The Move – Same (1968)

LPFrontCover1The Move were a British rock band of the late 1960s and the early 1970s. They scored nine Top 20 UK singles in five years, but were among the most popular British bands not to find any real success in the United States. Although bassist-vocalist Chris “Ace” Kefford was the original leader, for most of their career the Move was led by guitarist, singer and songwriter Roy Wood. He wrote all the group’s UK singles and, from 1968, also sang lead vocals on many songs, although Carl Wayne was the main lead singer up to 1970. Initially, the band had 4 main vocalists (Wayne, Wood, Trevor Burton and Kefford) who split the lead vocals on a number of their earlier songs.

The Move evolved from several mid-1960s Birmingham based groups, including Carl Wayne & the Vikings, the Nightriders and the Mayfair Set. Their name referred to the move various members of these bands made to form the group. Besides Wood, the Move’s original five-piece roster in 1965 was drummer Bev Bevan, bassist Kefford, vocalist Carl Wayne and guitarist Trevor Burton. The final line-up of 1972 was the trio of Wood, Bevan and Jeff Lynne; together, they rode the group’s transition into the Electric Light Orchestra. Between 2007 and 2014, Burton and Bevan performed intermittently as “The Move featuring Bev Bevan and Trevor Burton.”

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Move is the debut album by The Move, released on the Regal Zonophone label. The only one which was recorded by the group’s initial line-up before bassist Ace Kefford left, it includes both sides of their third and fourth singles (“Flowers in the Rain” and “Fire Brigade”). “Flowers in the Rain” was the first ever song played on Radio 1 in September 1967 by Tony Blackburn.

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The album consisted of Roy Wood originals, and three cover versions that had featured prominently in their live set. “Weekend” was an Eddie Cochran song, and “Hey Grandma” had originally been recorded by US psychedelic band Moby Grape. “Zing! Went the Strings of My Heart” was an old James F. Hanley standard, with an arrangement copied from The Coasters.

The last track, “Cherry Blossom Clinic”, was intended as a single at the end of 1967, and an acetate, with “Vote for Me” (a song which remained unreleased until 1997), was pressed. Release was cancelled, as the lyrics were about the inmate of a mental home, and in the wake of the controversy which had dogged “Flowers in the Rain”, with its promotional postcard featuring an allegedly libellous drawing of Prime Minister Harold Wilson, it was felt that potential further allegations of bad taste and scandal would harm their career irreparably. (by wikipedia)

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There’s a good reason why the Move’s eponymous 1968 debut album sounds like the work of two or three different bands — actually, befitting a band with multiple lead singers, there’s more than one reason. First, there’s that lead singer conundrum. Carl Wayne was the group’s frontman, but Roy Wood wrote the band’s original tunes and sometimes took the lead, and when the group covered a rock & roll class, they could have rhythm guitarist Trevor Burton sing (as they did on Eddie Cochran’s “Weekend”) or drummer Bev Bevan (as they did on the Coasters’ “Zing Went the Strings of My Heart”). Such ever-changing leads can lend excitement but it can also lend confusion, especially when the group enthusiastically mixes up Who-inspired art pop with three-chord rock & roll oldies and more than a hint of British eccentricity. Add to that, the album had a long, convoluted birth of 14 months, a long span of time in pop music, but it was an eternity in the mid-’60s, when styles and sounds were changing monthly.

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The Move were releasing singles during this time so they weren’t absent from the scene, but they did happen to be set upon a course of cutting singles when their peers were crafting album-length epics, something that separated them from the pack, making them seem eccentric…and the Move needed no help in seeming eccentric. In an age filled with outsized originals, the Move may have been the most peculiar, not quite fitting into any particular scene or sound. They rivaled the Who in their almost violent power, but were almost entirely devoid of Mod style, despite the “Ace” nickname of bassist Chris Kefford. They were as defiantly British as the Kinks, but during 1967 and 1968 they were more closely tied to psychedelia than the Davies brothers, producing intensely colorful records like “(Here We Go Round) The Lemon Tree” and “I Can Hear the Grass Grow,” songs that owed a heavy debt to the Beatles. Indeed, the Move were arguably at the forefront of the second wave of the British Invasion, building upon the bright, exuberant sound of 1964 and 1965 and lacking any rooting in the jazz and blues that fueled the Rolling Stones, the Animals, and Manfred Mann, among countless others.(by Stephen Thomas Erlewine)

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Personnel:
Bev Bevan (drums, percussion, vocals)
Trevor Burton (guitar, vocals)
Ace Kefford (bass, vocals)
Carl Wayne (vocals)
Roy Wood (guitar, vocals)
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Nicky Hopkins (piano on 07., harpsichord on 12.)
Tony Visconti (string, brass and woodwind arrangements)

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Tracklist:
01. Yellow Rainbow (Kefford/Wood) 2.38
02. Kilroy Was Here (Wood) 2.45
03. (Here We Go Round) The Lemon Tree (Wood) 3.02
04. Weekend (B.Post/D.Post/Burton) 1.48
05. Walk Upon The Water (Wayne/Wood/Kefford) 3.24
06. Flowers In The Rain (Wayne/Wood) 2.22
07. Hey Grandma (Miller/Stevenson/Wayne) 3.13
08. Useless Information (Wayne) 2.57
09. Zing! Went the Strings Of My Heart (Hanley/Bevan/Kefford) 2.50
10. The Girl Outside (Burton) 2.56
11. Fire Brigade (Wood/Wayne) 2.24
12. Mist On A Monday Morning (Wood) 2.32
13. Cherry Blossom Clinic (Wayne/Wood) 2:30
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14. Night Of Fear (Wood) (Single A-Side) 2.17
15. The Disturbance (Wood) (Single B-Side) 2.50
16. I Can Hear The Grass Grow (Single A-Side) (Wood) 3.09
17. Wave The Flag And Stop The Train (Single B-Side) (Wood) 2.58
18. Vote For Me (Unreleased Single B-Side) (Wood) 2.51
19. The Disturbance (alternate version) (Wood) 2.02
20. Fire Brigade (alternate version) (Wood/Wayne) 2.20
21. Second Class (She’s Too Good for You) (Roy Wood solo track) (Wood) 2.08
22. Cherry Blossom Clinic (alternate version) (Wayne/Wood) 2.54
23. (Here We Go Round) The Lemon Tree (stereo version) (Wood) 2.59
24. Weekend (stereo version) (B.Post/D.Post/Burton) 1.48
25. Flowers In The Rain (stereo version) (Wayne/Wood) 2.31
26. Useless Information (stereo version) (Wayne) 2.58
27. Zing! Went the Strings Of My Heart (stereo version) (Hanley/Bevan/Kefford) 2.51
28. The Girl Outside (stereo version) (Burton) 2.55
29. Walk Upon The Water (stereo version) (Wayne/Wood/Kefford) 3.22

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The Kinks – Live At Kelvin Hall (1967)

FrontCover1Live at Kelvin Hall is a 1967/68 live album by British rock group the Kinks. It was recorded at Kelvin Hall in Glasgow, Scotland, in early 1967. The album was released in August 1967 in the US (as The Live Kinks), and January 1968 in the UK. Live at Kelvin Hall received mixed reviews upon release, and sold poorly.

