The Kinks – Something Else By The Kinks (1967)

FrontCover1.jpgSomething Else by The Kinks, often referred to as just Something Else, is the fifth UK studio album by The Kinks, released in September 1967. It marks the final involvement of American producer Shel Talmy in the Kinks’ 1960s studio recordings; henceforth Ray Davies would produce recordings. Many of the recordings feature the keyboard work of Nicky Hopkins and the backing vocals of Ray’s wife, Rasa. Two hit singles are included: “Waterloo Sunset” and “Death of a Clown”. In 2012, the album was ranked #289 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

As Ray Davies had assumed control over production after the departure of Shel Talmy, Something Else marked a change in the sound and production style of the Kinks. He felt unsure of his skill in mixing and recording their records and later commented, “I feel that I shouldn’t have been allowed to produce Something Else. What went into an album required someone whose approach was a little bit more mundane”.

Apart from “End of the Season”, the album was recorded between the autumn of 1966 and the summer of 1967, when the Kinks had cut back on touring and had begun recording and stockpiling songs for Ray’s as-yet poorly defined “village green” project. The song “Village Green” was recorded in November 1966 during the sessions for the album but was released on a French EP in 1967 and did not appear on a Kinks LP until the next release, The Kinks Are the Village Green Preservation Society.

Ray’s lyrics on the album deal with English-inspired subject matter, including the harpsichord-laden “Two Sisters”, the lazy shuffle “End of the Season”, and the sardonic “David Watts”.


The album includes three songs composed by Dave Davies, including the hit single “Death of a Clown”.

The album sold poorly in the UK, in part because it competed with budget-priced compilation albums of early Kinks hits from 1964–1966; also, Pye Records had released “Waterloo Sunset”, “Death of a Clown” and other songs before the album appeared. Something Else also sold poorly in the US upon release in January 1968 where the group was still the subject of a US ban on live and television performances.

James Pomeroy, in a March 1968 review in Rolling Stone, felt it was the best album the Kinks had made to that point, praising the “humor, cynicism, perception and irony” where he felt the band are at their best. He picked out “David Watts” and “Waterloo Sunset” as the best tracks, and also praised the three contributions of Dave Davies.

In a retrospective review for AllMusic, Stephen Thomas Erlewine felt that the “nostalgic and sentimental” songwriting are key, and that part of “the album’s power lies in its calm music, since it provides an elegant support for Davies’ character portraits and vignettes”.

In 2003, Something Else was ranked #288 on Rolling Stone’s list of the 500 greatest albums of all time. (by wikipedia)


Face to Face was a remarkable record, but its follow-up, Something Else, expands its accomplishments, offering 13 classic British pop songs. As Ray Davies’ songwriting becomes more refined, he becomes more nostalgic and sentimental, retreating from the psychedelic and mod posturings that had dominated the rock world. Indeed, Something Else sounds like nothing else from 1967. The Kinks never rock very hard on the album, preferring acoustic ballads, music hall numbers, and tempered R&B to full-out guitar attacks. Part of the album’s power lies in its calm music, since it provides an elegant support for Davies’ character portraits and vignettes. From the martial stomp of “David Watts” to the lovely, shimmering “Waterloo Sunset,” there’s not a weak song on the record, and several — such as the allegorical “Two Sisters,” the Noël Coward-esque “End of the Season,” the rolling “Lazy Old Sun,” and the wry “Situation Vacant” — are stunners. And just as impressive is the emergence of Dave Davies as a songwriter. His Dylanesque “Death of a Clown” and bluesy rocker “Love Me Till the Sun Shines” hold their own against Ray’s masterpieces, and help make Something Else the endlessly fascinating album that it is. (by Stephen Thomas Erlewine)


Mick Avory (drums, percussion)
Dave Davies – lead guitar, 12 string guitar, background vocals, vocals (on 02., 08. + 11.)
Ray Davies 8vocals, rhythm guitar, harmonica, harp, harpsichord, organ, tuba, maracas9
Pete Quaife (bass, background vocals)
Rasa Davies (background vocals)
Nicky Hopkins (keyboards)

