The previously unreleased album from 1975. features Liam Genocky and Steve Byrd (also later of Gillan fame) in a septet playing a variety of rock styles, covering the best of white and black music of the era...an enjoyable if eclectic concoction. there is a sense of adventure the size of an interstate running through the band's musicianship…Eight studio recordings and four live cuts from a 1975 European tour catch Zzebra in audacious form.
No Point' starts things off nicely with a jazz/funk effort, but what impressed me most were the vocals - impressive stuff! 'Society' rocks things up a little, cool music with some great percussion...The quality of the live tracks is very good. absolutely innovative, vibrating progressive hard(?) rock with lots of jazz, folk elements, extremely complex structures and brilliant musicianship…A very demanding, precious release, exclusively hot.
Tracks
1. Procession Of The Zzebra (Alan Marshall, John McCoy, Tommy Eyre) - 2:03
2. No Point (John McCoy) - 3:46
3. Society (Alan Marshall) - 5:40
4. Evacuate (Dave Quincy, Trevor Preston) - 5:45
5. Living (Steve Byrd, Tommy Eyre) - 5:11
6. It's Take It/Leave It (John McCoy) - 3:47
7. Baila Jo (Loughty Amao) - 6:58
8. Word Trips (Alan Marshall, Tommy Eyre) - 5:00
9. Panic (John McCoy) - 5:27
10.Mr J (Loughty Amao) - 4:56
11.You've Lost That Lovin' Feeling (Barry Mann, Cynthia Weil, Phil Spector) - 6:04
12.Hungry Horse (Loughty Amao, Dave Quincy, Terry Smith, Ted Yeadon) - 15:03
Michael Allen Konstan born (April 3, 1946) in N.Y.C. and begun his music career in mid sixties, playing in a New York group called The Quadrangle. They released one single “She’s Too Familiar” / “No More Time” penned by Michael Konstan and Jay Fishman, one more 45' for Michael ‘My Lovely One / This Time’ released through MGM Records in 1966.
In 1973 Konstan recorded a full length album for RCA Records, simply titled ‘Michael Konstan’. A melodic tapestry with varied styles, from folk, jazz and soft rock wonderful harmonies and well arrangements.
After this effort Michael no longer involved in music business and got elaborated in wine industry. Michael Konstan sadly passed away October 28, 2024 in North Providence RI.
First and foremost a blues/bluesrock-inspired band, but went through many musical styles as new musicians joined. At one time, Rogaland's and Norway's rawest and most uncompromising band. Started playing together in Stavanger in 1963, established as a band in 1964, with their debut concert on May 1, 1964 at Stavanger Stadium. The band disbanded at the beginning of the 1980s. Has since had sporadic reunions. Many of the members of the band have also made a strong mark in other contexts.
Nurk Twins were a group of young boys aged 12-13 when they started playing together. They were working class and lived in the working class district of Storhaug . On May 1, 1964, they had their first proper concert, when they played raw rock at Stavanger Stadium before a football match. The band had a lot of money, had talent - and became good. The Beatles were their great role models. They became familiar with the music through the radio; they learned the songs and wrote down the lyrics. When the rough sketches were ready, the sessions began in the basement. The first system was homemade; made up of chipboard and covered with green upholstery. The first guitars were made on the sled. The first amplifier was bought in 1964.
They took the name Nurk Twins from something they had read about The Beatles; John Lennon and Paul McCartney had once performed as a duo under the name Nurk Twins. They thought the name was cool, but didn't know what the words meant.
The original band consisted of Magne "Mannaen" Hyland (vocals), Kjell Arne Jensen (bass), Ernst Magne "Ivan" (usually pronounced "Iven) Vignes (guitar), Knut Helge Knigsberg (drums) and John Hetlelid (guitar). When Hetlelid left, Per Lorentz "Peder" Borsheim came in as rhythm guitarist. At the end of the 1960s, Magne Hyland left - some believe he was fired. Borsheim took over the singing and the band turned more and more towards the blues. Then it became desirable to have an organ, and Tor Salomonsen joined the band. In 1971/1972, the band consisted of Hans Christian "Besten" Hansen (percussion), Magnar Fyllingen (piano/vocals), Per Lorentz Borsheim (vocals, harmonica, guitar) and Sverre Erik "Ferrien" Henriksen (bass) and Knut Knigsberg ( drums). Around the same time, the old bassist Kjell Arne Jensen returned. Rolf "Buddy" Oanes on drums replaced Knigsberg, and guitarist (first bassist) Odd Stangeland came in.
