THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,881)Curt Boettcher — âSometimes“
This B-side written by Curt Boettcher and Lee Mallory (see #18, 1,693) “honestly might be the best song Curt ever wrote”, the B-side from the “only single from what would have been Curt[‘s] first solo album, if not for Together’s untimely demise”. (DoYouLikeVeggies, https://rateyourmusic.com/release/single/curt-boettcher/share-with-me-sometimes/)
Magic Pop Blog rhapsodizes (courtesy of Google Translate — I’m sure it would sound even more rhapsodic in the original Italian):
[It is a] pristine combination of rhythm and melody without a single flaw or added embellishment. A pop song in all its splendor, it transforms the solemn into the celestial, while the lead vocals envelop us with a perfect and tender range, interwoven with string arrangements and baroque and psychedelic effects.
For those of you who know Curt Boettcher’s work, he needs no introduction. But here are excepts from a fairly recent piece by Lucy Harbron in Far Out Magazine:
At first, he started out as part of The GoldeBriars, a folk unit. . . . It was . . . in that band that he started to craft his sound. It was folk at first, but it quickly morphed into something broader, bringing in elements of rock, a hefty dose of pop, but also more left-field elements, even being inspired by his childhood as the son of a navy man and the army songs heâd heard then. His scope was massive, and it was making him well-known, so when that band stopped, he was called on quickly. From there, he started applying all those skills to the work of others. Most notably, he produced for Lee Mallory and became the first person to use the reserve echo, although Jimmy Page [see #110, 589] likes to take credit for that . . . .But as Boettcher produced “Thatâs the Way Itâs Gonna Be” [see #18], the earlier sound of it there gives the medal to him as proof of just how much the producer was ahead of the game. Thatâs truly the pattern in his career; Boettcher was always a step ahead. In his production work, he inspired bravery in others, pushing the boundaries of genre and studio capabilities, and getting experimental with the kit in a way no one else was. In The GoldeBriars, as early as 1964, he was starting to merge sounds and inspirations in a way that The Beatles [see #422, 1,087, 1,256] wouldn’t date until Rubber Soul, or The Beach Boys [see #667, 1,825] wouldnât really start to do until 1966 with Pet Soundsâafter Brian Wilson had met Boettcher. Boettcher and Wilson met in early 1966, and Gary Usher, who was there at the time, claimed that, Wilson was openly inspired by him, playing a significant role in pushing his production further on Pet Sounds after hearing what Boettcher was doing.* . . . It seems that at every turn, here we have the originator, yet his name is forgotten. . . . âIf his life had gone just a bit differently, [he] might have been another Brian Wilson,â [Alexandra Molotkow] theorised [in the New York Times Magazine on August 9, 2013 in an essay about Boettcher and Dawn Eden Goldstein —https://www.nytimes.com/2013/08/11/magazine/she-told-herself-she-couldnt-die-because-she-had-to-write-his-story.html (paywall)]. Clearly with the same musical intuitions, Boettcher seemed just as deserving of the genius status Wilson was awarded, but instead, he was forgotten . . . [As Molotkow] wrote, âAs it stands, Boettcher â a pop-music producer whose heyday was the late â60s â now survives in rock history mostly as a liner-note credit. He could have been, but never was. Yet he enjoys a godlike status among a select group of music fans, for whom obscurity is more enticing than fame.â
There is no more classic description of being gobsmacked than the story Gary Usher told Dawn Eden Goldstein about the time Usher and Wilson first met Curt (to be found in the liner notes to the CD reissue of Sagittarius’ Present Tense).
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term Like Thisfamiliar to denizens of Capitol Hill, you pay to play! (ârelating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainmentâ â dictionary.com).
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,880)The Consortium — âAll the Love in the Worldâ
On Valentine’s Day, what could top this over-the-top “glowing piece of sunshine pop” (Bruce Eder, https://www.allmusic.com/artist/west-coast-consortium-mn0000207892#biography), a “highly-strung, vaguely Honeybus [see #6, 52, 207, 434, 562, 605, 764, 1,100, 1,439, 1,582, 1,715, 1,833]-sounding ballad with an exquisite arrangement” (David Wells, liner notes to the CD comp West Coast Consortium: Looking Back: The Pye Anthology) that reached #22 in the UK? It literally packs all the love in the world into less than three minutes.
They magically combined Beach Boys [see #667, 1,825]/Four Seasons [see #1,454]-style vocal harmonies with lush, string-filled backing to create a sound that was as smooth as paisley velvet and also criminally overlooked. Apart from one medium-sized hit, 1969âs âAll the Love in the World,â the bandâs singles werenât hits and they never managed to release an album. Not officially anyway. While they were struggling to hit the charts, they were simultaneously making home demos that stripped away the ornate glow of their singles and replaced it with an intimate, rough-hewn, and fascinating take on psychedelic pop. . . . The[ir] singles are a high-level course in MOR psych, built around the groupâs slick harmonies, with arrangements chock-full of strings, keyboards, and polish, and featuring songs that were pitched somewhere between the merrily twee approach of the Ivy League and the rambling glee of the Move. Consortium prove to be pleasing balladeers on tracks like âAll the Love,â but they also get pretty weird on the phased psych nugget âColour Sergeant Lillywhiteâ and delve into bubblegum sweetness on later songs, especially the insistent âCynthia Serenity.â All A+ work that when stretched end to end rates right near the top of what was coming out of the U.K. during the era.
West Coast Consortium . . . was a British pop/rock group with a harmony-rich, gently psychedelic sound . . . . [that was] one of the great under-rated groups of the era. The band initially coalesced under the name Group 66, featuring lead vocalist Robbie Fair, guitarists Geoff Simpson and Brian Bronson, bassist John Barker, and drummer John Podbury. . . . [O]ne day, they were working on a rendition of the Four Seasonsâ âRag Dollâ and discovered that they could harmonize better than they could play. A similarly successful attempt at performing the Beach Boysâ âI Get Aroundâ proved to the quintet that vocals were their strong point and could set them apart from most of their rivals. By 1967, Simpson had started writing songs . . . . They were signed by Pye Records . . . . [I]n the interest of emphasizing an American cultural connection, they arrived at [the name] West Coast Consortium. The groupâs original sound was rooted in high harmonies and midtempo songs, similar in style to Ivy League. Their first two singles failed to chart, as did a 45 released under the name Robbie[] . . . . The band generated one poppish freakbeat single, âColour Sergeant Lilywhite[]â . . . [that] didnât chart, but . . . bec[a]me a minor classic of British psychedelia. . . . [T]he group was given the chance to record an entire LP, despite not having had a hit. They rehearsed and self-recorded an albumâs worth of demos, but ultimately decided to focus their efforts on playing live. . . . [I]n late 1968 recorded another albumâs worth of demos . . . . Fate then took a hand in a very unexpected way. The group suddenly found a new fan in the form of the head of Pye Records, the legendary producer/ bandleader Cyril Stapleton. A revered figure on the British music scene, he chanced to attend a performance by the band and was so taken with them that he decided to give them his personal attention on their next record. At the time, they’d cut a version of Simpson’s “All the Love in the World” that wasn’t coming out right with Dorsey, and, astonishingly, the label chief violated all corporate protocol by agreeing. Dorsey was taken off production and the existing recording was junked. The band started over with Stapleton producing; they also shortened their name to the simpler and more mysterious Consortium. . . . The effort paid off and “All the Love in the World” was their first real hit, reaching number 22 on the U.K. charts in the course of a nine-week run.. . . . [This all got] the group a fresh round of music press coverage, along with better gigs . . . . [But] they were unable to build on their previous chart success. . . . [I]n 1970 the original groupâs history effectively ended as Simpson quit, unwilling to leave his wife or their recently born twins for a six-week tour of Italy.
This is the easily most important demo for me ⌠a total scene changer. It gave us faith that you don’t need an expensive studio to promote your ideas. It’s a recording from a Revox A77 reel to reel tape recorder owned by our bassist John Barker, we recorded this track in early 1968 . . . . We’d then take the recorder to . . . our manager Ken’s brother Cliff[‘s] . . . mellotron in a room above his paper factory . . . . fond memories.
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term Like Thisfamiliar to denizens of Capitol Hill, you pay to play! (ârelating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainmentâ â dictionary.com).
The playlist includes all the âgreatest songs of the 1960âs that no one has ever heardâ that are available on Spotify — now over 1,200 songs. The playlist will expand each time I feature an available song.
All new subscribers will receive a Brace for the Obscure 60s Rock magnet. New subscribers who sign up for a year will also receive a Brace for the Obscure 60s Rock t-shirt or baseball cap. See pictures on the Pay to Play page.
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The Listening Post featured this song just weeks ago:
Whoa!! This little scorcher is HOT!! Brace yourself for this burning groove and the coolest vocal accompaniment you could possibly imagine! . . . The groove gets under your skin with its fiery funk and the pulse sets the senses ablaze! . . . Itâs sooo good!!
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term Like Thisfamiliar to denizens of Capitol Hill, you pay to play! (ârelating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainmentâ â dictionary.com).
The playlist includes all the âgreatest songs of the 1960âs that no one has ever heardâ that are available on Spotify — now over 1,200 songs. The playlist will expand each time I feature an available song.
All new subscribers will receive a Brace for the Obscure 60s Rock magnet. New subscribers who sign up for a year will also receive a Brace for the Obscure 60s Rock t-shirt or baseball cap. See pictures on the Pay to Play page.
When subscribing, please send me an e-mail (GMFtma1@gmail.com) or a comment on this site letting me know an e-mail address/phone number/Facebook address, etc. to which I can send instructions on accessing the playlist and a physical address to which I can sent a magnet/t-shirt/baseball cap. If choosing a t-shirt, please let me know the gender and size you prefer.
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
A psych pop masterpiece by the Easybeats with a version rivaling its brilliance on the only single by an obscure band out of Connecticut. Ah, the 60’s!
