jueves, 31 de diciembre de 2009

The George Martin Orchestra - All Quiet On The Mersey Front / Chris Lamb & The Universals - Mysterious Land




The George Martin Orchestra - All Quiet On The Mersey Front (George Martin) Parlophone R 5222 - 1965

Chris Lamb & The Universals - Mysterious Land (Chris Lamb) Decca F 12176 - 1965

Las brumas de otra década se disipan estoicas, y bailan al son de melodías nocturnas y antiguas. Los extremos se tocan, como siempre, y como siempre nos dicen ténuemente que el viejo espejismo sigue candente, y olvidado por lo presente. Algunos reunen fuerzas para lanzar deseos al viento. Deseos de tierras misteriosas en el ropero y en la salita de estar.

Tranquilo, camarada extraño. Todo está tranquilo en el frente de nuestras viejas guerras, y otras paces humeantes se acercan suaves e insolentes. Salud y gloria a los corredores de fondo y a los degustadores secretos de canciones escondidas.



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The mists of another decade are stoically dissipating, and dance to the sounds of nocturnal ancient melodies. Extremes are touching each other, as usual, and as usual they're faintly telling us that the old mirage keeps on burning, and forgotten for being present. Some gather strengths to cast desires into the winds. Desires of mysterious lands in the wardrobe and in the living room.

Be calm, strange comrade. All is quiet on our old wars front, and some other smokey peaces are approaching smooth and insolent. Glory and greetings to the long race runners and to the secret tasters of hidden songs.




http://rapidshare.com/files/328475484/George_Martin_Orch_-_All_Quiet_On_The_Mersey_Front.mp3
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lunes, 30 de noviembre de 2009

Matching Mole - O Caroline




Matching Mole - O Caroline (David Sinclair / Robert Wyatt) LP CBS 64850 - 1972

Esta canción me tuvo seriamente enganchado, en lo que al parecer fué otra vida. Hace unos días, buscando otra cosa, me topé de nuevo con ella y te la traigo para una mejor aclimatación al frio que ya casi llega.

"O Caroline" abría el primer LP de Matching Mole, el grupo que Robert Wyatt había formado después de dejar atrás a Soft Machine. Además de Phil Miller (recién salido de Delivery) y de Bill McCormick (de Quiet Sun), le acompañaba en esta nueva aventura, aunque por poco tiempo, David Sinclair, teclista de los imponentes Caravan y co-autor de esta pequeña gran maravilla. Tras un segundo álbum, ya sin David, y después del triste accidente que dejó a Robert anclado a una silla de ruedas de por vida, el grupo se disolvió. Aunque todos sus componentes persistieron en el noble vicio de la música. Especialmente Robert Wyatt, que sigue en ello en la actualidad.

En un principio, tenía la intención de poner el single, por cierto, el único de Matching Mole. Pero no he podido prescindir de la lisérgica introducción instrumental, que no aparece en el 7 pulgadas, y finalmente te he traído la versión del LP. La impagable voz de Robert Wyatt vuelve a atestiguar que nunca la frialdad de las estepas mentales fué tan cálida.


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This song got me seriously hooked, in what it seems was another life. A few days ago, looking for something else, I stumbled again with it and here I'm bringing it to you for a better acclimatization to that cold that's almost coming.

"O Caroline" was opening the first LP of Matching Mole, the band that Robert Wyatt put together after leaving behind the Soft Machine. Besides Phil Miller (just gone from Delivery) and Bill McCormick (from Quiet Sun), former organist from the epic Caravan and co-writer of this little great wonder, David Sinclair, was joining Robert in his new adventure, though it would be for a short time. After a second album, already without David, and after the sad incident which left Robert chained for life to a wheel chair, the band split. Though all of its members insisted in the noble vice of music. Specially Robert Wyatt, who's still at it nowadays.

At first, I had the intention of posting the single, by the way, the only one by Matching Mole. But I could not do without that lysergic instrumental opening, completely absent on the 7 inch, and finally I brought you the LP version. The otherworldly voice of Robert Wyatt testifies again that never the coldness of mental steppes was so warm.



http://rapidshare.com/files/314058566/Matching_Mole_-_O_Caroline.mp3



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jueves, 12 de noviembre de 2009

The Creatures - String Along


The Creatures - String Along (Neil Levenson / Artie Kornfeld) CBS 202350 - 1966

Este otoño me estoy poniendo un poco blando. He tropezado con un par de canciones, más o menos de la misma época, que, sin parecerse exactamente, me transmiten la misma sensación, el mismo sentimiento. Dos encatadoras baladas beat, tiernas y fuertes a un tiempo.

La primera, "String Along", aparecía en la cara B del segundo single de The Creatures, grupo irlandés con una curiosa historia. Formados en Dublín en 1965, fueron "descubiertos" tocando en el legendario club de París, The Locomotive, por el productor del sello americano Columbia, Neil Levenson, quien los fichó al instante y se los llevó a New York a grabar unas cuantas canciones. Cuatro singles fueron el resultado de aquellas sesiones, y los tres primeros serían publicados también en Irlanda y en el Reino Unido. A pesar de que The Creatures fueron uno de los más importantes grupos beat de Irlanda, pocos resultados obtuvieron fuera de la isla y, a finales de 1967, pasaban a formar parte de la historia liquida del pop local. Posteriormente el bajista, Frank Boylan, pasó a formar parte del legendario grupo de folk progresivo Mellow Candle.

"String Along", compuesta por el productor Neil Levenson y por el reputado músico y autor Artie Kornfeld, tiene una calidez y una candidez discretamente enternecedoras y muy raramente localizadas en décadas recientes.

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This autumn I'm getting a little mellow. I've just stumbled with a couple of songs, of more or less same vintage, which, without being too similar, are transmitting me the very same sensation, the same feeling. Two charming beat ballads, tender and strong at the same time.

The first one, "String Along", appeared on the B side of The Creatures second single. They were a band with a curious story. Formed in Dublin in 1965, they were "discovered", playing in the legendary club in Paris, The Locomotive, by american Columbia label producer Neil Levenson who immediately signed the band and took them to New York to record a bunch of songs. Four singles were the result of those sessions and the first three of them were also released in Ireland and the U.K. In spite of The Creatures being one of the most important 60s irish beat groups, they couldn't achieve any big results outside the island and, in late 1967, they already were part of the liquid story of the local pop. Later, bass player Frank Boylan, was part of legendary progresive folk band Mellow Candle.

"String Along", written by producer Neil Levenson and famous musician and songsmith Artie Kornfelf, has a discreetly charming warmth and naivety, quite rarely spotted in recent decades.




http://rapidshare.com/files/305729442/The_Creatures_-_String_Along.mp3



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The Cymbaline - Where Did Love Go Wrong


The Cymbaline - Where Did Love Go Wrong (The Cymbaline) Mercury MF 961 - 1966

La segunda de esas canciones cálidas de las que te hablaba es "Where Did Love Go Wrong". Está escondida en el tercer single de un grupo de Ilford, Essex, The Cymbaline. Grabado en 1966 y editado en Enero de 1967.

Entre 1965 y 1969 editaron siete singles para tres sellos diferentes - Pye, Mercury y Philips - sin conseguir el preciado éxito mayoritario, a pesar de tocar en directo regularmente. Algunas de sus canciones - "Coming Home Baby", "Matrimonial Fears" o "Fire" - han sido incluídas, más o menos recientemente, en algunos de los clásicos recopilatorios de canciones perdidas del beat y la psicodelia de los 60.

Pero, por algún oscuro motivo, la ternura y la melodía pura siempre han parecido asustar a los autores de dichas recopilaciones y, en consecuencia, "Where Did Love Go Wrong" - escrita por el propio grupo - permanece en el limbo de las canciones nunca reeditadas.

