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Σάββατο, 21 Νοεμβρίου 2009
Κυριακή, 08 Νοεμβρίου 2009
John Mayall's Bluesbreakers - Fillmore Auditorium - San Francisco,CA. - Feb.9,1968
John Mayall - vocals, guitar, harmonica, keyboard Mick Taylor - guitar
Keith Tillman - bass
Chris Mercer - tenor sax, organ
Dick Heckstall-Smith - alto and tenor sax
Keef Hartley - drumsFew bandleaders in the 1960s had the vision or ability to constantly change musicians and still create intriguing music every step of the way. John Mayall was one. Like Miles Davis and Frank Zappa, Mayall had a visionary knack for recognizing young talent and more importantly, how to assemble and arrange this talent into powerful musical units. In many cases, Mayall was the catalyst for these younger musicians discovering their own voices, gaining confidence, and defining their sound. This inevitably led to musicians striking out on their own, often to much greater success.
In the mid-1960's, Mayall had some of the greatest British guitar players working for him. Eric Clapton, followed by Peter Green, had helped redefine British Blues and brought a raw intensity as well as volume to the proceedings, that was being recognized globally. At the time of this concert, Green had departed to form Fleetwood Mac and Mayall brought in the young Mick Taylor as lead guitarist, yet another visionary choice. With a Bluesbreakers lineup that now featured Dick Heckstall-Smith and Chris Mercer on saxes and the rhythm section of Keith Tillman and Keef Hartley, they were a serious force to be reckoned with.
This incredible night, where John Mayall and the Bluesbreakers performed between Albert King and the Jimi Hendrix Experience must have been a feast for blues fans and guitar players alike. The recording begins poorly mixed during the opening "Dust My Broom," but by the second song "So Many Roads," the instrumental balance is quite good. Mick Taylor fans might find this recording like a holy grail, as so little exists of this era. Mayall released two poorly recorded live albums of this lineup that, although sourced from mono recordings, clearly demonstrated that Mick Taylor was indeed in the league of his predecessors. Here one can enjoy that same era in far better clarity.
Being on a bill sandwiched between King and Hendrix must have been intimidating for all involved, especially Mick Taylor, but he rises to the occasion. His fluid guitar playing is simply outstanding on this set. One gets the sense that Taylor studied his predecessors carefully and was consciously avoiding duplication. He is striving for a sound uniquely his own and he is thoroughly successful. He has little interest in flashiness and instead, often plays in a manner both thoughtful and refined. This isn't to say he doesn't cut loose - he does spectacularly on "So Many Roads" and "My Own Fault," the two most improvisational pieces. On these, he has plenty of bite, a distinct touch and a delicious tone. The set ending "Soul of a Short Fat Man" features drummer Keef Hartley and it's a wild blowout by all concerned.
Review :/www.wolfgangsvault.com/
This lineup only lasted for a brief span of time, but the music they created deserves and rewards attention. Once again, these musicians would soon move on to more challenging adventures. Dick Heckstall-Smith would soon be a founding member of Colosseum. Chris Mercer would hook up with Juicy Lucy. Keef Hartley would establish his own band, and of course, Mick Taylor, would become a Rolling Stone the next year and soon be a prime component on some of the decade's most memorable music. However, it was right here that these musicians were discovering themselves,+August+6,+1970%5D.jpg)
1 - Dust My Broom
2 - So Many Roads
3 - I Can't Sleep
4 - It's My Own Fault
5 - Soul Of A Short Fat Man
Fillmore West (Carousel Ballroom), August 6,1970
Fillmore West Auditorium Today
Shot in 1968 on Rick Shaw's "Saturday Hop", Miami, FL. John Mayall - v,g Mick Taylor - g. Stephen Thompson -b. Collin Allen - dr. - John was 34 years old and had a young looking Bluesbreaker band that didn't look too enthusiastic being on TV. Check out Mick Taylor on the guitar. Sooo young and talented...
V.A. Nuggets From The Golden State. Dance With Me US West Coast S.F. Psychedelic Garage Pop
Dance With Me: The Autumn Teen Sound (Nuggets From The Golden State series) The second instalment in the great series of '60s West Coast rock - Nuggets From The Golden State. Dance With Me turns the spotlight on the teen pop combos that recorded for the Autumn label. Autumn Records was the brainchild of Bay area DJs and music promoters Tom Donahue and Bobby Mitchell. Their enthusiasm for the rock music that was transforming the West Coast of America (itself a response and a product of The Beatles and the "British Pop Invasion" of the '60s, generally) led them to record many of the groups on the music scene at the time, among them The Vejtables, Mojo Men and The Knight Riders. Through their DJing they met Sylvester Stewart (later to reincarnate as 'Sly Stone' of Sly & The Family Stone) and he honed his production skills at Autumn, encouraging, even dictating his own ideas to, the individual group's sound. Both Donahue and Mitchell provided the impetus to sign bands but they quickly lost interest in the acts, leaving them to Sly, and his remarkable production talent, to coax the best from them.
The good humoured Dance With Me by The Mojo Men was very successful! regionally and reached No 61 on the national charts. The much-anthologised 'punk' of I by The Knight Riders is testimony to a hell-raising band whose popularity on the peninsula was at teen spots like Big Al's Gas House. The Vejtables were the most Beatle-obsessed of the Bay Area bands and both sides of their Mersey beat-flavoured single I Still Love You are included here. The single only reached No 84 nationally but it got them support spots to The Yardbirds and The Beach Boys as well as TV slots on American Bandstand and Where The Action Is. Among the little known items and bands is The Bundles. Their garage punk on Mark My Words and Watch Me Girl deserves a wider audience. As an added bonus, 17 of the 30 tracks on Dance With Me are previously unreleased and the compilation, sleeve note and rare pics by Alec Palao of American magazine Cream Puff War.(From the Ace / Big Beat Records)
San Francisco in the early 1960s was a haven for the beatniks who were seeking out the real Beat Generation poets and writers, jazz players and artists. The commercial folk scene was already in full bloom with the Kingston Trio, and local favorite Johnny Mathis was crooning pop ballads.