Other musicians who have briefly visited Nurk Twins were pianist Reidar Larsen (participated for a short period as a 14-15-year-old), saxophonist Frode Gjerstad, Jan Helge Didriksen (mandolin?) and Tor Magne "Tøbbis" Rønnevig (saxophone). Nurk Twins first practiced at Pedersgata 99 in the eastern part of Stavanger, the house of bassist Jensen's parents. Later, they were given a practice room in the Frisinn clubhouse, where they were allowed to practice for free in exchange for playing at Frisinn's alcohol-free dances every Wednesday.
Nurk Twins' musical style changed, depending on who was a member of the band at any given time. When Magne Høyland left in the late 1960s, the band began to play more blues-based material. In the early 1970s, the band stood out as a sharp contrast to the more polished artists in the county, with their hippie style. When Per Lorentz Borsheim took over as lead vocalist, the blues strengthened its position in the band. With Borsheim and Salomonsen as new members, they began to play more progressive rock. After their debut concert on May 1, 1964, dance organizers began to contact them. They also participated in many of the local pop competitions.
The highlight of the first edition of Nurk Twins was when they shared first place with a Swedish group in the Nordic Pop and Rock Championships in 1965. The band played, among other things, the Rolling Stones songs "Get Off Of My Cloud" and "(I Can't Get No) Satisfaction". Nurk Twins won a single recording, which they never used; they did not think they had any of their own songs that were good enough. Nurk Twins had trouble getting into record labels during this period. No one wanted to sign them - they were too uncompromising, and their music was too bluesy and raw.
Bohemian Jazz Club had in 1969 acquired blues artist Eddie Boyd from Chicago. The club did the right thing and asked the Nurk Twins to play as a backing band at Korvetten. Eddie Boyd was thrilled with this interaction, and returned to the district several times to play with the Nurk Twins. The band also played with Champion Jack Dupree at Bohemian. The fundamentalists in the jazz club only reluctantly accepted this slip-up. Only the blues nights were full.
On November 24, 1970, Nurk Twins were presented in a major interview in Stavanger Aftenblad. They were able to say that since the beginning they had bought instruments and other equipment for 150,000 kroner - an enormous amount at the time. Stylistically, they represented a completely different world than the other bands in Stavanger at the time; those who performed in handsome suits and had handsome beards.
The hard and rough lifestyle of the band made it difficult for them to get gigs in the Stavanger area. The organizers were skeptical about the local version of The Rolling Stones. There was chaos and arguing, but they also practiced a lot, and became powerful musically. They organized their own concerts, including at Folkets Hus in Sandnes.
From the mid-1970s they began to write more of their own songs, and from 1973 to 1977 most of the songs they played were self-written. Per Lorentz Borsheim's "Kuwait" was one of the live favorites.
During this period, Nurk Twins also played with several major Norwegian and foreign bands and artists. They also played outside of Stavanger, including at Hulen in Bergen and Chateau Neuf and Club 7 in Oslo. In April 1971, they were the opening act for Black Sabbath at Giskehallen.
It took fifteen years from the time Nurk Twins started playing together before they went into the studio to record an album. The album was recorded at Bergen Lydstudio with Trygve Thue as producer. It has been said about this album that it has an unmistakable Dire Straits feel - both in terms of music, arrangements and guitar sound - before Dire Straits released their first album! The album nevertheless bears the mark that Nurk Twins were at the end of their career, and some of the spark was gone when it was recorded.
