Music Archives
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Heimatliche Klaenge - Native Sounds vol.146 - The Skin - 1969-1975 Graz
(Austria)
Posted: 24 Jan 2015 02:19 PM PST
http://musicofsixties.blogspot.com/2015/01/heimatliche-klaenge-native-sounds.html
Heimatliche Klaenge - Native Sounds
vol.146 - The Skin 1969-1975 Graz (Austria)
Peter Raab: Gesang, GitarreRalph Jaritz: PercussionGьnther Schwarzbauer:
Bass, KeyboardWilli Emms: Bassgitarre
01 - Stop The Light02 - Like A Hobo On The Train03 - Hupf In Gatsch04 - Til
I'm Dead05 - Lonely Way06 - Hello Honey07 - The End Of The Golden Dream08 -
Til I'm Dead09 - You're Mine10 - Western Melody11 - The End Of The Golden
Dream12 - Iron Love13 - Hupf In Gatsch
01 - 02 Sg Alpenton 74-5-4503 - 13 demo
„The Skin" wurden 1969 als Quartett in Graz gegrьndet, 1971 verlieЯ jedoch
Willi Emms die Gruppe.Ihr Programm stьtzte sich schon sehr frьh auf
Eigenkompositionen, 1970 wurde die Single "Stop the Light" (Alpenton
74-5-45) aufgenommen.Bei der Vorausscheidung zum Bandwettbewerb der NEUEN
ZEIT wurde 1970 in Mьrzzuschlag der 2. Platz erspielt.Eine Nummer im
Dialekt mit dem Titel "Hupf in Gatsch" wurde an den ORF geschickt, das Band
ging jedoch verloren.The Skin lцste sich 1975 auf.
Jancy said : TEXT
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VA - Top Ten Vol. 1 - 5
Posted: 24 Jan 2015 01:45 PM PST
http://musicofsixties.blogspot.com/2015/01/va-top-ten-vol-1-5.html
TEXT
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Sam The Sham &The Pharaohs - Li'l Red Riding Hood & Wooly Bully (1966;1965)
Posted: 24 Jan 2015 01:21 PM PST
http://musicofsixties.blogspot.com/2015/01/sam-sham-pharaohs-lil-red-riding-hood.html
Repost
Best known for their 1965 smash "Wooly Bully," which helped introduce
Tex-Mex rhythms to mainstream rock & roll, Sam the Sham & the Pharaohs were
formed in Dallas by lead singer Domingo Samudio, who took the name Sam the
Sham from a joke about his inability as a vocalist. The Pharaohs consisted
of guitarist Ray Stinnet, bassist David Martin, saxophonist Butch Gibson,
and drummer Jerry Patterson. Before hitting it big with "Wooly Bully," a
song about Samudio's cat, they recorded the independent single "Haunted
House," which helped the band get a deal with MGM. Following "Wooly Bully,"
the group recorded a series of largely novelty singles, but only "Li'l Red
Riding Hood" approached the success of its predecessor. Frustrated at being
perceived as a talentless novelty act, Samudio broke up the Pharaohs in
1967 and recorded as the Sam the Sham Revue, and adopted the name Sam
Domingo in 1970. His lone solo LP, Sam, Hard & Heavy, featured slide
guitarist Duane Allman, but failed to establish him as a major talent.
Samudio contributed two songs to the 1982 film The Border and later moved
to Memphis and became a street preacher. "Wooly Bully," of course, remains
a bar band staple.
On this 2004 two-fer, Collectables for some unknown reason switched the
order of release, putting Sam the Sham & the Pharaohs' second album, 1966's
Li'l Red Riding Hood, before their first album, 1965's Wooly Bully. Apart
from that head scratcher, this is a great re-release by a band that is too
often written off as a mere one-hit wonder (as if having one hit is a bad
thing; think of how many bands never even pull that off). Fun, funny, and
funky, Sam the Sham & the Pharaohs were just about the coolest garage/frat
rock/whacked-out novelty band of the '60s. Everybody knows "Wooly Bully,"
their signature hit. Their other big hit was "Li'l Red Riding Hood." The
songs on their first two (and only) records follow the blueprint of one or
the other. On the one hand, there are tough rockers like "Sweet Talk,""The
Memphis Beat," the rollicking stomper "Haunted House,""Hanky Panky," and
the "Wooly Bully" clone "Sorry 'Bout That" -- all perfect for toga parties,
keggers, and good old-fashioned blowouts. On the other hand, there are
silly novelty tracks like "Deputy Dog," the goofy "Grasshopper,""El Toro
de Goro (The Peace Loving Bull"), and the truly weird Tex-Mex "Juimonos
(Let's Went") -- songs that never lose their infectious funk despite the
often ridiculous nature of the lyrics. Some, like "Little Miss Muffet,"
even manage to turn these silly lyrics into tough and emotion-packed tunes.
They also turn in a pretty darn credible version of Wilson Pickett's
devastating ballad "I Found a Love." The band is always razor sharp, the
recording is live and exciting on both records, and Sam, while he will
never be mistaken for Bobby Darin, gets the most out of his limited vocal
range through his nonsensical exhortations, witty asides, and general
grooviness. Even if you already have a greatest-hits collection, you need
more Sam the Sham in your life. These two albums are nonstop fun and
frolic, and have not lost any of their charm some 40 years later. ~ Tim
Sendra, Rovi
TEXT
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Gonn - Frenzology (1966-1967 )
Posted: 24 Jan 2015 01:16 PM PST
http://musicofsixties.blogspot.com/2015/01/gonn-frenzology-1966-1967.html
Repost
Like many garage bands of the '60s, the Gonn achieved (slight)
international fame beyond anything they attained in their lifetime when
their single "Blackout of Gretely" was rediscovered by collectors and
reissued in the '80s. From Keokuk, IA, the Gonn released only a couple
singles on tiny local labels in 1966 and 1967. Probably the toughest garage
band in Iowa (not that there was an enormous amount of competition), the
Gonn took their inspiration from the raunchiest aspects of the early
Rolling Stones, adding the raw, throat-shredding screams that American
groups of the kind were wont to use during this period.
One of the most collectible singles from the 60s garage band era
is "Blackout Of Gretely," a rare as hen's teeth fuzz raver of epic
proportions by the best and loudest band that ever came out of Keokuk,
Iowa, the fabulous Gonn. With the belated interest of the collecting
community, the band reissued the 45 and got back together for a reunion gig
in 1990. Since that time, more tapes have surfaced, and the result is this
exhaustive compilation. This rounds up all the tracks from the Bomp-Voxx
vinyl collection, plus six more previously unissued things plus the live
stuff (great version of "Oh Yeah"!!) plus two-count 'em-two booklets loaded
with vintage photos and the complete history of the band. If true American
bred fuzz garage band mayhem is your thing, you find much to love on this
collection.
TEXT
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Jerry Lee Lewis - Live At The Star Club Hamburg (1964 )
Posted: 24 Jan 2015 10:33 AM PST
http://musicofsixties.blogspot.com/2015/01/jerry-lee-lewis-live-at-star-club.html
Words cannot describe -- cannot contain -- the performance captured on Live
at the Star Club, Hamburg, an album that contains the very essence of rock
& roll. When Jerry Lee Lewis performed the concert that became this album
in the spring of 1964, his career was at its lowest point. Following his
scandalous marriage to his teenage cousin, he was virtually blacklisted in
the U.S., and by 1964 it had been six years since he had a real hit single,
he was starting his recording career again with a new label, and, to make
matters worse, America had fallen in love with the Beatles and the bands
that followed in the British Invasion, leaving him exiled from the charts.
Ironically, he wound up in the Beatles' old haunt of the Star Club in
Hamburg, Germany, in the spring of 1964, backed by the Nashville Teens, who
still had yet to have a hit with "Tobacco Road" (which would scale the
charts later that year). Lewis and the Nashville Teens had been touring
throughout the group's native England for about a month, capped off by a
stint at the Star Club, where the band played for two weeks, but was only
joined by the Killer for one night, which was what was captured on this
incendiary recording. Who knows why this was a night where everything
exploded for Jerry Lee Lewis? It sounds like all of his rage at not being
the accepted king of rock & roll surfaced that night, but that probably
wasn't a conscious decision on his part -- maybe the stars were aligned
right, or perhaps he just was in a particularly nasty mood. Or maybe this
is the way he sounded on an average night in 1964.
In any case, Live at the Star Club is extraordinary -- the purest, hardest
rock & roll ever committed to record. It starts with the Killer launching
into "Mean Woman Blues" at a tempo far faster than the band is prepared
for, and he never, ever lets go from that moment forward. He pounds the
piano into submission, sings himself hoarse, berates the band ("What'd I
Say, Pt. 2" has him yelling at a Nashville Teen to "play that thing right,
boy!"), increases the tempo on each song, and joins in with the audience
chanting his name. It's a crazed, unhinged performance, with the Nashville
Teens running wild to follow his lead, and it's a great testament to the
bandmembers that they nearly manage to keep up with him. One of the
profound pleasures of this record is hearing the band try to run with Jerry
Lee, which is exceeded only by the sheer dementia of the Killer's
performance; he sounds possessed, hitting the keys so hard it sounds like
they'll break, and rocking harder than anybody had before or since.
