SLY STONE – High On You (1975)

Sly Stone - High On You

 

”The first album attributed to Sly Stone rather than Sly & the Family Stone, High on You didn’t exactly resurrect the troubled artist’s sinking career, but it does remain one of the better straight-up funk albums of the ’70s. Released during the same mid-’70s era that spawned vibrant funk albums such as the Commodores’ Machine Gun, Parliament’s Up for the Down Stroke, and the Ohio Players’ Skin Tight, along with the first Graham Central Station albums, High on You seems like a genre exercise for Sly — rather than trailblazing new sounds like he did five years earlier, he’s now embracing the sound of the times. Still, even though Sly isn’t doing anything especially novel here, he performs an impressive series of succinct, well-crafted funk songs with plenty of pop accessibility. Indeed, High on You has the makings of a comeback album. It’s worth noting that the album’s title track was an impressive single, peaking at number three on the R&B chart and even making an appearance on the pop chart — though fairly obscure nowadays, “High on You,” remains one of Sly’s career highlights. Elsewhere, “Crossword Puzzle” stands out with its distinct horn hook and numerous background vocals (it’s become most famous for being sampled by De La Soul on 3 Feet High and Rising), while the gentle “That’s Lovin’ You,” the album’s sole ballad, cools down the proceedings for a moment. After these first three highlights, the album drops off a little, though the funk level remains well in the red. In fact, the upbeat nature of the album is perhaps its most satisfying attribute, given the downcast mood of Sly’s previous few albums. High on You doesn’t measure up to the best Sly & the Family Stone albums of the late ’60s and early ’70s, granted, but it’s a step up in quality from Small Talk and certainly all that would follow. Long written off and long out of print, High on You is an underrated album that deserves re-evaluation” [allmusic]

 

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Hey folks, are you ready for little bit o’ funk ?

Cool, somehow overlooked slab from my favorite funkster. Even thought ”I Get High On You” was a hit back then, over the years lp passed under the radar for some Family Stone’s fans, me too. This is Sly’s last fine record, continuing the same Funk/Pop groove in style of ”Fresh” and ”Small Talk”. Only for ‘Quadraphonic’ audio equipment 🙂  Le Lo Li !!!

 

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JOHN’S CHILDREN – A Midsummer Night’s Scene [60’s Mod/Psych]

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John’s Children were a 1960s pop art/mod rock band from Leatherhead, England that briefly featured future T. Rex frontman Marc Bolan. John’s Children were known for their outrageous live performances and were booted off a tour with The Who in Germany in 1967 when they upstaged the headliners. Their 1967 single “Desdemona”, a Bolan composition, was banned by the BBC because of the controversial lyric, “Lift up your skirt and fly.” Their US record label delayed the release of their album, Orgasm for four years from its recording date due to objections from Daughters of the American Revolution.

 

 

John’s Children played at The 14 Hour Technicolour Dream concert at the Alexandra Palace in London on 29 April 1967. Bolan left in June 1967, after only four months with the band, following disagreements with the way Napier-Bell was producing the band’s next single, “A Midsummer Night’s Scene“. The single was never released, but in its place the B-side of “Desdemona“, “Remember Thomas à Becket” was re-recorded with new lyrics and released as “Come and Play with Me in the Garden”. Bolan went on to form folk duo Tyrannosaurus Rex

John’s Children were active for less than two years and were not very successful commercially, having released only six singles and one album, but they had a big influence on punk rock and are seen by some as the precursors of glam rock.” [wiki]

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A re-post of my fav anarcho-mod rockers managed by Yardbirds manager Simon Napier-Bell. This is a Bam-Caruso ’88 collection of their ’66/’67 singles plus Andy Ellison solo 45 “It’s Been a Long Time/Arthur Green“. They have been featured on many freakbeat/psych comps over decades so you sure heard songs as Desdemona, Jagged Time Lapse, Remember Thomas À Becket, Go-Go Girl, Midsummer Night’s Scene… On But She’s Mine you can hear Jeff Beck ‎ guitar rumble, real cool ain’t it! I’ve added one bonus track, ”Let Me Know” from their ‘live’ album ”Orgasm”, so you could hear where The Clash got idea for ”Should I Stay or Should I Go”. Smashed Blocked !!!

