The Hollies – Hello Graham Nash (Reunion) (1983)

FrontCover1The Hollies – no introduction nessesary …

This live album is a byproduct of the Hollies’ 1983 reunion tour with Graham Nash, mixing new songs off of the accompanying album, What Goes Around…, with their classic material. Instrumentally, lead guitarist Tony Hicks and drummer Bobby Elliott (who is recorded exceptionally well) are supported by Steve Stroud (bass), Alan Coates (rhythm guitar), Pete Anderson (piano), and Paul Bliss (keyboards), who make a smoother, more polished sound; the openings of “Bus Stop” and “Just One Look,” for example, are more keyboard-dominated than they ever were on the original records or any prior concert release, including the mid-’70s Hollies Live LP. Luckily, the middle sections of most of the songs better represent the band’s classic sound, and there’s no complaining about the singing or the harmonies. The new repertoire presented here, including “Casualty,” doesn’t have the staying power of the group’s vintage work, and it’s clear that the crowd is there to hear the oldies, not the new songs, to judge by the gradations in applause.

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“On a Carousel” evokes far more enthusiasm than the newer stuff — as an added benefit of this disc, it captures the group’s first performance on this tour of “King Midas in Reverse,” which is everything one would wish for in delicacy and nuance, as well as radiant harmonies, and here they get the guitar sound (a mix of acoustic and low-amplification electric) exactly right. And when they do “Wasted on the Way” and “Teach Your Children,” it’s worth the price of the disc (as well as the price of admission — the crowd’s delight is almost palpable). The disc isn’t quite essential for Hollies fans — some of its desirability depends upon how one felt about that tour and the What Goes Around… album — but it’s extremely close to it, and shouldn’t be overlooked (and CSN and Graham Nash completists will have to own it).  ( by Bruce Eder)

This concert from the 1983 reunion with Graham Nash was recorded for a planned live album, which was never released … So, we can hear an excellent soundbaoard recording …

Close your eyes and drift away … what a great concert !

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Personnel:
Allan Clarke (vocals, guitar, harmonica)
Bobby Elliott (drums)
Tony Hicks (guitar, vocals)
Graham Nash (guitar, vocals)
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Pete Anderson (piano, synthesizer)
Paul Bliss (keyboards)
Alan Coates (guitar)
Dennis Haines (keyboards)
Steve Stroud (bass)

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Tracklist:
01 1 I Can’t Let Go (Gorgoni/Taylor 2.31
02. Just One Look (Carrol/Payne) 3.54
03. Bus Stop (Gouldman) 3.29
04. Casualty (Bliss) 3.32
05. On A Carousel (Clarke/Hicks/Nash) 3.32
06. Someone Else’s Eyes (Bliss) 4.11
07. Look Through My Window (Gouldman/Silverman) 2.59
08 .King Midas In Reverse (Clark/Hicks/Nash) 2.53
09. Wasted On The Way (Nash) 3.29
10. Teach Your Children (Nash) 4.01
11. Soldier’s Song (Batt) 4.53
12. Stop, Stop, Stop (Clark/Hicks/Nash The Hollies 2.56
13. The Air That I Breathe (Hammond/Hazelwood) 4.30
14. Carrie Anne (Clarke/Hicks/Nash) 3.33
15. Stop In The Name Of Love (Dozier/Holland) 3.37
16. He Ain’t Heavy, He’s My Brother (Russell/Scott) 4.15
17. Long Cool Woman In A Black Dress (Clarke/Cook/Greenaway) 10.30

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Various Artists – Mindrocker Volume 4 (1982)

FrontCover1Mindrocker is an extensive series of compilation albums that was circulated through Line Records and then Impact Records in the 1980s. The complete series compacted nearly 200 songs of rare, and obscure material primarily from American garage and psychedelic rock musical artists that were originally recorded in the 1960s, and previously made available to only a handful of collectors. It was organized by record producer Hans-Hermann Pohle, named after a single by California band, Fenwyck, and initially distributed in Germany. The first volume was released in 1981 and by 1986 the thirteenth and final installment of the series was issued.

Initially, Mindrocker was comparable to the popularity and specialization of the Pebbles series, however, with the ready availability of most of its material via digital means or specified anthologies, the series has not managed to endure as long as other relatable collections. Nonetheless, during its original run, Mindrocker was pivotal to the revival of garage rock. Most of the volumes were arranged to a certain region or record label, though some pieces of the series hold no such pattern. (by wikipedia)

And this is the story of the great Line Records Label:

Back in 1979.
Several major labels had just squeezed out the Punk movement and its followers such as New Wave, when a new small independent record company based in Hamburg made a bold step back into the future: LINE RECORDS.
Virtually nobody still cared about the music of the glorious 60s and 70s then – except Uwe Tessnow, a former A&R rep of Kinney Music and Teldec Records.
Surprise releases by almost forgotten rock stars such as Mitch Ryder and Roger Chapman made their way into the shops and were sold by the vanload immediately.
The news was spread almost overnight, and many musicians got in touch with LINE to find a new platform for their products nobody else was interested in.

