Bedazzled!

Derek's Weekly 45: The Glorious Debut of The Rain Parade

The Los Angeles music scene in the early 1980's was a place of diametric opposites in the early 1980's;  the punk scene had become a form of conformity with cartoonish thugs churning out loud for the sake of being loud and held tightly to fashion while the last gasp of the bloated, cocaine driven superstar acts were still massive commercially but beginning to suffer a massive comedown culminating in a crash 'n' burn thanks to the visual media of MTV.

The Rain Parade were formed in 1981 by a pair of roomates- one California native (Steven Roback) and a transplant from Minneapolis (Matt Piucci). The pair were devouring music of the '60's, and found their creative calling within the sound of their The Byrds, The Doors and Love; bands that are the spiritual and geographical older brothers of The Rain Parade. The band drew inspiration from those groups and added the lilting drone of The Velvet Underground to the mix and created something that was entirely out of step with the rest of the L.A scene. The band was rounded out by Steven's brother David, Will Glenn, and Michael Murphy and within their first year together self released the incredible single you're about to enjoy. In a recent interview with The Austin Chronicle, Matt Piucci said of the times "When we started playing in Los Angeles, if you weren’t sweating like a pig in a ripped T-shirt and screaming at the top of your lungs, then you weren’t cool. It wasn’t valid. And we thought that was bullshit. We thought it was very punk of us to play waltz tempos slowly with acoustic guitars at punk clubs. We thought that was punk because nobody else was doing it."

 

What She's Done To Your Mind

I had the pleasure of asking Matt the other day if he had any special memories of the record, and he says

 

"It sure was a trip seeing that thing spin around for the first time. Recorded 8 track at Radio Tokyo n Venice with the late Ethan James. It was a tiny house that had been converted. I remember going in thinking I am putting a sitar in this no matter what!

Weird coincidence, I later learned that right before Ethan got it (the house that the studio was built in), my wife (who I was yet to meet) had lived there. Good karma"

Much has been made of the so-called 'Paisley Underground", and while the other bands associated with that scene drew on some obvious '60's influences, none matched the sheer blissed-out visionary droning brilliance of The Rain Parade. At this time, the only other band that was even performing were the still developing Bangles, who were known earlier as The Colors, then The Bangs, then by their more famous name. Bangles leader Susannah Hoffs was a neighbor of the Robacks and they all attended Pacific Palisades high school.

Matt's sitar is heard in all its glory on the b-side, the lysergic sugar cube bomb that is "Kaleidoscope".

 

Kaleidoscope

The Rain Parade went on to release a 5 star LP in 1983 (Emergency Third Rail Power Trip), and a 5 star EP in '84 (Explosions In The Glass Palace), as well as a live album and another studio effort. David Roback left the band after Emergency and formed (the also brilliant) groups Clay Allison (which became Opal), and eventually Opal morphed into Mazzy Star. Steven Roback formed Viva Saturn, and Matt Piucci Gone Fishin' and also played in the (Neil Young less) Crazy Horse.

 

One of the thrills of my life as a musician was sharing the stage (my band played on the same bill) with the recently reformed Rain Parade, last December at Cafe Du Nord in San Francisco. I stood in awe listening to these magical sounds which I never thought I'd be able to hear live. Several times I had to politely ask people "please talk to me later, as this is a big deal for me to LISTEN to this set!!!" I watched in awe as Matt laid out the same whammy bar moves on the same Gretsch Tennessean as on the videos I've seen of the group back in the early '80's. Check out these two performances of "No Easy Way Down"; the first from 1983, the other 2012.   -Derek See

Derek's Weekly 45's: Myron And E

  While the crop of old school sounds that have popped back into consciousness within the past ten or so years may be looked at as a revival or comeback, only a fool would say that soul music had EVER gone away.

Music has always been the center of my existence, and I remember back in the late 70's/ early '80's, TV commercials were full of reworked soul tunes (remember that floor cleaner using Robert Parker's 'Barefootin'?), and it's impossible to go anywhere in the world without hearing classic soul music, whether on the radio, piped into stores, etc. Not difficult to understand, as this music is LIFE.