Compared to this, thrash metal sounds tame, the Stooges sound constrained,
hardcore punk seems neutered, and the Sex Pistols sound like wimps. Rock &
roll is about the fire in the performance, and nothing sounds as fiery as
this; nothing hits as hard or sounds as loud, either. It is no stretch to
call this the greatest live album ever, nor is it a stretch to call it the
greatest rock & roll album ever recorded. Even so, words can't describe the
music here -- it truly has to be heard to be believed. (Review by Stephen
Thomas Erlewine)
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Tony Sheridan - Live In B2 Club Moscow (27.03.2011)
Posted: 24 Jan 2015 10:26 AM PST
http://musicofsixties.blogspot.com/2015/01/tony-sheridan-live-in-b2-club-moscow.html
"Тони Шеридан (англ. Tony Sheridan, полное имя Энтони Эсмонд Шеридан
Макгиннити англ. Anthony Esmond Sheridan McGinnity; 21 мая 1940, Норидж —
16 февраля 2013, Гамбург[1]) — английский певец и гитарист, исполнитель
раннего рок-н-ролла, вошедший в историю благодаря синглу My Bonnie (1961),
в записи которого приняли участие тогда ещё практически никому не известные
The Beatles.
27 марта 2011 он выступал в московском клубе Б2, на 11-летии ресурса
Beatles.ru. Присутствовал там и ваш покорный слуга. И, чтобы унести как
можно больше впечатлений, (включая автограф и совместные снимки) я записал
почти весь концерт на плеер-диктофон Ritmix RF-9700. Просто, на память.
Звук получился как на Beatles in Star Club. Как по качеству, так и по духу.
И вот решил выложить, в память о Тони. ..."
eggmann (rutracker.org)
"March 27, 2011 he performed in Moscow B2 club on the 11th anniversary of
the Beatles.ru. Was there, and yours truly. And to carry as many
impressions (including autograph and joint pictures) I wrote almost the
entire concert on the player-recorder Ritmix RF-9700. Just as a keepsake.
The sound was as Beatles in Star Club. Both in quality and spirit. And so I
decided to post in memory of Tony." eggmann (rutracker.org)
01 Introducing
02 Bright Lights Moscow City
03 What'd I Say
04 Whole Lotta Shakin' Goin On
05 Yesterday (parody)
06 Skinny Minny
07 Fever
08 All Right Now
09 High School Confidential (vocal Денис Мажуков)
10 My Bonnie
TEXT
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The Shadows - Live At Abbey Road, Live At The Liverpool Empire (2CD Set)
Posted: 24 Jan 2015 10:17 AM PST
http://musicofsixties.blogspot.com/2015/01/the-shadows-live-at-abbey-road-live-at.html
In 2001, See for Miles released Live at Abbey Road/Live at the Liverpool
Empire, which combined a pair of albums by the Shadows on one compact disc
-- Live at Abbey Road (originally recorded in 1982) and Live at the
Liverpool Empire (originally recorded in 1989).
TEXT
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VA- Frantic Early Rock Instrumentals
Posted: 24 Jan 2015 10:09 AM PST
http://musicofsixties.blogspot.com/2015/01/va-frantic-early-rock-instrumentals.html
A great collection released in Holland, containing 33 rare, wild sides of
instrumental rock n' roll.
TEXT
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The Grodes/Tongues Of Truth /Dearly Beloved - Let's Talk About Girls!
(1964-1968)
Posted: 24 Jan 2015 01:34 PM PST
http://musicofsixties.blogspot.com/2015/01/grodes-dearly-beloved-lets-talk-about.html
The Grodes, sometimes known as The Tongues of Truth, were a garage rock
band from Tucson, Arizona, that featured lead singer and songwriter Manny
Freiser, and were active between late 1965 and 1967. They are best
remembered for two Manny Freiser written songs, “Cry a Little Longer” and
the original version of “Let’s Talk about Girls" (recorded as The Tongues
of Truth), later covered by The Chocolate Watchband.
Freiser also wrote several songs for fellow Tucson band, The Dearly
Beloved. Many of the songs recorded by both The Grodes and The Dearly
Beloved are included on the CD compilation Let's Talk About Girls! Music
From Tucson 1964-1968.
http://www.snipview.com/q/The%20Grodes
http://www.dantiques.com/tucsonmusic/dearlybeloved.htmlhttp://www.60sgaragebands.com/dangates.htmlhttp://ontheflip-side.blogspot.ru/2014/08/the-tongues-of-truth-aka-grodes-lets.html
The Grodes
One of the more talented garage bands of the mid-'60s, with a more
professional and pop/rock bent than the average garage outfit. The Grodes
cut a half-dozen singles between 1965 and 1967, several of which charted in
their hometown of Tucson, AZ. They sported a pleasantly driving, melodic
sound with obvious debts to the Beatles, the Rolling Stones, the Zombies,
the Kingsmen, the Byrds, the Mamas and the Papas, and frat rock, but
ultimately didn't offer anything original enough to make them stand out
from the pack. Their most lasting contribution arose when they briefly
changed their names to the Tongues of Truth and cut the
uncharacteristically tough punker "Let's Talk About Girls," which was
covered in a much more famous version (later anthologized on Nuggets) by
the Chocolate Watchband. The Grodes broke up in 1968 after briefly adding
female singer Patti McCarron; lead singer and songwriter Manny Freiser
married her and teamed up with her professionally in the soft rock duo Fire
& Rain, who released an album for Mercury in 1973. ~ Richie Unterberger,
Rovi
The Dearly Beloved
Along with the Grodes, the Dearly Beloved were Tucson, AZ's top group in
the mid-'60s. They started out in 1963 as a surf music combo called the
Intruders, who were heavily influenced by the Ventures, and added singer
Larry Cox to their lineup in early 1964. The Intruders cut one
single, "Everytime It's You" b/w "Let Me Stay," as a result of winning a
battle of the bands contest. The single wasn't much, although it had a
vaguely Beatlesque quality and showed a band with a lot of potential, and
this was borne out by their local reputation -- by the spring of 1964 they
were one of the hottest bands in Tucson. The quintet was forced to change
their name when they learned that there was a vocal group of the same name
based in Detroit -- they existed very briefly as the Quinstrells and then,
at the behest of Dan Gates, a local disc jockey and producer-manager who
came in to help guide the group's fortunes, they became the Dearly Beloved.
The group broke out of Tucson in 1966, playing clubs as far away as Los
Angeles and teen fairs throughout the west and southwest. They also cut a
strange novelty single, "Peep Peep Pop Pop," which had been foisted on them
by Gates, which became a number one hit in Tucson when issued on the local
Boyd label, which got Columbia Records interested in the band. A Columbia
version of the single was issued and scraped the lower reaches of the
Billboard Hot 100, even getting onto American Bandstand's rate-a-record
segment. They also recorded a complete album for the label that stayed in
the can for 30 years. One lawsuit later, they were on White Whale, with a
lot of promise before them, and then it all fell apart when Larry Cox was
killed in a car crash that took place while the band was driving back to
Tucson, to get Cox to his wedding the next day. The group never recovered,
despite getting an unexpected regional hit out of the song "Flight 13," the
B-side of their one attempt to cut a record after Cox's death.
Their seven singles are passable period pop/garage rock that don't measure
up to the standards of literally hundreds of better obscure '60s garage
groups throughout the country. The evidence from their unreleased Columbia
LP, part of which was issued in 1997 on Dionysus Records' Tucson garage
band collection Let's Talk About Girls, shows that they did have a good ear
for hooks, a hard attack on their instruments that translated well in the
studio, and that Cox was a strong singer. Had he lived, the Dearly Beloved
might've been White Whale's answer to the Leaves. Bassist Shep Cooke went
on to join the Stone Poneys briefly, before returning to the Dearly Beloved
during their final days, and went on to play on albums by Tom Waits, Linda
Ronstadt, and Jackson Browne. ~ Richie Unterberger & Bruce Eder, Rovi
TEXT
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Randy Holden - Early Works (1964-1966)
Posted: 24 Jan 2015 09:51 AM PST
http://musicofsixties.blogspot.com/2015/01/randy-holden-early-works-1964-1966.html
A '60s guitar hero who never seemed to be in the right place at the right
time, Randy Holden has attracted a small but intense cult following for his
work with various California groups in the '60s. After a couple of surf
singles with the Fender IV that featured his inventive reverbed fretting,
Holden joined the Sons of Adam, a Los Angeles band that cut three decent
garage-psychedelic singles. Holden's characteristic Jeff Beck-like sustain
can already be heard on these, the best known of which is "Feathered Fish,"
which was penned by Arthur Lee of Love (although Love never recorded it).
