Ktzat Acheret - Ktzat Acheret (1974)
Album: Ktzat Acheret (Nonames) - Ktzat Acheret
Released: 1974
Styles: Jazz-, Prog-Rock, Canterbury Scene
Israphon AAD 94104-2
I would like to recommend one of the better progressive rock bands that was ever created. The Hebrew name of the band is Kzat Aheret (in English this translates to "A Little Different"). But besides the Hebrew name, on the album cover, there is one more name - "Nonames". They are a band that was created in Israel in 1974, by a three very talented musicians and composers; Shem-Tov Levi-flute and voices [mainly], Shlomo Ydov-guitars and voices [mainly], Shlomo Gronich-keybords and voices [mainly]. I write "mainly" because they played many more instruments like drums and string instruments. A very astonishing band for Israel in those days. They were experienced in many progressive styles, like a very sophisticated psychedelic style, with classical and extravagant improvisations and forms, with melodic and dissonant melodies, and with a theatrical style of humor in many episodes, and sometimes were influenced with their own folk music. They used great orchestration. They released their only album in '74 and published many singles. - New Gibraltar Encyclopedia Of Progressive Rock
...Another important artist who emerged by 1971 was Shlomo Gronich, son of a music teacher and a child prodigy. He grew up on classical music until he discovered the Beatles. After his army service, he became professional and by 1971 his first album "Why Didn't You Tell me?" was released. This was the first Israeli prog-rock album and a very revolutionary work. It comprised many facets of his complex music and personality. The influences were numerous from his classical background through Jazz, Underground rock, traditional Jewish music, Cabaret music and the title track, which captured him screaming, crying and freaking out on the piano and vocals. The album had a very desperate atmosphere and it is an essential album for everyone who wants to hear the development of Israeli prog.
The album failed commercially, and Gronich went on collaboration with another talented musician Mathi Caspi. Caspi who had a similar background was a composer/arranger/producer and multi instrumentalist. They started writing songs and touring, the result of this collaboration was "Behind The Sounds" another milestone of Israeli prog. This live album featured Gronich on piano and vocals and Caspi on acoustic guitar and vocals and in spite of the scarce instrumentation, they managed to create a full and compelling sound. The music included the usual blend of Classical music, Jazz, Cabaret music, Rock and even some Brazilian influences, it ranged from the beautiful to the frightening, from rather accessible songs to sheer avant-garde. This is another essential Israeli prog album.
After this, Caspi had gone solo and gradually abandoned rock, concentrating on other directions such as bossanova, reggae and so on. The two reunited for a tour and another album by 1984, but this was rather disappointing.
By 1973 Israel had been attacked by several Arab countries, which led to a terrible war The Yom Kippur War, this war was very traumatic for the Israeli people and put a stop to all musical and cultural activities in Israel of that era. After the war, many artists had tried to express their pain. Gronich had teamed up with two other talented youngsters Shem Tov Levy and Shlomo Ydov. With Gronich on keyboards, percussion and vocals, Levy on flute, keyboards percussion and vocals and Ydov on guitars, bass, percussion and vocals and with assistance from several session musicians they recorded a brilliant album under the name Ktzat Acheret ("A Little Different") or as they called themselves in English "Nonames". This album had reflected some of the pain and anguish of the Yom Kippur war and was very varied musically. The group at this stage was very influenced by groups such as Gentle Giant, Yes and The Mahavishnu Orchestra and it was reflected in their music, but they also add their own dose of Jazz, Classical Avant-garde and Middle and Far Eastern music. This album is a masterpiece of Israeli prog and is essential. After a while, the band split due to Gronich's departure to USA... - The History O Israely Progressive Rock by Gil Keltch, New Gibraltar Encyclopedia Of Progressive Rock
I would like to thank my friend Gil for introducing me to an expanded 70s Israeli prog scene, and a wonderful prog album by the band Nonames(or Ktzat Acheret as they are known in Israel). Like most prog collectors in the US, Europe, and South America the only Israeli prog/psych bands that I was aware of for many years were The Churchills, Zingale, and Sheshet. But the 70s prog scene in Israel produced dozens of albums, by two dozen bands or so, that collectors will want to get their hands on. Nonames was a mid-70s project led by charismatic composer/singer Shlomo Gronich, and his friends Shlomo Ydov and Shem Tov Levy. Their only album together, released in 1975, is a classic. The new listener will quickly notice a natural mix of prog, classical, jazz, country/folk/rock guitar, traditional Jewish music(Eastern European), and Israeli folk. The ease that the 3 musicians play various styles of music can be compared to Gentle Giant, yet Nonames aren't as tricky as they favor a mellow, laid-back, attitude that reminds me of Quella Vecchia Locanda and similar Italian bands. Dozens of musical instruments appear as the album unfolds which include traditional guitar, bass, and drums along with piano, flute, acoustic guitar, violin, Moog synth, and mellotron. What really impressed me, was how unpredictable most of the melodies are. As soon as your ears guess that one of the musicians will hit a certain note, he instead goes for an unexpected note, chord, or scale. The instrumental sound is full, yet sparse(yes, the description seems like a contradiction, but it fits perfectly) and colorful. The vocals throughout the album are beautiful. The majority of the album is in Hebrew, and 2 tracks are in English(I prefer the Hebrew vocals, but the English tracks are ok). The vocal interaction between the 3 musicians has a 70s style that reminded me of a mixture of I Giganti, Quella Vecchia Locanda, and the gentle style of Gruppo 2001. There is also a humorous aspect to some of the tracks, which gives their sometimes "serious" sections a release. The humor is easy to catch if you don't know Hebrew, because it's more theatrical in nature. Overall, what a find! I'm surprised that this album has never been mentioned within the prog community until now; international prog collectors, and especially fans of Italian prog, will love the music here. - taken from MIO Records review
Shlomo Gronich - Piano, Fender Rhodes, Hammond, Synthi, Mellotron, Percussion, Vocals
Shlomo Ydov - Acoustic, Classic, Electric Guitars, Bass, Percussion, Vocals
Shem Tov Levi - Flutes, Piano, Percussion, Vocals
1. Travelling - 3:12
2. Guru - 4:35
3. The Little Prince - 2:43
4. Shemi's Piece - 4:07
5. Pink Skies - 4:33
6. Spring - 2:06
7. Two Chinese - 3:46
8. Quinta - 4:21
9. The Echo - 3:12
10. 204 - 5:18
11. Sweet Song - 3:32
12. Bissalad - 1:42
Thursday, June 28, 2012
The Five Americans - Western Union (2006)
The Five Americans - Western Union (2006)
1. Western Union 2:38
2. Good Times 1:59
3. Zip Code 3:18
4. I'm Feeling O.K. 2:25
5. It's A Cryin' Shame 2:34
6. The Train 3:17
7. Evol-Not Love 2:24
8. Slippin' And Slidin' 1:58
9. Reality 2:19
10. Tell Ann I Love Her 2:13
11. Sound Of Love 2:29
12. No Communication 2:13
13. Say That You Love Me 1:47
14. It's You Girl 2:04
15. I See The Light 2:13
16. Don't Blame Me 2:10
17. Big Cities 3:12
18. Stop Light 2:24
19. Virginia Girl 2:27
20. 7-30 Guided Tour 2:40
1. Western Union 2:38
2. Good Times 1:59
3. Zip Code 3:18
4. I'm Feeling O.K. 2:25
5. It's A Cryin' Shame 2:34
6. The Train 3:17
7. Evol-Not Love 2:24
8. Slippin' And Slidin' 1:58
9. Reality 2:19
10. Tell Ann I Love Her 2:13
11. Sound Of Love 2:29
12. No Communication 2:13
13. Say That You Love Me 1:47
14. It's You Girl 2:04
15. I See The Light 2:13
16. Don't Blame Me 2:10
17. Big Cities 3:12
18. Stop Light 2:24
19. Virginia Girl 2:27
20. 7-30 Guided Tour 2:40
The Easybeats - Friday On My Mind (1967)
The Easybeats - Friday On My Mind (1967)
1. River Deep, Moutain High 3:59
2. Do You Have A Soul (Edited LP Version) 2:41
3. Saturday Night 3:27
4. You Me, We Love 3:23
5. Pretty Girl 2:17
6. Friday On My Mind 2:43
7. Happy Is The Man 2:43
8. Hound Dog 3:19
9. Who'll Be The One 2:38
10. Made My Bed Gonna Lie In It 2:08
11. Remember Sam 2:34
12. See Line Woman 3:16
13. Heaven And Hell 2:43
1. River Deep, Moutain High 3:59
2. Do You Have A Soul (Edited LP Version) 2:41
3. Saturday Night 3:27
4. You Me, We Love 3:23
5. Pretty Girl 2:17
6. Friday On My Mind 2:43
7. Happy Is The Man 2:43
8. Hound Dog 3:19
9. Who'll Be The One 2:38
10. Made My Bed Gonna Lie In It 2:08
11. Remember Sam 2:34
12. See Line Woman 3:16
13. Heaven And Hell 2:43
The Bystanders - Birth Of Man (1990)
The Bystanders - Birth Of Man (1990)
Label: See For Miles
One of the few Welsh bands to release records on a fairly regular basis in the mid to late '60s, the Bystanders are chiefly notable not for their own derivative music, but because they evolved into the Welsh progressive rock group Man. As the Bystanders, they managed to release eight singles in the U.K. between 1965 and 1968, competently plugging into Merseybeat, blue-eyed soul, and harmony pop trends without developing any clear vision of their own or landing any superb material. Slight psychedelic hues colored some of their final tracks, which pointed the way into more original and progressive directions that the group would embrace when it mutated into Man.
The Bystanders formed long before the dawn of Man in the South Wales town of Merthyr Tydfil in 1962. They made one Merseybeat-Four Seasons hybrid single for the independent Pylot label (in fact, it was the only record the company ever released) in 1965 before picking up a new manager, George Cooper, who had handled major British pre-Beatles rock singers Joe Brown and Marty Wilde. In 1966 they got a contract with Pye, who put out seven singles by the group over the next couple of years without breaking them as a significant seller.
Perhaps, surprisingly given their later excursions in Man, the Bystanders were very much a pop group, giving the impression of sailing whichever way the wind was blowing, and writing little of their own material. Their early singles showed the pronounced influence of American harmony groups with high vocal lines, such as the Four Seasons, Beach Boys, and lesser known pop acts like the Happenings. In 1967 and 1968 they moved into somewhat more sophisticated, but still poppy, material that recalled the fluff of late '60s California sunshine pop. The group, which had not recorded any of their own compositions prior to 1968 (except on their debut single), finally did write their two final B-sides, which staked out a psychedelic pop direction. With the departure of singer Vic Oakley and the addition of guitarists Deke Leonard and Martin Ace (both from the Dream) in the late '60s, the Bystanders changed their name to Man and embarked on a different course.
1. That's The End 2:33
2. This Time 1:41
3. (You're Gonna) Hurt Yourself 2:27
4. Have I Offended The Girl 2:33
5. My Love-Come Home 2:24
6. If You Walk Away 2:20
7. 98.6 3:21
8. Stubborn Kind Of Fellow 3:07
9. Royal Blue Summer Sunshine Day 3:15
10. Royal Blue Summer Sunshine Day (Previously Unreleased) 3:13
11. Make Up Your Mind 2:56
12. Pattern People 2:44
13. Green Grass 2:01
14. When Jezamine Goes 3:17
15. Cave Of Clear Light 3:44
16. This World Is My World 2:23
17. Painting The Time 2:31
Label: See For Miles
One of the few Welsh bands to release records on a fairly regular basis in the mid to late '60s, the Bystanders are chiefly notable not for their own derivative music, but because they evolved into the Welsh progressive rock group Man. As the Bystanders, they managed to release eight singles in the U.K. between 1965 and 1968, competently plugging into Merseybeat, blue-eyed soul, and harmony pop trends without developing any clear vision of their own or landing any superb material. Slight psychedelic hues colored some of their final tracks, which pointed the way into more original and progressive directions that the group would embrace when it mutated into Man.
The Bystanders formed long before the dawn of Man in the South Wales town of Merthyr Tydfil in 1962. They made one Merseybeat-Four Seasons hybrid single for the independent Pylot label (in fact, it was the only record the company ever released) in 1965 before picking up a new manager, George Cooper, who had handled major British pre-Beatles rock singers Joe Brown and Marty Wilde. In 1966 they got a contract with Pye, who put out seven singles by the group over the next couple of years without breaking them as a significant seller.
Perhaps, surprisingly given their later excursions in Man, the Bystanders were very much a pop group, giving the impression of sailing whichever way the wind was blowing, and writing little of their own material. Their early singles showed the pronounced influence of American harmony groups with high vocal lines, such as the Four Seasons, Beach Boys, and lesser known pop acts like the Happenings. In 1967 and 1968 they moved into somewhat more sophisticated, but still poppy, material that recalled the fluff of late '60s California sunshine pop. The group, which had not recorded any of their own compositions prior to 1968 (except on their debut single), finally did write their two final B-sides, which staked out a psychedelic pop direction. With the departure of singer Vic Oakley and the addition of guitarists Deke Leonard and Martin Ace (both from the Dream) in the late '60s, the Bystanders changed their name to Man and embarked on a different course.
1. That's The End 2:33
2. This Time 1:41
3. (You're Gonna) Hurt Yourself 2:27
4. Have I Offended The Girl 2:33
5. My Love-Come Home 2:24
6. If You Walk Away 2:20
7. 98.6 3:21
8. Stubborn Kind Of Fellow 3:07
9. Royal Blue Summer Sunshine Day 3:15
10. Royal Blue Summer Sunshine Day (Previously Unreleased) 3:13
11. Make Up Your Mind 2:56
12. Pattern People 2:44
13. Green Grass 2:01
14. When Jezamine Goes 3:17
15. Cave Of Clear Light 3:44
16. This World Is My World 2:23
17. Painting The Time 2:31
The Buckinghams - Time & Changes/Portraits (1999)
The Buckinghams - Time & Changes/Portraits (1999)
1. Don't You Care (Gary Beisbier; James William Guercio; Jimmy Holvay) 2:32
2. Why Don't You Love Me (Gary Beisbier; Jimmy Holvay) 2:29
3. The Married Life (James William Guercio) 2:49
4. Remember (James William Guercio) 2:30
5. You Are Gone (James William Guercio) 3:33
6. And Our Love (James William Guercio) 2:40
7. I'll Be Back (John Lennon; Paul McCartney) 2:49
8. Mercy, Mercy, Mercy (Joe Zawinul; Johnny "Guitar" Watson) 2:25
9. Pitied Be the Dragon Hunter (James William Guercio; L.D. Fitzgerald) 3:44
10. Foreign Policy (James William Guercio) 4:21
11. Hey Baby (They're Playing Our Song) (Gary Beisbier; Jimmy Holvay) 4:08
12. Susan (Gary Beisbier; Jimmy Holvay) 3:08
13. We Just Know (Carl Giammarese; Dennis Tufano; Marty Grebb; Nick Fortune) 2:52
14. The Mail (Marty Grebb) 1:19
15. I Love All of the Girls (B. Grebb; M. Grebb) 3:24
16. C'mon Home (M. Grebb) 2:48
17. Have You Noticed You're Alive 2:55
18. Inside Looking Out (Dennis Tufano; Marty Grebb) 2:58
19. Big Business Advisor (Marty Grebb) 3:02
20. Just Because I've Fallen Down (Dennis Tufano; Marty Grebb) 4:40
21. Have You Noticed You're Alive (Reprise) 1:47
22. Just Because I've Fallen Down (Dennis Tufano; Marty Grebb) 4:13
23. Any Place in Here (Dennis Tufano; Marty Grebb) 2:03
24. Any Place in Here (Reprise) (Dennis Tufano; Marty Grebb) 1:32
1. Don't You Care (Gary Beisbier; James William Guercio; Jimmy Holvay) 2:32
2. Why Don't You Love Me (Gary Beisbier; Jimmy Holvay) 2:29
3. The Married Life (James William Guercio) 2:49
4. Remember (James William Guercio) 2:30
5. You Are Gone (James William Guercio) 3:33
6. And Our Love (James William Guercio) 2:40
7. I'll Be Back (John Lennon; Paul McCartney) 2:49
8. Mercy, Mercy, Mercy (Joe Zawinul; Johnny "Guitar" Watson) 2:25
9. Pitied Be the Dragon Hunter (James William Guercio; L.D. Fitzgerald) 3:44
10. Foreign Policy (James William Guercio) 4:21
11. Hey Baby (They're Playing Our Song) (Gary Beisbier; Jimmy Holvay) 4:08
12. Susan (Gary Beisbier; Jimmy Holvay) 3:08
13. We Just Know (Carl Giammarese; Dennis Tufano; Marty Grebb; Nick Fortune) 2:52
14. The Mail (Marty Grebb) 1:19
15. I Love All of the Girls (B. Grebb; M. Grebb) 3:24
16. C'mon Home (M. Grebb) 2:48
17. Have You Noticed You're Alive 2:55
18. Inside Looking Out (Dennis Tufano; Marty Grebb) 2:58
19. Big Business Advisor (Marty Grebb) 3:02
20. Just Because I've Fallen Down (Dennis Tufano; Marty Grebb) 4:40
21. Have You Noticed You're Alive (Reprise) 1:47
22. Just Because I've Fallen Down (Dennis Tufano; Marty Grebb) 4:13
23. Any Place in Here (Dennis Tufano; Marty Grebb) 2:03
24. Any Place in Here (Reprise) (Dennis Tufano; Marty Grebb) 1:32
The Buckinghams - Mercy, Mercy, Mercy - A Collection (1991)
The Buckinghams - Mercy, Mercy, Mercy - A Collection (1991)
AMG Biography
by Bill Dahl
If everyone on the northwest side of Chicago who claims to have hung out with the Buckinghams during their heyday had faithfully bought all their releases, the rock group might have sold more records than the Beatles.
Popular attractions while still in high school, the quintet changed its name from the Pulsations to the Buckinghams to reflect the British Invasion craze and signed with Chicago's USA Records in 1966. Backing Dennis Tufano's buoyant lead vocals with prominent harmonies and punchy soul-styled brass, the group came across the wistful "Kind of a Drag," and in short order, the Buckinghams had a million-selling pop chart-topper on their hands. They quickly graduated to recording for Columbia.
As long as songwriter Jim Holvay supplied more material of the same high quality as "Kind of a Drag," the Buckinghams were sitting pretty. Holvay cowrote "Don't You Care," "Hey Baby (They're Playing Our Song)," and the pseudo-psychedelic "Susan," and they all proved to be major hits for the band. The group's R&B roots surfaced on a vocal adaptation of Cannonball Adderley's jazz standard "Mercy, Mercy, Mercy," their second-biggest hit.
But the Buckinghams' fortunes soon changed drastically -- one of the top-selling rock groups of 1967, they managed only one hit after early 1968, and by 1970 the group was kaput. Two original members, guitarist Carl Giammarese and bassist Nick Fortuna, have since revived the Buckinghams for oldies tours.