The album was first re-released on CD in 1987. In 1998, the album was reissued with both the mono and stereo mixes present. Unlike many albums in the Kinks catalogue which have received Deluxe Edition formats, Live At Kelvin Hall was passed on by Andrew Sandoval, who, at one point, attempted to remix the album. The mono mix was absent from the 2011 box set The Kinks In Mono, but was present in the 2005 box set The Pye Album Collection.

The Kinks played two sets in the Scene ’67 Theatre inside Kelvin Hall on 1 April 1967; one at 6:30 and the other at 9:30 pm, with the bands Sounds Incorporated and the Fortunes opening. The entire concert was recorded on a 4-track Pye Mobile Recording Unit owned by the group’s label, Pye Records. The Kinks’ set was the finale of a ten-day teen music-festival, sponsored by a local discotheque club and The Daily Record, a Glasgow newspaper.

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On 3 April, post-production was underway for the scheduled live album. The group also took part in sessions to “enhance” the recordings—writer Andy Miller notes that …Kelvin Hall “is perhaps not as live as all that. Sessions were undertaken to ‘sweeten’ the original tapes. Close listening seems to reveal that the audience hysteria is an extended, repeating tape loop.” It is also notable that an entire fourth of the 4-track mix was devoted to the crowd’s screams and yells. Doug Hinman, in his 2004 book All Day And All Of The Night, also states that “it appears that overdubs [were] made (noticeable … on the released album’s guitar solo on ‘Till The End Of The Day’, and the differing guitar solos between the mono and stereo mixes of ‘You Really Got Me’).” A press release followed on the same day, announcing that a live album was scheduled for future release.

Live at Kelvin Hall was released in the US as The Live Kinks on 16 August 1967, where it went virtually unnoticed. It stalled at number 162 in the Billboard charts, during a four-week[4] run.[5] The album fared no better in the UK; upon release in January 1968 as Live at Kelvin Hall, it received only moderate advertising and mixed reviews. New Musical Express: “… at Glasgow the Kinks had every encouragement to give a good show and what you can hear above the audience noise is good. I don’t know if I like a backing of whistles and screams.” Live at Kelvin Hall failed to chart. (by wikipedia)

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Recorded in Glasgow, Scotland, while the Kinks were on tour in 1967, Live at Kelvin Hall (aka The Live Kinks) has the distinction of being the only undoctored concert recording of a British Invasion band at the peak of its popularity. Like the Stones and the Beatles, the Kinks faced audiences filled with screaming, shrieking teenagers. Often, the noise was so loud that it drowned out the amps on-stage, and since the band couldn’t hear each other, its performances were ragged and rough. The Kinks held together in Glasgow better than their peers, but Live at Kelvin Hall is still rough going. True, it does offer an audio document of the band in concert, but the crowd is so damn noisy, it’s hard to hear anything besides screaming. The band is buried under this cacophony, and while they turn out some energetic performances — not only of hits like “Till the End of the Day,” “You Really Got Me,” and the sing-along “Sunny Afternoon” — they’re just sloppy enough to be a little tiring when combined with the roaring crowd. Live at Kelvin Hall may be interesting as an historical piece to some collectors, but it falls short of being pleasurable listening. (by Stephen Thomas Erlewine)

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Personnel:
Mick Avory (drums)
Dave Davies (guitar, backgroundvocals, vocals  on 04., 07. + 09.)
Ray Davies (vocals, guitar)
Pete Quaife (bass, background vocals)

Alternate fromntcovedrs:
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Tracklist:
01. Till The End Of The Day (R.Davies) 3.32
02. A Well Respected Man (R.Davies) 3.09
03. You’re Lookin’ Fine (R.Davies) 3.36
04. Sunny Afternoon (R.Davies) 4.54
05. Dandy (R.Davies) 2.11
06. I’m On An Island (R.Davies) 2.53
07. Come On Now (R.Davies) 3.58
08. You Really Got Me (R.Davies) 2.16
09. Medley 8.47
09.1. Milk Cow Blues (Estes)
09.2. Batman Theme (Hefti)
09.3. Tired Of Waiting For You (R.Davies)

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The McCoys – Hang On Sloopy (1965)

FrontCover1The McCoys were a rock group formed in Union City, Indiana, United States, in 1962. They are best known for their 1965 hit single “Hang on Sloopy”. Their name was changed from Rick and the Raiders to The McCoys, taken from the B-side of The Ventures’ hit record “Walk, Don’t Run” titled “The McCoy”.

The original members were all from Union City; however, the Zehringer boys were initially from Fort Recovery, Ohio. The band members were guitarist and lead singer Richard Zehringer (later known as Rick Derringer), his brother Randy (later known as Randy Z) on drums, and bassist Dennis Kelly. This first line-up was known as The Rick Z Combo, and later known as Rick and the Raiders. When Kelly left for college, the Zehringers were joined by bassist Randy Jo Hobbs, saxophonist Sean Michaels, and keyboardist Ronnie Brandon. This was the line-up that took the name of “The McCoys”. Brandon left the group in 1965 and was replaced by Bobby Peterson on keyboards.

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Their best-known hit is “Hang On Sloopy”, which was #1 in the United States in the Billboard Hot 100 chart in October 1965 and is the official rock song of the state of Ohio. It also is the unofficial fight song of the Ohio State University Buckeyes and can be heard being played at many Ohio State athletic events by the OSU bands. Sales of the single in the US alone were over one million copies. Other hits include a top 10 cover of “Fever” (Billboard #7) and a top 40 cover of Ritchie Valens’s “Come On, Let’s Go” (Billboard #21).

