Power trio from San Francisco, modeled after Cream, Blue Cheer or The Jimi Hendrix Experience. Includes all their fantastic studio demos from 1968 plus raw and wild live tracks from 1969. Boogie (or The Boogie) was probably the first hard-blues/proto-metal group that emerged from the San Francisco scene. This power-trio was formed by Barry "The Bee" Bastian (Canned Heat, Lee Michaels...) on guitar/vocals, John Barrett (The Rhythm Dukes) on bass, and Fuzzy John Oxendine (Roky Erickson & The Aliens, Jerry Miller Band...) on drums.
Comrades of Moby Grape (who even let Boogie use their rehearsal space) and The Sons Of Champlin, they played at all the legendary venues (The Ark, Avalon, Fillmore...) sharing stage with bands like Buffalo Springfield, Quicksilver, Ace Of Cups, Flamin' Groovies or Country Joe & The Fish. Their explosive show at the Sky River Rock Festival (August 1968, the first outdoor multi-band rock festival held in the United States) to an audience of 150,000 people, is still remembered today.
In the midst of the uncertainty in the future of McKenna-Mendelson Mainline, band members McKenna and Nolasco put together this side project supergroup which also featured Scott “Professor Piano” Cushnie (Robbie Lane & The Disciples), Endersby (The Tripp, Maple Oak), and Smith (Ugly Ducklings). The band would record an entire album for Atlantic Records but the label only released on single before scrapping the full LP. Pacemaker Entertainment managed to salvage the record and finally issued it in 2008; Cushnie died in August 2018.
Tracks
1. How Many More Years (Chester Burnett) - 6:42
2. Good Old Days - 2:39
3. One Track Open - 4:26
4. Just My Way Of Loving You (Mike McKenna) - 4:14
The 21st Century Sound Movement where four youngsters from Missouri, consisting of two brothers Terry and Jack Viles, together with Bill O'Malley and Ray Bahr. In late 1968 (short after the recording of the album), guitarist Jack Viles left the band and was replaced by Jerry Lemberger.
In their sole album featuring mostly cover songs, has a youth ful exuberance and energy that’s how much they admired the music of their day.Their lack of keyboards was more than made up for with their fuzzed-outtakes on “House Of The Rising Sun” and “Light My Fire”. Their own musical limitations resulted in some disarmingly crude interpretations and clearly they set their mark in garage music history!
The album was recorded at Damon Studios in Kansas City, Missouri and the cover photo was taken at nearby Volker Fountain.
Tracks
1. Don't Let The Sun Catch You Crying (Fred Marsden, Gerry Marsden, Les Chadwick, Leslie Maguire) - 2:23
2. The House Of The Rising Sun (Traditional) - 4:09
Growing up in Canton, Connecticut was an ideal out in the country type of town. Like a lot of kids during that period, Isaw the Beatles on the Ed Sullivan show, heard all the girls screaming, and decided to make music my life! In seventh grade I had a trio with some friends, they were older than me. And then in 8th grade a quartet called the Hellions. And then in 10th grade Woody Andrews, Jym Cifaldi, and I started performing and writing songs together. We were all about the same age, very creative! We originally named the band, Strange Brew, after the song by Cream. But the principal of the high school didn't want the word 'brew', relating to beer, advertised on the walls of the high school for dances. So we changed the name Burnt Suite meant...hot music.
BJW stood for Billy, Jimmy, Woody. We made it up. We decided to record an album of the songs we had already written. Woody's father was a singer and director of plays and helped us produce The record. We actually got $1000 loan from the local bank in Canton to record the album!! Woody's father most likely co-signed for us. Both my father and Woody's father were always extremely supportive. We were still seniors in high school when we did that record. So it had to be 1970 or 1971 when we began recording. We actually took advance orders from other kids in high school to help finance the record.
We mostly performed locally at local events and dances. We sold the records our selves at the venues. We didn't really have somebody helping us to present our selves nationally. The band broke up because I decided I wanted to move to Massachusetts and be near the ocean and Cape Cod. I just needed to spread my wings, travel, and experience other parts of the country!
by William Florian
Tracks
1. Tonight (William Florian) - 3:49
2. Sally Salamander (Jym Cifaldi) - 2:22
3. Coming To An End (Jym Cifaldi) - 2:31
4. Finest Thing In Life (William Florian) - 2:58
5. Lightning (Jym Cifaldi) - 5:17
6. Enjoyment Of The Dawn (William Florian) - 2:59
7. Got Time (Jym Cifaldi, William Florian, Woody Andrews) - 3:35
8. Vindati Shanti (William Florian) - 6:29
9. It's What You Wanted (Jym Cifaldi, William Florian, Woody Andrews) - 4:06
Help were a Christian power trio from California that included future Doobie Brothers drummer Chet McCracken. They released an excellent self-titled album for Decca in 1970, the style of which was very melodic rural-rock. By the time of their second album, Second Coming, they had incorporated distortion, fuzz and wah-wah which made them a more incendiary hard rock outfit.
