Tuesday, June 30, 2009
Monday, June 29, 2009
The Flames was a musical group from Durban in South Africa. The band was originally formed in 1963 by guitarist Steve Fataar, bassist Brother Fataar (real name Edries Fataar), drummer George Faber and guitarist Eugene Champion. However this line-up would only be together to record a couple of songs. Ricky Fataar replaced George Faber as the band's drummer around 1964 and Edries Fredericks replaced Eugene Champion as the guitarist. Baby Duval briefly replaced Edries Fredericks in 1967 although it is unclear whether he was involved in any of the recordings that were released. Blondie Chaplin then replaced Baby Duval in 1967. This was to be the line-up from 1967 until their demise as a group in 1970.
Steve Fataar has confirmed that Baby Duval is featured as a performer on the Flames second album "That's Enough", which was released in early 1967.
*Ummm! Ummm! Oh Yeah!!! (1965)
*That's Enough (1967)
*Burning Soul! (1967)
*Soul Meeting!! (1968)
*Ball of Flames (1970)
*The Flame (1970)
[http://www.the-flames.com The-Flames official website]
2. LOVE'S MADE A FOOL OF YOU 2'5
3. IF YOU NEED ME 1'59
4. NO REPLY 2'8
5. TALKIN' BOUT YOU 2'13
6. GONE 2'8
7. WHITE CLIFFS OF DOVER 2'24
8. UMMM OH YEAH 1'56
9. EIGHT DAYS A WEEK 2'49
10. YOU BETTER MOVE ON 2'41
11. LIKE STRANGERS 2'43
12. DON'T ASK ME WHAT I SAY 2'54
13. FOR YOUR PRECIOUS LOVE 2'41
14. WHITE CLIFFS OF DOVER 2'24
15. PURPLE RAINDROPS 3'14
16. DON'T PLAY THAT SONG 3'7
17. SEE ME BACK 2'5
18. I CAN'T HELP MYSELF 2'39
19. GLORY OF LOVE 4'22
20. THAT'S ENOUGH 3'5
Paul Arnold - guitar/vocals (born Paul Friswell)
Laurie Mason - piano/vocals
Peter Bartholomew - guitar/vocals
Terry Widlake - bass
David Walsh - drums
The Overlanders were a highly underrated group whose history took them from the prime years of the British Invasion into the Summer of Love -- their one U.K. hit -- a chart-topping British single of the Lennon-McCartney song "Michelle" -- usually gets them pegged as a cover band, while their origins as a folk group specializing in harmony vocals often gets them lumped in with Silkie, the Ivy League, and other vocal ensembles. And their being put into Castle Records' sunshine pop series Ripples also gives the group a slightly lighter-weight veneer than they deserve. Their actual sound was a beautifully wrought synthesis of folk-inspired vocals and Merseybeat-style harmonies, rhythms, and instrumentation -- they were comparable, in ...Read More...
1 Michelle 2:25
2 Call of the Wild 3:09
3The Leaves Are Falling 2:25
4 Freight Train 2:45
5 Gone the Rainbow 2:33
6 Summer Skies and Golden Sands 2:35
7 Don't It Make You Feel Good 2:06
8 January 2:19
9 Take the Bucket to the Well 1:59
10 Walking the Soles Off My Shoes 2:39
11 Room Enough for You and Me 2:10
12 Yesterday's Gone 2:14
13 Cradle of Love 2:43
14 My Life 2:25
15 Girl from Indiana 2:44
16 Go Where You Wanna Go 2:26
17 Don't Let It Happen Again 2:19
A notch or two above The Grass Roots and The Mamas and Papas, and more than a few steps below The Byrds, the early Beau Brummels took the indulgently blissful sound of '60s San Fancisco rock into a folkier, borderline country direction (and would in fact later play solid country rock). Led by guitarist/writer Ron Elliott, the Brummels made a virtue of innocence and joyful bounce, and benefited from Sly Stone's energetic production. Hits include "Laugh, Laugh," "Sad Little Girl," and a pleasant take on Dylan's "One Too Many Mornings." There may not be much substance or invention here, but 30 years later, the Brummels still sound catchy. --Roy Francis Kasten The Beau Brummels may very well have been the best rock vocal quartet to find themselves in the right place at the wrong time. Their recording career spanned the years 1964 through 1968, a time when radio air play meant just about everything and groups that couldn't be conveniently classified as rock/folk/country/whatever had a difficult time getting played. Unfortunately, the country-flavored rock style of the Brummels was too smooth and too vocally sound for them to be portrayed as "revolutionary" or "Bad-boys", so this tremendously talented foursome slogged along with moderate commercial success and a very loyal, avid group of followers.
Jormas was a Finnish band in the 1960s. They had previously appeared as the Beatmakers, but were renamed by their manager Jorma Weneskoski.