A cover of “Sorrow”, the B-side of their version of “Fever”, was a hit in the United Kingdom for The Merseys and later covered by David Bowie. Its opening line, “with your long blonde hair and eyes of blue” was quoted by George Harrison in the fadeout of “It’s All Too Much”, featured on the 1969 soundtrack of Yellow Submarine.

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“The McCoys” performed as part of Murray the K’s Christmas show on December 18,1965 at the Brooklyn Fox Theater. Also performing on the program were Peter & Gordon, Wilson Pickett, The Fortunes, The Moody Blues, The Toys, Lenny Welch, Cannibal and the Headhunters, The Vibrations, The Spinners, The O’Jays, Bloodless Revolutionaries, Patti Michaels, Bobby Diamond,and Diane Langan.

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The two Zehringer brothers (then known as Rick Derringer and Randy Z) and Hobbs became Johnny Winter’s band for the albums Johnny Winter And and Live Johnny Winter And in 1970 and 1971 respectively. As backing musicians, both Derringer and Hobbs contributed to Winter’s later releases Still Alive and Well (1973), Saints & Sinners (1974), and John Dawson Winter III (1974). Derringer and Hobbs later played with Edgar Winter as well as appeared on Together: Edgar Winter and Johnny Winter Live (1976). Hobbs later toured with Johnny Winter, but without Derringer, on Winter’s Captured Live! (1976). Derringer also played with Steely Dan and Cyndi Lauper and formed bands such as DNA, with drummer Carmine Appice.

Hobbs died of drug-related heart failure on 5 August 1993 (Derringer’s birthday) at the age of 45. Peterson died in Gainesville, Florida on 21 July 1993 at the age of 47.

Hang On Sloopy is the debut studio album by The McCoys, released in 1965. It reached #44 on the Billboard Top LPs chart.

The album featured two singles: “Hang On Sloopy”, which reached #1 on the Billboard Hot 100, and “Fever”, which reached #7. (by wikipedia)

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The McCoys’ debut album in 1965 was less a unified collection than it was a classic single, the title tune “Hang on Sloopy,” which featured the singing and guitar playing of a young Rick Derringer, surrounded by a lot of likeminded filler, although a couple of the tracks, most notably the relatively ambitious “Don’t Worry Mother” and the striking “Sorrow,” which sported a lovely melody, rose well above the generic feel of the rest of the album. That’s still the case some 40-plus years later. (by Steve Leggett)

A real crazy mix between Beat, Folk and R & B, Blues … and the start of the great career of Rick Derringer !

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Personnel:
Ronnie Brandon (organ)
Randy Hobbs (bass)
Randy Zehringer (drums)
Rick Zehringer (bass, vocals)

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Tracklist:
01. Meet the McCoys 1.41
02. Hang On Sloopy (Farrell/Russell) 3.04
03. Fever (Cooley/Davenport) 2.51
04. If You Tell A Lie (Feldman/Goldstein/Gottehrer) 2.00
05. I Don’t Mind (Brown) 2.40
06. Stubborn Kind Of Fellow (Gaye/Stevenson/Gordy) 2.20
07. 
I Can’t Help Fallin’ In Love (Peretti/Creatore/Weiss) 2.09
08. All I Really Want To Do (Dylan) 1.58
09. Papa’s Got A Brand New Bag (Brown) 2.03
10. I Can’t Explain It (Feldman/Goldstein/Gottehrer) 2.31
11. High Heel Sneakers (Higginbotham) 3.07
12. Stormy Monday Blues (Walker) 4.13

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Dave Clark Five – Glad All Over (1964)

FrontCover1Glad All Over is the debut studio album by the English rock band the Dave Clark Five. Epic Records released the album in March 1964 in the United States to capitalize on the success of the albums’ title track by the same name, and despite the caption saying “Featuring Bits and Pieces”, the single did not become a hit until two months later. The album contains some of their hit songs like “Glad All Over”, “Bits and Pieces” and “Do You Love Me”. In Canada, it was released as Bits and Pieces on Capitol Records. (by wikipedia)

The Dave Clark Five’s first album might seem a bit on the meager side outside of the context of the first flush of the British Invasion. At the time, though, it was a pretty exuberant slab o’ vinyl that rocked pretty hard for the most part, paced by the three Top 10 singles “Glad All Over,” “Do You Love Me,” and “Bits and Pieces.” It was a huge seller as well, peaking at number three and remaining in the charts almost as long as the albums by their chief competitors of the era, the Beatles.

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And it does have a few decent, though not great, original songs that don’t show up on greatest hits compilations: the solid pop/rocker “I Know You,” the raucous “Twist and Shout” rip-off “No Time to Lose,” and the surprisingly savage instrumental “Chaquita,” an inversion of “Tequila” with its snaky, growling guitar riffs and dirty sax. There’s also some pure filler, like the jazzy instrumental “Time” and the infantile “Doo Dah.” It certainly ranks among their best non-greatest-hits albums, which isn’t as high a recommendation as it sounds, since the group’s LPs weren’t that good overall. (by Richie Unterberger)

Oh yes … this is wonderful example of the power of the early British Beat Age … Listen so to songs like “Do You Love Me”, “Chaquita” , “No Time To Lose” and of course “Glad All Over”.

Enjoy the power of my generation …

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Personnel:
Dave Clark (vocals)
Lenny Davidson (guitar, background vocals)
Bobby Graham (drums)
Rick Huxley (bass guitar, background vocals)
Denis Payton (saxophone, background vocals)
Mike Smith (keyboards, vocals)

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Tracklist:
01. Glad All Over (Clark/Smith/Ryan) 2.43
02. All Of The Time (Clark/Smith/Ryan) 2.16
03. Stay (Williams) 2.10
04. Chaquita (Clark/Smith/Ryan) 2.14
05. Do You Love Me (Gordy Jr.) 2.22.
06. Bits And Pieces (Clark/Smith/Ryan) 1.58
07. I Know You (Clark/Davidson) 2.01
08. No Time To Lose (Clark/Smith/Ryan) 2.02
09. Doo Dah (Clark/Ryan) 2.23
10. Time (Clark/Davidson) 2.20
11. She’s All Mine (Clark) 2.13

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Various Artists – Greece Goes Modern Vol.1 (Sounds from Greece 1965-68) (2000)

FrontCover1And here´s a real rare and special album früm the roaring Sixites:

Can You imagine that thee was an actual mod scene in Greece back in the mid-sixties ? Well, there never existed such a thing! The Greek audience back in those years had no access to the material of Stax, Motown and Atlantic, and therefore R & B was unknown genre in this sunny side of the Mediterranean.

