Category Archives: 60s

60s, MUSIC PAST, psych, psychedelia, USA

Haymarket Square

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Haymarket Square

Haymarket Square are yet another example of the brilliant, psychedelic sounds coming from the USA musical underground of the late ’60s through the early 1970s..

Like many other bands featured here on Loud Horizon, they would record only one LP in their time together. But boy – what a doozy! Copies of the original pressing have been sold via Discogs from between £1500 and £2700!

The band came about with the demise of Chicago garage band, The Real Things. As the young band parted for college and other personal reasons, drummer John Kowalski and rhythm guitarist Bob Roma decided to form a new outfit.

Auditions were advertised in their University of Illinois newspaper and other local rags. Guitarist Marc Swenson immediately impressed with his ability to play in the style of The Kinks‘ Dave Davies. No question – he was hired right away!

With an impressive guitarist in place, Bob moved over onto bass. There was now just one integral position to be filled – that of vocalist.

Desperation was setting in on the three young players (John & Bob were 18, Marc, just 17) when out of the blue, Bob received a phone call from the twenty year old, tall, blond Gloria Lambert. She was at that time singing in a Folk band but was looking for something a bit more ‘electric;’ something more raucous and exciting. Gloria, as you can hear on the tracks here, was so strong in her delivery and had that sort of Grace Slick, psychedelic feel to her tone.

It was the perfect match.

This was 1967, and female singers taking on lead vocals in rock bands was at this point, still relatively unusual. The band were already almost one step ahead of other Chicago bands.

Now for a name. Civil disobedience was rife amongst the US student population at this point, and when John Kowalski saw a statue marking a labour riot back in the early 1900s he adopted the name of the location – Haymarket Square.

It wasn’t long before the band’s name and reputation grew to such level that they were opening in the city’s larger venues for established acts like, The Yarbirds, Cream and H.P. Lovecraft.

Shortly thereafter, they were writing their own material with subject matter ranging from various psychedelic topics to the occult. Their sound has a very distinctive feel with the guitar, bass and drums all sharing the heavy load. What struck me though was the drumming – at times very ‘surf’ inspired, and others, more of a pounding, hard rock style. The guitar wails with a fuzzy tone throughout and the bass is played with a real, distinctive bounce. And of course, there’s no getting away from Gloria’s vocals giving an air of Jefferson Airplane.

Only one of the tracks on the album is a ‘cover’ – an outstanding version of Tiny Bradshaw’s ‘Train Kept-A-Rollin’.’ This version tops those of Johnny Burnette and Aerosmith in my opinion.

There are only six tracks on the album too – but with only one coming in at less than seven minutes, there is that wonderful sense of tripped out jamming on the others.

The album is a direct result of the band liaising with two professors from The University of Illinois who put together the ‘Baron & Bailey Light Circus’ which was a dynamic combination of music with changing light patterns. In the summer of ’68, they teamed up with Haymarket Square and the album was exhibited as a living work of art at the Museum of Contemporary Art in Chicago.

Poster for the Baron & Bailey Light Circus, featuring Haymarket Square – 29th & 30th June 1968

However, shortly after the album was recorded, original member Bob left the band and was replaced on bass by Ken Pitlik. At the same time, they decided to augment their sound with the addition of a rhythm guitarist, Robert Miller.

Haymarket Square continued as a five-piece for another six years before they finally broke up in 1974, the members all going heir own ways.

Sadly, and I’m afraid I don’t know why, there were no more recordings. But if you’re going to leave just a one-album-legacy, then I guess ‘Magic Lantern‘ is about as good as it gets.

(*Band details and history have been gleaned from the additional sleeve-notes to the ‘Magic Lantern’ album, written by drummer and founder member, John Kowalski.)

HAYMARKET SQUARE

Gloria Lambert – Vocals
John Kowalski -Drums
Bob Roma – Bass (’til late ’68)
Marc Swenson – Guitar

+ from late ’68

Ken Pitlik – Bass
Robert Miller – Rhythm Guitar

TITLEFORMATYEARLABEL NOTES
Magic LanternLP1968ChaparralOriginal pressing has sold for over £2600 on Discogs.




60s, MUSIC PAST, psych, psychedelia, rock, UK

Elmer Gantry’s Velvet Opera

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Elmer Gantry’s Velvet Opera.
Elmer Gantry’s Velvet Opera – debut (and only) LP
Elmer Gantry’s Velvet Opera debut single: ‘Flames.’

Five Proud Walkers were initially an R&B band from North London. Formed in 1963, they gigged around the city, establishing a good, strong, reputation and developing their sound to include some of the Jazz and Beat influences that were emerging around the capital.

When vocalist Terry Elliott left in early 1966, he was replaced by Dave Terry from The Impacts. Dave was more of a showman and the band’s stage show became much more theatrical and image conscious.

