Funky Kings - Help To Guide Me

Funky Kings - Help To Guide Me (Richard Stekol) del LP Arista AL 4078 - 1976

Otra canción especial, perdida en otro LP perdido, en un blog perdido de un perdido. Una canción nocturna, aparentemente discreta, tierna, humeante, y con un encantador ritmo de tiempo medio. Sonido clásico americano de los 70. Un bala perdida que admite estar cansado de rodar solo, pero que no sabe muy bien cómo salir de ello.

Funky Kings, nombre tal vez poco apropiado, editaron un solitario LP, aunque llegaron a grabar un segundo, que nunca fué publicado, dadas las ventas del primero. Los tres motores del grupo, posteriormente, siguieron en el tenebroso mundo de la música:

Jack Tempchin, con varios discos desde 1978, el más reciente en 2007, amén de colaboraciones varias con Tom Waits, The Eagles, Glen Frey, Glen Campbell, Tom Rush...

El autor de este pequeño flash de neón, Richard Stekol, que antes de Funky Kings ya había publicado dos LPs con su anterior grupo, Honk (1973 - 1974), siguió en ello y en ello sigue actualmente vendiendo sus discos en su propia web.

Y el tal vez más conocido de los tres, Jules Shear, tuvo un cierto éxito con su grupo Jules & The Polar Bears, entre 1978 y 1980. Desde entonces ha seguido editando discos intermitentemente. Sus canciones han sido grabadas, algunas con éxito, por Cindy Lauper, Art Garfunkel, The Bangles, Iain Matthews, Roger McGuinn... También trabajó, entre otros, con Matthew Sweet.

"Help To Guide Me", el cálido sonido de una luciérnaga urbana.


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Another special song, lost in another lost LP, on a lost blog from a lost one. A nocturnal song, apparently discreet, tender, smokey, and with a charming midtempo rhythm. Clasical american 70s sound. A stray and easy living guy who admits being tired of rolling alone, but who doesn't really know how to get out of it.

Funky Kings, probably an unfortunate name, released a lone LP, though they recorded a second one which was never released given the low sales of the first one. The three main forces of the band kept on the gloomy world of music:

Jack Tempchin, with several solo records since 1978, last one in 2007, and also some side jobs with Tom Waits, The Eagles, Glen Frey, Glen Campbell, Tom Rush...

The writer of this little neon flash, Richard Stekol, who before Funky Kings had already released a couple of albums with his former band, Honk (1973 - 1974), kept on it and still does, selling his albums on his own website.

And probably the better known of them, Jules Shear, had a certain success with his own band Jules & The Polar Bears, between 1978 - 1980. He has been releasing, since then and intermittently, some solo albums. His songs have been recorded, some with success, by Cindy Lauper, Art Garfunkel, The Bangles, Iain Matthews, Roger McGuinn... He also worked, among others, with Matthew Sweet.

"Help To Guide Me", the warm sound of a urban firefly.




Help To Guide Me


I need your help to guide me
After all these years of living alone
I need your help inside me
Won't you take this wanderin' boy back home

Well, there's a ring around the moon tonight
And everything is still
And your lingering love's a drivin' lullaby
Oh baby

It's speaking right into my heart
Across my windowsill
And I can't run and it won't let me hide

Cause I need your help to guide me
After all these years of living alone
I need your help inside me
Won't you take this wanderin' boy back home


(Richard Stekol)




http://rapidshare.com/files/430241005/Funky_Kings_-_Help_To_Guide_Me.mp3

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Teddy Robin & The Playboys - Don't You Try To Love Somebody Like Me

Teddy Robin & The Playboys - Don't You Try To Love Somebody Like Me (Norman Cheng) Diamond 263 - 1968

La multicolor explosión beat de finales de los años 60, del siglo pasado, alcanzó todos los rincones del globo, incluyendo el sudeste asiático. Hong Kong no fué una excepción al fenómeno y, siendo por entonces todavía territorio británico, el influjo anglosajón era todavía más patente. Grupos como The Lotus, Mod East, Joe Jr. & The Side Effects, The Mystics, The Menace o The Anders Nelsson Group, mantenían animado al personal local con sus discos y actuaciones en directo.