 

 

ELECTRIC SUGARCUBE FLASHBACKS vol.3 & 4 [60’s Freakbeat/Psych]

 

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These two slabs are one of the best 80s compilations of UK 60’s underground, R&B, Freakbeat and Psych [next to ‘Chocolate Soup For Diabetics’, The Perfumed Garden and ‘Rubble’ comps]. Issued in ’89 LPs by AIP Records [known for ‘Highs in the mid 60’s’, ‘Pebbles’] as repacked versions of ‘Electric Sugarcube Flashbacks’ vols 1&2 from ’83, now with better genre sellection. Vol.3 is R&B/Freakbeat oriented collection featuring groups as The Wheels, Southern Sound, Brand, Chicago Line, Mickey Finn, Nix Nomads, The Beat Merchants, The Smoke… while Volume 4 contains [now a classic] Psych/Freakbeat of The Pandamonium, The Factory, Herbal Mixture, Skip Bifferty, Les Fleur De Lys, The French Revolution, Big Boy Pete… Many of these groups became ‘famous’ after such comps and had their own particular reissues.

For me this was a real cool entrance into fantastic world of British 60’s underground rock some 25 years ago. Even thought they omited many seminal UK freakbeat groups as The Eyes, The Sorrows, Action, John’s Children, The Birds, The Attack, and after so many years and zillions of simmilar comps, these two are still my favs [especially vol.4]. Vol.3 is a Vinyl rip while Vol.4 has enhanced sound from best possible sources. Try A Little Sunshine!

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THE FLEE-REKKERS – Joe Meek’s Fabulous Flee-Rekkers [60’s Instros]

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”The Flee-Rekkers were a sax-led unit with a full, aggressive sound. The spelling of their name was never consistent. The group was named after their leader, Peter Fleerackers, whose father was Dutch. On the Triumph pressings of their first single, this became “Flee-Rakkers”, which evolved into “Flee-Rekkers” when they moved to the Pye label. The Flee-Rekkers were probably the first instrumental group recorded by Joe Meek in his studio on Holloway Road and their first record, “Green Jeans” (an adaptation of Greensleeves) was released on Meek’s own, short-lived Triumph label. Acute problems arising from the inability to press sufficient copies and distribute them adequately meant that “Green Jeans” stalled at # 23 in the charts, where it had a 13-week run, from May until August 1960. When Triumph folded, the record was reissued by Top Rank, which also went into liquidation, before it was taken over by EMI. Notwithstanding this bad luck, the group went on to cut six collectable singles and an EP on Pye/Piccadilly, but they would not enter the charts again.”

 

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”Apart from Fleerackers, who played tenor sax, the group consisted of Dave Cameron (lead guitar), Alan Monger (rhythm guitar, occasionally baritone sax), Doug Henning (bass), Derek Skinner (drums, soon replaced by Mickey Waller) and a second tenor sax player, Elmy Durrant. Fleerackers liked the Johnny and the Hurricanes sound, whilst Cameron was a great Duane Eddy fan. These were the main influences of the group, though on some recordings they also remind me of the Piltdown Men, another group with twin saxes out front. Their material was a mix of original compositions, old folk tunes in the public domain and covers of little-known instrumentals, like “Stage To Cimarron” by Santo and Johnny. The Flees turned professional after being discovered in West London’s “Hive of Jive” Putney Ballroom. They toured Britain extensively during the period 1960-1963. By all accounts they were a wild live act. Joe Meek certainly managed to capture the group’s pulsating sound in his studio. As usual with his liberal use of echo, reverb, compression, distortion and other unusual effects, he was able to make the group sound even more full-blooded. “Fireball” was the Flee-Rekkers’ final single in 1963. The group broke up after a summer season at Blackpool in August 1963.” [This Is My Story]

Discography:

Triumph RGM 1008 – Green Jeans / You Are My Sunshine (4/60)
Top Rank JAR 431 – Green Jeans / You Are My Sunshine (8/60)
Pye N 15288 – Sunday Date / Shiftless Sam (9/60)
Pye N 15326 – Blue Tango / Bitter Rice (2/61)
Piccadilly N 35006 – Lone Rider / Miller Like Wow! (6/61)
Piccadilly N 35048 – Stage to Cimarron / Twistin’ the Chestnuts (5/62)
Piccadilly N 35081 – Sunburst / Black Buffalo (10/62)
Piccadilly N 35109 – Fireball / Fandango (2/63)
Pye NEP 24141 – The Fabulous Flee-Rekkers (5/61)
(Isle Of Capri / Brer Robert / Hangover / P.F.B.)
Pye Records ‎PYEP 2048 – X-L-5 (Fireball) (1963)

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Solid collection of 45’s by these Joe Meek’s instro rockers influenced by Duane Eddy, The Champs and stuff, recorded from 1960-63. Check-em out! Gid!!!

 

 

We’re THE BANANA SPLITS / Here Come THE BEAGLES [60’s Bubblegum]

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“THE BANANA SPLITS” and “THE BEAGLES” were both 1960s’ TV icons,which established their history in Saturday Morning TV.”

”The Beagles were a pair of animated canines known as Stringer and Tubby (Stringer was the tall one playing the guitar, Tubby handled acoustic bass).  Together with their manager Scotty, each episode would find the pair bungle their way through some comedic scenario which saw them learn a valuable lesson along the way which would then be encapsulated in a song.

Released on Columbia’s budget Harmony label, 1967’s “Here Come the Beagles” may have been marketed as a kids album, but offered up a great mixture of Beatlesque pop, folk-rock and even more radio-friendly bubblegum sounds.  Credited to W. Buck Biggers, Treadwell Covington, J. Harris and Chet Stovers (Biggers and Stovers were apparently responsible for writing the cartoon scripts), material such as the title track ‘Looking For the Beagles’, ‘Sharing Wishes’ and ‘I’d Join The Foreign Legion’ offered up an irresistible blend of strong melodies and great harmony vocals (love to know who these guys were) which should have stormed up the charts.  While virtually any of the ten tracks would have made a dandy single, personal favorites included the organ powered ‘Indian Love Dance’ and the rockin’ ‘Humpty Dumpty’.”

Here Come the Beagles

 

”The core of this 31-song disc is the entirety of the group’s sole ’68 album, We’re the Banana Splits. For all its good-natured, well-produced late-’60s pop, it is too sweet and happy in one dose, like having a banana split for appetizer, lunch, and dessert. Still, those songs do include the well-remembered hit “The Tra La La Song,” plus some surprisingly raving garage- soul-pop with “I’m Gonna Find a Cave” and the Wilson Pickett-like “Doin’ the Banana.” The more bubblegummy happy-go-lucky numbers and ballads are harder to bear, but obviously the session cats playing on these tried harder than they had to, putting sitar on the lightly psychedelic “In New Orleans” and Baroque harpsichord on the uncharacteristically moody “Wait Til Tomorrow.” The CD also adds eight non-LP bonus tracks, including more typically bouncy lightweight kiddie pop/rock and a boisterous alternate version of “The Tra La La Song,” but also the rather fetching ballad “Pretty Painted Carousel,” which sounds a bit like early Peter & Gordon. Actually the best part of the package, though, are the ten tracks from the rare 1967 LP by fellow kiddie TV group the Beagles, who are actually not bad mid-’60s pop/rockers with a Beatles-Merseybeat influence to the songs and harmonies, though the production bears strong American soul and pop influences.” [allmusic]

 

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Garage pop rock for 60s kids and others. Brought to you by the kind request, Dig!!!

 

 

 

ALBERTO BALDAN – Alberto Baldan / TRUMAN THOMAS – Groovin’ [60’s Organ/Lounge Instros]

Alberto Baldan

 

Even more 60’s organ sounds at Surfadelic. Alberto Baldan is an italian musician and movie’s soundtrack composer and this is his rare ’64 debut slab. What you see on cover you’ll gonna get. Later on in 70’s he made some cool soundracks for exploatation flicks as ’74 ”L’amica Di Mia Madre” and ’76 ”Lingua d’Argento” but that’s another story.

