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The Legend - The Legend (1968)

The Legend - The Legend (1968)



Formed in California in the late-'60s, this obscure band was signed for a one-off deal with the small Encino-based Megaphone label for whom they produced this eponymous album in 1968. Shortly after, The Legend disappeared without a trace, although according to some sources the band morphed into the equally obscure Dragonfly, also on Megaphone.
Serving up a mix of poppy psych originals and a handful of inspired covers (including The Who's "The Kids Are Alright", The Troggs' "With A Girl Like You" and Bob Dylan's "Baby Blue") this album is a rare slice of early, surprisingly radio-friendly, Southern Californian psychedelia.

Members:
- Jack Duncan (bass),
- Barry Davis (drums, backing vocals),
- Gerry Jimerfield (guitar, lead vocals),
- Randy Russ (guitar, backing vocals),
- Ernie McElwaine (keyboads)


1.) With a Girl Like You (Reg Presley) - 2:17
2.) The Sky That Is Blue (B. Corso) - 2:47
3.) Zepplin's Good Friday (E. Brooks - S. Romans) - 2:42
4.) Where Oh Where Is Mother (B. Corso) - 3:03
5.) Yesterday's Child (B. Corso) - 2:31
6.) Eyes of the World (D. McGinnis) - 2:27
7.) The Kids Are Allright (Pete Townshend) - 2:53
8.) Cold Wind In August (B. Page) - 2:32
9.) Sunny Day (E. Brooks - S. Romans) - 2:11
10.) You'll Be Sorry Someday (B. Corso) - 2:41
11.) Gigi (Lerner - Loewe) - 2:17
12.) Baby Blue (Bob Dylan) - 5:27


Very rare and clean 1968 first pressing by a formidable garage band that changed their name to DRAGONFLY a year later by kicking up the volume, oh, about by 50 times.... there's some of that DRAGONFLY influence of hard fuzz psych to be found on this platter:

Originally from Colorado, the five-piece LEGEND relocated to Los Angeles and a year later became the mighty Dragonfly, who also recorded for the same "Megaphone" label.

  The material on this album largely predates the psychedelic era and is full of cover versions (The TROGGS "With A Girl Like You", Dylan's "Baby Blue" and The WHO's "The Kids Are Alright". A few cuts, like "Where Oh Where Is Mother" contain some good guitar playing with psychedelic undertones and the album ends with a little sitar solo.   Offering up a mixture of band originals and popular covers (Bob Dylan, The Troggs, The Who), musically the LP has more than its share of charms. Tracks such as 'The Sky That Is Blue', 'Zepplin's Good Friday' and 'Yesterday's Child' showcases a tasty blend of tight, Bealtesque harmonies and catchy melodies. Legend occasionally drifts close to The Left Banke ('Sunny Day' and 'Gigi'). Even more impressive is their harder rock sound, including the fuzz guitar and feedback propelled 'Where Oh Where Is Mother' and their awesome fuzz & sitar powered take on Dylan's 'Baby Blue' (with sitar fadeout). The album vanished without a trace, followed in short order by the legendary DRAGONFLY Lp. 
Their take on The Troggs hit 'With a Girl Like You' is in the same vein as the original vut comes off interesting as the lead singer seemes to have a strange accent. Great tune, with a touch of Mersybeat harmonies and there is even plenty of cowbell   'The Sky That Is Blue' is a breezy, mid-tempo pop-rock song that features some nice vox organ and wonderful group harmony vocals.   Kicked along by some wonderfully cheesy organ, 'The Sky That Is Blue' has one of those classic mid-1960s vibes - imagine something that tried to cross The Young Rascals and The Beatles. Highly infectious with some nice fuzz guitar in the background.   The album's first all-out rocker and one of the album's psych-tinged numbers, 'Where Oh Where Is Mother' is built on an intriguing mixture of fuzz guitar, electric harpsichord, weird studio sound effects, and another display of the band's impeccable harmony vocals. This was another one where the lead singer (Corso?) seemed to display a noticeable accent. 
Pulling a page out of The Beatles songbook, 'Yesterday's Child' is seemingly a stab a writing a socially relevant ballad -- Pretty, but it isn't 'Eleanor Rigby'.   Even though heavily arranged, 'Eyes of the World' is actually one of the album's most interesting performances with some wild lead guitar and an energetic lead vocals. 
While up theere with the WHO's version, their vox-powered cover of The Who's 'The Kids Are Allright' is actually quite good with some chugging drums and a nice, fuzz-drenched lead guitar. The track was issued as a single. 
One of the album's most pop-oriented efforts, 'Cold Wind In August' has a decent commercial tinge with backing harmony vocals that are nice 'Sunny Day' has a pleasant sunshine-pop feel to it with backing vocals that would have made John Phillips day. 
With the band playing at hyper-speed (sounds like they'd ingested meth amphetamines during the recording sessions ...), 'You'll Be Sorry Someday' is simply hysterical. Nice fuzz solo at the tail end of the track. 
Filled with lovely harpsichord, this one grabs attention from the opening chords. The fact that ballad 'Gigi' sounded like a Left Banke outtake does't hurt either. 
So if you're going to do a Dylan cover why not toughen it up and give it a fuzz-driven garage edge? To their credit that's exactly what these guys did on their version of 'Baby Blue'. Along with the totally bizarro sitar closing, the result is one of the album's best tracks and one of the best Dylan you'll ever hear.   With a Girl Like You The Sky That Is Blue Zepelin's Good Friday Where oh Where Is My Mother Yesterdays Child Eyes of the World II The Kids Are Allright Cold Wind in August Sunny Day You'll Be Sorry Some Day Gigi Baby Blue



