Old Melodies ... | category: Psychedelic


Old Melodies ...

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Lazy Day: The Pop Songs of Tony Powers & George Fischoff 1965-1968


Lazy Day: The Pop Songs of Tony Powers & George Fischoff 1965-1968

Lazy Day: The Pop Songs of Tony Powers & George Fischoff 1965-1968

Two of the Brill Building's finest writing teams get an extensive overview on Teensville Records' Lazy Day: The Pop Songs Of Tony Powers & George Fischoff (1965-1968). The compilation features 21 songs the team collaborated on including versions of hits like the title track, Ain't Gonna Lie and 98.6. It also features 9 tracks co-written by Powers or Fischoff with other penmans of the day. Song styles span sunshine pop, R&B, girl goodies and brit beat. Included is a full colour booklet featuring full track annotations and special participation pieces from Tony Powers and George Fischoff's daughter, Lisa.


01. Tinkerbell's Fairydust - Lazy Day

02. April Young - Run To My Lovin' Arms

03. Peter Kastner - I Just Can't Get Over You

04. The Bushmen - You're The Girl

05. Jamie - The Priceless Gem

06. The Galaxies - Aint Gonna Lie

07. Darin D. Anna - We Were Lovers

08. Kiki Dee - With A Kiss

09. Chris & Peter Allen - A Baby's Coming

10. Parrish Broxton - Be There Baby

11. The Present - Many's The Slip Twixt The Cup And The Lip

12. Gerri Thomas - Look What I Got

13. Keith - Sweet Dreams (Do Come True)

14. Michael J. James - She Needs The Same Things I Need

15. The Bystanders - 98.6

16. Mer-Lyn - Promise

17. The Beatstalkers - Rain Coloured Roses

18. Nooney Rickett - A Man Needs Love

19. Buffalo Nickel - Hard To Be Without You

20. Betty Everett - In Your Arms

21. Steve Leeds - Midsummer's Night

22. Tony Liss - I Hope He Breaks Your Heart

23. The Truth - Who's Wrong

24. The Quiet Five - Ain't It Funny What Some Lovin' Can Do

25. The McGuire Sisters - Foolish Heart

26. The Richard Kent Style - No Matter What You Do

27. Peter Kastner - Time Out

28. The Trends - Not Another Day

29. Trendsetters Ltd - You Sure Got A Funny Way Of Showing Your Love

30. Lenny Welch - I'm Dreaming Again


Ty To yahwehfrk For this Comp

"I hope for nothing, I fear nothing, I am free"

The Land Of Sensations & Delights: The Psych Pop Sounds Of White Whale Records, 1965–1970

The Land Of Sensations & Delights: The Psych Pop Sounds Of White Whale Records, 1965–1970


The Land Of Sensations & Delights: The Psych Pop Sounds Of White Whale Records, 1965–1970

This double LP compilation features alternative '60s hits and rarities from the catalog of Los Angeles' great lost White Whale label, including such artists as Jim Ford, JK & Co, The Clique, Nino Tempo & April Stevens, Lyme & Cybelle and more.


01 Professor Morrison's Lollipop - You Got The Love

02 Todd Anderson - I'll Be In

03 Smokestack Lightnin' - Got A Good Love

04 The Odyssey - Little Girl, Little Boy

05 XL’s - We Must Find A Way

06 The Everpresent Fullness - Darlin' You Can Count On Me

07 Kris Jensen - I Can’t Get Nowhere With You

08 Lyme & Cybelle - Song #7

09 Laughing Gravy - Vegetables

10 The Motives - The Chair

11 The Bears - Goin' It Alone

12 Kenny O'Dell - Sunshine Dreamin'

13 J.K. & Co. - Land Of Sensations & Delights

14 The Clique - Superman

15 Bazooka - Look At You Now

16 Dalton & Montgomery - All At Once

17 Bobby Lile - Time To Be A Woman

18 The Brothers - Love Story

19 The Committee - If It Weren't For You

20 Mournin’ Do - Summer Dream

21 Horses - Cheyenne

22 Rainy Daze - My Door Is Always Open

23 The Reivers - Constantly

24 Buster Brown - The Proud One

25 The Rockets - Won't You Say You'll Stay

26 Triste Janero - In The Garden


Ty to yahwehfrk For this Comp

"I hope for nothing, I fear nothing, I am free"


VA - The Upside Down World Of John Pantry (2009)

VA - The Upside Down World Of John Pantry  (2009)

Prior to his conversion to Christianity in 1972, singer/songwriter and studio whiz-kid John Pantry had been the brains behind numerous late 1960s UK psych-pop masterpieces, writing and recording under such aliases as the Factory ('Try A Little Sunshine', 'Red Chalk Hill'), the Bunch ('Spare A Shilling') and Norman Conquest ('Upside Down') as well as leading his own groups, Sounds Around and Peter & the Wolves. This astonishing 53-track 2CD set - a heavily expanded version of Tenth Planet's acclaimed 1999 vinyl-only release - assembles every Pantry recording that survives from 1966-71, including those aforementioned seven-inch marvels as well as a plethora of demos, many of which have been taken from a hitherto-unknown-to-exist 1968 demo album. The Upside Down World of John Pantry is not only the definitive early career anthology of this fascinating figure (now a vicar in Kent), but a Holy Grail item for anyone who loves intelligent, melodic, Bee Gees-inspired late 60s British pop.