Tracklist:
1. Kind Of A Drag 2:09
2. Lawdy Miss Clawdy 2:08
3. I've Been Wrong Before 1:56
4. I'll Go Crazy 2:09
5. I Call Your Name 2:13
6. Makin' Up And Breakin' Up 2:13
7. Don't You Care 2:30
8. Mercy, Mercy, Mercy 2:49
9. Hey Baby (They're Playing Our Song) 2:50
10. Susan 2:57
11. Back In Love Again 2:26
12. You Misunderstand Me 2:29
13. Where Did You Come From 2:35
14. This Is How Much I Love You 2:43
15. It's A Beautiful Day (For Lovin') 2:56
16. Difference Of Opinion 4:01
17. I Got A Feelin' 3:26
18. You 4:14
AMG Biography
by Bill Dahl
If everyone on the northwest side of Chicago who claims to have hung out with the Buckinghams during their heyday had faithfully bought all their releases, the rock group might have sold more records than the Beatles.
Popular attractions while still in high school, the quintet changed its name from the Pulsations to the Buckinghams to reflect the British Invasion craze and signed with Chicago's USA Records in 1966. Backing Dennis Tufano's buoyant lead vocals with prominent harmonies and punchy soul-styled brass, the group came across the wistful "Kind of a Drag," and in short order, the Buckinghams had a million-selling pop chart-topper on their hands. They quickly graduated to recording for Columbia.
As long as songwriter Jim Holvay supplied more material of the same high quality as "Kind of a Drag," the Buckinghams were sitting pretty. Holvay cowrote "Don't You Care," "Hey Baby (They're Playing Our Song)," and the pseudo-psychedelic "Susan," and they all proved to be major hits for the band. The group's R&B roots surfaced on a vocal adaptation of Cannonball Adderley's jazz standard "Mercy, Mercy, Mercy," their second-biggest hit.
But the Buckinghams' fortunes soon changed drastically -- one of the top-selling rock groups of 1967, they managed only one hit after early 1968, and by 1970 the group was kaput. Two original members, guitarist Carl Giammarese and bassist Nick Fortuna, have since revived the Buckinghams for oldies tours.
Tracklist:
1. Kind Of A Drag 2:09
2. Lawdy Miss Clawdy 2:08
3. I've Been Wrong Before 1:56
4. I'll Go Crazy 2:09
5. I Call Your Name 2:13
6. Makin' Up And Breakin' Up 2:13
7. Don't You Care 2:30
8. Mercy, Mercy, Mercy 2:49
9. Hey Baby (They're Playing Our Song) 2:50
10. Susan 2:57
11. Back In Love Again 2:26
12. You Misunderstand Me 2:29
13. Where Did You Come From 2:35
14. This Is How Much I Love You 2:43
15. It's A Beautiful Day (For Lovin') 2:56
16. Difference Of Opinion 4:01
17. I Got A Feelin' 3:26
18. You 4:14
The Broken Jug - William (1986)
The Broken Jug - William (1986)
Glitterhouse GR 0664
out of print lp of this outstanding German band
1. A1-William-cr 1:46
2. A2-High Flyin' Bird-cr 2:11
3. A3-Son Of A Gun-cr 2:15
4. A4-Not Guilty-cr 2:04
5. A5-1970-cr 4:31
6. A6-Blackberry Jug Reprise-cr 1:22
7. B1-Promised Land-cr 2:38
8. B2-Theme From William-cr 1:09
9. B3-Feel About You-cr 2:58
10. B4-It's Gonna Rain-cr 2:16
11. B5-1523 Blair-cr 3:40
12. B6-Never Alone-cr 2:14
13. B7-Son Of A Gunfire-cr 2:16
Glitterhouse GR 0664
out of print lp of this outstanding German band
1. A1-William-cr 1:46
2. A2-High Flyin' Bird-cr 2:11
3. A3-Son Of A Gun-cr 2:15
4. A4-Not Guilty-cr 2:04
5. A5-1970-cr 4:31
6. A6-Blackberry Jug Reprise-cr 1:22
7. B1-Promised Land-cr 2:38
8. B2-Theme From William-cr 1:09
9. B3-Feel About You-cr 2:58
10. B4-It's Gonna Rain-cr 2:16
11. B5-1523 Blair-cr 3:40
12. B6-Never Alone-cr 2:14
13. B7-Son Of A Gunfire-cr 2:16
The British Modbeats - Mod ... Is The British Modbeats (1967)
The British Modbeats - Mod ... Is The British Modbeats (1967)
1. Watcha Gonna Do About It 2:21
2. Love's Just A Broken Heart 2:14
3. The Price Of Love 2:06
4. Ain't Nobody Home But Me 2:22
5. Lsd 1:55
6. Land Of A 1000 Dances 2:48
7. Somebody Help Me 1:55
8. Sorrow 2:30
9. More Love 2:08
10. Try To Understand 2:21
11. Don't Answer Me 2:18
1. Watcha Gonna Do About It 2:21
2. Love's Just A Broken Heart 2:14
3. The Price Of Love 2:06
4. Ain't Nobody Home But Me 2:22
5. Lsd 1:55
6. Land Of A 1000 Dances 2:48
7. Somebody Help Me 1:55
8. Sorrow 2:30
9. More Love 2:08
10. Try To Understand 2:21
11. Don't Answer Me 2:18
The Bratchmen - The Easy Sound Of The Bratchmen (1993)
The Bratchmen - The Easy Sound Of The Bratchmen (1993)
1993 IMPORT ON F.F.FASCINATION RECORDS FRANCE 14 TRACKS OF MELODIC 60's INFLUENCED GARAGE-POP
1. Please Please Please 01:29
2. Tell Me 02:33
3. Happy Again 03:55
4. First Time 02:41
5. When It's Over 02:34
6. Wonderful Baby 02:32
7. Do It Again 03:28
8. Love Love Love 02:56
9. Summer Sun Is Back 02:44
10. Mary Ann 01:59
11. Christmas Love 03:05
12. Time for Goodbye 01:55
13. On the Run 03:55
14. Cha Cha Cha (My Baby's Gone With The) 03:18
1993 IMPORT ON F.F.FASCINATION RECORDS FRANCE 14 TRACKS OF MELODIC 60's INFLUENCED GARAGE-POP
1. Please Please Please 01:29
2. Tell Me 02:33
3. Happy Again 03:55
4. First Time 02:41
5. When It's Over 02:34
6. Wonderful Baby 02:32
7. Do It Again 03:28
8. Love Love Love 02:56
9. Summer Sun Is Back 02:44
10. Mary Ann 01:59
11. Christmas Love 03:05
12. Time for Goodbye 01:55
13. On the Run 03:55
14. Cha Cha Cha (My Baby's Gone With The) 03:18
The Box Tops - The Letter-Neon Rainbow (1967)
The Box Tops - The Letter-Neon Rainbow (1967)
1. The Letter 1:55
2. She Knows How 3:08
3. Trains and Boats and Planes 3:48
4. Break My Mind 2:29
5. A Whiter Shade of Pale 4:34
6. Everything I Am 2:20
7. Neon Rainbow 3:04
8. People Make the World 2:31
9. I'm Your Puppet 2:54
10. Happy Times 1:46
11. Gonna Find Somebody 3:02
12. I Pray for Rain 2:26
13. Turn on a Dream 2:50
14. The Letter [Single Version] 1:58
15. Neon Rainbow [Single Version] 3:00
16. Georgia Farm Boy 3:48
1. The Letter 1:55
2. She Knows How 3:08
3. Trains and Boats and Planes 3:48
4. Break My Mind 2:29
5. A Whiter Shade of Pale 4:34
6. Everything I Am 2:20
7. Neon Rainbow 3:04
8. People Make the World 2:31
9. I'm Your Puppet 2:54
10. Happy Times 1:46
11. Gonna Find Somebody 3:02
12. I Pray for Rain 2:26
13. Turn on a Dream 2:50
14. The Letter [Single Version] 1:58
15. Neon Rainbow [Single Version] 3:00
16. Georgia Farm Boy 3:48
The Boots - Smash..! Boom..! Bang...! (2003)
The Boots - Smash..! Boom..! Bang...! (2003)
This single-disc anthology has 28 tracks the Boots recorded between 1965 and 1968, most of them from the singles and debut LP the band released in 1965-1966 with original lead singer Werner Krabbe. In fact, it has most of the material from that LP and those singles, as well as an instrumental demo of one of their more celebrated tracks, the 1966 single "Gaby" (also included in its official 45 version). The few post-1966 tracks are something of an afterthought, but the imbalance is no big loss, as it's the early stuff in which collectors are most interested. It's thus the best compilation of this oddball German band, who put a particularly dour spin on the kind of punky R&B thrashed out British bands like Them and the Pretty Things. What kept them from the top tier of '60s Eurobeat bands was an overreliance on cover material, most of their recorded repertoire coming from British Invasion covers (or the kind of R&B/rock songs British Invasion bands themselves covered). In a way they seem like the darker flipside of another German band that covered a lot of outside material with an idiosyncratic spin, the Lords; whereas the Lords couldn't help interpreting those tunes with an irrepressible wacky cheer, the Boots couldn't seem to avoid doing their covers with a twisted (and heavily accented English) frown. The overall weirdness of their approach does make them worth hearing by serious '60s rock collectors, and they did throw in the occasional interesting original ("Alexander," "Gaby"), as well as the weird "Exodus"-like instrumental "Enchanted Sea" (which strongly recalls the Tornados with its spooky organ and wordless vocals) and a surprisingly accomplished Booker T. & the MG's-inspired take on "Comin' Home." Some of their cover choices, too, are so obscure and off-kilter to merit a listen almost on the steam of the strange idea to choose them in the first place, like the great neglected Zombies flop "Remember When I Loved Her" and a ska-flavored German-language version of Oscar Brown, Jr.'s hipster jazz spiel "But I Was Cool." ~ Richie Unterberger, Rovi
1. Gloria 3:29
2. Dimples 2:56
3. But you never do it, babe 2:32
4. Walkin' in the sand 3:24
5. In the midnight hour 2:28
6. Watch your step 2:56
7. Another tear falls 2:51
8. Gaby 2:32
9. Jump, back baby 1:41
10. Mam keep your big mouth shut 3:12
11. She's about a mover 2:47
12. It ain't necessarely so 2:27
13. What you gonna do about it 2:21
14. Got love if you want it 2:43
15. Boogie children 3:33
16. Enchanted sea 4:01
17. Comin' home 3:06
18. When I loved her 2:18
19. No part of it 2:24
20. It's a man's man's man's world 2:46
21. I don't want to go on withou you 2:56
22. Alexander 2:11
23. Aber ich blieb kühl 2:07
24. One more time 2:49
25. I wish you would 2:52
26. Spoonful 2:55
27. Wreck my life 2:47
28. Gaby (demo) 2:08
This single-disc anthology has 28 tracks the Boots recorded between 1965 and 1968, most of them from the singles and debut LP the band released in 1965-1966 with original lead singer Werner Krabbe. In fact, it has most of the material from that LP and those singles, as well as an instrumental demo of one of their more celebrated tracks, the 1966 single "Gaby" (also included in its official 45 version). The few post-1966 tracks are something of an afterthought, but the imbalance is no big loss, as it's the early stuff in which collectors are most interested. It's thus the best compilation of this oddball German band, who put a particularly dour spin on the kind of punky R&B thrashed out British bands like Them and the Pretty Things. What kept them from the top tier of '60s Eurobeat bands was an overreliance on cover material, most of their recorded repertoire coming from British Invasion covers (or the kind of R&B/rock songs British Invasion bands themselves covered). In a way they seem like the darker flipside of another German band that covered a lot of outside material with an idiosyncratic spin, the Lords; whereas the Lords couldn't help interpreting those tunes with an irrepressible wacky cheer, the Boots couldn't seem to avoid doing their covers with a twisted (and heavily accented English) frown. The overall weirdness of their approach does make them worth hearing by serious '60s rock collectors, and they did throw in the occasional interesting original ("Alexander," "Gaby"), as well as the weird "Exodus"-like instrumental "Enchanted Sea" (which strongly recalls the Tornados with its spooky organ and wordless vocals) and a surprisingly accomplished Booker T. & the MG's-inspired take on "Comin' Home." Some of their cover choices, too, are so obscure and off-kilter to merit a listen almost on the steam of the strange idea to choose them in the first place, like the great neglected Zombies flop "Remember When I Loved Her" and a ska-flavored German-language version of Oscar Brown, Jr.'s hipster jazz spiel "But I Was Cool." ~ Richie Unterberger, Rovi
1. Gloria 3:29
2. Dimples 2:56
3. But you never do it, babe 2:32
4. Walkin' in the sand 3:24
5. In the midnight hour 2:28
6. Watch your step 2:56
7. Another tear falls 2:51
8. Gaby 2:32
9. Jump, back baby 1:41
10. Mam keep your big mouth shut 3:12
11. She's about a mover 2:47
12. It ain't necessarely so 2:27
13. What you gonna do about it 2:21
14. Got love if you want it 2:43
15. Boogie children 3:33
16. Enchanted sea 4:01
17. Comin' home 3:06
18. When I loved her 2:18
19. No part of it 2:24
20. It's a man's man's man's world 2:46
21. I don't want to go on withou you 2:56
22. Alexander 2:11
23. Aber ich blieb kühl 2:07
24. One more time 2:49
25. I wish you would 2:52
26. Spoonful 2:55
27. Wreck my life 2:47
28. Gaby (demo) 2:08
The Bonne Villes - Bringing It Home (1967)
The Bonne Villes - Bringing It Home (1967)
1. Stand By Me 3:05
2. The Monkey Time 2:48
3. Under the Boardwalk 3:25
4. For Your Love 2:08
5. 96 Tears 2:13
6. My Girl 2:26
7. Bring It On Home To Me 2:51
8. Helping Hand 2:39
9. Thank You John 2:33
10. In The Midnight Hour 2:17
11. Who's Afraid of Virginia Woolf 1:35
1. Stand By Me 3:05
2. The Monkey Time 2:48
3. Under the Boardwalk 3:25
4. For Your Love 2:08
5. 96 Tears 2:13
6. My Girl 2:26
7. Bring It On Home To Me 2:51
8. Helping Hand 2:39
9. Thank You John 2:33
10. In The Midnight Hour 2:17
11. Who's Afraid of Virginia Woolf 1:35
The Birds - Clarion Singles Collection (Aus 1966)
The Birds - Clarion Singles Collection (Aus 1966)
Australia
Tracklist:
1. I can't let maggie go 3:35
2. No good without you 2:39
3. I see the rain 3:10
4. Rene 4:02
5. Magic words 3:10
6. Dust in my pants 3:47
Australia
Tracklist:
1. I can't let maggie go 3:35
2. No good without you 2:39
3. I see the rain 3:10
4. Rene 4:02
5. Magic words 3:10
6. Dust in my pants 3:47
The Birds - The Collector's Guide To Rare British Birds (1999)
The Birds - The Collector's Guide To Rare British Birds (1999)
Tracklist:
1. You're On My Mind 2:49
2. You Don't Love Me (You Don't Care) 2:06
3. Leaving Here 2:42
4. Next In Line 2:45
5. No Good Without You Baby 2:39
6. How Can It Be 2:58
7. You're On My Mind - Demo Acetate 2:26
8. You Don't Love Me - Demo Acetate 2:32
9. Say Those Magic Words - Stereo 3:15
10. Daddy Daddy - Stereo Mix 4:09
11. Run Run Run 3:33
12. Good Times 3:23
13. Say Those Magic Words - Backing Track 3:17
14. Daddy Daddy 4:08
15. La Poupee Qui Fait Non 3:38
16. Run Run Run 3:03
17. Daddy Daddy - Backing Track 3:59
18. Granny Rides Again 4:45
Tracklist:
1. You're On My Mind 2:49
2. You Don't Love Me (You Don't Care) 2:06
3. Leaving Here 2:42
4. Next In Line 2:45
5. No Good Without You Baby 2:39
6. How Can It Be 2:58
7. You're On My Mind - Demo Acetate 2:26
8. You Don't Love Me - Demo Acetate 2:32
9. Say Those Magic Words - Stereo 3:15
10. Daddy Daddy - Stereo Mix 4:09
11. Run Run Run 3:33
12. Good Times 3:23
13. Say Those Magic Words - Backing Track 3:17
14. Daddy Daddy 4:08
15. La Poupee Qui Fait Non 3:38
16. Run Run Run 3:03
17. Daddy Daddy - Backing Track 3:59
18. Granny Rides Again 4:45
The Birdmen Of Alkatraz - From The Birdcage (1989)
The Birdmen Of Alkatraz - From The Birdcage (1989)
Tracklist:
1. Puzzle of a downfall child 6:28
2. Beggar girl 4:32
3. Codine 2:31
4. April dancer 2:56
5. Lord of flies 3:03
6. Harshness day 6:42
7. Jack O'diamonds 3:10
8. Birdcage 3:48
9. Anxious colour 2:30
10. Sea of shadows 2:44
11. A musical tribute 3:36
Tracklist:
1. Puzzle of a downfall child 6:28
2. Beggar girl 4:32
3. Codine 2:31
4. April dancer 2:56
5. Lord of flies 3:03
6. Harshness day 6:42
7. Jack O'diamonds 3:10
8. Birdcage 3:48
9. Anxious colour 2:30
10. Sea of shadows 2:44
11. A musical tribute 3:36
The Belfast Gypsies - Them Belfast Gypsies (2003)
The Belfast Gypsies - Them Belfast Gypsies (2003)
The Belfast Gypsies were a direct spin-off of Them, featuring two members who had been in Them for differing spells in the mid-'60s: singer/organist/multi-instrumentalist Jackie McAuley and his brother, drummer Pat McAuley (sometimes also known as John McAuley). With a style very similar to early Them, the Gypsies hooked up with Kim Fowley on one of his London visits in mid-'66. Fowley produced most of the material that ended up on their sole LP (preceded by a couple of unsuccessful singles), which was issued in Scandinavia in August, 1967. A bit of an anachronistic throwback to the R&B/beat-boom sound of a couple years earlier, the LP is a successful approximation of Them's sound, the major drawback being the absence of Van Morrison. Because of packaging that often found the record filed under Them rather than the Belfast Gypsies, and because the band's history was generally ill-documented, few British Invasion groups with a cult following among collectors have had their history as garbled or misrepresented as the Belfast Gypsies. It was only after the first legitimate reissue of the album on CD, more than 35 years later, that the group's true tale emerged. The story is incredibly complex for a band that issued only one LP (and a posthumous one, at that), but basically, the group formed when Them's lineup underwent a particularly volatile shakeup in the middle of 1965. When the smoke cleared, there were actually two different bands laying claim to the Them name. One of them, the famous Them, was headed by Van Morrison, with bassist Alan Henderson the only other original member. The other Them was formed by Pat McAuley and Them's original guitarist, Billy Harrison, and included drummer Skip Alan, bassist Mark Scott, and singer Nick Wymer (who had been in the Pretty Things-like group the Fairies). In late 1965 and early 1966, both groups continued to compete for the Them name, the dispute eventually ending up in court. In the meantime the Harrison-McAuley lineup playing as Them underwent its own lineup shuffles, with Harrison quitting and Skip Alan leaving to join the Pretty Things, briefly replaced by Viv Prince (who Alan himself, ironically, was replacing in the Pretty Things). By the beginning of 1966, the personnel had settled into a quartet with Pat McAuley on drums; his brother Jackie McAuley on lead vocals, organ, harmonica, and occasionally other instruments; guitarist Ken McLeod; and bassist Mark Scott (though all of the musicians played other instruments in addition to their primary ones). In March 1966, however, it was ruled that the name Them belonged to the group headed by Van Morrison, although the ruling only applied in the U.K.. The Pat McAuley band was allowed to play in the U.K. under the name the Other Them, with a much lower visibility on the British circuit than the Van Morrison-fronted Them enjoyed. In May 1966, Kim Fowley met the band and took them into the studio for a few sessions; a final session was recorded without Fowley in Copenhagen at the end of June. Having made little headway in the U.K., they spent most of the summer and the fall of 1966 touring Scandinavia, where they were allowed to use the name Them. Oddly, they never once played live under the name the Belfast Gypsies, although this is the name that they used for their debut single on Island Records that year, "Gloria's Dream"/"Secret Police." Although they had fair success in Scandinavia, the group disbanded near the end of 1966, with only Jackie McAuley going on to do much subsequent recording, both as part of the folk-rock duo Trader Horne (with ex-Fairport Convention singer Judy Dyble) and as a solo artist. When the Belfast Gypsies LP did come out about nine months after the group disbanded, it bore the title Them Belfast Gypsies, with the name Them in huge lettering as part of the album's title on the sleeve. Understandably, then, many collectors have assumed that the album should be credited to Them, rather than to the Belfast Gypsies. Additionally, it's often been written that the Belfast Gypsies were formed after Van Morrison left Them in 1966, with one part of the remaining group (led by Alan Henderson) taking the Them name, and the other billing themselves as the Belfast Gypsies. This, too, is not the case; although Henderson did indeed continue to play and record in a different Them lineup after Morrison left; the Belfast Gypsies had in fact formed back in 1965 (albeit not under that name), about a year before Morrison left Them. As yet another point of confusion, one posthumous Belfast Gypsies single was issued under a yet different name, the Freaks of Nature (which the band never played as while they were together as a unit). It's a tough story to keep straight, but luckily it did result in a worthwhile album, heartily recommended to Them fans, whether you find it filed under the Them or the Belfast Gypsies' name. ~ Richie Unterberger, All Music Guide
--------------------
After a brief band break-up in August 1965, Billy Harrison and Pat McAuley (who had both left the group one month previously) formed a rival Them, competing with the Morrison/Henderson line-up and leading to legal action between the two groups.[18] The latter won the rights to the name in March 1966, while the former, now without Harrison, were only allowed to use 'Other Them' in the U.K. The McAuley brothers became, unofficially, The Belfast Gypsies (or Gipsies), who recorded two singles on Island Records (one released under the name Freaks of Nature) and one Swedish-only album, all produced by Kim Fowley.[19] During this time they toured Europe billed as Them, and released a French E.P. under that name; the band never actually performed billed as the Belfast Gypsies.
