Sunday, June 29, 2008
Grinding guitar chords, organ, aggressive vocals, and crazed guitar distortion (particularly on the swooping noises and feedback that introduce "You Burn Me Up and Down") were their initial trademarks. Yet at the same time they could throw in gentler and more lyrically and melodically subtle originals, like the beautiful, tremolo-laden ballad "(You Are) the Color of Love," on the B-side of "Mirror of Your Mind." Unusual for a garage band, they boasted two prolific and talented songwriters in Tommy Talton and Wayne Proctor. Proctor was the more interesting of the pair, penning one of the great raga-rock tunes (the gutsy "In the Past," covered by the Chocolate Watch Band), the baroque-psychedelic "St. John's Shop," and "(You Are) the Color of Love." All had uncommonly elusive, vague, but evocative lyrics for a young regional band of the time; Proctor even wrote a love song to a nun ("Love Wears Black (None)"), although that wasn't issued until more than 30 years later.
We the People had a good share of chart success in Florida, but suffered a major setback when Proctor left the band in early 1967. The music recorded subsequent to his departure had its moments: the nasty "When I Arrive" made its way onto a Pebbles compilation, and "The Day She Dies," although written by Talton, recalled Proctor's work with its harmonic pop, melodic base and odd lyrical slant. Some of the last numbers they cut in the studio were derivative soul-rock tunes, though, and Talton's departure at the end of the 1960s, as well as the expiration of their recording deal, sealed the death of the group, although they continued for a bit longer. As part of the Southern-rock group Cowboy, Talton was the only We the People member with a visible music career after the 1960s.
1. Everything'll Be Alright - (previously unreleased, with The Trademarks)2. Drivin' Me Out Of My Mind - (previously unreleased, with The Offbeets)3. My Brother, The Man - (version 1)4. Mirror Of Your Mind5. Color Of Love, (You Are) The6. She Does Everything For Me - (previously unreleased)7. He Doesn't Go About It Right8. You Burn Me Up And Down9. Nothing Like A Vision - (previously unreleased, demo)10. Proceed With Caution11. By The Rule12. Look At The Girls - (previously unreleased, version 1)13. Love Is A Beautiful Thing14. Double Trouble - (previously unreleased, with The Nonchalants)15. Don't Say You Love Me Too - (with The Trademarks)16. St. John's Shop - (version 1)17. Love Wears Black (None) - (previously unreleased, version 1)18. Beginning Of The End19. Day She Dies, The20. There's Gonna Be A Storm - (previously unreleased)
1. When I Arrive2. No, No Boys - (previously unreleased)3. In The Past4. Alfred, What Kind Of Man Are You5. Boy, She Just Don't Feel It - (previously unreleased, demo)6. Declaration Of Independence7. Look At The Girls - (previously unreleased, version 2)8. Follow Me Back To Louisville9. Lovin' Son Of A Gun10. St. John's Shop - (version 2)11. Half Of Wednesday12. Fluorescent Hearts13. I Wanna Do It - (previously unreleased, with The Nonchalants)14. She Lied - (with The Offbeets)15. Ain't Gonna Find Nobody (Better Than You)16. My Brother, The Man - (version 2)17. Free Information18. You Like Me, You Love Me - (previously unreleased, demo)19. Too Much Noise20. Love Wears Black (None) - (previously unreleased, version 2)
(It Is Taken on " My Generation "blog )
Saturday, June 28, 2008
Friday, June 27, 2008
Originally released on the small Chaparral Records label in 1968, the "Magic Lantern" album by the Haymarket Square has been a sought after collectors item for any fan of 60's psychedelic music for many years. The music on this album was initially used as accompaniment for the Baron and Bailey Light Circus at the Museum of Contemporary Art in Chicago but due to the intensity and psychedelic nature of the songs, it soon became legendary and its initial purpose has become obscured by time. The Haymarket Square was formed in the late sixties in Chicago by drummer John Kowalski and bassist Bob Homa formerly of The Real Things, a Chicago high school garage band. Together with guitarist Marc Swenson and vocalist Gloria Lambert, The Haymarket Square was born and quickly became popular on the Chicago music scene. The band's popularity lead them to be used as back up musicians on a live work of art exhibit at the Chicago Museum of Contemporary Art. The music featured some powerful psychedelic, blues based songs, with heavy percussion, searing lead fuzz guitars and the dynamic vocal work of Lambert. The songs were recorded and appear on this album.The songs of The Magic Lantern, are all originals except for a superb extended cover of the blues standard , The Train-Kept-A-Rolling, shortly after the release of this album the original Haymarket Square line-up broke up. This appears to be the only recording that the band has left and they did not release any singles. Although this album has been bootlegged on the European market a number of times, this digitally mastered version on Gear Fab Records is the only authorized version.