Opening track Do You Understand The Words is a stormer, spiced with acid guitar from Jack Merrill. Pounding drums, tight production, solid bass playing and strong vocal melodies throughout the album make for a pleasurable listen, although it’s the guitar playing of Merrill that makes Second Coming such a curio for hard-rock/proto-metal fans.
There’s the nine-minute epic Dear Lord, which can be something of a test for a Black Sabbath fan. he album’s second half, however, features an intense, heavy jam, showing off their accomplished talents. Oh My features a killer lead riff and is one of the heavier tracks, along with All Day and its infectious, funky wah-wah riff.
by Lee Dorrian
Tracks
1. Do You Understand The Words - 3:42
2. All Day - 2:47
3. Good Time Music - 3:32
4. Hold On Child - 4:03
5. T.C.A. - 6:50
6. Dear Lord - 9:22
7. Oh My - 4:42
8. Power - 6:12
All songs by Bob Rochan, Chet McCracken, Jack Merrill
Members of the Galveston Bay, Texas’ rock scene of the middle to late 1960’s, The Countdown 5 were part owners of the renowned Houston recording studio Andrus Productions, where producer Walter Andrus recorded many bands, including the 13th Floor Elevators and Fever Tree. While the group never got the big break to record an LP, they did manage to release several singles on a variety of labels, and while none hit big in the US, years later the group did learn that one of their singles had actually topped the charts in Germany for a short period of time. Finally, nearly fifty years after the band called it quits, their entire recorded legacy has been compiled on a two CD collection by Gear Fab Records, and quite a treat it is.
The band consisted of Mack Hayes who possessed a wide, versatile vocal range and was quite comfortable fronting the band, while the rhythm section of bassist/vocalist Tommy Murphy and drummer Tommy Williams was indeed formidable, always solidly holding down the band’s bottom end sound, Left handed John Balzer was one of the most talented, versatile and innovative guitarists of the day as well as being a fine singer in his own right and Steve Long’s keyboards gave the band their special style of 1960’s Texas rock, while he also contributed saxophone to the group’s sound. The Countdown 5’s recorded repertoire was mostly original material, with Hayes and Balzer being especially prolific writers, mixed with tasty covers of tunes written by the likes of The Isley Brothers and Johnny Otis.
Disc one of the set opens with a series of rhythm and blues numbers, beginning with the saxophone led “Bamboo Hut,” a Balzer composition taking its title from the Galveston Beach club that the band often played. This was the Countdown 5’s debut single backed by a faithful cover of The Isley Brothers r & b standard “Shout,” highlighted by the band’s call and response vocals. “Do What You Do Well” was the a-side of their second single, with Long’s keyboards and the group’s vocal harmonies on display. These songs also contained the group’s Texas rock foundation reminiscent of Buddy Holly and The Bobby Fuller Four. Without question one of the collection’s highlights is the hard rocking “Uncle Kirby (From Brazil)” with its heavily echoed vocals from Hayes reminiscent of The Beatles and Balzer’s fuzzed out guitar filling the air. The tune contains a ‘George of The Jungle” chant giving it a danceable quality.
Balzer also contributes a couple of hot solos to the track which unbeknownst to the band at the time found its way into European discos in the 1970’s and was a hit in London and Paris among other places. The versatility of The Countdown 5 is apparent throughout. Their cover of Johnny Otis’ “Willie And The Hand Jive” has a Bo Diddley feel while remaining rather loyal to the original. By contrast “We Are All One” features delicate, melodic vocal harmonies and harpsichord while “Shaka Shaka Na Na” is a dance number with its title becoming a repeated chant, yet Balzer’s fuzz guitar and a driving beat driven by Williams’ drums gives it lots of energy. Like “Uncle Kirby (From Brazil)” the song found its way into European discos and in fact topped the German Billboard charts for a period of time in 1968, a fact not discovered by the band until long after the fact. In “Money Man” the band exhibits Eastern influences, its gentle guitar intro emanating a raga feel.
The songs repeated chorus of “Don’t Try To Impress Me” is accentuated by Balzer’s lead guitar slashing in and out, and the tune features not only another hot solo by Balzer but also a tasty organ interlude by Long. Two tracks from disc one come from compilation appearances, namely, “Candy” and “Sweet Talk” both feature Balzer’s guitar, snarling lead on the former, and hot dashes of stinging fuzz on the power pop latter. Also included on disc one are stereo versions of four of the single sides, with the bouncing beat, organ led “Time To Spare” and the previously mentioned “Uncle Kirby (From Brazil)” and “Money Man” in particular standing out. The track is rounded out by the acetate of “Something On Her Mind” a mid tempo keyboard driven tune spotlighting the band’s vocal harmonies.