Nurk Twins performed in NRK Radio's live program series (no title) in 1970 or 1971. The producer was Tore Skille. The recordings (probably deleted, unless Tore Skille has secured a copy) were made in the Mission Hall in Stavanger, which was NRK's largest "studio" in the city at the time. The hall was used by the Stavanger Symphony Orchestra at the time. It was natural for NRK to use this venue, which they had a lease on, but the people of the Mission Society were shocked when they realized what was going to happen in their own hallowed hall. The band was first told to go out at a certain speed, but NRK finally got its way. The recording was made. NRK had sent an invitation to a free live concert home with schoolchildren in the Hinna area. And a large group of pretty young people showed up with their parents, many in their finery, because they had forgotten to say who was going to play. They probably thought it was a symphony orchestra. So mistakes can be made.
Played for a period under the name Nurk Twins Blue Corner in 1970, then as a pure blues band. In recent years, Nurk Twins played a lot at Korvetten in downtown Stavanger, where they returned to their roots, to R&B and some roots-influenced music.
Rogyland
Tracks
1. Back To The Streets (Odd Stangeland, Per Lorentz Borsheim) - 2:54
2. Country Fever (Per Lorentz Borsheim) - 3:15
3. About To Die (Magnar Fyllingen) - 2:56
4. Hidden In A Dream (Magnar Fyllingen, Sverre Henriksen) - 3:51
5. Western Winds (Odd Stangeland, Per Lorentz Borsheim) - 2:26
Castle Farm built a solid and loyal following on the London, Essex and Kent gig circuit in England during the early 70s, with their hard rock and blues-oriented live shows, featuring their original material alongside hard-hitting renditions of blues and rock'n'roll classics. They’re really heavy, slowed down, crunching 20-minute finale version of Eddie Cochran's Summertime Blues' never failed to bring the house down!
Originally a four-piece band, they later brought in John Aldrich, with his super-clean lead guitar style, to supplement Gram Tex Benke's killer slide work and create a dynamic dual-guitar sound, adding so much. more colour and depth to the band's music. With a solid rhythm section of Spyder" Curphey (and latterly his brother Roger) on bass and Steve Traveller on drums, and with Denny Newman's powerful and resonant vocals, the band progressed to the university and college circuit at over England, supporting major acts like Rory Gallagher, Deep Purple, Atomic Rooster, Savoy Brown, Climax Blues Band. Quintessence and many others.
Although they worked on several recording sessions, they failed to sign a contract with a label that wasn't out to rip the band off-pretty much par for the course at the time. But the band had a great following, and knew they could sell records, so they decided to put out their own single, Hot-Rod Queen' b/w Mascot, Forming their own record company, Farm Records, they had 2,000 copies pressed. and distributed them direct through record shops across East London and Essex. They sold out within a couple of weeks and they're now much prized by vinyl record collectors. That independent single, plus a collection of other tracks the band had recorded along the way, was put out in 2013 for digital download/streaming as The Studio Sessions 1971-72
Although they disbanded at the end of 1972, the band. always kept in touch over the years, and came together for occasional reunion gigs. Then in 2017 they performed a live reunion concert in their old Essex stomping ground, which was recorded for posterity (2017 Reunion Concert: Live) by Paul Traveller, Steve's son. This concert has now also been put out on video on YouTube.
Very sadly, "Spyder' Curphey passed away in August 2007, and Tex Benike in April 2018. Denny Newman continued to develop his music career, working with Manfred Mann, Snowy White, Mick Taylor and many others, as well as fronting his own guitar-led blues band, with Max Middleton on keys. Denny also left us in September 2023, having just finished a superb final album: Reach Out - Music for Ruth Cape. They're all sorely missed by everyone who had the good fortune to know them, both for their exceptional musical talent as well as for being all-round great guys.
Hailing from Glasgow and previously known as The System, they released their debut album ‘Act One’ in 1970 via the Vertigo label. However, what they presented on this debut was music in the style of The Nice or ELF, which meant their work lacked much of the appeal needed to capture the attention of a large fanbase. As is well known, British music in the 1970s was truly a ‘Renaissance of Rock’, with a diverse array of genres being explored by talented artists and groups. Without any real originality, simply being a copy band of another group was insufficient to appeal to fans with discerning tastes. However, thanks to the assistance of Stuart Henry, a radio DJ at the time, they had to content themselves with the modest success of the track “Sarabante”. Resolving to do better, they released their ambitious second album, ‘Water Of Chanpe’, the following year in 1971 via the Vertigo label. Moving away from the styles of The Nice or E.L.F heard on their debut, they showcased their own distinct character. It was a work where Martin Griffiths' powerful vocals, Alan Park's aggressive guitar playing, and the Mellotron sounds handled by female member Gordon Sellar stood out.