Thursday, June 26, 2008
Album Gerry & The Pacemakers from series A's B's & E.P's
Sunday, June 15, 2008
Long time search for :
For help - ALL THANKs !!!
What are the Group Sounds?
In June 1966, the Beatles visited Japan to perform a series of concerts at Tokyo's legendary Budokan Hall. Their visit created such national excitement among teenagers that almost overnight there was a dramatic shift in the way young musicians formed groups, played their instruments and thought about fashion and style.
This new wave of 1960s Japanese rock groups was called Group Sounds—or GS for short. (Japanese Group Sounds)
They appeared in their own movie "Jaguars Tekizen Jyouriku" in '68, a cool comedy which was influenced by the Beatles' "Help!". But soon after, the leader/drummer Miya quit the band due to a conflict with the other members. He wrote their early original "Beat Train". He formed a new group called New Jaguars and released a few singles, but they weren't successful. In their later years, the GS boom had peaked, so they recorded moody popular songs and after some personnel changes, they disbanded in '71. (Another Group Sounds )
In the late '60s/early '70s the Indian cigarette company, Simla, held (or purported to hold) a series of rock'n'roll talent contests, and from these came the albums that are reissued in this 2-CD set. The reissue seems to be pretty much a straight reissue of both albums, with the album art and the original (highly amusing) liner notes reproduced within. The music is pretty cool -- in some respects it recreates Western pop, and even includes covers of oldies such as "You Can't Judge A Book" and "Born On The Bayou". But there's definitely a wild and unruly local twist on the proceedings, an unusual metric distortion that creeps into the music. Even better yet is when the artists sing in their own language (as opposed to English), which usually occurs on the wilder, more psychedelic tunes. I'm not personally that up on the history of Indian pop-rock, so I can't even speculate on how popular any of these bands really were back in the hippie days, but these recordings are a real find.
Simla Beat - 70 (Normal Records - 1999)
1. Confusions - Voice from the Inner Soul (3:01) 2. Dinosaurs - You Can't Beat It (2:55) 3. X'Lents - Psychedelia (2:54) 4. Innerlite - Zorba's Dance (3:22) 5. Genuine Spares - Proper Stranger (3:47) 6. Genuine Spares - What's Going On (2:46) 7. Dinosaurs - Sinister Purpose (3:10) 8. Great Bear - Mist (7:19) 9. X'Lents - Born on the Bayou (4:15) 10. Innerlite - Baby Baby Please (2:26)
Simla Beat - 71 (Normal Records - 1999)
1. Fentones - Simla Beat Theme (4:11) 2. Eruptions - I Am Gonna Erupt (3:37) 3. Fentones - Until the Dawn (3:04) 4. Brood of Vipers - Psychedelic Web (5:21) 5. Eruptions - You Can't Judge a Book (3:03) 6. Hipnotic Eye - Aimless Lady (3:19) 7. Black Beats - The Mod Trade (3:01) 8. Nomads - Nothing Is the Same (5:07) 9. Hipnotic Eye - Killing Floor (2:42) 10. Mini Beats - Hey Gipsy Girl (3:05) 11. Velvette Fogg - I Am So Glad (7:45)
Thursday, June 12, 2008
Uve Schikora (vocals, soprano sax, piano, organ)Michael Schubert (vocals, 12-string guitar)Bernd Muller (organ)Jurgen Matkiowitz (guitar)Jurgen Diessner (bass)Reiner Miehatsch (drums)Frank Schobel (vocals
Who knows - this remember of forever... I had this excellent album. In sixties its possible was buy in Moscow... One of the little choice. Instrumental,surf from DDR . Advise all funs this rockmusic genre...
