The Rock Scene of The Sixties

The image of The Beatles 1967 marks the highlight of the group's musical development with the album
Sergeant Peppers Lonely Hearts Club Band. Musically they were in the hurricane's eye during the 1960s with 1967 as a landmark.
The Beatles being the group which all others were measured by - better or worse. For this reason it seems reasonable
to let their picture represent the complete rock scene of the 1960s.

 

A musical retrospect

ENGLISH SUMMARY

NOTE!
Most Danish bands are omitted in this English version. For a complete review, see "Rockscenen i 1960'erne"

The music scene of the 60s meant a lot to those of us, who were young at that time. Especially if you were a musician. The following is my own memories from that period - plus what kind and helpful people has sent me.

I regret if some links no longer works. The reason probably is, that the internet is under constant change. Instead, try Google, or music recordings at YouTube.

Please note, that you will find articles on several other music topics (e.g. music stores, venues, stompboxes, amps, speakers and instruments) by turning to Music Index.

If you have got further info on the subjects mentioned, or objections, I should like to hear from you. Please write:

Sincerely
Kurt Starlit
aka CykelKurt

 

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GROUPS & SOLOISTS                GROUPS & SOLOISTS                Groups & SOLOISTS                 GROUPS & SOLOISTS                 GROUPS & SOLOISTS                 GROUPS & SOLOISTS                 GROUPS & SOLOISTS                 GROUPS & SOLOISTS
GROUPS & SOLOISTS                 GROUPS & SOLOISTS                Groups & SOLOISTS                 GROUPS & SOLOISTS                 GROUPS & SOLOISTS                 GROUPS & SOLOISTS                 GROUPS & SOLOISTS                 GROUPS & SOLOISTS

                     ----- plus a little more -----

 

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Jorgen Ingmann

My childhood in the 50s was characterized by Jorgen Ingmann, who started his one man recordings in the beginning of this decade. He was in a class of his own. Especially I admired his playing in "Echo Boogie".

Jorgen Ingmann

 

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The Shadows

I was a young man at twelve when The Shadows released their first (and best) LP in 1959. Bassist Jet Harris was my favorite, especially in jazzy tunes like "Nivram" - which is "Marvin" spelled backwards. Many Shadows tunes are written by Jerry Lordan, who lead an exciting life (find him on The Shadows page).

Members of The Shadows first LP from 1959:
Hank Marvin (lead gtr), Jet Harris (bass), Bruce Welch (rhythm gtr), Tony Meehan (dr).

Harris was replaced by John "Licorice" Locking when the group released LP no. 2, "Out of The Shadows". Later mr. Licorice was replaced by John Rostill on LP no. 3, "Out of The Shadows. Three very different bass players with three very different playing styles.

Brian Bennet was brought in as a replacement for drummer Tony Meehan. He was the drummer on LP no. 2 onwards.

After LP 3 I lost interest in The Shadows. They never reached the inspirational heights of LP1.

The Shadows' first & second LP: "The Shadows" & "Out of The Shadows" (with sound examples)

The Shadows' third LP: "Dance with The Shadows" (with John Rostill og Brian Bennett) (with sound examples)

After leaving The Shadows, Jet Harris on 6-string Fender bass released a few singles, e.g. "Besame Mucho" and "Diamonds", which was heavily played on Radio Luxemburg. Together with Tony Meehan on drums he (among others) released "Scarlet O'Hara" in 1963. Later Meehan withdrew from show business to finish his study as a doctor. Jet Harris kept performing, though it seemed like he had lost his sense of direction (or inspiration?).

At the same time he was badly hurt in a car accident. This didn't make things easier. Considering his great talent, it seems a pity he still (2007) have to perform around the country these days with revival concerts etc. just to pay the rent. He had deserved better.

 

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The Beatles

One of my classmates had allowance to buy single- and LP records. In some English paper he had read about this group from Liverpool, breaking the sound barrier and making the girls peeing in their trousers at concerts.

Personally I was never instrumentally impressed by The Beatles. But they had the guts to change style now and then. They wrote a lot of melodious songs, which immediately turned into standards as soon as released. For this reason, the group had a reference postion to other groups: where do we stand, compared to The Beatles?

The Beatles at Shea Stadium (1965)

 

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Mike Sarne

The first and biggest UK hit for Mike Sarne. "Come Outside" peaked at #1 on the chart in May 1962. This was his only Top 10 single. With additional vocals by Wendy Richard.

"Showing your age when you can remember this", someone said. And probably he is right, when stating that remembering such a record tells everything 'bout your age. It was one of the songs we listened to, when tuning in on Radio Luxembourg at 208 metres. I don't think we ever heard more from this Mike somebody, but who cares, the song is "still a gud 'un" as someone else said.

"Come Outside" (additional vocals by Wendy Richard) (1962)

Mike Sarne (Wikipedia)

Mike Sarne (YouTube)

 

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Turned on?

Many groups & musicians in the (19)sixties had the idea to be playing whole lot better once they were "turned on". From my position it was easy to see this was nonsense. Most musicians I knew, usually played quite well. Eating/smoking/drinking this, that and the other only made their playing anything but well. Nevertheless, afterwards they often insisted to have played their best ever. My question was (and is): How do you carry out any revolution in that condition?

 

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Jimi Hendrix
(1967.May.21 at the Copenhagen Falkonér Center)

This is first time The Jimi Hendrix Experience is visiting Denmark. At the same time, he hit the charts with "Hey Joe". He used Marshall stacks, which was the first time I enjoyed this exciting view: two cabinets stacked with an amp on top was higher than the man himself. They were a fantastic group, Mitchell was terrific on drums, giving Hendrix much more than backup. Noel Redding was playing all right without impressing anybody.

The curly hair and gaily coloured clothes of Hendrix & co. was never seen before, the same goes for his guitar playing. It's not an exaggeration til call him a musical revolution. His playing was in a class of its own. At the end of the show he poured gas over the guitar and lit. Oh what a sight! Oh what a sound!

I saw Hendrix three times in Copenhagen, the first being by far the best. Second time he was in a good mood, ending the show by saying "Thank You!" with his guitar. Third time he looked like a shadow of himself. Three months later he died.

His death, though, was not a mystery. He worked too hard, slept too little, smoke a lot of God knows what. Musically he had waved goodbye a long time ago. It had all turned into business and routine - he had lost his enthusiasm.

Drummer Mitch Mitchell told him time and time again (before and after the disbanding) to stay with the simple setup: guitar, bass, drums. In this field Hendrix was the one. Subsequent LPs & singles demonstrated how right Mitchell was.

"Foxy Lady" (from first LP)

Jimi Hendrix (Wikipedia)

Jimi Hendrix (YouTube)

 

Back cover of Hendrix' first LP

 

Eric Clapton once in an interview (in NME) had the nerve to state that, according to Clapton, you could find better musicians than Hendrix: Look, Hendrix is a friend of mine, but as a guitarist there are better.
If you look at Hendrix in a formal way, Clapton may be right. But the special thing about Hendrix was, that he were unformal in every way. He played things and ways that no one had thought of - least of all Clapton.

I heard Cream (Ginger Baker, Jack Bruce, Eric Clapton) one time in Copenhagen and was by no means impressed: bad sound, bad performance, bad charisma. The Claptonian way of playing a guitar was heard a thousand times before by guitarists of less fame. Subsequently, though, I got big respect for bassplayer Jack Bruce, when he released a couple of solo LPs - especially Songs for a Taylor with beautiful "Rope Ladder To The Moon".