Of the current soul groups, I really, really love Oakland, CA based Myron & E. They've released 4 great 45's in the past few years, and the first time that I heard 2010's 'It's A Shame" I was fooled for a moment and thought it was an early '70's bay area track that I'd never been hipped to before! The song has that perfect melancholy-but-swinging late '60's/ early '70's sound that's heard on records by the likes of The Natural Four, but adds a definite little bit of post hip hop flavor in a way that I can't quite explain. The duo vocals have a very unique vibe that's part hesitant, part confident, but 100% pure soul.

 

It's A Shame

"Cold Game" is the duo's debut 45 from 2008, and the sound is laid out perfectly on the debut, which has such a great intro. The guitar lick, amazingly soulful drumming and groovy strings set it all up for this cool song that gets even better when the vocals arrive. The vocals are unison a whole lot of the time, then the fellas break out into a super funky harmony that just makes me smile.

 

 

Cold Game

 

Turns out that Myron has been performing for 20+ years, and was one of the dancers on TV's In Living Color in the early '90's. He eventually relocated to the bay area, toured as a backing singer with Blackalicious which is where he met E (aka E Da Boss). E has been collecting soul records and DJing since his teens, and released a solo album as E The Boss. While on tour in europe, E recorded some tracks with The Soul Investigators group, and eventually realized that the tracks were perfect to collaborate vocally with Myron on.

The duo's debut LP is set to be released this July- preorder it from Stones Throw and get an immediate four song EP download (which is fabulous, by the way).

PLUS, I'm super excited to be sharing the stage with these fellas Saturday night in berkeley at the Starry Plough, with my band The Bang Girl Group Revue. The super cool New Love Soul Revue are also on the bill, and E will be joining me behind the turntables for some DJ action.

Derek's Weekly 45: The ultimate fuzzed out DC5 number, in two mixes

By 1968, the hits had all but dried up for Tottenham's Dave Clark Five. With a run of massive hits recorded between '64-'65, this group was considered STRONG competetion for the Beatles, and many teen magazines speculated the Beatlemania was gonna wane and the Dave Clark Five would come out on top of the world. While history tells a far different tale, the DC5 released many fabulous records, well past the heyday of the British Invasion.

Buried on the b-side of a track that must have seemed like a relic from a bygone era (the downright putrid "Red Balloon") in the heady days of 1968, there's a gem lurking that is not only one of my favorite numbers from this group, but also one which I consider one of the ultimate freakbeat statements, ever. Driven along by Dave Clark's always powerul, upfront drumming and powered into the ether by some downright nasty single guitar notes played with attitude and fuzz tone on "10", "Maze Of Love" is a track that's every bit as forceful as other legendary English psych/ beat records. The boys had undoubtedly been digging the Jimi Hendrix Experience. This is how the song was heard in its release everywhere except for the US, and the picture sleeve shown is a Spanish issue.

Maze Of Love

For some reason, Epic Records in the US was given a completely different mix of the song. The track is slowed down (perhaps due to an error in mastering), making it sound far heavier, and the vocal is single tracked as opposed to the double tracked vocals as heard on the worldwide release. There's an overall echo added as well (especially heard on the vocals) giving the song a murkier sound. I love both versions, and my pal (and super duper DJ) Major Sean is on record as preferring the US version. When I DJ it, though, I always play the UK mix. The US mix is far rarer, as this single died a death commercially (I've only seen promo copies, never yellow label stock copies).

Maze Of Love_USA version 

Derek's weekly 45's: The Flamin' Groovies at 45 RPM

  I was inspired to write this post, as tomorrow evening the Cyril Jordan- Chris Wilson version of The Flamin' Groovies are gonna be playing the tiny Elbo Room club in San Francisco (their ONLY US show, as a matter of fact). This gig sold out immediately, and you best BELIEVE I'm gonna be there. I've had the pleasure of seeing Cyril & Roy Loney recreate the warped insanity of the Flamingo/ Teenage Head era, but have never had the chance to see Cyril and power pop vocalist extraordinairre Chris Wilson together.

Back in those pre-internet days, I'd read about the Groovies in Goldmine magazine and such and they just sounded like the coolest band I could imagine! However, at the time EVERYTHING was out of print and my their records never turned up in my flea market/ garage sale digging and the bin cards in the used record stores were always empty. Luckily, in the early '90's a US CD compilation called Greatest Grooves was released and FINALLY I got to hear these songs I'd been reading about; they DID NOT DISAPPOINT and as a young music fanatic I was immediately struck by the obvious passion for music that these guys have shown on their releases. I spent the next several years collecting every piece of Groovies wax I could get my hands on (still kicking myself though for not buying an original copy of Sneakers at Reckless Records in Chicago back around 1992; THIRTY FIVE dollars just seemed like a king's ransom to spend on a record.