01. David Watts (R.Davies) 2.33
02. Death Of A Clown (D.Davies/R. Davies) 3.04
03. Two Sisters (R.Davies) 2.02
04. No Return (R.Davies) 2.03
05. Harry Rag (R.Davies) 2.17
06. Tin Soldier Man (R.Davies) 2.49
07. Situation Vacant (R.Davies) 3.17
08. Love Me Till the Sun Shines (D. Davies) 3.16
09. Lazy Old Sun (R.Davies) 2.49
10, Afternoon Tea (R.Davies) 3.27
11. Funny Face (D. Davies) 2.18
12. End Of The Season (R.Davies) 2.58
13. Waterloo Sunset (R.Davies) 3.16
14. Act Nice And Gentle (R.Davies) 2.39
15. Autumn Almanac (R.Davies) 3.06
16. Susannah’s Still Alive (D. Davies) 2.22
17. Wonderboy (R.Davies) 2.49
18. Polly (R.Davies) 2.52
19. Lincoln County (D. Davies) 3.12
20. There Is No Life Without Love (D. Davies/R. Davies) 2.02
21. Lazy Old Sun (Unreleased alternate stereo take) (R.Davies) 2.53



More from The Kinks



Status Quo – Spare Parts (with bonus tracks) (1969/1998)

LPFrontCover1Spare Parts is the second album by the English rock band Status Quo, and the final one in the psychedelic vein. It is also the first in which the group’s roadie Bob Young began writing and co-writing songs for and with the band.

The album covers a song written by Carole King and Gerry Goffin, “You’re Just What I Was Looking for Today”. Only one song was slated for a single release. This was the Anthony King written song “Are You Growing Tired of My Love”, backed with the Alan Lancaster composition “So Ends Another Life”. Released in April 1969 it reached no. 46 in UK singles charts.

The album was released in September 1969 but wasn’t a commercial success.

Following the disappointment of the album, the band released a non-album single – the Everly Brothers’ “The Price of Love”, also released in September 1969, with the Francis Rossi and Rick Parfitt composition “Little Miss Nothing” as the B-side. (by wikipedia)


Following the wake of Picturesque Machstickable Messages From the Status Quo, Spare Parts tries to imitate the psychedelic sound that was so fashionable at the time. The disc is known for being one of the less-fortunate made by the British band, and they have even despised it on some occasions. In fact, 1969 was going to be the most dismal year in the story of Status Quo. Urged by Pye’s request to reach the charts at any rate, the songs in the record reflect the band’s frustrated attempts to please the company. The result is an irregular album that does not reach the imaginative sound of their earlier songs nor the brightness of their subsequent records. Beyond that, a friendly and deep listening reveals that Spare Parts is an underrated effort in some aspects.


Some songs of their own — like “Nothing at All,” “So Ends Another Life,” or even “Little Miss Nothing” — and some borrowed compositions — like “Are You Growing Tired of My Love?” (which scraped the Top 50 on the British charts) and “Mister Mind Detector” — sound really inventive and they work as an excellent reflection of how pop music was trying to develop itself during those years. Although it could sound a little bit dated later on, Spare Parts deserved more attention than people were willing to afford it when it was released. This one was also their last record in which keyboardist Roy Lynes performed as an active member. A few months after Spare Parts was released, Status Quo initiated their metamorphosis toward the boogie rock that would make them rich and famous later on. (by Robert Aniento)

And I add some bonus tracks from a re-issue from 1998 … Listen carefully … Status Quo begann to change their style ..

And the rest is history ! … Rockin´ all over the world … you know …


John Coghlan (drums)
Alan Lancaster (bass, vocals)
Roy Lynes (organ, vocals)
Rick Parfitt (guitar, vocals)
Francis Rossi (guitar, vocals)
Bob Young (harmonica on 13.)

