Saturday, January 26, 2013

The Roosters - All Of Our Days




The Roosters
Ray Mangigian - Vocals 1-12
Levitt Earhart - Guitar 1-10
Tim Ward - Guitar 1-12
Floyd Fletcher - Bass 1-12
Jim Peters - Drums 5-6 & 8-10
Dave Bolen - Drums 1-4, 7
Tom Stanton -Drums - 11-12

 The Roosters have been known among fans and followers of the Californian mid 60s folk rock scene for a long time. Their "One Of These Days" b/w "You Gotta Run" 45 has been included on early garage compilations and is a huge favourite among collectors. Less well known is their second and at least as brilliant 45 "Rosebush" / "Ain't Gonna Cry Anymore". 

Additionally there's a rare 1965 surf/mersey punk single released under the name "Five More", an early 1965 acetate put down as the Avengers and most of all, three 1966 stunning unreleased folk/garage janglers recorded at Gold Star Studio. This collection finally puts all these gems in one place and unravels the enigmas behind the band on a LP sized full glossy insert with a detailed history of the band emerging from the memoirs of guitarist and songwriter Timothy Ward and the bandOs vocalist Ray Mangigian. 

This is embellished with a load of stunning never-before-seen photos. Finally here«s the legacy of an underrated, but excellent band direct from Los Angeles, the mid-Sixties epicenter of jangle  The Roosters! 




Like the Turtles, the Roosters hailed from Westchester, California, where they began as a surf-type group before developing into a fantastic folk-rock outfit influenced by the Byrds, Beatles, and Hollies. In my humble opinion their two prime-era 45s are totally on par with the Dovers, and that’s saying a whole hell of a lot. Those on-a-roll Germans from Break-A-Way (United Travel Service, the Off-Set) apparently agree, and have cobbled together an LP’s worth of Roosters-related tracks anchored down by the two 45s the group recorded for the Progressive Sounds of America and Enith labels in 1966.

Many of you may have heard the very Byrdish “One of These Days,” with its Jim McGuinn delivery and similarity to the Buffalo Springfield’s “We’ll See.” The flip, “You Gotta Run,” is a nice moody British influenced number that definitely holds its own. The group;s second single has “Rosebush” on one side—a group vocal number with up-front 12-string, hints of fuzz buried in there, and great lyrics about how girls are all prickly and everything. Turn it over and you get “Ain’t Gonna Cry Anymore,” snotty folk punk, with some Beatlesy harp. Also dug up are a few pretty danged baller folk/garage janglers recorded at Gold Star Studios. “Help Me Please” is a fast movin’ teenie thing with an extended 12-string lead while “Deep Inside” is a classy British-influenced gem. A later Phillips single from ’68 is also included, with a more polished pop sound.

Unfortunately, as the Roosters proper that’s all the group laid down, but Break-A-Way has included a rare 1965 Mersey surf punk single released under the name Five More and an early instro acetate by the Avengers to round it all out. Slipped in the photo-adorned cover is an insert with even more pics and the full story of the band as heard from surviving members. Don’t sleep on this, kids! (Erik Bluhm)

Three Dog Night - Complete Hit Singles






Three Dog Night scored a succession of 21 hit singles, including eleven Top Tens, and twelve consecutive gold albums from 1969 to 1975, thanks to the slick, sometimes soulful vocal harmonies of singers Danny Hutton, Chuck Negron, and Cory Wells and an excellent ear for quality material. While often criticized as commercial, the band was noted for its creative arrangements and interpretations, and their cover choices gave exposure (and royalties) to several talented songwriters: Nilsson ("One"), Laura Nyro ("Eli's Coming"), Randy Newman ("Mama Told Me (Not to Come)"), Hoyt Axton ("Joy to the World"), Argent's Russ Ballard ("Liar"), and Leo Sayer ("The Show Must Go On"). Wells and Hutton met in the '60s while the former was the lead singer of the Enemies and the latter, a writer/producer for Hanna Barbera Records who had recorded several singles, served as producer. In 1967, Hutton conceived the idea of a three-vocalist group, and he and Wells enlisted mutual friend Negron. They took their name from an Australian expression describing low nocturnal temperatures in the outback (the colder the night, the more dogs needed to keep warm while sleeping). The three cut a few unsuccessful singles and decided to expand their range by hiring backing musicians, who included guitarist Mike Allsup, keyboardist Jimmy Greenspoon, bassist Joe Schermie, and drummer Floyd Sneed. "One" became the band's first Top Ten hit in 1969, while "Mama Told Me (Not to Come)" hit number one a year later. "Joy to the World" became the group's biggest hit in 1971, spending six weeks on top of the pop charts, and their streak continued with their final number one, 1972's "Black and White" (a U.K. reggae hit for Greyhound), and their final Top Ten, 1974's "The Show Must Go On." By 1976, internal dissent arose in the group and Three Dog Night officially disbanded a year later. There was a reunion in the early '80s, and Hutton and Wells have since taken Three Dog Night out on the international touring circuit. In 2002 With The London Symphony was released and then, in 2004, to celebrate their 35th anniversary, The 35th Anniversary Hits Collection was released.