Aqui está. Anónimamente grande y brillante.


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The second of those warm songs I was telling you about is "Where Did Love Go Wrong". It's hidden in the third single of a band from Ilford, Essex, The Cymbaline. Recorded in 1966 and released in January, 1967.

Between 1965 and 1969 they released seven singles for three different labels - Pye, Mercury and Philips - without having any big success, in spite of regularly playing live. Some of their songs - "Coming Home Baby", "Matrimonial Fears" or "Fire" - have been included, more or less recently, in some of those classic compilations of 60s beat and psych lost songs.

But, because of some dark reason, tenderness and pure melody have always seemed to scare the makers of those said compilations and, consequenlty, "Where Did Love Go Wrong" - written by the band themselves - remains in the limbo of never re-released songs.

Here it is. Anonymously great and shiny.




http://rapidshare.com/files/305728596/The_Cymbaline_-_Where_Did_Love_Go_Wrong.mp3

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martes, 20 de octubre de 2009

The Clansmen - Sir Barclay More


The Clansmen - Sir Barclay More (Terry Marsden) Philips 338712 PF - 1967

Con unas de las guitarras más ácidas grabadas en Asia, "Sir Barclay More" es un insólito caso de psicodelia temprana en un contexto marciano. Y todavía más sorprendente, teniendo en cuenta que en 1967 toda el área andaba aún hipnotizada con la limpia Fender de Hank Marvin. Si la canción procediera de alguno de los clásicos países anglosajones, a buen seguro sería archiconocida por los especialistas del género. Pero no. Ese urgente y espacial psicofuzz a lo Electric Prunes procede de una zona poco explorada.

The Clansmen fué un grupo de Singapur, formado por algunos estudiantes de St. Patricks School: Terry Abdoola (guitarra solista), Derek Nunis (2da guitarra), Raymond Lazaroo (bajo) y Philip Monteiro (batería). Solían acompañar a cantantes locales como Stevie Loraine y, para este, su único disco a nombre propio, contaron con la voz de otro artista del mismo sello discográfico, Davy King.

Esta épica canción, con crimen pasional y posterior ajusticiamiento incluídos, fué compuesta por Terry Marsden, un cantautor que en la época también escribió interesantes materiales para otros populares artistas locales como The Reyes Sisters, Winston & The Dukes, Stevie Loraine o el inglés afincado en la isla, Bobby Lambert. Sir Barclay More vuela a través del tiempo y del espacio.


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With some of the most acid guitars ever recorded in Asia, "Sir Barclay More" is a quite unusual case of early psychedelia on a martian context. And even more so, keeping in mind that in 1967 all the area was still hypnotized by the clean Fender of Hank Marvin. If this song came from some of the classic anglosaxon countries, it would more than surelly be quite well known by all specialists of the genre. But no. That urgent and spatial Electric Prunes psycofuzz comes from a zone not so well explored.

The Clansmen was a band from Singapore, formed by some students of the St. Patrick's School: Terry Abdoola (lead guitar), Derek Nunis (rhythm guitar), Raymond Lazaroo (bass) and Philip Monteiro (drums). They used to back some local singers like Stevie Loraine and, for this, their only record bearing their name alone, they had the voice of Davy King, another artist from the same record label.

This epic song, including a passional murder and posterior execution, was written by Terry Marsden, a singer songwriter who around that time also made some interesting material for other popular local artists like The Reyes Sisters, Winston & The Dukes, Stevie Loraine or the british singer based in the island, Bobby Lambert. Sir Barclay More flies through time and space.



http://rapidshare.com/files/295270458/The_Clansmen_-_Sir_Barclay_More.mp3



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domingo, 11 de octubre de 2009

Starjets - I'm So Glad




Starjets - I'm So Glad (Paul Bowen) Epic LP EPC 83534 - 1979

Formados en 1976 en Belfast y emigrados a Londres en busca de fama y fortuna, Starjets editaron media docena de singles y un LP. "I'm So Glad" es una exuberante canción con todas las de la ley, con un solo de guitarra que pone los pelos de punta y con un entrañable final. Incomprensiblemente, no fue incluída en ninguno de los singles y quedó escondida entre sus más energéticas compañeras en el solitario album "God Bless The Starjets".

Tras la marcha de Paul Bowen, autor de esta apasionada melodía, Starjets editaron un single más con el nombre cambiado a Tango Brigade y, posteriormente, un par de miembros del grupo formó The Adventures, con un considerable éxito a principios de los 80.

Pero nada se volvió a saber de Paul Bowen. Afortunadamente para todo buen degustador de canciones atómicas, dejó tres en el repertorio de Starjets. Entre ellas esta irrepetíble píldora llena de estrellitas.


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Formed in 1976 in Belfast and migrated to London in search of fame and fortune, Starjets released half a dozen singles and one LP. "I'm So Glad" is an exuberant song with all mandatory rules, an explosive guitar solo and a dearly descriptive end. Incredibly, it wasn't included in any of the singles and was kept hidden among its more energetic mates in the lone album "God Bless The Starjets".

After Paul Bowen, writer of this passionate song, left the group, Starjets released one more single as Tango Brigade and, later on, a couple of members formed a quite successful early 80s band, The Adventures.

But in the limelight, nothing was ever heard again from Paul Bowen. Fortunately for all enjoyers of atomic songs, he left three of them in the Starjets repertoire. Among them, this unrepeatable pill full of little stars.




http://rapidshare.com/files/291531628/Starjets_-_I_m_So_Glad.mp3




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viernes, 18 de septiembre de 2009

The Pop Workshop - Fairyland / Punch And Judy Man





The Pop Workshop - Fairyland (Ben Findon) Page One POF 091 - 1968 / Punch And Judy Man (Geoff Westley / Tony Britton) Page One POF 129 - 1969

Tenía serias dudas para quedarme con uno de los dos singles de The Pop Workshop. Y, finalmente, he optado por traerte ambos. No podía prescindir de ninguna de las dos canciones. Aunque...quizás, allá en el fondo, acabaría eligiendo "Punch And Judy Man". Con el corazón no se discute.

De todas formas, ambas canciones son sendos monumentos al pop intenso, puro y sin contemplaciones. Ningún vestigio de rock, ni de psicodelia, ni de garage, ni de fuzz, ni de guitarrazos. Sólo una gran línea melódica y pasión. Ahí es nada. Las dos canciones fueron escritas por grandes profesionales del asunto en aquel momento, y los arreglos orquestales de al menos la primera corren a cargo de un joven Mike Batt.

The Pop Workshop fué un cuarteto de Harrow, al noroeste de Londres. Tras unos pocos años siguiendo las tendencias del momento y cambiando de nombre de vez en cuando, fueron fichados como The Locomotion por el conocido productor y propietario del sello Page One, Larry Page, quien les cambió el nombre a The Pop Workshop: Alan Box (cantante y guitarra), Dave Evans (guitarra), Andy Love (bajo) y Terry Gibbs (batería).

En Septiembre de 1968 se editó el primer single "Fairyland" y en Abril de 1969 el segundo y último "Punch And Judy Man". Ante la ausencia de un éxito palpable y los embates propios de la vida en general, el grupo se desvaneció en el éter del tiempo, dejando a la eternidad un par de singles para antologías del pop atómico, elegante y vehemente.



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I had some serious doubts for chosing just one of the singles by The Pop Workshop. And I finally opted to bring you both. I couldn't dispense with any of the two. Though...deep inside, I'd probably end up chosing "Punch And Judy Man". You don't argue with the heart.

Anyway, both songs are real monuments to pure, intense and straight pop. No traces of rock, psych, garage, fuzz or big guitars. Only a great melody line and passion. That's it. Both songs are signed by great songwriters of the time, and the orchestral arrangements of at least the first one were made by a young Mike Batt.