When the Sons of Adam broke up, drummer Michael Stuart, in fact, joined
Love, while Holden joined the underrated punky San Francisco psychedelic
band the Other Half. His searing, suspended leads are the highlights of
their sole album (they also recorded a few single-only songs).
Holden is actually best known for his short stint in San Francisco's Blue
Cheer, which bridged psychedelia and heavy metal. Holden replaced Leigh
Stephens, but left during the recording of the third Blue Cheer album, New!
Improved! (he appears on side two only). Holden then recorded an extremely
hard-to-find hard rock album as a solo artist, Population II, for the small
Hobbit label in 1970 before drifting out of the music business. Most of his
work, however, has been reissued sporadically by small labels in the '80s
and '90s.
Randy Holden - Early Works '64-'66
Randy Holden's career spans over 40 years and many different bands. The
first band he played with were The Iridescence back in 1959, their material
being mostly Blues.In the mid Sixties he joined The Fender IV (photo) and
it was here that his guitar sound started to take shape. Then Randy joined
the Sons Of Adam in 1966 and from here he formed The Other Half, a West
Coast Garage Punk band who released 2 albums and 4 singles during the late
1960’s, their self titled album ending up more in psychedelic territory,
but with Randy’s guitar style starting to shine through. When The Other
Half split, Randy replaced Leigh Stephens in the infamous West Coast Proto
Metal band Blue Cheer bringing with him his now legendary guitar style and
immense amplification techniques which took Blue Cheer to levels of sound
never thought possible before.
After recording one album with Blue Cheer (New Improved! 1969) Randy left
to pursue his eternal quest for the ultimate in amplified guitar sound and
teamed up with drummer Chris Lockheed for what became a legendary solo
album, Population II (1970) and they toured America with this ‘nuclear
powered’ band that featured 16 Sunn amps (this was just for Randy!!). The
album never officially got released and Randy had some bad experiences with
all his kit being stolen and he eventually turned his back on the music
industry, unfortunately never really getting the recognition he deserved as
a pioneering guitarist.In the 1990’s after many months of ‘pestering’ by an
obsessive fan Randy picked up a guitar again and headed into the studio.In
1996 Randy released Guitar God, featuring former Blue Cheer drummer Paul
Whaley on an unsuspecting public and it went down a storm. Recorded in 1997
and released in 2001 was the follow up, Guitar God 2001 with Randy Holden
firmly back in the seat using an awesome custom ‘Glass’ guitar made for him
as a present from his wife. (Pooters Psychedelic Shack)
Long overdue comp of pre Blue Cheer garage psych featuring Randy holden.
All of the Sons Of Adam recordings including previously unheard stuff is
here along with The Fender IV's entire output. Essential. (Freak Emporium)
http://www.randyholden.com/
http://www.pooterland.com/index2/looking_glass/randy_holden/randy_holden.html
http://www.quazoo.com/q/The_Fender_IVhttp://www.california-ballroom.info/bands/sons-of-Adam.htm
http://love.torbenskott.dk/sonsofadam.asphttp://www.coolhand-records.com/list/west_corst_p.html
TEXT
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The Dearly Beloved - Rough Diamonds The History Of Garage Band Music
(1965-1967)
Posted: 24 Jan 2015 08:45 AM PST
http://musicofsixties.blogspot.com/2015/01/the-dearly-beloved-rough-diamonds.html
Along with the Grodes, the Dearly Beloved were Tucson, AZ's top group in
the mid-'60s. They started out in 1963 as a surf music combo called the
Intruders, who were heavily influenced by the Ventures, and added singer
Larry Cox to their line-up in early 1964. The Intruders cut one
single, "Everytime It's You" b/w "Let Me Stay," as a result of winning a
battle of the bands contest. The single wasn't much, although it had a
vaguely Beatle-esque quality and showed a band with a lot of potential, and
this was borne out by their local reputation--by the spring of 1964 they
were one of the hottest bands in Tucson. The quintet was forced to change
their name when they learned that there was a vocal group of the same name
based in Detroit--they existed very briefly as the Quinstrells and then, at
the behest of Dan Gates, a local disc jockey and producer-manager who came
in to help guide the group's fortunes, they became the Dearly Beloved.
The group broke out of Tucson in 1966, playing clubs as far away as Los
Angeles and teen fairs throughout the west and southwest. They also cut a
strange novelty single, "Peep Peep Pop Pop," which had been foisted on them
by Gates, which became a No. 1 hit in Tucson when issued on the local Boyd
label, which got Columbia Records interested in the band. A Columbia
version of the single was issued and scraped the lower reaches of the
Billboard Hot 100, even getting onto American Bandstand's rate-a-record
segment. They also recorded a complete album for the label that stayed in
the can for 30 years. One lawsuit later, they were on White Whale, with a
lot of promise before them, and then it all fell apart when Larry Cox was
killed in a car crash that took place while the band was driving back to
Tucson, to get Cox to his wedding the next day. The group never recovered,
despite getting an unexpected regional hit out of the song "Flight 13," the
B-side of their one attempt to cut a record after Cox's death.
Their seven singles are passable period pop/garage rock that don't measure
up to the standards of literally hundreds of better obscure '60s garage
groups throughout the country. The evidence from their unreleased Columbia
LP, part of which was issued in 1997 on Dionysus Records' Tucson garage
band collection Let's Talk About Girls, shows that they did have a good ear
for hooks and a hard attack on their instruments that translated well in
the studio, and Cox to be a strong singer. Had he lived, the Dearly Beloved
might've been White Whale's answer to the Leaves.
Bassist Shep Cooke went on to join the Stone Poneys briefly, before
returning to the Dearly Beloved during their final days, and went on to
play on albums by Tom Waits, Linda Ronstadt, and Jackson Browne.
http://www.60sgaragebands.com/dangates.html
16 tracks, including several of their singles, some previously unreleased
1966 Columbia demos, and a radio promo. "Keep It Movin'" and "Wait Till The
Mornin'" are pretty catchy rockers, but otherwise this is rather generic
stuff that doesn't warrant an archival release. Includes meticulous liner
notes by Lee Joseph of the modern day garage revival band Yard Trauma.
TEXT
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The Wilde Knights (aka Furys,Piepers IV...) - Beaver Patrol - Rough
Diamonds:The History Of Garage Band Music (1962-1968)
Posted: 24 Jan 2015 08:34 AM PST
http://musicofsixties.blogspot.com/2015/01/the-wilde-knights-aka-furyspiepers-iv.html
A regional '60s garage band with a tangled history, the Wilde Knights were
nevertheless in their brief lifespan responsible for two of the all-time
garage classics. "Beaver Patrol," featured on Pebbles, Vol. 1, was perhaps
the lewdest '60s garage single. They also recorded the original version
of "Just Like Me," which Paul Revere bought from group member and
co-songwriter Rick Dey for a few thousand dollars; Revere & the Raiders
covered the tune in 1965 for their first really big smash.
The Wilde Knights themselves only issued a couple of singles, both in 1965.
Prior to that, they had played under the names of the Furys and Pipers IV,
releasing a couple of decent Northwest frat rock singles in 1962-63. After
the Wilde Knights days, the lineup evolved into Genesis, King Biscuit
Entertainers, and American Cheese, all of whom put out generic singles on
various tiny labels in the late '60s. The best tracks from the whole
menagerie of Wilde Knights-family bands were assembled on a reissue LP in
the mid-'80s.
Only three of the 13 songs on this compilation were actually released under
the Wilde Knights name (including "Beaver Patrol" and the original "Just
like Me," which is tamer than the famous Paul Revere version). Side one was
recorded by earlier versions of the band under the Furys and Pipers IV
monikers; this is fairly tough Northwest frat rock, sometimes instrumental,
with a prominent organ and R&B influence. Side two, after the Wilde Knights
cuts, is filled out with a couple of pop/rock tunes by Genesis, and a bad
hard rock thing by King Biscuit Entertainers. Certainly this is more of a
document of a typical ensemble of the times than anything exciting or
significant. But garage collectors will find some decent things here,
although the two standout items ("Beaver Patrol" and "Just like Me") have
been available on garage compilations. Includes extensive history by garage
scholar Greg Shaw.