 

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Mothers of Invention
Copenhagen concert, some time 1967

Jazz is not dead - it just smells funny.

It was Frank Zappa, musician, composer, provo and much more, who made this ironic statement when "Be-Bop Tango" was released 1974. Ironical statements became his trade mark, so to speak.

Mothers of Invention were musical desperados, and Zappa was the brain behind. They hit the charts with "Help I'm a Rock" 1967 - from first LP "Freak Out". The song was, as most material from Zappa, an ironical comment on society in general and American life style in particular.

Suzy Creamcheese, who also was the name of one of the titles of LP1, were lying on the stage floor most of the time, picking herself in several hot spots, and looking mortally offended during entire sets. Later Suzie and Frank got married in LA, living more or less happily with a couple of kids.

To put it shortly - which is difficult with Zappa - you could say that he was a strange character. But also exciting, because he always had an ironical statement on just about any topic. He made us laugh, and then think one more time.

As a musician he never was among the greatest. As a composer he made himself a name - deserved or undeserved. First of all he became a cult, thanks to the ability of putting himself on. It is said that he had his own advertising management - admittedly everything works a little smoother then.

He ended his days at a hospital. He was treated for a rather simple desease, but something went wrong. The ensurance company had to pay high compensation for Suzie and the kids. Accordingly, Zappa today has cult status - a project that took most of his career.

"Motherly Love"

"Who Are The Brain Police?"

Mothers of Invention (Wikipedia)

Mothers of Invention (YouTube)

In memory of FZ

 

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Red Squares

I heard this English group with singer Geordie Garriock in the lead 1966. With their falsetto vocals they won the sympathy of many a Danish girl. "People Get Ready" was one of their best songs. On the other hand, musically they were rather stagnant. With just drums, bass and 12-string rhythm guitar, the music soon becomes a bit boring.

Now and then you could read about the group in New Musical Express, at one occasion I even heard them on BBC "Top of The Pops". But their singles never broke the sound barrier, and they never were promoted from Danish second divison to English Premier Legue which was, I believe, their ultimate ambition.

Several English groups and musicians these years were staying for longer periods in Denmark (some stayed here forever e.g. bass player Pete Quaife of The Kinks). It semed they lost the cutting edge while staying here. London no doubt was a much tougher place to live, compared to Copenhagen, so who can blame these guys.

Red Squares (YouTube)

 

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Manfred Mann

Manfred had the ability to survive in a cruel and ever changing world of pop. Repeatedly they hit the charts, which made living secure for a long time. Manfred himself is a bit of a philosophical person, in many interviews he showed great knowledge about music and people. Despite the group's name, he always kept behind, leaving the stage for the lead singer.

Following a string of hits like e.g. "Do Wah Diddy Diddy" and "Pretty Flamingo" lead singer Paul Jones left the group.

We saw him in Copenhagen at the end of '66 or maybe beginning of '67 with a backing group (I didn't recognize any of them). And even though I have great sympathy for mr. Jones as a person, his performance wasn't very convincing. Next thing we heard from him was as an actor in some English TV-series (something with doctors or veterinarians). This he managed quite well.

In spring 1966 singer Mike D'Abo was introduced to the group. This meant even more hits like

"Semi-detached suburban mr. James",

"Just like a Woman",

"My name is Jack" (note the photo of Paul Jones displayed at 1:38 in the middle of the video. The boys obviously had some fun seeing this), and

"Mighty Quinn".

Besides his singing abilities, Mike D'abo was looking good and a competent songwriter, e.g. "Handbags and Gladrags", which, among others, have been recorded by Chris Farlowe, Rod Stewart and Stereophonics.

A critic once explained the difference between Jones and d'Abo this way:

Paul Jones brought a dynamic presence and charisma to the Manfreds.
Mike d'Abo brought something different and subtler:
an under-stated persona, quizzical and elegant, and a gentle tinge of social satire.

The group disbanded 1969, Manfred changing the name to Manfred Mann's Earth Band and continued with a completely different crew. Musically they released a string of pearls like

"Blinded by the Light" (1976) and

"You Angel You" (1983).

Especially singer/guitarist Chris Thompson was something. In a later (1998) interview, Manfred revealed to be proud of the musical standard of his groups down through history.
Would he advise others to do the same?
No, certainly not!
Only if you against all odds, advice and warnings insist on moving into an completely unpredictable business of music, you are either naive and/or an idiot. For those, we can only pray!

1991 Manfred interview

Manfred Mann's Earth Band

Wikipedia

 

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Ten Years After

Alvin Lee was never my cup of tea. Anyone can learn to play fast, and this he did. But what happened to the feeling - the variation?

Many years later in 2002, he was visiting Copenhagen (Brondby Pop Club) one more time - now as a soloist, along with a bass player and a drummer. What a disappointment he was musically. He didn't seem to have developed himself as a guitarist - or as a person for that matter. His whole attitude was cliché, there was no communication with his group, they simply acted as supernumeraries and were treated as such. His approach towards his public was cliché too; probably he would have said the same nonsense to audiences in Singapore or San Francisco; maybe he'll go there next week. I won't try to stop him.

Ten Years After (Wikipedia)

Ten Years After (YouTube)

 

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Marianne Faithfull

Marianne Faithfull, oh yeah, what a girl, born under a lucky star?

Well, she had her ups and (deep) downs, and surely she learned a lesson or two along the way.

As the frosting on the cake she recorded "Working Class Hero", to let us know that she learned the lesson. What a song!

The eight of November, 2015, we had the opportunity to meet her one more time at the DR Concert Hall (Copenhagen).

This dark Sunday night she had brought with her three bright young musicians, doing their best to support her.

 

Faithfull on stage with her three musicians,
L-R: Rob McVeil guitar, Rob Ellis drums, Ed Hardcourt keyboards & guitar
Photo: CykelKurt

 

But alas, the main character was not at her best, as she came limping to the stage with a stick in one hand and her reading-glasses in the other. She was clearly hassled by moving herself, and soon somebody brought a chair to the stage, so she could sit down while singing.

The first song was "Give my Love to London", followed by "Stations", "Vagabond Ways", "Love more or less" and the old heartbreaker "As Tears Go By".

She also sang her "Broken English" during the 1½ hour session, but unfortunately she totally neglected to sing or comment on "Working Class Hero".

Between songs we were informed (by Faithfull), who had written what to whom and why.

Faithfull has been seriously sick, maybe she still is, so much of her performance came to seem almost pitiable. To put it short, she has come to look and sound like an old woman. Was it really necessary to drag the old horse from the stable once again?

Marianne Faithfull (official homepage)

Marianne Faithful (Wikipedia)

Marianne Faithful (YouTube)

 

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Nazz

Nazz (rhymes with jazz) was an early psychedelic garage rock band from the 1960s. Though sometimes mistakenly called "The Nazz", the group's official name on all records and press materials is simply "Nazz", without the definite article.

The band was formed in Philadelphia, Pennsylvania in 1967 by Todd Rundgren (lead guitar) and Carson Van Osten (bass guitar). Thom Mooney (drums, formerly of the Munchkins) and Robert "Stewkey" Antoni (vocals, keyboard) joined before their first concert, opening for the Doors in 1967.

