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An Alternative Look at The 1960's
Hello Good Evening and Welcome
I'm Ben and I'm a devotee of the 1960's. No no, don’t leave!, please allow me to explain. I'm not an old man; I’m actually in my mid twenties and have a girlfriend and stuff. My love affair with the 1960's started strangely enough with a band called Oasis whilst I was at high school. I loved Oasis, all that attitude, proper Mancunian lads making it big time, fresh and very much a band for the now. But Oasis was and still is 15 years on, very much a band with a retrospective view on music. In 1994 they had 4 bands they kept going on about, The Beatles, The Rolling Stones, The Who and The Sex Pistols. Being an impressionable young man I investigated for myself what these bands were about, because if Oasis liked them, they must be good. I remember with my birthday money buying 6 Beatles albums, going home and playing the first one by date, it was Please Please Me of course, and it was not that good. Then With The Beatles went on, that was not very good either, I've spent 60 quid on this rubbish!! Getting desperate I thought I'd skip doing it in date order and I'd go with the album that I thought had the best front cover, in popped Revolver.......oh my. What has followed in my life since has been a gradual dependence on the need to discover new music that I have not heard before and in particular from the 1960's. The 1960's was a very exceptional decade, which is pretty much a given, but was it just about The Beatles and The Rolling Stones? Or was it about the thousands upon thousands of kids from all four corners of the planet getting together to create energy, create something interesting, create something dynamic, create something new. The 1960's were just as much about Sao Paulo with Os Mutantes then it was about Liverpool with The Beatles or San Francisco and its flowers. From the West Coast to The East Coast, from swinging London to the super chicness of Paris, from the Ska coming out of Jamaica to the Tropicalia movement in Brazil, the sixties is now a treasure trove of the under appreciated and the criminally neglected. With this journal I aim to bring you reviews of the albums from the 1960’s that have left their mark on the music that has followed. My aim is not to reinvent the wheel, there will be some albums that even your Dad has heard of within this thread, but mostly it will be the exciting stuff, the ear openers if you like, which I will tend to focus my time on. So I hope it’s a good interesting read and that you enjoy the thread. Thanks Ben |
The Pretty Things - S.F. Sorrow
(1968) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 S.F. Sorrow Is Born 3:12 2 Bracelets of Fingers 3:41 3 She Says Good Morning 3:23 4 Private Sorrow 3:51 5 Balloon Burning 3:51 6 Death 3:05 7 Baron Saturday 4:01 8 The Journey 2:46 9 I See You 3:56 10 Well of Destiny 1:46 11 Trust May, Taylor, Waller 2:49 12 Old Man Going 3:09 13 Loneliest Person 1:29 14 Defecting Grey 4:30 15 Mr. Evasion 3:31 16 Talkin' About the Good Times 3:45 17 Walking Through My Dreams 3:46 The beginnings of The Pretty Things is quite interesting, initially formed by Richard Taylor, Phil May, Keith Richards and Mick Jagger, they were really an early version of The Rolling Stones. After going their separate ways and with a more stable line-up, The Pretty Things released their first two albums in 1965; "The Pretty Things" and the follow up "Get The Picture", were nothing short of being high octane R&B, making them sound a lot rawer, and some would say more pleasurable, then their counterparts The Rolling Stones. Whilst The Rolling Stones had conquered America and successfully back filled for the now touring retired Beatles, The Pretty Things were marginalised to a more niche European audience. With that in mind, in 1968 the band released an album which was far removed from their initial first two freakishly R&B albums; "S.F. Sorrow" was a first class example of the Psychedelic concept album which littered the 67-68 music scene within the UK. Recorded at Abbey Road and produced by Norman "Hurricane" Smith (producer of Piper at The Gates at Dawn), the album tells the story of a British man named Sebastian F Sorrow, from his birth right through to his eventual death, morbid stuff I grant you. But The Pretty Things with this release have successfully combined their raw bluesy roots with a new found need for experimentation with some quite marvellous results. http://www.7inchrecords.com/Discogra...ingaboutFR.jpg It's