlem - gitara.

NAGRANIA PŁYTOWE:
EP V-286  Veriton (04.1964)
Ye-ye-ye / Świat dla ciebie / Bij komara Big Beat / Błękitne wspomnienie
Skład: J. Goethel - gitara; J. Głowacki - gitara, śpiew; W. Stroiński - gitara basowa; A. Górka - perkusja
EP V-287 Veriton (04.1964)
Hopa-Hop / Seulement cette nuit / Notre signale / Lidia
Skład: J. Goethel - gitara; J. Głowacki - gitara, śpiew; W. Stroiński - gitara basowa; A. Górka - perkusja i E. Dymitrow - śpiew
EP N-0428 Muza (07.1966)
Balladowe lilie
Skład: W. Stroiński - gitara; R. Świercz - gitara basowa; K. Dłutowski - organy; A. Kowalski - perkusja i Joanna Rawik - śpiew
EP N-0463 Pronit (01.1967)
Kiedy mówisz coś / Niefortunny podrywacz / Letnie wspomnienia / Na dobre i złe
Skład: D. Dan - śpiew; W. Stroiński - gitara; R. Świercz - gitara basowa; K. Dłutowski - organy; A. Kowalski - perkusja 
NAGRANIA RADIOWE:
1964:
Nie będę z tobą dłużej; El Paso; Szkodnik; Pratchaniec; Napełnia żagle wiatr; Święci; Ta dziewczyna kogoś przypomina mi
1966:
Piastelsi [Piast Kołodziej] (voc. zespół); Dawno wysłany list (voc. zespół); Stale to samo (voc. W. Stroiński); Magdalena; Letnie wspomnienia (voc. D. Dan); Na dobre i złe (voc. D. Dan)

Źródło: "Encyklopedia Polskiej Muzyki Rockowej - 
ROCN 'N' ROLL 1959-1973" - autorzy: Jan Kawecki, Janusz Sadłowski, 
Marek Ćwikła, Wojciech Zając








The Surfaris - It Ain't Me Babe (1965)


A Glendora, CA, surf group remembered for "Wipe Out," the number two 1963 hit that ranks as one of the great rock instrumentals, featuring a classic up-and-down guitar riff and a classic solo drum roll break, both of which were emulated by millions (the number is no exaggeration) of beginning rock & rollers. They recorded an astonishing number of albums (about half a dozen) and singles in the mid-'60s; the "Wipe Out" follow-up, "Point Panic," was the only one to struggle up to the middle of the charts. The Surfaris were not extraordinary, but they were more talented than the typical one-shot surf group; drummer Ron Wilson was praised by session stickman extraordinaire Hal Blaine, and his uninhibited splashing style sounds like a direct ancestor to Keith Moon. He also took the lead vocals on the group's occasional Beach Boys imitations.


Members:
Bob Berryhill, Jay Truax, Jim Fuller, Jim Pash, Ken Forssi, Patrick Connolly, Paul Johnson , Rob Watson, Ron Wilson 




Tuesday, June 4, 2013

Hu And The Hilltops - I'll Follow You(1966)







Biografie Hu And The Hilltops

Haagse rhythm & bluesgroep die nooit op grote schaal doorbreekt en vooral van belang is als leverancier van meer en minder bekende muzikanten.
1965
Hu and The Hilltops spelen veel in de Haagse kroegen en discotheken. De band speelt voornamelijk rhythm & blues. Platenmaatschappij Polydor toont interesse en tekent de groep.
1966
In de Haagse GTB-studio, inmiddels verworden tot een hitfabriekje, neemt de band de eerste singles op. Cry Me A River, een cover van Julie London, behaalt nummer 27 in de Top 40. Na dit succes geven de bandleden hun reguliere banen op en storten ze zich op de muziek. De tweede single Can’t You Hear Me doet echter niets. De derde single Something You Got wordt in Londen opgenomen en haalt in september net aan de Top 40. Den Heyer wordt vervangen door toetsenist Roy van der Merwe (ook wel Roy Marley genoemd) om het geluid van de groep professioneler te doen klinken. Ondanks het belabberde geluid krijgt het eerste en enige album I’ll Follow You wat aandacht van pers en muziekwereld.
1967
Drummer Henk van Meerbeek vertrekt naar het buitenland en wordt vervangen door Cesar Zuiderwijk (ex-Ladybirds). Als de nieuwe single Touchin’ You Is Lovin’ You flopt houdt de groep het voor gezien. Zanger Fred de Wilde stapt over naar Shocking Blue nadat Barry Hay (ex-Haigs) heeft bedankt voor deze vacature. Hans van Toorn gaat verder als solo-artiest onder de naam Ralph Anderson. Cesar Zuiderwijk gaat drummen bij Livin’ Blues en vanaf 1970 bij Golden Earring.

1980
Op 13 juni vindt er in Den Haag een grootschalig reünieconcert plaats onder de noemer Haagse Beatnach. Voor deze gelegenheid staan Hu and The Hilltops voor één keer weer op het podium, naast bands als Q 65 en Shocking Blue.

2005
Hans van der Toorn en Fred de Wilde voeren Cry Me A River uit van Hu & The Hilltops tijdens de Haagse Beatnach op Parkpop.