After the Beatles hit America, many bands started up hoping to be the Bay Area's answer to the Merseybeat sound. They in turn inspired a number of loud "garage pop" bands, some of which were inspirations for the punk movement of the 1970s, and a new breed of "garage psychedelic pop" bands, some of which are represented in this show. Many of these psychedelic bands evolved into rock groups that carried the San Francisco sound to the rest of the country and Europe.
The Mojo Men - 1966-68 - Sit Down...It's the Mojo Men - US San Francisco psychedelic.
The Mojo Men
The Mojo Men were a rock music band, inspired by The Beatles and The Rolling Stones, that recorded for the Autumn Records label in San Francisco, California. One of their biggest hits, 1965’s “Dance With Me”, and a number of other records, were produced by Sylvester Stewart, later better known as Sly Stone.
One of the earliest San Francisco rock bands, the Mojo Men had local hits on the Autumn label with "Dance With Me," "She's My Baby," and a cover of the Rolling Stones' "Off the Hook" in the mid-'60s. Their early sides displayed a raunchy but thin approach taken from the mold of British Invasion groups like the Stones and Them. In 1966, after female drummer Jan Errico joined from the San Francisco folk-rock group the Vejtables, they moved to Reprise and pursued folky psychedelic pop directions, and had a Top 40 hit with a Baroque arrangement of Buffalo Springfield's "Sit Down I Think I Love You" in 1967. In their later days, they developed more intricate arrangements and harmonies that reflected the influence of the Mamas & the Papas and Jefferson Airplane, although they weren't in the same league as those groups. Their many singles never fully displayed the band's considerable songwriting and vocal talents, and after changing their name to the Mojo and finally just Mojo, they disbanded in the late '60s. ~ Richie Unterberger, All Music Guide
Personnel:
JIMMY ALAIMO vcls, bs A B CPAUL CURICO gtr A B C
JAN ERRICO drms, vcls A B C
DON METCHIK organ A B
SLY STONE keyb'ds, gtr, vcls A
ALBUM:
1 MOJO MAGIC (GRT 10003) 1968NB: There have also been three compilations:- Dance With Me (Eva 12049) 1984, is a 16 track compilation of their 1965-1966 material; Why Ain't Supposed To Be (Sundazed SC 11028) 1996, concentrates on their period at Autumn, 1965-6, including nine previously unreleased tracks; Sit Down... It's The Mojo Men (Sundazed SC 11032) 1996, similarly concentrates on their period at Reprise, 1966-8 including many previously unreleased tracks.
45s:1 Off The Hook/Mama's Little Baby (Autumn 11) 1965 -
2 Dance With Me/Loneliest Boy In Town (Autumn 19) 1965 61
3 She's My Baby/Fire In My Hean (Autumn 27) 1966
4 She's My Baby/Do The Hanky Panky (Reprise 0486) 1966 -
5 Sit Down, I Think I Love You/Don't Leave Me (Reprise 0539) 1967 36
6 Me About You/When You're In Love (Reprise 0580) 1967 83
7 What Ever Happened To Happy/Make You At Home (Reprise 0617) 1967
8 New York City/Not Too Old To Start Cryin' (Reprise 0661) 1968
9 Should I Cry/You To Me (Reprise 0689) 1968
10 Sit Down, I Think I Love You/Me About You (reissue) (Reprise 0707) 1968
11 Don't Be Cruel/Let It Be Him (Reprise 0759) 1968
12 I Can't Let Go/Flower Of Love (GRT 5) 1969
13 Candle To Burn/Make You At Home (GRT 8) 1969
14 Everyday Love/There Goes My Mind (GRT 10) 1969
NB: (11) as The Mojo. (12), (13) & (14) as Mojo. There's also a rare French EP with picture sleeve: Off The Hook/Mama's Little Baby/Dance With Me/Loneliest Boy In Town (Vogue INT 18050) 1966.
Although this band was based in San Francisco some members originated from Florida. The original band formed in Coral Gables, Florida as The Valiants. Singer Jim Alaimo (cousin of singer Steve Alaimo) had early releases under the names Jimmy Sumers and The Slicks and Jimmy Paris. The Valiants also back Steve Alaimo on his 1961 album Twist With Steve Alaimo. It was pretty much the same line-up that moved to San Francisco in 1964 and became The Mojo Men. For much more info, see the liner notes of the Sundazed compilation Why's Ain't Supposed To Be.Sly Stone had left the band (to form Sly and The Family Stone) by the time the band signed to Reprise and achieved some success with Steve Still's Sit Down I Think I Love You. Their diminuitive female vocalist Jan Errico had earlier achieved much popularity on the West Coast as drummer and lead vocalist for The Vejtables.
In late 1967 the band became known as Mojo because Jan Errico got tired of being known as a Mojo Man. They also changed labels to GRT so that they could record an album. Released in 1968 it was produced by Dave Hassinger. It contained their New York City 45, which suffered from sounding too much like The Mamas and Papas, and overall contained a number of mildly psychedelic, post-Sgt. Pepper pop rock songs. The band finally split in 1969 when they realised their era had ended.
There remains a lot of unissued material from both eras of The Mojo Men. From their time with Autumn fifteen tracks remained unissued although some of these later appeared on Eva's Dance With Me compilation and the superior Sundazed retrospective Why Ain't Supposed To Be. A further nineteen tracks were recorded but not released during their spell with Reprise. These include the long and experimental What Kind Of Man, which was reputed to be a latter-day venture into psychedelia by the band.Jim Alaimo later resurfaced in a seventies funk band called Jammer that recorded for the Avco-distributed Honey label. He later died of heart failure.
