Jess & James - Jess & James

Jess & James (Jess & James) LP Belter 22.434 - 1969

Antonio y Fernando Lameirinhas (alias Tony & Wando Lam) son dos hermanos portugueses de Oporto que, de jóvenes y junto con su familia, emigraron a Bélgica en 1959. Ya en 1964 formaban The Modes, con quienes publican algún single. Tras una estancia en Inglaterra, donde tocaron con varios grupos de beat (entre ellos, probablemente, Screaming Lord Sutch), regresan a Bélgica en 1967 y forman una potente banda multinacional, The J.J. Band, con quienes pronto son la sensación de media Europa con arrasadores directos e irresistibles singles de rock-soul-pop.

Después de un primer LP, "Move", las clásicas diferencias de orientación musical provocan la separación de la banda, que sigue por su cuenta sin Jess & James. Tony y Wando entran entonces en contacto con un músico americano de jazz que andaba por Europa, Scott Bradford, que sería fundamental en el resto de la carrera de Jess & James, aportando ideas y parte de sus músicos. Scott publicaba en 1969 un LP instrumental de clara orientación jazz-prog para el sello americano Probe.

Un segundo LP, "Revolution, Evolution, Change", aún manteniendo una aproximación general de rock-soul, muestra ya alguna nuevas inquietudes sonoras que cristalizarían en el bizarro disco que ahora nos ocupa.

Estaba claro que los hermanos Lam estaban atravesando una época de pruebas musicales a granel. Casi al mismo tiempo, y con prácticamente la misma formación, la banda grabó un sorprendente disco instrumental experimental, mezclando el sonido swinging London y el euro jazz con ruiditos de incipiente sintetizador y otros ingrediente varios. Este LP se editó bajo el nombre de The Free Pop Electronic Concept.

Era casi el fin del proyecto Jess & James. En 1972, y tras un último single acreditado esta vez a Jess, Denis & James, Tony y Wando se trasladan a España. Ya habían estado aquí varias veces antes con su banda, pero ahora se unirían durante un tiempo a Los Canarios. Finalizada esta aventura se instalan en Holanda, en donde tienen bastante éxito con su nuevo grupo Sail-Joia, que les ocupa hasta finales de la década. Mucho después, en 1994, Wando reanuda su carrera musical, grabando algunos discos intermitentemente hasta la actualidad, pero ya como Fernando Lameirinhas, su nombre real.


Titulado simplemente "Jess & James", este tercer y último LP es realmente una bestia sonora, un disco prácticamente imposible de clasificar y de difícil etiqueta. Prog-soul hecho por portugueses en Bélgica !?

Grabado sin sección de viento como los anteriores, únicamente por el cuarteto de Tony, Wando, Scott Bradford y Stu Martin (bajo, guitarra, teclas y batería respectivamente), es un disco que mezcla sin pudor el emergente movimiento progresivo con el soul (sobre todo en la desgarrada forma de cantar de Wando), con algunos toques de jazz y rock de montaña con guitarras imposibles y swinging hammond. Un disco irrepetible que dejó un tanto descolocados a los fans más normalitos del grupo. En consecuencia vendió muy poco, constituyendose casi de inmediato en una auténtica rareza del euro-rock.

Las dos canciones "suaves" del disco, "Perdition Again" y "A Passing Car" son realmente estremecedoras y amplias. La que abre el disco, "Straight Man", es una anfetosa anticipación progresiva multicolor. En "Mrs. Davis" se dan la mano guapamente la edad de piedra y la era espacial. Caverna de neón con neuroguitarra y ritmo tribal. Ahí está también esa versión marciana de "She's A Woman". En fin... Un disco para aventureros, no apto para todos los públicos.

Hay que comentar obligatoriamente que la portada no hace justicia al disco en absoluto. Sobre todo en la edición española, que es la que tenemos aqui. Puro estilo Belter y utilizando una foto cutre un poco antigua. Al menos en la edición original belga se ven los cuatro del grupo...aunque tampoco es ninguna maravilla. "Mrs. Davis" y "A Passing Car" se editaron en single. Es todo un shock pensar que alguien en Palette, el sello discográfico, pudiera llegar a pensar que "Mrs. Davis", puro rock pétreo y underground, podría ser pinchada en la radio, siquiera una sola vez. Que tiempos.


-------------------------------------------------------------------



Antonio and Fernando Lameirinhas (aka Tony & Wando Lam) are two portuguese brothers from Porto that, when teenagers and with their family, migrated to Belgium in 1959. Already in 1964 they formed The Modes and released some single. After a spell in England, where they played with a few beat bands (Screaming Lord Sutch probably one of them), they went back to Belgium and in 1967 made a multinational group, The J.J. Band, and soon found themselves being the sensation in half Europe with their demolishing live shows and irresistible rock-soul-pop singles.

