Flo And Eddie - The Phlorescent Leech And Eddie / Flo And Eddie (1972-74 us, fascinating varied rock expressions, 2008 double disc remaster)

 

Of all the Mothers of Invention (MOI) alumnae, the Phlorescent Leech (aka Flo) and Eddie remain one of the most musically consistent. Part of the reason could be traced back to Mark Volman (Flo) (vocals/guitar) and Howard Kaylan (Eddie) (vocals) having achieved significant success as the lead vocalists behind '60s folk-rockers the Turtles prior to hooking up with Frank Zappa in 1970. Although rarely mentioned, one-time Leaves' member and longtime Turtles' bassist Jim Pons was also recruited to be a Mother of Invention, where he, Volman, and Kaylan remained until the band was unceremoniously dissolved when Zappa was pushed off stage by unstable audience member Trevor Howell. Zappa landed ten feet below onto a concrete orchestra pit on December 10,, 1971 at the Rainbow Theatre in London. 

The incident effectively put Zappa out of commission, leaving the Mothers to find work elsewhere. In fairly short order, Volman and Kaylan were signed to Reprise Records as Flo & Eddie where they resurfaced with the excellent, self-titled Phlorescent Leech & Eddie (1972). Their second and final Reprise album -- titled Flo & Eddie (1974) -- was ostensibly created so that the duo would have product to push during their high profile opening slot on Alice Cooper's (then) big-budget Billion Dollar Babies (1974) tour. Primary components of the Cooper production team -- including producer Bob Ezrin, engineers Shelly Yakus and Jack Douglas, as well as Cooper's masterful design and concept team at Pacific Eye & Ear -- collectively updated Flo & Eddie's sound and image. 

While the results did yield a slicker and less organic product, it is actually what Volman and Kaylan bring to the festivities that arguably makes Flo & Eddie (1973) the better of the two endeavors. At the heart and soul of Flo & Eddie is their vocal blend -- which they can (and occasionally do) turn into a full-blown choir, thanks to a few vocal overdub passes. The hearty syncopated rocker "If We Only Had the Time" provides a great example of this technique. The Kinks' "Days" is the first of several superbly chosen covers. Simply stated, Kaylan and Volman effortlessly embody the song's profound sense of loss and wistful nostalgia as if the tune had been penned for them. The jaunty "You're a Lady" hearkens back to the memorably quirky melodies and catchy choruses that defined the Turtles at their best -- a la "She's My Girl" and "You Showed Me". "The Original Soundtrack from 'Carlos and De Bull'" is an odd tale of a matador that recalls Flo & Eddie's dramatic ventures in 200 Motels, and the brilliant saga of "Billy the Mountain" from their Zappa days. Another grand slam remake follows as they upgrade the Small Faces' "Afterglow" with a slightly metallic tinge -- no doubt thanks to Ezrin's handiwork. Fellow '60s survivor and Reprise recording artist John B. Sebastian lends his dulcet tones to a modern doo wop update of the Ronettes' "Best Part of Breaking Up" that is driven by the same type of hard-hitting rhythm that accompanied Gary Glitter's "Rock and Roll (Part One)". 

A final dip back into their MOI tenure as the "Sanzini Brothers" -- better known as Aldolph, Rip-Off, Rudolph, and Jack -- are heard performing the "horrible sodomy trick". The opening of "Another Pop Star's Life" is clearly inspired by Roger Daltery's blood-curdling wail at the climax of the Who's "Won't Get Fooled Again". The tale of excess and debauchery was later revealed to have been an observation on the lifestyle of Marc Bolan from T Rex. The acoustic "Just Another Town" may well have its subject matter rooted in the 200 Motels motif of "touring can make you go crazy" as they depict a substance-less nomadic existence. The Kaylan-penned seven-plus-minute "Marmendy Mill" is a pastoral epic featuring orchestration by Alan MacMillian -- whose other notable Ezrin productions include Lou Reed's Berlin (1973) and Alice Cooper' sWelcome to My Nightmare (1975). The youthful ode to the freedom and innocence of childhood perfectly caps what is -- by most accounts -- the best of what Flo & Eddie are all about.

by Lindsay Planer

Tracks

Disc 1

1. Flo And Eddie Theme - 0:58

2. Thoughts Have Turned - 3:06

3. It Never Happened - 2:05

4. Burn The House - 3:15

5. Lady Blue - 3:30

6. Strange Girl - 3:16

7. Who But I - 4:22

8. I Been Born Again - 3:46

9. Goodbye Surprise (Gary Bonner, Alan Gordon) - 2:54

10.Nikki Hoi (Howard Kaylan, Mark Volman, Jeff Simmons) - 1:58

11.Really Love - 3:23

12.Feel Older Now - 4:24

13.There You Sit Lonely - 3:36

All songs by Howard Kaylan, Mark Volman except where stated

Disc 2

1. If We Only Had The Time - 4:20

2. Days (Ray Davies) - 3:15

3. You're A Lady (Peter Starsdadt) - 2:41

4. Carlos And The Bull (Barnaby Conrad, Howard Kaylan, Mark Volman) - 3:45

5. Afterglow (Ronnie Lane, Steve Marriott) - 3:24

6. Best Part Of Breaking Up (Pete Andreoli, Phil Spector, Vince Poncia) - 2:27

7. The Sanzini Brothers (Howard Kaylan, Ian Underwood, Mark Volman) - 2:52

8. Another Pop Star's Life - 3:43

9. Just Another Town - 3:28

10. Marmendy Mill (Howard Kaylan, Mark Volman, Dick Wagner, Bob Ezrin) - 7:07

Tracks 1,8,9 written by Howard Kaylan, Mark Volman

Personnel

*Howard Kaylan - Vocals

*Mark Volman - Vocals and Guitar

*Aynsley Dunbar - Drums

*Gary Rowles - Lead Guitar

*Jim Pons - Bass

*Don Preston - Keyboards (Disc 1)

*Barry Keene - Narrator on Nikki Hoi (Disc 1)

*John Herren - Keyboards (Disc 2)

*Steve Madaio - Trumpet (Disc 2, Track 3)

*Steve Hunter - Guitar (Disc 2, Tracks 1,5,8)

*Bob Ezrin - Piano (Disc 2, Tracks 5,7)

*John Sebastian - Vocals (Disc 2, Track 6)

Related Act

1965-70  The Turtles - Solid Zinc The Turtles Anthology (2002 double disc release)   

 

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The Turtles - Solid Zinc The Turtles Anthology (1965-70 us, magnificent folk sunny psych, 2002 double disc release)

For anyone who wants to get more Turtles than a greatest-hits collection offers, yet isn't interested in getting everything the Turtles did, this 51-song, two-CD compilation is the ticket. Mind you, most average '60s rock fans will still be more than satisfied by the average greatest-hits collection, as the band's familiar hits were truly the best things they did. If you want to fill in the gaps with lesser-known (and sometimes downright flop) singles and relatively seldom-heard LP tracks, this does so well. However, though the Turtles were more adventurous than much of their AM radio competition, those lesser-known efforts are pretty erratic and often not that interesting, which might disappoint those wondering if this set could lead to a serious re-evaluation of the group's importance. 

