Thursday, June 30, 2011

The Wild Oats - Live At Leiston

....In early 1963 an association with David Rattle - a local fan of the group who was apparently well connected in the entertainments industry - led to the Rebels changing their name to the Wild Oats despite the misgivings of certain members of the band, who felt that this new name portrayed them as country yokels. Shortly afterwards Rattle introduced them to David Nicolson, who had recently advertised for bands in the New Musical Express. Nicolson, who worked in EMI's press office, was described in Johnny Rogan's 1988 book 'Starmakers and Svengalis' as 'a typical Sixties whizz kid dabbling on the fringes of the music business who harboured dreams of establishing himself as a manager/producer in the Andrew Loog Oldham/Larry Page mould'. It was Nicolson who financed the Wild Oats' first trip to a recording studio in mid-1963, when versions of Marvin Rainwater's 'Whole Lotta Woman' and an obscure Elvis Presley song 'Put The Blame On Me' were cut at the R G Jones studio in Morden.....


The Wild Oats were: 
WILLY BROWN  lead vocals (tracks 2-9 and 18), backing vocals 
CARL HARRISON  lead vocals (tracks 11-17), backing vocals 
TREV ROWLAND lead guitar, backing vocals
ROBIN HARE rhythm guitar, backing vocals ROD GOLDSMITH bass

It's probably fair to say that, when the definitive guide to rock history is written, the small Suffolk town of Leiston is unlikely to merit a mention; the town's only real claim to fame is its disturbingly close proximity to the Sizewell B nuclear power station. However, whilst the Suffolk Sound never threatened to rival Merseybcat as a musical phenomenon, Leiston did briefly boast a class R&B act of its own in the mid-1960s. Given average luck and a following wind, the Wild Oats may well have developed along the same lines as more celebrated bands of the era such as the Hollies and the Searchers, but despite a hugely popular live set, that all-important recording contract failed to materialise, and the band seemed destined to remain a well-kept local secret when they went their separate ways in 1967. So it proved for almost a quarter of a century. By the early 1990s, however, the Wild Oats had been afforded cult status by collectors due to the belated discovery of a handful of tracks that they had recorded on the fiercely collected Oak custom label, a division of the R G Jones recording studio of Morden in Surrey, where acts of the calibre of the Stones, the Kinks and the Yardbirds had all cut their first demonstration discs. The success in 1994 of Tenth Planet's anthology of Oak artefacts, including the Wild Oats' version of the R&B classic 'You Can't Judge A Book By Its Cover', led the band to unearth tapes of a vintage Wild Oats performance in May 1964, when they were captured at the International Club in Leiston by a domestic reel to reel tape recorder that had been set up by two of their more fervent supporters. The result is 'Live At Leiston', not only an accurate representation of what the Wild Oats were doing in May 1964 but a fascinating snapshot of contemporaneous British pop music in a month when the singles chart was topped by the Searchers, the Four Pennies and Cilla Black (whatever happened to her?).
The roots of the Wild Oats can be traced back to February 1960 when schoolfriends Trcv Rowland and Willy Brown, suitably inspired by the exploits of Lonnie Donegan, formed a skiffle group in their hometown of Leiston in a remote corner of rural Suffolk. A parallel enterprise as an Everly Brothers-style vocal duo also began around this time, but by the end of the year guitarist Rowland and vocalist Brown had recruited Stykx Scarlett (drums), Rod Goldsmith (bass) and Carl Harrison (vocals) to form the Rebels. With the acquisition in early 1961 of guitarist Robin Hare (who joined from the Nightjars, another local act) and saxophonist Ron Philpot, the Rebels took to the stage as a fully fledged rock'n'roll outfit playing cover versions of recent hits. With few other local bands around, the Rebels had the scene pretty much to themselves. Appearing at clubs and village halls in the Lciston area, they slowly began to build a sizeable local following, often playing to crowds in excess of 300.

In early 1963 an association with David Rattle - a local fan of the group who was apparently well connected in the entertainments industry - led to the Rebels changing their name to the Wild Oats despite the misgivings of certain members of the band, who felt that this new name portrayed them as country yokels. Shortly afterwards Rattle introduced them to David Nicolson, who had recently advertised for bands in the New Musical Express. Nicolson, who worked in EMI's press office, was described in Johnny Rogan's 1988 book 'Starmakers and Svengalis' as 'a typical Sixties whizz kid dabbling on the fringes of the music business who harboured dreams of establishing himself as a manager/producer in the Andrew Loog Oldham/Larry Page mould'. It was Nicolson who financed the Wild Oats' first trip to a recording studio in mid-1963, when versions of Marvin Rainwater's 'Whole Lotta Woman' and an obscure Elvis Presley song 'Put The Blame On Me' were cut at the R G Jones studio in Morden.
By this stage the British beat boom was in full swing, and the Wild Oats' switch from rock'n'roll material to a more R&B-derived sound was a logical progression. This transition was accelerated by the influence of their new manager Chas Philpot (brother of Ron, who by now had left the band), who introduced his charges to the delights of obscure black American R&B and soul music. With a suitably revised repertoire, the Wild Oats found themselves in greater demand than ever. They began to perform regularly at local air bases as well as clubs in the Norwich, Ipswich and Colchester areas. The band also became a popular attraction at hunt balls and debutante parties (leading to a mention in the society magazine Tatler) as well as playing at various London clubs. They also performed at the world-famous London Savoy Hotel, where they were nearly refused entry due to their 'unsuitable' appearance, but declined an invitation to appear at the Star Club in Hamburg, deciding that the notorious Reeperbahn district was no place for a bunch of clean-living Leiston lads to be hanging out.

