The Rolling Stones – Sydney (1966)

FrontCover1.jpgI was given this cassette of the 2UW 1966 Stones Sydney broadcast in 1972 (I was 16) by a chap only 4 years older than me who went on to be one of Australia’s leading music historians. Hadn’t seen him for years except on the telly /radio or on the rare occasion on the opposite side of a music venue. After The Monkees Sydney Opera House June 2019 concert I bumped into him in the foyer, re-introduced myself, we chatted, then shared a train ride home to my suburb where he had parked his car.

I took the opportunity to quiz him about the 2UW Broadcast cassette he had given me decades before. Such as, did he record it himself from the radio at the time? If not did someone else tape it, was my copy a dub from a cassette or reel to reel, did he have any idea when 2UW broadcast the show? I was dead set gobsmacked when he replied he couldn’t remember having this cassette & most likely it was his copy that he gave me.

So what do I have? Methinks i have either a 1st or 2nd generation. I’m sure this would have been aired on radio like the Melbourne 3UZ 1966 broadcast with advertisements / radio station ID, probably too hard to edit them out at the time of taping so possibly this cassette could be a dub from that but with the ads removed. What is present In track 12 Satisfaction at the 3.41 mark are 5 loud pips. I’ve been told that these could represent that it’s 5.00 PM at the time of this broadcast or the 5.00 PM news was coming up next.


The cassette also included two radio reports. The first of these is about the Stones arrival at Kingsford Smith Sydney Airport on the 16th February 1966. The second a short interview with the Stones in Sydney most likely before the 18th February shows. Unfortunately both are incomplete. Both conducted by Ward “Pally” Austin, a Sydney Radio 2UW DJ. In the 60’s he was probably Sydney’s most famous albeit notorious disc jockey. Ward also introduces the band at the concert.

The 2UW Feb 1966 interview with Mick Jagger and Brian Jones (I think Keith Richards is in there as well) cuts in after a discussion has already started regarding As Tears Go By. Jagger states he recorded it first before Marianne Faithful but his voice was deemed to be a bit camp so they decided to re record it again in a deeper voice.


Mick & Brian talk about engagements prior to marriage. Ward asks the boys what they’re going to do while in Sydney.
Jagger in an exaggerated Aussie accent talks about going down the beach, doing a bit of water skiing, watch the old sheila’s, sheilas being Australian slang for females, young or old. (The equivalent of the terms birds in the UK & broads in the USA.)

During the interview a voice comes on to tell us that at the time 2UW was one of Sydney’s lowest rated radio stations but they’d been building a new image of 24 hour nonstop teenage music. The voice continues that this has paid off because 2UW is now Sydney’s 3rd highest rated radio station & Ward is the top DJ.


In the 80’s I had a fling with a 2UW employee who when I asked if they had access to the station’s radio library, replied they did as it was part of the job. I asked if it they would be agreeable to conduct a search of the 2UW library for me looking for the broadcast, “no worries” was the reply. And if located could they one way or the other obtain a copy of it for me. They searched high & low but nowhere could they find the 1966 Broadcast nor could any documentation regarding the broadcast be found. Probably long ago wiped or discarded.

The broadcast does not feature the 1st song of the concert The Last Time, it starts with the 2nd song of the night Mercy Mercy. audiowhore & myself have tried to find the actual date of the broadcast but have been unsuccessful. But he did find a newspaper ad for the Brisbane 4BH Stones 1966 live broadcast aired on the 22nd February 1966, so perhaps the Sydney broadcast was aired the day after the show as well. Hopefully one day the Brisbane broadcast might magically surface just as the Melbourne 3UZ 1966 broadcast did decades later.


We couldn’t find any reviews of the Sydney 1966 concerts apart from a very brief show report in Go-Set magazine but I have the next best thing. Someone who not only attended this very show but took photographs as well. My friend Big Knob (Big from here on in) attended this concert as a 20 year old, not as a professional photographer but as a fan whose hobby / passion was photography.

Not even a year after attending this show he would be drafted into the Australian army & fighting in Vietnam. I asked him if in his days of being an audience member taking photographs at concerts (starting with The Beatles in 1964) was he hassled in any way for doing so. He replied no, it was the opposite, people would come up to him asking why was he was bothering to take photographs. He told me that if any newspaper photographer did bother to turn up to shoot a show, they would grab a few photos & then bugger off asap.