On the plus side, on disc one there are some good, and not great, solid folk-rock obscurities, like their cover of P.F. Sloan's "I Get out of Breath"; the little-known, very early Warren Zevon songs "Outside Chance" and "Like the Seasons"; the almost early Kinks-like "Almost There"; and the spooky pop/rock of "She'll Come Back." On the minus side, much of the non-hit material on both discs is well-crafted pop/rock without the hooks of the hits and without the inspiration of greater bands like the Beatles, the Kinks (the cover of Judee Sill's "Lady-O" sounds rather like a blend of early solo Paul McCartney and turn-of-the-decade Ray Davies), and the Byrds, though it's apparent they were trying to reach those heights with their more sophisticated and/or stranger tracks. Just two cuts were previously unreleased, neither of them special: demos of "Marmeny Mill," later done by Flo & Eddie, and "How You Loved Me" (re-recorded for Turtle Soup), in which the Ray Davies influence was especially strong. As a minor criticism of a very well-assembled package, it would have been good if one or two items from the surf band the Turtles evolved from (the Crossfires) had been included at the expense of some of the more dispensable selections, like their cover of Kenny Dino's "Your Maw Said You Cried." 

by Richie Unterberger

Tracks

Disc 1

1. It Ain't Me Babe (Bob Dylan) - 2:14

2. Almost There - 2:16

3. Let Me Be (P.F. Sloan) - 2:24

4. Wanderin' Kind - 2:08

5. Your Maw Said You Cried (Robert Glazer, Steve Schloks) - 1:44

6. Glitter And Gold (Barry Mann, Cynthia Weil) - 2:09

7. It Was A Very Good Year (Ervin Drake) - 1:57

8. Let The Cold Winds Blow - 2:20

9. Eve Of Destruction (P.F. Sloan) - 2:45

10.Flyin' High (Al Nichol) - 1:47

11.You Baby - 2:19

12.I Know That You'll Be There - 2:16 

13.Just A Room (Artie Kornfeld, Steve Duboff) - 2:31

14.She'll Come Back (Howard Kaylan, Nita Garfield) - 2:40

15.Tie Me Down (David Gates) - 2:04

16.I Can't Stop (Dennis Lambert) - 2:08

17.I Get Out Of Breath - 3:16

18.So Goes Love (Gerry Goffin, Carole King) - 2:39

19.Grim Reaper Of Love (Al Nichol, Chuck Portz) - 2:25

20.Is It Any Wonder? - 2:34

21.Like The Seasons (Warren Zevon) - 1:54

22.We'll Meet Again (Hugh Charles, Ross Parker) - 2:01

23.Outside Chance (Glenn Crocker, Warren Zevon) - 2:09

24.Makin' My Mind Up (Gary Montgomery, Ray Roberts) - 2:41 

25.Can I Get To Know You Better - 2:37

Tracks 2,4,8 written by Howard Kaylan

Tracks 11,12,17,20,25 written by P.F. Sloan, Steve Barri

Disc 2

1. Happy Together - 2:54

2. Too Young To Be One (Eric Eisner) - 2:00

3. Me About You - 2:32

4. She'd Rather Be With Me - 2:21

5. Guide For The Married Man (John Williams, Leslie Bricusse) - 2:44

6. You Know What I Mean - 2:01

7. She's My Girl - 2:35

8. Cat In The Window - 1:39

9. Sound Asleep (Mark Volman) - 2:47

10.The Last Thing I Remember (The First Thing I Knew) (Mark Volman) - 3:32

11.The Story Of Rock And Roll (Harry Nilsson) - 2:48

12.The Battle Of The Bands (Harry Nilsson, Chip Douglas) - 2:16

13.Elenore (Howard Kaylan, Al Nichol, Jim Pons, John Barbata) - 2:31 

14.You Showed Me (Gene Clark, Roger McGuinn) - 3:13

15.Surfer Dan (Howard Kaylan, Al Nichol, Jim Pons, John Barbata) - 2:41

16.Earth Anthem (Bill Martin) - 3:57

17.Somewhere Friday Nite (Howard Kaylan, Al Nichol, Jim Pons, John Seiter) - 3:23

18.Marmendy Mill  - 3:15

19.How You Loved Me (Howard Kaylan, Al Nichol, Jim Pons, John Seiter) - 3:43

20.House On The Hill (Howard Kaylan, Al Nichol, Jim Pons, John Seiter) - 3:00

21.You Don't Have To Walk In The Rain (Howard Kaylan, Al Nichol, Jim Pons, John Seiter) - 2:45

22.Love In The City (Howard Kaylan, Al Nichol, Jim Pons, John Seiter) - 3:43

23.There You Sit Lonely - 3:43

24.Goodbye Surprise - 2:57

25.We Ain't Gonna Party No More - 4:58

26.Lady-O (Judee Sill) - 2:53

Tracks 1,3,4,6,7,8,24 written by Alan Gordon, Garry Bonner

Tracks 9,10,23, 25 written by Howard Kaylan

The Turtles

*Howard Kaylan - Guitar, Keyboards, Organ, Percussion, Vocals

*Mark Volman - Harmonium, Percussion, Special Effects, Tambourine, Vocals

*Al Nichol - Lead Guitar, Keyboards, Vocals

*Jim Tucker - Rhythm Guitar (1965-67)

*Chuck Portz - Bass (1965-66)

*Don Murray - Drums (1965-66)

*Joel Larson - Drums (1966)

*Chip Douglas - Bass, Horn Arrangements, Keyboards, Pump Organ (1966-67)

*John Barbata - Drums, Percussion, Vocals (1966-69)

*Jim Pons - Bass, Guitar, Vocals (1967-70)

*John Seiter - Drums, Piano, Vocals (1969-70)

With

*Alan Robinson - French Horn

*Allan Harshman - Viola

*Amy Utstein Project Assistant

*Art Pepper - Alto Sax

*Bill Holman - Horn Arrangements, Tenor Sax

*Bill Perkins - Tenor Sax

*Bob Edmondson - Trombone

*Bob Jenkins - Bongos, Congas

*Bobby Bruce - Violin

*Bobby Knight - Trombone

*Bones Howe - Percussion

*Bonnie Douglas - Violin

*Bud Brisbois - Horn Arrangements, String Arrangements, Trumpet

*Charlie Shoemake Vibraphone

*Darrel Terwilliger - Viola

*David Duke - French Horn

*Dick Hyde - Trombone

*Don Randi - Piano

*Donald Peake - Horn Arrangements

*Douglas Davis - Cello

*Dwight Tunji Trio-  Percussion, Special Effects

*Francis Fitzpatrick - Trumpet

*Freddie Hill - Trumpet

*Gareth "Garry" Nuttycombe - Viola

*George Hyde - French Horn

*George Poole - Violin

*Hal Blaine - Drums

*Harry Nilsson - Piano

*Henry Sigismonti - French Horn

*Irving Lipschultz - Cello

*Isadore Roman - Violin

*Jack Nitzsche - Orchestral Arrangements

*Jerry Yester - Organ, Piano, String Arrangements

*Jesse Ehrlich - Cello

*Jim Horn - Saxophone

*John Audino - Trumpet

*John DeVoogdt - Violin

*John Santulis - Violin

*John Thomas Johnson - Tuba

*Joseph Saxon - Cello

*Judee Sill - Acoustic Guitar 

*Jules Chaikin - Trumpet

*Larry Knechtel - Bass, Piano

*Lee Lasseff - Percussion, Special Effects

*Leigh Hall - A&R

*Leonard Malarsky - Violin

*Lew McCreary - Trombone

*Lou Blackburn - Trombone

*Lynn Blessing - Vibraphone

*Manny Klein Trumpet

*Michel Rubini - Keyboards

*Nick Pisani - Violin

*Norman Botnick - Viola

*Ollie Mitchell - Trumpet

*Paul Beaver-  Moog Synthesizer

*Paul Shure - Violin

*Plas Johnson - Saxophone

*Ray Kelley - Cello

*Ray Pohlman - Horn Arrangements, String Arrangements

*Ray Triscari - Trumpet

*Richard Leith - Trombone

*Roy Caton - Horn Arrangements, String Arrangements, Trumpet

*Sidney Miller - Bassoon

*Thomas Shepard - Trombone

*Tibor Zelig - Violin

*Tom Scott - Saxophone

*Tony Terran - Horn Arrangements, String Arrangements

*Warren Zevon - Guitar

*Wilbert Nuttycombe - Violin

*William Hinshaw - French Horn

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The Flowerz - Flyte (1967-68 us, nice garage beat)

What you're holding is nothing less than a remarkable historical document. Coming off a number two record in Reading, PA ("I Need Love Now"), the group was booked to play a WXAC record hop on February 16, 1968. For the event, engineer Clay Barclay masterminded a novel idea. Prior to the show, the Flowerz spent one long, 18-hour day at Barclay's Shillington recording facility. There they printed to tape high-octane versions of highlights from their live set.

