Alison's Wonderland

The Sights and Sounds of Syd Barrett's Pink Floyd

2011-10-02T19:00:00.000-07:00

So much has been written about the mythical Roger Keith "Syd" Barrett, one of music's most beloved cult heroes. At the peak of his powers, Syd shone as bright as the sun, as band mate Roger Waters would sing of him years later, drawing in so many who were privileged to be in his orbit. Syd was in all ways the brightest star - witty, charming, gorgeous, talented and charismatic, and like all stars that burn that bright, he shone for only a precious short time. Whether it was because of the pressures of being a pop star, or the copious amounts of acid he imbibed (often unbeknownst to himself; he lived with some acid missionaries who constantly spiked his beverages without his knowledge), Syd said goodbye to the music business and retreated to his mother's home in Cambridge. Although his catalog is slim, it is a treasure we are fortunate to have. Syd has long inspired those of us who feel we are outsiders - anyone who feels they could teeter on that abyss,unafraid to peer into its depths, but thankful something keeps us from falling. His solo works reveal such pain and darkness, yet there is much love and sweetness to be found as well. His was a unique poetic voice, no posturing or pretentiousness to be found.

Those wishing to know Syd's story, I recommend watching the documentary clips I've posted here - the VH-1 Legends special (the US version of the BBC's The Pink Floyd and Syd Barrett Story), as well as Which One's Pink? and others. I also recommend you immediately get your hands on The Piper at the Gates of Dawn, A Saucerful of Secrets (for the chilling "Jugband Blues," especially), The Madcap Laughs, Barrett, and Opel, a collection of outtakes. For those wanting to dip their toes in before diving in completely, the beautifully compiled An Introduction To Syd Barrett (lovingly done by David Gilmour, the "One Who Took His Place," and the one who admired him prior to that. It must be noted that songs are remixed, and Gilmour added bass to some songs). Several books have been written about his life and recording career, the most consistently praised ones being A Very Irregular Head by Rob Chapman and Random Precision: Recording the Music of Syd Barrett 1965 - 1974 by David Parker.

This past week saw the "Why Pink Floyd?" promotion begin in earnest as the band promoted their remastered back catalog of Discovery, Experience and Immersion editions. One can only hope that Immersion editions of The Piper at the Gates of Dawn and A Saucerful of Secrets will be released, hopefully containing the hitherto commercially unreleased "Vegetable Man" and "Scream Thy Last Scream," as well as concerts and BBC performances. It would be a Syd fan's dream come true.

Syd remains an unforgotten hero to those of us whose lives he touched with his wonderful words and music. Maybe he is one who keeps us from falling into that abyss. May he rest in peace...

Psychedelic Freakout!

2011-09-18T17:33:00.000-07:00

Please listen to the colours...

We are truly entering the Wonderland of British music at this moment. Although I love many genres of music, I believe that UK psych just might top my list of favorites. Here is an excellent introduction into this gorgeous land of tangerines, eiderdowns, gnomes, gladiolas, frozen dogs, fairycakes and lemonade...

The psychedelic experience in the UK differed a bit from its US counterpart. Whereas US psych music often provided radical political platforms for the counterculture (such as reaction to the war in Vietnam, civil rights, etc.), UK psych tended to take the listener on a journey back to childhood to again experience a simpler time, or as a way to tell wonderful stories about a variety of interesting characters. Some bands might take a dadaist/surrealist approach to the absurdity of life, while others emphasized toyland and tea with aunties. It is a delightfully rich form of erudite, literate escapism. (That isn't to say that the British Underground was entirely apolitical, far from it.)

Please enjoy this wonderful article by psych expert David Welles as he writes about his favorite UK psych albums. This article appeared in a 2003 issue of the UK magazine Record Collector. I agree with his marvelous choices; Welles also runs his own record label that specializes in re-issuing long-lost psych classics. If you haven't delved deeply into this genre, hopefully this blog entry will inspire you do go further into Alison's Wonderland....

Coming soon - an in depth piece on Roger Keith "Syd" Barrett...

Manchester's Mindbenders

2011-06-01T20:51:00.000-07:00

Once Merseybeat exploded on the scene, record label executives scoured England in hopes of discovering "the next Beatles" for their own labels. Since Manchester was quite close to Liverpool, it was naturally one of the first cities mined for talent. Vocalist Wayne Fontana (born Glyn Ellis, he took his stage name from Elvis' drummer D. J. Fontana) secured a gig at Manchester's Oasis club where he would be auditioning for a producer from Fontana records, Jack Baverstock. In what seemed to be a precursor for disaster, only Bob Lang, the bassist for Wayne's band, showed up for the gig. Wayne was able to draft guitarist Eric Stewart and drummer Rick Rothwell at the last minute and continued with the performance. Jack Baverstock was actually impressed by the band and signed them to Fontana records in early 1963.

Wayne named his group The Mindbenders after a B-movie horror flick being shown in their local cinema. After several minor singles that merely shaved the bottom of the hit parade, their fifth single, a version of the Curtis Mayfield song, "Um Um Um Um Um Um," reached number 5 in the UK charts. In the United States, it was their 1965 single, "Game of Love" that skyrocketed to the top of the charts. Unfortunately, their subsequent choices of singles did not impress as this one had, with each subsequent release peaking lower and lower in both UK and US charts. Blaming each other for the lack of success, Wayne Fontana acrimoniously parted ways with the Mindbenders (read article above) and began a solo career that focused more on ballads and caberet-type songs.

The other three Mindbenders continued to record together, with guitarist Eric Stewart taking over the lead vocals on most songs. In 1966, the Mindbenders reached number 2 on both sides of the Atlantic with a song penned by two teenage girls, Toni Wine and Carole Bayer Sager, which cleverly used a new slang word just beginning to be used by young people, "groovy." The song, "A Groovy Kind of Love," brought huge success and promise to the Mindbenders, but they were unable to continue this success. It is quite ironic that Wayne's backing band he threw together so many years before turned out to have more chart success than he did during his solo career. It is also good to note that he and The Mindbenders mended fences long ago.

Eric Stewart went on to achieve much success in the 1970s as a member of 10cc, along with Graham Gouldman, Kevin Godley and Lol Creme.

The Mindbenders, with or without Wayne, recorded some solid records in the '60s that deserve a good listen. With Wayne, their version of "Where Have You Been?" is top-notch, as well as their records "Stop, Look and Listen," and "She Needs Love," plus many others. Without Wayne, The Mindbenders recorded some killer freakbeat with the song "The Morning After," and their final album, With Woman In Mind, bears touches of both freakbeat and popsike.

(References, Nigel Smithers article on Wayne Fontana and the Mindbenders, which appeared in the January 1984 issue of Record Collector, plus other articles on the band.)

Jet Harris - Early English Rocker

2011-03-26T19:00:00.000-07:00

British rock'n'roll owes a great debt to the Shadows. Beginning as the backing group for superstar Cliff Richard in 1958, the Shadows dominated British popular music prior to the advent of the Beatles and the Mersey Beat scene. Hank B. Marvin was one of the first British guitar heroes. In fact, John Lennon was noted as saying that prior to Cliff Richard and the Shadows, there was no British music worth hearing.

Just last week, founding member and bassist Jet Harris MBE, passed away after a lengthy battle with throat cancer. After he left the Shadows in 1962, Harris went on to record successful singles with Tony Meehan, including the hit "Diamonds," which was number one on the UK charts for six weeks, posted above. This song also features Jimmy Page's first session work, and later, Harris and Meehan hired John Paul Jones to accompany their act on the road; therefore, Jet had a hand in jump-starting the careers of Led Zeppelin!

Jet will be remembered as one of the first musicians to use the bass guitar as a lead instrument, (remember, this is prior to John Entwistle!) and also one of the first British musicians to use the Fender Precision bass.

The scans above include photos of the Shadows after Harris' departure, and other photos of Jet with and without Tony Meehan. These photos and articles all appeared in various early issues of Beat Monthly. Rest in Peace, Jet.

Touched by the Hand of Mayhem

2011-01-10T12:37:00.000-08:00

As the beat phenomenon gave way to the experimental nature of psychedelia, an exciting hybrid emerged in Britain, then on through Europe and then spread to Australia between 1966 - 1967. During those months, the bands playing this type of music - frantic, outrageous r&b beat music "touched by the hand of mayhem" - created a new genre of rock'n'roll without even knowing it. In 1984, Bam-Caruso label head and legend in his own right, Phil Smee, coined the term "freakbeat" to define this type of music. That year, Smee released the first Rubble LP (an essential compilation series) entitled The Psychedelic Snarl, which featured the term freakbeat on the cover. A later volume in the Rubble series was entitled Freakbeat Fantoms, and boasted several essential cuts.

Over the years, debates have raged among collectors as to what songs are really freakbeat, and which are not. (Smee tends to leave out the pop art groups, like the Eyes and the Creation.) However, some groups stand out among the true progenitors of the freakbeat sound. I've included some photos of bands and some YouTube clips to illustrate some of the top bands and songs from the era. It remains one of my favorite genres of music, alongside traditional beat, garage, psychedelia, etc. Hey, it's all rock'n'roll...

In Spring of 2001, Phil Smee wrote a special article on freakbeat for Mojo, in which he chose his top 50 tracks within the genre. The top 30 are as follows:

1. Wimple Winch - Save My Soul (at the time, an original single was worth 250 pounds) Truly a masterpiece. A YouTube clip is included for your listening pleasure. This deserves the top spot.

2. The Craig - I Must Be Mad (Another Fontana masterpiece)

3. Adjeef the Poet - Iekk! I'm a Freak (Dutch DJ Ad Visser under a pseudonym; can be found on Rubble 13: Freakbeat Fantoms)

4. Southern Sound - I Don't Wanna Go (also on Rubble 13)

5. Birds Birds - Daddy Daddy (Ronnie Woods' excellent group; all their singles - three under the name The Birds - are phenomenal!)

6. The Masters Apprentices - Undecided (The Aussie Greats!)

7. Pee White & The Magic Strangers - Balla Balla (from The Hauge, Holland)

8. The Attack - Anymore Than I Do (Blistering, killer track from an all-around fab group.)

9. The Answers - It's Just A Fear (Features legendary - among those in the know - guitarist Tony Hill, later of the Misunderstood and High Tide.)

10. The Monks - Oh, How to Do Now (I think Smee says it best: Ex-US servicemen based in Germany with shaved heads and amplified banjo." Yes!)

11. The Syndicats - Crawdaddy Simone (Features pre-Yes Steve Howe, a great bluesy track with a touch of freakbeat)

12. The Motions - Everything That's Mine (Let me tell you, the Dutch had it in spades! The thriving beat scene there, from The Outsiders, Q65, the Zipps, Groep 1850, and the Motions, etc. Robbie Van Leeuwen went on to form Shocking Blue.)