By late 1963 the Wild Oats were acting as backing band for the stage appearances of another of David Nicolson's progenies, Crispian St Peters, as well as returning to R G Jones to record a limited edition EP on the Oak label. 'You Can't Judge A Book By Its Covcr', 'Walking The Dog', 'Will You Still Love Me Tomorrow?' and another attempt at 'Put The Blame On Me' were issued in an attractive picture sleeve, but the release failed to attract the attentions of a larger record company. Today a pristine copy of the EP, complete with original sleeve, is valued by Record Collector magazine at a cool Ј500.

1964 proved to be an eventful year for the band. They entered the All-England Big Beat Competition (an event sponsored by electrical giants Grundig) and were adjudged joint winners after appearing at the Marconi Club in Chelmsford, Essex. Their prize was a recording session at Radio Luxembourg, and the two tracks that were laid down under the aegis of presenter Philip Waddilove were subsequently broadcast by the station. Around this juncture the Wild Oats discarded their Fender Stratocasters in favour of Gibson semi-acoustics in order to approximate the Chicago blues sound, and further recordings were made at the City of London studios in an attempt to showcase the band's new musical emphasis. Versions of the Mary Wells hit 'Bye Bye Baby' and Sugar Pie De Santo's 'Soulful Dress' (a song that had been recommended to them by future Moody Blues manager Denny Cordell) were recorded, but the band were dissatisfied with the results. Notwithstanding this disappointment, a regular support slot at Gorleston Floral Hall enabled the Wild Oats to appear on the same bill as many of the biggest names of the era including the Kinks (who apparently were given a decidedly mixed reception), the Hollies, the Animals and Georgic Fame. Now playing to increasingly large audiences, the Wild Oats paid greater attention than before to sartorial matters, and their wardrobe included leather waistcoats, shirts and trousers from John Stephen in Carnaby Street, cuban heeled boots from Anello and Davide in Charing Cross Road and brown mohair suits from Cecil Gee in Shaftesbury Avenue.

Despite such fastidious grooming, the Wild Oats' main aim was to enjoy themselves, and their youthful exuberance was evident both onstage and off. After one London gig an inebriated Robin Hare walked through Soho in the early hours of the morning with a dustbin lid stuck to either foot. He was spotted by two policemen who immediately gave chase. The guitarist managed to shake one foot loose, but couldn't remove the dustbin lid from his other foot - nevertheless, he still managed to outrun his pursuers! The band's appearances at deb balls were also memorable experiences. They would play for anything up to four hours at a time, taking liquid refreshment (usually champagne) whilst on stage. Inevitably their performance was rather more rugged and raucous by the end of the show than at the beginning! Their willingness to play long hours was also rewarded financially, and at one venue they were paid more than the Hollies (at the time topping the chart with'I'm Alive') had received the previous week for a briefer appearance.

A further acetate coupling 'Route 66' and 'Fanny Mac' was made at Tont' Pike's studio in early 1965, but the band were unhappy both with the sound quality and their own performance. Shortly afterwards Graham Baldn' replaced Rod Goldsmith, who left due to musical differences. Robin Hare moved from guitar to Farfisa organ as the Wild Oats became increasingly influenced by soul music, covering material initially recorded by Lee Dorsey, Otis Redding and Wilson Pickctt. By this stage, however, the more successful British acts were moving away from the R&B/soul axis and into more experimental areas. By the time that the Wild Oats officially folded in late 1967 (Mick Hughes had replaced the disillusioned Trcs' Rowland in November 1966), the band had become somethnig of a musical anachronism. Their failure to progress from cover versions to scif-permcd material had condemned them to a finite shelf life, and they were inevitably overtaken by events as the musical and cultural epicentre shifted inexorably from Liverpool to San Francisco. Occasional reunions; - the last as recently as December 1994- have all been greeted by packed houses, confirmation that their reputation on a local level remains fully intact thirty, years after their hcydav.

The posthumous appearance of 'Live At Leiston' is undoubtedly an unexpected but welcome appendage to the Wild Oats story, but the album's appeal surely extends beyond such parochial realms. 'Live At Leiston constitutes a fascinating and important historical document, not because the Wild Oats were a uniquely individual talent but for precisely the opposite reason. All live albums issued during the beat/R&B era showcased the undisputed market leaders such as the Stones, the Yardbirds and the Kinks. The Wild Oats, however, can be considered as Everyman (or rather Everyband): had the proverbial Martian alighted from a passing spacecraft on a Saturday night in 1964 and wandered into any village hall or local hop the length and breadth of Britain, the chances are that he would have witnessed an almost identical set from any one of the multitude of local heroes taking their musical cue from their more illustrious peers. Extraterrestrials aside, the exhumation of 'Live At Leiston' finally gives rock historians and collectors alike the chance to hear the authentic sound of the suburbs as it stood in May 1964, srhcn provincial bands ruled British pop and British pop ruled the world.

...Ladies and gentlemen, the Wild Oats have now left the building.
Thank you and goodnight....

VA - VA - Rare Mod : A Collection Of 60's Underground Rhythm'N'Blues, Psych & Soul Vol.3

Volume 3 sees the best collection yet - some of the finest underground mod, rhythm and blues and beat bands of the sixties, all digging out those unreleased acetates from on top of wardrobes, suitcases in the attic and in some cases, unheard studio master-tapes. 