Kennethosborne6497 writes “This song has always been my fave Easybeats number, even though quite different to any of their other tracks. I met [vocalist] Stevie [Wright] & asked him about this one, he said it was also his favourite, & recalled the piano player [Nicky Hopkins] etc.” (https://www.youtube.com/watch?v=UBeea0r6ioA)
The definitive MILESAGO: Australasian Music & Popular Culture 1964-1975 states the importance of the Easybeats:
To describe The Easybeats as âAustraliaâs Beatlesâ is not to damn them with faint praise. They were without question the best and most important Australian rock band of the 1960s, and their string of classic hit singles set the benchmarks for Australian popular music. They established a unique musical identity, and they became our first homegrown rock superstars, and for quality, inventiveness and originality their work is arguably unmatched by any other Australian band of the period. The Easybeats scored fifteen Top 40 Singles in Australia between 1965 and 1970, including three No.1 hits. Chief among their many achievements, the Easybeats hold the unique honour of being our first bona-fide rock group to have an major overseas hit record â the legendary âFriday On My Mindâ. They were also one of the few major Australian bands of their day to perform and record original material almost exclusively.
[In the summer of 1967] the Easybeats — plus session drummer Freddie Smith and renowned session keyboardist Nicky Hopkins — went into the famed Olympic Studios in Barnes, London . . . to record their next LP, produced by Shel Talmy’s erstwhile engineer, the now legendary Glyn Johns. This should have been the breakthrough they needed and the sessions produced some of their best material to date. But although an entire album was recorded, sequenced, mastered and titled (Good Times) and a cover prepared, it was never released. The band had become involved in a complicated contractual wrangle, with five companies claiming rights over their work. The immediate result was that Albert Productions, who had been footing most of the bills, now closed their chequebook. With both Johns and Olympic still unpaid, the record stayed in the can, and only two cuts — the magnificent title track, “Good Times”, and the psychedelic gem “Land Of Make Believe” managed to emerge, many months later. The remaining tracks languished for another decade, until Raven Records released them on the 1977 LP The Shame Just Drained. In June, UA released the superlative psychedelic rocker “Heaven & Hell”. It was their last Talmy-produced single, with Nicky Hopkins prominent on harpsichord, and some great bass playing by Dick. It was released in June, with the wonderful “Pretty Girl” relegated to the b-side, and became another Top 20 hit in Australia. By rights, it should have been a double-sided hit for them worldwide. For a while it looked set to restore their chart fortunes, especially in the US, but once again bad luck intervened: just as it entered the charts, the single was banned by various US stations, due to the line “discovering someone else in your bed” and supposed drug references. Inexplicably, it also failed in the UK. Based on the success of “Friday”, Vanda & Young had naturally continued with that winning formula, packing remarkable musical and lyrical innovation into a concise single format (what George later called their “three minute operas”). When they saw one of their best efforts fail, they effectively gave up trying. They began making music primarily to please themselves, and according to George a lot of similar material was shelved. Their fortunes were further hindered by consistently poor timing and choices of material by United Artists, and by lack of direction and support from both label and management. From this point on, according to George “the rot set in”. The outcome was doubly lamentable — abandoning any pretense of ‘commerciality’, the group went on to produce some of their most outstanding material over the next year, but sadly many of the tracks were only ever cut as demos, and the public never got to hear them until years later. . . . In June [1968], a second United Artists LP Vigil was released in the UK. The album . . . . [included] two escapees from the doomed Glyn Johns LP, “Land Of Make Believe” and “Good Times”, which were paired on 45 in Australia in July and reached #22 in August. “Land of Make Believe” was coupled with a (Beatles-inspired) b-side “We All Live Happily” for June release in the UK . . . .
The Easybeats . . . met in Sydney . . . [but] lead singer Stevie Wright originally came from England . . . and bassist Dick Diamonde hailed from the Netherlands, as did guitarist Harry Vanda, while the others, guitarists George Young and drummer Gordon âSnowyâ Fleet, were recent arrivals from Scotland and England . . . . [They were] a piece of authentic Brit-beat right in the heart of Sydney. . . . After honing their sound and building a name locally . . . in late 1964, the group was signed to [Ted] Albert Productions who, in turn, licensed their releases to Australian EMIâs Parlophone label. . . . Working from originals primarily written by Stevie Wright, by himself or in collaboration with George Young, the groupâs early records . . . were highly derivative of the Liverpool sound . . . . [but] they were highly animated in the studio and on stage, they looked cool and rebellious, and they sang and played superbly. . . . [T]heir debut single [was] issued in March of 1965 . . . . âSheâs So Fine,â their second . . . two months later, shot to number one in Australia and was one of the great records of its era . . . . Their debut album Easy, issued the following September . . . . [Their] attack on their instruments . . . coupled with Wrightâs searing, powerful lead vocals, made them one of the best British rock & roll acts of the period and Easy one of the best of all British Invasion albums . . . . In Australia, they were the reigning kings of rock & roll . . . assembling a string of eight Top Ten chart hits in a year and a half . . . . Their second album, Itâs 2 Easy, was a match for their first . . . whose only fault . . . was that it seemed a year out-of-date in style when it was released in 1966. . . . [They] could do no wrong by keeping their sound the same . . . . [but] George Young . . . had ideas for more complex and daring music. By mid-1966, the Wright/ Young songwriting team had become history, but in its place Vanda and Young began writing songs together. . . . In the fall of 1966, the Easybeats were ready to make the jump that no Australian rock & roll act had yet done successfully, and headed for England. In November of 1966 . . . the group scored its first U.K. hit with âFriday on My Mind[â, which] embodied all of the fierce kinetic energy of their Australian hits but . . . at a new level of sophistication . . . . It rose to the Top Ten . . . across Europe and much of the rest of the world, and reached the Top 20 in the United States . . . . The group spent seven months in England, writing new, more ambitious songs[, ] performing before new audiences, most notably in Germany . . . . [and] mov[ing] their base of operations to London . . . . Some of the songs were superb, but the[ir] . . . charmed existence . . . seemed to desert them in 1967-1968 â their single âHeaven and Hellâ was banned from the radio in England for one suggestive line, and a six-month lag for a follow-up cost them momentum . . . . [But] the songs . . . were as good as anything being written in rock at the time. . . . By mid-1969, the band had receded to a mere shadow of itself, and their music had regressed to a form of good-time singalong music . . . . The band decided to call it quits following a return to Australia for one final tour . . . .
1,878) Jennifer’s Friends — “Land of Make Believe”
This “sublime” (Clegg, https://www.youtube.com/watch?v=pcgnw1vtXXI) and “fabulous cover . . . [had] a stellar arrangement . . . [and] should have hit the charts”. (CorporalClegg, https://www.45cat.com/record/bda51) It is from Jennifer’s Friends’ only single, which had “[t]wo killer psychedelic tunes . . . a masterpiece” which “quite frankly . . . one-upped the[ Easybeats] with their own song”. (thomassmith8721, ,https://www.youtube.com/watch?v=jg3m3cMpt68) I could actually be persuaded — the Friends transform the song into glorious technicolor!
Despite CorporalClegg despairing that “looking them up nowadays [is] hard as hell thanks to the Friends TV show” (https://www.45cat.com/record/bda51) — ha, ha, ha!!! — RateYourMusic tells us:
Matt Lawton and Ben Mochan had been friends for several years prior to forming this band, and had been performing together as well, primarily folk music. Ben met Mark Lipson, a high school student, and Kevin Weaver, a math teacher, around their mutual home area of southern Connecticut. They formed a band under the original working name of Zyme, but decided to change it when it came time to record. . . . Around this time, Barry Buxbaum quit his existing band (only to be replaced by Michael Bolotin, later Michael Bolton) and joined the group as lead singer. After recording some home-made demos, the band were able to secure a management contract with Schwade-Merenstein . . . . [who] was able to acquire some recording time with Buddha Records. . . . [A] number of tracks were laid down[ but] only one single was ever released, with “Land of Make Believe” hitting the top 40 [in what universe did this occur?]. . . . The band was also offered a song to record that they decided to pass on, titled “The Worst That Could Happen”. This was later recorded by the Brooklyn Bridge, and went to number one on the charts. Jennifer’s Friends had another close call with bigger success when they recorded a song titled “Lay Lady Lay”. Bob Dylan’s version was released a week prior and so the song was eventually cancelled by Buddah. They also wrote and recorded the musical score to the Michael Douglas film Hail, Hero!, but their version was passed over in favor of one recorded by Gordon Lightfoot [see #92, 167, 392]. . . . Mark Lipson became a cantor, then a Rabbi . . . .
18 RODAS writes that he wrote an e-mail to guitarist Matt Lawton”, who relayed some band history, which 18 RODAS summarized, including:
The name Jenniferâs Friends came about while . . . [recording]. Jennifer was one of the young women sitting around with the band during practice. We needed a name for our upcoming recording session in New York, and someone suggested Jenniferâs Friends. The stuff of history. . . . Matt Lawton quit the band for personal reasons around 1970. Mark and Ben talked Lou Merenstein into producing an album of original music ultimately released . . . under the band name Smokey John Bull.
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term Like Thisfamiliar to denizens of Capitol Hill, you pay to play! (ârelating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainmentâ â dictionary.com).
The playlist includes all the âgreatest songs of the 1960âs that no one has ever heardâ that are available on Spotify — now over 1,200 songs. The playlist will expand each time I feature an available song.
All new subscribers will receive a Brace for the Obscure 60s Rock magnet. New subscribers who sign up for a year will also receive a Brace for the Obscure 60s Rock t-shirt or baseball cap. See pictures on the Pay to Play page.
When subscribing, please send me an e-mail (GMFtma1@gmail.com) or a comment on this site letting me know an e-mail address/phone number/Facebook address, etc. to which I can send instructions on accessing the playlist and a physical address to which I can sent a magnet/t-shirt/baseball cap. If choosing a t-shirt, please let me know the gender and size you prefer.
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,876)Os Selvagens/The Savages — âCoração de Pedraâ/”Heart of Stone”
No, this is not the Stones’ “Heart of Stone”! It is the Brazilian group Os Selvagens’ (the Savages) propulsive ’70 rocker. The band featured a young Michael Sullivan, sorry, Ivanilton de Souza Lima, who would later become one of the biggest Brazilian stars ever.
