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The Only Ones Live In Chicago 1979

Alona’s Dream Records ADR CD033

(also available on vinyl)

https://alonasdreamrecords.com/

There have been rumours of a previously uncirculated soundboard tape from the 1979 US tour for some time, just before Christmas the evidence emerged. Twelve tracks, recorded at Mothers Club in Chicago on October 3rd 1979. Sound quality is excellent, the show having been recorded on the Metro mobile for the Sunday Morning Nightmares programme on Radio WZRD. Packaging is workmanlike, sleeve-notes uninformative and difficult to read, and my copy arrived with inset tray cracked. And it’s only available via mail order from the US so it’s expensive.

Which is where the criticism stops. The opening Inbetweens confirms we are in for a good time: a lively performance and an excellent recording, all instruments and vocals clearly audible and just enough audience reaction. The stops in Programme are hit with complete precision by all. John Perry’s guitar insinuates itself into The Big Sleep, taking centre stage by the end of the song. Peter Perrett’s vocals are strong and his rhythm guitar does not falter. The song itself would not appear until the following years LP Baby Got A Gun but it sounds finished here, Mike Kellie absolutely storms Lovers Of Today, driving the song forward, always in conjunction with Alan Mair’s ultra-melodic bass parts and backing vocals. Miles From Nowhere features an urgent Perrett vocal whilst the solo shows Perry’s masterful control of feedback.

Another Girl, Another Planet pops up halfway through the set but receives an enthusiastic rendition, slightly faster than the studio version but otherwise similar with Mair’s bass holding it together whilst Perry echoes the space travel lyric. Peter And The Pets gets an extended outro which really motors (lots of “whoos” from the crowd) then straight into the hugely-underestimated No Solution where thankfully the backing vocals are audible. The Immortal Story is another song that goes off like a rocket but the band easily keep up, Kellie crucial here. Traditionally an opportunity for Perry to get creative this is a relatively restrained and compact version. Creature Of Doom sounds far better here than on the Hope & Anchor LP. Then a delightful surprise – finally we have a high quality live version of The Guest, an early and very Velvety song that never made it onto a studio album. Finally The Beast which builds inexorably over 5:42. Peter speaks for virtually the first time to say “thank you” and after 40 minutes of total excellence they are gone.

The band played two sets that night and rest of the set sits in the Alona’s Dream archives, and on this evidence Volume Two would be welcome, John Perry has always claimed that the band were at their best on stage and here, halfway through a challenging tour they are honed to perfection. This is the most exciting live Only Ones recording I have heard, better than the official Live and BBC releases as well as the myriad of unofficial tapes that orbit digitally. It also forms a worthy testament to the late and much-missed Mike Kellie who is heard here at his performing peak.

If you have ever loved this band, you need to get this.

Photocredit: Mike Scott, taken outside Bruces’ Record Shop in Edinburgh 1977

Lovin’ Spoonful – Live 1965-67

The Lovin’ Spoonful – Live On TV 1965-67

Side One

  1. Do You Believe In Magic ?
  2. You Didn’t Have To Be So Nice (John Sebastian & Steve Boone)
  3. On The Road Again
  4. Let the Good Times Roll (Shirley Goodman & Leonard Lee)
  5. There She Is
  6. Help  (John Lennon & Paul McCartney)
  7. Do You Believe In Magic ?
  8. Did You Ever Have To Make Up Your Mind?
  9. May the Bird of Paradise Fly Up Your Nose (Neal Merritt)
  10. When The Saints Go Marching In (Traditional)

Side Two

  1. Do You Believe In Magic?
  2. You Didn’t Have To Be So Nice (John Sebastian & Steve Boone)
  3. Nashville Cats
  4. She’s Still A Mystery
  5. Daydream
  6. Bald Headed Lena  (Edward Sneed & Willie Perryman)
  7. Only Pretty, What A Pity (Joe Butler & Jerry Yester)
  8. Darlin’ Be Home Soon
  9. Interview with Dick Clark

All songs written by John Sebastian unless otherwise noted

Recording Details

1 & 2. The Big TNT Show 29.11.65

3. Shivaree 14.8.65

4, 7, 8. & 10.  Shindig 16.10.65

5. Hullabaloo 7.02.66

6. & 11. Hullabaloo 13.09.65

9. & 12. Hullabaloo 1.11.65

13. & 18. – Ed Sullivan Show, 22.01.67

15. & 16.- Ed Sullivan Show, 19.03.67

14. & 17. – Ed Sullivan Show, 15.10.67

19. American Bandstand 28.10.65

Personnel

John Sebastian – lead vocal, autoharp

Zal Yanovsky – guitar, vocals, lead vocal (9)