Marketed by their manager, Michael Friedman, as a teenybopper boy band, Nazz signed with SGC Records, releasing Nazz in 1968. The album was not commercially successful and neither was the first single, "Hello It's Me" (#41 Canada).

After a brief trip to England, cut short by visa problems, Nazz recorded their second album, originally entitled Fungo Bat. (A fungo bat is a special baseball bat used only for practice; it is not intended to hit pitched balls.) The album was originally a double album but was shortened to a single LP before being released as Nazz Nazz. Much of what was cut was Rundgren's material, and he departed the group, along with Van Osten, soon after.

With Stewkey in charge, the band continued to tour during 1969 and 1970. Without the full band's knowledge or consent an unsuccessful Nazz III was released in 1970, in which Rundgren's vocals in the old tapes were replaced by his own.

Mooney soon left, eventually playing with a variety of groups including the Curtis Brothers, Tattoo, Fuse and Paris. Stewkey played with Fuse alongside Mooney for a brief period, but then left.

Rundgren went on to have a successful solo career. Rundgren's biggest solo hit was an up-tempo version of Nazz' first unsuccessful single, "Hello It's Me".

Nazz took their name from the song "The Nazz are Blue" by The Yardbirds from their album Roger The Engineer.

That song, in turn, took its title from Lord Buckley's comic monologue, "The Nazz," which is a re-telling of the tale of Jesus of Nazareth. It is also often erroneously said that the band took its name from a line in the David Bowie song "Ziggy Stardust" which goes: "He was the nazz, with god-given ass..." but that song appeared in 1972, long after the first Nazz album, which appeared in 1968.

The term Nazz is also slang for "fool" in Nadsat.

He had many good ideas, Todd Rundgren (with Swedish ancestors). I enjoyed the first LP from Nazz, but unfortunately it didn't get the recognition it deserved. Rundgren went for a solo career and it went far better. That's what he deserved.

"When I get my Plane"

"Wildwood Blues"

Radio Commercials

Nazz (Wikipedia)

Nazz (YouTube)

 

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P. J. Proby

He visited Denmark one time in the sixties - including a lot of publicity. He always was a nob, acting, singing, and screaming as a such. His name especially came to fame when his trousers split during a show. First time it probably happened as a mishap. An English cirtic wrote:

His skin-tight trousers split open during a concert in England. The women in the audience went wild. Somehow, the trousers split again at the next venue. Critics, and the audience, were divided on whether he was using a gimmick to promote his image, or simply an eccentric rock star. During a concert with Cilla Black in 1967 they split again, and Proby was dropped from the rest of the tour by theatre managers.

Proby made life difficult for himself with his arrogant style. A few controverses are explained in Wikipedia.

In those days it was a matter of discussion, who was best: Proby or Elvis?
For me personally, I had a weak spot for Proby when he sang e.g. "Secret Love".

The PJ masterplan was to throw Elvis out, to take over the world himself. This didn't happen, and let's be thankful. Elvis was down to earth, had self irony and modesty. None of these could PJ be accused for.

"Hold Me" (his first hit, 1964)

"Stagger Lee"

Mark Almond on P.J. (May 2000)

P. J. Proby (Wikipedia)

P.J. Proby (YouTube)

 

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Chris Farlowe

Chris Farlowe, the one and only, I saw him at Karrusellen (the roundabout) Copenhagen 1967. Together with his competent backing group The Thunderbirds they played songs like "Paint it Black", "Yesterdays Papers", "Out of Time" and best of all "Stormy Monday Blues".

In the interview "The Story of "Stormy Monday Blues", Farlowe tells, how the song without his knowing was released under a different name, Little Joe Cook. And how leading American blues musicians by hearing the song were convinced that Farlowe, due to his authentic voice, had to be a coloured musician. The Thunderbirds consisted of Albert Lee (guitar), Dave Greenslade (organ), Bruce Waddell (bass) and Ian Mague (drums). On this video Albert Lee (not to be mistaken with Alvin Lee of Ten Years After) many years later is backing Farlowe on electric guitar.

Despite the fact, that Farlowe in the middle of the 1960s had a big name within pop music business, he nevertheless was a very humble, nearly shy young man, who seemed to be honoured that we knew his name when we saw him in Copenhagen at The Carrousell. The overall impression of his act was a pleasant personality with a lot of musicality. I liked him from the very beginning.

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Chris & The Thunderbirds

The songs from Dig the Buzz CD are all recorded 1962-65. This means that all songs from Farlowe's first LP, where he is backed by fabulous Thunderbirds, are included. I had the privilege to enjoy him and his group at Le Carrousel, 1967. They made a strong impact. "Stormy Monday Blues" you don't forget straight away. "Funny how time slips away" is also great in his hands. Even though he don't have the most powerful voice in the world, his way of using it is extraordinary.

The Buzz-record is for collectors. To hear the record is like being back at Karrusellen when it was all groovy. This includes Farlowe.

Chris Farlowe & The Thunderbirds
Dig the Buzz: Complete recordings 1962-65

1. Air Travel
2. I Remember
3. Push Push
4. The Blue Beat (released under pseudonym, "The Beazers")
5. I Wanna Shout (released under pseudonym, "The Beazers")
6. Girl Trouble
7. Itty Bitty Pieces
8. Just a Dream
9. What You Gonna Do
10. Hey Hey Hey Hey
11. Hound Dog
12. Reelin' and Rockin'
13. Voodoo
14. Buzz With The Fuzz
15. You're the One
16. Stormy Monday Blues, Pt. 1 (under pseudonym, "Little Joe Cook")
17. Stormy Monday Blues, Pt. 2 (released under pseudonym, "Little Joe Cook")
18. She's Allright (released under pseudonym, "Little Joe Cook")

Chris Farlowe (Wikipedia)

Chris Farlowe (YouTube)

Chris Farlowe UK

The Original CF Fanpage

 

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The Animals

Even though I never heard them live, they deserve a place among the greatest, because they had a huge impact on my concept of a tight sound. A friend introduced me to the group's first LP (must have been 1965), which sold really well. The tight sound, rhythm 'n' blues style, the Alan Price way of playing the organ, plus intelligent bass playing by Chas Chandler (who later launched Jimi Hendrix) really made an impression. Eric Burdon of course was the lead singer, but it was the instrumental playing (together) that attracted me.

Retrospective (amazon.com)

Best of The Animals (amazon.com)

The Animals Official Homepage

"The House of The Rising Sun" (1964)

"Talkin' 'bout You / Shout" (live at Wembley, 1965)

The Animals (YouTube)

 

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Alan Price
The Alan Price Set

This is The Animals' organ player going his own ways. I heard his first single release "I Put A Spell On You" on Radio Luxemburg, and loved it at first listening. It was easy to recognize who was the man with the ideas in the The Animals!

Price, who played the organ on e.g. "The House of The Rising Sun" with The Animals, subsequently had a couple of hits with his new group like, "Hi-Lili, Hi-lo" and "Simon Smith & His Amazing Dancing Bear".

The Alan Price visit to Copenhagen was not without problems, for example there was too little room for his Set at the diminutive stage at "Karrusellen". But they played like this was the best of all worlds. Later I bought their first LP, which was a showcase of musicianship. Most impressive. The musical style is within the blues- and jazzfield, but also a few chart busters.