The Furys turned into the Wilde Knights around 1965 and they (Rich and
Rick) wrote and recorded the original "Just Like Me", that Paul Revere and
the Raiders had a huge hit with. Pat Benetar did a cover of "Just Like Me"
as well. In that same recording session in Los Angeles in 1965, they
recorded "Beaver Patrol" which was a little before it's time when it comes
to being politically incorrect. "Beaver Patrol" was covered by a British
group called "Pop Will Eat Itself". The Furys / Wilde Knights played many
venues on the West coast including many night clubs in Los Angeles and San
Francisco area. In 1965 we opened for the Rolling Stones and the Byrds in
San Jose, CA., and appeared with several other notables including The Beach
Boys, Jan and Dean, Sonny and Cher, Bobby Bare (All American Boy), and Paul
Revere and the Raiders. A good history was written and appeared on an
album of much of their music released on Voxx in 1984 called "The Wilde
Knights".... Diamonds in The Rough... A History of Garage Band Music.
http://pnwbands.com/wildeknights.html
The Wilde Knights - Beaver Patrol
If there was ever an archetypical garage/punk tune then it would have to
be "Beaver Patrol". Unless the meaning has changed significantly over the
years I don't see how could ever have hoped to get any airplay with this
song.
The album covers the evolution of this northwest band through their many
incarnations from 1962 to 1968. Other than the title track there are no
real standouts, most are rather tame pop and low tier garage rockers. It's
an interesting chronicle of how musical directions were changing during
this dynamic time.
TEXT
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Phil & The Frantics - Rough Diamonds:The History Of Garage Band Music
(1964-66)
Posted: 24 Jan 2015 08:03 AM PST
http://musicofsixties.blogspot.com/2015/01/phil-frantics-rough-diamondsthe-history.html
One of the highlights of the early Pebbles volumes was Phil & the
Frantics'"I Must Run," an obscure single which captured the early Zombies'
sound with uncanny accuracy. The close resemblance, in fact, was no
coincidence: so much of the melody and arrangement was lifted from the
obscure Zombies' B-side "I Must Move" that the Frantics would have surely
lost a plagiarism suit. The Phoenix-based band began as a much more
frat-rock based act, adapting to the British Invasion sound after 1964.
They recorded a few singles in the mid-'60s and scored a few local hits, "I
Must Run" (which was produced by Waylon Jennings) being the biggest.
Nothing else they recorded, however, was as memorable as that one Zombies
ripoff.
Phil & The Frantics - (1964-66)
TEXT
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Neal Ford & The Fanatics - Neal Ford & The Fanatics (1968)
Posted: 24 Jan 2015 05:52 AM PST
http://musicofsixties.blogspot.com/2015/01/neal-ford-fanatics-neal-ford-fanatics.html
Based in Houston, Neal Ford & the Fanatics never had much of an impact
outside of Texas but they were one of the stronger of the legions of
regionally popular psychedelic/garage outfits. Never as wild as Austin's
the 13th Floor Elevators, Ford had a bigger, brighter sound, one that
certainly showed a deep appreciation for the British Invasion but also
found space for swirling, insistent organ and a facility with an R&B groove
that wasn't quite common among other garage bands. Ironically enough, Ford
& the Fanatics wound up hampered by the very thing that made them
distinctive: they were poppier and lighter than their peers, particularly
their Texas peers, and that made labels eager to package them in an even
lighter setting, a commercially minded move that never paid off.
Nevertheless, the group amassed a nice, tidy legacy that can be heard on
Ace's excellent 2013 compilation, Good Men.
A native of San Antonio, Neal Ford spent some childhood time in Michigan's
Upper Peninsula before he went back to Texas to attend high school in
Houston. He wound up leading a band called the Ramadas, who largely played
R&B covers, and they came to the attention of Texas record man Major Bill
Smith. The Ramadas released a couple singles on Philips in 1963, then moved
to New World where they were now known as the VIPs. Around this time, Ford
and his band fell under the spell of British Invasion and that influence
would hold until late 1964, when he returned to active rock duty after a
year's sojourn in the military. By early 1965, the lineup of the Fanatics
fell into place, featuring Ford on vocals, Steve Ames on guitar and vocal,
W.T. Johnson on bass, Lanier Greig on keyboards, John Cravey on drums, and
Johnny Stringfellow on guitar. They knocked out "I Will Not Be Lonely" for
Gina Records and it got some attention in Houston and, over the next few
months, they built their audience through consistent appearances around
town, which continued even when Ford was called back to boot camp. The
group kept performing and Ford returned at the end of the year, after which
they cut some sides in January 1966. These were the first songs released to
Neal Ford & the Fanatics and soon afterward, Ames was replaced by Jon
Pereles, who was the lead guitarist and Ford's vocal sparring partner. The
group's third single, "I Will If You Want To," was, upon its September 1966
release, the group's most popular to date and they started getting
attention outside of Houston, which led to more commercial-oriented
sessions that fall.
Early in 1967, "Gonna Be My Girl" wound up catching fire in the Houston
region and the group seemed poised for a breakthrough but its sequel, "Wait
for Me," didn't do quite as well. Nevertheless, 1967 saw Neal Ford & the
Fanatics playing the gulf region to big audiences and they started to
record material for an album -- more than enough, actually, with some of
the leftovers surfacing decades later on Ace's Good Men comp. Hickory
released the group's debut album in November 1967, after Stringfellow was
drafted. The eponymous album didn't do well, nor did the singles that
followed in 1968, each moving the band closer to the mainstream.
Nevertheless, none of these commercially oriented records resulted in an
actual hit. One more single followed in 1969 for ABC but the group
disbanded not long afterward. Ford continued to play with band into
the '70s -- including with the Neal Ford Foundation, which released an
album in 1972 -- but for the most part they were remembered for their
earliest, edgiest singles and garage aficionados remembered them for their
versatility.
NEAL FORD & THE FANATICS were a 1960's rock band from Houston, Texas.
They released one LP on the Hickory label, along with a number of singles
on Hickory and other labels. Their songs were strong and the band was
tight, playing regularly at skating rinks, shopping malls and night clubs
like The Catacombs and The Living Eye. I was fortunate to see the band
play a set at Memorial City Mall in 1968. It was the era of hip huggers,
bell bottoms and miniskirts, and the crowd had a great time listening to
the groovy sounds of NEAL FORD & THE FANATICS!
http://thompsonian.info/neal-ford-fanatics.html
TEXT
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The Sixpentz - Summer Girl - The Complete Recordings
Posted: 24 Jan 2015 05:40 AM PST
http://musicofsixties.blogspot.com/2015/01/the-sixpentz-summer-girl-complete.html
The Fun And Games evolved out a Houston, Texas group, the Six Pents.
Several members -- Rock Romano (guitar/vocals), Mike Cemo (drums), Paul
Guillet (lead guitar), and John T. Bonno (bass) -- had played together in a
high school band before joining forces with Richard Bain (vocals), D.J.
Greer (piano), Sam Irwin (vocals/tambourine) and Carson Graham (drums). In
1964-1965, they became the house band at Houston's La Maison club, and
recorded at Andrus Studios in Houston. After their first single, the Six
Pents became The Sixpentz, and signed with Mainstream Records. The Sixpentz
released two singles on Brent, a subsidiary of Mainstream (the label also
released material by Word, who became Euphoria after they moved to L.A.).
Eventually, the Sixpentz learned there was already a band called Sixpence,
so, to avoid future confusion, they decided another name change was due,
and became the Fun And Games Commission. Their first single -- "Someone
Must Have Lied" -- was issued under this name before the group finally
decided to shorten their name to the Fun And Games. They eventually came to
the attention of Los Angeles-based singer/songwriter/producer Gary Zekley,
who, in the spring of 1967, had written a song called "Yellow Balloon" for
Jan and Dean while producing a concept album of theirs, Save For A Rainy
Day. Zekley knew the sunshine pop confection was a potential hit, so he
re-recorded it -- under the group name Yellow Balloon -- with several of
session musicians, and actor/musician Don Grady (who had already been
recording for the Canterbury label with his own group, the Windupwatch
Band). This group's soft-rock version scored a Top Thirty hit, while Jan
and Dean's version failed to chart. Sensing he could find similar success
with the Fun And Games, Zekley helped them secure a new record contract
with Russ Regan's UNI Records. Shortly before signing, John T. Bonno and D.
J. Greer were replaced by Joe Dugan (keyboards) and Joe Romano, on bass.
Joe Romano went on to play with A 440 with future Jesus Christ Superstar
actor/singer Ted Neeley. Zekley wrote and produced the Fun And Games' first
single, and produced their 1969 album, Elephant Candy, co-writing seven of
the twelve tracks with songwriting partner Mitch Bottler (in 1969, Zekley
and Bottler would also pen "I'd Wait A Million Years", a huge hit for the
Grass Roots). The Fun And Games'"Grooviest Girl In The World" climbed to
78 in the U.S. Top 100. During this same time, Regan unveiled the group at
a huge music industry showcase at a club in Los Angeles, but -- once
onstage -- singer Sam Irwin proceeded to insult many of the UNI staffers.
Shortly after this obvious display of poor judgment, Regan completely
pulled the plug on promoting the band. They dissolved not too much later.
Rock Romano went on to form Doctor Rockit and the Sisters of Mercy. After
he and the Sisters eventually split, and he continued to front Doctor
Rockit. He also played guitar and bass with the Sheetrockers and bass with
Duck Soup, an Austin, Texas group fronted by former Fun And Games vocalist
Irwin.