Mr. Tambourine Man / New Orleans (1965)
The Locomotion / Go Now (1965)
Please Don't Go / Days, Nights (1966)
Please, Please, Please / Go Now (1966)
Saat miehen kyyneliin / California Dreamin' (1966)
Taivas vain tietää / Mennä voit (1966)
Rööperiin / Kuin yö (1967)
Luokses palaan taas / Riski Riitta (1967)
Kenties, kenties / Alusta mä kaiken alkaisin (1968)
Tomorrow Is Here / Goin' Out Of My Head / Can't Take My Eyes Of You (1968)
Se Onnistuu / Elää (1968)
Saat miehen Rööperiin (a compilation, 2001)
1. SAAT MIEHEN KYYNELIIN 2'32
2. STICKS AND STONES 2'23
3. CALIFORNIA DREAMIN' 2'49
4. PLESE DON'T GO 2'34
5. GO NOW 3'30
6. NEW ORLEANS 3'3
7. MENNД VOIT 2'54
8. THE LOCOMOTION 2'17
9. GET OUT OF MY LIFE WOMAN 2'15
10. DAYS, NIGHTS 2'26
11. 1-2-3. 1'55
12. MR. TAMBURINMAN 2'11
13. CAN'T TAKE MY EYES OF YOU 2'38
This is the story of Al Lorusso, a rock & roll journeyman who, during the 1960s, plunked his guitar in three related bands: the Chevells, the Van-dels, and the Bourbons. Lorusso recorded a wealth of material in all three bands, but none of them ever released so much as a local 45 in their respective heydays. But by recording a number of practice sessions on his home tape deck, Lorusso amazingly documented what an average teen combo down the street actually sounded like during this time period. As such, it's a marvelous document of time and place, and the music isn't half bad either. With plenty of Stones, Beatles, and Top 40 favorites along the way, this one's like having an after-school dance in your CD player.
This is his first known group. They formed in December 1959.
In 1963, after the Liverpool groups had exploded in a big way, he decided to put another group together and formed the Engineers. Clapton and McGuinness were only with the band for a few weeks and Casser brought in David Coleman and Roger Cook to replace them.
Brian Casser (vocals, guitar)
The lineup of Casey Jones & The Engineers during Eric’s tenure was:
They only released one single in Britain before moving to Germany where they proved more popular under the name Casey Jones and the Governors, having several chart entries and recording two LP's for the Gold 12 label.
1 Don't Ha Ha 2:07
2 Love Potion No. 9 2:06
3 Micky's Monkey 3:06
4 Parchman Farm 2:56
5 Slow Down 3:09
6 Too Much Monkey Business 2:29
7 Sounds Like Locomotion 1:52
8 Dizzy Miss Lizzy 2:06
9 Talking 'Bout You 2:05
10 Do the Dog 2:50
11 Can't Judge a Book 2:38
12 So Long Baby 4:28
13 Jack the Ripper 3:04
14 Nashville Special 2:30
15 One Way Ticket 2:49
16 I'm Gonna Love 2:04
17 Tall Girl 2:04
18 Blue Tears 2:49
19 Don't Ha Ha [First Version] 2:03
20 Long Gone Train 2:38
21 Candy Man 2:20
22 Tallahassee Lassie 2:26
23 So Long Baby [Mono Single Mix] 4:27
24 Bumble Bee [German Version] 2:21
25 Rootin Tootin Baby 2:33
26 Yockomo [Mono Single Mix] 2:34
27 Baby Why Did You Say Goodbye 2:32
28 Little Girl 3:08
29 A Legal Matter 2:55
The Groop's best known hit single "Woman You're Breaking Me" was released in 1967, the band won a trip to UK but had little success there.Other singles included, "Ol' Hound Dog", "Best in Africa", "I'm Satisfied", "Sorry", "Seems More Important to Me" and "Such a Lovely Way".
When The Groop disbanded in 1969, Cadd and Mudie formed Axiom with Glenn Shorrock (later in Little River Band).Cadd was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame in 2007, for his work with The Groop, Axiom and as a solo artist
01 Watch Your Step.02 Come On Now. 03 Ol' HoundDog. 04 The Best InAfrica. 05 Empty Words 06 Little Man. 07 Who Do You Love. 08 Sorry. 09 Mad Over You. 10 Baby Blue.11 Woman You're Breaking Me. 12 Seems More Important To Me. 13 Annabelle Lee. 14 Thinkin 'Bout The Things.15 Happy With A Love LIke Yours. 16 Night Life. 17 Sally's Mine. 18 We Can Talk. 19 You Gotta Live Love. 20 Such A Lovely Way
One of England's top rock & roll outfits before the Beatles led the early-'60s Beat Boom, Johnny Kidd & the Pirates are best remembered today for one international rock classic ("Shakin' All Over") and as a seminal influence on several more famous groups, most notably the Who.Johnny Kidd (born Frederick Heath) had formed his first band, a skiffle group called the Five Nutters, in 1957. They quickly outgrew their skiffle roots and, after a short period fronting the Fred Heath Combo, he joined Alan Caddy (guitar), Tony Docherty (rhythm guitar), and Ken McKay (drums), in early 1958 in an outfit that was dubbed Johnny Kidd & the Pirates, who ... Read More...
The Johnny Kidd Memorial Album:
1. Shakin All Over 60 2. I Can Tell 3. Linda Lu 4. Lets Talk About Us 5. Hungry For Love 6. Ill Never Get Over You 7. So What 8. Please Dont Bring Me Down 9. Send For That Girl 10. Whole Lotta Woman 11. Please Dont Touch 12. Shop Around 13. I Want That 14. Doctor Feelgood 15. Restless 16. Shakin' All Over 65
Your Cheating Heart:
17. Your Cheating Heart 18. Longing Lips 19. Baby You Have Got What It Takes 20. Gotta Travel On 21. Weep No More, My Baby 22. Feelin 23. Jealous Girl 24. Its Got To Be You 25. The Fool 26. Dont Make The Same Mistake As I Did 27. Big Blon Baby 28. Then I Got Everything 29. A Shot Of Rhythm And Blues 30. Magic Of Love
This CD combines two U.K. compilations on Johnny Kidd & the Pirates onto one disc, in a pretty handy CD — Memorial Album was a superb collection of Kidd's best released tracks plus a lost intended album side or two, while Your Cheatin' Heart was a lesser assembly of whatever was left over from that earlier platter; between the two there are a lot of A- and B-sides represented, all bracketed by Kidd's first and last singles. The material overlaps the EMI double-CD set of Kidd's complete output, although the selectivity employed on the two original releases may be to the liking of people just discovering Kidd's work, or who just want a collection of his best released sides — the annotation is a little sketchier than usual for BGO, especially in dealing with precisely who is playing, but the state-of-the-art sound is impressive and the assembly of the best A- and B-sides may well impress listeners who have never been persuaded of Kidd's worth or importance.