Jay-Jays - Bald Headed Woman




When Holland’s most popular instrumental band The Jumping Jewels lost their name in a court case against their old manager Herman Batelaan, bandmembers decided to start with a new name in which the two “J” ‘s had to return. Instantly a new single was released, two covers from the first LP of The Kinks: Baldheaded woman coupled to Mystifying. As leadguitarist Hans van Eijck didn’t like beatmusic – he’d rather stick to the old instrumentals – he left The Jay-Jays two months later after the band did a very important TV-show promoting their first single. He was replaced by Leo Bennink, who used to play with The Black Albinos and Rene & his Alligators. The record was an instant success though, spurting into the Top Ten and getting the band a lot of work. The Jay-Jays sticked to the Kinks-repertoire but the second single fails to be a success. The band performs in the popular German TV-program ‘Beatclub’ and also rush-releases an LP, simply called Jay-Jays. On the album three Kinks covers are featured as well as the Tony Sheridan cover All around the world and the Ventures-cover Cruncher, besides some self-written titles. After hat nothing much is happening, although three other singles are released during 1966. Early 1967 Leo Bennink leaves the band to join The Motions after a short spell with Group Mack and Tjibbe Veelo opens  his own boutique in The Hague. They are replaced by Jan Vennik (Piano & sax,ex-Marks) and Willem Duin (voc), the latter being half of succesfull duo Mouth & MacNeal in the seventies.  A couple of other singles follow, all soul-influenced, all unsuccesfull and the end is near. Joop Oonk leaves the band as well, and is replaced by Hans Jansen (ex-Marks). Also, musicians like Bert Ruiter (pre-Focus) , John Schuursma (ex-Rob Hoeke) and Rudy Contini play in the band for a little while, but in 1969 it is all over.
During the last two decennia, record collectors worldwide are very interested in the group’s sole album, valued somehere between 200-250 dollars. At the end of the nineties the LP gets a CD-release but it is badly ruined by new mix and besides that, the record company changed the original mono into stereo. That means genuine record collectors are still hunting the LP.


Bald Headed Woman album for sale by Jay-Jays was released Jan 30, 2007 on the Phantom label. Bald Headed Woman CD music contains a single disc with 22 songs


The Jay-Jays (voorheen Jumping Jewels) kennen een vliegende start wanneer de eerste single Bald Headed Woman een top 10 hit wordt. Het is een ruig beatnummer dat gecomponeerd is door Kinks-producer Shel Talmy. Hans van Eijk is nog wel te horen op dit nummer, maar verlaat - teleurgesteld in de muziekbusiness - de band kort na het uitkomen ervan. Leo Bennink is zijn vervanger. De band treedt veel op en is tevens regelmatig te zien op tv, onder meer in Voor De Vuist Weg van Willem Duys. Dit jaar komt ook het debuutalbum uit: een volwassen beat-lp. Deze moet het qua verkoopcijfers echter afleggen tegen de langspelers van collega's zoals The Outsiders, The Motions en The Golden Earrings.Bennink en Veeloo verlaten de band en worden vervangen door Rudi Contini (gitaar) en Willem Duyn (zang, de latere 'Big Mouth' van Mouth & MacNeal), terwijl Duyn Jan Vennik (saxofoon) en Hans Jansen (toetsen) meeneemt uit zijn vorige groep The Marks. De band verlaat de beatmuziek en kiest voor een soul-gerichter aanpak. Een nieuwe single, Respect van Otis Redding, opent echter geen nieuwe deuren. Een periode van weinig succes en veel wisselingen in de bezetting volgt. Uiteindelijk verlaten ook de laatste oer-leden, Oonk en Kranenburg, de band. Zij worden vervangen door Bert Ruiter (bas, ex-Fullhouse) en Bart Terlaak (drums ex-Daddy's Act). Veel baat het allemaal niet en in 1969 wordt de band opgeheven. Hans van Eijk keert nog kortstondig terug op zijn schreden en richt The New Jumping Jewels op, maar de tijden van weleer komen niet terug.

Wild Cherries - That's Life (1965-68)


While the Wild Cherries made just four singles in the 1960s, those 45s (all issued in 1967 and 1968) were enough to cement a permanent cult reputation for the group among '60s collectors, as well as establish them as one of the most creative Australian '60s groups. Fusing soul and early psychedelia with intimations of hard rock and progressive rock, their singles "Krome Plated Yabby," "That's Life," and "Gotta Stop Lying" were unpredictably structured songs full of unusual instrumental effects and shifts in tempo and mood, though anchored by a sullen rebellious attitude. the Wild Cherries, of course, were not the only bands in the world venturing into such territory at the time, nor the best. Others were as well; some of the early work of the MC5 is roughly comparable, though not as pop-oriented. the Wild Cherries were the only outfit doing such things on record in Australia, however, and it's unfortunate that they dissolved before having a chance to record more, including an LP.
the Wild Cherries (briefly known at their outset as the Black Cherries) were formed in late 1964 and early 1965 by keyboardist Les Gilbert with friends from Melbourne University's architecture school. Initially they were, like many mid-'60s British bands, heavily influenced by the R&B/rock of Bo Diddley and Chuck Berry. The 16 tracks they recorded (almost all of them covers) in the mold of British groups like the Rolling Stones, Yardbirds, Who, and early Manfred Mann were issued for the first time in 2007, and show them to be a good if derivative act in that style.
After several personnel changes, however, the Wild Cherries developed a more original and soul-influenced sound. The key additions were soulful singer Danny Robinson and (in January 1967) lead guitarist Lobby Loyde, formerly in the Brisbane band the Purple Hearts, who had already cut some admirably tough British R&B/rock-styled singles. Loyde not only generally added ferocity to the arrangements, but also wrote or co-wrote all of the songs on their singles. Another key change was Gilbert's decision to buy a Hammond organ, which also added power to the band's attack.