 

The First One's Free

The first actual piece of Groovies vinyl that I found and purchased was shortly afterwords at the amazing (defunct) Record Swap in Homewood, IL. I can't say that I play Supersnazz very often, but I was sure glad to find it for $3.99. 'The First One's Free" was drawn from that album, and the loose and bluesy track (who else but the Groovies would feature a guitar intro with a few seconds of tuning up? too damn cool!) is heard here in a unique mono 45 mix, and sounds a tad more powerful than the LP as well.

 

The group was dropped by Epic records after this one LP failed to take off commercially, and they were signed to Kama Sutra for the incredible one-two knockout of Flamingo (1970) and Teenage Head (1971); two records that show the group in their most powerful era of Roy Loney's reign as lead singer. Once again, success eluded the band and Roy Loney decided he had had enough of the music business, and left the group to focus on acting. Cyril Jordan enlisted Chris Wilson (ex- Loose Gravel) into the fold as lead singer, and the group left San Francisco for an extended stay in England. Working with Dave Edmunds as producer, the group cut several tracks, of which the only ones released at the time were "Slow Death" backed with a raucous take on Freddy Cannon's 'Tallahassee Lassie".

Slow Death

Tallahassie Lassie

"Slow Death" is, hands down, one of the greatest singles of the 1970's. Chris Wilson proves himself to be an incredible vocalist, and with this record he cut the mold for all power pop vocalists who followed. While the group toured England relentlessly, the single was released all over Europe to great acclaim, yet no label in the US showed interest in releasing the record. Several unreleased recordings from the era were released by Norton Records as Slow Death in 2002; this is an essential LP for anyone interested in powerful rock n roll music and you can buy it here.

The group were unable to release ANY records until Cyril Jordan presented Who Put The Bomp fanzine publisher with the astounding "You Tore Me Down", and suggested that Greg release it in late '74. The track, as produced again by Dave Edmunds, is one of *the* key power pop cuts, and was the first release on Bomp! Records in 1975. Unfortunately, there was no college radio at the time and Bomp had no distribution power, but the record recieved massive praise from critics which landed the Groovies a contract at Sire Records, where they cut the Shake Some Action LP; the title cut of which FINALLY provied Cyril and the Groovies a belated hit with its inclusion in the 1995 film Clueless.

 

You Tore Me Down

-Derek See

 

Derek's Weekly 45's: The Zombies at 45 RPM

  Since there are several fine bios that tell the tale of The Zombies quite well (the box set Zombie Heaven is essential stuff with a fabulous booklet/ history), I'll spare the history here and just present these amazing 45 sides for your listening pleasure.

The Zombies' first two US singles became massive smashes in '64-'65 ("She's Not There" and "Tell Her No") and the group's moody, organ-driven sound charted far higher in the US than their English home. Organist Rod Argent penned both of these classics, yet when the group was approached in the summer of '65 with a two week deadline to provide two songs for a film called Bunny Lake Is Missing, Argent's pen ran dry. Vocalist extraordinnaire Colin Blunstone was given his first shot as a compsoer for the a-side, and he penned the jaw droppingly incredible "Just Out Of Reach". The track is classic Zombies through and through, with an aching Blunstone vocal, hard driving beat sound and an organ break that show off the instrumental brilliance of Rod Argent. Sadly, the song made only the bottom rung of the US charts, and the film also tanked.

Just Out Of Reach

After several years of gruelling touring and waning commercial success, the Zombies decided to call it a day in 1967, and went into Abbey Road studios to record their swan song, the legendary Odessey And Oracle LP. Looking back with the hindsight of the status that this album has received in the years after it was released (it's easily in my personal top 20 favorite LP's ever recorded), it's almost unfathomable to think that Columbia Records in the US desided against releasing the LP. Thanks to the urging of Al Kooper who bought the LP on a trip to England and fell in love with it, Columbia decided to release the album nearly a year after its initial UK release. As public opinion of the Vietnam War was souring by the second in 1968, the strong anti-war statement of the avant-garde "Buthchers Tale (Western Front 1914) was released as the first single. Sang with strong emotion by bassist/ writer Chris White, this haunting song failed to chart but, just like the LP, is one of the most revered cuts in the Zombies catalog. The 45 presents the mono mix, as does "This Will be Our Year", a far more commercial track that may have been a better choice commercially for the a-side.