Billy J. Kramer had been singing with a group called the 'Coasters' when he was approached by Epstein. Although Billy was keen to turn professional, the Coasters weren't so Epstein had to find new musicians to back his new good looking vocalist. The Coasters ultimately found a new singer called Chick Graham and they too managed to cut a couple of unsuccessful singles.
01. Do You Want To Know A Secret?
02. I'll Be On My Way
03. Bad To Me
04. I Call Your Name
05. Pride (Is Such A Little Word)
06. I Know
07. Tell Me Girl
08. I'll Keep You Satisfied
09. I'm In Love
10. Little Children (Mono)
11. They Remind Me Of You (Mono)
12. From A Window
13. Second To None
14. Mad, Mad World
15. It's Gotta Last Forever
16. Don't You Do It No More
17. When You Ask About Love
18. Trains And Boats And Planes
19. That's The Way I Feel
20. That Ain't Good For Me
21. Neon City
22. I'll Be Doggone
23. We're Doing Fine
24. Take My Hand
25. You Make Me Feel Like Someone
The explosive quality was there from the very start. Listen to the way the chords introducing "Jenny Take A Ride" are chomping at the bit to swoop down into the double-time mid-section, or how John Badanjek's thundering bass drum trigger's the ecstatic roll that kicks off "Devil With A Blue Dress On". And the Wheels must have known what they had witness the confidence-even cockiness-of telegraphing their punch forever on "Little Latin Lupe Lu", building expectations to fever pitch before hammering down the riff with Jim McCarty's lead lick trailing behind. And nailing it big time. One punch, KO, Mike Tyson-style.
The records worked because they perfectly captured the kinetic frenzy of the live performances that had been the group's stock in trade since they first joined forces in Detroit early in 1964. Born William Levise, Jr., Ryder was performing as Billy Lee in a high school band called Tempest before turning heads in a black Detroit soul club called the Village. At 17, he was skilled enough to record an R&B single ("That's The Way It's Going To Be/Fool For You") for the Detroit gospel label Carrie in 1962 and to start making gigs fronting The Peps, a black vocal trio.
Levise was appearing with The Peps at the Village early in 1964 when he ran across a group that included McCarty, bassist Earl Elliot, and Badanjek. Together with rhythm guitarist Joe Kubert, they joined forces as Billy Lee & The Rivieras and by mid-summer had attracted a fanatical local following that caught the ear of Motor City DJ Bob Prince. Prince began booking Lee & The Rivieras as an opening act at a club/casino north of Detroit, but their live performances were so potent that the unrecorded group was soon headlining over major Motown artists. Prince then arranged for The Rivieras to record a tape in Badanjek's basement, and that demo brought 4 Seasons producer Bob Crewe to a Detroit performance where The Rivieras opened for The Dave Clark Five. They torched the hometown audience for 90 minutes, Crewe was hooked, and in February, 1965, the five Detroit teenagers relocated to New York City and bided their time for a few months playing Greenwich Village clubs for survival money.
The name was the first to go (a conflict with The Rivieras who recorded "California Sun"), hence the legendary story of Lee/Levise flipping through the Manhattan phone directory and coming across the name Mitch Ryder. The Rivieras became The Detroit Wheels and album cover photos of the band on top of oil cans or surrounded by discarded tires punched the automotive image home.
What followed was a wild two-year ride trough the starmaking machinery of the record industry that brought them fame but no fortune and tore the group apart in the process. Not that the first Mitch Ryder & The Detroit Wheels single, "I Need Help", exactly set the charts afire. That waited until late 1965 when "Jenny Take A Ride!" climbed to #10 as The Wheels welded Chuck Willis' "C.C. Rider" to Little Richard's "Jenny, Jenny", and cannily tossed in an advertisement for their live show along the way (check how the backing vocals change to "See Mitch Ryder" during the second verse). "Little Latin Lupe Lu" cemented their commercial appeal when it reached #17 and set the general outline of the band's most popular sound- an R&B standard or two revved up, Wheels-style, with Mitch's peerless soul shouting ripping away over the top.
That approach bordered on becoming a formula, particularly after "Break Out", the first attempt at a bigger, brassier sound, only made it to #62 and the ballad "Takin' All I Can Get" barely cracked the Top 100. Late in 1966, the "Devil With A Blue Dress On" & "Good Golly Miss Molly" medleys exploded over the airwaves and indelibly stamped the high energy Mitch Ryder & The Detroit Wheels sound on anyone within an earshot as they hit #4 on the charts.
Which was a shame, really, because the albums kept showing other dimensions of Ryder's skills as an interpretive singer. Certainly, tracks like "Shakin With Linda", "Shake A Tail Feather", "Just A Little Bit", and "Sticks And Stones", fits The Wheels mold to a tee. But, "I Like It Like That" spotlighted Ryder's ability to tone down for the kind of slow-drag, New Orleans R&B that emphasized his smooth delivery and immaculate phrasing. And he showed real signs as a midnight rambler songwriter on "I Had It Made" (musically, a thinly veiled re-write of James Brown's "Out Of Sight") and the intriguing "Baby Jane", which sounds like a bizarre but happening cross of Sir Douglas Quintet and Velvet Underground.