During the performance, not only was Flowerz' on-stage sound amplified, but the musicians played [mostly] in sync with the pre-recorded tape which was also pumped out through the PA system. Barclay's rationale was that this ingenious concept would result in twice the energy and excitement. And from all reports, it succeeded big time!

Despite a few technical issues (like the band not always recalling what the next cued track on the tape was), the Flowerz plowed through song after song with confidence. Between cuts, the school's own disc jockeys emceed the event. Fortunately, most of their entertaining dialogue was captured for posterity.

On this CD are those pre-recorded studio tracks (the composite live sound wasn't recorded) along with the playful on-stage banter. For anyone who wishes to relive an authentic '60s teen dance, this artifact is the Holy Grail.

With talent, tight musicianship and team spirit on their side, the mighty Flowerz run circles around your prototypical teenage rock and roll combo. Aside from their way cool originals, the band lashes out rippin' versions of the rock hits of the day (a prerequisite of bands from that era). As you'll hear for yourself, many of these remakes give the "hits" a run for their money. Sure, the Flowerz were fertilized by a hearty appetite of Stones, Animals, and Byrds records-but managed to blossom with their own patented kick-butt sound.

Prejudice aside (yes, I run the label), singer Jeff Stout is unquestionably in the same league as top shelf '60s punkmeisters that include the Chocolate Watch Band's Dave Aguilar and the Electras' Tim Elfving (lest we forget Starlite and Barclay recording artist Steve Musser, who not only is known to '60s aficionados for his snarling vocal on the apocalyptic "I Can't See You," but also produced both Flowerz killer singles).

Musically speaking, these 22 Flowerz tracks (most of which have never been circulated) are as exciting as the genre gets. The band's chemistry adds up to something really special. Mike Leece and Barry Tucci's harmonious guitar counterpoint, Larry Skillman's grounded bass lines, Bill Sheffer's atmospheric organ parts and Jim Leinbach's rock solid drumming all add up to one heck of a great band. By nudging the established song tempos into overdrive (their secret weapon), you have the formula for a '60s garage-a-holic's wet dream.

Roll over Mick Jagger. Eat your heart out Eric Burdon. I hear the Flowerz are coming up strong and looking for a fight. Or was that Flyte...

by Erik Lindgren, February, 1998

Tracks

1. I Need Love Now (Mike Leece, Steve Musser) - 2:53

2. Talkin' About Love (Barry Tucci)  - 2:43

3. Flyte (Barry Tucci, Steve Musser) - 2:17

4. Ups And Downs (Mark Lindsay, Terry Melcher) - 2:13

5. Hey Joe (Billy Roberts) - 2:40

6. Under My Thumb (Keith Richards, Mick Jagger) - 2:24

7. It's My Life (Carl D'Errico, Roger Atkins) - 2:51

8. Come On Down To My Boat (Jerry Goldstein, Wes Farrell) - 2:16

9. Let's Spend The Night Together (Keith Richards, Mick Jagger) - 3:15

10.Heart Of Stone (Keith Richards, Mick Jagger) - 3:12

11.Gimme Some Lovin' (Muff Winwood, Spencer Davis, Steve Winwood) - 2:44

12.Bend Me Shape Me (Larry Weiss, Scott English) - 2:19

13.Light My Fire (Jim Morrison, John Densmore, Ray Manzarek, Robby Krieger) - 2:29

14.Wonderland By Night (Klaus Günter Neumann, Lincoln Chase) - 3:32

15.My Sad Story (Barry Tucci) - 2:08

16.All Day And All Of The Night (Ray Davies) - 2:13

17.Do You Believe In Magic (John Sebastian) - 1:58

18.Rumble (Fred Lincoln Wray, Sr., Milton Grant) - 2:47

19.He Was A Friend Of Mine (Roger McGuinn) - 2:10

20.Little Latin Lupe Lu (Bill Medley) - 2:41

21.WXAC Concert Report - 1:32

22.Saturday Morning (Barry Tucci) - 2:30

The Flowerz

*Barry Tucci - Guitar, Vocals

*Bill Sheffer - Keyboards, Vocals

*Jeff Stout - Percussion, Vocals

*Jim Leinbach - Drums, Vocals

*Larry Skillman - Bass, Vocals

*Mike Leece - Guitar, Vocals

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Canned Heat - The Ties That Bind (1970-74 us, awesome blues rock, 2021 remaster)

Boogie-woogie blues rockers Canned Heat serve up a gyrating platter of previously-unleashed material, all recorded during three separate studio sessions. The album’s final three cuts (“Reefer Blues”, “You Tease Me” and “Something’s Gotta Go”) are the final recorded output from Heat founder/guitarist Alan Wilson, who committed suicide a few weeks after these studio sessions were made.

The album kicks off with the good-time party ambience of “Saturday Night Fish Fry”. Track four, “Drunk”, is a reeling ‘n’ rocking slab of slide guitar magic. Then there’s the rhythm and blues grinder, “Harry’s Open Pit and Bar B Que”.

Canned Heat fell by the wayside in the ’70s with the advent of disco and punk rock, but while those musical stylings have a tendency to come off as cliche and dated today, the Heat’s blistering rhythm and blues still sounds as fresh and new as the day it was canned.

by Yvette Cadeaux 

The previously unreleased Atlantic Records session from 1974. Negotiated out of their UA contract, Canned Heat moved to Atlantic where notable blues enthusiasts the Ertegun Brothers were persuaded to give the band another chance. The tapes were released back to the band after the label lost interest due to the impending disco craze, and the infamous Lester Bang’s eloquent 1973 Rolling Stone thrashing of “The New Age.” LP. Fito de la Parra released the album in 1997. 

An excellent boogie-blues record in a time that didn’t understand the music, The two unreleased Alan Wilson Tracks (Get Off My Back, Somethings Gotta Go) also appear on the newly released and available “The Boogie House Tapes Vol. 2”, and are a studio and live track that were some of his last recordings.

by Brett Lemke, Maximum Ink, 2004 

Tracks

1. Saturday Night Fish Fry (Ellis Walsh, Louis Jordan) - 2:54

2. 50,000 Boogies (Fito de la Parra) - 4:22

3. I Hear You Knocking (Joseph Delton Miller) - 2:20

4. Drunk (Jimmy Liggins) - 3:36

5. If It Ain't One Thing It's Another (Huey Pierce Smith) - 2:23

6. Harry's Open Pit and Bar B Que (Eugene P.Barnett, Steve David Nemeth) - 2:20

7. I Idolize You (Ike Turner) - 5:59

8. The Beggar  (Fito de la Parra) - 3:29

9. Choking To Death (Jerry Williams Jr., Stanley McKenny) - 3:34

10.Sad Ol' Mountain Sorrow (James Shane) - 4:56

11.Boogie 'n' ues (Fito de la Parra) - 2:49

12.Reefer Blues (Fito de la Parra) - 1:52

13.You Tease Me (Fito de la Parra) - 4:53

14.Something's Gotta Go (Fito de la Parra) - 5:57

Tracks 1-10 recorded 1974 Maiami FL

Track 11 recorded 1977 Santa Monica CA

Tracks 12-14 recorded during a rehearsal Hollywood CA 1970

Canned Heat

*Bob "The Bear" Hite - Lead Vocals, Harmonica 

*Henry "Sunflower" Vestine - Lead Guitar

*Fito de la Parra - Drums, Congas

*James Shane - Bottleneck Guitar, Vocals 

*Ed Beyer - Keyboards

*Harvey Mandel - Lead Guitar (Track 11)