"Can there conceivably be a better name for a British '60s pop/psych icon than John Pantry? The warm, homespun, busy and frankly tasty connotations of the word "pantry" seem entirely apposite for this inexplicably overlooked one-man cottage industry of the genre. Tellingly, Vivian Stanshall nailed the essential difference between agit-prop American and quaint English psych archetypes with the memorable declaration "KICK OUT THE JAMS, MOTHER… and they had marmalade and kicked the pantry out into the street, and lived happily ever after." Prior to this, my knowledge of Pantry's work was pretty much limited to my prized demo copy of the 'Little Girl Lost And Found' single by Peter & the Wolves - one of a great many ensembles and artistes whose work bore the John Pantry imprimatur somewhere along the line. Now, however, I am fully up to speed thanks to this vastly expanded double-CD version of '99's limited edition vinyl-only compilation, and its characteristically fascinating and painstakingly thorough sleeve notes from David Wells. The first thing that strikes you is Pantry's bulletproof quality control when it came to songwriting. This pop polymath, who alternated hats as an IBC Studios engineer and the keyboardist/vocalist with hard-working Essex hopefuls Sounds Around, rapidly developed an all-too-rare ear for an unusual, heart-tugging melodic motif and a picturesque lyric. Between '66 and '71, Pantry simply haemorrhaged the good stuff, and The Upside Down World… collects together his entire output - near as dammit - from the period in question. Included among the 53(!) tracks are reams of Pantry's own demos - generally banged out with immense conviction on piano and sung in his appealingly unadorned high tenor - and it is these which provide concrete proof of the innate quality of his songs from the ground up, whether it be the Bee Gees-style soft focus intensity of 'Marigold', the soulful, Todd Rundgren-prefiguring verticality of the title track or the tumbling Gilbert O'Sullivan phrasing of 'Smokey Wood Air'. Elsewhere, you'll find good-natured proto-glam ('Birthday' by the Bunch), swooning superpop perfection ('Jewel' by Wolfe), fiercely compressed airborne psych ('Try A Little Sunshine' by the Factory) and, best of all, the sweetly affecting and suitably lambent 'Lantern Light' by Peter & the Wolves; one of the great lost singles of '68." (Shindig!)

"Steeped in the sounds of the psychedelic '60s, engineer John Pantry lent his touch to cuts by everyone from the Beatles to the Bee Gees. He also used the BBC's famous IBC studio to record sunshine-laden tunes from his own songbook. Released earlier this year, Wooden Hill's 2CD set The Upside Down World of John Pantry digitises his entire 1966-71 personal discography. This nugget isn't just for nerds. While many of these songs were released under one-off names like Peter & the Wolves and Sounds Around, about half of Pantry's output never emerged. "Overlooked classics" may primarily appeal to deep diggers, but Pantry's tunes are A-grade all the way. The spectre of golden-era McCartney is everywhere. Both as a singer and a songwriter, Pantry pays spot-on homage to one of pop's biggest princes. It's almost like discovering a compilation of unearthed Beatles b-sides. It stands up next to other impressive influences. Songs like 'Red Chalk Hill' and 'Two People' are doppelgängers for Revolver-era Beatles; 'Spare A Shilling' rivals the Zombies; and 'Birthday' toes the line between the Small Faces, the Turtles and the Monkees." (Flavorpill)

"Southend-on-Sea's one-man psych-pop treasure trove... What a thrill it must have been for the crate-diggers at Tenth Planet to first get wind of the far-flung joys of bands such as Peter & the Wolves, Sounds Around, Wolfe, the Bunch, Norman Conquest and the Factory - then to string together the clues and the astonishing truth that they were all vehicles for the eccentric pop talent of one inimitably English, quintessentially 60s talent. His name is Pantry - John Pantry. Now a vicar in Kent. Before his 1972 conversion to Christianity, however, he was the Bee Gees' recording engineer, a major label songwriter and recording artiste, and DIY demo-maker. The Gibbs aren't a bad compass point on Pantry's tinkling singer-songwriterdom. This is innocent, dreamy, summery pop without the constant fear of flinching buttocks. Think Tony Hazzard, Graham Gouldman, Ray Davies. In terms of impact, this extended double-CD set adds little to the dense Pantry best of, first issued on vinyl in 1999. What's best? The driving psych of the Factory's 'Try A Little Sunshine', the insanely catchy B-side 'Birthday', the Lennon-ish 'Red Chalk Hill'…and 50 more." (Record Collector)