Friday, January 25, 2013

Indfødte lyde / Native Sounds - Denmark Record Labels Vol.11




Indfødte lyde / Native Sounds - Denmark Record Labels
vol. 11

The Shouts

01 - I Saw A Girl
02 - Please Don't Do
03 - Crazy Country Hop
04 - La La La Lies
05 - Look Out (Here Comes Tommorrow)
06 - It's Not So Easy
07 - It's Not True
08 - Crossroads
09 - I Do - I Do


The Strangers

01 - Extacy
02 - Jezebel
03 - Please Don't Feel To Bad
04 - Don't You Know
05 - You Know He Did
06 - It's Only Make Believe
07 - What Kind Of Boy
08 - I Thought Of You Last Night
09 - Baby Don't Cry



VA - Gwiazdy polskiego big beatu





Tajfuny - Gwiazdy polskiego big beatu




Chocholy - Gwiazdy polskiego big beatu







Wednesday, January 23, 2013

Edwards Hand - Edwards Hand (1969)







Rod Edwards: vocals and keyboards
Roger Hand: vocals and acoustic guitar

Drums: Barry Morgan, Ronnie Verrall, Clem Cattini
String Bass: Danny Thompson
Bass: Herbie Flowers, Mo Foster, Brian Hodges
Guitars: Vic Flick, Big Jim Sullivan, Colin Green, Alan Parker
Keyboards: Nicky Hopkins, Roger Coulam, Alan Hawkshaw, Mike Moran
Organ: Harry Stoneham


Because Edwards Hand were one of the few pop/rock acts other than the Beatles who were produced by George Martin in the late 1960s, their obscure self-titled debut album has generated some rough comparisons to the Beatles' own work. It's true that the harmonies, melodies, and orchestrations bear some similarity to those heard on the very most pop-oriented of the Beatles' productions, though in truth there's a stronger resemblance to the ornate pop-psychedelia of the late-'60s Bee Gees. Throwing those names into the hat so quickly, though, is a little misleading and might spark hopes for a buried treasure that's better than it is. For the actual songs are certainly coyer and more saccharine than the compositions of the Beatles, and even make the Bee Gees' late-'60s stuff sound melancholy and a little hard-edged. It's more something of a combination of Beatles/Bee Gees-lite with poppier, soaring, sometimes fruity orchestral arrangements -- most likely Martin's strongest contribution to the record -- and more of a middle of the road/sunshine pop/toytown psychedelic influence than the Bee Gees (and certainly the Beatles) admitted. Certainly some of the lyrics make one blanch a bit on the printed page, with their fey references to picture books, kings and queens, bringing flowers in the morning, walking down London's Charing Cross Road, magic cars, and the like. If you like those elements, of course, there are things to enjoy about this record. It has reasonably catchy though not stunning melodies, good duo vocal harmonies, and an ambience that captures something of the most innocuous side of the Swinging London/flower power era. It does sound best, however, when it gets most serious and Bee Gees-like, "If I Thought You'd Ever Change Your Mind" and "Orange Peel" being two examples.

Группа была сформирована в Лондоне в 1967 году как Picadilly Line и выпустила в 1968 году альбом The Huge World of Emily Small  Альбом не получил большой известности, и хотя в группе начали свой творческий путь известные в будущем музыканты Danny Thompson, Alan Hawkshaw, Jan Barber, Herbie Flowers и Harold McNair, группа распалась. Её основатели Rod Edwards и Roger Hand собрали новый состав (это был первый более-менее стабильный состав в котором появился John Wetton). Самым впечатляющим в группе было даже не их творчество, а то что они были одной из немногих в то время групп с которой работал сам George Martin. Причём работать с ними он начал в перерывах записи White Album The Beatles. Первый альбом вышел в 1969 году и был благожелательно встречен и публикой и критикой. Естественно в отзывах присутствовало сравнение с Beatles мелодизмом, оркестровыми аранжировками, но местами музыка была более похожа на поп-психоделию Bee Gees конца 60-х. Джордж Мартин продюсировал и последние два альбома группы. Все творчество группы пришлось как раз на закат эры flower power.В середине 70-х группа прекратила свое существование после многочисленных смен состава. Одновременно с работой в EDWARDS HAND Rod Edwards работал с Jade, Gordon Giltrap, Ashman Reynolds. Hand и Edwards вместе с Jon Miller основали продюсерскую компанию Triumvirate Productions, которая работала со многими артистами. И если Hand переключился полностью на продюсерскую деятельность, то Edwards продолжал играть с Gordon Giltrap и другими музыкантами, а также писал мюзиклы.








Picadilly Line - The Huge World Of Emily Small (1967)




Originally formed in 1967 as Picadilly Line by Rod Edwards and Roger Hand, English psychedelic pop group Edwards Hand released three albums before disbanding in the mid-'70s (1968's The Huge World of Emily Small [as Picadilly Line] featured the talents of Danny Thompson, Alan Hawkshaw, Jan Barber, Herbie Flowers, and Harold McNair). The group's highly collectible eponymous debut was produced by George Martin, who worked with very few pop acts outside of the Beatles. The record received its share of critical acclaim, earning comparisons to the Bee Gees, as well as the aforementioned Fab Four. Stranded (1970) and Rainshine (1973) were also produced by Martin.




"Picadilly Line's The Huge World Of Emily Small is one of those albums that just seems to have slipped under the radar of most UK pop psych collectors. As such, it has never been re-issued in any form! The band (essentially a duo led by Rod Edwards and Roger Hand, who would later record as Edwards Hand) flourished briefly in the late '60s releasing this one album. With them is the cream of UK session men including Danny Thompson (bass), Alan Hawkshaw (keys), Herbie Flowers (bass) and Harold McNair (flute). The Picadilly Line even managed an appearance at The Middle Earth club in London, the then hallowed centre of the UK psychedelic scene.
The album is breezy post-Sgt. Pepper psychedelic pop with plenty of swinging London vibes, orchestration and evocative whimsical lyrics. Reference points are a psychedelic The Hollies, Chad and Jeremy (circa Of Cabbages and Kings) Nirvana, Kaleidoscope (UK), World Of Oz, Donovan and The Bee Gees. Filled with beautiful dreamy vocal harmonies and elaborate electric and acoustic arrangements, this is a real trip back to the height of UK Flower Power. All material is original except for a great version of Dylan's 'Visions of Johanna' and The Everly Brothers' 'Gone, Gone Gone.'
Features ten unreleased bonus tracks exclusive to this CD, including their non-album singles 'Yellow Rainbow'/'Evenings with Corinna' and 'Evening with Corinna'/'My Best Friend,' both from 1968. Digitally re-mastered from the original master tapes and re-released with full consent of the producer and band. Booklet includes unseen photos from the period and band biography and the CD features ten bonus tracks."