Tracklist:
1. (00:02:14) Them - Gloria's Dream
2. (00:03:03) Them - The Crazy World Inside Me
3. (00:03:31) Them - Midnight Train
4. (00:03:51) Them - Aria of The Fallen Angels
5. (00:03:49) Them - It's All Over Now, Baby Blue
6. (00:02:31) Them - People, Let's Freak Out
7. (00:02:27) Them - Boom Boom
8. (00:04:51) Them - The Last Will and Testament
9. (00:03:19) Them - Portland Town
10. (00:02:05) Them - Hey Gyp (Dig The Slowness)
11. (00:04:13) Them - Suicide Song
12. (00:02:32) Them - Secret Police
13. (00:03:40) Them - Portland Town (French EP Mix)
14. (00:03:49) Them - It's All Over Now, Baby Blue (French EP Mix)
15. (00:03:31) Them - Midnight Train (French EP Mix)
16. (00:02:00) Them - The Gorilla (French EP mix)
17. (00:02:39) Them - Secret Police (45 Mix)
18. (00:02:15) Them - Gloria's Dream (45 Mix)
The Belfast Gypsies were a direct spin-off of Them, featuring two members who had been in Them for differing spells in the mid-'60s: singer/organist/multi-instrumentalist Jackie McAuley and his brother, drummer Pat McAuley (sometimes also known as John McAuley). With a style very similar to early Them, the Gypsies hooked up with Kim Fowley on one of his London visits in mid-'66. Fowley produced most of the material that ended up on their sole LP (preceded by a couple of unsuccessful singles), which was issued in Scandinavia in August, 1967. A bit of an anachronistic throwback to the R&B/beat-boom sound of a couple years earlier, the LP is a successful approximation of Them's sound, the major drawback being the absence of Van Morrison. Because of packaging that often found the record filed under Them rather than the Belfast Gypsies, and because the band's history was generally ill-documented, few British Invasion groups with a cult following among collectors have had their history as garbled or misrepresented as the Belfast Gypsies. It was only after the first legitimate reissue of the album on CD, more than 35 years later, that the group's true tale emerged. The story is incredibly complex for a band that issued only one LP (and a posthumous one, at that), but basically, the group formed when Them's lineup underwent a particularly volatile shakeup in the middle of 1965. When the smoke cleared, there were actually two different bands laying claim to the Them name. One of them, the famous Them, was headed by Van Morrison, with bassist Alan Henderson the only other original member. The other Them was formed by Pat McAuley and Them's original guitarist, Billy Harrison, and included drummer Skip Alan, bassist Mark Scott, and singer Nick Wymer (who had been in the Pretty Things-like group the Fairies). In late 1965 and early 1966, both groups continued to compete for the Them name, the dispute eventually ending up in court. In the meantime the Harrison-McAuley lineup playing as Them underwent its own lineup shuffles, with Harrison quitting and Skip Alan leaving to join the Pretty Things, briefly replaced by Viv Prince (who Alan himself, ironically, was replacing in the Pretty Things). By the beginning of 1966, the personnel had settled into a quartet with Pat McAuley on drums; his brother Jackie McAuley on lead vocals, organ, harmonica, and occasionally other instruments; guitarist Ken McLeod; and bassist Mark Scott (though all of the musicians played other instruments in addition to their primary ones). In March 1966, however, it was ruled that the name Them belonged to the group headed by Van Morrison, although the ruling only applied in the U.K.. The Pat McAuley band was allowed to play in the U.K. under the name the Other Them, with a much lower visibility on the British circuit than the Van Morrison-fronted Them enjoyed. In May 1966, Kim Fowley met the band and took them into the studio for a few sessions; a final session was recorded without Fowley in Copenhagen at the end of June. Having made little headway in the U.K., they spent most of the summer and the fall of 1966 touring Scandinavia, where they were allowed to use the name Them. Oddly, they never once played live under the name the Belfast Gypsies, although this is the name that they used for their debut single on Island Records that year, "Gloria's Dream"/"Secret Police." Although they had fair success in Scandinavia, the group disbanded near the end of 1966, with only Jackie McAuley going on to do much subsequent recording, both as part of the folk-rock duo Trader Horne (with ex-Fairport Convention singer Judy Dyble) and as a solo artist. When the Belfast Gypsies LP did come out about nine months after the group disbanded, it bore the title Them Belfast Gypsies, with the name Them in huge lettering as part of the album's title on the sleeve. Understandably, then, many collectors have assumed that the album should be credited to Them, rather than to the Belfast Gypsies. Additionally, it's often been written that the Belfast Gypsies were formed after Van Morrison left Them in 1966, with one part of the remaining group (led by Alan Henderson) taking the Them name, and the other billing themselves as the Belfast Gypsies. This, too, is not the case; although Henderson did indeed continue to play and record in a different Them lineup after Morrison left; the Belfast Gypsies had in fact formed back in 1965 (albeit not under that name), about a year before Morrison left Them. As yet another point of confusion, one posthumous Belfast Gypsies single was issued under a yet different name, the Freaks of Nature (which the band never played as while they were together as a unit). It's a tough story to keep straight, but luckily it did result in a worthwhile album, heartily recommended to Them fans, whether you find it filed under the Them or the Belfast Gypsies' name. ~ Richie Unterberger, All Music Guide
--------------------
After a brief band break-up in August 1965, Billy Harrison and Pat McAuley (who had both left the group one month previously) formed a rival Them, competing with the Morrison/Henderson line-up and leading to legal action between the two groups.[18] The latter won the rights to the name in March 1966, while the former, now without Harrison, were only allowed to use 'Other Them' in the U.K. The McAuley brothers became, unofficially, The Belfast Gypsies (or Gipsies), who recorded two singles on Island Records (one released under the name Freaks of Nature) and one Swedish-only album, all produced by Kim Fowley.[19] During this time they toured Europe billed as Them, and released a French E.P. under that name; the band never actually performed billed as the Belfast Gypsies.
Tracklist:
1. (00:02:14) Them - Gloria's Dream
2. (00:03:03) Them - The Crazy World Inside Me
3. (00:03:31) Them - Midnight Train
4. (00:03:51) Them - Aria of The Fallen Angels
5. (00:03:49) Them - It's All Over Now, Baby Blue
6. (00:02:31) Them - People, Let's Freak Out
7. (00:02:27) Them - Boom Boom
8. (00:04:51) Them - The Last Will and Testament
9. (00:03:19) Them - Portland Town
10. (00:02:05) Them - Hey Gyp (Dig The Slowness)
11. (00:04:13) Them - Suicide Song
12. (00:02:32) Them - Secret Police
13. (00:03:40) Them - Portland Town (French EP Mix)
14. (00:03:49) Them - It's All Over Now, Baby Blue (French EP Mix)
15. (00:03:31) Them - Midnight Train (French EP Mix)
16. (00:02:00) Them - The Gorilla (French EP mix)
17. (00:02:39) Them - Secret Police (45 Mix)
18. (00:02:15) Them - Gloria's Dream (45 Mix)
The Beatitudes - The Grace Of Mystery E.P. (1984)
The Beatitudes - The Grace Of Mystery E.P. (1984)
Track Listing:1. Surfin' Psychos 1:252. The Frozen Seas Of IO 3:003. Kaleidoscope Club 2:214. So Much 1:59
Track Listing:1. Surfin' Psychos 1:252. The Frozen Seas Of IO 3:003. Kaleidoscope Club 2:214. So Much 1:59
The Beat Merchants - The Beats Go On
The Beat Merchants - The Beats Go On
Tapestry of Delights:
The Beat Merchants
Personnel:
CHRIS BOYLE vcls A
GAVIN DANESKI gtr A
GEOFF FARNDELL bs A
VIC SENDALL drms A
RALPH WORMAN ld gtr A
45s:
1 Pretty Face/Messin' With The Man (Columbia DB 7367) 1964
2 So Fine/She Said Yeah (Columbia DB 7492) 1965
A hard-edged R&B band from the South Coast area who got to appear on ITV's 'Thank Your Lucky Stars' to promote their first powerful R&B single Pretty Face. Their two fine and inevitably collectable R&B singles are recommended for fans of the genre.
Compilation appearances have included: Pretty Face on Maximum R'n'B (CD), R&B At Abbey Road (CD), Beat Merchants (Dble LP), English Freakbeat, Vol. 1 (LP & CD); So Fine and Messin' With The Man on English Freakbeat, Vol. 2 (LP & CD); Pretty Face and Messin' With The Man on Nowhere Men Vol. 1 (LP & CD), Rare 60's Beat Treasures, Vol. 2 (CD); She Said Yeah on Electric Sugarcube Flashbacks, Vol. 3 (LP).
Allmusic Bio:
The Beat Merchants were a talented British band of the early 1960's who were equally adept at generating mainstream British pop-rock, in the manner of the Roulettes or the Searchers, or hard-driving bluesy rock & roll in the manner of the Rolling Stones or the Small Faces. Yet apart from their debut single, "Pretty Face" — which made it to number 44 on the British charts — they never made any commercial impression on audiences in England or America. They started life as a Shadows-influenced instrumental group from England's south coast called the Hustlers, consisting of Ralph Worman (guitar), Geoff Farndell (bass), Gavin Daneski (rhythm guitar), and Les Rogers (later succeeded by Vic Sendall) (drums). In 1963, the group added Peter Toal as singer, which allowed them to expand their repertory and their appeal. Billed as "Peter & the Hustlers," the group began building a serious audience at their concerts, which featured upbeat covers of familiar American tunes — including "Hippy Hippy Shake" and lots of Chuck Berry numbers — interspersed with originals, courtesy of Farndell and Daneski.
In mid-1963, however, the band went through a series of sweeping changes. After crossing paths with the Rolling Stones — then promoting their first single, "Come On" — they decided to abandon their lighter, Beatle-esque sound in favor of the harder, more aggressive sound played by the Stones, and to focus their originals and their covers more tightly on American blues. Toal left the group at around this same time for non-musical reasons and was succeeded by Chris Boyle, and the band was rechristened the Merchants and then the Beat Merchants. They were signed to EMI's Columbia label in mid-1964 and made their recording debut with a group original, "Pretty Face", which just missed the British top 40 early that fall. That number, a crunchy guitar and harmonica driven bluesy rocker, very much in the manner of the Stones or the early Yardbirds, with a furious attack that also recalled the early Who, would be the total extent of the group's success in England. They continued recording into 1965 and 1966, going through some more line-up changes, including founder Ralph Worman's replacement by Rick MacEvoy and the Alan Piggott on lead guitar, and the departure of Chris Boyle, after which Geoff Farndell and Gavin Daneski took over on vocals. Their indifferent sales success on EMI led to the group's being dropped by the label, but not without some unexpected revenue coming out of the deal — for reasons that no one was ever able to explain (though it may reflect the frantic pace of the business during the heyday of the British invasion), their second single, "So Fine", was accidentally placed on the B-side of the American single of Freddie & The Dreamers single "You Were Made For Me" when the latter was reissued in America in early 1965; that reissue, on the Tower label, became one of Freddie & The Dreamers' biggest stateside hits, reaching the top 20 and earning a gold record. Without a contract but enjoying a serious stage reputation, the group soldiered on with a sound that was harder still, built around a surging guitar and bass — they cut demos that were as raw and powerful as anything coming out of the likes of the Small Faces or any other r&b-based band of the period, and the Farndell-Daneski songwriting team also showed some originality and sophistication, even as the group roared and pounded through covers of Muddy Waters and Chuck Berry songs. By 1966, despite the fact that they were hometown heroes and were able to earn a halfway decent living in Germany, the group, lacking a record contract and starting to fade from the music pages, called it quits. Farndell and Daneski kept working as composers for another year or two, generating the Bo Diddley-influenced punk jewel "Rich Girl", which just missed getting recorded by the Merseys. Later in 1968, they reteamed with Vic Sendall in a group called Permissive Society, which lasted for a few months, before they all decided to give up music permanently as a profession.
In the decades since, the Beat Merchants' singles have acquired a serious reputation as quintessential examples of English "freakbeat," that pre-psychedelic variation of garage punk unique to the UK, on a par with the best music of the Creation. Indeed, "Pretty Face" has the punky, almost violent, streak found in the rawest British Invasion R&B singles; "Messin' with the Man" is a more conventional treatment of a Muddy Waters song. "Pretty Face", "Messin' with the Man", and "So Fine" were issued as part of AIP's English Freakbeat series, and in 2000, Circle Records issued the first Beat Merchants CD, The Beats Go On . . . , drawn from their official EMI releases, various surviving demos, and a few publishers demos representing Daneski and Farndell's songwriting.
Allmusic review:
Listening to this 19-song compilation of official singles and demo tracks by the Beat Merchants, one just wants to ask, "What the hell went wrong?" Based on these sides, these guys had it all, a distinctive guitar attack, nicely coarse vocals, and a ton of collective charisma, but they never made it as a recording act. Whether they're engaging in Beatles-like balladry ("Was Before") or going head-to-head with the Rolling Stones on Muddy Waters' "Messin' With the Man," the Beat Merchants were making entertaining, exciting, and interesting records; even "Does It Show," a sub-Who hard rock ballad, is utterly diverting, and the best of the cuts here, "Pretty Face," "Moanin'," "Reasons," "So Fine," "On a Summer Day," "Pretty Thing," and "Not Guilty" — the latter a sneering punk anthem from very late in their history, which shows they still had what it took as players and songwriter in 1966, without a recording contract to their names — are as good as any archival releases by the Yardbirds and the Kinks et al. ~ Bruce Eder
Tracklist:
1. Pretty Face 1:56
2. Was Before 2:55
3. Hippy Hippy Shake 2:45
4. Moanin' 3:17
5. All she wants is me 3:19
6. Reasons 3:04
7. Talkin' about you 2:26
8. So fine 2:48
9. On a summer's day 2:07
10. She said yeh 2:27
11. Come on & tell me 2:06
12. Fortune teller 2:32
13. So fine (alternative version) 2:47
14. Pretty Thing 2:28
15. What have I done 2:47
16. Messin' with the man 2:16
17. Does it Show 2:26
18. Rich Girl 2:09
19. Not guilty 2:54
The Barracudas - House Of Kicks EP (1983)
The Barracudas - House Of Kicks EP (1983)
Tracklist:
1. Next Time Around (play 45rpm)
2. Dead Skin (play 45rpm)
3. Takes what He Wants (play 45rpm)
Tracklist:
1. Next Time Around (play 45rpm)
2. Dead Skin (play 45rpm)
3. Takes what He Wants (play 45rpm)
The Barracudas - Endeavour To Persevere (1984)
The Barracudas - Endeavour To Persevere (1984)
Originally released in 1984
Release date: 09-12-2006
Label: Air Mail Recordings
Catalog #: AIRCD-069
Limited Edition Japanese pressing of this 1984 album by this British Power Pop/Garage/Psychedelic band comes housed in a miniature LP sleeve and features bonus tracks.
Credits:
Roger Bechirian - Producer
John David - Producer
Jim Dickson - Bass, Vocals
Jeremy Gluck - Vocals
Ted Sharp - Engineer
Mark Sheppard - Drums
Tony Spath - Engineer
Robin Wills - Guitar, Vocals
Chris Wilson - Guitar, Vocals
AMG review by Geoff Ginsberg:
Endeavour to Persevere has the unfortunate fate of following the classic Barracudas LP Mean Time. A fine album in its own right, Endeavour to Persevere doesn't quite measure up to its predecessor. With a solid lineup returning and Chris Wilson perhaps more integrated into the band, the playing here is wonderful, with chiming 12-strings once again the order of the day. The material, unfortunately, isn't up to the standard of the band's last set. No doubt, the first two tracks stand up with anything on Mean Time, but after that it's a little uneven. "Dealing With Today" is swirling, jangly, and poetic. "Nothing's getting any easier/I heard my best friend say," sets the tone for the album (and for life if you live in reality). Gluck goes on, "He keeps everything for himself/He don't give nothing away." Track two, "Leaving Home Again," could just make the room start spinning on you, with exquisite "ahhhs" behind Gluck's near-shouted vocal. "Song for Lorraine" is another winner, with dual vocal tracks -- one in each ear. From there, though, the pickings get a little slim. "Black Snake," which sounds like it could've been written for Roky Erickson and the Aliens, easily makes the grade, and there is some nice straight-ahead English folk-type stuff to be found, but basically you need this only after you've been blown away by Mean Time.