By the end of that year, the band were in demand not just within the London scene, but across the country. The decision was taken to pack in the day jobs and go full time professional band. Bass player John Treais couldn’t commit, and so left at this point, being replaced by John Ford.

It was now 1967. With their more extravagant stage show and appearance, and the music scene in general taking a more psychedelic turn, it was agreed a new era for the band merited a new name.

Guitarist Colin Forster explains:
“It came out of the dress sense, really, with the clothing an the hair. John Ford worked in a shop in Carnaby Street, so he started getting some interesting clothing, so various things developed from that, like Regency styles of clothing. Elmer (Dave Terry) got this hat and cape and somebody said that he looked like Burt Lancaster in that movie ‘Elmer Gantry,’ and we just added ‘Velvet Opera.’ We never knew about the Velvet Underground, but velvet was ‘in’ an ‘Opera’ was the fact that we were doing an act on stage.”

(Dave Terry hadn’t actually planned on becoming ‘Elmer Gantry’ but as the frontman, people would just make the assumption. The band found it funny and would take the mickey, and so the name stuck.)

The band’s first single, ‘Flames,’ gained a lot of radio play and was a favourite of the young John Peel on his ‘Top Gear’ shows. Although it didn’t quite chart, the track was included on the CBS ‘sampler’ album, ‘The Rock Machine Turns You On,’ which also featured Bob Dylan, Moby Grape, Spirit, The Byrds and The Zombies.

Selling at half the price of a standard LP, the compilation reached the Album Chart Top 20, ensuring the band’s music was now being heard by a massive new audience.

Impetus created and momentum building, the band headed into the studio to produce an album of their own. The eponymous named debut is a fantastic mix of psych-pop, raga, soul, harder rock and Vaudeville, I don’t think I’d be far off saying Elmer Gantry’s Velvet Opera were like a proto Sensational Alex Harvey Band. They were also ‘punk’ before Punk formally announced itself nine years later.

Elmer Gantry’s Velvet Opera – ‘Air’.

Sadly, this would be the band’s only album release with this line-up, with guitarist Colin Forster leaving in April 1968, his place being taken by Paul Brett. They continued gigging but the chemistry had been upset and having been coerced by their label into recording a single ‘Volcano’ that did’t really meet the band’s profile, Elmer himself left.

Elmer Gantry’s Velvet Opera were no more, though Hudson, Ford and Brett added Johnny Joyce as singer / guitarist and recorded one album, ‘Ride a Hustler’s Dream‘ in 1969 as Velvet Opera.

Elmer himself formed the Elmer Gantry Band before joining the cast of ‘Hair,’ then in the Seventies joining the band Stretch and recording with the likes of Jon Lord, Cozy Powell and the Alan Parsons Project.

Hudson and Ford would go on to success with The Strawbs, before their #8 hit single, ‘Pick Up The Pieces‘ as Hudson-Ford. They also had another two top 40 singles and released several albums as a duo.

Elmer Gantry’s Velvet Opera -‘I Was Cool.‘

ELMER GANTRY’S VELVET OPERA

Elmer Gantry – Vocals
Colin Forster – Guitar
John Ford – Bass
Richard ‘Hud’ Hudson – Drums

TITLEFORMATYEARLABEL NOTES
Flames / Salisbury Plain7″ single1967Direction
Flames / What’s The Point Of Leaving7″ single1968Epic
Mary Jane 7″ single 1968CBS
Volcano7″ single1969Direction
Elmer Gantry’s Velvet OperaLP1968Direction

(** Information for this post was gleaned from the album’s insert notes by Mike Stax of Ugly Things Magazine.**)

60s, garage, MUSIC PAST, USA

girls in the garage #1

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In the early to mid-Sixties, as Rock’n’Roll gripped the western world, it wasn’t just the boys who were kicking up a wild noise in the schools and clubs of their neighbourhood. The ‘Girls’ were at it too!

All female vocal harmony groups had of course been integral parts of the scene for a while, but all female garage bands? Girls with guitars? Drums?

You bet!

While it’s now widely known that record producers on both sides of the Atlantic would frequently employ the services of session musicians for the recordings, leaving the girls to present the ‘image,’ there were some bands that refused to comply.

The excellent ‘Girls in the Garage’ series of compilations highlights many of these groups, giving them, somewhat belatedly, a wider audience appreciation.

This first post celebrating ‘girls with guitars’ showcases a couple of my personal favourites.

THE CONTINENTAL CO-ETS

(The Continental Co-ets.)

Formed in 1963 in Fulda, Minnesota, The Continental Co-ets helped pave the way for many female bands in their city to follow. All teenagers at the time, they were headed by Carolyn Behr on guitar, together with Nancy Hoffman (bass) Carol Goins (guitar) and Vicki Steinman (drums.) Nancy’s sister Mary Jo would later join on keyboards.