When audiowhore & myself searched newspaper articles regarding the Stones Australian 1966 tour we located a few pro-shot B/W Sydney photos but they hadn’t been reproduced in very good quality & in all honesty Big’s photos piss all over them & in colour too! It’s his photographs that he has so kindly allowed me to use for the artwork. The inside front cover photograph with Brian playing harmonica was taken during Not Fade Away. The back cover photograph with Brian sitting down playing the organ is That’s How Strong My Love Is.


The show was held in the Commemorative Auditorium which is one of the halls inside the Sydney Showgrounds complex, it’s only a hop, skip & jump from the Hordern Pavilion where I would see many groups in the early 70’s to late 80’s. In some of the photographs you can see in the background a stained glass window of a reversed map of Australia on which NSW is the only state coloured in & because this was the early show the sunlight is streaming through it. Of course outside the building the map was the correct way round.

The concert was advertised (as can be seen in the newspaper add on the Back Inside Cover artwork) with the band being on the Centre Revolving Stage, which Big informed me was transported over from the Sydney Stadium at Rushcutters Bay. This would have been a bit of a task to do so. This stage was not electric but hand cranked around by stage hands, with a few songs performed to the front, then cranked around to the right for the next couple of numbers & so on.

RollingStones1966_07In the artwork photographs you can notice that the reversed map of Australia appears in slightly different positions. The photograph of the Stones taken from the back that features on the back inner artwork was taken when the stage had revolved around. I asked Big if he had moved around to take that particular photograph, he replied that he’d taken all his photos basically staying in the same position.

Before Not Fade Away Jagger can be heard asking “Will you stop this thing this going round” referring to the stage. Apparently it was annoying him in some way. Big can’t remember if Jagger’s plea was granted but he does remember that the American singer P.J. Proby’s scarf was caught up in this stage the year before. Jagger says “Where are we?” followed by “Wait right there” & then something undecipherable in Satisfaction that could also be a another reference to the revolving stage.

Big definitely remembers the endless screaming of the sheilas, says it was just as loud as it was for the Beatles Sydney shows two years previously. He added that some brave girls would dash out of their seats, run past the cops to throw streamers at the stage, in the photographs some of these can be seen wrapped around various Stones & their instruments. I was aware that on this tour the Stones where supported by another UK band The Searchers plus New Zealand band Max Merritt & The Meteors but I was unaware until Big informed me that two Australian acts were also on the bill. They being Tony Barber and Steve & The Board.

Although this recording is certainly not Hi-Fi by any stretch I love hearing Brian’s contributions in this Sydney show. This live version of Satisfaction being my mid-60’s favourite version. Revisiting this show finds me wishing that one day soon hopefully the Stones From The Vaults series will release a Brian Jones era live concert instead of endless latter day releases that feature Ron Wood – the king of bum notes & out of tune solos.

Australian Women’s Weekly Magazine (February 23rd 1966)

I first traded this recording with Stones collectors in the late 70’s, but when I told people I had this recording I was asked a number of times how could I be sure this radio show was Sydney. Easy I wrote back – Ward Austin who can be heard introducing the show was a Sydney DJ plus Jagger himself can be heard shortly before Satisfaction starts saying “Thank you very much Sydney”. Although the word Sydney is not as loud as the preceding words because of background tuning, Jagger definitely says Sydney.

I’m sure it was one of my trades that became the source for it’s appearance on the Japanese Silver Bootleg VGP Label entitled He Is Not Dead because it has the same tape wobble in Get Off Of My Cloud plus the radio pips in Satisfaction. But Ward Austin’s concert introduction is missing and the two 2UW radio segments didn’t make it either. IMHO my original cassette version has slightly more definition & is somewhat superior than the VGP title & other CD-R versions I’ve heard.