The Beethoven Soul - The Beethoven Soul (1967)

The Beethoven Soul -  The Beethoven Soul (1967)


" Six piece brass band, who came from L.A. (according to Fuzz Acid and Flower), despite the Al Kooper’s   composition “New York's My Home”. 
The band formed round 1966 and release their sole –self titled- album in 1967, sounding close to psychedelic sunshine, baroque pop, sometimes flirting with more garage beats.
After their disbanded in 1970, Lambert, Lewis and Hale all went on to play together in Pollution, a late '60s L.A.-based rock band with jazz undertones. "

Andrea Kouratou – strings
Bill Powell — guitar
John Lambert – bass
Dick Lewis – brass, keyboards
Otis Hale — woodwind instruments
Terry Nu – drums, percussion

"Kind of garage-ish stuff mixed with classical elements like flute, violin and lots of harpsichord. At times the singer has a little Roger Daltry in his voice, raspy and cool."

The Beethoven Soul -  The Beethoven Soul (1967)

If you have more info on this group let know,please ...

The Cryan' Shames - Sugar & Spice (1966)

The Cryan' Shames -  Sugar & Spice (1966)


The Cryan' Shames actually were a big deal in Chicago in the mid- and late '60s, when a bunch of their singles hit the local Top Ten; some of them were small national hits as well. The biggest of these was "Sugar and Spice," a cover of a Searchers song that made the Top 50 in 1966 and was later featured in Lenny Kaye's renowned Nuggets anthology of '60s garage bands. In their original incarnation, the Shames leaned toward the pop end of garage. Borrowing heavily from the Beatles, the Byrds, and the Yardbirds, guitarist James Fairs wrote a clutch of energetic guitar pop/rockers with sparkling harmonies. After 1966, the group pursued an increasingly mainstream pop direction featuring saccharine arrangements and material. In this respect they uncannily mirrored the devolution of local rivals the New Colony Six, who also shifted from tough pop/rock to MOR in their bid for national success. But the Shames' appeal endures, partly through the efforts of reissue/archival labels such as Sundazed Records, which have kept their music available into the 21st century, and some of the original members, who have kept the band alive as a performing outfit from the 1980s onward.

They actually started out in Hinsdale, IL, as the Prowlers, a trio formed by Gerry Stone (rhythm guitar), Tom "Toad" Doody (vocals), and Dave Purple (bass, keyboards), who added guitarist James Fairs and drummer Dennis Conroy, both late of a local band from Downers Grove called the Roosters. The quintet became the Travelers, specializing in R&B and rock & roll covers, though Fairs was starting to write originals as far back as 1964. They became a sextet with the addition of Jim Pilster, a one-handed tambourine player whose artificial extremity got him dubbed "J.C. Hooke." Included in their ranks were four singers who were capable of handling lead vocals as well as harmonies, and as they already had their rock & roll and R&B sound down, they emerged as a heavyweight outfit on the local band scene, equally adept at covering the Beatles, the Byrds, or the Rolling Stones, among others. Additionally, as they discovered, Pilster's presence lent them some novelty/publicity value as "the guys with the hook," an attribute that would also benefit the Barbarians around the same time, who sported a member with a replacement appendage. According to biographer Clark Besch, they were making upwards of $180 a gig (albeit split six ways) in 1966, a good fee for a group that had never recorded. They also attracted the attention of manager Bob Monaco, who was associated with the local Destination Records label, and hoped to rectify that gap in their biography in short order.