After their first LP, "Move", the classic musical orientation differences forced the band to split from the two brothers, and followed their way without Jess & James. Tony and Wando contacted then with an american jazz musician that was wandering around Europe, Scott Bradford, who would be a fundamental force for the rest of their career, adding his own ideas and part of his musicians. Scott himself released in 1969 an instrumental LP with an open jazz-prog orientation for the american label Probe.

A second LP, "Revolution, Evolution, Change", still keeping an overall rock-soul approach, was already showing some new sonic concerns which crystalized in the bizarre record we're having here now.

It seems a quite clear thing that the Lam brothers were full hands undergoing musical testings around this time. Almost at the same time, and with practically the very same line-up, tha band recorded a surprising instrumental experimental album, mixing swinging London sounds, euro jazz and other assorted ingredients with early synthesizer noises. This LP was released under the name of The Free Pop Electronic Concept.

It was almost the end of the Jess & James project. In 1972, and after a last single credited this time to Jess, Denis & James, Tony and Wando moved to Spain. They had already been here a few times in the past with their group, but now they would join for some time famous spanish band Los Canarios. After this adventure was over they moved to Holland, where they would find quite a success with their new group Sail-Joia, which kept them busy until the end of the 70s. Quite a long time later, in 1994, Wando re-started is musical career, recording sporadically and up until right now some solo albums, but now as Fernando Lameirinhas, his real name.


Titled simply "Jess & James", this third and last LP is really a sonic beast, an album almost impossible to classify and a quite hard one to put a tag on. Prog-soul made in Belgium by some portuguese !?

Unlike the former two albums, recorded without any horn in sight, and only by the quartet of Tony, Wando, Scott Bradford and Stu Martin (bass, guitar, keyboards and drums respectively), it's a record that unashamedly mixes the emerging prog movement with soul (specially in the torn and broken voice of Wando), with some touches of jazz, mountain rock and impossible guitars with swinging hammond. An album almost impossible to repeat which left astonished most common fans of the band and sold very few copies, making it almost immediately a real euro-rock rarity.

The two "smooth" songs in the album, "Perdition Again" and "A Passing Car", are really thrilling and "wide". "Straight Man", opening the LP, is a speedy and multicolour prog anticipation. In "Mrs. Davis", stone age and distant future go hand in hand. Neon cavern with neuroguitar and tribal rhythm. Here's also that martian cover of "She's A Woman". Well... A record for adventurers, not suited for all audiences.

We have to compulsorily comment that the cover absolutely doesn't make any justice to the album. Specially in this spanish release we're having here. With that pure "Belter" style and using a quite pedestrian and a bit old photo. At least, on the original belgian edition you can see all four members of the band... though it isn't any wonder either. "Mrs. Davis" and "A Passing Car" were released also as a single. It's really shocking to think that someone at Palette, the record label, could end up thinking that "Mrs. Davis", pure stoney underground rock, could be played in the radio even once. Such times.


.........................................................................

Link Eliminado

El propósito de este blog es divulgar y hacer accesibles algunos discos interesantes que no han sido nunca reeditados, y/o son muy difíciles de encontrar. No queremos interferir con la industria discográfica, especialmente con los pequeños sellos que se encargan de reeditar este tipo de grabaciones.
Supongo que a todo el mundo le gusta que le paguen por su trabajo y dedicación. A ellos también.

Por ello, hemos eliminado el link de descarga de este LP, que ya está disponible en las tiendas especializadas, también necesitadas de tu colaboración para que toda la gente que depende de la música pueda seguir viviendo con dignidad.



----------------------------------------

Deleted link

The purpose of this blog is to spread and make available some interesting records which have never been re-released, and are quite difficult to find. We don't want to interfere with the music industry, specially with those small labels who are taking care of re-releasing this kind of recordings.
I suppose everybody likes to be paid for their work and dedication. They too.

Therefore, we have removed the download link of this LP, which is already available in specialized shops. They also need your collaboration, so that all the people who are depending on music may keep on living with some dignity.

Jerry Corbitt - Corbitt

Jerry Corbitt (Corbitt) LP Polydor 24 4003 - 1969

Originalmente un cantante de folk de Georgia, Jerry Corbitt emigró a mediados de los 60 hacia el norte, en donde se unió a Jesse Colin Young para formar The Youngbloods.

En 1968 los deja durante la grabación del tercer disco del grupo para iniciar sus aventuras en solitario. Una de ellas fué producir el primer LP de los legendarios Mad River. El batería del grupo, Greg Dewey, se apuntaría muy poco después al primer disco en solitario de Jerry, que no tardó en grabarse, y que es el que aquí tenemos.