Thanks to my old friend for the original cassette, Big Knob for his photographs & audiowhore for the 2019 transfer and mixing and last but not least Bobel. (by wazza50)

Recorded live at the Commemorative Auditorium, Sydney Showgrounds, Sydney, New South Wales, Australia; February 18, 1966 (1st show). Passable Sydney 2UW Radio broadcast (unknown airdate)


Mick Jagger (vocals, tambourine)
Brian Jones (guitar, organ, harmonica, background vocals)
Keith Richards (guitar, background vocals)
Charlie Watts (drums)
Bill Wyman (bass, background vocals)

01. Stones Arrival At Sydney Airport 16th February 1966 #1 1:21
(Soundtrack From UK TV Report)
02. Stones Arrival At Sydney Airport 16th February 1966 #2 1:57
(Ward Austin 2UW Report – Cuts out / then 2UW Ward Austin Stones Interview – Start of interview missing)

03. Intro 0.29
04. Mercy, Mercy (Covay/Miller) 2.19
05. She Said Yeah (Christy/Jackson) 2.01
06. Play With Fire (Jagger/Richards) 2.20
07. Not Fade Away (Hardin/Petty)  2.16
08. Spider And The Fly (Jagger/Richards)  2:57
09. That’s How Strong My Love Is (Jamison) 2.09
10. Get Off Of My Cloud (Jagger/Richards) 3.06
11. 19th Nervous Breakdown (Jagger/Richards) 3.52
12. Satisfaction (Jagger/Richards) 5.03



Thanks to wazza50 for sharing the show at Dime

Them – Here Comes The Night (1965)

FrontCover1This is the US version of the debut album of Them:

The Angry Young Them is the first album by the Northern Irish rock and roll group Them. The album was released in the UK in June 1965. The band’s lead singer and songwriter was Van Morrison. In the U.S., the album was released as Them with partly different tracks.

As with several Decca releases of the period, the name of the group was conspicuously absent from the front cover and on the back of the LP they were introduced as The Angry Young Them with an essay on this theme declaring: “These five young rebels are outrageously true to themselves. Defiant! Angry! Sad! They are honest to the point of insult!”
Release history

Six of the songs on the album were Morrison originals, including the famous garage band anthem “Gloria”. Another song on the album, “Mystic Eyes”, was a spontaneous creation that came out of the band just “busking around” in Morrison’s words and after seven minutes of instrumental playing he impulsively threw in the words of a song he had been working on.


The lengthy versions of “Gloria” that the band performed at the Maritime and the ten-minute recording of “Mystic Eyes” have never surfaced. All that is left of the “Mystic Eyes” performance is the little over 2​1⁄2 minutes on the album that remained after splicing out from the beginning and ending. “You Just Can’t Win” was a Dylan inspired song about a gold digger, set in specific places in London such as Camden Town. “Little Girl” was about a boy’s obsession with a fourteen-year-old school girl (an earlier take on Lord’s Taverners charity album had been deleted when a four-letter word was heard in the fade out at the end). “If You And I Could Be As Two” starts with a spoken introduction by Morrison with an aggressive Irish accent. Three Bert Berns originals were included and a cover of John Lee Hooker’s “Don’t Look Back” was considered by Morrison to be his finest vocal to date. (by wikipedia)


Decca’s willingness to release a full-length Them album was conditioned upon the breakthrough success of the band’s third single, “Here Comes the Night.” It was not, however, the practice in Britain at the time to put hit singles on albums, so this 14-track LP does not include that song. It does, however, contain six songs written by lead vocalist Van Morrison, including the immortal “Gloria” and “Mystic Eyes,” which became a chart single in the U.S., plus some well-played R&B covers. Because of an annotation on the back of the LP, this album is sometimes referred to as The Angry Young Them, although its official title is Them. (by William Ruhlmann)


Peter Bardens (orgamn)
Billy Harrison (guitar)
Alan Henderson (bass)
John McAuley (drums, piano, harmonica)
Van Morrison (vocals, harmonica, saxophone)

01. Here Comes The Night (Berns) 2.48
02. Mystic Eyes (Morrison) 2.44
03. Don’t Look Back (Hooker) 3.23
04. Little Girl (Morrison) 2.49
05. One Two Brown Eyes” (Morrison) 2.35
06. Gloria (Morrison) 2.39
07. One More Time (Morrison) 2.50
08. If You and I Could Be As Two (Morrison) 2.54
09. I Like It Like That (Morrison) 3.19
10. I’m Gonna Dress in Black (Gillon/Howe) 3.31
11. (Get Your Kicks On) Route 66 (Troup) 2.25
12. Go On Home Baby (Morrison) 2.34



The Marmalade – There’s A Lot Of It About (1968)

FrontCover1.jpgAt a time where a lot of bands were going for otherworldly psychedelic ‘mind-crashers’, Marmalade went another direction. They had a very commercial sounding aura about them, and after four failed singles, they finally made the top 10 of the U.K. Charts. Fortunately for them, unlike massive bands like the Small Faces and The Move, Marmalade actually had a top 10 hit in the United States with “Reflections of my Life”, making them a one hit wonder in that country.