The Picadilly Line's sole album is one of the recordings that most epitomizes what has been retrospectively dubbed the "toytown" school of British psychedelia by collectors. That is, the songs bounce along daintily; the vocal emphasis is on high harmonies; the lyrics are sometimes populated with observations of British everyday life and characters, sprinkled with a coat of whimsy; and the arrangements benefit from touches of baroque orchestration. It's executed here, however, with a fey, twee touch that makes the Zombies' Odessey and Oracle, for instance, sound rough 'n' ready by comparison. It's thus going to be too light even for some British psychedelic pop enthusiasts, but it's not quite the most saccharine entry in the genre, though it's undeniably precious. There's a folky lightness that keeps this from being too wide-eyed and childish, sometimes sounding a bit like Simon & Garfunkel gone toytown, though with some similarities to both the 1967-era Beatles and '60s California pop in the vocals and arrangements. The covers of Bob Dylan's "Visions of Johanna" and the Everly Brothers' "Gone, Gone, Gone," however, seem misplaced in these surroundings. The CD reissue adds ten bonus cuts of a similar nature (though they're sometimes marginally gutsier) and the same level of professionalism, including all three of their non-LP cuts that appeared on singles in 1968. Of these, the one of most interest is "Yellow Rainbow," as it was written by Graham Nash, then of the Hollies. Unsurprisingly, it sounds much like a Hollies song given a lighter treatment than the Hollies themselves would have; also unsurprisingly, to be a little uncharitable, it's by far the best track on the CD.


Orange Bicycle - Let's Take A Trip On An Orange Bicycle




Former foot soldiers of the UK beat boom, Rob Storm & The Whispers enthusiastically boarded psychedelia’s bendy bus in 1967 with a modish name change to Orange Bicycle, scoring a French No 1 straight off the bat with Hyacinth Threads. Notwithstanding the song’s spidery harpsichord and impressionistic air of Summer Of Love dissolution, the band’s harmony pop heritage would ultimately prove to be by far the most dominant imperative in their brief career. As much as Orange Bicycle remain a hip name to drop in collectors’ circles, in truth they had more in common with Marmalade than Pink Floyd: the novelty pop of Jenskadajka could even be Dave Dee, Dozy, Beaky, Mick & Tich.
Let’s Take A Trip scoops up almost everything they ever did, with the A-sides and flips of their 10 singles comprising Disc One and their rare-as-an-uplifting-episode- of-EastEnders 1970 album plus odds, ends, waifs and strays on Disc Two. It’s pleasing but slender fare for the most part: their version of Carry That Weight/You Never Give Me Your Money has more wow and flutter on it than Kate Bush in an aviary, but their take on Sir Elt’s Take Me To The Pilot is damn near definitive. Last Cloud Home and Competition take top honours. ~ recordcollectormag.

Orange Bicycle - Let's Take A Trip On An Orange Bicycle (1967-68)
Antology





This rather lightweight vocal harmony outfit, evolved out of Robb Storme and The . Whispers. They started playing quasi-psychedelic pop music in 1967. They had a No 1 in France with their debut single Hyacinth Threads although their future singles including a cover of The Rolling Stones' Sing This All Together did not happen at home.
Their album was produced by John Peel and was largely comprised of cover versions of Elton John/Bernie Taupin material such as Take Me To The Pilot, which was also released as a single. It also included Dylan's Tonight I'll Be Staying Here With You and Denny Laine's Say You Don't Mind.
Laura's Garden can also be heard on Morgan Blue Town (LP) and Best And The Rest Of British Psychedelia (CD) compilations and it's typical of their harmony pop style.
A revitalised Morgan Bluetown label produced an album, Let's Take A Trip On... in 1988. Containing 16 tracks in all, it includes all the Columbia 'A' and 'B' sides (except the third), but none of the later Parlophone ones. Sadly there are no sleevenotes at all to suggest where the other tracks originate from.
Wilson Malone recorded a self-titled solo album as Wil Malone in 1970 for Fontana and was also in Motherlight. ~ info PSYCH-SPANIOLOS


Tuesday, January 22, 2013

Beauregard Ajax - Deaf Priscilla (1968)




David Ferguson - vocals, guitar
Charlie Hendrix - vocals, pipe, recorder
Clint Williams - electric bass
John Boutell - vocals, guitars
Leo Hartshorn – drums



In 1966 David Ferguson (Guitar & Vocals), his neighbour John Boutell (Rhythm Guitar) and a schoolmate of David?s, Dennis Margeson (Bass), formed the Poets. By 1967 they had added another neighbour to the group, vocalist Charlie Hendricks. David and Charlie immediately began writing original music for the group, both separately and in collaboration. Soon after the introduction of Charlie into the band Dennis Margeson was replaced with bassist Clint Williams. Charlie and Clint had previously played in several bands together. The group was still shy a drummer until Patrick Landreville, a mutual friend, introduced drummer Leo Hartshorn to the band.Completing the band roster was the catalyst that David and Charlie needed to begin writing in earnest, rapidly increasing their repertoire. The Poets soon began playing in any venue that would have them and they quickly became one of the most popular bands in the area. Capitalising on the Poets rapid rise in popularity Patrick introduced the band to his friend, concert promoter Jim Salzer. Salzer was suitably impressed with the bands sound and appearance and began booking them as an opening act at his concerts as well as at his nightclub, the Starlight Lounge. Jim Salzer was at the time one of the top two concert promoters in southern California, the other being Avalon Attractions.