Producido por su amigo Charlie Daniels, quien ya se había ocupado anteriormente de The Youngbloods, es un disco un tanto bizarro. Toca varios géneros sin adentrarse claramente en ninguno. Potente rock con efluvios de costa oeste en "Let The Music Come Inside", "Delight In Your Love" y "Banned In Boston", con unas multicolores guitarras cortantes a cargo, en su mayoría, de Rick Turner (guitarrista de la ilustre banda psicodélica Autosalvage).

Un toque desgarrado y más dramático en "Out Of The Question" (con el moog del experimentalista Bernie Krause) o en "The Kahuna Song" que cierra el disco. En "I Love You All", extraída como single, nos las vemos con una especie mutante de rock soul sureño con sección de viento incluída. "The Rain Song" ya había sido publicada por The Youngbloods en su tercero, "Elephant Mountain", aunque aqui aparece en una versión mucho más ácida. Y también hay algunos ejercicios de country folk clásico. Clásico, si no fuera por la nota dominante en el disco: esa desgarradora voz, demasiado quebrada, aguardentosa y urgente para ser country.

En fin, un disco que, si hubiera sido editado por un anónimo grupo de algún lugar perdido, en una edición privada y con un extraño sello, a buen seguro traería de calle a los coleccionistas de medio mundo y parte del otro, y se pagarían fortunas por él. Pero se trataba de un artista relativamente conocido en su día, grabando en New York y editando en una multinacional. Así pues, el album no encontró su público, y Jerry Corbitt nunca haría otro disco igual, adentrandose en territorios mucho más convencionales para su segundo LP en 1970.

A partir de ahi, fué espaciando sus propias grabaciones y dedicandose a producir y tocar con otra gente (Don McLean, Janis Ian, Country Joe McDonald, Buffy St. Marie...) y a trabajar para algunas películas y anuncios. El año pasado, Jerry Corbitt publicó en su propio sello, Desert Wind, un nuevo disco, "Along For The Ride". Aunque, me temo que poco tiene que ver con este estrafalario artefacto, producto de aquellos benditos excesos de juventud. Qué dificil es envejecer decentemente.



-----------------------------------------------------------------------------



Originally a folk singer from Georgia, Jerry Corbitt migrated north in the mid 60s and joined Jesse Colin Young to form The Youngbloods.

In 1968, and during the recordings of their third album, he left the band to start his solo adventures. One of them was producing the first LP of the legendary Mad River. The drummer of this band, Greg Dewey, would soon be enlisted for Jerry's first solo album, which would be recorded a bit later, and which is the one we're having here now.

Produced by his friend Charlie Daniels, who had already been in charge of The Youngbloods, it's a rather bizarre album. It gets close to several different genres without clearly staying very long in any of them. Powerful rock with some west coast flavour in "Let The Music Come Inside", "Delight In Your Love" and "Banned In Boston", with some hard edged and colourful guitars, mostly played by Rick Turner (main axeman of distinguished psychedelic band Autosalvage).

A broken and more dramatic touch in "Out Of The Question" (with the moog of experimentalist Bernie Krause) or in "The Kahuna Song" which is closing the LP. In "I Love You All", lifted as a single, we're finding some kind of mutant southern rock soul including horns. "The Rain Song" had already been released by The Youngbloods in their third, "Elephant Mountain", though here's in a quite more acid version. And there's also some classic country folk exercises. Classic, if it wasn't for the dominant fact of the whole record: that tearing voice, too broken, harsh and urgent for being country.

Well, a record that, if it had been released by some anonymous band from a lost place, in a private pressing with some strange label, quite surelly would be driving mad collectors from half of the world and part of the other half, and big money would be paid for it. But it was by a rather popular artist in his time, recording in New York and releasing through a big multinational company. So, the album didn't find in fact its audience, and Jerry Corbitt would never make such a record again, entering safer and more conventional territories for his second LP in 1970.

From there on, he slowed down his own recordings and got into producing and playing for other people (Don McLean, Janis Ian, Country Joe McDonald, Buffy St. Marie...) and also working for some movies and adverts. Last year, Jerry Corbitt released a new album, "Along For The Ride", on his own label, Desert Wind. Though I'm afraid it has very little in common with this eccentric artifact we have here, surelly a product of those blessed youth excesses. How difficult it is to get old in a decent way.




http://rapidshare.com/files/240182065/Jerry_Corbitt__Corbitt__1969.rar




.

John Pantry - John Pantry

John Pantry (John Pantry) Philips 6308 138 - 1972

Este es su primer LP en solitario aunque, cuando fué publicado a finales de 1972, John Pantry era ya un experimentado músico y técnico de sonido. En 1965 entró como aprendiz en los legendarios estudios IBC de Londres, donde tuvo la ocasión de trabajar con Shel Talmy o Glyn Johns, y también de estar en los controles en grabaciones de, entre otros, The Who o The Small Faces.