Hedson tells us (courtesy of Google Translate):
In the wake of the Jovem Guarda* [Young Guard] movement, many bands emerged meteorically but failed to establish themselves in the musical context of the time. One of these groups was Os Selvagens, which emerged in Rio de Janeiro in the late 1960s, in the post-Jovem Guarda era, on the CBS record label, under the artistic production of Rossini Pinto. Probably, if they had emerged a few years earlier, they would certainly have been more successful and had more market opportunities. Another fact that was mentioned in publications at the time was the record company’s lack of effort in promoting the group, since the music market was already in a new wave, TropicĂĄlia**. The initial proposal of the band Os Selvagens aimed to create a fusion of Pop and Soul styles, which did not happen in practice, remaining within the Jovem Guarda pop style of the time.
Michael Sullivan, born Ivanilton de Souza Lima . . . in Recife, Pernambuco, Brazil, is a renowned Brazilian singer, guitarist, composer, and music producer, celebrated for his prolific songwriting career spanning over five decades. Sullivan’s early career in the mid-1960s involved performing as a guitarist and singer in rock-dance bands such as Os Selvagens and later Renato e Seus Blue Caps [see #1,011, 1,815] before launching his solo career in 1976 . . . . At age 19, around 1969, Sullivan joined Os Selvagens as a singer and guitarist, further immersing himself in Rio’s vibrant music community during the tail end of the 1960s. . . . [T]he group operated in the Jovem Guarda movement, focusing on rock and roll covers with energetic live performances at local venues. . . . Sullivan’s early years were immersed in the local music scenes of Pernambuco, known for traditional rhythms such as frevo and maracatu, which provided a foundational exposure to Brazilian musical heritage amid the challenges of his upbringing . . . . [He] began his professional music career in the mid-1960s, debuting around 1964â1965 at age 14 as a singer in Recife’s nightlife venues. At age 15 in 1965, he participated in talent contests such as VarietĂŠ on RĂĄdio Jornal do Commercio, winning first place and earning a professional musician’s card . . . along with a contract with TV Jornal do Commercio. This led to appearances on programs like VocĂŞ Faz o Show, Noite de Black Tie, and Bossa 2, marking him as a rising talent from Pernambuco. In 1967 . . . [he] moved to Rio de Janeiro, where he adopted the stage name Michael Sullivan, inspired by a name from a telephone directory, reflecting the era’s interest in Anglo-American musical influences. He began performing in live settings focused on dance-oriented rock music popular among youth audiences. . . . Sullivan is recognized as one of the most prolific songwriters in Brazilian music history, with over 1,800 recorded songs to his credit, many emphasizing romantic ballads that delve into the emotional intricacies of love, betrayal, and redemption, alongside social commentary on relationships within patriarchal structures and inspirational anthems promoting hope and unity. . . .
launching his solo career in 1976 with the English-language single “My Life,” which served as the theme for the Globo TV novela O CasarĂŁo. His breakthrough came through a 16-year partnership with lyricist Paulo Massadas from 1978 to 1994, during which they co-created hundreds of hits . . . . These compositions, often blending melody composition by Sullivan with Massadas’s lyrics, were recorded by major Brazilian artists . . . contributing significantly to the MPB (MĂşsica Popular Brasileira) and pop genres. . . . In the late 1970s and 1980s, Sullivan also performed with groups like The Fevers and released solo albums such as Sou Brasileiro (1978) and Michael Sullivan (1979), initially favoring English-sung repertoire akin to Morris Albert. After a hiatus in the 1990s, during which he relocated to Miami to produce international acts including Ricky Martin and Menudo for Sony Latina, he returned to music in 2003 with the collaborative album Duetos. . . . Over his career, Sullivan has penned more than 1,000 compositions, with around 500 becoming major hits, many serving as themes for TV novelas and children’s programs like Trem da Alegria. . . . His production work has resulted in over 60 million disks sold worldwide, earning 600 gold, 240 platinum, and 60 diamond certifications across Brazil and Latin America.
Jovem Guarda was primarily a Brazilian musical television show first aired . . . in 1965, although the term soon expanded to designate the entire movement and style surrounding it. The members of the program were singers who had been influenced by the American rock nâ roll of the late 1950s and British Invasion bands of the 1960s, although the music often became softer, more naĂŻve versions with light, romantic lyrics aimed at teenagers.
TropicĂĄlia . . . was a Brazilian art movement that arose in the late 1960s. It was characterized by the amalgamation of Brazilian genresânotably the union of the popular and the avant-garde, as well as the melding of Brazilian tradition and foreign traditions and styles. Contemporarily, tropicĂĄlia became primarily associated with the musical faction of the movement, which merged Brazilian and African rhythms with British and American psychedelia and rock . . . . The movement was begun by a group of musicians from Bahia . . . . Later the group moved to SĂŁo Paulo . . . . [T]he 1968 album TropicĂĄlia ou Panis et Circencis [Latin for “Bread and Circuses”] . . . served as the movement’s manifesto. . . . The tropicĂĄlia movement came to fruition at a time when Brazil’s military dictatorship and left-wing ideas held distinct but prominent amounts of power simultaneously. The tropicalists’ rejection of both sides’ version of nationalism (the military’s conservative patriotism and the ineffectual bourgeois anti-imperialism) was met with criticism and harassment.
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term Like Thisfamiliar to denizens of Capitol Hill, you pay to play! (ârelating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainmentâ â dictionary.com).
The playlist includes all the âgreatest songs of the 1960âs that no one has ever heardâ that are available on Spotify — now over 1,200 songs. The playlist will expand each time I feature an available song.
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,875)Appaloosa — âTulu Rogersâ
This “[u]nbelievably gorgeous” song (whose “strings make my heart ache”) (knitchywa, https://www.youtube.com/watch?v=D9GbOcHxGAE) is off of Appaloosaâs sole album (see #463, 674). It “employs Dylanesque prose to describe the titular character who reads John Locke and listens to Sebastian Bach”. (oldscreamo, https://rateyourmusic.com/release/album/appaloosa/appaloosa/) RDTEN1 astutely notes that “[w]hile Compton’s lyrics were occasionally on the clunky and fey side, I’m sure college English majors were sent into fits of delirium by the sensitivity and insight reflected in numbers like ‘Tulu Rogers'”. (https://rateyourmusic.com/release/album/appaloosa/appaloosa/) Indeed — the song sent me into a fit of delirium with its rhapsodizing about Skid Row’s Sebastian Bach and Lost‘s John Locke! RDTEN1 sums up the LP perfectly — “Admittedly the setâs arty and delicate feel coupled with those touchy-feely lyrics spelled instant obscurity, but what a way to go down in flames.” (https://rateyourmusic.com/release/album/appaloosa/appaloosa/) Indeed! Singer, songwriter and guitarist John Parker Compton noted that when he was 16, he wrote the song’s lyrics for poetry homework at boarding school. (https://garagehangover.com/john-compton/)
All Music Guide says the LP “bears the heavy scent of the â60s coffeehouse scene, with overtones of jazz (thereâs some nice saxophone work here) and Renaissance minstrel sounds (a la Steeleye Span) threaded through literate, melancholic singer-songwriter fare.” (https://www.allmusic.com/album/appaloosa-mw0000260326)
As to Appaloosa and âfolk-baroqueâ, Richie Unterberger relates:
Although the term somehow didnât stick as part of standard rock criticism vocabulary, for a while in the late 1960s, there was a vogue of sorts for music that was described in the press as âfolk-baroque[]â . . . . folk-oriented material with classical-influenced orchestration. . . . One of the most talented such acts was Appaloosa, whose self-titled 1969 LP matched . . . Comptonâs thoughtful, melodic compositions to sympathetic arrangements . . . . In both its combination of instruments and the absence of a drummer, it was a most unusual instrumental lineup for a rock band, even at a time when boundaries and restrictions were routinely bent. The core quartet were bolstered by top session players (including members of Blood, Sweat & Tears [see #765]) and, above all, producer Al Kooper [see #642, 705, 804, 1,447] , who also added a lot of his own keyboards and guitar to the album.
As to Appaloosaâs history and how the band hooked up with Al Kooper, Joslyn Layne explains that:
Compton co-founded the acoustic band Appaloosa with violinist Robin Batteau in the late â60s. Both musicians had been heavily influenced by the folk scene in their hometown, Cambridge, MA. . . . [and] began playing the coffeehouse circuit together. [Compton] showed up at producer Al Kooperâs Columbia Records office in late 1968, hoping to show him his songs. Uninterested, Kooper [asked] the kid [then 18] to come back some other time. But a little while later, Kooper came in on Compton and Batteau performing for the office secretaries. Finally won over, [he] recorded their demo,* and within a year the newly signed musicians had released an album . . . . Appaloosa soon gave way to a duo project for Compton & Batteau [see #468]. . . .
* Well, maybe, maybe not. Compton told Richie Unterberger that â[m]eeting Al Kooper was just a fluke. We were playing for some secretaries at Columbia while waiting for an appointment. Al Kooper walked by and instantly asked us if we would like to make a demo tape that night.â (http://www.richieunterberger.com/appaloosa.html)
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The playlist includes all the âgreatest songs of the 1960âs that no one has ever heardâ that are available on Spotify — now over 1,200 songs. The playlist will expand each time I feature an available song.
All new subscribers will receive a Brace for the Obscure 60s Rock magnet. New subscribers who sign up for a year will also receive a Brace for the Obscure 60s Rock t-shirt or baseball cap. See pictures on the Pay to Play page.
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Unless you were tone deaf, or simply had no interested in music, even if you didn’t know who The Monitors were, there’s a good chance you’d recognize “Bring Back the Love” as part of the Motown sound. That distinctive production sound was seldom as strong . . . . Moreover, Street seldom sounded as good and the Fagin-Harris backing harmonies were sweet, sweet, sweet.
RDTEN1 turns his exasperation as to the fate of the Monitors up to 10!
I’m routinely amazed to discover just how deep and talented the Motown recording roster was. Anyone listening to 1968’s Greetings! We’re the Monitors [their sole LP] is likely to wonder how these guys were so overlooked. Had they been signed by any other label, it’s hard to imagine them meeting with the same indifference that befell them on Motown.
Even many knowledgeable Motown fans haven’t heard of, or have barely heard of, the Monitors, despite the group’s five-year stint with the company. Like some other Motown acts who didn’t have an extensive release schedule and barely dented the charts, however, they managed to record quite a bit of material for the label. . . . The problem the Monitors faced commercially, in common with some other obscure Motown acts, was that they didn’t sound different enough or get a song or two strong enough to serve as a hit that would have launched their career. . . . The result was music that, while pleasing, was rather generic Motown. . . . The biggest of their two modest R&B hits, “Greetings (This Is Uncle Sam),” was something of a novelty given currency by the escalating Vietnam War. . . . But it wasn’t enough to lift the Monitors above second-tier or third-tier Motown status . . . .
