ru_rock70_rss (ru_rock70_rss) wrote,

Old Melodies ...

Old Melodies ...

The Brill Building Sound ( 4 CD Set) Vol 1

Posted: 22 May 2020 05:25 PM PDT

Although Phil Spector's songs weren't available due to licensing
restrictions, the four-CD box set The Brill Building Sound remains an
important and entertaining collection, featuring many of the songs that
made the Brill Building a pop music institution in the early '60s.

01. Bobby Darin - Splish Splash (1958) (Bobby Darin, Jean Murray) - 2:0602.
Bobby Darin - Dream Lover (1959) (Bobby Darin) - 2:3103. Connie Francis -
Stupid Cupid (1958) (Neil Sedaka, Howard Greenfield) - 2:1304. Neil Sedaka
- Oh! Carol (1959) (Neil Sedaka, Howard Greenfield) - 2:1505. Neil Sedaka -
Stairway To Heaven (1960) (Neil Sedaka, Howard Greenfield) - 2:4106. Neil
Sedaka - Breaking Is Up Is Hard To Do (1962) (Neil Sedaka, Howard
Greenfield) - 2:1707. Connie Francis - Where The Boys Are (1961) (Neil
Sedaka, Howard Greenfield) - 2:3708. Neil Sedaka - Calendar Girl (1961)
(Neil Sedaka, Howard Greenfield) - 2:3609. Connie Francis - Everybody's
Somebody's Fool (1960) (Howard Greenfield, Jack Keller) - 2:3710. Neil
Sedaka - Happy Birthday, Sweet Sixteen (1961) (Neil Sedaka, Howard
Greenfield) - 2:3611. Barry Mann - Who Put The Bomp (In The Bomp, Bomp,
Bomp) (1961) (Barry Mann, Gerry Goffin) - 2:4312. The Mystics - Hush-A-Bye
(1959) (Doc Pomus, Mort Shuman) - 2:2913. Dion And The Belmonts - A
Teenager In Love (1959) (Doc Pomus, Mort Shuman) - 2:3514. Fabian - Turn Me
Loose (1959) (Doc Pomus, Mort Shuman) - 2:1915. The Paris Sisters - I Love
How You Love Me (1961) (Barry Mann, Larry Kolber) - 2:0616. Tony Orlando -
Halfway To Paradise (1961) (Gerry Goffin, Carole King) - 2:3817. Bobby Vee
- Take Good Care Of My Baby (1961) (Gerry Goffin, Carole King) - 2:2718.
Bobby Vee - Run To Him (1961) (Gerry Goffin, Jack Keller) - 2:0719. Tony
Orlando - Bless You (1961) (Barry Mann, Cynthia Weil) - 2:1720. The
Shirelles - Will You Still Love Me Tomorrow (1960) (Gerry Goffin, Carole
King) - 2:41
Ty To Original Sharer
"I hope for nothing, I fear nothing, I am free"

The Rockets - The Rockets (1968)

Posted: 22 May 2020 08:12 AM PDT

Short-lived 1960s psych/folk rock band, best known for containing some of
the future members of Crazy Horse.Members:Billy Talbot, Bobby Notkoff,
Danny Whitten, George Whitsell, Leon Whitsell, Ralph Molina


Cuby & Blizzards - Groeten Uit Grollo (1967)

Posted: 22 May 2020 07:54 AM PDT

Legendary Dutch blues group from the 1960's and the early 1970's which puts
the village of Grolloo (Drenthe, Netherlands) firmly on the map.
Harry 'Cuby' Muskee is often seen as the Dutch soul brother of the UK's
main man John Mayall. Above you see the final line-up of the band. The
final appearance of the group had been in Grolloo june 2011 during
the 'Groeten Uit Grolloo' Festival. Harry 'Cuby' Muskee died on September
26, 2011. Famous former bandmembers of Cuby & The Blizzards are: Jaap Van
Eik (Bass Guitar), Willy Middel (Bass Guitar), Dick Beekman (Drums), Hans
Waterman (Drums), Eelco Gelling (Guitar), John Lagrand (Harmonica), Herman
Brood (Piano).