Pero tal vez los más conocidos y con mayor número de fans incondicionales eran Teddy Robin & The Playboys. Un grupo muy jóven formado por el cantante Teddy "Robin" Kwan y sus dos hermanos, William y Raymond, junto al guitarrista y principal compositor del grupo, Norman Cheng, y el batería Frederick Chan. Fueron la sensación, no sólo en Hong Kong sino en gran parte del sudeste asiático. Dejaron grabados cuatro LPs y un montón de singles y todavía hoy su recuerdo flota en el aire de aquellas latitudes.

"Don't You Try To Love Somebody Like Me" es una encantadora canción, escrita por Norman Cheng, que aparecía en la cara B del single "You'd Better Cry" y que, todavía hoy, impresiona por su emotividad, colorido y arrogante candidez. Una canción que parece imposible que nadie pudiera componer en estos tiempos tan descreídos y ciegamente pragmáticos. Una canción que sin duda habría sido todo un éxito internacional si tan sólo hubiera salido de Inglaterra o los USA. Una canción realmente atómica.


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The multicolour late 60s beat explosion, from last century, reached each and every corner of the globe, including Southern East Asia. Hong Kong was not an exception to this phenomenon and, being then still a british territory, the anglosaxon influence was still more evident. Bands like The Lotus, Mod East, Joe Jr. & The Side Effects, The Mystics, The Menace or The Anders Nelsson Group, were keeping amused the local mob with their records and live gigs.

But those most popular and with the greatest number of unconditional fans were Teddy Robin & The Playboys. A quite young band formed by singer Teddy "Robin" Kwan and his two brothers, William and Raymond, together with guitarist and main composer of the group, Norman Cheng, and drummer Frederick Chan. They were the real sensation, not only in Hong Kong but in most parts of South East Asia. They left four LPs and a whole bunch of singles and, still nowadays, their memory is floating in the air in those latitutes.

"Don't You Try To Love Somebody Like Me" is a charming song, written by Norman Cheng, which appeared on the B side of the "You'd Better Cry" single and which, still right today, is still impressive by its emotion, colour and arrogant naivety. A song which seems impossible that anyone could write in these so disbelieving and blindly pragmatic times. A song which no doubt would have been a great international hit if it only came from the UK or the USA. A really atomic song.




http://rapidshare.com/files/421197954/Teddy_Robin___The_Playboys_-_Don_t_You_Try_To_Love_Somebody.mp3.html




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Joe Jeffrey - My Pledge Of Love

Joe Jeffrey - My Pledge Of Love (Joseph Stafford) Wand 11200 - 1969

Parece ser que Joseph Stafford era de Buffalo y que, a finales de los 60, era un habitual de los garitos de Cleveland, Ohio. Algún ejecutivo de Wand, alguna noche de copas, debió escucharle y se encendió la bombilla. "My Pledge Of Love" fué rápidamente grabada en las cuatro pistas de Audio Recording de Cleveland, bajo la dirección de Alan Klein, y obtuvo un considerable y fugaz éxito, con el nombre artístico de Joe Jeffrey.

Le siguió todo un LP y unos pocos singles más. Aunque nuestro hombre no consiguió repetir la jugada y pronto volvió a los humeantes lugares de los que procedía. Y nunca más se supo.

Esta canción, como todo lo bueno, me enganchó la primerísima vez que la escuché. Para cuando entra el bajo realmente, casi a mitad del asunto, ya estás en marcha del todo y te vas deslizando hacia ese lugar que habría que visitar más a menudo. La letra, en este caso, no es poesía profunda. Ni falta alguna que hace. Al fin y al cabo, trata de una de las pocas verdades absolutas de la vida.

Tal vez Mr. Stafford todavía la cante de vez en cuando, mientras conduce algún anónimo autobus en Cleveland.



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It seems that Joseph Stafford was from Buffalo and that, in the late 60s, he could be often seen in the venues of Cleveland, Ohio. Some Wand executive, some night out, probably heard him and the light bulb shone. "My Pledge Of Love" was quickly recorded in the four tracks of Audio Recording, Cleveland, under de production of Alan Klein, and was a sizeable and fleetinf success, under the artistic name of Joe Jeffrey.

A whole LP and a few more singles followed. Though our man could not repeat the story and soon was back in the smoky places where he was coming from. And nothing was ever heard from him again.

This song, as all good things, got me hooked at the very first time I heard it. When the real bass guitar appears, already almost halfway through the affair, you're already in full motion and sliding to that place we should visit quite more often. Lyrics, in this case, ain't no deep poetry. No need anyway. After all, the song deals about one of the few absolute truths in life.

Maybe Mr. Stafford still sings it from time to time, while driving some anonimous bus in Cleveland.