Steve Boone – bass

Joe Butler – drums, vocals, lead vocal (4 and 6)

Track 4 with Ray Peterson, Kelly Garrett, Glen Campbell and the Shindogs

Track 10 with Billy Preston, Glen Campbell, Kelly Garrett, the Wellingtons, Jimmy Witherspoon & Ray Peterson

Track 18 with the Ed Sullivan orchestra

Sleeve notes

Like Pete Townshend in The Seeker American folk-rock drew equally from Bob Dylan and The Beatles, a Venn diagram intersection of fine singles from West Coast bands such as The Byrds, Love, The Turtles, The Mamas and The Papas, The Buffalo Springfield and The Beau Brummells. The Lovin’ Spoonful were every bit their equal but came from the East Coast, Greenwich Village scene. In July 1965 the band hit number nine in the Billboard chart with their debut single Do You Believe In Magic? – chiming electric guitars and the clarion call to “believe in the magic of rock’n’roll, believe in the magic that can set you free”.

The first two tracks here were recorded at the Moulin Rouge on Sunset Boulevard, Los Angeles in front of a live audience. The bill also included Bo Diddley, The Ronettes, The Byrds, Ike & Tina Turner and Donovan. The Spoonful got off to a shaky start and had to re-start Do You Believe In Magic?  Second hit single You Didn’t Have To Be So Nice (Billboard #10) is very much in the style of its predecessor. On The Road Again is notable for Zal’s enthusiastic performance, emphasied by his distinctive stripey sweater and pudding-bowl haircut. From Shindig comes ensemble performances of Let The Good Times Roll and When The Saints Go Marching InDo You Believe In Magic? soundtracks some synchronised go-go dancing and Did You Ever Have To Make Up Your Mind is understated and charming. The less well-known There She Is works as a duet between Sebastian and Butler. An easy-listening Help sung by Joe Butler leads straight into another effervescent take on Do You Believe In Magic?, the latter performed in front of a mocked-up red London bus for no apparent reason. Zal takes lead vocals on a version of contemporary novelty May The Bird Of Paradise Fly Up Your Nose, a hit for Little Jimmy Dickens. From the same edition of Shindig comes another You Didn’t Have To Be So Nice.

The remaining six tracks are taken from the Spoonful’s three 1967 appearances on the Ed Sullivan Show. Nashville Cats is Sebastian’s wry tribute to the “1,352 guitar pickers in Nashville”. Darlin’ Be Home Soon is virtually a John Sebastian solo performance. She’s Still A Mystery is a good example of a late-period Spoonful single, Only Pretty, What A Pity a less-good example, possibly because Sebastian was not involved in its writing. The laidback Daydream is an American take on Sunny Afternoon whilst the intense version of Bald-Headed Lena takes us back to 1964 and The Night Owl in Greenwich Village.

Today The Lovin’ Spoonful do not receive the same degree of attention or respect as Love, The Byrds or The Buffalo Springfield – no lengthy magazine retrospectives, no weighty box sets or ponderous TV documentaries. But during Sebastian’s golden streak from 1965-1966 all seven of the Spoonful’s singles went top ten in the Billboard charts, an unprecedented achievement. Listening to these recordings the excitement they exude is contagious.  The interview with Dick Clark does little to illuminate the band’s appeal, but then he was “trying to tell a stranger about rock’n’roll ”.

1967 saw the end of folk-rock and the effective end of the Spoonful when a drug bust precipitated Zanovsky’s departure. Writing three years later Nik Cohn provided an elegant eulogy.  “As for folk/rock itself, the style passed, as it was bound to do: it was too soft, too subtle to hold the attention of a mass teen audience for long and pop resolved back into hardrock again”.

Sleeve notes: Tiger Lily (via WhatsUp)

 

Fleetwood Mac Live in Finland 1969

Fleetwood Mac – Live in Finland 1969

Side One

  1. Homework (Otis Rush, Al Perkins, Dave Clark)
  2. Man Of The World (Peter Green)
  3. Like It This Way (Danny Kirwan)
  4. Only You (Danny Kirwan)
  5. Dust My Broom (Robert Johnson)
  6. Stranger Blues (Elmore James)

Side Two

  1. I’ve Got A Mind To Give Up Living (trad arr BB King)
  2. Oh Well Part 1 (Peter Green)
  3. Coming Your Way (Danny Kirwan)
  4. Shake Your Moneymaker (Elmore James)
  5. Albatross (Peter Green)

All tracks recorded live at Kulttuuritalo, Helsinki on November 11th 1969 and broadcast on YLE FM radio.