On a 'mod' compilation you would expect mostly nothing but mod styled beat / garage / freakbeat, but there are a few exceptions. Take the London born Andee Silver who made this recognisable Motown pop single, here included. Female pop hardly is found on mod compilations, but there's another one. Goldie & The Gingerbreads, more being an American harmony vocalist band, found most of its success opening before The Rolling Stones and touring with The Kinks. Different but not in a too great sense also is the 'Northern Soul' band Kenny Bernard & The Wranglers, with another version of “In the midnight hour”, another connection to London. There are two tracks in earlier 60s styles and a few bluesier tracks included for one more London connection. Such tracks makes the compilation a bit more alternated, while it is of course the mod connection which gives most of the expected / sought after satisfaction. There has been enough background info and a few rare photographs of many of the bands/recordings added. Nothing is completely surprising like mod hardly does for me, although a few songs could have made a bigger public with the right connections and circumstances. The compilation is already worth checking out for The Creation's Beatlesque string soaked song.  

Mod, you can't live with it, you can't live without it! - whilst this extraordinarily resilient youth culture continues to defy the natural laws of science and quietly die, unnoticed in some dingy corner of a Soho alley, it is again reborn, embraced by a new generation of British youth - the thirst for original mod iconography, history and music has never been greater, so Acid Jazz records prepare for the release of their third instalment of the evergreen RARE MOD series…

Familiar names like The Creation and John's Children with alternate takes of both Life Is Just Beginning and Desdemona (which features some previously unheard Marc Bolan vocals). Lesser lights such as The Iveys, The Preachers (featuring a young Peter Frampton), Gary Brooker (later of Procul Harum) and St Louis Union contribute amazingly rare material - there's British soul from Goldie & The Gingerbreads, Kenny Bernard & The Wranglers (who boasted a young David Bowie on saxophone as part of their early line-up) and Andee Silver, psych from The Montanas and Dave & The Diamonds (up there with anything on the original Nuggets release!), R&B from Sean Buckley & The Breadcrumbs or Derry Wilkie & The Pressmen....

 Rare Mod volume 3 

01. Open The Door - The Montanas
02. No Matter How You Slice It - Sean Buckley & The Breadcrumbs
03. Baby I Need Your Loving - Andee Silver
04. Think About Love - Dave & The Diamonds
05. Life Is Just Beginning - The Creation
06. Chicago Calling - The Iveys
07. Can You Think Of Another - Derry Wilkie & The Pressmen
08. Look For Me Baby - Goldie & The Gingerbreads
09. Desdemona - John's Children
10. About My Girl - St Louis Union
11. Midnight Hour - Kenny Bernard & The Wranglers
12. Sunflower - The Nocturnes
13. Dr Nero - The Montanas
14. Goodbye Girl - The Preachers
15. Shatterproof - Sean Buckley & The Breadcrumbs
16. Such Is Life - Dave & The Diamonds
17. Little Egypt - The Iveys
18. Pink, Purple & Blue - Unknown
19. Verse One - Gary Brooker
20. Ain't That Just Like Me - Wainwright's Gentlemen

 VOLs 1; 2 :

Heimatliche Klaenge - vol.85

Heimatliche Klaenge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels

vol.85  Tempo

VA - Beat-Party

01 - Keep On Running
02 - Sha La La Lee
03 - Nowhere Man
04 - Michelle
05 - Balla Balla
06 - Honey Bee
07 - Over And Over
08 - Juanita Banana
09 - The Sun Ain't Gonna Shine Any More
10 - Hang On Sloopy
11 - Little Girl
12 - Somebody Help Me
13 - Ju Ju Hand
14 - 19th Nervous Breakdown

Johnny Smash - Johnny & The Blue Cats
The Beat Kings - The Blue Cats - The Venture Five

mp3 lame VBR -V0 extreme

Heimatliche Klaenge - vol.84

This was a beat band formed at the beginning of 1968. Reichel and Tarrach had previously been members of the most famous German beat band: The Rattles. Wonderland recorded three singles before Humphries and Franke quit at the end of 1969, to be replaced by Kalle Trapp and Claus-Robert Kruse. One year and a single later the band ceased its activities, with Reichel and Dostal teaming up for the Wonderland Band album, to which Franke, Tarrach, Trapp and Kruse all contributed. All Wonderland singles and four tracks for a projected album were collected in 1973 on a Karusell sampler....

WONDERLAND BAND - One of Achim Reichel's strangest projects occurred in l97l, after the demise of Wonderland. His long time collaborator Frank Dostal followed him from this band. Together they recorded as Frankie Dymon Jr. as well as the very different Wonderland Band, whose album was an ambitious production featuring 25 guest musicians, among them Clauk-Robert Kruse (guitar, organ, vocals, arrangements), Helmut Franke (guitar), Ladi Geissler (guitar), Hans-Uwe Remers (piano, arrangements), Benny Bendorf (bass), Hans Hartmann (bass), Kalle Trapp (bass), Joe Nay (drums), Barry Reeves (drums) and Dicky Tarrach (drums, chimes, trumpets and trombones). The results sounded close to the eclectic solo album Die Grune Reise, but Reichel's echo guitars were in this case replaced by solid doses of brass! Wonderland Band's No. 1 was equally weird with boogie rock, vintage glitter rock and folky ballads spiced with incredibly strange brass arrangements. It was hardly a great success (however, there are highlights!) and proved to be a one-off, although a 1972 single featured two unreleased tracks: "Rock'n'Roll People" coupled with "King Of America"

Summer 2001 saw the arrival in the US of the 4-CD box “Nuggets II – Original Artyfacts From The British Empire And Beyond 1964-1969”. The compilers of these American garage punk, mod and psychedelic compilations had either only very limited transatlantic knowledge or suffered from a severe hearing disorder. How else would you explain that a song called “Moscow” – perhaps the most accomplished international-standard composition from the 1960s which ever left a German pressing plant – was missing from the total of 109 tracks? Responsible for this title: WONDERLAND and their producer, James Last.