Early in 1967, prototypical, riff-rockin "Sock It To Me-Baby!" became Ryder's final Top 10 single, despite being banned on several stations for being too sexually suggestive. The brassy "Too Many Fishes In The Sea" & "Three Little Fishes" reverted to the medley formula, but it was the final chart entry (at #24) for Mitch Ryder & The Detroit Wheels because Crewe's long running Svengali notions of (ahem) putting The Wheels in motion back to Detroit and working with Ryder as a solo artist were finally bearing fruit. After a final single (the first credited to Mitch alone), pairing the syncopated "Joy" with the hard-riffing "I'd Rather Go To Jail", Crewe packed Ryder off to Las Vegas with a big band in tow.
Crewe had big plans- wretchedly excessive plans since the What Now My Love album released in mid-1967 may be the most godawful piece of overblown dreck ever associated with a major artist. Divorced from the powerdrive of The Wheels, swamped by saccharine strings and pompous pretense (poetry by Rod McKuen and music by Jaques Brel on a Mitch Ryder album, for Chrissakes), the fact that Ryder somehow got the title track up to #30 might rank as the most amazing feat of his singing career. It was the final straw- Ryder bailed out of his contract with Crewe, who promptly milked the last bit of mileage he could by slapping horn tracks over the R&B tunes The Wheels had covered and putting out the Mitch Ryder Sings The Hits album.
Instead of immediately returning to Detroit, Ryder took a down-home detour to Memphis to record The Detroit-Memphis Experiment album with Stax luminaries Booker T. & The MGs and The Memphis Horns for Dot.Liner notes containing phrases like "After being raped by the music machine that represents that heaven-on-earth , New York b/w Los Angeles" and "Mitch Ryder is the sole creation of William Levise, Jr.", left little doubt about his feelings over the Crewe experience.
It was the only time Ryder recorded with a bona-fide soul band, "Liberty" shows it was a two way exchange- Ryder's Detroit bred rock 'n' roll energy goosed the musicians just as their innate funkiness moved Ryder's singing in new directions. But fine, fine music didn't spell commercial success, and Ryder returned home to a reunion with The Wheels drummer John Badanjek in the short-lived supergroup Detroit, which lasted just long enough to record one monster of a heavy-duty rock 'n' roll album in 1971. "Long Neck Goose" updated the classic Wheels sound as Ryder digs into the tune with a ferocious glee (listen to the screams he hurls off as the song fades) but the climatic moment was "Rock N' Roll" (here in its rarely heard 45 mix), kicked off by a mountainous guitar riff while Badanjek bounced a cow-bell off your skull at regular intervals. It was so powerful a performance that
01. Jenny Take A Ride
02. Come See About Me
03. Turn On Your Lovelight
04. Just A Little Bit
05. I Hope
06. Shake A Tail Feather
07. Please, Please, Please
08. I'll Go Crazy
09. I Got You (I Feel Good)
10. Sticks And Stones
11. Bring It On Home To Me
12. Baby Jane (Mo-Mo Jane)
13. Walking The Dog
14. I Had It Made
15. In The Midnight Hour
16. Ooh Poo Pah Doo
17. I Like It Like That
18. Little Latin Lupe Lu
19. Devil With The Blue Dress On / Good Golly Miss Molly
20. Shakin' With Linda
21. Stubborn Kind Of Fellow
22. You Get Your Kicks
23. I Need Help
24. Any Day Now
25. Break Out
26. Baby I Need Your Loving / Theme For Mitch
27. Mitch Ryder Radio Promo
01. Sock It To Me Baby
02. I Can't Hide It
03. Slow Fizz
04. Walk On By
06. A Face In The Crowd
07. I'd Rather Go To Jail
08. Wild Child
09. Too Many Fish In The Sea / Three Little Fishes
11. You Are My Sunshine
12. Ruby Baby / Peaches On A Cherry Tree
13. Personality / Chantilly Lace
14. Let It Be Me
15. I Make A Fool Of Myself
16. Born To Lose
17. If You Go Away
18. What Now My Love
19. Whole Lotta Shakin' Goin' On
20. Sally Go Round The Roses
21. Brown Eyed Handsome Man
22. I Need Lovin' You
23. That's It, I Quit, I'm Movin' On
Sunday, June 28, 2009
Original Release Date : Rulette Reords EMI 1969
CRIMSON & CLOVER originally released on Roulette (42023).
Rhino Records 1991
This release: Sequel Records 1993
Crimson & Clover/Cellophane Symphony
Tommy James (vocals, guitar, keyboards); Eddie Gray (guitar, background vocals); Ronnie Rosman (keyboards, background vocals); Mike Vale (bass, background vocals); Pete Lucia (drums, percussion, background vocals).
The highest charting album by Tommy James And The Shondells (it made the Top 10), marked the arrival of the group's psychedelic style and featured the chart-topping title tune, "Crystal Blue Persuasion," which just missed the top of the charts, and the Top 40 hit "Do Something To Me."
It's hard to believe that the elegant, eclectic pop recordings of this album were made by the same people who turned in the rockers "I Think We're Alone Now" and "Mony Mony." But James And The Shondells were pop professionals ready and willing to follow the Sgt. Pepper trend into experimentation, as long as it panned out commercially.