Cor said : TEXT
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Heimatliche Klaenge - Native Sounds vol.146 - The Skin - 1969-1975 Graz
(Austria)
Posted: 24 Jan 2015 02:19 PM PST
http://musicofsixties.blogspot.com/2015/01/heimatliche-klaenge-native-sounds.html
Heimatliche Klaenge - Native Sounds
vol.146 - The Skin 1969-1975 Graz (Austria)
Peter Raab: Gesang, GitarreRalph Jaritz: PercussionGьnther Schwarzbauer:
Bass, KeyboardWilli Emms: Bassgitarre
01 - Stop The Light02 - Like A Hobo On The Train03 - Hupf In Gatsch04 - Til
I'm Dead05 - Lonely Way06 - Hello Honey07 - The End Of The Golden Dream08 -
Til I'm Dead09 - You're Mine10 - Western Melody11 - The End Of The Golden
Dream12 - Iron Love13 - Hupf In Gatsch
01 - 02 Sg Alpenton 74-5-4503 - 13 demo
„The Skin" wurden 1969 als Quartett in Graz gegrьndet, 1971 verlieЯ jedoch
Willi Emms die Gruppe.Ihr Programm stьtzte sich schon sehr frьh auf
Eigenkompositionen, 1970 wurde die Single "Stop the Light" (Alpenton
74-5-45) aufgenommen.Bei der Vorausscheidung zum Bandwettbewerb der NEUEN
ZEIT wurde 1970 in Mьrzzuschlag der 2. Platz erspielt.Eine Nummer im
Dialekt mit dem Titel "Hupf in Gatsch" wurde an den ORF geschickt, das Band
ging jedoch verloren.The Skin lцste sich 1975 auf.
Jancy said : TEXT
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VA - Top Ten Vol. 1 - 5
Posted: 24 Jan 2015 01:45 PM PST
http://musicofsixties.blogspot.com/2015/01/va-top-ten-vol-1-5.html
TEXT
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Sam The Sham &The Pharaohs - Li'l Red Riding Hood & Wooly Bully (1966;1965)
Posted: 24 Jan 2015 01:21 PM PST
http://musicofsixties.blogspot.com/2015/01/sam-sham-pharaohs-lil-red-riding-hood.html
Repost
Best known for their 1965 smash "Wooly Bully," which helped introduce
Tex-Mex rhythms to mainstream rock & roll, Sam the Sham & the Pharaohs were
formed in Dallas by lead singer Domingo Samudio, who took the name Sam the
Sham from a joke about his inability as a vocalist. The Pharaohs consisted
of guitarist Ray Stinnet, bassist David Martin, saxophonist Butch Gibson,
and drummer Jerry Patterson. Before hitting it big with "Wooly Bully," a
song about Samudio's cat, they recorded the independent single "Haunted
House," which helped the band get a deal with MGM. Following "Wooly Bully,"
the group recorded a series of largely novelty singles, but only "Li'l Red
Riding Hood" approached the success of its predecessor. Frustrated at being
perceived as a talentless novelty act, Samudio broke up the Pharaohs in
1967 and recorded as the Sam the Sham Revue, and adopted the name Sam
Domingo in 1970. His lone solo LP, Sam, Hard & Heavy, featured slide
guitarist Duane Allman, but failed to establish him as a major talent.
Samudio contributed two songs to the 1982 film The Border and later moved
to Memphis and became a street preacher. "Wooly Bully," of course, remains
a bar band staple.
On this 2004 two-fer, Collectables for some unknown reason switched the
order of release, putting Sam the Sham & the Pharaohs' second album, 1966's
Li'l Red Riding Hood, before their first album, 1965's Wooly Bully. Apart
from that head scratcher, this is a great re-release by a band that is too
often written off as a mere one-hit wonder (as if having one hit is a bad
thing; think of how many bands never even pull that off). Fun, funny, and
funky, Sam the Sham & the Pharaohs were just about the coolest garage/frat
rock/whacked-out novelty band of the '60s. Everybody knows "Wooly Bully,"
their signature hit. Their other big hit was "Li'l Red Riding Hood." The
songs on their first two (and only) records follow the blueprint of one or
the other. On the one hand, there are tough rockers like "Sweet Talk,""The
Memphis Beat," the rollicking stomper "Haunted House,""Hanky Panky," and
the "Wooly Bully" clone "Sorry 'Bout That" -- all perfect for toga parties,
keggers, and good old-fashioned blowouts. On the other hand, there are
silly novelty tracks like "Deputy Dog," the goofy "Grasshopper,""El Toro
de Goro (The Peace Loving Bull"), and the truly weird Tex-Mex "Juimonos
(Let's Went") -- songs that never lose their infectious funk despite the
often ridiculous nature of the lyrics. Some, like "Little Miss Muffet,"
even manage to turn these silly lyrics into tough and emotion-packed tunes.
They also turn in a pretty darn credible version of Wilson Pickett's
devastating ballad "I Found a Love." The band is always razor sharp, the
recording is live and exciting on both records, and Sam, while he will
never be mistaken for Bobby Darin, gets the most out of his limited vocal
range through his nonsensical exhortations, witty asides, and general
grooviness. Even if you already have a greatest-hits collection, you need
more Sam the Sham in your life. These two albums are nonstop fun and
frolic, and have not lost any of their charm some 40 years later. ~ Tim
Sendra, Rovi
TEXT
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Gonn - Frenzology (1966-1967 )
Posted: 24 Jan 2015 01:16 PM PST
http://musicofsixties.blogspot.com/2015/01/gonn-frenzology-1966-1967.html
Repost
Like many garage bands of the '60s, the Gonn achieved (slight)
international fame beyond anything they attained in their lifetime when
their single "Blackout of Gretely" was rediscovered by collectors and
reissued in the '80s. From Keokuk, IA, the Gonn released only a couple
singles on tiny local labels in 1966 and 1967. Probably the toughest garage
band in Iowa (not that there was an enormous amount of competition), the
Gonn took their inspiration from the raunchiest aspects of the early
Rolling Stones, adding the raw, throat-shredding screams that American
groups of the kind were wont to use during this period.
One of the most collectible singles from the 60s garage band era
is "Blackout Of Gretely," a rare as hen's teeth fuzz raver of epic
proportions by the best and loudest band that ever came out of Keokuk,
Iowa, the fabulous Gonn. With the belated interest of the collecting
community, the band reissued the 45 and got back together for a reunion gig
in 1990. Since that time, more tapes have surfaced, and the result is this
exhaustive compilation. This rounds up all the tracks from the Bomp-Voxx
vinyl collection, plus six more previously unissued things plus the live
stuff (great version of "Oh Yeah"!!) plus two-count 'em-two booklets loaded
with vintage photos and the complete history of the band. If true American
bred fuzz garage band mayhem is your thing, you find much to love on this
collection.
TEXT
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Jerry Lee Lewis - Live At The Star Club Hamburg (1964 )
Posted: 24 Jan 2015 10:33 AM PST
http://musicofsixties.blogspot.com/2015/01/jerry-lee-lewis-live-at-star-club.html
Words cannot describe -- cannot contain -- the performance captured on Live
at the Star Club, Hamburg, an album that contains the very essence of rock
& roll. When Jerry Lee Lewis performed the concert that became this album
in the spring of 1964, his career was at its lowest point. Following his
scandalous marriage to his teenage cousin, he was virtually blacklisted in
the U.S., and by 1964 it had been six years since he had a real hit single,
he was starting his recording career again with a new label, and, to make
matters worse, America had fallen in love with the Beatles and the bands
that followed in the British Invasion, leaving him exiled from the charts.
Ironically, he wound up in the Beatles' old haunt of the Star Club in
Hamburg, Germany, in the spring of 1964, backed by the Nashville Teens, who
still had yet to have a hit with "Tobacco Road" (which would scale the
charts later that year). Lewis and the Nashville Teens had been touring
throughout the group's native England for about a month, capped off by a
stint at the Star Club, where the band played for two weeks, but was only
joined by the Killer for one night, which was what was captured on this
incendiary recording. Who knows why this was a night where everything
exploded for Jerry Lee Lewis? It sounds like all of his rage at not being
the accepted king of rock & roll surfaced that night, but that probably
wasn't a conscious decision on his part -- maybe the stars were aligned
right, or perhaps he just was in a particularly nasty mood. Or maybe this
is the way he sounded on an average night in 1964.
In any case, Live at the Star Club is extraordinary -- the purest, hardest
rock & roll ever committed to record. It starts with the Killer launching
into "Mean Woman Blues" at a tempo far faster than the band is prepared
for, and he never, ever lets go from that moment forward. He pounds the
piano into submission, sings himself hoarse, berates the band ("What'd I
Say, Pt. 2" has him yelling at a Nashville Teen to "play that thing right,
boy!"), increases the tempo on each song, and joins in with the audience
chanting his name. It's a crazed, unhinged performance, with the Nashville
Teens running wild to follow his lead, and it's a great testament to the
bandmembers that they nearly manage to keep up with him. One of the
profound pleasures of this record is hearing the band try to run with Jerry
Lee, which is exceeded only by the sheer dementia of the Killer's
performance; he sounds possessed, hitting the keys so hard it sounds like
they'll break, and rocking harder than anybody had before or since.