The Pop Workshop were a quartet from Harrow, in northwest London. After a few years following the trends and changing name from time to time, they were signed as The Locomotion by famous producer and owner of the Page One label, Larry Page, who changed their name to The Pop Workshop: Alan Box (singer and guitar), Dave Evans (lead guitar), Andy Love (bass) and Terry Gibbs (drums).

Their first single, "Fairyland", was released in september 1968 and "Punch And Judy Man", the second and last one, in April 1969. In absence of a tangible success and under the common strokes of usual life, the band vanished in the mist of time, leaving for eternity a couple of singles for proper anthologies of atomic, elegant and vehement pop.




http://rapidshare.com/files/281856590/The_Pop_Workshop_-_Fairyland.mp3
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viernes, 4 de septiembre de 2009

Eternity's Children - Mrs. Bluebird


Eternity's Children - Mrs. Bluebird (Bruce Blackman / Johnnie Walker) Tower 416 - 1968

La primera vez que escuché esta canción, fué amor a primera vista. Antes de la primera estrofa siquiera, tras el etéreo comienzo, ya estaba sumergido en ella. Cuanto espacio en colores. Y ese sólo de guitarra que aparece casi inesperadamente y que es como un extraño animal mitológico, me envía a la estratosfera y me pone la piel de gallina. Sobre todo en los brazos. Debo estar enfermo.

Eternity's Children era un grupo originario de Cleveland y Biloxi, en Mississippi, y como tantas otras bandas de la época aterrizaron en California en busca de más amplios horizontes y de alguna otra dimensión. Tuvieron la suerte de toparse en Los Angeles con el legendario músico, productor y visionario en general Curt Boettcher, que produjo sus primeras grabaciones. Sería imposible no ver y sentir su mano y su mente en el sonido de esta canción que, aunque firmada en el single por un tal Karl Marion, está compuesta en realidad por dos miembros del grupo: el teclista Bruce Blackman y el guitarrista de alcoholico nombre Johnnie Walker, que además es quien se encarga también de cantarla.

Los Niños De La Eternidad, con algunos cambios de formación como está mandado, editaron un par de LPs y casi una decena de singles antes de desparecer en el espacio del tiempo, para ser pasto de degustadores de oscuridades, arqueólogos sónicos y lectores de blogs.


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The first time I heard this song, it was love at first sight. Before the very first verse, just after that ethereal beginning, I was already diving on it. Such a big space with colours. And that guitar solo that shows up almost unexpectedly, just like some strange mythological animal, sends me to the stratosphere and makes me chicken skin. Specially in my arms. I must be sick.

Eternity's Children originated from Cleveland and Biloxi, in Mississippi, and like so many other bands of the time landed in California in search of wider horizons and some other dimension. They were lucky enough to stumble in Los Angeles with legendary musician, producer and overall visionary Curt Boettcher, who produced their first recordings. It would be impossible not to see and feel his hand and mind in the sound of this song that, though signed on the single by some Karl Marion, was in fact written by two members of the band: organist Bruce Blackman and guitarist with alcoholic name Johnnie Walker, who's also in charge of singing it.

The Children From Eternity, with some mandatory line up changes, released a couple of LPs and almost a tenner of singles before vanishing in the space of time, to be pasture of obscurity relishers, sonic archeologists, and blog readers.



http://rapidshare.com/files/275504900/Eternity_s_Children_-_Mrs._Bluebird.mp3



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domingo, 23 de agosto de 2009

Philip Goodhand-Tait - Love Has Got Hold Of Me


Philip Goodhand-Tait - Love Has Got Hold Of Me (Philip Goodhand-Tait) Decca F12868 A - 1968

Tras el single de Circus, que tuvimos la semana pasada, Philip Goodhand-Tait debutó por fin en solitario con esta canción de brillante estribillo y elegante subidón, "Love Has Got Hold Of Me", muy en la línea de las que en la misma época escribia para The Love Affair, y también con el mismo productor, el ínclito Keith Mansfield.

Con un ojo puesto en la canción de autor y el otro en las listas de éxitos, ¿qué más se puede pedir para un caluroso domingo de verano?


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After the Circus single we had last week, Philip Goodhand-Tait at last started his solo career with this song with brilliant chorus and elegant uplift, "Love Has Got Hold Of Me", quite in the style of those he was writing around the same time for The Love Affair, and also with the same producer, the distinguished Keith Mansfield.

With an eye in the songwriters songs and the other one in the hit parade, what more could you ask for on a hot summer sunday?




http://rapidshare.com/files/270593341/Philip_Goodhand-Tait_-_Love_Has_Got_Hold_On_Me.mp3

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viernes, 14 de agosto de 2009

Circus - Gone Are The Songs Of Yesterday



Circus - Gone Are The Songs Of Yesterday (Philip Goodhand-Tait) Parlophone R5633 - 1967

Escuché esta canción por primera vez, hace varias vidas, en la cara B de un single de The Love Affair. Ya entonces me gustaba mucho y el cantante Steve Ellis hacía un buen trabajo, arropado por los impecables arreglos del gran Keith Mansfield. Pero me quedé impresionado cuando, un tiempo después, dí con la versión original cantada por su autor, Philip Goodhand-Tait, bajo el nombre de Circus.

Una sentida canción que habla un poco del tema que aquí nos ocupa, las canciones de ayer que se han ido, y que podría ser un imposible cruce entre "baroque pop" y soul, con clavicordio, discreto viento y una desgarrada voz, más que convincente a sus 22 años.

Philip había comenzado ya a hacer ruido a principios de los 60 con su grupo The Stormville Shakers, que incluso llegaron a acompañar al mítico Larry Williams en un montón de bolos y en el LP "The Larry Williams Show" (1965). Después de tres singles el grupo, que por entoces practicaba una especie de "soul-beat" con aromas mod, cayó como casi todo el mundo bajo el manto psicodélico y cambiaron su nombre a Circus, editando este único single en Septiembre de 1967, que fué producido por el entonces cantante de Manfred Mann y también prolífico autor, Mike D'Abo.

Philip Goodhand-Tait escribió en esa época grandes canciones para The Love Affair, como "A Day Without Love", una de mis favoritas eternas, o la imponente "Bringing On Back The Good Times". También escribió para otros artistas como Roger Daltrey o Gene Pitney. En 1968 inició su carrera en solitario, que llega hasta la actualidad.


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I first heard this song, a few lives ago, on the B side of a Love Affair single. I already quite liked it then, and the singer Steve Ellis was doing a good job backed by the tasty arrangements of the great Keith Mansfield. But I was impressed when, some time later, I got the original version sung by its writer, Philip Goodhand-Tait, under the name of Circus.

A heartfelt song which is talking about the topic we're just dealing here with, those gone songs of yesterday, and which could be an impossible crossover between "baroque pop" and soul, with spinet, discreet wind and a broken voice, more than convincing at 22.

Philip had started making some noise in the early 60s with his band The Stormville Shakers, who even managed to back the mythical Larry Williams on a lot of gigs and also on the LP "The Larry Williams Show" (1965). After three singles the band, who by then was doing some kind of "soul-beat" with a mod flavour, fell like almost everybody else under the psychedelic spell and changed their name to Circus, releasing this lone single in September 1967, which was produced by then Manfred Mann's singer and also prolific writer, Mike DAbo.

Philip Goodhand-Tait wrote around that time some great songs for The Love Affair, like "A Day Without Love", one of my favourite ever, or the impressing "Bringing On Back The Good Times". He also wrote for other artists like Roger Daltrey or Gene Pitney. In 1968 he started a solo career which is going on nowadays.