Buoyed by the success of their second album, they released their third album, ‘Pathfinder’, in 1972, a year later. This is widely regarded as Beggars Opera's masterpiece. Released on the Vertigo label with one of its rare poster covers, this third album featured a more advanced sound. Its striking cover art, depicting an astronaut in lunar attire riding a horse, strongly appealed to fans and stimulated their desire to purchase the record. Completed by Peter Goodfellow's illustration and the design collective Blmmsbury Group, this cover exudes a strong progressive aesthetic. Comprising the quintet line-up of Martin Griffiths (vocals), Alan Park (keyboards), Ricky Gardiner (guitar, vocals), Gordon Sellar (vocals), and Ray Wilson (drums), Beggars Opera's sound possesses the earthy charm unique to British rock, coupled with simple yet beautiful melodies that anyone can easily become familiar with upon a single listen.
The opening track “Hobo”, beginning with a lively rhythm, tells the story of a dying wanderer. Martin's vocals, delivered in a matter-of-fact tone, unfold while maintaining an up-tempo pace throughout. The latter part sees Alan's piano (which changes to organ towards the end) and Ray's supporting drums create a splendid ensemble. The next track is the famous “Macarthur Park” by Jim Webb. This song has been arranged by numerous artists and orchestras, including Andy Williams, Frank Sinatra, Donna Summer, Justin Hayward, the London Symphony Orchestra, the Royal Philharmonic Orchestra, and the Mantovani Orchestra, involving up to 40 performers. Bepsars Opera, true to their progressive roots, incorporate Alan's harpsichord playing to enrich the melodic sound further. Moreover, by adding Mellotron sounds in the latter part, they deliver a rendition far superior to those by previous artists. The third track, “The Witch”, showcases the dynamic yet delicate playing of Ricky's aggressive guitar and Alan's Hammond organ, characteristic of a British group.
Next comes the album's title track, “Pathfinder”. Over a simple rhythm, Ricky's guitar evokes the spirit of late 60s beat sound hits, while the members' restrained harmonies flow forth, true to the group's name. On the back cover of this album, lead vocalist Martin has written brief notes about the songs featured. The next track, “From Shark To Haggis”, unfolds in a Scottish jig-like dance style, as he describes, seemingly born of a mood heightened by drink. Listening to it, one becomes utterly absorbed in the melody, which builds to a climax, even without the aid of alcohol. 'Stretcher' is the sole instrumental piece on this work. Following a sweet piano melody, Ricky's guitar playing emerges, soothing the listener's heart. Then, “Madame Doubtfire”, with its impressively deep, resonant vocals, is shrouded in such a thick layer of eerie effects that it could easily serve as a horror film soundtrack.
Following this album, the band underwent a line-up change, recruiting Linnie Peterson, vocalist of the psychedelic group Writing On The Wall, before releasing one final album and disbanding. Showcasing the true essence of poster art, this album contains tracks as outstanding as its cover, and will be remembered as a standout release on the Vertigo label.
by Lee Chun
Tracks
1. Hobo (Alan Park) - 4:24
2. MacArthur Park (Richard Harris) - 8:18
3. The Witch (Virginia Scott, Ricky Gardiner) - 6:01
4. Pathfinder (Ricky Gardiner) - 3:41
5. From Shark to Haggis (Virginia Scott, Ricky Gardiner) - 6:40
6. Stretcher (Ricky Gardiner) - 4:48
7. Madame Doubtfire (Alexander McFreddries, Martin Griffiths) - 4:18
Here’s an interesting album of folk blues with a tinge of country all played superbly by Frank Kinsel and various other famed musicians including Bill Wolfe (6 string guitar) Kevin Kelley (drums) Red Rhodes (steel guitar) and Wolfgang Melz (bass guitar).