My Pledge Of Love


I woke up this morning baby
I had you on my mind
I woke up this morning baby
You know that I felt so fine
You know I need you
You know that I love you
This is my pledge of love to
My pledge of love
My pledge of love
Darling, darling, darling to you
Yeah, to you, yeah

I woke up this morning baby
I had you on my mind
I felt so much love this morning
Little girl, little girl you feel so fine
You know I need you
You know that I love you
Darling this is my pledge of love
My pledge of love
My pledge of love
Darling, darling, darling to you
Oh yeah, to you Yeah yeah

Sky gettin dark above me
Baby I need your lovin'
Got to have all of your lovin'
Baby I want your lovin'
Baby (baby), baby (baby)
Baby (baby), baby (baby)
Baby (baby), baby (baby)
Baby (baby), baby (baby)

I woke up this morning baby
That's when I caught your name
I felt so much love this morning
Little girl, little girl for shame
You know I need you
You know that I love you
This is my pledge of love to
My pledge of love
My pledge of love
Darling, darling, darling to you
Yeah
Got to have your lovin'
Baby you know I want your lovin'
Little girl...


(Joseph Stafford Jr.)






http://rapidshare.com/files/416922526/Joe_Jeffrey_-_My_Pledge_Of_Love.mp3.html

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Motherlode - When I Die

Motherlode - When I Die (William Smith / Steve Kennedy) Revolver REVS 002 / Buddah BDA 131 - 1969

Cuando vi la portada de este single, tuve que comprarmelo. Afortunadamente, "When I Die" resultó ser una brillante canción de pop soul que, a través de los tiempos, siempre acaba reapareciendo en mi memoria, y me trae una pequeña sonrisa y un poco de paz.
Y sigue intacta esa colorista guitarra que guiña el ojo.

Motherlode fué un fugaz grupo canadiense (a excepción del cantante y organista, el negro americano William Smith) que obtuvo un relativo éxito con esta canción, su primer single. Para cuando su segundo LP se publicaba en 1970, el grupo ya había dejado de existir. Pero "When I Die" siempre estará ahí.



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When I first saw the cover of this single, I just had to buy it. Fortunately, "When I Die" happened to be a brilliant pop soul song that, through the times, always ends up reappearing in my memory, and brings me a little smile and a bit of peace.
And still intact that colourful guitar that winks an eye.

Motherlode was a fleeting canadian band (excepting the organist and singer, black american William Smith) which had a relative success with this song, their very first single. When their second LP was released in 1970, the group had already ceased to exist. But "When I Die" will always be there.




When I Die


When I die I hope to be
A better man than you thought I'd be

It's been hard to make you see
What kind of man I'm tryin' to be

All I ask for you to try
To understand what it means to me

It's not hard to understand why you
Get discouraged all the time
I keep tryin' not to worry, but I
Can't help feelin' lost in you

But I lo-o-o-o-ove you
Love you
And I need you

Time goes by and you'll find
That we'll achieve a love sublime

When I die I hope I'll be
The kind of man that you thought I'd be

It's not hard to understand why you
Get discouraged all the time
I keep tryin' not to worry, but I
Can't help feelin' lost in you

But I lo-o-o-o-ove you
Love you
And I need you

'Cause I love you and I want you
'Cause I got to, got to have you
'Cause I, 'cause I need you

When I die I hope I'll be
The kind of man that you thought I'd be

Be (the kind of man that you thought I'd)...



(William Smith / Steve Kennedy)





http://rapidshare.com/files/415879427/Motherlode_-_When_I_Die.mp3.html

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The Turtles - Lady O

The Turtles - Lady O (Judee Sill) White Whale 334 - 1969

Cuando en 1969, tras una fructífera carrera con grandes éxitos como "Happy Together" o "Elenore", The Turtles grabaron "Lady O", ya no existían como tales. Cinco años con los clásicos avatares y excesos de un grupo de rock a toda máquina habían pasado su factura, y la banda se había separado recientemente.

El bajista, Jim Pons, tuvo la idea de grabar una última canción, a modo de despedida digna, que equilibrara los últimos singles del grupo, un tanto erráticos.

Todos estuvieron de acuerdo y así pues, se decidieron por esta gran composición de una joven californiana (1944) llamada Judith Sill. Ella no había grabado todavía ningún disco, pero andaba ya intentando colocar sus canciones aquí y allá. Jim Pons y John Beck (de The Leaves) se hicieron cargo de la producción, contando con el precioso arreglo de cuerda de Bob Harris.