“Upon gaining employment at IBC Studios in 1965, John Pantry worked under producers like Shel Talmy and Glyn Johns, and over the next few years engineered, among other notable recordings, the Bee Gees’ first three UK albums. In addition to providing an invaluable education, the job also afforded Pantry free studio time here and there, of which he and his group Sounds Around took full advantage. Sounds Around cut two singles for Piccadilly that failed to ignite, but independent producer Eddie Tre-Vett sensed their potential, and in the years ’67-’69, the group would become something of Tre-Vett’s house band, with the gifted singer/songwriter John Pantry a virtual one-man Denmark Street. Under various guises, including Peter & the Wolves, this studio aggregation would record a number of well-played, lyrically clever and exquisitely melodic pop singles for MGM and CBS (it’s a complicated story, but David Wells does a commendable job of sorting it all out in the liners). Pantry would abandon secular pop in 1972 (now a vicar in Essex, he’s been active on the Christian music scene for decades), but left behind an extraordinary body of work from the previous five years, much of which never made it beyond demo form. In 1999 Tenth Planet issued its vinyl-only Pantry retrospective. This expanded CD edition is bolstered by Pantry demos from a recently-discovered thirteen-track acetate, and should be of genuine interest to anyone with a fondness for late ‘60s English pop craft. Pantry’s songs are seldom predictable; they almost always go in interesting and unexpected directions. Even more bubblegummy numbers, like Sounds Around’s ‘Red White And You’ or the Peter & the Wolves flipside ‘Birthday’, which nicks freely from the Move’s bag of tricks, are twisty-turny rollercoaster rides. Among the more musically ambitious sides Pantry & co. released in this period are the Peter & the Wolves A-side ‘Lantern Light’, one of the best period specimens of Brit-pop this reviewer has heard in ages, and ‘Woman On My Mind’, which sounds for all the world like the great lost Merry-Go-Round single. Also well worthy of mention is the Factory’s land of a thousand psych-guitars extravaganza ‘Try A Little Sunshine’. The pleasures to be found among the demo recordings here are too numerous to mention, but certainly include the evocative numbers ‘Red Chalk Hill’, ‘Glasshouse Green, Splinter Red’ and ‘Pitsea Pub’. There are also the quite magnificent, perhaps Smiley Smile-inspired ‘ Mississippi Paddle Boat’ and ‘Salt’. Later recordings display a more ‘70s songwriter approach, while tracks like ‘Wash Myself Away’ point to the spiritual crossroads at which Pantry was soon to arrive.” (Ugly Things)

 The Upside Down World Of John Pantry - John Pantry Featuring Peter & The Wolves,The Bunch , Norman Conquest and The Factory 

VA - The Upside Down World Of John Pantry  (2009)
LP back cover 199 album

VA - The Upside Down World Of John Pantry  (2009)

VA - The Upside Down World Of John Pantry  (2009)

Liners from  1999 LP

"An essential release for fans of '60s UK psychedelia. Contains all the great works by the songwriting genius John Pantry - plus a horde of wonderful demos. The double CD version has even more tracks. John Pantry had a sophisticated writing style that elevated him above his peers.... from the super-charged thrust of Try a Little Sunshine and Spare A Shilling... to the brittle and melodic acid ballads like Red Chalk Hill and Smokey Wood Air. 
A song like Upside Down has a hymnal style to it. Listen to the chord changes... almost funereal. Pantry eventually rejected the rock n roll lifestyle and is now a vicar in Essex. You can hear him on Premier Christian Radio... but that's another life and another story. I had some cassettes of his recent hymns (he's still composing) - but 99.9% of all trace of psych has, unsurprisingly, been washed away. Funnily enough though - even though i found his hymns uninspiring... there was a tiny lingering vestige of his former sound..."

VA - The Upside Down World Of John Pantry  (2009)

The Factory ‎– Path Through The Forest (2008) + 11 tracks from Comlete Story !

The Factory  ‎– Path Through The Forest (2008)  + 11 tracks from Comlete Story !

The Factory was a very young British psychedelic band that put out a couple of singles in the late 60s that never took off. Their guitarist was 17 and their drummer only 16. This is a compilation of their recordings, which has a great combination of heavy psych, psych-pop, psych-folk and some very lo-fi recordings. "Path Thru the Forest" was their first single that came out on MGM in 1968. It's excellent heavy psychedelia with great lead guitar, feedback, and distorted vocals. There are two versions of this song included, one with a weird intro of monkeys howling and additional psychedelic effects that are well integrated. Their second single was "Try a Little Sunshine" which was written by John Pantry, a friend of IBC engineer Brian Carrol who helped get the Factory started with his colleague Damon Lyon Shaw. This is also an excellent song with great lead guitar and vocal harmonies. The compilation has two covers, including Fairport Convention's "Mr. Lacey" and Family's "Second Generation Woman," neither of which I've heard the original version. Overall, it's a great compilation despite annoying inconsistencies in volume between tracks.


JACK BRAND vcls, bs A 
BILL MacLEOD drms A 
IAN OATES ld gtr A 

1 Path Through A Forest/Gone (MGM MGM 1444) 1968 
2 Try A Little Sunshine/Red Chalk Hill (CBS 4540) 1969 

Originally known as The Souvenir Badge Factory, this band's two 45s are classic slices of British psychedelia. They scored a deal, when studio engineer Brian Carroll met 17 year old Ian Oates at a party. Path Through A Forest, their first recording, started life as an acoustic folk demo, by an unknown writer and is unusual for its distorted vocals and great guitar. In fact, the band had intended to include a barrage of weird sound effects on the single, in a similar manner to Pink Floyd, but the 'suits' at the time said no. 

On their second 45, Try A Little Sunshine the vocals are more poppy and it again features some great guitar work, but with it's suggestive lyrics ('Sunshine' was slang for L.S.D.) resulted in a BBC ban, and like it's predecesor it failed to happen commercially. Both 45s are now very sought-after by collectors of psychedelia and you can expect to pay in excess of £100 for either. Gone, the flip to their first 45, was a cover of a track from a Paul Revere and The Raiders album. Both sides of their second 45 were written by studio engineer John Pantry. 