A short-lived group, the Monitors had only one release on Motown from November 1965 to August 1968. The group consisted of Richard Street, Warren Harris, and Sandra and John Fagin . . . . the Peps, a group including Joe Harris . . . . The Peps, like the Monitors, were exciting live and very visual, but couldn’t translate that to recording success. After Street formed the Monitors with Harris and the Fagins, the group debuted on VIP Records with “Say You,” a coy, sweet ballad that lacked promotion. . . . The next Monitor singles, “Greetings This Is Uncle Sam” and “Since I Lost You Girl,” appeared within several months but did nothing to advance the Monitors’ career. Motown iced them until April 1968 before releasing “Bring Back the Love.” The label then switched the Monitors to its Soul imprint for the group’s final single, “Step by Step,” released in August 1968. Three months later Greetings! We’re the Monitors, originally scheduled for release on VIP, surfaced on the Soul label.
Oh, and “[w]hen Paul Williams was forced to depart The Temptations due to the failing health . . . Richard Street stepped in for him in 1971 and The Monitorsâ fate was sealed.” (Doo Wop Heaven, https://doowopheaven.blogspot.com/2015/07/the-monitors-3.html?m=1)
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[Andy] Cahan and his teenage bandmates produced a remarkable set of R&B/garage/blue-eyed soul tracks of outstanding quality . . . . Growing up in the town of New Rochelle, New York, young Andy Cahan got his kicks making horror films using an 8mm movie camera and a Wollensak tape recorder. But Cahan was also a gifted piano player with a good musical ear. Like thousands of American kids, his life changed forever on . . . the day The Beatles debuted on The Ed Sullivan Show. âI was totally amazed at these four guys who could sing and play perfectly and had awesome haircuts, matching suits and very cool boots,â he says. His first surf band The Jaguars became The Tokays, named after a brand of sweet white Hungarian wine. The group started to play some of Andyâs original material, inspired by The Beatles and other British invaders . . . . âReno Franze and Richie Struts were the lead singers, Sandy Reiner was on drums, Larry Kramer on guitar, and I played the grand piano and organ. There was no bass.â Soon after, Andy made an important change. âThe Beatles all played guitars, so I had to either learn guitar or, since I already was a piano/organ player, emulate Mike Smith of The Dave Clark Five [see #208, 320, 411-12, 565, 716] with his red Vox organ. Thatâs when I traded my old Thomas organ for the new Farfisa Combo Compact red organ. . . . I purchased Beatle boots, as did my band buddies, and we changed the name to The Individuals.â . . . The Individuals worked hard and soon began making a name for themselves. âWe rehearsed every day until we were so good that we won three separate Battle of the Bands contests in New Rochelle and other cities in Westchester County, New York.â The group also found time to go into the studio in 1965 and 1966 to record demos . . . . The Individuals broke up around 1967 when Larry Kramer elected to go to college rather than pursue music full-time. Andy, Sandy and Reno reconfigured as The Boys in Dutch, adding Jerry Delesio on guitar, and gigged across the New York area throughout 1967. After that band ran its course, Andy decided to start a new project, Euphorian Railway, with Reno on lead vocals, Vinny Derminity on guitar and vocals, Ken Lennington on bass and vocals, and Frank McConville on drums. Euphorian Railway went into the studio in March 1968 and in one five-hour session cut an albumâs worth of original material. . . . [but t]he band was short-lived. In the summer of 1968 Cahan relocated to Los Angeles, where he quickly made a name for himself as a keyboard player and arranger, working with such people as Graham Bond, Dr John [see #177, 769], Chuck Berry [see #361, 886, 1,340], Little Richard, Harry Nilsson [see #1,168, 1,298, 1,854] and Flo & Eddie of The Turtles. He was also a founding member of Geronimo Black, along with ex-Mothers [see #793] Jimmy Carl Black, Denny Walley and Bunk and Buzz Gardner, and one-time Love member Tjay Contrelli. As for his Johnny Farfisa alias, that originated with David Gibson of Moxie Records, who in 1980 released a seven-inch EP of The Individualsâ mid-60s recordings titled Johnny Farfisaâs Greatest Hits: âHe was the one who gave me the name Johnny Farfisa from the idea of combining Johnny Rotten and my Farfisa organ!â
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term Like Thisfamiliar to denizens of Capitol Hill, you pay to play! (ârelating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainmentâ â dictionary.com).
The playlist includes all the âgreatest songs of the 1960âs that no one has ever heardâ that are available on Spotify — now over 1,200 songs. The playlist will expand each time I feature an available song.
All new subscribers will receive a Brace for the Obscure 60s Rock magnet. New subscribers who sign up for a year will also receive a Brace for the Obscure 60s Rock t-shirt or baseball cap. See pictures on the Pay to Play page.
When subscribing, please send me an e-mail (GMFtma1@gmail.com) or a comment on this site letting me know an e-mail address/phone number/Facebook address, etc. to which I can send instructions on accessing the playlist and a physical address to which I can sent a magnet/t-shirt/baseball cap. If choosing a t-shirt, please let me know the gender and size you prefer.
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,872) Doris — âDonâtâ
Today is Doris’ funky Day, with a “monster shaker” (https://www.blaxploitation.com/blax_recommends_5.html), “a dizzying Swedish psych-funk knockout”! (Fav45s, https://www.instagram.com/p/DIoVtFnOCD6/) Fav45s adds that this “left-field groove[] from a singer who deserves way more shine” “hits with deep, funky bass from Dorisâ husband Lukas Lindholm, anchored again by Carlssonâs signature drum work. Soulful, strange & somehow still unsampled (for now). Joni Mitchell meets Zeppelin meets crate gold.” (https://www.instagram.com/p/DIoVtFnOCD6/) The moral of the song? Never, never, never love a married man!
“Thanks for the funky tunes that have graced many a swinging DJ set and radio show the world over. Only one album, but that voice! So raw and commanding.” (Left Side Clouded, https://www.facebook.com/groups/anotherangle/posts/5835561666492959/) As to that LP — Did You Give the World Some Love Today, Baby — it was “[p]roduced by HĂĽkan Sterner & arranged by jazz pianist Berndt Egerbladh, . . . was largely ignored on release but reborn through 90s reissues & heavy sampling.” (Fav45s, https://www.instagram.com/p/DIoVtFnOCD6/)
Blaxploitation writes:
Here’s an oddity that caused quite a stir on its discovery a few years back. A Swedish folk-funk album with a loungey feel, this classic dancefloor groover from the late 60s/early 70s . . . . If you like your funk just a little cheesy with plenty of big band brass and chunky drums, this is for you.
The Band opines that: “The ensemble playing is solid and Doris’ young voice is lovely, but they obviously did not have access to sheet music with correct lyrics — Doris and her backing singer do quite a bit of guessing/improvising here.” (https://theband.hiof.no/albums/did_you_give_the_world_some_love_today_baby.html) That must be about the cover of the Band’s “Whispering Pine” or Jan Bradley’s “Mama Didn’t Lie” or the Chiffons’ “One Fine Day”. Why didn’t Doris just ask Siri?!
Finally, Roger Wallis, from the LP reissue’s liner notes:
This LP marks the highlight in the career of a talented Nordic blond vocalist – Doris Svensson from Gothenburg, Sweden. It seems as though she’s finally managed to find and record a set of songs that suit her 100%. Maybe this isn’t surprising when you consider the musical genius that went into writing and scoring the album. Most of the material was written and arranged by TV producer, jazz-pianist, composer, “rarely-out-of-the-news-man-about-town” Berndt Egerbladh. Lyrical assistance was generously provided by . . . Francis Cowan. . . . . Anyway, quite a combination which gave a fantastic result, with a little help from the producer HĂĽkan Sterner. . . . Doris’ album provides 36 minutes of qualified musical joy guaranteed to satisfy all tastes. Discotheques will find that two numbers in particular, “Don’t” and “Beatmaker” are good box office draws. Jazz die-hards might even start visiting discotheques after digesting “I wish I knew” and “I’m pushing you out”. Note too an incredible ballad called “Daisies” and tell me if Sweden hasn’t produced a dangerous competitor for Melanie. Once again, this LP’s got something for everybody, the best of underground, jazz, rock and folk – not mixed up in one gigantic hotch-potch, but all in gentle harmony. Listen to Doris – a good time will be has by all.
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Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term Like Thisfamiliar to denizens of Capitol Hill, you pay to play! (ârelating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainmentâ â dictionary.com).
The playlist includes all the âgreatest songs of the 1960âs that no one has ever heardâ that are available on Spotify — now over 1,200 songs. The playlist will expand each time I feature an available song.
All new subscribers will receive a Brace for the Obscure 60s Rock magnet. New subscribers who sign up for a year will also receive a Brace for the Obscure 60s Rock t-shirt or baseball cap. See pictures on the Pay to Play page.
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I havenât watched the â69 flick Gli Angeli del 2000/The Angels of 2000. As to the the film, Soundohm tells us that it “is a 1969 flick directed by Honil Ranieri that has all the drug, sex and counter culture ingredients of the era but which had very small distribution when first released â it was probably better distributed its photonovel version rather than the film itself! . . . The music is amazing”. (https://www.soundohm.com/product/gli-angeli-del-2000)
Estudiodelsonidoesnob/soundstudiosnob describes the movie thusly (courtesy of Google Translate):
[A]nother . . . of the countless examples in which the music that illustrates the images for which it was conceived is infinitely superior to what is illustrated. . . . [The] story [is] of Marco, a drug dealer and addict obsessed with the memory of Valeria, his girlfriend, who died in front of him in a tragic accident. Marco maintains a kind of idyll with Angela, a student who lives in an apartment building near his flat and with whom he intends to replace the painful memory of Valeria. Disgusted with his life and his circumstances, he reluctantly participates in a gang war that seems to open his eyes and redeem him. Once he has achieved the feat, waiting for Angela and partly overcoming his traumas, while crossing the street to meet her, he is now the one who is run over, dying in front of her and thus preventing her from starting over.