Wednesday, June 11, 2008
Signed to Manager Don Arden the various band members were Steve Maher (Guitar Vocals), Stuart Attride (Guitar/Keys Vocals), Gerry Wade (Bass Vocals), Barry Creasy (Drums Vocals), Chas Wade (Drums Vocals), Eileen Woodham (Hammond Vocals) and Dave Church (Vocals). For a short time the band worked with a young Jeff Lynne (of ELO Fame) and released one of his songs "Follow me follow" which was on the B side of single "Sheilas back in town" (From Wikipedia)
Review by Richie Unterberger
Although it's considered a desirable psychedelic rarity in some collecting circles, For Fox Sake is an also-ran British psychedelic pop album of the sort that was a year or two behind the times upon its 1970 release. The best thing the Fox have going for them on this record is the swirling, at times piercing Hammond organ of Alex Lane. The songs, however, are ordinary trendy U.K. psychedelic pop with some solid vocal harmonies and light shades of soul music from time to time. Certainly "Second Hand Love" and "Lovely Day" sound extremely close in spots to the sort of music the Spencer Davis Group made just after the departure of Stevie Winwood, with some of the late Zombies' Baroque melodic sense coloring parts of both "Lovely Day" and "As She Walks Away." Some curve balls arrive in the form of a pretty folky acoustic guitar ballad, "Butterfly," the dull good-time soul-rock of "Goodtime Music," the blunt sledgehammer anti-straight world rant of "Mr. Blank," and the epic-to-little-purpose "Madame Magical," whose nine minutes feature some extended jazzy psychedelic organ improv. [The 2003 CD reissue on RPM adds historical liner notes and two bonus tracks in the original demo versions of "Lovely Day" and "Mr. Blank."]
by Bruce Eder
The Viscounts were one of those odd pop/rock & roll hybrid groups that were common to both America and England at the end of the 1950s and the start of the '60s, but which always seemed to do better in England. The trio coalesced out of an eight-piece outfit called Morton Fraser's Harmonica Gang based in London — they were a variety act that were popular on television, and did a few world tours during the second half of the '50s. Manchester-born Don Paul, who had won a few important talent competitions, including Opportunity Knocks on British television, joined the octet in 1956, and he soon met another newcomer, Ronnie Wells, winner of a recent harmonica competition, from Farnborough, Hampshire. And in 1958, Indian-born ... Read More...
Not the American outfit of that name, but the British trio of Gordon Mills, Don Paul, and Ronnie Wells are featured here, on 31 of their early-'60s recordings for Pye Records. The sound is a uniquely British/European adaptation of rock & roll, melding pop and traditional tunes with guitars and drums and a beat — picture a branch of teen pop spun out of the same sensibilities that yielded "Ain't She Sweet" and "My Bonnie" by the Beatles and Tony Sheridan from their Hamburg sessions. The Four Preps' "Money (Is the Root of All Evil)," which is covered here from 1961, is a long way from the Motown-generated "Money (That's What I Want)" as a notion or a song, but it represents what the Viscounts and their management aimed for as an audience — and as a warning, a lot of Americans (and Britishers too young to know) may really hate this sort of hybrid of rock & roll and the music hall represented here. The three singers seemed willing to do whatever would sell, and some of what's here did do that — "Shortnin' Bread" peaked at number 16 in England — but there were some decent rock & rollers present on many of these records, including British rockabilly guitarist Joe Brown (who played on their debut Pye single, "Rockin' Little Angel" b/w "That's All Right"), and the group did tour with Eddie Cochran and Gene Vincent. They did do a decent cover of "Who Put the Bomp (In the Bomp Bomp Bomp)," but it's juxtaposed with "Honey Come On, Dance With Me," a decided pop-style number that was theme to the Spin-A-Long TV show, hosted by DJ Alan Freeman, whose notions of pop-based rock & roll were perfectly represented by the Viscounts. These guys were hip enough to share a program with the Beatles early in the latter's national stardom, but not to survive what the Beatles and the acts they pulled onto the national U.K. charts did to rock & roll and pop music. Actually, the group's material here from 1962 onward is not bad, and is of a piece with the work of Helen Shapiro and other pre-Beatles pop/rockers, but be warned — the last half-dozen songs here were derived from their contribution to a trad jazz compilation album, and feature the Viscounts shoehorned into a 1920s repertoire that will only be appreciated by listeners familiar with that British offshoot of Dixieland jazz.