La voz principal del grupo, Howard Kaylan (en la foto, en el centro), cantó acompañado por los coros de Mark Volman y Al Nichol. La propia Judith se encargó de la guitarra acústica, y no se añadió ningún instrumento más. El resultado, fastuoso. Ahora The Turtles sí podían descansar en paz.


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When in 1969, after a fruitful career with big hits like "Happy Together" or "Elenore", The Turtles recorded "Lady O", they were no more. Five years with the classic vicissitudes and excesses of a rock band in full steam had taken its toll, and the group had recently split.

Bassist, Jim Pons, had the idea of recording a last song, as a more honorable farewell, which could amend the last singles of the band, a bit too erratic.

Everybody agreed and so, they selected this great tune by a young californian (1944) called Judith Sill. She hadn't still made any record herself, but was already trying to sell her songs here and there. Jim Pons and John Beck (ex - The Leaves) handled the production, with the beautiful string arrangement of Bob Harris.

Usual lead singer of the band, Howard Kaylan (centre in the photo), sang and members Mark Volman and Al Nichol la-laed. Judith herself played the acoustic guitar, and no other instruments were added. The result, greatness. Now, The Turtles could finally rest in peace.




http://rapidshare.com/files/408955299/The_Turtles_-_Lady_O.mp3.html



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LADY - O

While you seat and seek a crescent moon
is layin' at your feet,
with hope that's made of sand,
you don't think you can
but you have held it all in your hand,
Lady - O

I've been tryin' hard to keep from needin' you
but from the start,
my heart just rolled and flowed
I've seen where it goes
and still somehow my love for you grows,
Lady - O

So on my heels I'll grow wings,
gonna ride silver strings,
but I'll see you in my holiest dreams,
Lady - O



So on my heels I'll grow wings,
gonna ride silver strings,
but I'll see you in my holiest dreams,
Lady - O

I've been tryin' hard to keep from needin' you
but from the start,
my heart just rolled and flowed
I've seen where it goes
and still somehow my love for you grows,
Lady - O


So on my heels I'll grow wings,
gonna ride silver strings,
but I'll see you in my holiest dreams,
Lady - O


(Judee Sill)



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Judee Sill - Lady O

Judee Sill - Lady O (Judee Sill) del LP Asylum SD 5050 - 1972

Tres años después, en 1972, Judith conseguía editar su primer disco con el nombre artístico de Judee Sill. Era el primer album que pùblicaba la legendaria marca Asylum. En él se incluyo su propia versión de "Lady O", muy parecida a la de The Turtles ya que se utilizó casi el mismo equipo y el mismo planteamiento musical, incluyendo el delicado arreglo de cuerda de Bob Harris, que tan buenos resultados habían dado. Aunque siempre es definitivo escuchar una canción a quien la ha escrito.

Judee Sill sólo llegó a editar un segundo LP, al año siguiente. Tras grabar las maquetas para un tercero, que no vió la luz hasta más de 30 años después, Judee desapareció de la escena musical, seguramente ayudada por las escasas ventas de sus preciosos discos, su carácter dificil y sus devaneos con drogas varias. Murió de sobredósis en 1979.


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Three years later, in 1972, Judith finally released her first record under the artistic name of Judee Sill. It was the very first album of the legendary Asylum label. It included her own recording of "Lady O", quite similar to the one of The Turtles as almost the same musical scheme and team were used, including that touching Bob Harris string arrangement. Though it's always definitive listening to a song sung by its writer.

Judee Sill only managed to release a second LP, the following year. After recording the demos for a third, which remained in the can until more than 30 years later, Judee disppeared from the musical scene, most probably helped by the low sales of her precious records, her difficult character and her ravings with several drugs. She died of overdose in 1979.




http://rapidshare.com/files/408957847/Judee_Sill_-_Lady_O.mp3.html



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Nicky Hopkins - Waiting For The Band

Nicky Hopkins - Waiting For The Band (Nicky Hopkins) del LP Columbia KC 32074 - 1973

Hace unos pocos días, buscando cierto instrumental, me encontré de nuevo con esta gran canción, todo un derroche de melodía. Creo que se nota que está compuesta con piano. No en balde Nicky Hopkins fué, probablemente, el pianista con el historial de colaboraciones más apabullante de la historia del rock:
The Beatles (juntos y por separado), The Rolling Stones, Marc Bolan, David Bowie, The Who, Gene Clark, Joe Cocker, Donovan, The Easybeats, The Kinks, Quicksilver Messenger Service, Jefferson Airplane, Steve Miller Band, Graham Parker, Rod Stewart, Matthew Sweet, y varios miles más.