Compilation coverage has so far included: Sit Down, I Think I Love You and She's My Baby on Nuggets Box (4-CD); Sit Down I Think I Love You on Nuggets Vol. 5 (LP), Nuggets - Original Artyfacts From The First Psychedelic Era 1965-1968 (Dble LP) and Sundazed Sampler, Vol. 2 (CD); Off The Hook on Sounds Of The Sixties San Francisco, Vol. 1 (LP); Dance With Me on Sound Of The Sixties (Dble LP), Sixties Archive Vol. 1 (CD) and We Have Come For Your Children; Dance With Me and She's My Baby on San Francisco Roots (LP), The Autumn Records Story (LP) and Nuggets, Vol. 7 (LP). All three of their Autumn singles also figure on the Autumn Single Box. More recently much of their material has featured on Big Beat's Nuggets From The Golden State series:- the Dance With Me CD contains Dance With Me plus a demo and six unreleased cuts from 1965 (She Goes With Me, Off The Hook, Something Bad, My Woman's Head, Can't You See That She's Mine, Why and As I Get Older); Someone To Love features four 1966 cuts - She's My Baby, Fire In My Heart and the unreleased Why Can't You Stay and Girl Won't You Go.
(Vernon Joynson / Max Waller / Stephane Rebeschini / Jeff Lemlich)
Κυριακή, 01 Νοεμβρίου 2009
Big Brother & The Holding Company 6,7&8 /11/09 Live In Greece
Απο τον φίλο Michalis Lagopatis/TIME MACHINE fanzine απο την Τρίπολη λάβαμε το Δ.Τ. που ακολουθεί:
Οι Big Brother & The Holding Company στην Τρίπολη Παρασκευή 6-11-09
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Η ΔΗΜΟΤΙΚΗ ΡΑΔΙΟΦΩΝΙΑ ΤΡΙΠΟΛΗΣ, ΤΟ ΕΝ ΧΟΡΔΑΙΣ ΚΑΙ Η TIMEMACHINE ΠΑΡΟΥΣΙΑΖΟΥΝ:Big Brother & The Holding Company
Ένα μεγάλο κεφάλαιο της ιστορίας της ψυχεδελικής άσιντ μπλουζ-ροκ σκηνής κι ένα από τα πιο σπουδαία συγκροτήματα που ξεπήδησαν ποτέ από την Δυτική Ακτή… Έρχονται για 1η φορά στην Ελλάδα έχοντας στην σύνθεσή τους τα αυθεντικά, ιδρυτικά μέλη που αποτέλεσαν τους μεγάλους συνοδοιπόρους της σημαντικότερης γυναικείας φωνής που γέννησε η Rock...
ΠΑΡΑΣΚΕΥΗ 6 ΝΟΕΜΒΡΙΟΥ στο Εν Χορδαίς!!!
Ώρα Έναρξης 21:00
Την συναυλία ανοίγουν οι ΦΥΓΟΚΕΝΤΡΟΣ FUNK CLUB
Είσοδος 20€ - Φοιτητικό/Μαθητικό 15€
Προπώληση Εισιτηρίων: Δημοτική Ραδιοφωνία Τρίπολης / Music Center
Janis Joplin original band: Big Brother & The Holding Company.
Οι Ήρωες μας τραγουδάνε ακόμα!!!
Σημείωση συντάκτη : μετα την 2η διάλυση το 68 της συνεργασίας τους με την Janis Joplin , στις αρχές του '70 ηρθε η μεγάλη Kathi Mc Donald on Vocals (δές d/link πιο κάτω) , και με την αναβίωση της μπάντας , με μια σειρά απο performers -lead singers :
Andra Mitrovich in the 90's., Lisa Battle vocals on 1998 ''Do What You Love '' , Cathy Richardson Chloe Lowery ,
Mary Bridget Davies , and the last one Sophia Ramos
Το δελτίο τύπου που λάβαμε δεν δίνει πληροφορίες. Η πιθανή σύνθεση της μπάντας πρέπει νά είναι :Sam Andrew - guitar, vocals, Peter Albin - bass, vocals, David Getz - drums ,και στην θέση του μεγάλου κιθαρίστα JAMES GURLEY(δείτε τον εδώ τον Θείο James με το μώβ μαντήλι, να αφήνει ''χώρο'' στα νιάτα στον Ben Nieves) πιθανός αντικαταστάστης του, ο Ben Nieves.(guitar) The younger from Cleveland και στην φωνή πιθανόν η Sophia Ramos
Andra Mitrovich in the 90's., Lisa Battle vocals on 1998 ''Do What You Love '' , Cathy Richardson Chloe Lowery ,
Mary Bridget Davies , and the last one Sophia Ramos
Το δελτίο τύπου που λάβαμε δεν δίνει πληροφορίες. Η πιθανή σύνθεση της μπάντας πρέπει νά είναι :Sam Andrew - guitar, vocals, Peter Albin - bass, vocals, David Getz - drums ,και στην θέση του μεγάλου κιθαρίστα JAMES GURLEY(δείτε τον εδώ τον Θείο James με το μώβ μαντήλι, να αφήνει ''χώρο'' στα νιάτα στον Ben Nieves) πιθανός αντικαταστάστης του, ο Ben Nieves.(guitar) The younger from Cleveland και στην φωνή πιθανόν η Sophia Ramos Big Brother and the Holding Company (From Wikipedia, the free encyclopedia)
http://www.janisjoplin.net/
http://www.answers.com/topic/janis-joplin
http://www.janisjoplin.net/
http://www.answers.com/topic/janis-joplin
November 6 – Tripoli, Greece
En Hordais
http://www.myspace.com/alterground
Showtime: 9:00 PM
November 7 – Athens, Greece
Showtime: 9:00 PM
November 8 – Athens, Greece
Rodeo Club
http://www.myspace.com/alterground
http://www.ticketquest.gr/
http://www.ticketpro.gr/
Showtime: 9:00 PM
Big Brother and The Holding Company with Mary Bridget Davies performed @ Rockin On The River August 22, 2008 and performed "Piece Of My Heart".
Τελικά, όπως σχετικά με ενημέρωσε ο Μιχάλης θάναι μαζί τους η προαναφερόμενη σύνθεση με την Mary Bridget Davies (δείτε τους στο video απο μια ηχογράφηση του 2008 με τον James Gurley. στη θέση του Sam Andrew, o οποιος θάναι εδώ!!)..