the Wild Cherries got a deal with Australia's Festival label in 1967, but their singles (whose flips featured more standard soul-rock songs than the more innovative tracks picked for the A-sides) didn't do well commercially, though "That's Life" made number 38 in the Melbourne charts. Feeling like the group's spark was dimming, in late 1968 Gilbert left the band he'd founded. Most of the other members exited almost immediately afterward, with drummer Keith Barber joining top New Zealand band the La De Das and Robinson joining the vocal trio the Virgil Brothers. Loyde briefly tried to keep the Wild Cherries going with other members, but was gone by the end of 1968, joining Billy Thorpe & the Aztecs. the Wild Cherries, with an entirely new lineup from the previous year, struggled onward until breaking up in April 1969, though Loyde briefly formed a Wild Cherries with other musicians in 1971 for one single, "I Am the Sea." Both sides of all four 1967-1968 Wild Cherries singles, along with 16 previously unreleased 1965-1966 tracks, were compiled for the 2007 CD compilation That's Life.



If you go just by the records they managed to release during the 1960s, there's not really enough to make a Wild Cherries album. This reissue, however, makes the most of out their slim recorded legacy, combining both sides of their four 1967-1968 singles with 16 previously unreleased 1965-1966 bonus tracks. It's the eight tracks (all written or co-written by guitarist Lobby Loyde) from the singles, though, that are the truly significant ones, since it was on these that the Wild Cherries laid down the music that was among the most innovative in '60s Australian rock. On the most notable of those 45s, the group fused psychedelia, early hard/progressive rock, and soul in a manner that no other Australian band of the time was doing on record, particularly on "Krome Plated Yabby," "That's Life," and "Gotta Stop Lying." These are somewhat similar to the rock being played by some Detroit outfits of the late '60s, and if they're certainly more pop-oriented than, say, the MC5, they do offer a pretty intriguing blend of creative ambition and muscular crunch. The other, far less well-known songs from the singles might surprise listeners who've heard the other tracks on compilations, as they're more straightforward soul-rock than you'd expect (adding some pop-oriented orchestration on "I Don't Care"), though they're fairly good as that style goes. The remaining 16 tracks -- taken from studio outtakes and home/live recordings -- capture the group at an earlier pre-Loyde stage at which they were much more an R&B/rock band along the lines of British bands like the Rolling Stones and Yardbirds. In fact, just one of these songs (the quite admirably mean'n'lean "Get Out of My Life") is a group original; not only are all of the others covers, but most of them are covers of tunes that major British Invasion bands like the Yardbirds, the Who, and Manfred Mann put on their early recordings. This section of the CD isn't nearly as original as the Loyde-led material, then, and it's not as well recorded either, though the fidelity's satisfactory. Still, the Wild Cherries do sound like a good, tough, mid-'60s British R&B band at this stage in their development, and without those tracks...well, there wouldn't be enough for a CD. As is standard for the Half a Cow label, the packaging is superb, featuring a 36-page liner booklet jammed with photos.


The Applejacks - Tell Me When (1965)


A minor British Invasion group that had three hits in the U.K. (but none in the U.S.), the Applejacks are principally known -- if anyone remembers them at all -- for covering a John Lennon-Paul McCartney composition that the Beatles never released in the '60s, "Like Dreamers Do." Their jaunty, lightweight pop/rock could have easily been mistaken for that of a Merseybeat combo, though they actually hailed from the town of Solihull, near Birmingham. The sextet also attracted more attention than the average generic 1964 British pop group due to the presence of one female member, Megan Davies, on bass. The overwhelming bulk of their material, however, was pleasantly bland or downright boring, and they issued just one single after 1965. Forming in 1961 as the skiffle trio the Crestas, the band soon expanded their personnel, moved into electric rock, and changed their name to the Applejacks the following year. Decca issued their first single, "Tell Me When," in early 1964, and while this was among the more unmemorable British beat pop/rock hits from the time, it made it to number seven in the U.K. They were fortunate enough to procure "Like Dreamers Do" from Lennon and McCartney when they met the pair at a television rehearsal. The tune had been recorded by the Beatles in January, 1962, at their unsuccessful audition for Decca (this version is now available on the Beatles' Anthology 1), and like much of the Beatles' early rejects, was in a more lightweight mode than the Lennon-McCartney tunes they chose to enshrine on record. the Applejacks' version, featuring (as many of their tracks did) a rinky-dink piano, was nonetheless inferior to the Beatles' old demo, but did make it to number 20 in the British charts. Oddly, considering the American hunger for almost anything by the Lennon-McCartney songwriting team in mid-1964, it did nothing in the States. the Applejacks wrote very little of their own material, filling their recorded repertoire with tunes supplied by British popsmiths such as Geoff Stephens and Peter Dello (later in Honeybus), as well as hackneyed covers of American '50s rock standards. While their discs had peppy harmonies, they were on the whole among the wimpier fare of the British Invasion fare, with a shortage of outstanding melodies. "Three Little Words (I Love You)" provided them with their final British Top 30 entry in late 1964. After a now-rare 1964 album and seven British 1964-1965 singles (including the first version of the Ray Davies composition "I Go to Sleep," which was not released by the Kinks at the time), they made just one more recording, a 1967 single for CBS.