Tracklist:
01. Dealing With Today [4:05]
02. Leaving Home Again [3:12]
03. Song For Lorraine [4:49]
04. World Turned Upside Down [3:46]
05. See Her Eyes Again [3:00]
06. Black Snake [3:34]
07. The Way We've Changed [3:27]
08. She Knows [2:48]
09. Man With Money [2:32]
10. Pieces Broken [3:14]
11. Losin' Streak [3:18]
12. Corrine [3:59]
13. Barracuda [3:26]
14. Stolen Heart (single mix) [2:51]
15. Laughing At You (single) [2:52]
16. Two Sides Of A Coin (demo version) [3:01]
17. Very Last Day (demo version) [3:38]
18. There's A World Out There (demo version) [4:16]
19. Daggers Of Justice (demo version) [2:17]
20. Kingdom Of Pain (demo version) [3:37]
21. Wastin' Time (demo version) [2:23]
Originally released in 1984
Release date: 09-12-2006
Label: Air Mail Recordings
Catalog #: AIRCD-069
Limited Edition Japanese pressing of this 1984 album by this British Power Pop/Garage/Psychedelic band comes housed in a miniature LP sleeve and features bonus tracks.
Credits:
Roger Bechirian - Producer
John David - Producer
Jim Dickson - Bass, Vocals
Jeremy Gluck - Vocals
Ted Sharp - Engineer
Mark Sheppard - Drums
Tony Spath - Engineer
Robin Wills - Guitar, Vocals
Chris Wilson - Guitar, Vocals
AMG review by Geoff Ginsberg:
Endeavour to Persevere has the unfortunate fate of following the classic Barracudas LP Mean Time. A fine album in its own right, Endeavour to Persevere doesn't quite measure up to its predecessor. With a solid lineup returning and Chris Wilson perhaps more integrated into the band, the playing here is wonderful, with chiming 12-strings once again the order of the day. The material, unfortunately, isn't up to the standard of the band's last set. No doubt, the first two tracks stand up with anything on Mean Time, but after that it's a little uneven. "Dealing With Today" is swirling, jangly, and poetic. "Nothing's getting any easier/I heard my best friend say," sets the tone for the album (and for life if you live in reality). Gluck goes on, "He keeps everything for himself/He don't give nothing away." Track two, "Leaving Home Again," could just make the room start spinning on you, with exquisite "ahhhs" behind Gluck's near-shouted vocal. "Song for Lorraine" is another winner, with dual vocal tracks -- one in each ear. From there, though, the pickings get a little slim. "Black Snake," which sounds like it could've been written for Roky Erickson and the Aliens, easily makes the grade, and there is some nice straight-ahead English folk-type stuff to be found, but basically you need this only after you've been blown away by Mean Time.
Tracklist:
01. Dealing With Today [4:05]
02. Leaving Home Again [3:12]
03. Song For Lorraine [4:49]
04. World Turned Upside Down [3:46]
05. See Her Eyes Again [3:00]
06. Black Snake [3:34]
07. The Way We've Changed [3:27]
08. She Knows [2:48]
09. Man With Money [2:32]
10. Pieces Broken [3:14]
11. Losin' Streak [3:18]
12. Corrine [3:59]
13. Barracuda [3:26]
14. Stolen Heart (single mix) [2:51]
15. Laughing At You (single) [2:52]
16. Two Sides Of A Coin (demo version) [3:01]
17. Very Last Day (demo version) [3:38]
18. There's A World Out There (demo version) [4:16]
19. Daggers Of Justice (demo version) [2:17]
20. Kingdom Of Pain (demo version) [3:37]
21. Wastin' Time (demo version) [2:23]
The Barracudas - Drop Out With (1982)
The Barracudas - Drop Out With (1982)
Originally released in 1982
Release date: June 15, 1994
Label: VOXX
Catalog #: VCD 2009
Credits:
David Buckley - Synthesizer, Bass, Vocals
John David - Producer, Mixing
Jeremy Gluck - Vocals
Kenny Laguna - Producer, Engineer
Pat Moran - Producer, Mixing
Nik Turner - Drums, Vocals
Robin Wills - Guitar, Vocals
AMG review by Ned Raggett:
Thematically, the Barracudas pushed hard a Southern California surf-rock image on their debut -- there's the cover photo, for one, and then there's a good chunk of the songs. Titles like the demi-hit singles "Summer Fun," "California Lament," "On the Strip," and "Surfers Are Back" are self-explanatory, while the deliciously campy "His Last Summer," detailing one dude's final big wave with Brit-accented asides, has got to win an award for being one of rock's best fake-tragedy stories. However, the Barracudas were more accurately a sharp balance between the harder-edge of new wave power pop and a freewheeling, mid-1960s L.A. revivalism. Rather than peeling off Dick Dale or Ventures-style riffs, or even trying much for the Beach Boys' early sound, the foursome combined some surf-tinged work with the Byrds' ringing exuberance, Love's more frazzled early garage stomps, and the kind of punk collected on Nuggets. When it all works, it rises from mere tribute status to being its own groovy kick, often resembling a more specifically '60-fixated version of the Church. Everything is original on Drop Out, though sources of inspiration aren't far off at any turn, however reused and remade. "Codeine" has a more epic swoop and cautionary feel than the Sonics gave to "Strychnine," and "I Saw My Death in a Dream Last Night" isn't quite the Electric Prunes, but the same sort of not-quite-borrowing crops up song for song, and not too badly at that. Some songs, such as "I Can't Pretend" and "This Ain't My Time," have just enough of a crisp kick to remind you that they were recorded in 1980 rather than 15 years earlier. Generally speaking, though, one song title sums up the entire fun spirit of Drop Out: "I Wish It Could Be 1965 Again." Voxx's 1994 reissue includes five demos, including the previously unreleased "Chevy Babe," "You Were on My Mind," and "Surfer Joe."
Tracklist:
01. I Can't Pretend [2:36]
02. Violent Times [2:46]
03. Don't Let Go [3:28]
04. Codeine [3:39]
05. This Ain't My Time [3:05]
06. I Saw My Death In A Dream Last Night [3:33]
07. Somewhere Outside [3:13]
08. Summer Fun [3:15]
09. His Last Summer [3:32]
10. Surfers Are Back [2:16]
11. Somebody [3:08]
12. Campus Tramp [2:53]
13. On The Strip [2:42]
14. California Lament [3:41]
15. I Wish It Could Be 1965 Again [3:21]
16. Summer Fun (demo) [2:07]
17. Cherry Babe (demo) [2:09]
18. You Were On My Mind (demo) [2:24]
19. Violent Times (demo) [2:43]
20. Surfer Joe (demo) [2:22]
Originally released in 1982
Release date: June 15, 1994
Label: VOXX
Catalog #: VCD 2009
Credits:
David Buckley - Synthesizer, Bass, Vocals
John David - Producer, Mixing
Jeremy Gluck - Vocals
Kenny Laguna - Producer, Engineer
Pat Moran - Producer, Mixing
Nik Turner - Drums, Vocals
Robin Wills - Guitar, Vocals
AMG review by Ned Raggett:
Thematically, the Barracudas pushed hard a Southern California surf-rock image on their debut -- there's the cover photo, for one, and then there's a good chunk of the songs. Titles like the demi-hit singles "Summer Fun," "California Lament," "On the Strip," and "Surfers Are Back" are self-explanatory, while the deliciously campy "His Last Summer," detailing one dude's final big wave with Brit-accented asides, has got to win an award for being one of rock's best fake-tragedy stories. However, the Barracudas were more accurately a sharp balance between the harder-edge of new wave power pop and a freewheeling, mid-1960s L.A. revivalism. Rather than peeling off Dick Dale or Ventures-style riffs, or even trying much for the Beach Boys' early sound, the foursome combined some surf-tinged work with the Byrds' ringing exuberance, Love's more frazzled early garage stomps, and the kind of punk collected on Nuggets. When it all works, it rises from mere tribute status to being its own groovy kick, often resembling a more specifically '60-fixated version of the Church. Everything is original on Drop Out, though sources of inspiration aren't far off at any turn, however reused and remade. "Codeine" has a more epic swoop and cautionary feel than the Sonics gave to "Strychnine," and "I Saw My Death in a Dream Last Night" isn't quite the Electric Prunes, but the same sort of not-quite-borrowing crops up song for song, and not too badly at that. Some songs, such as "I Can't Pretend" and "This Ain't My Time," have just enough of a crisp kick to remind you that they were recorded in 1980 rather than 15 years earlier. Generally speaking, though, one song title sums up the entire fun spirit of Drop Out: "I Wish It Could Be 1965 Again." Voxx's 1994 reissue includes five demos, including the previously unreleased "Chevy Babe," "You Were on My Mind," and "Surfer Joe."
Tracklist:
01. I Can't Pretend [2:36]
02. Violent Times [2:46]
03. Don't Let Go [3:28]
04. Codeine [3:39]
05. This Ain't My Time [3:05]
06. I Saw My Death In A Dream Last Night [3:33]
07. Somewhere Outside [3:13]
08. Summer Fun [3:15]
09. His Last Summer [3:32]
10. Surfers Are Back [2:16]
11. Somebody [3:08]
12. Campus Tramp [2:53]
13. On The Strip [2:42]
14. California Lament [3:41]
15. I Wish It Could Be 1965 Again [3:21]
16. Summer Fun (demo) [2:07]
17. Cherry Babe (demo) [2:09]
18. You Were On My Mind (demo) [2:24]
19. Violent Times (demo) [2:43]
20. Surfer Joe (demo) [2:22]
The Bards - The Moses Lake Recordings (1968)
The Bards - The Moses Lake Recordings (1968)
Ranging from bubblegum to garage to psychedelia, this 1968 LP by this Washington band is an ultra-collectible oddity. In addition to Oobleck; Moses; Hollow Men , and the rest of its songs, what's amazing is that this 1968 LP, produced by Curt Boettcher and Keith Olsen, went unreleased 'til 2002!
Tracklist:
1. Rainy Days I Had With You 2:28
2. Laredo 3:57
3. Oobleck 2:41
4. Moses 3:16
5. Reluctantly And Slow 3:04
6. The Creation , And The Light Broke 1:40
7. The Creation , He Made The World 3:41
8. The Creation , Seven Seas 0:29
9. The Creation , Green, Green Grass 2:16
10. The Creation , I'll Make Me A Man 3:07
11. The Creation , Up From The Bed Of The River 2:26
12. The Creation , Amen 0:25
13. Hollow Men 4:21
Ranging from bubblegum to garage to psychedelia, this 1968 LP by this Washington band is an ultra-collectible oddity. In addition to Oobleck; Moses; Hollow Men , and the rest of its songs, what's amazing is that this 1968 LP, produced by Curt Boettcher and Keith Olsen, went unreleased 'til 2002!
Tracklist:
1. Rainy Days I Had With You 2:28
2. Laredo 3:57
3. Oobleck 2:41
4. Moses 3:16
5. Reluctantly And Slow 3:04
6. The Creation , And The Light Broke 1:40
7. The Creation , He Made The World 3:41
8. The Creation , Seven Seas 0:29
9. The Creation , Green, Green Grass 2:16
10. The Creation , I'll Make Me A Man 3:07
11. The Creation , Up From The Bed Of The River 2:26
12. The Creation , Amen 0:25
13. Hollow Men 4:21
The Bachs - Out Of The Bachs (1968)
The Bachs - Out Of The Bachs (1968)
The Bachs - Out Of The Bachs (1968)
Description THE BACHS
OUT OF THE BACHS
Roto no # (private pressing), 1968
This Edition: Gear Fab GF-211
Fuzz, Acid & Flowers:
This is a highly collectable garage-psych classic from Chicago, indeed only 100 copies were ever pressed so original copies inevitably change hands for megabucks. Some of the finest garage cuts include You're Mine, Free Fall and Minister To A Mind Diseased, whilst My Independence Day and the superb Tables Of Grass Fields are more psychedelic. Just 350 copies of the first reissue were pressed so this album is destined to remain rare, although the more recent 'Flash' reissue will help collectors find copies in the short term. Essential. Just dig that distorted fuzz guitar on Minister To A Mind Diseased. All twelve cuts are original Allison-Peterman compositions.
The band stayed together for about three years. After they split, John Babicz joined the army, where he spent the next 22 years. He and John Harrison now live in Tucson and still play golf together.
I'm A Little Boy and Tables Of Grass Fields, from Out Of The Bachs, have also resurfaced on A Trip On The Magic Flying Machine.
Lysergia.com:
One of the most legendary US garage-era LPs. Strong all through, in a crude garage folkrock style with some psychy edges and no covers, which is unusual. The band emits a rather unique, timeless vibe, with a middle third that is particularly impressive. Takes time to get into, but ultimately one of the truly big pieces among 1960s private pressings. Unfortunately, none of the reissues reflect the presence and punch of the original. The Del-Val reissue and the subsequent bootlegs of it are all mastered 1.5%-2.0% too slow. The legit Gear Fab reissue is the correct speed but has clearly inferior sound and digital skips. You need to hear an original (or a CD-R thereof) to understand the full magnitude of the Bachs experience. According to a band member, 500 copies were pressed.
Chicago jangle guitar downer garage psych with gorgeous aching vocals. Masterful guitar work covering the spectrum from Beau Brummels chiming to anarchic Litter runs. Haunting poetic originals full of lost love and broken dreams - even moving into stream of consciousness territory on 'Minister to a Mind Diseased' and 'Tables of Grass Fields'. The closer, 'I'm a Little Boy', is an otherworldly dark feedback monster. Literally every track is a winner! Recorded in a butcher's shop by this high school group late 1967 and released January 1968. This group had a maturity and presence way beyond their years. For me, it comes down to this and the Litter's "Distortions" for best US garage LP.
In the world of private press, original song, garage psych The Bachs is one of the 2 or 3 best. Along with "All Of Thus", this LP is a great example of the transition from garage rock to psych that happened all across suburban America in `66-'67. The LP was recorded in a Butcher Shop on a cheap tape machine so the sound isn't quite up to major label quality, but the LP has a charm that truly captures the teen angst and emotion that so many of these type of LP's lack. In the scheme of things, if any LP is worth four figures, it's this one.
Tracklist:
1. You're Mine 2:10
2. Pleasure Of Your Company 3:52
3. Free Fall 2:39
4. I See Her 1:37
5. My Independence Day 3:20
6. Minister To A Mind Diseased 3:09
7. Tables Of Grass Fields 3:43
8. Show Me That You Want To Go Home 2:07
9. Sitting 3:33
10. Nevermore 2:36
11. Answer To Yesterday 3:46
12. I'm A Little Boy 3:50
13. That's The Way It Goes 3:10
The Bachs - Out Of The Bachs (1968)
Description THE BACHS
OUT OF THE BACHS
Roto no # (private pressing), 1968
This Edition: Gear Fab GF-211
Fuzz, Acid & Flowers:
This is a highly collectable garage-psych classic from Chicago, indeed only 100 copies were ever pressed so original copies inevitably change hands for megabucks. Some of the finest garage cuts include You're Mine, Free Fall and Minister To A Mind Diseased, whilst My Independence Day and the superb Tables Of Grass Fields are more psychedelic. Just 350 copies of the first reissue were pressed so this album is destined to remain rare, although the more recent 'Flash' reissue will help collectors find copies in the short term. Essential. Just dig that distorted fuzz guitar on Minister To A Mind Diseased. All twelve cuts are original Allison-Peterman compositions.
The band stayed together for about three years. After they split, John Babicz joined the army, where he spent the next 22 years. He and John Harrison now live in Tucson and still play golf together.
I'm A Little Boy and Tables Of Grass Fields, from Out Of The Bachs, have also resurfaced on A Trip On The Magic Flying Machine.
Lysergia.com:
One of the most legendary US garage-era LPs. Strong all through, in a crude garage folkrock style with some psychy edges and no covers, which is unusual. The band emits a rather unique, timeless vibe, with a middle third that is particularly impressive. Takes time to get into, but ultimately one of the truly big pieces among 1960s private pressings. Unfortunately, none of the reissues reflect the presence and punch of the original. The Del-Val reissue and the subsequent bootlegs of it are all mastered 1.5%-2.0% too slow. The legit Gear Fab reissue is the correct speed but has clearly inferior sound and digital skips. You need to hear an original (or a CD-R thereof) to understand the full magnitude of the Bachs experience. According to a band member, 500 copies were pressed.
Chicago jangle guitar downer garage psych with gorgeous aching vocals. Masterful guitar work covering the spectrum from Beau Brummels chiming to anarchic Litter runs. Haunting poetic originals full of lost love and broken dreams - even moving into stream of consciousness territory on 'Minister to a Mind Diseased' and 'Tables of Grass Fields'. The closer, 'I'm a Little Boy', is an otherworldly dark feedback monster. Literally every track is a winner! Recorded in a butcher's shop by this high school group late 1967 and released January 1968. This group had a maturity and presence way beyond their years. For me, it comes down to this and the Litter's "Distortions" for best US garage LP.
In the world of private press, original song, garage psych The Bachs is one of the 2 or 3 best. Along with "All Of Thus", this LP is a great example of the transition from garage rock to psych that happened all across suburban America in `66-'67. The LP was recorded in a Butcher Shop on a cheap tape machine so the sound isn't quite up to major label quality, but the LP has a charm that truly captures the teen angst and emotion that so many of these type of LP's lack. In the scheme of things, if any LP is worth four figures, it's this one.
Tracklist:
1. You're Mine 2:10
2. Pleasure Of Your Company 3:52
3. Free Fall 2:39
4. I See Her 1:37
5. My Independence Day 3:20
6. Minister To A Mind Diseased 3:09
7. Tables Of Grass Fields 3:43
8. Show Me That You Want To Go Home 2:07
9. Sitting 3:33
10. Nevermore 2:36
11. Answer To Yesterday 3:46
12. I'm A Little Boy 3:50
13. That's The Way It Goes 3:10
Buddy Holly - Memorial Albums 1 And 2 (1995)
Buddy Holly - Memorial Albums 1 And 2 (1995)
Disc 1
1. Blue Days, Black Nights
2. Rock Around With Olie Vee
3. That'll Be The Day
4. I'm Looking For Someone To Love
5. Words Of Love
6. Peggy Sue
7. Every Day
8. Oh Boy
9. Not Fade Away
10. I'm Gonna Love You Too
11. Look At Me
12. (You're So Square) Baby I Don't Care
13. Listen To Me
14. Maybe Baby
15. Tell Me How
16. Rave On
17. Think It Over
18. Early In The Morning 14:03
19. It's So Easy
20. Heartbeat
Disc 2
1. Well All Right
2. It Doesn't Matter Anymore
3. Raining In My Heart
4. Peggy Sue Got Married
5. Crying, Waiting, Hoping
6. True Love Ways
7. Moondreams
8. Reminiscing
9. Bo Diddley
10. Brown Eyed Handsome Man
11. Because I Love You
12. Wishing
13. Love's Made A Fool Of You
14. Dearest
15. What To Do
16. interview with Alan Freed
17. That'll Be The Day
18. Rock-A-Bye Rock
19. Old Friend (by Waylon Jennings)
Disc 1
1. Blue Days, Black Nights
2. Rock Around With Olie Vee
3. That'll Be The Day
4. I'm Looking For Someone To Love
5. Words Of Love
6. Peggy Sue
7. Every Day
8. Oh Boy
9. Not Fade Away
10. I'm Gonna Love You Too
11. Look At Me
12. (You're So Square) Baby I Don't Care
13. Listen To Me
14. Maybe Baby
15. Tell Me How
16. Rave On
17. Think It Over
18. Early In The Morning 14:03
19. It's So Easy
20. Heartbeat
Disc 2
1. Well All Right
2. It Doesn't Matter Anymore
3. Raining In My Heart
4. Peggy Sue Got Married
5. Crying, Waiting, Hoping
6. True Love Ways
7. Moondreams
8. Reminiscing
9. Bo Diddley
10. Brown Eyed Handsome Man
11. Because I Love You
12. Wishing
13. Love's Made A Fool Of You
14. Dearest
15. What To Do
16. interview with Alan Freed
17. That'll Be The Day
18. Rock-A-Bye Rock
19. Old Friend (by Waylon Jennings)
Brian Poole & Tremeloes - The Very Best Of Brian Poole And The Tremeloes (1996)
Brian Poole & Tremeloes - The Very Best Of Brian Poole And The Tremeloes (1996)
Full Tilte- World of Brian Poole & The Tremeloes. Budget price 20-track collection. Karussell. 1996.