13. Shel Naylor - One Fine Day
14. The Who - The Ox (the great instrumental from their first album)
15. Wimple Winch - Rumble on Mersey Square South
16. Miller - Baby I've Got News for You (Backed by members of the Herd, which included Peter Frampton; a standout track on the Perfumed Garden series of comps)
17. The Buzz - You're Holding Me Down (from Edinburgh; produced by Joe Meek!)
18. Q65 - From Aove (Can't say enough about Q65! Another group from The Hague.)
19. Paul & Ritchie & The Cryin' Shames - (Lead singer went on to join Gary Walker & The Rain, which also featured a pre-Badfinger Joey Molland)
20. The Troggs - Lost Girl
21. Jimmy Page & The Talismen (Yes, that Jimmy Page. His session work, contributions to the Yardbirds, and work on acetates like this one trump Led Zeppelin for me.)
22. Majority One - Get Back Home
23. The Fleur De Lys - Mud in Your Eye (So many different line ups of this band! It's so confusing, but to me, each line up produced excellent music.)
24. Thor's Hammer - I Don't Care (Icelandic group recorded this snot nosed punk track in England.)
25. Fire - Father's Name Was Dad (If the Beatles did freakbeat, maybe? They did have a publishing deal with Apple...One of my favorites from this list. McCartney offered them advice on changing the song, so it was released twice, but neither sold well. Dave Lambert went on to the Strawbs later.)
26. The Masters Apprentices - Buried and Dead (another smoking track from the Aussie legends)
27. The Score - Please Please Me (A totally demented Beatles cover!)
28. Keith Sheilds - Hey Gyp (Dig the Slowness) (Cover of Donovan's song)
29. Lee Kings - On My Way (Swedish group)
30. The Loot - Try to Keep It a Secret (This group ended up as Hookfoot and backed Elton John on his early recordings!)

Other top groups within this genre: The Eyes, The Creation, the Red Squares, the Syn, the Game, and the Fairies, etc. I've also included scans of the top 200 British freakbeat and R&B singles compiled by Dr. Andrew Few and Andy Davis for Record Collector, March 1993.

Vintage Stones

2010-11-27T20:33:00.000-08:00

In honor of the publication of Keith Richards' fascinating memoirs entitled Life, I present some scans of vintage Stones articles from U.S. publications...enjoy the trip, and pick up Keef's book as soon as possible. It reads like one is having a pint at the local pub with him as he recounts wonderful anecdotes with wit and charm. Richards' comments regarding Mick Jagger are not without controversy, however, as you've probably heard by now...

The Searchers' Saga...

2010-09-25T12:13:00.000-07:00

The Searchers have always deserved more credit for their contributions to rock'n'roll; too often they have been viewed as a Merseyside band merely riding on the coattails of Fab Four. Their chiming, jangling guitar sound and their perfect harmonies influenced numerous bands who emerged after them, including the legendary Byrds. But what went wrong? What contributed to them becoming mere footnotes in pop music history?

The first setback occurred when vocalist/bassist Tony Jackson left the band in 1964 due to personality clashes with drummer and de facto leader, Chris Curtis. Jackson stated he would have stayed in a band with the other guys, but that he had never liked Curtis; Curtis claims Jackson threatened to blackmail him by revealing personal information if Jackson didn't get to sing lead on "Needles and Pins." (He didn't; the vocal duties went to lead guitarist Mike Pender, or as he was originally known, Pendergast.) Later, in 1966, Curtis suffered a nervous breakdown and left the band for a gig as a producer for Pye records. Soon thereafter, he left the music industry entirely (but not before being the impetus in creating the band that eventually became Deep Purple) and worked as a public servant and Liverpool, just as his friend Pete Best had done earlier after abandoning a career in music.

John McNally and Frank Allen, Jackson's replacement, continue to perform under the Searchers' name. Their official site can be accessed here: http://www.the-searchers.co.uk/
Sadly, both Jackson and Curtis are now deceased.

Above are scans from various issues of Beat Monthly magazine, including one that has been autographed by Tony Jackson. Janet Lee, the original owner of my set of these mags, met some of the bands featured and obtained their autographs.

Pretty Things Scrapbook

2010-09-04T11:30:00.000-07:00

Unbowed and Unrepentant - Long Live the Pretty Things! One of the greatest rock'n'roll groups of all time - scarier, dirtier and more authentic than the Stones themselves (in my opinion), the Pretty Things could tackle any genre and excel in its execution. From blues to R&B to psych to prog to arena rock to power pop, they made the journey and continue to create their unique brand of Pretty Things Music, for which we fans are most grateful. Their last album, Balboa Island, was one of their strongest efforts to date. At this time, I am eagerly awaiting the deluxe edition of Parachute, their 1971 album, which was given the title of best album of the year by Rolling Stone magazine. To me, Parachute ranks at the very top along side S. F. Sorrow as the best PT albums. A dream of mine is to be able to meet Phil May and Wally Waller, my two favorite members, and tell them how much their music has meant to me.

Here are some scans from my Pretty Things collection, generously given to me by my friend, Jeff. "Come and See Me"is one of my favorite early Pretties tracks - sorry about the poor quality of the clip, but the music and humor certainly make it worth it!

Upcoming bands to be featured here include Wayne Fontana and the Mindbenders, Brian Poole and the Tremeloes, the Nashville Teens, more Gerry and the Pacemakers, more Searchers, more Yardbirds...so stay tuned. Sorry for the lack of updates recently - real life has interfered with my hobbies tremendously of late...

This Is Mersey Beat!

2010-07-15T13:55:00.000-07:00

Presented for your reading pleasure - a classic article on Mersey Beat from one of the greatest magazines ever, Record Collector. This segment is part of a larger 20 page section on the Mersey Beat phenomenon of the Sixties. Liverpool produced some amazing bands and songwriters, most of whom never reached the level of fame and respect that the Beatles attained. I am also sharing a YouTube posting (by Sids60sSounds) of The Big Three's first single. The Big Three were considered the best live band in Liverpool with a wild, raucous sound pre-dating the power trios of the Jimi Hendrix Experience and Cream!

Enjoy this journey down the Cavern!

You Don't Need an Invitation - Step Inside!

2010-06-10T20:37:00.000-07:00

Often considered the British band that could only follow the Beatles and the Stones in terms of success, Manchester's Hollies began when childhood friends Graham Nash and Allan Clarke discovered how well their voices blended on their first day of school in 1947. When the two discovered rock'n'roll and became swept up in the skiffle craze that gripped England in the mid '50s, Nash and Clarke performed as a duo in Manchester's clubs under a variety of names. After the addition of Eric Haydock on bass, Vic Steele on lead guitar and Don Rathbone on drums, the band evolved from the Deltas into the Hollies, so named for the Christmas decoration rather than rock icon Buddy Holly. The band's fame began to grow, leading them to the coveted spot at the Cavern that was once held by the Beatles. In January 1963, they were invited to audition for the Parlophone label.

Steele dropped out of the band because he did not want to go professional, which turned out to be the best thing that could have happened to The Hollies. Tony Hicks, an amazingly skilled lead guitarist, was soon asked to join. When Bobby Elliot joined as the new drummer, the classic Hollies line-up was in place. After a slow start, the Hollies began having hit after hit in their homeland, yet failed to replicate that success in the U.S., due in part to their record label's failures. Yet another line up change led to Haydock being replaced by Bernie Calvert on bass. Despite the set back, the Hollies finally found their American breakthrough hit single - "Bus Stop," written by Graham Gouldman (who also wrote "Heartful of Soul," "For Your Love," and "Evil Hearted You"for the Yardbirds, plus many other hits). Thus began their string of hits in the U.S.: "Stop Stop Stop," "Pay You Back with Interest," "On a Carousel," and "Carrie-Anne." Even when Nash left the Hollies at the end of 1968 to form Crosby, Stills and Nash, the Hollies continued to have great success with singles like "He Ain't Heavy, He's My Brother" and "Long Cool Woman."

I may be in the minority, but my favorite Hollies excursions are their lovely ventures into purely British psychedelia, which some might find a bit "twee" (I love twee myself). I adore Evolution, particularly in mono, and Butterfly, which is probably their most realized and cohesive psychedelic album.

I've included a live performance of one of my favorites of theirs, one that isn't heard as often as it should be, "I Can't Let Go"...enjoy!

Calling All You Ravers!

2010-04-09T07:25:00.000-07:00

British Invasion - Small Faces from Naxos of America on Vimeo.

The above is a trailer for the Small Faces documentary, All or Nothing, which is a part of the brilliant new set that also includes docs on Dusty, Herman's Hermits, and Gerry & The Pacemakers.

This excellent review by the well-respected Gene Sculatti was passed on to me by Mr. Bob Merlis:

http://www.sonicboomers.com/shelflife/british-invasion

The British Invasion

Gerry & the Pacemakers, Dusty Springfield, The Small Faces and Herman’s Hermits

Reelin’ In The Years/Voyage Digital Media

By Gene Sculatti

Well, as F. Zappa put it at one time or another, this is a tasty little sucker. Available as four individual volumes (on Dusty Springfield, Gerry & the Pacemakers, the Small Faces and Herman’s Hermits) or as a deluxe box set (which adds a fifth, two-and-a-half-hour disc), it’s a welcome addition to the documentation of mid-’60s music. If its scope is limited--let’s hope for additional volumes--this set is a giant leap forward from the usual fare, which has tended to be thin on footage and way too long on a short list of talking heads. Indeed, British Invasion’s chief assets are the abundance and quality of its visuals (all full performances, from vintage TV appearances) and the insights and brevity of its commentaries (from artists and associates; no critics).

Watching these, it’s hard to dispel the notion that the Invasion’s first wave was its freshest splash, that after the Summer of Love the waters got overly roiled. Supporting evidence: the Pacemakers set, It’s Gonna Be All Right 1963-1965 and the Hermits’ Listen People 1964-1969. If “Ferry ‘Cross the Mersey” still sounds drippy, Gerry’s pop-rockers (most of the 17 clips) are alive and kicks-filled: “I Like It,” “Shot of Rhythm and Blues,” “I’m the One,” “Pretend.” As for the Hermits, admittedly the stories about producer Mickie Most and how the band came to cut stuff like “I’m Henry VIII, I Am” are as interesting as some of the tracks themselves, but the Shindig, Ed Sullivan Show and other-sourced performances of “I’m Into Something Good,” “Wonderful World,” “Dandy,” “There’s a Kind of a Hush,” etc. convey perfectly the innocent joy of the era. In footage from a 1964 Cavern Club performance of “Fortune Teller,” Peter Noone looks like, and dances about as well as, Jagger did at the same stage.

The Small Faces obviously rate as a more important outfit than Herman’s or Gerry’s. For Steve Marriott’s singing and guitarring alone, All or Nothing 1965-1968 is essential. This is also the most music-dense volume, packing 27 performances into its set list. “Watcha Gonna Do About It,” “Sha La La La La La Lee” and the impossibly great “All or Nothing” burn, as do “Here Come the Nice” and “Itchycoo Park,” but the nine primitively psychedelic clips from 1968’s Ogden’s Nut Gone Flake tend to run on. Still, such footage retains an edge, a real go-for-broke adventurousness that was the later 60s’ defining quality, and it’s something the merely pop-leaning Pacemakers and Hermits clips conspicuously lack.

No such distinctions mar Dusty Springfield’s Once Upon a Time 1964-1969. She’s on target throughout the period, singing superbly and, just as crucial, selecting her material with unerring instincts. Here the former Mary O’Brien is seen in almost two dozen TV performances (a great “All Cried out” from a ’66 Sullivan show, a ’65 “I Just Don’t Know What to Do with Myself”) and amply analyzed--by herself in a 1978 interview and in a recent sit-down with Burt Bacharach. Once Upon a Time may be The British Invasion’s most consistently enjoyable view. Dusty also occupies the lion’s share of the box set’s bonus disc: 10 more TV performances (including “I Only Want to Be with You” and “24 Hours from Tulsa”) and additional Australian interview footage. The Hermits pop in for seven more performances (all from 1967), and there are 90 minutes of interviews with Noone, Marsden, Bacharach and various Faces (including the last filmed Q&A with Ronnie Lane). Two thumbs up. Now, how about volumes on the rest of the armada--Kinks, Zombies, Animals, Hollies and let’s not leave out the Pretty Things--for starters?