Their ‘big break’ came when in 1964, they were challenged by local counterparts, The Vultures, to a ‘battle of the sexes.’ The girls won out and gained invaluable exposure. More importantly, they won financial backing from David Edwards, whose investment paid off when tours around the mid-West and Canada secured them a record deal with the IGL (Iowa Great Lakes ) label.

They managed to release just the one 7″ single, ‘I Don’t Love You No More’ / ‘Medley of Junk’ with a run of 1,000 copies being released. Two subsequent recordings ‘Let’s Live For The Present‘ and ‘Ebb Tide‘ were not backed by their label and in 1967 the band decided to call it a day.

THE GLASS OPENING

The Glass Opening were another female band coming out of Minneapolis. I don’t actually have much information on them, other than they released two singles in 1969.

Their debut, ‘All Those Lies‘ was on the Dondee label, a split 7″ with the band Major Six, which didn’t sell well at all. The follow-up though, this time on the Neworld label, ‘I’m On Your Prey‘ was miles better!

However, it too failed to sell and the band split.

I have to say, I feel this one deserved so much more. It even has a contemporary feel some fifty plus years later.

THE INTERPRETERS

Again, there’s not by way of background information to this band, but I love this single they recorded for the Gemini label in 1965. Band members Sylvia and Beate were originally from Frankfurt in Germany and had a couple of U.S. labels fighting over their signature. Gemini won, obviously, and scored a minor hit with this, the other side being ‘Stop That Man,’ an equally catchy little tune!





60s, blues, MUSIC PAST, psych, rock, USA

bliss

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Bliss was born from the ashes of U.S. garage band, The Sect, who were formed in 1966 in Mesa, Arizona by high school students, Brad Reed, Rusty Martin, Corky Aldred, Tom Smith and J.R. Lara.

Initially, the band were very much influenced by the sound of the British Invasion bands and were soon taken under the wing of radio DJ and producer, Hadley Murrell who introduced them to the recording process in his studio.

Two years down the line, all five members had graduated from school and decided to call a halt to the band. However, a short while later, Martin, Reed and Aldred got the bug once more, decided to reform as a power trio, and rechristened themselves, Bliss.

Still with producer Murrell guiding them, they recorded one album with the Los Angeles based Canyon Records in 1969. This does seem a strange choice of label to align with as they were more focused and famed for producing R&B, soul and funk artists, rather than psych and heavy rock.

Inevitably, through lack of promotion and given such low priority by Canyon Records, the album simply fell through the cracks. (So, it would seem, did much in the way of information about the band.Photographs too.)

The album resurfaced over twenty years later, when collectors of psych records picked up on the heavy, bluesy sound and original copies began to change hands for increasingly high sums of money, in some cases over four hundred pounds.

Of course, when this happens, albums are given a new lease of life via reissues, which allow the likes of you and I to add them to our collections.

‘Bliss‘ the album is nowadays considered a cult psych classic, and some tracks do certainly have that feel to them. Of the nine tracks, six are originals ‘ Ride The Ship of Fools, features hard, fuzz-wah guitar, driving bass and pounding drums. ‘ ‘Cry For Love‘ has a feel of The Zombies‘ ‘Time of the Season’ and ‘Visions‘ echoes Cream.

There are a couple of weaker tracks, it has to be said. ‘Make My Old Soul New’ in particular. But there are also three pretty solid covers: ‘Gangster of Love‘ I recognised from Johnny Winters‘ version of this Johnny Watson song; ‘I Want to be Free,’ a Joe Tex original and a good interpretation of B.B. King’s ‘Rock Me Baby.’

Overall, this is a decent, solid, heavy rock album, I think boosted some years ago by attaining ‘cult’ status.

Originals worth £400+? I’m not sure. Certainly on rarity and ‘collectible’ tag, then probably. But if like me you buy records for listening to, then I think the regular album price of £20 – £25 is more in line with the content.

BLISS
Brad Reed – Guitar / Vocals
Rusty Martin – Bass
Buford ‘Corky’ Riley Aldred – Drums

TITLEFORMATYEARLABELNOTES
Ride The Ship Of Fools / Gangster Of Love 7″ single1969Canyon Records
BlissLP1969Canyon Records



60s, 70s, mod, MUSIC PAST, progressive, ska, UK

locomotive

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LOCOMOTIVE: first incarnation, 1965 photo credit, JIM SIMPSON

Reading the ‘tags’ above, you’d be forgiven for thinking there had been some kind of editorial cock-up. Ska & Blue Beat? Yes, obviously, if you played the track above. Prog / progressive rock? Eh?

Read on – I shall explain.

