The Hometowners – Does Shorttimers Blues (1966)

FrontCover1.JPGI guess, this is a very rare C & W, recorded by the US Band “The Hometowners”, but only released in Germany.

The band was led by Pat Patterson:

Pat Patterson, born 6 12 1935 in Lewisburg – West Virginia Record Labels: Jimmy Dale “Pat” Patterson, singer, guitarist and bassist, took some tours throughout the United States with his band, the “Hometowners USA”. In 1960 he came to West Germany and played for years in the various military clubs. Often presented the “Hometowners” the backing band for the visiting clubs in the big stars. (by

And here´s their first album, recorded for CBS Records. And it´s a really very fresh album, with great instrumentals and many very sentimental songs in the Country & Western style.

And here are the original lines notes from this album:


It´s not only a rarity … but an pretty good Country & Western album. And I will dedicade this entry to all this unknown heroes … many of them gave many people so much fun and a good time !


Ron Bridges (drums)
Larry Cordor (lead guitar)
Pat Patterson (bass, vocals)
Billy Poe (pedal steel-guitar)
Dan Starr (vocals, guitar)
Frank Weber (piano)


01. Shorttimers Blues (Hall) 2.18
02. Together Again (Owens) 2.08
03. Steel Guitar Rag (McAuliffe/Travis/Stone) 2.41
04. Lonesome Soldier (Patterson) 2.57
05. Have You Ever Been Lonely (DeRose/Brown/Cohes) 3.16
06. 5000 Miles From Home (Bare/Williams) 3.25
07. I Wanna Go Home (Dill/Tillis) 3.06
08. Fräulein (Williams) 2.31
09. White Silver Sands (Hart/Matthews) 2.28
10. Happy Journey (Nowa/Jay) 3.48
11. Aloha Oe (Lilikulani) 2.18
12. May The Good Lord Bless And Keep You (Meredith/Wilson) 3.36



Billboard August7, 1965.jpg

Billboard, August 7, 1965


That´s what I call a real “nice price”

The Byrds – Fifth Dimension (1966)

FrontCover1Fifth Dimension is the third album by the American folk rock band The Byrds and was released in July 1966 on Columbia Records. Most of the album was recorded following the February 1966 departure of the band’s principal songwriter Gene Clark. In an attempt to compensate for Clark’s absence, guitarists Jim McGuinn and David Crosby stepped into the breach and increased their songwriting output. In spite of this, the loss of Clark resulted in an uneven album that included a total of four cover versions and an instrumental. However, the album is notable for being the first by The Byrds not to include any songs written by Bob Dylan, whose material had previously been a mainstay of the band’s repertoire.[

The album peaked at #24 on the Billboard Top LPs chart and reached #27 on the UK Albums Chart. Two preceding singles, “Eight Miles High” and “5D (Fifth Dimension)”, were included on the album, with the former just missing the Top 10 of the Billboard singles chart. Additionally, a third single taken from the album, “Mr. Spaceman”, managed to reach the U.S. Top 40. Upon release, Fifth Dimension was widely regarded as the band’s most experimental album to date and is today considered influential in originating the musical genre of psychedelic rock. (by wikipedia)


Although the Byrds’ Fifth Dimension was wildly uneven, its high points were as innovative as any rock music being recorded in 1966. Immaculate folk-rock was still present in their superb arrangements of the traditional songs “Wild Mountain Thyme” and “John Riley.” For the originals, they devised some of the first and best psychedelic rock, often drawing from the influence of Indian raga in the guitar arrangements. “Eight Miles High,” with its astral lyrics, pumping bassline, and fractured guitar solo, was a Top 20 hit, and one of the greatest singles of the ’60s. The minor hit title track and the country-rock-tinged “Mr. Spaceman” are among their best songs; “I See You” has great 12-string psychedelic guitar solos; and “I Come and Stand at Every Door” is an unusual and moving update of a traditional rock tune, with new lyrics pleading for peace in the nuclear age. At the same time, the R&B instrumental “Captain Soul” was a throwaway, “Hey Joe” not nearly as good as the versions by the Leaves or Jimi Hendrix, and “What’s Happening?!?!” the earliest example of David Crosby’s disagreeably vapid hippie ethos. These weak spots keep Fifth Dimension from attaining truly classic status. (by Richie Unterberger)


Michael Clarke (drums)
David Crosby (guitar, vocals)
Chris Hillman (bass, vocals)
Jim McGuinn (guitar, vocals)
Gene Clark (vocals on 07., 12., 15. + 16.); tambourine on 15., harmonica on 09.)
Van Dyke Parks (organ on 01.)