By this time Charlie had persuaded the band to change the name of the band from the Poets to the Dumplings. Mike Cullen, another local favourite, approached David with the idea of playing a double bill with Mike?s band. David was receptive to the idea and Mike secured several performances at local venues. At one of these shows Barbara Haskell, the wife of famed music arranger Jimmie Haskell, saw the Dumplings and offered to introduce the band to one of her husband?s associates in the music industry. Patrick contacted Barbara and she subsequently contacted Bob Keane of Del-fi Records. Bob immediately called Patrick saying he had gotten a glowing recommendation from the Haskell?s concerning the Dumplings and he was indeed interested in hearing the band. Patrick then forwarded this information to David and Charlie. A meeting at Del-fi was set up, a contract was offered and after a brief battle between Averill C. Pasarow, the band?s attorney and J. Cooper, Keane?s attorney, a contract was signed. Keane thought the Dumplings was a terrible name and strongly suggested the band change it. As it happens the band members, with the exception of Charlie, also hated the name. After the band considered a great many names and rejected them all, Patrick suggested naming the band as if it were a person rather than traditional band type names, they liked the idea and settled on one from Patrick?s list, Beauregarde Ajax. Bob Keane subsequently misspelled the name as Beauregard Ajax which is how it appears on ?Deaf Priscilla? the only record commercially released by the band. Bob Keane personally produced the majority of the tracks then handed the project off to Paul Politi to finish the recordings.


All tracks recorded for Del-fi were done at Bob Keane?s Stereo-fi Studio on Selma Avenue in Hollywood, a stones throw from the Capitol records building on Vine Street. The tracks were recorded on his Scully Dictaphone eight track machine which at the time was state of the art. Most recordings at that time were done on four track machines, eight track machines did not become standard until the early 1970s and were shortly replaced by sixteen and twenty-four track machines.Del-Fi Records never released the Beauregard Ajax recordings as the master tapes were lost when Bob Keane had a falling out with his partner in the Stereo-Fi Studio. The band arrived at Stereo-Fi for the final recording sessions and found the doors chained with a notice from the sheriff?s office.The Deaf Priscilla album eventually released by German label, Shadok Records, is from a cassette duplication of the original masters.The band underwent another name change while on the Del-fi label, Beauregard Ajax was changed to Sleep. With the name change from Beauregard Ajax to Sleep Charlie Hendricks left the band and was replaced by Bruce (no known surname), David had met Bruce while attending Los Angeles City College.

ALSO

How did it all get started ?


Rewiev by Bart Bealmear

Southern California's Beauregard Ajax recorded Deaf Priscilla in late 1967 and early 1968, with legendary Del-Fi Records founder, Bob Keane producing, but the record was shelved when the group disbanded. Decades later a vinyl pressing was issued, and in 2006 Shadoks Music released it on CD for the first time, with four bonus tracks. As was the case for countless aspiring American rock collectives, the British Invasion from a few years earlier heavily influenced the five-piece (the singer even picked up an accent along the way), but as this was psychedelic age, the songs are augmented with slightly fuzzed-out blues licks. The actual tunes possess pleasing melodies, resulting in an overall light psych sound. Lyrically, the tone is usually pretty heavy, though, with such darker subject matters as loneliness, depression, failed relationships, and boredom. The group shows a whimsical side on "Kaleidoscope," and the bubblegummy "Happy Brontosaurus," but they are at their best when embracing the melancholic aspects of day-to-day life on such numbers as "Loneliness Is a Sometime Thing," "Goodbye Again," and "Blue Violins." One of the best and more bizarre tracks, "Deaf Priscilla," is the mysterious tale of a horrific domestic dispute, which the protagonist can partly ignore due to loss of one of her senses. As a band, Beauregard Ajax is competent but largely unremarkable, and the vocalist isn't distinctive, leaving this an interesting, but unessential curio. As for the sonic experience, the master tape has deteriorated some, which is often distracting (especially if listening on headphones). As for the bonus tracks, they are useless, consisting of "alternate" versions that hardly differ from the final mixes.

Monday, January 21, 2013

The Legend - The Legend (1968)




Formed in California in the late-'60s, this obscure band was signed for a one-off deal with the small Encino-based Megaphone label for whom they produced this eponymous album in 1968. Shortly after, The Legend disappeared without a trace, although according to some sources the band morphed into the equally obscure Dragonfly, also on Megaphone.
Serving up a mix of poppy psych originals and a handful of inspired covers (including The Who's "The Kids Are Alright", The Troggs' "With A Girl Like You" and Bob Dylan's "Baby Blue") this album is a rare slice of early, surprisingly radio-friendly, Southern Californian psychedelia.

Members:
- Jack Duncan (bass),
- Barry Davis (drums, backing vocals),
- Gerry Jimerfield (guitar, lead vocals),
- Randy Russ (guitar, backing vocals),
- Ernie McElwaine (keyboads)


1.) With a Girl Like You (Reg Presley) - 2:17
2.) The Sky That Is Blue (B. Corso) - 2:47
3.) Zepplin's Good Friday (E. Brooks - S. Romans) - 2:42
4.) Where Oh Where Is Mother (B. Corso) - 3:03
5.) Yesterday's Child (B. Corso) - 2:31
6.) Eyes of the World (D. McGinnis) - 2:27
7.) The Kids Are Allright (Pete Townshend) - 2:53
8.) Cold Wind In August (B. Page) - 2:32
9.) Sunny Day (E. Brooks - S. Romans) - 2:11
10.) You'll Be Sorry Someday (B. Corso) - 2:41
11.) Gigi (Lerner - Loewe) - 2:17
12.) Baby Blue (Bob Dylan) - 5:27


Very rare and clean 1968 first pressing by a formidable garage band that changed their name to DRAGONFLY a year later by kicking up the volume, oh, about by 50 times.... there's some of that DRAGONFLY influence of hard fuzz psych to be found on this platter:

Originally from Colorado, the five-piece LEGEND relocated to Los Angeles and a year later became the mighty Dragonfly, who also recorded for the same "Megaphone" label.