— 03/05/2010

Stay tuned for more information about this set, which is also featured in the latest Goldmine and the next Ugly Things!

The scans above are from the August 1966 issue of Rave, the '60s music and fashion magazine.

A New Entry Soon...

2010-03-27T19:18:00.000-07:00

Greetings, Fellow Brit Invasion Fans - Sorry for the lack of updates recently...far too busy for the moment. I will update very soon with a special entry on the amazing new British Invasion DVD set featuring Small Faces, Dusty Springfield, Herman's Hermits, and Gerry and the Pacemakers! Stay tuned...

Pieces from a Cherished Collection

2010-02-18T16:43:00.000-08:00

For my birthday, my friend (and patron!) Jeff sent me a parcel containing original copies of the first 20 issues of BEAT (later BEAT Instrumental) Monthly. These issues were lovingly owned by a young girl from Sussex who managed to snag autographs from Sounds Incorporated, Tony Jackson (of the Searchers) and a couple of members of the Dakotas. I imagine she saw all the bands as they came through her town. She had an obvious affection for the Rolling Stones, long before their chart success, evidenced by the arrow-pierced hearts in red. I hope that wherever she is, there is a way for her to know that her cherished collection is in good hands.

These scans were all taken from 1963 and 1964 issues of BEAT Monthly, and (obviously) all focus on the Rolling Stones. They don't seem so scary, do they?

Uh-Huh, It Was the Manfreds!

2010-02-07T02:16:00.000-08:00

This week in Wonderland we're paying tribute to one of the finest R&B/jazz bands of the era, Manfred Mann. Known primarily in the States for their hit single "Do Wah Diddy Diddy," the Manfreds' repertoire spanned various genres of music from blues to pop. Their story is divided into distinct eras, each with their own unique contributions to the band's history.

Manfred Mann (born Manfred Lubowitz) was born in Johannesburg, South Africa to wealthy parents. At the age of six, he became intrigued by the family piano and expressed a desire to learn to play. He spent up to five hours a day intensely practicing. Manfred's talent led him to study classical music at Johannesburg Witwatersrand University, while simultaneously receiving lessons from American jazz pianist John Mehegan. Manfred despised the racism he witnessed living in Apartheid South Africa, so in 1961, he left home and boarded a boat for England, where he taught music theory and played jazz piano in local London clubs in an attempt to gain permanent residence.

By 1962, Mann had met drummer/vibes player Mike Hugg in Butlins while playing the summer club season, which led to the formation of the Mann-Hugg Blues Brothers. Tom McGuinness soon joined on bass, followed by Mike Vickers on horns and guitar. It wasn't until vocalist Paul Jones joined that the band's singles began to take off. Producer John Burgess insisted on a name change for the group, eventually convincing them that their best choice would be "Manfred Mann," much to the entire band's chagrin (Mann included).

In Feb. of 1964, Manfred Mann released "5-4-3-2-1," (the song in the video above) which became a massive hit in England, and served as the theme song for the pop show "Ready Steady Go!" (This song is sort of their take on "The Charge of the Light Brigade.") Other hit singles followed, including "Hubble Bubble," "Do Wah Diddy Diddy," "Sha La La," and "Come Tomorrow." By 1965, McGuinness was playing lead guitar, and former Graham Bond Organization/future Cream bassist Jack Bruce joined the band for live appearances. Bruce can be heard on their UK number 1 "Pretty Flamingo," which was also Paul Jones' last hit with the group. With the handsome lead singer gone, the band considered several replacements, including Rod Stewart and Wayne Fontana, before choosing Mike D'Abo. Manfred Mann then moved to the Fontana record label where they continued to experience chart success. Bruce left the band in 1967, and was replaced by Beatles friend and Revolver cover artist, Klaus Voorman.

Some of the Manfreds' best work were their Dylan covers, particularly "With God on Our Side" and the hit "The Mighty Quinn." My personal favorite Manfred Mann album is the 1968 soundtrack to the Paramount film, Up the Junction, with its swirling psychedelic sounds, tape effects, and jazz elements. Their debut, The Five Faces of Manfred Mann, displays the band's deft transition to pop while still retaining their jazz and blues influences - each track is a winner, and it's certainly a classic album.

(References: Mannerisms: The Five Phases of Manfred Mann by Greg Russo and British Beat by Chris May and Tim Phillips)

Fabulous Forty-Fives

2010-01-08T15:41:00.000-08:00

Presented here is a selection of single picture sleeves from popular British Invasion artists.

I miss 45s and the unique mixes, picture sleeves and artwork they often provided. Downloading a song from iTunes, though convenient, just doesn't have the same appeal as holding a tangible object in one's hands while savoring the sounds emanating from the speakers.

Check out the three Yardbirds picture sleeves - one with Clapton, one with Beck, and one with Beck and Page. Upcoming trips to Wonderland will include a Yardbirds scrapbook of vintage articles and promo pictures, as well as features on more groups from the British Invasion and beyond. Happy New Year!

A British Invasion Christmas!

2009-12-24T10:16:00.000-08:00

Christmas on Earth Continued: December 22, 1967

2009-12-19T11:04:00.000-08:00

To mark the Christmas season here in Wonderland, we are commemorating the last gasp of the British underground scene in 1967, the Christmas on Earth Continued festival, held on December 22nd at the Olympia in London. Billed as an "All Night Christmas Dream Party," the festival boasted an impressive line-up of some of England's best musical acts. Where else could one witness The Jimi Hendrix Experience, Tomorrow, The Move, Eric Burdon and the Animals, Soft Machine, Pink Floyd and Graham Bond all on the same bill? Unfortunately, lack of publicity and a bitter winter freeze hampered attendance. The Who didn't show up, and the Grateful Dead, hoping to make their UK debut at the festival, were barred due to permit problems. Already, the festival appeared doomed.

The Olympia was a massive hall, as indicated in the rare photo of the Christmas on Earth stage posted above. Liquid slides and underground movies were projected onto every surface by three scaffolding towers. DJ Jeff Dexter recalls, "It was cold, although that summer seemed to go through to December. People were walking around in hippie clothes thinking it was still July." Steve Howe of Tomorrow (and later of Yes) remembers the event as momentous as well. "It was undoubtedly a major event," Howe notes. "After that, everything seemed like a bit of a hangover." "We got up on stage, played our set and hung out the whole evening. It was magnificent," relates Tomorrow's lead singer Keith West. "Later we watched some of the footage. The film looked absolutely brilliant."

The promoters had planned on releasing a film of the proceedings, but to this day the only footage to surface is that which is posted above: The Jimi Hendrix Experience performing "Sgt. Pepper," "Foxey Lady," and "Wild Thing." The film failed to emerge apparently because the filmmakers used cheap film stock which resulted in poor picture quality, and later, the film itself mysteriously disappeared. A distorted but interesting audio recording of Tomorrow's set was released in 1998 on the RPM label.

Sadly, the Christmas on Earth festival also marked Syd Barrett's last major show with Pink Floyd. By the time of the concert, Barrett had suffered a significant mental breakdown due to stress and excessive drug use, allegedly exacerbating symptoms of schizophrenia, though Barrett's sister denies this diagnosis. At the concert, Barrett was observed to just stand on stage with his guitar, his arms hanging limp at his side, while Roger Waters played the same bass line over and over again. After he left Pink Floyd, Syd went on to record two solo albums and numerous demos. Barrett was a sensitive, brilliant, beautiful man with immense intelligence and talent. Without him, Pink Floyd would have never existed, and to some of us, they never surpassed the works they created with Barrett at the helm (although those albums are indeed excellent).

The top picture in this post is of the fantastic psychedelic outfit, Tomorrow, followed by the Christmas on Earth stage, a promo poster, Pink Floyd celebrating Christmas with a traditional British Christmas Cake, another ad for the concert, and a rare photo of The Jimi Hendrix Experience and Soft Machine taken the night of the festival.

So to conclude our Christmas in Wonderland, I would like to wish you all a Happy Crimble and a very Gear New Year!

References: http://www.marmalade-skies.co.uk/dec1967.htm
Jon Newey's liner notes for the RPM release Tomorrow - 50 Minute Technicolor Dream
Watkinson and Anderson - Crazy Diamond: Syd Barrett and the Dawn of Pink Floyd

Instrumental Break

2009-11-25T17:24:00.000-08:00

Presented here are some scans from the UK's premiere music magazine of the 1960s and '70s, Beat Instrumental. Geared toward musicians, Beat Instrumental featured articles and columns that focused on how the British bands created their sound and style. The magazine was published by Sean O'Mahony, who also published the official Beatles fan magazine, The Beatles Book, under the pseudonym of Johnny Dean.

I find the ads for various music shops in London, Glasgow, and other UK cities, as well as the ads for instruments and gear featuring popular musicians, to be very interesting historical artifacts that make the time period come alive. These classic ads for Rickenbacker, Vox, and Premier, companies that were integral to the British Invasion sound, reinforced the idea that their products were what every teenage boy needed to be a pop star. (I have to chant "Premier drums" from The Who Sell Out every time I see anything about them!)

The features on Dave Davies, Peter Quaife, Keith Moon and Bill Wyman (who wrote a column for the magazine) offer insight into their musical influences, personal thoughts about their instruments of choice, and the advice they would offer to fledgling musicians. When reading the final scan, the list of bands and their itineraries makes one wish it could be 1965 again.

Rhino's Rock Explosion: The British Invasion in Photos 1962-1967

2009-11-14T12:13:00.000-08:00

Herman's Hermits

The Pretty Things

The Creation

Marianne Faithful

Sandie Shaw

Peter and Gordon

The Who

The Yardbirds

The Zombies

In the late '80s, Rhino Records began releasing a series of 9 CDs that provided a comprehensive overview of the British Invasion (Unfortunately, due to licensing issues, The Beatles could only be represented by "Ain't She Sweet," while The Stones and Who are not represented at all). Mastered by Bill Inglot, the discs boasted some of the best-sounding sources and rare mono versions of the era's singles. Because of these factors, the discs are highly sought after by collectors and fans. Rhino also included bands that were lesser known on this side of the pond, including The Pretty Things, Tomorrow, The Action and The Creation.

All 9 discs were released in boxed set format, accompanied by a book entitled Rock Explosion: The British Invasion in Photos 1962 - 1967, from which these scans were created. Although the boxed set commands exorbitant prices, individual volumes can sometimes be found used for reasonable prices. If you don't have the set, I highly recommend seeking each volume out! The photos in the book are quite nice as well. (Thanks to Jeff for the book!)

Where the Action Is

2009-10-04T21:40:00.000-07:00

The Action were one of the best truly Mod bands of the '60s - not a contrived image here. The soulful singing of Reg King propelled them to a level above mere Tamala-Motown copyists into a whole other league, perhaps equal to that of the Small Faces, but without the corresponding record sales, unfortunately. Although a great deal of their singles were covers, the Action added their own style and sound to the tracks - high energy, excellent musicianship and tight vocal harmonies as well. The term "underrated" is often overused; however, I find it very appropriate here.