Butchers Tale (Western Front 1914)

This Will Be Our Year (mono)

"Time Of The Season", pulled from Odessey  became a massive US hit in 1969. The session for

the record found tempers within the group flaring, as Colin Blunstone stormed out of the session due to Rod Argent directing his vocals (Colin returned and cut the amazing vocal as directed by Rod for the released take). For all intents and purposes the Zombies were finished after the sessions were completed, bar for a few final live gigs at the end of '67. However, thanks to the massive belated success of "Time Of The Season", CBS UK and Columbia US wanted more Zombies product, and the single release "Imagine The Swan" was released. Essentially drawn from the earliest sessions of the group Argent (featuring Zombies Rod Argent and Chris White), the record certainly has the "feel' of a Zombies record with lovely Blunstone-esque vocals from Chris White. The amazing instrumental b-side "Conversation of Floral St" strikes me as being one of the last gasps of a swirling mod fantasy land that flashes images of Carnaby Street and well dressed folks dancing and clapping along with this track that, once again, highlights Rod Argent's superb musicianship and just generally sets an incredible mood.

Imagine The Swan

Conversation Of Floral Street

 

Bonus sides:

While "She's Coming Home" followed up 'Tell Her No' in early '65 and is a lovely song in its own right, it failed to chart as high as the previous two records. It was issued with a cool picture sleeve in the US, and the b-side "I Must Move" is one of my favorite Zombies tracks. The Zombies were fortunate enough to have three superb writers in the band, and Chris White takes on a subject that's not easy to deal with on this track that shows off the groups' sophistication, class and grace in such a beautiful way.

 

I Must Move

"Friends Of Mine" was released as the lead-in single for Odessey And Oracle in the UK, where it never made the charts. The track is a favorite among Zombies fans, and with its sweet sentiment of love and friendship it has become a staple song heard at many a mod wedding! Columbia records wisely chose to release the track as the (US) b-side to "Time Of The Season", making the mono mix of the track easy to find for us mono-minded folks

Friends Of Mine (mono)

   

Derek's Weekly 45's: A Sample of Springtime Jangle

With jangling guitars, playful tambourines and lush harmomies in tow, folk rock sounds find favor year round, but the folk-rock vibe sounds especially splendid as the world wakes up from hibernation and all is in bloom again.

These four sides are unrelated other than in their overall vibe; after recent tragic events I just wanna focus on the GOOD things in life, and this music has an exceptional healing power.

If it was just for one song ("Needles & Pins") that is one of THE definitive folk rock statements, Jackie DeShannon would be a legend. The immense talents of this woman have ricocheted throughout a jaw dropping array of styles and she posseses the type of songwriting skills that are unparalleled. As The Byrds were first getting their act together and morphing from acoustic folkies into a self contained, electric band, they had an early champion in Jackie DeShannon, who enlisted the group to back her on this gorgeous track. No, it's not about the type of grass that folkies and folk rockers were so enamored of, but of the innocence of young love. David Crosby showcases his unique harmonies here, and already by 1965 the folk rock mold had gelled into a loping, swaying groove dotted with melodies and harmonies seemingly coming from everywhere. Allegedly, Jimmy Page wrote "Tangerine' about his love affair with DeShannon, and the two songs certainly make an appealing pair of bookends (Robert Plant was heard introducing 'Tangerine' in concert as being about 'love at its most innocent stages").

 

Splendor In The Grass

The folk rock scene of the British Isles was dominated by brilliant music from Fairport Convention and The Pentangle, and dozens of other groups added the English pastoral experience and ancient melodies set to a rocking beat in their wake. Forever More were one of the groups who bridged the gap between folk rock and prog rock in the late 60's, and "beautiful Afternoon' from their 1970 debut is as fine of a late period folk rock track as one can find.