also worth mentioning, that with the CD reissue of this album, we have the delights of some cracking singles and B-Sides which the band released in 1967-68 also, making this album nothing short of an essential purchase. This release in my view is on par with any concept album created during the period. Maybe it is not as polished as Sgt Pepper and maybe it is not as well structured as Ogden's Nut Gone Flake, but with all things considered with the inclusion of the singles and with the initial album itself, SF Sorrow is a beautiful thing. From gorgeous songs such as "Trust" and "I See You", through to the highly addictive "Talkin' About The Good Times" and "Mr Evasion", to the marvellously experimental "Defecting Grey". SF Sorrow stands shoulder to shoulder with the heavy weights of the period, but remains a very much forgotten masterpiece which I reckon deserves your attention today. |
Turquoise - The Further Adventures of Flossie Fillett
(2006) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 Tales of Flossie Fillett 3:04 2 Flying Machine 3:05 3 Sister Saxophone 3:10 4 53 Summer Street 2:52 5 The Sea Shines 4:01 6 Village Green 2:23 7 Saynia 2:52 8 Sunday Best 2:41 9 Woodstock 3:29 10 Stand Up and Be Judged 2:52 11 Woodstock 3:24 12 Flying Machine 3:06 13 Leana 2:53 14 What's Your Name 2:54 15 Mindless Child of Motherhood 3:34 16 You're Just Another Girl 2:27 17 Wrong Way 3:31 18 The Turquoise 1968 Christmas Record 1:52 When I set out to discover the wonders of the 1960's, looking beyond household names like The Beatles, The Who and The Kinks, delving beyond the bands that my Gran has never heard of like The Velvet Underground and The Standells, I learnt, sometimes with complete dismay, that there was a whole host of acts from the Sixties which for whatever reason were not as big as they should have been. In my later reviews I will cover the works of such criminally neglected bands, bands like The Sonics and The Monks, such bands are even more obscure to the general public then The Velvet Underground, and yet you could argue had similar impacts on popular music. But in this review I would like to share with you all another band who I believe should be re-examined by the NMEs of this world and that band is Turquoise. In 2006, Rev-Ola Records released an album of demos, unreleased recordings and two released singles from a London band called Turquoise. The Further Adventures of Flossie Fillett for the first time captures the work of this shockingly overlooked band when they were under the Decca umbrella and previous to that when they were unsigned and known as The Brood. Formed in 1966 in the Muswell Hill area of London, The Brood/Turquoise had close associations with both The Kinks and The Who, in fact so close were the links to these bands that both Dave Davies and The Who's Keith Moon and John Entwistle had all been on producing duty at some point for The Brood in their early career. Sometimes good connections are all you needed to make it, but The Brood had much more then just influential mates. http://ecx.images-amazon.com/images/...YL._AA240_.jpg It was all looking good in 1968 when The Brood signed a publishing deal with Decca through Apple Corp, changed their name to Turquoise, had backing from The Rolling Stones management team, and began work on their first single. 53 Summer Street / The Tales of Flossie Fillet was a release which bizarrely never kicked in with the public, despite both songs on the release being rather strong. I'm particularly fond of the flip side Flossie Fillet; a song which I find staggering never launched the band into a long successful career. The follow up was even better; however Woodstock / Saynia had a similar low impact with the record buying public, which troubles me no end. How can a song as wonderful as Woodstock not register even a one hit wonder in 1968? Of all the songs covered in this fabulous compilation, Woodstock is by far my favourite and is possibly one of my favourite songs from the 1960s, is that a bit over the top? Well I think ultimately after one listen, a few of you might agree with my raving ways, I'm not even going to attempt to review this song's structure, Bob Dylan impersonated chorus or lyrical content, I would simply state my feeling when I first heard it, "this is outstanding" Woodstock shouldn't detract from the fact that throughout this compilation there are yet even more cracking songs and criminal acts of neglect, Sister Saxophone and Sunday Best for example, didn't even get to the printers back in 1968, how that happened I have no idea. I guess what this compilation shows, other then good on you Rev-Ola Records, is that sometimes ultimately being in the right place at the right time, can be the difference between the bands we know and love and the bands you just have to go out and discover to know and love. In 1969, Turquoise called it a day, vanishing into thin air, all we have are two cracking forgotten singles and a collection of marvellous tapes, all here on this fantastic compilation. If you like anything remotely Kinkish/Small Facerish or Brit Poppy, you should discover this band and help start to re-evaluate their career, you'd be foolish not to. |