Alan Price (Wikipedia)

Alan Price (YouTube)

 

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The Cockneys

The Cockneys were a crazy group from London. They performed regularly at Karrusellen (Copenhagen) in the mid 60s. The lead guitarist was playing really well, he could sing and act like a cock - really funny. "Too Much Monkey Business" was one of my favourites.

I had a talk with the bass player, he was a tall and friendly guy who loved Carlsberg Pilsner. The rhythm guitarist was a little man (at least compared to guitar & bass player), who sang and played well. They looked a bit strange. The ambition level of the group was not that big, judging from the single records they released. These records were so un-original and....well, I nearly felt sorry for them, because they were all nice guys. In other words, a funny and well playing group on stage, but totally un-original on record. Too bad.

An obscure British-invasion era quartet signed to the Philips label, their most notable attribute apart from a pleasingly melodious debut single, "After Tomorrow," -- done in a thoroughly Beatle-esque mode -- were their flamboyant costumes -- done in the manner of the Pearly Kings and Queens -- a charitable group long associated with the cockneys. Their second single, "I Know You're Gonna Be Mine" b/w "Oh No You Won't," was also their last, although their debut record was also reissued, possibly because of the group's appearance miming (and providing the opening and closing credit song) in the movie Go Go, Big Beat. The latter has proved to be their one lasting legacy in popular culture, as neither Philips nor any of its offshoot or successor labels have seen fit to reissue the Cockneys' music.
Bruce Eder, All Music Guide

ref.: http://www.answers.com/topic/the-cockneys?cat=entertainment

The Cockneys:

Mick Grace - single guitar, vocals
Roger Hart - rhythm guitar, vocals
Peter Faircloth - bass guitar, vocals
Bob Rusell - drums

"After Tomorrow" (A-side, 1964)

"I'll Cry Each Night" (flip-side, 1964)

"I Know You're Gonna Be Mine" (A-side, 1964)

"Oh No, You Won't" (flip-side,1964)

 

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Small Faces

I heard them at Karrusellen 1967, but mr. Marriott (guitar) and friends were no delight. Surely they were equipped with Marshall amps (stacks), which meant a lot in those days, but they played too loud and enervating.

It soon was made clear that none of the four guys were fantastic musicians - not even Ron Wood who later became a member of The Rolling Stones.

As the frosting on the cake, Steve Marriot was quite namby-pampy, for example he insisted on striking a certain attitude whenever a photographer wanted to take pictures.

A genuine flop.

The Small Faces (Wikipedia)

Small Faces (YouTube)

 

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The Association

The Association, an American group, had a string of hits, e.g.

"Along Comes Mary",

"Never my Love" and

"Windy".

In mid 1967 they visited Copenhagen, The Carrusel. Unfortunately (for me) a huge crowd wanted to see these guys from the states, so I never got in, but neither did a lot of others. Standing on the outside, we listened through doors and windows.

It was easy to hear, they knew how to play and sing!

The Association (Wikipedia)

The Association (YouTube)

 

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The Applejacks

The Applejacks with bass player Megan Davies

Al Jackson, lead vocal
Martin Baggott, lead guitar/vocal
Phil Cash, rhythm guitar/vocal
Megan Davies, bass guitar/vocal
Gerald Freeman (wearing glasses), drums
Don Gould, piano & organ/vocal

The Applejacks from Birmingham, England, were one of the very few groups which had a female musician in the band - a bass player (would you believe).

In 1964 they hit the English charts with a song that I liked very much: "Tell Me When".

The same year Megan Davies & Gerald Freeman got married.

 

Harry Wheatcroft

The footage of the church in Solihull (a suburb of Birmingham), after 25 seconds shows the renowned Harry Wheatcroft (1898-1977), who was a well-known and flamboyant person in his time.

Especially he was known as a producer of roses. At the beginning of the feature, we see (parts of) a poster suggesting that the wedding is held in late summer:

A DAY OF THANKSGIVING
for the harvest of farm and garden
and for the products of
INDUSTRY & ........

All the time, Wheatcroft was focused on, how to make the rose popular among British gardeners. In this report from May 1966, he is seeing together with the Royal family, attending the annual Chelsea Flower Show.

He was also known for his colourful appearance and extravagant opinions (read more about him in the Harry Wheatcroft link).

On the film from Solihull, he is arriving at the church together with his wife Doss (rightfully named Dorothy).

 

About herself and The Applejacks, Megan Davies in 2007 explains:

The Scouting movement was a big feature of my upbringing. Dad was a Scout Master and mum, a Guide Captain. At the age of fifteen, I moved from Girl Guides to assist with Wolf Cubs and in 1960, the 1st Olton Scout Group were preparing a Gang Show and when asked "Can anyone play an instrument?" a few of us took up the challenge.

Martin Baggott, Phil Cash and I possessed guitars and Gerry Freeman was the obvious choice as the drummer because he was the lead drummer in the Scout band.

We all got together to perform a couple of skiffle numbers, "Hang Down Your Head, Tom Dooley" and "John Henry". Thus from a little wooden hut in Jubilee Park, Olton, Solihull emerged the "core" of The Applejacks. A local Youth Officer came to see one of the Gang Shows and asked us to play at a few Solihull venues.

Cliff and The Shadows was definitely the way to go. There were very few other role models to choose from anyway, and we gradually went electric. It was obvious then, that one of us would have to change to bass guitar. Here, I think the story goes, "Well, you're the worst guitarist, Megan. You can play bass." I'm not sure that it was actually said in so many words, but that's the gist of how I got the job.

My first bass was a sort of sunburst but more of a brown Hofner President Bass Guitar. 'Hire Purchase' was a new phenomenon in the UK, which now enabled you to buy expensive goods on a monthly payment basis. But you needed someone over 21 to countersign the agreement. My dad acted as guarantor. I used to visit Kay Westworth's in Cherry Street, every month to pay my seven shillings and sixpence (40 pence in today's money).

I couldn't wait to change my guitar and I bought my first Sunburst Fender Jazz Bass from Jack Woodroffe's. The difference between my previous Hofner and the Fender Jazz was beyond comparison. The notes were cleaner and warmer, the whole balance of the guitar was different and was enhanced even further by the contoured shaping of the guitar body that fitted snugly, into your own body shape. The neck felt perfect in my hand and of course - the beautifully finished Sunburst effect of the early Fenders has never been equalled. Once again, I would visit the shop to pay my monthly hire purchase instalment. This was the instrument that I used on "Tell Me When".

The pop music scene was very fresh in those days with no real expectations of longevity. George Harrison famously said that he expected the Beatles to last "for 4 years". We had, by 1966, made our way into the financially lucrative Ocean Liner cabaret runs on the RMS Queen Mary, RMS Queen Elizabeth and RMS Queen Elizabeth II. The only downside to this is that we became pretty much isolated as pop artists and out of touch with the local and national music scene. Nevertheless, those three years at sea were great fun. We saw some wonderful jazz musicians in New York where we docked every two weeks during the summer.

I guess I could ramble on for ages about gigs and groups from the 60s onwards. I still do a few gigs, but not in the professional sense. Got involved with a musician so one of us had to get a proper job! I have a good position in the NHS at the National Hospital for Neurology and Neurosurgery, Queen Square, London.

I miss my music.