The second disc of the set features eighteen unreleased tracks recorded at Walter Andrus Studio and two radio spots for a New Year’s Eve show. The first track, the interestingly titled “Don’t Buy Meat From The Milkman” sounds like Crosby, Stills and Nash, well before their existence, with its gorgeous vocal harmonies, tasty guitar and delicate keyboards added for texture. “Big Big Man” is folk rock melody with banjo and keyboards complementing luscious vocals. “Unfair To Me” is a snappy rocker featuring numerous tempo changes and the group’s ever present vocal harmonies. “Good Woman” is a mid-tempo song with a fuzz intro by Balzer and Farfisa organ by Long leading up to a fuzz filled solo that plays the song out. “I Gotta Keep What I Take” shows more Eastern influence with its insistent guitar riff, another fine lead guitar line, more Farfisa and a restrained guitar solo. Long’s harpsichord, Balzer’s understated guitar and vocal harmonies give “So Pass Me By” a Beatlesque feel.
Just as quickly the band switches gears to the upbeat rocker “What Can You Do When You’re Down” with Balzer’s lead guitar pushing the beat as he throws the tempo into overdrive. The tune’s tempo slows, but only long enough for Balzer to fire it up, his lead guitar stabbing to and fro. The group’s mellower side shows through on “When I’m Gone Away” a ballad with handclaps and percussion taking charge. “Legs” is a real head shaker, and a nice dance tune, complete with an a capella section, yet filled with pumping Farfisa organ and fuzz guitar. “Sallazar” spotlights Balzer’s acoustic guitar and more Crosby, Stills and Nash style vocal harmonies. Despite its title “Stone Fire Garden” has a gentle acoustic intro which gives way to delicate vocal harmonies with horns added for accent. “One Way Traffic” brings Joe South to mind, as its vocals harmonies accompany pounding drums and driving guitar with a twist of organ added for good measure.
The disc closes with three gentle numbers, “These Few Things” with its delicate vocals and “I Gotta Leave You” with swirling organ, gentle rolling guitar and sensitive lead vocals, set the stage for the final song, a cover of the theme from the musical “Hair” another melodic tune with horns added for accentuation. The set closes with two radio spots for a New Year’s Eve gig by The Countdown 5, indicative of the group’s versatility and a most fitting end to the complete works of a sadly overlooked and underappreciated works of this talented, versatile Galveston Beach quintet.
“Complete Recordings 1965-1969” comes in a double slimline jewel case and is accompanied by an 8 page full color booklet containing a forward by Gear Fab owner Roger Maglio, an essay by Mack Hayes, wonderful photos of the band and artwork from the band’s singles released on the Toucan, Pic, Cinema, Hansa, Cobblestone, Polar, Saint Martin and Audiodisc labels, and other band memorabilia. This collection will be of interest to garage bands, especially the Texas variety, as well of fans of mid to late 1960’s rock in general and comes most highly recommended.
by Kevin Rathert
Tracks
Disc 1
1. Bamboo Hut (John Balzer) - 2:18
2. Shout (O'Kelly Isley, Ronald Isley, Rudolph Isley) - 3:45
3. Do What You Do Well (Ned Miller) - 2:00
4. My Own Style Of Living (John Balzer, Mack Hayes, Steve Long) - 1:43
Thomas Jefferson Kaye was a bit of a prodigy. Born in North Dakota, by the age of 18 he was already in New York working for the record label Scepter as an A&R man. In next to no time he was producing and writing material for their acts The Shirelles, Judy Clay, Maxine Brown, Chuck Jackson and The Kingsmen. But it was when he produced Loudon Wainwright III first release for Columbia in 1972 that his stock really rose. He then followed that up with work on the country funk fuelled Be What You Want to by Link Wray and it was around this time that Kaye moved to the sunnier climbs of California and started recording the self-titled solo album we're looking at here. He passed over the production duties to Gary Katz dedicating himself to the writing and performing of this collection of music.