Personnel

Peter Green – guitar, vocals

Jeremy Spencer – slide guitar, piano, vocals

Danny Kirwan – guitar, vocals

John McVie – bass

Mick Fleetwood – drums

Sleevenotes

By the time the five-piece Fleetwood Mac made their third visit to Helsinki in the autumn of 1969 an endless string of gigs had honed the bands onstage abilities. The eponymous rhythm section were equally comfortable sitting back and providing the framework for a slow blues or frantically rocking out. The front line comprised three contrasting lead guitarists all of whom could sing. Founder Peter Green produced haunting guitar lines and mini-psychodramas which somehow became hit singles. Danny Kirwan shared songwriting and performance duties with Green and contributed melodic counterpoint. Finally there was Jeremy Spencer, manic slide guitarist and source of rock’n’roll craziness.

Such stylistic diversity made for an entertaining and varied set. The opening number is a gritty version of Otis Rush’s Homework, an r’n’b classic later covered by the J.Geils Band on their gangbusting first LP. Then a change of pace as the band brings the mood down for a faithful rendition of Man Of The World, oft cited as the world’s saddest song. The call and response guitars of Danny’s Like It This Way were first heard on the LP “Blues Jam At Chess”. Another Kirwan original follows, the otherwise unrecorded Only You with a bass line borrowed from Larry Williams’ Slow Down. The slide closes with a brace of Elmore James numbers Dust My Broom and Stranger Blues, both showcasing the slide guitar of Jeremy Spencer and the latter unreleased on any studio LP.

The opening number on Side Two is a desolate version of BB King’s I’ve Got A Mind To Give Up Living, another unreleased track and one where Peter Green delivers a weary vocal and an extended guitar solo of exquisite taste. Next up is an electrifying Oh Well, recently and successfully released as a single. Coming Your Way was the opening track on the third Fleetwood Mac LP Then Play On, released two months before this gig: Green and Kirwan play interlocking and complementary guitar lines throughout. A lengthy Shake Your Moneymaker is followed by a subdued version of then hit-single Albatross.

Many sources including setlist.fm put the date of this gig as September 24th 1969. However extensive detective work from Raimo Öystilä has proved that the band played two sets at the Kulttuuritalo on November 11th and that this recording is taken from the second performance:

“The set started with Homework, which had been in the set for a long time. According to Jussi Raittinen, the start was even more promising than in the first set. The mood was especially boosted by Green’s interpretation of Man Of The World, and the borrowed from BB King I’ve Got A Mind To Give Up Living, also known as All Over Again . This had become one of Green’s most spectacular gigs. Spencer’s Stranger Blues was once again wild. Oh Well was also included in the second set, as was Kirwan’s starring moment in Coming Your Way .”

1969 represented a highwater mark for the original Fleetwood Mac. Then Play On was well received and Oh Well got to number two in the UK single charts. However the following year Peter Green underwent a drug-induced epiphany whilst on tour in Germany which caused him to leave the band. Jeremy Spencer did something very similar during a US tour in 1971: the band would sack Kirwan for alcohol-related unreliability in 1972. Critical and commercial redemption would not come for another three years, by which time the band looked and sounded very different.

That the original line-up of Fleetwood Mac ended in disarray should not overshadow the glorious music they made at their peak. The record you hold proves just how good they were.

Sleevenotes: Mr Wonderful

 

 

Love Sculpture Live At The BBC 1968-1969

Available now from http://www.1960s.london

Love Sculpture

Live At The BBC 1968-9

  1. Sabre Dance 1 (Khachaturian arr. Edmunds)
  2. Wang Dang Doodle (Willie Dixon)
  3. Promised Land (Chuck Berry)
  4. The Inner Light (George Harrison)
  5. The Stumble (Freddie King)
  6. Brand New Woman (Crick Feathers)
  7. Farandole (Bizet arr. Edmunds)
  8. Sabre Dance 2 (Khachaturian arr. Edmunds)
  9. (Do I Figure In) Your Life (Peter Blumsom)
  10. River To Another Day (Charles Ward, Kingsley Ward)
  11. Don’t Answer The Door (Jimmy Johnson)
  12. Sweet Little Rock & Roller (Chuck Berry)
  13. Great Balls Of Fire (Otis Blackwell & Jack Hammer)
  14. Evening

Personnel

Dave Edmunds – guitar, vocals

John Williams – bass

Bob ‘Congo’ Jones – drums

 

Recording Details

5, 6, 9, 10, 12 Recorded for Top Gear 2.4.68, transmitted 21.4.68

1, 2, 3, 11 Recorded for Top Gear 16.9.68, transmitted 6.10.68 (1,2,3) and 3.11.68 (11)