Sugar & Spice Their new name was imposed upon them when they were notified that another band had a prior claim on "the Travelers" -- as they told Besch, the situation was described by one of the affected parties as "a cryin' shame," and that became their new name. The group and Monaco intended to make their recording debut with George Harrison's "If I Needed Someone" -- a new Beatles song not yet available in the U.S. -- but were thwarted, as the Beatles' publisher wouldn't allow the release. Instead, they grabbed up another, older British Invasion-spawned original, "Sugar and Spice," written by producer/composer Tony Hatch (under the pseudonym "Fred Nightingale") for his client group the Searchers. The number had been in the repertory of another local band, the Riddles, and they got their version out through MG Productions on a tiny local label. The resulting single, which included a proto-psychedelic Fairs original called "Ben Franklin's Almanac," became a Top Five hit locally in Chicago, and attracted the attention of Columbia Records, which bought up their contract and put the record out nationally. It easily made the Top 50 and Columbia wanted more -- the band duly obliged with "I Wanna Meet You," another Fairs original, which only made the Top Ten locally and number 65 nationally. Columbia was still interested in an album, however, and the group delivered the 12-song Sugar & Spice long-player. It was a fairly good record of its kind, mixing covers and Fairs' originals and, as it was done on a tight budget -- basically Columbia accepted the record as delivered, according to Pilster in an essay by Besch -- it also included all four single sides, plus their proposed debut of "If I Needed Someone." Although the album barely cracked the Top 200 nationally, the single and the long-player between them helped raise the band's fees more than fivefold in just a matter of weeks.
A Scratch in the Sky It all wasn't a bad beginning, and might have led to better things for the band, if it hadn't been for the Vietnam War and the military draft, which cost the Shames the services of Gerry Stone. Lenny Kerley, late of the Squires, was his replacement, and was soon partnered up as a songwriter with Fairs, generating a third single, "Mr. Unreliable," which made the Top Ten in Chicago. The Cryan' Shames continued to enjoy immense success locally in Chicago, without parallel sales in the rest of the country -- fortunately, they were not costing Columbia a great deal, and the Chicago music marketplace was important enough to keep the label interested. Their fourth single, "It Could Be We're in Love," recorded and released in the late spring of 1967, topped the local listings, without breaking through nationally. There were some lineup changes around this time, as guitarist Isaac Guillory came in on bass, taking over for Dave Purple, who was drafted that year. And a second album, entitled A Scratch in the Sky, issued in December of that year, actually sold somewhat better than their debut LP, reaching number 158 nationally; in contrast to the mix of garage punk, British Invasion, and folk-rock sounds on Sugar & Spice, A Scratch in the Sky was an ornate sunshine pop/psychedelic work, reminiscent of the Association or, perhaps, the Left Banke. The group saw a string of departures in 1968 and 1969, most notably that of James Fairs, and although the Cryan' Shames continued to record and perform with a new lineup -- featuring Saturday's Children alumnus Dave Carter on guitar and former Squires/Boston Tea Party member Alan Dawson on drums -- a lot of continuity was sacrificed. Dawson also left in late 1968, though not before contributing to their final album, Synthesis. They broke up in the last month of 1969. Since then, there have been reunion performances by various members and the formal reactivation of the group in the late '80s, which continued as of 2009.

http://www.cryanshames.com/



The Cryan' Shames -  Sugar & Spice (1966)

The Cryan' Shames' debut album was typical of the more thrown-together rock LPs of the era: both sides of their first two singles and a bunch of cover versions. The singles, actually, were pretty good, including their most well-known song, "Sugar & Spice," a cover of a Searchers hit that actually was more memorable and imaginative than the original. Its B-side, "Ben Franklin's Almanac," was a respectable original with shades of the Byrds, the Yardbirds, and California harmonies; the second single, "I Wanna Meet You," was a decent meld of Beatles-Byrds jangle with Beach Boys harmonies; and its flip, "We Could Be Happy," was an OK soft rock number. Throw in the sole original composition not from a single, "July" (one of the better 1966 Byrds sound-alikes), and you have half a decent (though not great) period pop/rock album. The problem is, though, that the cover versions that fill out the record -- including songs written and/or popularized by the Beatles, the Byrds, and the Animals, along with "Heat Wave" -- are neither too creatively done nor even imaginative selections. "Sugar and Spice" and all four of the originals appear on the Legacy compilation Sugar & Spice, which makes this album superfluous if you already have that anthology. The 2002 CD Sundazed reissue is bolstered by six bonus songs: their 1967 single "Mr. Unreliable" (different from the LP version) and its laid-back B-side "Georgia," a cover of the Beatles' "You're Gonna Lose That Girl," and three previously unreleased 1969 tracks that found them going into a mellow folk/country/soft rock direction.