Δείτε τι πάθος εχει η γυναίκα!!! ίσως η ''πιο κοντά'' στην Janis ,φωνή ,που εχει περάσει ποτέ απο τους Big Brother!
http://www.marybridgetdavies.com/Home.html
http://www.myspace.com/divamarybridget
Mary Bridget Davies !!!
Mary Bridget Davies sings Janis Joplin in ZACH's Theatre 2009 Production of LOVE, JANIShttp://www.marybridgetdavies.com/Home.html
http://www.myspace.com/divamarybridget
Σάββατο, 17 Οκτωβρίου 2009
ο Παγασητικός κλειστός σαν φόβος.
του Νίκου Βαραλή
Τον συνάντησα μετά από χρόνια στην παραλία. Τα μάτια είχαν κάτι το απρόσμενα μακρινό. "Θυμάσαι;" "Φοβάμαι να θυμηθώ" του είπα. "Το ξέρω. Μοιάζει μακρινή η εποχή αλλά δεν είναι. Τότε που είχες και είχα τα μεγάλα όνειρα. Εγώ πάει πια. Εγώ έθαψα τα όνειρά μου από καιρό. Τώρα δεν περιμένω τίποτα πια" "Δεν είναι δυνατόν" του λέω " όλα μπορεί να αλλάξουν" " Δεν αλλάζει απολύτως τίποτα μου λέει, γιατί δεν θέλουμε εμείς να αλλάξουμε...διαβάστε ολόκληρο το κείμενο εδώ
Peter Hammill - Too Many of My Yesterdays (from "And Close As This" 1986)
So many years ago, I thought you were the one –who knows when people change, surrender into strangeness,
adrift upon their lives, encompassed by the past?
Who knows which one becomes the last goodbye?
Don't try to tell me nothing dies.
Don't try to tell me nothing's changed,
don't try to tell me nothing's new,
too many of my yesterdays belong to you.
I shelved my broken heart, I put you from my mind,
I got up from my knees, I picked up all my pieces,
but seeing you again puts shakes into my soul.
Just when I think I'm finally over you,
don't come and show me that's not true.
Tell me about it, talk to me –
I hear it coming, I feel it coming,
the way you want this thing to be.
You're only trading on our memories
don't go and say you still love me.
You're trading on my memories,
you're trading in a rosy past;
you know I'm lost on stormy seas...
but I still stand before the mast,
beneath the stars and under sail
towards horizons out of true...
Behind the dance of seven veils I still see you...
Tell me about it, have your way;
I see it coming, I hear it coming,
I know what you're about to say.
You've had too many of my yesterdays,
and I don't want to fall again.
Don't try to tell me nothing's changed,
don't try to tell me nothing's new,
too many of my yesterdays are lost in you.
Σάββατο, 10 Οκτωβρίου 2009
The Mojos - 1967 The Mojos
Known mostly (if at all) in the States for doing the original version of "Everything's Alright" (covered by David Bowie on his Pin Ups album), the Mojos were one of the best Liverpool groups of the British Invasion. Besides "Everything's Alright" — a Top Ten raver in the U.K. — they never scored any other British hits of note, though a couple squeezed into the Top 30.
Bob Conrad (drums),
Keith Karlson (bass),
Stu James (vocals, harmonica), and Adrian Wilkinson (guitar)
had first gotten together in the early '60s as the Nomads — though based in Liverpool, they were a bit different from most of the other Merseyside bands in that their first love was American blues rather than R&B and rock & roll, preferring to cover the works of John Lee Hooker and Muddy Waters to those of Chuck Berry or Little Richard.
They did manage to cross paths with the Beatles on more than one occasion, as evidenced by the fact that it was George Harrison, having heard the Nomads' roadie Terry O'Toole play jazz piano at a club, who suggested they make him a member and resident keyboard player. The four became five and they occasioned sometime after that to lay down their first permanent account of their sound, "My Whole Life Through," as part of a live showcase captured for posterity on one volume of Oriole Records' This Is Merseybeat. It was sometime after this that they were forced to relinquish the Nomads name to a London band who had an earlier claim, and they became the Mojos. By then the Beatles had launched the Merseybeat boom nationwide and Decca Records — who'd passed on the latter group — was playing catch-up by signing any group in sight. The Mojos got a contract and were among those bands that actually deserved that honor and effort — their debut single was consisted of "They Say You Found a New Baby" b/w "Forever," the latter an original by guitarist Adrian Wilkinson.
It was a solid effort, probably a little poppier than their stage sound of the time but not jarringly so, and though it failed to chart it was a credit to everyone involved. It was their second single, "Everything's Al'right" b/w "Give Your Lovin' to Me," cut in early 1964 —
both group originals — that proved the group's worth, making number nine in England in the late winter of that year and spending 11 weeks on the charts, and even earning a U.S. release. Sad to say, they were never able to follow up that success, possibly because they never found a suitable song or approach. Their next single, "Why Not Tonight," seemed an awkward pop/rock vehicle for the group, the musical equivalent of a man forced into wearing a very uncomfortable suit of clothes (and in this case, the "suit" seemed to belong to either Gerry Marsden or Billy J. Kramer). Much better were the contents of their one EP, which included — in addition to "Everything's Al'right" — "I Got My Mojo Working" and Smokey Robinson's "The One Who Really Loves You."
It was already the second half of 1964 when that four-song platter appeared, and as the group had only scraped the Top 30 since their solitary hit, the label began losing interest around this time. They did make it into a post-Hard Day's Night British Invasion cash-in film, Seaside Swingers, doing "Nobody But Me," but none of their singles from 1965 got anywhere near charting, and it was during this time that Conrad, O'Toole, and Karlson left the band to pursue other opportunities. Stu James kept the outfit running, and among the replacements he recruited were the bassist son of their road manager, a musician with acting aspirations named Lewis Collins, and Aynley Dunbar on drums.