A highly attractive artist roster took shape almost by itself, the term “re-release” was (re)born and has become a substantial part of the international recording industry since.
Highly acclaimed (but almost forgotten) artists from America and Great Britain were back in the biz, critics’ darlings got their second chance, lost vinyl rarities were available once again, unknown bands and soloists made their marks on LINE.
Uwe Tessnow signed contracts, acquired rights, the so-called “small label with the scale-paper” had fulfilled groundbreaking, pioneering work – fans and collectors cheered alike.

LINE also set a new standard in extracting valuable material from foreign label catalogues:
LINE got the meat out of cult labels such as BOMP and Star-Club, and took over product from newly established indies from the likes of Stiff, Albion, Beserkley among others for the German market.
There seemed to be a niche for everything: Rock and Rock’n’Roll; R&B and Soul; Blues and Pubrock; 60s Garage Rock, Punk and New Wave. Promoting sound from the past and present, LINE had finally arrived.

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Furtheron the label set even more new standards – sometimes with a twinkle in the eye: Uwe Tessnow offered coloured vinyl, double LPs with only three sides housed in normal one-album sleeves, 10-inch promo items, special cassette editions – LINE paved the way once more, got imitated but was hardly conquered.

In the mid-80s, comprehensive parts of the label’s catalogue were transferred onto the new compact disc format.
It was the starting shot for special compilation series as well, making LINE a forerunner once again: Rock File, Pop File, and the Backline series – presenting the US pop history from the 40s to the mid-50s – have become legendary projects since, got copied by many competitors but are still a distinctive part of the label’s catalogue.

These days Uwe Tessnow is marketing classical music (core theme: rare opera recordings) – with his pop job expertly done and left behind.
Without his bold reanimation strategy at times when nobody cared, the international rock scene would have been much poorer.

Rock and pop re-issues these days are still a significant part of the record business.
The crucial pattern has got a name: LINE.

MovingSidewalks
The Moving Sidewalks (pre-ZZ Top)

And this is volume 4 of this series … What a great compilation … lot´s of very rare stuff including The Moving Sidewalks (pre-ZZ Top), a rare Johnny Winter song (taken rom a single by Pacemaker Records) and bands like The Scotty McKay Quintet or The Bad Roads (had vever heard of them). You´ll find more informations on the backcover of this LP.

This entry is dedicated to all music maniacs like me !

More compilations like this will come !

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Tracklist:

The Moving Sidewalks:
01. 99th Floor (Gibbons) 2.13
02. What Are You Going To Do (Gibbons) 2.24
03. Need Me (Gibbons) 2.10
04. Every Night A New Surprise (Ames) 2.54

The Great Believers:
05. Comin’ Up Fast (Boynton/Winter) 2.37

The Scotty McKay Quintet:
06. he Train Kept A Rollin’ (Kay/Mann/Bradshaw) 2.20

A-440:
07. Torture (Clark/Romano/Sartie) 2.00

Johnny Winter:
08. Birds Can’t Row Boats (Winter) 2.58

The Things:
09. I Don’t Believe It (Things) 3.04

The Stoics:
10. Enough Of What I Need (Marechal/Quillian/Ash) 2.15

The Pandas:
11. Walk (Bellams/Kelso) 2.28

The Bad Roads:
12. Blue Girl (Bad Roads) 2.07

The Stoics:
13. Hate (Ash) 2.43

Satori:
14.  Time Machine (Warkentin) 1.39

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After Tea – National Disaster (1968)

FrontCover1After Tea was founded in 1967 by Hans van Eijck (organ), Ray Fenwick (guitar) and Polle Eduard (bass/vocals) – all ex-members of the Tee Set – with drummer Martin Hage (ex-Don’t). The group produced three moderate hits in 1967-1968: “Not Just A Flower In Your Hair”, “We Will Be There After Tea” and “Snowflakes on Amsterdam”, all in a psychedelic pop style.

Ray Fenwick left shortly after the recordings of the first LP, “National Disaster” (his work permit had expired) and returned to England to join the Spencer Davis Group. He was replaced by ex-Just Colours guitarist Ferry Lever.

In the Spring of 1968, Polle Eduard was arrested for possession of marijuana and incarcerated for a few months. His temporary replacements were singer Frans Krassenburg (ex-Golden Earrings) and bass player Henk Smitskamp (ex-Motions, to Livin’ Blues). In the Summer of that year, the band scored a surprise hit under the pseudonym De Martinos with “Moest dat nou?” (recorded as a joke).

Martin Hage left later that year, replaced temporarily by Pierre van der Linden (later to Focus, Trace) and then permanently by Ilja Gort (ex-IQ 150).