Try A Little Sunshine can also be heard on Perfumed Garden, Vol. 1 (LP & CD) and Electric Sugar Cube Flashbacks, Vol. 4 (LP) compilations and Path Through A Forest has resurfaced on Chocolate Soup For Diabetics, Vol. 3 (LP), Chocolate Soup (CD), Beat It (3-CD) and Artefacts From The Psychedelic Dungeon (CD). There's also a demo version of Red Chalk Hill on the CD compilation Circus Days, Vol. 6, although according to Brian Carroll, this was written and perfromed by John Pantry without the involvement of the band. Other compilation appearances have included:- Try A Little Sunshine and Red Chalk Hill on The Upside Down World Of John Pantry (LP); Path Through The Forest (two versions), Gone, Mr. Lacey, Try A Little Sunshine, Red Chalk Hill, Second Generation Woman on Hard Up Heroes, Vol. 6 (CD). 

The Factory  ‎– Path Through The Forest (2008)  + 11 tracks from Comlete Story !

The Factory's only other single, "Try a Little Sunshine," was written for them by John Pantry (a songwriting friend of Carroll), and issued by CBS in late 1969. It sounded a little like a mating of the Who and the Moody Blues (in the best sense of that combination), with its crunching guitar chords and catchy, wistful vocal harmonies. Like its predecessor, it was heard by few, and the group disbanded shortly afterward. That was too bad, as they had considerable promise considering their youth and the quality of their two 45s. Both sides of their two singles, as well as a couple of unreleased demos, were assembled for the Path Through the Forest mini-CD in 1995. 

The Factory  ‎– Path Through The Forest (2008)  + 11 tracks from Comlete Story !

Both sides of their two singles, plus demo covers of Fairport Convention's "Mr. Lacey" and Family's "Second Generation Woman" (the latter of which is in very rough fidelity), comprise this six-song mini-CD. "Try a Little Sunshine" and (to a lesser degree) "Path Through the Forest" are among the better nuggets of obscure late-'60s British psychedelia, and have appeared on several collector-geared anthologies. Also very good, though, is the B-side to "Try a Little Sunshine," "Red Chalk Hill," an affecting psych-folk ballad that, like "Try a Little Sunshine," was written by John Pantry. A mini-LP on the Heads Together label has identical contents to this CD, with the addition of an alternate, more psychedelic mix of "Try a Little Sunshine."


08 Little Girl                                              
09 Lantern Light-Break Up Break Down                        
10 Woman On My Mind                                         
11 The Old And The New                                      
12 Julie                                                    
13 Birthday                                                 
14 Two People                                               
15 Upside Down                                              
16 Spare a Shilling                                         
17 Looking Glass Alice                                      
18 Spare a Shilling         

The Factory  ‎– Path Through The Forest (2008)  + 11 tracks from Comlete Story !

Bergen White - For Women Only (1970)

Bergen White - For Women Only (1970)

Although best known for a long and successful career as a Nashville arranger, Bergen White also recorded one of the Holy Grails of soft pop: 1970's lush, melancholy For Women Only, a minor classic of its genre. According to Steve Stanley's comprehensive liner notes published in Rev-Ola's 2004 reissue of For Women Only, White was born in Miami, OK, in 1939, the son of a Baptist minister who regularly moved his family from city to city throughout the southern half of the U.S. The Whites finally settled in Nashville when Bergen was 14; there he befriended fellow music fans Bobby Russell and Buzz Cason, with whom he later recorded a single credited to the Todds. After college, White taught math and science for two years before Russell persuaded him to resume their musical collaboration, this time as staff vocalists with Bill Beasley's sound-alike label Hit Records, an imprint infamous for cutting carbon-copy knockoffs of chart hits that were commonly sold in supermarkets and priced to move. Hit not only offered White an opportunity to hone his vocal skills, but he was also allowed to compose original material for release via the B-sides of the label's singles.
In time, White was taken under the wing of Nashville producer Bill Justis and offered the chance to begin arranging recording sessions. He also joined the Justis-sponsored hot rod group Ronny & the Daytonas as a vocalist -- best known for their pop smash "G.T.O.," the band's ranks later included White's old schoolmate Buzz Cason as well. With a growing number of session dates now under his belt, in 1967 White signed to Monument to record his first solo single, "If It's Not Asking Too Much" -- an exquisitely melancholy slice of string-sweetened pop, the record earned little commercial attention, and its creator resumed his work behind the scenes. In 1969 he agreed to record a full-length LP for Shelby Singleton's SSS label, enlisting the assistance of noted session guitarist and engineer Wayne Moss, owner of Nashville's legendary Cinderella Studio. The resulting For Women Only appeared the following year -- an ornate and elegant work of richly detailed harmony pop, both the album and its lead single, "It's Over Now," failed to chart. After issuing a gospel-influenced non-LP single titled "Spread the Word," SSS terminated White's contract.