Locomotive (initially billed as The Locomotive)were formed in Birmingham, England, during 1965, by trumpet playing jazz musician, Jim Simpson. (Jim is on the far right of the opening image, above.) The original line-up, which wasn’t to last too long, also boasted Chris Wood (bottom left of photo) who would leave towards the end of 1966 to join forces with Jim Capaldi, Steve Winwood and Dave Mason, to form Traffic.

There had been several personnel changes throughout 1966 and Chris’s departure left only Jim Simpson of the original line-up.

Amongst those enlisted to the new line-up was keyboard player Norman Haines who had previously played with The Brum Beats. Norman worked in a record shop in the Smethwick area of Birmingham which had a large West Indian population. The shop would meet the local demand for ska and blue-beat records, and Norman himself became a big fan of the genre.

His influence was brought to bear with the release of the ‘new’ band’s first single ‘Broken Heart.’Written by Haines, it had a blue-beat feel, but was drenched in soulful vocals and horns.

Other than the track itself, there are two interesting facts about this release:
1) it was the last records to be played on the original ‘Jukebox Jury’ television programme … and voted a ‘Miss.’ And it was.
2) the B-side was a cover of Dandy Livingstone‘s ‘Rudy, A Message To You,‘ which would become a hit for The Specials some twelve years later.

The following year, saw the band spend eight weeks in the UK charts, peaking at number twenty-five, with ‘Rudi’s In Love.‘ (This single would be reissued in both 1971 and 1980 during the respective periods of skinhead and two tone popularity, the latter being when I myself bought a copy.)

The remaining original band member, Jim Simpson left in 1968 to concentrate on music management … and did reasonably well, I’d say, going on to eventually look after Black Sabbath.

With a ‘hit’ single and lots of airplay behind them, an album deal beckoned and in early 1969, the lead single from the soon to be released, ‘We Are Everything You See’ long player hit the shops.

You will of course have detected a change in Locomotive’s musical direction!

Opening with a short classical piece, ‘Overture,‘ the album then progresses into blend of psychedelic, jazz and soul. Listening to ‘Mr Armageddan’ puts me in mind of some Paul Weller / Style Council type songs that would follow, the best part of forty years later.

‘Lay Me Down Gently‘ in parts echos The Small Faces, while the Nigel Phillips (three part) composition ‘The Loves of Augustus Abbey‘ has that prog-rock reflection of medieval England.

It’s most certainly an adventurous release. However, as great as it sounds, and no matter the positive music press reviews , the album pretty much bombed as it was released to a somewhat confused fanbase.

Perhaps understandably, established fans of the ska-infused Locomotive did not take to the new prog- rock imbued version of the band. Likewise, the new target audiences regarded them as a bit ‘poppy,’ and were reluctant to buy in.

The follow-up single, ‘I’m Never Gonna Let You Go,’ a cover of the ? and The Mysterions song, also missed the charts.

As a result, Parlophone delayed the album’s release. It did eventually see the light of day in February 1970, but by this time, Norman had left the band and in effect, Locomotive no longer existed.

With no promotion or marketing, sales were unsurprisingly poor, and the album was quickly withdrawn, marking it a rare collector’s item, with copies at time of writing for sale via Discogs at upwards of £500!

Norman would go on to form Sacrfice, later to be known simply as The Norman Haines Band. Remaining band members Bob Lamb (who would later join The Steve Gibbons Band) Mick Hincks, John Caswell and Keith Millar would record one more single before changing the band name to The Dog That Bit People.

Yeah – while the ability to diversify is a great attribute, I wonder how things would have turned out had the band simply avoided any confusion and conflict of fanbase by changing their name prior to releasing the album.

(I love this track! The B-side to Mr Amagedddon)

LOCOMOTIVE
(Throughout their time, I count twenty musicians who played with the band. The following are those I believe were involve with the album’s recording.)

Norman Haines – Keyboards / Vocals
Bill Madge – Saxophone
Mick Hincks – Bass / Vocals
Bob Lamb – Drums
Mick Taylor – Trumpet
+
Dick Heckstall-Smith – Saxophone (session musician)
Henry Lowther – Trumpet (session musician)
Chris Mercer – Saxophone (session musician)

TITLEFORMATYEARLABELNOTES
Broken Heart7″ single1967Direction
Rudi’s In Love7″ single1968Parlophone
I’m Never Gonna Let You Go7″ single1969Parlophone
Mr. Armageddan7″ single1969Parlophone
Roll Over Mary 7″ single1970Parlophone
We Are Everything You SeeLP1970Parlophone


(** Reference was made to the brumbeat.net website in preparation of this piece. **)

60s, 70s, JAMAICA, MUSIC PAST, reggae, ska

jackie mittoo

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Though I wasn’t to know it at the time, Jackie Mittoo was partly responsible for my love of all things reggae, ska and dub.