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Early 1969, the most important songwriter in the band, Hans van Eijck, left to rejoin the Tee Set. He was replaced by German keyboard player Uli Grün (ex-Boots). The group then switched to a more rock-oriented sound. Yet in 1970, Ferry Lever left (also to join the Tee Set) and was not replaced. The band continued as a three-piece for some time, but in 1971 After Tea finally folded. Polle Eduard and Uli Grün were then joined by guitarist Frank van der Kloot and drummer Shel Schellekens, calling themselves Drama. They scored a Top 20 hit with “Mary’s Mama” which they subsequently refused to play live (as the whole thing was a concoction by producer Peter Koelewijn). However, in 1975, Polle Eduard, Ferry Lever and Ilja Gort reunited once more to record the single “Mexico” under the After Tea moniker. Polle Eduard continued his career as a songwriter by penning a few hits for Nico Haak and subsequently recorded an album of Dutch songs one year later, in 1976. Polle continued playing solo and in bands like The Rest (with Hans Vermeulen of Sandy Coast).

AfterTea02Ilja Gort worked as a producer for Basart Records before making a fortune composing music for commercials like the famous Nescafe tune. He now owns a vineyard in France producing his La Tulipe wines.

After his stint with the Tee Set, Hans van Eijck concentrated on writing music for TV and became a successful record producer (Danny de Munck, Marco Borsato). Ferry Lever became a music teacher and a session player. He still plays in the band of singer Rob de Nijs. (by Alex Gitlin)

Based on the success of their debut 45, Decca management wasted no time rushing the group into the studio to record an album. Produced by Bert Schouten, 1967’s “National Disaster” offered up a an entertaining blend of mid-1960s freakbeat, pop, psych, and rock influences. Largely written by van Eijck and Fenwick the song titles pretty much told you what was going on. If tracks like the earlier single ‘Not Just a Flower In Your Hair’, ‘ In the Land of the Bubble Gum Tree’ and ‘The Time Is Nigh’ weren’t a reflection of the age of love, peace and lots of illicit substances, I don’t know what was. Sure it was hopelessly dated (probably within a matter of months of being released), but hearing a lyric like ‘throw away your LSD’ (off of ‘The Time Is Nigh’) had to make you laugh. Equally good were the band’s occasional stabs at blue-eyed soul (‘National Disaster’), and more conventional rock (‘Long Ago’). Hard to believe, but in spite of van Eijck’s heavily accented vocals, the combination of trippy studio effects (phasing, offbeat tempos, etc.) and some surprisingly strong material made for an album that stood up well against better know UK and US competitors.  (by badcatrecords.com)

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In other words: This is a pretty good pop-psychedelic album from the Sixties … one of these forgotten pearls of this wonderful decade !

And “(We Will Be There) After Tea” is a classic song from the Sixties !

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Personnel:
Polle Eduard (organ, bass, vocals)
Hans van Eijck (guitar, keyboards, vocals)
Ray Fenwick (guitar, vocals)
Martin Hage (drums, vocals)

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Tracklist:
01. Gotta Get You In My Garden Girl (v.Eijck) 2.53
02. A Lot To Do (v.Eijck) 2.04
03. Not Just A Flower In Your Hair (v.Eijck) 2.41
04. In The Land Of The Bubble Gum Tree (v.Eijck(Fenwick) 2.13
05. I’ll Push You For An Answer (v.Eijck) 2.10
06. Don’t Waste Your Love On Me (v.Eijck/Langenbach) 1.27
07. National Disaster (Renwick) 2.04
08. Long Ago (v.Eijck) 4.00
09. The Time Is Nigh (v.Eijck/Fenwick) 3.27
10. Play That Record (v.Eijck) 4.44
11. Been A Sad Day  (Fenwick) 2.53
12. It’s Too Late (v.Eijck) 2.29
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13. (We Will Be There) After Tea (v.Eijck(Fenwick) 3.02
14. Lemon Coloured Honey Tree (v.Eijck(Fenwick) 3.49

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The Kinks – The Kink Kontroversy (1965)

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The Kink Kontroversy is the third studio album by English rock band The Kinks, released on 26 November 1965. It is a transitional work, with elements of both the earlier Kinks’ styles (heavily blues-influenced songs such as “Milk Cow Blues”, and variations on the band’s hits from 1964-65 such as “Till the End of the Day”) and early indications of the future direction of Ray Davies’ songwriting styles (“The World Keeps Going Round” and “I’m On an Island”).The Kink Kontroversy is the third studio album by English rock band The Kinks, released on 26 November 1965. It is a transitional work, with elements of both the earlier Kinks’ styles (heavily blues-influenced songs such as “Milk Cow Blues”, and variations on the band’s hits from 1964-65 such as “Till the End of the Day”) and early indications of the future direction of Ray Davies’ songwriting styles (“The World Keeps Going Round” and “I’m On an Island”).

