Wynder K. Frog – Sunshine Super Frog (1967)

frontcover1And here´s a real intersting story about a great session musicians from UK:

Mick Weaver (born 16 June 1944, Bolton, Lancashire, England) is an English session musician, best known for his playing of the Hammond B3 organ, and as an exponent of the blues and funk.

Weaver’s band performed as Wynder K. Frog and became popular on the student union and club circuit of the mid sixties. A brief merging of this band with Herbie Goins and the Night-Timers took his work to a higher level. Wynder K. Frogg—they are billed under this spelling—appeared on the bill at The Savile Theatre, London on 24 September 1967 supporting Traffic on their first U.K. presentation. Also on the bill were Jackie Edwards and Nirvana. The compere was David Symonds.

When Steve Winwood left Traffic to form Blind Faith, Weaver was recruited to replace him and Traffic became Mason, Capaldi, Wood and Frog, soon shortened to Wooden Frog. They played a few gigs before dissolving three months later when Traffic reformed. After this he recorded with solo artists such as Buddy Guy, Dave Gilmour, Joe Cocker, Eric Burdon, Frankie Miller, Roger Chapman Steve Marriott and Gary Moore as well as Taj Mahal and The Blues Band, also playing keyboards with Steve Marriott’s Majik Mijits. (by wikipedia)

wynder k. frog

And here´s the debut album of  the UK Hammond wizard Mick Weaver, a.k.a. Wynder K. Frog.Wynder K. Frog:

The Wynder K. Frog story evolves around Mick Weaver. After he switched from piano to organ he joined a band named The Chapters that would soon be renamed Wynder K. Frog and perform material from James Brown’s Flames, Booker T. and The MGs or even songs learned through Georgie Fame’s recordings and Graham Bond’s repertoire. Wynder K. Frog moved to London and became regulars in the city’s R&B scene playing at Swingin’ London’s clubs like the Tiles or The Marquee. A contract with Island Records was secured and – under the wings of producers like Chris Blackwell, Guy Stevens, Jimmy Miller or Gus Dudgeon – Wynder K Frog, a name that would eventually be used as a pseudonym for Weaver more than a proper band name, did some some amazing Hammond organ-ized recordings and issued in three LPs and a bunch of cool 45s.


At the end of the 1960s, Weaver would quit the “band scene” to become one of the most in demand session musicians and throughout his career he’d be heard backing names such as Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph McTell, Taj Mahal or Otis Rush a.o, but his LPs as Wynder K Frog are classic Hammond sound from the 1960s UK and will appeal to those into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy McGriff, Booker T. & The MGs and the likes.

Recorded mostly in 1966 and issued in 1967, Wynder K Frog’s first LP came out of sessions produced by Chris Blackwell, Jimmy Miller and Syd Dale. Weaver was assuming more and more the identity of Wynder K Frog and was backed by session musicians rather than by his live band. It consisted in organ led instrumental covers of songs from the Island catalogue, some built over rejected backing tracks for other artists of the label like Jimmy Cliff, Jackie Edwards and Owen Gray and some new recordings of hits like Spencer Davis Group’s “Somebody Help Me”, plus some covers of american R&B hits by the likes of Sam & Dave, Willie Mitchell or Wilson Pickett. The end result gave an idea of the Wynder K Frog sound, resulting in a top mix of dance club go-go sounds, perfect for any allnighter at the Tiles or any Swingin’ London venue of the 1960s.


Rare French EP, 1967

Master of the Hammond B4 organ, Mick Weaver had played with his own band in the mid-sixties mostly playing Student Union gigs and average size clubs etc. He was approached by Island Records to record his organ over a set of instrumental backing tracks produced by top session musicians from New York. The result was a very cohesive union of soulful horns and Weaver honing in on his keyboard skills at every opportunity. (by Trevor H. Faull)


As I bonus track we can hear his verion of “I´m A Man” from The Spencer Davis Group, officially “recorded live in Paris”:

Hi. I know that it says recorded in live Paris on the single but I met Mick Weaver at a gig and asked him about this. He laughed and said that it was Chris Blackwell’s idea to say that and it was actually recorded live in London at Brigitte Bardot’s birthday party! (by elvispreseli)