  The material on this album largely predates the psychedelic era and is full of cover versions (The TROGGS "With A Girl Like You", Dylan's "Baby Blue" and The WHO's "The Kids Are Alright". A few cuts, like "Where Oh Where Is Mother" contain some good guitar playing with psychedelic undertones and the album ends with a little sitar solo.   Offering up a mixture of band originals and popular covers (Bob Dylan, The Troggs, The Who), musically the LP has more than its share of charms. Tracks such as 'The Sky That Is Blue', 'Zepplin's Good Friday' and 'Yesterday's Child' showcases a tasty blend of tight, Bealtesque harmonies and catchy melodies. Legend occasionally drifts close to The Left Banke ('Sunny Day' and 'Gigi'). Even more impressive is their harder rock sound, including the fuzz guitar and feedback propelled 'Where Oh Where Is Mother' and their awesome fuzz & sitar powered take on Dylan's 'Baby Blue' (with sitar fadeout). The album vanished without a trace, followed in short order by the legendary DRAGONFLY Lp. 
Their take on The Troggs hit 'With a Girl Like You' is in the same vein as the original vut comes off interesting as the lead singer seemes to have a strange accent. Great tune, with a touch of Mersybeat harmonies and there is even plenty of cowbell   'The Sky That Is Blue' is a breezy, mid-tempo pop-rock song that features some nice vox organ and wonderful group harmony vocals.   Kicked along by some wonderfully cheesy organ, 'The Sky That Is Blue' has one of those classic mid-1960s vibes - imagine something that tried to cross The Young Rascals and The Beatles. Highly infectious with some nice fuzz guitar in the background.   The album's first all-out rocker and one of the album's psych-tinged numbers, 'Where Oh Where Is Mother' is built on an intriguing mixture of fuzz guitar, electric harpsichord, weird studio sound effects, and another display of the band's impeccable harmony vocals. This was another one where the lead singer (Corso?) seemed to display a noticeable accent. 
Pulling a page out of The Beatles songbook, 'Yesterday's Child' is seemingly a stab a writing a socially relevant ballad -- Pretty, but it isn't 'Eleanor Rigby'.   Even though heavily arranged, 'Eyes of the World' is actually one of the album's most interesting performances with some wild lead guitar and an energetic lead vocals. 
While up theere with the WHO's version, their vox-powered cover of The Who's 'The Kids Are Allright' is actually quite good with some chugging drums and a nice, fuzz-drenched lead guitar. The track was issued as a single. 
One of the album's most pop-oriented efforts, 'Cold Wind In August' has a decent commercial tinge with backing harmony vocals that are nice 'Sunny Day' has a pleasant sunshine-pop feel to it with backing vocals that would have made John Phillips day. 
With the band playing at hyper-speed (sounds like they'd ingested meth amphetamines during the recording sessions ...), 'You'll Be Sorry Someday' is simply hysterical. Nice fuzz solo at the tail end of the track. 
Filled with lovely harpsichord, this one grabs attention from the opening chords. The fact that ballad 'Gigi' sounded like a Left Banke outtake does't hurt either. 
So if you're going to do a Dylan cover why not toughen it up and give it a fuzz-driven garage edge? To their credit that's exactly what these guys did on their version of 'Baby Blue'. Along with the totally bizarro sitar closing, the result is one of the album's best tracks and one of the best Dylan you'll ever hear.   With a Girl Like You The Sky That Is Blue Zepelin's Good Friday Where oh Where Is My Mother Yesterdays Child Eyes of the World II The Kids Are Allright Cold Wind in August Sunny Day You'll Be Sorry Some Day Gigi Baby Blue




Fugitives-On The Run With Fugitives ( 1966)




Fugitives were from Richmond, Virginia and were formed by "Joe Russell" (organ, vocals), "Richard Donlavey" (lead singer, saxophone), "Mick Russell" (lead guitar, vocals), "Tommy Sickal" (rhythm guitar), "Jimmy Sickal" (bass guitar, vocals) and "Buster Byard" (drums).
They recorded one album "On The Run With The Fugitives" (JPL 141) in 1966 with the 'infamous' Carolina-based label "Justice Records" 




Fugitives paid "Justice Records" roughly $1,000 for four hours of studio time at "Justice Records"'s Winston-Salem Studios and the label pressed 500 or 1,000 copies of their "On The Run With The Fugitives".
In musical terms it isn't radically different from most of the "Justice Records" catalog. 
But Fugitives were in top 5 of "Justice Records" catalog in terms of talent and enthusiasm. 
First, overlooking a couple of the lame top-40 covers (a painfully out of tune "Until" and yet another needless cover of "Ebb Tide"), Fugitives plays with considerable enthusiasm which usually makes up for their limited technical skills.
Blown notes and off-key vocals abound, but on material such as "Turn On Your Love Light" and "Bo Diddley" it just sounds like these guys were having FUN. 
The other winning factor is the album's high self-penned content.

Four of "On The Run With The Fugitives"' twelve selections are originals, with the roaring Fuzz-propelled title track "On The Run" (which was apparently intended as a never-to-be-released single), and "Kidding Around" standing out among the most impressive performances. ~ info by Psychedelic-Rock'n'roll  







Saturday, January 19, 2013

The Silver Beatles - Original Decca Tapes & Cavern Club Rehearsals












 Yellow Dog YD 011 - sb6
Compilation, released in 1991

Track List
01 Like dreamers do
02 Money
03 Till there was you
04 The Sheik of Araby
05 To know her is to love her
06 Take good care of my Baby
07 Memphis Tennessee
08 Sure to fall
09 Hello little Girl
10 Three cool Cats
11 Crying, waiting, hoping
12 Love of the Loved
13 September in the Rain
14 Besame mucho
15 Searchin'
16 I saw her standing there
17 The one after 909
18 The one after 909(alternate Take)
19 Catswalk
20 Catswalk(alternate Take)

Tracks 1-15: Monday, January 1, 1962, Decca Studios, London
Tracks 16-20: Rehearsal, early 1962, Cavern Club, Mathew Street, Liverpool


Don Adams - Black Voice (1972)





"... It proofs that a temporary "Wewerka band combination" around the mysterious singer DON ADAMS can compete on a scale as one of the most soulful jazz groups to energe out of Europe. And what taff players Don got to boot: Dusko Goykovich, Lothar Meid or Olaf Kuebler still belong to some of the most respected jazz players and to the cream of the local 60s jazz scene from Munich.
Back then Motown got exported from Detroit and was fused with the best wave and the pop music to become "Mod", a European form of Soul, R&B and Jazz with own parties and dress codes. DON ADAMS met many celebrated musicans in Munich, listened to their music and jammed with the best of them. Performing as a blies and soul singer was his way of striving for relief ! The result is a stunning album of blue-eyed Soul and Jazz music , entitled after the famous 1965 "Watts roits" in the Los Angeles area of the same name, initiated by the Black Power movment as a blueprint of the actions of European and Latin students in the second half of the 60s.