The years 1967 and 1968 were a turning point for the international pop music scene. The Summer of Love had left its mark (or perhaps had only become possible thanks to those new sounds): flowers in people’s hair and San Francisco; small concept pieces such as “Grocer Jack” and the nasal “Pearly Spencer”; choirs crooning their “aaahs” and “ooohs”, phasing, little bells, plus a lot of ringing words – no more room for the rumbling 437th version of “Hippy Hippy Shake”, “Boom Boom” and “Bye Bye Johnny”, new ideas were called for....

MORE info  included into archive's RTF file

Heimatliche Klaenge - Deutsche Schallplatten-Labels 
Native Sounds - German Record-Labels


The Wonderland 

01 - Poochy 
02 - Moscow 
03 - Boomerang 
04 - Peeping And Hiding 
05 - Count Down
06 - Jump Anna Trampaleen
07 - Mama (Polydor Anniversary Lp)
08 - Gas Ballon 
09 - Try To Be What You Are
10 - Do You Remember
11 - Burdon 
12 - On My Way (To The USA)
13 - Teachers And Preachers
14 - Hey Willy
15 - Mighty Pudding
16 - I Make Music
17 - Heya Donna Leya 
18 - Rock 'n Roll People
19 - King Of America
20 - Laugh Story
21 - What A Day 

01 - 13 Wonderland
07 -    with James Last (from Polydor Anniversary Lp)
14 - 15 Hamburger Blues-"Gesang"-Verein von 1970 N.E.V.
16 - 19 Wonderland Band
20 - 21 The Gorillas

mp3 lame VBR -V0 extreme

Lp Wonderland Band No. 1

Saturday, June 25, 2011

The Lost - Lost In Action


The Band's History

The lost were formed in 1964 by Bill Heath, a pupil at Uppingham Public School in the small English county of Rutland. Initially known as Paradise Lost, the embryonic composition of the group fluctuated greatly: early contributions were made by Charlie Adamson (drums) and Fred Ward (rhythm guitar), but the line-up stabilised around lyricist and lead vocalist Heath, drummer Jake Walton and brothers Chris and Martin Hatt on lead guitar and bass respectively. At the time of the group's formation the British musical scene had effectively been polarised by the emergence of two distinct musical genres: the beat groups were achieving greater commercial success but the tougher, less ephemeral rhythm and blues sound was becoming increasingly popular in the clubs around London and the Home Counties. It was the burgeoning R&B scene to which Paradise Lost became attracted, consciously striving to emulate the raw adrenalin that shaped classic singles like 'Rosalyn' and 'Baby Please Don't Go'. As might be expected, the group played regularly at Uppingham and at various local halls, but began to seek wider horizons: to this end they visited the now legendary R G Jones recording studio in Morden, Surrey in August 1966 to record 'Problems Of Day To Day Living', a Bill Heath/Chris Hatt song that was lyrically reminiscent of several recent Jagger/Richard compositions. However, independent producer David Oddie decided that the band should concentrate their efforts on a cover version of  'Neighbour Neighbour', a recent Stax single from Jimmy Hughes that was also recorded by pre-Status Quo act the Spectres. Augmented by Stu Taylor (a former member of the Tornadoes and Screaming Lord Sutch's band The Savages), Paradise Lost spent several hours perfecting 'Neighbour Neighbour' before recording 'Problems Of Day To Day Living' in the little studio time that remained. Unfortunately neither track saw the light of day.

Undeterred, the Heath/Hatt songwriting partnership persevered, and in early 1967 the band, now operating under the truncated name of The Lost, visited Hollick & Taylor's recording studio in Birmingham to demo their new material. A single-sided acetate album (also pressed as a doublc-sided 10" LP) comprising seven tracks was recorded in a three hour session. Covers of the Stones' 'Spider And The Fly' and Chuck Berry's 'Guitar Boogie' demonstrated that The lost weren't afraid to identify their influences, whilst the album closed with Chris Hatt's pleasant if inessential instrumental 'Lost In Paradise'. However, the real meat lay in the four Heath/Hatt collaborations; 'Problems Of Day To Day Living' is almost identical to the version cut the previous year (it's the earlier recording that appears on this compilation), but the three remaining songs were a perfect vehicle for Bill Heath's distinctly Jaggeresque vocal inflexions. 'Bread Van' and 'The Times Are Gone' also show evidence of the acerbic observation and mild misogyny that characterised both thc Stones and the Kinks' strongest recordings of the era, but possibly the most accomplished song is 'Something To Us', an apparently heartfelt plea for forl:iiveness tempered by a few carefully selected barbs. Occasionally the ambitions of the material exceed the instrumental dexterity, but it should be remembered that, as with all the material featured on this album, these were hastily recorded demo tracks rather than the finished article.