Nice story …

Mick Weaver (orgn)
a bunch of unknown studio musicians


01. Sunshine Superman (Leitch) 2.35
02. I Feel So Bad (Edwards) 2.25
03. Oh Mary (Edwards) 2.34
04. Blues For A Frog (Dale) 3.03
05. Somebody Help Me (Edwards) 2.45
06. Mercy (Harris) 1.57
07. Hold On, I’m Coming (Hayes/Porter) 2.12
08. Shook, Shimmy And Shake (Gray) 2.14
09. Insence (Fallon/Miller) 2.29
10. Walking To New Orleans (Domino/Bartholomew/Guidry) 2.01
11. (Don’t Fight It) Feel It (Pickett/Cropper) 2.21
12. Dancin’ Pain (Miller) 2.30
13. I´m A Man (live) (Miller/Winwood) 3.20



mick weaver

The Pete Best Band – Hymans Green (2008)

FrontCover1.jpgRandolph Peter Best (born Scanland; 24 November 1941) is an English singer, songwriter and civil servant. He is best known as an original member and the first drummer of the Beatles. After he was dismissed from the group in 1962 he started his own band, The Pete Best Four, and would later join many other bands over the years. He is one of several people who have been referred to as the Fifth Beatle.

Best was born in the city of Madras, then part of British India. After Best’s mother, Mona Best (1924–1988), moved to Liverpool in 1945, she opened the Casbah Coffee Club in the cellar of the Bests’ house in Liverpool. The Beatles (at the time known as the Quarrymen) played some of their first concerts at the club.

The Beatles invited Best to join on 12 August 1960, on the eve of the group’s first Hamburg season of club dates. Ringo Starr eventually replaced Best on 16 August 1962 when the group’s manager, Brian Epstein, exiled Best under the direction of John Lennon, Paul McCartney and George Harrison, following their first recording session at Abbey Road Studios in London.


After working in a number of commercially unsuccessful groups, Best gave up the music industry to work as a civil servant for 20 years, before starting the Pete Best Band. He has been married for over 50 years to Kathy Best; they have two daughters, Beba and Bonita, and four grandchildren.


Haymans Green is a 2008 album by The Pete Best Band, released by Lightyear Entertainment and distributed in the US and Canada by EMI. Pete Best plays drums, and co-wrote most of the tracks. Reviews of the album have been mostly favorable, and almost all reviewers agree that the album sounds influenced by The Beatles, a band which Pete Best was a member of between 1960 and 1962.

The album’s cover shows the section of the Hamburg-era photograph of The Beatles featuring Best’s face that was removed as part of the collage design for the Beatles’ Anthology 1 album. (by wikipedia)


As we become increasingly aware of the need to protect our non-renewable natural resources, it becomes obvious that the musical community is not making adequate use of the dwindling supply of former Beatles, and as Paul McCartney and Ringo Starr can hardly be expected to keep the world supplied with Beatles-related material forever, another onetime member of Liverpool’s finest, Pete Best, has stepped forward to help remedy this situation. Sure, Best was given his walking papers by the Beatles about three weeks before they cut their first single for Parlophone, but he still counts as a former member of the band, and Haymans Green is his fifth album since returning to active duty in 1992, a few years before the release of the Beatles’ Anthology 1 made him a very wealthy man and convinced him there was a disturbing gap between demand for Beatles solo recordings and the current supply.


Haymans Green is the most Beatles-sounding album from a former Beatle to emerge since Paul McCartney became aware of his advancing maturity, but what’s remarkable is that it recalls not the rough-and-tumble rock & roll of their early days playing clubs in Liverpool and Hamburg, but the ambitious pop of Revolver through Abbey Road, as if Best wants to prove to the world he could have helped make Sgt. Pepper’s or the White Album if someone had given him the chance. Best also had a hand in writing the 11 songs on Haymans Green, something he’s never done before, but guitarist Phil Melia and guitarist and keyboardist Paul Parry are also credited on all the tracks, and Pete’s brother Roag Best (who doubles with him on drums) also pitches in on eight of the selections, so this falls a bit short as a defining personal statement.