In Munich, Don Adams has been around the black a few times. Born 1942 in Glasgow under the real name Hector Reay MacKay (later: Donald Reay MacKay), he was the youngest of his seven brothers and sisters. The dainty boy soon learned boxing and went to training every evening. Although being a dedicated follower of soulful singers like Otis Redding or Jackie Wilson, his violent temper was dreaded by the whole school. While coming over to Germany in the late 60s as a staff member of the musical production "Hair", he decided to stay in the Bavarian capitol right after the divorce from his first wife Rhonda, and soon started to sing with a local band called "The Mocho's".

While hanging out of the famous jazz club "Domicile", he met sax player Olaf Kuebler, who recently characterized him as a true blues singer with heart and soul: "It was not good to argue with this real Scottish street-fighter, who even became a half-professional boxer in the late 60s. Don joined many spontaneous club sessions and soon got the reputation for being "THE BLACK VOICE FROM MUNICH", also responsible for giving the one or other black eye to the people who did not like his performances. At the time he often sang at Munich's GI-club "Tabarin", the common meeting point for black US-soldiers, who Don and Olaf used to call "the ink heads". At the "Tabarin", DON ADAMS even saved Olaf Kuebler's life on one particular evening, when Olaf was misbehaving again with the typical self-importance of his sax-playing.

With this previously unavailable album, Don Adams payed homage to some of Otis Reddings's most fascinating and diverse musical moments. The outstanding soul ballad "Home Again Hello" was re-recorded in 1972 for inclusion into his second and last artists album "The Black Voice" on the United Artists lable, that could not compete with the high musical quality of the debut LP and remained unnoticed, while a previosly unreleased instrumental version of "Ev'ry Minute, Ev'ry Hour", featuring the trumpet of great Dusko Goykovich, was recently traced in the huge archives of producer Hans Wewerka.

1971 Don became a member of the successful german pop group "LOVE GENERATION" and married his professional collepue "Gitta Walther". After many TV Shows and the reception of awards, their marriage was divorced in 1976 and Don moved on to Hamburg for joining "THE LES HUMPHRIES SINGERS" and performing as a guest singer on an album by Peter Herbolzheimer. But due to his bad habits and the many excesses of the past, Don was not in the best of health anymore. It soon became clear, that he ruined his voice and could not perform as a vocalist anymore. With his second wife Angie MacKay, in 1982 they brought their daughter Jolyne to the world. He finally married in London a polish woman Anna MacKay (with whom he later had two more children: Donald Jr. und Helena), where he died in 1995 suffering from a liver disorder..".

Don Adams - Black Voice (1972)
United Artists Records
UAS 29210



01 - You Bring Me Down
02 - Don't Rag The Lady
03 - Rain BeforeThe Day
04 - Liar, Liar
05 - Season Of The Storm
06 - Morning Dew
07 - Home Again, Hello
08 - Don't Talk To Me
09 - Don't Turn Away
10 - Miss Lady

Don Adams - Watts Happening (1969)




"..An incredible soul album, with equally incredible roots – sung by Scottish-born singer Don Adams, but recorded in the Munich scene of the late 60s! Despite that overseas origin, though, the record's a sock-solid soul effort all the way through – steeped in modes borrowed from Memphis, but carried off with a slightly different feel, thanks to the presence of a fair bit of jazz musicians on the date! Adams' voice is tremendous – a gritty, right on the money soul sound – completely color blind, and beautifully suited to the funky backings in the set. And almost best of all, the songs are mostly original or obscure numbers – not the sort of re-hashed hits that usually came out on Euro soul sides of the 60s – but killer new tracks that are steeped in a great sense of sadness and loss...." ~ (Electric Looser)



01 - I Can't Stand Living Without Her
02 - Yesterday Hero
03 - Home Again Hello
04 - Where Are We Bound
05 - Rest My Soul
06 - That Feeling Is Gone
07 - Don't Talk To Me
08 - Soap Bubbles
09 - Look Into A Mirror
10 - What Have You Done
11 - Ev'ry Minute, Ev'ry Hour
12 - The Waves Are High Today


Thursday, January 17, 2013

Don Adams - Singles






Don Adams became a member of the successful german pop group 'Love Generation' , the group 'Mandrake' and the 'Les Humphries Singers' (Do You Wanna Rock'n Roll).

"...Scottish-born singer Don Adams, but recorded in the Munich scene of the late 60s! Despite that overseas origin, though, the record's a sock-solid soul effort all the way through – steeped in modes borrowed from Memphis, but carried off with a slightly different feel, thanks to the presence of a fair bit of jazz musicians on the date! Adams' voice is tremendous – a gritty, right on the money soul sound – completely color blind, and beautifully suited to the funky backings in the set. And almost best of all, the songs are mostly original or obscure numbers – not the sort of re-hashed hits that usually came out on Euro soul sides of the 60s – but killer new tracks that are steeped in a great sense of sadness and loss.
 A gritty, right on the money soul sound -- completely color blind, and beautifully suited to the funky backings in the set...." ~ Electric Looser

01 - Oop-Poo-Pah-Doo (Metronome M 829)
02 - Sweet And Sour Tears
03 - Dirty Angel (Ariola 19666)
04 - A New Day

V.A. - International Beat (Qualiton Hungary)
05 - The Waves Are High Today
06 - That Feeling Is Gone