Curiosamente, y aparte de alguna que otra banda sonora, este británico internacional editó únicamente tres LPs a su nombre (1966, 1973 y 1975). Esta entrañable "Waiting For The Band" aparece en el segundo de ellos y primero en el que se atrevió a cantar, "The Tin Man Was A Dreamer". Por cierto, esa guitarra tan característica y discreta pertenece, como no, a su amigo George Harrison.

Nicky dejó este mundo imposible en 1994 pero, probablemente, vivió más en sus cincuenta años que muchos de nosotros en varias vidas. Y además de sus incontables sesiones como músico de estudio para otros artistas, nos dejó pocas pero muy buenas muestras de su propia música. Como esta canción que hoy te traigo. Reflexión nocturna de un sesionero, aquí está la letra:



WAITING FOR THE BAND


The night was black,
it was the blackest that I've ever seen
I stopped a stranger and asked which way to go
He slapped me on the back,
and then he laughed and then he looked at me
Then he said, Sir, you can't get there from here,
no, no, no, no

Without a road
I cannot make it back to you
Without a light above I cannot find the way
Turn on your love light,
Let it shine like a peek and wait, you see me through
Cause baby how can I be happy without you.

Faster my heart is beating, faster and I'm all alone
Strangers are all around me, no one will tell me where to find a phone
It's like sitting in the studio waiting for the band to come
Sitting in the studio waiting for the band to come

And if the band don't come
by early in the moming
I'II have to find a way to have myself survive
Cause if the band don't show
by early in the moming
Then I'II be over darling, waiting for the band to come

Slower, I'm getting slower I've heard these songs so much before
Lower, I'm sinking lower, pretty soon you'll find me on the floor
Under the piano waiting for the band to come


Sittin' waitin' for the band to come



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A few days ago, searching for a certain instrumental, I met again with this great song, a monument in melody. I think it's evident it was composed with piano. Not in vain Nicky Hopkins was, quite probably, the pianist with the most striking sessions list in rock's whole history: The Beatles (together and one by one), The Rolling Stones, Marc Bolan, David Bowie, The Who, Gene Clark, Joe Cocker, Donovan, The Easybeats, The Kinks, Quicksilver Messenger Service, Jefferson Airplane, Steve Miller Band, Graham Parker, Rod Stewart, Matthew Sweet, and several thousands more.

Curiously, and a few film soundtracks apart, this international british only released three proper LPs to his name (1966, 1973 and 1975). This warm "Waiting For The Band" belongs to the second of them and first one where he dared to sing, "The Tin Man Was A Dreamer". By the way, that characteristic and discreet guitar belongs, obviously, to his friend George Harrison.

Nicky left this impossible world in 1994 but, probably, he lived more in his fifty years than many of us in several lives. And apart from his countless sessions as a studio musician for other artists, he left few but quite more than good samples of his own music. Like this song I'm bringing you today. Nocturnal comment of a session man, its lyrics are up there above this text.



http://rapidshare.com/files/400332976/Nicky_Hopkins_-_Waiting_For_The_Band.mp3

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The Oscar Bicycle - On A Quiet Night

The Oscar Bicycle - On A Quiet Night (P.F. Sloan) CBS 3237 A - 1968

Force West era un sólido grupo de Bristol que publicó más de media docena de singles entre 1965 y 1969. Incluso daban la nota al ser uno de los poquísimos grupos británicos de la época, si no los únicos, que utilizaba una avioneta propia para muchos de sus desplazamientos, ya que su manager era también piloto y poseía una Piper de seis plazas.

Además también fueron, muy probablemente, el primer grupo del mundo en versionear a Los Brincos: Al año siguiente de su edición original, "Mejor" fué convertida en "All The Children Sleep" para el cuarto single de la banda en 1967. Aunque, por alguna oscura razón editorial, venía firmada por el productor del disco, Clive Westlake.

