Bedazzled!

Derek's weekly 45's: The Covers File, Part Six

Here's the latest installment of my ongoing series of unusual covers; nothing like hearing a different rendition of a familiar song that can either put a different artistic spin on a classic or draw a mustache-on-the-mona-lisa, depending on your outlook.

"Girl Watcher" in its original version by The O'Kaysions is not only a soul classic, but somehow takes a subject matter that could be incredibly creepy, but somehow manages to NOT be, thanks to its breezy, lilting groove. In 1968, two years after The O'Kaysions original, a "Ginger Thompson" cut a gender reversed version. What a reversal; what red blooded male WOULDN'T wanna be watched by a lady with a cooing, sexy voice?

Boy Watcher

Wynder K. Frog was in actuality the alias of one Mick Weaver, British Hammond organist extraordinnaire. The frog band cut three albums, of which this SWINGING 1968 version of the then-brand-new Stones single was taken from their second LP. Mick went on to lay his organ out on dozens of sessions throughout the years; Steve Marriott, Buddy Guy, Keef Hartley all among them.Yes, you are allowed to use this jam as the theme song of the next party you throw, silk pajamas option but recommended.

Jumping Jack Flash

Oooh what an intimidating label we see on the Nobody's Children release, especially with the cut-out BB hole on the label... All politics aside, I'm truly surprised that anyone would think there was any commercial potential in a record label with such volent connotations, especially during the year of peace and love that this record was released (1967). The band name Nobody's Children was used by several groups in the 60's, but these kids were from Washington D.C. While their version of the Evie Sands/ Hollies version is cool, it doesn't justify its position here until the 1;20 second mark when all hell breaks loose via an intense fuzztone break, lifting the song into total freakout territory.

I Can't Let Go

The Cascades scored a massive hit in 1962 with the lovely 'Rhythm Of The Rain", and their blend of slick group vocal harmonies lends itself surprisingly well to this brilliant early Neil Young composition that is a highlight of the first Buffalo Springfield LP. I would be willing to bet that arranger Jack Nitzsche recommended that the group record this song, as he was also beginning his work with Neil Young the year this record was released (1967), and the duo recorded their masterpiece ("expecting To Fly") that same year. The Cascades released some SIXTY TWO singles between 1962-1972, none of which could get them a follow up hit to "Rhythm Of The Rain".

Cascades- Flying On The Ground Is Wrong

until next time! -Derek See

Derek's Weekly 45's: LSD not ESP

If theft is inevitable, might as well steal from the best (I suppose). At least in this case outright song thievery produced two completely ass whipping records.

My love of the Pretty Things goes DEEP, as their earlier speed fuelled r&b singles rank at the upper echelon of the British Invasion, and the later 60's pschedelicized version of the band that created the outstanding SF Sorrow, Parachute, and unreleased for many years sessions with rich Frenchman Phillippe De Barge (an album that sounds terrible on paper but against many odds sounds fucking GREAT on the turntable.).

After the release of their fantastic second LP Get The Picture, the groups' management tried in vain for a full length Pretties movie to be filmed, only to end up with a 16 minute short film that captures pure adrenalin from the group, hot on the heels of the incredible mod anthem single release 'Midnight To Six". The film shows the group onstage performing their current (and controversial) b-side, L.S.D; sadly, the footage is dubbed but the excitement of the live footage is one of those relics that makes us 60's fanatics who were born too late yearn for 1966. Both of the group's current singles ("Midnight To Six' and Can't Stand The Pain' being the respected a-sides) were combined for The Pretty Things On Film EP, which contains some of my favorite picture sleeve graphic design of the mod era.

While lysergic acid was UNDOUBTEDLY on the scene in London, 1966, the group cleverly disguises this ode to money (the "L" is in the shape of the British pound sterling symbol), but there's no doubt that the imagery goes well beyond cold hard cash, and this record is the link which binds the amphetamine rush of the mod years with the oncoming psychedelic freak out of 1967.

L.S.D

Now the story gets rather complicated, and undoubtedly illegal. In 1967, the mysterious Rain (probably a UK studio concoction, not to be confused with Walker Brother Gary's later group with the same name) cut a side called E.S.P with writers credits listed as "Self; Ciebiera"). Now, I don't know who these people are, but there's no doubt they lifted "L.S.D". Perhaps they saw the commerical potential of the song and decided to make it a bit more palatable, but c'mon guys, WHY weren't the Pretties Dick Taylor and Phil May credited???? It's tough to be too hard on the record though, as it kicks up a real groove.