Tracklist:
1. Do You Love Me
2. Candy Man
3. Someone Someone
4. Twist And Shout
5. What Do You Want With My Baby
6. Time Is On My Side
7. I Can Dance
8. Out Of My Mind
9. Medley Dont Ever Change Lets Twist Again The Locomotion
10. The Three Bells (The Jimmy Brown Song)
11. I Want Candy
12. Rag Doll
13. We Know
14. Its All Right
15. Mr Bass Man
16. South Street
17. Hey Girl
18. Well Whos That
19. Medley Twistin The Night Away Thing Return To Sender
20. Twelve Steps To Love
Full Tilte- World of Brian Poole & The Tremeloes. Budget price 20-track collection. Karussell. 1996.
Tracklist:
1. Do You Love Me
2. Candy Man
3. Someone Someone
4. Twist And Shout
5. What Do You Want With My Baby
6. Time Is On My Side
7. I Can Dance
8. Out Of My Mind
9. Medley Dont Ever Change Lets Twist Again The Locomotion
10. The Three Bells (The Jimmy Brown Song)
11. I Want Candy
12. Rag Doll
13. We Know
14. Its All Right
15. Mr Bass Man
16. South Street
17. Hey Girl
18. Well Whos That
19. Medley Twistin The Night Away Thing Return To Sender
20. Twelve Steps To Love
Bobby Fuller Four - I Fought The Law (1966)
Bobby Fuller Four - I Fought The Law (1966)
1. Let Her Dance 2:31
2. Julie 2:17
3. A New Shade Of Blue 2:58
4. Only When I Dream 2:01
5. You Kiss Me 2:36
6. Little Annie Lou 2:01
7. I Fought The Law 2:18
8. Another Sad And Lonely Night 2:23
9. Saturday Night 1:37
10. Take My Word 2:12
11. Fool Of Love 2:39
12. Never To Be Forgotten 3:00
1. Let Her Dance 2:31
2. Julie 2:17
3. A New Shade Of Blue 2:58
4. Only When I Dream 2:01
5. You Kiss Me 2:36
6. Little Annie Lou 2:01
7. I Fought The Law 2:18
8. Another Sad And Lonely Night 2:23
9. Saturday Night 1:37
10. Take My Word 2:12
11. Fool Of Love 2:39
12. Never To Be Forgotten 3:00
Wednesday, June 27, 2012
A.K. Salim - Afro Soul / Drum Orgy (1965)
A.K. Salim - Afro Soul / Drum Orgy (1965)
Incredible! This is a stunning set of African-inspired jazzy percussion tracks -- similar to some of the work done by Art Blakey on his Orgy In Rhythm albums, but with a lot better horn work, and with an overall conception that's much more unified! AK Salim did some sleepier work for Savoy in the 50s -- but by the time of this 1965 recording, he was emerging as a progressive composer with a strong talent for bringing together disparate moods and styles. This rare recording was one of his best works ever, and it's one of the most unusual sides cut by Prestige in the 60s. It features Johnny Coles, Pat Patrick, and Yusef Lateef out front on horns -- plus backing by a host of Latin and African percussionists. Tracks are very long -- and the reed work of Lateef and Patrick makes the set especially worthwhile for jazz listeners. (dustygroove.com)
Tracklist:
1. Africa
2. Elephant Dance 9:39
3. Salute to a Zulu 6:59
4. Trade Winds 7:53
Incredible! This is a stunning set of African-inspired jazzy percussion tracks -- similar to some of the work done by Art Blakey on his Orgy In Rhythm albums, but with a lot better horn work, and with an overall conception that's much more unified! AK Salim did some sleepier work for Savoy in the 50s -- but by the time of this 1965 recording, he was emerging as a progressive composer with a strong talent for bringing together disparate moods and styles. This rare recording was one of his best works ever, and it's one of the most unusual sides cut by Prestige in the 60s. It features Johnny Coles, Pat Patrick, and Yusef Lateef out front on horns -- plus backing by a host of Latin and African percussionists. Tracks are very long -- and the reed work of Lateef and Patrick makes the set especially worthwhile for jazz listeners. (dustygroove.com)
Tracklist:
1. Africa
2. Elephant Dance 9:39
3. Salute to a Zulu 6:59
4. Trade Winds 7:53
The 5 Royales - Monkey Hips And Rice (1994)
The 5 Royales - Monkey Hips And Rice (1994)
Tags: R&B, Doo Wop, James Brown, Aretha Franklin, Harmony Vocal Group
The "5" Royales was a rhythm and blues (R&B) band from Winston-Salem, North Carolina, U.S., that combined gospel, jump blues and doo wop, marking an early and influential step in the evolution of soul music. Most of their big R&B hits were recorded from 1952 to 1953 and written by guitarist Lowman "Pete" Pauling; later cover versions of the band's songs hit the Top 40, including "Dedicated to the One I Love" (The Shirelles, the Mamas & the Papas), "Tell the Truth" (Ray Charles), and "Think" (James Brown & The Famous Flames). Brown modeled his first band after the "5" Royales, and both Eric Clapton and legendary Stax guitarist Steve Cropper cite Pauling as a key influence. Rolling Stones singer Mick Jagger covered "Think" on his 1993 solo album Wandering Spirit.
Originally the Royal Sons Quintet, the group began recording for Apollo Records in the early 1950s, changing its name to the Royals after abandoning gospel for secular music. The group paired Pauling with vocalists Jimmy Moore, Obadiah Carter, and Otto Jeffries, with Johnny Tanner (28 November 1926, North Carolina - 8 November 2005) singing lead. Later Tanner's younger brother, Eugene, would replace Jeffries. The robust Johnny Tanner sang lead on most of the group's hits, including "Think," although the sweeter-voiced Eugene Tanner stepped to the microphone for the group's best-known song, "Dedicated to the One I Love." "Baby Don't Do It" and "Help Me Somebody" became hits in 1953, but the group soon signed to Cincinnati's King Records. In addition to heartfelt odes like "Dedicated to the One I Love," Pauling also wrote comic and risque tunes, including "Monkey Hips and Rice," later the title of a two-CD anthology of the group's music released by Rhino Records in 1994. Pauling used an extra-long strap for his guitar, sometimes playing it down around his knees for comic effect. The group shared stages with all the major R&B artists of the 1950s, including Sam Cooke and Ray Charles, once substituting for the latter's Raelettes at a show in Durham, North Carolina.
Confusion arose when two groups of Royals began touring, the other led by Detroit R&B legend Hank Ballard. According to members of the "5" Royales, the confusion peaked in 1953 when an unscrupulous promoter booked Ballard's group in Winston-Salem, trying to pass the Detroit band off as its native-son namesakes, much to the chagrin of a local audience. Shortly thereafter, the air cleared when Winston-Salem's Royals became the "5" Royales and Detroit's Royals became the Midnighters. Ironically, both artists would have hits at King working with Rock & Roll Hall of Fame producer Ralph Bass, becoming good friends and routinely competing in battles of the bands at clubs like Atlanta's Royal Peacock in that city's Sweet Auburn section. Ballard's group gained fame for originating "The Twist", later a monster dance craze and hit for Rock & Roll Hall of Fame excludee Chubby Checker, and for its risque series of "Annie" songs, including "Work With Me Annie" and "Annie Had a Baby."
With King, "Think" and "Tears of Joy" became hits for the "5" Royales in 1957, while some of their lesser-known tracks from this period are now critically acclaimed as innovative. Veteran rock critic Dave Marsh chose the 1958 "5" Royales hit "The Slummer the Slum" as one of the top 1001 singles of all time in his book The Heart of Rock and Soul, crediting Pauling with capturing the first intentional use of guitar feedback on record, years before better-known squawks from the Beatles, Yardbirds, and Velvet Underground. In the 1960s, R&B gradually gave way to more polished soul music and the Royales' career waned rapidly.
The "5" Royales broke up in 1965, though various combinations of musicians would tour under the group's name into the 1970s. For a time Pauling continued recording with pianist and frequent Royales collaborator Royal Abbitt as El Pauling and the Royalton. Pauling's brother, Clarence Paul, a former member of the Royal Sons Quintet, found success as a producer and songwriter at Motown Records in the 1960s. ~ Wikipedia
Tracklist:
CD 1
1. Let Nothing Seperate Me (Royal Sons Quintet)
2. Courage To Love
3. Baby Don't Do It
4. Help Me Somebody
5. Crazy Crazy Crazy
6. Laundromat Blues
7. Too Much Lovin'
8. All Right
9. I Do
10. I Like It Like That
11. Let Me Come Back Home
12. Monkey Hips And Rice
13. School Rice Mohawk Squaw
14. When I Get Like This
15. Women About To Make Me Go Crazy
16. Someone Made You For Me
17. Right Around The Corner
18. When You Walked Through The Door
19. Come On And Save Me
20. Get Something Out Of It
CD 2
1. Just As I Am
2. Thirty Second Lover
3. Tears Of Joy
4. Think
5. I'd Better Make A Move
6. Say It
7. Messin' Up
8. Don't Be Ashamed
9. Dedicated To The One I Love
10. Do The Cha Cha Cherry
11. Double Or Nothing
12. Tell The Truth
13. Slummer The Slum
14. Real Thing
15. I Know It's Hard But It's Fair
16. Miracle Of Love
17. Wonder Where Your Love Has Gone
18. Tell Me You Care
19. My Sugar Sugar
20. Help Me Somebody
18 Karat Gold - All-Bumm (1973)
18 Karat Gold - All-Bumm (1973)
Artist: 18 Karat Gold
Album: All-Bumm
Released: 1973
OSA (941037)
Genre: Krautrock
Formed in 1973 and based in Munich, this is the only album by the Lothar Meid led 18 Karat Gold. This 1974 release represents the more commercial side of Krautrock such as Amon Düül II played end of the 70s, and it actually features band members who would all work with Amon Düül II. ~ acidvisions.com
Tracklist
1. Going Home
2. Come On Monday
3. Flying
4. Goldrush
5. Star-Eyed
6. Dr. Stein (5%)
7. Elektric Infected
8. I Am Just A Man
9. See Me In Your Dreams
10. If My Guru Would Know
11. Cool
18 Karat Gold - All-Bumm (1973)
Artist: 18 Karat Gold
Album: All-Bumm
Released: 1973
OSA (941037)
Genre: Krautrock
Formed in 1973 and based in Munich, this is the only album by the Lothar Meid led 18 Karat Gold. This 1974 release represents the more commercial side of Krautrock such as Amon Düül II played end of the 70s, and it actually features band members who would all work with Amon Düül II. ~ acidvisions.com
Tracklist
1. Going Home
2. Come On Monday
3. Flying
4. Goldrush
5. Star-Eyed
6. Dr. Stein (5%)
7. Elektric Infected
8. I Am Just A Man
9. See Me In Your Dreams
10. If My Guru Would Know
11. Cool
18 Karat Gold - All-Bumm (1973)
1910 Fruitgum Company - Best Of The 1910 Fruitgum Company
1910 Fruitgum Company - Best Of The 1910 Fruitgum Company
The 1910 Fruitgum Company (often shortened to 1910 Fruitgum Co.) is an American bubblegum pop band of the 1960s. The group's biggest hits included "Simon Says," "1, 2, 3, Red Light," "May I Take A Giant Step," "Special Delivery," "Goody Goody Gumdrops," and "Indian Giver." Guitarist Frank Jeckell claimed to have adopted the name from a candy wrapper that he found in his attic.
The band began as Jeckell and The Hydes in New Jersey in 1965. The original founding members were Frank Jeckell, additional members were Floyd Marcus, Pat Karwan, Steve Mortkowitz, and Mark Gutkowski all from Linden, New Jersey.
During 1967, the band was signed to record label Buddah Records, where they released five LPs under their own name and a variety of singles, as well as appearing on the LP The Kasenetz-Katz Singing Orchestral Circus, which sounded like the usual Buddha studio band in spite of its promotion as a "bubblegum superjam". Their first successful single, "Simon Says", was written by Elliot Chiprut, but Jeckell persuaded the band to record it. During the process they changed the beat and patterned the song after "Wooly Bully" by Sam the Sham and the Pharaohs. "Simon Says" soon became a success, scoring a maximum of #4 in the US Billboard Hot 100 chart. The track peaked at #2 in the UK Singles Chart. The record sold over three million copies globally, earning gold disc status. It was heard in the 1968 Frederick Wiseman documentary High School.
The band started touring, opening for major acts such as The Beach Boys. They followed on to release the hits "1, 2, 3, Red Light" (U.S. #5), "Indian Giver" (U.S. #5), "Goody, Goody Gumdrops" and "May I Take a Giant Step."
Early during the 21st century, originator Frank Jeckell and Mick Mansuetto put the act back together which included Floyd Marcus, original drummer along with a few musicians and started touring again. They performed a concert on November 17, 2007 at the Caravan of Stars XIV, in Henderson, Tennessee. Also appearing at the show were Dickey Lee, Jimmy Gilmer, Carol Conners (of The Teddy Bears), Bo Donaldson and the Heywoods, Jim Yester (of The Association), Jerry Yester (of The Lovin' Spoonful), Eddie Brigati (of The Young Rascals), and Dennis Tufano (of The Buckinghams).
Their recordings of "Simon Says" sold three and a half million; plus "Indian Giver" and "1, 2, 3, Red Light" both sold over one million copies; and were all awarded gold discs. ~ Wikipedia
Tracklist
1. Simon Says
2. May I Take a Giant Step (Into Your Heart)
3. Please Me, Tease Me
4. Sweet Lovin'
5. (Play Our Song) Mr. Music Man
6. 1, 2, 3, Red Light
7. Candy
8. Liza
9. Indian Giver
10. Dee-Licious
11. 1910 Cotton Candy Castle
12. Bubble Gum World
13. Special Delivery
14. Goody Goody Gumdrops
15. The Train
16. Reflections from the Looking Glass
The 1910 Fruitgum Company (often shortened to 1910 Fruitgum Co.) is an American bubblegum pop band of the 1960s. The group's biggest hits included "Simon Says," "1, 2, 3, Red Light," "May I Take A Giant Step," "Special Delivery," "Goody Goody Gumdrops," and "Indian Giver." Guitarist Frank Jeckell claimed to have adopted the name from a candy wrapper that he found in his attic.
The band began as Jeckell and The Hydes in New Jersey in 1965. The original founding members were Frank Jeckell, additional members were Floyd Marcus, Pat Karwan, Steve Mortkowitz, and Mark Gutkowski all from Linden, New Jersey.
During 1967, the band was signed to record label Buddah Records, where they released five LPs under their own name and a variety of singles, as well as appearing on the LP The Kasenetz-Katz Singing Orchestral Circus, which sounded like the usual Buddha studio band in spite of its promotion as a "bubblegum superjam". Their first successful single, "Simon Says", was written by Elliot Chiprut, but Jeckell persuaded the band to record it. During the process they changed the beat and patterned the song after "Wooly Bully" by Sam the Sham and the Pharaohs. "Simon Says" soon became a success, scoring a maximum of #4 in the US Billboard Hot 100 chart. The track peaked at #2 in the UK Singles Chart. The record sold over three million copies globally, earning gold disc status. It was heard in the 1968 Frederick Wiseman documentary High School.
The band started touring, opening for major acts such as The Beach Boys. They followed on to release the hits "1, 2, 3, Red Light" (U.S. #5), "Indian Giver" (U.S. #5), "Goody, Goody Gumdrops" and "May I Take a Giant Step."
Early during the 21st century, originator Frank Jeckell and Mick Mansuetto put the act back together which included Floyd Marcus, original drummer along with a few musicians and started touring again. They performed a concert on November 17, 2007 at the Caravan of Stars XIV, in Henderson, Tennessee. Also appearing at the show were Dickey Lee, Jimmy Gilmer, Carol Conners (of The Teddy Bears), Bo Donaldson and the Heywoods, Jim Yester (of The Association), Jerry Yester (of The Lovin' Spoonful), Eddie Brigati (of The Young Rascals), and Dennis Tufano (of The Buckinghams).
Their recordings of "Simon Says" sold three and a half million; plus "Indian Giver" and "1, 2, 3, Red Light" both sold over one million copies; and were all awarded gold discs. ~ Wikipedia
Tracklist
1. Simon Says
2. May I Take a Giant Step (Into Your Heart)
3. Please Me, Tease Me
4. Sweet Lovin'
5. (Play Our Song) Mr. Music Man
6. 1, 2, 3, Red Light
7. Candy
8. Liza
9. Indian Giver
10. Dee-Licious
11. 1910 Cotton Candy Castle
12. Bubble Gum World
13. Special Delivery
14. Goody Goody Gumdrops
15. The Train
16. Reflections from the Looking Glass
16 Horsepower - Sackcloth 'n' Ashes (1996)
16 Horsepower - Sackcloth 'n' Ashes (1996)
Sackcloth 'n' Ashes is the first full-length studio album by the band 16 Horsepower. It was released in 1996. ~ Wikipedia
Tracklist
1. I Seen What I Saw
2. Black Soul Choir
3. Haw
4. Scrawled in Sap
5. Horse Head
6. Ruthie Lingle
7. Harm's Way
8. Black Bush
9. Heel on the Shovel
10. American Wheeze
11. Red Neck Reel
12. Prison Shoe Romp
13. Neck on the New Blade
14. Strong Man
Sackcloth 'n' Ashes is the first full-length studio album by the band 16 Horsepower. It was released in 1996. ~ Wikipedia
Tracklist
1. I Seen What I Saw
2. Black Soul Choir
3. Haw
4. Scrawled in Sap
5. Horse Head
6. Ruthie Lingle
7. Harm's Way
8. Black Bush
9. Heel on the Shovel
10. American Wheeze
11. Red Neck Reel
12. Prison Shoe Romp
13. Neck on the New Blade
14. Strong Man
16 Horsepower - Folklore (2002)
16 Horsepower - Folklore (2002)
Folklore is the 4th studio album by 16 Horsepower, released in 2002.