En 1966 forma el grupo Sounds Around quienes, tras un par de singles, se convierten en Peter & The Wolves. Con este nombre publican cinco singles entre 1967 y 1970. También intervienen en multiples grabaciones para otros artistas, y algunas de las suyas propias aparecen en discos con otros nombres: Norman Conquest, The Bunch, o The Factory están estrechamente ligados a John Pantry y su grupo.

En 1970, John abandona su asociación con el empresario y productor Eddie Tre-Vett, relación que le tenía inmerso en, tal vez, demasiadas actividades. En los últimos tiempos había estado grabando y tocando en directo con Peter & The Wolves, participando en grabaciones de otros, grabando maquetas de sus muchas canciones con vistas a colocarlas a otros artistas, o manejando los botones en multitud de grabaciones en IBC como, por ejemplo, en los primeros LPs de The Bee Gees.

La última encarnación de Peter & The Wolves publicó en 1972 su primer y único LP, aunque casi en secreto: El disco apareció con el nombre acortado a Wolfe, fué publicado por la filial de Motown, Rare Earth, y se editó únicamente en USA. Un curioso disco en el que se alternan canciones propias con algunas versiones, un tanto estrafalaria alguna de ellas.

Poco después, a finales de año, el sello Philips daba luz verde a "John Pantry", primer album de John propiamente. El disco, que cuenta con la orquestación y producción del australiano emigrado David MacKay, muestra claramente la sensibilidad de John Pantry para la melodía. Mis favoritas podrían ser "This Woman's Love", que ya grabó Kris Ife en 1968 o la encantadora "Jewel". Curiosamente, la única versión del disco corresponde a "October Song", canción de Robin Williamson perteneciente al primer LP de The Incredible String Band, y que John Pantry consigue que parezca suya propia.

Aparte de dos o tres canciones, usadas mayormente para singles, este album refleja el tono intimista y un tanto melancólico de alguien que, tras los excesos y la exuberancia propios de finales de los 60, parecía andar a la busqueda de "un algo". Nuestro hombre encontró "su algo" mientras producía una grabación del grupo de rock cristiano Parchment. Tras un rápido segundo LP en 1973, "Long White Trail", John abandonó definitivamente el tenebroso mundo secular y desde entonces, y hasta hoy, se ha dedicado únicamente a la música gospel y religiosa. El reverendo John Pantry ha publicado un buen montón de discos en este género y mantiene un programa diario, "Inspirational Breakfast", en la emisora Premier Christian Radio. Bendito sea.



--------------------------------------------------



This is his first solo LP though, when it was released in late 1972, John Pantry already was an experienced musician and sound engineer. In 1965 he joined legendary IBC studios in London as an apprentice, and so had the chance of working with Shel talmy or Glyn Johns, and also to be at the control room while the recordings of, among others, The Who or The Small Faces.

In 1966 he formed the band Sounds Around who, after a couple of singles, mutated into Peter & The Wolves. With that name they released five singles between 1967 and 1970. They also played in a lot of other artists recordings and some of their own ones were released with different names: Norman Conquest, The Bunch, or The Factory are thightly related to John Pantry and his band.

In 1970, John left his association with producer and business man Eddie Tre-Vett, a relationship which had him immerse in probably too many activities. During recent times he had been recording and playing live with Peter & The Wolves, playing or singing in others recordings, making demos of his many songs in order to put them with some other artists, or handling the knobs as an engineer in many recordings at IBC, like the first three Bee Gees albums.

The last incarnation of Peter & The Wolves finally released their one and only album in the summer of 1972, though it was almost a secret: The record appeared with the name shorttened to Wolfe, it was released by the Motown label, Rare Earth, and it saw the light of day only in the USA. A curious LP where self penned songs alternate with some cover versions, some of them a little bizarre.

A bit later, at the end of the year, the Philips label gave green light to "John Pantry", John's first proper album. The record, with the production and orchestration of australian David MacKay, clearly shows John Pantry's sensibilities for a good melody. My favourite ones could be "This Woman's Love", already recorded by Kris Ife in 1968 or the charming "Jewel". Curiously, the only cover of the album is "October Song", a Robin Williamson tune from The Incredible String Band's first LP, which John Pantry manages to make it seem his own.