The opening number Body Song creeps in unsteadily, like a drunk with his shoes in his hands, sneaking through the door before inevitably tumbling over and collapsing in a heap on the floor while the room spins round and round. The tempo lifts with Collection Box and the sound toughens up with a groove still lazy enough for the band to dig in deep and then completely out of nowhere the strings come in. Oh yeah! The Stonesy strut of The Door Is Still Open is up next, followed by some finger picking boogie on Learning How to Fly. Although I'll Be Leaving Her Tomorrow is in serious danger of veering too far into slushy country ballad territory it is saved by some excellent vocal harmonies courtesy of Donald Fagen. His Steely Dan cohort, Walter Becker, also appears on the album and his bass playing on the next track Hole in The Shoe Blues helps create the Dr John-ish spooky-funk groove that underpins the songs repeated refrain "I read in the paper this morning that you were dead". The tune Snake in The Grass sounds like it was recently exiled from Main Street for bad behaviour while the wistful air of Thanks For Nothing is complimented by the subtle interplay of Tom Salisbury's piano dancing round the steel guitar of Bobby Black.
But if you need just one reason to track this hidden gem down then it's the albums closer Hoe Bus. Driven along by some seriously salty guitar playing from Rick Derringer, the song is a full-on embodiment of the Whiskey Preachin philosophy, all wrapped up in a five-minute mind-meld of country, soul, blues, gospel, rock and funk. There's even a middle eight detour into something akin to High Heeled Sneakers and the final few bars of the track wouldn't even sound out of place on Sly Stone's There's a Riot Goin On. It's a real renaissance song from a real renaissance man who would then arguably go on to produce Gene Clark's finest recording, No Other, to be reviewed here sometime soon. But that's a whole other story.
Valdy, was born of Danish parents, in 1946 as Valdemar Horsdal in Ottawa. He began his career playing guitar in rock and country groups. In 1966 he made his home in British Columbia, where he farmed for several years near Sooke. Adopting a country-folk style, he performed in Victoria coffee houses and in 1972 came to national notice with his 'Rock and Roll Song' (from the LP Country Man, Haida HL-5101). Other popular singles for Haida and A & M followed 1973-6: his own songs 'A Good Song' and 'Simple Life,' and David Bradstreet's 'Renaissance (Let's Dance That Old Dance)'. Valdy has also recorded several songs by Bob Ruzicka, including 'Yes I Can (Anyway You Want Me).'
Although less prominent during the 1980s, Valdy remained a fixture on the Canadian folk circuit and also appeared for children and, on occasion, with symphony orchestras, maintaining a yearly itinerary of some 200 performances. He released three more LPs: Valdy (1980, Sloth SL-1001), Valdy's Kid's Record (1982, Sloth SL-1003), and Notes from Places (Duke Street DSR-31010, which included a version of Ron Hynes's 'Sonny's Dream,' a country hit in 1985). To his early concern as a songwriter for environmental and social causes, he added a decided political slant with such titles as 'Living Next to a Candy Store' (re the Canada-US Free Trade agreement, 1988), 'Ten Little White Men - The Ballad of Meech Lake' (1990), and 'Hey Mr. Michael Wilson' (re the Goods and Services Tax, 1990). His, however, has generally been a voice of concern and caution rather than anger, the passion of his message moderated by his sweet, relaxed tenor.
The pleasures of record collecting aren’t always obvious. Some albums avoid the shop-front glare to modestly wait in a gloomy rack, whispering anecdotes like Dostoevsky said happens in forgotten churchyards. An interesting cover might provoke a quick pull up, thinking we knew every name under the sun, then comes decision time guided by that sweet frisson of excitement or a heavy sigh. In the case of Help, if one can get over the less-than-prepossessing moniker, the surprise will be something like “How come I missed this nugget – after all it’s on Decca for Christ’s sake?” or words to that effect.
There are actually two Decca albums from one year to choose from (plus two lifted singles) with enigmatic sleeves: suggestions of leafy autumn side-streets coloured by summer’s recent adventures. This also fits the band’s brief life, featuring a snapshot of a great (and much-loved) musician who had one fleeting chance at the big time, snatched away as mysteriously as it was given. Jack Merrill (guitar, vocals), Ron ‘Bobby’ Rochan (bass, vocals) and Chet McCracken (drums, vocals) formed Help in 1969, in the clubs and studios of North California. It was the dawn of titanic trios such as Cream, Taste and Hendrix – but with three singers? This is just one surprise from a band with its own sound which soon led to a prestigious label deal.
It was a natural progression for drummer Chet, who started in Skip Battin’s Evergreen Blueshoes based in LA, the band of the legendary bassist who went on to fame with The Byrds and The Flying Burrito Brothers. Their period-typical ’69 LP on Amos, The Ballad Of Evergreen Blueshoes, was picked up by London for UK release – the frolicking nudies in the wood had a lot going for it at the time (and probably later). It’s a weird potpourri: hardy perennial Dylan, Leonard Cohen’s obscure Mrs Cohen’s Little Boy, The Incredible String Band’s The Hedgehog’s Song, a track based on Poe’s Raven, and a bizarre cover of Johnny B Goode for a single. No slavish copying like Corporal Gander’s Firedog Brigade, bless ’em, just quirky originality. Chet McCracken became a sought-after sessionman before Jack Merrill appeared on the scene.