El caso es que en 1968, año mágico, se decidió hacer un experimento con el pop psicodélico, como era casi de obligación, y alejarse un poco de su sonido habitual de pop convencional, cercano a The Fortunes, por ejemplo. A tal efecto, grabaron un curioso y atractivo single. La cara B, "The Room Revolves Around Me" ha aparecido en alguna que otra recopilación de psico-oscuridades. No así la cara A del single en cuestión, "On A Quiet Night", una preciosidad firmada por el inefable P.F. Sloan, que a buen seguro debieron encontrar medio camuflada en el tercer LP de The Association, "Insight Out", transmutando la soleada limpieza californiana del original en una deliciosa y continental semilisergia nocturna. Para redondear el asunto, se buscó un nombre adecuado a la intención, y el single fué publicado finalmente bajo el nombre de The Oscar Bicycle.

Por cierto, no me habría importado en absoluto que el final de la canción se prolongara durante unos minutillos más...



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Force West was a solid band from Bristol who released more than half a dozen singles between 1965 and 1969. They could even claim to be one of the very few british groups of the times, if not the only one, who were using a private aeroplane for many of their trips. Their manager was also a pilot and owned a six-seater Piper.

Also, most probably, they were the first group in the world to cover an original song by spanish band Los Brincos: One year after its original release, "Mejor" was changed into "All The Children Sleep" for the fourth single of the band in 1967. Although, because of some dark publishing reason, it was credited to the record producer instead, Clive Westlake.

Anyway in 1968, magical year, it was decided to make an experiment with psych pop, as it was almost mandatory, and step a bit beyond their usual conventional pop sound, in the vein of say The Fortunes. To this effect, they recorded a curious and attractive single. The B side, "The Room Revolves Around Me" has already appeared in some of the well known psych-obscurities comps. Not so the A side of the single, "On A Quiet Night", a beauty written by the unutterable P.F. Sloan, which quite surelly was found half lost on The Association third LP, "Insight Out", transmutating the sunny californian neatness of the original into a delicious and nocturnal continental semilysergy. To round things up, a proper name according to the intentions was selected, and the single was finally released under the moniker of The Oscar Bicycle.

By the way, I wouldn't have minded at all if the ending of the song would have lingered on for a few little minutes more...




http://rapidshare.com/files/394598193/The_Oscar_Bicycle_-_On_A_Quiet_Night.mp3




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The Game - When Love Begins To Look Like You

The Game - When Love Begins To Look Like You (Alan Gordon) Commonwealth United C 3009 - 1969

Todo queda dicho en menos de dos minutos. Breve, como la mayor parte de las buenas cosas. Una oxigenante canción para una primavera otoñal, que podría ser un buen ejemplo de cómo sonaría Nueva York si estuviera en California.

A finales de los 60, y tras haber publicado un par de singles con su grupo The Proctor Amusement Co., con base en Fort Lauderdale, en Florida, un tal Chuck Kirkpatrick era uno de los técnicos de sonido de los famosos estudios Criteria de Miami, en donde le daba a los botones en las grabaciones de Aretha Franklin, Eric Clapton, The Allman Brothers y muchas otras lumbreras del momento. No se resignaba a quedarse en la trastienda del asunto, y tras algunos cambios de formación, su grupo se convirtió en The Game. Un contrato con un pequeño sello neoyorkino resultó en este single que nos ocupa.

"When Love Begins To Look Like You" fué escrita por Alan Gordon, ex-batería de The Magicians y co-autor de éxitos tan sonados como "Happy Together" y varias otras de The Turtles, "Celebrate" de Three Dog Night, y un montón más para The Lovin' Spoonful, The Righteous Brothers, Harper's Bizarre, The Critters y cien más. Alan murió a finales de 2008, todavía en activo. Tuve el honor de ser su último colaborador, escribiendo las letras para dos canciones que él llevaba últimamente entre manos, y que parece ser quedarán para siempre en el limbo.

Con respecto a The Game, después de trabajar con Alan Gordon, llegaron a editar un par de LPs con sus propias canciones. Incluso a finales de los 70, el persistente Chuck publicó un LP con Capitol, con el nombre de Chuch Crane. Burbújas en el mar.



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Everything is said in less than two minutes. Short, as most good things. An oxygenating song for an autumnal spring, it could be a good example of how New York would sound if it was in California.

In the late 60s, and after having released a couple of singles with his Fort Lauderdale, Florida based band The Proctor Amusement Co., a certain Chuck Kirkpatrick was a sound engineer at the famous Criteria studios in Miami, were he handled the knobs in recordings by Aretha Franklin, Eric Clapton, The Allman Brothers, and many other big names of the moment. He would not resign at keeping in the backroom and, after some line-up changes, his band mutated into The Game. A contract with a small newyorker label had the single we're having here as a result.