4, 7, 13, 14 Recorded for Top Gear 28.1.69, transmitted 9.3.69

 

Sleeve Notes

We recorded Sabre Dance, all six minutes of it, and I couldn’t believe it: it was one of those ‘first take’ numbers, we did do another take but we could not improve on the first. I intentionally programmed it early in the programme. For the last item in the show I put in a six minute record which could be cut because I knew what was going to happen: as soon as Sabre Dance went out the phone rang and I knew it was Peel and what he was going to ask. “Take out the last song and you can play Sabre Dance instead.” And that was the first and only time a pre-recorded session item was played twice in the same programme. The reason it hadn’t been done before was because it incurred an immediate full repeat fee. Parlophone picked up on it, re-recorded it, rush-released it and had a hit. But Dave Edmunds always said that the first BBC version was the best recording”. Top Gear Producer Bernie Andrews, quoted by Ken Garner, “In Session Tonight”.

Love Sculpture guitarist Dave Edmunds would later tell Sounds magazine “we did a live session for John Peel’s Top Gear and suddenly we were signed up by EMI, Gordon Mills was managing us and we had a number two hit single.” Before this Edmunds, bass player John Williams and drummer Bob ‘Congo’ Jones had gigged and recorded as the Cardiff-based Human Beans, recording an unsuccessful cover of Tim Rose’s ‘Morning Dew’ for EMI’s Columbia label. Changing their name to Love Sculpture  – taken from a book of horror stories – they released as their first single River To Another Day. This harmony-drenched slice of UK summer pop was written by Charles and Kinsley Ward, brothers who ran top studio Rockfield in Monmouth. Today this single is a three-figure rarity, but the version included here from their first Top Gear session is just as good. Also recorded at this session was the bluesy Brand New Woman, The Stumble (also recorded by the Beck era-Yardbirds) and a toughened-up version of the Honeybus classic (Do I Figure) In Your Life, never officially released. Early evidence of Edmunds lifelong obsession with all things Chuck Berry came with a spirited take on Sweet Little Rock & Roller, subsequently recorded by both the Faces and Edmunds’ future chums The Flamin’ Groovies.

It was the second Peel session which spawned the unnervingly fast,  live-in-the studio version of Sabre Dance. The other tracks recorded at the session were all American r’n’b sides – Chuck Berry’s Promised Land, Jimmy Johnson’s Don’t Answer The Door and Willie Dixon’s ubiquitous Wang Dang Doodle. But it was Sabre Dance that got listeners phoning the BBC to ask where they could buy it. Early Pretenders gigs in 1979 would be enlivened by guitarist James Honeyman-Scotts party piece, a note perfect live rendition of Sabre Dance performed as an encore.

Love Scupture’s attempt to repeat the winning formula saw them sprinting through Bizet’s Farandole at their third Top Gear session. From the same session came a rocked-up cover of George Harrison’s The Inner Light, originally the B-side to Lady Madonna which was inexplicably omitted from either of Love Sculpture’s LPs. A brief Great Balls Of Fire features some fine (uncredited) piano, whilst Evening is an otherwise-unrecorded song of many parts with quiet interludes interspersed with more up-tempo sections.

Love Sculpture’s reliance on cover versions limited their success: there was no Brian Epstein or Andrew Loog Oldham to encourage Edmunds to start writing original songs. After turning himself into the Welsh Phil Spector Edmunds scored a big solo hit with a 1970 remake of Smiley Lewis’ “I Hear You Knocking” in 1970, and then worked with Nick Lowe from 1974 – 1981, frequently as part of the band Rockpile. Edmunds was also by now a highly respected producer working successfully on many projects at Rockfield.

And here is where it all began.

Sleevenotes: Plum Crazy

Live In Amsterdam 1969 – The Who

The Who Live In Amsterdam 1969

All tracks recorded live at the Concertgebouw, Amsterdam, The Netherlands on September 29th 1969 and broadcast by AVRO FM radio on September 30th, produced by Karel van de Graaf.