There were though some groups that knew this music an tried, one way of another, to introduce it to the Greek fans of ye-ye.

These bands exposed the soul screamers of Otis Redding and James Brown, and the jazzy movers of Herbie Mann, to the ears of the Greek teenagers, in their live appearances.

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Fortunately, some of these bans recorded their sound nown, morethan 30 ears later, we have the chance to meet these bands with the unique mod style. (taken from the original liner notes)

The M.G.C.:

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And we hear not only songs from this great Soul era in the Sixties, but a few classic Beat songs from good ol´ England, like “Gimme Some Lovin´” or “”It´s My Life”.

The Prophets:

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So enjoy this great trip in the past … a trip in a decade, that changed the world … taht was or many people like me a very important decade. Enjoy the power and the enthusiasm of all thes young musicians from Greece …

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Tracklist:

Esquires Beat Group:
01. Headline News (Hamilton/Hatcler/Morris) 2.29
02. Something You Got (Kenner) 2.31

The Charms:
03. Alleluia , Don’t Leave Me Alone (M.Rozakis/R.Rozakis/Polatos) 3.07
04. It’s My Life (D’ Errico/Atkins) 3.07

Ariones:
05. Gimme Some Lovin’ (Winwood) 2.50
06. Don’t Ask What I Say (Jones) 2.40

The Charms:
07. See You On Sunday (Mastorakis/Rozakis/Njkolopoylos/Stratis/Jeremjas/Pollatos) 2.46
08. I’m Sick Y’ All (Porter/Redding/Cropper) 3.06
09. Home In Your Heart (Blackwell/Scott) 2.10

The Prophets:
10. Fire (Hendrix) 2.43
11. This Little Girl (Wonder) 3.03

Esquires Beat Group:
12. Gimme Little Sign (Smith/Winn/Hooven/Sarantis) 2.40

The M.G.C.:
13. I’m Gonna Cut My Head (Petropoulakis/Mastorakis/The M.G.C.) 2.34
14. Summertime (Heyward/Gershwin) 3.10

The Skyrockets Combo:
15. Papa’s Got A Brand New Bag (Brown) 3.26

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Various Artists – Scratch My Back – Pye Beat Girls 1963-1968 (2016)

FrontCover1Located in London’s West End, Pye Records boasted a super stable of female talent. Released hot on the heels of our recent Love Hit Me! Decca Beat Girls collection, Scratch My Back! Pye Beat Girls comprises two-dozen peachy selections from Pye and sister label Piccadilly’s 1960s output. The compilation is titled after the opening track by Jan Panter, a Mark Wirtz-produced must-have for those who prefer their girl-pop records beefed up with a dose of fuzz guitar. Tony Hatch, the most successful of Pye’s in-house producers, is represented by cherry-picked titles by the Breakaways, Petula Clark, cult favorite Sandra Barry, the Baker Twins and Julie Grant. ‘Heart’ has to be the rocking-est track Petula ever recorded, so much so that it was covered in the USA by garage band the Remains.

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During the swinging sixties, Pye Records and its sister label Piccadilly Records were housed in London’s West End. Both labels had an enviable roster of artists. This included some of the top British female pop singers. Two of the biggest names were Petula Clark and Sandie Shaw. They were enjoying commercial success at home and abroad. However, they were just two of many British female pop singers signed to Pye Records and Piccadilly Records.

Among their other signings were Billie Davis, Sandra Barry, Dana Gillespie, Barbara Ruskin and Sharon Tandy. Then there were groups like The Breakaways, The Satin Bells, The Baker Twins, Jeannie and The Big Guys and Pat Harris and The Blackjacks. All these artists and groups were signed to the Pye Records and Piccadilly labels, and were among the finest purveyors of pop in Britain. They all feature on the Ace Records’ new compilation Scratch My Back! Pye Records Beat Girls 1963-1968.

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The twenty-four tracks on Scratch My Back! Pye Records Beat Girls 1963-1968 are walk down memory lane, during the swinging sixties. Listeners are introduced to eclectic selection of pop from familiar faces and new names that were part of the soundtrack to the sixties. They make a welcome return on Scratch My Back! Pye Records Beat Girls 1963-1968, which I’ll pick the highlights of.

Opening Scratch My Back! Pye Records Beat Girls 1963-1968 is Jan Panter’s Scratch My Back. It was released on Pye Records in 1966, just as the psychedelic era was dawning in Britain. Although Scratch My Back was written by Len Vandyke, his lyrics incorporates parts of the children’s nursery rhythm Jack and Jill. They’ve been rewritten, are delivered with a mixture of sass and attitude by Jan Panter. Along with harmonies and horns, they player their part in this glorious slice of fuzz guitar driven freakbeat.

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Val McKenna’s career began in 1965 when she was just sixteen. By July 1965, the Whitley Bay born singer was signed to the Piccadilly label and about to release Mixed-Up Shook-Up Girl as a single. On the B-Side was one of Val’s compositions Now That You’ve Made Up Your Mind. It’s something of a hidden gem, and shows that Val was a talented singer and songwriter. Sadly, commercial success eluded Val McKenna and she ended up working as a session singer.

In 1965, Petula Clark was still basking in glow of the success of her worldwide hit Downtown. TheTony Hatch penned single had transformed the fortunes of Petula Clark in 1964. She was already a successful singer when Downtown became a hit across the world. However, Downtown took her career to another level. By 1965, Petula Clark had released several other singles.

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This included You’d Better Come Home in 1965 which was released on the Pye Records label. It reached just forty-four in the UK charts. Hidden away on the flip side was Heart, which Petula and Georges Aber cowrote with Tony Hatch. He arranged and conducted this heartfelt ballad, which allows Petula’s vocal to shine, as she combines power and emotion. It’s a reminder of why in the sixties, Petula Clark was regarded as one of Britain’s finest female vocalists.

Another of the great British female vocalists of the sixtes was Sandie Shaw. She released the Chris Andrews penned Run as a single on Pye Records in 1966. Run reached just thirty-two on its release in August 1966. This was disappointing considering the quality of the single. It’s like a kitchen sink drama, with Sandie delivering the lyrics as if she’s experienced them. Her vocal is best described as an outpouring of memories and emotions.