"When Love Begins To Look Like You" was written by Alan Gordon, ex-drummer with The Magicians and co-writer of such big hits as "Happy Together" and several others by The Turtles, "Celebrate" by Three Dog Night, and a bunch more for The Lovin' Spoonful, The Righteous Brothers, Harper's Bizarre, The Critters and a hundred more. Alan died in late 2008, still active. I had the honour of being his latest collaborator, writing the lyrics for two songs he was lately working on, and which will most probably remain forever in limbo.

Regarding The Game, after working with Alan Gordon, they managed to release a couple of LPs with their own songs. Even in the late 70s, the persistent Chuck released an LP with Capitol, under the name of Chuck Crane. Bubbles in the sea.




http://rapidshare.com/files/381540229/The_Game_-_When_Love_Begins.mp3




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David Kershenbaum - White Velvet Cat

David Kershenbaum - White Velvet Cat (Bobby Lile) Capitol P 2191 - 1968

Una de esas canciones con apariencia discreta y que, a pesar de todo, se hacen de notar rápidamente y permanecen. Nocturna y elegante, y vestida con un seductor arreglo, fué escrita por Bobby Lile, un experimentado artista con al menos una docena de singles a sus espaldas, editados desde mediados de los 50 por varios sellos diferentes.

Como Bobby, David Kershenbaum no tuvo mucho éxito con sus discos. Aunque, con el tiempo, sí pudo ver su nombre estampado en literalmente millones de ellos. Tras introducirse en la tenebrosa parte ejecutiva de la industria discográfica, encontaría finalmente el éxito, la reputación, la fama y el dinero, con sus producciones para Richie Havens, Cat Stevens, Joe Jackson, Graham Parker, Tracy Chapman y cien más. Nunca se sabe.



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One of those songs with a discreet appearance and which, in spite of all, grabs attention and lingers on. Nocturnal and elegant, and dressed with a seducing arrangement, it was written by Bobby Lile, an experienced artist himself with at least a dozen singles on his back, released since the mid 50s by several different labels.

Like Bobby, David Kershenbaum didn't have that much success with his records. Although, some time later, he could see his name printed in literally millions of them. After entering the gloomy executive side of the recording industry, he'd finally find success, reputation, fame and money, producing Richie Havens, Cat Stevens, Joe Jackson, Graham Parker, Tracy Chapman and a hundred more. You never know.




http://rapidshare.com/files/371867104/David_Kershenbaum_-_White_Velvet_Cat.mp3




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Clouds - Ladies And Gentlemen

Clouds - Ladies And Gentlemen (Ian Ellis/Billy Ritchie/Harry Hughes) del LP "Scrapbook", Island ILPS 9100 - 1969

Esta canción no estaba incluida en ninguno de los tres singles que Clouds editaron. Cerraba la cara uno de su primer LP. Y ya a los pocos segundos, se anuncia una de esas canciones especiales que tocan la fibra - no me preguntes cual. Elegante, bien provista de melodía, y con una orquestación al punto, ensancha el espiritu y dibuja una pequeña sonrisa escondida.

Clouds era un trío de Edinburgo - sin guitarra!, que además de los tres mencionados singles, editaron otros tantos LPs. "Scrapbook" es variopinto y con temas muy adecuados al pop como la mortalidad y las ambiciones fallidas. Un segundo álbum, "Up Above Our Heads", fué editado únicamente en USA. Tras "Watercolour Days", un LP con toques progresivos como mandaba la época, Clouds se disiparon en el aire. El organista, Billy Ritchie, parece ser que desapareció de la escena musical. Sus dos compañeros, el bajista Ian Ellis y el batería Harry hughes, lo intentaron un poco más. Tocaron con David Bowie en las maquetas para "Hunky Dory"... pero no fueron utilizadas. La vida es una tómbola.

Como reza la portada de "Scrapbook", "Riquezas en busca de un lugar al que pertenecer. Eso son los recuerdos, eso son las canciones."



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This song wasn't included on any of the three singles released by Clouds. It was closing side one of their first LP. And already after a few seconds, one of those very special songs is announced. Elegant, well provided with melody, and with an orchestration in the right measure, it broadens the spirit and draws a little hidden smile.