Formed in the Kentish Town section of London in 1963, The Action were first known as The Boyfriends (and later The Boys), serving as a backing band for a female vocalist Sandra Barry. The line up consisted of Reg King (vocals), Alan "Bam" King (rhythm guitar, backing vocals), Mike Evans (bass), Roger Powell (drums) and later Pete Watson (lead guitar). When Barry began a solo career, The Boys carried on, releasing one single on Pye records comprised of two Reg King originals, "It Ain't Fair/"I Want You."

In 1965, The Boys became The Action, a name very much in line with the pop art monikers of the time, such as The Who and The Creation. As their reputation began to grow, The Action began filling the Marquee and Scene Club, treating audiences to their dynamic stage show. Eventually they came to the attention of Beatles producer George Martin, who signed them to his AIR (London) Production company, which led to a Parlophone contract. Their first single contained Chris Kenner and Martha & the Vandella's covers - "The Land of 1000 Dances" and "In My Lonely Room." Their next A-Side, a brilliant interpretation of The Marvellettes' "I'll Keep Holding On," should have been a smashing success, as it is probably the best British blue-eyed soul cover of a Motown hit. Another of their best singles was their final one for Parlophone, "Shadows and Reflections," released in June of 1967. Around this time The Action began recording demos for album of original songs with a psychedelic edge, which was originally entitled Brain. The album did not see the light of day until 1999, retitled Rolled Gold. An amazing collection as it stands; one could only imagine how it would have been if the songs had been fully realized in the studio.

With the disappointment of Brain being shelved, Reg King departed for a solo career, and the other members (with additions of Ian Whiteman and Martin Stone) continued as Mighty Baby, recording two albums of West Coast influenced psychedelic jams, which were extremely spiritual in tone. All the members of Mighty Baby (save one) converted to the Sufi sect of Islam, and soon found playing "amid a sea of beer and dope," as Martin Stone put it, to be incongruous with their beliefs.

For an introduction to the Action, I recommend the compilation Action Packed! on Edsel. From there, pick up the lost album, Rolled Gold. For completists, Circle Records released a 2 CD set of BBC appearances and a reunion concert from 1998, entitled Uptight and Outasight (which includes the Action's audacious cover of John Coltrane's "India"- how could one not love a band that would cover Coltrane?). From there, you may want to check out Mighty Baby's eponymous debut and Reg King's solo album, with guests Mighty Baby, BB Blunder and Mick Taylor (of the Stones).

(References: NME Originals: MOD, The liner notes to Action Packed by Alan Robinson, and the Mojo Special Edition: Psychedelic!)

Number Nine, Number Nine...

2009-09-06T17:40:00.000-07:00

I would be remiss if I failed to acknowledge the forthcoming 09.09.09 extravaganza--something of great importance to British Invasion aficionados: The Beatles' 2009 remasters, both the stereo and mono mixes, will be officially released on CD. The mono mixes will only be sold in a boxed set format; the stereo counterparts will be available either individually or in a boxed set. (And then there's that Rock Band thing, too. We'll be getting the multitracks in that!)

Most exciting is the fact that the mono mixes of Revolver, Sgt. Pepper, and The Beatles (a.k.a. The White Album) will appear on official CD for the first time ever. Personally, I prefer the mono Pepper, so I'm glad it will be more accessible for those who haven't heard it before. Based on reviews I've read so far, the digital transfers have remained virtually untouched on the mono CDs, whereas the stereo mastering has been tinkered with slightly. I have heard a few of the stereo remasters, and I have been impressed with the results. I must admit - I was afraid we'd have an abomination on our hands, but thankfully, that is not the case. That said, for the stereo mixes, I'll return to my vinyl for my favorite "Beatles in Stereo" experience.

Here is a selection of Fab Four Fotos for your viewing pleasure. Long Live The Beatles!

"He's a Session Man"

2009-08-23T14:51:00.000-07:00

Time to pay tribute to the man whom many deem the greatest session man in the history of rock'n'roll--pianist Nicky Hopkins (1944-1994). Virtually unknown to the many U.S. fans of British bands at the time, Hopkins brilliantly accented the works of the Kinks, the Rolling Stones, the Who, Dusty Springfield, the Move, Tom Jones, even the Beatles--and almost every major British act of the era. The Stones and the Who so valued his talent and input that both bands sought to add him to their ranks. Ray Davies of the Kinks composed the song "Session Man," on which Nicky also plays, in his honor.

Hopkins became interested in playing the piano at the age of six. His parents noticed his talent and asked him if he would like to take lessons, to which he agreed. When he was 12, Hopkins was accepted into the Royal Academy of Music and studied there until age sixteen. Although he was classically trained, Nicky was drawn more to the world of pop and rock'n'roll. He began his rock career performing with Screaming Lord Sutch, soon moving on to work with Cliff Bennett, and finally joining the Cyril Davis band. During this time, Hopkins had to be hospitalized for a year and half, subjected to 14 different stomach-related surgeries to treat Chron's disease. (Unfortunately, it would be complications from a similar surgery that would claim his life later at the age of 50.) Hopkins' health issues made it imperative for him to cease touring and focus on becoming a session performer.

Almost immediately, Hopkins' reputation garnered him an offer to participate in a fateful session where he met famed producer Glyn Johns. Johns introduced him to Shel Talmy, who in turn booked him to play for Kinks and Who sessions, including the My Generation album and "Anyway, Anyhow, Anywhere" single. About 4 years later, he worked with the Who again on their classic Who's Next album, adding his emotive touches to the gorgeous "Song is Over" and also "Gettin' in Tune." Nicky's piano enhanced several of the Kinks' greatest works, including the Kink Kontroversy, Face to Face, and Village Green Preservation Society albums. It's also Nicky one hears on some of the Stones' most revered LPs: Between the Buttons, Beggars Banquet, Let It Bleed, Sticky Fingers, Exile on Main St., Goats Head Soup, etc. In fact, the entire Their Satanic Majesty's Request album seems to center on Nicky's playing (and contrary to popular opinion, I find it to be one of their absolute best albums). Hopkins also toured with the Stones in 1971, the same year he also guested on John Lennon's Imagine album, adding electric piano to the "Imagine" title track and playing piano on "Jealous Guy" and many other tracks. Hopkins' Beatles association began when he played piano on "Revolution," the B-side to "Hey Jude" in 1968.

Hopkins joined the Jeff Beck Group with Beck, Rod Stewart, Ron Wood, and Tom Newman for a short time, and also later joined Quicksilver Messenger Service when he moved to California for health reasons.

It is almost impossible to list all the contributions that Nicky Hopkins made to popular music. Some of my favorite of his works are those that are not as popular, such as tracks he made with the Easybeats, the Tages, and the Bill Wyman-produced band the End, who managed to craft one of the era's psychedelic masterpieces with the Introspection album. If you are interested in discovering more of Nicky's work, please follow this link: http://rocksoff.org/nicky-sessions.htm

A trip to Alison's Wonderland would be incomplete without a nod to those often behind the scenes who made the magic happen. Thank you, Nicky--you are missed.

Special thank you to my friend Jeff for the wealth of information supplied!

(References: "Nicky Hopkins - 'Session Man'" by Paul Nelson. Rolling Stone, May 17, 1969; "Have Piano, Will Travel" by Michael Watts, "Sixth Stone" by Chris Charlesworth, Dec. 1971; Various clips and articles.)

Time Traveling to Swinging London

2009-08-04T18:21:00.000-07:00

Presented here are scans from an Uncut special edition containing original reviews, interviews, and photos from the archives of the New Musical Express (NME), a popular UK music magazine that has been published weekly since March of 1952. In the 1960s, NME championed the British music scene and hosted four Poll Winners Concerts, featuring such notable acts as the Beatles, the Rolling Stones, the Hollies, the Kinks, the Animals, the Who and the Yardbirds. NME was also the first British music publication to develop a UK singles chart.

Among these scans are vintage ads for concerts, tours and the latest Mod gear, as well as a personal guide to the happening London club scene. Seeing the yellowed newspaper print and torn edges creates the illusion of looking through a '60s teenager's scrapbook.

Uncut has published several themed special issues that are gleaned from NME's extensive archives, each of which are valuable, entertaining, and informative, including issues specifically devoted the the Beatles, the Stones, the Mod Scene, the Clash, Radiohead, and Oasis.

The Collector's Guide to Rare British Birds

2009-07-18T10:31:00.000-07:00

Continuing in Wonderland this week, we're tracing the career of the multi-talented Ronnie Wood. This entry focuses on Ron's first band, the Birds (not the California band with a 'y', although they do figure into the British Birds' story).

The Birds were a hard-working, highly respected R&B outfit based in West London and were comprised of Ron on lead guitar, lead vocalist Ali MacKenzie, rhythm guitarist Tony Munroe, bassist Kim Gardner (who later joined the Creation with Ron) and drummer Pete McDaniel. By August of 1964, their reputation as a top live act with a devoted local following garnered them a spot on the BBC variety show, ABC of Britain, where they performed a Wood original, "You're on My Mind." Due to the success of this performance, the Birds secured a residency at London's 100 Club, which in turn lead to a recording contract with Decca Records. "You're on My Mind" served as the A-side of their first single, backed by Bo Diddley's "You Don't Love Me." Other singles followed, including a cover of the Holland-Dozier-Holland classic "Leaving Here."

All appeared to be going well for the British Birds until it came to their attention that several Birds fans were being sold singles by an American group called the "Byrds" instead. Their manager, Leo de Clark, sought legal action but was unsuccessful in forcing the popular American group to change their band's name. By 1965, the Birds had left Decca for Reaction Records, but delays in single releases took a toll on the group's morale. In 1966, the Birds performed "That's All I Need," a Wood/Monroe original, in the B-movie The Deadly Bees, which is featured in the clip presented here. (I cribbed this clip from "garageman" on YouTube--credit where it is due!)

The Birds were truly a dynamic R&B group, on par with the Pretty Things and the Rolling Stones in terms of having an exciting, raw sound. Their singles certainly stand up today, and they deserved far greater success than they obtained at the time. For a comprehensive collection of all their recorded output, including demos and previously unissued tracks, please seek out The Collector's Guide to Rare British Birds CD compilation from 1999 on the Deram/Decca label. The scans above come from my copy of a rare French CD EP.

(Reference: The liner notes to The Collector's Guide to Rare British Birds, written by Terry Rawlings.)

"Our Music is Red - with Purple Flashes." - Eddie Phillips, 1966

2009-07-02T17:07:00.000-07:00

One of the true cult bands of the Sixties, the Creation epitomized Mod in terms of image and music. Their Pop Art-influenced sound perfectly crystallized the progression from British beat to psychedelia in a form of music now termed "freakbeat." As evidenced in the clip above, the Creation's sound was explosive and original; their stage shows were as well, as their goal was to pioneer a "total sound culture." (In fact, during live performances, lead singer Kenny Pickett painted canvases and bikini-clad girls on stage.) Although the Creation recorded one album and a handful of singles, they have had an immense influence on subsequent musicians, especially uberfan Alan McGee who named his successful record label "Creation Records" (which in turn became home to Britpop legends Oasis).