What Marmalade captures to do is create commercially sounding pop songs, without going over the top with or sounding too corny (most of the time!) Lead singer Dean Ford really puts them in control with a fantastic voice, and one that is synergistic with the songs themselves. It is too bad that he never never made it big as a solo artist after he left the group in 1974, after doing four albums with them.

As for the songs themselves, lets start with the covers. There is a total of five of them included on here, and I would say three of them were worth recording. Their version of Big Brother & Holding Company’s “A Piece of my Heart” could have made it big itself. It perfectly encapsulates the spirit of the 60’s. Look up some live BBC songs on Youtube. There are many songs there that have that same feeling as “Piece of my Heart”. It’s easy to get lost in a magical rush of serotonin when Ford sings on this one. The Bob Dylan cover of “I Shall Be Released” might not be for everybody, but for a lot of people it will serve as a song you might listen to constantly for months. So smooth, and includes astounding horns that will make you reverse the songs a few times to hear it again.


Their cover of “Hey Joe” starts a bit boring for sure, the first verse is a little lazy. However, it picks up speed quickly and the last 2/3 of the song is definitely worth it. Their version of The Lovin’ Spoonful’s “Summer in the City” is a song that I can take or leave it…Not bad, but not exceptional either. Now, as for the originals, you will mostly be happy with;

There are two particularly psychedelic songs on the album, one of them being the incredible “I See The Rain”, reminiscent of Jimi Hendrix. Ironically, Hendrix stated that “I See The Rain” was the the best song of 1967 for him. Crunchy guitar riffs, and parts of “Hey Joe” noticeable throughout it. I have never read or heard anybody say that, but there is a guitar part in this song that is identical to parts of Hendrix’s version.


The other psychedelic song, “There ain’t no use in Hangin’ on”, is a groovy piece of musical art that will captivate you with its catchiness and impressive guitar parts by lead guitarist William Junior Campbell. Then, we get to tracks like “Station on Third Avenue” and “Chains” both stylistically different, but they will each get you into music mode. “Chains” especially will grab you, with its Rubber Soul sounding maturity.

The opening track, “Lovin’ Things” got them into the charts. Not a bad song, but the non album single “Wait for me Mary-Anne” is much better and should have replaced “Lovin’ Thing”. However “Lovin Things” did get them their first hit in the UK, peaking at number six.

I would also recommend their follow up album, Reflections of the Marmalade, and 1974’s Our House is Rocking which features a much harder sound from them. If you enjoy pop, I would totally advise you check this album out. Not perfect by any means, but there are enough songs on here by this Scottish band that should make it on your on your miscellaneous playlists. (by Matt Kessler)


William Junior Campbell (vocals, guitar, keyboards)
Patrick Fairley (vocals, bass, guitar)
Dean Ford (vocals, guitar, harmonica)
Graham Knight (bass, vocals)
Alan Whitehead (drums)

01. Lovin’ Things (Schrock/Loring) 3.05
02. I Shall Be Released (Dylan) 4.04
03. I See The Rain (Campbell/McAleese) 3.48
04. Hey Joe (Roberts) 4.02
05. Summer In The City (J.Sebastian/M.Sebastian/Boone) 2.12
06. There Ain’t No Use In Hanging On (Campbell/McAleese) 1.59
07. Piece Of My Heart (Ragovoy/Berns) 3.56
08. Wait For Me Mary Anne (Blaikley) 3.23
09. Mr. Tambourine Man (Dylan) 3.16
10. Chains (Campbell) 2.33
11. Mr Lion (Campbell/McAleese) 3.02
12. Station On Third Avenue (Vandor/Young) 3.21
13. Mess Around (Campbell/McAleese) 3.14
14. Man In A Shop Campbell) 3.20
15. It’s All Leading Up To Saturday Night (Stevens) 2.20
16. Wait A Minute Baby (Campbell/McAleese) 2.12
17. Can’t Stop Now (Wood/Fitzpatrick/Kellaher) 2.09
18. Laughing Man (Campbell/McAleese) 3.24
19. Cry (The Shoob Doroorie Song) (Campbell/McAleese) 2.40
20. Ob La Di Ob La Da (Lennon(McCartney) 3.03
21. Baby Make It Soon (Macaulay) 3.03
22. Time Is On My Side (Campbell/McAleese) 2.41
23. Butterfly (R.Gibb/B.Gibb/M.Gibb) 3.48
24. Otherwise It’s Been A Perfect Day (Westlake/Wood) 2.42
25. Clean Up Your Heart (Armstead/Ashford/Simpson) 2.32