My taster for the album is the loner vibration blues of ”Gamer.” This long player rarely turns up and not a great deal of information about it has ever surfaced. An obscure release on Epic.
The Monocled Alchemist
”There I was in the middle of the grey on beige fifties and my older brother was diggin’ Etta James singing ’Roll With Me Henry’ (Dance With Me Henry was the successful mass media cop out).
music as an expression
There was some kind of a beginning for me in music as an expression, feeling, or movement at that time. It was the only way out – or in. It was either tan shoes and a clean smile or a beer and a ’50 Merc.
Rhythm and Blues groups were a way of life and every party had a basement group composed of four or five guys who could carry on the most.
Detroit, I remember you. Expressways turned to freeways and time went by. Michigan, you looked very pretty when it snowed or when the sun set on your lakes. I sang songs for a while there: some were about you and some were about me, then I moved west.
California and San Francisco were like a new energy force that I hadn’t felt before, so I stayed and wrote and sang and experienced and experienced some more and came up with ideas to record. So I moved to the south into a somewhat populated city (plug for my new album) named Los Angeles.
This is a rather short summary of where I have been for awhile. If it seems incomplete, fill it in with your own life. Have a good day.”
by Frank Kinsel
Tracks
1. You Know Why (Part 1) - 0:13
2. Gamer - 3:00
3. Revelations 100 - 3:14
4. Have A Good Day - 2:08
5. Like A Child - 2:43
6. "1964" - 2:05
7. Sparrow - 3:38
8. Overpopulated City - 5:19
9. Good Life Folk Bossa #1 - 2:38
10.You Know Why (Part 2) - 2:07
11.White Port And Lemon Juice (Donald Woods, Randolph Bryant, Willie Graham) - 1:23
Euclid's one and only album is among the very best of the late 1960's - early 1970's heavy rock albums of all time. Based out of Haverhill, Massachusetts, the musicians themselves come from a diverse New England garage & psych-rock background. Bassist Harold Perino Jr. (aka "Maris"), came from The Ones, a central Mass. garage band who also had a rare garage LP on the Ashwood House label. The other members were from southern Maine. Garage rockers Gary Leavitt on lead vocals & guitar, and his brother Jay Leavitt on drums were in the Cobras together. Ralph Mazzota from the psych-tinged Maine group Lazy Smoke is outright dazzling on blistering lead guitar.
Pedigree aside, this is a powerful and inventive psychedelic heavy rock album that stands on its own as a great work. Euclid was signed to Bob Thiele's Flying Dutchman Records subsidiary label, Amsterdam Records, distributed by Mainstream Records, and was one of the few, if not only "rock" releases on either label (a notable exception being the rare Minx soundtrack by The Cyrkle). With its tremendous rumbling in-your-face riffing fuzz guitars; screaming solos, backwards bits, thick fuzz bass, pounding drums and oddly-effected vocals, the album, produced by the legendary Bobby Herne, with finishing touches to the mix by Les Paul, Jr; stands proudly with one foot in the 1960s & one in the 1970s, crafting their sound with a heavy-handed metallic attitude.
One of the coolest things about this album is the overall evidence of the various background influences brought in by each of the group members. In Euclid, you get the very best of it all. You have the raw & ferocious high energy garage element mixed with a very clear and real psychedelic conviction of the drug saturated times. These characteristics combined with a new heavy/hard rock discipline & focus, resulted in one of the best early heavy rock albums ever recorded in the United States. The combined members' various instrumental contributions are equally matched by their amazingly supportive crystalline four-vocal harmonies. The background vocal quality is quite effectively offset by the lead vocals "take no prisoners" brutal male vocal styling. Bobby Herne's production on this record, with lots of twists & turns, is absolutely top notch and gives the music its deep unstoppable heavy forward momentum. The first track is a real winner, clocking in at over 11 minutes, blasting forth with super heavy monster riffs.