1. Shortnin' Bread 2. Fee-Fi-Fo-Fum 3. That's Alright 4. Rockin' Little Angel 5. Money (Is The Root Of All Evil) 6. One-Armed Bandit 7. Banned In Boston 8. Moonlight Promises 9. Joe Sweeney 10. Honey Come On, Dance With Me 11. Who Put The Bomp (In The Bomp, Bomp, Bomp) 12. What Am I Saying 13. Mama's Doin' The Twist 14. I'm Going - But I'll Be Back 15. One Of The Guys 16. Dear Mary Brown 17. Everybody's Got A Ya-Ya 18. A Lot Of Livin' To Do 19. That Stranger (Used To Be My Girl) 20. Silent Night 21. Don't Let Me Cross Over 22. I'm Coming Home 23. It's You 24. I'll Never Get Over You 25. Five Foot Two, Eyes Of Blue 26. Yes Sir, That's My Baby 27. Well I Ask You 28. I Wanna Be Loved By You 29. That's My Weakness Now 30. Ain't She Sweet 31. You'Ve Got To See Mama Every Night
Review by Richie Unterberger :
The West Coast Pop Art Experimental Band, no strangers to weirdness on their prior 1967 album Part One, had still often stuck to relatively straightforward, concise, and pop-flavored songs on that LP. Here they stretched out into less structured, more avowedly psychedelic (and indeed experimental) territory, with mixed results. "Smell of Incense" (covered for a small hit by Southwest FOB) was sublime psych-pop. Yet "Suppose They Give a War and No One Comes" was just some fool — actually the band's chief investor, lyricist, and tambourine player, Bob Markley — grafting silly, self-consciously freaky recitation of a vintage 1936 Franklin Roosevelt speech onto an ominous fuzz guitar backup. Other cuts like "In the Arena" and "Overture — WCPAEB Part II" were free-form psychedelic creepiness without the strong content of, say, likely influence Frank Zappa. Yet some of the strangest efforts exert their own strange charm, like "Buddha," with its unfathomable delineation of a garden of delights set against chimes, tinkles, and gongs. Interspersed with all this was some generic country-folk-rock (although the wavering backup bagpipes on "Delicate Fawn" give even that a weird sheen), fair harmony soft rock ("Queen Nymphet"), and unhinged garage-psych-fuzz madness. There's half a decent (if screwy) psychedelic album here, and half incoherence, particularly when so many disparate tracks and styles are slung against each other. The CD reissue on Sundazed adds mono single mixes of "Smell of Incense" and "Unfree Child."
1. In The Arena 2. Suppose They Give A War And No One Comes 3. Buddha 4. Smell Of Incense 5. Overture -- WCPAEB Part II 6. Queen Nymphet 7. Unfree Child 8. Carte Blanche 9. Delicate Fawn 10. Tracy Had A Hard Day Sunday 11. Smell Of Incense (Single Mix) 12. Unfree Child (Single Mix)
Review by William Ruhlmann :
Freddie & the Dreamers released 17 singles and seven EPs on the Columbia Records subsidiary of EMI in the U.K. (no relation to the American Columbia label) between 1963 and 1969. Even allowing for some overlap, those releases added up to more than the 24 tracks on this CD. In part, that's because the selections only run up to 1966, when the hits ran out, but this simply is not a comprehensive collection of the recordings featured on the group's singles and EPs. Rather, the title is just an excuse for another Freddie & the Dreamers best-of. In fact, the main point about the emphasis on selections from singles and EPs has to do with the mixes that were used. The word in the largest print face on the CD cover is "mono," and indeed the tracks are presented in monophonic sound. All of the band's U.K. Top 40 hits are included, but U.S. fans will be less pleased by the omission of "Do the Freddie," which was released only on LP in Britain. Freddie & the Dreamers seem to have filled out their EPs with the kind of American R&B covers also being played by the other British beat groups. Their version of Leiber & Stoller's "Kansas City," like the Beatles' version, is actually a medley with Little Richard's "Hey! Hey! Hey!" copied from Little Richard's 1959 recording. A complete, chronological collection of their singles and EPs would make for a good portrait of the band. This is not that collection.