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martes, 4 de agosto de 2009

Mike Hugg's Freeway - Wichita























Mike Hugg's Freeway - Wichita (Mike Hugg / Ian La Frenais) Polydor 2058 805 A - 1976

Uno de los principales motores de Mafred Mann en sus distintas etapas, Mike Hugg inició su carrera en solitario en 1972 con el álbum "Somewhere". Tras un segundo disco, "Stress & Strain", reapareció en 1975 con un nuevo grupo llamado simplemente Hug, que duraría poco tiempo y dejaría un único LP, "Neon Dream". Su nueva aventura, Mike Hugg's Freeway, también sería breve y con ese nombre se publicaron tan sólo dos singles. "Wichita" es el segundo y último de ellos. Por cierto, producido por Vic Smith que, tan sólo unos meses más tarde, estaría en un mundo diferente produciendo a The Jam.

En esa época, Mike escribió parte de la música para una película llamada "The Likely Lads", un remake de una popular serie de TV en el Reino Unido. Uno de los guionistas del film era un tal Ian La Frenais, con quien Mr. Hugg colaboró en esta conmovedora canción que siempre consigue tocarme esa más o menos oculta fibra sensible que casi todos tenemos.

En la línea de algunas grandes baladas de los 70 y con un estribillo redondo, "Wichita" es una canción tierna, elegante y discretamente dramática, escrita por un maestro del agridulce. Mike Hugg. Puedes encontrar más información y más música suya en mi otro blog "Ventana Circular". Sólo pincha en el enlace de ahi al lado, arriba a la derecha.


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One of the main forces behind Manfred Mann in their several stages, Mike Hugg started his solo career in 1972 with the album "Somewhere". After a second album, "Stress & Strain", he reappeared in 1975 with a new band called simply Hug, which wouldn't last too long and would leave a lone LP, "Neon Dream". His new adventure, Mike Hugg's Freeway, would also be a short one and only a couple of singles were released under that name. "Wichita" is the second one. By the way, it was produced by Vic Smith who, only a few months later, would be in a different world producing The Jam.

Around that time, Mike wrote part of the music for a movie called "The Likely Lads", a remake of a popular U.K. TV series. One of the script writers in the film was a certain Ian La Frenais, with whom Mr. Hugg wrote this moving song that always succeeds in disturbing in me that more or less hidden sensitive side which almost everybody is supposed to have.

On the line of some great 70s ballads and with a definitive chorus, "Wichita" is a tender, elegant and discreetly dramatic song written by a master of the sweetandsour. Mike Hugg. You may find more of his music and information in my other blog "Ventana Circular". Just click on the link here to the upper right side.



http://rapidshare.com/files/263400981/Mike_Hugg_s_Freeway_-_Wichita.mp3



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jueves, 30 de julio de 2009

Salt Water Taffy - Summertime Girl



Salt Water Taffy - Summertime Girl (Pete Anders/Vinnie Poncia) Metromedia MM220 - 1970

Me gusta el contraste entre el riff instrumental de guitarras fuzz y wah wah con el colorido y la dulzura de la melodía cantada, cercana al sunshine pop. Una bonita y original canción de pop urbano escrita por Pete Anders y Vinnie Poncia, legendarios autores y productores (The Ronettes, The Crystals, Bobby Bloom, The Tradewinds, The Innocence...).

Salt Water Taffy, además de ser un dulce típico del area de New Jersey, era un grupo neoyorkino liderado por Rod McBrien y Johnny Giametta. Rod ya tenía experiencia anterior como músico con The Tornadoes, The Valrays, The Casualeers o The Eastern Scene, y también como técnico de sonido en diferentes estudios (Roulette, Allegro, o Ultra Sonic, donde con Shadow Morton grabó el mítico "Leader Of The Pack" de The Shangri-Las). También, Rod y Johnny habían escrito algunas canciones para otros artistas.

Salt Water Taffy editaron un total de cinco singles y un muy agradable LP entre 1968 y 1970, todos ellos para el legendario sello Buddah, excepto este último que aquí presentamos que fué publicado con diferentes caras B por dos marcas diferentes: United Artists y Metromedia.


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I like the contrast between the wah wah and fuzz guitar instrumental riff, and the sweet and colourful sung melody, quite close to sunshine pop. A nice and original urban pop song written by Pete Anders and Vinnie Poncia, legendary songwriters and producers (The Ronettes, The Crystals, Bobby Bloom, The Tradewinds, The Innocence...).

Salt Water Taffy, besides being a New Jersey area tipical sweet, was a newyorker group led by Rod McBrien y Johnny Giametta. Rod was already an experienced musician with The Tornadoes, The Valrays, The Casualeers or The Eastern Scene, and also a sound engineer in several studios (Roulette, Allegro, or Ultra Sonic where, with Shadow Morton, he engineered the mythical "Leader Of The Pack" by The Shangri-Las). Also, Rod and Johnny had written some tunes for other artists.

Sal Water Taffy released a total of five singles and a quite pleasant LP between 1968 and 1970, all of them for the legendary Buddah label, excep this last one we're presenting here which was released with different B sides for two different labels: United Artists y Metromedia.


http://rapidshare.com/files/261716265/Salt_Water_Taffy_-_Summertime_Girl.mp3


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sábado, 18 de julio de 2009

Gullivers People - Somehow, Somewhere



Gullivers People - Somehow, Somewhere (A.Keen/J.Wilkins) Columbia DB 8588 A - 1969

Esta canción me pilló desprevenido. La pinché un par de veces y me enganchó. Refrescante y en colores a cuadros, transmite una jovialidad que casi da vergüenza. El órgano que responde a cada estrofa fué el elemento definitivo. Además, a pesar de no ser nada complicado, no puedo imaginar a nadie actualmente haciendo una canción con este rítmo precísamente. Esclavitudes de las épocas. Adjudicada.

"Somehow, Somewhere" fué el cuarto y último single de Gullivers People, un sexteto de Londres que apenas actuó nunca fuera de la ciudad, pero que fueron el grupo residente del legendario Tiffany's durante un buen número de años. Con un sonido muy cercano al llamado "sunshine pop", publicaron tan sólo cuatro singles entre 1966 y 1969. A single por año. Con el inefable Norman Smith en los controles, casi parece verano.


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This song caught me unprepared. I played it a couple of times and got hooked. Refreshing and in squared colours, it transmits an almost shameful cheerfulness. The organ answering each verse was the definitive element. Also, in spite of not being complicated at all, I just cannot imagine anyone nowadays making a song with exactly this rhythm. Slaveries of the times. Awarded.

"Somehow, Somewhere" was the fourth and last single by Gullivers People, a London sextet that hardly ever played outside town, but who was the resident band in the legendary Tiffany's during a few years. With a sound quite close to the so called "sunshine pop", they released only four singles between 1966 and 1969. A single per year. With the unutterable Norman Smith at the controls, it almost seems it's summer.




http://rapidshare.com/files/256996305/Gullivers_People_-_Somehow__Somewhere.mp3



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martes, 7 de julio de 2009

Leapy Lee - If I Ever Get To Saginaw Again


Leapy Lee - If I Ever Get To Saginaw Again (Bob Russell / Jack Keller) LP "Little Arrows" Decca DL 75076 - 1968

Una gran canción sale, prácticamente, de cualquier sitio. A veces, de lugares más que insospechados. Graham Pulleyblank (Eastbourne, Reino Unido, 1939) cambió su nombre a Lee Graham y cuando se lió a grabar discos en 1965 elegió Leapy Lee como nombre de guerra. En 1968 tuvo un éxito mundial con una insidiosa cancioncilla llamada "Little Arrows", que aqui en España grabó Karina con igual éxito.