The album’s title is a mocking reference to the notorious reputation the band had developed over the previous year, including onstage fights and concert riots in Europe, which led to a ban on the group’s concerts in the US.

American singer Bobby Rydell covered “When I See That Girl of Mine”, which was released as a single in the US a full month before the Kinks’ version was made public.

The single “Till the End of the Day” was a major hit, reaching #8 in the UK and #50 in the US, spending eight weeks or more in each chart. (by wikipedia)

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The Kinks came into their own as album artists — and Ray Davies fully matured as a songwriter — with The Kink Kontroversy, which bridged their raw early British Invasion sound with more sophisticated lyrics and thoughtful production. There are still powerful ravers like the hit “Til the End of the Day” (utilizing yet another “You Really Got Me”-type riff) and the abrasive, Dave Davies-sung cover of “Milk Cow Blues,” but tracks like the calypso pastiche “I’m on an Island,” where Ray sings of isolation with a forlorn yet merry bite, were far more indicative of their future direction. Other great songs on this underrated album include the uneasy nostalgia of “Where Have All the Good Times Gone?,” the plaintive, almost fatalistic ballads “Ring the Bells” and “The World Keeps Going Round,” and the Dave Davies-sung declaration of independence “I Am Free.” (by Richie Unterberger)

In other words: Won´t you tell me … where have all the good times gone …

The Kinks … one of the finest groups from the classic beat period in the Sixites !

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Personnel:
Mick Avory (drums on 01., 02. + 09., percussion)
Dave Davies (guitar, vocals on 01., 05., 11., 12.)
Ray Davies (vocals, guitar, harmonica)
Pete Quaife (bass, background vocals)
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Clem Cattini (drums, 03. + 08., 10. – 12.)
Rasa Davies (background vocals)
Nicky Hopkins (keyboards)
Shel Talmy (guitar on 10.)

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Tracklist:
01. Milk Cow Blues (Estes) 3.45
02. Ring The Bells (R.Davies) 2.22
03. Gotta Get the First Plane Home (R.Davies) 1.50
04. When I See That Girl Of Mine (R.Davies) 2.13
05. I Am Free (D.Davies) 2.32
06. Till The End Of The Day (R.Davies) 2.22
07. The World Keeps Going Round (R.Davies) 2.37
08. I’m On An Island (R.Davies) 2.19
09. Where Have All The Good Times Gone (R.Davies) 2.54
10. It’s Too Late (R.Davies) 2.37
11. What’s In Store For Me (R.Davies) 2.07
12. You Can’t Win (R.Davies) 2.43
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13. Dedicated Follower Of Fashion (R.Davies) 3.05
14. Sittin’ On My Sofa (R.Davies) 3.08
15. When I See That Girl Of Mine (demo version) (R.Davies) 2.02
16. Dedicated Follower Of Fashion (alternate stereo take) 3.01 (R.Davies) 3:01

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Cecilia und die Sauerkrauts – Same (2009)

FrontCover1A real strange album ! But a real good one !

Cecilia und die Sauerkrauts abandoned their disguise and crawled out of the basements. There, in Wuerzburg, Lower Franconia, they practised their rehearsals, in order to pamper the world with their intercontinental global 60’s beat. Sometimes charming and enchanting, sometimes humorous or quite different, i. e. rough, this squad’s home beat burns in the whole body and causes vibrations too. It’s obvious, that such an exceptionally gifted band with such a great and incredible cast of characters does not only rehearse, in order to be once on stage. Just in time to their first performance, their first album “SAUERKRAUT, WURST UND OTHER DELIGHTS” is released. And which record label would suit better for such a phonophile record as SOUNDFLAT RECORDS, where the wirepullers share the band’s predilection for beer, sausage, Jaegermeister (famous German cordial) and sauerkraut?! The biographie of the members of the band gives the impression of a menu with a swirling and fine taste too: On the one hand we have the delightful CECILIA from France, which more than merely convinced as head of the LOFI-PUNK band THE NO-TALENTS, the NEW WAVEPUNK band Operation S and, of course, with her absolute 60’s combo CECILIA ET SES ENNUIS. On the other hand RUSSEL QUAN from USA could be engaged for drums. RUSSEL QUAN is known as one of the founder and a member of such legendary bands like THE MUMMIES, THE FLAKES, THE BOBBYTEENS, DUKES OF HAMBURG.

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On bass, CECILIA is supported by RYAN from USA, who played amongst others in bands like THE EPOXIES. The brass band leader Fred plays the axe (guitar), as he does in the charming 60’s French-Beat-Pop combo LES TERRIBLES too, respectively at OPERATION S as well. None other than Fredovitch pounds the keys of the organ, well-known for his ONE-MAN Show as well as his performance at KING KHAN & THE SHRINES and THE HERO-X. The grandiose, smart and both humorous and charming too 60’s Beat of this ALL-STAR band consists of original compositions as well as of own arrangements (in French), based on the French 60’s Beat/Pop, on classics of PowerPop-, Garage-, Punk- and 60’s-songs Like ALL KINDSA GIRLS by the REAL KIDS, KNOW YOUR PRODUCT by THE SAINTS, LAST CARESS by the MISFITS, SMOKE by ? MARK & THE MYSTERIANS, etc.