E.S.P

Now flash forward two years to southern California beach community Santa Barbara, home of the Giant Crab. The Crab released two LP's that swiftly went nowhere, but they went out with a bang covering "E.S.P" with a strong dose of L.S.D inspired phase shifting effects.

ESP

-Derek See

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Brooklyn Bowl in Williamsburg presents the Collect-i-Bowl Record Show! Today!

We'll be here selling some vinyl, CDs and Scopitone DVDs.

Brooklyn Bowl in Williamsburg presents the Collect-i-Bowl Record Show! Today!

Brooklyn Bowl: 61 Wythe Ave. Brooklyn, NY 11211 

SUNDAY, MARCH 3rd 2013

Our largest show ever! Over 40 dealer tables! 1,000's of rare and collectible records!! 

Plus DVD's, CD's and MORE! 2 full bars, Blue Ribbon food, 

DJ Uncle Mike, 16 bowling lanes... Something for everyone! 

TIME: 11am - 5pm

ADMISSION IS FREE!

Derek's Weekly 45's: Little records, Big Star

 I would assume that most every Bedazzled! reader is at least FAMILIAR with Big Star. If you aren't, I strongly suggest that you do not pass GO and immediately purchase the box set Keep An Eye On The Sky as well as the double disc reissue of Chris Bell's posthumous masterpiece I Am The Cosmos. These are some of the greatest sounding CD's out there (it takes A LOT for an analog diehard such as myself to admit that), but there's a real charm to these 45's, and it is my pleasure to share them here.

"When My Baby's Beside Me b/w In The Street" was the debut release, coinciding with the long player #1 Record. "When My Baby..." is a nifty, AM radio ready mono mix of the Alex Chilton sung mover; this was one of the few Big Star songs that Alex Chilton played regularly in his solo gigs. 'In The Street" however, is a completely different mix with a different vocal take altogether from Chris Bell, who reaches some absolutely nut-crunching high notes here.

In The Street_45 mix

When My Baby's Beside Me

These records mean the world to me, and the combination of a grizzled yet still-very-young music biz veteran Alex Chilton matched up with the tragic melodic genius of Chris Bell created some of the greatest music of the early '70's.

With the type of songwriting, vocal and instrumental prowess contained in this group, one would think that they would have indeed realized their name and climbed the ladder to success. Lambasted as being passe during the time of endless boogie, Big Star records sold poorly but were cherished by those who owned them, and along the way the cult grew and grew, eventually manifesting itself into what became the heart of guitar based power pop/ college rock/ indie pop/ whatever the hell you wanna call it music from the late 70's onwards.

Ardent (which was distributed by Stax) tried again with a second single from the first LP, pairing the aggressive "Don't Lie To Me" with the gorgeous, pastoral "Watch The Sunrise". Once again, the single sunk without a trace. Interestingly, my copy was mis-pressed and contains "Thirteen" (quite possibly the most enduring track of the album, and Alex Chilton's greatest ever performance) in place of "Lie". I don't hear any mix differences, but this track is just too good not to share here. "Watch The Sunrise" is certainly different, as it edits a chunk of guitar picking from the intro. The vocal also sounds a tad different to my ears as well.Rather ominously, the trail off wax on the "Lie To Me' side reads "SKULL TREE".

Thirteen

Watch The Sunrise

After the lack of success of the first LP, Chris Bell left the group, embarking on epic travel adventures in Europe and England which included time spent recording tracks that eventually made up the I Am The Cosmos LP, which was first released in 1992, some 14 years after his tragic death. Chris Bell suffered a lot in his personal life, exasperated by drug abuse, mental illness and the pain of closeted homosexuality. However, from his despair came some of the greatest, most transcendent music of the 1970's. Shortly before his death, the 45 of 'I Am The Cosmos b/w You And Your Sister' was released by Chris Stamey's Car label. "Cosmos" is a MASSIVE recording, and the druggy haze was recorded in Memphis, and overdubbed/ mixed by geoff Emerick at AIR Studios in London, fulfilling Chris' wish of recording with the Beatles engineer. The incredibly touching b-side finds a reuinion of the Big Star principles back at their home base in Memphis at Ardent studios. Alex Chilton's harmonies here are the stuff of goosebump inducing legend, and it never fails how many times I've heard this song that it moves me to tears. Once again, while the recent double disc CD reissue sounds amazing, listening to the original 45 is a truly incredible experience. Hopefully that translates to you thru these high quality transfers and scans! -Derek See

I Am The Cosmos

You And Your Sister

  

The Kinks on French TV, 1965

As a fanatic of the music of the '60's and a also big fan of collecting beautiful, exotic European picture sleeves (which I hold as pure works of art), I especially enjoy these two Kinks videos that show how the day in the life of a '60's pop group tied in to several aspects of vintage media.

