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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Dave Clark Five – Instrumental Album (1966)

FrontCover1.jpgThis is the hardest album to find, of all the rare Canada only Dave Clark Five releases. Twelve instrumental tunes all written by the DC5 with the exception of a great cover of Link Wray´s “Rumble”. Side 1 is more mellow listening with several songs sounding like old Duane Eddy twangers. Side 2 rocks out. The following is taken from the liner notes: “We have carefully packaged this album to suit all tastes. The selections of good listening tunes (“Theme Without A Name”) are together on the first half of the album. For your “Go-Go” parties at home, just flip the album over!” (rootsvinylguide.com)

Issued in Canada only in mid-1966, this LP is a real oddity in the Dave Clark Five discography, indeed consisting entirely of instrumentals as the title promises. As DC5 fans know, unlike just about every other notable British Invasion band, the group often relied on instrumental filler cuts to help pad out their LPs, and 12 of them are gathered on this release.

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As every one of them also appears on one of the band’s 1964-1966 American long-players, it’s of interest only for completist collectors attracted by the rarity and artwork of the physical artifact, especially as the music is neither too good nor typical of what the Dave Clark Five were known for. Indeed, side one in particular has some surprisingly vapid easy listening numbers (sometimes with a Duane Eddy-like twanging guitar), though side two moves into more rocking if undistinguished territory, occasionally with spy movie-like motifs. It should also be noted that the LP somehow failed to include what were far and away the band’s three best instrumentals: the menacing “Tequila” update “Chaquita,” the weird and vicious “Five by Five,” and the early-1966 B-side rave-up “All Night Long.” (by Richie Unterberger)

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

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Tracklist:
01. Theme Without A Name (Clark/Davidson) 2.00
02. Time (Clark/Davidson) 2.16
03. Sweet Memories (Clark/Davidson) 2.40
04. When I’m Alone (Clark/Smith) 2.30
05. Blue Monday (Clark/Smith) 2.55
06. Dum Dee Dee Dum (Clark/Payton) 1.48
07. Ol’ Sol (Clark/Payton) 1.58
08. Pumping (Clark/Payton) 1.44
09. No Stopping (Clark/Davidson) 2.01
10. Rumble (Wray/Grant) 2.34
11. Move On (Clark) 2.09
12. On The Move (Clark/Payton) 2.21
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13. Chaquita (Version 1) (Clark/Smith) 2.04
14. First Love (Clark/Davidson) 2.36
15. Chaquita (Version 2) (Clark/Smith) 2.10
16. I Walk The Line (Cash) 2.39
17. All Night Long (Clark/Payton) 3.05
18. Five By Five (Clark/Smith) 2.45

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The Rolling Stones – Got Live If You Want It! (1966)

FrontCover1.jpgGot LIVE If You Want It! is the first live album by British rock band The Rolling Stones. It was released in the US in late 1966. It was also released as Have You Seen Your Mother LIVE! on Decca in England but for export only; it was not released in the UK under this alternate title.

At the time, it was not released officially in the UK; instead, the British market had the 1965 EP release Got Live If You Want It!, from which the album’s name derived (a different recording of “I’m Alright” appeared on this EP.) The album had been compiled as a result of a contractual obligation with US distributor London Records, and the band themselves were not happy with it. Two songs (“I’ve Been Loving You Too Long” and “Fortune Teller”) were not even live recordings, but studio takes, overdubbed with audience background noises. They consequently disowned it, arguing that Get Yer Ya-Ya’s Out! The Rolling Stones in Concert (1970) was their true live album debut.

The performances captured for Got Live If You Want It reportedly occurred on 1 and 7 October 1966, in Newcastle upon Tyne and Bristol while on their last UK tour for three years, despite the album’s assertion that the recording hailed from the Royal Albert Hall.

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The album was issued in December, as the group were nearing the end of Between the Buttons’ sessions. It reached No. 6 in the US in early 1967 and went gold. Decca Records UK released the LP as Have You Seen Your Mother Live! for export purposes, while King Records Japan released the same LP under the title Hits LIVE. (by wikipedia)

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A live document of the Brian Jones-era Rolling Stones sounds enticing, but the actual product is a letdown, owing to a mixture of factors, some beyond the producers’ control and other very much their doing. The sound on the original LP was lousy, and for that matter not all of it’s live; a couple of old studio R&B covers were augmented by screaming fans that had obviously been overdubbed. Still, the album has its virtues as a historical document, with some extremely important caveats for anyone not old enough to recognize the inherent limitations in a live album of this vintage. The first concerns the history of this release — the Got Live if You Want It! album (not to be confused with the superior sounding but much shorter, U.K.-only extended-play single, issued in England in mid-1965) was a U.S.-only release in late 1966, intended to feed a seemingly insatiable American market.