*Richard Hite - Bass

*Chris Morgan - Rhythm Guitar (Track 11)

*Alan "Blind Ow!" Wilson - Guitar, Harmonica (Tracks 12-14)

*Tony de la Barreda - Bass (Tracks 12-14)

1967-73  Canned Heat - The Very Best Of

1968  Canned Heat - Boogie With Canned Heat (2017 Japan SHM)

1968  Canned Heat - Livin The Blues (Akarma edition)
1969  Canned Heat - Hallelujah (remaster and expanded)
1970  Canned Heat - Future Blues (Remaster and Expanded)
1970-73  Memphis Slim Canned Heat Memphis Horns - Memphis Heat
1971  John Lee Hooker And Canned Heat - Hooker 'N' Heat
1971-72  Canned Heat - Historical Figures And Ancient Heads
1973  Canned Heat - One More River To Cross

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Tintern Abbey - Beeside The Complete Recordings (1967-68 uk, astonishing treasures of mod psych frekbeat, 2021 double disc release)

The complete works of UK psychedelic outfit Tintern Abbey, who have developed a cult following over the years due to their 1967 single Beeside/Vacuum Cleaner, brought together in one package. This set contains a wealth of previously-unissued material, with the band’s acetate recordings, demos and studio outtakes being aired for the first time. 

Deram Records DM 164, in commercial terms, wasn’t much of a success for the label. Decca’s progressive off-shoot put Tintern Abbey’s debut, Beeside/Vacuum Cleaner, out in the winter of 1967, with the hope it would prosper in the wake of fashionable psychedelic hits like See Emily Play by Pink Floyd and Procol Harum’s A Whiter Shade of Pale. But despite these favourable conditions and the record being suitably way-out, it unfortunately made virtually zero impact and quickly slid into record shop bargain bins. Though the record was unloved at the time, in fact this was a remarkable outing, even for a psychedelic 7-inch. Lashings of echo and feedback, and a savage guitar break, give Vacuum Cleaner a unique period feel and Beeside phases out in a stunningly chilled way after a serene piano intro.

Given the lack of response the single received, it was no real surprise that not much more was heard from Tintern Abbey. A projected 1968 follow-up on Deram, How Do I Feel Today?/Do What You Must, failed to appear and though there were whispers in the music press of sessions for a TA album release, nothing was forthcoming. The band worked on some new material, but split up in 1969 and that seemed to be that.

Whilst the various band members then got on with other things, Tintern Abbey’s sole single was playing the long game. Over the years, the record has been rediscovered by psychedelic crate diggers as one of the great lost singles of the era and that, in turn, has sparked renewed interest in the band itself. Further material leaked out sparingly, an EP of tracks recorded in 1968 emerging in 2006 and a few demo items creeping out on ‘various artists’ albums, along with Beeside and Vacuum Cleaner becoming mainstays on psych/freakbeat compilations.

But what about the enigmatic band behind the record? The formation of Tintern Abbey began in 1967, when guitarist Don Smith, a member of The Turnkeys, saw David MacTavish playing as part of a forgotten band in an Earl’s Court club. The pair plotted a new venture and when David bumped into Stuart Mackay at the local job centre, they had found their bass player. Mackay, originally part of Yorkshire band The Sect, had stayed on in London when his band broke up and went back home up North. The final part in the jigsaw was drummer John Dalton, again picked out by Smith when taking in another group at the fashionable Cromwellian nightspot. Naming themselves after Wordsworth’s famous poem, Tintern Abbey were born.

After cutting a couple of tunes, Busy Bee (an early version of Beeside) and Black Jack, in July 1967 at the now-famed R.G. Jones Studio in Morden, South London, the band found a backer in wealthy rich kid Nigel Samuel, somewhat of a 1960s mover and shaker. The band found a base in the former headquarters of The International Times in swanky Knightsbridge. Samuel had bankrolled the paper and his influence had the double-edged sword of the band being well-represented and overexposed in its pages.

Tintern Abbey were then sent to a Cornwall cottage by Samuel to focus on their music. “Getting yourself together in the country” wasn’t unheard of for psych bands at the time and this gave the group an opportunity to work on their craft, away from the worries of the world. As it happens, their stay attracted the unwanted attention of the local old bill, who didn’t much care for what they must have thought were a bunch of long-haired layabouts on their manor.

On their return from the sojourn in the South West, Nigel Samuel had got the band a deal on the Deram record label, who had high hopes for them being their first psychedelic stars. Tintern Abbey had worked on developing the song Vacuum Cleaner whilst in Cornwall. It had its roots in another police raid they endured on receipt of the new speakers Samuel had purchased for them and the need to vacuum their abode before another visit from the drugs squad. The song featured on the flipside of Busy Bee, now renamed Beeside, and was inspired by, of all people, veteran comic Arthur Askey. The record flopped, but received some encouraging reviews.

Not all was well with Tintern Abbey and soon a fissure appeared between pill-popper Don Smith and the rest of the band, who in their leisure time were more drawn towards cannabis. The two habits produced diametrical effects, so something had to give and Smith left the band. His replacement was Paul Brett, who had previously played in Arthur Brown’s band. The band selected him after snubbing a certain David Gilmour. Brett didn’t last too long and was replaced himself by Colin Foster, and John Wilson came in on drums for Dalton. This version of the band worked on some new numbers, many of which make up disc two of this set, but called it a day for good early on in 1969.

by Ian Canty, 18 August 2021 

Tracks

Disc 1

1. Beeside (Dave MacTavish) - 3:28

2. Vacuum Cleaner (Dave MacTavish) - 3:06

3. Snowman - 4:03

4. Tanya - 2:59

5. Black Jack - 3:01

6. Bodmin Blow - 3:00

7. My Prayer - 5:24

8. Let The Wind Blow - 4:56

9. Stickleback - 2:51

10.Busy Bee - 3:48

11.Snowman - 4:35

12.Beeside (Dave MacTavish) - 3:17

13.Vacuum Cleaner (Dave MacTavish) - 2:59

14.Do What You Must - 2:40

15.How Do I Feel Today? - 2:12

16.Hookah - 2:54

17.People Can't See - 2:49

18.Naked Song - 2:06

Tracks 3-11 written by Stuart MacKay, John Dalton, Dave MacTavish, Don Smith 

Tracks 14-18 written by Stuart MacKay, Paul Brett, John Dalton, Dave MacTavish

Disc 2

1. Nightfall - 2:48

2. Mrs Daisy - 2:36

3. Blue Pants - 2:53

4. People Can’t See - 3:33

5. How Do I Feel Today? - 2:33

6. Magic Horsemen - 2:49

7. My Zoo - 3:20

8. Dream - 4:18

9. My House - 3:58

10.Life Goes By - 5:37

11.My Prayer (Version 2) - 4:23

12.Raspberry Ripple - 6:27

13.Mrs Daisy - 2:32

14.Reaching For Nothing - 2:57

15.Witchcraft - 3:04

16.Something - 4:23

17.Strange Dame - 3:46

18.Snowman - 5:13

Tracks 7, 13 written by Stuart MacKay, Paul Brett, John Dalton, Dave MacTavish

Tracks 8-10, 12, 14-17 written by Stuart MacKay, Colin Forster, John Dalton, Dave MacTavish

Tracks 11, 18 written by Stuart MacKay, John Dalton, Dave MacTavish, Don Smith 

Tintern Abbey

*Dave MacTavish - Vocals, Rhythm Guitar, Flute

*Stuart MacKay - Bass Guitar, Guitar 

*Don Smith - Guitar  (Disc 1 Tracks 1-13, Disc 2 Track 8)

*John Dalton -  Drums, Guitar, Piano, Mellotron (Disc 1 Track 1, Disc 2 Tracks 5,18)