01. Face Without A Soul (Rossi/Parfitt) 3.09
02. You’re Just What I Was Looking For Today (Goffin/King) 3.49
03. Are You Growing Tired Of My Love (King) 3.38
04. Antique Angelique (Lancaster/Young) 3.23
05. So Ends Another Life (Lancaster) 3.12
06. Poor Old Man (Rossi/Parfitt) 3.39
07. Mr. Mind Detector (King) 4.02
08. The Clown (Lancaster/Young/Nixon) 3.25
09. Velvet Curtains (King) 3.00
10. Little Miss Nothing (Rossi/Parfitt) 3.03
11. When I Awake (Lancaster/Young) 3.52
12. Nothing At All (Lancaster/Lynes/Young) 3.59
13. The Price Of Love (D.Everly/P.Everly) 3.41
14. Josie (DiMucci/Fasce) 3.38
15. Do You Live In Fire (Lancaster) 2.16
16. Hey Little Woman (previously unreleased version) (Lancaster) 3.56
17. Are You Growing Tired Of My Love (King) 3.39




No To Co – So What (1970)

FrontCover1.jpgPopular Polish folk-rock band of late 60s-early 70s, No To Co was a brainchild of Piotr Janczerski (born Piotr Janik). Janczerski started musical career in 1962 as a compere for Niebiesko Czarni (->), Polish pioneering beat group. By 1964 became one of their lead singers. In 1967 founded a skiffle band with Jerzy Grunwald. Being a Niebiesko Czarni’s side project at the beginning, newly formed aggregation made it’s first own TV appearance on December 1st 1967, playing a blend of beat, skiffle and Polish folklore music. Band’s name No To Co (‘So What’) was chosen from more that 5000 ones suggested by TV viewers. Jerzy Krzeminski, Jan Stefanek, Jerzy Rybinski, Aleksander Kawecki and Bogdan Borkowski completed line-up.

Winning musical formula of Polish folklore music being arranged in beat and skiffle tradition plus suitable image made No To Co an overnight nationwide success. Within 1968 alone band played more that 200 dates, appeared in 3 movies, recorded one LP and several chart-topping singles, made 19 radio sessions! Won grand prix at national song festival in Opole. 170000 copies of their debut album were sold within 4 month of release. Enjoyed big success at festival in Montreaux, Switzerland the same year.

In 1969 toured France, Hungary, USSR, Czech Republic, Bulgaria, Romania and USA. Been pronounced ‘the most popular Polish band in the USA’ in Chicago in June same year – a rather curious fact, immortalized with the golden medal. Much more vital was the prize from Polish Ministry of Culture, July 1969.

No To Co_01.jpg

1970 brought more successful tours of France, Canada, USA, Britain and socialist countries. Won grand prix at the national song festival in Opole with ‘Po ten kwiat czerwony’ (‘The Red Flower’) and ‘Te opolskie dziouchy’ (‘Those Opole Girls’). However, the original line-up broke-up later that year with departure of Grunwald.

Band’s career in homeland almost folded with departure of Janczerski in 1971. Others carried on for some time with Krzeminski as the new leader. Released one album for East German ‘Amiga’ label (1972) and two LPs for ‘Melodija’ in USSR (1973) before finally calling it a day. (

No To Co_02

And this is their third abum, the first with english vocals (even the liner notes was in english) and it´s real crazy album … a crazy mix between tradional polish songs and some internation tunes like “See See Rider” Or “Gimme Some Lovin´” … and this old Spencer Davis Group song is a highlight of this album … we hear a real great prog-rock version including an impressive bass-solo !!!

Another prog-rock song is “Saturday To Sunday ” … sounds like a little psychedelic trip !

This is a treasure from the early days of beat and rock behind the iron curtain !


Bogdan Borkowski (banjo(guitar/harmonica, vocals)
Jerzy Grunwald (guitar, vocals)
Piotr Janczerski (vocals)
Aleksander Kawecki (drums)
Jerzy Krzemiński (guitar, vocals)
Jerzy Rybiński (bass, vocals)
Jan Stefanek (saxophone, keyboards, violin)


01. Dark – Blue Water (Traditional/Wiecko) 2.46
02. Market – Place Rooster (Krzemiński/Janczerski/Zielinski) 2.30
03. So Far Away From You (Krzemiński/Kondratowicz/Bromski) 3.12
04. If You Want Me (Traditional/Wiecko) 1.31
05. See , See Rider (Traditional/Rainey) 3.58
06. Highland Melodies (Traditional/Bromski) 3.17
07. Brass Bands (Kawecki/Wiecko) 2.29
08. Farmer’s Song (Traditional/Wiecko) 1.48
09. Saturday To Sunday (Krzemiński/Kondratowicz/Zielinski) 3.16
10. Marinka (Laudan) 1.54
11. Give Me Some Of Loving (Winwood) 7.00
12. Oh, Baby Jane (Krzemiński/Wiecko) 2.25



No To Co_04

No To Co – still alive and well in 2018 !!!

