...served by germt (on january 28th) ...
The Bonne Villes were one of the better white R&B-based acts to record for the Winston-Salem-based Justice label. A sextet consisting of Donald W. Cartner (drums), Curtis "Buzzy" Cobb (sax, organ), Butch "Carl F." Steele (bass), Nelson M. Bradshaw (lead guitar), James Alan Lovette (lead vocals), and Gary Howe (vocals), they made their way across frat parties and local clubs from their native Salisbury on out, playing early- to mid-'60s R&B; mostly covers of songs by the Drifters, James Brown, Wilson Pickett, etc., spiced with occasional originals in a similar vein by Jim Lovette. They had a fairly sophisticated vocal attack, and their instrumental skills were up to the repertory they chose; witness Steele's attack on the bass on their cover of "96 Tears."
Not a bad representation of the band's strengths, a collection of 11 tracks, mostly covers of R&B and rock & roll standards. The singing isn't up to the task of the most sophisticated material, including "Bring It on Home to Me," but the group does have a cohesive sound. Their originals simply don't hold up, however, and lackluster numbers like "Helping Hand" and "Who's Afraid of Virginia Woolf" pale next to "My Girl," "Under the Boardwalk," or "96 Tears."
Highland Springs just to the East of Richmond, Virginia, (not Winston-Salem in North Carolina as was stated on the Tobacco-A-Go-Go compilation) was this band's home. They formed in late 1964 as a six-piece but soon solidified into the five-piece listed above in early 1965. Donnie Thurston's dad became their manager and they took part in various 'Battle Of The Bands' during 1965. Their first 45 in 1966 comprised an unimpressive folk-rocker on the 'A' side and an instrumental cover on the flip. They put it out on their own Cuda label. The same session also produced I'll Never Fall Again, their best original, and a bizarre medley of Gloria, Baby Please Don't Go, which remains unreleased.
In 1967 they recorded an album for Justice Records of Winston-Salem, North Carolina. Besides two originals:- I Can't Believe and I'll Never Fall Again, the album comprised sloppy teenage versions of Blue Feeling, Feel A Whole Lot Better, Not Fade Away, I Call Your Name, ShotgunI'm A Man, which were so faithfully rendered and devoid of fuzz that they sound more U.K. than U.S.. Clearly The Rolling Stones were their inspiration. One of the better tracks was I'm A Lover Not A Fighter, a frat-rocker from the Kinks' second album but Shotgun, in particular, was a pityful attempt at exploiting sixties soul music. Nevertheless the album sold over 700 copies and the band became popular on the college frat-rock circuit. and
By 1968 they had progressed into a Hendrix/Cream-type heavy jam sound, but suprisingly their final 45 in 1969 was a folk-rocker. They quit in late 1969. Their album is now quite a big collectors' item but it's really overrated.
One of the better albums to come out of Calvin Newton's Justice Records label, A Plane View of the Barracudas has been selling for big bucks in Europe for years, partly based on the fact that there weren't many more than a thousand copies pressed. The CD is a welcome addition to the catalog -- these boys may have been a little sloppy, but they were ambitious, and they had the skills to realize a lot of those goals. As an extended jam, the version of "I'm a Man" here may be the best rendition this side of the Yardbirds' classic, and adds a few layers of pyrotechnics that Jeff Beck and company weren't ready to ignite -- lead guitarist Mike Parker has a field day romping and stomping over the basic material, and Sam Shaw's bass swells and surges beneath Parker's work. Donnie Thurston sounds like he's playing on cardboard boxes, but that's par for the course on a recording like this, and not necessarily a problem. "Shotgun" closes the album and CD, and is a pretty decent cover of a then current soul hit. The notes are minimal, but the music does truly speak for itself. Strangely enough, only their covers of Lennon-McCartney tunes like "I Call Your Name" don't come off too well (though their version of "All My Loving" is pretty cool), but overall, the mix of folk-rock, soul, and blues-rock works beautifully. This must've been a great record to play at dance parties. It's also easy to see why the Barracudas did well on the frat circuit in Virginia and other East Coast locales -- they must have been great live.