The Crickets - Well... All Right (The Crickets Collection) 1992-3

The Crickets -  Well... All Right (The Crickets Collection) 1992-3


The Crickets were a group with two careers, one that lasted less than a year-and-a-half, and another that continued for decades. Originally formed by singer and guitarist Buddy Holly, drummer Jerry Allison, and bassist Joe B. Mauldin, the Crickets went from being Holly's backing musicians to a self-contained band when they re-recorded a song that Holly had already cut under his own name to avoid violating an earlier contract. The Crickets went on to a successful run of hits with Holly -- including "Maybe Baby," "Not Fade Away," and "That'll Be the Day" -- until his death in 1959. After that, the Crickets, joined by guitarist Sonny Curtis, went on to a long run recording on their own as well as backing other artists, most notably Bobby Vee and the Everly Brothers. Their first post-Holly album, In Style with the Crickets, included the original version of Curtis' song "I Fought the Law," but by the mid-'70s, they had walked away from recording and primarily performed live, especially after the 1978 film The Buddy Holly Story revived interest in their former frontman. The Crickets came back in 1988 with T Shirt, which was produced in part by longtime fan Paul McCartney, and 2004's The Crickets & Their Buddies found them covering their classics with help from Eric Clapton, Waylon Jennings, John Prine, Graham Nash, and many more.
The "Crickets" started out as a ruse. In 1956, Buddy Holly signed a contract with Decca Records, but after two sessions in Nashville, no one was happy with the results, and Holly and Decca parted ways. After finding a more sympathetic producer in Norman Petty, Holly, Jerry Allison, and Joe B. Mauldin decamped to Petty's studio in Clovis, New Mexico, and, among other things, cut a new version of one of Holly's Decca efforts, "That'll Be the Day." Coral Records was interested in Holly's Clovis recordings, but the terms of the Decca contract meant he couldn't re-record "That'll Be the Day" under his own name, so the new version was credited to the Crickets. The Crickets' "That'll Be the Day" became a Number One hit in 1957, and for the next 15 months, there were records by the Crickets and records by Buddy Holly -- which were virtually interchangeable -- and on-stage they were billed as Buddy Holly & the Crickets. By the end of 1958, however, the references to "Buddy Holly & the Crickets" were becoming valid in the worst possible way. Holly's shifting and expanding musical interests, coupled with his move to New York and marriage to Maria Elena Santiago, and the differing relationships that the three had with Petty, who was now their manager, led to a split between Holly and his bandmates in the months immediately prior to Holly's death in a plane crash on February 3, 1959.

The result of their split was a separate existence for the Crickets. Jerry Allison became the de facto leader of the group, and they were soon a quartet, with Sonny Curtis on guitar and Earl Sinks as lead singer. In 1959, still managed and produced by Norman Petty, they recorded "Love's Made a Fool of You" backed with "Someone, Someone," which failed to chart. Their next serious assault on the charts -- a version of Curtis' "I Fought the Law" cut for Coral Records -- vanished without a trace in 1959, and their rendition of "More Than I Can Say" also failed to find an audience for them, though it did wonders for Bobby Vee (and, by extension, for Curtis as its composer). They recorded a handful of singles for Coral Records, and later signed to Liberty Records with Jerry Naylor in the lead singer spot (sometimes switching off with Curtis), in addition to recording with Buddy Holly soundalike Bobby Vee.

The group recorded for Liberty for four years, from 1961 through 1965, even doing their versions of several Beatles songs, but apart from a pair of minor hits, "My Little Girl" and "Please Don't Ever Change," were unable to generate any enthusiasm. One of Naylor's successors, David Box, died in a plane crash in 1964. They did find some lingering success in England, where they headlined shows as well as serving as a backing band for the Everly Brothers, and the group even managed to appear in two jukebox movies on either side of the Atlantic, Just for Fun (1963) in England (doing "My Little Girl" and "Teardrops Feel Like Rain") and The Girls on the Beach (1965) in America (doing "La Bamba"). By the end of the '60s, Mauldin had left music while Allison was singing lead; he and Curtis were also working as session musicians, and Curtis scored a huge success at the dawn of the '70s as the composer of "Love Is All Around," the theme song for The Mary Tyler Moore Show.