Even as his recording career faltered, however, White's session career was reaching critical mass -- his work on Tony Joe White's 1969 Top Ten hit "Polk Salad Annie" brought him to the attention of no less than Elvis Presley, who wanted Bergen to arrange a version of the song for him to perform in his Las Vegas show. He went on to arrange several Presley sessions in the years to follow, on occasion contributing backing vocals as a substitute Jordanaire -- White's résumé would later include country luminaries such as Dolly Parton, Ronnie Milsap, the Statler Brothers, the Oak Ridge Boys, Alabama, Garth Brooks, Faith Hill, and Tim McGraw. In the meantime, in 1975 he signed to the Private Stock label, issuing a cover of the Del Vikings classic "Come Go with Me," soon followed by the David Gates-penned "Have You Taken a Good Look Lately." White's third effort for the label, a rendition of the Gene Chandler perennial "Duke of Earl," began to accrue some commercial momentum, but touring behind the single would have forced him to turn down some studio projects -- when he balked at hitting the road, Private Stock cut its promotional funding, and for all intents and purposes his pop career was over. In 1980 White did release a gospel LP, Praise the Lord -- in 1998, he also resurfaced with a seasonal effort credited to the Bergen White Christmas Singers.

Bergen White - For Women Only (1970)
Bergen White - For Women Only (1970)

Bergen White was a member of Ronny & the Daytonas during the Nashville-based hot rod group's last days, when the band was shifting away from Beach Boys-styled hot rod and surf tunes and developing its "softer" side after finding some success with a ballad hit, "Sandy." In 1969, when the group finally did break up, White remained in the Nashville area, where he recorded his first album, For Women Only, which was released on producer and mini-mogul Shelby Singleton's SSS-International label. White wrote or co-wrote several of the tracks himself ("Now" was co-written with Bob Tubert, who wrote several hits for Eddy Arnold, Sonny James, Roy Clark, and others), but many of the highlights are his soft pop renditions of material penned by other notable composers. "She Is Today" is a faster-paced, more upbeat version of the Barry Mann & Cynthia Weil song that had previously been recorded by the Vogues, who were also on SSS at the time. White covers the Lettermen's harmony pop arrangement of Little Anthony & the Imperials' "Hurt So Bad" (a Top 20 hit from September 1969) and Townes Van Zandt's gorgeous "Second Lover's Song." There are a couple of David Gates tunes too, the sublime "Gone Again" and "Look at Me," which appeared on Bread's debut album that same year. Incidentally, during this same time, White provided vocals (along with Daytonas' group leader Buzz Cason and Bobby Russell) and string arrangements for several so-called "supermarket" knockoff records that were released by the budget sound-alike Hit Records label. One of these recordings was the Bergen White-Russell-penned Beach Boys knockoff "We Built a 409," credited to "the Roamers" (aka Ronny & the Daytonas). Singleton was listed as the producer on these records. White continues to have a thriving career as an arranger/producer in Nashville.

Bergen White - For Women Only (1970)

Bergen White - For Women Only (1970)

Thanks a lot to Cor

Die Anderen ‎– Kannibal Komix (Heimatliche Klaenge Vol.78)

Die Anderen ‎– Kannibal Komix (Heimatliche Klaenge Vol.78)

Die Anderen ‎– Kannibal Komix (Heimatliche Klaenge Vol.78)

Die Anderen - German band, 1966-1969, outside of Germany their recordings were released as by The Others (France), Kannibal Komix and Apocalypse.

Heimatliche Klaenge - Deutsche Schallplatten-Labels 
Native Sounds - German Record-Labels

ARIOLA  Die Anderen - Kannibal Komix  1968

Die Anderen ‎– Kannibal Komix (Heimatliche Klaenge Vol.78)

Die Anderen ‎– Kannibal Komix (Heimatliche Klaenge Vol.78)

01 - Little Little
02 - Neurotic Reaction
03 - Sing A Song
04 - Mind My Own Business
05 - Little Queen
06 - Man In The Moon
07 - Love
08 - White House
09 - Sunday Morning
10 - Choo Choo Train
11 - Elenor
12 - Cosy Rosy

Die Anderen ‎– Kannibal Komix (Heimatliche Klaenge Vol.78)

Apocalypse (Die Anderen) – Apocalypse (Heimatliche Klaenge Vol.87)

Apocalypse (Die Anderen) – Apocalypse  (Heimatliche Klaenge  Vol.87)

Apocalypse (Die Anderen) – Apocalypse  (Heimatliche Klaenge  Vol.87)

Heimatliche Klaenge - Deutsche Schallplatten-Labels 
Native Sounds - German Record-Labels

ARIOLA  Apocalypse (Die Anderen)

The roots of the band Die Anderen (The Others or The Differents), later to be known as Apocalypse, lie in a talent show, the so-called "Beat-Band-Ball", that took place in Kiel's Ostseehalle in 1966. This was where Jьrgen Drews (lead guitar, vocals) met the members of the winning band Chimes of Freedom Bernd Scheffler (drums, vocals), Enrico Lombardi (bass, vocals) und Gerd Mьller (guitar, vocals).

In his excellent book "STARPALAST und Skinny Minny" a documentary of the 60s and 70s Beat Music scene in the Kiel area author Klaus Hдrtel writes of the formation of this internationally famous band from northern Germany.

Jьrgen Drews was born 02.04.1948 in Schleswig. When he was 14 he became a banjo player in a jazz band called Snirpels and discovered beat music through the cover band Monkeys. After the "Beat-Band-Ball" Drews successfully asked to join Chimes of Freedom as their lead guitarist. After a while their manager decided to change the band's sound and name. A German band should have a German name - this was not typical of the times. The name Die Anderen was chosen and contact with record company Ariola's in-house producer Giorgio Moroder followed. Moroder produced 2 albums and some singles for them. The band was notable for having four excellent harmonious vocalists, a keenness to play, originality coupled with a total commitment to making money. But they still had a long way to go and there were problems with differing attitudes about the essence and purpose of their music. 