This 20-track compilation contains everything from their 1964 self-titled LP, as well as both sides of their three 1964 singles and a cover of Ray Davies' "I Go to Sleep" (found on a 1965 single). Its quaintness and lack of strong tunes (only one of which was a group original) limit its worth to British Invasion obsessives for the most part, with some value for Beatles completists due to the hit cover of "Like Dreamers Do." "No Time," one of several songs co-written by future Honeybus main man Pete Dello, is about the best song, with its moody melody; at their most energetic (as on "See If She Cares") they sound a bit like Gerry & the Pacemakers. The covers of '50s rock classics are dire, but the reading of Davies' "I Go to Sleep," with its eerie organ and high yelping backup vocals, has some curiosity value as the first cover of this song, which the Kinks did not release in the 1960s. Even with 20 tracks, this adds up to just under 50 minutes. Since anyone who bothers to find an Applejacks compilation would probably want anything the group did, it's too bad Deram didn't also include the other non-LP tracks from their 1965 singles (as well as the cover of the Beatles' "Baby's in Black" that turned up on a mid-'60s various-artists compilation), for which there was certainly room.


Sunday, June 2, 2013

Wild Cherries - That's Life (1965-68)



The Delvins - The Delvins


Source WEB
(Unreleased,Netherlands 1966)


First time ever 4-tracks release of this Dutch beat group from Dordrecht. Very much inspired by the likes of The Kinks and The Motions. Recorded 1966. Comes in very nice PS, designed after the legendary Dutch Fontana sleeves from the 60s.



01 - When You See
02 - You Know You're Losing Me
03 - There Are Things We Used To Do
04 - I Won't Hear You're Gone




The Robbs - The Robbs (1967)



The Robbs — oldest brother Dee Robb (guitar, vocals), Joe Robb (guitar, vocals), and youngest brother Bruce Robb (keyboards, vocals) — began their lengthy careers in their hometown of Oconomowoc, WI (near Milwaukee) as a teen-center pop group calling themselves Dee Robb & the Robbins. As Robby & the Robins, they recorded "Surfer's Life" for the Todd label, which has since appeared on numerous surf compilations. During a summer tour, their guitarist was facing the draft board, so the band had to shuffle the lineup and bring in their cousin, Craig Robb (real name Craig Krampf) as a replacement on drums. The band then changed names to the Robbs and soldiered on, playing soft rock harmony drenched pop in the vein of the Cowsills, the Monkees, or Paul Revere & the Raiders. Krampf and the three Robb brothers performed all across the Midwest, appearing as the opening act on bills with the top acts of the day. They were eventually discovered by music impresario Dick Clark, who had them perform at his Teen World's Fair in Chicago. Soon thereafter, the Robbs were signed to Mercury Records (the label that had, by then, signed the four Cowsill brothers before dropping the group after two singles) and recorded their first record, which was released in 1967. They appeared on TV's Where the Action Is and, along with Buffalo Springfield, opened for the Turtles. Clark later invited the Robbs to be regulars on his TV show, so the band moved to California. There they became the backing group for Del Shannon, Gene Pitney, Bobby Vinton, and others. The Robbs signed with Atlantic for a few singles. Then — with Shannon's help — signed with ABC's Dunhill Records and changed their name to Cherokee in the early '70s. As a country-rock outfit, they issued one album, produced by Steve Barri, which featured additional guest performances by former Byrds Chris Hillman and Sneaky Pete Kleinow. Each member of the original Robbs lineup ultimately left the group until only Krampf remained. He found continual and steady employ as a session drummer, while Dee, Joe, and Bruce Robb, meanwhile, turned to engineering and producing. They have since become quite successful as the owner/operators of their own Cherokee Studios, in West Hollywood, CA, and Cherokee Ranch Studios, which was located next to the Spahn Ranch in the '60s, before moving to Chatsworth, CA. The Robbs are award-winning producers/engineers of countless platinum artists, including Rod Stewart, John Cougar Mellencamp, Alice Cooper, and Steely Dan, to name a few.



1. Violets of Dawn
2. Race With the Wind
3. Cynthia Loves
4. Next Time You See Me
5. Girls, Girls
6. Bittersweet
7. See Jane Run
8. In a Funny Sort of Way
9. Rapid Transit
10. Jolly Miller 


Although the Robbs quartet was founded by three siblings, none of them was named Robb. They were actually David Donaldson, Robert Donaldson, and George Donaldson. Prior to garnering the attention of teen music mogul Dick Clark, the trio added percussionist Craig Krampf. Under Clark's supervision, the Robbs were featured in a few high-profile television appearances and secured a short-lived deal with Mercury Records.This initially yielded a handful of 45s in 1966, which were slightly augmented and issued as their self-titled (and only) long-player. The Robbs' sound centered around lighter affairs such as the nimble "Cynthia Loves" and tightly packed Hollies-esque vocal harmonies on "Next Time You See Me." Similarly, "Girls, Girls" is a slice of carefree sunshine pop, hinting at the Association and the Turtles, while the pensive "Rapid Transit" is reminiscent of the Left Banke and the Strawberry Alarm Clock's more Baroque approach. The Robbs also show off a penchant for folk-rock on a superior reading of Eric Andersen's "Violets of Dawn," the original composition "Race With the Wind," and an adaptation of "Jolly Miller," the latter adopting a garage feel thanks to the propulsive bassline and omnipresent timekeeping tambourine. The album's initial release barely made it into the Top 200, which may have had something to do with the fact that all but two of the selections had already been available as 7" singles. [In 2004, Collectors' Choice Music re-released The Robbs on CD after several decades relegated to cutout bins and online auctions.] 