As hinted to by its name, most of the material on the album is drawn from traditional folk music. Only four of the songs ("Hutterite Mile," "Blessed Persistence," "Beyond the Pale" and "Flutter") on the album are original 16 Horsepower compositions. ~ Wikipedia
Tracklist
1. Hutterite Mile
2. Outlaw Song
3. Blessed Persistence
4. Alone and Forsaken
5. Single Girl
6. Beyond The Pale
7. Horse Head Fiddle
8. Sinnerman
9. Flutter
10. La Robe a Parasol
16 Horsepower - Folklore (2002)
Folklore is the 4th studio album by 16 Horsepower, released in 2002.
As hinted to by its name, most of the material on the album is drawn from traditional folk music. Only four of the songs ("Hutterite Mile," "Blessed Persistence," "Beyond the Pale" and "Flutter") on the album are original 16 Horsepower compositions. ~ Wikipedia
Tracklist
1. Hutterite Mile
2. Outlaw Song
3. Blessed Persistence
4. Alone and Forsaken
5. Single Girl
6. Beyond The Pale
7. Horse Head Fiddle
8. Sinnerman
9. Flutter
10. La Robe a Parasol
16 Horsepower - Folklore (2002)
16 Horsepower - 16 Horsepower (1995)
16 Horsepower - 16 Horsepower (1995)
16 Horsepower was an American alternative country music group based in Denver, Colorado. Their music often invoked religious imagery dealing with conflict, redemption, punishment, and guilt through David Eugene Edwards's lyrics and the heavy use of traditional bluegrass, gospel, and Appalachian instrumentation cross-bred with rock. For the bulk of its career, the band consisted of Edwards, Jean-Yves Tola, and Pascal Humbert, the latter two formerly of the French band Passion Fodder. After releasing four studio albums and touring extensively, the group broke up in 2005, citing "mostly political and spiritual" differences. The members remain active in the groups Woven Hand and Lilium. ~ Wikipedia
Tracklist:
1. Haw
2. South Pennsylvania
3. Shametown
4. Straight Mouth Stomp
5. Coal Black Horses
6. I Gotta Gal
16 Horsepower was an American alternative country music group based in Denver, Colorado. Their music often invoked religious imagery dealing with conflict, redemption, punishment, and guilt through David Eugene Edwards's lyrics and the heavy use of traditional bluegrass, gospel, and Appalachian instrumentation cross-bred with rock. For the bulk of its career, the band consisted of Edwards, Jean-Yves Tola, and Pascal Humbert, the latter two formerly of the French band Passion Fodder. After releasing four studio albums and touring extensively, the group broke up in 2005, citing "mostly political and spiritual" differences. The members remain active in the groups Woven Hand and Lilium. ~ Wikipedia
Tracklist:
1. Haw
2. South Pennsylvania
3. Shametown
4. Straight Mouth Stomp
5. Coal Black Horses
6. I Gotta Gal
Bohemian Vendetta - Bohemian Vendetta (1968)
Bohemian Vendetta - Bohemian Vendetta (1968)
The Bohemian Vendetta
They started life as The Bohemians with the line up as follows: Arthur Muglia(aka Brian Cooke), vocals/organ; Victor Muglia, bass; Randy Pollock, rhythm guitar; Richie Sorrento, drums; Richard Martinez, lead guitar. The name was changed in '66 around the time they recorded their first demo, Like Stoned/Irresistible.
Richard Martinez left to join The Cats Meow (who had a few singles on Decca) and Richie Sorrentino quit. They were replaced by Chuck Monica(drums) and Nick Manzi (guitar) from The Rustics. Three songs were recorded at Ultra-Sonic Studios on Long Island around the fall of '66: How Does It Feel, Enough, Half the Time.
In '67 United Artists released Enough and it got a spot on Dick Clarks 'Rate a Record'. Also in '67, they recorded demos and played various gigs at places like the Action House with bands like The Vagrants and Vanilla Fudge.
They recorded an album for Mainstream in early '68 which took almost a year to be released and got no help from the label.
While waiting for the release of the album, they worked on Faine Jade's Introspection Lp. About this time they called it quits.
Distortion Records recently released a niffty little album called Enough!. This great package includes the demo versions, unreleased acetates, and their recordings as the Bohemians
Artist: BOHEMIAN VENDETTA
Title: Bohemian Vendetta
Label: MAINSTREAM
Format: LP
Price: $15.00
Catalog #: MAIN S/6106HLP
Exact repro 180 gram virgin vinyl pressing; originally released in 1968. "This is one of the best acid-punk LPs ever! Excellent Vox organ/fuzz teen garage psych and the covers are pretty fantastic as well. The cough syrup high school play vibe of 'Deaf, Dumb & Blind' must be heard to be believed. Easily one of the best on the label with lots of classy psych-punk originals and a truly unique vibe all through it."
BOHEMIAN VENDETTA Bohemian Vendetta (2007 UK issue limited edition 10-track LP pressed on 180gram VIRGIN VINYL; originally released on Mainstream in 1968, this is a classic example of a garage band who [probably] took some LSD and got a little spacey in the process!! Superb titles, including the eerie 'Paradox City' and a wigged-out version of the Stones' '[I Can't Get No] Satisfaction' - fuzz guitar and tinny organ dominate the proceedings, just like you'd want 'em to! Presented in sealed & stickered picture sleeve) ** Limited to 1000 copies
1. Riddles & Fairytales
2. (She Always Gives Me) Pleasure
3. All Kinds Of Highs
4. (I Can't Get No) Satisfaction
5. Paradox City
6. Love Can Make Your Mind Go Wild
7. The House Of The Rising Sun
8. Images (Shadow In The Night)
9. Deaf, Dumb & Blind
10. I Wanna Touch Your Heart
The Bohemian Vendetta
They started life as The Bohemians with the line up as follows: Arthur Muglia(aka Brian Cooke), vocals/organ; Victor Muglia, bass; Randy Pollock, rhythm guitar; Richie Sorrento, drums; Richard Martinez, lead guitar. The name was changed in '66 around the time they recorded their first demo, Like Stoned/Irresistible.
Richard Martinez left to join The Cats Meow (who had a few singles on Decca) and Richie Sorrentino quit. They were replaced by Chuck Monica(drums) and Nick Manzi (guitar) from The Rustics. Three songs were recorded at Ultra-Sonic Studios on Long Island around the fall of '66: How Does It Feel, Enough, Half the Time.
In '67 United Artists released Enough and it got a spot on Dick Clarks 'Rate a Record'. Also in '67, they recorded demos and played various gigs at places like the Action House with bands like The Vagrants and Vanilla Fudge.
They recorded an album for Mainstream in early '68 which took almost a year to be released and got no help from the label.
While waiting for the release of the album, they worked on Faine Jade's Introspection Lp. About this time they called it quits.
Distortion Records recently released a niffty little album called Enough!. This great package includes the demo versions, unreleased acetates, and their recordings as the Bohemians
Artist: BOHEMIAN VENDETTA
Title: Bohemian Vendetta
Label: MAINSTREAM
Format: LP
Price: $15.00
Catalog #: MAIN S/6106HLP
Exact repro 180 gram virgin vinyl pressing; originally released in 1968. "This is one of the best acid-punk LPs ever! Excellent Vox organ/fuzz teen garage psych and the covers are pretty fantastic as well. The cough syrup high school play vibe of 'Deaf, Dumb & Blind' must be heard to be believed. Easily one of the best on the label with lots of classy psych-punk originals and a truly unique vibe all through it."
BOHEMIAN VENDETTA Bohemian Vendetta (2007 UK issue limited edition 10-track LP pressed on 180gram VIRGIN VINYL; originally released on Mainstream in 1968, this is a classic example of a garage band who [probably] took some LSD and got a little spacey in the process!! Superb titles, including the eerie 'Paradox City' and a wigged-out version of the Stones' '[I Can't Get No] Satisfaction' - fuzz guitar and tinny organ dominate the proceedings, just like you'd want 'em to! Presented in sealed & stickered picture sleeve) ** Limited to 1000 copies
1. Riddles & Fairytales
2. (She Always Gives Me) Pleasure
3. All Kinds Of Highs
4. (I Can't Get No) Satisfaction
5. Paradox City
6. Love Can Make Your Mind Go Wild
7. The House Of The Rising Sun
8. Images (Shadow In The Night)
9. Deaf, Dumb & Blind
10. I Wanna Touch Your Heart
Blacklight Chameleons - A Field Guide To Blacklight Chameleons (2003)
Blacklight Chameleons - A Field Guide To Blacklight Chameleons (2003)
BLACKLIGHT CHAMELEONS. Wasting no time from the breakup of the Mad Violets in late 1984, guitarist and now vocalist Dino Sorbello grabbed Andrea Mathews on drums from the recently broken up Outta Place, and added Noreen Lewis on bass and located Bill Ebauer for keyboards in a Village Voice ad. After a quick gig or two at the Dive they set about recording their first self-titled Ep (released on Voxx Records March 1985) which continues to sell to this very day. An article in Vanity Fair magazine in June 1985 about the big 60s style resurgence featured a two-page color photo by Mary Ellen Mark, and some copy about the band, so instead of a kit, the band showed the mag around town to score some prestigious gigs.
By1986 the group had new drummers, bassists, and finally decided to add a lead singer,former Ford model Sharon Middendorf. They were featured in a High Times cover story about the "Minds Eye" shows happening at the old Tramps Club (where Joey Ramone, after seeing them, is quoted as as saying:" I was transported..."). Spring of 1987 saw the release of 'Inner Mission' (USA : NBC Records, Europe : Semaphore Records). Two tours each to Florida and California, a fair amount of US airplay on college stations, and quite a lot of airplay in Europe, especially Greece(!?) let a lot of folks hear their brand of psychedelically inflected 60s pop originals. A few months after playing the Mind Circus event at Temple Universty in Philadelphia during spring 1988 the group was disbanded by Dino after certain members failed to commit for the next tour.
Now you can hear all the previous vinyl-only releases along with a couple of previously unreleased studio and live rehearsal cuts combined on a brand new CD release from Tripwave! Records entitled 'A Field Guide To Blacklight Chameleons' (TWR 002).
1. Door 3:23
2. Xmvt 3:13
3. Journey To Love-In 3:37
4. Evil Arms 4:25
5. Tripwave 3:02
6. Positive Source 6:06
7. Blacklight Chameleon Theme 4:16
8. The Reverse 2:50
9. Poison Arrow 3:15
10. Yeah You 3:10
11. Fired Up 4:10
12. The Surf Wizards 2:40
13. 13 Miles To Midnight 4:06
14. Love Is A Mistery 3:01
15. Getting Down Under 3:28
16. Cross That Bridge 3:05
17. Tehru 4:56
18. The Slip 4:44
19. Carried Away 4:10
20. High Noon 3:52
21. Spirit Speaking 3:29
BLACKLIGHT CHAMELEONS. Wasting no time from the breakup of the Mad Violets in late 1984, guitarist and now vocalist Dino Sorbello grabbed Andrea Mathews on drums from the recently broken up Outta Place, and added Noreen Lewis on bass and located Bill Ebauer for keyboards in a Village Voice ad. After a quick gig or two at the Dive they set about recording their first self-titled Ep (released on Voxx Records March 1985) which continues to sell to this very day. An article in Vanity Fair magazine in June 1985 about the big 60s style resurgence featured a two-page color photo by Mary Ellen Mark, and some copy about the band, so instead of a kit, the band showed the mag around town to score some prestigious gigs.
By1986 the group had new drummers, bassists, and finally decided to add a lead singer,former Ford model Sharon Middendorf. They were featured in a High Times cover story about the "Minds Eye" shows happening at the old Tramps Club (where Joey Ramone, after seeing them, is quoted as as saying:" I was transported..."). Spring of 1987 saw the release of 'Inner Mission' (USA : NBC Records, Europe : Semaphore Records). Two tours each to Florida and California, a fair amount of US airplay on college stations, and quite a lot of airplay in Europe, especially Greece(!?) let a lot of folks hear their brand of psychedelically inflected 60s pop originals. A few months after playing the Mind Circus event at Temple Universty in Philadelphia during spring 1988 the group was disbanded by Dino after certain members failed to commit for the next tour.
Now you can hear all the previous vinyl-only releases along with a couple of previously unreleased studio and live rehearsal cuts combined on a brand new CD release from Tripwave! Records entitled 'A Field Guide To Blacklight Chameleons' (TWR 002).
1. Door 3:23
2. Xmvt 3:13
3. Journey To Love-In 3:37
4. Evil Arms 4:25
5. Tripwave 3:02
6. Positive Source 6:06
7. Blacklight Chameleon Theme 4:16
8. The Reverse 2:50
9. Poison Arrow 3:15
10. Yeah You 3:10
11. Fired Up 4:10
12. The Surf Wizards 2:40
13. 13 Miles To Midnight 4:06
14. Love Is A Mistery 3:01
15. Getting Down Under 3:28
16. Cross That Bridge 3:05
17. Tehru 4:56
18. The Slip 4:44
19. Carried Away 4:10
20. High Noon 3:52
21. Spirit Speaking 3:29
Black Lips - Let It Bloom (2005)
Black Lips - Let It Bloom (2005)
While most bands get tighter and "more professional" with the passage of time, Black Lips have opted to follow another path, and the Atlanta foursome dig deeper into the well of murky aural power on their third album, Let It Bloom. While garage rock at its most blessedly crude remains the band's obvious reference point, guitarists Ian St. Pe and Cole Alexander (aka Old King Cole Younger) take their songs through enough twists and turns that no one is going to mistake them for either the White Stripes or the Chesterfield Kings, and the low-flying shards of guitar noise and echoing textures call up shades of the Fall, the Godz, the Cramps, the Witches, the early Velvet Underground (think Cleveland 1966, not the Banana album), and a few dozen other bands who enjoy playing around in the dark matter rather than burning out in the sunshine. And while Black Lips don't sound much more "accomplished" than they did on their 2002 debut, they've gotten much better at working their magic in the studio, and Let It Bloom is their strongest effort to date, from the minor-chord stomp of "Punk Slime" and the sinister beachside romance of "Dirty Hands" to the French-accented dirge of "Hippie, Hippie, Hoorah" and the descent into the maelstrom of "She's Gone." Mike McHugh's recording sorts out the good noise from the bad noise with just the right balance, and the result is an album that drips with just the right kind of bad karma. Let It Bloom will creep out your neighbors and you can dance to it, and can you ask for more than that? ~ Mark Deming, Rovi
Tracklist:
1. Sea Of Blasphemy
2. Can't Dance
3. Boomerang
4. Hippie, Hippie, Hoorah
5. Not A Problem
6. Gung Ho
7. Everybody's Doin' It
8. Feeling Gay
9. Take Me Home (Back To Boone)
10. Gentle Violence
11. She's Gone
12. Fairy Stories
13. Dirty Hands
14. Workin'
15. Punk Slime
16. Empassant
While most bands get tighter and "more professional" with the passage of time, Black Lips have opted to follow another path, and the Atlanta foursome dig deeper into the well of murky aural power on their third album, Let It Bloom. While garage rock at its most blessedly crude remains the band's obvious reference point, guitarists Ian St. Pe and Cole Alexander (aka Old King Cole Younger) take their songs through enough twists and turns that no one is going to mistake them for either the White Stripes or the Chesterfield Kings, and the low-flying shards of guitar noise and echoing textures call up shades of the Fall, the Godz, the Cramps, the Witches, the early Velvet Underground (think Cleveland 1966, not the Banana album), and a few dozen other bands who enjoy playing around in the dark matter rather than burning out in the sunshine. And while Black Lips don't sound much more "accomplished" than they did on their 2002 debut, they've gotten much better at working their magic in the studio, and Let It Bloom is their strongest effort to date, from the minor-chord stomp of "Punk Slime" and the sinister beachside romance of "Dirty Hands" to the French-accented dirge of "Hippie, Hippie, Hoorah" and the descent into the maelstrom of "She's Gone." Mike McHugh's recording sorts out the good noise from the bad noise with just the right balance, and the result is an album that drips with just the right kind of bad karma. Let It Bloom will creep out your neighbors and you can dance to it, and can you ask for more than that? ~ Mark Deming, Rovi
Tracklist:
1. Sea Of Blasphemy
2. Can't Dance
3. Boomerang
4. Hippie, Hippie, Hoorah
5. Not A Problem
6. Gung Ho
7. Everybody's Doin' It
8. Feeling Gay
9. Take Me Home (Back To Boone)
10. Gentle Violence
11. She's Gone
12. Fairy Stories
13. Dirty Hands
14. Workin'
15. Punk Slime
16. Empassant
Black Diamond Heavies - A Touch Of Someone Else's Class (2008)
Black Diamond Heavies - A Touch Of Someone Else's Class (2008)
Artist...............: Black Diamond Heavies
Album................: A Touch Of Someone Else's Class
Genre................: garage rock,blues rock,
Year.................: 2008
Label: Alive Records
Catalog#: ALIVE 0085-1
Format: Vinyl, LP
Country: US
Released: 2008
Genre: Blues, Rock
Style: Blues Rock, Garage Rock
Credits
Bass - Mr. Jimmy (tracks: A2, A4, A1)
Drums, Vocals - Van Campbell
Horns - Ralph Carney (tracks: A4)
Maracas - Bob Cesare (tracks: A5)
Recorded By - Dan Auerbach
Vocals, Organ [Hammond], Electric Piano - James Leg
"Nashville's Black Diamond Heavies spent a lot of time on the road after the release of their first album, 2007's Every Damn Time, and you can hear the lessons of dozens of sweatbox gigs on their second full-length set, 2008's A Touch of Someone Else's Class. While James Leg (aka John Wesley Myers) on vocals and keys and Van Campbell on drums sounded tight and fiery the first time around, on their sophomore LP they sound tougher, harder, and practically incendiary; the duo's blues gestures are just as solid as before, but there's an emotional weight and an almost telepathic synergy between Leg and Campbell (...) Dan Auerbach of the Black Keys produced and recorded these sessions, and while his approach feels pretty hands-off, the results suggest having a more sympathetic hand behind the board was a real help for the band. And when a band's originals sound as good as covers of stuff by Tina Turner, Nina Simone, and T-Model Ford, there's no question it must be doing something right. In short, if you want to hear some blues-shot rock that'll kick your butt and make you love it, A Touch of Someone Else's Class is one album you need to hear." - Mark Deming/All Music Guide "Mucho credit is given to these Heavies for retaining that storming, redlining fuzz to the point of something like a new kick. Especially on Solid Gold where the organ playing starts to whoosh in unexpected corners of the song, cymbals crash like garbage can tops.” – Eric Dvidson/CMJ “A Touch Of Someone Else’s Class is a pure adrenaline shot for any jaded rock’n’roll fan in need of one.” - Jason Schneider / Exclaim
Tracklist:
1. A1-Nutbush City Limit 3:00
2. A2-Everythang Is Everythang 3:49
3. A3-Numbers 22 2:51
4. A4-Bidin' My Time 5:11
5. A5-Take A Ride 4:40
6. B1-Solid Gold 2:34
7. B2-Smoothe It Out 2:57
8. B3-Make Some Time 3:28
9. B4-Oh,Sinnerman 4:21
10. B5-Loose Yourself 3:41
Artist...............: Black Diamond Heavies
Album................: A Touch Of Someone Else's Class
Genre................: garage rock,blues rock,
Year.................: 2008
Label: Alive Records
Catalog#: ALIVE 0085-1
Format: Vinyl, LP
Country: US
Released: 2008
Genre: Blues, Rock
Style: Blues Rock, Garage Rock
Credits
Bass - Mr. Jimmy (tracks: A2, A4, A1)
Drums, Vocals - Van Campbell
Horns - Ralph Carney (tracks: A4)
Maracas - Bob Cesare (tracks: A5)
Recorded By - Dan Auerbach
Vocals, Organ [Hammond], Electric Piano - James Leg
"Nashville's Black Diamond Heavies spent a lot of time on the road after the release of their first album, 2007's Every Damn Time, and you can hear the lessons of dozens of sweatbox gigs on their second full-length set, 2008's A Touch of Someone Else's Class. While James Leg (aka John Wesley Myers) on vocals and keys and Van Campbell on drums sounded tight and fiery the first time around, on their sophomore LP they sound tougher, harder, and practically incendiary; the duo's blues gestures are just as solid as before, but there's an emotional weight and an almost telepathic synergy between Leg and Campbell (...) Dan Auerbach of the Black Keys produced and recorded these sessions, and while his approach feels pretty hands-off, the results suggest having a more sympathetic hand behind the board was a real help for the band. And when a band's originals sound as good as covers of stuff by Tina Turner, Nina Simone, and T-Model Ford, there's no question it must be doing something right. In short, if you want to hear some blues-shot rock that'll kick your butt and make you love it, A Touch of Someone Else's Class is one album you need to hear." - Mark Deming/All Music Guide "Mucho credit is given to these Heavies for retaining that storming, redlining fuzz to the point of something like a new kick. Especially on Solid Gold where the organ playing starts to whoosh in unexpected corners of the song, cymbals crash like garbage can tops.” – Eric Dvidson/CMJ “A Touch Of Someone Else’s Class is a pure adrenaline shot for any jaded rock’n’roll fan in need of one.” - Jason Schneider / Exclaim
Tracklist:
1. A1-Nutbush City Limit 3:00
2. A2-Everythang Is Everythang 3:49
3. A3-Numbers 22 2:51
4. A4-Bidin' My Time 5:11
5. A5-Take A Ride 4:40
6. B1-Solid Gold 2:34
7. B2-Smoothe It Out 2:57
8. B3-Make Some Time 3:28
9. B4-Oh,Sinnerman 4:21
10. B5-Loose Yourself 3:41
Bittervetch - Masters & Demos (1964-1968)
Bittervetch - Masters & Demos (1964-1968)
USA garage pop
Formerly known as The Chandells.