However, Die Anderen got the opportunity to play on "Show Chance 67", a ZDF national television show in the section "singing groups with instrumental backing". This raised the band's profile within their record company after which the company were prepared to fulfil all the band's wishes and gave them a blank cheque. Germany's top producers and arrangers were at their disposal together with the best available session musicians and the best studio - Pye Record Studio in London. It was in the Pye studio in July 1968 they started recording four singles, three of which were written by Mьller and Lombardi. 

With pride the four heroes returned home to Kiel from London, Drew reminisces today, and soon realised that it would be difficult to have a career if they remained as they were - different. They were heralded by creative but broke young filmmakers. They sang in a ZDF produced TV film "Zwischen Beat und Bach" (Between Beat and Bach) and in another ZDF programme they were the choir in the Wagner Opera "Meistersinger".

Their album "Kannibal Komix", released in 1968 on Ariola, was a milestone. The US film producer George Moorse, who was living in Munich at the time, got hold of a copy of the LP. Using the album as a soundtrack he produced the ghost film "Das Haus in WeiЯ" (The House in White). The film was as chaotic as the Beatles' "Magical Mystery Tour" and as such reflected the times.

The real kick to their career came in Hamburg's Star Club. A group of American managers travelled to Hamburg hoping to sign a German group. They had the choice of Hamburg band Wonderland with ex-Rattle Achim Reichel and a hitherto unknown musician and ex-US Army sergeant organist Les Humphries or "Die Anderen". The boys got their first US record deal. Collosus Records released the band's debut American record under the name "Apocalypse". The second album, a year later was also released in America. This album will shortly be released as a CD on Long Hair.

The band's US career was over before it could really begin. Colossus Records went bust, things were also not going according to plan. The two albums and five singles were released internationally and while there is no doubt the music was artistically valuable and excellently produced nobody wanted to buy it. On 28.12.1969 the band spilt after a final gig in their hometown Kiel. Jьrgen Drews went to Rome and became a movie actor. He also recorded his first solo single before joining the Les Humphries Singers with whom he enjoyed success for 5 years. Following this he started his solo career with which he is still well received by the media.

Enrico Lombardi was born on 25.06.1945 in Piacenza near Milan and was introduced to music at an early age. His father was a music professor, his mother a singer and dancer. His mother's commitments in Germany brought Enrico to Kiel. 1966 he won a singing competition ahead of 399 other competitors. He played in several local bands until he met Bernd Scheffler and joined his band "Chimes of Freedom" later to become "Die Anderen / Apocalypse". Enrico currently works as a composer and producer in his own studio in Garstedt, north Germany. His work includes eleven singles and three LPs in addition to countless appearances solo and in bands.
Gerd Mьller was born 04.08.1947 in Kiel. He played in many local bands until he met Enrico and later joined "Chimes of Freedom". As composer Gerd had a large stake in the band's sound. After the band split he released German versions of international hits such as T Rex's "Hot Love", Mungo Jerry's "In the Summertime" and ABBA's "Waterloo" as a solo artist. Gerd Mьller is a freelance producer and lives in Nashville, USA.

Bernd Scheffler was born 06.05.1948 in Kiel. His musical awakening came from records by Bob Dylan, Donovan and the Byrds even calling his first band Dylan's Folk. EMI-Elektrola invited the band to Berlin for a test recording session but only Bernd had the courage to record a demo. The result was a single, musically categorised as "schlager" about which he is still annoyed. After Dylan's Folk he started Chimes of Freedom with Enrico and Gerd. This band marked the most creative phase of his musical career. Here he found an ambition for perfection combined with idealism, friendship and a joy in music, combination that he seemed to lose later on with Die Anderen. Disappointed and frustrated he was the first to leave the band. He has never sat at a drum kit or played music since. Bernd has no more ties with the music of the sixties.
Manfred Steinheuer, March 2003Translation: Trevor Wilson 

Apocalypse LP 1968
Original Soundtrack Of Cinerama Film "Wunderland Der Liebe"

Apocalypse (Die Anderen) – Apocalypse  (Heimatliche Klaenge  Vol.87)

01 Life Is Your Profession
02 Let It Die
03 Patricia
04 Milkman
05 Try To Please Me
06 Pictures Of My Woman
07 Linda Jones
08 Blowing In Blow
09 Reflections Of A Summer

Psychadelic Garage The 60's

Psychadelic Garage The 60's

Psychedelic rock emerged in the mid-'60s, as British Invasion and folk-rock bands began expanding the sonic possibilities of their music. Instead of confining themselves to the brief, concise verse-chorus-verse patterns of rock & roll, they moved toward more free-form, fluid song structures. Just as important -- if not more so -- the groups began incorporating elements of Indian and Eastern music and free-form jazz to their sound, as well as experimenting with electronically altering instruments and voices within the recording studio. Initially, around 1965 and 1966, bands like the Yardbirds and the Byrds broke down the boundaries for psychedelia, creating swirling layers of fuzz-toned guitars, sitars, and chanted vocals. Soon, numerous groups followed their pattern, including the Beatles and the Rolling Stones, both of whom recorded psychedelia in 1966. In no time, groups on both sides of the Atlantic embraced the possibilities of the new genre, and the differences were notable. In Britain, psychedelia tended to be whimsical and surrealistic. Nevertheless, bands -- most notably Pink Floyd and Traffic -- played extended instrumentals that relied on improvisation as much as their American contemporaries the Grateful Dead, the Doors, Love, and Jefferson Airplane. In other corners of America, garage bands began playing psychedelic rock without abandoning their raw, amateurish foundation of three-chord rock -- they just layered in layers of distortion, feedback, and effects. Eventually, psychedelic evolved into acid rock, heavy metal, and art rock, but there continued to be revivals of psychedelia in the decades that followed, most notably in the American underground of the mid-'80s.