With the association between punk and reggae back in the mid-Seventies, combined with the release of Bob Marley‘s ‘Exodus’ album, my interest was piqued. The John Peel radio show here in UK, partially satisfied this new thirst for new sounds, but by regularly playing out ska tunes from the previous decade, he led me deeper and deeper into a whole new musical world.

I bought ‘Exodus’ (on cassette) as I’m sure many other punks did but it wasn’t until the two ‘Intensified’ compilations were released in 1979 / 1980 that I totally bought into the ska culture.

Recorded at various points between 1962 and 1967, these albums were produced with a group of studio session musicians providing the backing. From these players would emerge The Skatalites whose sound was supplemented by the piano / keyboards of … Jackie Mittoo.

Donat Roy Mittoo (Jackie) was born in in Brown’s Town, Jamaica in 1948 and died tragically young in Toronto, Canada, forty-two years later. But, boy, did he pack a lot into such a short life!

Initially taught piano by his grandmother, Jackie started playing professionally at age thirteen, having moved to Kingston. It was there he joined the Rivals, playing organ, but soon switched to the Sheiks, one of Jamaica’s most popular club bands, where he would meet up with future fellow Skatalites, Lloyd Knib an Johnny Moore.

Two years later (1963) when Clement (Coxsone) Dodd opened his famous Studio One, Jackie was invited to act as talent scout and session arranger. He worked closely with Lee ‘Scratch’ Perry on Coxone Dodd’s productions, while sitting in on piano for The Skatalites.

It was the on the Hammond organ though that Jackie would really make his name. When the Skatalites broke up following trombonist Don Drummond’s incarceration for the murder of his girlfriend in 1965, Mittoo formed The Soul Brothers with Roland Alphonso, Johnny Moore and Lloyd Brevett. They became the backing band for all Studio One’s rocksteady recordings.

In 1968, he formed the Jackie Mittoo Trio, with The Hepones‘ Leroy Sibbles on bass. Jackie, with his experience of arranging, would write the bass lines, pioneering a new style of bass laden reggae.

He moved to Toronto for several years, working for Summer Records and launching a side career in Easy Listening recordings. However, He would regularly return to Jamaica where he’ d record for Coxone Dodd.

In the mid-Seventies, he also worked with the producer Bunny ‘Striker’ Lee. By now, recording technology had come on leaps and bounds and so Jackie was able to re-record many tracks in the new ‘rockers’ style. The likes of drummer Sly Dunbar, bassist Robbie Shakespeare , pianist Ansel Collins and several others joined in the reworkings to produce the landmark ‘Jackie Mittoo Showcase’ album, from which the accompanying tracks are taken.

In addition to his own recordings, Jackie takes credit for writing hits for Alton Ellis, Marcia Griffiths and Freddie McGregor amongst others. In 1970, his ‘Peanie Wallie‘ was versioned by The Wailers, becoming the hit ‘Duppy Conqueror.’ He would also work closely with Sugar Minot and UB40 from the UK.

Throughout his time at Studio One, Mittoo recorded literally thousands of songs for so many of the artists whose talents he nurtured and coached to great success.

Thirty-one years on from his passing, his style and influence still echoes in all aspects of modern day reggae, ska and dub.

JACKIE MITTOO
(Jackie worked with way too many musicians to list here!!)

TITLEFORMATLABELYEARNOTES
Working with so many artists, Jackie Mittoo has over two hundred, 7″ singles listed on Discogs.

Regards albums, I have listed only those released during Jackie’s lifetime.
In LondonLPCoxone Records1967
Evening TimeLPCoxone Records1968Recorded with his band The Soul Vendors also credited.
Keep On Dancing LPCoxone Records1969
NowLPStudio One1969
Macka FatLPCoxone Records1969
Wishbone LPSumus Records1971
Reggae Magic LPStudio One1972
Let’s Put It All TogetherLPUnited Artists Records1975
The Keyboard King LPThird World1976
Hot Blood LPThird World1977
Show Case Volume 3LPJackpot1977
The Money MakersLPJackie Mittoo Music Production1978

In Cold Blood		LPThird World1978
Jackie MittooLPUnited Artist Records1978
Stepping Tiger LPRite Sound Inc.1979
ShowcaseLPStudio One1980
Version StudioLPJakki1985
Wild JockeyLPWackie’s1990
60s, 70s, AUSTRALASIA, blues, MUSIC PAST, rock

the underdogs

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(The band’s second 7″ single on the Zodiac label)

There are some albums you know that within a minute of dropping the needle on the record, are headed straight for the ‘favourites’ shelf in your collection. Such is the case with the debut album from 1968 from this New Zealand blues band.

But if the blues ain’t your scene, then wait – read on! You have to move with the times in the music business, and these young lads did just that in later years.