The Small Faces - Ogdens' Nut Gone Flake
(1968) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 Ogdens' Nut Gone Flake 2:28 2 Afterglow (Of Your Love) 3:29 3 Long Agos and Worlds Apart 2:34 4 Rene 4:31 5 Song of a Baker 3:16 6 Lazy Sunday 3:07 7 Happiness Stan 2:37 8 Rollin' Over 2:49 9 The Hungry Intruder 2:15 10 The Journey 4:09 11 Mad John 2:50 12 Happy Days Toy Town 4:18 13 Tin Soldier (Live) 3:29 Released in 1968 on the ill fated Immediate Record Label, Ogdens' Nut Gone Flake was The Small Faces developing from their RnB routes, merging it with their new found Psychedelic side (as seen with songs like Itchycoo Park and That Man), entering the world of the concept album and producing their finest collection of songs to date, which left the band number one in the UK Charts for six continuous weeks yet ultimately cast an undeniable shadow over the band's future. Side 1 of Ogdens Nut Gone Flake contains songs which would later become the measure for what defies a Small Faces song. Songs like Rene; a song about a London Docklands prostitute, and Lazy Sunday Afternoon; about feuding neighbours, were classic Marriott/Lane cheeky chappy, bringing through influences for old London Music Halls from Marriott's childhood and merging it with the modern RnB Psychedelic influences they'd both picked up along the way to create what many people would term to be the unmistakable Small Faces sound. There is also the other side of the Small Faces and in particular Marriott's soulful voice, this can be heard in all its glory on Track 2, Afterglow (of Your Love) is nothing short of brilliant, a love song with powerful soulful vocals from Marriott, matched as always by Ian McLagan's irresistible organ, underpinned by pounding rhythm from Ronnie Lane's Bass and Kenny Jones' Drums, classic Small Faces. Not only that but Side 1 begins with the title track, an instrumental, which it has to be said sounds remarkably fresh even for today's standards, so back then it must have been quite the tune with allsorts going on with it. Side 1 to summarise has everything you want from noise and in itself would make for a quality album, but what of side 2 and the concept behind that. http://ecx.images-amazon.com/images/...PL._AA240_.jpg Well Side 2 is the story of Happiness Stan, a boy who one evening looks up at the night's sky to see that one half of the moon is missing. Told by comedic wordsmith Stanley Unwin who fills his narration with bizarrely structured sentences, backed by songs from The Small Faces, combined together they create an unusual yet fun journey. Far from being a boring 20 minute tale about lunar cycles, it's entertaining and most certainly trippy, Side 2 contains yet more quality from The Small Faces, the beefy Rollin Over, the knees up Happy Day Toy Town and the almost folk like Mad John all help make this album an unbelievable release, an audacious attempt to create an album that anyone who hears will treasure, something The Small Faces succeed with. But it could have been much more then that, the band had plans to take the album on the road, to have it played in theatres across the land, just think Queen: The Musical but much, much better. However because the band had created what was a studio masterpiece, it was pretty difficult to try and recreate that sound live. Alas though the band didn't have that much longer together to fulfil this idea. Marriott's lust to be taken seriously and to take the band away from their pop persona, boiled over in early 1969, he soon left the band and formed Humble Pie with the fear in the back of his mind that The Small Faces would never be able to top Ogdens' Nut Gone Flake. A sad end to the story of this album, but not one that should detract from what this album is, the work of pure genius and the highlight to a band's career for which we should all be thankful happened. |
Top thread. I am looking forward to reading this at it grows.