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They even translated in the good old THE BOOTS manner NINO FERRERS hit “ALEXANDER” into German (on their own) and therefore create a rackety party mood with all the other songs on the album. Finally it is necessary to make mention of the special fact, that the A&M records cover version of the legendary HERB ALBERT’S TIJUUANA BRASS LP “WHIPPED CREAM & OTHER DELIGHTS” has been copied for several times, although never in a such sexy way! And what the favorite dish is for somebody, will be used as a replacement for clothes by others, yummy!!! (Promotion text)

Crazy … more than crazy … but … listen to this gem ! What a great hommage to the sound of the Sixties ! Wow !

And on “Dernière caresse” you will hear a little bit of the great Patti Smith …

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Personnel:
Fred “Fredovitch” Bourdil (keyboards)
Eric Erickson (drums)
Frédéric “Fred* Guillamaud (guitar, vocals, organ)
Cécilia Menau (vocals, organ)
Ryan Puckett (bass)

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Tracklist:
01. Je dis hey (Mysterians/Meneau) 2.21
02. Avant la lumière du jour (Meneau/Guillamaud) 3.50
03. J’achète des produits (Meneau/Kuepper) 3.20
04. Tous ces garçons (Meneau/Felice) 3.49
05. Aucune fille au monde (Righi/Cooper) 2.37
06. 1, 2, 3 (Meneau/Guillamaud) 2.19
07. Désinvolte (Meneau/Guillamaud) 2.11
08. Minuit a l’aube (Meneau/Taylor/Sterling/May) 2.19
09. Quelle heure il est? (Meneau/Guillamaud) 2.19
10. Tu es un mombre (Meneau/O’Neill) 2.21
11. Dernière caresse (Meneau/The Misfits) 2.48
12. Alexander (Ménard/Ferrer) 2.12

‘Je Dis Hey’ is ‘Smokes’ by ? & The Mysterians
‘J’Achète Des Produits’ is ‘Know Your Product’ by The Saints
‘Tous Ces Garçons’ is ‘All Kindsa Girls’ by The Real Kids
‘Aucune Fille au Monde’ is ‘(You Got) The Power of Love’ by Everly Brothers/Pussy Cat
‘Minuit à l’Aube’ is ‘Midnight To Six” by The Pretty Things
‘Tu Es Un Nombre’ is ‘You’ve Got My Number’ by The Undertones
‘Dernière Caresse’ is ‘Last Caress’ by The Misfits
‘Alexander’ is ‘Alexandre’ by Nino Ferrer

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The Smoke – It´s Smoke Time (1967)

LPFrontCover1The Smoke was an English pop group from York. They consisted of Mick Rowley (lead vocals) (born Michael Rowley, 29 June 1946, Scarborough, Yorkshire), Mal Luker (lead guitar) (born Malcom Luker, 3 March 1946, New Delhi, India), John “Zeke” Lund (bass) (born John Raine Lund, 13 November 1945, York, Yorkshire) and Geoff Gill (drums and compositor) (born Geoffrey Robert Gill, 15 May 1949, York).

The band originally performed around Yorkshire as “The Moonshots”, changing their name to “The Shots” when they moved to London. There were two bands playing R & B and other cover versions, one was called Tony Adams and the Viceroys, who included John ‘Zeke’ Lund on bass; Mal Luker on guitar and Geoff Gill on drums. The other band was The Moonshots, who included Mick Rowley on lead vocals and Phil Peacock on guitar. The band then came together as The Shots and made a single for Columbia – ‘Keep A Hold Of What You’ve Got’ which flopped. At some point Peacock left the band, who then changed their name to The Smoke.
The Smoke’s biggest hit was “My Friend Jack” (German Charts: #2, UK charts: #45); the BBC banned airplay of the song over its alleged drug references. Guitarist Lund later became a sound engineer for Boney M., who recorded a cover version of “My Friend Jack” (by wikipedia).
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Various Singles by The Smoke (so many fantastic colors)

And I guess many readers of this blog will agree, that their hot “My Friend Jack” was one of the finest Songs from the British Psych-Era:
“My Friend Jack” is a psychedelic pop song released by the English pop group The Smoke in 1967. It was included originally in their debut album It’s Smoke Time, and It was also included (among other compilation albums) in the collection Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964–1969 (Rhino, 2001).
It was credited to all four band members: Geoff Gill, Mal Luker, Zeke Lund and Mick Rowley. The song was covered by artists as Boney M. You Am I, The Wondermints, She Made Me Do It, Obimen and Dreg Machine.
“My Friend Jack” was the only one international hit by The Smoke. The song seems to suggest the use of psychedelic drugs (LSD) in lines such as “My Friend Jack eats sugar lumps” and travels the world inside his mind (such as “Been on a voyage, across an ocean”).