Beautiful Afternoon

The San Francisco bay was a hotbed of folk rock, and (Autumn records recording artists) The Beau Brummels (in my opinion) stand side by side with The Byrds as the ultimate American folk rock groups, although limiting either group to such a label is unfair. With coffee house scenes dominating south in San Jose, north east in Berkeley, in the city of San Francisco itself and everywhere in between, the bay area folk scene begat practically every member of The Grateful Dead, Jefferson Airplane, Country Joe & The Fish (and so many more) these countercultural types were tuning in, plugging in, and dropping out of the coffee houses, turning the volume up loud and rocking the walls of the old ballrooms. Formed on the peninsula just south of San Francisco, The Vejtables took a strong British Invasion influence and turned on to a folk rock sound before many of their local contemporaries in 1964. While they are perhaps best remembered for their (excellent) minor hit 'I Still Love You', I find this b-side to be perhaps their defining, jangly folk rock moment. 

Mansion of Tears

While Tim Buckley's debut Lp from '66 can be criticized as being the sound of a young artist grasping for his own sound (most of the ongs were written by Buckley and collaborator/ friend Larry Beckett while they were still high school students), there are several lovely moments, including "Song Of The Magician" which is one of his greatest tracks. 'Grief In My Soul' is unlike ANY other track in Buckley's astounding catalog, and it flat out cooks! The performance is a very appealing blues-folk-rock workout highlighted by Buckley's incredible vocals and some superb group musicianship. Van Dyke Parks never hit the piano harder, and Mothers Of Invention drummer Billy Mundi shows off his Zappa-driven percision behind the kit.

Grief In My Soul

-Derek See

Derek's Weekly 45's: The Greatest 45's of the 1990's

The decade of the 1990's out with some real and genuine promise, and my ears were especially glued to the sounds that Creation Records in the UK was releasing; music that had one foot rooted in the '60's but music that also looked forward. The early '90's was also a peak in hip hop, and the best of this music still stands tall today and doesn't feel dated. It was also cool to see bands that I loved (Sonic Youth, Nirvana, Mudhoney to name a few) get signed to big labels and start making a bigger dent in the cultural landscape. However, the ensuing signing frenzy saw to it that every lame wanna be "alternative" act was getting signed to a major label. I won't name names, but I worked in a record store from '91-'96 and looking back I can't BELIEVE the amount of dreck that got released, and the phony marketing that attempted to make boring wanna be rock stars rehashing plodding 70's themes into "alternative" stars. While I graduated high school in '93, I have no nostalgia whatsoever for the decade that gave us rap-rock and half baked, poorly written "indie rock".

Lilys were one of the exceptions- led by the amazing songwriter and frontman Kurt Heasley and a rotating cast of band membership in flux, Kurt's dabblings in shoegaze and psychedelia earned him a contract with Warner Brothers records; the resulting LP, Better Can't Make Your Life Better is one of the greatest distillations of mid '60's beat, with a smattering of songs that derive from the past in a way that one could easily be forgiven in thinking it was a great lost Kinks track, and an equal number of unique, quirky songs that were obviously the work of a very creative songwriter with a knack for unusual hooks and chord changes. Perhaps The Lilys ultimate statement of swinging London transported from '66 into '96 was a single released on Sub Pop Records at the same time as their major label debut. I've spun "Baby's A Dealer" at mod events and always have people ask me "WHAT is that record?" and they typically can't believe it when I tell them when it was recorded. Kurt has continued to release amazing albums; while they may not have as strong of an overt '60's sound, they are great listens nonetheless and full of excellent songwriting.

Baby's A Dealer

 

Since their first "official" release in 1992, The Brian Jonestown Massacre has consitently released creative and mind blowing records driven by the vision and songwriting of Anton Newcombe. 'Hide & Seek" is purely realized action music- the sound is dense but uncluttered, the intro guitar riff is an amazing hook, the verse hypnotic, and the chorus transcendant. The single is a tidy (and perfect) 3:34, and live, this song drives the guitar hook over and over until the wash of sound levitates the room; I've seen it create a real frenzy among the audience, in the way that the greatest music can. Listen to it over and over, and just dig the placement of the acoustic guitar, backing vocals, percussion, feedback and marvel at how everything propels the song forward and upward. Thankfully, I was hipped to the BJM thanks to my own band at the time having an album come out on Bomp! records at the same time that Jonestown released their Methodrone album; being as I didn't live in the bay area at the time and had never seen or heard about their previous records, I listened to the disc and couldn't BELIEVE my ears. Once again, it was as if the rooting of the '60's was being transported into the future, just as My Bloody Valentine's Loveless had done a few years earlier, but with songs that were so full of hooks (yeah, it's SONGWRITING that gets my attention first and foremost)! Luckily I was able to snag a copy of the 'Hide & Seek' 45 shortly afterwords, and every subsequent release has been an inspiration. Anton also posts exclusive tracks and works in progress to his youtube account. 