Para aprovechar el momento se publicó un primer LP, "Little Arrows", en el que, entre discretas originales y versiones varias, se puede encontrar esta mayúscula canción, que no me ha dejado en los últimos días. "If I Ever Get To Saginaw Again" fué escrita por Bob Russell y Jack Keller, ambos reconocidos profesionales en el pop americano de los 60. Ya querrían muchos escribir canciones como esta a los 54 años, como Bob. La canción había sido grabada también por The Monkees, pero no fué editada en su dia hasta que apareció en el disco "Missing Links Vol. 2" muchos años después. Hay que decir que la versión de Leapy Lee es abiertamente superior. Tal vez ayuden a ello la naturalidad de Leapy y la impecable producción y arreglo del ex-Manfred Mann, Mike Vickers.

Leapy Lee nunca consiguió repetir el éxito de "Little Arrows" y tras unos cuantos discos más, una estancia en la cárcel y una emigración a Arabia Saudí, se instaló en Mallorca y abrió un bar en Santa Ponsa. Todavía sigue allí, cantando a veces por los garitos de la zona y haciendo alguna columna para algún periódico local en inglés.

Aqui está la letra de la canción, que trata un tema totalmente inusual para una supuestamente inofensiva canción pop, y que la hace incluso mejor todavía:



"If I ever get to Saginaw again,
A locale that's somewhat off the beaten track.

Get to see the girl I never saw again,
Who must know why I have never ventured back.

Oh, we were young,
And so alive

And now I wonder if she'd cling to me,
Be my very own as she did then,
If I ever get to Saginaw again.


If I ever get to Saginaw again,
It won't be in spring with meadows turning green.

It won't be to tangle with the law again.
It won't be with someone only seventeen,

Who gave her love,
And made me hers.

And when you find the one you're dreaming of
Who strucks to ask, how old is love?, not when
You may never get to Saginaw again.


If I ever get to Saginaw again
I will get to see the son who bears my name.

And perhaps I'll quietly withdraw again
When I see the little man that he became.

But now I yearn
To watch him grow.

A father's love is maybe all it takes
To try to beat the great mistakes of men
If I ever get to Saginaw again"


(Bob Russell / Jack Keller)


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A great song appears, in fact, anywhere. Sometimes, in more than unsuspected places. Graham Pulleyblank (Eastbourne, UK, 1939) changed his name to Lee Graham and, when he got involved in making records in 1965, he chose Leapy Lee as his new nick name. In 1968 he had a world hit with an insidious little song called "Little Arrows".

To cope with the moment a first LP, "Little Arrows", was released. On it, among discreet originals a various covers, you may find this tremendous song, which has not left me in the last few days. "If I Ever Get To Saginaw Again" was written by Bob Russell and Jack Keller, both of them respected songwriters in the american 60s pop. Many musicians would give an arm and a leg to be able to write such a song at 54, like Bob. This tune had also been recorded by The Monkees, but it wasn't released at the time until it finally appeared many years later in "Missing Links Vol. 2". We should note that Leapy Lee's version is far better. It may help Leapy's natural way of singing it and also the faultless production and arrangement of ex-Manfred Mann, Mike Vickers.

Leapy Lee could never repeat the great success of "Little Arrows" and after a few more records, a season in prison and a migration to Saudi Arabia, he settled in Majorca in Spain, and he opened a bar in Santa Ponsa. He's still there, sometimes singing around the local pubs and writing some column for some local british newspaper.

You can find above the lyrics to the song, which is dealing with an absolutely unusual topic for a supposedly harmless pop song. Which makes it even better.




http://rapidshare.com/files/252963173/Leapy_Lee_-_If_I_Ever_Get_To_Saginaw_Again.mp3



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domingo, 21 de junio de 2009



Don Grady - The Children Of St. Monica (Don Grady) Canterbury C 501 - 1967

De San Diego, California, Don Agrati era ya un precoz artista cuando, ya de niño, andaba bailando y actuando en series de televisión y en películas para la pantalla grande, sobre todo westerns.

Ya a los 19 años y con el nombre de Don Grady, publicaba para el sello Checker su primer single en 1963. Durante los siguientes cuatro años, editaría hasta un total de siete de ellos para Orange Empire (1), Capitol (2), Challenge (1) y Canterbury (2). Tuvo tiempo además para participar en el primer single de The Palace Guard, junto a Emitt Rhodes, y para fundar el inolvidable grupo The Yellow Balloon junto a Gary Zekley, editando con ellos un LP y tres singles. Todo ello, sin olvidarse de su papel de actor, principalmente en una famosa serie de televisión llamada "My Three Sons".

Tras publicar un LP para Elektra en 1973, ya con su nombre real, Don Agrati ha permanecido conectado desde entonces a diversas actividades relacionadas con la música y todavía sigue tocando en directo y grabando.

"The Children Of St. Monica" tiene una encantadora melodía en las estrofas y un estribillo un tanto psico-hebrío que le da una dimensión especial. Na, na, na, na, na...


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From san Diego, California, Don Agrati already was a precocious artist when, still a child, was dancing and performing as an actor for some TV series and big screen movies, specially westerns.

At 19 and with his name changed to Don Grady, he released his first single for the Checker label in 1963. During the following four years, he would release up to seven of them for Orange Empire (1), Capitol (2), Challenge (1) and Canterbury (2). He also found the time to sing on the first single by The Palace Guard, with Emitt Rhodes, and to start the unforgettable band The Yellow Balloon, together with Gary Zekley, and releasing with them three more singles and one LP. All of it, without forgetting his acting role, specially in a famous TV series called "My Three Sons".

After releasing an LP for Elektra in 1973, under his real name, Don Agrati has kept a connection to several musical activities ever since, and is still playing live and recording.

"The Children Of St. Monica" has a charming melody on the verses and a psyco-drunken chorus which gives a special dimension. Na, na, na, na, na...



http://rapidshare.com/files/246805870/Don_Grady_-_The_Children_Of_St._Monica.mp3



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jueves, 4 de junio de 2009

Clem Cattini Ork - No Time To Think



Clem Cattini Ork - No Time To Think (Brian Potter/Graham Dee) Decca F 12135 - 1965

Clemente Anselmo Cattini debería figurar sin duda alguna en el libro Guiness de los records. Con toda probabilidad, ningún otro ser humano, ni extraterrestre, ha participado en tantas sesiones de grabación como él. Su batería y su buen hacer en los tambores pueden escucharse en toneladas de canciones de todos los géneros habidos y por haber. Rotundos éxitos de ventas, reputadas grabaciones de importantes artistas, discretas canciones de segunda fila, material de relleno... no importa. Clem no le hacía ascos a nada.

"Shakin' All Over" de Johnny Kidd & The Pirates, "You Really Got Me" de The Kinks, "The Sun Ain't Gonna Shine Anymore" de The Walker Brothers, "You Don't Have to Say You Love Me" de Dusty Springfield, "Out Of Time" de Chris Farlowe, "Hurdy Gurdy Man" de Donovan, "Everlasting Love" de Love Affair, "Something In The Air" de Thunderclap Newman, "Hot Love", "Get It On" o "Telegram Sam" de T. Rex, "When Will I See You Again" de The Three Degrees... son sólo la punta de un descomunal iceberg en el que también habitan Brian Auger, Beggars Opera, Joe Cocker, Barry Ryan, The Hollies, Amazing Blondel, Paul McCartney, The Bee Gees, Lou Reed o Ike & Tina Turner.

Nacido en el norte de Londres en 1937, de padres italianos, ya a finales de los 50 estaba tocando con gente como Vince Taylor, Billy Fury, Marty Wilde o Johnny Kidd & The Pirates. A principios de los 60 funda uno de los grupos intrumentales británicos más recordados, The Tornados, con quienes obtiene un merecido número uno mundial con la inmortal "Telstar" en 1962. Se separa de The Tornados en 1964 y a partir de ahí se le puede ver en todo tipo de grupos y con toda clase de artistas. Y espera. Todavía sigue en activo.