Two or three of the songs aside, mostly used as singles, this album reflects the intimist and a bit melancholic mood of someone that, after all the proper excesses and exuberancy of the late 60s, seemed to be looking for "a certain something". Our man found "his something" while producing the recording of a christian rock band called Parchment. After a quick second album, "Long White Trail", John definitively left the gloomy secular world and since then, right until today, he devoted himself only to gospel and religious music. Reverend John Pantry has released a bunch of records in that genre and is keeping his own program, "Inspirational Breakfast", in Premier Christian Radio. Bless him.

http://rapidshare.com/files/232086810/John_Pantry__John_Pantry__1972.rar


.

Granny’s Intentions - The Singles 1967 – 1970

Granny’s Intentions - The Singles 1967 – 1970

La evolución musical de Granny's Intentions podría bien ser la de tantos otros grupos de finales de los 60. Formados en Limerick, Irlanda, en 1965, comenzaron haciendo versiones, haciendose muy populares en la zona. En 1967 se trasladan a Londres y, tras actuar por los garitos de moda del momento, son fichados por el cazatalentos de turno y obtenienen contrato discográfico con el entonces emergente sello Deram (The Move, The Moody Blues, Cat Stevens, Honeybus, David Bowie y tantos otros).

El primer single es un redondo disco de psico-pop, con grandes melodías llevadas por la personal voz del cantante Johnny Duhan, que incorporan los efluvios psicodélicos de la época. Producidas por Tony Clarke, en aquel momento trabajando también con The Moody Blues entre otros, "The Story Of David" y "Sandy's On The Phone Again" (mi favorita), se han convertido en clásicos del género.

Para el segundo single se recurre a uno de los tandems de moda: Wayne Bickerton y Tony Waddington. "Julie Don't Love Me Anymore", todavía siguiendo los patrones del pop psicodélico, es una preciosa canción, tal vez más asequible. "Hilda The Bilda" es una pequeña dosis de "toytown pop". Wayne Bickerton se hace cargo de la producción en el resto de las grabaciones del grupo y, para el tercer single se decide intentar ir a por un éxito claro, de una vez por todas, con una canción muy comercial escrita por unos habituales de las listas de ventas, Ben Findon y Pete Shelley (no el de Buzzcocks!). "Never An Everyday Thing" había sido grabada unos meses atrás por Wayne Fontana pero tampoco Granny's Intentions consiguieron el apetecido objetivo.

Finalmente, tras una seria reconsideración de orientación y un conato de separación, abandonan radicalmente el pop y graban un LP mucho más integrado en la vena rock que traía el cambio de década. "Maybe" es la canción que abría el único larga duración de Granny's Intentions y la elegida para cuarto y último single del grupo. "Take Me Back" ocupaba la cara B del single, y no fué incluida en el LP.

Tras unas ventas mucho más que discretas, el grupo regresó a Irlanda y tranquilamente se disolvió en el éter de los tiempos. El líder y cantante, Johnny Duhan, se convertiría con el tiempo en uno de los más reputados cantautores de Irlanda. Los coleccionistas del futuro conocerían y valorarían el único LP de Granny's Intentions por su rareza, por su buena factura dentro del rock de la época, y por la participación en él de un jovencito de 17 años llamado Gary Moore. Pero casi nadie parece haber reparado nunca en los singles, en la época psicodélica y pop del grupo. Aquí están.


------------------------------------------------------------------------------


The musical evolution of Granny's Intentions could well be that of so many other bands in the late 60s. Formed in Limerick, Ireland, in 1965, they started doing some covers, becoming quite popular in the area. In 1967 they moved to London and, after playing around the fashionable club circuit, they were spotted by some talent hunter and got a recording contract with the then emerging Deram label (The Move, The Moody Blues, Cat Stevens, Honeybus, David Bowie and so many others).

Their first single is an almost perfect psych-pop record, with great melodies driven by the personal voice of lead singer Johnny Duhan, and incorprating some psychedelic emanations of the moment. Produced by Tony Clarke, at the time working with The Moody Blues and others, "The Story Of David" and "Sandy's On The Phone Again" (my favourite one), have become classics of its genre.

For the second single, someone thought about one of the most popular tandems around at the moment: Wayne Bickerton and Tony Waddington. "Julie Don't Love Me Anymore", still following de psych pop patterns, is a beautiful and probably more accesible song. "Hilda The Bilda" is a little dose of "toytown pop". Wayne Bickerton took on the production duties for the rest of the group recordings and, for their third single it was decided to openly go for a hit, once and for all, with a quite commercial song written by professional chart dwellers, Ben Findon and Pete Shelley (not the Buzzcocks one!). "Never An Everyday Thing" had previously been recorded by Wayne Fontana a few months earlier. But neither Granny's Intentions could achive the pretended goal.

Finally, after seriously reconsidering their musical orientation and a false split, they radically abandoned pop and recorded an LP quite more integrated with the environment in the change of decade. "Maybe" is the opening song of Granny's Intentions only LP and the chosen one for their fourth and last single. "Take Me Back" was on the B side and wasn't included on the LP.