There's also hints of an eastern psych groove with cool sitar playing, and their version of "Gimme Some Lovin'" sounds as if it were done by The Jimi Hendrix Experience. With their old friend Bobby Herne in the producer's chair (he also produced The Shaggs "Philosophy Of The World" LP), they create a "bad trip" spiked with backwards tape effects, darkly-phased vocals, all instruments set from overkill to "pummel", and an album title certainly eligible for the 'truth-in-advertising' award with its 'earth moving' characteristics. Their original songs are incredibly inventive with lots of twists and turns. The album itself stands as a perfect monument which musically represents the transition from hard heavy psych to hard heavy rock. This is an LP you'll play over & over, and never get tired of! In short, the group Euclid was one of the true "unsung" cornerstones that really helped pave the way for the up and coming US hard rock movement. This is an LP you'll play over & over and never get tired of it!
Gary Leavitt, Bobby Hearne, and Maris have all passed on due to various circumstances over the years. Gary Leavitt was killed in a 1975 motorcycle accident, which effectively ended the band, who were a popular live attraction in the Northeast up until then. Jay Leavitt still performs occasionally with his group Bluezberry Jam in the Maine area. The Leavitt brothers along with Bobby Herne, first appeared together in 1966 as the Cobras, releasing the New England garage classic "I Wanna Be Your Love" bw/ "Instant Heartache" on the Big Beat label, one of the most incredible and out of control garage 45's ever recorded.
Tracks
1.a. Shadows Of Life - 3:02 b. On The Way (Ralph Mazzota) - 4:37 c. Bye Bye Baby - 4:38
2. Gimme Some Lovin' (Spencer Davis,Stevie Winwood) - 4:24
3. First Time Last Time - 3:37
4. Lazy Livin - 5:57
5. 97 Days - 3:10
6. She's Gone - 2:47
7. It's All Over Now (Bobby Womack, Shirley Womack) - 4:24
All songs by Gary Leavitt except where indicated
This progressive pop-rock quartet was led by lead guitarist/vocalist Dennis Tracy, along with lead vocalist / organist Scott Thurston, bassist Mark Spiwak and drummer Don Gorman. They'd met on the Sunset Strip in Los Angeles one night, and quickly found management in the shape of The Doors' right-hand man Bill Siddons (who had time on his hands while The Doors were on hiatus following the recording of LA Woman.) After a week's rehearsals, they signed to Janus (a subsidiary of Chess) at the Beach House in Santa Monica, California, and flew to San Francisco to cut an album at the legendary Wally Heider's Studios before they'd so much as played a gig. Overseen by Fred Catero – famed for his work with Bob Dylan, Santana and others – the sessions took three weeks (and were filmed by UCLA film student Reed Hutchinson, though it has yet to resurface).
Their first gig was in front of 5000 people at San Bernardino's Civic Auditorium. Following the album's release on the Janus label in the summer of 1971, they undertook two nationwide tours, including a performance at the massive week-long Celebration Of Life festival in Macrea, Louisiana that June. Despite a strong, commercial sound (and a German release for the LP on Bellaphon), they split later that year over musical direction (Thurston and Spiwak favored a more traditional rock / blues sound, while Tracy was more interested in classic songwriting). After their split, Tracey embarked on a solo career, including a 1974 album on which he was backed by Thurston and Spiwak. Thurston, meanwhile, became a leading session musician and a long-time member of Iggy Pop and Tom Petty's bands.
CD Liner-notes
Tracks
1. Love Wit Chu Mama (Dennis Tracy, Mark Spiwak, Don Gorman) - 2:57
Sacramento-based Ikon Records is one of those labels that makes obsessive garage collectors squirm and sweat, stammering phrases to each other like "only three known copies, dude" or that most dreaded, tear-choked revelation: "there's only one known copy!" Because of their scarcity, even by local indie garage label standards, Ikon 45s have largely eluded the garage compilation-makers, so the label's output has been something of a secret shared by just a few elite high rollers and clued-in Sacramento locals.
No hype, my friends: YES! This is hands-down the best '60s garage reissue of the year, filling the requirements of both historical significance and, more importantly, musical excitement. The Madd, Inc provide the immediate standout with the jaw-dropping "I'll Be the One." It's got an assertive lead vocal, two cool, locked-in guitar parts, a tight, rhythmic groove, and a dangerously tense mood snapped apart by a killer fast-fingered Drake Levinesque guitar break. No two ways about it: it's a frickin' MONSTER. While not in the same league as "I'll Be the One," the same band's secret agent themed "Sooperspy" and the wiry instrumental "Batman A Go Go" are also rather good.