Even the most dedicated hack gets lucky, however, and Tommy James was lucky more often than most. "Crimson & Clover" and "Crystal Blue Persuasion" retain a campy appeal ages after the '60s, and if the filler on the album is even sillier now than it was then ("Hello, banana, I am a tangerine," indeed!), it's no less fun
2. Kathleen McArthur
3. I Am a Tangerine
4. Do Something to Me
5. Crystal Blue Persuasion
6. Sugar on Sunday - Tommy James
8. Smokey Roads
9. I'm Alive
10. Crimson & Clover (Reprise)
11. Cellophane Symphony
12. Makin' Good Time
14. Sweet Cherry Wine
15. Papa Rolled His Own
17. Loved One
18. I Know Who I Am
19. Love of a Woman
20. On Behalf of the Entire Staff & Management
Credited to Tommy James & the Shondells, came only seven catalog numbers after the Crimson & Clover album, but oddly got a Top Ten hit in between the four hits that the earlier disc spawned.
"Sweet Cherry Wine" is as good a pop song as one will ever hear, hitting the Top Ten in April of 1969, five months after "Do Something to Me" and five months before "Sugar on Sunday," both from Crimson & Clover (though it was the Clique who clicked with their version of "Sugar on Sunday").
This beautiful song, "Sweet Cherry Wine," is the epitome of peace, love, and '60s understanding, with a sound that is very much like TJ's own version of "Sugar on Sunday." The radio attention to a single on the highly experimental Cellophane Symphony is equally extraordinary because the album is very much like Tommy James doing his own Sgt. Pepper's Lonely Hearts Club Band.
There are oddities, like side one's closer, "Papa Rolled His Own," which could be "When I'm Sixty Four" meets "You Know My Name, Look up the Number"; two Beatles offbeat ditties; and the almost as wacky "On Behalf of the Entire Staff & Management," which ends side two.
In between is some lovely pop music, which one finds after they trip their way through the amazing nine and a half minutes of the title track.
The instrumental song "Cellophane Symphony" is early Pink Floyd meets "20,000 Light Years From Home" when the Stones gave Satanic Majesties Request. It is the only title credited to the entire band, followed by two of five Ritchie Cordell/Tommy James co-writes: the poppy and excellent "Makin' Good Time" and the beautiful "Evergreen." Covered in keyboards and acoustic guitar, "Evergreen" is Tommy James being the folky and the pop star, a unique look at this underrated and important artist.
It's a perfect setup to "Sweet Cherry Wine," which is the standout track, the subtle intro exploding into a chorus of the best type of anti-war sentiment: "Let's just get along."
Pete Lucia writes two songs with James, one being the amazing "Changes," which opens side two, while Mike Vale helps James on "Loved One," making this a very special collection of ten songs wrapped up in a stunning black-and-white psychedelic cover of a hatch shell, empty benches, and cool '60s photography.
Though Tommy James is all over the book Bubblegum Music Is the Naked Truth, he is beyond just an artist who hit with that genre.
He's an artist whose value is evident on his country album, My Hed, My Bed, and My Red Guitar, as well as other catalog treats, like this disc with its strong compositions "Loved One," "The Love of a Woman," and the Richard Grasso/Tommy James hit that is a true pop classic, "Sweet Cherry Wine."
Biography by Richie Unterberger :
The Raik's Progress made just one garage-psychedelic single, "Why Did You Rob Us, Tank?"/"Sewer Rat Love Chant," in 1966. Though the song titles might lead you to believe the group dealt in weirdness along the lines of early Mothers of Invention or the Red Krayola, actually the songs were not as strange lyrically as the titles seemed to portend. The music, though, was fairly strange for its time, with "Sewer Rat Love Chant" one of the earlier examples of raga-rock to filter down into the garage substratum. The less distinctive, but still worthy, flip side, "Why Did You Rob Us, Tank?," had a similar approach, but bore a more audible folk-rock Byrds influence. Both sides were reissued on the Sundazed CD Sewer Rat Love Chant... Read More...
Review by Richie Unterberger :
Although the Raik's Progress only released one single in their brief career (both sides of which are included here), Sundazed magically conjured the Sewer Rat Love Chant album out of their legacy by tacking on ten songs from a live 1966 performance at the Rainbow Ballroom in Fresno. It's the studio single, though, that's the highlight of this disc, as "Sewer Rat Love Chant" is an above average piece of early minor-keyed raga-rock (and not as lyrically weird as its title indicates), with its flip side, "Why Did You Rob Us, Tank?," showing a more pronounced Byrds influence, particularly in the vocal harmonies. The live material actually boasts pretty good sound quality for a 1966 concert recording, and is comprised mostly of original material that's more in the standard raw garage mold than their sole 45. Although the performances and vocals are a mite unrefined, most of the tunes aren't bad at all. "Don't Need You" is soaked in the morose Farfisa organ swirl common to much 1966 garage, punctuated by what sounds like clanks of a rusty anvil, and several of the other group originals are overheated, semi-incoherent punk blues. There are also live versions of both songs from the single, as well as covers of songs by Them, the Byrds, and the Animals that testify to their good taste, though enjoyment of the version of the Byrds' "It's No Use" is compromised by the group's apparent unfamiliarity with all of the words and chord changes. On the other hand, there must have been few other American groups indeed who covered the non-LP Animals B-side "I'm Going to Change the World," done here with considerable guts.