Side A

  1. Heaven And Hell (John Entwistle)
  2. I Can’t Explain (Pete Townshend)
  3. Fortune Teller (Naomi Neville)
  4. Tattoo (Pete Townshend)
  5. A Quick One While He’s Away (Pete Townshend)

Side B

  1. Substitute (Pete Townshend)
  2. Happy Jack (Pete Townshend)
  3. I’m A Boy (Pete Townshend)
  4. My Generation (Pete Townshend), including themes from

See Me, Feel Me (Pete Townshend)

Pinball Wizard (Pete Townshend)

Naked Eye (Pete Townshend)

The Ox (Pete Townshend / Keith Moon / John Entwistle / Nicky Hopkins)

Sparks (Pete Townshend)

 

Personnel

Pete Townshend – Guitar, vocals

Roger Daltrey – Lead vocals

John Entwistle – Bass, vocals

Keith Moon – Drums

Sleevenotes: Sheik E. Hand

The Who’s performance at Amsterdam’s Opera House in September 1969 was remarkable in a number of ways. It was the first of a series of gigs in more formal surroundings, to be followed by the London Coliseum, the Berlin Opera House and the Metropolitan Opera in New York. This had been achieved through the critical and commercial success of Tommy. Who co-manager Kit Lambert was the son of noted classical composer Constance Lambert and took understandable pride in his proteges playing such prestigious venues. Amsterdam was also notable for being recorded in extraordinarily high quality by Dutch radio.

This was also one of the longest live gigs the Who ever performed. The band decided to insert the double album Tommy into the middle of their existing set, thus extending their time on stage to well over two hours. This most physical of bands had been touring since May and it is a testament to their road-hardened stamina that throughout this performance their energy levels never flag. The central position and length of the Tommy segment tended to overshadow the other songs in the set, despite the Who effectively and concisely playing a string of their stunning 1960s hit singles. And then there was the mini-opera A Quick One While He’s Away, Tommy’s predecessor and a clever blend of song fragments held together by sung orchestral arrangements such as “cello, cello, cello”.

A successful three-week American tour had prompted Daltrey to stop straightening his hair and grow it out and his new curly mane was fit for a rock god (see also Plant, Robert). Sartorially Townshend went in the other direction, with an equally distinctive disheveled boiler suit, Dr Martens and a Cherry Red Gibson SG. A Dutch TV clip revealed that just before the Amsterdam gig started Keith Moon fell off stage knocking over two speaker cabinets. Moon emerged covered with blood but carried on regardless. The same clip shows the all-seated audience to be an intriguing mix of suits and Afghan coats.

The set opener is Entwistle’s Heaven and Hell, a perfect choice and the best rocker he wrote for the band. Elements of the guitar solo would later emerge in obscure single Priorities, recorded by Shel Talmy-produced punkers Trash. I Can’t Explain is terse and urgent, in contrast to the more delicate opening section of Fortune Teller. As Townshend says in his introduction this cover was a staple in  the live set of many groups but here The Who make it their own, with a faster second half seguing delicately into Tattoo. This sensitive reflection on masculinity was clearly a band favourite: having been released on The Who Sell Out in 1967 it was still being played live as late as 1974. Then a sparkling version of A Quick One While He’s Away  which rivals the live take recorded for the Rolling Stones Rock’n’Roll Circus. The immaculate trio of Substitute, Happy Jack and I’m A Boy are played in arrangements close to the original singles with Townshend and Entwistle easily handing the high vocal harmonies and Moon playing lead drums on Happy Jack. Set closer My Generation summarises the history of the Who to date as it lurches through a number of other songs including the only known live performance of The Ox, the savage surf instrumental that formed the B side to 1965’s The Kids Are Alright.

Was there ever a better Who live recording than Live In Amsterdam ? For Monterey in 1967 the band played through weedy borrowed Vox amps. A Fillmore East 1968 gig saw the band playing well but the choice of material and recording quality was not as good.  In August 1969 Woodstock saw the band spiked, onstage late and thoroughly pissed off (“fucking awful”). Better results were obtained when the band used the Pye mobile to record their gig at Leeds University on February 14th  1970 on. Six tracks from this gig were released as the LP Live At Leeds in May 1970 to great acclaim. Chris Charlesworth called it “the best live rock album of its era” and Dave Marsh acclaimed “the most ferocious, visceral rock the Who have ever recorded…absolutely nonstop hard rock”.

Earlier in 1970 Nik Cohn had written that Live At Leeds would include Happy Jack, I’m A Boy, Heaven And Hell and Tattoo. Cohn had heard this material and he was ecstatic about the Who’s performance “Without exception, they are shatteringly loud, crude and vicious, entirely expressive. Without exception they are marvelous.” None of these tracks made it on to the original Live At Leeds LP.

Live In Amsterdam is the LP that Cohn described so eloquently, embodying his vision of The Who as Superpop. The choice of songs is perceptive. The sound quality is extraordinary. The performances are intuitive, sensitive and wildly exciting. Live In Amsterdam is a vital document of the Who at their performing peak, and Probably The Best Who Live LP In The World.