Butch Engle And The Styx - The Best Of : No Matter What You Say (1964-67)

Posted: 22 May 2020 07:51 AM PDT

This has a pretty funny title, considering that the group only put out
three singles (one of them under a different name) and never had anything
close to a hit. A better title might have been "The Entirety of Butch Engle
& the Styx," since it's difficult to imagine that any more material could
have been retrieved than appears on this CD. In addition to both sides of
the three singles (the first done in 1964 when they were still called the
Showmen), this also includes 11 previously unreleased tracks, including
some alternatives and multiples. The unwary might initially dismiss this as
a subpar, more garagey Beau Brummels, a comparison that becomes even more
valid upon the discovery that Beau Brummels songwriter Ron Elliott wrote or
co-wrote everything except the Showmen single. To be brutal, Elliott was
wise to cast off most of these instead of recording them with the Beau
Brummels. The songs just aren't nearly on the level of his usually
excellent efforts for his own band, although they have some similar
trademarks (particularly the minor-based melodies and moodiness). Butch
Engle & the Styx were lesser musicians and singers than the Beau Brummels,
too, although they were OK, adding some cheesy garage organ that you'd
never find on Beau Brummels sessions. "Hey, I'm Lost," which was one of the
singles (and appears along with two alternate versions of the same tune),
was just about their best moment: a charging, slightly ominous and doubtful
number with good vocal harmonies. This is certainly worth getting for major
fans of the Beau Brummels, as none of these songs were actually recorded by
that group. As a '60s garage record, though, No Matter What You Say is
average, even unremarkable.


Cream - The Alternative Album

Posted: 22 May 2020 07:46 AM PDT

Although Cream were only together for a little more than two years, their
influence was immense, both during their late-'60s peak and in the years
following their breakup. Cream were the first top group to truly exploit
the power trio format, in the process laying the foundation for much
blues-rock and hard rock of the 1960s and 1970s. It was with Cream, too,
that guitarist Eric Clapton truly became an international superstar.
Critical revisionists have tagged the band as overrated, citing the
musicians' emphasis upon flash, virtuosity, and showmanship at the expense
of taste and focus. This was sometimes true of their live shows in
particular, but the best of their studio recordings were excellent fusions
of blues, pop, and psychedelia, with concise original material outnumbering
the bloated blues jams and overlong solos.

Cream could be viewed as the first rock supergroup to become superstars,
although none of the three members were that well-known when the band
formed in mid-1966. Eric Clapton had the biggest reputation, having
established himself as a guitar hero first with the Yardbirds, and then in
a more blues-intensive environment with John Mayall's Bluesbreakers. (In
the States, however, he was all but unknown, having left the Yardbirds
before "For Your Love" made the American Top Ten.) Bassist/singer Jack
Bruce and drummer Ginger Baker had both been in the Graham Bond
Organisation, an underrated British R&B combo that drew extensively upon
the jazz backgrounds of the musicians. Bruce had also been, very briefly, a
member of the Bluesbreakers along with Clapton, and also briefly a member
of Manfred Mann.

All three of the musicians yearned to break free of the confines of the
standard rock/R&B/blues group, in a unit that would allow them greater
instrumental and improvisational freedom, somewhat in the mold of a jazz
outfit. Eric Clapton's stunning guitar solos would get much of the
adulation, yet Bruce was at least as responsible for shaping the group's
sound, singing most of the material in his rich voice. He also wrote their
best original compositions, sometimes in collaboration with outside
lyricist Pete Brown.

Fresh CreamAt first Cream's focus was electrified and amped-up traditional
blues, which dominated their first album, Fresh Cream. It made the British
Top Ten in early 1967. Originals like "N.S.U." and "I Feel Free" gave
notice that Cream were capable of moving beyond the blues, and they truly
found their voice on Disraeli Gears in late 1967, which consisted mostly of
group-penned songs. Here they fashioned invigorating, sometimes beguiling
hard-driving psychedelic pop, which included plenty of memorable melodies
and effective harmonies along with the expected, crunching riffs. "Strange
Brew," "Dance the Night Away," "Tales of Brave Ulysses," and "S.W.L.A.B.R."
are all among their best tracks, and the album broke the band big-time in
the States, reaching the Top Five. It also generated their first big U.S.
hit single, "Sunshine of Your Love," which was based around one of the most
popular hard rock riffs of the '60s.
Wheels of FireWith the double album Wheels of Fire, Cream topped the
American charts in 1968, establishing themselves alongside the Beatles and
Hendrix as one of the biggest rock acts in the world. The record itself was
a more erratic affair than Disraeli Gears, perhaps dogged by the decision
to present separate discs of studio and live material; the concert tracks
in particular did much to establish their reputation, for good or ill, for
stretching songs way past the ten-minute mark on-stage. The majestically
doomy "White Room" gave Cream another huge American single, and the group
was firmly established as one of the biggest live draws of any kind. Their
decision to disband in late 1968 -- at a time when they were seemingly on
top of the world -- came as a shock to most of the rock audience.
GoodbyeCream's short lifespan, however, was in hindsight unsurprising given
the considerable talents, ambitions, and egos of each of the bandmembers.
Clapton, in particular, was tired of blowing away listeners with sheer
power and wanted to explore more subtle directions. After a farewell tour
of the States, the band broke up in November 1968. In 1969, however, they
were in a sense bigger than ever; a posthumous album featuring both studio
and live material, Goodbye, made it to number two, highlighted by the
haunting Eric Clapton-George Harrison composition "Badge," which remains
one of Cream's most beloved tracks.
Clapton and Baker would quickly resurface in 1969 as half of another
short-lived supergroup, Blind Faith, and Clapton of course went on to one
of the longest and most successful careers of anyone in the rock business.
Bruce and Baker never attained profiles nearly as high after leaving Cream,
but both kept busy in the ensuing decades with various interesting projects
in the fields of rock, jazz, and experimental music. Cream reunited for a
handful of live shows in 2005 at London's Royal Albert Hall and New York
City's Madison Square Gardens, but no further reunions were forthcoming,
and Bruce died of liver disease in Suffolk, England in October 2014. After
several years of poor health, Ginger Baker died in Canterbury, Kent,
England on October 6, 2019.