Sorprendentemente para un hombre de tan larga y prolífica trayectoria, un solitario single publicado en 1965, tras su separación de The Tornados, es el único disco editado con su nombre propio. Y apenas figura en discografía alguna. "No Time To Think" es un colorista y vitamínico instrumental que ilumina cualquier momento. Y en menos de dos minutos. Fué escrito por Graham Dee y Brian Potter, un tandem que compuso un montón de canciones para diferentes artistas, sobre todo a finales de los 60. "Sin Tiempo Para Pensar".



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Without any kind of doubt Clemente Anselmo Cattini should appear in the Guiness book of records. Most probably, no other human being, or from outter space for that matter, has undertaken as many recording sessions as him. His drums and his good job with the sticks can be heard in tons of songs in every known genre. Straight hits, reputed recordings for important artists, discreet second row tunes, filler material... no matter. Clem would not despise anything.

"Shakin' All Over" by Johnny Kidd & The Pirates, "You Really Got Me" by The Kinks, "The Sun Ain't Gonna Shine Anymore" by The Walker Brothers, "You Don't Have to Say You Love Me" by Dusty Springfield, "Out Of Time" by Chris Farlowe, "Hurdy Gurdy Man" by Donovan, "Everlasting Love" by The Love Affair, "Something In The Air" by Thunderclap Newman, "Hot Love", "Get It On" o "Telegram Sam" by T. Rex, "When Will I See You Again" by The Three Degrees... are only the top of a huge iceberg with dwellers like Brian Auger, Beggars Opera, Joe Cocker, Barry Ryan, The Hollies, Amazing Blondel, Paul McCartney, The Bee Gees, Lou Reed or Ike & Tina Turner.

Born in north London in 1937, from italian parents, he was already playing in the late 50s with people like Vince Taylor, Billy Fury, Marty Wilde or Johnny Kidd & The Pirates. In the early 60s he formed one of the most remembered instrumental british bands, The Tornados, with whom he had a well deserved number one world hit with the eternal "Telstar" in 1962. He quit The Tornados in 1964 and, from then on, could be found in any kind of band and with all sorts of artists. And wait. He's still at it.

Surprisingly for a man with such a long and prolific career, a lone single released in 1965, after his departure from The Tornados, is the only record credited to his own name. And it hardly appears on any official discography. "No Time To Think" is a colourful and vitaminic instro which sure enlightens any given moment. And in less than a couple of minutes. It was written by Graham Dee y Brian Potter. They made a lot of songs for a bunch of artists, specially at the tail end of the 60s. "No Time To Think".





http://rapidshare.com/files/240517465/Clem_Cattini_Ork_-_No_Time_To_Think.mp3



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viernes, 15 de mayo de 2009

The Steam Machine - I'm Going Home To Sacramento



The Steam Machine - I'm Going Home To Sacramento (Arthur Nix/John Cooper) Belter 07.906 - 1971

Obviamente, me hize con este disco por la portada. Todavía hoy me tiene como hipnotizado. Tampoco sé muy claramente si lo que quería enseñarte era una canción tan altiva, o una foto tan definitiva.

En cualquier caso, aqui está "I'm Going Home To Sacramento". Una canción de estar en movimiento, con un ritmo inquebrantable, unas convencidas voces y un gancho innegable. Para momentos soleados y noches de guardar. Indistintamente. Una bizarra mezcla de sunshine pop tardío, bubblegum y americana temprana. Y, atención a esos discretísimos violínes de fondo. ¿O es un mellotrón?

Ni que decir tiene que, a pesar de intensas pesquisas, no he conseguido averiguar nada absolutamente sobre estos imponentes caballeros. ¿Y tú?


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Obviously, I got hold of this record because of the picture cover. It still has got me like hypnotized. I don't know quite clearly either if what I really wanted to show you was such an arrogant song, or such a definitive photo.

Whatever the reason, here's "I'm Going Home To Sacramento". A song for being in movement, with an unbreakable rhythm, determined vocals and an undeniable hook. For sunny moments or special nights. Indistinctly. A bizarre mixture of late sunshine pop, bubblegum and early americana. And, attention to those very discreet violins in the background. ¿Or, is it a mellotron?

Needless to say that, in spite of hard research, I haven't succeeded in finding out any information at all about these challenging gentlemen. And you?




http://rapidshare.com/files/233062492/The_Steam_Machine_-_Sacramento.mp3



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miércoles, 29 de abril de 2009

Graham Bond Organisation - Waltz For A Pig






The Graham Bond Organisation - Waltz For A Pig (Ginger "Harry Butcher" Baker) Reaction 591 001 B - 1966

Este instrumental siempre me ha fascinado. Con un fantástico ritmo a cargo de su autor, Ginger Baker, y con un ambiento nocturno de estepa urbana, es quizás una de las mejores piezas grabadas por The Graham Bond Organisation. Sorprendentemente, nunca apareció en ninguno de los discos oficiales del grupo. Únicamente vió la luz como cara B del single de The Who "Substitute".

En aquel momento el ex-manager y productor de The Who, Shel Talmy, tenía un juicio pendiente contra la banda, quienes no podían grabar nada hasta que se solucionara el conflicto judicial. El sello discográfico Reaction, para mantener el nombre del grupo mientras tanto, decidió re-editar "Substitute" y poner de cara B del single un instrumental encargado a otra banda de la misma oficina de management, The Graham Bond Organisation.

El invento apareció finalmente acreditado a The Who Orchestra, aunque quienes tocaban alli eran Grahan Bond, Dick Heckstall-Smitm, Jack Bruce y Ginger Baker. Por lo menos, Ginger se pudo comprar finalmente un coche a los 28 con los royalties de la canción de marras. Curiosa historia para un gran instrumental perdido.


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This instrumental has always fascinated me. With a fantastic rhythm played by its writer, Ginger Baker, and with a nocturnal urban steppe atmosphere, it's probably one of the best numbers ever recorded by The Graham Bond Organisation. Surprisingly, it never appeared on any of the official records of the band. It only saw the light of day as the B side of The Who's "Substitute".

At that time, The Who ex-manager and producer, Shel Talmy, had an injunction against the band that prevented them from temporarily recording until a legal settlement was agreed. The Reaction record label, for keeping alive the name of the band meanwhile, decided to re-release "Substitute" and use as the B side of the single an instrumental specially commissioned to another band from the same management office, The Graham Bond Organisation.

The invention finally appeared credited to The Who Orchestra, though the ones playing there were Grahan Bond, Dick Heckstall-Smitm, Jack Bruce and Ginger Baker. At least, Ginger was finally able to buy himself a car at 28 with the royalties he got with the song. Curious story for a great lost instrumental.



http://rapidshare.com/files/227074717/Graham_Bond_Organisation_-_Waltz_For_A_Pig.mp3


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jueves, 23 de abril de 2009

Graham Gouldman - Nowhere To Go




Graham Gouldman - Nowhere To Go (Graham Gouldman) CBS 7739 - 1972

Hoy tenemos un par de canciones no muy conocidas de Graham Gouldman. Tras su paso por The Whirlwinds y The Mockingbirds a mediados de los 60s, tuvo un montón de éxitos escribiendo canciones legendarias para Herman's Hermits, The Yardbirds, The Hollies, The Mindbenders y tantos otros.

Pocos años después, y justo antes de montar The Hotlegs - que a su vez se transformarían en 10 c.c. - Graham publicó un solitario single en 1972 con "Nowhere To Go". Una triste y bonita canción, en su habitual línea de tonos menores y con una orquestación barroca, que poco tenía que ver con la época. Ni que decir tiene que pasó más que desapercibida, y nunca ha sido reeditada. Aunque Mr. Gouldman se vengaría un tiempo después con los éxitos de 10 c.c.