It was this version of the group — although in all probability Stu James was the only one present — that recorded some fairly lackluster songs for Decca in 1966; "Goodbye Dolly Gray" was a pointless cover of a World War I song, and "I Just Can't Let Her Go" is a little too close to Tom Jones territory — which wouldn't necessarily be a bad thing, but was a bad end to an R&B-based band — for comfort, given this group's history. James used the name the Mojos in the studio at least once more, on Liberty Records in 1968, before closing out the history. And had it not been for Bowie's cover of their one hit, that might have been as much as anyone knew or cared about the Mojos.
At times they could be pretty wimpy, with vocals and material that would have been at home with Gerry & the Pacemakers. But at other times, with their electric keyboard-driven sound, they echo the much tougher Manfred Mann. Not quite at the level of the Beatles and even the Searchers in terms of quality, they were, except for the Swinging Blue Jeans and the Merseybeats, the best of the rest in their home city.
info
Enjoy!
They did manage to cross paths with the Beatles on more than one occasion, as evidenced by the fact that it was George Harrison, having heard the Nomads' roadie Terry O'Toole play jazz piano at a club, who suggested they make him a member and resident keyboard player. The four became five and they occasioned sometime after that to lay down their first permanent account of their sound, "My Whole Life Through," as part of a live showcase captured for posterity on one volume of Oriole Records' This Is Merseybeat. It was sometime after this that they were forced to relinquish the Nomads name to a London band who had an earlier claim, and they became the Mojos. By then the Beatles had launched the Merseybeat boom nationwide and Decca Records — who'd passed on the latter group — was playing catch-up by signing any group in sight. The Mojos got a contract and were among those bands that actually deserved that honor and effort — their debut single was consisted of "They Say You Found a New Baby" b/w "Forever," the latter an original by guitarist Adrian Wilkinson.
It was a solid effort, probably a little poppier than their stage sound of the time but not jarringly so, and though it failed to chart it was a credit to everyone involved. It was their second single, "Everything's Al'right" b/w "Give Your Lovin' to Me," cut in early 1964 —
both group originals — that proved the group's worth, making number nine in England in the late winter of that year and spending 11 weeks on the charts, and even earning a U.S. release. Sad to say, they were never able to follow up that success, possibly because they never found a suitable song or approach. Their next single, "Why Not Tonight," seemed an awkward pop/rock vehicle for the group, the musical equivalent of a man forced into wearing a very uncomfortable suit of clothes (and in this case, the "suit" seemed to belong to either Gerry Marsden or Billy J. Kramer). Much better were the contents of their one EP, which included — in addition to "Everything's Al'right" — "I Got My Mojo Working" and Smokey Robinson's "The One Who Really Loves You." It was already the second half of 1964 when that four-song platter appeared, and as the group had only scraped the Top 30 since their solitary hit, the label began losing interest around this time. They did make it into a post-Hard Day's Night British Invasion cash-in film, Seaside Swingers, doing "Nobody But Me," but none of their singles from 1965 got anywhere near charting, and it was during this time that Conrad, O'Toole, and Karlson left the band to pursue other opportunities. Stu James kept the outfit running, and among the replacements he recruited were the bassist son of their road manager, a musician with acting aspirations named Lewis Collins, and Aynley Dunbar on drums.
It was this version of the group — although in all probability Stu James was the only one present — that recorded some fairly lackluster songs for Decca in 1966; "Goodbye Dolly Gray" was a pointless cover of a World War I song, and "I Just Can't Let Her Go" is a little too close to Tom Jones territory — which wouldn't necessarily be a bad thing, but was a bad end to an R&B-based band — for comfort, given this group's history. James used the name the Mojos in the studio at least once more, on Liberty Records in 1968, before closing out the history. And had it not been for Bowie's cover of their one hit, that might have been as much as anyone knew or cared about the Mojos.
At times they could be pretty wimpy, with vocals and material that would have been at home with Gerry & the Pacemakers. But at other times, with their electric keyboard-driven sound, they echo the much tougher Manfred Mann. Not quite at the level of the Beatles and even the Searchers in terms of quality, they were, except for the Swinging Blue Jeans and the Merseybeats, the best of the rest in their home city.
info
Enjoy!
Κυριακή, 06 Σεπτεμβρίου 2009
''Εφυγε'' Ο Γιώργος Κολόζης
Πέθανε ο διακεκριμένος ντοκιμαντερίστας Γιώργος Κολόζης
Από ανακοπή καρδιάς, στον ύπνο του, στις 5 τα ξημερώματα Τρίτης, πέθανε ο διακεκριμένος σε διεθνή φεστιβάλ ντοκιμαντερίστας Γιώργος Κολόζης σε ηλικία 59 ετών. Σπούδασε πολιτικές- οικονομικές επιστήμες στο πανεπιστήμιο Αθηνών και στην συνέχεια φωτογραφία στο School of Modern Photography (S.M.P. of New Jersey) και σκηνοθεσία στη Σχολή Κινηματογράφου Σταυράκου.
Λάτρευε αυτό που έκανε και δεν τσιγκουνευόταν χρόνο -που μεταφραζόταν σε χρήμα- για να έχει το πλάνο που ήθελε στα ντοκιμαντέρ του.
Σπουδαίο χαρακτηρίστηκε και το κινηματογραφικό ντοκιμαντέρ του «Αιγαίο νυν και αεί», 13 επεισοδίων, για τα σκαριά του Αιγαίου που οδηγούνταν στον αφανισμό, παρασέρνοντας μαζί τους και μια σπουδαία παραδοσιακή λαϊκή τέχνη, της ναυπήγησης τέτοιων σκαφών.
Με το καϊκι του καπεταν Ανδρέα Ζέππου -που κράτησε «αξιόμαχο» ο ιδιοκτήτης του και πολύτιμος συνεργάτης του Κολόζη, αρχιτέκτονας Κώστας Γουζέλης- επι τρία χρόνια κάλυψε 1.500 ναυτικά μίλια αρμενίζοντας στο Αιγαίο.