Too Much Monday MorningAllison and Curtis were the core of the group in the early '70s, mostly working as a touring act rather than a recording outfit, though new records did appear on various labels, including Mercury and MCA. In the wake of the revival of interest in Holly's music at the end of the '70s, thanks in part to the 1978 movie The Buddy Holly Story, the Crickets re-formed on a steady basis, with Joe B. Mauldin returning to the lineup after more than a decade out of music. In 1986, Curtis left the fold to re-establish himself as a solo performer, and was replaced by Gordon Payne on vocals. In 1988, they recorded the single "T-Shirt," produced by noted fan Paul McCartney, which became a minor hit and led to the release of an LP of the same name from Epic Records. The British label Carlton Records issued Too Much Monday Morning in 1996, which included guest vocals from Texas country-folk artist Nanci Griffith. In 2004, the Crickets released The Crickets & their Buddies, in which they re-recorded a number of their Holly-era hits with notable guest stars, among them Eric Clapton, John Prine, Rodney Crowell, Graham Nash, Bobby Vee, and Waylon Jennings (whose contribution was recorded shortly before his death). After the death of Joe B. Mauldin in 2015 and the advancing age of the other Crickets, the band faded away from both recording and live work, but a steady flow of archival reissues and the group's induction into the Rock & Roll Hall of Fame in 2012 kept their music and memory alive. In 2018, the British Not Now label issued The Crickets Story, which collected the group's complete recordings from 1957 to 1962

The Crickets -  Well... All Right (The Crickets Collection) 1992-3



Bobby Vee & The Crickets - Bobby Vee Meets The Crickets (1962)

Bobby Vee & The Crickets - Bobby Vee Meets The Crickets (1962)


Launching his career as a fill-in for the recently deceased Buddy Holly, Bobby Vee scored several pop hits during the early '60s, that notorious period of popular music sandwiched between the birth of rock & roll and the rise of the British Invasion. Though a few of his singles -- "Rubber Ball," for one -- were as innocuous as anything else from the era, Vee had a knack for infectious Brill Building pop, thanks to his ebullient voice as well as the cadre of songwriters standing behind him.

Born in Fargo, North Dakota in 1943, Robert Thomas Velline was still in his teens when he formed his first combo, the Shadows, with his brother Bill and their friend Bob Korum. The trio were playing around the area when their big break came, at the expense of one of Bobby's musical idols; the Winter Dance Party package tour, with Buddy Holly, Ritchie Valens, and the Big Bopper were on their way to Fargo when their plane went down in Iowa, killing all three. The Shadows were scheduled to play the date instead of Holly, and several months later, producer Tommy "Snuff" Garrett supervised their first recording session and the release of the single "Suzie Baby" on Soma Records. Liberty/RCA picked up the single later in the year, and though it just barely scraped the pop charts, the label kept plugging with Vee as a solo act, recording him on Adam Faith's "What Do You Want?," which also failed to move.

With the collective might of the Brill Building behind him, though, Vee was guaranteed to make it; his third single, "Devil or Angel," hit the Top Ten in mid-1960, followed by "Rubber Ball" later that year. One year later, Vee's biggest hit, "Take Good Care of My Baby," spent three weeks at number one, followed by the number two "Run to Him." His fame appeared to wane after the 1962 Top Ten single "The Night Has a Thousand Eyes," due in large part to the success of the Beatles and other English acts. Vee appeared in several movies (Just for Fun, Play It Cool) and briefly tried to cash in on the British phenomenon -- with the disappointing Bobby Vee Sings the New Sound from England! -- but also recorded songs by his early influences, including Buddy Holly and the Crickets. Vee continued to chart throughout the '60s, and even hit the Top Ten again in 1967 with "Come Back When You Grow Up," but after a brief attempt at more serious recordings, he hit the rock & roll oldies circuit. He died in 2016 at the age of 73.



Bobby Vee Meets The Crickets is a cross-over rock and roll album that brings singer Bobby Vee together with the Crickets. It was Vee's 6th album and The Crickets' second release following the departure and subsequent death of their front man, Buddy Holly. The album contains new versions of three songs written by or recorded by Holly—Peggy Sue, Bo Diddley, and Well...All Right—and a host of cover versions of 1950s rock'n'roll songs by artists like Little Richard and Chuck Berry. Originally released as an LP record on July 14, 1962, the album was re-released on CD in 1991, with bonus tracks not featured on the original album.