The Sonics. I have never heard any of their music so will be intrigued to read about them. I have The Monks and considering it's place and time of recording deserves a look at and understanding by a new generation. Looking forward to your review on that. |
Great thread from such a new member.
I love S.F Sorrow and it's actually very popular on this forum, lovely review. |
I hope to see you posting all around the site as you seem to know your stuff.
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The Electric Prunes - I Had Too Much to Dream (Last Night)
(1967) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 I Had Too Much to Dream (Last Night) 2:55 2 Bangles 2:27 3 Onie 2:43 4 Are You Lovin' Me More (But Enjoying It Less) 2:21 5 Train for Tomorrow 3:00 6 Sold to the Highest Bidder 2:16 7 Get Me to the World on Time 2:30 8 About a Quarter to Nine 2:07 9 The King Is in the Counting House 2:00 10 Luvin' 2:03 11 Try Me on for Size 2:19 12 The Toonerville Trolley 2:34 The Electric Prunes were formed in Los Angeles in 1965, and released their debut in 1967 on the Reprise Record Label, the band in subsequent years would become mired in internal affairs and personnel changes but here they have certainly left an important album. The record they released fully displays the qualities which are the essence of the original line-up of The Electric Prunes, "I Had Too Much to Dream (Last Night)" as a song and an album oozes Garage, Psychedelia and Punk, which lets be honest are all you can ask for. Although this album is famed for its key contributions from song writing legends of the alternative scene; Tucker and Mantz, The Electric Prunes have unmistakably stamped their mark on this record, heavily influencing the sound and feel of the album, the success of which can be heard throughout. Obviously the "strong" singles which reached the mainstream from this album; "Get Me To The World on Time" and the title track "I Had Too Much to Dream (Last Night)", are the stand out tracks on the record, but if you delve deeper there are some brilliant numbers which move the Prunes from being your typical Garage band to one of the key players in the genre, with a sound distinctly theirs. http://www.geocities.com/SunsetStrip...unesposter.jpg Always trying to find ways to be different, my favourite song off this album is not what many observers would believe to be their strongest, sure "I Had Too Much to Dream (Last Night)" is a glorious song with its ear shifting start and eerie content, and "Get Me to The World On Time" is what an on form Rolling Stones would have sounded like if they were raised in the California sun, but for me "Sold to The Highest Bidder" is a marvellous effort which I have to listen to at least once a day, with its Greek sounding guitar and lyrics about greed, I really cannot get enough of it. There is also the bonus track "Aint It Hard", and "Luvin'" which again demonstrate beyond all doubt just how good this band actually were. The follow up album "Underground", I believe shares similar qualities to their debut and contains some gems, which again I recommend to you strongly, truly a great band. From 1968 onwards though the band spiralled downwards with wranglings galore and eventually an unrecognisable Prunes dissolved in 1970. But it certainly has to be said that for me, their debut is up there with the landmark albums of the Psychedelic/Garage scene of the late sixties, if that scene is your bag, then no doubt about it, you'll have to buy this album. |
Cheers for the kind words people, much appreciated!