Hide And Seek

 

I'll end with my unsolicited advice- BUY EVERY RELEASE YOU CAN FROM THE LILYS AND BRIAN JONESTOWN MASSACRE.

Derek's Weekly 45's: Opening The Garage Door

Welcome back cats and kitties; this week's post is the first in yet another series- namely, some lesser known garage-y tracks from my 45 stash.

First up we have Jim Valley, known forever as Harpo, as he was named during his tenure as on of Paul Revere's Raiders (thanks to a striking resemblence to Harpo Marx). In late '65, original Raider lead guitarist Drake Levin decided to join the National Guard, as he was up to be drafted into the army. In early '66, The Raiders snatched up Jim Valley from the Portland-based Don & The Goodtimes to fill the vacant slot. Harpo became very popular with the fans, although he left the group in the spring of '67; harpo was expecting some of his own songs to be recorded in the group, and these promises were never fulfilled. This 45 was his first outside of the group, and is a strong guitar driven beat number, co-written by Don Galluci (the Don of Don & The Goodtimes, a former Kingsman, and future producer of The Stooges FUN HOUSE LP). Jim has released several solo records, but has concentrated on the heroic mission of teaching music to children since the early 1980's.

I'm Real

The Fountain of Youth are quite mysterious; apparently from Texas, they ended up on Colgems Records (a division of RCA that was set up specifically for The Monkees). Perhaps there's a connection with Michael Nesmith? I don't know for sure... "Livin' Too Fast" is a great beat number that is too sophisticated to be called 'garage' as it features strings, but its heart definitely has an oil-soaked floor (to my ears)

Livin Too Fast

I'm pretty sure that these December's Children are the same group that released the freakbeat classic 'Backwards And Forwards", but very little is known about THAT group, either. Pretty slick production overall, but that fuzz guitar and non-PC lyrics about a 16 year old girl prove, once again, has its heart right smack in the area where the lawn mower is stored.

Somethin' Fresh

The Myddle Class are perhaps best known as being the band that The Velvet Underground opened for at Summit High School in December 1965, causing a real furor for kids and teachers when they launched into "Heroin". The group were from the Passaic Valley of suburban New Jersey and, through the power of their live shows and how they affected his babysitter, caught the ear of influential writer Al Aronowitz. "Don't Let Me Sleep Too Long" was lifted from a traditional spiritual called "Wake Me, Shake Me", and in fact the Myddle Class lifted it from (NYC band) The Blues Project, put THEIR names as the writers, and released it BEFORE The Blues Project. The copy seen here is a reissue that came out a few years later, and credits The Blues project for the arrangement. Ouch! The song was a hit in Albany, NY and San Bernardino, CA in 1966 but failed to break nationally (probably due to the fact that its over 3 minutes long).

Don't Let Me Sleep Too Long

The Five Emprees hailed from the southern tip of Michigan, and had a HUGE hit in the Chicago area with "Little Miss Sad", a cover from a VERY obscure single by The Addrisi Brothers (acrobats turned musicians who scored a huge hit when The Association covered their "Never My Love" in 1967). Released in 1965, this record straddles the line between the softer sounds of bands that were swept away by the initial boom of British Beat, and the harder sounds that were just around the corner, thanks to the mass adoption of the fuzz pedal post-"Satisfaction". Even though the harmonies are slick and the song is gentle, the propulsive percussion pushes this record a step ahead of the lighter weight stuff.

Little Miss Sad

Until next time! Derek See

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With a name that intentionally plays on the word MOD, one could easily lump Chicago's Mauds in with the other Anglo-influenced rock n roll bands operating in mid-to-late '60's Chicago. Wrong! The Mauds took their biggest influence from soul music and, in lead singer Jimy Rogers, had a vocalist that had the blue-eyed soul pipes to back up the claim. The group was TIGHT musically and their concerts are the stuff of legend.