Help’s eponymous debut first appeared in Germany in 1970, on MCA, then stateside as Decca DL-75257 with the barest of information for nine co-written originals, and a cover produced by Val Garay and Mark Hopkins MacNabb. The latter went into film music production, most notably with The Cure and The Mask, while Garay has a stellar career of Grammy Best Album Awards (Michael Jackson/Quincy Jones; Paul Simon’s Graceland; Tina Turner etc). He recalls working in ’71 with young musicians at the renowned Sound Factory on Hollywood’s Selma Avenue, and that was where Help cut their teeth too. It’s interesting that Decca issued the album soon after, as it coincided with one of their biggest declines after the Stones left them in 1970 (as did Genesis and Bowie). Help would not improve that situation.
For some the debut is a grower, for others it hits the mark straight away. The lyrics prove the band’s name is better chosen than first assumed. They don’t proselytise against selfishness, including a still-relevant obsession with money, but let’s see this another way. It’s refreshing, but never saccharine: it was a new decade after all. There’s Merrill’s tempo-shifting wah-wah and Rochan’s innovative, hyperactive bass drive, like Grand Funk Railroad when they lived up to their name. The track Runaway boasts maracas for a bouncy samba beat, then a Stax-feel solo through the foot pedals. Shared vocals, with a tasty bass-to-the-fore interlude adding a progressive touch, convinced the label to issue it as a debut single (Decca 32783), backed with Keep In Touch, which is so melodic one can bathe in it and imagine a blue lagoon. The album closes with a speedy version of Tennessee Waltz, the King/Stewart classic but more like Leonard Cohen’s rendition on his first live album. The debut is more Man or Blossom Toes than Brinsley Schwartz in terms of a British equivalent.
by Brian R Banks
Tracks
1. For Sale (Jack Merrill) - 4:34
2. Open Up The Door (Bob Rochan) - 2:32
3. I Tried Too Hard (Bob Rochan, Jack Merrill) - 1:45
4. Easy To Be Free (Rick Nelson) - 3:09
5. Run Away (Bob Rochan) - 6:51
6. Keep In Touch (Jack Merrill) - 4:00
7. Take A Look At Yourself (Bob Rochan, Jack Merrill, Chet McCracken) - 4:43
8. Commit Yourself (Bob Rochan, Jack Merrill, Chet McCracken) - 2:59
9. Help Me, Help You, Help Me (Bob Rochan, Jack Merrill) - 4:06
My Old Man is the first release of Bob Hughes, a great musician and singer/songwriter. It was recorded in only one session of 12 hours - two sessions for the The Kids Are Ok!, with the help of the guitarist Ron Turner - aka The Boy and Carmen Cinque - Chic who added extra vocals. What is very impressive, regarding the quality of the LP, a lost folk classic album? There is not much to say except it's beautiful, touching and poignant.
Released in 1975 as the second work of British singer-songwriter Tony Kelly, who released a total of three albums. What is similar to his debut work is that it shows high-quality musicality with the participation of many guest musicians other than the main character, and all songs are filled with his own compositions, clearly showing his high songwriting skills.
On the other hand, the difference between his two albums is that the American swamp atmosphere is stronger than the previous release, and a sophisticated AOR atmosphere is felt, depending on the song. It is a work that is not well-known compared to his debut, but it is an effort that can appeal to both British and American singer-songwriter music lovers.
Tracks
1. Can't Help Thinking (About The Good Times) - 3:59
2. Mr Medicine Man - 3:36
3. See What I Can Find - 3:30
4. Misunderstanding - 6:06
5. Count Me On Your Side - 3:42
6. Changing Your Style - 3:30
7. Coming Near Your Time - 3:42
8. I Never Got - 4:40
9. Find Your Own Way - 3:53
10.I Tried - Yes I Did - 3:00
Lyrics and Music by Tony Kelly
Personnel
*Tony Kelly - Lead Vocals, 6 and 12 string Acoustic, Electric Guitars
*Mick Cox - Electric Guitar
*Micky Moody - Electric Guitar
*Neil Hubbard - Electric Guitar
*Mick Weaver - Keyboards
*Nick Judd - Keyboards
*Bruce Rowland - Drums
*Terry Stannard - Drums
*Chrissie Stewart - Bass
*Marty Lewis - Bass
*Dave Brooks - Tenor Saxophone
*Jo Ann Kelly, Viola Wills, Frank Collins, Dyan Birch - Vocals
*Paddie McHugh and The Ever Present Chorus - Vocals
*Frankie Blackwell, Millie, Marty, Tony and the Two Nicks - Vocals
Who would have guessed that terrific undiscovered talent lurked behind the rising sun stained-glass windows of the green-fronted doors of Ealing? Who indeed! But Ealing was pretty much like any other middle class borough on the outskirts of swinging London, only a short tube journey from Soho, and its coffee cars and strip clubs. Ealing was your normal suburb: it had local schools, shops, clinics; thanks to its proximity to the seething nightlife of London's streets, it also had actors, musicians, magicians, and cabaret artists living on every avenue... in other words, a well-equipped roster of local talent.