JanPanterWhile many of the artists on Scratch My Back! Pye Records Beat Girls 1963-1968 enjoyed long and successful recording careers, Nina Rossi’s career was all too brief. Her career began in her hometown of Bournemouth, where she sang in clubs and hotels. Nita was also a regular in the town’s talent shows. With no sign of a record contract, Nita decided to send a demo to Tom Jones’ manager Gordon Mills.

He realised that Nita had talent, and contacted Piccadilly Records. They signed Nita and she went on to release four singles for Piccadilly Records. This includes the Gordon Mills penned Here I Go Again. On the B-Side was another Gordon Mills’ composition Something To Give. When Here I Go Again was released in 1966, the single flopped. Maybe things would’ve been different if Something To Give had been chosen as a single? It comes complete with a big, orchestrated arrangement which accompanies Nita, as she showcases a heartfelt, hopeful and sometimes needy vocal. Together, they play their part in what’s a hidden pop gem that’s since become a collector’s item.

Before embarking upon a musical career, Sandra Barry had been a star of stage and screen. Her stage debut came when she was four, when she appeared alongside Bud Flanagan of Flanagan and Allen. By the time Sandra was ten, she was offered the chance Dana Gillespieto head to Hollywood. However, her mother decided that it would be best if she stayed in Britain. Despite this, Sandra went on to appear in film, radio and television. Then in the sixties, Sandra embarked upon a career in music.

Sandra signed to Pye Records, and in 1966, released We Were Lovers (When The Party Began) as a single. This was a cover of Lloyd Price’s oft-covered song. Again, a big, orchestrated arrangement and also harmonies from The Breakaway accompany Sandra’s rueful, hurt-filled vocal. This proves a potent and hook-laden combination, as Sandra Barry gives a familiar song a makeover. Fifty years later, and it’s stood the test of time.

Not many denizens of Essex would christen their daughter after a member of the French royal family. That’s what the Daly’s did, when christened their newly-born daughter Marie-Antoinette. By 1964, Marie-Antoinette was thirteen and had embarked upon a musical career, her name had been shortened to Antoinette. However, Antoinette’s career was short-lived, and lasted just three years and five singles for Piccadilly. Her swan-song was a cover of Tami Lynn’s Why Don’t I Run Away From You? It was released on Piccadilly Records in 1966. Unfortunately, Kiki Dee released a cover of Why Don’t I Run Away From You? the same week. In the battle of the cover versions, Antoinette came second. That’s despite keeping her best single until last.

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Dana Gillespie was only sixteen when she signed to Pye Records Records in 1965. Two years later, Dana was preparing to release her third single. The song that had been chosen was a cover of The Hollies’ Pay You Back With Interest. Despite The Hollies setting the bar high, Dana rises to the challenge, and released an irresistibly catchy and melodic cover of Pay You Back With Interest. Since then, Dana Gillespie’s career has blossomed, and she’s released in excess of sixty albums.

The name Dee King might not mean anything to most people. Diane Keen is another thing. She’s been a star of British television since the seventies. However, before that, Dee had a brief musical career.

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On her return home from Kenya, Dee got a job with The Ivy League fan club. This resulted in Dee getting the chance to record her one and only single Sally Go Round The Roses. On its release on Piccadilly Records in 1966, the single failed commercially. Those who bought the single, and flipped over to the B-Side It’s So Fine were richly rewarded. It’s So Fine which was written by John Carter and Ken Lewis, is a quite beautiful, tender ballad. It shows another side to the future star of the The Cuckoo Waltz and Rings On Their Fingers.

Before embarking upon a career in music, Glo Macari was a student of the Aida Foster Stage School. By 1965, Gio was signed to Piccadilly Records, and was about to release a cover of Goffin and King’s He Knows I Love Him Too Much. It was arranged by Ivor Raymonde, who was responsible for an arrangement that references Phil Spector’s early sixties sound. Gio’s vocal even sounds as if it belongs on one of the girl groups that Phil Spector produced. Despite the Spector-esque sound, Gio’s cover of He Knows I Love Him Too Much wasn’t a commercial success. However, she went to enjoy a successful career as a songwriter in the seventies, when Gio worked closely with musical impresario Mickey Most.

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Julie Grant released fifteen singles for Pye Records. Her tenth single was Up On The Roof, which was released in 1964. By then, Julie was only seventeen. Despite that, Julie was had long been appearing on the stage and screen. Music was a natural progression. Sadly, only two of the singles Julie released charted. This includes Up On The Roof. On the B-Side I Only Care About You which would’ve made a good single. It’s uptempo track with a good hook and a commercial sound. Alas, Up On The Roof was chosen as the single, and only gave Julie a minor hit. It was another case of what might have been.

My final choice from Scratch My Back! Pye Records Beat Girls 1963-1968 is Pat Harris And The Blackjacks’ original version of the Hippy Hippy Shake. It was released on Pye in 1963, but never caught record buyer’s attention. That’s despite having a rawer, more energetic sound than The Swinging Blue Jeans’ cover.

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Their cover was released later in 1963, with an almost Beatles-esque arrangement. That’s no surprise. The Swinging Blue Jeans were just one of a number of Merseybeat groups who hoped to follow in the Fab Four’s footsteps. Hippy Hippy Shake went on to give The Swinging Blue Jeans the biggest hit of their career. Very few of the people that bought the single, were even aware of Pat Harris And The Blackjacks’ original version. That’s until the recent release of Scratch My Back! Pye Records Beat Girls 1963-1968 by Ace Records.

Scratch My Back! Pye Records Beat Girls 1963-1968 is a reminder of the quality of music the Pye and Piccadilly Records were releasing during the swinging sixties. Both labels had an enviable roster of artists. This included some of the top British female pop singers. Two of the biggest names were Petula Clark and Sandie Shaw. They were enjoying commercial success at home and abroad. However, there were many more talented female pop singers signed to Pye Records and Piccadilly Records.

Among their other signings were Billie Davis, Sandra Barry, Dana Gillespie, Barbara Ruskin and Sharon Tandy. That’s not forgetting groups like The Breakaways, The Satin Bells, The Baker Twins, Jeannie and The Big Guys and Pat Harris and The Blackjacks. Just like Petula Clark and Sandie Show, they all feature on Scratch My Back! Pye Records Beat Girls 1963-1968.