While a Klip of The Kinks lip syncing may not be as exciting as the ones from the era when the group is playing live, it's kool nonetheless to see the group at work in a French TV studio mugging for the camera in all their matching outfit finery.

As I watching these (recently unearthed) clips, it struck me that SOMETHING looked familiar, which drove me over to my boxes of picture sleeves and there it was, lo and behold- a French EP from '66 with lovely color photos of the group from the same TV session. The red hunting jackets of '64 had by now been replaced with similarly Edwardian black jackets, and the image of Dave Davies with red socks, loafers and Guild guitar just makes me smile. Ray Davies looks weary and tired (but still regal), Pete Qualife anxious, and Mick Avory downright majestic behind the kit.

   As we see on the back, another image from the TV filming was also used on the "A Well Respected Man" French EP. Unfortunately I don't own that one to scan it.

Derek's Weekly 45's: Psych Psampler #2

It's been nearly a year and a half since I posted the first installment of the Psych Psampler, but there's so many great records out there that between the nearly 1500 that I've featured on the daily 45 and the 100 or so I've featured here, the well of choice soul, r&b, rock n roll and all sub categories in between, seems to be virtually bottomless.  First up we have the EXCELLENT 1968 track "All I See Is You" from Minnesota's Jokers Wild. The freaky sound isn't a theremin (ala "Good Vibrations") but that of a slide whistle- a cheap children's annoying noisemaker (I know I made my own share of annoying noise with a slide whistle in my early days), put here to perhaps its best ever use! The b-side, "I Just Can't Explain It" is pretty great as well, but for the time its British Invasion-esque sound was getting pretty dated. Sounds fantastic today though to these ears.

All I See Is You

I Just Can't Explain it

Next up we have a SLICK but ROCKING number from Boston's Orphans, who later dropped the "s' and became Orphan. Something about Boston bands of the time; they were REALLY tight (witness The Remains) and The Orphans impress with some fantastic harmonies here and a wild, freakout guitar solo from group leader Eric Lilljequist. This is one of those tracks that has grown on me more and more through the years. Unfortunately this side, far superior to the plugged A-side "This Is The Time", was relegated to b-side status and never achieved its hit potential. This was released in late '67.

Deserted

Before they added violin, got 'heavy" and became a staple of the festival scene of the late '60's/ early '70's (I especially enjoy the story about Led Zeppelin manager Peter Grant yanking them off stage when they went overtime, seeing an incredible sunset on the horizon which made for the perfect backdrop to Zep's 1970 set at the UK Bath Festival), Chicago's Flock were another band heavily influenced by the British Invasion. While "I Like You"'s lyrics are incredibly trite, something about the minor-to-major key change within the song adds a very west coast lysergic edge to this otherwise pedestrian number. My words may sound overly critical, but the charm of this song truly outweighs any negatives on my part. 

I Like You

I'll leave you with this real ass kicker of a track from New York's Group therapy. Allegedly, the band (who had worked as journeymen for several years) had a burst of inspiration during a UK tour supporting Moby Grape, where they delivered a devastating live show and were signed by Philips Records. Like a handful of other records from the post-Pepper era ("Susan" by The Buckinghams, "My world Fell Down' from Sagittarius, for example), this record features a bizarre middle section freakout that's undoubtedly inspired by "A Day In The Life".

Cant Stop Loving You Baby

Until next time- please watch out for the police.

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Derek's Weekly 45's: The covers file, part four.

Derek's Weekly 45's: The Covers File, Part Five (All Beatles Covers)

Welcome to part five of an ongoing series of freaky, funky, cool, and occasionally downright weird cover songs! A great cover can not only put a smile on our faces by delivering a familiar song in a new light, but also show another side of the performer's personality. Here are some of the more odd (but excellent) covers of Beatles tracks that have made their way to my collection.

