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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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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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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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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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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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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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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