Clouds were a trio from Edinburgh - without a guitar!, which besides those already mentioned three singles, released as many LPs. "Scrapbook" is a diverse album, dealing with topics quite well related to pop as mortality and failed ambitions. A second one, "Up Above Our Heads", was released only in the U.S.A. After "Watercolour Days", an LP with progressive touches as times commanded, Clouds dissipated in the sky. It seems that organist Billy Ritchie quit the music scene for good. His two mates, bassist Ian Ellis and drumer Harry hughes, tried a little further on. They played with David Bowie on the "Hunky Dory" demo sessions... but they finally were not used. Life is a lottery.

As said on the "Scrapbook" cover, "Riches in search of a place to belong. Such are memories, such are songs."




http://rapidshare.com/files/359033045/Clouds_-_Ladies_And_Gentlemen.mp3

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Paul Revere & The Raiders - Your Love (Is The Only Love)

Paul Revere & The Raiders - Your Love (Is The Only Love) (Dennis Lambert / Brian Potter) Columbia 3-10126 - 1975

Cuando su último single oficial fué publicado, hacía casi unos diez años ya que Paul Revere & The Raiders habían dejado atrás su época dorada. La cara A del single en cuestión era una aguerrida versión del "Good Times" de The Easybeats, debídamente setentizada. En la cara B, casi a modo de despedida, aparecía esta sorpresa: Una multicolor canción que parece sacada del repertorio de algún grupo de northern soul de los 70. No en balde está compuesta por Dennis Lambert y Brian Potter, que ya habían escrito algunos grandes éxitos para The Four Tops, además de para The Grass Roots, Glen Campbell y muchos otros.

Pero, el público del Sonido Philadelphia no solía seguir a grupos de rock que andaban ya cuesta abajo. Los fans de The Raiders se habían hecho mayores y estaban por otros menesteres y, los pocos que quedaban, no se identificaban demasiado con los sonidos del soul de guante blanco. Además y después de todo, esto era tan sólo una cara B. Total, anonimato garantizado.

Probablemente, otro gallo habría cantado si la canción hubiera sido un single de The O'Jays o de The Spinners. Ya ves, también en la música, la apariencia, el nombre y el envoltorio parecen ser decisivos. Un gran canto del cisne.


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When their last official single was released, it was already about ten years ago that Paul Revere & The Raiders had left behind their peak and golden times. The A side of the single was a hard and duly seventized cover of "Good Times" by The Easybeats. On the B side, almost as some kind of goodbye, there was this suprise: A multicoloured song which seems more taken from the set list of some 70s northern soul group. Indeed, it was written by Dennis Lambert and Brian Potter, who had already penned some great hits for The Four Tops, and also The Grass Roots, Glen Campbell and many others.

But, the Philadelphia Sound audience didn't use to follow rock bands on their way downhill. The old fans from the Raiders were already grown up and with their 9 to 5 lives and, those few left, wouldn't get too indentified with these white eyed soul sounds. Also and after all, this was only a B side. So, anonimity guaranteed.

Probably, it would have been a quite different thing if the song had been a single by The O'Jays or The Spinners. You see, also in music, appearance, name and envelope seem to be a decisive point. A great swan song.



http://rapidshare.com/files/354921888/Paul_Revere___The_Raiders_-_Your_Love.mp3

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Tir Na Nog - Two White Horses

Tir Na Nog - Two White Horses (Sonny Condell) Chrysalis LP CHR 1006 - 1972

En 1969, Sonny Condell y Leo O'Kelly se unieron en Dublin bajo el nombre de Tir Na Nog ("Tierra De La Eterna Juventud" en gaélico). Su primer LP se publicaba en 1971 y, tras dos discos más, la eterna juventud se transmutó en algo diferente y el duo pasó a dicen que mejor vida.

"Two White Horses" es la canción que cierra su segundo álbum, "A Tear And A Smile". Grande y pequeña al mismo tiempo. Seria y sonriente. Agridulce como la vida misma. Misteriosamente, ha permanecido intacta en mi memoria.



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In 1969, Sonny Condell and Leo O'Kelly got together in Dublin under the name Tir Na Nog ("Land Of Eternal Youth" in gaelic). Their first LP was released in 1971 and, after two more records, the eternal youth transmutated into something else and the duo passed into what they call a better life.

"Two White Horses" is the song closing their second album, "A Tear And A Smile". Big and small at the same time. Serious and smiling. Bittersweet as life itself. Misteriously, it has lingered untouched in my memory.



http://rapidshare.com/files/343803738/Tir_Na_Nog_-_Two_White_Horses.mp3

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