Catch the Love Parade
The Staccatos
Take Me Back & Hold Me
The Foggy Notions
Come With Me
The Cryan Shames
You're Gonna Miss Me (Live)
13th Floor Elevators
Don't Leave Me
Every Day & Every Night
T.C. Atlantic
Go Go Baby
The Cardinals
High Blood Pressure
I'll Keep Searching
The Ides Of March
I'm Cryin'
The Malibus
Midnight Sun
Pink Cloud
October Country
Raw Edge
Time To Dream
The Lost Agency
Kingdom Of Heaven (Live)
13th Floor Elevators
Don't Talk to Strangers
The Beau Brummels
I Can't Tell
Human Beings
You Keep Me Hangin' On
Vanilla Fudge


Ty To Original Sharer

"I hope for nothing, I fear nothing, I am free"

The Countdown 5 – “Complete Recordings 1965-1969”

The Countdown 5 – “Complete Recordings 1965-1969”

The Countdown 5 – “Complete Recordings 1965-1969”

Members of the Galveston Bay, Texas’ rock scene of the middle to late 1960’s, The Countdown 5 were part owners of the renowned Houston recording studio Andrus Productions, where producer Walter Andrus recorded many bands, including the 13th Floor Elevators and Fever Tree. While the group never got the big break to record an LP, they did manage to release several singles on a variety of labels, and while none hit big in the US, years later the group did learn that one of their singles had actually topped the charts in Germany for a short period of time. Finally, nearly fifty years after the band called it quits, their entire recorded legacy has been compiled on a two CD collection by Gear Fab Records, and quite a treat it is.

The band consisted of Mack Hayes who possessed a wide, versatile vocal range and was quite comfortable fronting the band, while the rhythm section of bassist/vocalist Tommy Murphy and drummer Tommy Williams was indeed formidable, always solidly holding down the band’s bottom end sound, Left handed John Balzer was one of the most talented, versatile and innovative guitarists of the day as well as being a fine singer in his own right and Steve Long’s keyboards gave the band their special style of 1960’s Texas rock, while he also contributed saxophone to the group’s sound. The Countdown 5’s recorded repertoire was mostly original material, with Hayes and Balzer being especially prolific writers, mixed with tasty covers of tunes written by the likes of The Isley Brothers and Johnny Otis. 

The Countdown 5 – Complete Recordings 1965-1969 (Gear Fab Records, 2018)

Disc one of the set opens with a series of rhythm and blues numbers, beginning with the saxophone led “Bamboo Hut,” a Balzer composition taking its title from the Galveston Beach club that the band often played. This was the Countdown 5’s debut single backed by a faithful cover of The Isley Brothers r & b standard “Shout,” highlighted by the band’s call and response vocals. “Do What You Do Well” was the a-side of their second single, with Long’s keyboards and the group’s vocal harmonies on display. These songs also contained the group’s Texas rock foundation reminiscent of Buddy Holly and The Bobby Fuller Four. Without question one of the collection’s highlights is the hard rocking “Uncle Kirby (From Brazil)” with its heavily echoed vocals from Hayes reminiscent of The Beatles and Balzer’s fuzzed out guitar filling the air. The tune contains a ‘George of The Jungle” chant giving it a danceable quality. Balzer also contributes a couple of hot solos to the track which unbeknownst to the band at the time found its way into European discos in the 1970’s and was a hit in London and Paris among other places. The versatility of The Countdown 5 is apparent throughout. Their cover of Johnny Otis’ “Willie And The Hand Jive” has a Bo Diddley feel while remaining rather loyal to the original. By contrast “We Are All One” features delicate, melodic vocal harmonies and harpsichord while “Shaka Shaka Na Na” is a dance number with its title becoming a repeated chant, yet Balzer’s fuzz guitar and a driving beat driven by Williams’ drums gives it lots of energy. Like “Uncle Kirby (From Brazil)” the song found its way into European discos and in fact topped the German Billboard charts for a period of time in 1968, a fact not discovered by the band until long after the fact. In “Money Man” the band exhibits Eastern influences, its gentle guitar intro emanating a raga feel. The songs repeated chorus of “Don’t Try To Impress Me” is accentuated by Balzer’s lead guitar slashing in and out, and the tune features not only another hot solo by Balzer but also a tasty organ interlude by Long. Two tracks from disc one come from compilation appearances, namely, “Candy” and “Sweet Talk” both feature Balzer’s guitar, snarling lead on the former, and hot dashes of stinging fuzz on the power pop latter. Also included on disc one are stereo versions of four of the single sides, with the bouncing beat, organ led “Time To Spare” and the previously mentioned “Uncle Kirby (From Brazil)” and “Money Man” in particular standing out. The track is rounded out by the acetate of “Something On Her Mind” a mid tempo keyboard driven tune spotlighting the band’s vocal harmonies.