Mortimer - Mortimer (1967)


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. 




Famous for almost releasing an album on The Beatles Apple label in '69 (before a certain Allen Klein stepped in), this is the New York quartets '67 LP. More acoustic and melodic than their live performances, this ten track album has been reissued for the first time in nearly forty years and now features six bonus tracks. A fine addition to anyone's folk or psyche collections, a highly promising band that should have been huge, criminally ignored by everyone apart from their native city. Features new liner notes and interview material by Stefan Granados, expert on Apple and Psychedelia. Includes alternate mono mixes of their two singles "Dedicated Music Man" and "To Understand Someone" as bonus tracks, as well as "Mortime's Theme" and "Life's Sweet Music."


Bad Seeds & Liberty Bell - Two Great Albums On One CD



The Bad Seeds were the first rock group of note to come out of Corpus Christi, Texas, itself a hotbed of garage-rock activity during the middle/late 1960s. They started when guitarist/singer Mike Taylor and bassist Herb Edgeington, then member of a local band called the Four Winds, met up with lead guitarist Rod Prince and drummer Robert Donahoe, who had been playing in a rival band called the Titans until its demise. Prince wanted to form a new group, and he, Taylor and Edgeington became the core of the Bad Seeds, who were signed to the local J-Beck label in 1966. They stayed together long enough to record three singles during 1966, of which two, "A Taste of the Same"/"I'm a King Bee" and "All Night Long"/"Sick and Tired," are unabashed classics of blues-based garage-punk, three of them originals by Taylor (who wrote most of their originals) or Prince. Even their normally maligned second single, "Zilch Part 1"/"Zilch Part 2," has some worth as a pretty hot pair of throwaway tracks. The band's sound was the raunchy Rolling Stones-influenced garage-punk typical of Texas rock groups in the mid-'60s.

Following the breakup of the group after the summer of 1966, Mike Taylor became a writer and producer for the the Zakary Thaks, another Corpus Christi-based band (who were signed to J-Beck after being spotted playing on a bill with the Bad Seeds), and also recorded singles in a folk-like mode as The Fabulous Michael. Rod Prince went on to become a key member of the legendary band Bubble Puppy, who were signed to Leland Rogers' International Artists' label, and the post-psychedelic group Demian. ~ Bruce Eder & Richie Unterberger, All Music Guide



With a few breaks, the Liberty Bell might have been America's Yardbirds -- as it worked out, however, the group suffered the undeserved fate of being a footnote in the history of Corpus Christi rock bands. Formed in Corpus Christi, Texas in the mid-1960s, they were originally named the Zulus and played a mix of blues-rock drifting toward psychedelia, driven by some fairly ambitious guitar work by lead axeman Al Hunt. In 1967, they hooked up with Carl Becker, the co-owner of J-Beck Records, which, at the time, was recording the hottest local band, the Zakary Thaks. Becker signed them to his new Cee-Bee Records, and suggested a name change to the Liberty Bell.

The group's lineup at the time of their first single, a cover of the Yardbirds' "Nazz Are Blue" backed with a cover of Willie Dixon's "Big Boss Man," included Ronnie Tanner on lead vocals, Al Hunt on lead guitar, Richard Painter on rhythm guitar, and Wayne Harrison on bass. This record did well enough locally to justify further recording, and these sessions yielded the best songs of the group's entire history, "Something For Me," "For What You Lack," "I Can See," and "That's How It Will Be." Fast-tempo, fuzz-drenched pieces with catchy hooks, these numbers made the group sound like an American version of the Yardbirds with more of an angry punk edge, courtesy of lead singer Ronnie Tanner. But the real star of the group was lead guitarist Al Hunt, who wrote most of the material in those days and played like Jeff Beck on a good day.

Tanner exited the group in early 1968 and was replaced by Chris Gemiottis, formerly of the Zakary Thaks, who also brought a quartet of original songs with him, which were somewhat less punk-oriented and attempted to be more profound. The group switched to the Back Beat label, which specialized in R&B flavored material. The Liberty Bell continued in its psychedelic/garage direction before releasing a soul-style number, "Naw Naw Naw" (on which only Gemiottis participated, with a studio band backing him) for their final single, late in 1968. The Liberty Bell came to an end in 1969 when Gemiottis returned to his former band. In 1995, however, Collectables Records released a 14-song collection of their music. ~ Bruce Eder, All Music Guide


Saturday, June 1, 2013

Sandy Coast - The Original Hit Recordings and More (1966-68) Holland


Repost

Formed in 1961 in Voorburg as the Sandy Coast Skiffle Group, they had the following names: the Sandy Coast Five, Sandy Coast Rockers and, finally, Sandy Coast. Thanks to the Hitwezen magazine-organised talent search, they were awarded a record contract with Negram in 1965. Featured members: Hans Vermeulen (vocals, guitar, keyboards), his brother Jan (bass and guitar), Jos de Jager (bass, 1964-67), Henk Smitskamp (bass, ex-Livin' Blues, from 1970 till 1971, to Shocking Blue), Onno Bevoort (drums, in 1970 temporarily replaced by Will Morkus, in 1974 to Water), Ron Westerbeek (vocals, guitar, keyboards, ex-Daddy's Act, to Water), Charles Kersbergen (guitar, until 1965) and Marianne Nobles (vocals, ex-solo, 1972). In 1974, Sandy Coast disbanded; Hans formed Rainbow Train together with his brother Jan.