*Colin Forster - Guitar  (Disc 2 Tracks 8-17)

*John 'Willie' Wilson - Drums (Disc 2 Tracks 6-17)

*Paul Brett - Guitar  (Disc 1 Tracks 14-18, Disc 2 Tracks 1-7)

*Terry Goldberg - Keyboards (Disc 2,Tracks 5-7)

Related Acts
1969  Velvet Opera - Ride A Hustler's Dream 
1970  Paul Brett's Sage - Paul Brett's Sage (2007 japan edition)
1971  Paul Brett's Sage - Jubilation Foundry (2007 Japan remaster)
1972  Paul Brett's Sage - Schizophrenia (2007 Japan remaster)

1972  Paul Brett - Paul Brett (2016 korean remaster)

1970  Cochise - Cochise (2002 edition)  

1970-72  Cochise – Velvet Mountain An Anthology (2013 double disc)  

1972  Cochise - So Far (2002) 

1971  Quiver - Quiver  

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Chris Braun Band - Foreign Lady (1974 germany, dynamic blend of blues jazz and prog rock)

The Chris Braun Band, originally formed in Dortmund in 1970 as a rebranding of The Faces, showcased a dynamic blend of blues rock and progressive styles, drawing early comparisons to bands like Frumpy.

Led by Joachim Bernstein, the group initially gained recognition for their energetic live performances across dance schools and clubs throughout Germany. In 1970, vocalist Chris Braun joined the band, prompting a shift in their sound with the addition of Elmar Krohn on flute. The band’s achievements included a notable finish at the German Beat Festival in Recklinghausen. 

Despite limited commercial success, their recordings, including the acclaimed album ‘Both Sides’ (1972) on BASF, received critical praise for its musical depth and Braun’s distinctive vocal style. Over the years, the band underwent several lineup changes and stylistic shifts, contributing to the evolving landscape of German rock music until their finally dissolution.

Some time after the debut album was released, the band broke up because the drummer joined German armed forces. They experimented with various musicians but didn’t find a promising lineup. Frustrated by this situation, Chris and Joachim decided to completely restructure. That’s when drummer Ralph Bloch, guitarist Bernd Adamkewitz, and pianist Klaus Melcher joined the Chris Braun Band. They were seasoned musicians with extensive experience in different music genres and were eager to pursue more sophisticated compositions and performances with the band. 

This led to a completely new, musically challenging repertoire, which, however, faced its limitations during live performances. The Chris Braun Band existed from 1970 to 1977, after which all the musicians went their separate ways.

by Klemen Breznikar, June 17, 2024

Tracks

1. Nobody But You (Pauer, Bernd Adamkewitz, Chris Braun) - 4:28

2. Foreign Lady (Bernd Adamkewitz, Chris Braun) - 7:33

3. Times Growing Worse (Bernd Adamkewitz) - 3:19

4. While You Are Thinking (Bernd Adamkewitz, Chris Braun) - 2:06

5. The Narrator (Bernd Adamkewitz, Chris Braun) - 4:08

6. He's Got No Joker (Neukirch, Klaus Melchers, Chris Braun) - 3:37

7. Be Proud (Klaus Melchers, Chris Braun) - 9:32

Personnel

*Chris Braun - Lead Vocals

*Klaus Melchers - Keyboards

*Bernd Adamkewitz - Guitar, Saxophone

*Joachim Bernstein - Bass

*Elmar Krohn - Drums

With

*Jiggs Whigham - trombone (06)

*Peter Hast - Percussion

*Lind Fields - Vocals

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The Dorians - Rock Concerto (1970 canada, beautiful psych classic rock)

The Canadian psychedelic rock band The Dorians was formed by John Unger and Bob Nixon in Kingsville, Ontario, in 1968. Over the period from 1969 to 1972, they released four singles recorded at "GM Studios" in Detroit (USA). "If I Were 21 And You Were 24/Wanna Hear Your Music Playing", "Help For My Waiting/ Means And Ways "Psychedelic Lipstick/Good Love "and" My Land Of Magic/Psychedelic Lipstick These hits have spread (have been reprinted several times) all over the world, in their native Canada on the label "GM", in Germany and Austria on "Vogue", in the Netherlands and other Benelux countries on "Stateside", in Italy and Switzerland on "PDU", in the neighboring States on "Big Tree", in Spain ("Belter"/"Discophon") and, of course, in the "old woman" of Britain ("Embers" label). Some of these songs were included in the only full-length album by The Dorians, entitled "Rock Concerto" (1970), released, of course, on vinyl, on the Swiss label "PDU (Platten Durcharbeitung Ultraphone)", now based in Liechtenstein. The Dorians were discovered by Ray Charles band member Floyd James in 1970.

Liner-notes

Tracks

1. Torch Song - 3:51

2. Owl Pussy Cat - 2:44

3. Rock Concerto - 9:51

4. Help For My Waiting - 2:56

5. Judith - 2:58

6. Means And Ways - 2:52

7. Good Love - 3:10

8. Psychedelic Lipstick - 3:15

All songs by Bob Nixon, tracks 4,6,7 co-written with Floyd James

The Dorians

*John Unger - Lead Vocals, Violin

*Bob Nixon - Bass, Rhythm Guitar, Piano, Vocals

*Mike Betts - Drums

*Bill Loop - Guitar, Harmonica, Vocals

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Paul Martin - It Happened (1966-67 us, captivating garage anthems, jangly folk rock, baroque psych, 2016 release)

New York singer-songwriter Paul Martin (born Paul Myerberg) released a couple of way-obscure singles in 1966-67, and recorded a lot of unreleased demos at the same time; many of these were collected for a 1996 release on Distortions. 

This is a truly defining album of 60’s jangle pop and is as interesting as it is beautiful due to the fact it concentrates on the the three prevalent jangle-pop styles at the time with absolute ease. Initially tracks such as You Don’t Seem to Understand, It Happened and The Last Remains of Our Love present 60’s British pop jangle superbly marrying snotty vocals to big booming drums and baselines as the treble flutters about incidentally in the background offering brief chimes. In my mind and as much as I try and prevent the image, these are the sort of tracks that Austin Powers types should have been getting ‘groovy’ to in 60’s London.

Martin then moves on to the psyche-rock/folk end of the jangle-pop spectrum. In tracks such as You Were There and All That’s left. Here the song craft becomes more pronounced and the jangle impetus more insistent as it drives the tracks rather than being a mere compliment to the other dominant musical factors. The jangle becomes the Beef in the Beef Wellington rather than merely the pastry.

The standout tracks of the album are undoubtedly The Byrds inspired Your is the Life and How Many Tears Must I Cry which mimic their influences perhaps a bit too much, which is ultimately forgiven because it is done with such accomplishment.

However It is not a complete jangle-pop festival. Martin appears to be something of the complete 60’s artist forcing the listener to go through 5/6 tracks of Engelbert Humperdinck / Neil Diamond (I actually thought it was Neil Diamond singing on Without Your Love) style crooning on romantic ballads that wistfully confess love for an unknown wonder-lady. Extremely impotent. However it is worth sitting through the occasional dross to find the regular jangle-pop / psyche-folk nuggets.

Jungle-Pop-Hub

Tracks

1. It Happened - 2:07

2. It's A Long Time 'Til The End - 2:21

3. Echo - 2:19

4. I Have Got That Feelin' - 2:24

5. You Don't Seem To Understand - 2:18

6. Without Your Love - 2:13

7. More Than Me - 2:16

8. What Good Is Your Love - 2:14

9. This Is The End - 3:09

10.The Last Remains Of Our Love - 2:16

11.You Were There - 2:39

12.All That's Left - 2:07

13.Yours Is The Life - 2:40

14.How Many Tears Must I Cry - 2:15

15.I Want You - 2:20

16.The Girl Tomorrow Killed - 2:21

17.The Fairy Princess - 2:27

18.The Children - 2:24

All songs by Paul Myerberg

*Paul Myerberg aka Paul Martin - Vocals

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The Haunted - The Haunted (1966-68 canada, superb garage psych)

The Haunted came out of Montreal, Quebec, with a dirty and scruffy bad boys image. Formed by Jurgen Peter, it has previously been reported that the band formed as an instrumental group called The Blue Jays in late 1963. This is now known to be incorrect, although the band did start out playing instrumentals, with Bob Burgess on bass, The Blue J's were a separate high-school act for whom Jurgen Peter stood in on guitar once for one gig which was broadcast on local radio.