Compared to this, thrash metal sounds tame, the Stooges sound constrained,
hardcore punk seems neutered, and the Sex Pistols sound like wimps. Rock &
roll is about the fire in the performance, and nothing sounds as fiery as
this; nothing hits as hard or sounds as loud, either. It is no stretch to
call this the greatest live album ever, nor is it a stretch to call it the
greatest rock & roll album ever recorded. Even so, words can't describe the
music here -- it truly has to be heard to be believed. (Review by Stephen
Thomas Erlewine)
TEXT
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Tony Sheridan - Live In B2 Club Moscow (27.03.2011)
Posted: 24 Jan 2015 10:26 AM PST
http://musicofsixties.blogspot.com/2015/01/tony-sheridan-live-in-b2-club-moscow.html
"Тони Шеридан (англ. Tony Sheridan, полное имя Энтони Эсмонд Шеридан
Макгиннити англ. Anthony Esmond Sheridan McGinnity; 21 мая 1940, Норидж —
16 февраля 2013, Гамбург[1]) — английский певец и гитарист, исполнитель
раннего рок-н-ролла, вошедший в историю благодаря синглу My Bonnie (1961),
в записи которого приняли участие тогда ещё практически никому не известные
The Beatles.
27 марта 2011 он выступал в московском клубе Б2, на 11-летии ресурса
Beatles.ru. Присутствовал там и ваш покорный слуга. И, чтобы унести как
можно больше впечатлений, (включая автограф и совместные снимки) я записал
почти весь концерт на плеер-диктофон Ritmix RF-9700. Просто, на память.
Звук получился как на Beatles in Star Club. Как по качеству, так и по духу.
И вот решил выложить, в память о Тони. ..."
eggmann (rutracker.org)
"March 27, 2011 he performed in Moscow B2 club on the 11th anniversary of
the Beatles.ru. Was there, and yours truly. And to carry as many
impressions (including autograph and joint pictures) I wrote almost the
entire concert on the player-recorder Ritmix RF-9700. Just as a keepsake.
The sound was as Beatles in Star Club. Both in quality and spirit. And so I
decided to post in memory of Tony." eggmann (rutracker.org)
01 Introducing
02 Bright Lights Moscow City
03 What'd I Say
04 Whole Lotta Shakin' Goin On
05 Yesterday (parody)
06 Skinny Minny
07 Fever
08 All Right Now
09 High School Confidential (vocal Денис Мажуков)
10 My Bonnie
TEXT
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The Shadows - Live At Abbey Road, Live At The Liverpool Empire (2CD Set)
Posted: 24 Jan 2015 10:17 AM PST
http://musicofsixties.blogspot.com/2015/01/the-shadows-live-at-abbey-road-live-at.html
In 2001, See for Miles released Live at Abbey Road/Live at the Liverpool
Empire, which combined a pair of albums by the Shadows on one compact disc
-- Live at Abbey Road (originally recorded in 1982) and Live at the
Liverpool Empire (originally recorded in 1989).
TEXT
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VA- Frantic Early Rock Instrumentals
Posted: 24 Jan 2015 10:09 AM PST
http://musicofsixties.blogspot.com/2015/01/va-frantic-early-rock-instrumentals.html
A great collection released in Holland, containing 33 rare, wild sides of
instrumental rock n' roll.
TEXT
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The Grodes/Tongues Of Truth /Dearly Beloved - Let's Talk About Girls!
(1964-1968)
Posted: 24 Jan 2015 01:34 PM PST
http://musicofsixties.blogspot.com/2015/01/grodes-dearly-beloved-lets-talk-about.html
The Grodes, sometimes known as The Tongues of Truth, were a garage rock
band from Tucson, Arizona, that featured lead singer and songwriter Manny
Freiser, and were active between late 1965 and 1967. They are best
remembered for two Manny Freiser written songs, “Cry a Little Longer” and
the original version of “Let’s Talk about Girls" (recorded as The Tongues
of Truth), later covered by The Chocolate Watchband.
Freiser also wrote several songs for fellow Tucson band, The Dearly
Beloved. Many of the songs recorded by both The Grodes and The Dearly
Beloved are included on the CD compilation Let's Talk About Girls! Music
From Tucson 1964-1968.
http://www.snipview.com/q/The%20Grodes
http://www.dantiques.com/tucsonmusic/dearlybeloved.htmlhttp://www.60sgaragebands.com/dangates.htmlhttp://ontheflip-side.blogspot.ru/2014/08/the-tongues-of-truth-aka-grodes-lets.html
The Grodes
One of the more talented garage bands of the mid-'60s, with a more
professional and pop/rock bent than the average garage outfit. The Grodes
cut a half-dozen singles between 1965 and 1967, several of which charted in
their hometown of Tucson, AZ. They sported a pleasantly driving, melodic
sound with obvious debts to the Beatles, the Rolling Stones, the Zombies,
the Kingsmen, the Byrds, the Mamas and the Papas, and frat rock, but
ultimately didn't offer anything original enough to make them stand out
from the pack. Their most lasting contribution arose when they briefly
changed their names to the Tongues of Truth and cut the
uncharacteristically tough punker "Let's Talk About Girls," which was
covered in a much more famous version (later anthologized on Nuggets) by
the Chocolate Watchband. The Grodes broke up in 1968 after briefly adding
female singer Patti McCarron; lead singer and songwriter Manny Freiser
married her and teamed up with her professionally in the soft rock duo Fire
& Rain, who released an album for Mercury in 1973. ~ Richie Unterberger,
Rovi
The Dearly Beloved
Along with the Grodes, the Dearly Beloved were Tucson, AZ's top group in
the mid-'60s. They started out in 1963 as a surf music combo called the
Intruders, who were heavily influenced by the Ventures, and added singer
Larry Cox to their lineup in early 1964. The Intruders cut one
single, "Everytime It's You" b/w "Let Me Stay," as a result of winning a
battle of the bands contest. The single wasn't much, although it had a
vaguely Beatlesque quality and showed a band with a lot of potential, and
this was borne out by their local reputation -- by the spring of 1964 they
were one of the hottest bands in Tucson. The quintet was forced to change
their name when they learned that there was a vocal group of the same name
based in Detroit -- they existed very briefly as the Quinstrells and then,
at the behest of Dan Gates, a local disc jockey and producer-manager who
came in to help guide the group's fortunes, they became the Dearly Beloved.
The group broke out of Tucson in 1966, playing clubs as far away as Los
Angeles and teen fairs throughout the west and southwest. They also cut a
strange novelty single, "Peep Peep Pop Pop," which had been foisted on them
by Gates, which became a number one hit in Tucson when issued on the local
Boyd label, which got Columbia Records interested in the band. A Columbia
version of the single was issued and scraped the lower reaches of the
Billboard Hot 100, even getting onto American Bandstand's rate-a-record
segment. They also recorded a complete album for the label that stayed in
the can for 30 years. One lawsuit later, they were on White Whale, with a
lot of promise before them, and then it all fell apart when Larry Cox was
killed in a car crash that took place while the band was driving back to
Tucson, to get Cox to his wedding the next day. The group never recovered,
despite getting an unexpected regional hit out of the song "Flight 13," the
B-side of their one attempt to cut a record after Cox's death.
Their seven singles are passable period pop/garage rock that don't measure
up to the standards of literally hundreds of better obscure '60s garage
groups throughout the country. The evidence from their unreleased Columbia
LP, part of which was issued in 1997 on Dionysus Records' Tucson garage
band collection Let's Talk About Girls, shows that they did have a good ear
for hooks, a hard attack on their instruments that translated well in the
studio, and that Cox was a strong singer. Had he lived, the Dearly Beloved
might've been White Whale's answer to the Leaves. Bassist Shep Cooke went
on to join the Stone Poneys briefly, before returning to the Dearly Beloved
during their final days, and went on to play on albums by Tom Waits, Linda
Ronstadt, and Jackson Browne. ~ Richie Unterberger & Bruce Eder, Rovi
TEXT
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Randy Holden - Early Works (1964-1966)
Posted: 24 Jan 2015 09:51 AM PST
http://musicofsixties.blogspot.com/2015/01/randy-holden-early-works-1964-1966.html
A '60s guitar hero who never seemed to be in the right place at the right
time, Randy Holden has attracted a small but intense cult following for his
work with various California groups in the '60s. After a couple of surf
singles with the Fender IV that featured his inventive reverbed fretting,
Holden joined the Sons of Adam, a Los Angeles band that cut three decent
garage-psychedelic singles. Holden's characteristic Jeff Beck-like sustain
can already be heard on these, the best known of which is "Feathered Fish,"
which was penned by Arthur Lee of Love (although Love never recorded it).