Stora Popboxen Svensk Pop 1964 - 1969 + Book






Various ‎– Stora Popboxen - Svensk Pop 1964-1969


CD 1

1. Bye bye girl.- Edjetjärns boosies 
2. What if Johnny says no. - Kays
3. Let me show you who I am. - Shanes
4. A mountain of silver. - Shamrocks
5. Every time I turn my back. - Hoods
6. Why is love so blind. - Kringlorna
7. Farmer John. - Hep Stars
8. Muddy hands. - Cherry Stones
9. A sad boy. - Mascots
10. At the club. - T-Boones
11. Don't turn your back. - Tages
12. Searchin' for shake. - Shakemakers
13. I don't want your love. - Shanes
14. Come on. - Moonjacks
15. About the sun. - Beathovens
16. Cadillac. - Hep Stars
17. Alfred E goes surfin'. - Madmen
18. Now it's over. - Howlers
19. The snake. - Downbeat Crowd
20. La la la. - Shamrocks
21. Three roses. - Scarlet Ribbons
22. Wondering. - 14
23. Searchin'. - Merrymen With Boz
24. Darling Corey. - Pools
25. Words enough to tell you. - Mascots
26. Land of a thousand dances. - Nameloosers
27. So many girls. - Tages
28. Back door man. - Best
29. Love was on your mind. - Ola & The Janglers
30. You just gotta know my mind. - Steampacket II

CD 2 

31. Sunny girl. - The Hep Stars
32. What a feeling. - T-Boones
33. Summer sun. - The Beathovens
34. I guess so. - The Acts
35. No time. - Hootenanny Singers
36. Rambler. - The Madmen
37. Do-Ao. - The Namelosers
38. No no no no. - Shivers
39. Cheat and lie. - The Rouges 
40. On my way. - Lee Kings
41. Wedding. - The Hep Stars
42. Baby, I want to know - The Fools. 
43. Take her anytime. - Steampacket II
44. Little downhearted Arthur. - 14
45. It's the same old thing. - The Sleepstones
46. Rotten rats. - Fabulous Four
47. The girl that you are. - The Mascots
48. You've got me high. - Science Poption
49. Alex is the man. - Ola & The Janglers
50. Miss Mac Baren. - Tages 
51. Honour bright. - Gents 
52. All you got to do. - The Caretakers
53. Chris-Craft no 9. - The Shanes
54. Sunside world. - Sound Ltd Set
55. Sunshine. - MAK Les Soeurs
56. Hard to forget. - Moderations
57. So long Fanny. - Lay Abouts
58. Lady of leisure. -Science Poption
59. Every raindrop means a lot. - Tages
60. Motortown beat. - Bread

CD 3

61. Viva l'amour. - Steampacket
62. All I want is my baby (version II). - The Shakers 
63. Hey there, sunbeams. - The Shanes
64. Sing with me. - Mades
65. Open the door to your heart. - Slam Creepers'
66. I set a fire. - Science Poption
67. Whatever happened to the 7-day week. - Bella And Me
68. Somebody's taken Maria away. - Tom & Mick
69. Juliet. - Ola & The Janglers
70. Lovin' enemy. - Mikeal And Michael
71. Treat her like a lady. - Tages
72. Old man in New York. - The Hounds
73. Coming from the ground. - Lee Kings
74. Two faces have I. - The New Generation
75. Smiling. - Darling
76. Lincoln City. - The Jackpots
77. Dom kallar oss mods. - Lea Riders Group
78. Love bring the night and day. - Tnitacs
79. Let love come between us. - Attractions
80. Misery is such a mystery. - John Julian & Curt-Gorans
81. It's Saturday. - Slam Creepers'
82. Anna be nice. - Annaabee-Nox
83. Everybody's gone home. - Bamboo
84. Fantasy Island. - Tages
85. Souls. - Les Fleurs
86. If I had something. - Ragges
87. Let's dance. - Ola & The Janglers
88. Jack in the box. - The Jackpots
89. Ba-ba-da-da-oooh - Pete Proud

Book PDF



Nej, de svenska popbanden var inte bättre under sextiotalet, men de verkade ha förbannat kul.
Det var långt hår (en företeelse som upprörde en hel nation), idoltidningarna Bildjournalen, Idolnytt och Love, TV-programmet Drop In och Popside, Kvällstoppen (det är ju onekligen ett betydligt fräckare namn på en försäljningslista än dagens GLF-lista), popklubbar i varje håla och mycket annat.
Framför allt fanns Tio i topp - listan där 400 ungdomar varje lördag röstade fram de tio mest populära låtarna.
Under några år körde popgrupperna land och rike runt och gjorde allt (inklusive fuskade) för att komma in på den så åtråvärda Tio i topp-listan. Livet och turneerna var en hård tillvaro för de flesta, men det fanns ändå en mjukare ton som saknas i dag.
Vårt fosterland var fortfarande oskuld.
Men det var alltså svensk sextiotalspop det skulle handla om, och därför har du just nu förmånen att få hålla tre CD-skivor svensk kulturhistoria mellan dina svettiga händer - händer som håller på att slita sönder det sköra CD-fodralet i sin iver över att få höra musiken.