Formed in 1964, in Auckland, the band line-up passed through several transformations, while steadfastly sticking to its blues roots in face of the more popular Beatles influenced sound.

Their stubbornness to change direction paid divided though when British R&B began to break in the country and bands like The Rolling Stones and The Yardbirds began to gain traction.

The band however that commanded most respect, and sway, for The Underdogs, was John Mayall’s Bluesbreakers. And they weren’t shy of promoting that influence, with five of the songs on the debut album having already been recorded by the Englishman.

(One of the three Grindlay / Rawnsley compositions on the album.)

Three songs, however, all on side one, were written by band members Murray Grindlay (vocalist) and Louie Rawnsley (guitar) who according to the album’s sleeve notes, were both only seventeen at the time. Bass guitarist Neil Edwards was also only seventeen at the time of recording, while drummer Tony Walton was a mere eighteen.

Given their youth, the late 1967 Underdogs produced an amazing maturity of sound. However, all was not well within the band, even during the album’s recording.

Unwilling to follow the heavier, rock infused version of Blues, by now popularised by likes of Cream and Hendrix, and promoted by fellow band members, Grindlay and Rawnsley, bassist Neil Edwards was asked to leave.

The Underdogs briefly disbanded early in 1968 after the album release. However, they reformed a few months later and remained together, albeit with another couple of changes, long enough to release another single, ‘There Will Come A Time.’

Again though, they split not long after the release, and all was quiet for a while.

In 1970, original band leader / guitarist Harvey Mann, who had left to join The Brew shortly after the band’s debut single in 1967, got together with bassist Neil Edwards and recruited drummer Glen ‘Pig’ Absolum and reformed the band. This time though, they’d be a ‘power trio, producing that harder edged bluesy rock … that Edwards reportedly didn’t want to play several ears earlier!

This version of the band went on to perform as ‘Pig, Mann & Edwards,’ and recorded on excellent album, ‘Wasting Our Time‘ on Pye Records, late in 1970. Originals of this LP have also become much sought after with copies exchanging hands for up to £190.

Sadly though, this would be just about the last thing The Underdogs would do, and not long into 1971, they split up for good.

(Reissues of both albums were released, albeit on Limited runs of 500 copies, by Wah Wah Records in 2020)

THE UNDERDOGS (BLUES BAND)
Murray Grindlay – Vocals
Lou Rawnsley – Guitars
Neil Edwards – Bass
Tony Walton – Drums

PIG, MANN & EDWARDS
Harvey Mann – Guitar / Vocals
Neil Edwards – Bass
Glen ‘Pig’ Absolum – Drums

TITLEFORMATLABELYEARNOTES
See-saw 7″ singleZodiac1967
Sitting In The Rain7″ singleZodiac1967
Cheating ‎7″ singleZodiac1967
Hey Gyp7″ singleZodiac1967
Sitting In The Rain7″ EPZodiac1968Has sold for £250+
There Will Come A Time7″ singleZodiac1969

Wasting My Time		7″ singlePye Records1970
The Underdogs Blues BandLPZodiac1968Has sold for @ £230+
Wasting Our Time LPPye Records1970Has sold for @ £180+
60s, 70s, EUROPE, jazz fusion, MUSIC PAST, progressive

tasavallan presidentti

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(Submitted by John Allan, Bridgetown Western Australia, August 2021)

(Very quiet introduction … be patient!)

It was the early 70s and I must have been about 15 and already a hardened Progressive Rock devotee. My Genesis, Yes, Gentle Giant and JethroTull albums were already crowding out my brother’s collection of  Beatles and Fleetwood Mac LPs and the half dozen classical and British comedy recordings of my parents. Bernard Cribbins’ “Right Said Fred” would not make an appearance again for a few decades until wearing shirts became too sexy !

For reasons that are lost in the sylvan forests of that dingily dell of prog rock/adolescent halcyon, time, I thought my collection lacked a Scandinavian slant. ABBA hadn’t had their Waterloo moment yet !

How or where I first discovered Tasavallan Presidentii (President of the Republic) is a complete mystery or major mental blackout. Maybe because my surname was included in the band’s name. I can only speculate.

Lambertland was a proud addition to my ever expanding sonic library.

The cover was like a water colour Roger Dean. All trees and mountains and suns with a splash of pseudo religious symbols floating about. I thought they might throw in a free yoga lesson or a weekend mountain retreat to straighten out your Shakra with every album sold.

As for the music, it had all the ingredients of the genre – rock, folk, ambient, jazz, and the obligatory blues jam in an odd time signature. There was quite a smattering of flute and sax which appealed to me. Clever guitar work and sympathetic bass and drums.

The vocalist was a required taste with a very thick Scandinavian accent and would have been better singing in his native tongue going by some of the lyrics. No keyboard player was credited but I definitely heard the tasteful tinkling of electric piano and perhaps a sparse string synthesizer. The music certainly didn’t require any of the usual heavy handed Hammond, muddying Mellotron or meddling Moog.