Chicago's Vontastics were led by singer/ songwriter Bobby Newsome. The group released eight (excellent) singles, which included this killer version of "Day Tripper". With its heavy riff, heavy backbeat and ultra mod lyrics, "Day tripper" was one of the Beatles finest explorations into the contemporary soul sound, and it was a natural fit in both the original recording and sweaty, intense workouts by Otis Redding and JJ Barnes. I really dig how the Vontastics smooth out the edges and take it into something else entirely- namely, CHICAGO style soul. The group harmonies are lovely, and veteran arranger Burgess Gardner turns the groove into a lilting, swaying piece of delight.

Day Tripper

Hailing from Baton Rouge, LA, John Fred had a MASSIVE hit with the amaziing, Beatle-esque "Judy In Disguise" in 1967, but this veteran performer had a career in music stretching back to his teen years in the late '50's. One could easily be mistaken into thinking John was a black singer, as his heavy, deep south accent OOZES soul, and it's heard to great effect on this FUNKY cover of the song that opens The Beatles self titled 1968 LP, known forever as The White Album .The Playboy Band itself shows off how tight the group was, no doubt brought on by a decade of performing all over the south at Fraternities, sock hops, opening slots, and basically anywhere they could make a living as journeyman musicians.

Back In The U.S.S.R

The music found on  Rubber Soul found the Beatles reaching new heights of creativity, songwriting prowess and unique instrumentation. Between the fuzz bass assault of 'Think For Yourself" and the exotic sitar found on 'Norwegian Wood" I can only imagine what it would have been like to hear the record for the first time in 1965. Hidden as the b-side of Jan & Dean's silly-but-fun "Popsicle" 45 (itself basically a commercial for the Popsicle brand) is this freaky take on "Norwegian Wood" that replaces the sitar with fuzz guitar, some very stoned-sounding vocals from Jan & Dean, haunting harmonies, and an overall VERY trippy LA '66 vibe. I would be willing to bet that Brian Wilson is among the harmony singers, but it's never been confirmed. At the very least, I bet that Brian dug this take; a favorite track from the album that influenced his own Pet Sounds.

Norwegian Wood (This Bird Has Flown)

The sitars (of the electric variety) are back in full force for Barbara Love's gorgeous take on "Across The Universe". This seems to be the only release from Barbara Love, and I'm afraid that I know nothing more of her biographical info. The track is very "produced" but it still somehow captures the majesty of one of John Lennon's greatest philosophical tracks.

 

Across The Universe

I'll leave you with this one; Sergio Mendes is, along with Astrud & Joao Gilberto, most responsible for spreading the gorgeous sound of the samba to the world at large. While the Beatles take on the Sgt Pepper LP is, arguably, THE understated masterpiece of that album, the Mendes version takes the song somewhere else entirely. The message of love and togetherness found in the words of the song lend itself perfectly to an arrangement that takes the Beatles words and message into the international feel of the samba, making the message of unity even stronger. The vocals and instrumentation are just gorgeous, and while these Herb Alpert productions sometimes get criticism for being too far on the pop spectrum, there are some truly transcendent moments found in the music that erase any possible negativity in anyone but the strongest of music cynics.

With A Little Help From My Friends

until next time, Derek See.

 

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Harry Nilsson. The name alone seems to elicit an automatic sigh from those of us who love the music and the spirit of this man who died far too young. Stories of legendary partying (I especially love Micky Dolenz story of starting out in LA and waking up a few days later at a massage parlor in Phoenix) sometimes cast a shadow over the brilliance of his music; his vocal on "Without You" is one of those performances that is at the top echelon of immortal pieces of THE BEST of what talent has to offer.

Working as a bank computer programmer by night, young Harry spent his days in the mid '60's writing songs, which eventually got him a contract with Capitol records offshoot Tower. Two 45's were released, neither of which made much in the way of commercial inroads. "Good Times" had some serious hit potential, and perhaps its short length ruined whatever chances it had to be a hit. The song was also demo'd specifically for The Monkees, who instead chose to cover "Cuddly Toy"- the royalties from which allowed Harry to quit his bank job, and helped in his siging to RCA Records (where he spent the rest of his recording career).

Good Times

While some great singles were drawn from Harry's LP's during the '70's, he was truly one of the great album artists of the first half of the decade. By 1980, a failed score (Popeye) and several albums that didn't live up to the earlier quality turned Harry basically into a retired artist. Tragically, due to the death of his friend John in December of that year, Harry found a new cause to devote his energy to; The National Coalition To Ban Handguns. One of the quirks of Harry's career was that he never performed live, yet against the odds became an enormously succesful recording artist. Harry's devotion to the gun control cause saw him make numerous appearances to speak on behalf of the crusade, and for this fan it makes him all the more heroic.