Så, ta det lugnt och vårda din box, den innehåller nästan fyra timmar bortglömda kulturskatter - eller gör den verkligen det? Ar den något vi bör glömma så snabbt som möjligt - eller svensk musikhistorias mest underskattade företeelse?
När Lennart Persson anser att svensk sextiotalspop var en direkt skam för nationen (på konvoluttexten till EMI:s Tages-samling från 1983) ska ni alltså ta det med en nypa salt. Ni ska även vara misstänksamma mot alla som bestämt hävdar att det var bättre förr.
Skivsamlarna - den svenska sextiotalspopen är populär att samla på - bryr sig ofta inte om den musikaliska kvaliteten.
Mellan 1964 och 1969 var det närmare 300 grupper som gav ut cirka 1.000 singlar och 60 album. (Förmodligen fanns det 5.000 som aldrig kom till skivstadiet.)
Sedan minst 15 år tillbaka har många av singlarna cirkulerat fram och tillbaka bland de mer fanatiska samlarna, och ett pris på ett par hundra kronor tas med en axelryckning. Fyrsiffriga belopp är ingen ovanlighet. Därför har det varit minst sagt svårt för den nyfikne men ofta fattige popdiggaren att leta reda på guldkornen. 
En del, som enbart har hört de mindre goda exemplen, har säkert blivit så avskräckta att det inte tjänar något till att försöka värva dem till den svenska sextiotalsklubben.
Några menar att den legendariska Tio i topp-listan var en stor bov i dramat, åtminstone när det gällde den svenska popmusiken. 
Och visst var en del av de svenska låtarna som kom in på Tio i topp skräp, men det är ingen tillfällighet att Tages, Ola & The Janglers, Shanes och även Hep Stars i sina bästa stunder blev de svenska popgrupper som kom att lägga beslag på flest Tio i topp-placeringar (I den stora mängd svenska låtar som inte placerade sig på Tio i Topp har jag hört betydligt mer skräp.)
När jag läser igenom Tio i topp-listan vecka för vecka (inklusive utländska artister) slås jag över att så gott som alla låtar, oberoende om de kan verka töntiga och spekulativa, har en hitkänsla som går att ta på.

Det är lätt att plocka fram den gamla vanliga kampen mellan kommersiell musik kontra icke kommersiell musik. Men ordet kommersiell är ett sådant vagt ord att det borde skrotas. När vi valt ut låtarna till denna box har det bara handlat om låtarna rört vid våra innersta känslosträngar eller ej - oberoende av musikstil och ordet kommersiell.
Att en hel del av de svenska bidragen under denna tid var dåliga har sin förklaring. De svenska sextiotalsgrupperna fick sällan chansen att visa sitt kunnande. Grupperna fick ofta bara någon timme på sig i studion och att de skulle få höra det färdiga resultatet innan det gavs ut var definitivt ingen självklarhet. På turneerna krävde publiken att få höra kända och lättnynnade låtar.
En grupp som Fabulous Four har erkänt att de inte var så pigga på att spela in Puff the Magic Dragon och Island in the Sun, men en Tio i topp-placering kunde innebära att gaget ökade från några hundralappar till fyrsiffriga belopp och att det plötsligt dök upp lämmeltåg av tonårsflickor.
Inget svårt val, eller hur?
En av landets mest ambitiösa grupper, Steampacket (med Mikael Ramel i spetsen) ägnade ett par år åt att göra sinnesutvidgande och spännande singlar innan de tröttnade och spelade in Viva l'amour (som trots sin något löjliga text skriker hit).
I Malmö harvade Gonks och Troublemakers några år utan att nå Tio i topp. Därför spelade Gonks in fjantlåten Loppan och Troublemakers gav sig på Rock Around the Clock. Och Tio i topp-publiken tog låtarna till sitt hjärta.
Tommy Randers, som under denna period var sångare i Shakers, gav publiken en hård dom: Vi diggar Otis Redding och grabbarna, och vi tar låtar från deras skivor. Sen förenklar och kommersialiserar vi dom - annars har massan inte en chans att begripa. Det är nästan bara popmusiker som köper Wilson Pickett och Solomon Burke, aldrig fansen.
Han har kanske rätt men några av de tidigare nämnda låtarna är trots allt pop-evergreens så det stänker om det - sedan kan man alltid glida in på den här diskussionen om spekulativa låtar.
En typisk företeelse för sextiotalet är att låtarna ofta har en oerhörd charm och att inspelningarna låter levande och vitala.
Allt detta är något som dagens tekniskt perfekta inspelningar alltför ofta tagit död på. (Ingen kan väl påstå att Kingsmens version av Louie, Louie är en bra inspelning, men förmodligen är det omöjligt att få samma vitalitetskänsla idag.)
I Sverige hade vi länge oerhört svårt att göra riktigt fräcka inspelningar. När Shanes och Tages var över i England 1967 häpnade medlemmarna över hur inspelningsstudiorna såg ut. Det dröjde också fram till 1966-67 innan de svenska inspelningarna på allvar kunde börja konkurrera med sina engelska och amerikanska förbilder. En anledning är att vi med några få undantag (Anders Henkan Henriksson är ett av dem) inte hade några riktiga producenter. I studion satt en tekniker som ofta saknade känsla för hur man skulle plocka fram det där lilla extra ur en låt. Den konsten lärde de sig snabbt både i USA och England.