01. 5D (Fifth Dimension) (McGuinn) 2.33
02. Wild Mountain Thyme (Traditional) 2.30
03. Mr. Spaceman (McGuinn) 2.09
04. I See You (McGuinn/Crosby) 2.38
05. What’s Happening?!?! (Crosby) 2.35
06. I Come And Stand At Every Door (Hikmet) 3.03
07. Eight Miles High (Clark/McGuinn/Crosby) 3.34
08. Hey Joe (Where You Gonna Go) (Roberts) 2.17
09. Captain Soul (McGuinn/Hillman/Clarke/Crosby) 2.53
10. John Riley (Traditional) 2.57
11. 2-4-2 Fox Trot (The Lear Jet Song) (McGuinn) 2.12
12. Why (Single version) (McGuinn/Crosby) 2.59
13. I Know My Rider (I Know You Rider) (Traditional) 2.43
14. Psychodrama City (Crosby) 3.23
15. Eight Miles High (alternate RCA version] (Clark/McGuinn/Crosby) 3.19
16. Why (alternate RCA version) (McGuinn/Crosby) 2.40
17. John Riley (instrumental) (Traditional) 16.53



Wilson Pickett – The Wicked Pickett (1966)

LPFrontCover1Wilson Pickett (March 18, 1941 – January 19, 2006) was an American singer and songwriter.

A major figure in the development of American soul music, Pickett recorded over 50 songs which made the US R&B charts, many of which crossed over to the Billboard Hot 100. Among his best-known hits are “In the Midnight Hour” (which he co-wrote), “Land of 1,000 Dances”, “Mustang Sally”, and “Funky Broadway”.[2]

Pickett was inducted into the Rock and Roll Hall of Fame in 1991, in recognition of his impact on songwriting and recording. (by wikipedia)

By late 1966 Wilson Pickett had seen plenty of success, having scored three #1 R&B hits. His next big release was a cover of “Mustang Sally”, by fellow singer Mack Rice (whom he had performed with in The Falcons). It was another hit, getting to #6 on the R&B charts and #23 on the pop charts.
His fourth LP was released on the back of the song’s success. It also featured covers of Solomon Burke’s “Everybody Needs Somebody To Love” (which was another Top 20 R&B hit), Gary U.S. Bonds’ “New Orleans”, Eddie Floyd’s “Knock On Wood”, Jerry Ragovoy’s “Time Is On My Side” and several Dan Penn songs. Like all his recordings of that year, it was recorded at Fame Studios in Alabama, and featured among other musicians guitarist Chips Moman, keyboard player Spooner Oldham and drummer Roger Hawkins. The result was another great album of raw and funky southern soul.


A fabulous album, done when Pickett was in the midst of his best period at Atlantic. It had everything — great songs, wonderful production and arrangements, and a hungry, galvanizing Wilson Pickett hollering, screaming, shouting, and soaring on anything he covered, from ballads to uptempo dance and midtempo wailers. It also has been deleted at present. (by Ron Wynn)


Alternate front + back cover from Japan

Ben Cauley (trumpet)
Charles Chalmers (saxophone)
Tommy Cogbill (bass, guitar)
Caple Gilbert (saxophone)
Roger Hawkins (drums)
Jimmy R. Johnson (guitar)
Eddie Logan (saxophone)
Junior Lowe (bass, guitar)
Gene Miller (trumpet)
Chips Moman (guitar)
Floyd Newman (saxophone)
Spooner Oldham (keyboards)
Wilson Pickett (vocals)


01. Mustang Sally (Rice) 3.10
02. New Orleans (Guida) 2.34
03. Sunny (Hebb) 3.13
04. Everybody Needs Somebody To Love (Berns/Wexler/Burke) 2.19
05. Ooh Poo Pah Doo (Hill) 2.36
06. She Ain’t Gonna Do Right (Penn/Oldham) 2.18
07. Knock On Wood (Floyd/Cropper) 2.42
08. Time Is On My Side (Jagger/Richards) 2.37
09. Up Tight Good Woman (Penn/Oldham) 2.33
10. You Left The Water Running (Penn/Hall/Franck) 2.31
11. Three Time Loser (Covay/Miller) 2.23
12. Nothing You Can Do (Womack) 2.13




Wilson Pickett (March 18, 1941 – January 19, 2006)

Tommy James & The Shondells – Hanky Panky (1966)

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

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

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


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


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


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


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



Manfred Mann- Pretty Flamingo (1966)

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

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

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

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


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

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


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

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


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

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

Listen !