V.A.- Crying People (VIBRATON VB-6021)
07 - Unchained My Heart

08 - Identity (Liberty 15140)
09 - Like A Man

10 - Magazine Queen (Jupiter 13875)
11 - Black Mama

V.A.- Electric Underground (Sunset)
12 - Degeneration


Sunday, January 13, 2013

New Rules - Новые правила


Announcement: New hosting model
2012.11.08

In the future RapidShare will use a classic hosting model which means that not only the storage space but also the traffic created will be paid solely by the owner of the file. The prices will not change. With RapidPro you automatically have unlimited traffic for your own downloads of your files and the downloads by your contacts. Additionally you have 50 GB public traffic per day. The recipients of your files have no download limitations whatsoever regardless of if they have RapidPro, a free account or no account at all! The new system will be released on 27.11. At the same time we will release the final version of RapidDrive 1.0 for Windows and we will present you with a completely revised website, which will make it even easier for you to manage your files and contacts. So, for saving backups and for daily distribution of big files, RapidShare is the best solution! 

Traffic updated every day at 00:00 GMT. and is 50 GB.

I'm not sure that is very much , but these rules are devised Rapidshare.
Downloading is very intense with equal chances for all ,draw conclusions

For example: 
Now 1 am GMT and balance the traffic already is 9 GB .
And while the old links are alive, I will not make REupload,sorry.
Only - really not working


 Теперь по-русски:

Объявление: Новая модель хостинга!
2012.11.08
В будущем RapidShare будет использовать классическую модель размещения, что означает, что не только место для хранения, но и трафик, создаваемый будет выплачиваться исключительно за счет владельца файла.Цены не изменятся. С RapidPro вы aвтоматически получаете неограниченный трафик для Вашего собственного скачиваний ваших файлов и загрузки вашим контактам. Кроме того, у вас есть 50 Гб общественного транспорта в сутки.Получателей ваших файлов не имеют ограничений скачивать бы то ни было, независимо от того, если у них есть RapidPro, создав бесплатный аккаунт, или ни в коем случае на всех! Новая система будет выпущен на 27.11. В то же время мы выпустим финальную версию RapidDrive 1.0 для Windows, и мы представляем вам полностью переработан сайт, который будет еще проще для вас, чтобы управлять файлами и 
контактами. Таким образом, для сохранения резервных копий и для ежедневного распределения больших файлов, RapidShare является лучшим решением!


Владелец файлов платит не только за место, 
но и за вызванный всякими нуждающимися  трафик.

Качающие файлы не имеют никаких ограничений, 
т.е. им не нужно иметь RapidPro или free account


Трафик обновляется каждые сутки в 00:00 GMT и равен 50 Gb !!!

(К примеру. Сейчас "по-московскому" 13.00 и осталось  9 Gb.Т.е. скачивание идёт достаточно интенсивно.Причем,качается по всему шарику)

Нужно просто уложится в эти 50 Gb. Не знаю,много это,или мало...,но здесь,как в большой семье - "кто раньше встал того и валенки..."
И по этой причине,я не буду перезаливать старые,но живые ссылки. 
Только те,которые по разным причинам уже действительно удалены. 


HO.... 
В любом случае меня такой расклад (платить за скачивающих) тоже не устраивает.
И скорее всего,в ближайшее время новые архивы,я не исключаю, будут размещаться на Народе.
Мой совет - завести аккаунт Яндекс ,поставить их панель и не иметь никаких проблем - скачивание происходит автоматически,без ввода капч

On future...

Study rulles Narod.RU  
or  
How to download from Narod.ru

"Enter CAPTCHA number into the text field and press “Скачать” button. Then wait for 10 seconds – your download will start automatically. Or just press the link under the counter (after “Если файл не начал скачиваться или вам надоело ждать, нажмите на ссылку:")
or


Tuesday, January 08, 2013

West Coast Consortium - Mr. Umbrella Man








West Coast Consortium - Mr. Umbrella Man 2009

This bounty from Cor...
Thank you !!!


Thursday, January 03, 2013

Philwit & Pegasus - Philwit and Pegasus( A Mark Wirtz Production) 1970




Philwit & Pegasus were not an actual group, but an odd one-off studio project by producer Mark Wirtz. In the late '60s, Wirtz was known primarily as the creator of rock-influenced easy listening mood music albums, and also as the producer of the fine British psychedelic pop band Tomorrow. Wirtz was co-writer and producer of Tomorrow's huge British 1967 hit, "Excerpt from a Teenage Opera," and at the time there was speculation that it was indeed a prelude to an entire concept album/rock opera. That opera was never completed. But Wirtz did get a chance to devise a concept album of sorts in 1970 with Philwit & Pegasus' self-titled album for Chapter One Records.
Wirtz's idea was to make a sort of movie-on-record LP, and he wrote a song cycle of sorts with his girlfriend of the time, Maria Feltham. There really wasn't a plot or narrative to the album, though Wirtz has said (in the liner notes to the CD reissue) that the theme was "struggle, fear, and fantasized happiness." It would not be quite accurate to say that Wirtz and Feltham were the two members of Philwit & Pegasus, for neither of them actually played or sang on the album. The vocal parts were taken by John Carter (himself a noted hit songwriter of the era), Peter Lee Stirling, Chas Mills, Guy Fletcher, and Roger Greenaway (another songwriter involved in the writing of numerous British pop hits). Among the session musicians were noted players such as guitarists Chris Spedding (listed in the credits as Chris Bedding) and Joe Moretti, and drummers Clem Cattini and Terry Cox (the latter of the folk-rock group Pentangle).

The conception and ambition behind Philwit & Pegasus were more interesting than its reality. It in fact consisted of mediocre pop songs that drew from both easy listening and rock, though the arrangements were lush and varied, at times influenced by folk-rock harmonies, at others by histrionic Tom Jones-styled crooning, theatrical musicals, and the Beach Boys. The album flopped, and Wirtz moved to Hollywood the following year. Philwit & Pegasus was reissued on CD in 2003, with a non-LP single and a couple of previously unreleased demos added as bonus tracks.