Jokers Wild (feat. Dave Gilmour) – Same (1964)

FrontCover1.jpgJokers Wild were an English Rock band formed in Cambridge in 1964. The line-up included guitarist David Gilmour and saxophonist Dick Parry. Gilmour went on to join the band Pink Floyd and Parry went on to become a session musician, playing on three Pink Floyd studio albums and one live album. Parry also went on to join Gilmour’s 2006 solo tour.

Their only releases were a privately pressed, single-sided studio album (carrying catalogue number RSLP 007) and single (RSR 0031), of which only forty or fifty copies each were made. These were recorded at Regent Sound studio in Denmark Street, London. A tape recording of the LP is held by the British Library’s British Library Sound Archive.

Together with record producer Jonathan King, they recorded what was to have been a UK cover version of Sam & Dave’s “Hold On, I’m Comin'”, but the original was released in the UK, so Jokers Wild’s version was not released.

Wills later played with, Peter Frampton, Foreigner and Bad Company. Both he and Wilson played on David Gilmour’s eponymous first solo album; Parry played on four Pink Floyd records, Dark Side of the Moon, Wish You Were Here, Division Bell and the live double album Pulse and had a career as a session musician.


Wilson later played drums and bass on Syd Barrett’s solo albums, The Madcap Laughs and Barrett, the later sessions of which were produced by Gilmour. He also was a surrogate drummer on the live shows and soundtrack for Is There Anybody Out There? The Wall Live 1980–81 which came out in 2000. Between 1973 and 1978 he was a member of Quiver. (by wikipedia)


Alternate front+ back cover

David Gilmore, before getting into Pink Floyd in 1968, began to play in the Cambridge group of Jokers Wild. The group existed from 1964 to 1966., Managed to produce only a single disc in 1965 This is 11 minutes released in the form of one-sided LP.


“…Jokers Wild never made an official record, but are remembered as a band that included David Gilmour before the guitarist joined Pink Floyd. From the scant evidence that does survive, it seems rather incredible that Gilmour could have made the transition. Jokers Wild did not entertain lofty artistic ambitions, but played covers of pop-rock material, often emphasizing harmonies in the style of the Four Seasons and the Beach Boys…” (by musicofsixties.blogspot)


Single 1964 (private edition)

David Altham (vocals)
Dave Gilmour (guitar)
John Gordon (guitar)
Tony Sainty (bass)
Clive Welham (drums)


01. Why Do Fools Fall In Love (Lymon/Santiago/Merchant) 1.51
02. Walk Like A Man (Crewe/Gaudio) 2.12
03. Don’t Ask Me (What I Say) (Jones) 2.58
04. Big Girls Don’t Cry (Crewe/Gaudio) 2.15
05. Beautiful Delilah (Berry) 2.01



50 copies were pressed of this 5-track, 1-sided LP featuring David Gilmour of Pink Floyd.
Did not come with a sleeve. B-side features silent groove and a plain label.

Tommy James & The Shondells – Hanky Panky (1966)

FrontCover1Hanky Panky is the debut album of Tommy James and the Shondells and was released in 1966. It reached #46 on the Billboard 200] The album had two singles that charted. “Hanky Panky” reached #1 on the Billboard Hot 100 and “Say I Am (What I Am)” reached #21

Other than a brief impromptu performance together onstage in Pittsburgh several days earlier, after which James invited the band to serve as his new Shondells, the first time the entire band worked together was when they went into the studio to record this album. (by wikipedia)