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


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



Blues Project – Matrix ,S.F. September 1966 (2014)

FrontCover1.jpg“They play through the hugest amplifiers we’ve ever seen, and their music makes your ears ring for two days after. Oh, yes–they swing like mad and drive their audiences insane.” (Hit Parader Magazine)

For people who were around in the ’60s, The Blues Project (TBP) were one of the most exciting and innovative groups around. They combined folk, blues, rock, jazz, r&b, and even a smidgen of classical music styles into one new kind (at the time) of music that was unheard of before. Other American bands (like Butterfield’s) were beginning to look past musical borders and combining different types of music, but TBP was one of the first–and one of the most exciting–to consistently blend their music into something new. I can still recall listening to the band’s albums when they were released and thinking that this is something new and different–and very exciting. This set from The Matrix in 1966, (which has been issued before) is a good example of how exciting the band was live. The sound is very decent across this reissue–fairly clean and very immediate sounding. The booklet has a portion of an interview from Hit Parader Magazine from 1966, which helps give more of a period feel to those times, but doesn’t give newcomers any real background on the band’s career. Fans of course know about the very fine 2 CD set “Anthology” that came out a few yeas back, which is the best way to hear TBP in the studio and live, plus the booklet is very informative.

ConcertPoster.jpgBut if you’re a fan of this band (and if you like ’60s music you should definitely know about TBP) and haven’t heard this great set, you need to pry a few bucks out of your pocket and get this set sooner rather than later. At one time TBP was heralded as possibly the most exciting and innovative band in the country. And listening to this set it’s easy to hear why they deserved that title. Remember, 1966 was a time before many bands had become known for incorporating different genres of music into one sound, and then stretching out into long jams, both on their albums and on stage. Included are blues tunes like “Hoochie Coochie Man”, folk songs (“Love Will Endure”), jazz things (“Flute Thing”), r’n’r (“You Can’t Catch Me”), and several tunes that incorporate different musical genres. The band sounded best on tunes like “Steve’s Song”, “I Can’t Keep From Crying Sometimes”, “Wake Me Shake Me”, “Cheryl’s Going Home” (all included here), and other similar songs that gave the band a chance to show their musical influences.

With Danny Kalb you had one of the most exciting electric guitarists of the period. Steve Katz too was a fine guitar player, and his harmonica playing was very good for the times. Al Kooper’s jazzy, bluesy organ sound was new and exciting, and set the sound for other bands to follow. But one of the identifying sounds of TBP was Andy Kulberg’s (who also played bass) flute work. His jazzy sound was extremely innovative for the era. He also had a slight classical sound that blended well with his jazzier playing style. It’s not well known except by fans, but the band was heavily influenced by the music of John Coltrane (among others in both jazz and blues), and it shows in Kulberg’s musical flights, and when he and Kalb would get going together in long winding solos, the music was very advanced sounding. Holding everything together on drums was Roy Blumenfield (who gets a short solo on “Flute Thing”) that is of the times.


The only flaw (to some fans) is the lack of a good vocalist. By this set their original vocalist, Tommy Flanders (who released a pretty decent album, “The Moonstone”), had left. In some ways he was the ingredient that helped elevate the band to the top of the heap of then emerging bands. Kalb, Katz, and Kooper handled the vocals after he left, and you’ll hear why they never really wanted the job. Kalb handled the blues tunes, Katz the folk stuff, and Kooper the more rock arranged songs. But taken altogether the band was one of the best to ever come out of that whole ’60s era.


So if you already own “Anthology”, or the individual albums (the two studio and two live sets–one of which isn’t actually live), you need to add this exciting set to your shelf. Be aware that some of these tunes are (quite possibly) taken from one of the band’s live albums, but that’s a minor complaint. When taken as a live set this is one of the more exciting and “new” sounding live albums from a band that knew how to blend genres and stretch then out into awesome workouts. And it’s a good example of just how exciting music was becoming in the late ’60s.