While they were massive in Chicago and the surrounding suburbs (their cover of Sam & Dave's "Hold On I'm Coming" was a HUGE local radio hit) the group never caught on nationally, and eventually disbanded in the early '70's. In a blatant act of censorship, the Mauds were asked to re-record "Hold On" without the 'I'm Coming", due to its sexual connotations, which they did. This is the original, unedited take from 1968. 

Hold On

Don Gardner and Dee Dee Ford had a massive hit with "I Need Your Lovin'", a favorite oldie with Don providing the unforgettable 'whoa whoa whoa whoas'. I'm breaking with my tradition here, as this record was actually cut BEFORE (1963) the far more famous Maxine Brown version from 1964. However, in keeping with the tradition of this series and sharing less familiar versions of favorites it seemed RIGHT. And it really swings! Little is known about Dee Dee Ford, but Don Gardner was a drummer by trade who moved over to the mic and cut some excellent sides, including the incredibly intense soul favorite "My Baby Likes To Boogaloo".

You Upset My Soul

Similarly, this version of "Saturday's Child" was probably released right around the same time as the far more familiar version by The Monkees (early fall 1966). While the vocal performance is nowhere near as strong as Micky Dolenz', this version from Southern California teens The Palace Guard (featuring Emitt Rhodes on drums)
has a downright WICKED fuzz guitar and a unique ending bridge that we don't hear on the Monkees version.

Saturday's Child

Glyn Johns (who for some reason is called Glynt on this Spanish picture sleeve) went on to far greater fame as a record producer, working with The Who, The Beatles, The Faces, and The Rolling Stones themselves (among so many others). This version of the Stones "Lady Jane" replaces Brian Jones' lap dulcimer part with a truly trippy sitar, and while the flute is a bit dated (to say the least), I still really dig the psychedelic London of '67 vibe on this record. And it's beautifully recorded (dig those strings), by the artist himself.

Lady Jane

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Derek's Weekly 45's: Boston's THE LOST

Hailing from the same fertile mid-60's Boston rock n roll scene that birthed Barry & The Remains, the equally talented Lost released two amazing singles before breaking up in 1967.

The Lost was fronted by Boston rock/ punk legend Willie Alexander, aka Lou reed's "replacement" in the Velvet Underground. Bassist Walter Powers also ended up as another Velveteen Underground member. While Alexander is a FINE singer (as heard on these sides), history probably would treat the post-Lou velvets more fairly a) if the Doug Yule led band changed their name and b) wasn't forced by their manager to only allow Doug Yule to play on their final LP. 

But back to The Lost- like so many baby boomer teens, the members of the lost (Willie Alexander, vocals; Ted Myers, vocals & guitar; Hugh Magbie, vocals & guitar; Walter Powers,bass & vocals, and Tony Pfeiffer, drums) were highly influenced by the British Invasion, and formed a group around that sound and mod style (see the promo postcard below, borrowed from Alexander's website). The group, originally from Vermont, moved to Boston shortly after forming. The group's star rose quickly, and was scouted by Capitol Records who signed them in 1965.

 

Back Door Blues

"Back Door Blues" (written by Ted Meyers) was the single b-side, but I posted it first as its primal energy is a fantastic introduction to the band's energy, and has a nice little nod to Them's "Mystic Eyes". The actual "a" side, "Maybe More Than You" (written by Meyers and Alexander) was undoubtedly influenced by the folk rock movement (dig the 'Highway 61" style whistle effect), the song shows a strong sophistication in the writing and lyrical content, with a strong delivery by Willie Alexander, and superb musicianship from the group.

Maybe More Than You

The group toured the east coast, and opened for the likes of The Beach Boys (, Sonny & Cher & The Supremes, but neither single gave the group more than a local hit. For their final release, the group once again kicked out a serious garage jam as the 'b" side, the strongly caffeinated "No Reason Why", featuring some insane pounding piano that would not be out of place on the Velvet Underground's White Light/ White Heat LP, and some seriously KINK-y guitar riffing.

No Reason Why

The "a" side, "Violet Gown", carried on in the folk rock vein, but with an incredible droning chorus/ bridge section, that, once again, recalls the VU. Boston *was* the home of The Velvet Underground's biggest following, so it's probably no coincidence.

Violet Gown

until next time, Derek See

 

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