Although much about [Italian composer, musician, and guitarist Mario Molino] remains unknown to this day, [he] was a prominent figure in the world [of] library music, celebrated for his genre-spanning versatility. On one hand, he was a virtuoso classical guitarist, while on the other, he had a strong foundation in jazz and contemporary music. This duality, spanning from classical guitar solos to spaced out psychedelic rock with fuzzed guitars, eccentric funk-infused Hammond organ grooves, proto-hip hop, and orchestral compositions, is reflected in his discography.
Since the mid-1960s, Edda Dell’Orso has provided haunting wordless vocals to a large number of film scores by Ennio Morricone [see #1,737] and other prominent, mostly Italian composers of those times; Piero Piccioni, Bruno Nicolai, Roberto Pregadio and Luis Bacalov. But her name is synonymous with Morricone and in particular, the soundtracks of the original spaghetti westerns of Sergio Leone, such as A Fistful of Dollars, The Good, The Bad, and The Ugly and Once Upon A Time In The West, where her dramatic voice was deployed as an instrument for the first time and to revolutionary effect. The singer’s sensuous and often playful vocals help provide tense atmospheres and dreamy moods to these soundtracks, as well as to the scores for Leone’s A Fistful Of Dynamite, composer Piccioni’s lovely music for the film Scacco Alla Regina, and Spanish composer Anton Garcia Abril’s strange but highly effective score for the offbeat 1967 sci-fi drama 4-3-2-1 Morte!, that with Edda’s assistance somehow successfully helps blend an atonal chamber orchestra with a go-go beat and cartoon jazz. In the 1970s, Edda contributed to two films by Italian shock horror director Dario Argento, including L’uccello Dalle Plume di Cristallo (The Bird With Crystal Plumage), and then in 1976 collaborated with the Italian progressive instrumental group Goblin (often used by Argento as well) for Perche Si Uccidono?“(Why Do They Kill Themselves), a film essay about drugs and self-destruction. She continues to perform and lives today in Italy with her husband, conductor and composer Giacomo Dell’Orso. Their last name translates to “of the bear”.
Originally from Genoa, [Edda Sabatini] moved to Rome with her family; she graduated in 1956 in singing and piano at the National Academy of Santa Cecilia in Rome, and began his career as a chorister in Franco Potenza’s choral group. In 1958 she married Giacomo dell’Orso, whom she had met at the Academy in 1952 and with whom she had a son and a daughter; after two years she joined [Alessandro] Alessandroni’s [see #815] “Cantori Moderni”, where she had the opportunity to participate in the recording of many 45s by artists of RCA Italiana. It was during these recordings, where Ennio Morricone was often present as arranger, that the maestro noticed Dell’Orso’s soprano voice, with a range of three octaves, and decided to entrust her with solo parts in the creation of some soundtracks, among which the most famous of this period were The Good, the Bad and the Ugly in 1966 and Once Upon a Time in the West in 1968, both by Sergio Leone. While continuing to sing in . . . Alessandroni’s vocal group , Edda Dell’Orso began a solo career . . . . 1971 is the year of Duck, You Sucker!, and it is the moment when her singing voice . . . enters the history of film music. . . . In 1972, as a soloist, still within the context of . . . I cantori moderni . . . she recorded the soundtrack of the successful drama A come Andromeda, composed and directed by Mario Migliardi. [see #1,586]
Finn Cohen talks about the resurgence of interest in Italian library music:
â[L]ibraryâ music â obscure vinyl records containing songs written directly for radio, television or ad placement, in this case the lush, string-laden, funk- and jazz-informed arrangements of classically trained Italian composers. âThere was no interest in this stuff when I started,â [says Lorenzo] Fabrizi[, who has] run the reissue label Sonor Music Editions since 2013. âThey had pressed 200, 300, 500, 1,000 copies, but they were not destined for shops or distributors. They were only given to internal circles of music supervisors, journalists and people who worked in television.â Sonor is one of several labels in the last few decades that have resurrected Italian classics from the European library genre . . . . From the 1960s well into the 1980s, there was a lot of money to be made in themes: TV and radio producers needed music to accompany opening credits, action or love scenes, game show sequences or advertising. Well-trained composers had access to large ensembles and budgets, and the Italians in particular swung for the fences. . . . âThey had a lot more latitude because they werenât making this music for a particular audience,â [says producer and composer Adrian Younge]. âSo if they needed something dramatic, they could just do the craziest [expletive] and wouldnât have to deal with somebody saying, âItâs not pop enough.ââ Because it had no commercial life, the output of many talented composers lay hidden for years. But in the late 1990s, labels like Easy Tempo started reissuing soundtracks and compilations of the Italian works. . . . âUnapologetically Black music came into the forefront for cinema in the late â50s through the early â70s; European composers, Italian composers took this sound and synthesized it with their classical teachings,â Younge said. âAnd that created a palette of music that inspired hip-hop producers generations later that were trying to find the coolest samples. It became a treasure trove for many of us.â For the character-based narratives of hip-hop, a genre built on finding loops from records few had heard, these compositions were practically begging to be mined. . . . Once the word got out about the Italians, a collectorsâ arms race was on.
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term Like Thisfamiliar to denizens of Capitol Hill, you pay to play! (ârelating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainmentâ â dictionary.com).
The playlist includes all the âgreatest songs of the 1960âs that no one has ever heardâ that are available on Spotify — now over 1,200 songs. The playlist will expand each time I feature an available song.
All new subscribers will receive a Brace for the Obscure 60s Rock magnet. New subscribers who sign up for a year will also receive a Brace for the Obscure 60s Rock t-shirt or baseball cap. See pictures on the Pay to Play page.
When subscribing, please send me an e-mail (GMFtma1@gmail.com) or a comment on this site letting me know an e-mail address/phone number/Facebook address, etc. to which I can send instructions on accessing the playlist and a physical address to which I can sent a magnet/t-shirt/baseball cap. If choosing a t-shirt, please let me know the gender and size you prefer.
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By rights, the Eyes of Blue should have an exalted place in the pantheon of art rock and progressive rock bands. They were around before almost all of them, and doing film work and making music in a jazz-rock fusion idiom before the latter had been understood, and they were signed to two major labels in succession, Deram and Mercury. Instead, except for drummer John Weathers, who later joined Gentle Giant, the Eyes of Blue are scarcely remembered at all. [It] started out as a jazz and rhythm & blues-oriented outfit . . . . They were initially signed to Decca’s progressive rock imprint Deram Records, and cut a series of excellent but neglected singles, and then moved to Mercury, where they concentrated on albums, enjoying their greatest musical if not commercial success. They were taken seriously enough to collaborate with Quincy Jones on the score of the movie Toy Grabbers, and the group actually managed to appear in the movie Connecting Rooms. Their early strength lay in R&B-based material . . . but even on their first album, the Eyes of Blue showed some Eastern influences. Their second album [In Fields of Ardath, from which “Chances” comes] had some tracks from the first film score . . . but is more experimental, with extended instrumental passages and some classical music influences. In late 1968, the Eyes of Blue backed Buzzy Linhart [see #346, 647] on a self-titled album, and they rated a supporting act spot at the Marquee Club in London in 1969, but their days were numbered given their lack of success as a recording outfit. Phil Ryan later played in Man, and John Weathers joined Pete Brown and Piblokto! on the Harvest label, before jumping to Gentle Giant.
In Fields of Ardath is so good that Quincy Jones wrote the liner notes after none other than Graham Bond had done so for them on the predecessor Crossroads of Time. Unfortunately, too freaky and strange was this band for mainstream success even back in the 60s so they remained a secret pleasure to club goers then . . . . [D]espite being as innovative and bizarre as King Crimson and sounding a bit like early Genesis [see #767] gone into ultra neoclassical moods Mercury Records f*cked this band’s career up just as was and always will be common practice for record companies. . . . Apparently the lyrics on the album all stem from the occult . . . . [It] had roots in African, jazz, classical, rhythm and blues and whilst all but classical and African are American music forms we didn’t have a band nor really was there another band quite as strange as Eyes Of Blue. . . . There are songs on this album . . . that are so crazily uncommercial and inventive . . . . The more you concentrate on the nearly frantic changes of mood, vocal and instrumental acrobatics, and imagery the more into the dark spirit world you journey. . . . [It] is so good . . . . Every track is a masterpiece.
The title track and several of the songs built around the theme of reincarnation.* . . . Featuring a largely original collection of material with writing contributions from all the band members, their sophomore album wasn’t particularly focused. Progressive influences predominated . . . but the band seemed more interested in broadening their musical horizons. This time around there were a host of influences including country-rock . . . English blues . . . pop . . . and even a scratchy tribute to jazz guitarist Django Reinhardt . . . . The combination of Ray Bennett’s lead guitar and Phil Ryan’s Hammond B-3 and keyboards provided the album with a thick and elaborate texture. As lead vocalist Pickford-Hopkins raspy voice remained an acquired taste, though to be perfectly honest, he was occasionally all but drown out by the elaborate arrangements. While nowhere near as much fun as the debut the collection wasnât a complete wash out. Perhaps not a big surprise, but to my ears they were at their best when sticking with more mainstream rock oriented material . . . . It was all pleasant, but hardly the forgotten classic some dealers would have you believe.
To quote the liner notes: âThe title of the album stems from the interest of Eyes of Blue in the supernatural and the occult. Ardath is the title of a book by Marie Corelli published in 1897. The theme of the novel is based on the story of reincarnation. According to the book the field of Ardath is located near the ruined city of Babylon. Corelliâs characters find evidence for this presumed location in the Book of Esdras.â Admittedly that description left me puzzled. Here’s some additional information I found on Wikipedia: “The Fields of Ardath are a mystical meadow of ancient Babylon, symbolizing unity and diversity. It represents a place where individuals can find their personal experiences while contributing to a unified entity. . . . It also symbolize a place on Earth where one physically journeys to, representing the reincorporation of lost parts of the soul and the healing of karma. It is a healing measure that involves disturbances to create necessary healing and information for soul growth and reintegration.”
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,869)The Lovinâ — âAll Youâve Gotâ
This, the Nottingham band’s second A-side, is an “appealing slice[] of pop psych” (Vernon Joynson, The Tapestry of Delights Revisited) that sounds just like an 80’s New Wave hit — in fact, it should have been a New Wave hit! The video on M-TV would have been so cool. After the Lovin’, the band was championed by the Troggs’ Reg Presley and became the Nerve (see #418, 1,387). Acolytes of the Troggs? Trogg-lod-ytes!