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As a best-of album had been issued in March 1966 and Aftermath in June of the same year, and the Stones had just come off of a major U.S. tour (which proved to be their last for over three years), another album was needed to bridge the gap in America between the those earlier LPs, the two most recent singles — “Paint It, Black” and “Have You Seen Your Mother, Baby, Standing in the Shadow?” — and the Between the Buttons album, which was not going to make it out in time for the Christmas season.

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The result was Got Live If You Want It!, which was intended to be recorded at a concert at Royal Albert Hall on September 23, 1966, the Stones’ first live appearance in England in over a year. The problem was, as was memorably stated by a writer in Rolling Stone magazine a few years later, the Stones in those days didn’t play concerts — they played riots, and that was precisely what happened at Royal Albert Hall, as several hundred fans charged the stage, overwhelming the band before they’d gotten through the opening number “Paint It, Black.” The scene was captured in the footage later used in the promotional film for “Have You Seen Your Mother, Baby, Standing in the Shadow?” What was left of the show, once order was restored, was taped, along with at least two other shows on that tour over the next week or so; and it should also be remembered that in those days the group seldom played for more than 30 to 40 minutes, and sometimes less than that, much like the Beatles in concert. And the audience noise, much as it was with the Beatles, was overwhelming in the days before stacks of Marshall amps became routine in a band’s equipment; indeed, at some shows, at certain moments, only the tempo of Charlie Watts’ drumming could tell you which song the group was playing, and the bandmembers couldn’t hear much more than the crowd — matters such as tuning instruments and precise playing, even down to the most routine changes, became exercises in futility.

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Add to that the limitations of live recording, and the inevitable sound leakages and other problems, and one can see how this album was easier to conceive than to actually bring off successfully. When all of the tapes were assembled, the producers were left with about 28 minutes of material that was usable to varying degrees, and even that was somewhat wishful thinking by the standards of the day. (Apart from the Kinks’ Live at Kelvin Hall [aka The Live Kinks], few groups or record labels in 1967 had the courage to release a concert album that sounded like the real article.) And here, someone — the Stones’ producer, London Records, whoever — started fiddling around, twirling knobs, changing balances, and making the stuff supposedly sound “better,” and bringing in a couple of studio tracks, “I’ve Been Loving You Too Long” and “Fortune Teller,” and laying on some crowd noise to bring the show up to an acceptable length for an LP. ( by Richie Unterberger)

But: We can hear the early Stones … loud and proud, hot and dirty !

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Personnel:
Mick Jagger (vocals, percussion)
Brian Jones (guitar, background vocals, harmonica, appalachian dulcimer)
Keith Richards (guitar, background vocals)
Charlie Watts (drums, percussion)
Bill Wyman (bass, background vocals)
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Ian ‘Stu’ Stewart (keyboards)

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Tracklist:
01. Under My Thumb (Jagger/Richards) 2.54
02. Get Off Of My Cloud (Jagger/Richards) 2.54
03. Lady Jane (Jagger/Richards) 3.08
04. Not Fade Away (Petty/Hardin) 2.04
05. I’ve Been Loving You Too Long (Redding/Butler) 2.55
06. Fortune Teller (Neville) 1.57
07. The Last Time (Jagger/Richards) 3.08
08. 19th Nervous Breakdown (Jagger/Richards) 3.31
09. Time Is On My Side (Jagger/Richards) 2.49
10. I’m Alright (McDaniel) 2.27
11. Have You Seen Your Mother, Baby, Standing In The Shadow? (Jagger/Richards) 2.19
12. (I Can’t Get No) Satisfaction (Jagger/Richards) 3.05

Introduction by Long John Baldry

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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.

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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.

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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.

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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.

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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.

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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.

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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)

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

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Tracklist:
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

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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.

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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)

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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)

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

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Tracklist:
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

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