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The song was pulled off the U.K. market due to the drug connotations and never succeeded in their own country. The original content of the song was so unacceptable that “My Friend Jack” had to be rewritten before EMI would touch it; finally, it was released in February 1967. The single only made it to number 45 before being banned by the BBC, limiting it to three weeks on the U.K. charts.

The first version (somewhat slower and almost entirely modified except for the chorus) featured a more obvious content related with the hallucinogenic effect and incomprehension of the others. Lines such as “oh what beautiful things he sees” which had to be re-recorded as “Sugarman hasn’t got a care”. The demo is available on some CD compilations, as Real Life Permanent Dreams. A Cornucopia Of British Psychedelia (1965-1970) (Castle Select, 2007).

In mainland Europe, however, the final version of the record sold well; the group and their song was supported after appearing on an installment of the successful German television show Beat-Club, alongside Jimi Hendrix, The Who, and Cliff Bennett & the Rebel Rousers.
Because of this fortunate circumstance, “My Friend Jack” ended up riding the German pop charts to the #2, and earned the Smoke a place on a tour with the Small Faces and the Beach Boys in 1967. The single charted high in Switzerland, France, and Austria as well, and suddenly there was demand for a Smoke LP in Germany, entitled later “It’s Smoke Time”.

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The song is characterized by a march beat and mix of shimmering and crunchy reverb-laden guitar (its most notable sound). It presents an aggressive riff like the most delightfully subversive piece of freakbeat, heavily influenced by The Who’s power-chord and the trippy cheerfulness, like some songs with drug references from that era.
According to Matthew Greenwald in Allmusic: “The song opens with a tremolo-laden slide guitar riff from Mal Luker, which creates a trippy, unsettling but wholly interesting hook. The main melody is a bouncy, mid-tempo slice of pop-psychedelia, filled with a buoyancy that equates this to an English version of the Turtles on psychedelic drugs. The effervescent chorus is a fabulous singalong affair, making it instantly accessible”.

” My Friend Jack” was included in the documentary film John Peel’s Record Box, made by Elaine Shepherd, released on 14 November 2005 on Channel 4 (British public-service television). The film was nominated for Primetime Emmy Award. (by  wikipedia)
Listen to a classic from the past !
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Personnel:
Geoff Gill (drums)
Mal Luker (guitar, keyboards, sitar)
Mick Rowley (vocals, guitar)
Zeke Lund (bass)
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Tracklist:
01. My Friend Jack (Gill/Luker/Rowley/Lund) 3.03
02. Waterfall (Gill/Luker/Rowley/Lund) 2.41
03. You Can’t Catch Me (Gill/Luker/Rowley/Lund) 3.17
04. High In A Room (Gill/Luker/Rowley/Lund) 3.00
05. Wake Up Cherylina (Gill/Luker/Rowley/Lund) 2.19
06. Don’t Lead Me On (Reno/Brown) 2.17
07. We Can Take It (Gill/Luker/Rowley/Lund) 2.43
08. If the Weather’s Sunny (Gill/Luker/Rowley/Lund) 2.50
09. I Wanna Make It with You (Gill/Luker/Rowley/Lund) 3.10
10. It’s Getting Closer (Gill/Luker/Rowley/Lund) 2.33
11. It’s Just Your Way Of Lovin’ (Gill/Luker/Rowley/Lund) 2.25
12. I Would If I Could But I Can’t (Gill/Luker/Rowley/Lund) 2.14

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The Beatles – Last Night In Hamburg(Live! At The Star-Club In Hamburg, Germany; 1962) (1977/1999)

LastNightFrontCover1Last Night In Hamburg (Live! at the Star-Club in Hamburg, Germany; 1962) waa a double album featuring live performances by the English rock group The Beatles, recorded in late December 1962 at the Star-Club during their final Hamburg residency. The album was released in 1977 in two different versions, comprising a total of 30 songs by The Beatles.
The performances were recorded on a home tape machine using a single microphone, resulting in a low fidelity recording. Ted “Kingsize” Taylor began to investigate possible marketing of the tapes in 1973. The tapes were eventually bought by Paul Murphy and subjected to extensive audio processing to improve the sound, leading to the 1977 album.
Although the poor sound quality limits its commercial appeal, the album provides historic insight into the group’s club act in the period after Ringo Starr joined but before the emergence of Beatlemania. The Beatles were unsuccessful in legally blocking the initial release of the album; the recordings were reissued in many forms until 1998, when The Beatles were awarded full rights to the performances.