Bobby Vee & The Crickets - Bobby Vee Meets The Crickets (1991)

Bobby Vee & The Crickets - Bobby Vee Meets The Crickets (1962)

The reissue of this enjoyable album includes ten bonus tracks, including alternate takes, unreleased songs


The Arkay IV - When We Was Younger... Than Yesterday

The Arkay IV - When We Was Younger... Than Yesterday


The Arkay IV is the best known "unknown" band in the history of Rock and Roll. Their recordings have been a hot items with collectors for more than 30 years. The 1996 Tom Hank's movie That Thing You Do! set in Erie, PA during the early 1960's is loosely based on the Arkay IV. 

The group was started in Erie, PA in 1963 by Skip Niebauer, Bill Arnold & John Nicotra. After graduating from High School Bill left for military service and was replaced by Bob Sustak who was soon drafted into the army and was replaced by Dave Massello and Tom Brocki. This formed the core of the group from 1964 to 1969. 

The group went through several personal changes due primarily to the military draft for the Vietnam War. Besides those mentioned above the players included: Bill Adleff, Mark Fainstein, Vil Stomers, Bill Kirby, Jon Ims, Mike Redicliff and Doug Phillips.

During the 1960's the Arkay IV was one of the top regional acts in the Cleveland-Buffalo-Pittsburgh triangle.

The original Arkay IV broke up in 1971.

The Arkay IV - When We Was Younger... Than Yesterday

The Arkay IV - For Internal Use Only (1966-68) / Essential Arkay IV (2011)

The Arkay IV - For Internal Use Only (1966-68) / Essential Arkay IV (2011)


The Arkay IV is the best known "unknown" band in the history of Rock and Roll. Their recordings have been a hot items with collectors for more than 30 years. The 1996 Tom Hank's movie That Thing You Do! set in Erie, PA during the early 1960's is loosely based on the Arkay IV. 

The group was started in Erie, PA in 1963 by Skip Niebauer, Bill Arnold & John Nicotra. After graduating from High School Bill left for military service and was replaced by Bob Sustak who was soon drafted into the army and was replaced by Dave Massello and Tom Brocki. This formed the core of the group from 1964 to 1969. 

The group went through several personal changes due primarily to the military draft for the Vietnam War. Besides those mentioned above the players included: Bill Adleff, Mark Fainstein, Vil Stomers, Bill Kirby, Jon Ims, Mike Redicliff and Doug Phillips.

During the 1960's the Arkay IV was one of the top regional acts in the Cleveland-Buffalo-Pittsburgh triangle.

The original Arkay IV broke up in 1971.

http://arkayiv.com/about.php

Arkay IV - For Internal Use Only (1966-68)

The Arkay IV - For Internal Use Only (1966-68) / Essential Arkay IV (2011)

This is one of the most sought after records among collectors. Recorded between 1966 and 1968 only 100 copies were pressed and were sold by subscription. It has been reissued twice - once on vinyl in 1988 and as a CD in 1993.

Song Titles: 
Seems To Be The Thing, 
Surprise Love, 
Hear Me My Friend, 
You're The One, 
When I Was Younger, 
Another Way, 
Demotion, 
Down From # 9,
 Little Girl, 
Girl (You've Got A Lot Of Things To Learn), 
A Crawlin' Man ,
I'll Keep On Trying

The players: Dave Massello, Skip Niebauer, Tom Brocki, John Nicotra, Bill Adleff, Bob Sustak & Vil Stomers

Arkay IV - Essential Arkay IV (2011)

The Arkay IV - For Internal Use Only (1966-68) / Essential Arkay IV (2011)

This collection includes the best of the original band plus tracks from the Arkay IV revival band of the 1980's and the band's latest recording  Playin' That Rock 'n' Roll.

Song Titles: 
Playin' That Rock 'n' Roll, 
Little Girl, 
You're The One,
 A Crawlin' Man, 
Another Way, 
Way Back Home, 
Surprise Love, 
Down From #9, 
When I Was Younger, 
Seems To Be The Thing, 
Demotion, 
Politician, 
Central Data Bank, 
She Was Cool, 
Monday, 
I'll Keep On Trying, 
Feelin' Good Tonight,
 Every Morning,
Git It, 
Chocolate Pudding, 
Fallin' Angels

Songs by Dave Massello, Skip Niebauer & Sam Hyman

Principal Players: Dave Massello, Skip Niebauer, Tom Brocki, John Nicotra, Bob Sustak, Bill Adleff, Vil Stomers, Bill Kirby, Bernie DiNardo, Sam Hyman, Tim Ely, Kevin McCleary, Skip Carnes, Steve Young , Mickey Steinbaugh & Kevin Bort


Johnny Restivo - Oh Johnny

Johnny Restivo - Oh Johnny




    
Johnny (John Charles) was born in the North Bronx, New York September 13, 1943. He enrolled in Cliffside Park Junior High School, New Jersey and was graduated in June of 1958.