After more than discreet sales, the band went back to Ireland and quietly dissolved into the mist of time. Lead singer, Johnny Duhan, would quite later become one of the most respected irish singer-sonwriters. Record collectors of the future would know and value Granny's Intentions only LP for its rarity, for its good 70s rock making, and for the participation of a 17 year old boy called Gary Moore. But almost nobody seems to have ever noticed the singles, the psych and pop times of the band. Here they are.



http://rapidshare.com/files/227728189/Granny_s_Intentions__The_Singles_1967_-_1970_.rar



.

Mike Hugg - Somewhere

Mike Hugg (Somewhere) Polydor 2383 140 – 1972

Y, hablando de los hermanos Hugg, aqui está el primer LP en solitario de Mike.

Ya desde los tiempos de los Manfred Mann más 60s, las canciones de Mike Hugg han sido siempre una de mis muchas debilidades: el jazz instrumental de "Bare Hugg", la redonda "Each And Every Day" (también acertadamente grabada por Simon Dupree & The Big Sound), la candidez de "All I Wanna Do", el pop intemporal de "Each Other's Company" y "Harry The One Man Band", el pop barroco de "Everyday Another Hair Turns Grey", joyas del pysco pop como "It's So Easy Falling", "Up The Junction" y "Funniest Gig", o la grandiosa "Too Many People".

Después de su intenso trabajo y éxitos con Manfred Mann, haciendo rhytm & blues primero y pop después, Mike Hugg se pasó de la batería a las teclas y formó, junto con el propio Manfred Mann, un grupo más acorde con los tiempos progresivos, Manfred Mann Chapter Three. Tras un par de LPs, Manfred Mann siguió camino con su Earthband y Mike Hugg inició su carrera en solitario.

Si existiera un hipotético género llamado "pop progresivo", el primer disco de Mike Hugg, "Somewhere", sería un más que buen representante. Un gran sentido de la melodía, como siempre, pero ahora unido al característico espiritu de los 70s. Y todo ello sazonado con un personal toque agridulce y melancólico y con esa particular forma de cantar. Ahí están la dramática y desolada "Bonnie Charlie" con una orquestación que pone los pelos de punta, el intimismo cercano al disco perdido de Wil Malone de "Sad Song" o "Somewhere", y grandes canciones intemporales como "Love Is Waiting" y "Goodbye". En el LP también hay destellos de prog rock de los 70 de impecable factura como "Fool No More" o "Bessie Don't You Cry".

Mike Hugg sigue en activo actualmente, alternando la ocasional reunión de The Manfreds, con su trio de jazz mutante PBD (Piano, Bass, Drums). Larga vida al hombre de música.

-------------------------------------------------------------------------------


And, talking about the Hugg brothers, here’s Mike’s first solo album.

Since the early times of the 60s Manfred Mann, Mike Hugg's songs have always been one of my many weaknesses: the instro jazz of "Bare Hugg", the perfect pop of "Each And Every Day" (also greatly covered by Simon Dupree & The Big Sound), the naivety of "All I Wanna Do", the out of time pop of "Each Other's Company" and "Harry The One Man Band", the baroque pop of "Everyday Another Hair Turns Grey", pych pop jewels like "It's So Easy Falling", "Up The Junction" and "Funniest Gig", or the plainly great "Too Many People".

After his hard work and success with Manfred Mann, doing r & B first and then just simply great pop, Mike Hugg changed his drum stool for a keyboard and with Manfred Mann himself formed a new band, closer to those prog times, Manfred Mann Chapter Three. After a couple of LPs Manfred Mann followed with his Earthband, while Mike Hugg started his solo career.

If ever there was a style or genre called "progressive pop", Mike Hugg's first album, "Somewhere", would be a more than qualified representative. A great sense of melody, as usual, but now dressed with that characteristic 70s spirit. All this seasoned with his personal melancholic sweet and sour touch and that particular way of singing. Here's the dramatic and desolate "Bonnie Charlie" with a chicken skin orchestration, the intimacy of "Sad Song" or "Somewhere", quite close to the Wil Malone lost album, and great out of time songs like "Love Is Waiting" or "Goodbye". In the album there's also some sparks of faultless 70s prog rock like "Fool No More" o "Bessie Don't You Cry".

Mike Hugg is still active in music nowadays, alternating the occasional Manfreds reunion with his own mutant jazz trio PBD (Piano, Bass, Drums). Long live the music man.



http://rapidshare.com/files/223416920/Mike_Hugg__Somewhere__1972.rar



.