The most popular line up of the Creation consisted of vocalist Kenny Pickett, bassist Bob Garner, drummer Jack Jones and innovative guitarist Eddie Phillips. Phillips utilized feedback and a violin bow on his guitar before Jimmy Page did the same with the Yardbirds and Led Zeppelin, yet he rarely receives the credit he is due. Shel Talmy, producer of both the Kinks and the Who, helped develop the Creation's sound in the studio after signing them to his own Planet label. "Making Time," their first single (and the song in the clip above), became widely known with its inclusion in the 1998 Wes Anderson film, Rushmore.

Tensions within the band led to many personnel changes, including the departures of Pickett and Phillips and the addition of Ronnie Wood. It was Wood's departure to join the Jeff Beck Group that proved fatal for the band. The classic Creation line up reunited for several London shows in the mid '90s, effectively healing past wounds. Sadly, Kenny Pickett passed away suddenly, cutting short the Creation's triumphant return.

Dedicated To Hugh But You Weren't Listening

2009-06-09T16:12:00.000-07:00

This week the world lost one of it's most innovative composers and bassists; therefore, I feel compelled to honor his memory on this humble blog about British music. Hugh Hopper became a full-fledged member of the Soft Machine, having previously been their roadie (and the writer of one song on their debut LP), at the end of 1968. Kevin Ayers, the band's previous bassist and principal songwriter, had retreated to the hippie haven of Ibiza after a particularly difficult tour. Unable to contact Ayers, drummer and vocalist Robert Wyatt and keyboardist Mike Ratledge recruited Hopper to fill the vacant position. With the addition of Hopper, the Soft's sound evolved. His phenomenal fuzz-bass sound and composing skills enhanced their avant garde propensities, evident on their second album, Volume Two. Hopper passed away June 7th, a victim of leukemia.

The Soft Machine, named after the William S. Burroughs novel, was one of the most important bands of the British psychedelic movement of the 1960s. Along with Syd Barrett's Pink Floyd, the Softs performed at the now legendary 14 Hour Technicolor Dream and Christmas on Earth festivals. Unlike Floyd, however, the Softs moved in a more non-commercial direction as the years passed, progressing to an art rock/jazz fusion (with the additon of saxophonist Elton Dean) that was truly unique and wholly satisfying. The Soft Machine made "music for the mind (which) floats you gently downstream, through pleasurable twists and turns, ups and downs, rapids and calm waters" as the liner notes to Volume Two explain. Other wonderful elements of the Softs are Robert Wyatt's emotive vocals, always touching and evocative, and their Dadaist grasp of the absurd.

As an introduction to Soft Machine, I recommend the Big Beat label's CD issue of Volumes One and Two together on one CD, and once you've gotten into that, move on to Third. Robert Wyatt is not on the album 5, having moved on to Matching Mole (a pun on the French for "Soft Machine" - "Machine Molle"). The clip above is a 1971 performance of "Out-Bloody-Rageous" from Third, which I found on YouTube.

(Reference: David Wells' article in the Jan. 2000 issue of Record Collector)

Kave Kids

2009-05-30T13:54:00.000-07:00

In 1971, Lester Bangs, rock'n'roll's most interesting and talented critic, wrote a lengthy rant for Greg Shaw's Who Put the Bomp? praising the primitive sound of Andover's Troggs as the antithesis to the singer-songwriter era of popular music. Bangs entitled it "James Taylor Marked For Death," which pretty much sums up his opinion on the matter.

"They're so far behind, they're in front," Graham Nash said of the Troggs. Certainly, their mastery of any instruments was rudimentary at best, but add that to the sexuality in their lyrics, and one has a recipe for authentic rock'n'roll--a do-it-yourself ethos for angst plagued teenagers everywhere. "Wild Thing" is one of the finest examples of this in all of rock'n'roll, a stone-cold classic known by just about everyone on the planet.

The Troglodytes consisted of Reg Presley (nee Ball) on vocals, Chris Britton on guitar, Pete Staples on bass and Ronnie Bond on drums. Kinks manager Larry Page discovered them, shortened their name to the Troggs, and got them a recording contract with Fontana records. (Until Page formed his own label, Page One) One of their best singles, "I Can't Control Myself" was banned completely in Australia and received only restricted play on the BBC.

The Troggs evolved with the changing musical directions, releasing the psych-tinged Cellophane in 1967, which also featured another massive hit, "Love Is All Around" (covered very well by our Invaders). Of course, no lesson in Troggomania would be complete with a mention of The Trogg Tapes, a surreptitiously recorded row that includes words we shall not repeat here.

Recommended purchase, though now out of print: The Troggs: Archeology, a 3 CD set with all the best tracks and the infamous Trogg Tapes, too.

(Personal favorite Trogg Track: "Night of the Long Grass")

(References: Psychotic Reactions and Carburetor Dung by Lester Bangs; Tapestry of Delights by Vernon Joynson and British Beat by Chris May and Tim Phillips)

For Goodness Sakes!

2009-05-03T13:09:00.000-07:00

Liverpool's Swinging Blue Jeans created some of the finest pop rock records of the Merseybeat Boom, including the definitive recording of "Hippy Hippy Shake, " and yet their name is now a mere footnote in rock history. With the exception of The Beatles, many of Liverpool's popular groups found success fleeting once the Merseybeat tag became unhip and passe, and the Jeans were no exception. They continued recording until 1968, but were unable to repeat the success of 1963.

Like most Merseybeat bands, the Swinging Blue Jeans began as a skiffle group as early as 1957 (under the name The Bluegenes). They progressed to trad, changed their name, and developed a local following, which led to a residency in Hamburg's infamous Star-Club . While there, the Blue Jeans concentrated more on rock'n'roll, R&B and country. Upon return to Liverpool, the Blue Jeans obtained residencies at the Mardi Gras and Downbeat clubs. In early 1963, they were signed to the HMV label and recorded their first single, Ray Ennis' "It's Too Late Now," a prime example of the Mersey sound--melodic harmonies, yet musically powerful.

After the enormous success of "Hippy Hippy Shake," which reach number 2 on the UK charts, the lads repeated the same formula on their cover of "Good Golly Miss Molly," which only reached no. eleven. Their next single, a cover of "You're No Good," a song they discovered in a female fan's record collection, reached number 3, but this was to be their last big hit. Their next single was a major disappointment and did not reach the top 50, which in turn effected sales of their debut album. Before the Blue Jeans knew it, the Merseybeat era was over.

Anyone interested in learning more about Merseybeat should search out copies of Spencer Leigh's Let's Go Down The Cavern, and Pete Frame's The Beatles and Some Other Guys: Rock Family Trees. Leigh and Frame are acknowledged as the foremost Merseybeat experts, and their books are essential. I also recommend tracking down the BBC 2 1 hour special on Merseybeat based on Frame's Family Trees. The clip presented here shows the Blue Jeans performing at the 1964 NME Pollwinner's Concert.

(References:"The Swinging Blue Jeans" by Peter Doggett, Record Collector, Dec. 1982 p. 49 - 54; The Beatles and Some Other Guys by Pete Frame; various issues of Disc.)

"Who Are? What Are? THEM"

2009-03-17T19:41:00.000-07:00

It seems quite appropriate that an entry on one of Ireland's most influential rock bands should appear on St. Patrick's Day.

The cryptic title of the entry is a quote from an April 1964 Belfast newspaper, the first bit of publicity Them received in their hometown, announcing a gig at the Maritime Hotel. The Maritime fostered a tremendous R&B scene in Belfast, including The Wheels, Just Five, The Bats, and Luvin' Kind. (If you would like to explore more Irish rock, I suggest snagging copies of Belfast Beat on the Big Beat label and Irish Rock: Ireland's Beat Groups 1964 - 1969 on the Sequel label. Great stuff!)

Originally known as The Gamblers, drummer Ronnie Millings, guitarist Billy Harrison, bassist Alan Henderson and keyboardist Eric Wrixon were soon joined by one of blues music's finest vocalists, Van Morrison. At the suggestion of Wrixon, the band took on a new name inspired by a 1954 horror B-movie about gigantic ants--Them. Famous DJ Jimmy Savile discovered the group and persuaded Decca executive Dick Rowe to sign them.

Them established themselves as the wildest blues/R&B group in Belfast--the Irish equivalent of the Animals or Pretty Things. Their live shows were supposedly phenomenal, with a level of intensity never fully captured in studio recordings. If Morrison was in the right mood, he would perform a 20 minute version of Them's best-known song, "Gloria." According to Morrison, "'Gloria' was one of the first songs I wrote. They tell me it's a classic. But it was a throwaway song. Written off the cuff" (Wilde, Uncut, July 2005, pg. 52). This "throwaway" inspired every garage band since, most notably Chicago's Shadows of Knight, who had the big U.S. hit, and punk goddess Patti Smith, whose unique interpretation remains unequalled. Other classic Them recordings include their interpretation of the blues standard, "Baby, Please Don't Go," "Here Comes the Night," "Mystic Eyes," and "I Can Only Give You Everything" (my favorite Them track.)

Morrison developed a reputation as "angry" and "difficult." He resented the intrusion on his personal life and refused to participate in press interviews. According to Morrison, "To start with, Them was a blues thing. When it stopped being that, it all went wrong....Them started out as something straightforward and it got twisted into something else. We became fodder, that's all" (Wilde 52). He soon left to pursue his illustrious solo career and is now revered as one of the all-time greatest singer-songwriters.

After Morrison's departure, Them ventured on, recording two psychedelic albums before settling on the harder rock sound of the time. Time Out! Time in for Them is a classic UK psych album, belonging in any psych fan's collection. The album is often undeservedly overlooked because of the absence of Morrison.

Happy St. Patrick's Day, and enjoy THEM!

(References: Uncut, July 2005; The Fab British Rock 'N' Roll Invasion of 1964 by Dave McAleer; Wikipedia; CD liner notes)

The Beatles - Extended Play Records

2009-03-06T18:58:00.000-08:00

Here are some scans of EP covers from my collection, generously given to me by my friend and fellow collector, Jeff.

A Magnetic Wave of Sound

2009-02-19T17:32:00.000-08:00

Perhaps Greg Shaw, one of rock music's most eloquent champions, put it best: The Move "created the absolute synthesis of commercial pop, heavy, metallic underground rock and experimental studio techniques." Having one of Britain's finest songwriters among the ranks certainly helped propel the Move into cult status as well; Roy Wood's quirky lyrics echo a purely British sensibility and compliment the Move's pop art sound and image. The classic Move line up included the shy, creative leader, singer and multi-instrumentalist Roy Wood. Lead singer Carl Wayne provided strong vocals, a pin-up face, and outrageous on-stage antics. The other members included Ace Kefford on bass, Bev Bevan on drums, and Trevor Burton on guitar. The Move's music ranges from freakbeat to R&B to power pop to psychedelia to California-style jams, covering a great deal of ground over four albums from 1967 to 1972.

Even down to their choice of band name, the Move punctuated the pop art music movement with their sensational live shows, which often included the violent destruction of television sets, cars, and effigies of Hitler. The Move also hold the distinction of being the only pop band to be sued by a Prime Minister--Harold Wilson--who won a libel suit against the band because their manager, Tony Secunda, had issued a promotional postcard insinuating that Wilson was having an affair with his secretary. To this day and in perpetuity, any royalties from the Move's "Flowers in the Rain" are given directly to charity. To Secunda, no publicity was bad publicity! However, the Move were much more than gimmicks--their music was sensational.