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Sadly, not all these artists and groups enjoyed the commercial success their talent deserved. Sometimes, commercial success was fleeting for artists. Other times, commercial success eluded artists. This lead to careers that’s were all too brief. The songs on Scratch My Back! Pye Records Beat Girls 1963-1968 are mixture of hits, near misses and B-Sides. Each of these songs have one thing in common…quality. Even the B-Sides ooze quality, and rival and surpass the quality of the single. These hidden gems are just among the twenty-four reasons to add Ace Records’ new compilation Scratch My Back! Pye Records Beat Girls 1963-1968 to your collection. (by Derek Anderson)

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Tracklist:
01. Jan Panter: Scratch My Back (Vandyke) 2.36
02. Billie Davis: Ev’ry Day (Davis) 2.03
03. Kim D: Come On Baby (Blackwell/Smith) 2.20
04. Val McKenna: Now That You’ve Made Up Your Mind (McKenna) 2.44
05. The Breakaways: He Doesn’t Love Me (Hawker/Raymonde) 1.58
06. Petula Clark: Heart (Aber/Clark/Hatch) 2.35
07. Glenda Collins: It’s Hard To Believe It (Meek) 3.00
08. Sandie Shaw: Run (Andrews) 2.37
09. Nita Rossi: Something To Give (Mills) 2.17
10. The Satin Bells: Da-Di-Da-Da (Colombier/Delanoe/Fishman) 2.26
11. Sandra Barry: We Were Lovers (When The Party Began) (Fisher/Powers) 2.17
12. Tawny Reed: I Got A Feeling Baby (Washington) 2.50
13. Antoinette: Why Don’t I Run Away From You (Berns) 2.41
14. Tammy St John: Nobody Knows What’s Goin’ On (In My Mind But Me) (Force) 2.19
15. Sheila Carter & Episode Six: Incense (Fallon/Miller) 2.44
16. Dana Gillespie: Pay You Back With Interest (Clarke/Hicks/Nash) 2.47
17. Barbara Ruskin: Well How Does It Feel (Ruskin) 2.39
18. Sharon Tandy: I’ve Found Love (Kimber) 2.15
19. Dee King: It’s So Fine (Carter/Lewis) 2.20
20. Glo Macari: He Knows I Love Him Too Much (Goffin/King) 2.39
21. The Baker Twins: He’s No Good (Hatch) 2.20
22. Jeannie And The Big Guy: Don’t Lie To Me (Dawson/Ford/Hiller) 2.18
23. Julie Grant: I Only Care About You (Powell) 2.24
24. Pat Harris And The Blackjacks: Hippy, Hippy Shake (Romero) 2.23

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The Yardbirds – Reunion Concert (1992)

FrontCover1The Yardbirds’ LIVE REUNION is not what you might expect. None of the band’s famous guitarists-Eric Clapton, Jeff Beck, and Jimmy Page-are present for the proceedings. Neither is singer Keith Relf, who died in the mid-’70s. The only original Yardbirds featured are drummer Jim McCarty and guitarist Chris Dreja. They’re joined by newcomers “Detroit” John Idan (vocals/guitar) and Rod Demick (vocals/bass). While there is plenty of prime, live Yardbirds material out there dating from the band’s glory days-try CLAPTON’S CRADLE: THE EARLY YARDBIRDS RECORDINGS and THE ULTIMATE COLLECTION-LIVE REUNION is still recommended to longtime fans looking for newer, in-concert renditions of Yardbirds classics. (by AllMusic)

After being inducted into the Rock Hall of Fame, Jim McCarty, Chris Dreja and new member John Idan recorded this excellent live set. It’s better known as “The Yardbirds Reunion Concert” but even though it’s been retitled as “The Yardbirds Reunion Jam,” it’s still features the same terrific song selection. “Rack My Mind,”
“Sitting on Top of the World” and “Crying Out for Love,” a McCarty original, are among the stand-outs — with the latter song also being featured on their last comeback album, “Birdland.”

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In a nice touch, they open with “Back Where I Started,” which was on their first reunion release, the self-titled Box of Frogs (which featured guest, Jeff Beck). A mixture of their classic hits, new originals and blues standards, this live album is a must-have for fans. With Idan and McCarty currently in the studio with the brilliant 2017 band line-up and the two-CD “Yardbirds 68” remix of the Anderson Theater concert and collector favorites such as “Avron Knows” finally released in an approved version surpervised by Jimmy Page, McCarty and Dreja, this is a perfect time to snap up this archival gem. The Yardbirds never stopped making fine music and this one compares well with their best. The price of the MP3 is quite reasonable and we who don’t downland can hope a remastered version may surface in the future. (Uncle Mickey)

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THE YARDBIRDS are still the best blending of British Psychedelic Pop and good old American Blues. Submerged in the style that made them living legends, REUNION JAM is the epitome of what THE YARDBIRDS do best…ROCK and ROLL!
This collection of classic YARDBIRD’s sounds captures the essense of familarity with ecclectic authenticity. It showcases the talent and maturity of founding members, Jim McCarty and Chris Dreja, and their unique ability to withstand the rigors of performing in live venue. These masters do this with grace and ease, and the ultimate performance released in REUNION JAM is about as “good as it gets” (Kate Baley)

Boah …what a night, what a concert … Listen and enjoy !

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Personnel:
Rod Demick (bass, vocals
Chris Dreja (guitar)
“Detroit” John Idan (guitar)
Jim McCarty (drums, vocals)

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Tracklist:
01. Back Where I Started (Ricky Ricardo Rave-Up) (Dreja/Fiddler/McCarty/
Paul Samwell-Smith) 6.28
02. I’m Not Talking (Allison) 3.04
03. Heavy Weather (McCarthy/Ober) 2.34
04. Train Kept A Rolling (Bradshaw) 3.26
05. Crying Out For Love (McCarty)  4:33
06.  Heartful Of Soul (Gouldman) 2.43
07. Three Lane Highway (unknown) 3.26
08.  Ain’t Done Wrong (Relf) 3.34
09. Sitting On Top Of The World (Chatmon/Vinson) 5.37
10 Ain’t Got You (Carter) 2.11
11 Rack My Mind (Beck/Dreja/Relf/Samwell-Smith) 3.43
12. Ain’t Superstitious (Dixon) 3.51
13. Bad Boy (Bramlett/Clapton) 5.26
14. Dust My Broom (James) 5.28
15. Mr. You’re A Better Man Than I (M.Hugg/B.Hugg) 3.42
16. For Your Love (Gouldman) 4.19

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The Yardbirds in 2018

The Leaves – Hey Joe (1966)

FrontCover1.jpgThe Leaves were an American garage rock band formed in San Fernando Valley, California, United States, in 1964. They are best known for their version of the song “Hey Joe”, which was a hit in 1966. Theirs is the earliest release of this song, which became a rock standard.