Denny Laine, Charlatans (US), Them – 7″ Vinyl EPs

The Charlatans Live 1967

Tracklisting

  1. Folsom Prison Blues (Johnny Cash)
  2. Lulu’s Back In Town (Al Dubin & Harry Warren)
  3. KSAN-FM Radio Commercial
  4. I Always Wanted A Girl Like You (George Hunter & Richard Ohlsen)
  5. Alabama Bound (Robert Hoffman)

Tracks 1 – 2, 4 – 5 recorded at the Straight Theatre 22.7.67 for San Francisco radio station KSAN-FM

Personnel

George L. L. Hunter (autoharp, vocals)

Richard “Baby Face” Ohlsen (bass, vocals)

Michael “Slim Pickens” Wilhelm (lead guitar, vocals)

Byron “Mike” Ferguson (piano, keyboards, vocal)

Daniel “California” Hicks (drums, rhythm guitar, vocals)

The founder of the Charlatans was George Hunter, who conceived of the band as a visual experience. Even before their first rehearsal the band had publicity pictures taken exploring the mythic possibilities of Victorian and Old West costume. Rolling Stone magazine described the Charlatans musical trademark as “a jaunty, ragtime rhythm that was of a piece with their style.  Their repertoire remained essentially folk material – blues, ballads, good time jug band tunes plus a few original numbers and the odd Rolling Stones tune. “ Mike Wilhelm takes lead vocals for the opening Fulsome Prison Blues, a brave choice at a time when country music was seen as old-fashioned and reactionary. Lulu’s Back In Town is a short instrumental, followed by a sprightly I Always Wanted A Girl Like You and the closing Albama Bound, the band’s signature song which allowed them to stretch out instrumentally. The Charlatans never enjoyed the popularity or commercial success that their innovative musical and visual approach so richly deserved. A disappointing studio LP was released by a later line-up on Phillips in 1969, albeit with a cool accompanying KSAN radio ad. Only in 1996 would Big Beat release a definitive collection of studio tracks on CD as “The Amazing Charlatans”. The same songs finally made it onto vinyl in 2016 as “The Limit Of The Marvellous”. Dan Hicks had some success fronting Dan Hicks And His Hot Licks whilst Mike Wilhelm formed his own band Loose Gravel and then became a member of The Flamin’ Groovies. Sadly after a long illness Mike Wilhelm died in May 2019.

Sleeve notes: Phil More

 

Them Live 1965-67

Side A

  1. Mystic Eyes
  2. Gloria

Side B

  1. One More Time
  2. If You And I Could Be As Two

Tracks 1 and 2 recorded for French TV live in Paris October 19th 1965, Tracks 3 and 4 recorded in Deventer, Holland on September 3rd 1967 for Dutch TV

All songs written by Van Morrison

Personnel

Van Morrison – vocals and harmonica

Alan Henderson – bass 91,2)

Billy Harrison – guitar (1,2)

Jackie McAuley – organ (1, 2)

Patrick McCauley – drums (1,2)

Herman Brood – piano (3,4)

Eelco Gelling – guitar (3.,4)

Willy Middel – bass (3,4

Hans Waterman – drums (3,4)

Sleevenotes

The title of debut LP The Angry Young Them seems an apt summary of their stance. Originally from Belfast the band had to fight hard to make it in London, which they did after a startling performance of Baby Please Don’t Go on Ready Steady Go.

The Paris performances show Them to be a gritty r’n’b band driven by Jackie McAuley’s organ. Mystic Eyes begins with a raucous instrumental passage which highlights the bands instrumental prowess before the entry of Morrison’s vocal. Garage band anthem G-L-O-R-I-A gets a brief workout with effective call-and-response vocals.  A later show in Holland saw Van Morrison backed by Dutch blues band Cuby + Blizzards and showcases slower, more soulful tunes. One More Time features guitar rather than organ whilst the spoken passages in If You And I Could Be As Two are totally convincing.

Greil Marcus has a theory as to why Them were not more successful. “Van Morrison was as intense and imaginative a performer as any to emerge from the first wave of the post-Beatles British invasion.  But it was clear to those who saw his early live shows in 1965 that Morrison lacked the flash and flair for pop stardom possessed by clearly inferior singers such as Keith Relf of the Yardbirds or Eric Burdon of the Animals.”  Morrison would go on to find solo success in 1969 with his more reflective LP Astral Weeks.