Singles:

"Tell Me When" / "Baby Jane" (Decca F 11833) 1964

"Like Dreamers Do" / "Everybody Fall Down" (Decca F 11916) 1964

"Three Little Words" / "You're The One" (Decca F 11981) 1964

"Chim Chim Chiree" / "It's Not A Game Anymore" (Decca F 12050) 1965

"It's Not A Game Anymore" / "Bye Bye Girl" (Decca F 12106) 1965

"I Go To Sleep" / "Make Up Or Break Up" (Decca F 12216) 1965

"I'm Through" / "We Gotta Get Together" (Decca F 12301) 1965

"You've Been Cheating" / "Love Was In My Eyes" (CBS 202615) 1967

Album:

The Applejacks (Decca LK 4635) 1964

Side 1:
      1. "Tell Me When"
      2. "Wishing Will Never Make It So"
      3. "Over Suzanne"
      4. "Hello Josephine"
      5. "As A Matter Of Fact"
      6. "Too Much Monkey Business"
      7. "Memories Of You"
      8. "Ain't That Just Like Me"

Side 2:
      1. "Kansas City"
      2. "I Wonder"
      3. "Three Little Words" (I Love You)
      4. "Baby Jane"
      5. "No Time"
      6. "See If She Cares"
      7. "What's The Matter Little Girl"
      8. "What'd I Say"

Brum Beat (The Applejacks):

"Bye, Bye Girl"
"It's Not A Game Anymore"
"We Gotta Get Together"
"I'm Through"
"Baby's In Black"

The Applejacks

Megan Davies explains

The Applejacks (YouTube)

The Applejacks (Google)

 

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Brum Beat

 

Brum Beat roughly means rockmusic from Birmingham ("Brum").

The term "brum beat" goes back to the 1960s.

Therefore, The Applejacks is a Brum Beat group (read about them further upwards).

Brum Beat is not necessarily a way of playing or a certain sound, rather is it a geographical affiliation of the West Midlands area, where Birmingham ("Brum") is stratetically located between Liverpool and London.

Besides, Brum Beat were a pop magazine in its own right. It started in 1970 and developed into a web magazine (click on pic above).

Brum Beat (Wikipedia)

Brum Beat explained

Birmingham 1964 (YouTube)

 

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Mr. Bojangles

Some songs are immortal once written.
Such a song is "Mr. Bojangles", which made a huge impression at once.
From old notes I can tell that I heard the song on Swedish Radio, May 1969.
Singer/songwriter Jerry Jeff Walker made this song a standard from the very beginning.

JJW Official Home Page

"Mr. Bojangles"

Jerry Jeff Walker (Wikipedia)

Jerry Jeff Walker (YouTube)

 

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Chris Curtis

Chris Curtis was The Searchers’ drummer from 1960 to 1966 - the key years - and he was the lynch-pin of the group’s success. Very hyper, very enthusiastic, he was constantly seeking out obscure songs that, nevertheless, had “Hit” written all over them.

And this he did: found the hits for The Searchers.
Leader, singer and drummer Chris Curtis.
He was the driving force in the best years of the group, but for various reasons he left them in 1966.

I always liked him because he had charisma, was very musical as a singer and as a drummer. Besides, he wrote some fine songs. Up through the 1980s, as the group most unwisely was divided in two,
- The Searchers (with two original members John McNally rhythm guitar and Frank Allen bass) and
- Mike Pender's Searchers (with Pender on lead guitar; he was the one that invented the 12-string guitar-sound of The Searchers),
Chris Curtis discreetly kept working on his own projects.

Each individual group member, minus Curtis, through the years gave interviews explaining what it was all about. For this and other reasons it would be interesting to have a word from the man, who was the face of the group and sang the big hits. This he did in 1998, after more than thirty years of silence. Was it worth waiting for? Make your own judgement!

Chris Curtis interview, 1998 & 2003

The Searchers diskography

Chris Curtis - drums, vocal
Mike Pender - lead guitar, vocal
John McNally - rhythm guitar, vocal
Tony Jackson / later Frank Allen (of Cliff Bennet & The Rebel Rousers) - bass, vocal

Live at Star Club Hamburg

Live at Star Club Hamburg

The Searchers (Wikipedia)

The Searchers (YouTube)

PS
Inspired by Chris Curtis, as a hommage to the man, back in the 80s I recorded an instrumental version of "Everything You Do" - one of many fine songs he wrote and sang.

 

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Loving Spoonful

It sometimes feels as though the Lovin' Spoonful have been reduced to a footnote in the history of rock & roll. Yet few of their contemporaries could match the likes of "Daydream," "Summer in the City," and the transcendent "Do You Believe in Magic?"

These are the words of an old fan, who never forgot John Sebastian & Co.
In the middle of the 1960s, the group recorded a string of hits.
They are still worthwhile - lyrics included.

The story

Greatest Hits

Album Cover

John B. Sebastian

Loving Spoonful (Wikipedia)

Loving Spoonful (YouTube)

 

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Canned Heat

We heard them one night at Falkonércentre Copenhagen. A well playing blues-based group, especially I was impressed by lead guitarist Henry Vestine. This night, his equipment consisted of 24 cabinets, each holding 4 x 12" speakers. What a sound!

I was very impressed by his nearly "petrified" sculptural way of playing. This was quite opposite most other guitarist of the time. He had for a short period been a member of "Mothers of Invention". At the much famed Woodstock Festival 1969 Vestine was replaced by Harvey Mandel.

His last years were spent in Paris, where he died 1997: Guitarist Henry Vestine Dead at 52.
Too bad, he was a great guitarist, who will be missed.

Lead singer Bob "The Bear" Hite did not have his name for nothing. A fat bearded man, making us all feel at home with his friendly comments during the show. Bob Hite was a great collector of blues records, he knew a lot in this field, had every record worth mentioning. Unfortunately he also died too young.

Slide guitarist Alan "The Owl" Wilson sang the great hit "On The Road Again", but otherwise he was not dominating within the group. He committed suicide after a few years with the group, possible due to man's treatment of nature. G uitarist Harvey Mandel later on one of his records ("The Snake" 1972) wrote and recorded "Ode to The Owl".

Bass player Larry "The Mole" Taylor (session musician on - among others - records by The Monkees) and drummer Adolfo "Fito" de la Parra, later worked on solo projects by Harvey Mandel.

It was a marvellous evening with Canned Heat, in a hurry I got hold on their first (and best) LP: "Canned Heat" (Liberty Records). It is still to this day worth a listen.

Finally, enjoy this 1973 live recording of the group i Montreux (France). Sunflower (far left in white shirt) and The Bear are both working here: "On The Road Again".

Canned Heat

Canned Heat biography

Henry Vestine

Canned Heat - August 2003

Wikipedia

 

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Some People

A movie from 1962. The story is about a band and all the trouble they have to deal with - each individually and as a group. For two weeks Danish group "The Strangers" acted as a warm-up band before the movie was shown.

On Radio Luxemburg "Some People" was heavily played. I guess Jet Harris also recorded the song, but in the movie it was played by "The Eagles" (no, not those of later fame).

The actors:

Kenneth More ... Mr. Smith

Ray Brooks ... Johnnie

Anneke Wills ... Anne (as Annika Wills)

David Andrews ... Bill

Angela Douglas ... Terry

David Hemmings ... Bert

Some People

Oh boy, those were the days!

Review Summary
More of a corny propaganda film for a British social engineering policy program of the 1960s than a serious attempt to tackle an issue, this youth drama is notable chiefly because it features an early performance by David Hemmings, four years before he rose to prominence in Blow-Up (1966).