Our cameras now speed very quickly to the left, like they used to do on the Adam West 1960's Batman television series, and we focus in on a local Ealing wedding. Plucky Charles Lamey had managed to secure the hand of Gloria Honeycroft—for a few years, at least. Lamey, a native of low-key, no-nonsense St. Albans, Herts, wanted a low-key, no-nonsense wedding. But Gloria was having none of it. Gone for her would be the days of swanning off to the 21 's coffee bar, frugging all night to the sounds of Johnny Grant. She wasn't yet a respectable married woman. She was going out in style.
Gloria wanted a big reception with a swinging discotheque, but seeing as how they hadn't yet been invented, she had to settle for her local fave-rave band. They were a bit like the Shadows, playing well-known beat instrumentals, and their guitarist was, well, dreamy. The name of the band was the Renegades, a name she always had thought was a bit quiffy; but never mind, her parents couldn't afford the Detours, so she made do. The Renegades busily played their dodgy instrumentals on make-shift gear, making sure that they each wore their Colonel Sanders bow-ties just right.
The MC at the wedding stood up on the stage and announced the band: Christopher Lovegrove on lead guitar (EaIing's very own Hank Marvin), Kenneth Girwan on drums, Philip Heatley on left-handed rhythm guitar and Barry Allchin on four-string acoustic bass guitar. All guitars were fed through the band's prize possession: a flange-fronted twin-speaker combo amplifier. Outside, it was getting dark. The bride and groom had shot off, and the Renegades had two numbers left to play before packing up for the night.
The cake had gone, and the toilets had flooded. A lonely 17-yearold Terrence Holder sauntered past the front door as the band murdered 'Route 66.' He plucked up enough courage to wander inside and grab a dekko at the band as they plodded through the death throes of their set. Holder was impressed—not sure why—and within the space of six minutes had decided that his current job as a shipping clerk was perhaps not such a good idea after all. "What you need is a singer/' Holder said for the ninth time to Barry Allchin, as he helped them nick the mains plug off the record player. "Okay, okay/' murmured Allchin, "come and see us next week." Thus it was that Terry Holder, christened Dave Russell by his father, and now calling himself Gerry Hart (a better name for getting all the chicks he had ever dreamed of, he reasoned), joined the Renegades as singer.
The Renegades became The Hartbeats. Enter shiny waistcoats and romantic songs. Our heroes continued to play many a wedding reception and school youth club dance in Ealing. They had a fan club (membership: 70), managed by Chris Lovegrove's dad. No one remembers how it was that the Hartbeats became the Eyes, but no doubt the bastion of bug-eyed Mods in Acton, Bentford, and Ealing influenced the change. Original drummer Girwan decided against playing the band's new R&B inspired set, and handed his sticks over to Brian Corcoran. Even with the new moniker, the band were still only playing the Ealing YMCA, Hamble town hall, and the odd wedding... it was time for a major rethink. What to do? The answer was obvious. Buy new loud gear, and some slick threads, including customized bright pink parkas with tire tracks across the backs, and some rugby shirts.
By now, Motown and Stax singles had been digested; most important of all, Terry Holder had written a fistful of vibrant, shockingly good numbers. Mods, disillusioned with the new songs of the Small Faces and the Who, were in search of a new sound. The Eyes lived on feedback and used a gong, and rapidly gained a reputation as the loudest and most anarchic band on the scene. Soon, the band's cult status spread, and they became stalwarts on the Rickey Tick circuit of underground London nightclubs. One particular gig was a Radio London night at Tiles' club, just off Oxford Street. The area was not a typical Mod haunt; Tiles was a swinging go-go club, surrounded by op-art mini-skirt boutiques, coffee bars, and new fangled discotheques. It was here at this club—"away from the numbers" as the Mods (and later the Jam) would say—that The Eves got their break.
A longtime pal Drought a man from Philips to see the band on their second booking at Tiles, and he signed them forthwith to the Mercury label, which was run by Philips. The Eyes' 1965 single 'When The Night Falls' b/w “I’m Rowed Out” (Mercury MF 881), produced by the king of compression Shel Talmy, should have made them into instant legends. Alan Freeman described it as "truly unforgettable"—a prophetic statement. Later writers, like Cliff Jones in Mojo magazine, have described the single in emphatic language: "(it) is as raw as an open wound, as sharp as a scalpel blade, and jammed full of sinewy whiplash lead guitar and pounding demonic 'jungle telegraph' drums." Even today, the adrenaline rush from both sides of the single is as intense as ever. What it sounded like back in 1965 is anybody's guess.