Sleeve notes: Madame George

 

 

Marianne Faithfull a la television 1965-67

Available from http://www.1960s.london

Marianne Faithfull à la Télévision 1965-67

Side One

1. Come And Stay With Me (Jackie DeShannon)
2. Plaisir d’Amour (Jean-Paul-Égide Martini)

3.As Tears Go By (Mick Jagger, Keith Richards, Andrew Loog Oldham)
4. Go Away From My World (Jon Mark)
5. Yesterday (John Lennon, Paul McCartney)
6. Nuits d’Eté (Brian Thomas Henderson, Lisa Strike, Marcel Stellman)
7. What Have They Done With The Rain? (Malvina Reynolds)
8. Hier Ou Demain (Serge Gainsbourg)
9. Brian Epstein interview

Side Two

10. This Little Bird  (John D. Loudermilk)

11. Come And Stay With Me (Jackie DeShannon)

12. What Have They Done With The Rain? (Malvina Reynolds) / As Tears Go By (Mick Jagger, Keith Richards, Andrew Loog Oldham)
13. There But For Fortune (Phil Ochs)
14. Come And Stay With Me (Jackie DeShannon)

15. Yesterday (John Lennon, Paul McCartney)
16. Nuits d’Eté (Brian Thomas Henderson, Lisa Strike, Marcel Stellman)
17. Si Demain (E. Woolfson, M.Stellman)

Recording Details

 

1-6 Scene de L’Olympia, Discorama 1966

7 A Tous Vents 1966

8 Dents de Lait Dents de Loup 11/1/67
9 Hullaballoo 19/01/65

10-12 Shindig 07/07/65

13 Shindig 14/10/65

14-16 Music Hall de France 66

17 Melody French TV 1965 / Tom Jones Show 1966

 

Personnel

Marianne Faithfull – Vocals

Jon Mark – Guitar

 

Sleevenotes

The French have always loved Marianne Faithfull and the feeling is reciprocated: today she has a flat in Paris on the grand Boulevard du Montparnasse. Back in the mid-1960’s Marianne was a regular performer on French television: such shows provide the majority of the songs featured here, all presented in excellent sound quality.

Marianne Evelyn Gabriel Faithfull was born in Hampstead on December 29th 1946. She was a 17 year old schoolgirl when she met Andrew Loog Oldham at a show-biz party in early 1964. Oldham was then managing the meteoric rise of the Rolling Stones, and he persuaded Keith Richards and Mick Jagger to donate her a song. Talking to Andrew Tyler of the New Musical Express in February 1974 Marianne said that although Mick Jagger said he wrote her first hit ‘As Tears Go By’ for her she has always doubted this. “When I was 16 I wanted to be an actress and a scholar too. But whatever I wanted to be I wanted to be great at it. My first move was to get a Rolling Stone as a boyfriend. I slept with three and then I decided the lead singer was the best bet.“ Her relationship with Jagger would be a major influence on both her personal life and her career trajectory.

Interviewed by Alain Elkan in October 2018 Marianne said that in retrospect she feels proud of these embryonic performances.  “It took me a long time to make my career. It really started in 1979, but I think my early work was rather beautiful too.”  The follow up to ‘As Tears Go By’, Bob Dylan’s ‘Blowing In The Wind’ didn’t do anything but in 1965 she had further hits with ‘Come And Stay With Me’, ‘This Little Bird’ and ‘Summer Nights’. Her first two albums Marianne Faithfull and Come My Way also made the charts, despite inexplicably being released on the same day in May 1965. These records featured Faithfull’s delicate, wistful voice plus arrangements and backing from Jon Mark.

The song selection is eclectic. There is pop in Yesterday – Marianne knew Paul McCartney through ex-husband John Dunbar, and As Tears Go By was a song she would return to throughout her career.  Highly respected American singer/songwriter (and Jimmy Page’s girlfriend) Jackie DeShannon provided Come And Stay With Me, troubled troubadour Phil Ochs was the source of There But For Fortune and Tobacco Road / Everything’s Alright songwriter John D. Loudermilk was responsible for This Little Bird. Regular accompanist Jon Mark got a rare songwriting credit on Go Away From My World. The songwriter of What Have They Done To The Rain was Malvina Reynolds a US social commentator, better known for her hits Little Boxes and Mornington Ride.

Of the songs sung in French Plaisir d’Amour (literally ‘The Pleasure Of Love’) dates back to 1784. The melody may sound familiar as it is the basis of ‘Can’t Help Falling In Love’. Nuits d’Eté (‘Summer Nights’) is based on music by Berlioz and is part of a song cycle which runs from youthful innocence to loss to final renewal. Hier Ou Demain was an original Serge Gainsbourg song specially written for the musical film Anna, broadcast on French TV in January 1967. Si Demain appeared on the 1966 EP Coquillages.