With no record company interest in the Hollick & Taylor session, the lost sought to toughen their sound with the recruitment of pianist Patrick Hannay (another Uppingham acquaintance) and former Amber guitarist and Syd Barrett acolyte Mic Read. In February 1968 The Lost returned to R G Jones (Morden) Ltd, and it is the two tracks from this session that arguably represent the acme of their achievements. The proto-punk savagery of 'What's The Matter (With You Babe?)' inflates the vague waspishness of some of the group's earlier material to incandescent fury, but on this occasion the lyrical content is matched by a thunderous backing track that reaches some kind of peak with Chris Hatt's closing guitar solo. 'Don't Open Your Mind', a minor masterpiece of song construction and undoubtedly The Lost's most fully realised creation, maintains the musical and lyrical assault, although it would be another sixteen years before the song received any kind of national exposure, when British Telecom was approached with the idea of a telephone line featuring an arbitrary selection of classic recordings. BT agreed to the proposal and in December 1984 the Guinness Golden Hit1ine was born, with Bill Heath employed as resident disc jockey and the opening bars of 'Don't Open Your Mind' pressed into belated service as the signature tune.

By mid-1968 the Lost had fragmented, with Bill Heath and Jake Walton taking a post-Uppingham sabbatical trip around the world. Chris and Martin Hart linked up with vocalist John Vaughan and former Paradise Lost drummer Charlie Adamson in a summer holiday band bearing the unlikely name of the Undergrowth Of Literature. The 'Growth toured the Welsh coastline as a travelling jukebox, playing faithful cover versions of the latest Hendrix, Cream, Mayall and Fleetwood Mac material alongside a handful of originals including Chris Hatt's 'High In The Sky'. Accompanying the band as tour manager and general dogsbody was fellow Uppingham pupil and future BBC Radio One disc jockey Peter Powell. In late August 1968 the Undergrowth Of Literature visited R G Jones to cut a souvenir album (recorded in a single two hour session!) of their tour. Only four acetate copies were made, and the five tracks included herein have been culled from what appears to be the sole surviving copy.

Within a matter of weeks The Lost were reunited: now at law school, Bill Heath teamed up with another trainee solicitor, Dick Ellis, to write 'Ernest Seymour, The Man From 66c'. With Ellis guesting on piano, The Lost duly returned to Morden to record this surreal psychedelic pop nugget in which the lyrical dichotomy is matched by the rampant musical schizophrenia. Despite the group's high hopes, the track once again failed to secure a commercial release. 

By February 1969 The Lost had given way to Just Plain Smith, whose name was inspired (if that's the correct word) by a particularly surreal Chris Hatt dream. Hatt, Bill Heath and Mic Read followed Traffic's illustrious example of communal living; whilst the Berkshire poppies had been famously 'getting it together in the country', our intrepid trio had to settle for a rented bungalow called 'Oikos' in the Surrey stockbroker belt of Walton-on-Thames (Read's homegrown). A Just Plain Smith single, apparently limited to 500 copies, appeared on the local Sunshine label bearing an 'Oikos Production' credit. A Read ballad entitled 'February's Child' was backed by a revamped 'Don't Open Your Mind'; the former track once again featured Dick Ellis, whilst 'Don't Open Your Mind' included contributions from Patrick Hannay and a young EMI A&R man by the name of Tim Rice, who received a sleeve credit for backing vocals under the thinly-veiled alias of 'Mitsago'. By this stage Martin Hatt had 
been replaced by Chris Standring, who would resurface the following year with RCA's heavy rock act Horse, with percussion chores divided between Jake Walton and Dave Knight. The single is now a highly prized (and highly priced) artefact of the late 1960s, a

The Lost (UK) - Lost In Action

01 - What's The Mater (With You Baby)

02 - Gotta have A New Dress

03 - Bread Van

04 - Something To Us

05 - Swlabr

06 - Now

07 - Problems Of Day To Day Living

08 - Don't Open Your Mind

09 - Manic Depression

10 - High In The Sky

11 - The Times Are Gone

12 - Neighbour Neighbour

13 - Ernest Seymour, The Man From 66c

14 - Music To Eat Cakes By

15 - What's The Mater (With You Baby)

16 - Don't Open Your Mind

17 - Ernest Seymour, The Man From 66c

Originally known as Paradise Lost this band were formed in 1964 by Bill Heath whilst he was at Uppingham Public School in Rutland. The early line-up fluctuated quite a bit but eventually stabilised into 'A' above. They started out playing R&B and in August 1966 visited R.G. Jones' recording studio in Mordon, Surrey. The session produced a cover version of Neighbour, Neighbour, a recent Stax single by Jimmy Hughes, which was also recorded by The Spectres (a pre-Status Quo act) and a Rolling Stones'-influenced Bill Heath/Chris Hatt composition, Problems Of Day To Day Living, but neither recording made it onto vinyl. They were augmented for this session by Stu Taylor, who'd been with The Tornadoes and The Savages (Screaming Lord Sutch's band).

By 1967 they were known as simply The Lost and a seven track single-sided acetate album was cut at a Birmingham studio. The featured tracks were four Bill Heath/Chris Hatt compositions:- Problems Of Day To Day Living, Bread Van, The Times Are Gone and Something To Us; covers of The Rolling Stones' Spider And The Fly and Chuck Berry's Guitar Boogie and a Chris Hatt instrumental Lost In Paradise. Of their originals Something To Us was arguably the most complete.