Biography by Richie Unterberger :
The Raik's Progress made just one garage-psychedelic single, "Why Did You Rob Us, Tank?"/"Sewer Rat Love Chant," in 1966. Though the song titles might lead you to believe the group dealt in weirdness along the lines of early Mothers of Invention or the Red Krayola, actually the songs were not as strange lyrically as the titles seemed to portend. The music, though, was fairly strange for its time, with "Sewer Rat Love Chant" one of the earlier examples of raga-rock to filter down into the garage substratum. The less distinctive, but still worthy, flip side, "Why Did You Rob Us, Tank?," had a similar approach, but bore a more audible folk-rock Byrds influence. Both sides were reissued on the Sundazed CD Sewer Rat Love Chant... Read More...
Review by Richie Unterberger :
Although the Raik's Progress only released one single in their brief career (both sides of which are included here), Sundazed magically conjured the Sewer Rat Love Chant album out of their legacy by tacking on ten songs from a live 1966 performance at the Rainbow Ballroom in Fresno. It's the studio single, though, that's the highlight of this disc, as "Sewer Rat Love Chant" is an above average piece of early minor-keyed raga-rock (and not as lyrically weird as its title indicates), with its flip side, "Why Did You Rob Us, Tank?," showing a more pronounced Byrds influence, particularly in the vocal harmonies. The live material actually boasts pretty good sound quality for a 1966 concert recording, and is comprised mostly of original material that's more in the standard raw garage mold than their sole 45. Although the performances and vocals are a mite unrefined, most of the tunes aren't bad at all. "Don't Need You" is soaked in the morose Farfisa organ swirl common to much 1966 garage, punctuated by what sounds like clanks of a rusty anvil, and several of the other group originals are overheated, semi-incoherent punk blues. There are also live versions of both songs from the single, as well as covers of songs by Them, the Byrds, and the Animals that testify to their good taste, though enjoyment of the version of the Byrds' "It's No Use" is compromised by the group's apparent unfamiliarity with all of the words and chord changes. On the other hand, there must have been few other American groups indeed who covered the non-LP Animals B-side "I'm Going to Change the World," done here with considerable guts.
Char Vinnedge Chris; Vinnedge Mary; Gallagher ;Faith Orem.
Review by Cub Koda:
Rising from teen girl band ashes known as the Tremolons, guitarist-gal rocker visionary Char Vinnedge put together the Luv'd Ones, Dunwich's only all-girl punk group. But the Luv'd Ones were no mere boy toys with instruments; under Vinnedge's direction, she wrote the dark, somber originals, played lead guitar and generally directed the band in the male-infested waters of mid-'60s rock & roll. That their siren song was unheard 'til now (a small batch of singles only) is no reflection on their material or their talents, both in abundance on this excellent 20-track compilation. Largely comprising unissued demos and long lost sessions (their sides as the Tremolons are on a separate Sundazed vinyl EP) and all of it steeped in fuzztoned swirls of sound, this is a pretty amazing little collection of DIY female punk spirit done just right. A missing chapter in rock & roll history
Monday, June 09, 2008
Biography by Bruce Eder:
The Liverbirds (sometimes spelled Liver Birds) were one of the more distinctive outfits in Liverpool (and anywhere else, for that matter) by virtue of the fact that they were a hard (???) -rocking all-girl group, self-contained instrumentally and focused on rhythm-and-blues. They weren't too successful musically in Liverpool, but in 1963 they went to Hamburg, where they became one of the most popular acts ever to play the Star Club. Irene Green (vocals), Sheila McGlory (guitar, vocals), Mary McGlory (bass, vocals), Pamela Birch (guitar, vocals), Valerie Gell (guitar, vocals), and Sylvia Saunders (drums) got together in early 1962 under the name ... Read More...
Biography by Richie Unterberger:
The Rascals, along with the Righteous Brothers, Mitch Ryder, and precious few others, were the pinnacle of '60s blue-eyed soul. The Rascals' talents, however, would have to rate above their rivals, if for nothing else than the simple fact that they, unlike many other blue-eyed soulsters, penned much of their own material. They also proved more adept at changing with the fast-moving times, drawing much of their inspiration from British Invasion bands, psychedelic rock, gospel, and even a bit of jazz and Latin music. They were at their best on classic singles like "Good Lovin'," "How Can I Be Sure," "Groovin'," and "People Got to Be Free." When they tried to stretch their talents beyond the impositions of the three-minute 45, they couldn't pull it off, a failure ... Read More...