It’s good to have this set easily available once again. It’s a perfect example of how new and exciting music was becoming in the ’60s. It’s too bad TBP fell apart when they did. But the music they left behind is some of the period’s best. (by Stuart Jefferson)


The original bootleg frontcover

Roy Blumenfeld (drums)
Danny Kalb (guitar)
Steve Katz (guitar)
Al Kooper (organ, vocals)
Andy Kulberg (bass, flute)


01. Louisiana Blues (Morganfield) 4.58
02. Steve’s Song (Katz) 4.17
03. I Can’t Keep From Crying Sometimes (Kooper) 6.10
04. Caress Me Baby (Reed) 7.58
05. Flute Thing (Kooper) 8.57
06, Wake Me Shake Me (Kooper)  8.46
07. The Way My Baby Walks (Kulberg) 4.07
08. Love Will Endure (Sky/Lynch) 2.49
09. Jelly Jelly Blues (Eckstein/Hines) 6.37
10. Cheryl’s Going Home (Lind) 3.08
11. You Can’t Catch Me (Berry) 5.54
12. Shake That Thing 5:34
13. Catch The Wind (Leitch) 4.43
14. You Can’t Judge A Book By Looking At The Cover (Dixon) 6.43
15. Flute Thing (Kooper) 9.40
16. Hoochie Coochie Man (Morganfield) 5:11
17. If You Don’t Come Back (unknown) 4.49


The Sharp Five – The Sidewinder (1966)

FrontCover1.jpgIn 1962, The Ventures made the first of what would be many tours of Japan and the Far East. While the shows attracted very little media attention, many had already been exposed to this new reverb-drenched instrumental music through imported records and overseas radio broadcasts, and some of these fans formed their own bands that would become the genesis for a new trend in music. Progenitors of this new sound were tossing out their acoustic guitars in favor of more powerful electric ones, which prompted the name “eleki”, taken from the Japanese for “electric guitar”.

When The Ventures returned back to Japan in 1965, a far different scene awaited them. By this time “eleki” was all the rage. Many established groups had by this time given up playing rockabilly, country, and even jazz to switch over to “eleki”, and high school kids across the nation were rushing out to buy electric guitars and jump on the “eleki” bandwagon, demand for these guitars far outstripping domestic supply for several years running.

In addition to the radio and concerts, there were at least four television programs dedicated exclusively to “eleki” music including Eleki Tournament, Exciting Show, Eleki Tournament Show, and New Eleki Sounds Jumping into the World, and the establishment had begun to cast a wary eye on the “disturbing” trend. This had happened in the past with the rockabilly boom of the 50s, and would happen again with the Group Sounds bands later in the 60s, but regardless of the pressure, “eleki” continued to flourish. (by


One of these eleki gtoups from Japan was The Sharp Five:

“Sharp Five were an instrumental eleki / psychedelic garage combo from japan. Wicked guitar licks and Ventures-esque surf wah-wah fuzzed-out and psyched-up with an oriental sonic garage back bass. Overall a slightly trippier flavour of eleki . This is generally regarded as their best albums…” (by musicofsixties.blogspot)


Osamu Furuya (organ)
Munetaka Inoue (drums)
Nobuhiro Mine (lead guitar)
Akiyama Tsutomu (bass)
Hidemasa Yamauchi (guitar),


01. Paperback Writer (Lennon/McCartney) 2.22
02. What How My Love (Delanoe/Becaud) 2.19
03. Batman Theme (Hefti) 2.53
04. Secret Agentman (Sloan/Barri) 2.32
05. Theme From The “Man From U.N.C.L.E.” (Goldsmith) 1.48
06. Theme From “Our Man Flint” (Goldsmith) 4.23
07. Blue Eyes (Hashimoto/Inoue) 2.58
08. The Cat (Schifrin) 2.46
09. The “In” Crowd (Page) 3.36
10. The Sidewinder (Morgan) 3.14
11. Comin’ Home Baby (Tucher) 2.56
12. In Un Fiore (Mogol/Donida) 2.39
13. Paint It Black (Jagger/Richards) 3.30