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Today we have a couple of not so well known Graham Gouldman songs. After his spell with The Whirlwinds and The Mockingbirds in the mid 60s, he had a bunch of hits writing legendary songs for Herman's Hermits, The Yardbirds, The Hollies, The Mindbenders, and so many others.

A few years later, and just before forming The Hotlegs - which would eventually become 10 c.c. - Graham released a lone single in 1972 with "Nowhere To Go". A sad and beautiful song, following his usual minor chords line, and with some baroque orchestration, which had very little in common with its time. Needless to say it went nowhere and it has never been re-released. Though Mr. Gouldman would later find a good vengeance with his 10 c.c. hits.




http://rapidshare.com/files/224602012/Graham_Gouldman_-_Nowhere_To_Go.mp3


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jueves, 9 de abril de 2009

Matthew Fisher - Song Without Words




Matthew Fisher - Song Without Words (Matthew Fisher) RCA LP APL1 0325 - 1974

La primera grabación de Matthew Charles Fisher (Addiscombe, Croydon, UK, 1946) fué un single con The Gamblers en 1965. Pero su característico organo permanecerá por toda la eternidad en la memoria colectiva de varias generaciones gracias al mítico primer single de Procol Harum, "A Whiter Shade Of Pale". Abandonó el grupo en 1969 tras su tercer LP "A Salty Dog", disco que también produjo, para luego seguir una errática e irregular carrera en solitario, salpicada de sesiones para gente tan variada como Joe Cocker, Wishbone Ash, Screaming Lord Sutch, Jerry Lee Lewis, Captain Sensible o Downliners Sect, y producciones para artistas tan lejanos entre sin como Robin Trower o Tir na Nog.

"Song Without Words" es una agridulce y hermosa canción de su segundo LP en solitario, "I'll Be There", publicado por RCA en 1974. Un gran instrumental que cualquier letra mancillaría, marcado por ese clásico sonido de órgano, y acompañado por una batería spectoriana y unos violínes en su punto. Servir, preferentemente, en esos ciertos momentos melancólicos y de nostagia irreparable.


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The first recording of Matthew Charles Fisher (Addiscombe, Croydon, UK, 1946) was a single with The Gamblers in 1965. But his characteristic organ sound will eternally remain in several generations collective memory thanks to Procol Harum's mythical first single "A Whiter Shade Of Pale". He quit the band in 1969 after their third LP "A Salty Dog", which he also produced, and then followed an erratic and irregular solo career, interspersed with session work for people as diverse as Joe Cocker, Wishbone Ash, Screaming Lord Sutch, Jerry Lee Lewis, Captain Sensible or Downliners Sect, and productions for artists as different as Robin Trower o Tir na Nog.

"Song Without Words" is a sweet & sour and beautiful song taken from his second solo LP "I'll Be There", released by RCA in 1974. A great instrumental which would surelly be spoilt by any lyrics, underlined by that clasical organ sound, and backed by some spectoresque drums and some violins with the right measure. Serve, preferably, in those certain moments of melancholy and irreparable nostagia.


http://rapidshare.com/files/219084866/Matthew_Fisher_-_Song_Without_Words.mp3


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domingo, 29 de marzo de 2009

Denny Doherty - You'll Never Know




Denny Doherty - You'll Never Know (Mack Gordon/Harry Warren) Ember-Paramount EMA 0286 - 1974

Esta es una canción para valientes. Para los que no temen a una buena melodía. Una jodida canción de amor. Pertenece al segundo y último LP en solitario de Denny Doherty, "Waiting For A Song", publicado en 1974 y en el que también ponían sus sensuales voces Michelle Phillips y Cass Elliot, compañeras suyas (y algo más) en The Mamas & The Papas.

Es una versión de una canción que aparecía en la película de 1943, "Hello, Frisco, Hello", cantada por Alice Faye y que fué grabada por un montón de artistas melódicos de pro, como Nat King Cole, The Platters, Ella Fitzgerald, Frank Sinatra o Shirley Bassey y hasta por Michael Bublé o Diana Krall recientemente. Pero, en la soleada versión de Denny Doherty, tiene una encantadora inocencia y fragilidad ausentes en las voces de "los profesionales".

Dennis Doherty, nacido en 1940 en Halifax, Nova Scotia, (Canada). Tras grabar algunos discos con The Halifax Three, se unió a The Big Three en New York. En el grupo estaban Cass Elliott, Zal Yanovsky y John Sebastian, ambos caballeros pre-Lovin' Spoonful, y cambiaron su nombre a The Mugwumps al entrar Denny. Tras alguna grabación que permaneció inédita hasta el éxito posterior de sus componentes, Denny y Cass se unieron a John y Michelle Phillips para formar los famosos The Mamas & The Papas, tras cuya disolución, Denny editó unos cuantos singles y un par de LPs antes de regresar a Canada.

En los 80 intervino en unas cuantas películas y series de TV y también en alguna esporádica reunión de The Mamas & The Papas. Murio en Enero 2007.


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This is a song for the brave. For those not afraid of a good melody line. A fucking love song. It was on the second and last solo LP of Denny Doherty, "Waiting For A Song", released in 1974, in which Michelle Phillips y Cass Elliot, his ex-mates (and something more) in The Mamas & The Papas, were also contributing their sensual voices.

It's a cover of a song which first appeared in a 1943 movie called "Hello, Frisco, Hello", sung by Alice Faye, and that was recorded by a whole bunch of melodic singers like Nat King Cole, The Platters, Ella Fitzgerald, Frank Sinatra or Shirley Bassey and even recently by Michael Bublé or Diana Krall. But, here in Denny's sunny version, it has a charming innocence and fragility which is completely absent with the "proffesional" voices.

Dennis Doherty, was born in 1940 in Halifax, Nova Scotia, (Canada). After a few records with The Halifax Three, he joined The Big Three in New York. Cass Elliott, Zal Yanovsky and John Sebastian, both men pre-Lovin' Spoonful, were in the band and they changed their name to The Mugwumps with Denny's arrival. After some recordings that went unreleased until the later success of its members, Denny and Cass joined John and Michelle Phillips to form the famous Mamas & The Papas. After their split, Denny released some singles and a couple of LPs before moving back to Canada.

In the 80s he made a few movies and TV series and also some sporadic The Mamas & The Papas reunions. He died in January 2007.


http://rapidshare.com/files/214888403/Denny_Doherty_-_You_ll_Never_Know.mp3



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domingo, 22 de marzo de 2009

The Truth - Fly Away Bird



The Truth - Fly Away Bird (Decca F 12582 B) 1967

Steve Jameson era un peluquero del norte de Londres. Un buen día, mientras le cortaba el pelo a un jóven cliente llamado Frank Aiello, pensó en formar un duo con él e intentar la cosa del éxito en la música pop. Steve cambió su apellido de Jameson a Gold (tal vez por si servía de conjuro) y, tomando el nombre de una canción de Ray Charles, "Tell The Truth", pronto graban su primer single en 1965. Hasta 1968 lograron editar siete de ellos, primero para Pye y luego para Deram - Decca.

La mayor parte de las grabaciones eran versiones: The Beatles, The Kinks, Donovan, The Young Rascals... De hecho, tan sólo dos de sus canciones llevan la firma de Mr. Gold/Jameson. Y una de ellas es la que tiene aquí el papel estelar.

El penúltimo single de The Truth era una versión de "Walk Away Renee" de The Left Banke y "Fly Away Bird" estaba en la cara B. Esas grandes Bs, que le dan a algunos singles un valor especial. Tiene una bonita e íntima combinación de acordes intercalando una pincelada de R & B. Ahí queda.