Where The Girls Are Vol 10

Posted: 22 May 2020 06:33 AM PDT

The final volume in our long-running compilation series of girl group
treasures from the USA. Highlights include ‘Hot Spot’ by Philly girl group
the Bronzettes, a dancefloor-friendly gem produced by Chubby Checker;
‘Nothing Can Go Wrong’ by Los Angeles’ the Beas, a jangly nugget that
sounds like the Bangles many years ahead of their time; ‘Big House’, a
Spector-style opus by the Carolines of New York, and the previously
unissued ‘Top Twenty’ by the Delicates. The collection comes with a
picture-packed 24-page booklet featuring in-depth notes by Ace’s in-house
girl group buff Mick Patrick.
Back in 1984, “Where The Girls Are” was on vinyl. Compiled by Mick Patrick
and Ady Croasdell, a few of the tracks might seem familiar by today’s
standards – Ruby & the Romantics’ ‘Our Day Will Come’, for instance – but
in ’84 that compilation LP in particular was a much-needed answer to those
looking beyond the obvious ’elles and ’ettes into a girls’ world of
forgotten US 60s groups and artists whose day indeed would come. By the
90s, everybody was consuming back catalogue on compact disc, vinyl now
relegated to the collectors and charity shops, and a British answer to the
Stateside girl group era was of main concern to many (including myself).
Mick and steadfast compilation cohort Malcolm Baumgart answered our calling
with the Brit-centric “Here Come The Girls” series, the success of which
left everyone wondering whether the US girls would get their moment.
Thankfully, in 1997, Mick and Malcolm instigated the “Where The Girls Are”
CD series, the tenth and final volume of which is issued this month.
The series shone a light on a variety of girl group styles, each volume
coming with its fair share of ear-openers. The first got off to a smashing
start with the Goodees’ ‘Condition Red’, let us in on the previously
unissued ‘Look In My Diary’ by Reparata & the Delrons and dropped in a gem
by an artist not normally associated with the girl group genre – ‘Don’t
Drop Out’ by Dolly Parton (sounding much more Queens, New York than
Dollywood, Tennessee). Some later editions were more specialised: the third
and fourth focused on the Chess and Atlantic labels, represented by Mary &
the Desirables and Shirley Matthews & the Big Town Girls respectively,
whilst the fifth was an eclectic listen raiding the vast Columbia vaults
which saw girl gang the Pussycats rubbing Franklin sisters Aretha and Erma
up the right way. Other volumes – the most recent down to Mick flying solo
– followed the more all-encompassing formula of the first, introducing us
along the way to long-lost tracks by the Bunnies, Cinnamons, Zippers,
Bitter Sweets, Utopias, Popsicles, Azaleas, Drake Sisters and countless
more where they came from.
And so, their day did come. But all good things must come to an end and,
although this is the final volume, you can be certain Mick will continue
curating the girl group sound in some shape or form for many more years to
come, for wherever he is, needless to say, that’s where the girls are too.
1 –The Bronzettes Hot Spot 2 –Kelly Garrett (3) This Heart Is Haunted 3 –
Janie Grant And That Reminds Me Of You 4 –The Carolines (2) Big House 5 –
The Teardrops I Will Love You Dear, Forever 6 –Naomi Wilson I'm So Young 7 –
Saundra Franklin Just A Little Touch Of Your Love 8 –The Vareeations It's
The Loving Season 9 –The Avons (4) He's My Hero 10 –The Delicates Top
Twenty 11 –The Taffys Everybody South Street 12 –The Sherrys That Guy Of
Mine 13 –The Fran-Cettes* Late In The Evening 14 –The Shirelles Two Stupid
Feet 15 –Jackie & Gayle That's How It Goes 16 –The Satisfactions I Didn't
Have Any Summer Romance 17 –Reparata And The Delrons If I Fell 18 –Maureen
Gray Summertime is near 19 –Diana King (4) That Kind Of Love 20 –The Sweet
Three I Would If I Could 21 –The Tiffanys Happiest Girl In The World 22 –
Tari Stevens (Your Love Was Just A) False Alarm 23 –The Percells My Guy 24 –
The Elites Sir Galahad 25 –The Darlenes (I'm Afraid) You'll Hurt Me 26 –The
Beas Nothing Can Go Wrong
Ty To Original Sharer
"I hope for nothing, I fear nothing, I am free"