The Lost then augmented their line-up with the recruitment of pianist Patrick Hannay and ex-Amber guitarist Mike Read. This new line-up returned to R.G. Jones' studio cutting two new tracks - the raw and primitive What's The Matter (With You Babe) and Don't Open Your Mind, but still there was no record company interest. Don't Open Your Mind was a pulsating number which they later re-recorded as Just Plain Smith.

In mid-1968 Heath and Walton departed to tour the world. The Hatt brothers teamed up with Charlie Adamson (who'd been one of the early drummers with Paradise Lost) and vocalist John Vaughan in a temporary band, Undergrowth Of Literature. Their tour manager was future Radio One disc jockey Peter Powell and they also cut an acetate album at R.G. Jones' studio.

The Lost had reformed by Autumn 1968, returning to R.G. Jones' studio to record a piece of pop-psychedelia, Ernest Seymour, The Man From 66c, but again it failed to secure a commercial release, although it was easily their most inventive recording. In mid-1969 they evolved into Just Plain Smith.

In 1994 Tenth Planet released a 14-track compilation of the band's material, Lost In Action, along with quite an extensive history of the band on the sleevenotes on which this article is based. Three of the finest moments:- What's The Matter (With You Babe), Don't Open Your Mind and Ernest Seymour, The Man From 66c were also re-recorded by the band as a limited edition single in December 1993, which came with the Tenth Planet album. The original recordings of these songs also can be found on Syde Trips, Vol. 2 (LP).

Thursday, June 23, 2011

Heimatliche Klaenge - vol.83

Heimatliche Klaenge - vol.82

The Outcasts - I'm in Pittsburgh and it's raining


One of several American garage bands to use the Outcasts name in the '60s, this Long Island, NY outfit was a very typical act of the era, performing the usual garage raunch, White soul, Monkees-like pop, and Donovanish flower power. They only issued two singles, but an entire album of material was fabricated for release in the 1980s by embellishing the officially released cuts with live performances and previously unreleased songs. Archival diligence notwithstanding, it's not worth tracking down, even for garage diehards.

1. The Outcasts - I'm in Pittsburgh and it's raining
2. The Outcasts - Smokestack lightning 
3. The Outcasts - Sweet Mary 
4. The Outcasts - Route 66 
5. The Outcasts - I'll set you free
6. The Outcasts - Everyday
7. The Outcasts - What price Victory
8. The Outcasts - My love
9. The Outcasts - My generation
10.The Outcasts - Smokestack Lightning (single)
11. The Outcasts - 1523 blair
12. The Outcasts - Season of the wich
13. The Outcasts - come on over
14. The Outcasts - The birds
15. The Outcasts - I'm in Pittsburgh (early reharsal)
16. The Outcasts - Track 16

One of any number of garage bands to operate under the Outcasts name, this particular psych-punk unit formed in San Antonio in 1964 -- keyboardist/harpist Buddy Carson, guitarist Denny Turner, and drummer Rickey Wright comprised the founding lineup, with second guitarist Jim Carsten and bassist Jim Ryan signing on as the year drew to a close. In 1965, the Outcasts entered Texas Sound Studios to cut their debut single, the self-released ballad "Nothing Comes Easy" -- the record is perhaps most notable because it was written and produced by Mike Post, the future composer of hit TV themes including Hill Street Blues, Magnum P.I., and The A-Team. Post, then in basic training at nearby Lackland Air Force Base, also hired the Outcasts to serve as the backing band in a military musical production he was producing. The group signed to the Askel label to issue its followup single, 1966's Carsten-penned "I'm in Pittsburgh (And It's Raining)" -- the Outcasts' biggest local hit, it remains a garage classic thanks in no small part to Carsten's galvanizing harmonica and Wright's propulsive drumming. The band released two more singles for Askel, "I'll Set You Free" and "Route 66," but neither charted locally; guitarist Galen Niles replaced Turner in time for the Outcasts' swan song, the 1967 Gallant label single "1523 Blair." So titled after the street address of the studio owned by producer Leland Rogers (the brother of country superstar Kenny Rogers), "1523 Blair" is Texas psychedelia at its finest, but like its predecessors, it failed to make a commercial impact on its initial release. Drug and alcohol problems also contributed to the Outcasts calling it quits in 1968.

Birdwatchers - South Florida's Birdwatchers (1960's)


The Birdwatchers were a garage rock pop band active in the 1960's in the Miami area. The band dabbled with an Everly Brothers sound in their early career (1964), even releasing a version of "Wake Up Little Susie" on Tara, a local Florida label.

The band hit their stride beginning in 1966 with a clutch of garage-pop 45s released on the Mala label (some were also locally released on the Scott label). These featured the powerful, charismatic vocals of Sammy Hall, better than average production and high-quality songcraft.

Though they achieved some regional popularity and issued almost 20 singles on several different labels in the 1960s, Florida group the Birdwatchers never broke out nationally, and aren't even well represented on anthologies of regional/obscure '60s garage rock. While they weren't too original, they did cut some pleasing pop/rock singles with garage and blue-eyed soul tinges. The best of these was "I'm Gonna Love You Anyway," which, like several of their best songs, drew from the poppier face of the British Invasion as its primary influence. The failure of the Birdwatchers' material to achieve CD reissue (though a now hard to find LP of some of their stuff appeared in 1980) is odd, as the group was considerably better than many other such '60s outfits with limited exposure who have been honored by compact disc packages.