More fantastic garage band thrills are drummed up by the Mergers ("Love, You Funny Thing"), the Kee-Notes (a great arrangement of "St James Infirmary"), the Styx ("My Girl"; not the Temptations song), the Knightsmen ("Daddy Was A Rolling Stone"; not the Temptations song either), the Denny & Kenny Duo (the ultra rockin' "Meet My Little Sweety"), the Sons of Sound ("I'm Coming Home"), and the Prophets (the up-tempo but oddly plaintive "You Wonder Why"). Bluesier fare is dished out by the Parish Hall Blues Quintet ("Smokestack Lightning" and a decent cover of the Pretty Things' "I Can Never Say") while solid surf/instro sounds are provided by the Nervous Kats, the Cautions, the Avanti's and the Marauders.
Those looking for minor key magic will be well-pleased too when they get a load of jewels like the Yo Yoz' exceptional, Zombies-flavored "Leave Me Alone," the Bristols' "She's Gone Away," the Shondells "It's True" and the Mergers' "I'll Be On My Way." This two-disc set come with a 28-page booklet jammed with full-color photos, label shots and abundant liner notes by Alec, Joey and others.
11.The Knightsmen - Fever (Eddie Cooley, John Davenport) - 2:55
12.The Styx - My Girl (Don Branch) - 2:32
13.Kee-Notes - St. James Infirmary (Traditional) - 2:53
14.R.C. And The Tambourines - Quirk (Rich Clark) - 2:23
15.Shondells - I Cried Last Night (Perry Jones, Rick De Long) - 1:54
16.Cautions - Surfer's Beach (Joe Puliz, Pete Andrews) - 2:18
17.John Rosasco Quartet - Come Running To Me (John Rosasco) - 2:15
18.Townsmen - High Heel Sneakers (Robert Higginbotham) - 2:36
19.Moss And The Rocks - There She Goes (David Houston) - 4:46
20.Nervous Kats - Simba (Bob Smith) - 2:05
21.Prophets - It's All Over Now (Bobby Womack, Shirley Womack) - 3:28
22.Parish Hall Blues - Smokestack Lightning (Chester Burnett) - 4:09
23.Versatiles - Pretty Girls (Eugene Church, Thomas Williams) - 3:01
24.Unknown Artist - Gloria (Van Morrison) - 2:40
25.Russ Olson - Sorry About That (Eirik W. Wangberg, Russ Olson) - 2:09
26.Denny And Kenny Duo - I Love You So (Kenny Whitcombe) - 2:49
27.Madd Inc. - Batman (Gary Baermann, Rick Leal) - 2:49
28.Avanti's - Too Much (Alan Cheney) - 2:37
29.Marauders - Intro-Surf Jam (Carl Wilson) - 2:24
30.Marauders - Carol (Chuck Berry) - 2:56
Disc 2
1. The Knightsmen - Daddy Was A Rolling Stone (Louise Acuna, Sammy Acuna) - 2:51
2. Denny And Kenny Duo - Meet My Little Sweety (Kenny Whitcombe) - 2:53
3. Prophets - You Wonder Why (Sterling Bunnell, Terry Taylor) - 2:58
4. Madd, Inc. - Sooperspy (Lee G. Downing) - 2:59
5. Unknown Artist - Searching - 2:32
6. Nervous Kats - Chong (Bob Smith) - 2:16
7. Parish Hall Blues Quintet - I Can Never Say (Dick Taylor, Phil May) - 2:58
8. Shondells - It's True (Perry Jones, Rick De Long) - 2:51
9. Eirik Wangberg - You Woman (Eirik Wangberg) - 2:33
10.Townsmen - Leaving Me (Bob Troyan) - 2:30
11.John Rosasco Quartet - The Shift (Gladys Cotton) - 1:47
12.Sons Of Sound - I'm Coming Home - 3:16
13.Cautions - Groovin' (Joe Puliz) - 2:26
14.Yo Yoz - Stay With Me - 2:36
15.Avanti's - What's Wrong With Me (Alan Cheney) - 2:12
16.Sel-Sync - The Fire Is Gone (Jerry Pine, Steve Squires) - 2:13
17.Beau Jesse - Tell Her That You Love Her (Ric Myers) - 1:55
18.Kee-Notes - Please Don't Tell Me No (Cliff Maurer) - 2:31