Country Joe & The Fish - Electric Music For The Mind And Body (1967)

Posted: 22 May 2020 02:51 AM PDT

If you mention the name Country Joe & the Fish to Americans born before
1955, chances are that they'll know the band you're talking about, at least
to the degree that they know their most widely played and quoted song, "I
Feel Like I'm Fixin' to Die Rag." The problem is, that particular song
captured only the smallest sliver of who Country Joe & the Fish were and
what they were about. One of the original and most popular of the San
Francisco Bay Area psychedelic bands, they were also probably the most
enigmatic. Joe McDonald may have written the most in-your-face anti-war,
anti-military song to come out of the '60s, but he was also one of the very
few musicians on the San Francisco scene who'd served in uniform.
Born on January 1, 1942 to a leftist-oriented family, McDonald was named in
honor of Soviet leader Joseph Stalin. (In the context of World War II,
Stalin was regarded by many on the left -- and even some apolitical
observers in the United States and elsewhere -- as heroic, for being Hitler
and Nazi Germany's greatest nemesis at a time when the governments of
England, France, and the United States were waffling and dithering over
what to do about German militarism).
McDonald was raised in the Los Angeles suburb of El Monte, where he grew up
surrounded by all manner of political activity in support of labor unions
and other leftist and progressive causes. He was also exposed to a massive
amount of music, ranging from R&B to Dixieland jazz. His own early gigs
were as a trombonist in jazz outfits and a guitarist in folk groups. He
spent most of the early '60s serving in the Navy, in which he enlisted at
age 18.
On returning to civilian life in 1964, McDonald resumed playing music and
cut his first album in collaboration with Blair Hardman in 1964, titled The
Goodbye Blues; he'd also started editing a radical magazine called Et Tu.
Soon after, McDonald headed for Berkeley, California -- his official
purpose was to attend college, but he quickly became a part of the city's
burgeoning folk music scene. He mostly worked solo, playing songs by Pete
Seeger, Lee Hays, and Woody Guthrie interspersed with some of his own
compositions, and was devoted to politics. Vietnam wasn't yet a central
issue, but civil rights, the economic embargo of Cuba, the working
conditions of migrant farm laborers, America's role in decades of
repressive politics of the Dominican Republic, and a Kennedy-era foreign
policy initiative called Food for Peace were all on the agenda.
McDonald was a natural fit, and after some solo performances he formed two
groups: one called the Berkeley String Quartet in conjunction with Bob
Cooper on 12-string, Tom Lightjheiser on bass, and Carl Shrager playing
washboard and doubling on guitar; and the other the Instant Action Jug
Band. The latter, by its very nature, had a floating membership of as many
as a dozen musicians, not all of whom would necessarily appear at every gig
-- they were sort of like musical minutemen of the left, intended to show
up on a moment's notice at whatever rally or street demonstration might be
announced, on or off the campus. The jug band's ranks included Barry
Melton, a prodigiously talented Brooklyn-born, Los Angeles-raised guitarist
and singer who, in his mid-teens, had already amassed some serious
performing credits at venues such as The Ash Grove before his family moved
to Berkeley.
Out of their contact and the Instant Action Jug Band grew Country Joe & the
Fish, initially as a recording alias. Among McDonald's other activities in
1965, he was publishing a radical journal called Rag Baby. Accounts vary as
to how the music side of Rag Baby came about -- some say that McDonald
found himself with more music than articles on hand and decided to put out
a "talking issue" of the magazine; other accounts say that he saw the need
for the music to help support the journal and the cause, and thought he
could sell copies of their records at demonstrations. Assuming the latter
is true, it would make Country Joe & the Fish among the very first -- if
not the first -- music act to use self-produced records to promote
themselves directly. He'd already cut an album independently and knew a
little bit about getting records made and pressed, and the result was the
Rag Baby EP, with four songs, two by Country Joe & the Fish and two by a
singer named Peter Krug, which saw the light of day in October of 1965.
That lineup for Country Joe & the Fish, in addition to McDonald on
harmonica, acoustic guitar, and vocals, included Melton on vocals and
electric guitar, plus Shrager on washboard and kazoo, Bill Steele on
washtub bass, and Mike Beardslee on vocals.
The band's name, Country Joe & the Fish, was a compromise proposed by ED
Denson, an early member and the group's manager. He quoted Chinese
communist leader Mao Zedong's metaphor about a revolutionary who
resembled "the fish who swim in the sea of the people." There was also some
thought given to the name "Country Mao & the Fish." Instead, they
used "Country Joe" as a reference to McDonald, who was their singer and, as
much as there was any organization to it at all, the organizer of the
group, and also a reference to Joseph Stalin -- "Country Joe" was a
nickname for the Soviet dictator. Ultimately, the name proved a stroke of
genius, at once funny to the totally uninformed and provocative to those
few who picked up the references, and also a goof on the typical,
pop-oriented band names in an era filled with acts like Paul Revere & the
Raiders, Barry & the Remains, and Mouse & the Traps. It was such a good
choice on so many levels that it was almost subversive, and what's more, it
was subversive on levels that parents who worried over rock & roll never
even dreamt of. And given McDonald's and Melton's politics, the name was
even better than general analysis would lead one to believe -- in 1965,
barely a decade after the peak of the McCarthy era and the Red Scare, and
with California already the home of the John Birch Society (a right-wing
organization whose founding credo included the notion that President [and
former General of the Army] Dwight D. Eisenhower was a communist stooge),
the meanings that went into the group's name were readily recognizable to
any rightist ideologue.
The membership was in flux for a few months, and the music was mostly folk-
and jug band-based as they built up an audience with performances at coffee
houses such as the Jabberwock, and shows at the Avalon Ballroom and the