Discogs tells us:
F[irst] Mark Faine And The Fontains, the[n] . . . The Children . . . . In 1967 they signed to Page One Records. Label owner Larry Page insisted on a name change and liked The Lovinâ. Under this name they made their record debut with âKeep on Believinââ. One other record followed before they changed their name again, this time to The Nerve. Three records were released as The Nerve with âPiece By Pieceâ [see #1,387] their best known. The songs were produced by Reg Presley from The Troggs, after seeing them in action in a hotel where the Troggs stayed. He became their manager in 1968. Finally they issued their last single âYou Wrecked My Lifeâ as Duffy Taylor Blues, before returning home as virtual unknowns.
[They] being groomed for stardom by none other than legendary independent pop impressariio, Larry Page before being championed and produced by . . . Reg Presley. Presley was so impressed by the bandâs energy, look and original songwriting, he himself directed their infamous promo shot for the Fleet Street press!! . . . [The Nerve was] an everyday provincial rock band . . . thrust into the dazzling limelight of Londonâs pop circus at the height of the British pop phenomena in the 1960s!!
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,868)The Egyptians — âSuzanneâ
Don’t even think Leonard Cohen, think an anthemic love song with the singer desperately but blissfully urging the woman who changed his life to come back. “Before you came, I lived a lonely life, then you changed my ways, Suzanne” Oh, and this is certified authentic ’66 garage rock from Hot Springs, Arkansas! Well, the song worked. 2020catdaddy commented on YouTube 14 years ago that: “This is my older brother Bob singing about his girlfriend at the time and now his wife of 40 years Suzanne (Bayles). He still plays in a band at his church in Georgetown outside of Austin Texas. Mike.” (https://www.youtube.com/watch?v=P4K5CI0Bi8o) OMG, that is so sweet! And jocelynn62985 then added: “I service Bob and Suzanne’s house . . . . Have so for the past almost 5 years. Some of the absolute most wonderful people you could hope to meet!!!” (https://www.youtube.com/watch?v=P4K5CI0Bi8o) Sometimes garage rock can reaffirm one’s faith in humanity. This is one of those times. Also check out âCryin All Night Longâ (see #936) by the Invaders for similar uplift.
As to the Egyptians, MeArtist unearthed these antiquities:
Written & sung by Bob McFarland, vocals/lead guitar; Jack Atkinson, vocals/bass; Shelley Tackett, vocals/organ; Mike Jones, vocals/12 string guitar; James Gilford Scott, vocals/drums. . . . Bob left in 1967, the group disbanded in ’68 after remaining members graduated from high school and went their separate ways.
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,867)Dave Miller, Leith Corbett and Friends — âReflections of a Pioneerâ
The Dave Miller Set (see #1,010) set sail from New Zealand to Australia, and when the sun set on the band, Miller teamed up with former bandmate Leith Corbett to record an LP that included the exquisite, easy-going “country-tinged psychedelic pop” of the title tune/A-side (New Zealand Music of the 60âs, 70âs and a bit of 80âs, https://webarchive.nla.gov.au/awa/20090915214845/http://www.sergent.com.au/davemillerset.html), which ranks with Ola and the Janglers’ “La, La, La” (see #323) as having one of the great “la la la” refrains. It was “inspired by the life of his grandfather”, who had recently died at 98 years of age. (https://www.45cat.com/record/ek4002)
The definitive MILESAGO: Australasian Music & Popular Culture 1964-1975 tells us:
After the breakup [of the Dave Miller Set], Dave had a short holiday . . . and he began working on new songs. John [Robinson], Leith and Mike [McCormack] stayed together and in April 1970 they recruited Neale Johns as their new lead singer. . . . Renamed Blackfeather, they became (albeit briefly) one of the most successful and celebrated Aussie bands of the early 70s with their classic single “Seasons Of Change” . . . and their debut album At The Mountains Of Madness. . . . Leith and Mike both left Blackfeather shortly after it formed, but Leith and Dave had remained close. Leith was a regular visitor at the Miller home . . . and it wasn’t long before the pair had developed the idea for an album. Through the winter months of 1970 they wrote the songs — Dave wrote nine of the 11 tracks that ended up on the LP — and then recorded the backing tracks, playing all the instruments except the drums and producing themselves. It is surely the first duo project of its kind in Australian rock. It’s a very individual and innovative work, blending influences from heavy rock, folk, progressive, psychedelia and country. Even if it’s not entirely perfect, it still has a lot of value . . . their first venture into the album format . . . their first major outing as songwriters. . . . [and] self-produced . . . . Dave: “I enjoyed working with Leith. It was very concentrated, very tiring, very high energy, but the pair of us bounced off each other. To this day it’s one of the happiest musical projects I’ve ever been involved with, and for that I’m grateful to him … it was just fun to do!” The LP was released in around September 1970 with the evocative title Reflections Of A Pioneer . . . .
Dave recalled that “For the first time, in my musical life, I had the luxury of time! I set about writing with no pressures, and it become a fulfilling way to move on past The DMS.” (https://thestrangebrew.co.uk/interviews/dave-miller/)
As to Dave Miller and the Byrds and then the Dave Miller Set, New Zealand Music of the 60âs, 70âs and a bit of 80âs says:
Dave Miller and the Byrds came from Christchurch, before moving to Auckland in 1965. They were one of the best R&B cover acts to appear in the early sixties, faithfully reproducing all manner of Chuck Berry and Chicago blues originals on stage. . . . In 1962 Phil Garland formed the Playboys . . . . [a] later version of the Playboys consisted of Graeme Miller, John OâNeill, Kevin OâNeill, Brian Ringrose, Phil Garland and Dave Miller. Phil left the group and with Dave Miller as the lead singer, and a couple of more personnel changes, they very shortly afterwards renamed themselves Dave Miller and the Byrds. After arriving in Auckland, they soon became a top attraction on the club scene. The group came to the attention of Eldred Stebbing [owner of the Zodiac label] and he soon had them into his studio to do some recordings. âBright Lights, Big Cityâ, a cover from the Pretty Things [see #82, 153, 572, 1,327], was their first single on Zodiac in 1965 . . . and it performed quite well on the local charts. . . . In 1967, [two members departed and] the rest of the group renamed themselves the Dave Miller Setand moved to Australia.
Not long after their arrival, the band fell apart and Dave put together a new line-up with John Robinson on lead guitar. . . . A recording contract was negotiated with Spin Records . . . . In 1969 . . . John Robinson emerged as a fluid and inventive guitarist and the Dave Miller Set attained prominence as one of the first heavy rock bands on the local scene in the Led Zeppelin mould. Under the direction of Festivalâs in-house producer Pat Aulton, the band cut its fourth single, âMr Guy Fawkesâ [see #1,010] . . . in July 1969. . . . By 1970 the group was near its end. . . .
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,866)Ike & Tina Turner — âWhat You Donât See (Is Better Yet)â
An absolute scorcher from Ike & Tina’s (see #212, 329, 837) underrated ‘Nuff Said LP. Tina “is a vocal BEAST!!!!! Good Lawd!!!!!” (ronaldwilliamson5696, https://www.youtube.com/watch?v=mC41K6lL6GY) and Ike and the band’s “speedy, flickering wah-wah guitar work, thrusting rhythm, and blustery horn section are rated XXXtraordinary. (The song foreshadows Lightninâ Rodâs ultra-funky, proto-rap classic ‘Sport.’)” (Buckley Mayfield, https://jivetimerecords.com/2023/05/ike-tina-nuff-said-united-artists-1971/) Well said, guys!
Buckley Mayfield LOVES ‘Nuff Said:
âNuff Said yielded no hits, an oddity for the Turners in the early â70s, but no matter. This albumâs stacked with raw and soulful funk rock that could enliven any DJ set. Ikeâwho was a very, very bad manâproduced and arranged with his usual commanding skill, and his band, the Vibs (formerly the Kings Of Rhythm), are tight as hell and funkier than a mosquitaâs tweeter. Drummer Soko Richardson, bassist Warren Dawson, and guitarist Jackie Clark are particularly on fire here. . . . Anyway, if you like filthy funk and gritty, soulful singing by a mega-talented married couple in the midst of a torrid creative streak, you need âNuff Said in your collection.
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,865)Thomas and Richard Frost — âThe Cityâ
Here is a folk rock gem from another contender for the greatest lost album of the 1960âs â Thomas and Richard Frostâs (actually Thomas and Richard Martin) psych pop classic Visualize (see #209, 211, 247, 385, 595, 775, 967, 1,733). Alec Palao says that â[t]he unreleased album Visualize . . . taken with its attendant singles . . . is a sparkling and heartwarming gem of late 1960s popâ. (http://rockasteria.blogspot.com/2013/12/thomas-and-richard-frost-visualize-1969.html?m=1)
Palao gives some background:
[T]he thundering mod sound of the Martins power trio Powder [see #789, 1,556]; whose own LP, recorded while the group was based in Los Angeles and employed as Sonny & Cherâs road band, remained frustratingly unissued, and indeed acted as a precursor to the creation of the masterpiece [Visualize]. [A]fter the Powder debacle, the Martins returned to northern California to lick their wounds and demo some more introspective material. . . . [Their] innate . . . pop sensibility lingered in new compositions like âSheâs Got Loveâ [see #211]. It was to be the latter tune that caught the ear of promo man John Antoon, who signed the Martins to his . . . publishing imprint, assumed managerial duties and got the duo signed to Imperial Records under the nom de disque Thomas & Richard Frost. As a single, the simple, catchy âSheâs Got Loveâ was to achieve a modicum of success as a turntable hit, reaching only the lower half of the Billboard Hot 100 in late 1969, but with strong regional airplay across the country, upon the back of which the Frosts were able to tour. Back in LA, Rich and Tom made the scene with their pals Rodney Bingenheimer and Frank Zinn, enjoying a brief but eye-opening spell as bona fide pop stars. Plans were big for the Frosts, with a full, lavishly orchestrated, album release, but it was all to fall apart as the follow-up singles stiffed and parent label Liberty/UA decided to wind down Imperial. . . . . The proceedings are imbued with the Zeitgeist of Los Angeles in its last throes of pop innocence, and the Martins heart-on-their-sleeve Anglophilic sensitivity is less derivative then remarkably refreshing, with superbly recorded arrangements that any late 1960s pop fan will cherish.