Cherry Smash - All 3 Singles & More

Cherry Smash - All 3 Singles & More (1967 - 1969)

La pequeña historia de Cherry Smash bien podría ser la de tantos otros grupos de "flower pop" en la multicolor Inglaterra de finales de los 60. Si bien el parentesco de uno de sus principales miembros, con toda seguridad, les debió ayudar a conseguir el ansiado contrato discográfico.

Bryan Hugg era hermano de uno de los motores del entonces ya afamado grupo Manfred Mann: Mike Hugg. Bryan adoptó el nombre artistico de "Sebastian" y formó en Gosport, cerca de Portsmouth, un grupo bautizado como Cherry Smash, quienes, en el transcurso de unos tres años, editaron tres únicos singles. Únicos porque las seis canciones que habitan en ellos son su corto legado, y también porque son perfectas representantes de cierto psico pop británico de la época, en el que acertadas e imaginativas melodías podían estar perfectamente dirigidas a ocupar los altos puestos de las listas de venta. Aunque tampoco este fuera el caso.

Los hermanos Hugg ya habían escrito juntos alguna que otra canción como "Mr. You're A Better Man Than I", grabada por The Yardbirds en 1966 y versioneada hasta la saciedad por mil grupos de garage en todo el mundo. Poco después, y ayudados por uno de los guitarristas del grupo, Mick Gill, se marcaron la preciosa "Sing Songs Of Love" que sirvió como primer single de Cherry Smash a finales de 1967. Pocos meses más tarde, una versión diferente y más corta de la canción (aquí incluida) aparecía en la banda sonora de "Up The Junction", pelicula musicada por Manfred Mann. Aunque la intervención de Cherry Smash, por alguna razón, no aparecía en los créditos del disco.

Hubo que esperar casi un año para la edición del segundo single, "Goodtime Sunshine", publicado por Decca tras la deserción de Mick Gill. Nuevamente compuesta por los hermanos Hugg, es una de esas canciones de "pop perezoso", al estilo de algunas de The Kinks, que podría ser una perfecta sintonía para algún etéreo verano perdido. La cara B, era mucho más que eso, con un buen riff y una acertada melodía. Tampoco el éxito apareció en el horizonte.

Asi que, para el tercer single se eligieron dos canciones externas al grupo, mucho más guerreras y psicodélicas. "Fade Away Maureen" era la cara A y estaba compuesta por Tony Hazzard, quien ya había escrito algunos éxitos para gente como The Hollies, Manfred Mann, Herman's Hermits o The Yardbirds. Pero Cherry Smash tampoco esta vez se unió a la lista de la fortuna. La cara B era una particular versión de "Green Plant", single anterior del grupo americano The Tokens, y también grabada por The Majic Ship.

Corto e intenso legado de otra banda que, en su día, no obtuvo gran cosa del descreído y cínico mundo del pop, pero que, con el tiempo, ha adquirido un status de leyenda en su género. Mundo ingrato.


------------------------------------------------------------------


The little story of Cherry Smash could well be that of so many other "flower pop" bands in the multicoloured late 60s U.K. Though some relative of one of its main members may well have helped gaining that desired recording contract.

Bryan Hugg was brother of one of the driving forces behind the already famous band Manfred Mann: Mike Hugg. After adopting the artistic name of "Sebastian", Bryan formed a group called Cherry Smash in Gosport, close to Portsmouth. During their three years life, they released only three singles. Only, because the six songs dwelling in them is their complete and short legacy. Short, but perfectly representative of a certain british psych pop of the time, in which well crafted and imaginative melodies could well be aimed at the top of the hit lists. Although this wasn't either the case.

The Hugg brothers had already written together some songs, like "Mr. You're A Better Man Than I", as recorded by The Yardbirds in 1966 and insistently covered at the time by a thousand garage bands all over the world. A bit later, and with the help of one of the band's guitarists, Mick Gill, they wrote the beautiful "Sing Songs Of Love" which served as Cherry Smash first single in late 1967. A few months later, a different and shorter version (included here) appeared in the "Up The Junction" original soundtrack LP. A film with most music written and played by Manfred Mann, though for some unknown reason, the Cherry Smash appearance went completely uncredited.

Almost one year later, and after the departure of Mick Gill, Decca released their second single "Goodtime Sunshine". Again written by the Hugg brothers, it's one of those "lazy pop" songs, in the style of some by The Kinks, which could perfectly be the theme tune for some ethereal and lost summer. The B side was quite more than that, with a good riff and a great melody line. But success again did not appear on the horizon this time.

So, for the third single, two rockier and more psychedelic songs from outside the band were chosen. The A side was "Fade Away Maureen" and was written by Tony Hazzard, who already had penned some hits for people like The Hollies, Manfred Mann, Herman's Hermits or The Yardbirds. But neither this time Cherry Smash joined the fortune list. The B side was a particular cover of "Green Plant", a 1967 single by american band The Tokens, and also recorded by The Majic Ship.