Posteriromente Steve siguió su carrera en solitario. Primero como Stephen Jameson, en plan cantautor con piano, con algun disco para Dawn - Pye, y luego como Nosmo King a mediados de los 70 haciendo...northern soul!


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Steve Jameson was a north London hairdresser. One day, while cutting the hair of a young customer called Frank Aiello, he thought about forming a duo and try the road to success in pop music. Steve changed then his name from Jameson to Gold (probably just in case it stuck) and, taking the name from a Ray Charles song, "Tell The Truth", they soon released their first single in 1965. Up until 1968 they released seven of them, first for Pye and then for Deram - Decca.

Most of the recordings were cover versions: The Beatles, The Kinks, Donovan, The Young Rascals... In fact only two of all their songs bore Mr. Gold/Jameson signature. And one of them is starring here now.

The Truth's penultimate single was a cover of "Walk Away Renee" from The Left Banke and "Fly Away Bird" was on the B side. Those great Bs which give a special value to some singles. It has a nice and intimate chord progression which mutates into a R & B flavour and back. Touching.

Steve later followed solo his musical career. First as Stephen Jameson, kind of piano singer songwriter, with some records for Dawm - Pye, and then as Nosmo King in the mid 70s doing... northern soul!


http://rapidshare.com/files/211446616/The_Truth_-_Fly_Away_Bird.mp3


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domingo, 15 de marzo de 2009

The Fourmyula - Nature


The Fourmyula - Nature (Wayne Mason) HMV HR 380 - 1969

De Wellington, The Fourmyula fueron tal vez el grupo más popular de Nueva Zelanda a finales de los 60 y editaron una docena larga de singles y cuatro LPs entre 1968 y 1971. Como buenos antipodas y para luchar contra su aislamiento geográfico, también viajaron a la vieja Inglaterra tras sus primeros éxitos locales para intentar una mayor proyección interancional.

Vistos los resultados, la mayor parte del grupo regresó a Nueva Zelanda para poco después separarse. El guitarrista Martin Hope se unió al legendario grupo local Human Instinct para sus dos últimos LPs. El batería, Chris Parry, permaneció en el Reino Unido y tuvo mayor éxito, aunque en la sombra: descubrió, fué el manager y produjo los primeros discos de The Cure.

"Nature", compuesta por uno de los guitarristas del grupo, Wayne Mason, no fué incluida en ninguno de los albumes de The Fourmyula, aunque sí fué editada en USA, y es la copia que aquí traemos. Una envolvente y etérea canción con muchos de los efluvios de la época.


From Wellington, The Fourmyula were probably the most popular band in New Zealand in the late 60s. They released about a dozen singles and four albums between 1968 and 1971. After their first local hits, as good antipodeans, and also to fight against geographical isolation, they also travelled to old England searching for a bigger international recognition.

After the usual results, most part of the band went back to New Zealand and split soon after. Guitarist Martin Hope joined legendary local band Human Instinct for their two last LPs. Drummer Chris Parry stayed in the U.K. and found a bigger success, though a bit in the shade: he discovered, managed and produced the first records of The Cure.

"Nature", written by one of the band's guitarists, Wayne Mason, was not included on any of The Fourmyula albums though it had a U.S. release, which is the copy we're bringing here. It's a swaddling and ethereal song with many of the flavours of its time.



http://rapidshare.com/files/209496862/The_Fourmyula_-_Nature.mp3


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sábado, 7 de marzo de 2009

Crush - On A Plane To Nowhere


Crush - On A Plane To Nowhere (M.Kent / J.Arthur) Ariola 12764 A - 1973


No he conseguido averiguar absolutamente nada sobre este disco. Lo pillé hace mucho tiempo, dejándome llevar por la incontestable pinta del grupo y por los títulos de las canciones.

Los Sres. Kent y Arthur escribieron también alguna canción para Vanity Fare (la bonita "Summer Morning"), cuyos productores, al igual que en este disco, eran también Roger Easterby y Des Champs. Roger y Des tenían una pequeña productora y sello independiente llamado Santa Ponsa que operaba en el campo del pop entre finales de los 60 y principios de los 70. Tal vez esa podría ser una pista.

En cualquier caso, "Today's Tomorrow" resultó una canción de glam-pop de las de a granel. Pero la cara B del single, como tantas veces ocurre, era la sorpresa. "On A Plane To Nowhere" es una de esas pequeñas grandes canciones que se hace de querer de inmediato. Nada espectacular de apariencia, y hasta podría decirse que discreta, tiene un nosequé que engancha, que cala, y que hace que perdure en tu memoria. Como algunas personas.

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I couldn't find anything about this record. I got it quite a long time ago, and grabbed it just because the sheer look of the band and the titles of the songs.

Mrs. Kent & Arthur also wrote some song for Vanity Fare (the nice "Summer Morning"), whose producers were also Roger Easterby and Des Champs. Roger and Des were running a small production company and label called Santa Ponsa which operated in the pop field in the late 60s/early 70s. Maybe this could be a trail to follow.

Anyhow, "Today's Tomorrow" resulted one of those average glam-pop songs. But the B side, as in so many other cases, was the real surprise. "On A Plane To Nowhere" is one of those little great songs with an immediate attraction. Of no spectacular appearance, and even discreet, it has a certain something that hooks on you and makes it linger on your memory. Just like some persons.


http://rapidshare.com/files/206229469/Crush_-_On_A_Plane_To_Nowhere.mp3
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jueves, 26 de febrero de 2009

The Realists - I've Got A Heart




The Realists - I've Got A Heart (Paul Astles) Stiff / Off 4 - 1978

En el sureste de Londres hay un area llamada Deptford y en 1977 tres bandas locales apuntaban buenas formas y un éxito futurible: Squeeze, The Dire Straits y The Realists. Obviamente, sólo las dos primeras cumplirían sus expectativas.

Se sabe que no sólo de música se nutre el circo del rock y, para desgracia propia y también para la de los amantes de las buenas canciones, The Realists únicamente lograron publicar un solitario single en Off, un subsello de la entonces emergente marca Stiff.

Por si a alguien le interesa, que de todo hay, The Realists eran: Paul Astles (voz, guitarra y líder), Ralph Holden (guitarra solista), Pete Butler (bajo) y John Conroy (batería). Tras la no tan realista aventura, todos excepto Mr. Conroy se unieron al ex-Fabulous Poodles, Bobby Valentino, para formar la banda de cajun, bluegrass, y americana en general The Electric Bluebirds. Dos LPs en 1986 y en 1996 es su discreto legado.

"I've Got A Heart", además de ser una potente y nutritiva píldora pop que merece ser recordada y degustada en fiestas de guardar, es la prueba palpable de que se pueden hacer canciones atómicas con tan sólo tres acordes. Si me puediera aplicar el cuento...
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In the south-east of London there's a place called Deptford and, in 1977, three local bands were showing good shape and were pointing to a probable success: Squeeze, The Dire Straits and The Realists. Obviously, only two of them would fulfill those expectancies.

It's a well known fact that the rock circus is fed not only by music and, unfortunately fot them and also for the lovers of good songs, The Realists only released a lone single in Off, a sublabel of the then blossoming Stiff Records. Well, in fact there was a self-released second 45. But it was even more anonymous than this first one.

If anyone is interested, anything can happen, The Realists were: Paul Astles (lead vocals and guitar), Ralph Holden (lead guitar), Pete Butler (bass) and John Conroy (drums). After the not so realist adventure, everyone except Mr. Conroy joined Bobby Valentino, ex - The Fabulous Poodles, to form a cajun, bluegrass and americana band called The Electric Bluebirds. Two LPs in 1986 and 1996 is their discreet legacy.

"I've Got A Heart", besides being a poweful and nourishing pop pill that deserves to be remembered and taken in every proper holiday, is the living proof that atomic songs can be really made with only three chords. If I could only do it myself...

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