Practically nothing is known about Skip & the Creations, apart from the fact that they were a sextet, that their first names were Walter, Brute, Jeffrey, Skip, Rick, and Tommy, and that Skip was their lead singer, Jeffrey was the lead guitarist, Walter may have been the organist, and Brute played a Fender-model bass. And that they seemed bent on becoming Virginia's answer to the Outsiders. They cut 11 songs for Justice Records sometime in 1967 or thereabouts, and disappeared sometime after that. and
These boys really tried hard, mixing r&b and gospel influences in a surprisingly effective fashion, and their concert performances must've been awesome in the context of the times. It's a shame they didn't leave more of a trail behind that could be followed today, apart from these 11 songs cut around 1967. Their cover of "Double Shot Of My Baby's Love" was no threat to the Swingin' Medallions, nor was their "Respectable" going to make the Outsiders worry about losing gigs-but even here Skip and company did sing with a demented, soulful snarl that makes their work entertaining and animated, and puts these performances over. The songs include their version of the Jamess Brown standard "I'll Go Crazy" (also covered by the original Moody Blues-these guys sound like they learned it off the original), and Skip is a pretty mean soul shouter here. "Try Me" is the highlight of the album, a seriously soulful rendition with a gospel-tinged organ that lights up the entire song. "Turn On Your Lovelight" and "Gimme Some Lovin'" are also desirable tracks, their drummer probably losing 10 pounds everytime he did the former on stage, with its myriad changes and embellishments.
Prior to recording their first 45, they cut some demo's in early '67 at R.G. Jones' Morden studio, and auditioned for Decca with demo versions of Father's Name Is Dad and Treacle Toffee World. Suitably smitten, Decca offered them a deal, and on the strength of the recordings, they were also signed by Apple Publishing.
Their first 45 was released in March '68, many months after it had been recorded, and two versions exist - after Paul McCartney heard it on the radio, he arranged for the band to recut the 'A' side with backing vocals, and doubled guitar riffs an octave higher... It didn't make much difference however, although both versions have now been preserved on the Underground and Overhead album. Following this failure, the band recorded a number of demo tracks, many of which are again featured on the Underground...
Rather inexplicably, both sides of the Round The Gum Tree were written by Mike Berry, head of Apple Publishing, after he had rejected all of The Fire's demos as 'unsuitable'. The band refused to play on the disc, and The Fire's contribution to the 45 is limited to Lambert's vocal on the 'A' side.
With their relationship with Decca and Apple Publishing damaged, the band set about demo'ing tracks for what would become The Magic Shoemaker a concept album that revolved around a cobbler and a pair of magic shoes.
They released several singles, mostly in picture sleeves. Psychedelic garage from Uruguay. Highly Recommended.
LOS BULLDOGS: Nengo (guitarra líder), Kano (segunda guitarra y voz), Jorge (bajo), Ricardo (batería). Grabaron en 1964 con el nombre de The Epsilons un SP en el sello Clave de Montevideo y luego cambiaron su nombre a Los Bulldogs. Se radicaron en Buenos Aires, donde realizaron varios simples con covers en inglés, como "Black is Black", de Los Bravos, incluido en "Los 16 Hits del Momento", un LP de varios intérpretes de RCA en 1966. Después de grabar dos LP comenzaron a presentarse como Kano y los Bulldogs, obteniendo cierto éxito con "Sobre Un Vidrio Mojado" en 1969. Regresaron a Uruguay, donde editaron para Sondor su último LP ("Carita con Carita") en 1972.
Larry Russell recalls: "Our original name was The Loose Ends but, when we recorded Magnet on 9/8/66, our manager decided to change our name (that night) because there had been another band with the same name that had a record deal before us."
"On that day we recorded 4 songs, the other two besides the single were (It's A) Dirty Shame, which was going to be our follow-up single, and Pride, written by our producer and which, in our opinion, sucked. I have copies of all of those recordings."
Their 45 did well enough to make the national charts and the band found themselves opening for top division acts like The Four Tops, Drifters, Box Tops and Young Rascals. However the big push from the label did not materialise and the follow-up never happened. The band called it a day in the Spring of 1968. Thirty-five years on Dirty Shame has finally been unveiled, on Psychedelic States: New York Vol. 1 (CD). It's a catchy swinger that harks back to upfront 1964-era Merseybeat shouters, punctuated with "yeah"s aplenty.
Larry Russell was 16 when the record was cut. He went on to tour with Billy Joel, Gary U.S. Bonds, Mary Travers, and Robert Gordon. In the late nineties he was the percussionist for wimp-rock superstar Bryan Adams.
Psychedelic Bluesy Garage*.
this weell´s ON FIRE
Pebbles reissue series.
A finales de 1965, gracias a Cobb, los Standells publicaron "Dirty Water" en el sello Tower (de la Capital Records). El éxito fue brutal, y en julio del 66 "Dirty Water" se encontraba en el número 11 del Billboard. La canción, escrita por Cobb, era toda una demostración de saber hacer standelliano, con un riff pegadizo y un sonido muy Rolling Stone. Gracias a este éxito, los Standells fueron los teloneros de la gira de Sus Satánicas Majestades en ese mismo año.