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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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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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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

  

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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Derek's Weekly 45's: The Covers File, Part Four.

Welcome to part four 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. 

First off is this amazing, funky take on Dolly Parton's masterpiece, "Jolene". Gloria Ann Taylor is a relatively mysterious singer from Toledo, OH with a MASSIVE voice. Matching this song to her was a brilliant move by her and producer (and husband) Walt Whisenhunt. I'm guessing this record was probably released sometime around 1975, as Dolly's original version came out in '74. This version still retains the paranoid feel of Dolly's original recording, but adds a far more menacing vibe as well.

Jolene

Keeping it within the female vocal bag, here's another excellent female soul piece in this fantastic reading of (Chicago soul pioneer) Jerry Butler's collaboration with (Philadelphia

 

soul architects) Gamble & Huff soul classic. The Shirelles is a name that is virtually synonmous with girl groups, and by 1969 (the year of this release) the group had been recording for over ten years and also added Shirley's name as top billing. The quartet was reduced to a trio by 1968, but those heavenly harmonies are still as full as ever on this track. The group continued on until 1973, leaving behind a legacy of some 55 singles!

 

Never Give You Up (Never Gonna Give You Up)

I'm a massive fan of Simon & Garfunkel, and always loved this freaky and downright disturbing song from their excellent Parsley, Sage, Rosemary & Thyme LP from 1967. The song captures the paranoid side of the '60's counterculture in a brilliant way. The Joyride from L.A was probably a studio concotion- this is their second single from 1968 (the first, the previous year, was a cover of the Doors ballad "The Crystal Ship'). I really dig how the groups changes the rhythm into something less jarring than the original version of the song here but still captures the stoned paranoia heard on the Simon & Garfunkel track.

The Big Bright Green Pleasure Machine

Up next are two selections that I find hilarious in their presentation. I can't imagine anyone would have confused the Blocking Shoes for The Shocking Blue, but The Karmeys do a VERY convincing take on "Last Night" that could just about fool me until the spoken European accent gives us the spoken "ahhhh Last Night' that differentiates it from The Mar-Keys original take. Turns out that this is a French release (I found my copy in Brussels)

Last Night

Finally, here's a downright bizarre Spanish take on The Shocking Blue's freakbeat classic "Venus". If the band or the label were trying to cash in on The Shocking Blue's success, why have a male singer??? Anyhow, it's a fun version with some killer Hammond organ and fuzz tone guitar. However, the vocals are nowhere near the majesty of powerhouse Mariska Veres.

Venus

Until next time! Derek See

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