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Well, Jan Zarebaki found it too difficult not to go overboard, not that thereâs anything wrong with that:
[The LPâs] sophisticated jazzy undertow … and sparse, intelligent arrangements are bound together by a female vocal so delicious, it could be picked and eaten. Opener “Forget About You” could be a template â pure, sparkly guitar and wispy, shuffling drums underpin that voice”
Oh, and Sue Eakins herself commented on YouTube a few years ago: âHappy [âForget About Youâ] is still here. In 2023, amazing! — Sue Akins ⥠you all”. (@suenamifree, https://www.youtube.com/watch?v=0M54vMqzD1c)
LPCD Reissues tells us:
Recorded to showcase the prodigious talents of teenage singer/songwriter Sue Eakins, the Hendrickson Road House album was issued in 1970 as a limited edition pressing by the Ojai-based Two:Dot studio/label. Widely regarded these days as one of the rarest vinyl artefacts to emerge from the late 60s Californian counterculture, the LP now sells for in excess of $1000 on the rare occasions that copies surface.â
Lost for more than 40 years and coveted by a handful of acolytes willing to exchange $1,000 for a copy, this is a rediscovered gem so pure it makes all previous claims to that title look like uneducated sycophancy. . . . [T]he coherence of the material belies its variety. Intense harmonising . . . prog-like time changes . . . and free-roaming jazz . . . the album is littered with unique and varied touches of class in all departments. . . . Whoever you are â or think you are â you need this record.
This rare, moody folkrock album is one of the few from the era in which the creative force is a woman, Sue Eakins. It isnât much like all of the Airplane- wannabe bands, either. [It] has a distinctive sound with mildly jazzy arrangements, subtle lead guitar, a tad of autoharp, smooth vocals and a definite late-night feel. The guitar playing has a bit of a westcoast influence, though itâs not the least bit heavy. The closest comparison would be the Serpent Power songs with Tina Meltzer on lead vocals [see #873]. . . . [L]ocal Ojai [California] 19 year-old Eakins (listed as âAkinsâ on the sleeve) sings all of the songs, and the album has a coherence not often felt in the genre.
The Acid Archives, 2nd Ed. (Patrick Lundborg, ed.)
Sea Eakins tells PHILL MOST CHILL aka SOULMAN:
About half of my songs were from personal experience, (like) âForget About Youâ. Of course, you figure when Iâm nineteen how experienced am I? I havenât had the great heartbreak of the century or anything. But âForget About You … very personal if you understand what the songâs about. . . . The funny thing is the better songs, at least the ones I like, almost literally wrote themselves. It was almost as if someone stepped into the room, or stepped into the brain and said âget a pencil and write this down as fast as you can- hereâs the melody, now go figure out the chords.â And literally, when a song would start to come to me the words would be coming and I wrote them down as fast as I could so I wouldnât forget them. The melody was there, it was coming right along with (the lyrics). âForget About Youâ was like that . . . a couple of others⌠very little changes made to those. And it really was like someone was in my head saying âhere, hereâs what you need to do.â
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,863) Ronnie Burns â “Easy Rider”
No, this is not the Byrdsâ âBallad of Easy Rider”! It is “Easy Rider”, performed by Ronnie Burns (see #1,657) , âone of [Australiaâs] truest pop heroesâ (Paul Culnane, http://www.milesago.com/artists/burns.htm), and written by his frequent collaborator Johnny Young. To be fair, Burns is headed to experience America livin’ like Easy Rider! But, given how things went down at the end of Easy Rider, I’m not sure he really wants to do that. Easy Rider is of course “the landmark American film” starring Peter Fonda, Dennis Hopper and Jack Nicholson in which “[t]wo hippie bikers set out to discover ‘the real America’ and wind up taking the ultimate bad trip”. (https://www.amazon.com/Easy-Rider-Special-Peter-Fonda/dp/B000022TSY) You all owe it to yourselves to listen to Little Steven’s paean to the flick — https://www.undergroundgarage.com/shows-589-580/show-589-easy-rider (set #3).
Paul Culnane tells us Ronnie Burnsâ story in the definitive Milesago: Australasian Music & Popular Culture 1965-1975:
He began his musical career as a folk singer in Melbourne before catching the âBeatle bugâ in 1964, whereapon he became a founding member of The Flies . . . . one of the very first bands in Melbourne to catch on to the new âbeatâ style and gained attention as âVictoriaâs top Beatle-alikesâ . . . . achieved considerable popularity on the booming Melbourne dance circuit, with a repertoire of Brit-vasion standards from the catalogues of The Searchers, The Hollies and Hermanâs Hermits and others . . . . The Flies toured interstate during late 1964 and early 1965 . . . . supporting The Rolling Stones on their first Australian tour in January 1965. . . . Ronnie quit the band in August 1965 to go solo . . . . [He] clean-cut image, appealing, boyish, dimpled good looks and impeccable sartorial presentation immediately made him a favoured TV and pin-up star when he launched his solo career under the aegis of leading Melbourne impresario Jeff Joseph. . . . Ronnie could often be seen on pop TV shows including The Go!! Show and Uptight . . . . was extremely popular, and enjoyed a series of strong chart hits, many written and/or produced by the cream of Aussie pop composers and backed by some of our top musicians. And he was voted Australiaâs most popular male performer, or âKing Of Popâ, on more than one occasion. . . . [H]is popularity gradually spread thanks to regular TV and concert appearances. He signed a solo recording contract with the Spin label, and his debut solo single for them . . . âVery Last Dayâ . . . . made the Top 20 in Melbourne in June 1966, as did the follow-up, âTrue True Lovin’â . . . (#17 in September), and it also made the new Go-Set national Top 40, first published in the 5 October 1966 edition, coming in at #22 in the inaugural chart. . . . He scored major success on the singles chart by tapping into a rich vein of material written by his illustrious label-mates The Bee Gees . . . . The Bee Gees [see #291, 353, 354, 439, 466, 484, 497, 570, 594, 717, 861, 962, 1,065, 1,101, 1,125, 1,190, 1,321, 1,336, 1,343, 1,465, 1,584, 1,640, 1,685, 1,843] penned Ronnieâs third solo single âCoalmanâ . . . especially for him . . . . [It] became a national Top 10 hit . . . peaking at #6 . . . . [and] followed by another brisk, hard-beat Gibb number, âExit Stage Rightâ . . . peak[ing] at #19 at the end of July. . . . His growing popularity was certainly assisted by the fact that his biggest competitor, Normie Rowe, had been away from the local scene, first with trips to Europe and America in 1967, and then by his call up for National Service . . . . in early 1968. The Groopâs songwriting team of Brian Cadd and Max Ross, provided Ronnie with both sides of his next single, âWhen I Was 6 Years Oldâ, which charted briefly in Go-Set, reaching #28 (Mar. 1968) . . . . Ronnieâs next single â and one of his best â was the magnificent âAge Of Consentâ (#16, Jan. 1969), a lush, emotive ballad penned by The Twilightsâ [see #563] Terry Britten . . . . Britten wrote quite a few songs for Burns, as did Johnny Young. . . . Ronnie toured the land extensively over the next few years . . . . Johnny Young produced a full albumâs worth of solid material in 1969âs Smiley. The LPâs wistful title track was an enormous hit for Ronnie in December 1969, only just missing out on the #1 spot [with todayâs song on the B-side]. It was one of the few Australian hits of the â60s to directly address the issue of the Vietnam War, although it was not the first, as is sometimes claimed â that honour goes to The Masters Apprenticesâ âWars Or Hands Of Timeâ [see #297] . . . . Further introspective Young-penned songs for Burnsâ singles, like âThe Prophetâ and âIf I Dieâ helped to prolong Ronnieâs turn in the spotlight. After a couple more polished pop albums that featured well-chosen material from notable singer-songwriters of the day . . . . Burns retreated from the glare of the pop music spotlight for some time. . . .
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,862) The Velvet Underground â âPaleBlue Eyesâ
I hope you werenât expecting Metal Machine Music! ThĂs touch of velvet is “possibly one of [Lou] Reedâs finest love songs (that heâd been working on as early as â65 with [John] Cale), gentle, understated, propelled by the most unassuming tambourine in rock: the[ir third] albumâs first real masterpiece”. (Ian Fortnam, https://www.loudersound.com/features/velvet-underground-albums) Until Tomorrow Blog calls it “[t]he best of the bandâs more elegant and simplistic style songs” in which “[a] beautiful, yet complex message is conveyed through the lyrics and furthered by a tender and terse solo”. It “can bring you to tears or inspire you, but it still contains a quiet force.” (https://untiltomorrowblog.wordpress.com/2016/07/18/ranking-the-songs-of-the-velvet-underground/)
Joe Jatcko writes:
Appearing on the groupâs third albumâ the first not to feature co-founder John Caleâthis song is a study in understatement for a band previously known for their heavy, guitar driven sound. A bittersweet ballad penned by Lou Reed for his first love â who just happened to be married at the time â Reed trades in his usual sarcastic wit for earnestness in one of the bands most beautiful and haunting songs.
Backed by a depressive tambourine (how is that even possible?), muffled guitar and gentle Hammond organ drone, Reed sings about his boundless, and ultimately rebuffed, love for a married woman (which in real life was his first serious love, Shelley Albin, whose hazel eyes he took some poetic liberties with). Nearly every line is emotionally devastating . . . . This isnât romance; itâs melancholic acquiescence to letting your heart override your brain as you pledge fealty to a lover who, despite your own misgivings and the stringent judgment of the world, has complete power over you. . . . [A] gospel undercurrent runs beneath the temporal concerns, and somehow Reed makes an adulterous liaison seem like the holiest treasure of all.
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term Like Thisfamiliar to denizens of Capitol Hill, you pay to play! (ârelating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainmentâ â dictionary.com).
The playlist includes all the âgreatest songs of the 1960âs that no one has ever heardâ that are available on Spotify — now over 1,200 songs. The playlist will expand each time I feature an available song.
All new subscribers will receive a Brace for the Obscure 60s Rock magnet. New subscribers who sign up for a year will also receive a Brace for the Obscure 60s Rock t-shirt or baseball cap. See pictures on the Pay to Play page.