The debut album by Tommy James & the Shondells features a garage rock classic, “Hanky Panky,” the suggestive Jeff Barry/Ellie Greenwich title which launched the career of the charismatic and talented lead singer. Produced by Bob Mack, the “Pittsburgh teenage nightclub operator” as the liner notes refer to him, this initial project is a vintage collection of recordings and is more effective than the follow-up, It’s Only Love. Fact is, everything about this first effort displays a more authentic approach than what producer Henry Glover took when he made the band’s sound more bubblegummy the second time around. “Don’t Throw Our Love Away” is the Shondells writing and performing a decent tune, while “Say What I Am,” the Bob Mack/Tommy James original, is right on the money and actually charted higher than Ritchie Cordell’s “It’s Only Love,” which became their third hit and title track to their follow-up LP.


An instrumental version of “Cleo’s Mood” is unnecessary while the Shondells beat out James & Bobby Purify by covering “Shake a Tail Feather” before that duo got it to the Top 25. Many of the songs have that McCoys guitar riff tension from their hits “Hang on Sloopy” and “Fever.” It’s certainly there on “Say I Am” as well as “Cleo’s Mood” and the rave-up “Lots of Pretty Girls” written by Paul Luka, the man behind Peppermint Rainbow and “Na Na Hey Hey Kiss Him Goodbye.” James was immediately in the trenches of rock and the Hanky Panky album is a brilliant start to his storied career. Longtime Shondells bassist Mike Vale sings Deon Jackson’s “Love Makes the World Go Round” and Curtis Mayfield’s “I’m So Proud,” displaying a tasteful understanding of pop’s R&B foundation. They smartly covered Mayfield’s “It’s Alright” on the follow-up LP. James is great on James Brown’s “I’ll Go Crazy” but even better covering the Young Rascals’ hit from January of 1966, “Good Lovin’.” Note all the R&B this band recorded, a blending by chance, perhaps, of garage rock with blue-eyed soul. The drum sounds may leave a lot to be desired, but they somehow got the guitars and keys to tape with that precious ’60s sound that should make for attention in collectors circles. While ? & the Mysterians and the Barbarians deserved more hits, their albums came valuable because of the near obscurity.


Hanky Panky by James was the start of 19 chart hits (including his songs for other artists), and holds its own as a classic album from that era. The early George Magura/Mike Vale composition, “The Lover,” sung by keyboardist Ron Rosman, gave James’ sidemen their own moment in the sun and is more evidence that they were heading in a Rolling Stones-style direction. The bubblegum tag may not have been appropriate because this first effort is up there with another band who hit with a suggestive song in both sound and style, that being the Kingsmen after “Louie Louie” earned its well-deserved infamy. The big difference here is that the man who gave voice to the popular song actually stayed around to notch quite a few more. (by Joe Viglione)


Tommy James (vocals, guitar)
Joseph Kessler (guitar)
George Magura (bass, saxophone, vibraphone)
Vincent Pietropaoli (drums, clarinet, saxophone)
Ron Rosman (keyboards)
Mike Vale (bass)


01. Hanky Panky (Barry/Greenwich) 2.59
02. I’ll Go Crazy (Brown) 2.18
03. I’m So Proud (Mayfield) 3.31
04. The Lover (Magura/Vale) 2.05
05. Love Makes The World Go Round (Jackson) 2.25
06. Good Lovin (Clark/Resnick) 2.20
07. Say I Am (What I Am) (B,Tomsco/G,Tomsco) 2-37
08. Cleo’s Mood (Walke/Woods) 2.20
09. Don’t Throw Our Love Away (James/Kessler/Magura/Pietropaoli/Rosman/Vale) 2.40
10. Shake A Tail Feather (Hayes/Rice/Williams) 2.37
11. Soul Searchin’ Baby (James/Kessler/Magura/Pietropaoli/Rosman/Vale) 2.35
12. Lots Of Pretty Girls (Leka/Rush) 2.13



Manfred Mann- Pretty Flamingo (1966)

FrontCover1.jpgManfred Mann were an English rock band, formed in London in 1962. The group were named after their keyboardist Manfred Mann, who later led the successful 1970s group Manfred Mann’s Earth Band. The band had two different lead vocalists during their period of success, Paul Jones from 1962 to 1966, and Mike d’Abo from 1966 to 1969.