original Fillmore Auditorium. They evolved into a rock group at about this
time, playing electric instruments and, more to the point, real
instruments. A second self-produced EP followed in June of 1966.By this
time, McDonald and Melton were both playing electric guitars; Bruce
Barthol, a 16-year-old friend of Melton's from high school, was in the
lineup playing electric bass; New York-born, formally trained David Cohen
joined on electric guitar and keyboards; Paul Armstrong, an alumnus of the
Instant Action Jug Band, played guitar, bass, tambourine, and maracas; and
jazzman John Francis Gunning played drums. The record was good enough to
get the group gigs in San Francisco, at the Avalon Ballroom and the
Fillmore Auditorium, and it was reviewed in Billboard magazine and even
played on the radio as far away as New York City -- it seems to have
circulated as far as London. Five months after its release, the group
signed a contract with Vanguard Records, a New York-based record label had
previously been known primarily for its releases of pre-Baroque and
Baroque-era classical music and folk recordings.
Run by Maynard and Seymour Solomon, the company had stuck its neck out
before by signing the reunited folk group the Weavers, who'd been
blacklisted into premature retirement, but Country Joe & the Fish presented
new problems -- apart from being an electric band with a louder sound than
anything they'd previously recorded, they had a repertoire of daring,
challenging sounds that made them a potential West Coast answer to the
Blues Project, perhaps even rivals to the Doors, the electric quartet just
signed by Vanguard's indie label competitor Elektra. But they also had this
political side, which Vanguard had faced before with artists such as the
Weavers and Joan Baez (who was already becoming a lightning rod for the
right with her anti-Vietnam and pro-civil rights activities). The
difference was that Country Joe & the Fish weren't remotely respectful in
their political songs; they mixed rock & roll's youthful, rebellious
attitude with a considerable level of awareness, and the mix was bracing
but also a little frightening in the context of the times. Lyndon Johnson
was still a popular president in most of the country outside the Deep
South, and in early 1967, the only public figures who'd paid a price over
the Vietnam War were a handful of Democrats who'd been defeated for
opposing it.
Electric Music for the Mind and BodyMaynard Solomon heard the results of
their recording sessions, held at Sierra Sound in Berkeley under the
direction of Sam Charters, and he put "Super Bird" -- a savage swipe at
Lyndon Johnson -- on the group's debut album, but insisted that "I Feel
Like I'm Fixin' to Die Rag" be left off, despite its popularity at the
group's live shows. Electric Music for the Mind and Body was released in
February of 1967, and was embraced as a work of genius -- a bold, powerful
mix of blues, jazz, classical, folk, and rock elements, all with a
mesmerizing psychedelic glow. Listeners could luxuriate in Cohen's
prodigious organ work, Melton's, Cohen's, and MacDonald's alternately
lyrical and slashing guitars, McDonald's pleasing, light folk tenor, and
the fluid rhythm section of Barthol and new drummer Gary "Chicken" Hirsh.
The only thing it didn't have was a hit single -- "Not So Sweet Martha
Lorraine" was issued as a 45 but peaked at number 98 nationally, though it
got enough airplay on college stations so that, coupled with the play
received by the non-single tracks "Section 43" and "Masked Marauder," and
excellent word of mouth about the LP, Electric Music for the Mind and Body
managed to make the Top 40 and stay there. It still holds up today,
alongside Sgt. Pepper's Lonely Hearts Club Band, Van Dyke Parks' Song
Cycle, the Jefferson Airplane's Surrealistic Pillow and After Bathing at
Baxter's (which owed a lot to Electric Music), and Blood, Sweat & Tears'
Child Is Father to the Man as one of the enduring landmark albums of that
year.Vanguard, emboldened by the reaction to the first album (and relieved
that "Super Bird" hadn't gotten it banned), had the group go back into the
studio in the summer of 1967. This time out, the label let the band lead
with "I Feel Like I'm Fixin' to Die Rag," the first track on the new album,
and its title track. The sky didn't fall in and, indeed, the album sold
well for over a year, charting in the Top 40 and becoming a staple of many
collections -- one of the underappreciated bonus features, which showed how
much the label was getting in on the spirit of the fun, was the inclusion
in the early pressings of "The Fish Game," a highly satirical insert
(which, in the '80s and '90s, would turn a $5 used copy of the LP into a
$40 item). If the rest of the music wasn't quite as accomplished or bold as
the content of the prior album, it was more accessible, offering McDonald a
chance to show off his singing voice (which rivaled the Jefferson
Airplane's Marty Balin), and together the two LPs represented the group's
artistic and commercial peak. The band was soon touring nationally, and it
was among the first acts to become known for its use of a light show at its
concerts. An appearance at the Monterey Pop Festival in June of 1967 (and
in the subsequent movie, doing "Section 43") utilizing the light show only
enhanced the band's reputation musically.
Soon, "I Feel Like I'm Fixin' to Die Rag" took on a life of its own. The
band had first recorded it before they were on Vanguard, as a folk number,
and the version on the Vanguard album featured the most elaborate
production yet. In the summer of 1968, the band appeared in New York City
at the Shaefer Summer Music Festival, sponsored by the beer company, at the
Wollman Skating Rink in Central Park. By that time, the mood of the country
had darkened considerably -- the Democrats were split between pro- and
anti-war factions, while the Republicans were capitalizing on negative
reaction of white voters in the South in the first national election since
the passage of landmark civil rights and voting rights legislation in the
mid-'60s. And everybody seemed to either hate, or were just plain
suspicious of, the motives of college students of the activist variety, who
made up a big chunk of Country Joe & the Fish's audience. Amid a lot of
head-shaking and hand-wringing, many adults, even those with sons who could
be drafted, seemed to wish that the majority of those "kids" would just act
like willing cannon fodder and shut up. And the troop commitments stayed in
the six-figure range.
In a moment that could be filed under "It Seemed Like a Good Idea at the