The sound was brash and raw. Apparently, ear piercing guitar feedback/distortion was too much for Sixties pop music fans (the term 'Freakbeat' was not invented until much later); but in retrospect, few bands have ever managed as solid a debut. A big hit with Fluff Freeman and a few tasteful Mods, the single was nonetheless ignored by the world at large. If you are looking for music that captures the essence of Mod, then look no further than 'When The Night Falls' and ‘I’m Rowed Out' for two knockout punches of pure teen angst expressed with a cocksure swagger. Despite the lack of sales success, the Eyes began supporting the Kinks, the Move, and the Action.
A second single, The Immediate Pleasure' b/w 'My Degeneration' (Mercury MF 897), was released in January 1966. The song 'My Degeneration', a tongue-in-cheek homage to (or an absolute subversive rip on) the Who is both funny and cool at the same time. It was a regular visitor to the turntables in the jukeboxes of Brighton, and became a Mod anthem. It helped the Eyes' cause that the lyrics of the song contained references to coffee (Mod slang for bonking). This second Eyes single (both A and B sides) did not please everyone in England. The Tea Board attempted to sue the band because they seemed to be taking liberties with the "Join the tea set" chorus of 'My Degeneration'. Meanwhile, the BBC objected to lyrics in The Immediate Pleasure', and deemed the song too offensive for airplay.
When the Eyes were invited to the BBC for a radio session, various men in suits appeared to watch the band in action. Seeing the Eyes play a song entitled 'I Can't Get No Resurrection' in front of a crucifix was much too much for the Light Programme folk—the BBC radio ban was now complete in every way. Not even a respectable (and respectful) cover of the Everly Brothers' 'Man With Money', released in May 1966 (Mercury MF 910), and backed by the superior band original 'You're Too Much', could undue the damage. Instead of becoming BBC regulars, the Eyes became big faves on pirate Radio London.
Good exposure, but hardly what a major label like Mercury had in mind for their acts. Still, the label had faith in the band, although they decided that it was time to go for a hit. The Eyes' faithful producer, Mike Hawker, had managed to get hold of the Beatles 'Good Day Sunshine' before the release of the "Revolver" LP. Although this third Eyes single, 'Good Day Sunshine' b/w 'Please Don't Cry7 (Mercury MF 934) received heavy airplay, and became the band's most successful single, this did not add up to very much in the world of record sales. The late 1966 release of The Arrival Of The Eyes EP', which contained both sides of their first two singles, sold so poorly that it has become one of the most collectable EPs of the Sixties.
In 1967, Phil Healey quit the Eyes, and was replaced by Steve Valentine. The band struggled on. Things were so bad that they accepted an insulting offer from Philips to record an exploitation album of Rolling Stones covers (and covers of songs covered by the Rolling Stones) for the budget Wing label for a meager £180. Recorded under the pseudonym the Pupils, the album was cranked out in one eight-hour session that included flashes of brilliance, some out of tune guitars, and the sound of drum sticks being hurled across the room. The album was released as "The Pupils Tribute To The Rolling Stones" (WingLP 1150) in 1966.
One contemporary article in the trades stated the obvious: "Eyes are closing... After sales of their record 'Good Day Sunshine' have shot up to 1 1,000 in just two weeks. The Eyes beat group announced this week they are disbanding. 'We feel we are stuck—we just can't get any further/ said a member of the Ealing group. 'We have made records, played all over the country, and what else can we do?' Singer Terry Nolder, of Ashgrove, South Ealing, is to form a new professional outfit called Tonic Water/ and the other four boys will either go back to their old jobs or become freelance guitarists.
During the three years the group has been in existence they have made five records—three of them written by the group—toured the country, and played at London clubs." The Eyes were hardly innovators. Their early slices of Mod cool borrowed heavily from the classic 1960s sound of the Who. Yet the finest cuts of the Eyes, with their blend of innovative guitar feedback/distortion and anthemic Mod songwriting, are - equal in stature to rock classics like 'I Can't Explain' and 'Substitute.' The Eyes' bursts of electronic mayhem were quite advanced for the time, though like the Who they had hooks and harmonies to counterpoint the madness.
Thanks to the timeless quality of their handful of great tracks, the band's legacy continues to grow as more and more people discover that long forgotten bands like the Eyes (or Les Fleur Des Lys, to name another) could match heavyweights like the Who, the Kinks and the Small Faces blow for blow, even if only for a fleeting three minutes of pure genius at a time.