Manfred Mann were regularly in the UK charts in the 1960s. Three of the band’s most successful singles, “Do Wah Diddy Diddy”, “Pretty Flamingo” and “Mighty Quinn”, topped the UK Singles Chart. They were the first southern-England-based group to top the US Billboard Hot 100 during the British invasion.

The Mann-Hugg Blues Brothers were formed in London by keyboard player Manfred Mann and drummer/vibes/piano player Mike Hugg, who formed a house band in Clacton-on-Sea that also featured Graham Bond.[4] Bringing a shared love of jazz to the British blues boom then sweeping London’s clubs, the band was completed by Mike Vickers on guitar, alto saxophone and flute, bassist Dave Richmond and Paul Jones as lead vocalist and harmonicist. By this time they had changed their name to Manfred Mann & the Manfreds. Gigging throughout late 1962 and early 1963, they soon attracted attention for their distinctive sound.

After changing their name to Manfred Mann at the behest of their label’s producer John Burgess, the group signed with His Master’s Voice in March 1963 and began their recorded output that July with the slow, bluesy instrumental single “Why Should We Not?”, which they performed on their first appearance on television on a New Year’s Eve show.[5] It failed to chart, as did its follow-up (with vocals), “Cock-a-Hoop”. The overdubbed instrumental soloing on woodwinds, vibes, harmonica and second keyboard lent considerable weight to the group’s sound, and demonstrated the jazz-inspired technical prowess in which they took pride.


In 1964, the group were asked to provide a new theme tune for the ITV pop music television programme Ready Steady Go!. They responded with “5-4-3-2-1” which, with the help of weekly television exposure, rose to No. 5 in the UK Singles Chart. Shortly after “5-4-3-2-1” was recorded, Richmond left the band, though he would record with them occasionally later. He was replaced by Jones’ friend Tom McGuinness—the first of many changes. After a further self-penned hit, “Hubble Bubble (Toil And Trouble)”, the band struck gold with “Do Wah Diddy Diddy”, a cover of the Exciters’ No. 78 Hot 100 hit earlier that year. The track reached the top of the UK, Canadian, and US charts.

With the success of “Do Wah Diddy Diddy” the sound of the group’s singles moved away from the jazzy, blues-based music of their early years, to a pop hybrid that continued to make hit singles from cover material. They hit No. 3 in the UK with another girl-group cover, “Sha La La”, (originally by the Shirelles) which also reached No. 12 in the US and Canada, and followed it with the sentimental “Come Tomorrow” (originally by Marie Knight) but both were of a noticeably lighter texture than their earliest output.


Meanwhile, “B” sides and four-song EPs showcased original material and instrumental solos. The group also returned to jazz and R&B themes on their albums: their first, 1964’s The Five Faces of Manfred Mann, included standards such as “Smokestack Lightning”[3] while the second and last with this line-up, Mann Made, offered several self-composed instrumentals and a version of “Stormy Monday Blues” alongside novelties and pop ballads. With a cover of Maxine Brown’s “Oh No Not My Baby” began a phase of new depth and sophistication in the arrangements of their singles. The group began its string of successes with Bob Dylan songs with a track on the best-selling EP The One in the Middle, “With God on Our Side”, next reaching No. 2 in the UK with “If You Gotta Go, Go Now”. The EP’s title track reached the British top ten singles, the last self-written song (by Jones) and the band’s last R’n’B workout to do so. The run climaxed with a second UK No. 1 single, “Pretty Flamingo”, produced by John Burgess.

The group had managed an initial jazz/rhythm-and-blues fusion, and then had taken chart music in their stride—but could not hope to cope with Paul Jones’ projected solo career as singer and actor, and with Mike Vickers’ orchestral and instrumental ambitions. Jones intended to go solo once a replacement could be found, but stayed with the band for another year, during which Vickers left. McGuinness moved to guitar, his original instrument, contributing the distinctive National Steel Guitar to “If You Gotta Go, Go Now” and “Pretty Flamingo”, and was replaced on bass by Jack Bruce, who had been playing for the Graham Bond Organisation for some time before a recent brief stint with John Mayall’s Bluesbreakers. In his brief tenure before leaving to form Cream, Bruce played on “Pretty Flamingo” and on the EP Instrumental Asylum (for which both he, and brass players Henry Lowther and Lyn Dobson, were included in the sleeve photo of the group), which began the group’s experiments with instrumental versions of chart songs. He was replaced by Klaus Voormann.