Time" (and it was), the group was planning on playing "I Feel Like I'm
Fixin' to Die Rag" at the Schaefer Festival when drummer Chicken Hirsh
suggested that the opening, high school-style cheer ("Gimme an 'F,' gimme
an 'I'") be changed to something a lot more...expressive. The cheer became
an expletive, the crowd in those relatively innocent but darkening times
devoured it, and the new cheer stuck -- the song as originally recorded got
onto AM radio once again in its wake, and suddenly 12 and 13 year olds knew
who Country Joe & the Fish were.
To understand just what a deep, angry brand of black humor McDonald and
company had tapped into -- if you were male and 14 or 15 or older, you knew
that you'd be registering soon enough, and as the war had already lasted
three years and there was no progress, it was hard to see why it wouldn't
still be going on in three or four years. Lyndon Johnson, who'd seemed too
popular for "respectable" people to attack over the war in late 1966, had
announced he was leaving office, in near-disgrace politically; but many
voters who were glad to see him go still felt the war was worth fighting if
it could be won.
At some point, "I Feel Like I'm Fixin' to Die Rag" became a prism through
which one could analyze the times and the mood of the country and its
audience. Something similar had happened with another figure associated
with the American left, Paul Robeson, and his performances of the Jerome
Kern/Oscar Hammerstein II song "Ol' Man River" from Showboat. Although he
wasn't the first man to play the role of Joe (the character who sang the
song) in the musical, the song became inextricably associated with him,
on-stage and later on record. As originally written and performed, the song
had the opening line "N*ggers all work on the Mississippi," in keeping with
the vernacular of the time; over the years, however, Robeson altered the
words and other elements of the song, taking possession of it and turning
it into a mirror of the particular time in which he performed it. It
was "Darkies all work on the Mississippi" for the movie, and was later
changed to "colored folks"; by the '50s, Robeson had altered the words
enough to turn it into an anthem of liberation. McDonald and co. followed
suit. By the time of Woodstock, where McDonald appeared solo, the producers
had no qualms about recording the uncensored version of "The Fish Cheer,"
much less McDonald (there by himself, awaiting the arrival of the band)
singing it in front of hundreds of thousands of people.
TogetherBy that time, however, the best days of the band were over. In the
fall of 1967, someone managed to convince McDonald that he was the real
star of the group. Amid the ensuing turmoil, the Fish split up. It didn't
last long, and they were eventually reassembled into a whole band, but the
hiatus cost them dearly. Their third album, Together, was a recorded during
this turmoil: MacDonald was almost invisible on most of the album, and
Melton and Hirsh were the dominant performers. The group managed to tour
Europe, and saw more demand for their performances in the U.S. as well; the
continuing controversy over the Vietnam War helped keep their popularity
high, and the growing underground enthusiasm for "I Feel Like I'm Fixin' to
Die Rag" sustained them.Here We Are AgainAlas, the lineup began coming
apart at that point -- Bruce Barthol was dismissed in mid-1968, and Chicken
Hirsh was gone by the end of the year. The next album, Here We Are Again,
released in the spring of 1969, was the debut of the new lineup of the
group which, apart from the Airplane's Jack Casady sitting in on bass, had
David Getz, late of Big Brother & the Holding Company, on drums. David
Cohen's exit led to an all-star jam (including Jerry Garcia and Steve
Miller) credited to the band at the Fillmore West, which was recorded and
subsequently released as a Country Joe & the Fish live album. The lineup
stabilized around McDonald, Melton, Getz, and Peter S. Albin of Big Brother
for six months in 1969. MacDonald reassembled the band for its appearance
at Woodstock, and the final lineup of Melton, Mark Kapner on keyboards,
Doug Metzner on bass, and Greg Dewey on drums, was the one that took
advantage of the momentum coming off of that performance.Hold On It's
ComingIn the spring following the festival, McDonald embarked on a solo
career, returning to his roots with an album of Woody Guthrie songs, and
followed it up a year later with the electric blues album Hold on It's
Coming. He remained committed to ending the Vietnam War, participating in
demonstrations and appearing on-stage with The F.T.A. (F*ck the Army) Show,
a satirical anti-military revue which yielded a movie of the same name and
eventually earned a place on President Richard Nixon's notorious "enemies
list." Melton continued in music into the '70s, but later became a
lawyer.Over the decades and well into the 21st century, McDonald cut
numerous solo albums and performed extensively; he also revived Rag Baby.
He periodically reunited with Melton -- whose presence is essential for the
official use of the Country Joe & the Fish name -- and Cohen, Barthol, and
Hirsh, in the wake of the war in Iraq. He's become an almost mythic figure
on the agit-prop scene since the early '80s, when he resumed his activist
work -- wherever the American government seemed hell-bent on turning troops
loose to kill people, he's there with his music, trying to answer the call
to arms with something else. There are at least two extant best-of
compilations devoted to the band, and in 1994, the Rag Baby EPs were
reissued on compact disc.
The Wave of Electrical SoundIn 2018, Craft Recordings issued the
retrospective four-LP box set The Wave of Electrical Sound. The limited
edition deluxe package included the band's first two influential albums
from 1967 and I-Feel-Like-I’m-Fixin’-To-Die, the latter released in both
mono and stereo versions on 180-gram vinyl. The mono version of Electric
Music for the Mind and Body featured rare, alternate cover artwork. The
Wave of Electrical Sound also contains a plentiful amount of ephemera from
1967, including replicas of The Fish Game, a Fish Fan Club book, and a Fish
calendar designed by Tom Weller. Also included is a DVD of How We Stopped
the War, a 30-minute documentary, filming the band on their way to an
anti-Vietnam War rally, directed by David Peoples (writer of Blade Runner,
Twelve Monkeys, and Unforgiven), and a 24-page book comprised of rare
photos, artwork, and a new liner essay from writer, producer, and musician
Alec Palao.