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Definitely gonna hunt this album down, as the songs I've heard are bleedin' t'riffic. Top-drawer thread this - really looking forward to some more of it |
The Kinks - The Village Green Preservation Society
(1968) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 The Village Green Preservation Society 2:45 2 Do You Remember Walter? 2:23 3 Picture Book 2:34 4 Johnny Thunder 2:28 5 Last of the Steam-Powered Trains 4:03 6 Big Sky 2:49 7 Sitting by the Riverside 2:21 8 Animal Farm 2:57 9 Village Green 2:08 10 Starstruck 2:18 11 Phenomenal Cat 2:34 12 All of My Friends Were There 2:23 13 Wicked Annabella 2:40 14 Monica 2:13 15 People Take Pictures of Each Other 2:10 This album was released in November 1968, while bands around them were going experimental and trippy, The Kinks and Ray Davies went into the studio with a different concept in mind. Originally the idea was not a Kinks album but a Ray Davies concept, on similar lines to the follow up Arthur, a solo project to write and record a TV/theatre score, but loosely based around the theme of a Village Green. A theme which at the time sat firmly outside of the Bluesy R&B sound that Kinks coinsures were probably more used to. However in November 1968 after two years of recording sessions with several brick walls being hit on the rocky road of TV concept, and with The Kinks commercial power being perceived to be on the way out. The Kinks released The Village Green Preservation Society on the Reprise/Pye record label. A concept of English Village life, as far removed from Flower Power, Student Protests and Vietnam as you could get. http://ecx.images-amazon.com/images/...dL._AA240_.jpg In this album, Ray Davies pursues themes in a manner which many people have judged as being all part of this Village Green concept, however he goes at these subjects in a way which would be better placed in a Village Green Preservation Manifesto, then you're typical concept album. This album is even more remarkable when you consider that it was on the back of poor single sales for "Wonderboy", and the hurriedly released compensation single "Days". As a result amazingly none of the original tracks on this album were deemed good enough for single release by record bosses, which gave the album initially a poor start in life. It's remarkable also to think that some of these songs appear on this album by accident, songs like "Do You Remember Walter" and "All of my Friends Were There", were not meant for this manifesto album, but seem to fit like a glove with their inclusion on the final cut, as was the quality of the Kinks work at the time. After its release, the fact it never became a commercial triumph, ensured the album spent the next 4 decades being a cult classic for those people like you and I who know better. Unfortunately in recent years the album has been jumped upon by advertising agencies, which means we're no longer the wise ones, we're just like everybody else......but don't be too downbeat dear friends, this is only ensuring that the right thing is done and that this album is given the attention it rightly deserves. An album which is filled from start to finish with musical treasures which every human being should know off by heart. The Village Green Preservation Society ensured that Ray Davies was lofted to the status of esteemed song writer and lyricist, and that The Kinks will always be looked upon as more then just a chart R&B act. This release, along with the follow up Arthur, proved that The Kinks could tell stories and raise issues about modern life in post Empire Britain while still making them a pleasure to listen to, which their counterparts were either overlooking or simply unable to achieve, a tremendous piece of work which sits nicely with the all time great albums. |
Weren't they banned from the US or something by the time they got 'round to recording Village Green, or is that just my dodgy memory?
Fantastic (and massively important) album, and a good review to compliment it |
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How on earth Picture Book or Johnny Thunder weren't released as singles i will never know. I'll never understand what record companies are thinking sometimes.
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Picture Book is wonderful
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Last Of The Steam Powered Trains is one of my favourites which was'nt on the 12 track stereo version :( I have both 15 and 12 though :D
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Picture Book is an ace song, but it's all about Starstruck, Big Sky and Phenomenal Cat for me.