The Beatles’ five residencies in Hamburg during 1960 to 1962 allowed the Liverpool band to develop their performance skills and widen their reputation. Drummer Pete Best was added to the band in August 1960 to secure their first Hamburg booking, where they played for 48 nights at the Indra Club and then 58 nights at the Kaiserkeller. The Beatles returned to Hamburg in April 1961 to play at the Top Ten Club for three months.
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A new Hamburg music venue, the Star-Club, opened on 13 April 1962, with The Beatles booked for the first seven weeks. The Beatles returned to Hamburg in November and December 1962 for their fourth and fifth engagements there, which had been booked for the Star-Club many months in advance. Unlike their previous three trips to Hamburg, their drummer was Starr, having replaced Best in August. The Beatles were reluctant to return for their final two-week booking, which started 18 December, as they were gaining popularity in Britain and had just achieved their first charted single with “Love Me Do”.

Portions of The Beatles’ final Star-Club performances (along with other acts) were recorded by the club’s stage manager, Adrian Barber, for Ted “Kingsize” Taylor. Barber used a Grundig home reel-to-reel recorder at a tape speed of 3¾ inches per second, with a single microphone placed in front of the stage. Taylor, leader of The Dominoes (who were also playing at the club), said that John Lennon verbally agreed to the group being recorded in exchange for Taylor providing the beer during their performances.

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The tapes were originally described as having been recorded in the spring of 1962, an attempt to pre-date The Beatles’ June 1962 contract signing with Parlophone. However, song arrangements and dialogue from the tapes pointed to late December 1962, and a recording date of 31 December 1962 (the group’s last day in Hamburg) was commonly cited. Later researchers have proposed that the tapes are from multiple days during the last week of December; Allan Williams (The Beatles’ booking agent at the time) recalled that a total of about three hours was recorded over three or four sessions between Christmas and New Year’s Day.
The tapes captured The Beatles performing at least 33 different titles, plus some repeated songs. Of the 30 songs that were commercially released from the tapes, only two were Lennon–McCartney compositions. The others were an assortment of cover versions, seventeen of which would be re-made by The Beatles and appear on their various studio albums or Live at the BBC. The arrangements played at the Star-Club are similar to the versions recorded later, albeit less refined, although there are a few cases with distinct differences. For example, “Mr. Moonlight” has a much quicker tempo, a guitar-based instrumental break, and an intentionally altered lyric with Lennon proclaiming he is on his “nose” instead of his “knees”; “Roll Over Beethoven” was described as “never taken at a more breakneck pace”.

50 Jahre Star-Club in Hamburg Der Star-Club
The recording equipment and method resulted in the tapes being unmistakably low fidelity. The vocals, even in the best cases, sound “somewhat muffled and distant”. The vocals on a few songs are so indistinct that labelling and liner notes on early releases gave incorrect information about who was singing and the exact song being performed. Much of The Beatles’ dialogue between songs is audible, which includes addressing the audience in both English and German, as well as repartee among themselves. The banter is irreverent and coarse at times, an aspect of their stage act that would soon cease under the influence of manager Brian Epstein.

Taylor said he had offered to sell the tapes to Epstein in the mid-1960s, but that Epstein did not consider them to be of commercial value and offered only £20. Taylor said he kept the tapes at home, largely forgotten until 1973 when he decided to look into their marketability. Williams related a different history than Taylor, stating that after Taylor returned to Liverpool, he left the tapes with a recording engineer for editing into a potential album. The project was never finished and the engineer later relocated, with the tapes being among many items left behind. In 1972, Williams, Taylor, and the engineer gained access to the abandoned office and recovered the tapes “from beneath a pile of rubble on the floor.”
When the existence of the tapes was first publicly reported in July 1973, Williams was planning to ask Apple for at least £100,000. Williams said he later met with George Harrison and Starr to offer the tapes for £5000, but they declined, citing financial difficulties at the time. Williams and Taylor teamed up with Paul Murphy, head of Buk Records, to find an outlet for the tapes.

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Booklet from the original double album from 1977

Murphy eventually bought the tapes himself and formed a new company, Lingasong, specifically for the project. He sold the worldwide distribution rights to Double H Licensing, which spent more than $100,000 on elaborate audio processing and mixing of the songs under the direction of Larry Grossberg. The sequence of songs was rearranged, and some of the individual songs were edited to bypass flawed tape sections or make up for an incomplete recording.
After an unsuccessful attempt by The Beatles to block it, the 26-song Live! at the Star-Club in Hamburg, Germany; 1962 was released by Lingasong. The album first appeared in Germany in April 1977 in association with Bellaphon Records, and was released in the UK the following month.[16] For the album’s June 1977 US release (in association with Atlantic Records), four songs were removed and replaced with four different songs from the tapes.