Jurgen Peter:- "In Canada, in the early '60s, there was no such thing as a commercial music industry. The DJ's played only American records and it was common knowledge that they lived off "payola" from the record companies. When we, The Haunted, started to play as a band in the Montreal area, there was no way to get a recording contract, no one to play your records, no booking agency to book us, no large shows and paying gigs to play at, no music magazine or anything like it to promote a local band."

"I had to scout out large halls and skating arenas and rent them from the local communities for a Friday night show/dance. Then I went to the local school commission and rented six or seven school busses for that night in order to 'import' our home based Fan Club. I soon found out that if you hired the local DJ to be the master of ceremonies at your show, and gave him a percentage of the gate, he would plug that show all week long without having to buy airtime at a ridiculous price, and if you did have a record, he would actually play it on the air. With the explosion and dominance of the British bands Canada wanted to follow suit and soon the local record companies and radio stations smelled money and latched on to the bands that had the most following."

"I also realized that I needed a 'vehicle' that would promote The Haunted so I got together with one of our Montreal DJ Dave Boxer from CFCF. (He later brought The Beatles into Canada) and formed and incorporated both a bi-weekly music paper ('Music Trend') and a booking agency (Groups And Sound Service aka GASS.) After a successful show, the public wanted to come back the following week and it gave me an opportunity to book some of the other local bands."

In 1965, David Wynne joined from The Rabble, swapping places with Brian Robillard. David:- "I played with The Haunted at the Montreal Forum when we won a Battle of the Bands competition. The prize was a recording session where we cut 1-2-5. Afterwards, Mason left and Michel St German of Les Sinners was hired temporarily to fill-in. Other bands in the competition included David Clayton-Thomas, The Shays and Les Classels etc."

Their first 45, the garage classic 1-2-5 was a hit in Canada in April 1966 and was subsequently released in the U.S.A., Australia and some European countries. On early pressings the group's name was erroneously spelt as The Hunted. Co-written by Burgess and Peter, the 'A' side was a garage punk effort noticeable for its harmonica. The flip was another relatively catchy punk rocker.

Shortly after recording the second 45, David Wynne, left the band. (Though soon afterwards he joined Influence.) A new Haunted line-up (E) came into place, but after the release of, I Can Only Give You Everything which was in a similar style to 1-2-5 and also a minor hit, they left Quality Records for Trans-World. Burgess left too after a row with Peter.

The album included their first and third singles, cover versions of Sam Cooke's Shake and Jagger-Richards' Out Of Time, a self-penned psycho-punk number, Horror Show, as well as some blues (St Louis Blues), Arthur Lee's A Message To Pretty and a couple of other offerings. Good as it sounded it was not The Haunted at their best.

Jurgen Peter:- "By that time The Haunted had avalanched into fame and money. Our fan club was organized with thousands of members. We were on TV almost weekly, and our 45's were playing on most of the radio stations."

The fourth single was similarly mis-credited production-wise, but was relatively weak and made little impact on the charts. Land Of Make Believe, issued in May 1968, was a self-penned Hendrix-influenced acid-blues number. 1968 also saw the release of the 45 on Jet to coincide with the documentary about the group. This is a very sought-after single. Apparently Burgess wrote the 'B' side in ten minutes whilst the rest of the band were recording the 'A' side. It was recorded in New York at the same time as the band's second single.

Jurgen Peter:- "At the end of 1968, Dave Boxer and myself dissolved both Musix Trend and GASS as it was no loger needed and I was just overwhelmed with my own band business at the same time playing and recording. At that time already we couldn't go anywhere without being cornered for autographs or photos."

"We were the most sought after and highest paid Canadian band for many years. When I folded the band in 1971, I had to cancel a whole year of advance bookings and it cost me a fortune in lawyer's fees to get out of some of them."

You can also seek out the band on various compilations, Eight O'Clock In The Morning has resurfaced on I Was A Teenage Caveman, 1-2-5 can be heard on Pebbles, Vol. 1, Get Primitive (The Best Of Pebbles) and both the 45 and LP version of this classic grace Songs We Taught The Fuzztones. Vapeaur Mauve can be found on Pebbles, Box Set. Finally, their cover of Message To Pretty graces Sixties Rebellion, Vol. 8: Love Covers.

The best and most accessible source for this seminal outfit's released material is via Greg Shaw's Rough Diamonds series on Voxx. Two volumes, Return From The Grave (Voxx VXM 200.012) 1983 and I'm Just Gonna Blow My Little Mind To Bits (Voxx VXM 200.013) 1983 come complete with a comprehensive (but distorted) history and include unreleased material as well as the tracks recorded by Burgess' Our Generation. Heartily recommended. There's also a CD Haunted (Voxx VCD 2012) 199?, combining both the Voxx albums on one CD.

by Vernon Joynson with the help of Dave Wynne, Al Birmingham,  Jurgen Peter

Tracks

1. 1-2-5 (Bob Burgess, Jurgen Peter) - 2:33

2. Shake (Sam Cooke) - 2:27

3. Horror Show (Al Birmingham, Nick Sarecino, Mason Shea, Jurgen Peter, Johnny Monk) - 5:30

4. Untie Me (Joe South) - 4:44

5. I Can Only Give You Everything (Phil Coulter, Tommy Scott) - 3:01

6. Eight O'Clock This Morning (Allan Birmingham, Bob Burgess) - 2:23

7. 1-2-5 (Original Version) (Bob Burgess, Jurgen Peter) - 2:34

8. Out Of Time (Mick Jagger, Keith Richards) - 3:41

9. Searching For My Baby (Allan Birmingham, Bob Bosak, Bob Burgess, Johnny Monk) - 3:05

10.A Message To Pretty (Arthur Lee) - 3:09

11.Twist (Al Birmingham, Nick Sarecino, Mason Shea, Jurgen Peter, Johnny Monk) - 2:35

12.Montreal Blues (W. C. Handy) - 4:05

13.Pourquoi (Talk Talk) (Sean Bonniwell) - 1:52

14.Vapeur Mauve (Purple Haze) (Jimi Hendrix) - 3:35

15.Come On Home (Jackie Edwards) - 2:29

16.I'm A Man (Ellas McDaniel) - 2:34

17.Run Down Every Street (Tim Forsythe) - 3:07

18.Land Of Make Believe (Gary Marcus, Johnny Monk) - 2:21

19.An Act Of Leisure (Gary Marcus, Johnny Monk) - 2:12

20.No More Lovin' (Allan Birmingham, Bob Burgess, Dave Wynn, Jurgen Peter) - 3:04

21.Mona (Ellas McDaniel) - 2:32

22.I'm Just Gonna Blow My Little Mind To Bits (Bob Burgess) - 3:42

Tracks 16-17 by Our Generation

Track 21-22 by The Original Haunted

The Haunted

*Al Birmingham - Lead Guitar (Tracks 1-15, 20-22)

*Bob Burgess - Vocals (Tracks 5-7, 16, 17, 21, 22)

*Mason Shea - Bass (Tracks 1-4, 6-8, 11-15)

*Dave Wynne - Drums (Tracks 5-7, 20)  

*Jurgen Peter - Guitar (Tracks 1-15, 20-22)