It also says a certain amount about Best’s role in the Beatles that he’s surrounded himself with people who write, play, and even sing like John, Paul, and George; 46 years after he stopped being a Beatle, he’s still defined by the sound of his former bandmates even on his own solo album, as if he has nothing to say as a musician besides “I knew them when.” As a Beatles pastiche, Haymans Green isn’t quite up to the inspired appropriation of Utopia’s Deface the Music or anything by the Rutles, but the quality is at least a couple steps up from Best’s clumsy covers of beat-era material on his previous albums, and it is doubtless more satisfying than whatever Jimmy Nicol or Andy White have in the works. (by Mark Deming)


Pete Best (drums)
Roag Best (drums, percussion)
Tony Flynn (guitar, vocals on 04. + 09.)
Phil Melia (guitar, harmonica, vocals on 03.)
Paul Parry (guitar, keyboards, vocals)

… but who the fuck was the bayy player ???

01. Come With Me (R.Best/Melia/Parry) 2.24
02. Step Outside (P.Best/R.Best/Melia/Parry) 3.58
03. Round And Around (P.Best/R.Best/Melia/Parry) 2.38
04. Grey River (P.Best/R.Best/Melia/Parry) 3.19
05. Gone (P.Best/R.Best/Melia/Parry) 2.34
06. Dream Me Home (P.Best/R.Best/Melia/Parry) 3.47
07. Everything I Want (R.Best/Melia/Parry) 3.38
08. Beat Street (R.Best/Melia/Parry) 2.06
09. Broken (P.Best/R.Best/Melia/Parry) 3.57
10. Red Light (P.Best/R.Best/Melia/Parry) 4.01
11. Hayman’s Green (P.Best/R.Best/Melia/Parry) 3.05




Three brothers: Pete Best with brothers Rory Best and Roag Best

Manfred Mann -The Manfred Mann Album (1964)

FrontCover1.jpgThe Manfred Mann Album is the debut American studio album by Manfred Mann, released in September 1964 on Ascot Records. It contains the hit single “Do Wah Diddy Diddy”, as well as covers of well-known R&B hits such as “Smokestack Lightning” by Howlin’ Wolf, “I’m Your Hoochie Coochie Man” by Muddy Waters, and “Down the Road Apiece” by Will Bradley. Modern reviews of the album are generally positive and consider The Manfred Mann Album an important piece during the heydey of the British Invasion.

The twelve tracks on the record include the group’s hit single “Do Wah Diddy Diddy”, which reached No. 1 on the Billboard Hot 100 chart, while the rest reflect on their love of R&B, including cover versions of Howlin’ Wolf’s “Smokestack Lightning”, Muddy Waters’ “Got My Mojo Working”, and Bo Diddley’s “Bring It to Jerome”. The album includes the Cannonball Adderley song “Sack O’ Woe”.

Eleven of the twelve tracks were taken from Manfred Mann’s debut British release, The Five Faces of Manfred Mann.

All of the songs were recorded 17 December 1963 – 22 June 1964 at EMI Studios, London, England. (by wikipedia)


Manfred Mann’s debut full-length U.S. platter was probably their strongest, and indeed one of the stronger British Invasion albums of the very competitive year of 1964. Besides the smash “Do Wah Diddy Diddy,” it contained a number of fine soul and R&B covers. Standouts were the versions of “Untie Me” and Ike & Tina Turner’s “It’s Gonna Work Out Fine,” as well as the strong pounding Paul Jones original, “Without You.” (by Richie Unterberger)

A real strong album from the very early days of British Beat and R & B !!!


Tom McGuinness (bass, background vocals)
Mike Hugg (drums, percussion, vibraphone)
Paul Jones (vocals, harmonica)
Manfred Mann (keyboards, background vocals)
Mike Vickers (guitar, saxophone, flute, background vocals)
Dave Richmond (bass on 12.)

01. Do Wah Diddy Diddy (Greenwich/Barry) 2.24
02. Don’t Ask Me What I Say (Jones) 2.56
03. Sack O’ Woe (Arderley) 2.07
04. What You Gonna Do? (Jones/Mann) 2.34
05. I’m Your Hoochie Coochie Man (Dixon) 3.17
06. Smokestack Lightning (Burnett) 3.31
07. Got My Mojo Working (Morganfield) 3.10
08. It’s Gonna Work Out Fine (McCoy/McKinney/Seneca/Lee) 2.33
09. Down The Road Apiece (Raye) 2.24
10. Untie Me (South) 3.34
11. Bring It To Jerome (Greene) 3.24
12. Without You (Jones) 2.17



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. (green-brain-krautrock.de)

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.