1. Sewer Rat Love Chant 2. Why Did You Rob Us, Tank? 3. "F" In 'A' 4. Baby, Please Don't Go - 5. Don't Need You 6. It's No Use - 7. Call My Name - 8. All Night Long 9. Prisoner of Chillon 10. Sewer Rat Love Chant 11. Why Did You Rob Us, Tank? 12. I'm Gonna Change the World
The Equals - Unequalled plus
1 - Baby Come Back
2 - Cant Find A Girl To Love Me
3 - Hold Me Closer
4 - Ding-Dong
5 - My Life Aint Easy
6 - Im A Poor Man
7 - I Wont Be There
8 - You Lied Just To Save Your Name
9 - To The Church
10 - Fire
11 - Hey Baby Its Time You Got Going
12 - Cant You Hear That Melody
13 - Give Love A Try
14 - Leaving You Is Hard To Do
15 - Cinderella Janie Girl
16 - The Guy Who Made Her A Star
Like many of the Liverpool groups, they spent a good deal of their time in Germany, where they recorded two albums (sharing the second one with a Newcastle group called Shorty and Them). When Percy left the band in mid '64, they replaced him not with another guitarist, but with two saxophonists, Nick Carver (a.k.a Nick La Grec) and Johnny Phillips, and changed their musical style from blues-oriented rock to more of a "soul" sound.
There were further changes in personnel with Hart and Boyce both departing in '65, their places being taken by Mike Kontzle (guitar), Mike Byrne (vocals) and Terry McCusker (drums).
Having turned their backs on a major record company (Decca) in '64, declining to submit to the forces of commercialisation, The Roadrunners eventually called it a day in 1966.
By rights, if talent were a consideration, The Roadrunners would be remembered alongside such 1960's British blues outfits as the Rolling Stones, the Animals, and the Pretty Things. At least, they'd have been doing the kind of profitable concertizing in northern Europe that performers Alexis Korner and even the Downliners Sect were doing in the late 1960's. They never made it that far, however, despite counting the Beatles among their more outspoken fans ...MORE !!!
1 - Mary Ann
2 - Have You Ever Had The Blues
3 - My Baby Left Me
4 - Hitchhike
5 - Cry Cry Cry
6 - Got My Mojo Working
Shorty & Them
7 - Carol
8 - Dimples
9 - House Of The Rising Sun
10 - Farmer John
11 - Walkin The Dog Part 1
Rock Around The Clock
Walkin The Dog Part 2
1 - Jezebel
2 - Skinnie Minnie
3 - Little Girl
4 - Just One More Dance
5 - Let's Stomp
6 - Poor Unlucky Me
7 - What About Me
8 - I've Got My Eyes On You
9 - Shot Of Rhythm And Blues
10 - Exstasy
11 - Kelly
12 - Mohair Sam
13 - Come On Down To My Boat
14 - Concerto For her
Lee Curtis (aka Peter Flannery) at his best was a credible white soul singer in the mid-1960's Liverpool mode, and might have been another Dave Berry if he'd had a little luck on the British charts. As it is, listening to almost any of his individual tracks (especially after the first couple of Decca singles), one has to wonder how he never made it outside of Germany — this album covers his work from 1964 thru 1967, when he finally called it quits, following a car crash in Germany, and it's all solid UK-style r&b-based rock 'n' roll, including a beautifully guttural performance on "Slow Down", among other highlights. One also begins to understand where his limitations manifested themselves — as time went on, Curtis tailored his sound to the tastes of the German audiences that adored him, and pop music, even in the rock 'n' roll era, always has had a fixation on (or a tolerance for) saxophones that American and British rock 'n' roll outgrew once it evolved past Bill Haley's sound; and courtesy of Dave McShane, there's lots of good reed playing here that would simply have rolled off the ears of most UK listeners, much less US audiences; Chris Dennis tries to do some impressive things on the organ, which is all well and good, but missing, amid the powerful vocals and all of their playing, is the guitar — the lead work here by Paul Pilnick (a future member of Stealer's Wheel and Deaf School) lacks presence and authority, and it all sounds "off" somehow. In fairness, Curtis and everyone else throw themselves head-first into "Wooly Bully", and he gets points for having the courage to cover "Mickey's Monkey", even if the beat is slowed down just a touch too much. Liverpool completists should own this simply as an example of one of the better offshoots of Merseybeat ever to come out of Hamburg, and a showcase for a great, too-little-known singing talent.
2 - Um Um Um Um
3 - Stand By Me
4 - Little Egypt
5 - Stupidity
6 - Slow Down
7 - Jezebel
8 - Wooly Bully
9 - Irresistable You
10 - It's No Good For Me
11 - Mickeys Monkey
12 - Stick And Stones
13 - One Night
14 - Nobody But You
Lee Curtis & the Detours became Lee Curtis & the All Stars, the new band selected by Joe Flannery from the best available players in Liverpool, and they became an extremely popular band in Liverpool during the summer of 1962. Then, in August of that year, they scored a major coup when Pete Best, fresh from being sacked by the Beatles, and with a serious fandom in Liverpool and Hamburg, took over the drum kit from Bernie Rogers.
It was the birth of a rhythm section that would soon take on a life of its own. Meanwhile, Lee Curtis & the All Stars were on a roll, popular in the clubs and voted the second most popular band in Liverpool after the Beatles. Decca Records, which had been offered the Beatles and turned them down in mid-1962, tried to recover its position by signing Curtis and his band. Two singles were forthcoming, which didn't sell especially well but were pretty powerful stuff, "Little Girl" (issued under Curtis' name) and "Let's Stomp," the latter considered by many the quintessential non-Beatles Liverpool rock 'n roll track.