When the Sons of Adam broke up, drummer Michael Stuart, in fact, joined
Love, while Holden joined the underrated punky San Francisco psychedelic
band the Other Half. His searing, suspended leads are the highlights of
their sole album (they also recorded a few single-only songs).
Holden is actually best known for his short stint in San Francisco's Blue
Cheer, which bridged psychedelia and heavy metal. Holden replaced Leigh
Stephens, but left during the recording of the third Blue Cheer album, New!
Improved! (he appears on side two only). Holden then recorded an extremely
hard-to-find hard rock album as a solo artist, Population II, for the small
Hobbit label in 1970 before drifting out of the music business. Most of his
work, however, has been reissued sporadically by small labels in the '80s
and '90s.
Randy Holden - Early Works '64-'66
Randy Holden's career spans over 40 years and many different bands. The
first band he played with were The Iridescence back in 1959, their material
being mostly Blues.In the mid Sixties he joined The Fender IV (photo) and
it was here that his guitar sound started to take shape. Then Randy joined
the Sons Of Adam in 1966 and from here he formed The Other Half, a West
Coast Garage Punk band who released 2 albums and 4 singles during the late
1960’s, their self titled album ending up more in psychedelic territory,
but with Randy’s guitar style starting to shine through. When The Other
Half split, Randy replaced Leigh Stephens in the infamous West Coast Proto
Metal band Blue Cheer bringing with him his now legendary guitar style and
immense amplification techniques which took Blue Cheer to levels of sound
never thought possible before.
After recording one album with Blue Cheer (New Improved! 1969) Randy left
to pursue his eternal quest for the ultimate in amplified guitar sound and
teamed up with drummer Chris Lockheed for what became a legendary solo
album, Population II (1970) and they toured America with this ‘nuclear
powered’ band that featured 16 Sunn amps (this was just for Randy!!). The
album never officially got released and Randy had some bad experiences with
all his kit being stolen and he eventually turned his back on the music
industry, unfortunately never really getting the recognition he deserved as
a pioneering guitarist.In the 1990’s after many months of ‘pestering’ by an
obsessive fan Randy picked up a guitar again and headed into the studio.In
1996 Randy released Guitar God, featuring former Blue Cheer drummer Paul
Whaley on an unsuspecting public and it went down a storm. Recorded in 1997
and released in 2001 was the follow up, Guitar God 2001 with Randy Holden
firmly back in the seat using an awesome custom ‘Glass’ guitar made for him
as a present from his wife. (Pooters Psychedelic Shack)
Long overdue comp of pre Blue Cheer garage psych featuring Randy holden.
All of the Sons Of Adam recordings including previously unheard stuff is
here along with The Fender IV's entire output. Essential. (Freak Emporium)
http://www.randyholden.com/
http://www.pooterland.com/index2/looking_glass/randy_holden/randy_holden.html
http://www.quazoo.com/q/The_Fender_IVhttp://www.california-ballroom.info/bands/sons-of-Adam.htm
http://love.torbenskott.dk/sonsofadam.asphttp://www.coolhand-records.com/list/west_corst_p.html
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The Dearly Beloved - Rough Diamonds The History Of Garage Band Music
(1965-1967)
Posted: 24 Jan 2015 08:45 AM PST
http://musicofsixties.blogspot.com/2015/01/the-dearly-beloved-rough-diamonds.html
Along with the Grodes, the Dearly Beloved were Tucson, AZ's top group in
the mid-'60s. They started out in 1963 as a surf music combo called the
Intruders, who were heavily influenced by the Ventures, and added singer
Larry Cox to their line-up in early 1964. The Intruders cut one
single, "Everytime It's You" b/w "Let Me Stay," as a result of winning a
battle of the bands contest. The single wasn't much, although it had a
vaguely Beatle-esque quality and showed a band with a lot of potential, and
this was borne out by their local reputation--by the spring of 1964 they
were one of the hottest bands in Tucson. The quintet was forced to change
their name when they learned that there was a vocal group of the same name
based in Detroit--they existed very briefly as the Quinstrells and then, at
the behest of Dan Gates, a local disc jockey and producer-manager who came
in to help guide the group's fortunes, they became the Dearly Beloved.
The group broke out of Tucson in 1966, playing clubs as far away as Los
Angeles and teen fairs throughout the west and southwest. They also cut a
strange novelty single, "Peep Peep Pop Pop," which had been foisted on them
by Gates, which became a No. 1 hit in Tucson when issued on the local Boyd
label, which got Columbia Records interested in the band. A Columbia
version of the single was issued and scraped the lower reaches of the
Billboard Hot 100, even getting onto American Bandstand's rate-a-record
segment. They also recorded a complete album for the label that stayed in
the can for 30 years. One lawsuit later, they were on White Whale, with a
lot of promise before them, and then it all fell apart when Larry Cox was
killed in a car crash that took place while the band was driving back to
Tucson, to get Cox to his wedding the next day. The group never recovered,
despite getting an unexpected regional hit out of the song "Flight 13," the
B-side of their one attempt to cut a record after Cox's death.
Their seven singles are passable period pop/garage rock that don't measure
up to the standards of literally hundreds of better obscure '60s garage
groups throughout the country. The evidence from their unreleased Columbia
LP, part of which was issued in 1997 on Dionysus Records' Tucson garage
band collection Let's Talk About Girls, shows that they did have a good ear
for hooks and a hard attack on their instruments that translated well in
the studio, and Cox to be a strong singer. Had he lived, the Dearly Beloved
might've been White Whale's answer to the Leaves.
Bassist Shep Cooke went on to join the Stone Poneys briefly, before
returning to the Dearly Beloved during their final days, and went on to
play on albums by Tom Waits, Linda Ronstadt, and Jackson Browne.
http://www.60sgaragebands.com/dangates.html
16 tracks, including several of their singles, some previously unreleased
1966 Columbia demos, and a radio promo. "Keep It Movin'" and "Wait Till The
Mornin'" are pretty catchy rockers, but otherwise this is rather generic
stuff that doesn't warrant an archival release. Includes meticulous liner
notes by Lee Joseph of the modern day garage revival band Yard Trauma.
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The Wilde Knights (aka Furys,Piepers IV...) - Beaver Patrol - Rough
Diamonds:The History Of Garage Band Music (1962-1968)
Posted: 24 Jan 2015 08:34 AM PST
http://musicofsixties.blogspot.com/2015/01/the-wilde-knights-aka-furyspiepers-iv.html
A regional '60s garage band with a tangled history, the Wilde Knights were
nevertheless in their brief lifespan responsible for two of the all-time
garage classics. "Beaver Patrol," featured on Pebbles, Vol. 1, was perhaps
the lewdest '60s garage single. They also recorded the original version
of "Just Like Me," which Paul Revere bought from group member and
co-songwriter Rick Dey for a few thousand dollars; Revere & the Raiders
covered the tune in 1965 for their first really big smash.
The Wilde Knights themselves only issued a couple of singles, both in 1965.
Prior to that, they had played under the names of the Furys and Pipers IV,
releasing a couple of decent Northwest frat rock singles in 1962-63. After
the Wilde Knights days, the lineup evolved into Genesis, King Biscuit
Entertainers, and American Cheese, all of whom put out generic singles on
various tiny labels in the late '60s. The best tracks from the whole
menagerie of Wilde Knights-family bands were assembled on a reissue LP in
the mid-'80s.
Only three of the 13 songs on this compilation were actually released under
the Wilde Knights name (including "Beaver Patrol" and the original "Just
like Me," which is tamer than the famous Paul Revere version). Side one was
recorded by earlier versions of the band under the Furys and Pipers IV
monikers; this is fairly tough Northwest frat rock, sometimes instrumental,
with a prominent organ and R&B influence. Side two, after the Wilde Knights
cuts, is filled out with a couple of pop/rock tunes by Genesis, and a bad
hard rock thing by King Biscuit Entertainers. Certainly this is more of a
document of a typical ensemble of the times than anything exciting or
significant. But garage collectors will find some decent things here,
although the two standout items ("Beaver Patrol" and "Just like Me") have
been available on garage compilations. Includes extensive history by garage
scholar Greg Shaw.