«Προσπαθούμε να ξυπνήσουμε την αληθινή μνήμη, να βρούμε την ουσία της ζωής, να
χτυπήσουμε το πλαστικό, να ζήσουμε το αυθεντικό», είχε πεί τότε ο Γιώργος Κολόζης σε συνέντευξη του στα «ΝΕΑ» και τον Πάνο Γεραμάνη το 2006.
Με το κρατικό βραβείο ποιότητας τιμήθηκε η ταινία του τεκμηρίωσης «Η μνήμη» του Βασίλη Μαζωμένου σε παραγωγή Γιώργου Κολόζη από το 43ο φεστιβάλ Κινηματογράφου Θεσσαλονίκης.
Προσφάτως ο Γιώργος Κολόζης είχε βραβευτεί στη Ρωσία με τον Αργυρό Ιππότη για το κινηματογραφικό ντοκιμαντέρ «Το πήδημα του Κατσαντώνη και ο μπαρμπα Λάμπρος».
Με αφορμή ένα παλιό θρύλο για τον πρωταγωνιστή του δράματος του Θεάτρου Σκιών «Ο ήρωας Κατσαντώνης», και μέσα από την ζωή ενός ιδιόμορφου ηλικιωμένου ορεσίβιου, του μπάρμπα Λάμπρου Κοντογούνη, η ταινία είναι ένα διαχρονικό ταξίδι σε μια αυθεντική ιστορία ζωής δυο προσώπων με απόσταση μερικών αιώνων μεταξύ τους.
Μεταξύ των ντοκιμαντέρ που φέρουν την υπογραφή του είναι και τα «Τελευαίος παράδεισος» (1995), «Κάτω από το βλέμμα των Θεών» (19997), «Τα τραγούδια των νομάδων» (1999) «Λαύριον» (2001), «Ου τόπος» (2002). Η πιο πρόσφατη δουλειά του ήταν η σκηνοθεσία των επεισοδίων της σειράς "Οι μεγάλοι Έλληνες".
Ανήσυχη φύση, έλεγε με χαρά «τώρα που μεγαλώσαμε να πάρει άλλος τη σκυτάλη, να βγουν μπροστά νέα παιδιά στη δουλειά», όμως δεν ήθελε να σταματήσει.
Σκόπευε να επιστρέψει στη Δονούσα, για να ολοκληρώσει ένα ντοκιμαντέρ- ευσεβή πόθο 22 χρόνων, για το νησί. Δεν πρόλαβε...
Η κηδεία του Γιώργου Κολόζη θα γίνει αύριο, Πέμπτη, στις 17.30 από το νεκροταφείο Παπάγου.
πηγη : ΤΑ ΝΕΑ
Από ανακοπή καρδιάς, στον ύπνο του, στις 5 τα ξημερώματα Τρίτης, πέθανε ο διακεκριμένος σε διεθνή φεστιβάλ ντοκιμαντερίστας Γιώργος Κολόζης σε ηλικία 59 ετών. Σπούδασε πολιτικές- οικονομικές επιστήμες στο πανεπιστήμιο Αθηνών και στην συνέχεια φωτογραφία στο School of Modern Photography (S.M.P. of New Jersey) και σκηνοθεσία στη Σχολή Κινηματογράφου Σταυράκου.
Λάτρευε αυτό που έκανε και δεν τσιγκουνευόταν χρόνο -που μεταφραζόταν σε χρήμα- για να έχει το πλάνο που ήθελε στα ντοκιμαντέρ του.
Σπουδαίο χαρακτηρίστηκε και το κινηματογραφικό ντοκιμαντέρ του «Αιγαίο νυν και αεί», 13 επεισοδίων, για τα σκαριά του Αιγαίου που οδηγούνταν στον αφανισμό, παρασέρνοντας μαζί τους και μια σπουδαία παραδοσιακή λαϊκή τέχνη, της ναυπήγησης τέτοιων σκαφών.
Με το καϊκι του καπεταν Ανδρέα Ζέππου -που κράτησε «αξιόμαχο» ο ιδιοκτήτης του και πολύτιμος συνεργάτης του Κολόζη, αρχιτέκτονας Κώστας Γουζέλης- επι τρία χρόνια κάλυψε 1.500 ναυτικά μίλια αρμενίζοντας στο Αιγαίο.
«Προσπαθούμε να ξυπνήσουμε την αληθινή μνήμη, να βρούμε την ουσία της ζωής, να
χτυπήσουμε το πλαστικό, να ζήσουμε το αυθεντικό», είχε πεί τότε ο Γιώργος Κολόζης σε συνέντευξη του στα «ΝΕΑ» και τον Πάνο Γεραμάνη το 2006.Με το κρατικό βραβείο ποιότητας τιμήθηκε η ταινία του τεκμηρίωσης «Η μνήμη» του Βασίλη Μαζωμένου σε παραγωγή Γιώργου Κολόζη από το 43ο φεστιβάλ Κινηματογράφου Θεσσαλονίκης.
Προσφάτως ο Γιώργος Κολόζης είχε βραβευτεί στη Ρωσία με τον Αργυρό Ιππότη για το κινηματογραφικό ντοκιμαντέρ «Το πήδημα του Κατσαντώνη και ο μπαρμπα Λάμπρος».
Με αφορμή ένα παλιό θρύλο για τον πρωταγωνιστή του δράματος του Θεάτρου Σκιών «Ο ήρωας Κατσαντώνης», και μέσα από την ζωή ενός ιδιόμορφου ηλικιωμένου ορεσίβιου, του μπάρμπα Λάμπρου Κοντογούνη, η ταινία είναι ένα διαχρονικό ταξίδι σε μια αυθεντική ιστορία ζωής δυο προσώπων με απόσταση μερικών αιώνων μεταξύ τους.
Μεταξύ των ντοκιμαντέρ που φέρουν την υπογραφή του είναι και τα «Τελευαίος παράδεισος» (1995), «Κάτω από το βλέμμα των Θεών» (19997), «Τα τραγούδια των νομάδων» (1999) «Λαύριον» (2001), «Ου τόπος» (2002). Η πιο πρόσφατη δουλειά του ήταν η σκηνοθεσία των επεισοδίων της σειράς "Οι μεγάλοι Έλληνες".