The Birdwatchers:
 JOEY MURCIA: lead guitar 
BOBBY PUCCETTI: keyboards  
SAMMY HALL: vocals

This long-lived group from Tampa, Florida produced mainly highly-derivative beat/pop fare, though enjoyable nonetheless. They recorded under several other assumed names, including two 45s with Duane Allman as The New Rock Band.The 1980 retrospective LP collects most of their 45s from 1965 to 1967. The version of Mary Mary here is a different version to the 45. There's also two cuts - Hey Schroeder and Can I Do It - which the compilers imply were not released, but these could be the unconfirmed 45 No. 10 above.Some copies of the Mary Mary 45 come with a paste-over label where the title is given as It's To You That I Belong. Ordered by a Miami radio station because of perceived marijuana connotations, this 45 variant is known as a "WQAM copy".A Bobby Puccetti composition, Heard You Went Away, was recorded by the Proctor Amusement Co..Joey Murcia went on to join Magic whose rare LP Enclosed has seen a reissue. Spirit fanatics should note the cover of Mr. Skin on the Geminix 45.Sam Hall, who joined the band in 1966, was previously in The Mor-Loks and The Trolls. He became a Christian in the late sixties or early seventies and later toured as Sammy Hall and The Sammy Hall Singers. Jerry Schills was previously with Milwaukee's Legends.

1. I'm Gonna Do It To You (2:05)
2. A Little Bit Of Lovin' (1:53)
3. Just be Yourself (2:43)
4. Then You say Boh Bah (2:04)
5. Can I Do It (2:08)
6. You got it
7. I'm gonna love you anyway
8. Mary Mary (it's to you that i belong)
9. Girl i got news for you
10. It's a long way home
11. It doesn't matter
12. 1I have no worried mind
13. Cry A Little Bit
14. Eddie's tune
15. Hey schroeder

Wednesday, June 22, 2011

The ID - The Inner Sounds Of The ID (1967)

Repost (10 bonus tracks)

By 1967, psychedelia had become trendy and commercial enough that major labels released goofy, self-conscious experimental psychedelic rock records that didn't have a chance in hell of making the charts. RCA's The Inner Sound of the Id was one such relic. Like some other obscure major-label psychedelic products of the time, it seems like it might have been a "psychsploitation" project that was designed more as a quick cash-in on a fad rather than a sincerely ambitious musical endeavor. Some strange guitar reverb and distortion, along with dashes of sitar and pseudo-Eastern musical and mystical influences, couldn't disguise the shortage of good songs and ideas and the overall aura of a strained attempt to be freaky. The presence of well-traveled Los Angeles session guitarist Jerry Cole on the LP makes one wonder if the Inner Sound of the Id were a studio-only group.

01. The Rake - 2.01
02. Wild Times - 3.06
03. Don't Think Twice - 2.46
04. Stone And Steel - 3.40
05. Baby Eyes - 2.51
06. Boil The Kettle, Mother - 3.01
07. Butterfly Kiss - 2.34
08. Short Circut - 3.01
09. Just Who - 2.44
10. The Inner Sounds Of The Id - 10.29
11. Wild Times (Bonus) - 2.17
12. Don't Think Twice (Bonus) - 2.52
13. Kimega (Bonus) - 2.50
14. Our Man Hendrix (Bonus) - 3.10
15. Tune Out Of That Place (Bonus) - 2.26
16. Gimme Me Some Lovin' (Bonus) - 2.33
17. Boil The Kettle (Instr.) (Bonus) - 3.08
18. What Else (Bonus) - 2.18
19. Uh Uh Uh (Bonus) - 3.16
20. I Can't Stand It Baby (Bonus) - 2.21

Although the Id's sole and rare album is weird, it's weird in a forced, mediocre fashion that makes it sound more like an exploitation of the psychedelic movement than a genuine part of it. At times (particularly on the songs with chanted pseudo-séance vocals), it's hard to tell whether they're trying to emulate the early freakiness of the Mothers of Invention, or whether they embody precisely the kind of mediocre California psychedelic bands Frank Zappa viciously satirized on the Mothers' We're Only in It for the Money. Some strange-on-the-sleeve efforts like "Wild Times," with its gratuitous overlay of sitar sounds, sits cheek-by-cheek with rather ordinary garage-pop/rock ("Baby Eyes") and melancholy psych-folk-rock ("Stone & Steel"). The most famous cut, and probably the most memorable due to its nonchalant oddness, is "Boil the Kettle, Mother," with its outlandish lyrics and poker-faced spoken vocal.

Tuesday, June 21, 2011

Heimatliche Klaenge - vol.81

Giorgio Moroder

One of the principal architects of the disco sound, producer and composer Giorgio Moroder was born in Ortisei, Italy, on April 26, 1940. Upon relocating to Munich, Germany, he established his own studio, Musicland, and recorded his debut single "Looky, Looky" in 1969; his first LP, Son of My Father, was released in early 1972. Around that time Moroder was introduced to fellow aspiring musician Pete Bellotte, with whom he formed a production partnership; in collaboration with singer Donna Summer, the duo was to become one of the most powerful forces in '70s-era dance music, their success beginning with the release of 1974's Lady of the Night. Summer's Love to Love You Baby followed in 1975; the title track, clocking in at close to 17 minutes in length, was an international smash, its shimmering sound and sensual attitude much copied in the years to follow. 

