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
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.
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.
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.
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.
The Pussycats were a Norwegian rock band from Tromsø. Their members from 1963 to 1967 was their bassist and vocalist Sverre Kjelsberg their guitarist and vocalist Trond Graff their drummer Kaare Larsen their lead guitarist Ottar Aasegg and their keyboardist and vocalist Ingemar Stjärndahl. After a few months in Norway, they went out to Stockholm and were discovered by Sten Ekroth. And the year later they recorded their first album,e !!Psst !!Psst!! In 1965 they recorded their second and final album with the title !!Mrrr !Mrrr!
Full title - She Flies Like A Bird - The Anthology. A solitary hit single with 'I Can't Let Maggie Go' in 1968 was poor reward for one of Britain's most brilliant pop bands of all time. As this remarkable retrospective proves, Honeybus boasted some of the finest writers & vocalists of the era, whose haunting songs have grown richer & more affecting with age. This is the most comprehensive collection of their work ever assembled, which includes several unreleased tracks. 51 tracks.
Their best known lineup consisted of Pete Dello (vocals, keyboards, guitar), Ray Cane (vocals, bass, keyboards), Colin Hare (rhythm guitar, vocals), and Pete Kircher (drums, vocals), with Dello and Cane writing most of their songs.
Every country has its groups that are willing to do nothing more than go with the flow of current trends, whether they're British Invasion, psychedelic, soul, pop, grunge, techno, or whatever. In the New Zealand of the 1960s, Larry's Rebels were one of the most visible of these groups. They recorded plenty of singles (five making the Kiwi Top Ten) and played innumerable concerts, even making a bit of a dent into the Australian market (where they toured frequently at the end of the '60s). But at the end of the day, they contributed nothing to the state of international musical affairs, content mostly to record or perform competent cover versions.
Larry's Rebels did write a few of their own songs, which were usually very pop-oriented takes on British and American pop/rock. At times the band sound like a New Zealand version of Paul Revere & the Raiders, with even less personality. Not that you would expect much individuality from a group which, over the course of a single 1968 live set, would perform covers of tunes by the Rolling Stones, Engelbert Humperdinck, the Grass Roots, the 5th Dimension, the Young Rascals, and Eric Burdon. The group faded out around 1970, but leader Larry Morris made big headlines in his native land in 1971 after supplying LSD to an undercover police officer, receiving a seven-year jail sentence in a country not noted for tolerant attitudes toward drugs.
Even drawing selectively from their 1965-69 output, this 26-track compilation offers a pretty slim resumé of credentials. Running heavy on inferior covers of British Invasion hits, it also has a few flower-power tinged pop originals that are nothing special. The best cut is their unexpectedly terrific Merseybeat interpretation of Dionne Warwick's "This Empty Place." As a whole it's way too slight to warrant a recommendation, even to '60s collectors.
Rhino's Best of the Girl Groups, Vol. 1 collects 18 of the greatest girl group singles, including the Ad Libs' "The Boy From New York City," Betty Everett's "The Shoop Shoop Song (It's In His Kiss)," the Exciters' "He's Got the Power," and Claudine Clark's "Party Lights." The Shangri-Las have no less than three of their singles -- "Leader of the Pack," "Remember (Walking in the Sand)," and "Give Him a Great Big Kiss" -- included here, while two of the Shirelles' finest, "Baby It's You" and "Will You Love Me Tomorrow," and the Chiffons' "He's So Fine" and "One Fine Day" reaffirm why all three acts are among the best girl groups. Most of the style's big hits, such as the Dixie Cups' "Chapel of Love," are featured, but the lesser-known tracks, like the Jaynetts' "Sally, Go Round the Roses," Evie Sands' "I Can't Let Go," and Skeeter Davis' "I Can't Stay Mad at You," keep the collection interesting for more serious fans of girl group pop. A solid, entertaining album, Best of the Girl Groups, Vol. 1 is a must for anyone interested in one of the most distinctive sounds of the '60s.
Picking up where the first volume left off, The Best of the Girl Groups, Vol. 2 contains 18 classics from the golden age of girl groups. These are hardly leftovers; if anything, it feels like a greatest-hits collection, thanks to songs such as "My Boyfriend's Back," "Sweet Talkin' Guy," "The Loco-Motion," "A Lover's Concerto," "Chains," "Popsicles and Icicles," "Tell Him," "Don't Say Nothin' Bad (About My Baby)," "Easier Said Than Done," and "Johnny Get Angry." A few of these tunes may sound a little dated, but the startling thing about The Best of the Girl Groups, Vol. 2 is that the majority of the music sounds as fresh and exuberant as it did when it was originally released. Which only reiterates the fact that this isn't just some of the best girl group pop ever made -- it's some of the best pop of any era.