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The Bruthers - Bad Way to Go
(2003) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 Bad Way to Go 2:55 2 Bad Love 2:18 3 The Courtship of Rapunzel 2:49 4 Don't Forget to Cry 2:52 5 Just Had to Laugh 2:05 6 I Wanna Be Your Man 2:33 7 Walk Out in the Sun 2:42 8 My Generation 2:17 9 I'm Gonna Be Alone 2:41 10 Wake Me, Shake Me 3:06 11 The Courtship of Rapunzel [instrumental] 2:58 This was my first 60's Garage album I ever bought, I bought it from the now lost but not forgotten, Vox Pop in Manchester's Northern Quarter a few years back. My eyes were drawn to it because the good folk at Vox Pop had stuck a label on it saying "Awesome 60's Garage" and a price tag of £4.99, so why not I thought..... and I was not disappointed. The Bruthers, who actually were brothers, a bit like the Bee Gees but with better dress sense and better music obviously, were from a town on the east coast of America called New York. They only ever released one single, the marvellous organ enduced stomper Bad Way to Go in 1966, despite the undenying talent, the band were dropped by their label due to the low commercial impact of this initial single, as is always the way with these sorry tales. :banghead: http://www.sundazed.com/shop/images/bruthers-pic.jpg In 2003 the good people at Sundazed looked back at The Bruthers, cobbled together some lost tapes and released this album. But this isn't your typical makeshift lost and found. Sundazed have done a quality job with this collection and you can be forgiven in thinking that The Bruthers themselves released this album back in the day. It contains some pure 60's Garage gems, the only single Bad Way To Go, is snarling and raw as nature intended. The album also features other gems including The Courtship of Repunzel whose ending screams of "Repunzel!" is marvellous to say the least. Other songs which will feature on your play list within an hour of your purchase arriving though the door include, Bad Love, Don't Forget to Cry and Just Had to Laugh similarly following the Bruther's format of snarling vocals, raw guitar, organ accompaniment, and an underlying fury. Also on the album are your typical Garage treatment towards more well know songs, including covers of The Who's My Generation and The Beatles' I Wanna Be Your Man. This album proves that just because you have never heard of a band or their music, mearly proves that you're just missing a few CDs from your collection and nothing more. If you are interested in Garage or just want to have your ears opened to the possibility that a few 60's pop compilations were not the only thing to come out of the 1960's, buy this album, like me, you wont be disappointed. |
Mark Wirtz - A Teenage Opera
(1996) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 Theme from a Teenage Opera 2:33 2 Festival of Kings 2:45 3 Grocer Jack [Excerpt from a Teenage Opera] 4:40 4 The Paranoiac Woodcutter, No. 1 1:25 5 Mr. Rainbow 2:32 6 Glory's Theme (All Aboard!) 4:51 7 On a Saturday 3:11 8 Possum's Dance 2:36 9 Auntie Mary's Dress Shop 2:45 10 Love & Occasional Rain 4:44 11 Grocer Jack (Reprise) 1:08 12 Sam 5:12 13 Farewell to a Broken Doll 3:22 14 (He's Our Dear Old) Weatherman 4:01 15 Shy Boy 2:36 16 Grocer's Jack Dream 3:34 17 Barefoot & Tiptoe 2:44 18 Kinckerbocker Glory 2:23 19 Dream, Dream, Dream 2:14 20 Colonel Brown 2:51 21 Cellophane Mary-Jane 2:31 22 Paranoiac Woodcutter, No. 2 1:10 23 Theme from a Teenage Opera [End Titles] 2:44 Mark Wirtz from Cologne in Germany was a member of the EMI production staff in 1960's London, working predominantly with the marvellous band Tomorrow; a partnership which resulted in their rather excellent debut in 1968. But during this period both Tomorrow and Mark Wirtz were working on a far grander project. The vision, a musical, either a full on stage production or even an animated film similar in scope to The Yellow Submarine, this work was entitled A Teenage Opera. Work began on the project during the summer of 1967 and would continue for a good year before EMI execs pulled the plug on the project, despite several quality songs and purpose made singles being released. It would then take another 30 years for audiences to be given just a hint of the scale and quality of this concept, and here it is, A Teenage Opera - The Original Soundtrack, released on RPM Records in 1996 with the full support and collaboration of Mark Wirtz himself. On this album are tracks from an array of talent, including works by Tomorrow and in the case of the rather splendid song Grocer Jack, Tomorrow's front man Keith West. There are also works from Steve Flynn, Kippington Lodge and even from Mark Wirtz himself on the triumphant He's Our Dear Old Weatherman, which as a song probably deserves a review of its