When subscribing, please send me an e-mail (GMFtma1@gmail.com) or a comment on this site letting me know an e-mail address/phone number/Facebook address, etc. to which I can send instructions on accessing the playlist and a physical address to which I can sent a magnet/t-shirt/baseball cap. If choosing a t-shirt, please let me know the gender and size you prefer.
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THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
Baby, baby, am I hooked on “Hello L.A., Bye Bye Birmingham”, which should have an exhibit at the songwriting hall of fame. Written by Mac Davis and Delaney (“Delaney & Bonnie”) Bramlett, many artists have recorded (Chris Richardson, https://www.zeroto180.org/hello-l-a-bye-bye-birmingham-the-other-johnny-marr/) this “terrific song about a cross-country ramble” (Gillian G. Gaar, https://rockandrollglobe.com/pop/these-boots-keep-a-walkin/) and yet it never became a hit. Larry writes that “[t]he popularity of the song doesnât surprise me, since it has the kind of funky framework that works well at just about any speed, as well as a fantastic lyric about a cat that bags his home turf and goes on the road to seek success as a songwriter.” (https://funky16corners.com/?p=4271) The song is uniquely pliable — letting diverse artists make it their own.
Jason Ankeny gives us Davis’ story:
At his commercial peak in the mid-’70s, Mac Davis was one of America’s most popular entertainers, a countrypolitan-styled singer and actor who found considerable success in both fields. First making his name in the music business as a label manager and a songwriter, he went on to become a star on the strength of his warm, smooth voice, engaging personality, and confident but self-effacing demeanor. . . . Born Scott Davis in . . . Lubbock, Texas, he began performing in local rock groups while still in his teens. After moving to Georgia, Davis first broke into the music business in 1962, when he was hired by the Chicago-based record label Vee-Jay as their Atlanta-based regional manager. After joining the Liberty label three years later, he moved to Los Angeles in 1967 to head the company’s publishing arm, Metric Music; in addition to running Metric’s day-to-day operations, he also began composing his own songs, with Glen Campbell, Bobby Goldsboro, Lou Rawls, and Kenny Rogers & the First Edition among the artists recording his work. In 1968, Elvis Presley [see #80, 879] recorded Davis’ “A Little Less Conversation,” and soon the King was requesting more of his work. After notching a Top 40 hit with Davis’ “Memories,” Presley reached the Top Five in 1969 with the songwriter’s “In the Ghetto[]” . . . Davis also arranged the music for Presley’s first television special before signing his own recording contract in 1970. That year, he released his first chart single, “Whoever Finds This, I Love You,” from his debut album, Song Painter [which also contains today’s song]. In 1972, Davis scored a number one pop hit with “Baby, Don’t Get Hooked on Me,” which also reached the country Top 20. His crossover success continued throughout the decade, with singles like 1974’s “Stop and Smell the Roses,” 1975’s “Burnin’ Thing,” and the following year’s “Forever Lovers” scoring with listeners in both camps. Between 1974 and 1976, Davis hosted a musical variety show for NBC television, followed by a string of specials; in 1979, he also starred in the film North Dallas Forty with Nick Nolte. Davis’ success continued in the early ’80s; “It’s Hard to Be Humble[]” . . . was the first of four consecutive Top Ten country hits that culminated with his biggest country single up to that point, “Hooked on Music,” the next year. . . . A co-starring role . . . in 1983’s disastrous The Sting II . . . seriously slowed the momentum of his film career . . . . In 1985, he had recorded his last Top Ten hit, “I Never Made Love (‘Til I Made Love with You).”
William Ruhlmann does the same for Delaney Bramlett:
Although his popularity was often eclipsed by the artists he mentored, Delaney Bramlett was an accomplished guitarist and singer/songwriter whose style influenced the likes of Eric Clapton [see #769], J.J. Cale, and Duane Allman. A native of Pontotoc, MS, he served time in the U.S. Navy before moving to Los Angeles in 1959. He soon became a member of the Shindogs, the resident band on the TV show Shindig. . . . allow[ing] Bramlett to rub shoulders with other notable musicians, and in 1967 he met Bonnie Lynn O’Farrell, a member of Ike & Tina Turner’s [see #212, 329, 837, ] backup group the Ikettes. The two were married within five days; they also formed a duo named Delaney & Bonnie. Delaney & Bonnie cut an album for Stax Records in Memphis, backed by Booker T. & the MG’s, but the record was not released at first. They then expanded the group (welcoming such musicians as Leon Russell into the fold) and adopted the modified name Delaney & Bonnie & Friends. This new lineup recorded Accept No Substitute in 1969, and although its sales were lukewarm, the album still endeared Delaney Bramlett’s music to a number of rock icons. Eric Clapton took particular interest and invited Delaney & Bonnie & Friends to tour alongside Blind Faith in mid-1969; he then left his band and joined Bramlett’s loose collective, along with such notables as George Harrison and Dave Mason. This resulted in the release of On Tour with Eric Clapton . . . . Delaney & Bonnie made several more albums before divorcing . . . . Delaney Bramlett then released his debut solo effort, Something’s Coming, in 1972, followed by Mobius Strip (1973), Giving Birth to a Song (1975), and Delaney Bramlett and Friends — Class Reunion (1977).
Harvey (see #440, 684) included his version — possibly the best recording of the song — on his â69 solo LP Roman Wall Blues.
William Ruhlmann tells us of the sensational Harvey that:
Alex Harvey was a British journeyman rocker who enjoyed a brief period of widespread popularity in the mid-’70s after decades of struggle. Growing up in Scotland, he turned to music in his late teens and was in a skiffle band by 1955. By 1959, it had evolved into the Alex Harvey Big Soul Band[, which he] took the group to Hamburg, West Germany in the early ’60s . . . . [They] made their London debut in February 1964 . . . . In 1965, Harvey dissolved the Big Soul Band and later returned to Glasgow. But he was back in London in 1967, assembling Giant Moth, a psychedelic group that existed only for a short time. He then accepted a job working in the pit band of the musical Hair . . . . In 1969, he released Roman Wall Blues, his first solo effort in five years. Up to this point, none of his musical efforts had attracted much attention. But in the early ’70s, he recruited the Scottish band Tear Gas . . . christening the resulting quintet the Sensational Alex Harvey Band. Their first two albums . . . didn’t sell, but in the fall of 1974 The Impossible Dream became Harvey’s first chart record in the U.K. . . . Tomorrow Belongs to Me followed in the spring of 1975, hitting the Top Ten along with the Top Ten singles placing of Harvey’s flamboyant cover of the Tom Jones [see #330, 380, 1,691] hit “Delilah.” With that, Next belatedly made the charts, and in September Sensational Alex Harvey Band Live came out and reached the Top 20 (also making the Top 100 in the U.S), as “Gamblin’ Bar Room Blues” became a Top 40 single. This commercial success continued into 1976, with Penthouse Tapes entering the LP charts in April and becoming a Top 20 hit, “Boston Tea Party” making the singles charts in June and making a Top 20 showing, and SAHB Stories following in July and just missing the Top Ten.
The glorious Nancy Sinatra “sound[s] coolly confident as she sets out on the road to fame and fortune”. (Gillian G. Gaar, https://rockandrollglobe.com/pop/these-boots-keep-a-walkin/) Her version “feel[s] like [a] remnant[] of Hollywood’s weirdest era, and . . . help[s] make for a convincing portrait of Nancy Sinatra as an idiosyncratic artist happily working within the confines of L.A.’s lushest studios.” (Stephen Thomas Erlewine, https://www.allmusic.com/album/start-walkin-1965-1976-mw0003442919)
Oh, and it was co-produced by Harry Nilsson (see #1,168, 1,298, 1,854) and Gary Osborne. Osborne reminisces:
I met Harry Nilsson in London in 1969 when I was working at his record company RCA. Harry produced the backing tracks for “1941” and “Pity The Man” but although Randy Marr had a terrific voice Harry found it impossible to get vocals out of him in the studio. I happened to be visiting LA at the time and Harry asked me to have a go at producing Randy’s vocals on those two tracks. Nilsson liked the result … and asked me to produce and mix the whole of the rest of the Album with him as Executive Producer. I was only 20 at the time and quite inexperienced … which probably shows, nevertheless it was a very happy 4 or 5 months. My fee for the album was $1000 so I went home to England and waited for Nilsson’s manager, Denny Bond, to send me the cheque… He never did! A dozen or so years later on a drunken night in London I mentioned to Harry in passing that I had never been paid. He wrote me a cheque there and then. At the time I was writing with Elton John [see #175, 1,598] and had just had a million seller called “Little Jeannie” so, not being short of money, I just pinned the cheque to the wall in my Kitchen where it stayed until it eventually expired … now Harry too has expired. So although you may not be mad about the album, at least I can claim that, having never been paid for my work, it was truly “a labor of love”.
[T]his album does indeed sound a bit like a Harry Nilssen record. But one can also hear touches of Ray Charles, Randy Newman and CCR in the mix. The music is heavily orchestrated. Horns and strings dominate over the more rocking aspects of the music. The tone of the record is one of celebration and jubilation. Its really happy! It almost reminds me of a circus or tent revival down in the bayou swamps with John Marr as the delirious ringmaster.
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term Like Thisfamiliar to denizens of Capitol Hill, you pay to play! (ârelating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainmentâ â dictionary.com).
The playlist includes all the âgreatest songs of the 1960âs that no one has ever heardâ that are available on Spotify — now over 1,200 songs. The playlist will expand each time I feature an available song.
All new subscribers will receive a Brace for the Obscure 60s Rock magnet. New subscribers who sign up for a year will also receive a Brace for the Obscure 60s Rock t-shirt or baseball cap. See pictures on the Pay to Play page.
When subscribing, please send me an e-mail (GMFtma1@gmail.com) or a comment on this site letting me know an e-mail address/phone number/Facebook address, etc. to which I can send instructions on accessing the playlist and a physical address to which I can sent a magnet/t-shirt/baseball cap. If choosing a t-shirt, please let me know the gender and size you prefer.
Just click on the first blue block for a month to month subscription or the second blue block for a yearly subscription.
Brace for the Obscure (60s rock)! / Off the Charts: 60s Rock Revelationsđ 