In 1970, former Idle Race leader and future Electric Light Orchestra mastermind, Jeff Lynne, joined the Move upon the exit of Carl Wayne. Roy Wood had been seeking an outlet for more experimental sounds and decided to form ELO out of the ashes of the Move. After a short time, Wood left to form Wizzard, and Jeff Lynne, still with drummer Bev Bevan, took ELO into the stratosphere.

The Move's catalog has recently been remastered and expanded into deluxe editions by the Salvo label, who also recently issued a 4 disc Anthology with many rare, previously unavailable tracks. Of course, the fan that I am recommends everything that the Move ever recorded. My friend Paul actually has an original mono copy of their first LP, as well as an original Something Else EP, which is the best way to hear them, I'm sure! As far as sound quality goes, the best in my collection is an old Pickwick The Move's Greatest Hits Vol. 1 LP--it can be found for cheap, and it sounds great! I also think the Movements box set is a great bet, but one would also need to get a seperate CD of Message From the Country, which was not included in the set (different record labels).

References: "The Move - The Five from Birmingham" liner notes by H.J. Simon, The Move Anthology 1966 - 1972 book included in the box set by Mark Paytress, and various articles.

The Darlings of Wapping Wharf Launderette

2009-02-03T08:59:00.000-08:00

Another one of my all-time favorite bands that I am proud to present here in Wonderland....

The Small Faces began life with a fateful 1963 encounter between the two driving forces of the group--lead guitarist and powerhouse vocalist Steve Marriott, and bassist and vocalist Ronnie "Plonk" Lane. Marriott had been a child actor but had given that up to pursue a career in music. He was working as a sales assistant in the J60 Music Bar in London, an instrument shop where all the budding musicians would gather, when Lane walked in to purchase a bass. Lane had been playing guitar in his band, the Pioneers (which also featured future Face Kenney Jones on drums), but was looking to learn bass to make himself more valuable in the music community. The two young men immediately struck up a friendship. Marriott invited Lane to come back to his place to listen to the latest James Brown and Otis Redding records, and Lane invited Marriott to jam with the Pioneers. Eventually, the band line up was perfected by the dismissal of keyboardist Jimmy Winston (who went on to record a couple of great freakbeat tracks with Winston's Fumbs), and the addition of keyboardist Ian "Mac" McLagan. (I have posted a scan of the CD that Mac signed for me, one of my most treasured autographs.)

A quintessential Mod band , the name Small Faces originated when one of the lads' girlfriends commented on their small stature. The term "Face" was a Mod term given to a guy with a certain type of charisma, so when Annie remarked, "Cor! Ain't you got small faces," the name stuck! The Small Faces evolved musically, progressing from the soulful R&B of their beginnings on through to psychedelia and harder rock until Marriott left to form the heavy Humble Pie with Peter Frampton. With the addition of Rod Stewart and Ron Wood, the Small Faces then became the Faces, one of the best boozy, bluesy rock bands ever. After the Faces' breakup and the untimely death of Keith Moon, Kenney Jones became the drummer for the Who.

Ronnie Lane, ever the humble, spiritual soul, left the Faces when it all became too loud and crazy for him. He pursued his own musical vision and lived his life with great integrity. (For more on Lane, please watch the excellent documentary, The Passing Show.) Unfortunately, Multiple Sclerosis claimed Ronnie's life in 1997, and a house fire took the powerful Steve Marriott from us in 1991.

Some of the best CD collections of the Small Faces' music include the 2 disc Decca Anthology for the first part of their career, and the 2 disc Darlings of Wapping Wharf Launderette collection of Immediate Records material. My favorite of their albums, Ogdens' Nut Gone Flake, has received the deluxe treatment from Sanctuary records--a 3 disc set with both the mono and stereo mixes, housed in a round metal tobacco tin.

References: Happy Boys Happy! A Rock History of the Small Faces and Humble Pie by Uli Twelker & Roland Schmitt and Small Faces: All Our Yesterdays by Terry Rawlings

Stones 45 Picture Sleeves

2009-01-20T13:49:00.000-08:00

Presented here are my personal scans of some gorgeous Rolling Stones 45 picture sleeves, which were given to me by my friend Jeff. These pictures depict the Stones as the epitome of rock star cool, especially the "As Tears Go By" photo, which was also used on the UK Out of Our Heads and US December's Children (And Everybody's) LPs.

Oh! You Pretty Things...

2009-01-05T10:39:00.000-08:00

"They invented everything and were credited with nothing," declares Arthur Brown, the God of Hellfire himself. Never has such an influential band been so outrageously underrated and neglected within the annals of rock history. Their influence encompasses diverse acts, such as the Who, the Velvet Underground, and true PT acolyte David Bowie (hence the title). Needless to say, the Pretty Things are among my all-time favorite bands, and I shall champion their legacy at any given opportunity.

The Pretty Things were born out of the same intense love for American blues and R&B that produced the Rolling Stones. In fact, both bands were formed in lead guitarist Dick Taylor's front room! Taylor, lead vocalist Phil May, Mick Jagger and Keith Richards became friends at Sidcup Art College where Taylor and Richards were students. The young lads shared a common obsession with Chuck Berry, Jimmy Reed, Muddy Waters, and Bo Diddley (a song of Diddley's gave the Pretties their name), often pooling their money together to order imports of American records. Taylor had played bass in an embryonic version of the Stones but left the band when the Stones decided to go "professional," a decision Taylor has never regretted. "I could have been Bill Wyman. Or I could have ended up face down in a swimming pool," he dryly observed in a 1999 interview (Pulse!, April 1999).

Joining Taylor and May for the first classic line up included John Stax on bass, Brian Pendelton on rhythm guitar, and a wild character that could even give Keith Moon a run for the money--Viv Prince on drums. With the help of manager Bryan Morrison (also the manager of Pink Floyd), the Pretties soon gained the reputation of being more dangerous, scruffy, dirty, and outrageous than the Stones could even think of being. Phil May was specifically singled out for having "the longest hair in Britain" to the horror of parents everywhere. Their early singles were crunching R&B of the Bo Diddley variety, and as Paul Du Noyer writes in the liners for the CD reissue of the Pretties' debut, the prototype for every garage band to follow in their wake.

After several tumultuous years and a line up change that left only Taylor and May from the original group, the Pretty Things recorded their masterpiece at EMI Studios in 1967--the year of Sgt. Pepper and Piper--the first rock opera, the magnificent S.F. Sorrow. Taylor and May were joined by bassist and songwriter Wally Waller, legendary figure and drummer Twink, and keyboardist John Povey. During the recording of the album, John Lennon would often poke his head in to tell the boys they were sounding fantastic. (In fact, according to Povey, George Harrison's sitar and Ringo Starr's drums were used during the sessions!) Apparently, a roadie shared by the Pretties and the Who took an acetate of S. F. Sorrow to a party at Pete Townshend's house. Pete proceeded to play the acetate continuously, thus becoming inspired to create his rock opera, Tommy. This is still a sore spot for all parties...

After the commercial failure of S. F. Sorrow, Taylor exited the group (later to return) but the Pretties persisted and recorded the brilliant concept album Rolling Stone magazine selected as the best of 1971, Parachute. Yet due to poor publicity, Parachute failed to sale in the US, making it the first Rolling Stone album of the year to not reach platinum level sales. In my opinion, it is as much a masterpiece as S. F. Sorrow. In between those albums, the Pretties recorded an album with rich French playboy, Philippe DeBarge, which had remained officially unreleased until now; Ugly Things records has released an LP edition, with a CD issue to follow in Februrary. (I was very lucky to get an autographed copy!)

The Pretty Things continue to perform and record to this day, and they're not going anywhere. If you are not aquainted with them, there's no better time than the present to discover their catalog. They are the epitome of the best elements of rock'n'roll--all the rebellion, the attitude, the experiementation, the freedom, the creativity. Long Live the Pretties--unbowed and unrepentant!

References: Pulse! April 1999, liner notes to The Pretty Things, Discoveries and Goldmine magazines, Mojo Psychedelic Special Edition 2005, etc.

Christmas with Dusty

2008-12-23T14:12:00.000-08:00

My friend Jeff is a connoisseur of Christmas music of all kinds--classic, novelty, sacred and secular. In his quest to obtain every '60s pop Christmas recording, he came across a truly lovely (and rare) ballad by the incomparable Dusty Springfield entitled "O Holy Child," which was written by her brother Tom and recorded to aid an orphanage in London. Jeff sent me the 45 single of "O Holy Child," as well as the rare "Woman's Own" Christmas EP by the Springfields. I have used my needledrop of the Dusty single to accompany the slideshow presentation. I hope you enjoy this special Christmas gift from me and Jeff.

Of all the great British Invasion songstresses (Petula, Cilla, Lulu, Sandie, Marianne), Dusty is my favorite. Her voice was rich and soulful, and as all great singers do, she made every song her own. I recommend her masterpiece, Dusty in Memphis for any introduction to her catalog, as well as the equally essential Complete A and B Sides 1963 - 1970. No female singer quite interpreted Goffin and King as wonderfully as she, save for Aretha.

Dusty was born Mary O'Brien in West Hampstead, London. She began her singing career performing folk songs alongside her older brother. They achieved success as the Springfields, even scoring a major U.S. hit with their cover of Wanda Jackson's "Silver Threads and Golden Needles." Dusty soon broke out on her own, shunning the folk of the past, and thus reaching worldwide fame and iconic status as the platinum blonde r&b diva.

I wish you all a very Merry Christmas and a Happy New Year!

(Biographical information taken from the liner notes to The Springfields: On an Island of Dreams, written by Michael Robson.)

Everywhere It's Christmas!

2008-12-20T10:17:00.000-08:00

One of the many perks of being a member of the Official Beatles Fan Club was that as Christmas neared, one would receive a special flexi-disc record containing Christmas messages from the Fab Four themselves. Starting in 1963 and continuing through 1969, the Beatles recorded hilarious, Goon-type greetings that may have baffled a few of their American fans! I make it a tradition to listen to these recordings, as well as outtakes from the sessions, each Christmas season. They are a constant source of holiday cheer for me and countless Beatles fans.

The Christmas record featured in this post is the 1966 release entitled Pantomime: Everywhere It's Christmas, recorded November 25th at music publisher Dick James' house. The night before, the Beatles had convened at EMI's Studio Two to tackle a first take of John's stupendous "Strawberry Fields Forever." Housed in a psychedelic cover designed by Paul McCartney, Pantomime is perhaps the most creative and interesting of all the Christmas flexi-discs. Playing off the British Christmas tradtion of musical-comedy theatre productions, the Beatles add their own unique twist to the format. The video is a Lego animation film created by Leftfield Studios in 2003 as a visual accompaniment to the Beatles' record--I think it is perfectly executed and quite fun to watch!

So, to one and all, a Happy Crimble and a Merry Goo Year!

Check back soon for another special Christmas posting...