own. http://ecx.images-amazon.com/images/...kL._AA240_.jpg This album has pop songs, psychedelic songs, full blown musical theatre with children singing choruses and even orchestral delights, which all in all some would find as a whole quite pretentious but I seriously cannot get enough of it. Many of the songs on this soundtrack are beyond catchy so please do not be afraid, trust me its well worth a listen. I think this album will be of interest to a lot of people. It certainly is yet another example of how much creativity was coming out of England between 67 and 68. I also quite like the fact that despite its quality singles and its creation being slap bang during the concept album wonder years, as a project it still found itself disregarded by the EMI bigwigs, who lets be honest, weren't exactly shy of sanctioning grandiose works during this period, its really quite staggering, for that reason there is definitely an air of loss treasure about this album, and that's very much the case for me. Definitely one for the curious and most definitely one for those already initiated, buy today. |
Johnny Cash - At Folsom Prison
(1968) http://ecx.images-amazon.com/images/...500_AA180_.jpg Tracks 1 Folsom Prison Blues 2:42 2 Busted 1:24 3 Dark as the Dungeon 3:04 4 I Still Miss Someone 1:37 5 Cocaine Blues 3:01 6 25 Minutes to Go 3:31 7 Orange Blossom Special 3:00 8 The Long Black Veil 3:57 9 Send a Picture of Mother 2:10 10 The Wall 1:36 11 Dirty Old Egg Sucking Dog 1:30 12 Flushed from the Bathroom of Your Heart 2:17 13 Joe Bean 2:25 14 Jackson 3:12 15 Give My Love to Rose 2:40 16 I Got Stripes 1:57 17 The Legend of John Henry's Hammer 7:08 18 Green, Green Grass of Home 2:29 19 Greystone Chapel 6:02 Johnny Cash was born in Arkansas in 1942. Formerly in the United States Air Force, Cash made his name in the vibrant American country scene of the 1950's, but it would be wrong to pigeon hole the man, if anything I would try to stick him between Rock N Roll, Folk and maybe half way towards Tennessee, but certainly Cash's sound was very much of his own with a voice unmistakably his. Hit after hit would be very prominent throughout his output in the 1950s and early sixties; however by 1963 his excesses caught up with his, and his career was most definitely on the wane, a brief come back in 1964 did nothing to halt this slide. After a turbulent few years, Cash, thanks to new wife June Carter had managed to compose himself and gathered some direction and in 1968 recorded one of the greatest live albums ever made. http://www.liberalstreetfighter.com/...a8e73e674.jpeg Live at Folsom Prison funnily enough was an album recorded in Folsom Prison, a prison situated in California. You can imagine the looks on the faces of those Record Company Executives at Columbia when he pitched the idea for this album. In essence what this album was is Johnny Cash playing golden oldies which now seemed awfully dated, to an audience of thieves, rapists and murderers, as well as these issues, Cash by this point was a forgotten artist and very much irrelevant, but someone at CBS must have owed him a favour or something. The first time you play At Folsom Prison you're met with the now iconic greeting of "Hello, I'm Johnny Cash", followed by a huge roar, at this point you think..... well I certainly thought anyway, "oh my", and as the first notes of Folsom Prison play out it suddenly dawns on you that what you are listening to here is simply one of the most definitive moments in musical history. 18 tracks follow the opener, 18 tracks about love and loss, imprisonment and escape, poverty and death, and for all their faults in life, the imprisoned at Folsom Prison really are what makes this album what it is. The energy from the crowd which you can literally feel oozing from the record is soaked up by Cash and his band and is relayed perfectly to the listener at home There are many highlights on this record, too many in fact, ones that stick out for me as I write this are 25 Minutes to Go, a song about a man waiting to hang, the story telling and imagery created by Cash for this song really is quite something. There are also some undoubtedly foot tappy numbers too, Cocaine Blues is a glorious song with some memorable lines (see what I did there), as well as Orange Blossom Special which is also a cracking song which does get repeated quite often on the old radio show. This album will forever make Johnny Cash a legend and ensured that he was not like the typical 1950's artist who only your Gran fondly remembers. It spawned a follow up live album, At San Quentin, which like Folsom Prison had some landmark moments which will live on long after Cash's death in 2003. In short, glorious, glorious, glorious. |
This is a great thread. I haven't heard of a few of these, and I have half a mind to get them as soon as I can.