För sanningen är att det aldrig (OK, med väldigt få undantag) har gjorts fräckare produktioner i rockhistorien än dem som man hittar från mitten av sextiotalet och några år framåt. Här finns rymd och luft i inspelningarna och en känsla för när instrument ska sticka ut eller bara ligga i bakgrunden. Och allt detta utan att sudda bort de ojämna kanterna. 
Skivorna är inte bara döda vinylbitar, de är högst levande små ting fulla av liv - ett liv som man ofta bara hade ett par timmar på sig att skapa. Följaktligen pressades allt in på ett par minuter - utan oändliga intron, solon eller andra tidsödande moment. Ordet överproducera var ännu inte uppfunnit.
Redan 1965 uppstod några magiska stunder då allt stämde även i de svenska studiorna. I Stora Popboxen finns ett par utmärkta exempel, tekniskt katastrofala men ändå sanslösa inspelningar som Madmens Alfred E Goes Surfin. Det lär inte gå att få någon dömd för våldtäkt mot inspelningsapparatur, men här är det bra nära.
Eller ta Hep Stars massakrering av Farmer John och Pools mordförsök på stackars Darling Corey.
De tre låtarna är skräprock när den är som bäst.
Och efter några år lärde vi oss som sagt även i Sverige. Framför allt hur trummorna skulle, eller rättare sagt, inte skulle låta. Lyssna på låtar som Summer Sun (Beathovens), Misery Is Such a Mystery (John Julian & Curt-Görans), If I Had Something (Ragges) samt flera av Tages-låtarna. Trummorna hörs knappt utan ligger bara i bakgrunden och markerar takten. Det låter som om de är försedda med skumgummi. Lyssna även på hur sparsmakat men effektivt pianot används.

Jämför med de senaste årens produktioner, där trummorna hackar sönder låtarna eller som i fallet Phil Collins i början av åttiotalet: låter som Niagarafallet på amfetaminkur.
Aven andra instrument sticker ut i precis rätt ögonblick, som gitarrinledningen på Hard to Forget (Moderations), de arga gitarrtonerna och det klinkande pianot på What If Johnny Says No (Kays), det lyhörda samspelet mellan gitarr och piano i Lovin Enemy (Mikael and Michael) - för att inte tala om alla härliga fuzzljud som dyker upp lite då och då.

Men syftet med Stora Popboxen är inte att excellera i fräcka instrumentljud, utan det som vi tidigare varit inne på: att för första gången, oberoende av vem som äger rättigheterna eller hur obskyrt originalet än kan vara, få med det bästa urvalet av låtar som gavs ut mellan åren 1964 och 1969. Ni sparar dessutom drygt 20.000 kronor, för så mycket lär det kosta att köpa alla originalutgåvorna.
Det är inte de 89 bästa låtarna, då hade grupper som Tages och Ola & The Janglers varit betydligt mer representerade (och de grupperna finns väl dokumenterade på andra samlingar), men det är som sagt första gången som alla de mindre kända och bästa låtarna finns samlade i en box.
Här hittar ni bra producerad kvalitetspop som I Set a Fire (Science Poption) och Little Down-Hearted Arthur (14), rhythm n blues-urladdningar som Searchin (Merrymen) och What a Feeling (T-Boones), flickpop med hög charmfaktor som Why Is Love So Blind (Kringlorna) och Sunshine (MAK Les Soeurs), soulstänkt pop som Open the Door To Your Heart (Slam Creepers) och Let Love Come Between Us ((Attractions), garagepop som Do-Ao (Nameloosers) och You Just Gotta Know My Mind (Steampacket II)
Man ska heller inte glömma alla de kända låtar som avfärdas som lättköpta, men som har ordet Hit stämplat i varje ton.
Därför tvekade vi aldrig att ta med låtar som Sunny Girl (Hep Stars), Juliet (Ola & The Janglers), Somebodys Taken Maria Away (Tom & Mick) och Two Faces Have I (New Generation). Att skriva låtar med vers/refräng som garanterat sitter efter en lyssning är tyvärr en konst som mer eller mindre har försvunnit de senaste tio-femton åren.

En annan anledning till att många av grupperna aldrig fick en chans att utvecklas är att gruppmedlemmarna var unga när gruppen upplöstes. Medelåldern var ofta bara sjutton år när en grupp debuterade och medlemmarna hade inte ens fyllt 20 när gruppen sprack. De vanligaste orsakerna till att grupperna upplöstes (förutom att den svenska popvågen ebbade ut 1968) var militärtjänstgöring och studentexamen.
De mest kända grupperna fick heller inte två-tre år på sig att göra en ny skiva. Fyra singlar och två album per år skulle det vara, för att inte tala om alla långa och obekväma resor.
Med tanke på detta är det fascinerande att man trots allt hittar så mycket bra svensk popmusik under sextiotalet, speciellt från åren 1966-1968. Hur det hade kunnat låta om grupperna fått lite mer tid på sig vågar jag inte ens tänka på.

Hans Olofsson


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