(References: The Beatles on Apple Records by Bruce Spizer and That Magic Feeling by John C. Winn)

Purple Hearts and Power Chords

2008-12-07T15:02:00.000-08:00

Pete...Roger...Keith...John

If you are not familiar with the Who, beg, borrow and/or steal the Amazing Journey and The Kids are Alright documentaries. Once you view them, you will quickly become a Wholigan, and will thus be compelled to get your hands on all their classic albums. My personal favorite is the mono version of their psychedelic concept album, The Who Sell Out, but you cannot go wrong with A Quick One, The Who Sings My Generation, Who's Next, Live at Leeds, Quadrophenia, Tommy, Meaty, Beaty, Big and Bouncy...They are one of rocks' most vital, visceral, incendiary groups. Here we have a band where everyone plays lead--lead guitar, lead bass, lead drums and lead vocals--yet they accentuate each other perfectly. They might have wanted to take each other's heads off at one time or another; perhaps that's what made them so dynamic--all that tension!

The footage presented here captures the Who's explosive live act. Filmed on August 6, 1965, the first night of the Richmond Jazz and Blues Festival, this clip of "Anyway Anyhow Anywhere" was eventually aired in the US on December 9--43 years ago this week.

It's such a shame that the Ox and Moonie are not here with us--they are sorely missed. There will never be another bassist and drummer quite like them. Thankfully, the Who continue to release concert DVDs so those of us who missed out on seeing them live can at least witness these phenomenal documents and imagine what it must have been like to be there.

(References: Anyway Anyhow Anywhere: The Complete Chronicle of the Who 1958 - 1978 by Andy Neill & Matt Kent; The Who: Ten Great Years - Rolling Stone.)

Early Invasion Timeline

2008-11-07T20:14:00.000-08:00

To commemorate the 20th anniversary of the First Wave of the British Invasion, Goldmine magazine featured an article by Charles Webb, chronicling the significant milestones of late 1963 through 1964. The bands featured on this blog are mentioned numerous times, as well as many others that will be in the spotlight soon.

I will also develop entries on many British bands that did not achieve great commercial success on this side of the Atlantic, but nonetheless were critically praised and highly influential. They may not technically fit within the terms "British Invasion" but deserve exposure and recognition for their excellent contributions. Some of these artists include the Creation, the Move, the Pretty Things, the Action, Small Faces, the Birds, Soft Machine, and other bands specializing in psychedelic, R&B, freakbeat or pop genres. As holidays and deadlines quickly approach, my new posts may not appear as often as in the past, but please continue to check in weekly just in case! I hope all of you are enjoying your trip through Wonderland...

One may click on the scans to enlarge them for reading purposes. Enjoy!

"Britain's Brainiest Band"

2008-10-28T17:29:00.000-07:00

Since All Hallow's Eve is quickly approaching, I thought an entry on the Zombies would be most appropriate! A truly magical group, the Zombies produced some of the most gorgeous, melancholic compositions of the British Beat era. Their popsike masterpiece, Odessey and Oracle, (sic) is one of the greatest albums of all time (in my opinion, and many others, too). If you have never heard it, get your hands on a copy as quickly as possible!

Formed in St. Albans in 1963, the Zombies consisted of Rod Argent on keyboards (his Hammond B3 work is the signature element of their sound), Colin Blunstone taking lead vocals, Chris White - bass, and Hugh Grundy - drums. On the strength of a demo tape, the band was quickly signed to Decca Records. The press quickly seized upon the fact that these lads were extremely intelligent, boasting more examination qualifications than any other British group, and saddled them with the label of "Britain's Brainiest Band."

The Zombies achieved success in the US, particularly with the hits "She's Not There," "Tell Her No," and the flower child anthem "Time of the Season," which was released to much acclaim after the group's untimely demise. Colin's angelic, evocative vocals, combined with the song writing talents of Rod and Chris, set the group apart from their contemporaries. John Lennon was so impressed that he expressed the desire to produce them himself!

If one is interested in a single disc collection of the Zombies' "greatest hits," I recommend the Audio Fidelity hybrid SACD. If one wishes to delve further, dive head first into the Zombie Heaven box set, lovingly compiled by expert Alec Palao. This 4 CD set contains every single, LP track, BBC performance and studio outtake available. It's love at first listen!

Colin Blunstone and Rod Argent have reunited in recent years, touring and performing together again. This past year, they performed Odessey and Oracle in it's entirety to enthusiastic crowds and have released a live CD from the tour.

(References: Zombie Heaven by Alec Palao; The Fab British Rock'N'Roll Invasion of 1964 by Dave McAleer)

KRLA BEAT!

2008-10-13T09:32:00.000-07:00

For something a bit different this week, I bring you scans from a lovely volume compiling all the 1965 issues of BEAT, the newspaper of L.A.'s (then) fab radio station, KRLA. These articles and photos immediately transport the reader back to the first wave of the British Invasion, and allows us all to envision what it must have been like for teenagers living in a major U.S. city during that time. All the British acts' tours certainly had L.A. on their itineraries!

Click on the scans to enlarge them if you wish to read the articles. Enjoy!

The Jangle Sound, "Preflyte"

2008-10-04T16:30:00.000-07:00

The Searchers, one of Liverpool's finest groups, are noted for their impeccable harmonies, jangling guitar sounds (a major influence on the Byrds), and grasp of various musical styles. They were the fourth Merseyside band to find national success, but the first outside of Brian Epstein's stable of bands. In fact, Epstein's most famous act, the Beatles, often cited the Searchers as one of their favorite bands.

John McNally (rhythm guitarist) formed the Searchers in 1960, taking the name from the John Wayne Western playing in theatres at that time. McNally's school friends joined in: Chris Curtis on drums and Mike Pender on lead guitar. Bass and lead vocalist duties were taken on by a slightly older, well-known Liverpool personality, Tony Jackson. They quickly found residency at the Iron Door Club, eventually serving as a backing group for Johnny Sandon before the usual grueling stint at Hamburg's Star Club. Upon return from Hamburg, the Searchers were discovered by Pye's recording manager, Tony Hatch. Their first single, a distinctive treatment of the Drifter's "Sweets for My Sweet," shot to number one in the UK charts. Hatch composed a similar follow up single entitled "Sugar and Spice," which reached number two.

Nineteen Sixty-Four began as a banner year for the Searchers. Their recording of the Jack Nitzsche/Sonny Bono penned "Needles and Pins," which had been a stateside hit for songstress Jackie DeShannon, became the biggest hit of their career, selling over a million copies. The interesting and influential jangling guitar effects in this song were not achieved on a 12 string; in fact, the song features two overdubbed six string guitars. The Searchers did not use a 12 string until they recorded the single "When You Walk in the Room," which was released in Sept. 1964. Shortly after the success of "Needles and Pins," Tony Jackson acrimoniously parted ways with the group. Sadly, this amazing vocalist did not achieve the recognition he deserved. For more in depth information about the Searchers, please check out Merseybeat expert Spencer Leigh's homepage.

If one is looking for an excellent Searchers CD compilation, I recommend Audio Fidelity's hybrid SACD entitled The Searchers: A Collection (mastered by Steve Hoffman). For a more comprehensive collection, the 3 CD set The Searchers 30th Anniversary Collection on Sequel Records covers the singles, select LP and EP cuts, and rarities. I find both collections to be essential. (The above video clip of "Don't Throw Your Love Away" is from Big Beat '64: the NME Pollwinnners Concert.)

(References: Record Collector article by Peter Doggett, British Beat by May and Phillips, liner notes to the Searchers Collection, various other RC and Goldmine articles I've read.)

Happenings 40 Years Time Ago

2008-09-20T12:01:00.000-07:00

I find it disheartening that most regard the Yardbirds as merely a catalyst for three of the world's most revered guitar heroes--they could claim Eric Clapton, Jeff Beck and Jimmy Page among their ranks--when in fact, they were one of the most innovative bands of their era. Even a cursory listen to their catalog reveals how they evolved, incorporating various musical styles (not just the blues) into their original songs. My favorite of their albums is Roger the Engineer, featuring Jeff Beck on lead guitar, followed closely by the oft-maligned psychedelic Little Games, where Page first uses the violin bow technique he cribbed from Creation guitarist Eddie Phillips.

The core members of what eventually became the Yardbirds aligned their talents together in May of 1963 as the MBQ: Keith Relf - vocals, harmonica; Chris Dreja - rhythm guitar; Tony Topham - lead guitar; Paul Samwell-Smith - bass; Jim McCartey - drums. Relf suggested the name change, stating that the term "Yardbird" referred to "hobos who hang around railroad yards." When Topham left the group, future "slowhand" legend Eric Clapton auditioned for the band and played his first gig with them in October of '63. By this time the Yardbirds had already taken over the Rolling Stones' residency at the Crawdaddy Club. The first video clip showcases "Louise," a John Lee Hooker classic, during a Summer of '64 appearance on a German television. Notice fresh-faced 19 year-old Clapton on lead guitar!

Clapton became increasingly discouraged with the band as they moved into more commercial territory and further away from traditional blues. He performed on their debut, the incendiary Five Live Yardbirds (one of the greatest live albums ever) but left soon after recording the Graham Gouldman ("Bus Stop," "No Milk Today") penned "For Your Love." (Gouldman also wrote "Heart Full of Soul; he was later a member of 10cc with former Mindbender Eric Stewart, Kevin Godley, and Lol Creme.) Session musician Jimmy Page was approached to join the Yardbirds; he declined, and the spot was filled by Jeff Beck. Later, when Samwell-Smith left the band, Jimmy Page joined as rhythm guitarist and eventually took over lead duties after Beck's departure.

As Relf and McCarty embraced psychedelia, a schism developed within the band. Eventually Jimmy Page was the only member left in the Yardbirds, so he recruited new members Robert Plant, John Paul Jones and John Bonham. They played some gigs under the Yardbirds' moniker, but threat of legal action by Chris Dreja forced a name change. In reference to Keith Moon's quip that their music would "go over like a lead balloon," the group was newly christened "Led Zeppelin."

(References: Blues-Rock Explosion, edited by McStravic and Roos, with contributions by Jeff Watt; Ugly Things issue #20 2002; British Beat by May and Phillips)

Kinky Boot Beasts

2008-09-13T17:59:00.000-07:00

Honestly, I can't say enough about the Kinks. They're my second favorite band, eclipsing both the Rolling Stones and the Who in my personal pantheon of British greats. Ray Davies pure English sensibilities, his poetry, and his unique social perspective are what elevate them to these realms--qualities evident from the start of their recording career, but more prominent in this legendary string of albums: Face to Face, Something Else by the Kinks, The Kinks are the Village Green Preservation Society (my personal favorite), Arthur, or the Decline and Fall of the British Empire, and Lola vs. Powerman and the Moneygoround. Seek these out immediately if you haven't experienced them yet!

The Kinks began life when sixteen year-old Ray Davies and his thirteen year-old brother Dave began playing gigs around their Muswell Hill neighborhood as The Kelly Brothers. As Ray was discovering American blues at art college and playing rhythm guitar and harmonica for the Dave Hunt Band, the younger Davies brother met up with bassist Pete Quaife, forming the Ravens. Eventually Ray joined his brother in the group, as well as pre-Rolling Stones reject Mick Avory on drums. Once signed to Pye records, a name change was in order. Several stories concerning the origin of the monkier circulate; here's Ray's version of events:

"We were sitting in a pub getting a bit drunk one day, feeling disillusioned because we hadn't had much work. This guy came up to us and said we were crazy and ought to be called 'The Kinks.' "

Ray never liked the name but soon noticed it had it's advantages:

"Somebody rang us up one night wanting us to open a show with five other acts. We wanted something short so that it could be as big as possible on the marquee. Kinks was good, as it was only five letters...Maybe it was an unfortunate name but good in a way because it's something that people don't really want."

