Bedazzled!

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: 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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Derek's Weekly 45's: Some Little Records from Schmilsson (For Tonight)

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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45's of the Week: Giorgio Moroder, Pre-Disco

Giorgio Moroder became known worldwide not only as one of the pioneering disco producers, but also one of the most important producers to use and adapt synthesisers and sequencers; Donna Summer's "I Feel Love" was released only one year before "Moonshiner", but the two tracks come from different sides of a similar coin.

Using the pseudonym Tracey Dean (along with frequent collaborator Pete Bellotte), Moroder cut one of the ultimate glam-rock stompers in 1974. Several websites list Bellotte as the vocalist, but it sure sounds like Moroder to my ears, especially when heard in sequence with the nest track.

 

Moonshiner

Flashing back a few years we have the delightfully Euro-trashy "Looky, Looky'; Moroder's first hit (on the European continent, at least). By the release of this record in 1969, Moroder had been working behind the boards for various groups for four years. One thing that binds both records (other than frightening facial hair) is their unrelentless beat; Moroder had a way with his productions that emphasised the hypnotic power of beats. And of course Giorgio shamelessly lifts The Rivington's "Papa Oom Mow Mow" here, which was also shamelessly lifted by The Trashmen ("Surfin' Bird').

Looky Looky

Italian by birth, Moroder found his home in the studio in early '70's Germany, and eventually relocated to Los Angeles in the mid '70's. Check him out performing "Looky" on French TV. 

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45's of the Week: In Tribute to Fontella Bass & Marva Whitney

 Two of the greatest female voices of soul have left us in the past week; may the amazing music of Fontella Bass and Marva Whitney always live on!

My Good Loving

While Fontella Bass will always be thought of as one of the preeminent Chicago soul artists (thanks in part to her massive hit, the brilliant 'Rescue Me") her roots and earliest recordings were in St Louis, MO. Fontella's third release (1963), finds her backed by Tina Turner & The Ikettes, and in my opinion is one of her finest records; the personification of sass and power! While in St Louis, Fontella also sang in the Little Milton band, and began an association with Bobby McClure that continued on after her move to Chicago.

Recovery

Bass relocated to Chicago in late '64, and cut her first duet record with Bobby McClure ('Don't Mess Up A Good Thing') which was released in early '65 and became a minor hit. A second duet disc was released in the summer of '65 which was only a minor r&b hit. However, late in the same year 'Rescue Me" was released and became a massive hit; the song is still heard everywhere (a staple of commercials as well) and for very good reason- it's the type of song and performance that will live on forever. Fontella's followup disc, "Recovery" (early '66) is a lovely song and another mighty fine performance, but it failed to match the massive success of the big hit. further bitterness ensued when Fontella claims she was cheated out of her share of songwriting credits on "Rescue Me" (she eventually won co-writer credit in the 1990's). While Fontella continued on making a few more great records through the '60's, she, along with her husband, avant-garde sax man Lester Bowie (Art Ensemble Of Chicago) moved to Paris. Her vocals grace the incredible Art Ensemble track "Theme De Yo-Yo". Fontella Bass, R,I.P (1940-2012).

It's My Thing (You Can't Tell me Who To Sock It To)

Also from Missouri (Kansas City), Marva Whitney (born Marva Ann Manning) had one of the brassiest, funkiest, most powerful voices in all of soul music. Like so many soul singers, her singing career began in the church, and she was a member of family band The Manning Gospel Singers, and at age 16 joined the Alma Whitney Singers (where she met future husband Harry Whitney). Her gospel career ended in 1967, when she joined the James Brown Revue, although the testifying power of her voice always remained fully in the church. James Brown began producing her records in 1968 (beginning with the incredible 'Unwind Yourself") and the godfather certainly helped in unleashing the funk power of sister Marva's voice.

"It's My Thing" (You Can't Tell me Who To Sock It To)" (1969), an absurdly funky answer to the Isley Brothers "It's Your Thing" is not only something of Marva's signature track, but is also a feminist call to arms. James Brown's band vamps furiously behind her, while Marva asserts her place in the world and tells the man that she doesn't NEED him, taking the freedom aspect of The Isleys' jam to a whole other level. 

Saving My Love For My Baby

Marva's debut solo single (1967) was 'Your Love Was Good For Me"; however, I prefer the flip side- "Saving My Love For My Baby". This track bridges the gap beautifully between her gospel past (check out the intro) and her funk future. When I listen to this track, I feel as though I'm listening to the type of voice that is such a force of nature, so raw, so powerful, that it's almost akin to looking too deeply into a very personal side of an individual's life. I am thankful every day that these performers gave so much of themselves in their music, and while their passing is an indication of how fleeting life is, the music will always resonate.
Marva Whitney, R.I.P: 1944-2012

 

45's Of The Week: The Covers File (Gentle Sounds)

Alright, folks- I'm back with a handful of more intriguing covers tunes. This install focuses on the lighter side of beat and folk rock.

First off, we have Blackpool, UK's Rockin' Vickers- a band made infamous for dressing up as priests (vicars) and also including none other than Hawkwind/ Motorhead 's Lemmy Kilmister (Ian Willis) on guitar. The group were no different musically than the dozens of other beat groups recording in the UK during the mid-60s. The a-side of their final single was this cool version of the Ray Davies/ Kinks klassic which was also kovered by Herman's Hermits and made into a big international hit. The Vickers version is far superior in my opinion, as it maintains the English whimsy but adds some grit.

Dandy

Hailing from Detroit suburb Oak Park, MI, The Shy Guys waxed a great version of the Gene Clark/ Byrds classic "I'll Feel A Whole Lot Better" in 1967, putting an emphasis on the folk side of folk rock, with predominant acoustic guitar replacing the jingle jangle twelve string electric. The group had an excellent drums who really hits it hard, and the group contributes some excellent backing vocals, and they cap the song off nicely with a coda of their own making. The lead singer is no Gene Clark, but he does a very passable job nonetheless.

Feel A Whole Lot Better

I would have reckoned that Los Angeles' "E" Types learned the Lennon/ McCartney composition from Cilla Black's recording. Not so, apparently: one of the members of The 'E" Types posted the song on his youtube page and mentioned that a member of the group read music well, spotted the Lennon-McCartney song in sheet music form and arranged a very nice version of it from there in 1966. This was several years before anyone outside of the Beatles inner circle had heard the Beatles own recording, from their ill-fated Decca Records audtion (January 1, 1962). Not only in their name, the group certainly wore their anglophilia in their sound as well, as this recording could easily pass for a British export.

The Love Of The Love

I'm a massive fan of Simon & Garfunkel, and feel that the group simply does not get enough mention when the massive artists of the '60's get discussed. One of the most interesting songs in the S&G stable is "Cloudy", a gorgeous, melancholy song dripping with Paul Simon's songwriting skills. The Guild Late Gauge (itself a perfect name for a sunshine pop ensemble, is a reference to Guild guitar strings) is a mysterious group that was known to feature Paul Simon's brother Eddie. This seems to be their only release; a pity, as they have a really great sound here. This was probably recorded in 1967.

Cloudy

Finally, and most obscure of all, is this Tim Buckley cover from the unknown ensemble (probably a studio group) called Common Market. This probably rates as the first ever Tim Buckley cover (1967) and the arrangement is excellent, and showcases the budding songwriting talent of Buckley in an almost baroque style. Elektra was also banking on this to be a hit single from the writer himself, as they also released Buckley's version as a single in 1966; the song is also found on his first album.

Wings

Until next time!

Derek See

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