*Michel St German - Bass (Tracks 5, 20) 

*Bob Bosak - Bass (Tracks 9, 10, 21, 22)  

*Nick Sarecino Farlowe - Drums (Tracks 1-4, 8-15, 21, 22)

*Johnny Monk - Vocals (Tracks 1-4, 8-15, 18-20)

*Joey Toplay - Drums (Tracks 18-19)     

*Gary Marcus - Guitar (Tracks 16-19)

*Bill Smith - Bass (Tracks 18-19)

Our Generation

*Jim Robertson - Vocals 

*Tim Forsythe - Keyboards, Harmonica 

*Domenic Angelicchio - Drums 

*Bob Burgess - Bass 

*Louis McKelvey - Guitar 

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The Easybeats - The Complete Easybeats (1965-68 australia / uk, legendary beat garage psych rock, 2004 six disc box set)

The Easybeats came together in the austere Villawood Migrant Hostel in the major Australian city of Sydney during 1964. Englishman Stevie Wright, already residing in the country for some years, was singing as Chris Langdon with a group called The Langdells. The other four members of The Easybeats were new arrivals: Scotsman George Young (whose brother Alexander played in Tony Sheridan's Big Six, Liverpudlian Gordon 'Snowy' Fleet (formerly with the Mojos), Dutchmen Harry Vanda (guitarist with crack instrumental outfit The Starfighters) and Dick Diamonde.

By the beginning of 1965, The band had a manager, regular work in Sydney beat clubs and a recording contract with Albert Productions. Allowed creative freedom by sympathetic producer / mentor Ted Albert, the group developed a brash, fresh and exciting sound which quickly set them apart from the then current crop of 'cover/copy' acts around them. George and Stevie became amazingly prolific young songwriters: Stevie developing a knack for knocking out quick succinct lyrics and George having an exceptional capacity for melody and musical structure.

After impressing with their first bluesy single, 'For My Women', The Easybeats stormed to the top of the Australian charts in May 1965 with their second single, the dynamic 'She's So Fine'. This begun the ferocious phenomena of 'Easyfever'. It is not naA?ve to say that no incident of Beatlemania or Rolling Stone Fever anywhere in the world surpassed the absolute peak of Easyfever. Airports, television studios, theatres and hire cars were reduced to rubble, fans were hospitalised and general mayhem reigned whenever the band allowed themselves to be seen.

When a young fan magazine foolishly revealed the Young family's address, over three hundred girls from four local high schools descended upon the house that same afternoon. Twenty of them forced their way into the house, whereupon they ran amok, trampling a young Angus and, until stopped by police, seizing anything they could lay their hands on (including George).

Within less than eighteen months The Easybeats had racked up no less than 8 smash hits, some double a-sides. The killers included 'Sorry', 'Wedding Ring' and 'Women'. The overwhelming popularity of the band proved to Australian music that is was viable to write and perform original songs in an original style. It gave other artists a confidence in their own abilities.

By the end of 1966 The Easybeats saga was taking on almost fairytale proportions and the best was yet to come. Bravely they set off to conquer England and by November that year they had cracked the international top twenty with the sublime working class anthem 'Friday On My Mind' (since recorded by David Bowie, Peter Frampton and dozens of others). The band toured Europe with The Rolling Stones before returning to Australia in triumph for a national tour commencing in May 1967. George Young recalls, 'it was the highpoint of the group's career. We didn't come back with the standard excuses for failure. Australia had never any acts that had done it like that before. There was no bull, it was real'.

After being hailed as conquering warriors by their adopted countrymen (including the Lord Mayor of Sydney, who gave then a civic reception), The Easybeats headed back to England, this time without Snowy. He had decided to jump off the treadmill and yield his drummer's stool to Tony Cahill, from the ferocious Purple Hearts. Back in England George Young began to emerge as a creative genius on the level of a Ray Davies, Pete Townsend, Ron Wood or even a John Lennon. He began collaborating with Harry Vanda on vast, ambitious and often sumptuous studio works that are now recognised as staggering achievements (some featuring back up vocals by a young Olivia Newtown-John and Small Face Stevie Marriott). Unfortunately, a sad combination of events, including the banning of the visionary track 'Heaven & Hell', inconsistent musical style and lack of proper career direction rendered the group and their songs the best kept secret in London. By 1969 it was all over, crumbled in a stoned, confused haze.

The only other British top twenty hit had been 'Hello, How Are You?' and only loyal Australians gave chart success to the likes of 'Good Times', 'Land Of Make Believe', 'The Music Goes Round My Head' and 'Do You Have A Soul?'. In 1969, just as they disbanded, The Easybeats enjoyed a final American hit with St. Louis.

The split of The Easybeats allowed Vanda & Young to commence their production / songwriting / recording career in earnest. After releasing material under such bizarre names as The Marcus Hook Roll Band, Band Of Hope, Tramp, Moondance, Haffey's Whiskey Sour and Paintbox, the pair achieved international success as Flash & The Pan, scoring numerous British and European chart hits including 'Waiting For A Train'.

Apart from having their songs recorded by the likes of Rod Stewart, David Bowie, Grace Jones, Suzi Quatro, the Bay City Rollers, John Paul Young and hundreds of others, they produced the first six albums for AC/DC.

The 2001 Australian Performing Rights Association awards saw Friday On My Mind named as the most influential Australian song of the past 75 years.

Describing the music of The Easybeats can convey only a glimmer of the magic it radiates, Not only is it the finest rock ever recorded in Australia but among the finest ever recorded anywhere. Throughout the world, Easybeat devotees are legion and all those who hear are instantly converted.

by Glenn A. Baker

Tracks

Disc 1 Easy 1965

1. It's So Easy - 2:11

2. I'm A Madman - 2:52

3. I Wonder (Harry Vanda) - 1:50

4. She Said Alright (George Young) - 2:15

5. I'm Gonna Tell Everybody (Harry Vanda, Snowy Fleet) - 2:04

6. Hey Girl - 2:10

7. She's So Fine - 2:08

8. You Got It Off Me - 2:28

9. Cry Cry Cry (George Young) - 2:02

10.A Letter - 1:39

11.Easy Beat (Harry Vanda) - 2:39

12.You'll Come Back Again (George Young) - 1:56

13.Girl On My Mind (Harry Vanda, George Young) - 3:04

14.You Can't Do That - 2:28

15.For My Woman - 3:08

16.Say That You're Mine (Harry Vanda, George Young) - 2:45

17.The Old Oak Tree (Dick Diamonde, Harry Vanda, George Young, Gordon "Snowy" Fleet, Stevie Wright) - 3:04