Link Cromwell And The Zoo (Lenny Kaye 1966) – Crazy Like A Fox (2000)

FrontCover1.jpgLenny Kaye (born December 27, 1946) is an American guitarist, composer, and writer who is best known as a member of the Patti Smith Group.

Kaye was born to Jewish parents in the Washington Heights area of upper Manhattan, New York, along the Hudson River. Growing up in Queens and Brooklyn, Kaye originally began playing accordion, but by the end of the 1950s, had dropped the instrument in favor of collecting records. His family moved to North Brunswick, New Jersey, in 1960 where Lenny attended high school, and later, college, graduating from Rutgers in 1967. He became a fan of science fiction and gained experience in writing, publishing his own fanzine, Obelisk, at the age of 15. Though he majored in American History, his true avocation was musical, and it was there that he first began playing in bands, on a college mixer and fraternity circuit. His first gig, with the Vandals (“Bringing down the house with your kind of music”), was at Alpha Sigma Phi on November 7, 1964

As musician, writer, and record producer, Kaye was intimately involved with an array of artists and bands. He was a guitarist for poet/rocker Patti Smith from her band’s LinkCromwell01.jpginception in 1974, and co-authored Waylon, The Life Story of Waylon Jennings. He worked in the studio with such artists as R.E.M., James, Suzanne Vega, Jim Carroll, Soul Asylum, Kristin Hersh, and Allen Ginsberg. His seminal anthology of sixties’ garage-rock, Nuggets, is widely regarded as defining the genre. You Call It Madness: The Sensuous Song of the Croon, an impressionistic study of the romantic singers of the 1930s, was published by Villard/Random House in 2004.

His uncle, songwriter Larry Kusik (“A Time For Us” from Romeo and Juliet; “Speak Softly Love” from The Godfather) took note of his lengthening hair and musical commitment, and asked him to sing on a song he’d recently penned with Ritchie Adams, once of the Fireflies (“You Were Mine”). Kaye soon found himself in Associated Recording Studios on Times Square, recording “Crazy Like A Fox”, along with its flip side, “Shock Me”. The resultant 45, issued under the name of Link Cromwell, was leased to Hollywood Records, a division of Starday Records located in Nashville, Tennessee, and released in March 1966.

Labels (US).jpg

It garnered a Newcomer Pick of the Week from Cashbox (“A rhythmic bluesy folk-rocker with a pulsating beat”) and was issued in England as well as Australia; but failed to move in the charts. Though hardly a smash, it gave Kaye a sense of self as a musician, and inspired him to continue performing and playing. His group at the time, The Zoo, worked a college circuit ranging from New York to Pennsylvania; this early experience has been captured on a live album issued by Norton Records, Live 1966. (by wikipedia)

Single (Australia)

Lenny Kaye is a legend! From his early days as a rock writer/tastemaker to his landmark NUGGETS compilations of sixties garage band recordings to his current status as founding member/guitar god with the Patti Smith Group to his work as producer for the likes of Suzanne Vega and Soul Asylum, Lenny Kaye rolls on as the coolest rock n’ roll cat on the planet! Now, Lenny has unearthed a treasure trove of 1966 live recordings of his own garage band, the Zoo, for which Lenny, a/k/a the energetic LINK CROMWELL, made noise and snarled as the quintessential sixties punk frontman! This set features his 1966 Hollywood label single Crazy Like A Fox / Shock Me plus a cool dozen never issued live tracks! The ultimate sixties garage band live set from the ultimate sixties garage band chronicler/ historian/ enthusiast/ perpetrator!