Tracklist:
1. I wanna love you 2:27
2. Since you've gone 2:35
3. I don't care 2:06
4. I've told you 2:00
5. I will follow you 1:51
6. I don't know 2:36
7. Laughing at you 3:04
8. Why? 1:57
9. Who are you? 2:23
10. Keep surfin' 1:50
11. Without you 3:07
12. Let you be 2:50
13. I'm in love with you 2:11
14. A girl like you (demo) 1:50
15. A girl like you 1:47
16. Bigger fool 2:46
17. I don't care 2:07
18. When you wake up in the morning 1:53
19. When you wake up in the morning 2:25
20. I really like you 1:22
USA garage pop
Formerly known as The Chandells.
Tracklist:
1. I wanna love you 2:27
2. Since you've gone 2:35
3. I don't care 2:06
4. I've told you 2:00
5. I will follow you 1:51
6. I don't know 2:36
7. Laughing at you 3:04
8. Why? 1:57
9. Who are you? 2:23
10. Keep surfin' 1:50
11. Without you 3:07
12. Let you be 2:50
13. I'm in love with you 2:11
14. A girl like you (demo) 1:50
15. A girl like you 1:47
16. Bigger fool 2:46
17. I don't care 2:07
18. When you wake up in the morning 1:53
19. When you wake up in the morning 2:25
20. I really like you 1:22
Barry & The Remains - Diddy Wah Diddy (1965 - 1966)
Barry & The Remains - Diddy Wah Diddy (1965 - 1966)
Tracklist:
1. - All good things 2:18
2. - When I want to know 2:08
3. - Why do I cry 2:47
4. - Ain't that her 2:11
5. - I believe in You 2:35
6. - Mercy, mercy 2:377. - My babe 2:05
8. - Time of day 2:12
9. - But I ain't got you 2:10
10. - I can't get away from you 2:32
11. - Diddy wah diddy 2:32
12. - Once before 2:08
13. - Lonely week end 3:20
14. - You got a hard time coming 2:04
15. - Say you're sorry 2:15
16. - Don't look back 2:40
17. - Thank you 3:14
18. - Me right now 2:27
19. - Heart 2:34
Tracklist:
1. - All good things 2:18
2. - When I want to know 2:08
3. - Why do I cry 2:47
4. - Ain't that her 2:11
5. - I believe in You 2:35
6. - Mercy, mercy 2:377. - My babe 2:05
8. - Time of day 2:12
9. - But I ain't got you 2:10
10. - I can't get away from you 2:32
11. - Diddy wah diddy 2:32
12. - Once before 2:08
13. - Lonely week end 3:20
14. - You got a hard time coming 2:04
15. - Say you're sorry 2:15
16. - Don't look back 2:40
17. - Thank you 3:14
18. - Me right now 2:27
19. - Heart 2:34
Barbarians - Are You A Boy Or Are You A Girl (1965)
Barbarians - Are You A Boy Or Are You A Girl (1965)
Tracklist:
1. Are You A Boy Or Are You A Girl 2:18
2. Mr. Tambourine Man 2:12
3. House Of The Rising Sun 2:48
4. Marie Elena 2:23
5. Bo Diddley 3:12
6. Memphis Tennessee 2:31
7. What The New Breed Say 2:13
8. Take It Or Leave It 2:45
9. I'Ll Keep On Seeing You 2:29
10. Linguica 1:34
11. Susie Q 1:47
12. I'Ve Got A Woman 3:16
13. Moulty 2:33
14. Hey Little Bird 2:24
15. You'Ve Got To Understand 2:08
Tracklist:
1. Are You A Boy Or Are You A Girl 2:18
2. Mr. Tambourine Man 2:12
3. House Of The Rising Sun 2:48
4. Marie Elena 2:23
5. Bo Diddley 3:12
6. Memphis Tennessee 2:31
7. What The New Breed Say 2:13
8. Take It Or Leave It 2:45
9. I'Ll Keep On Seeing You 2:29
10. Linguica 1:34
11. Susie Q 1:47
12. I'Ve Got A Woman 3:16
13. Moulty 2:33
14. Hey Little Bird 2:24
15. You'Ve Got To Understand 2:08
Bo Diddley - The Chess Box (1990)
Bo Diddley - The Chess Box (1990)
# Audio CD (July 19, 1990)
# Original Release Date: August 21, 1990
# Number of Discs: 2
# Format: Box set
# Label: Chess
# ASIN: B000002P8J
Biography by Richie Unterberger
He only had a few hits in the 1950s and early '60s, but as Bo Diddley sang, "You Can't Judge a Book by Its Cover." You can't judge an artist by his chart success, either, and Diddley produced greater and more influential music than all but a handful of the best early rockers. The Bo Diddley beat -- bomp, ba-bomp-bomp, bomp-bomp -- is one of rock & roll's bedrock rhythms, showing up in the work of Buddy Holly, the Rolling Stones, and even pop-garage knock-offs like the Strangeloves' 1965 hit "I Want Candy." Diddley's hypnotic rhythmic attack and declamatory, boasting vocals stretched back as far as Africa for their roots, and looked as far into the future as rap. His trademark otherworldly vibrating, fuzzy guitar style did much to expand the instrument's power and range. But even more important, Bo's bounce was fun and irresistibly rocking, with a wisecracking, jiving tone that epitomized rock & roll at its most humorously outlandish and freewheeling.
Before taking up blues and R&B, Diddley had actually studied classical violin, but shifted gears after hearing John Lee Hooker. In the early '50s, he began playing with his longtime partner, maraca player Jerome Green, to get what Bo's called "that freight train sound." Billy Boy Arnold, a fine blues harmonica player and singer in his own right, was also playing with Diddley when the guitarist got a deal with Chess in the mid-'50s (after being turned down by rival Chicago label Vee-Jay). His very first single, "Bo Diddley"/"I'm a Man" (1955), was a double-sided monster. The A-side was soaked with futuristic waves of tremolo guitar, set to an ageless nursery rhyme; the flip was a bump-and-grind, harmonica-driven shuffle, based around a devastating blues riff. But the result was not exactly blues, or even straight R&B, but a new kind of guitar-based rock & roll, soaked in the blues and R&B, but owing allegiance to neither.
Diddley was never a top seller on the order of his Chess rival Chuck Berry, but over the next half-dozen or so years, he'd produce a catalog of classics that rival Berry's in quality. "You Don't Love Me," "Diddley Daddy," "Pretty Thing," "Diddy Wah Diddy," "Who Do You Love?," "Mona," "Road Runner," "You Can't Judge a Book by Its Cover" -- all are stone-cold standards of early, riff-driven rock & roll at its funkiest. Oddly enough, his only Top 20 pop hit was an atypical, absurd back-and-forth rap between him and Jerome Green, "Say Man," that came about almost by accident as the pair were fooling around in the studio.
As a live performer, Diddley was galvanizing, using his trademark square guitars and distorted amplification to produce new sounds that anticipated the innovations of '60s guitarists like Jimi Hendrix. In Great Britain, he was revered as a giant on the order of Chuck Berry and Muddy Waters. The Rolling Stones in particular borrowed a lot from Bo's rhythms and attitude in their early days, although they only officially covered a couple of his tunes, "Mona" and "I'm Alright." Other British R&B groups like the Yardbirds, Animals, and Pretty Things also covered Diddley standards in their early days. Buddy Holly covered "Bo Diddley" and used a modified Bo Diddley beat on "Not Fade Away"; when the Stones gave the song the full-on Bo treatment (complete with shaking maracas), the result was their first big British hit.
The British Invasion helped increase the public's awareness of Diddley's importance, and ever since then he's been a popular live act. Sadly, though, his career as a recording artist -- in commercial and artistic terms -- was over by the time the Beatles and Stones hit America. He'd record with ongoing and declining frequency, but after 1963, he'd never write or record any original material on par with his early classics. Whether he'd spent his muse, or just felt he could coast on his laurels, is hard to say. But he remains a vital part of the collective rock & roll consciousness, occasionally reaching wider visibility via a 1979 tour with the Clash, a cameo role in the film Trading Places, a late-'80s tour with Ronnie Wood, and a 1989 television commercial for sports shoes with star athlete Bo Jackson.
Amazon.com
He's celebrated for the syncopated beat bearing his name that has spanned rock & roll's entire history. Unfortunately, his namesake also gets him mislabeled as a one-trick pony. This two-disc set does much to remedy the situation, tracking 1955 through 1968 and featuring all the hits. However, The Chess Box also displays Diddley's rock and blues versatility, from the reggae-ish (before there was reggae) "Crackin' Up" and the Who's onstage hard-rock anthem "Roadrunner" to the wonderful formerly U.K.-only "Greatest Lover in the World" and rock's first song about a junkie ("Pills," later revived by the New York Dolls). Most surprising is Diddley's beautiful yet previously unreleased doo-wop classic, "You Know I Love You." The excellent liner notes by MCA's primo compiler, Andy McKaie (with Diddley himself), and the late Robert Palmer add extra value to the package. --Bill Holdship
From Grove Press Guide to Blues on CD
The extraordinary rhythmic sense of Ellas "Bo Diddley" McDaniel is evidenced on forty-five songs (classics and obscure gems alike) recorded between 1955 and 1969, one of the all-time peaks of creativeness in rock 'n' roll. The sides filling two discs in this handsome boxed set also show that the Mississippi native who was raised on Chicago's South Side has a guitar and voice acute in blues intonation and a penchant for lyrics that are barbed-wire sharp with irreverent humor. The accompanying twenty-two-page booklet includes a Robert Palmer essay, sessions details, and remembrances by Diddley. -- © Frank John Hadley 1993
Review by Bill Dahl
Not every single track you'll ever want or need by the legendary shave-and-a-haircut rhythm R&B/rock pioneer, but a great place to begin. Two discs (45 songs) in a great big box with a nice accompanying booklet contain the groundbreaking introduction "Bo Diddley" (never again would he be referred to as Ellas McDaniel), its swaggering flipside "I'm a Man," the killer follow-ups "Diddley Daddy," "I'm Looking for a Woman," "Who Do You Love?," and "Hey Bo Diddley;" signifying street-corner humor ("Say Man"), piledriving rockers ("Road Runner," "She's Alright," "You Can't Judge a Book by Its Cover"), and numerous stunning examples of his daringly innovative guitar style.
DISC 1
1. Bo Diddley
2. I'm a Man
3. You Don't Love Me
4. Diddley Daddy
5. Pretty Thing
6. Bring It to Jerome - (alternate take)
7. Bring It to Jerome - (master)
8. Diddy Wah Diddy
9. I'm Looking For a Woman
10. Who Do You Love?
11. Down Home Special
12. Hey Bo Diddkey
13. Mona (I Need You Baby)
14. Say Boss Man
15. Before You Accuse Me
16. Say Man
17. Hush Your Mouth - (alternate take)
18. Clock Strikes Twelve, The
19. Dearest Darling - (alternate take)
20. Crackin' Up
21. Don't Let It Go (Hold on to What You Got)
22. I'm Sorry
23. Mumblin' Guitar
24. The Story of Bo Diddley
DISC 2
1. She's Alright
2. Say Man, Back Again - (alternate take)
3. Road Runner
4. Spend My Life With You
5. Cadillac
6. Signifying Blues - (extended version)
7. Deed and Deed I Do
8. You Know I Love You
9. Look at My Baby
10. Ride on Josephine
11. Aztec
12. Back Home
13. Pills
14. Untitled Instrumental
15. I Can Tell
16. You Can't Judge a Book by It's Cover
17. Who May Your Lover Be
18. The Greatest Lover in the World
19. 500% More Man
20. Ooh Baby
21. Bo Diddley 1969
# Audio CD (July 19, 1990)
# Original Release Date: August 21, 1990
# Number of Discs: 2
# Format: Box set
# Label: Chess
# ASIN: B000002P8J
Biography by Richie Unterberger
He only had a few hits in the 1950s and early '60s, but as Bo Diddley sang, "You Can't Judge a Book by Its Cover." You can't judge an artist by his chart success, either, and Diddley produced greater and more influential music than all but a handful of the best early rockers. The Bo Diddley beat -- bomp, ba-bomp-bomp, bomp-bomp -- is one of rock & roll's bedrock rhythms, showing up in the work of Buddy Holly, the Rolling Stones, and even pop-garage knock-offs like the Strangeloves' 1965 hit "I Want Candy." Diddley's hypnotic rhythmic attack and declamatory, boasting vocals stretched back as far as Africa for their roots, and looked as far into the future as rap. His trademark otherworldly vibrating, fuzzy guitar style did much to expand the instrument's power and range. But even more important, Bo's bounce was fun and irresistibly rocking, with a wisecracking, jiving tone that epitomized rock & roll at its most humorously outlandish and freewheeling.
Before taking up blues and R&B, Diddley had actually studied classical violin, but shifted gears after hearing John Lee Hooker. In the early '50s, he began playing with his longtime partner, maraca player Jerome Green, to get what Bo's called "that freight train sound." Billy Boy Arnold, a fine blues harmonica player and singer in his own right, was also playing with Diddley when the guitarist got a deal with Chess in the mid-'50s (after being turned down by rival Chicago label Vee-Jay). His very first single, "Bo Diddley"/"I'm a Man" (1955), was a double-sided monster. The A-side was soaked with futuristic waves of tremolo guitar, set to an ageless nursery rhyme; the flip was a bump-and-grind, harmonica-driven shuffle, based around a devastating blues riff. But the result was not exactly blues, or even straight R&B, but a new kind of guitar-based rock & roll, soaked in the blues and R&B, but owing allegiance to neither.
Diddley was never a top seller on the order of his Chess rival Chuck Berry, but over the next half-dozen or so years, he'd produce a catalog of classics that rival Berry's in quality. "You Don't Love Me," "Diddley Daddy," "Pretty Thing," "Diddy Wah Diddy," "Who Do You Love?," "Mona," "Road Runner," "You Can't Judge a Book by Its Cover" -- all are stone-cold standards of early, riff-driven rock & roll at its funkiest. Oddly enough, his only Top 20 pop hit was an atypical, absurd back-and-forth rap between him and Jerome Green, "Say Man," that came about almost by accident as the pair were fooling around in the studio.
As a live performer, Diddley was galvanizing, using his trademark square guitars and distorted amplification to produce new sounds that anticipated the innovations of '60s guitarists like Jimi Hendrix. In Great Britain, he was revered as a giant on the order of Chuck Berry and Muddy Waters. The Rolling Stones in particular borrowed a lot from Bo's rhythms and attitude in their early days, although they only officially covered a couple of his tunes, "Mona" and "I'm Alright." Other British R&B groups like the Yardbirds, Animals, and Pretty Things also covered Diddley standards in their early days. Buddy Holly covered "Bo Diddley" and used a modified Bo Diddley beat on "Not Fade Away"; when the Stones gave the song the full-on Bo treatment (complete with shaking maracas), the result was their first big British hit.
The British Invasion helped increase the public's awareness of Diddley's importance, and ever since then he's been a popular live act. Sadly, though, his career as a recording artist -- in commercial and artistic terms -- was over by the time the Beatles and Stones hit America. He'd record with ongoing and declining frequency, but after 1963, he'd never write or record any original material on par with his early classics. Whether he'd spent his muse, or just felt he could coast on his laurels, is hard to say. But he remains a vital part of the collective rock & roll consciousness, occasionally reaching wider visibility via a 1979 tour with the Clash, a cameo role in the film Trading Places, a late-'80s tour with Ronnie Wood, and a 1989 television commercial for sports shoes with star athlete Bo Jackson.