Bert (Hemmings), Bill (David Andrews), and Johnnie (Ray Brooks) are a trio of juvenile delinquents in Bristol who lose their driver's licenses after a 100 mile-per-hour accident on their motorcycles. Bored without their speed machines and alienated in their economically-depressed factory town, they assemble a rock band with the aid and encouragement of Smith (Kenneth More), the choir director of a local church who offers his facilities for rehearsal space.

The band becomes involved with a youth awards program devised as a community outreach vehicle by the Duke of Edinburgh and the British government, and despite some lingering moments of dissension, they begin to turn their lives around, encouraged all the while by a hopeful adult community.

Karl Williams,
All Movie Guide

 

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Yesterdays

A lot happened during the 60s, not least within the music scene. "New Musical Express" covered the English scene. For a couple of years I bought NME every week. In this way you were informed what happened on the rock scene.

A number of people made the decision to catalogue all issues of NME, in this way getting a survey of the time. Thanks to all these hard working people!

1960s British Rock and Popular Music

NME, contents 1953-1969

NME, the UK's Premier Music Weekly for over 50 years

 

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Starry, Starry Night...

It's the Don McLean hit from way back that starts this way.
The other day it suddenly started to play inside my head - and don't ask why.
But it's a good song with breathtakingly beautiful lyrics.

"Vincent" (Starry, Starry Night)

Van Gogh Gallery

Don McLean (Wikipedia)

Don McLean (YouTube)

 

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Harvey Mandel

Harvey Mandel is an American guitarist in a class of his own. His first record was released 1968, but it never reached the Danish market. Until e-trading was made an option, I had to vacuum second hand shops for his records (sometimes a sailor brought an LP home). Today you'll find his records on the web, e.g. Harvey's Homepage and Amazon.

Christo Redemptor from first LP 1968,

Baby Batter from 1971 and

Shangrenade from 1973.

Harvey Mandel (Wikipedia)

Harvey Mandel (YouTube)

 

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Terry Sylvester
(The Hollies)

When Graham Nash decided to leave The Hollies in late 1968, the group called upon an old friend to fill Nash's big shoes, Terry Sylvester then of The Swinging Blue Jeans and previously a member of The Escorts.

No matter if you're interested in The Hollies music or not, it can be of interest to hear the story behind their succes from one of those who was there: Terry Sylvester.

Part 1, The early years

Part 2, The Hollies at their peak

The Hollies (Wikipedia)

The Hollies (YouTube)

 

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Crosby, Stills & Nash (Young never appeared)

CS&N vistited Denmark 1969-70 to promote their first (and best) LP. Falkonér Center was filled that evening the group played here. The show was parted in two halves, an acoustic and an electric. In second half, when the big equipement was approaching the rotating stage, Graham Nash (ex-Hollies) went down on his knees to kiss the floor. Rather funny.

They all made a symphatetic impression, we were in the middle of a period where electric equipment couldn't get big enough, and then comes these three guys, playing and singing the acoustic way. Courageous. I believe that CS&N in this was changed peoples' minds in a way that it gradually became more respectably to play acoustic in a rock context. This was needed.

"Marakesh Express"

"Suite - Judy Blue Eyes"

Crosby, Stills & Nash (Wikipedia)

Crosby, Stills & Nash (YouTube)

 

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B.B. King

Lucille & B.B. at work

B.B. King left us, 2015.May.14

"Lucille is playing no more," I read in a paper explaining, that the great blues legend B.B. King in the middle of a farewell tour has left us for good.

So, what more can you say, B.B. was not exactly a rock musician.....or....?

No, he wasn't, but nevertheless he has inspired many a rock musician playing the blues. Besides, he always supported the blues through his music. He had the ability to create good feeling, for example when performing "Sweet Home Chicago" for president Obama.

B.B. King (Wikipedia)

B.B. King (YouTube)

 

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The Zimmers

The Zimmers, the oldest and greates rock band in the world.
40 old people who refuse to be swept under the carpet.
Whether they're fed up in old peoples' homes or stuck on their own in a tower block.
Together they made Abbey Road rock...

Yeah, keep on rocking!

"My Generation"

The Zimmers live

The Zimmers backstage

Now it can be told

The Zimmers (YouTube)

 

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Syd Barret

Syd Barrett, one of the founding members of Pink Floyd, is dead (2006).

Actually he was much more than a founding member. First of all he was a guitarist and originator of Pink Floyd's first and most original (LP) record: "Piper at the Gates of Dawn".

It was a complete breakaway from everything previously heard on the pop-scene. Immediately it reached status as a classic up among the chosen few.

On a personal level Barret was the lonely wolf. Furthermore he had psychic difficulties, which got even worse as he started to experiment with mindblowing chemicals. This was also the reason he had to leave the group at an early stage of their career.

The following solo projects from his hand were even more original, compared to the days of Floyd: "The Madcap Laughs Again" and "Barrett" were both very original.

The Syd Barrett Archives

Dedicated to The Legend

sydbarrett.it

You shone like the sun

Syd Barrett (Wikipedia)

Syd Barrett (YouTube)

An example from the "Piper" LP:
           "Astronomy Domine"

 

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Mungo Jerry

I heard them one night in Koge (south of Copenhagen) in 1977. Among many others they of course played the inevitable "In The Summertime". Decent musicians who had done their homework, and not much more. I wasn't impressed.

Mungo Jerry (Wikipedia)

Mungo Jerry (YouTube)

 

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Steppenwolf

The year is 1967, there is a war going on in Vietnam, when we meet this group from over there.

And if I have to be honest, this was not my biggest experience ever.

John Kay & co. failed to meet the expectations of an audience who had grown accustomed to visits by huge names within rock music.

The band played their hits, received their applauses, and we understood that this was a visit by political friends from America. But we also understood that musically they were not that hot.

No improvisations or anything else which could make this evening a little different (the organ player brought a huge Hammond monster with two big Leslies which sounded great, but didn't help musicalwise).

For ten minutes I tried to close my eyes and just listen, to see if it made any difference. It didn't. The sound did not become any better by this experiment, so if you came to hear their well-known hits, you found what you came for. The rest of us left in a disappointed mood.

Steppenwolf had a couple of hits, for example "Born To Be Wild" and "Magic Carpet Ride", so congratulations on that , but stagewise I had expected much more than just rattling off their hits.

Steppenwolf (Wikipedia)

Steppenwolf (YouTube)

 

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Dantalion's Chariot

Dantalion's Chariot with Zoot Money at the Copenhagen ABC Theatre, 1967

The group arrived at stage with a delay (45 minutes or so). They were dressed in white due to the light show. The group was quite well-known for their advanced light show. Music and light fit perfect together.

It's a pity that the group had such a short lifetime.
We were lucky to see them in time.
What an experience!

Dantalions Chariot - Madman Running Through The Fields, 1967, Columbia DB 8260
Track List: "Madman Running Through The Fields", "The sun came bursting through my cloud"

CD - Dantalions Chariot "Chariot Rising", 1995, Tenth Planet TP 015

Track List:
Madman Running Through The Fields, World War Three, This Island, Fourpenny Bus Ride, Four Fireman, Sun Came Bursting Through My Cloud, Recapture The Thrill, Soma, Coffee Song, High Flying Bird.