Johnny and his 9 year younger brother Gerard were sons of Jack and Jeanette Restivo. In 1959 Johnny was discovered by Joe Mulhall and Paul Neff and in June 9, 1959 he recorded "The Shape I'm In" and "Ya, Ya" at RCA only 15 years old with Paul Simon (aka Jerry Landis) playing his guitar. In 1960-1961 Johnny was on tour in Australia. He played in Sydney, Melbourne, Canberra and Perth as well as many other places while there. From there he also had engagements in South America, Chile, Argentina, Brazil and Belgium. While in Argentina he hosted his own variety television show called "The Johnny Restivo Show". The program was on the air for 3 years from 1961-1963 and was sponsored by the Coca Cola Company. Between 1962-1964 even while doing the television program Johnny found time to play at the South American "Copa Cabana" club in Rio and the Waldorf in Santiango, Chile. He also performed in Uruguay and Brazil.

Johnny went on tour beginning in 1963. His first country of this multi-country tour was South Africa. He visited Kenya, Southern Rhodesia and Johannesburg. This part of the tour lasted about 6 months. While in Johannesburg during 1963-1964 he recorded an album on the RCA label entitled "Spotlight On Johnny Restivo". In 1965 he went on to London, England, where he performed at the London Palladium as well as many other venues. During the years of 1965-1966 London became Johnny's home base for the next leg of his tour. From there he spent 2 months touring Israel. One of the places he performed at was the Caliph Club in Jaffa. He also had engagements in Eilat. Then it was on to Italy for a multi-city tour working through the "Johnny Pangazio Agency". After completion of the Italian segment of his tour he went on to Paris, France, for a short stay. In 1967 the final leg of the tour took him back home to the USA. Once back home in New York City Johnny was represented by many different agencies including the William Morris Agency. He mostly worked nightclubs, resorts and cruises throughout the USA.

In 1969 Johnny was drafted into the United States Armed Forces. He did his basic training in South Carolina and Advanced Infantry Training in El Paso, Texas. He was then stationed in Heidelberg, Germany. He inquired about Special Services, auditioned and was accepted into the 7th Army Soldiers Chorus. Touring again but now for the US Army. He visited Germany, Austria, Holland, Belgium and Italy.

In 1971 Johnny took a European discharge and remained in Europe for the next 6 months, after which he headed back home to the USA. In that same year Johnny and Gerard began working together, Gerard as his drummer and musical director, as he attempted to get his career back on track. They did primarily club dates, hotels and resorts throughout America. They also travelled to Mexico and Puerto Rico as well as playing cruises in the Caribbean. During many of the recording sessions that were done in New York City, Gerard was allowed to stay in the recording studio with Johnny or sit with the drummers where he quitely would watch, listen and learn about show business and the recording industry. It was in those very early years that Gerard decided he was going to be in show business and more importantly that he was going to work with his brother making music.

In 1978 Johnny formally ended his career in show business after a performance at the Nevelle Hotel in the Catskill mountains town of Ellenville, New York. During these years and beyond, Johnny has been married and divorced 4 times and has 3 children from oldest to youngest: Kelli Hope, Darin and Brandon. He has been in business for himself since 1981 with "Rockland Mattress", which sells bedding, headboards and beds. And now in 2002, Johnny finds himself preparing to retire and move permanently to the state of Florida (he always wanted to be in a warm climate). He now spends most of his time playing golf and winding down.

I'm in great debt of gratitude to John and Gerard Restivo for all supports indeed.



Johnny Restivo - Oh Johnny


Thanks to Hedson La Playa

Lee Hazlewood - The LHI Years: Singles, Nudes & Backsides (1968-71)

Lee Hazlewood - The LHI Years: Singles, Nudes & Backsides (1968-71)



Lee Hazlewood might just be proof of the fact that in popular music being very good at many things can only make it more difficult to gain recognition amongst the pop pantheon. It's the curse of the multi-talented, leaving behind a body of work that defies easy summary or pigeon holing.