Amazon.com
He's celebrated for the syncopated beat bearing his name that has spanned rock & roll's entire history. Unfortunately, his namesake also gets him mislabeled as a one-trick pony. This two-disc set does much to remedy the situation, tracking 1955 through 1968 and featuring all the hits. However, The Chess Box also displays Diddley's rock and blues versatility, from the reggae-ish (before there was reggae) "Crackin' Up" and the Who's onstage hard-rock anthem "Roadrunner" to the wonderful formerly U.K.-only "Greatest Lover in the World" and rock's first song about a junkie ("Pills," later revived by the New York Dolls). Most surprising is Diddley's beautiful yet previously unreleased doo-wop classic, "You Know I Love You." The excellent liner notes by MCA's primo compiler, Andy McKaie (with Diddley himself), and the late Robert Palmer add extra value to the package. --Bill Holdship
From Grove Press Guide to Blues on CD
The extraordinary rhythmic sense of Ellas "Bo Diddley" McDaniel is evidenced on forty-five songs (classics and obscure gems alike) recorded between 1955 and 1969, one of the all-time peaks of creativeness in rock 'n' roll. The sides filling two discs in this handsome boxed set also show that the Mississippi native who was raised on Chicago's South Side has a guitar and voice acute in blues intonation and a penchant for lyrics that are barbed-wire sharp with irreverent humor. The accompanying twenty-two-page booklet includes a Robert Palmer essay, sessions details, and remembrances by Diddley. -- © Frank John Hadley 1993
Review by Bill Dahl
Not every single track you'll ever want or need by the legendary shave-and-a-haircut rhythm R&B/rock pioneer, but a great place to begin. Two discs (45 songs) in a great big box with a nice accompanying booklet contain the groundbreaking introduction "Bo Diddley" (never again would he be referred to as Ellas McDaniel), its swaggering flipside "I'm a Man," the killer follow-ups "Diddley Daddy," "I'm Looking for a Woman," "Who Do You Love?," and "Hey Bo Diddley;" signifying street-corner humor ("Say Man"), piledriving rockers ("Road Runner," "She's Alright," "You Can't Judge a Book by Its Cover"), and numerous stunning examples of his daringly innovative guitar style.
DISC 1
1. Bo Diddley
2. I'm a Man
3. You Don't Love Me
4. Diddley Daddy
5. Pretty Thing
6. Bring It to Jerome - (alternate take)
7. Bring It to Jerome - (master)
8. Diddy Wah Diddy
9. I'm Looking For a Woman
10. Who Do You Love?
11. Down Home Special
12. Hey Bo Diddkey
13. Mona (I Need You Baby)
14. Say Boss Man
15. Before You Accuse Me
16. Say Man
17. Hush Your Mouth - (alternate take)
18. Clock Strikes Twelve, The
19. Dearest Darling - (alternate take)
20. Crackin' Up
21. Don't Let It Go (Hold on to What You Got)
22. I'm Sorry
23. Mumblin' Guitar
24. The Story of Bo Diddley
DISC 2
1. She's Alright
2. Say Man, Back Again - (alternate take)
3. Road Runner
4. Spend My Life With You
5. Cadillac
6. Signifying Blues - (extended version)
7. Deed and Deed I Do
8. You Know I Love You
9. Look at My Baby
10. Ride on Josephine
11. Aztec
12. Back Home
13. Pills
14. Untitled Instrumental
15. I Can Tell
16. You Can't Judge a Book by It's Cover
17. Who May Your Lover Be
18. The Greatest Lover in the World
19. 500% More Man
20. Ooh Baby
21. Bo Diddley 1969
Bo Diddley - Bo Diddley Is A Gunslinger (1960)
Bo Diddley - Bo Diddley Is A Gunslinger (1960)
1. Gun Slinger 1:55
2. Ride On Josephine 3:04
3. Doing The Crawdaddy 3:05
4. Cadillac 2:46
5. Somewhere 2:34
6. Cheyenne 2:03
7. Sixteen Tons 2:30
8. Whoa Mule (Shine) 2:31
9. No More Lovin' 2:24
10. Diddling 2:12
11. Working Man 2:32
12. Do What I Say 2:46
1. Gun Slinger 1:55
2. Ride On Josephine 3:04
3. Doing The Crawdaddy 3:05
4. Cadillac 2:46
5. Somewhere 2:34
6. Cheyenne 2:03
7. Sixteen Tons 2:30
8. Whoa Mule (Shine) 2:31
9. No More Lovin' 2:24
10. Diddling 2:12
11. Working Man 2:32
12. Do What I Say 2:46
The Attack - Magic In The Air (1967 - 1968)
The Attack - Magic In The Air (1967 - 1968)
Great '60's psychedelic from this pre-Atomic Rooster band. Fourteen track compilation of the Attack's short-lived career and repertoire.
Tracklist:
1. The Attack - 01 - Magic in the air 3:41
2. The Attack - 02 - Colour of my mind 2:30
3. The Attack - 03 - Mr Pinnodmy's dilema 4:30
4. The Attack - 04 - Ho Ho silver lining 2:32
5. The Attack - 05 - Try It 2:05
6. The Attack - 06 - Freedom for you 2:37
7. The Attack - 07 - Any more than i do 2:05
8. The Attack - 08 - Strange house 4:13
9. The Attack - 09 - Neville thumcatch 3:05
10. The Attack - 10 - Feel like flying 2:39
11. The Attack - 11 - Lady orange peel 2:25
12. The Attack - 12 - We don't know 2:52
13. The Attack - 13 - To old 3:08
14. The Attack - 14 - Go your way 2:47
The Attack - Magic In The Air (1967 - 1968)
The Attack - Final Daze (2001)
The Attack - Final Daze (2001)
Tracklist:
1. Magic In The Air 3:38
2. Mr Pinnodmy's Dillema 4:27
3. Freedom For You 2:35
4. Strange House 4:10
5. Feel Like Flying 2:37
6. Too Old 3:05
7. Go Your Way 2:45
8. Now The Sun Shines 3:32
9. Sleep Like A Child 3:28
10. Roll On 4:19
11. Go Your Way (Demo) 3:46
12. You Know He Did 2:11
13. My Letters 2:04
14. Earth Tremor 4:28
15. Spaced Out 3:45
16. The 'Rock Door 1:48
17. Magic In The Air (Unplugged) 2:22
The Attack - Final Daze (2001)
The Astronauts - Rarities (1962 - 1965)
The Astronauts - Rarities (1962 - 1965)
Tracklist:
1. Come Along Baby
2. Tryin' To Get To You
3. Surf Softly And Carry A Big Board
4. The Pier
5. Surf Party
6. Firewater
7. Hot Doggin'
8. Every One But Me
9. Quasimoto
10. Scotch And Guitar
11. Surf's You Right
12. Let's Surf Again
13. Surfer Girl
14. My Little Beach Bunny
15. Around And Around
16. Surf Softly And Carry A Big Board
17. Main Title From Ride The Wild Surf
18. Go Fight For Her
19. Swim Little Mermaid
20. Tomorrow's Gonna Be Another Day
21. Razzamatazz
22. The Tables Have Turned
23. I'm Gonna Buy Me A Dog
24. The La La La Song
25. Buy Me A Round
26. Girls Like You
27. Count Your Mistakes
28. Shame, Shame, Shame
Tracklist:
1. Come Along Baby
2. Tryin' To Get To You
3. Surf Softly And Carry A Big Board
4. The Pier
5. Surf Party
6. Firewater
7. Hot Doggin'
8. Every One But Me
9. Quasimoto
10. Scotch And Guitar
11. Surf's You Right
12. Let's Surf Again
13. Surfer Girl
14. My Little Beach Bunny
15. Around And Around
16. Surf Softly And Carry A Big Board
17. Main Title From Ride The Wild Surf
18. Go Fight For Her
19. Swim Little Mermaid
20. Tomorrow's Gonna Be Another Day
21. Razzamatazz
22. The Tables Have Turned
23. I'm Gonna Buy Me A Dog
24. The La La La Song
25. Buy Me A Round
26. Girls Like You
27. Count Your Mistakes
28. Shame, Shame, Shame
The Astronauts - For You From Us (1965)
The Astronauts - For You From Us (1965)
Tracklist:
1. Ain't That Just Like Me 2:23
2. Mary Lou 2:27
3. I Still Remember 2:12
4. I'll Stay With You 2:05
5. Baby What You Want Me To Do 3:12
6. Twist And Shout 2:35
7. Unchain My Heart 3:06
8. Crawfish Song 2:59
9. Brown Eyed Handsome Man 2:09
10. Sweet Sweet Child 2:27
11. Reelin' And Rockin' 3:25
12. I'm A Rollin' Stone 2:20
Tracklist:
1. Ain't That Just Like Me 2:23
2. Mary Lou 2:27
3. I Still Remember 2:12
4. I'll Stay With You 2:05
5. Baby What You Want Me To Do 3:12
6. Twist And Shout 2:35
7. Unchain My Heart 3:06
8. Crawfish Song 2:59
9. Brown Eyed Handsome Man 2:09
10. Sweet Sweet Child 2:27
11. Reelin' And Rockin' 3:25
12. I'm A Rollin' Stone 2:20
The Artwoods - Art Gallery (1964 - 1967)
Tracklist:
1. Can You Hear Me 2:57
2. Down In The Valley 3:01
3. Things Get Better 2:26
4. Walk On The Wild Side 5:33
5. I Keep Forgettin' 2:29
6. Keep Lookin' 3:07
7. One More Heartache 3:12
8. Work, Work, Work 3:29
9. Be My Lady 3:03
10. If You Gotta Make A Fool Of Somebody 2:06
11. Stop And Think It Over 2:59
12. Don't Cry No More 3:54
13. Sweet Mary 2:54
14. If I Ever Get My Hands On You 2:04
15. Goodbye Sisters 2:54
16. She Knows What To Do 2:30
17. I Take What I Want 2:55
18. I Feel Good 2:46
19. What Shall I Do 2:54
20. In The Deep End 3:08
21. These Boot Are Made For Walkin' 2:49
22. A Taste Of Honey 3:12
23. Our Man Flint 3:00
24. Routine 3:06
25. Brother Can You Spare A Dime 2:57
26. Al's Party 2:44
1. Can You Hear Me 2:57
2. Down In The Valley 3:01
3. Things Get Better 2:26
4. Walk On The Wild Side 5:33
5. I Keep Forgettin' 2:29
6. Keep Lookin' 3:07
7. One More Heartache 3:12
8. Work, Work, Work 3:29
9. Be My Lady 3:03
10. If You Gotta Make A Fool Of Somebody 2:06
11. Stop And Think It Over 2:59
12. Don't Cry No More 3:54
13. Sweet Mary 2:54
14. If I Ever Get My Hands On You 2:04
15. Goodbye Sisters 2:54
16. She Knows What To Do 2:30
17. I Take What I Want 2:55
18. I Feel Good 2:46
19. What Shall I Do 2:54
20. In The Deep End 3:08
21. These Boot Are Made For Walkin' 2:49
22. A Taste Of Honey 3:12
23. Our Man Flint 3:00
24. Routine 3:06
25. Brother Can You Spare A Dime 2:57
26. Al's Party 2:44
The Artwoods - Singles A's & B's (2000)
The 18 songs on this CD, comprising the group's entire single and EP output, are some of the best British-spawned R&B of their time, and can stand alongside the best work of the Animals, Manfred Mann, or the Yardbirds in that vein. The Artwoods were a virtuoso outfit from the get-go, with a natural feel for the music as singers and players, whether they were working in the vein of Sam & Dave or Booker T. & the MG's, or just having fun in the studio as they do on several of the B-sides represented here. They were good at improvising in the studio and had a slightly more jazzy feel to their playing than a lot of their rivals -- their records are amazingly busy, between Jon Lord's piano and organ flourishes, Keef Hartley's very flashy drumming, and Malcolm Pool's extremely active bass work; what's more, on their B-sides, it's possible to hear the very beginnings of what became progressive rock in the hands of outfits like the Nice, at a point when the virtuosity was still focused on R&B and soul. Even their cover of "Brother Can You Spare a Dime" works within the context of British R&B. The Artwoods treaded a fine line between Manfred Mann and Georgie Fame & the Blue Flames, but they really sounded like no one else. There's not a bad cut here, even the trio of pop-rock covers ("A Taste of Honey," "Our Man Flint," etc.) that they hesitated to release at the time for fear of looking like they were selling out. The mastering is excellent, and if this were an LP, it's the sort of release purchasers would need more than one of because they'd wear out their first copies.
Tracklist:
1. Sweet Mary
2. If I Ever Get My Hands on You
3. Oh My Love
4. Big City
5. Goodbye Sisters
6. She Knows What to Do
7. I Take What I Want
8. I'm Looking for a Saxophone Doubling French Horn Wearing Size 37 Boots
9. I Feel Good
10. Molly Anderson Cookery Book
11. What Shall I Do
12. In the Deep End
13. Brother, Can You Spare a Dime?
14. Al's Party
15. These Boots Are Made for Walking
16. A Taste of Honey
17. Our Man Flint
18. Routine
Tracklist:
1. Sweet Mary
2. If I Ever Get My Hands on You
3. Oh My Love
4. Big City
5. Goodbye Sisters
6. She Knows What to Do
7. I Take What I Want
8. I'm Looking for a Saxophone Doubling French Horn Wearing Size 37 Boots
9. I Feel Good
10. Molly Anderson Cookery Book
11. What Shall I Do
12. In the Deep End
13. Brother, Can You Spare a Dime?
14. Al's Party
15. These Boots Are Made for Walking
16. A Taste of Honey
17. Our Man Flint
18. Routine
Bohemian Vendetta - Bohemian Vendetta (1968)
Bohemian Vendetta - Bohemian Vendetta (1968)
The Bohemian Vendetta
They started life as The Bohemians with the line up as follows: Arthur Muglia(aka Brian Cooke), vocals/organ; Victor Muglia, bass; Randy Pollock, rhythm guitar; Richie Sorrento, drums; Richard Martinez, lead guitar. The name was changed in '66 around the time they recorded their first demo, Like Stoned/Irresistible.
Richard Martinez left to join The Cats Meow (who had a few singles on Decca) and Richie Sorrentino quit. They were replaced by Chuck Monica(drums) and Nick Manzi (guitar) from The Rustics. Three songs were recorded at Ultra-Sonic Studios on Long Island around the fall of '66: How Does It Feel, Enough, Half the Time.
In '67 United Artists released Enough and it got a spot on Dick Clarks 'Rate a Record'. Also in '67, they recorded demos and played various gigs at places like the Action House with bands like The Vagrants and Vanilla Fudge.
They recorded an album for Mainstream in early '68 which took almost a year to be released and got no help from the label.
While waiting for the release of the album, they worked on Faine Jade's Introspection Lp. About this time they called it quits.
Distortion Records recently released a niffty little album called Enough!. This great package includes the demo versions, unreleased acetates, and their recordings as the Bohemians
Artist: BOHEMIAN VENDETTA
Title: Bohemian Vendetta
Label: MAINSTREAM
Format: LP
Price: $15.00
Catalog #: MAIN S/6106HLP
Exact repro 180 gram virgin vinyl pressing; originally released in 1968. "This is one of the best acid-punk LPs ever! Excellent Vox organ/fuzz teen garage psych and the covers are pretty fantastic as well. The cough syrup high school play vibe of 'Deaf, Dumb & Blind' must be heard to be believed. Easily one of the best on the label with lots of classy psych-punk originals and a truly unique vibe all through it."
BOHEMIAN VENDETTA Bohemian Vendetta (2007 UK issue limited edition 10-track LP pressed on 180gram VIRGIN VINYL; originally released on Mainstream in 1968, this is a classic example of a garage band who [probably] took some LSD and got a little spacey in the process!! Superb titles, including the eerie 'Paradox City' and a wigged-out version of the Stones' '[I Can't Get No] Satisfaction' - fuzz guitar and tinny organ dominate the proceedings, just like you'd want 'em to! Presented in sealed & stickered picture sleeve) ** Limited to 1000 copies
1. Riddles & Fairytales
2. (She Always Gives Me) Pleasure
3. All Kinds Of Highs
4. (I Can't Get No) Satisfaction
5. Paradox City
6. Love Can Make Your Mind Go Wild
7. The House Of The Rising Sun
8. Images (Shadow In The Night)
9. Deaf, Dumb & Blind
10. I Wanna Touch Your Heart
The Bohemian Vendetta
They started life as The Bohemians with the line up as follows: Arthur Muglia(aka Brian Cooke), vocals/organ; Victor Muglia, bass; Randy Pollock, rhythm guitar; Richie Sorrento, drums; Richard Martinez, lead guitar. The name was changed in '66 around the time they recorded their first demo, Like Stoned/Irresistible.
Richard Martinez left to join The Cats Meow (who had a few singles on Decca) and Richie Sorrentino quit. They were replaced by Chuck Monica(drums) and Nick Manzi (guitar) from The Rustics. Three songs were recorded at Ultra-Sonic Studios on Long Island around the fall of '66: How Does It Feel, Enough, Half the Time.
In '67 United Artists released Enough and it got a spot on Dick Clarks 'Rate a Record'. Also in '67, they recorded demos and played various gigs at places like the Action House with bands like The Vagrants and Vanilla Fudge.
They recorded an album for Mainstream in early '68 which took almost a year to be released and got no help from the label.
While waiting for the release of the album, they worked on Faine Jade's Introspection Lp. About this time they called it quits.
Distortion Records recently released a niffty little album called Enough!. This great package includes the demo versions, unreleased acetates, and their recordings as the Bohemians
Artist: BOHEMIAN VENDETTA
Title: Bohemian Vendetta
Label: MAINSTREAM
Format: LP
Price: $15.00
Catalog #: MAIN S/6106HLP
Exact repro 180 gram virgin vinyl pressing; originally released in 1968. "This is one of the best acid-punk LPs ever! Excellent Vox organ/fuzz teen garage psych and the covers are pretty fantastic as well. The cough syrup high school play vibe of 'Deaf, Dumb & Blind' must be heard to be believed. Easily one of the best on the label with lots of classy psych-punk originals and a truly unique vibe all through it."
BOHEMIAN VENDETTA Bohemian Vendetta (2007 UK issue limited edition 10-track LP pressed on 180gram VIRGIN VINYL; originally released on Mainstream in 1968, this is a classic example of a garage band who [probably] took some LSD and got a little spacey in the process!! Superb titles, including the eerie 'Paradox City' and a wigged-out version of the Stones' '[I Can't Get No] Satisfaction' - fuzz guitar and tinny organ dominate the proceedings, just like you'd want 'em to! Presented in sealed & stickered picture sleeve) ** Limited to 1000 copies
1. Riddles & Fairytales
2. (She Always Gives Me) Pleasure
3. All Kinds Of Highs
4. (I Can't Get No) Satisfaction
5. Paradox City
6. Love Can Make Your Mind Go Wild
7. The House Of The Rising Sun
8. Images (Shadow In The Night)
9. Deaf, Dumb & Blind
10. I Wanna Touch Your Heart
Boa - Wrong Road (1971)
Boa - Wrong Road (1971)
US Garage Rock
Boa was a heavy psych group from Michigan.Their sole album "Wrong Road" was originally issued as a private pressing. Boa recorded "Wrong Road" on a Sony TC-200 in a Tupperware warehouse. Garage, Psychedelic and Blues flavored tunes like "Never Come Back," "Wrong Road," and "Brave New World" with lots of harsh vocals, keyboards and Killer guitar work.
Tracklist:
1. Never Come Back 4:50
2. Wrong Road 3:26
3. You Don't Want Me Anymore 4:19
4. Angelisa 4:06
5. Brave New World 2:17
6. You Tell Me You Love Me 4:34
7. I Think I Been Had 3:39
8. Don't Go Away 4:08
9. A Restful Sleep 6:51
10. Can't Be Real 4:24
11. Wrong Road (Anvil Sessions) 3:30
Boa - Wrong Road (1971)
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