The band changed record companies just afterward, although EMI quickly released an EP of earlier unissued 1963–66 era songs titled As Was (a pun on the title of their then new 1966 album, As Is), a hits compilation; Mann Made Hits (1966), an instrumental compilation LP that included one unissued instrumental track; Soul of Mann (1967); and most controversially used session players to complete the unfinished track “You Gave Me Somebody To Love” (c/w ‘Poison Ivy”—both sung by Paul Jones) which made No. 36 in the UK singles chart, upsetting the group—hence McGuinness’s wry comment “Manfreds disown new single” on the sleeve of their next studio album for their new record label. (by wikipedia)

And here´s their 4th album for the US record market … And it´s again a great mixture between Beat sings and hot Rhyhtm & Blues tunes …

Listen !


Paul Jones (vocals, harmonica)
Mike Hugg (drums, vibes, keyboards)
Manfred Mann (keyboards)
Tom McGuinness (guitar, bass)
Mike Vickers (guitar, saxophone, flute)
Jack Bruce (bass on 01,)


01. Pretty Flamingo (Barkan) 2.26
02. Let’s Go Get Stoned (Simpson-Ashford/Armstead) 3.49
03. Tired Of Trying, Bored With Living, Scared Of Dying (Jones) 2.39
04. I Put A Spell On You (Hawkins) 3.35
05. It’s Getting Late (Mann/Hugg/Jones/McGuinness) 2.33
06. You’re Standing By (McGuiness) 2.45
07. Machines (Shuman) 2.24
08. Stay Around (Vickers) 2.24
09. Tennessee Waltz (King/Stewart) 3.02
10. Driva Man (Roach/Brown, Jr) 2.28
11. Do You Have To Do That (Jones) 3.30



The Montenegro Five – Same (1969)

FrontCover1.jpgPop rock group The Montenegro Five was established in the late sixties in Montenegro (ex-Yugoslavia). They were very popular in the sixties and seventies in the former Yugoslavia, and they recorded a few albums for the European market. They split up in the late seventies.

Unfortunately I have no more informations about The Montenegro Five …

But here´s their first and last original longplayer. This album was released on a Swiss label called “Star Record”.

“La Bostella” and “Soul Finger” (from the Barkays) recorded on a Revox tape recorder in the dancing club “See Restaurant”, Rorschasch, Switzerland featuring friends, family members and guests.
“Flute Soul” and “Going On The Blues” were not actually performed by Montenegro 5, but by unknown session players (I guess this group was called “The 4 Camillo”) and included on the record on the initiative of the producer.

And it´s a crazy mix between popular sounds of the Sixties (Beat, Soul, Traditionals and more) … and this means … a lot of fun, because the boys did a real good job !

The Montonegro Five.jpg

Milan Kovacevic (saxophone, xylophone)
Djordje Kraljevic (vocals)
Slobodan Novovic (guitar)
2 two more unknown musicians


01. Heya (Light) 4.17
02. Oh Baby Baby (Braseur) 2.49
03. Svadamo Se (Korac) 3.43
04. Flute Soul (Cartolari/Bestgen) 2.16
05. Guantanamera (Angulo/Marti/Seeger) 2.40
06. The Last Waltz (Mason/Reed) 1.51
07. La Bostella (Traditional) 2.52
08. Na Na Hey Hey (Frashuer/De Carlo/Leka) 3.22
09. Jakobshorn (Novović) 2.37
10. Volim Te (Novović) 3.06
11. Going On The Blues (Cartolari/Bestgen) 2.02
12. Pretty Kathy (Body Now, Bestgen) 3.42
13. Lara’s Theme (Jarre/Webster) 2.48
14. Soul Finger (Barkays) 2.16



The Montonegro Five2.jpg