The Furys turned into the Wilde Knights around 1965 and they (Rich and
Rick) wrote and recorded the original "Just Like Me", that Paul Revere and
the Raiders had a huge hit with. Pat Benetar did a cover of "Just Like Me"
as well. In that same recording session in Los Angeles in 1965, they
recorded "Beaver Patrol" which was a little before it's time when it comes
to being politically incorrect. "Beaver Patrol" was covered by a British
group called "Pop Will Eat Itself". The Furys / Wilde Knights played many
venues on the West coast including many night clubs in Los Angeles and San
Francisco area. In 1965 we opened for the Rolling Stones and the Byrds in
San Jose, CA., and appeared with several other notables including The Beach
Boys, Jan and Dean, Sonny and Cher, Bobby Bare (All American Boy), and Paul
Revere and the Raiders. A good history was written and appeared on an
album of much of their music released on Voxx in 1984 called "The Wilde
Knights".... Diamonds in The Rough... A History of Garage Band Music.
http://pnwbands.com/wildeknights.html
The Wilde Knights - Beaver Patrol
If there was ever an archetypical garage/punk tune then it would have to
be "Beaver Patrol". Unless the meaning has changed significantly over the
years I don't see how could ever have hoped to get any airplay with this
song.
The album covers the evolution of this northwest band through their many
incarnations from 1962 to 1968. Other than the title track there are no
real standouts, most are rather tame pop and low tier garage rockers. It's
an interesting chronicle of how musical directions were changing during
this dynamic time.
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Phil & The Frantics - Rough Diamonds:The History Of Garage Band Music
(1964-66)
Posted: 24 Jan 2015 08:03 AM PST
http://musicofsixties.blogspot.com/2015/01/phil-frantics-rough-diamondsthe-history.html
One of the highlights of the early Pebbles volumes was Phil & the
Frantics'"I Must Run," an obscure single which captured the early Zombies'
sound with uncanny accuracy. The close resemblance, in fact, was no
coincidence: so much of the melody and arrangement was lifted from the
obscure Zombies' B-side "I Must Move" that the Frantics would have surely
lost a plagiarism suit. The Phoenix-based band began as a much more
frat-rock based act, adapting to the British Invasion sound after 1964.
They recorded a few singles in the mid-'60s and scored a few local hits, "I
Must Run" (which was produced by Waylon Jennings) being the biggest.
Nothing else they recorded, however, was as memorable as that one Zombies
ripoff.
Phil & The Frantics - (1964-66)
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Neal Ford & The Fanatics - Neal Ford & The Fanatics (1968)
Posted: 24 Jan 2015 05:52 AM PST
http://musicofsixties.blogspot.com/2015/01/neal-ford-fanatics-neal-ford-fanatics.html
Based in Houston, Neal Ford & the Fanatics never had much of an impact
outside of Texas but they were one of the stronger of the legions of
regionally popular psychedelic/garage outfits. Never as wild as Austin's
the 13th Floor Elevators, Ford had a bigger, brighter sound, one that
certainly showed a deep appreciation for the British Invasion but also
found space for swirling, insistent organ and a facility with an R&B groove
that wasn't quite common among other garage bands. Ironically enough, Ford
& the Fanatics wound up hampered by the very thing that made them
distinctive: they were poppier and lighter than their peers, particularly
their Texas peers, and that made labels eager to package them in an even
lighter setting, a commercially minded move that never paid off.
Nevertheless, the group amassed a nice, tidy legacy that can be heard on
Ace's excellent 2013 compilation, Good Men.
A native of San Antonio, Neal Ford spent some childhood time in Michigan's
Upper Peninsula before he went back to Texas to attend high school in
Houston. He wound up leading a band called the Ramadas, who largely played
R&B covers, and they came to the attention of Texas record man Major Bill
Smith. The Ramadas released a couple singles on Philips in 1963, then moved
to New World where they were now known as the VIPs. Around this time, Ford
and his band fell under the spell of British Invasion and that influence
would hold until late 1964, when he returned to active rock duty after a
year's sojourn in the military. By early 1965, the lineup of the Fanatics
fell into place, featuring Ford on vocals, Steve Ames on guitar and vocal,
W.T. Johnson on bass, Lanier Greig on keyboards, John Cravey on drums, and
Johnny Stringfellow on guitar. They knocked out "I Will Not Be Lonely" for
Gina Records and it got some attention in Houston and, over the next few
months, they built their audience through consistent appearances around
town, which continued even when Ford was called back to boot camp. The
group kept performing and Ford returned at the end of the year, after which
they cut some sides in January 1966. These were the first songs released to
Neal Ford & the Fanatics and soon afterward, Ames was replaced by Jon
Pereles, who was the lead guitarist and Ford's vocal sparring partner. The
group's third single, "I Will If You Want To," was, upon its September 1966
release, the group's most popular to date and they started getting
attention outside of Houston, which led to more commercial-oriented
sessions that fall.
Early in 1967, "Gonna Be My Girl" wound up catching fire in the Houston
region and the group seemed poised for a breakthrough but its sequel, "Wait
for Me," didn't do quite as well. Nevertheless, 1967 saw Neal Ford & the
Fanatics playing the gulf region to big audiences and they started to
record material for an album -- more than enough, actually, with some of
the leftovers surfacing decades later on Ace's Good Men comp. Hickory
released the group's debut album in November 1967, after Stringfellow was
drafted. The eponymous album didn't do well, nor did the singles that
followed in 1968, each moving the band closer to the mainstream.
Nevertheless, none of these commercially oriented records resulted in an
actual hit. One more single followed in 1969 for ABC but the group
disbanded not long afterward. Ford continued to play with band into
the '70s -- including with the Neal Ford Foundation, which released an
album in 1972 -- but for the most part they were remembered for their
earliest, edgiest singles and garage aficionados remembered them for their
versatility.
NEAL FORD & THE FANATICS were a 1960's rock band from Houston, Texas.
They released one LP on the Hickory label, along with a number of singles
on Hickory and other labels. Their songs were strong and the band was
tight, playing regularly at skating rinks, shopping malls and night clubs
like The Catacombs and The Living Eye. I was fortunate to see the band
play a set at Memorial City Mall in 1968. It was the era of hip huggers,
bell bottoms and miniskirts, and the crowd had a great time listening to
the groovy sounds of NEAL FORD & THE FANATICS!
http://thompsonian.info/neal-ford-fanatics.html
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The Sixpentz - Summer Girl - The Complete Recordings
Posted: 24 Jan 2015 05:40 AM PST
http://musicofsixties.blogspot.com/2015/01/the-sixpentz-summer-girl-complete.html
The Fun And Games evolved out a Houston, Texas group, the Six Pents.
Several members -- Rock Romano (guitar/vocals), Mike Cemo (drums), Paul
Guillet (lead guitar), and John T. Bonno (bass) -- had played together in a
high school band before joining forces with Richard Bain (vocals), D.J.
Greer (piano), Sam Irwin (vocals/tambourine) and Carson Graham (drums). In
1964-1965, they became the house band at Houston's La Maison club, and
recorded at Andrus Studios in Houston. After their first single, the Six
Pents became The Sixpentz, and signed with Mainstream Records. The Sixpentz
released two singles on Brent, a subsidiary of Mainstream (the label also
released material by Word, who became Euphoria after they moved to L.A.).
Eventually, the Sixpentz learned there was already a band called Sixpence,
so, to avoid future confusion, they decided another name change was due,
and became the Fun And Games Commission. Their first single -- "Someone
Must Have Lied" -- was issued under this name before the group finally
decided to shorten their name to the Fun And Games. They eventually came to
the attention of Los Angeles-based singer/songwriter/producer Gary Zekley,
who, in the spring of 1967, had written a song called "Yellow Balloon" for
Jan and Dean while producing a concept album of theirs, Save For A Rainy
Day. Zekley knew the sunshine pop confection was a potential hit, so he
re-recorded it -- under the group name Yellow Balloon -- with several of
session musicians, and actor/musician Don Grady (who had already been
recording for the Canterbury label with his own group, the Windupwatch
Band). This group's soft-rock version scored a Top Thirty hit, while Jan
and Dean's version failed to chart. Sensing he could find similar success
with the Fun And Games, Zekley helped them secure a new record contract
with Russ Regan's UNI Records. Shortly before signing, John T. Bonno and D.
J. Greer were replaced by Joe Dugan (keyboards) and Joe Romano, on bass.
Joe Romano went on to play with A 440 with future Jesus Christ Superstar
actor/singer Ted Neeley. Zekley wrote and produced the Fun And Games' first
single, and produced their 1969 album, Elephant Candy, co-writing seven of
the twelve tracks with songwriting partner Mitch Bottler (in 1969, Zekley
and Bottler would also pen "I'd Wait A Million Years", a huge hit for the
Grass Roots). The Fun And Games'"Grooviest Girl In The World" climbed to
78 in the U.S. Top 100. During this same time, Regan unveiled the group at
a huge music industry showcase at a club in Los Angeles, but -- once
onstage -- singer Sam Irwin proceeded to insult many of the UNI staffers.
Shortly after this obvious display of poor judgment, Regan completely
pulled the plug on promoting the band. They dissolved not too much later.
Rock Romano went on to form Doctor Rockit and the Sisters of Mercy. After
he and the Sisters eventually split, and he continued to front Doctor
Rockit. He also played guitar and bass with the Sheetrockers and bass with
Duck Soup, an Austin, Texas group fronted by former Fun And Games vocalist
Irwin.
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