19.Eirik And The Secret Agents - Sorry About That (Eirik W. Wangberg, Russ Olson) - 2:33
20.Townsmen - What Have I Done (Bob Troyan) - 3:23
21.Fabulous Futuras - When You Ask About Love (Jerry Allison, Sonny Curtis) - 1:47
22.Dirk Hamilton - Happiness (Dirk Hamilton) - 3:24
23.Bobbies - Orangutang (Houston Box) - 2:04
24.Mergers - I'll Be On My Way (Ron Andre) - 2:32
25.Mymes - You Lose Girl (Bill Wallace, Pat Brusa) - 2:20
26.Moss And The Rocks - Please Come Back (David Houston, Pat Minter) - 3:23
27.The Styx - Stay Away (Don Branch) - 2:56
28.Madd, Inc. - Batman A Go Go (Gary Baermann, Rick Leal) - 2:42
29.Checkmates Ltd. - Do It To Deff (Bob Stevens) - 4:06
30.Ikon - Outro - 0:39
A very cool set from the Boston scene of the 60s – one that's got a slightly lighter, groovier sound than some of the other Beantown bands of the period – almost Sunshine Pop at times, but a bit wittier and with occasional baroque elements that gives the record a very unique sound! The trio boasts work from Erik Kaz and Artie Traum – who'd both go on to other projects – and there's some added instrumentation on a number of tracks that steps up the sound in a great way – psych-influenced, but more serious in terms of the arrangements – opening up the excellent vocals of singer Steve Soles. Titles include "It's Getting Very Cold Outside", "What Difference", "Like Cats", "So Loose & So Slow", "The Hungry Dogs Of New Mexico", and "Don't Say A Word".
D&G
In 1968, Steven Soles, Artie Traum, & Eric Kaz would come together to form one of the finest and most underrated bands of the 1960s and of all time. They would come together as The Children Of Paradise. With little reception, Bear wasn't too famous. They sang in clubs now and again, but nothing special. Then came the day that Brian De Palma discovered them and used them to perform multiple musical pieces for his 1968 underground film "Greetings".
The film starred an extremely young Robert De Niro and had Bear perform 3 of their songs, "Greetings", "So Loose And So Slow", & "Like Cats". The film made approximately $1,000,000. A great amount of money at the time which helped launch the second film "Hi, Mom!" in 1970. Bear had different plans however, they decided to go all the way and release their own album. They recored for Verve Forecast and managed to release the album titled "Greetings". By that time they had changed their name to Bear, but in hopes of cashing in on the movie, still kept the name "Children Of Paradise" on the album. The album sold poorly and to this day has never had an official CD release and is only available as LP. The album is an interesting span of songs ranging from Psychedelic, to Jazz, To Folk. It was certainly one of the most unique albums of the time and of all time for that matter.
Tracks
1. Greetings! (Artie Traum, Eric Kaz, Michael Soles, Steven Soles) - 2:34
2. So Loose And So Slow (Michael Soles, Steven Soles) - 2:17
3. Like Cane (Michael Soles, Steven Soles) - 3:42
4. Happy Days (Eric Kaz) - 2:14
5. What Difference? (Artie Traum, Marc Silber) - 6:28
6. It's Getting Very Cold Outside (Michael Soles, Steven Soles) - 3:09
7. I Won't Be Hangin' 'round (Eric Kaz) - 3:04
8. Don't Say A Word (Michael Soles, Steven Soles) - 2:33
9. Don't You Ever Want To Think About Them? (Eric Kaz, John Boylan) - 3:28
10.The Hungry Dogs Of New Mexico (Artie Traum) - 4:01