Over the next two decades, the recordings were licensed to several record companies, resulting in numerous releases with varying track selections. In 1979, Pickwick Records performed some additional audio filtering and equalisation of the songs on the Lingasong US version, and released it over two volumes as First Live Recordings; the set included the song “Hully Gully” that was mistakenly credited to The Beatles,but was actually performed by Cliff Bennett and the Rebel Rousers, another act on the Star-Club bill. In 1981, Audio Fidelity Enterprises released Historic Sessions in the UK, the first single package with all 30 Beatles tracks from the original Star-Club releases.[20] Several additional songs from the Star-Club tapes have appeared on Beatles bootleg records over the years.

In 1985, a bootlegger known as “Richard”, who had already found infamy by issuing several titles with controversial covers and content, issued his own bootleg version of the Star Club tapes without any of the editing found on the official releases, entitled The Beatles vs. the Third Reich—directly parodying The Beatles vs. the Four Seasons in both name and cover.
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Another alternate front+backcover

The release of the recordings on two CDs by industry giant Sony Music in 1991 sparked renewed legal attention by The Beatles (as represented by Paul McCartney, Harrison, Starr, and Yoko Ono). Sony also produced a version specifically for their Columbia House music club, but Sony withdrew the titles in 1992 as a lawsuit was progressing. Lingasong’s CD release of the original set prompted another lawsuit from The Beatles in 1996; the case was decided in 1998 in favour of The Beatles, who were granted ownership of the tapes and exclusive rights to their use. Harrison appeared in person to provide evidence in the case, and his testimony was cited as an important factor in the judge’s decision. Harrison characterised the claim that Lennon gave Taylor permission for the recording as “a load of rubbish”, and added: “One drunken person recording another bunch of drunks does not constitute business deals.”

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The album had limited commercial success, reaching a peak position of No. 111 during a seven-week run on the US Billboard 200 album chart. Assessments of the album often weigh the poor sound quality against the historic importance and insight provided into The Beatles’ early stage act. Rolling Stone reviewer John Swenson called the album “poorly recorded but fascinating” and commented that it showed The Beatles as “raw but extremely powerful.” Allmusic, commenting on a reissue, wrote: “The results were very low-fidelity, and despite The Beatles’ enormous success, it took Taylor fifteen years to find someone greedy and shameless enough to release them as a record”. Q Magazine described the recordings as having “certain historical interest” and remarked: “The show seems like a riot but the sound itself is terrible – like one hell of a great party going on next door.” George Harrison gave the assessment: “The Star-Club recording was the crummiest recording ever made in our name!” (by wikipedia)
Poster
Personnel:
George Harrison (guitar, vocals)
John Lennon (guitar, vocals, harmonica)
Paul McCartney (bass, vocals)
Ringo Starr (drums)
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Fred Fascher (Star-Club waiter) (vocals on 19.)
Horst Fascher (Star-Club Manager) (vocals on 20.)
LastNightInlet

Trackist:
01. Introduction/I Saw Her Standing There (Lennon/McCartney)/I’m Gonna Sit Right Down And Cry (Over You) (Thomas/Biggs) 5.18
02, Roll Over Beethoven (Berry) 2.14
03. Hippy Hippy Shake (Romero) 1.43
04. Sweet Little Sixteen (Berry) 2.46
05. Lend Me Your Comb (Kay Twomey/Wise/Weisman) 1.49
06. Your Feet’s Too Big (Benson/Fisher) 2.20
07. Where Have You Been (All My Life) (Mann/Weil) 1.45
08. Twist And Shout (Medley/Russell) 2.09
09. Mr. Moonlight (Johnson) 2.09
10. A Taste Of Honey (Scott/Marlow) 1.41
11. Bésame Mucho (Velázquez/Skylar) 2.02
12. Everybody’s Trying To Be My Baby (Perkins) 2.22
13. Kansas City/Hey Hey Hey Hey (Leiber/Stpller/Penniman) 2.12
14. Nothin’ Shakin’ (But The Leaves On The Trees) (Fontaine/Colacrai/Lampert/Gluck) 1.21
15. To Know Her Is to Love Her (Spector) 3.03
16. Little Queenie (Berry) 3.55
17. Falling in Love Again (Can’t Help It) (Hollander/Lerner) 1.59
18. Sheila (Roe) 1.57
19. Be-Bop-A-Lula (Vincent/Davis) 2.29
20. Hallelujah I Love Her So (Charles) 2.09
21. Ask Me Why (Lennon/McCartney) 2.26
22. Red Sails In The Sunset (Kennedy/Williams) 2.02
23. Matchbox (Perkins) 2.34
24. I’m Talking About You (Berry) 1.50
25. I Wish I Could Shimmy Like My Sister Kate (Piron/Smith/Goldsmith) 2.19
26. Long Tall Sally (Johnson/Blackwell/Penniman) 1.45
27. I Remember You (Mercer/Schertzinger) 1.55´
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28. Complete show (uncut) 1.05.041

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