18.Friday On My Mind (Harry Vanda, George Young) - 2:56

19.Lisa (Harry Vanda, George Young) - 3:17

20.Find My Way Back Home (Dennis Lambert, Louis Pegues) - 2:46

21.No One Knows - 2:58

22.She's So Fine - 2:22

All songs by Stevie Wright, George Young except where noted

Disc 2  It's 2 Easy 1966

1. Let Me Be - 2:08

2. You Are The Light - 1:56

3. Women (Make You Feel Alright) - 2:37

4. Come And See Her - 2:43

5. I'll Find Somebody To Take Your Place - 3:03

6. Someway, Somewhere - 2:21

7. Easy As Can Be - 2:34

8. I Can See - 2:13

9. Sad And Lonely And Blue - 2:17

10.Somethin' Wrong - 2:17

11.In My Book - 3:09

12.What About Our Love (Gordon "Snowy" Fleet) - 1:56

13.Then I'll Tell You Goodbye (Harry Vanda, George Young) - 2:34

14.Weddding Ring - 2:03

15.Me Or You (Harry Vanda, George Young) - 3:07

16.Too Much (Harry Vanda, George Young) - 1:48

17.I'll Make You Happy - 3:11

18.A Very Special Man - 2:23

19.Tryin' So Hard - 2:48

20.Friday On My Mind (Harry Vanda, George Young) - 2:43

21.Made My Bed (Gonna Lie In It) (Harry Vanda, George Young) - 2:16

22.Happy Is The Man (Harry Vanda, George Young) - 2:55

23.How You Doing Now - 2:02

24.All Gone Boy (Million Dollar Baby) (Harry Vanda, George Young) - 2:15

25.Mandy (George Young) - 2:16

All songs by Stevie Wright, George Young except where stated

Disc 3 Volume 3 1966

1.Sorry - 2:38

2.Funny Feelin' - 2:30

3.Say You Want Me - 2:09

4.You Said That - 2:34

5.Going Out Of My Mind - 2:43

6.Not In Love With You - 2:39

7.Promised Things - 2:27

8.The Last Day Of May - 1:59

9.Today (Gordon "Snowy" Fleet) - 2:16

10.My My My - 2:05

11.Dance Of The Lovers - 2:58

12.What Do You Want Babe - 2:25

13.Can't You Leave Her - 1:59

14.Hound Dog (Jerry Leiber, Mike Stoller) - 3:17

15.Do You Have A Soul? (Harry Vanda, George Young) - 3:03

16.Saturday Night (Harry Vanda, George Young) - 2:38

17.My Old Man's A Grrovy Old Man (Harry Vanda, George Young) - 2:33

18.Historeasy (Harry Vanda, George Young, Stevie Wright) - 3:39

19.Mean Old Lovin' - 2:05

20.I'm Happy - 1:54

21.Hey Babe - 1:55

22.I Don't Agree - 1:41

23.Keep Your Hands Off My Babe - 2:17

24.I'm Just Trying (Harry Vanda, George Young) - 2:15

All songs by Stevie Wright, George Young except where indicated

Disc 4 The Shame Just Drained 1967-68 (1977)

1.Little Queenie (Chuck Berry) - 2:41

2.Baby I'm Comin' (Harry Vanda, George Young, Stevie Wright) - 2:02

3.Lisa - 3:14

4.I'm On Fire - 2:21

5.Wait A Minute - 2:42

6.We'll Make It Together - 2:41

7.Peter - 3:01

8.Me And My Machine - 2:27

9.The Shame Just Drained - 2:43

10.Mr Riley Of Higginbottom And Clive - 2:30

11.Kelly - 3:16

12.Where Old Men Go - 2:32

13.Johnny No One - 2:31

14.Amanda Storey - 2:48

15.Station On Third Avenue - 2:57

16.Do You Have A Soul? - 3:07

17.Where Did You Go Last Night - Inst - 2:58

18.Watch Me Burn - 3:21

19.Where Did You Go Last Night - 2:52

20.Heaven & Hell - 2:43

21.Happy Is The Man - 2:41

22.Land Of Make Believe - 3:16

23.Coke Jingle Nr1 Come And See Her (Stevie Wright, George Young) - 1:05

24.Coke Jingle Nr2 (Stevie Wright, George Young) - 2:15

25.Coke Jingle Nr3 (George Young) - 1:00

All songs by Harry Vanda, George Young unless as else written

Disc 5 Friday On My Mind 1967

1.River Deep Mountain High (Phil Spector, Jeff Barry, Ellie Greenwich) - 3:55

2.Do You Have A Soul? - 2:38

3.Saturday Night - 3:25

4.You Me, We Love - 3:20

5.Pretty Girl - 2:28

6.Friday On My Mind - 2:46

7.Happy Is The Man - 2:56

8.Hound Dog (Jerry Leiber, Mike Stoller) - 3:15

9.Who'll Be The One You Love - 2:33

10.Made My Bed (Gonna Lie In It) (George Young) - 2:17

11.Remember Sam - 2:28

12.See Line Woman (Traditional) - 3:08

13.Heaven And Hell - 2:38

14.Do You Have A Soul? - 3:38

15.Women (Make You Feel Alright) (Stevie Wright, George Young) - 2:38

16.All Gone Boy (Milllion Dollar Baby) - 2:30

17.You Me, We Love - 3:20

18.Lisa - 3:06

All songs by Harry Vanda, George Young except as else specified

Disc 6 Vigil 1968 

1.Good Times - 3:24

2.What In The World - 2:15

3.Falling Off The Edge Of The World - 2:33

4.The Music Goes Round My Head - 2:47

5.Can't Take My Eyes Off Of You (Bob Crewe, Bob Gaudio) - 3:30

6.Sha La La - 3:04

7.Come In You'll Get Pneumonia (Harry Vanda, George Young, Tony Cahill) - 3:23

8.See Saw - 2:32

9.Land Of Make Believe - 3:10

10.Fancy Seeing You Here - 2:30

11.Hello, How Are You? - 4:02

12.Hit The Road Jack (Percy Mayfield) - 2:49 

13.We All Live Happily - 4:04

14.I Can't Stand It (Lester Chambers) - 2:52

15.Good Times - 3:14

16.Lay Me Down And Die (Instrumental) - 2:54

17.Lay Me Down And Die - 2:48

18.Bring A Little Lovin' - 2:20

19.The Music Goes Round My Head - 2:16

20.Hello, How Are You? - 3:54

21.Come In You'll Get Pneumonia (Harry Vanda, George Young, Tony Cahill) - 3:18

22.Falling Off The Edge Of The World - 2:52

All songs by Harry Vanda, George Young except as else defined

The Easybeats

*Dick Diamonde - Bass Guitar

*Gordon "Snowy" Fleet - Drums (Discs 1-5)

*Harry Vanda - Lead Guitar

*Stevie Wright - Lead Vocals

*George Young - Rhythm Guitar

*Tony Cahill - Drums (Disc 6)

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The Stanky Brown Group - If The Lights Don't Get You The Helots Will (1977 us, nice maintream rock, 2010 edition)

Three straight years, three straight Sire LPs on the national charts for Stanky Brown from New York City.  "If The Lights Don't Get You The Helots Will" from 1977 is their second and one of those 70s records that has everything going for it, but somehow never got a chance to get off the mark – well-written and catchy tunes, a tight approach to production that's also somehow fresh, and a sense of personality that marks this second set by the band to be one where they're really hitting their stride! The record's of the AOR generation, but it's also got a sense of individuality that really shines through – never too polished, but also not an indie effort as well – and some nice echoes of the kind of cuts that would have peaked on British radio a few years before. Titles include "Confident Man", "Coaltown", "As A Lover I'm A Loser", "Alone Tonight", "Good To Me", "Free & Easy", and "Faith In The Family"

Tracks

1. Coal Town (Jeff Leynor) - 3:22

2. Life Beyond (James Brown, Frank Greene) - 4:05

3. Woman, Don't Let It Slip Away (James Brown, Frank Greene, Jeff Leynor) - 3:28

4. Confident Man (James Brown) - 3:15

5. Faith In The Family (James Brown, Frank Greene) - 3:55

6. Alone Tonight (James Brown, Frank Greene) - 3:11

7. Good To Me (James Brown) - 3:12

8. As A Lover, I'm A Loser (James Brown) - 2:31

9. Stop In The Name Of Love (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:06

10.Free And Easy (Jeff Leynor) - 5:05

The Stanky Brown Group

*Ames Brown - Keyboards, Vocals

*Jeffrey Leynor - Acoustic, Electric Guitars, Vocals

*Richard Bunkiewicz - Fretless Fender Bass

*Jerry M. Cordasco - Drums, Percussion, Vocals

*Allan J. Ross - Saxophone, Clarinet, Flute

*Jimmy Miller - Solo Guitar (Track 4)

With

*Elliot Randall - Electric Guitars

*Jimmy Maelen - Congas (Track 7)

*Werner Fritzsching - Gultar (Tracks 1,3,8)

*David Lasley, Lynn Pitney, Arnold McCuller - Background Vocals (Tracks 7-9)

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