By the time, Curtis—with encouragement from his manager-brother—was pretty full of himself and managed to lose this band as well. Frank Bowen (lead guitar) and Best (drums), Bickerton (bass), and Waddington (rhythm guitar) formed The Original All Stars in mid-1963, with Waddington and Bickerton taking over the vocal duties and writing songs together. Bowen later left to join the Trends and Earl Royce and the Olympics, while the Original All Stars, now under the management of Best's mother, evolved into the Pete Best Four (after a stint as Pete Best's Original All Stars, and then Pete Best's All Stars, in January of 1964), with Waddington playing lead and sharing the singing with Bickerton on bass, and Tommy McGurk playing rhythm—he later left and was replaced by a pair of brass players, and the Pete Best Combo eventually ended up as a trio of Best, Bickerton, and Waddington. The latter two went into production and songwriting full-time, and were responsible for the Rubettes, among other successes, while Best soldiered on as the perennial ex-Beatle. Meanwhile, Lee Curtis and his brother assembled a new band of All Stars in early 1963, though not with that level of talent or name recognition—Curtis didn't need it, however, as he'd found a locale where he was almost as big a star as Best, playing the lucrative club circuit in Germany. Various All Stars line-ups came and went, including future Ian & The Zodiacs drummer Joe Walsh, over the next few years. They had a full-year residency at the Star Club in Hamburg, and Curtis became one of the top rock 'n roll performers in Germany. He and some version of the All Stars spent four years there, and cut two whole LPs and numerous singles that were only heard in Germany. His career ended only with a car crash that left him hospitalized for weeks, and in 1967 he retired to Liverpool.
2 - Mess Of Blues
3 - When I Get Paid
4 - It's Only Make Believe
5 - I've Got My Eyes On You
6 - Boys
7 - Boppin The Blues
8 - My Baby
9 - Where Have All The Flowers Gone
10 - Blue Suede Shoes
11 - Let's Stomp
12 - Hello Josephine
13 - Can't Help Falling In Love
Back in the day, in Liverpool, there were basically two types of bands — the ones that could pump out the wattage and the beat for audiences in crowded, poorly ventilated clubs that just wanted to dance, and the ones that built their sound on ballads, and could sing with some vocal (and, preferably, harmonic) sophistication; the latter were often considered (ages before Arnold Schwarzenneger made it into a political epithet) kind of "girlie" in their appeal, i.e., more suited to charming the fairer sex (which was not an attribute to be totally neglected, by any means) than getting a crowd of four or five hundred working class teens waiting to blow off some steam on a Friday or Saturday night on their feet. The Beatles were among the few that could do both, and it took time for them to get good at both. Somewhat in their shadow were Lee Curtis & The All-Stars, who placed directly behind them in a December 1962 poll of the city's music fans. Listening to this album, it's easy to understand how Curtis and company could pull that off. They clearly came from the hard, stomping end of the music spectrum, but they were also good enough to give a subtly sophisticated approach to the numbers here, so that it's clear that Mike Cummings had been listening to a lot of Carl Perkins and James Burton, but also to George Harrison and Gerry Marsden's playing on records by the Beatles and Gerry & The Pacemakers, respectively. And the little bits of harmony singing show that their producers in Germany, as in England, were listening closely to the music of the Beatles. The 13 songs are all solid, even somewhat sophisticated rock 'n' roll as it was best loved in Hamburg, Germany, with a few slightly elegant and complex (for the place, genre and era) components woven in.
Friday, June 26, 2009
In 1965 they became famous with the Renegades song "Cadillac". The song failed the Swedish charts but made it all over Europe. The band went on tour in Finland, Sweden and in 44 towns in Germany. In 1966, the band toured again on the continent and played 14 days in "Star Club Hamburg". In July, the band recorded in Hamburg, in three days, their first LP - "Smokerings". A lot of TV shows and gigs in France, Netherlands, Finland, Sweden and Germany were done in 1967.
To enter the UK market, a few songs were recorded in London and published later in '67 on the LP "Shamrock A Paris". Somewhere in the summer of the same year, founding member Jan Granaht (guitar) quit the band. The remaining band members decided to go on as a trio. Germany, France and Denmark saw the new Shamrocks shows with a lot of visual effects (fireworks, smoke-screens, bengal fires etc.).
In 1968, Kent Risberg (guitar) left the band to settle in Bonn, where the band spent a lot of time between their touring on the continent. Two weeks later, Shamrocks were back on the road again in Germany and France with Jonny Wallin on guitar. Then the band return home to Sweden and after a long due rest , Bjorn and Dieter (founding members) decided to make one last "thanks and farewell" tour in Germany. During this tour, Bertil Petterson was playing guitar. The story of the Shamrocks ended at the end of the 60's when the great beat era came to an end.
2. A Lonley Man
3. Skinny Minny
4. A Mountain Of Silver
6. Easy Rider
7. And I Need You
9. La La La
10. Things Will Turn Out Right Tomorrow
11. Balla Balla
12. Oxford Street 43
13. Don't Say
14. Nobody Cares About Me
17. See Me Coming
18. I'm On The Outside Locking In
19. Please Don't Cry (For Me)
20. Gipsy Lullaby at 1030
22. I'm Ready For The Show
23. Cadillac (Paris version)
24. How The Time Flies
25. Travelin' Man
26. The Smiling Kind
27. Don't You Know She's Mine
28. Daytime Nightime
29. Rich Life
Thursday, June 25, 2009
in question was a small ad in THE NEW
One of the Top Three Rhrthm ind
MUSICAL EXPRESS and it hailed them as as one of the top three R&B groups of Southern England, which might be true regarding where you draw the line.
М С СО
They did play R&B, and with some proficiency. But they never made any impact on a larger scale, so they travelled round and round and round the South, without achieving anything but local success. Basically they were based in Southend, but this varied according to which member was asked. Anyway, they grew their hair and soon they looked as filthy as the PRETTY THINGS (well, almost). But even this did not help them se-cureing those invaluable London-gigs, at least I never found one of their concerts advertised in the NME or MELODY MAKER...and I have been browsing through two years of the relevant issues. No trace. But some kind of slavedriver at least must have seen some money in them, and so they were sent round the provinces...that is Germany in this case. So some time in 1965 they landed here with в vanloed full of equipment which also included a Gretsch guitar. They mainly toured the South, US-airbases and things, and somehow they couldn*t scrape enough money to¬gether to return. So each time departure was planned they had to pro¬long their stay. And,..it was worthwhile.