Single (UK).jpg

Long before Lenny Kaye became one of America’s best writers or Patti Smith’s lead guitarist, his mid-’60s days were spent as front man Link Cromwell for a local college frat band the Zoo. This collection rounds up his lone Broadway single of the title cut along with surviving homemade tapes of the band bashing it out at a frat mixer circa 1966. The set list is loaded with garage band staples like “I’m Crying,” “Just Like Me,” “She’s Not There,” and “Little Latin Lupe Lu,” and the entire package gives not only insight into Lenny’s roots but also to the whole teen/frat band scene back in the day. A marvelous little document. (by by Cub Koda)


Lenny Kaye (vocals, guitar)


01. Crazy Like A Fox (live) (Kusik/Adams) 2.35
02. Zoo Theme (unknown) 1.43
03. Out Of Sight (Wright) 3.38
04. I’m Crying (Burdon/Price) 4.27
05. Tell Me (Jagger/Richards) 4.28
06. Just Like Me (Dey/Hart) 3.53
07. Mojo Workout (Morganfield) 5.11
08. She’s Not There (Argent) 3.58
09. I’m Mad Again (Hooker) 4.14
10. Gross Man (Link Cromwell And The Zoo) 4.17
11. Green Onions (Cropper/Jackson/Jones/Steinberg) 3.59
12. Crazy Like A Fox (Single) (Kusik/Adams) 2.19
13. Carol (Berry) 3.12
14. Little Latin Lupe Lu (Medley) 4.25
15 Shock Me (Kusik/Adams) 3.45



Lenny Kaye in 2017:

Johnny Rivers …And I Know You Wanna Dance (1966)

FrontCover1.jpg…And I Know You Wanna Dance was Johnny Rivers’s sixth official album, and was his 4th live album . It was recorded live at the Whisky a Go Go in Los Angeles, California. The album reached #52 on the Billboard Charts and included the most famous recording of “Secret Agent Man” which peaked at #3 on the Billboard Hot 100. (by wikipedia)

One of the most underrated rockers of the 1960s, Johnny Rivers was a guy who served up the big beat strong and simple — on most of his best records, he set up at the Whisky A Go-Go in L.A. with a crack rhythm section and rolled tape as he let rip on a set of classic R&B tunes and pop hits, with his sturdy but passionate voice and no-nonsense guitar work doing the talking. And I Know You Wanna Dance was Rivers’ fourth live album, and if it sometimes sounds like the work of a bar band, in this context that’s a compliment — Rivers was a guy who played to rock the party, and if he’s playing what the audience wants to hear on this disc, he also did it very well indeed, and his covers of “Uptight (Everything’s Alright),” “Every Day I Have to Cry,” “Respect,” and “You’ve Lost That Lovin’ Feelin'” are potent blue-eyed soul with lots of feeling and no unnecessary fuss.

Johnny Rivers 1966.jpg

Rivers could also dig deeper into the blues bag when he felt like it, and while “The Snake” and “Foolkiller” are uptempo rockers, their tough roots shine through bright and clear. Rivers’ sharp, efficient lead guitar is on point throughout the album, and his bandmembers — including Mickey Jones on drums and Larry Knechtel on keys — are tight and tasty without getting in the way. Johnny Rivers may not have been the hippest guy on the charts, but he played real-deal rock & roll the way it was meant to sound, and And I Know You Wanna Dance is a lot more fun to listen to than a lot of other albums with much higher hipster cred. (by Mark Deming)


Chuck Day (guitar, bass)
Mickey Jones (drums)
Larry Knechtel -(organ)
Joe Osborn (guitar, bass)
Johnny Rivers (vocals, guitar)


01. The Snake (Brown, Jr.) 3.04
02. I Can’t Help Myself (Holland/Dozier/Holland 3.05
03. You Must Believe (Mayfield) 3.20
04. Uptight (Everything’s Alright) (Wonder/Moy/Cosby 3.07
05. Respect (Redding) 1.47
06. In The Midnight Hour Wilson (Pickett/Cropper) 2.32
07. Secret Agent Man (Barri/Sloan) 3.07
08. Every Day I Have To Cry(Alexander) 2.43
09. You’ve Lost That Lovin’ Feelin’ (Mann/Spector/Weil) 5.59
10. Foolkiller (Allison) 3.24
11. Run For Your Life (Lennon/McCartney) 2.29
12. You Dig (***) (Day/Jones) 2.10


Ian & The Zodiacs – Just Listen To (1966)

FrontCover1.jpgIan and the Zodiacs were an English rock and roll band formed in 1958, originally known as The Zodiacs, in Liverpool, England. Led by Ian Edwards (1943–2007), the band existed in relative obscurity until relocating to Germany in 1964 where they achieved national success. During the band’s three-year stint in Germany, they released three albums under their name, exclusive to the country until their re-release. They also released two cover albums featuring material by The Beatles with the name, The Koppykats.