The band was founded by bass player Jim Pons and guitarist Robert Lee Reiner, who were inspired by hearing The Beatles while students at Cal State Northridge in Los Angeles. Originally called The Rockwells, they were fraternity brothers who formed a group and then taught themselves how to play. Besides Pons and Reiner, the original line-up included John Beck (vocals), Bill Rinehart (lead guitar), and Jimmy Kern (drums); in early 1965, Kern was replaced by drummer Tom Ray.

They began by playing surf and dance music at parties. Their first actual show was in the school gym with Captain Beefheart and His Magic Band. In 1965, The Byrds left their residency at Ciro’s on Sunset Strip after making their first hit, and The Leaves (as they were by now known) were chosen to replace them. It was there they were discovered by popular singer and actor Pat Boone, who got them their first record contract, with Mira Records.

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Their first single, “Too Many People”, was a local hit in Los Angeles The Leaves released “Hey Joe” in November 1965, and dissatisfied with the sound, pulled it. They released a second version in early 1966, which flopped. Original guitarist Bill Rinehart left, and The Leaves redid the song again with a fuzztone by new guitarist Bob Arlin. This version of the song became a hit, and debuted on both Billboard and Cash Box on May 21, 1966. It peaked at No. 31 on Billboard and No. 29 on the Canadian RPM Magazine charts, while showing a humbler peak position of No. 43 on Cash Box. The song ran nine weeks on both national charts.

Their debut album Hey Joe followed. It took a run on the Billboard charts for five weeks, beginning on July 30, 1966, peaking at No. 127. The album did not make it onto the Cash Box charts.

Ad.jpgThe band appeared on TV shows – American Bandstand, Shivaree, Shebang – and briefly in a Hollywood film, The Cool Ones (1967). One more album, All the Good That’s Happening, was released before the band broke up in 1967 when Pons left to join the pop group The Turtles; In the early 1970s, Pons played bass with Frank Zappa.[1] Arlin went on to form heavy psychedelic band The Hook[1] and The Robert Savage Group. The band reunited in 1970 before Pons became a member of Zappa’s band. The reunited lineup included Jim Pons on rhythm guitar, John Beck on lead guitar, Buddy Sklar, lead singer from The Hook and The Spencer Davis Group, Al Nichols on bass from the Turtles, and Bob “Bullet” Bailey on drums. The band did some touring and performed at local Los Angeles based nightclubs before disbanding in 1971.

A new generation of music fans discovered the band when their version of “Hey Joe” was included in the classic 1972 garage rock compilation, Nuggets. According to the Nuggets liner notes, the as yet unnamed band was hanging around a tree-shaded pool, smoking, when a newcomer gave the traditional 1960s greeting, “What’s happening?” “The leaves are happening”, came the answer, which struck them all as a good name for a band. (by wikipedia)

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This is one hell of a debut album, especially for a group that only lasted for about a year after its release. The Leaves perform some superb folk-rock in a Byrds/Beatles vein (“Just a Moment,” “Girl From the East”), excellent lyrical garage punk (“Words,” “Tobacco Road”), and solid hard rock (“Hey Joe,” “Too Many People”), and cross swords with the Rolling Stones (“You Better Move On,” “Back On the Avenue” — the latter a ripoff of the Stones’ “2120 South Michigan Avenue”) and Bob Dylan (“Love Minus Zero”).

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The sound isn’t exactly consistent, given the gamut of influences at work here, from Bo Diddley (“Dr. Stone”) to primitive psychedelia (“War of Distortion”), but there isn’t a bad song on the disc, and the CD reissue has about the best sound ever heard on this material, bringing out the guitars in a genuinely crisp and vivid fashion. Maybe the strangest and best track in that regard is their cover of “He Was a Friend of Mine,” which incorporates elements of both the Searchers’ “When You Walk In the Room” and the Byrds’ “I’ll Feel a Whole Lot Better” into its structure and beat — the guitars are a real kick there. The bonus tracks may have come from vinyl sources rather than tape, but they hold up very well for sound quality. Anyone who enjoyed the first two Byrds albums must own this disc. (by Bruce Eder)

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Personnel:
Bobby Arlin (lead guitar)
John Beck (vocals)
Jim Pons (bass)
Tom “Ambrose” Ray (drums)
Robert Lee Reiner (guitar)

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Tracklist:
01. Dr.Stone (Pons/Beck) 2.19
02. Just A Memory (Arlin) 2.22
03. Get Out Of My Life Woman (Toussaint) 2.50
04. Girl From The East (Jameson) 3.00
05. He Was A Friend Of Mine (Traditional) 3.24
06. Hey Joe! (Roberts) 2.52
07. Words (Hart/Boyce) 2.24
08. Back On The Avenue (Arlin/Pons/Beck/Reiner/Ray) 3.11
09. War Of Distortion (Arlin) 2.15
10. Tobacco Road (Loudermilk) 2.14
11. Good Bye, My Love (McNally/Pender) 3.09
12. Too Many People (Rinehart/Pons) 3.22
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13. Be With You (Rinehart/Pons) 2.10
14. You Better Move On (Alexander) 2.29
15. That’s A Different Story (Rinehart/Pons) 2.34
16. Love Minus Zero (Dylan) 2.32
17. Funny Little World (Arlin) 2.11

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The Shadows – The Sound Of The Shadows (1965)

FrontCover1.jpgThe Sound of The Shadows is the fourth rock album by British instrumental (and sometimes vocal) group The Shadows, released in July 1965 through EMI Records. The album was re-released by Capitol Records of Canada in stereo (as opposed to the original mono) on 4 October 1965.

The photograph for the alternative cover was taken outside EMI House in London in 1964, by staff photographer Tony Leigh. It was originally used as the inside cover of the Cliff Richard album Aladdin and His Wonderful Lamp. (ny wikpedia)

The Shadows’ fourth album (not counting hits collections) follows on from Dance with the Shadows. The common perception among Americans watching from afar and British historians who just don’t know is that the Shadows were operating in a vacuum during the 1960s, oblivious to the pop music universe swirling around them, but their mid-’60s albums tell a different story — the band tries hard to be a mainstream rock & roll outfit without betraying their roots as a virtuoso instrumental ensemble. “A Little Bitty Tear,” “Let It Be Me,” and “Five Hundred Miles” are attempts at successful vocal numbers, and not bad — they harmonize beautifully on the latter two. All of these do rather get lost in the shuffle, amid slow instrumental ballads like “Blue Sky, Blue Sea, Blue Me” (which features the band supported by the Norrie Paramor Strings) and harder dance numbers like “Bossa Roo” and “Breakthru’,” but the vocal efforts are valid.