Tracks
1. When the Night Falls (Terence Nolder) - 2:34
2. I'm Rowed Out (Terence Nolder, Barry Allchin) - 2:56
3. The Immediate Pleasure (Terence Nolder) - 2:56
4. My Degeneration (Terence Nolder, Scennedy) - 2:45
5. Man With Money (Don Everly, Phil Everly) - 2:43
6. You're Too Much (Terence Nolder) - 3:21
7. Good Day Sunshine (John Lennon, Paul McCartney) - 2:02
8. Please Don't Cry (Terence Nolder) - 2:35
9. Radio Londo - 0:28
10.Shakin' All Over (Johnny Kidd) - 3:27
11.When the Night Falls (Terence Nolder) - 2:57
12.I'm Rowed Out (Terence Nolder, Barry Allchin) - 3:18
Laden with sunshine soaked melodies, round-the-campfire guitars, troubadour vocals and hip hop beats, despite being recently sampled by the likes of hip hop giants MC Search and Dilated Peoples, Don Cooper has previously been resigned to obscurity, but no longer… Howlin’ At The Moon is first ever “best of” of this enigmatic singer/songwriter.
A must-have compilation taken from only 4 albums (’69-’73) he ever recorded. Side-men include: Terry Plumeri, Toots Thielman, Davis Sanborn, the genius of Richard Davis and one of the world’s most important drummers ever to do it, Bernard Purdie.
Compiled by, and featuring original artwork and sleevenotes from Andy Votel (Twisted Nerve) and Chris McBride (45 Kings), This compilation on Delay 68 is an enthralling collection of songs from this forgotten sensation.
Tracks
1. Rhinstone In The Rough (Ken Shephard) - 2:30
2. A Better Way - 1:39
3. Fat Love Birds (Michael Cochran) - 5:39
4. Bless The Children - 3:56
5. A New Gun - 2:05
6. Blueberry Pickin' (Don Cooper, Thomas Whitfield) - 4:16
Not many may remember Raw Material, an early British prog band who, along with similar groups like Cressida and Spring, helped shape the sound of the legends that were shortly to follow. Perhaps themselves inspired by such 60's stars The Doors as well as The Crazy World of Arthur Brown, Raw Material's songs were rooted in jazz and blues, yet a touch of classical mixed with rock firepower evolved into progressive rock as we now know it.
The first trhree songs of their eponymous debut album, from the London based quintet, includes three strong, long tracks: "Time And Illusion", which had a long instrumental break and vibraphone on leading role; "I'd Be Delighted", which featured strong vocals, good flute and sax work and "Fighting Cock", which builds in strength after a mellow beginning.
Their classic debut album was originally issued in October 1970, and receives its definitive reissue with this deluxe double-CD. As well as the full album, it features both sides of all three singles they'd made to date, as well as the whole of the Sounds Progressive LP they'd released under a pseudonym. The set includes a 16-page booklet offering detailed background notes (drawing on original interviews) and copious photos and promo materials, as well as a reproduction of the promo poster sent to a few UK record shops at the time.
Tracks
Disc 1
1. Time And Illusion (Vic Coppersmith) - 7:30
2. I'd Be Delighted (Ed Welch) - 5:06
3. Fighting Cock (Ed Welch) - 3:48
4. Pear On An Apple Tree (Ed Welch, Phil Sawyer) - 2:58
5. Future Recollections (Colin Catt, Phil Gunn) - 3:54
6. Traveller Man (Yash Klodzinski, Larry Page, Dave Green) - 6:13
7. Destruction Of America (Colin Catt, Herbie Flowers, Phil Gunn) - 2:20
Disc 2
1. Time And Illusion (Vic Coppersmith) - 3:11
2. Bobo's Party (Melanie Safka) - 3:13
3. Hi There Hallelujah (Ed Welch, Michael d'Albuquerque) - 2:46
4. Days Of The Fighting Cock (Ed Welch) - 3:09
5. Traveller Man (Part 1) (Yash Klodzinski, Larry Page, Dave Green) - 3:21
6. Traveller Man (Part 2) (Yash Klodzinski, Larry Page, Dave Green) - 2:59
7. Who Do You Love? (Ellas McDaniel) - 2:06
8. Living In The Past (Ian Anderson) - 3:26
9. Man Of The World (Peter Green) - 2:29
10.I'm A Man (Jimmy Miller, Steve Winwood) - 2:59
11.Spirit In The Sky (Norman Greenbaum) - 3:43
12.Let's Work Together (Wilbert Harrison) - 2:31
13.Second Generation Woman (Rick Grech) - 2:22
14.Sympathy (Graham Field, David Kaffinetti, Steve Gould, Mark Ashton) - 2:23