(Live in 1971.)

6 tracks over 2 sides is probably prog de riguer. My favourite being the title track though where this mystical place may be – whether the far forests of Finland or a walk in a London suburb (sorry that’s Lambeth) is not clear. It has echoes of folksy Tull, jazzy Soft Machine and zippy Zappa. Not so much in a lumpy porridge sort of way, more a light, healthy, if not hunger abating, muesli.

Where that album ended up I’ll never know – probably an ashtray now at my nieces flat.

Does it stand the test of time ? Not really. Like most prog rock, it sounds dated on the naive side of edgy but it’s all space and time, innit or eikӧ olekin as they say south of Lappland !

Tracks:
1. Lounge
2. Lambertland
3. Celebration of the Saved Nine
4. The Bargain
5. Dance
6. Last Quarters

Recorded:
April-May 1972 at Finnvox Helsinki, Finland and at Europafilm Stockholm, Sweden.

A couple of clips from the TV show. (Just music -band interviews edited out.)

TASAVALLAN PRESIDENTTI

(Line-up relates to this particular album.)

Jukka Tolonen – Guitar
Eero Raittinen – Vocals
Pekka Pӧyry – Saxophone / Flute
Måns Groundstroem – Bass
Vesa Aӓltonen – Drums

TITLEFORMATLABELYEARNOTES
Time Alone With You / Obsolete Machine 7″ singleLove Records1969Releases relate only to those from before band initially split.
Solitary / Deep Thinker ‎7″ singleLove Records1970

Sisältäni Portin Löysin		7″ singleLove Records1973
Tasavallan PresidenttiLPLove Records1969
Tasavallan PresidenttiLPColumbia1971
Lambertland LPLove Records1972
Milky Way MosesLPLove Records1974

60s, MUSIC PAST, psych, USA

the olivers

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Formed in 1964 while still at school in Fort Wayne, Indiana, The Serfmen would quickly change direction from their surf- sound roots and build a strong local following, with gigs booked every weekend. They would be asked to open for more established local bands and some nationally famous groups.

On the strength of this interest, Al Russel, a local DeeJay of the time invited the band into his studio to record a couple of tracks. The result was this, ‘A Man Can’t Live Without Love.’ (A copy of this was sold through Discogs in June 2020 for £72)

Another single followed a few months later, ‘Chills & Fever.‘ The band were by now playing all the top venues in northern Indiana and northwest Ohio, and with both singles having received extensive airplay, they attracted the attention of Indiana based agency, Dino Enterprises.

With the ‘British Invasion’ of America now in full swing, the agency suggested the lads followed in that direction. Vocalist and lead guitarist explained the transformation from The Serfmen to The Olivers:

“On the south side of Ft. Wayne was Oliver Street. Oliver. Oliver Twist. It sounded old and British. Bang. That was it. The kids seemed to like it better also. We grew our hair, had old fashioned outfits made and wrote songs we thought sounded British.”

With their increased popularity, and working with an agency, touring further afield and a whole-hearted dedication to the band became essential. Bass player Greg Church couldn’t make that commitment so left, leaving a space to be filled by a fan of The Serfmen, Billy Franze. And so late in 1965, the first line-up of The Olivers was complete – see below.

Early in 1966, DJ Al Russell arranged a recording session in Portage, Michigan. Two songs were recorded, neither taking more than fifteen minutes!

The result was the following, frantic an exciting ‘Beeker Street’ / ‘I Saw What You Did‘ which was released initially through Phalanx Records, and shortly after picked up by RCA Victor who took on the distribution.

This new, settled line-up however wouldn’t last long, for in September 1966, less than a year after their formal inception, vocalist / lead guitarist, Jay Penndorf, was drafted into the U.S. military, and replaced with Mike Mankey.

When Mike and Billy joined, they were only eighteen years old. The other members, Carl Aldrich (vocals / organ) and Chuck Hamrick (drums) were both just twenty.

For such a young band, they landed some some pretty big bookings in 1967, touring extensively and opening shows for likes of The Rolling Stones; The Hollies; The Yarbirds; The Byrds; The Standells; Bob Seger, and The Who.

Moving with the times, The Olivers found themselves changing musical direction again, as the British Invasion influences had run their course. Now, they looked to Hendrix, Cream and other heavier acts as well as James Brown and lots of R&B.

Organ player Carl Aldrich was not so keen on the heavier scene. In late ’67 he moved on, Rick Durrett the keyboard player from local Indianapolis band The Cardboard Bachs, taking his place.

Their sound developed a more psychedelic edge and fans would now be standing and watching rather than dancing. They became an established name and top draw in Indiana and surrounding states, so much so the constant gigging left no time for hitting the studio to record.