Ανήσυχη φύση, έλεγε με χαρά «τώρα που μεγαλώσαμε να πάρει άλλος τη σκυτάλη, να βγουν μπροστά νέα παιδιά στη δουλειά», όμως δεν ήθελε να σταματήσει.
Σκόπευε να επιστρέψει στη Δονούσα, για να ολοκληρώσει ένα ντοκιμαντέρ- ευσεβή πόθο 22 χρόνων, για το νησί. Δεν πρόλαβε...
Η κηδεία του Γιώργου Κολόζη θα γίνει αύριο, Πέμπτη, στις 17.30 από το νεκροταφείο Παπάγου.
πηγη : ΤΑ ΝΕΑ
Παρασκευή, 04 Σεπτεμβρίου 2009
The Ivar Avenue Reunion - Ivar Avenue Reunion US 1970
RCA Records – 1970
Neil Merryweather – vocals and bass
Charlie Musselwhite – harmonica and vocals
Barry Goldberg – organ and piano
Lynn Carey – vocals
John Richardson – guitar
Robin Boers – drums
J.J. Velker – organ
Produced by Neil Merryweather and Morey Alexander
Engineers – Peter “Rabbit” Abbott, Richie Schmitt, Rick Ruggier, Dennis Smith, Grover Helsley
01 Mama Ride
02 After While
03 Magic Fool
04 Fast Train
05 My Daddy Was a Jockey
06 Charlotte Brown
07 Run, Run Children
08 Walkin' Shoes
09 Toe Jam
Neil’s manager Morey Alexander received a call from RCA Records asking Neil to put a jam album together like Merryweather’s “Word of Mouth”.
Neil Merryweather, Charlie Musselwhite and Barry Goldberg were reunited again after playing on the Capitol Records album together.
“Merryweather, Richardson & Boers” were the band that jammed with Barry and Charlie. J.J. Velker played on a few tracks.
Neil brought Lynn Carey to the sessions as a guest artist.
The reunion occurred at RCA Studios on Ivar Avenue, thus the name “Ivar Avenue Reunion”.
http://www.theneilmerryweather.com/
Review
The record-consuming public of the '70s was
enthusiastic enough about jam sessions to have been offered all kinds of products such as this album, the contents of which beg the question of just what is a jam session, anyway? In this case, the liner notes hint at a casual get-together of various friends, with the cast of characters extending well beyond the confines of the four names listed under the album title. The music these individuals come up with is more like the type of song material rock artists put on a formal album. There is really not much jamming, other than a concluding group improvisation given the title of "Toe Jam," an unappetizing decision seeing how it is preceded by "Walkin' Shoes" and "Run, Run Children" before that. This hint of an obsession with sweaty feet is the only consistent thing about an album that is simply all over the place, depending on who is taking charge of any given song. Charlie Musselwhite can do a shuffle blues, so he contributes that. Barry Goldberg is a familiar hand at jams, but also co-writes songs with vocalist Lynn Carey that require a flutist and French horn player to augment the group. In the former case, hiring one that plays out of tune is not something that benefits the song at all. On the plus side, certain types of grooves are nailed 
dead-on. The recording aggregation, who collectively pose on the back cover and for the most part do not look like people one would want to invite over for the evening, bite down solidly on an Otis Spann cover entitled "After While." It is the "Smokestack Lightning" groove, with the results actually an improvement over the sound of Musselwhite's own blues recordings. "Fast Train" is a good example of type of joyous but overlong rock-gospel tracks that were popular in the '70s, with solid vocalizing from Carey. ~ Eugene Chadbourne, All Music Guide
The record-consuming public of the '70s was
enthusiastic enough about jam sessions to have been offered all kinds of products such as this album, the contents of which beg the question of just what is a jam session, anyway? In this case, the liner notes hint at a casual get-together of various friends, with the cast of characters extending well beyond the confines of the four names listed under the album title. The music these individuals come up with is more like the type of song material rock artists put on a formal album. There is really not much jamming, other than a concluding group improvisation given the title of "Toe Jam," an unappetizing decision seeing how it is preceded by "Walkin' Shoes" and "Run, Run Children" before that. This hint of an obsession with sweaty feet is the only consistent thing about an album that is simply all over the place, depending on who is taking charge of any given song. Charlie Musselwhite can do a shuffle blues, so he contributes that. Barry Goldberg is a familiar hand at jams, but also co-writes songs with vocalist Lynn Carey that require a flutist and French horn player to augment the group. In the former case, hiring one that plays out of tune is not something that benefits the song at all. On the plus side, certain types of grooves are nailed 
dead-on. The recording aggregation, who collectively pose on the back cover and for the most part do not look like people one would want to invite over for the evening, bite down solidly on an Otis Spann cover entitled "After While." It is the "Smokestack Lightning" groove, with the results actually an improvement over the sound of Musselwhite's own blues recordings. "Fast Train" is a good example of type of joyous but overlong rock-gospel tracks that were popular in the '70s, with solid vocalizing from Carey. ~ Eugene Chadbourne, All Music GuideNeil on the Island of Corfu, Greece at the 60' s
Τρίτη, 25 Αυγούστου 2009
Γλιτώσαμε από τους λύκους...
Γλιτώσαμε από τους λύκους...
Από τον ΑΝΤΙΜΟΝΙΟ
-Γλιτώσαμε από τους λύκους, τα τσακάλια, θα καούμε από τους ανθρώπους…
- Έρχονται οι πολιτικοί με τις κάμερες να μας σώσουν...
-Αυτοί προσπαθούν να σώσουν τους εαυτούς τους...
"Φωτιά να κάψει κι΄αυτούς που κυβερνούν, που κυβέρνησαν και θα κυβερνήσουν..." ακούστηκε μιά φωνή, που κάηκε το σπίτι της, να λέει... κι αυτούς τους αρμόδιους που ποζάρουν στα κανάλια επί τόπου, είπε κάποιος άλλος...