Harry also began making regular appearances at Beatlefest conventions, and he was known to blow minds of the crowds when he would get up and sing a song or two. For the 1982 fest, Harry spontaneously cut his second-to-last original release (discounting a few soundtrack and compilation cameos), With A Bullet. 

With A Bullet

Taking a very serious situation (Harry stages a faux-robbery during the song while sharing the shocking statistics of handgun violence) and placing it over a jaunty track was a brilliant way for Harry to spread the message. Too bad more people didn't get to hear this limited edition record which was sold only at Beatlefest! Of course its message today, 31 years later, is just as strong. The flip side, "Judy" was written when tall, glasses wearing Judy stepped forward to pledge $500 to the N.C.B.H cause after Harry said he would write a song for whoever made the pledge. The track is pure Harry, with its whimsical nature and trademark stacked vocals.

Judy

As a bonus, here's the snappy radio edit of the blazing "Jump Into The Fire".

Jump Into The Fire

until next time! Derek See

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Derek's Weekly 45's: Emitt Rhodes

Like so many other record fanatics, I first encountered Emitt Rhodes' solo debut LP for mere peanuts at one of my old record digging spots, which in this case happened to be a rural flea market and the price was probably 25 cents. In the twenty years since, I snatched up every other vinyl artifact from this masterful songwriter (most of which came my way after signing up for ebay in 1999) and have treasured them deeply, never growing tired of their majesty.

While these songs are heard everywhere on LP's and digital compilations, there's something cool about hearing the mono 45 versions that I felt compelled to share. I'm the first to admit that there's a whole lot of wackiness when it comes to the mindset of the completist, there is a certain sductive power of hearing the same familiar songs at 45 RPM that brings to mind an era that I did not live through but feel a deep connection with nonetheless.

While Emitt was only 20 years old when he recorded his solo debut LP, he was already a veteran musician with 7 years professional experience under his belt as both a drummer (The Emerals, The Palace Guard) and guitarist/ forntman (the amazing Merry Go Round). "Fresh As A Daisy", the debut single from the LP, became a minor hit (peaking at number 54) that drove the self-titled LP to become a mild success. The mix heard on the 45 is mono, punchier and has much hotter low end than the LP version. Must have sounded incredible on the AM radio! 

Fresh As A Daisy

The opening track from the debut LP, "With My Face On The Floor", was released hot on the heels of "Fresh As A Daisy". As excellent as the song is (I think of it as one of the definitive, explosive album openers that is so good it draws the listener in to the mood of the record immediately), the single failed to make much of an impression on the charts. However, just like the debut, the 45 mix is mono and HOT, and, while it still retains the homemade murkiness of the LP, it is far punchier than the mastering that is heard on the full length release. While that mysterious, murky sound is indeed part of the charm, every copy of the LP I've had has sounded WAY too flat when compared to the 45's.

With My Face On The Floor

Thanks to its conclusion on the Royal Tennenbaum's soundtrack, 'Lullabye" is perhaps Emitt's best known song (all 1:05 of it), and it was also used as the b-side for Dunhill D-4280. By the early 1970's it had become common practice for 'fold down' mono mixes; this is simply when the engineer "folds down" the stereo track into a mono master. Often times, this results in a mess, as the record can sound thin and out of phase. An even stranger phenomenom happens here on this fold down mix, as the intended phase shifting effect gets put out of phase, giving the effect a far stranger sound.

Lullabye Ending today's set is the one non-LP single that emitt released during his years at ABC Dunhill Records. 'Tame The Lion', a strong anti-Vietnam statement, was not included on his (excellent) second LP, Mirror. While this song has been reissued on a few compilations, here it is taken from an original, mono UK copy.

Tame The Lion

Until next time! Yours at 45 RPM, Derek See.

 

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Garage Rules the Rock! (Unknown Garage Acetate)

No matter how we open our minds and ears, trying out new horizons and sounds, we always end up in the Garage womb... and what can be more garagey that an Unknown acetate? ;-)
(Check out the cool organ zounds!...) :
 

Buy Get Off My Back: Unissued Sixties Garage Acetates, Volume One