The second disc of the set features eighteen unreleased tracks recorded at Walter Andrus Studio and two radio spots for a New Year’s Eve show. The first track, the interestingly titled “Don’t Buy Meat From The Milkman” sounds like Crosby, Stills and Nash, well before their existence, with its gorgeous vocal harmonies, tasty guitar and delicate keyboards added for texture. “Big Big Man” is folk rock melody with banjo and keyboards complementing luscious vocals. “Unfair To Me” is a snappy rocker featuring numerous tempo changes and the group’s ever present vocal harmonies. “Good Woman” is a mid-tempo song with a fuzz intro by Balzer and Farfisa organ by Long leading up to a fuzz filled solo that plays the song out. “I Gotta Keep What I Take” shows more Eastern influence with its insistent guitar riff, another fine lead guitar line, more Farfisa and a restrained guitar solo. Long’s harpsichord, Balzer’s understated guitar and vocal harmonies give “So Pass Me By” a Beatlesque feel. Just as quickly the band switches gears to the upbeat rocker “What Can You Do When You’re Down” with Balzer’s lead guitar pushing the beat as he throws the tempo into overdrive. The tune’s tempo slows, but only long enough for Balzer to fire it up, his lead guitar stabbing to and fro. The group’s mellower side shows through on “When I’m Gone Away” a ballad with handclaps and percussion taking charge. “Legs” is a real head shaker, and a nice dance tune, complete with an a capella section, yet filled with pumping Farfisa organ and fuzz guitar. “Sallazar” spotlights Balzer’s acoustic guitar and more Crosby, Stills and Nash style vocal harmonies. Despite its title “Stone Fire Garden” has a gentle acoustic intro which gives way to delicate vocal harmonies with horns added for accent. “One Way Traffic” brings Joe South to mind, as its vocals harmonies accompany pounding drums and driving guitar with a twist of organ added for good measure. The disc closes with three gentle numbers, “These Few Things” with its delicate vocals and “I Gotta Leave You” with swirling organ, gentle rolling guitar and sensitive lead vocals, set the stage for the final song, a cover of the theme from the musical “Hair” another melodic tune with horns added for accentuation. The set closes with two radio spots for a New Year’s Eve gig by The Countdown 5, indicative of the group’s versatility and a most fitting end to the complete works of a sadly overlooked and underappreciated works of this talented, versatile Galveston Beach quintet.

“Complete Recordings 1965-1969” comes in a double slimline jewel case and is accompanied by an 8 page full color booklet containing a forward by Gear Fab owner Roger Maglio, an essay by Mack Hayes, wonderful photos of the band and artwork from the band’s singles released on the Toucan, Pic, Cinema, Hansa, Cobblestone, Polar, Saint Martin and Audiodisc labels, and other band memorabilia. This collection will be of interest to garage bands, especially the Texas variety, as well of fans of mid to late 1960’s rock in general and comes most highly recommended. 

– Kevin Rathert 

The Countdown 5 – “Complete Recordings 1965-1969”

She - Outta Reach (1970)

She - Outta Reach (1970)

She were one of the few all-female garage psychedelic American bands of the 1960s that played their own instruments and wrote their own material, although their official output was limited to one obscure 1970 independent single. She nonetheless had a lengthy and somewhat complicated history, beginning in the mid-'60s when guitarist and primary songwriter Nancy Ross formed a teen band (with her younger sister Sally on organ) in Sacramento, CA. Originally known as the Id, they changed their name to the Hairem and did attract some label interest. The Hairem did not officially release any material in the '60s, but five songs that they recorded did come out on the She CD compilation Wants a Piece of You in 1999. These cuts, though not as crude as the Shaggs, were nonetheless quite raw and basic, in the manner of many U.S. garage bands of the period. Indeed, they're pretty generic, or sub-generic, the chief distinction being that there were extremely few all-female groups playing such music circa 1966, especially with the raunchy attitude evident on cuts such as "Like a Snake."

The Hairem played in San Francisco and Sacramento, at both clubs and air force bases, and after several personnel changes, they had changed their name to She by the late '60s. By this point, their music was still not terribly sophisticated, but had nonetheless grown more sophisticated, with a greater emphasis on harmonies and minor-keyed, psychedelic-influenced melodies. They did record an obscure single for Kent in 1970, "Boy Little Boy"/"Outta Reach," the A-side of which was uncharacteristically soft and poppy, almost bubblegum pop. Other original material written and demoed at this time is on the Wants a Piece of You CD and shows the influence of bands like the Doors and the Jefferson Airplane, although the unschooled raunch is still present. Fact is, though, that while the performances are energetic and the vocals often salacious, the songs aren't all that clever or memorable. She disbanded in 1971, Nancy Ross and her sister Sally Ross-Moore being the only members to have stayed the course throughout the entire Hairem-She saga.

She - Outta Reach (1970)

VA - The Upside Down World Of John Pantry  (2009)The Factory  ‎– Path Through The Forest (2008)  + 11 tracks from Comlete Story !Bergen White - For Women Only (1970)Die Anderen ‎– Kannibal Komix (Heimatliche Klaenge Vol.78)Apocalypse (Die Anderen) – Apocalypse  (Heimatliche Klaenge  Vol.87)Psychadelic Garage The 60'sThe Countdown 5 – “Complete Recordings 1965-1969”She - Outta Reach (1970)

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