Truman Thomas is American keyboardist who have collaborated with Jackie Wilson, Aretha Fanklin, Isley Brothers and King Curtis in 60’s and 70’s. This here is his sole ’67 lp with funky organ covers of R&B hits by Otis Redding, James Brown, Jackie Wilson, Ray Charles, Eddie Floyd, Wilson Pickett … Groovie… Dig!!!

 

Truman Thomas Groovin

 

 

THE GEORGE KING ORGAN SOUNDS / THE JOE CORNEY MULTI-ORGAN SOUND [60′ Lounge/Mod Jazz]

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Cool rare organ-lounge/mod jazz lp on Studio one, UK library label, primarily consisting of music composed by German composers. Have no info on exact date of recording [supposed to be from 60’s] and know nothing about George King and Joe Corney, but album sounds fine enough for Surfadelic. You got ‘happy beat’, ‘swing waltz’, happy samba’, ‘medium beat’, ‘fox trot’, ‘fast swing’, ‘beat’ and ‘happy russian’ tempos, and tune entitled ”Gay Play” [don’t know what they mean, but it’s cool anyway]. Happy organ pop sounds in Super Panoramic Stereo, Dig !!!

 

 

THE PRIME MOVERS – Sins Of The Fourfathers [1989] + Live At The Town And Country Club ’89

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 ”The Prisoners split in 1986 after four albums and the sadly inevitable music-industry-induced agony, but the Day / Crockford partnership didn’t stay dormant for long. After a stint as drummer for the Mighty Caesars with Chatham’s very own Renaissance man Billy Childish, Graham Day was re-joined by his old partner in 1989, along with ex-Daggerman Wolf Howard on drums, and formed the Prime Movers. Allan and Wolf had been part of the original line-up of the James Taylor Quartet (formed after the Prisoners split), but were now free agents. The Prime Movers recorded the raw and unpolished ‘Sins of the Fourfathers’ as a three piece, and were soon joined by Fay Hallam (ex Makin’ Time) on organ.”
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‘Sins of the Fourfathers’ took only two days to record & mix, and consequently is almost live, hard-hitting and without compromise, incorporating years of hard slog around seedy nightclubs to the relative glamoure of the Hammersmith Palais and Edinburgh Playhouse”

 

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Graham Day’s The Prime Movers were a continuation of story that have started with The Prisoners, this time with more psychedelic influences. ‘Sins of the Fourfathers’ is a killer garage slab, maybe one of the best in Mr.Day’s arsenal [for my money one of the best in ’80s garage revival movement]. Merging of 60’s freakbeat/mod influences, Hendrix guitar style & wah wah pedal swirl with punk energy proved as a winning combination. All tunes are originals except the cover of Hendrix’s ”Freedom”. You’re gonna listen to this record 6 times a day, OK ?!?

 

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Live At The Town And Country Club [1989-07-23] is soundboard recording with real cool sound and participation of Fay Hallam on keys. Say… Dig !!!

 

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B-E-A-T-F-R-E-A-K ! Vol.1-4 [Rare 60’s UK Mod/Beat]

 

On the wave of freakbeat craze at Surfadelic, here comes new comp.series of some obscure & rare UK 60’s mod/beat. Some of the songs could be heard on other collections but some are available only here. Well, everything seems nice at first glance, the package is cool, the sound is great but the problem is that many of the tunes are 2nd class, so after so many 60’s freakbeat comps this is kinda like ”scrap the bottom of the barrel”. Anyways, there are enough fine stuff for you ”hardcore freakbeat fans” as every volume has 20 trax with the crisp clear sound and lotsa fuzz. Come on and enjoy your wyld 60’s fantasy dream, Dig !!!

[A message for sunnyboy66 from youtube: Hey dude, don’t put it immediately on YT, let it live for a while ok ?!?]