He was the man who put the twang in Duane Eddy's legendary guitar sound by using a grain tank as a primitive reverb pedal; just listen to Eddy's 'Rebel Rouser' to hear that distinctive tone and one which prevails in alternative music up to this day, now mainly in the guise of the adjective 'Lynchian'.

As a pop songwriter he asserted Girl Power a good 30 years before The Spice Girls management team with Nancy Sinatra's 'These Boots Were Made For Walking'. Fine, forward thinking pop music all, yet because of his background role in his most famous contributions to the popular music canon he remains, almost five years after his death, quite the enigmatic figure. Where as Jonny Cash left us with his funereal cover version of 'Hurt' (with its moving if somewhat self-aggrandizing video), Lee Hazlewood's final album was poignant, but bore the mischievous, Eddie Izzard inspired title Cake or Death. It's not the sort of final statement that sells scripts for biopics.

Lee Hazlewood - The LHI Years: Singles, Nudes & Backsides (1968-71)


Typically, posthumous reissues and compilations - especially rarities ones - exist to fill in the blanks (to varying degrees of success) or act as timely cash-ins. In contrast The LHI Years gives a surprisingly comprehensive overview of Hazlewood's talents even while focussing on output from just three years on his own Lee Hazlewood Industries label. There are even compelling reasons to recommend it as an entry point for newcomers for two main reasons. Firstly, it's hugely accessible whilst touching on different bases of his musical styles and sounds, but also distinctively the work of Hazlewood. Opener 'Califia (Stone Rider)' sees him in full cowboy-horseback mode, but the string-drenched passages in which Suzi Jane Hokom taunts “Your rocks and grills, mountains and hills, they won't last” are as exquisitely smooth as those accompanied by harpsichord and woodwind on the decadently baroque 'What's More I Don't Need Her'.

There are several duets in the lineage of Nancy & Lee, but Suzi Jane Hokum's other appearance, 'Nobody Like You', is the least typical,an enjoyable psuedo-psychedelic wig out with Hazlewood's submerged in a watery sound effect. Ann Margret's contributions are uniformly enjoyable; 'Sleep In the Grass' shifts from appropriately laconic verses of hazy strings and tinkling glock to ecstatic chanting, Margret brings an irresistible country lilt to 'Victims of the Night's fleet-footed folk-pop and a siren wail to match the mariachi vengeance of 'Chico'. The duets from the Cowboy In Sweden album flirt dangerously with novelty (especially 'Hey Cowboy'), but on 'Leather and Lace' Nina Lizell provides a perfectly seductive foil.

However, the main reason for checking out The LHI Years is the depth of quality that compliments the stylistic breadth. Hazlewood can be as emotionally devastating and intimate as any singer-songwriter whilst still flexing the pop tune chops of a master stylist. 'The Night Before' rides on a funky swagger enveloped in velvet strings reeking of smoke and remorse. Jarvis Cocker was surely making notes circa 1998. Best of all is 'The Bed', a deceptively upbeat acoustic number replete with operatic female backing vocals, slide guitar, organ, but with lyrically pining over a lost love, most climatically when Hazlewood exclaims “Here in this nightmare of darkness I remember the day we wed” over swooning strings. Lyrical and musical emotions are more closely aligned in the thrillingly malevolent folk of 'Bye Babe' (“I guess you sold me down the line when my money went down the drain/I can see you smiling now as my tears come down like rain”) with Hazlewood's baritone in suitably weary tone. 'Troublemaker' on the other hand is a humorous Glen Campbell-esque number portraying Jesus as a no-good beatnik.

In truth at 17 tracks The LHI Years is a bit too long with a couple of forgettable moments ('Come On Home to Me', 'If It's Monday Morning'). However, in covering just three to four years of Lee Hazlewood's less readily available material The LHI Years mines a rich seam of individualistic pop genius, even the rump of which betters that found within the entire back catalogue of many artists.

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




The Legend - The Legend (1968)The Beethoven Soul -  The Beethoven Soul (1967)The Cryan' Shames -  Sugar & Spice (1966)The Crickets -  Well... All Right (The Crickets Collection) 1992-3Bobby Vee & The Crickets - Bobby Vee Meets The Crickets (1962)The Arkay IV - When We Was Younger... Than Yesterday The Arkay IV - For Internal Use Only (1966-68) / Essential Arkay IV (2011)Johnny Restivo - Oh JohnnyLee Hazlewood - The LHI Years: Singles, Nudes & Backsides (1968-71)Bergen White - For Women Only (1970)

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