Mark Wirtz Orchestra & Chorus - Latin a Go Go (1966)




Backing Vocals – Barbara Moore, Gloria George, Maggie Stredder, Marian Davis*
Bass – Eric Ford
Directed By, Arranged By, Conductor – Mark Wirtz
Drums – Dougy Wright*
Engineer – Michael Ross-Trevor*
Guitar – Jim Sullivan*, Vic Flick
Liner Notes – Mark Wirtz
Piano – Reg Guest
Producer – Mark Wirtz



Alsatian-Born Mark Wirtz began his music career while studying art at London's Fairfield College of Arts and Sciences, and drama at the Royal Academy Of Dramatic Arts, when his college Rock-band, 'The Beatcrackers,' were signed to a recording contract in 1963 as 'Mark Rogers and the Marksmen' by EMI producer Norman Newell. 
By 1965 Mark had started his first independent production company, releasing records that have since become enduring classics, including Mood Mosaic's, "A Touch Of Velvet, A Sting Of Brass," for EMI's Parlophone Records, and his own Mark Wirtz Orchestra album, "Latin A Go-Go," for Ember Records 

In 1967, Mark accepted EMI veteran producer/A&R chief Norrie Paramor's offer to join EMI Records as in-house producer. Working at Abbey Road Studios alongside the Beatles and Pink Floyd (the latter whom he was instrumental in signing to the company), Mark wrote and produced landmark recordings by artists such as Keith West, Tomorrow, and Kippington Lodge. Most notably, he reached global success with his production of excerpts from the first ever Rock Opera, "A Teenage Opera." Though never allowed to be completed or released as an entire work, the opera's excerpts "Grocer Jack," "Sam" "Weatherman" and "Theme" became legendary trail-blazers, which have not only captivated several generations of music fans, but influenced and inspired artists and musicians world-wide. 

In 1969, his creative freedom restricted by drastic, corporate, A&R policy changes, Mark resigned his post at EMI Records to return to independent production. Associations with Larry Page's Penny Farthing label (Samantha Jones, Kris "Lion Judd" Ife) and Les Reed's Chapter One label (Philwit & Pegasus, Roger James) followed, during which Mark formed a co-writing partnership with Kris Ife that has endured to the present day with recent collaborations ("Learning 2 Live With Love," MWET/Spyderbaby (2005); "One Night Stand" MWET/Anthony Rivers" (2005), and current works in progress for the "Cooking For Cannibals" soundtrack album (2007) 

In 1970, Mark left the shores of Britain to follow an invitation by his fellow expatriate producer and friend Denny Cordell to work with him at Hollywood's Shelter Records. 

In 1973, Mark signed a writer/artist/producer contract with Capitol Records for whom he recorded two acclaimed albums, "Balloon" and "Hothouse Smiles." 

In 1975, dropped by Capitol for his refusal to tour or perform publicly, Mark signed with ace producer Tom Catalano and veteran publisher Dan Crewe's RCA-distributed TomCat label, an association that was doomed to be a short-lived when the label folded only week's after Mark's first single release, "We Could Have laughed Forever,". 

Having become a parent in the same year, hence home-responsibility-bound, Mark dropped his "loose cannon" career pursuits and, under the name of Marc Peters, submerged into the role of "hired gun" session arranger/conductor in partnership with producers including Kim Fowley and Jimmy Bowen. Numerous Pop/R&B and Country hit records followed, featuring an array of artists as diverse as Helen Reddy, Leon Russell, Vicky Leandros, Kim Carnes, Dean Martin and Anthony Newly. 

In 1979, signed by Russ Regan to Interworld Music/CBS Records as writer and producer, Mark returned to the studio to produce his third solo album, "Lost Pets," sequentially joined by ace guitarists Richard Bennett and John Beland, keyboard players Alan Lindgren and Tom Hensley, drummers Billy Thomas and Denny Seiwell, bassists David Hungate and Les Hurdle. In the midst of a session for the only half-finished production, a medical emergency call from his daughter's Kindergarten principal prompted Mark to close the piano lid, abort the project and leave the studio. Priority committed to hands-on single parenting of his daughter Nicole, Mark vanished into obscurity and a hiatus from the music business that would last for more than twenty years... 

During those years, after savings had run out and royalties had dwindled, Mark took on a gamut of art-alien jobs, including tele-marketer, waiter, maоtre 'd, blood-stock agent, interpreter, voice-over artist, undercover agent, seminar leader and eventually sales manager for the prestigious 'Geneva' merger & acquisition firm. 

While taking acting classes during off-times and burning the midnight oil in the pursuit of a new career as a novelist, Mark also realized a life-long ambition to be a comedian by studying and performing at Hollywood's 'Groundlings' Improv Theater, to eventually take his first steps onto the stages of Hollywood's comedy clubs, including the Comedy Store and the Improv. 

In 1996, his daughter grown up and in college, Mark moved to Savannah, GA, where he kept busy as an award-winning freelance magazine columnist/food- and drama critic, while publishing his first novels, "Sisyphus Rocks" and "Love Is Eggshaped," as well as selling his paintings in a Savannah gallery. 

In 2004, giving in to the plea from his by now in Spain residing daughter Nicole to produce her Rock-band leader boyfriend's debut album, Mark flew to Barcelona and returned to the studio for the first time in many years to produce Les Philippes' "Philharmonic Philanthropy." Before year's end, the band's album was #1 in the Independent label charts and has since become a 'neo-psych Rock' cult classic. 

His music appetite re-awakened, Mark continued his rebounded studio activities by subsequently producing his own 'Mark Wirtz Eartheatre' solo album "Love Is Eggshaped," Spyderbaby UK's "Glassblower" CD, and Anthony River's yet unreleased "Marked Confidential." 

In 2006, Mark rekindled his passion for comedy by performing regularly in Florida and Georgia comedy clubs, while working on his new, monologue/music CD/book project currently in-progress, "Cooking For Cannibals." 


Ripped by: ChrisGoesRock
THANK YOU !!!



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