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’.”

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”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!!!

 

 

 

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LARRY’S REBELS – Feelin’ Good! [NZ 60’s Freakbeat/Mod/Pop]

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Auckland’s 60’s garage/pop band very popular in Australia and New Zealand where they scored several nationally charting singles. They were heavily influenced by ‘British Invasion’ groups as Small Faces, The Who, Yardbirds, Animals, Creation… They issued an album [unfortunately not so hot] ”A Study In Black” in ’67 and a bunch of singles.

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Larry’s Rebels were somethin’ like ‘NZ Paul Revere and the Raiders’ [even covered their song ”Mo’reen”], merging pop tunes with ‘hard edge’ freakbeat/garage sound. Most of their stuff are covers but pretty cool as energetic renditions of ”Painter Man” [The Creation], ”What’cha Gonna Do About It” [Small Faces], ”I’ll Make You Happy” [The Easybeats], ”Inside Looking Out” [The Animals], ”It’s Not True” [The Who], great Yardbirds influenced cover of J.Burnette ”Train kept a rollin’” called ”Flying Scotsman” and hit single ”I Feel Good” [Allen Toussaint/Benny Spellman]. Also there are some fine originals as mod mover ”Shakin’ Up Some Soul”, freakbeat groovers ”Coloured Flowers” and ”Passing You By” [as The Rebels, without Larry].

This here is a vinyl rip of fine Australian ’83 collection of their singles from 1965-1969. Everything you ever need from Larry’s Rebels. Feel Good… Dig !!!

[You can visit audioculture.co.nz for more nice pics and stories on band]

 

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DAVID MARKS & THE MARKSMEN [60’s Surf/Beat/|Pop]

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”David Marks is best known as one of the founding members of the Beach Boys, remaining with them from February 1962 to October 1963. He played rhythm guitar and sang back-up vocals on the band’s first four albums (Surfin’ Safari, Surfin’ USA, Surfer Girl and Little Deuce Coupe) and in over 100 concerts, touring the United States, from Hawaii to New York, and appearing on their first string of national TV appearances. While his time in the band may have been relatively short, Marks contribution to the band’s seminal sound is significant.

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David went on to record solo material with his band, the Marksmen, on both A&M and Warner Brothers records. Additionally, two of his Thousand Oaks psych pop bands, the Moon and the Colours, still enjoy a large cult following among the era’s collectors and music aficionados.”

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Ok surfers, this here is a fine collection of ”ex Beach Boy” David Marks ’63-’65 recordings with The Marksmen. You could hear surf instros ”The Sheriff Of Noddingham” and ”Travellin‘ on Lost Legends Of The Surf Guitar Vol.2 or hot rod Kustom Kar Show, cover ofLet’s Dance”, but most stuff is pretty rare and Unreleased. You gotta deal with mix of surf, beat and pop tunes, hybrid of South Bay Surf and early British Invasion influences like cool tunes ”I Wanna Cry’‘ or ”Don’t Cry For Me”. Well, don’t cry but… Dig !!!

 

 

THE HONDELLS – 4CD Collection !!!

 

“The Hondells were a west coast surf/hot rod band in the early 60’s that had songs on the Billboard Hot 100 and appeared in several movies like “Beach Blanket Bingo” and “Beach Party”.
The band toured throughout the United States with the Dick Clark Caravan of Stars and played with a USO tour in Vietnam. They released several albums and singles on the Mercury label under the name of The Hondells. The main members of the band also played on and released songs as “The Weird-Oh’s” and “The Super Stocks”.
The band members were Richard “Ritchie” Burns, Wayne Edwards, Randy Thomas, Dennis McCarthy, Al Ferguson, Les Weiser and “King of The Fuzz” Davie Allan. Most of their material was produced by Gary Usher.”

Ugh! It’s gonna be a bit of overkill but for you ‘hard core’ fans of surf & hot rod Hondells style it’s never enough. I’ve already posted their classic ’64/’65 slabs [several times] and an collection, but these 4cd’s cover everything The Hondells crew recorded in the 60’s. Here you got albums, singles, alternate versions, commercials, rarities, their recordings as THE SUNSETS, THE FOUR SPEEDS, THE COMPETITORS, THE GHOULS [lp posted on old blog], THE SUPER STOCKS, THE GO-GO’S , with LLOYD THAXTON and GARY USHER. Everything you wanna know about your favorite Honda bikers is here, so c’mon… You’re Gonna Ride With The Hondells !!!

 

THE BOBBY FULLER FOUR – Never To Be Forgotten [3CD/1964-66]

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Real nice 3Cd complete of all Booby’s Mustang recordings with cool booklet story and pics. CD 1 & 2 contains both 65/66 studio albums with bunch of unreleased stuff and great sound [essential 40 trax!], while CD 3 has “Live at PJ’s”. This is my final post in Bobby Fuller series so you better look out !!!

 

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THE BOBBY FULLER FOUR – I Fought the Law [1966] Vinyl Rip !!!

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Here’s Bobby Fuller hit album and one of the real classic rock’n’roll lp’s from 60’s. Almost all tunes are garage pop/rock winners, produced by legendary Bob Keane from surfin’ Del-Fi Records. Ripped from heavy Mustang Vinyl in Surfadelic Ultra Binaural Sound by Mr.Eliminator himself, this slab’s a must, don’t miss it. C’mon let’s rock’n’roll with The Bobby Fuller 4 !!!

