Saturday, May 4, 2013

Beefeaters - Beefeaters (1967 denmark, remarkable organ drivin' r 'n' blues psych rock, digi pack remaster)

 The years from 1964 to 1968 gave birth to dozens of Danish beat groups with hundreds of musicians Mvolved. This musical period is called "Pigtrád". Most of the hands were short-lived playing a few gigs only. Some of Mem made it on record. Many oí these records carne out on smal1 independent labels - some being one-time-publications only - but few hands managed lo gel a contract from big labels of tile record industry, mainly Sonel. Metronome, Polydor, 1-MI or CBS.
Both, independent or industrial issues of Mis era, today in many cases are hard-to-fínd collectors' iteras. This results in the l'ad that some Men unknown narres became important in the end of the sixties through the beginning of the seventies. "ro name some of those comercial ly most successful bands, first, e.g.11ur¬nin' Red Ivanhoe, Gasolin', Gnags, Savagc Rose or Secret Oyster became famous even internationally. They tourcd outside Scandinavia with their records being edited in West Germany, France, the Nether¬lands, United Kingdom or even United States.

Ache, Alrune Rod, Coronarias Dans, Culpepers' Orchard, Day of Phoenix, Dr. Dopojam, Mo-i-Rana or the Young Flowers ag. belonged lo thosc commercially more or less successful bands in Dentnark with some recognition abroad, especially among collectors, hased on gigs abroad or international record con¬tracts.

At the peak of the Pigtrild era, on the threshold to Psychedelia and .lazz-Rock, one most successful Danish bands were the Beefeaters. They were founded in Eebruary 1964 by Soren "Bor Seirup (6, ) (ex-Stringers), Lars Kolbed (rh-g, later 6-str-el-b), Jimmy "Biller" Sardorff (lead-g) (ex Elintsto¬nes), Niels Mortensen (d) and Kurt Parking (rh-g, v). The group played various very successful gigs around Copenhagen until September 1964 When Kjler and Parking left to carry on with Les Rivals or thc Jockeys (later Yes Indeed), respectively. Irving Waldorf became new drummer until the group dis¬banded around turn of the year 1964/1965.
Seirup and Sardorff reformed the band in February 1965 With new members Erling "Mozart" Madsen (d, pc) and Morten Kjlerumgard (o). This line-up marked the turning point of the group emerging from Pig¬trád into Soul. This new style mude the Beefeaters a legend all over Denmark. During 1965 Sardorff left to be followed by lead-guitarist Hans Mogensen (ex-Shindings) for a short period and Tom Methling.
\ Mack Pools) on second guitar. The group also found a new bass-player, lemming "Keith" Folger¬,en. N, ls the line-up was complete for thcir first recording session in January 1966.
Tounder member Seirup lett in March 1966, brielly replaced by ()le "Bingo" Frederiksen. In April 1966 funn'e legend Peter Thorup (ex-Black Pools) joined the Beefeaters on lead-vocals and rhythm-guitar. Alter Methling left a few months later, Thorup took ovar lead-guitar.
The departure of Seirup as a soul¬oriented singer, and the entrance of Thorup mude the Beefeaters change their style, again. Concerts now showed on stage a rough hand playing the dirtiest Rhythm & Blues using light shows as early as May 1967. A new label in the media, "Psychedelic Underground", became their new image which helped them Gnd warm-up gigs for Jimi Hendrix, Pink Floyd„lohn Mayall or the likes.
In 1968 the Beefeaters also played for the Young Flowers' TV-series "Blomsterpistolen", or Benny Andersen's childrens' play "Den htese Drage". They also supported singer songwriter Povl Dissing who had a name outside Denmark due to his collaboration with Burnin' Red Ivanhoc. In March 1968 Madsen was replaced by Max Nutzhom "Nhuthzhi" Sehmidt Nielsen (ex-Black Pools).
1. It Ain't Necessarily So (G. Gershwin, Ira Gershwin) - 3:53
2. Crossroads (R. Johnson) - 2:31
3. My Babe (J. Stone, W. Dixon) - 3:34
4. I Want You (Graham Bond Organisation) - 3:39
5. Hey Little Girl (Graham Bond Organisation) - 2:17
6. Papa's Got A Brand New Bag (J. Brown) - 3:29
7. Let Me Down Easy (Dee Dee Ford) - 3:40
8. Shakin' Fingerpop (Beefeaters) - 2:49
9. Night Flight (Beefeaters) - 3:18
10. Summer Scene (Beefeaters, Campbell) - 4:28

*Peter Thorup - Guitars, Vocals, Flute
*Morten Kjærumsgård - Organ, Piano
*Keith Volkersen - Bass
*Max Nhuthzhi - Drums

Free Text


  1. What is the chance of appearing a band tune with what happens outside their country, that is theoretically far from the excitement of the time, have well and is a forerunner in certain musical aspects? Okay, if we take as an example the album we have here is a chance until much, and still comes out fucking good.

    The prototype of the Beefeaters was formed in Copenhagen in the beginning of 1964, but the final shaping was done with the input of the guitar and vocals Peter Thorup in 1966: the freakbeat era (garage European), the garage and psychedelia (yes sir, year Psychedelic Sounds of the 13th, among many others). In 1967, The Beefeaters played as support band for Jimi Hendrix,John Mayall and Pink Floyd on their tours by the Nordic countries, which shows the caliber of the Danes. In 1967 he recorded his first album for the label Sonet (Sonet SLPS 1242 - LP) they sound like a tougher Cliff Bennett & The Rebel Rousers, minus the horns. Beefeaters were not above recording bluesy piano ballads alongside covers like “Crossroads” and “Papa’s Got a Brand New Bag.” It’s from their 1967 record that I took “Hey Little Girl” for ORGANS!. The following two songs also appear on the same album and showcase Farfisa organist Morten Kjærumsgård and vocalist Peter Thorup,not to mention the rest of the album. also has a psychedelic and the time taken in "Night Flight's" ee "Let Me Down Easy," which seems a soulzado Doors, fortissimo. There is also the presence of blues, as you can see in "My Babe" and "Summer Scene" without letting the beat 60's side, of course: "It Is not Necessarily So" and "Crossroads" mark their territory. And the bassist and drummer (respectively Fleming "Kieth" Volkersen and Erling "Mozart" Madsen), keeping the sound strong and well organized.

    In 1969, the team has completed a second album, "Meet You There" (Sonet SLPS 1509 - LP.), in which the two recordings ''Night Train'' and ''Stormy Monday is present play guitar Alexis Korner. The album was already by far the blues with progressive elements. Somewhere around 1970 something bad started to happen with the band - various changes in the composition, disease - and some lost their way in the repertoire, which eventually led to the final dissolution of the group.

    In conclusion, this is an excellent album that managed to merge various elements as well, creating a very good song, very concise and mature for that time and place it was made, and even today stands. Surely deserves more attention than has been given so far. So Now listen, because it's worth!

    [Two LP's were also reissued and remastered and compiled on one CD by Sonet (159 631-2) in 2000.]

    Yours sincerely,

  2. wonderful one Marios, thanks!!!.