Mssr, GARY IAN COW TAN (voc, born 29-8-46 in Southend), DAVID EAGLEN (Id, born 31-1-46 in Maidenhead), BERNARD ROBERTS (rh, born 30-6-44 in Bury), BSRNIE MIDF0RT-M1LLERSHIP (b, born 19-1-45 in Oxford) and PETER CHANNINE (dr, born 16-7-42 in Birmingham) were signed to record for ARIOLA, Ariola had quite а гidiculous number of "talent' under their wings, and they used to overflow the shops with records by bands nobody
were employed was registrated under the name ZECIIE SHAMROCK I These
boys also had a nice flock of shoulderlong curls, and so the confusion was complete. But our gang had one. thing in advance: they were five, whereas the rest only counted four! And in regards to the music it was quite easy to keep them apart. They were the best. Yes, it is that simplet
THE SHAMROCKS (now it is the the Eng¬lish gang always, and not the one on the right, which is Swedish) first came up with a brilliant single! "Shame shame shame* (what else?)
was something I loved from the very first time I heard It (and I bought it immediately I). It sounded really mean. The vocalist had a hoarse voice, and the band was stomping like mad. It was one of those simple tunes which really generated steam and a special atmosperei back room boyst The flip was even better: 'Down home special'...equally rough, equally mean, equally monotonous, and equal¬ly exciting. This gang sure knev how to play the Rhythm and Blues, and the pace was alright as well. But he who thought that they would crop up with another single soon, was wrong!
Their next, and for some time last move was an Elpee. Yeah, a real
long player although 'Shame shame shame" could hardly have sold a
thousand. But there it was simply called THE SHAMROCKS!
And 1*11 tell you something. It was a killer 11
In many aspects it was similar to the first DOWNLINERS SECT LP. They stuck to simple means , played the R&B at the highest speed possible. With the exception of "What's all this" (written by GARY COWTAN) it aws all cover versions of JIMMY REED, BO DIDDLEY or JOHN LEE HOOKER stuff, but these were given the right treatment. They had a nice balance between lead and rhythm guitar and the bass and drums fitted in quite nicely. An assett is the excellent recording quality, with a true stereo production of best German mid-sixties quality. The album is a nice mixture of fast stompers, up-tempo beaters , and blue¬sy songs. Especially the slow numbers proved their ability. They were able to extent them as far as 5 minutes without boring the listener, They enriched them with a moody, jazzy guitar which really showed that they had taste, I always found their lead guitarist especially accord¬ing to ay likings he bad such a polished, unpretentious sound without losing drive and energy. Really good, man! Even when they chased through their maniac tracks like 'ROADRUNNER", "GOT MY MOJO WORKING' or "NURSERY RHYME' he would not sourfd.obtrusive or lose his smoothness. He really seemed to have much feeling for slick Rhythm & Blues, But I don't want to place him above his fellow musicians. They made a nice team, a'nd their brand of R&B was distinguished and shiny. When they employed maraccas or a tambourine it wasn't just the usual rattling along but supported the jazz alright.
I really don't know why they didn't make any impression in England, perhaps they were not obtrusive and gaudy enough, perhaps their sound wasn't dramatic enough, perhaps it was because they just played the same old songs again. But the DOWNLINERS did the seme, and they left memories behind. THE SHAMROCKS harmonica playing wasn't worse than the DOWNLINERS' ...their guitarist wasn't worse either, and altogether they sounded the better team. What the DOWNLINERS had more of power, THE SHAMROCKS had more of swing! I can easily understand nevertheless why they did not make it in Germany, which never had been an R&B country, it always had tended towards Harmony Beat and Mod Power Pop. But at least it was over Лете that they vere able to engrave their infceritage/ A perfect LP!
In November 1966 they sacked BERNARD MIDFORT-MILLERSHIP andGARY COW-TAN switched over to bass guitar. They recruited an additional member with DAVID ALLEN on piano and organ. And they switched to HANSA records for one last, and memorable record "Crossbow", which almost sounded progressive at the time of release. Then they vanished, and they vanished completely, without a trace!
1 - Shame Shame Shame
2 - Down Home Special
3 - What's All This
4 - Dusty Road
5 - Rocks In My Bed
6 - Sticks And Stones
7 - Roadrunner
8 - Howling For My Baby
9 - Big Boss Man
10 - Nursery Rhyme
11 - I'm Mad
12 - Walking The Boogie
13 - Smoke Stack Lightning
14 - Got My Mojo Working
15 - Crossbow
16 - Midnight Train
Wednesday, June 24, 2009
2. That's The Way (2:59)
3. Is It Because (2:22)
4. Something Better Beginning (2:14)
5. Colour Slide (2:53)
6. Once You Know (2:28)
7. Without You It Is Night (2:51)
8. I Want To Be Free (3:42)
9. It Ain't Necessarily So (2:21)
10. Our Day Will Come (4:01)
11. I'll See You Tomorrow (2:11)
12. Eyes (3:28)
13. Can't Get Through To You (2:07)
14. It's So Hard (2:33)
15. She's Too Way Out (2:00)
16. I Can't Stop (3:14)
17. Oooee Train (2:16)
18. Love In Tokyo (2:31)
19. Totem Pole (2:17)
20. My Prayer (2:13)