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The latter track is a great showcase for John Rostill’s bass and Marvin’s lead picking and Welch’s melodic rhythm guitar. Surprisingly, drummer Brian Bennett isn’t quite as visible on this record, as either a songwriter or on his instrument, as he was on their other albums of this era — in his place, John Rostill shares songwriting with both Marvin and Welch on four numbers featured on this album. Some of the outside songwriting is a bit lacking in imagination, most notably Jerry Lordan’s “Santa Ana,” which often seems one note away from turning into “La Bamba.” By contrast, “Dean’s Theme” by Hank Marvin and John Rostill is a bluesy little venture that’s a bit different for the quartet, although the best (and hardest rocking) number on the album is an outside composition, a driving instrumental called “Breakthru’.” (by Bruce Eder)

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Personnel:
Brian Bennett (drums, percussion)
Hank Marvin -(lead guitar, vocals)
John Rostill (bass, vocals)
Bruce Welch (guitar, vocals)
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Norrie Paramor (orchestral accompaniment on 04. +

“Blue Sky, Blue Sea, Blue Me” and “The Windjammer”

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Tracklist:
01. Brazil (Barroso/Russell) 2.24
02. The Lost City (Ballard) 2.10
03. A Little Bitty Tear (lead vocal by Hank Marvin) (Cochran) 2.30
04. Blue Sky, Blue Sea, Blue Me (Rostill/Welch) 3.18
05. Bossa Roo (Rostill/Welch) 3.09
06. Five Hundred Miles” (Lead vocal by Bruce Welch, Hank Marvin & John Rostill) (West) 2.41
07. Cotton Pickin’ (Ford/Hiller) 2.18
08. Deep Purple (DeRose/Parish) 2.22
09. Santa Ana (J.Lordan/P.Lordan) 2.42
10. The Windjammer (Rostill) 2.48
11. Dean’s Theme (Marvin/Rostill) 2.58
12. Breakthru’ (Taggart) 2.04
13. Let It Be Me (lead vocal by Hank Marvin, Bruce Welch & John Rostill) (Bécaud/ Curtis/ Delanoë) 2.59
14. National Provincial Samba (Rostill/Welch) 2.24

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The British Modbeats – Mod Is (1967)

FrontCover1.jpgFormed in 1963 by Fraser Loveman. They were a Beat/Mod band from St. Catharines, Ontario, The Modbeats got signed to the Red Leaf Label after finding popularity and acclaim within the Canadian Mod scene with the label hoping to use the band to ride the British Invasion wave at the time.

They disbanded in 1967 when Loveman left to start a new group, The Foundation.

The band was heavily influenced from bands and artists like Doris Troy, Cilla Black, Lulu, The Merseys, Manfred Mann, Spencer Davis Group, The Pretty Things, The Merseys, The McCoys, Chris Kenner, Cannibal And The Headhunters, Wilson Pickett.

I guess the most important musician in this short-lived Beat group was Fraser Loveman (November 01, 1946 – April 06, 2018) and so I include a intensive portrait of him (8 pages).

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Besides an inordinate amount of time spent studying 45rpm records and, rehearsing his singing via those records , Fraser had to spend a fair bit of time sewing these one of a kind, self invented fashions ! As a self taught artist in more ways than one, thousands of aural and, visual influences were dissected and, lovingly absorbed by the time he was 20 and, was becoming a known performer.

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Curtains that had been deaccessioned by some of the British Modbeats mommies were turned into giant bell bottomed trousers and, vests for himself and, his bandmates. Pre- Janis Joplin, perhaps influenced by British pop songstress Sandie Shaw, Fraser/Modbeats began a habit of performing in bare feet.

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At their mid 60’s gigs at Ontario teen dances at fairgrounds, community halls and, hockey arenas, their unexpected visual appearance and, garage band sound caused a furor that delighted the youngsters and, worried the older folks. Fraser’s well rounded vocal sound took some of the edge off of the raw vibe of the group. It was a highly original, exciting mix. Fraser’s affable dad managed his son’s new fangled singing group, The British Modbeats, who at one point, travelled all the way to New York City to perform with poppa in tow to supervise the tour.

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Because of his British roots (his family had moved to Canada in 1953) , Fraser travelled back to Britain in those days of “Swinging London” and, besides his already extensive knowledge of the roots of Rock ‘n’ Roll, he was, he was now hip to what was going on in the new music that was then emanating from England. Of course all of the new, 1960’s English popsters were influenced by the American 1950’s music that Fraser Loveman already knew so well. Relatives in Scotland also sent the latest UK records to him and, the record collection that Fraser’s older sister, Mae Loveman had started him on when he was a pre-teen was by then growing out of control. (johnmars.com)

The British Mod Beats wern´t the best Band in the Beat-Scene … but you´ll hear that they love this music … And that´s the most important thing about music ! And we can hear some strong cover versions (“L.S.D.”, “Somebody Help Me” and “More Love”)

This entry is dedicated to all these countless more or less unknown Beat Bands from this very important decade of music !

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Personnel:
Joe Colonna (bass)
Greig Foster (guitar)
Mike Gorgichuk (guitar)
Robbie Jeffrey (drums)
Fraser Loveman (vocals)

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Tracklist:
01. Whatcha Gonna Do About It (Payne/Carroll) 2.21
02. Love’s Just A Broken Heart (Lynch/Bendome/Shuman) 2.14
03. The Price Of Love (Everly Brothers) 2.07
04. Ain’t Nobody Home But Me (Scott) 2.22
05. L.S.D. (Taylor/May) 1.56
06. Land Of A 1000 Dances (Kenner) 2.49
07. Somebody Help Me (Edwards) 1.56
08. Sorrow (Feldman/Goldstein/Gottehrer) 2.31
09. More Love (Blaikley) 2.09
10. Try To Understand (Burton/Sawyer) 2.21
11. Don’t Answer Me (Zambrini/Enriquez/Callander) 2.19

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