Their full-length debut is their most joyous and cohesive statement and one
of the most important and enduring documents of the psychedelic era, the
band's swirl of distorted guitar and organ at its most inventive. In
contrast to Jefferson Airplane, who were at their best working within
conventional song structures, and the Grateful Dead, who hadn't quite yet
figured out how to transpose their music to the recording studio, Country
Joe & the Fish delivered a fully formed, uncompromising, and yet utterly
accessible -- in fact, often delightfully witty -- body of psychedelic
music the first time out. Ranging in mood from good-timey to downright
apocalyptic, it embraced all of the facets of the band's music, which were
startling in their diversity: soaring guitar and keyboard excursions
("Flying High," "Section 43," "Bass Strings," "The Masked Marauder"), the
group's folk roots ("Sad and Lonely Times"), McDonald's personal ode to
Grace Slick ("Grace"), and their in-your-face politics ("Superbird").
Hardly any band since the Beatles had ever come up with such a perfect and
perfectly bold introduction to who and what they were, and the results --
given the prodigious talents and wide-ranging orientation of this group --
might've scared off most major record labels. Additionally, this is one of
the best-performed records of its period, most of it so bracing and
exciting that one gets some of the intensity of a live performance. The CD
reissue also has the virtue of being one of the best analog-to-digital
transfers ever issued on one of Vanguard Records' classic albums, with
startlingly vivid stereo separation and a close, intimate sound.