Further LPs would follow in a similar idiom, but to diminishing sales. By 1967 Marianne was completely entangled with Mick Jagger, to her own artistic detriment. However in her role as his muse she helped inspire of some of the Stones best ever songs including Sympathy For The Devil, Let It Bleed, You Can’t Always Get What You Want and Wild Horses. In 1969 Marianne released her version of the Gerry Goffin / Carole King song Something Better. Produced by Mick Jagger and arranged by Jack Nitzsche it should have been a huge hit, but Decca withdrew the release after being spooked by the B side, a Faithfull co-write entitled Sister Morphine. A luminous Marianne performed Something Better for the Stones Rock’n’Roll Circus TV special.

Nothing more was heard from Marianne Faithfull until 1975 when the country-influenced LP Dreaming My Dreams reached number one in the Irish charts. Her artistic renaissance began in earnest with the punk-influenced Broken English album in 1979. Since then she has continued to release new material on a regular basis and in recent years has seemed to face down her demons – addictions, anorexia and Mick Jagger.

Andrew Loog Oldham dismissively described the teenage Marianne as “an angel with big tits”. After making artistically-acclaimed records for over 50 years and releasing two autobiographies Marianne Faithful is now regarded not as a muse but as a successful and determined artist in her own right. Returning to those charming early live performances offers an opportunity to relive how it all began.

Sleevenotes: Cherie Redd

 

The Rolling Stones – more LIVE if you want it! 7″ Vinyl EP

 

Side One

  1. High Heel Sneakers (Robert Higgenbotham)
  2. Not Fade Away (Charles Hardin, Norman Petty)

Side Two

  1. I Just Want To Make Love To You (Willie Dixon)
  2. I’m Alright (Ellas McDaniel)

 

Recording details

1 The Joe Loss Pop Show, broadcast 10.04.64,

2-4 NME Poll Winners Concert, Wembley Empire Pool 26.04.64, broadcast by ABC on 03.05.64 as “Big Beat ‘64”

 

Personnel

Mick Jagger – vocals

Keith Richard – guitar, vocals

Brian Jones – guitar, harmonica

Bill Wyman – bass

Charlie Watts – drums

 

Sleevenotes: Lou Goldham

Throughout 1964 and 1965 the Stones were beneficiaries of the BBC’s ‘needletime’ agreement. Until it was abandoned in 1988 needletime was the number of hours of music on record that the BBC and other broadcasters were allowed to play per day. In order to supplement this allowance, the BBC commissioned extensive live recording sessions from the prominent pop groups of the day, thus inadvertently creating a rich archive of otherwise unavailable material. The Rolling Stones official “On Air” set showcased many of the tracks recorded for the BBC but some still remain officially unreleased. Here we have an extended version of High Heel Sneakers, a stalwart of the Stones 1964 live repertoire that was never released on a studio LP.

Later in April 1964 Bill Wyman’s diary says “We played the NME poll winners concert at the Empire Pool, Wembley. We chatted with the Beatles backstage, John Lennon was very complimentary about our album. Also on the bill were the Swinging Blue Jeans, the Dave Clark Five, Cliff Richard, Manfred Mann and the Searchers. We performed I Just Want To Make Love To You, Not Fade Away and I’m Alright. A year ago we had been playing to an audience of just a few hundred people at the Ricky Tick in Windsor: now we had a wonderful reception from over 10,000 fans. Even the Beatles admitted that the scale of the response to our performance had freaked them out.”

Ronnie Wood Review from Record Collector Magazine (January 2020 edition)

Carroll, Perry, Reeves & Cash

The Hope & Anchor, Islington, 19.12.19

Carroll, Perry, Reeves & Cash are not a firm of accountants but a highly effective showcase for JC Carroll’s evocative songs. Playing unbilled as support to JCs main band The Members their five song set was brief but left the crowd wanting more. JC was on acoustic guitar and vocals, John Perry on lead guitar, Tony Reeves on double bass and Nick Cash on drums. An extensive pedigree here: John Perry made his reputation with the Only Ones, Nick Cash has played with The Lines and Fad Gadget whilst Tony Reeves’ CV is extensive, ranging from Davy Graham to Colosseum and Curved Air. So Many Shades Of Blue, In the Beginning and Caveman TV all highlighted Perry’s elegant, understated lead parts, totally distinctive and equal parts Peter Green and Hank Marvin. Reeves dextrous double-bass managed to both drive the songs and provide a melodic counterpoint to the guitars whilst Cash’s brushwork unobtrusively held the songs together. The interplay of Carroll and Perry worked well until the closing Golborne Road when Carrol switched to electric and the parts were less well defined. All this and a “surf cabaret” version of Delilah. More please.

Merchandise; None

Review written for Record Collector magazine