So the scandalous name took hold, and an equally raw proto-punk Kinks "sound" took shape with their first two hits, "You Really Got Me" (showcased here) and "All Day and All of the Night" (whose anarchic solos were not, I repeat NOT, played by session man and future Zeppelin Jimmy Page).

Sadly, the Kinks role in the British Invasion diminished after their first US tour because they didn't show up for one date and were subsequently banned from returning to the states by the American Federation of Musicians. By the late-Seventies, however, the group were firmly established within the ranks of Stadium Bands and roundly acknowledged as fathers of both the heavy metal and punk genres, strangely enough.

Rumors of a retrospective box set and band reunion have yet to reach fruition. Regardless, the mantra of Kinks Konverts everywhere remains: God Save the Kinks!

(The first scan is of an Italian Pye LP; the second is of a UK EP.)

Reference: The Kinks Kronikles by John Mendelssohn

The Tottenham Beat!

2008-09-07T16:01:00.000-07:00

OK, so they never recorded a consistently solid LP; no matter--their 45s certainly packed a wallop! They were never on the same level as the Beatles, the Rolling Stones, the Kinks, the Animals, the Yardbirds, etc., yet the Dave Clark Five produced some of the finest pop singles of the first wave of the British Invasion. Certainly there was a bit of "love 'em or loathe 'em" then as now; however, their rock creditability was bolstered when punk rockers the Ramones cited them as an influence, even performing "Any Way You Want It" in concert.

A major factor contributing to the DC5's decline in popularity remains that Dave Clark, who owns the masters to all the DC5's recordings, has only allowed a couple of legitimate CD compilations to be released over the years, and these quickly went out of print. So for many years, a person who heard "Because" on the radio and liked it could not walk into his or her local music store and purchase a DC5 CD. Clark has recently allowed an iTunes compilation to be released, coinciding with their Rock & Roll Hall of Fame induction, but as of this writing, the promised CD counterpart has yet to see the light of day. It's actually quite sad that the DC5's music--some of the best of British beat--has yet to be discovered by younger generations because of its lack of availability on the most popular format of the past 20 years.

The DC5's recent induction into the Rock & Roll Hall of Fame was a bittersweet occasion; vocalist/organist Mike Smith had passed away only days before, and saxophonist Dennis Payton also did not live to witness this auspicious event. Oscar winning actor Tom Hanks' enthusiastic, heart-felt introduction speech drove home the importance of the DC5's music and it's impact on the American youth in 1964. Drummer, leader, and producer Dave Clark and guitarist Lenny Davidson spoke, and Joan Jett performed a raucous cover of "Bits and Pieces."

This clip of "Glad All Over" (a staple of the Invaders' show, and the first song to unseat the Beatles' "I Want to Hold Your Hand" from the top of the charts) was taken from a 1964 episode of the famed UK music show, Ready Steady Go! The scan is of an advert taken from the back of an original 1966 DC5 tour book (thanks, Jeff!). Click to enlarge, and check out the egregious mistake by the good folks at Vox...

De Rigueur, Baby

2008-08-29T19:28:00.000-07:00

This footage of The Animals miming their number one hit "The House of the Rising Sun" was taken from the 1965 music review film entitled Pop Gear (aka Go-Go Mania), hosted by beloved DJ and British television personality Jimmy Savile.

Pop Gear showcased the following British acts:

Pre-credits: She Loves You – The Beatles (from Pathe newsreel footage of their Nov. 20, 1963, Manchester concert)
Little Children - Billy J. Kramer and the Dakotas
Make Him Mine - Susan Maughan
Juliet - The Four Pennies
The House of the Rising Sun - The Animals
A Little Loving - The Fourmost
He's in Town - The Rockin’ Berries
Have I the Right - The Honeycombs
Rinky Dink - Sounds Incorporated
World Without Love - Peter and Gordon
Walk Away - Matt Monroe
I'm Into Something Good - Herman's Hermits
Tommy Quickly and the Reno Four - Humpty Dumpty
Watcha Gonna Do - Billie Davis
My Babe - The Spencer Davis Group
Tobacco Road - The Nashville Teens
What In The World's Come Over You - The Rockin' Berries
For Mama - Matt Monroe
Black Girl - The Four Pennies
William Tell - Sounds Incorporated
Google Eyes - The Nashville Teens
Eyes - The Honeycombs
Don't Let Me Be Misunderstood - The Animals
Pop Gear - Matt Monroe
Closing credits: Twist And Shout – The Beatles

(Artists and songs gathered from Wikipedia)
The Animals, the Nashville Teens, and the Spencer Davis Group distinctively stand out from the other acts featured on Pop Gear because of their blues/folk influences, standing in sharp contrast to the pop sounds of the other acts. (Stay tuned for a feature on many of these bands in a forthcoming entries.)

The Animals began life as the Alan Price Combo in their rough hometown of Newcastle, a background that certainly helped infuse their r&b sound with a tough, authentic quality. The band consisted of Hilton Valentine on lead guitar, Alan Price on organ, Chas Chandler on bass and John Steel on drums. When the soulful, outrageous Eric Burdon joined as lead vocalist in 1962, the band became known as "The Animals" because of their wild stage act. When famed London record producer Mickie Most discovered them in 1963, the Animals were quickly signed to Columbia records and began recording their first single, "Baby Let Me Take You Home," a toned-down version of a song that had appeared on Bob Dylan's first Columbia album. However, it was their second single, an old folk ballad which was also recorded by Dylan, that propelled the Animals to the top of the UK and US singles charts: "The House of the Rising Sun." This raw, mournful track about a New Orleans brothel perfectly suited the Animals' style and showcased Burdon's wailing vocals. It is undoubtedly one of the major songs of the British Invasion period. The hits continued for the Animals until 1966, when the soul of Burdon was psychedelicized and the rifts between band members could not be mended. Burdon emerged with a New Animals in 1967, and later joined WAR, where he continued to find chart success. Chas Chandler became a respected producer and manager, who most notably discovered Jimi Hendrix.

One of my favorite Animals' recordings is a live show with blues legend Sonny Boy Williamson, recorded December 30, 1963. The Fuel label released this on CD in 2000 under the title The Animals: Taken Alive! Check it out for a glimpse into their crazed, energetic live shows!

(References: British Beat by Chris May and Tim Phillips, Tapestry of Delights by Vernon Joynson, and Way Beyond Compare by John C. Winn. My scan of The Animals Is Here EP from the liner notes to The Animals: A's, B's and EP's.)

Hollywood Squares

2008-08-24T11:28:00.000-07:00

The Rolling Stones' first television appearance in America was an unpleasant event for them, unfortunately. They were booked to record 3 songs at ABC studios for Dean Martin's old-fashioned variety show, The Hollywood Palace. The Stones immediately noticed a "strange atmosphere" on the set. According to Bill Wyman, "We were treated more like a comedy act than a band....Dean Martin, who appeared to be drunk throughout the show, persistently tried to get cheap laughs at our expense. 'Their hair isn't long, it's just smaller foreheads and higher eyebrows'" (Wyman 124).

The Stones' US Tour manager, Bob Bonis recalls, "Dean Martin was a little out of it and made an awful lot of fun of the band. The producer gave them money to go out and buy themselves uniforms. We said, 'They don't wear uniforms.' Dean Martin and I got into an argument, and Keith was about to pop him one with his guitars" (124). This sort of treatment was not atypical while they were visiting in June of '64--the band received quite a bit of contempt from many adults, including police officers, interspersed with the adoration of screaming girls.

At least on this first visit to the US, the Stones were afforded the opportunity to record at the legendary Chess Studios in Chicago--certainly hallowed ground for these English lads--and meet heroes such as Muddy Waters, Chuck Berry, Buddy Guy and Willie Dixon!
(Reference: Rolling With The Stones by Bill Wyman)

And Here I'll Stay...

2008-08-20T18:02:00.000-07:00

Here are two clips of Mersey Beat legends Gerry and the Pacemakers--the first band to achieve the feat of having their first 3 singles skyrocket to the number one position in the UK charts: "How Do You Do It," "I Like It," and the Rogers and Hammerstein standard, "You'll Never Walk Alone," featured in the second clip. Their fourth single stalled at number 2, kept out of the top position by the Searchers' version of "Needles and Pins." In the US it seems Gerry and the Pacemakers are most remembered for "Ferry Cross The Mersey" and "Don't Let the Sun Catch You Crying."

Gerry and the Pacemakers began as a 3 piece skiffle band with the copyright-infringing moniker "The Mars Bars." (They were sued by the candy company!) By 1960, Gerry Marsden (guitar, vocals), Les Chadwick (bass) and Freddie Marsden (drums) were performing as Gerry and the Pacemakers, opening for Gene Vincent in Liverpool and heading for a residency at Hamburg's infamous Top Ten Club. Soon the band had pilfered pianist/saxophonist Les Maguire from another Merseyside act, the Undertakers. By January of 1962, the Beatles' impresario, Brian Epstein, had taken notice of their immense popularity and became their manager. (Notice Gerry's response to a question about Mr. Epstein in the first clip!)

"You Never Walk Alone," although voted a "miss" on Juke Box Jury, soon became the anthem of the Liverpool Football Club at Anfield. Marsden recalls, "They played it at the game about six times and then they all started singing it and it's carried on, which is great. The first time I was there when they sang it, I went all goose-pimply. I still do" (Leigh 151). In 1989 when 96 Liverpool FC supporters died in a tragic human crush at Hillsborough stadium in Sheffield, Marsden, Paul McCartney, and other Liverpool musicians recorded a new version of the song, donating all proceeds to the families of the victims.

Gerry and the Pacemakers were unable to transition to the new sounds emerging in the mid to late Sixties, and thus they disbanded in October of 1966. I am particularly fond of their second to last single, "Girl on a Swing" which didn't chart on either side of the Atlantic; a shame, actually. You can find it on volume 7 of Rhino's essential nine volume British Invasion: History of British Rock set.

(The first clip was encoded by me from my copy of Sounds of the Sixties, and the second was found on YouTube by Invader bassist Alan Manning.)

(References: Let's Go Down The Cavern by Spencer Leigh and Pete Frame; Tapestry of Delights by Vernon Joynson; Wikipedia)

The First Glimpse: January 3, 1964

2008-08-14T15:37:00.000-07:00

The Jack Paar Program

Contrary to popular belief, the Beatles' February 9, 1964, live appearance on The Ed Sullivan Show was not America's first glimpse of John, Paul, George, and Ringo in action on an entertainment show. On January 3rd, a taped performance of the Beatles was aired on The Jack Paar Program. Paar used this footage as an opportunity to mock the Beatles' success in England, especially the frenzied audiences' reactions. (Prior to this, the Beatles had been featured on CBS Evening News with Walker Cronkite.)

Apparently, Beatles manager Brian Epstein was furious that the BBC had sold this footage to a rival of Sullivan's, since Epstein had assured Sullivan exclusive rights to the Beatles' first televised US appearance. Epstein even threatened to cancel the Beatles' future BBC radio shows, and Sullivan hastily phoned London in an attempt to cancel the Beatles' performances on his show! Thankfully, Sullivan calmed down; imagine what it would have been like if the Beatles were never on The Ed Sullivan Show...I shudder to think!
(Reference: The Beatles Are Coming! by Bruce Spizer, p. 88)