The band formed as a jazz group in 1958, and performed under the name, The Zodiacs. The group came together following an audition at a local venue called Savoy Hall. In the spring of 1960, Ian Edwards departed from his band, The Deltones, and joined The Zodiacs. From that point on, the band became known as Ian and the Zodiacs, and shifted their style from jazz to rock and roll. Following several personnel changes, the lineup for the group included Edwards as lead vocalist, Pete Wallace on lead guitar, Geoff Bethell on piano, Charlie Flynn (stage name: Wellington Wade) on bass guitar, and Cliff Roberts on drums. The band played top venues in the area, and became the resident group for St. Lukes Hall (The Jive-Hive).[2] During their touring, they found their manager, Ralph Webster. On 4 January 1962, Mersey Beat released a poll citing the band was the eleventh most popular Merseyside group. The band released their first single on the Oriole label in 1963 to limited success. Edwards recalled, regarding their inability to achieve success in England, “We spent too much time at the Grapes”. The Grapes being the place where bands would take breaks from performing. In May 1964, the band got rid of Bethell and auditioned Geoff Bamford to replace Roberts on drums.


Later in 1964, the band travelled to Hamburg, Germany for what was supposed to be a month of touring. The band would remain in the country for the next three years after gaining widespread popularity amidst their touring and television appearances. Edwards’ distinctive vocals helped develop the group’s reputation, and set them apart from other acts. Their act was centered around US, and UK hits along with some of their own original material. They became promoted by Manfred Weissleder, owner of the Star-Club, who featured them in his various clubs, and were joined by drummer Joe Walsh. Following a car accident in May 1965, Wallace and Walsh departed, and were replaced by Freddie Smith and Arthur Ashton. The band released three albums, all of which charted in Germany, during their stay in the country. The albums, Star Club 7, Just Listen to Ian and the Zodiacs, and Locomotive!, were all released on the Star Club label. The material from the albums ranged from rock and roll, pop rock, and later soul influences.


Outside the band name, they released two cover albums consisting of The Beatles’ compositions under the name, The KoppyKats. Their biggest selling hit in the UK, 1965’s double album The Beatles Beat, was recorded on a limited budget, but was still relatively successful. Another Beatles cover album, Gears Again, followed with less success. In support of the albums, they released “Nowhere Man” and “Help!” as singles. The albums sold well thanks to the lower prices in comparison to The Beatles’ releases.[7] The band released several singles, all on different labels, to the UK and the United States, and, despite failing to chart in the UK, still managed to achieve a regional hit in the US. Their single, “The Crying Game”, became a number one hit in Texas, selling 250,000 copies. The band would have toured the US, but could not as they did not have green cards.[3]

The band continued to tour throughout Germany until July 1967. Edwards’ wife had fallen ill so he disbanded the group to return to England. He reformed the band the following year with German musicians, to lesser success. Two other incarnations of the band formed, one in 2000, touring Germany until 2003, and another in 2004. From 2004 until his death in 2007 he made a comeback in Germany, performing at festivals in Hamburg, Weimar, Berlin and Cologne, as well as in Liverpool´s Cavern Club. He was backed by the German musicians Manfred Jung (bass), Jürgen Pfingst (lead guitar), Dr.Joachim Wagner (rhythm guitar) and Raimund Jung (drums). The backing group from Cologne, Germany, still performs as Ian’s Zodiacs and as The Roaring Fourties, and is also well known in Liverpool.


In the 1990s, the band’s albums were re-released by the Repertoire label. Five of the group’s tracks, “Beechwood”, “It Ain’t Necessarily So”, “Secret Love”, “Let’s Turkey Trot”, and “You Can Think Again”, have also appeared on the 1989 compilation album, This Is MerseyBeat. A greatest hits album called Wade in the Water was distributed by RPM which was composed of re-mastered songs by the band. (by wikipedia)

And here´s their 2nd album for the famous German record label “Star Club Records” (everybody should know the legendary Star Club in Hamburg !)

And we hear pretty good Mersey Beat (the softer side of Beat !) … far, far from home … because this album was recorded in Hamburg/Germany, produced by Siegfried E. Loch (who later became a great jazz producer with his Label Act).