At their mid-'70s peak, Moroder, Bellotte, and Summer were extraordinarily prolific, releasing new albums about once every six months. Concept records like 1976's A Love Trilogy and Four Seasons of Love culminated with the release of 1977's I Remember Yesterday, a trip through time which climaxed with the smash "I Feel Love." With its galloping bass line and futuristic, computerized sheen, the single was among the watershed hits of the disco era, and helped propel Summer to new prominence as the reigning diva of the dancefloor. 

In 1978, Moroder made his initial foray into film music, winning an Academy Award for his score to Alan Parker's Midnight Express. Summer's double-LP Bad Girls followed in 1979, becoming a massive hit and spawning such chart-topping singles as "Hot Stuff" and the title cut. After one final studio LP, 1980's The Wanderer, the Moroder/Bellotte/Summer team disbanded, and the disco era began drawing to a close. 

In the early '80s, Moroder focused primarily on films; after producing the soundtracks for pictures including American Gigolo and Cat People, he turned to 1983's Flashdance, earning his second Oscar for the hit "Flashdance...What a Feeling," performed by Irene Cara. In 1984, Moroder courted controversy from film purists for his contemporary electro-pop score to the restored release of Fritz Lang's silent-era masterpiece Metropolis. After contributing to the soundtrack of the 1986 hit Top Gun, he turned increasingly away from dance music to focus on rock, producing the album Flaunt It, the debut from the heavily hyped British flash-in-the-pan Sigue Sigue Sputnik. In the years to follow, Moroder kept a low profile on the pop charts, although he remained a fixture on film soundtracks. In the 1990s, he also turned to remixing, debuting with a reworking of Eurythmics' "Sweet Dreams (Are Made of This)" and going on to tackle material from Heaven 17 and others.

Heimatliche Klaenge - Deutsche Schallplatten-Labels 
Native Sounds - German Record-Labels

HANSA   Giorgio 3

singles 2

25 - Arizona Man - Hansa 1970
26 - Sally Don't You Cry
27 - Son of My Father - Hansa 1971
28 - I'm Free Now
29 - Today's a Tomorrow - Hansa 1972
30 - Take It, Shake It, Break My Heart - Hansa 1972
31 - Lonely Lovers' Symphony - Philips 1973
32 - Crippled Words
33 - Hilf dir selbst  (Philips 6000 114)
34 - Geh zu ihm
35 - Marrakesh - Philips 1974
36 - Nostalgie
37 - Born To Die (London, HL-10459)
38 - Strongest Of The Strong 
39 - Lie, Lie, Lie - Philips 1974
40 - Collico
41 - Bricks and Mortar - Philips 1975
42 - It's a Shame
43 - Reach Out    
44 - Shannon's Eyes

more Giorgio (Giorgio = The Banana Crew):

Heimatliche Klдnge - Deutsche Schallplatten-Labels 
Native Sounds - German Record-Labels
vol.42 -  Beat-Parade 1968 Hansa

Heimatliche Klaenge - vol.80

Heimatliche Klaenge - Deutsche Schallplatten-Labels 
Native Sounds - German Record-Labels

HANSA   Giorgio 2  

singles 1

01 - Stop - Hansa 1966
02 - Believe in Me
03 - Stop (german version) - Hansa 1966
04 - Glaub an mich
05 - Bla Bla Diddley - Hansa 1966 
06 - How Much Longer Must I Wait, Wait
07 - Lilly Belle - Hansa 1967
08 - Love's Morning Land
09 - Monja
10 - Raggi Di Sole
11 - Cinnamon - Hansa 1968
12 - Reesy-Beesy
13 - Looky, Looky  - Hansa 1969
14 - Happy Birthday
15 - Happy Birthday (german version)
16 - Luky, Luky 
17 - Senza te, Senza me
18 - Moody Trudy - Hansa 1969
19 - Stop
20 - Lina Con La Luna  
21 - Risi E Bisi
22 - Arizona Man  2.58 (French 7" a
23 - So Young  3.00 (French 7" b
24 - Hilly Billy Man (Arizona Man) version

more Giorgio (Giorgio = The Banana Crew):

Heimatliche Klдnge - Deutsche Schallplatten-Labels 
Native Sounds - German Record-Labels
vol.42 -  Beat-Parade 1968 Hansa

mp3 lame VBR -V0 extreme

Heimatliche Klaenge - vol.79

Tuesday, June 14, 2011

V.A.-What's Shakin' (1966)

An odd, erratic, but interesting anthology of rare performances recorded by Elektra in the mid-'60s, when the label was just getting its feet wet with rock. Leading the way are the Paul Butterfield Blues Band, whose five tracks are very much in the style of their first LP; the Butterfield original "Lovin' Cup" is about as good as anything he ever did. Eric Clapton and the Powerhouse are a most interesting aggregation, also featuring Stevie Winwood, Paul Jones, Jack Bruce, and Spencer Davis Group drummer Pete York; their three tracks include early versions of "Steppin' Out" and "Crossroads," which Clapton would record with the Bluesbreakers and Cream, respectively. The Lovin' Spoonful's four tracks date from before reaching stardom with the Kama Sutra label; here they concentrate on blues and early rock & roll-style songs, which frankly don't measure up to their folk-rock. Rare tracks by Tom Rush and Al Kooper (who reworked his contribution "Can't Keep from Crying Sometimes" with the Blues Project) round out the set.

Helen Shapiro - Tops With Me (1962) Helen Hits Out (1964)

Tops With Me (1962)

Helen Hits Out (1964)