 

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THE TOP TEN ALLSTARS – Surfin’ 66

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This is one of those goofy but somehow interesting trendy exploatation lps from 60’s. British cover band Top Ten Allstars [also known as The Summer Set] recorded it ”live” at the Top Ten Beat club in Hamburg [lp sounds as studio recordings but who knows ?!?]. Half tunes are sang by Isabel Bond, Glasgow-born singer who recorded in Germany for Decca label. All the stuff are cover versions of 60’s pop and surf hits. Get Around ‘n’ dig!

 

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THE LITTLE BOY BLUES & LINDY BLASKEY AND THE LAVELS – Chicago 60’s Punk vs New Mexico 60’s Pop

Due to popular demand here’s re-up of Eva records collection of singles by two 60’s garage groups. THE LITTLE BOY BLUES from Chicago started with couple of folk rock tunes but soon switched to Garage/Blues treatment of Willy Dixon/Muddy Waters standards, Donovan and YEAH! great fuzzed-out cover of 60’s punk classic “I Can Only Give You Everything” [Pebbles vol.2]. They scored an album ”In the Woodland of Weir” in ’68. but for my money their best recordings are these four 7″-ers from ’65-’67.

Inanothercorner we got fun, upbeat Garage/Pop crew from New Mexico, fronted by Lindy Blaskey [aka Lindy Blaschke]. 

“While they never broke big on the national charts, Lindy Blaskey and his band the Lavells were one of the most popular bands in the Southwest during the mid-’60s garage rock explosion. The band’s frantic and dance-friendly rock made them the kings of the Albuquerque, NM, teen scene, and their popularity extended across the state. Blaskey sang and played rhythm guitar with the group, while Steve Maase played lead guitar, Art Flores handled keyboards, Carl Silva was on harmonica, Danny Valdez held down the bass, and Chuck Buckley was the drummer. Blaskey also released the band’s recordings through his own record label, and their 1966 single “You Ain’t Tuff” has surfaced on a number of anthologies of rare and classic garage rock sides.” [Mark Deming]

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MARK WIRTZ – The Go-Go Music of Mark Wirtz, His Orchestra & Chorus

“Alsatian-Born Mark Wirtz began his music career while studying art at London’s Fairfield College of Arts and Sciences, and drama at the Royal Academy Of Dramatic Arts, when his college Rock-band, ‘The Beatcrackers,’ were signed to a recording contract in 1963 as ‘Mark Rogers and the Marksmen’ by EMI producer Norman Newell.
By 1965 Mark had started his first independent production company, releasing records that have since become enduring classics, including Mood Mosaic’s, “A Touch Of Velvet, A Sting Of Brass,” for EMI’s Parlophone Records, and his own Mark Wirtz Orchestra album, “Latin A Go-Go,” for Ember Records.
In 1967, Mark accepted EMI veteran producer/A&R chief Norrie Paramor’s offer to join EMI Records as in-house producer. Working at Abbey Road Studios alongside the Beatles and Pink Floyd (the latter whom he was instrumental in signing to the company), Mark wrote and produced landmark recordings by artists such as Keith West, Tomorrow, and Kippington Lodge. Most notably, he reached global success with his production of excerpts from the first ever Rock Opera, “A Teenage Opera.” Though never allowed to be completed or released as an entire work, the opera’s excerpts “Grocer Jack,””Sam””Weatherman” and “Theme” became legendary trail-blazers, which have not only captivated several generations of music fans, but influenced and inspired artists and musicians world-wide..” [wiki]
German wunderkind and Abbey Road staff producer [kinda like “Euro Phil Spector” for Easy listening/Lounge/Pop], composer and singer Mark Wirtz collection of recordings made between 1965-1969, mostly from ’67″Mood Mosaic” LP. 
“Ultra Cheesy” take on pop/rock classics as Yeh Yeh, Comin’ Home Baby, Don’t Do It Baby, Monday, Monday, Sunny, I Can Hear Music, Dizzy… Sounds like Mike Myer’s “Austin Powers” imaginary alternative soundtrack. More sounds of “Swingin’ London”… Say Yeh Yeh, Dig!
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HEINZ – The Complete Heinz [1962 – 1965]

This double-CD set, with 44 songs recorded by the early to mid ’60s British pop/rock star Heinz, may seem like overkill, but as it turns out, it’s not. Heinz, or Heinz Burt as he was known in the Tornados, was not only a prodigious talent, but a highly consistent recording artist. From the first two tracks here, dating from 1962, to the last one — a live recording of “I Got a Woman” done in 1965 from the Cavern Club — the recordings are exciting and interesting, and memorable. Heinz’ producer on these sides was the legendary Joe Meek, and his signature attributes — flashy keyboards and guitar, all very compressed — can be found on much of it, but unlike a lot of other extended bodies of Meek’s recordings, this body of music is highly listenable, track after track. Heinz was a better singer than he usually got credit for being, and he cut superb versions of “Summertime Blues” and “Twenty Flight Rock,” and was just as good doing songs that came out of Meek’s stable of composers, including Geoff Goddard’s “Hush-a-Bye,” and his singing makes even lackluster songs such as “(Sorry) I Ran All the Way Home” more interesting than they should be. [AMG]

German-born gayish lookin’ UK Pop/Rock answer to Eddie Cochran, produced by famous JOE “Telstar” MEEK. Just Like Eddie!

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