Πέμπτη, 13 Αυγούστου 2009
Where Have All The Flowers Gone?
May God bless and keep you always,
May your wishes all come true,May you always do for others
And let others do for you.
May you build a latter to the stars
And climb on every rung,
May you stay forever young,forever young.
May you stay forever young.
May you grow up to be righteous,
May you grow up to be true,
May you always know the truth
And see the lights surrounding you.
May you always be courageous
Stand upright and be strong.
And may you stay forever young,
Forever young,forever young
May your hands always be busy,
May your feet always be swift.
May you have a strong foundation
When the winds of changes shift
May your heart always be joyful,
May your song always be sung
May you stay forever young
Forever young,forever young
May you stay forever young @@@
@@@Tonight In Person 1966 @@@
Woodstock '69 - For Yasgur's Farm
Τρίτη, 28 Ιουλίου 2009
John “Marmaduke” Dawson RIP(New Riders Of The Purple Sage)
JOHN "MARMADUKE" DAWSON (1945-2009)
John passed away peacefully on July 21, 2009 at the age of 64 in Mexico, where he had retired several years ago. It is with great sadness that we relay this news, and extend our deepest condolences to his family and all his many fans out there.
His songs inspired us in so many ways. His energy, passion and commitment to the New Riders brought us all so much joy over the years. We can all be thankful that his music and legacy will live on forever.
http://nrps.net/
John Dawson, American musician (New Riders of the Purple Sage) Dies
Σάββατο, 11 Ιουλίου 2009
Donovan, Shawn Phillips at Pete Seeger's TV Show 1966.
Donovan sings, Shawn Phillips plays the sitar on this lovely clip from Pete Seeger's Rainbow Quest. Originally aired in 1966.
V.A. - California Christmas Album (San Francisco Hippie Bands - Live '66~'69)
Artist: Poster advertising the 'Human Be-In' designed by Michael Bowen.
VARIOUS ARTISTS :
GATHERING OF TRIBES
(aka THE CALIFORNIA CHRISTMAS ALBUM)
DOUBLE LP
LABEL :
PENGUIN
REFERENCE : EGG6/7
DATE OF RELEASE : 1981
DATE OF RELEASE : 1981
This Bunch of Flowers , collection from various concerts and locations ,such The Fillmore West, Avalon Ballroom and Carousel Ballroom ,captured alive the spirit of the Summer of Love.San Francisco Area, during '65~'69
Tracks by :
Quicksilver Messenger Service,
The Charlatans,
Jefferson Airplane,
The Steve Miller Blues Band,
Moby Grape,
Country Joe & The Fish
The Grateful Dead with Janis Joplin
The Byrds
Some info about the front cover of this compilation:
The Human Be-In was a happening in San Francisco's Golden Gate Park, the afternoon and evening of January 14, 1967 ....see here
Τρίτη, 07 Ιουλίου 2009
Tom Wilkes died unexpectedly on Sunday..
Award winning artist and designer Tom Wilkes died unexpectedly on Sunday, June 28 at his home in Pioneertown, CA at the age of 69.
Wilkes was the art director of the Monterey International Pop Festival in 1967. He designed many classic album covers like Rolling Stones’ “Beggars Banquet” and Neil Young’s “Harvest.” He was awarded a Grammy in 1974 for Best Recording Package for “Tommy” as performed by the London Symphony Orchestra and Choir.
Press Release :: Album Cover Artist Tom Wilkes Dies Unexpectedly at Home in California
Pioneertown, CA (Billboard Publicity Wire/PRWEB ) July 5, 2009
Published by e sapwater July 5th, 2009 in NewsStream
— Renowned album cover artist and designer Tom Wilkes died unexpectedly on Sunday, June 28, at his home in Pioneertown, California. He was 69.
Thomas E. Wilkes was born July 30, 1939 in Long Beach, California and was raised in southern California. He attended Long Beach City College, UCLA and the Art Center College of Design in the 1950’s and 1960’s.
In 1967 Wilkes was the art director of the Monterey International Pop Festival. He created all graphics and printed materials for Monterey Pop, including the program book and the festival’s psychedelic and iconic foil poster.
From 1967 through 1969, Wilkes was the art director of A&M Records. He was partner with Barry Feinstein from 1970 through 1973 in Camouflage Productions, which became record label Blue Thumb’s house art department.
He was partner in Wilkes & Braun, Inc. from 1973 through 1974, and art director of ABC Records from 1975 through 1977. In 1978 he started Tom Wilkes Productions and became President of Project Interspeak, a not-for-profit environmental and human rights organization devoted to planetary enhancement programs.
Wilkes designed and directed such hit record covers as Rolling Stones’ “Flowers” and “Beggars Banquet”, Neil Young’s “Harvest”, and George Harrison’s “Concert for Bangladesh” and “All Things Must Pass.”
He received a Grammy Award in 1974 for Best Recording Package for The Who’s rock opera “Tommy,” as performed by the London Symphony Orchestra & Choir.
Among his many album cover credits:
Janis Joplin - “Pearl”Ike & Tina Turner - “Outta Season”Eric Clapton - “Eric Clapton”Dave Mason - “Alone Together”Joe Cocker - “Mad Dogs & Englishmen”Flying Burrito Brothers - “Gilded Palace of Sin”John Prine - “John Prine”Emmylou Harris - “Blue Kentucky Girl” and “Elite Hotel”Leon Russell - “Stop All That Jazz”REO Speedwagon - “You Can Tune a Piano, But You Can’t Tuna Fish”
In addition to creating hundreds of posters, logos, books, trade ads and illustrations, Wilkes produced and directed TV and radio spots, music videos, films, mixed media presentations and special events.
He recently completed a book of his artwork and memoirs, called “Tommy Geeked a Chicken,” and was negotiating publishing arrangements. At this time, plans are being made to proceed with publication of the book.
A memorial service will be held for Wilkes on Saturday, July 11th, in Orange, CA.
Read More about Tom Wilkes
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