Short and intense legacy from another band who, in their time, didn't get such a great deal from the unbelieving and cynical pop world. But with the passing of time, Cherry Smash has achieved an almost legendary status in its genre. Ungrateful world.



http://rapidshare.com/files/219472911/Cherry_Smash__All_3_Singles___More__1967_-_1969.rar


.

The Smoke - The Smoke

The Smoke (The Smoke) LP Sidewalk / Tower 5912 - 1968

Probablemente por causa de los hábitos humeantes de la juventud del momento, había varios grupos llamados The Smoke en el mundo a finales de los 60. Los caballeros del psyco pop del Reino Unido, una oscura banda en Auckland, Nueva Zelanda, y al menos tres en E.E.U.U.: unos de Michigan con un solitario single; otros, moteros de Hoston, Texas, con dos LPs en su haber. Y los que aquí nos ocupan, invento californiano de un personaje de larga carrera de fondo llamado Michael Lloyd.

Este LP era el primer trabajo "en serio" de Michael tras sus primeros escarceos con The West Coast Pop Art Experimental Band y producciones varias, aprovechando el tiempo y la calidad del estudio que le ofrecía su nuevo patrón Mike Curb. Con un par de amigos, y sin la intervención de absolutamente nadie más (orquesta aparte), se marcaron un disco que, cuarenta años despues, sigue desafiando el paso del tiempo y de los estilos. A pesar de que, como suele suceder con demasiadas grandes obras, pasó bastante desapercibido en su momento.

La canción que abre el disco, "Cowboys And Indians", ya marca el camino de altura. El instrumental "The Hobbit Symphony", escrito por el guitarrista Stan Ayeroff, es un pequeño y encantador compendio de los sonidos y ambientes de la época. "October Country" había sido grabada ya anteriormente por un grupo de igual nombre bajo la producción del propio Michael Lloyd, y también fué editada en single promocional aunque, curiosamente, con el nombre del grupo cambiado a Raw Edge (Sidewalk 936). Incluimos aquí esta versión del single como un extra. Es una preciosa canción con una sólida y cálida melodía que queda flotando en el aire.

The Smoke no llegó a tocar en directo y, posteriormente, Michael Lloyd siguió con producciones diversas, y con proyectos y grabaciones como Friends (un par de LPs a principios de los 70), o como Cotton, Lloyd & Christian (otro par de albumes en 1975 - 1976). Aunque, lo que realmente le pagó su actual mansión en Beverly Hills fueron sus producciones y trabajos posteriores para gente como, The Osmonds, Belinda Carlisle, The New Seekers, Eric Carmen, Stryper o la banda sonora de "Dirty Dancing". Qué vueltas da la vida.


---------------------------------------------------------------


Probably because of the smoking habits of the youth at the time, in the late 60s there were several bands called The Smoke around the world. The pysco-pop british gentlemen, an obscure band from Auckland, New Zealand, and at least three different ones in the U.S.A.: A Michigan group with a lone single, a band of Houston bikers with a couple of LPs, and the ones we're dealing with here, a californian invention from a long careeer character: Michael Lloyd.

This LP was the first "serious" work of Michael after his first moves with The West Coast Pop Art Experimental Band and several productions for others, taking advantage of the studio time and the quality of the facilities offered by his new boss Mike Curb. With a couple of friends, and without anyone else's input (save the orchestra), they made a record that more than forty years on still defies the passing of time and styles, in spite of its more than discreet sales at the moment, as too usually happens.

The opening song, "Cowboys And Indians", already points at the high level of the record. The instrumental "The Hobbit Symphony", written by guitarist Stan Ayeroff, is a little and charming epitome of the sounds of the moment. "October Country" had already been recorded and released by a band with the same name under the guidance and production of Michael Lloyd himself. It was also released as a promo single though, curiously, under the different name of Raw Edge (Sidewalk 936). We're including here this single version as a bonus track. It's a wonderful song with such a solid and warm melody line wich remains floating in the air.

The Smoke didn't get to play live and after this album, Michael Lloyd went on with assorted productions and several recording projects like Friends (a couple of LPs in the early 70s), or like Cotton, Lloyd & Christian (another two albums in 1975 - 1976). Though, what really paid his current big mansion in Beverly Hills were his later productions and works with people like The Osmonds, Belinda Carlisle, The New Seekers, Eric Carmen, Stryper or the original soundtrack of "Dirty Dancing". How life turns indeed.


http://rapidshare.com/files/214153584/The_Smoke__The_Smoke__1968.rar


.