Review: This CD contains the collected works of one of the most promising British psychedelic bands, whose output in 1967 consisted of one single. They recorded tracks for an album that was not released at the time, as the band broke up before its scheduled release. They finally became available on this 1996 CD issue, though the single, ‘Madman Running Through The Fields’ has been available on compilations. The creative nucleus of the band was Zoot Money, an established keyboard player and vocalist, and Andy Summers (or is it Somers?) later of numerous bands, the most successful of which was of course Police.

The collection opens with ‘Madman Running Through The Fields.’ It’s a mind-blower with superb effects embellishing a beautifully crafted song. Feedback, reverse drumming and organ whines lead into a verse underpinned by typical Summers echoey riffing, there’s a complete change of ambience for the chorus, with flute and soaring vocals from Money, and the fade-out has a spacey tremolo effect from Summers and panting of the madman himself. ‘World War Three’ is a predicable lament on the horrors of war filtered through an acid haze, but it has superb guitar playing that’s heavily distorted and Summers must have stomped the wah-wah pedal to pieces by the end! ‘This Island,’ an instrumental, has sea, sitars, and operatic soprano. Quite relaxing, I suppose, but a bit inconsequential. ‘Fourpenny Bus Ride’ is a bouncy pop ditty, typical of the times and nothing remarkable. ‘Four Firemen’ is a sub-Syd Barrett, tuneless dirge about four firemen involved in a demarcation dispute. You’ll either laugh your pants off, or fast-forward after about thirty seconds. ‘Sun Came Bursting Through My Cloud’ is a whimsical, likeable ballad, the B-side of the single. You’ll be humming this one until they come to take you away (haha!). ‘Recapture The Thrill’ in similar vein, has more cynical lyrics and a lopsided ¾ rhythm. ‘Soma’ is more sitar, flute and acoustic guitar noodling that works better than ‘This Island’ by virtue of more variation and generally much niftier playing. ‘Coffee Song’ was done by Cream, but gets a lighter, more wistful feel here. The greater instrumental variety and more leisurely pace work well. ‘High Flying Bird’ (not the Airplane song) is pure dippiness with a bossa-nova feel, though Andy Summers does lift it with a Santana-like solo. It’s a sad anticlimax to a patchy album.

Sure, it’s unfair to judge the band’s potential on the music presented here. However, the packaging shows great shots of their legendary lightshow, gives a comprehensive history of the band, and reproduces rare photos of them, a picture of the single sleeve, and other memorabilia of a Golden Age. It’s worth getting for a glimpse of those wonderful times, and the better moments on the album.

ref.:
http://www.pooterland.com/index2/bandsmenu/bands_d/bands_d.html

Dantalian's Chariot (Wikipedia)

Dantalian's Chariot (YouTube)

 

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Dusty Springfield

Dusty Springfield, she broke my heart from the very beginning. It was her voice that made the difference, and when I later found out that she didn't look bad either, there was no way back.

On a personal level she had her opinion on public injustice, e.g. the society's treatment of the homesexuals.

At one occasion she denied to perform in front of a segregated audience in Johannesburg (South Africa) with no admittance for coloured people (this was in the days of apartheid). This was certainly not the norm among female (or male for that matter) singers in those days.

My favorite song with Dusty was (and is) "I only wanna be with You", but her professional career is a string of pearls with stylish songs which demonstrates her as an artist among the best.

After some silent years, in 1987 she got an offer from Pet Shop Boys to sing on one of their songs, "What have I done to deserve this".

It became a huge hit for her and the boys, who wrote new songs for her, as well as the album "Reputation".

Dusty was (just like yours truly) a great lover of cats. In an 1990 interview she revealed that she had seven cats at home in her house. The cats were taken care of by an elderly lady, whenever Dusty was on tour.

In the interview, Dusty explained, that cats are VERY different with each their personality. From what she told, it seemed like cats meant a lot to her.

Her last song was "Someone To Watch Over Me", recorded in i 1995. Her last performance was likewise in 1995.

She died from cancer, but we are many who won't forget.

Dusty Springfield (Wikipedia)

Interview

Dusty Springfield (YouTube)

 

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The Move

This group from UK was very focused on the charts, and actually succeded quite well. Leader and lead guitarist Roy Wood had some ideas of his own, to the great benefit of the rest of the group.

We met The Move at the TIVOLI Concert Hall, Copenhagen 1968.

And it certainly was a short concert, as it was interrupted from the very beginning, when the band in song #2 apparently counted to four and then stopped playing.

Roy Wood threw his guitar through the baffle of his speaker four meters away. Splitseconds later the rest of the band more or less did the same with a catastrophic effect. The stage was looking like a bomb crater, when they left.

Their whole appearance had lasted less than five minutes, and suddenly it was all over.

The organizers tried in vain (on the stage) to convince the group to go on with the concert.

Out in the street a few minutes later I talked to Roy Wood, as the group was hiring a cab. He said the group never heard of any sound check, that the equipment was a load of bull...., and besides the organizers were a bunch of stupid motherf......

Who is to blame for this incident, I don't know. What i do know is, the sound was by no means exceptional, and the arranger claiming having booked the group for a sound check at 11 a.m., but the group never turned up.

Never mind, we had five funny minutes.

The Move (Wikipedia)

The Move (YouTube)

Roy Wood (YouTube)

Woody's Website

 

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John Mayall's Blues Breakers
ABC Theatre, Copenhagen, 1967

An awful lot of musicians through the years passed through this group.

This evening guitarist Eric Clapton was leaving the band, and Mick Taylor was signing in. Usually Mayall was only hiring class A musicians, so expectations were naturally high this evening.

Personally though, I had expected a lot more, as Taylor's playing was on one hand quite all right (not being exactly impressing), but at the same time unpersonal. Apparently he had no personal style. He played a lot of fast solos, as if to make an impression on the audience and maybe on Mayall, the leader.

Who Mick Taylor was as a musician, I never found out.

At later occasions I heard Taylor with The Rolling Stones without it making any difference.

John Mayall (Wikipedia)

John Mayall (YouTube)

 

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Super Session

Al Kooper & Mike Bloomfield
Foto: Jim Marshall

When the LP "Super Session" was released 1968, it immediately turned into a reference record within electric blues. The man behind the ideas (including some mindblowing horn arrangements) was Al Kooper, who already was known as the organ player of Bob Dylan's album "Highway 61 revisited", and as a founder of the jazz/rock band Blood, Sweat & Tears.

The guitarist that made Super Session something special was legendary Mike Bloomfield. Previously he had played with Butterfield Blues Band, and later with The Electric Flag. In 1968 The Flag released their first album, called A Long Time Comin'.

Enjoy the opening tune "Killing Floor" with intro speak by former US president Lyndon B. Johnson.

Basically all songs of Super Session are improvised. Nevertheless the album went for the album charts. It reached #11 and sold more than 450.000 copies, which gave Kooper & co. a gold record. Besides it earned him respect within the CBS organisation; that it was possible to produce "serious" music within pop business - just like jazz. Kooper: "All of a sudden, I had the respect of the CBS shorthairs."

Bloomfield inspired countless guitarists all over the world. They were all impressed by his beautiful sound, but at the same time intelligent (maybe even rude) playing. Later the Super Session LP was converted to CD, which only made it even better, as further details became audible.

Mike Bloomfield is long gone by now, and Al Kooper in 1998 released the book, "Backstage Passes and Backstage Bastards", which tells the story of Super Session - a fantastic story.