Drafi Deutscher - Chante En Francais

Posted: 22 May 2020 02:13 AM PDT

He was born Drafi Franz Richard Deutscher in Berlin. His best known song
was the 1965 Schlager "Marmor, Stein und Eisen bricht" ("Marble, Stone and
Iron Breaks") which sold over one million copies, and was awarded a gold
disc.[2] It later featured in the 2006 film Beerfest, during the
Oktoberfest scene. Between 1964 and 1966 Deutscher had a lot of hits in
Germany, for example Shake Hands (1964 # 1), Keep Smiling (1964 # 7),
Cinderella Baby (1965 #3), Heute male ich dein Bild, Cindy-Lou (1965 #
1)[3] After his 1965 hit Marmor, Stein und Eisen bricht, his career in
Germany was in full swing until shaken by a 1967 verdict for public
indecency (Erregung öffentlichen Ärgernisses) after he had urinated from a
balcony while drunk, in plain view of a group of schoolchildren watching
him from street level.He also composed several worldwide hits for Boney M,
Nino de Angelo and Tony Christie. In the 1980s he achieved success with his
duo, Mixed Emotions, together with Oliver Simon. Deutscher also worked with
Christopher Evans Ironside, collaborating with him in the band named
Masquerade, and on their co-written hit "Guardian Angel".


Drafi Deutscher - Die Decca Jahre 1963-1968

Posted: 22 May 2020 02:09 AM PDT


Conny Froboess - Singles 1960 - 1962

Posted: 22 May 2020 02:07 AM PDT

Cornelia Froboess born 28 October 1943) is a German actress and a teen
idol of the 1950s and early 1960s. During that time, Froboess appeared in
many West German and Austrian musical films, especially after the rock and
roll wave had hit Germany. In those comedy films, she would often portray
the typical Berliner Göre (brat from [West] Berlin) who craves independence
from her strict parents.

As Die Kleine Cornelia she had her first hit record in 1951, aged eight,
with a song written by her father. "Pack die Badehose ein" (Pack your
swimsuit") is a cheery tune about a group of children going swimming on a
hot summer's day at Wannsee. The title of the song has become a set phrase
and synonym for going swimming easily recognized even by speakers of German
who have never heard of the song. As she grew she recorded as Conny then
Conny Froboess
In 1962, Froboess finished in sixth place at the Eurovision Song Contest,
where she sang "Zwei kleine Italiener" (Two little Italians) for Germany.
It sold over one million copies and was awarded a gold disc. The same year
she appeared as herself in Jean Renoir's comedy film The Elusive Corporal.
Later, Froboess became a theatre and movie actress. In 1982, she appeared
in Rainer Werner Fassbinder's film Veronika Voss. In 1988 she played Marthe
Schwerdtlein in Goethe's Faust I, a performance that was also released as a
film: Faust – Vom Himmel durch die Welt zur Hölle. In 1997 Froboess played
the mother of the protagonist Martin Brest (Til Schweiger) in the film
Knockin' on Heaven's Door. On stage, she appeared in Lessing's Minna von
Barnhelm in 1976, staged by Dieter Dorn,[2] and played Ellida in Ibsen's
The Lady from the Sea in 1990.[3] At the Salzburg Festival 2004, she played
Mary Tyrone in Eugene O'Neill's Long Day's Journey into Night.[4] The same
year she played the title role in Bertolt Brecht's play Mother Courage and
Her Children.
Selected filmography :
The Sinful Border (1951)Ideal Woman Sought (1952)Three Days of Fear
(1952)The Big Star Parade (1954)Conny and Peter Make Music (1960)Mariandl
(1961)My Husband, the Economic Miracle (1961)The Bird Seller (1962)Ist
Geraldine ein Engel? [de] (1963)Rheinsberg (1967)


Conny Froboess - Singles 1961 - 1964

Posted: 22 May 2020 01:59 AM PDT


Connie Francis - Connie Rocks

Posted: 22 May 2020 12:49 AM PDT

Review by Thom Jurek
Another wild and wooly volume in its Rocks series, this Connie Francis set
is packed to the gills with hits, B-sides and obscurities with 33 cuts in
all! From her stellar reading of Conway Twitty's "It's Only Make Believe,"
the sultry "Fallin'," an alternate version of the country-rockabilly
tune "My Heart Has a Mind of Its Own," and the horn-driven "Plenty Good
Lovin'." As is usual for Bear Family, the sound is great, there are
terrific liner notes, and what's best of all, it's all on a single disc.
Connie Rocks offers a view of early rock & roll from one of its most
seminal, if not always acknowledged, female vocalists and performers. Just
snag it.

  • Post a new comment


    Anonymous comments are disabled in this journal

    default userpic

    Your IP address will be recorded