Geoff Bamford (drums)
Ian Edwards (vocals, guitar)
Charlie Flynn (bass, vocals)
Peter Wallace (guitar)
Paul Nero (*) (saxophone on 06. + 14.)


01. The In Crowd (Page) 2.38
02. Make It Easy On Yourself (Bacharach/David) 2.39
03. I Need You (Lennon/McCartney) 2.35
04. Face In The Crowd (Flynn/Edwards) 3.18
05. It’s A Crying Shame (Long/Stevenson) 2.14
06. Nature Boy (Ahbez) 3.03
07. Can’t Stop Running Away (Randazzo/Weistein) 3.38
08. Headin’ Back To You (Flynn) 2.37
09. Donna Donna (Secunda) 2.45
10. Believe Me (Flynn) 2.21
11. Strong Love (Malone/Silvers/Brown) 2.20
12. As You Used To Do (Wallace) 2.56
13. What Kind Of Fool (Allen) 2.24
14. No, Not Another Night (Wallace) 2.04



Ian Edwards (1943–2007)

(*) Paul Nero was the pseudonym for the German jazz musician Klaus Doldinger

The (Count) Bishops – Live (1979)

FrontCover1.JPGThe Count Bishops were a British rock band, formed in 1975 in London and which broke up in 1980. The Count Bishops had limited commercial success, but forged an important stylistic and chronological link between the root rhythm and blues band Dr. Feelgood and the proto punk sound of Eddie and the Hot Rods; together forming the foundation of the pub-rock scene, which influenced the emergence of punk rock. The group made history in England by releasing the first record from independent label Chiswick Records. They splintered following the death of guitarist Zenon DeFleur on 18 March 1979. (by wikipedia)

From the best looking rock band this side of The Motors . . . The Bishops’ particular variety of rowdy, rumbustious R&B has always functioned best live, which is why this album cuts their studio elpee to shreds fairly effortlessly.
About three quarters of the material has shown up on previous Bishops’ recordings (“Sometimes Good Guys Don’t Wear White”, “I Need You”, “Baby You’re Wrong”, “Takin’ It Easy” and the sublime “Train Train”) but all of ’em with the possible exception of “Train” sound a lot better here.


The whole thing’s topped off with a couple of comparative newies (“I Don’t Live It” and “Too Much Too Soon” composed by singer Dave Tice and rhythm guitarist Zenon De Fleur) and a sprinkling of revibes: (“Somebody’s Gonna Get Their Head Kicked In” from the repertoire of, believe it or not, Fleetwood Mac, though it must be said that Mac ain’t played that song for a while), Sonny Boy Williamson’s “Don’t Start Me Talkin'” and The Strangeloves’ “I Want Candy” (featuring – gulp – a drum solo).

Right now, The Bishops have a single – a revival of Sam And Dave’s classic “I Take What I Want” on Radio One’s playlist, plus another studio album lined up and ready for Chiswick to disgorge upon a suspecting public. If the world is once again ready for an enthusiastic and finely crafted brew of tough guy pop and drunken R&B, then they might as well get it from The Bishops as from anybody else, because in the two or three years that they’ve been going they’ve waved the flag for their kind of music as hard as anybody against both apathy and more restrictive types of New Wave mentality.
This album is as convincing a demonstration as could be required. Miss out and it’s your loss. (by Charles Shaar Murray in 1979)

In other words: one of the finest live albums from the second wave of British R & B and Beat … Listen and enjoy ! … we want the world, and we want it now !


Paul Balbi (drums)
Zenon de Fleur (guitar)
Johnny Guitar (guitar)
Pat McMullan (bass)
Dave Tice (vocals)

01. Too Much, Too Soon (Tice) 2.41
02. Till The End Of The Day (Davies) 2.07
03. Taking It Easy (Lewins) 3.02
04. Train, Train (de Fleur) 3.19
05. Someone’s Gonna Get Their Head Kicked In Tonight (Spencer) 2.38
06. Sometimes Good Guys Don’t Wear White (Cobb) 2.38
07. Don’t Start Me Talking (Raye) 2.26
08. Baby You’re Wrong (de Fleur) 2.30
09. I Don’t Like It (Tice/de Fleur) 2.05
10. (I Want) Candy (Berns/Feldman/Goldstein/Gottehrer) 3.43