LP/CD - SUPER SESSION

Side 1, Mike Bloomfield - Al Kooper:
1. Albert's Shuffle (Bloomfield - Kooper) 6:54
2. Stop (Ragovoy - Shuman) 4:20
3. Man's Temptation (Mayfield) 3:24
4. His Holy Modal Majesty (Kooper - Bloomfield) 9:16
5. Really (Bloomfield - Kooper) 5:30

Side 2, Steve Stills - Al Kooper:
6. It takes a Lot to Laugh - It takes a Train to Cry (Dylan) 3:30
7. Season of the Witch (Leitch) 11:07
8. You Don't Love Me (Cobb) 4:11
9. Harvey's Tune (Brooke) 2:07

Personnel:
Al Kooper - organ, vocals
Mike Bloomfield - electric guitar (side 1 only)
Steven Stills - electric guitar (side 2 only)
Harvey Brooke - bass
Eddie Hoh - drums
Barry Goldberg - electric piano

The music on this record was performed spontaneously by the personnel as listed.
The horns were added as an afterthought.
- Al Kooper

Al Kooper

Mike Bloomfield (Wikipedia)

 

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Al Kooper
(Amager Bio, Copenhagen, 2006.May.05)

The Preacher

This man is a genuine legend. Guitar/organ player and singer Al Kooper has been in business since 1958. His great luck was to play on a Bob Dylan session in the mid 60s which among others gave us "Like A Rolling Stone".

Al Kooper is the founder of jazz-rock band Blood, Sweat & Tears. Before that he played with a number of bands, e.g. The Blues Project, Mike Bloomfield, Rolling Stones (Al is playing the keybards on "You Can't Always Get What You Want"), Jimi Hendrix ("Long Hot Summer Nights"), The Who ("Rael"), Ray Charles live, and produced Lynyrd Skynyrd's first theree albums, among these the "Sweet Home Alabama" hit.

1979 Kooper moved to England to produce George Harrison's album, "Somewhere in England". He also recorded with the remaining parts of The Beatles: Harrison, McCartney, Starr on #1 hit single "All Those Years Ago". And recorded a lot of other people - too many to mention here. In a "Rolling Stone" (music magazine) poll, 12 of his productions were among World's 500 Most Important Records Ever.

Now he is on a world wide tour with his Boston-based band - exclusively with teachers from Berklee School (all of them professors actually): The Funky Faculty. Al Kooper must be experienced. Hear the legendary hits by the man who produced and played at the sessions.

Those were the words in a preface to the Kooper concert of Copenhagen - May 5, 2006 to be exact. This was his first trip to Denmark ever. And of course he brought with him The Funky Faculty!

A couple of numbers from the faculty's latest CD (Black Coffee) was presented with enegy and enthusiasm. Because it was possible to come very close to the stage, we (the audience) had a fluent contact with the group all through the concert. Kooper in a good mood told about himself and his band. In his younger days Kooper was a slim, sexy and beautiful man. Today things has changed. Besides he got diabetes a couple of years ago (in 2000 I believe) and lost his sight. Nevertheless, along with his group of music professors he managed to create an atmosphere of intimate nostalgy wrapped in present sound; especially I enjoyed bass player Tom Stein). The repertoire is very broad, from Steve Cropper's "Green Onions" via the Super Session hit "Season of The Witch" to a jazzy pearl like "I Want You".

During last song ("Comin' Back in a Cadillac"), old man Kooper walked among the audience (supported by a helper as he is blind) singing, like he was a president or a preacher. And in a way he was. For me personally this was a meeting I had missed for more than thirty years. To stand face to face with this man was like meeting a long awated friend. What a blessing we made it!

Amager Bio

Al Kooper

Al Kooper Tribute

 

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LP - "Blood, Sweat & Tears"
(their second album)

The other day I heard Billie Holiday on the radio. She sang a song from mid 1950s. It made me think, when I heard the song ""God Bless The Child" for the first time?

Oh yes, it was in 1969 with jazz-rock band Blood, Sweat & Tears - in a completely different arrangement. That album hit like a bomb. Precise playing by trained musicians....apparently that type of arrangement was never heard before. Most unusual in a rock context.

The first album called "Child Is Father To The Man" was produced under Al Kooper's leadership. He sang and played the Hammond organ. After this, he left the group. For their second album the group had invited canadian singer David Clayton-Thomas. With his powerful voice he gave the group the ability to hit the charts - especially "Spinning Wheel" which was praised by many.

But the band was also critisized. Some (many?) felt that they played "too well, too precise" as someone put it. The improvisional part was missing, the arrangements were too un-rocky.

Well, what can you say....oh yes, all of them were professional musicians, they knew how to read and play notes. They didn't have to play over and over again to learn a song/arrangement. For this reason improvisation was only used when needed.

 

CD - Blood, Sweat & Tears - "BS&T" Columbia 8251
Original album released as Columbia LP KCS 9720 in 1969

1. Variations on a Theme by Erik Satie
2. Smiling Phases
3. Sometimes in Winter
4. More and More
5. And When I Die
6. God Bless The Child
7. Spinning Wheel
8. You've Made Me So Very Happy
9. Blues - Part II
10. Variations on a Theme by Erik Satie

Bonus tracks
11. More and More (live)
12. Smiling Phases (live)

David Clayton-Thomas - lead vocals
Dick Halligan - organ, piano, trombone, vocals
Steve Katz - guitar
Jim Fielder - bass
Bobby Colomby - drums, percussion, vocals
Lew Soloff - trumpet, flugelhorn
Jerry Hyman - trombone, recorder
Fred Lipsius - saxophone, piano
Chuck Winfield - trumpet, flugelhorn

 

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Finally home!

Their storming version of Bob Dorough and Ben Tucker’s ‘Comin’ Home Baby’ - from their 1968 ‘Three In a Cell’ LP - is positively relentless, with a typically wild vocal by Phillips and blazing rhythm work by Martin and Morais. Phillips’ vocals may be my favorite aspect of the Peddlers sound. He had rich, soulful baritone and had a tendency to move into wild flights of scatting, all the while working the Hammond masterfully. Check out the way he scats in unison with the organ at the 59 second mark. The tune has quite a following amongst the Mod contingent (as well it should).
Larry Grogan, www.funky16corners.wordpress.com

Oh yeah, The Peddlers were fantastic, not least the song "Comin' Home Baby".

I heard their LP, "Three in a Cell" in 1970 - Roy Phillips organ & vocal, Tab Martin bass and Trevor Morais drums. Phillips' made a great instrumental & vocal impression, they were dynamite on a stage.

Previously Phillips worked with The Tornados, remember the 1961-hit "Telstar". This is Roy Phillips on organ.

"Comin' Home" is recorded by so many artists, though originally it was lanched by Mel Tormé. In November 1963, "Comin' Home, Baby" reached #36 in the American charts - not bad for such a jazzy tune.

Other versions of the song would be:

I'm Comin' Home, Baby (Dee Dee Sharp)

Comin' Home, Baby (Melvin Taylor)

Comin' Home, Baby (Larry Carlton)

Comin' Home, Baby (Pius Baumgartner Jazz-Band)

Comin' Home, Baby (Michael Bublé)

The Peddlers (Wikipedia)

The Peddlers (YouTube)

 

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LiNKS

www.45rpm.org.uk (songs and artists from English single records 1950-1970)

Woodstock 1969 (YouTube)

CykelKurt Main Page (in English)