Something had to be done, and through bass player Billy’s contact with Pete Steinberg of Candy Floss Productions, an invite was secured to record at the Dove Studios in Minneapolis.

By now, early 1969, Jay Penndorf had completed his draft obligations, and joined the band for the sessions. Seven songs were recorded, all written by the band members, principally Mike Mankey and Billy Franze.

Dove Records contacted major label Sire with a view to a wider release, and it seems they were indeed interested. But for whatever reason the deal was never secured and in 1970, Dove Studios closed their doors and sold all the equipment.

The resultant disappointment felt by the band turned to disillusionment. Jay, who’d by now formally rejoined, was not really into the new music the band were performing, and when his equipment was stolen, he opted to forsake the music business for a career in the army.

The Olivers were no more.

Mike and Billy subsequently teamed up with Kent Cretors on drums and recorded one 7″ single as Triad. But again, distribution was poor and sales subsequently disappointing. They stuck around til 1971, but then called it quits.

And that, it seemed was that. One of Indiana’s finest had been let down, for what reason, nobody really knows, and they were to disappear without much more than local acknowledgement.

Until, that is, 2011, when a reference acetate of the album recording session was offered in an internet auction in California. Mike Dugo and Tim Cox, both of whom are avid collectors and run much respected ’60s based music sites, had their interest piqued, tracked down band member Mike Mankey and conducted their ‘due diligence’ to authenticate the find.

The result is that now the album has been given a full release by garage and psych label Break – A – Way Records.

Check out the immense, trippy guitar work on the two tracks posted here. I’d go so far as to say this album defines the ‘true unknown classic’ description and is well worth checking out in full.

THE OLIVERS
Mike Mankey – Guitar / Vocals
Chuck Hamrick – Drums
Rick Durrett – Keyboards
Billy Franze – Bass / Lead Vocals
Jay Pendoorf – Guitar / Vocals

RELEASES BY THE OLIVERS

TITLEFORMATLABELRELEASE YEARNOTES
I Saw What You Did / Beeker Street ‎7″ singlePhalanx Records / RCA Victor1966‘Beeker Street’ was mis–spelt as ‘Beaker Street on the Phalanx release.
Lost Dove SessionsLPBreak-A-Way Records2012


*** Much of the information contained within this post has been gleaned from the sleeve notes of the Break-A-Way Records release of ‘Lost Dove sessions. ***

ADDENDUM – JANUARY 2022

It’s lovely to know people actually read this blog – even more so when they take time out to write in response to the post. I was pleasantly surprised in early January 2022 to receive the following e-mail from Kent Cretors who drummed for The Olivers (subsequently re-named ‘Triad’) 1969 through 1971. Though he did have some sad news to impart:

Hello CeeJay,
Thank you for the great article that you published regarding The Olivers and Triad. They were fantastic bands live. I joined them when I was 19 years old. Lol way back in the day. They rocked big time. They had connections and signed with major labels but there was no astute and proficient management. I remember going to Winnipeg Canada and recording with Randy Bachmann’s producer back in the day, but I didn’t know him or any of the business then ( Franklin Records). The manager was worthless as a manager as I recall. Anyway, I wanted to mention that my good friend and band mate Billy Franze passed away. I have so many memories with those guys. The band could have been a big-time national act because the sound was there as well as the writing. If you care to know more I would be happy to inform you. Again, thank you for your attention to a great band that should have been a national success!
Sincerely,

Kent Cretors (Drums)

60s, freakbeat, mod, MUSIC PAST, UK

the quik

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Unfortunately, there is not much information to be had about this five-piece from Southampton.

They recorded three singles for the Decca subsidiary label, Deram, all in 1967.Their sound fell very much into the Mod / Freakbeat / Soul mould, and label hopes were high that they’d prove competition for the established R&B acts of the mid-Sixties.

But taking on the likes of The Rolling Stones was always going to be an ambitious target.

None of the three singles achieved chart success, although ‘Bert’s Apple Crumble,’ the B-side to their initial release, ‘Love Is A Beautiful Thing’ ( a cover of the Young Rascals song) proved very popular in the Mod club scene.

Each single is now well sought after by collectors, with copies of the aforementioned exchanging hands on Discogs for £230, £150 & £125 in May 2021.

(My favourite!)

All three singles an now be found on various CD compliations … and of course, your favourite streaming platform, if you’re that way inclined.

THE QUIK
(Names of members remain shrouded in mystery!)

RELEASES BY THE QUIK.

TITLEFORMATLABELRELEASE YEAR
Love Is A Beautiful Thing / Bert’s Apple Crumble7″ singleDeram1967
King Of The World / My Girl 7″ singleDeram1967
I Can’t Sleep / Soul Full Of Sorrow7″ singleDeram1967