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Get the Picture is my favorite album of The Pretty Things. That Turquoise album is good stuff also. Ogden’s Nut Gone Flake is pure brilliance and so is There Are But Four Small Faces.The Electric Prunes: I Had Too Much to Dream (Last Night) is good as well. The Village Green Preservation Societyis, obviously, awesome, as is Face to Face, Something Else by the Kinks, and Arthur (Or the Decline and Fall of the British Empire) [Bonus Tracks]. Bad Way to Go is pretty good, not great though. A Teenage Opera: The Original Soundtrack Recording is good stuff as well.At Folsom Prison is an undisputed classic. Your thread gets a thumb’s up from me!
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The Montanas - You've Got to Be Loved
(1997) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 All That Is Mine Can Be Yours 2:38 2 How Can I Tell? 2:21 3 That's When Happiness Began 2:12 4 Goodbye Little Girl 1:52 5 Ciao Baby 2:41 6 Anyone There 2:35 7 Take My Hand 2:22 8 Top Hat 2:07 9 You've Got To Be Loved 2:53 10 Difference Of Opinion (97 Remix) 2:47 11 A Step In The Right Direction 3:15 12 Someday (You'll Be Breaking My Heart Again) 2:46 13 You're Making A Big Mistake 2:50 14 Run To Me 2:30 15 Roundabout 2:47 16 Mystery 3:03 17 Let's Ride 3:05 18 I Need To Fly 2:20 19 Hold On 3:18 20 Sammy 2:37 21 Tear Drops 2:49 22 You Got Me Wrong Girl 2:06 23 One Thing Or The Other (Version 1) 3:18 24 One Thing Or The Other (Version 2) 2:54 25 Hold On (Instrumental) 3:18 26 Difference Of Opinion (Instrumental) 2:44 Like many of the bands that will feature in this journal, The Montanas were a band who had all the makings of a quality band but alas were missing the breaks to get them to that level of God like genius that so many of their counterparts enjoyed. The Montanas were formed in Wolverhampton in 1964 and were known predominantly for their hits Ciao Baby which was big in Italy, as you might expect, and You've Got to Be Loved which charted well in the UK and US; this despite it not even being promoted across the Atlantic. Other then that they were very much a band flying below the radar, which I'm sure you'll agree is most definitely no measure for how good a band actually is or were. Thankfully though we can review this bands output whilst they were with the Pye Record Label here with this compilation, You've Got To Be Loved was released in 1997 on the Sequel Record Label, and once again a heart felt thanks to these record labels for producing such compilations after the band's material had not seen the printers after so many years. Contained here are some beautiful songs, some belting songs, some Freakbeat songs and in a couple of cases a combination of all three. http://ecx.images-amazon.com/images/...vL._AA240_.jpg Highlights on the album are of course the songs The Montanas were remembered for by mainstream audiences, the mainstream are not total fools after all; however there are some lost treasures to be had here. A Step in The Right Direction's failure to reach a significant chart position I think we could judge as a criminal offence for example, there are also songs that weren't even released at the time The Montanas were at their "height", the best of which is Hold On which is such a brilliant song I am taken a back that it was not released until this compilation. These are of course the stand out tracks, but throughout this compilation there are some strong songs which it would be a crying shame to think that you will never get to hear them other then on this compilation, but that's life I guess, so why not give this album a go, it's very much a pleasurable listen. |
This is a superb thread and kudos for highlighting bands that are more obscure. I would'nt mind hearing that Montanas album some time.
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The Jimi Hendrix Experience - Are You Experienced
(1967) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1. Foxey Lady 3:19 2. Manic Depression 3:41 3. Red House 3:42 4. Can You See Me 2:32 5. Love Or Confusion 3:11 6. I Don't Live Today 3:54 7. May This Be Love 3:10 8. Fire 2:43 9. Third Stone From The Sun 6:44 10. Remember 2:48 11. Are You Experienced? 4:14 12. Hey Joe 3:29 13. Stone Free 3:36 14. Purple Haze 2:50 15. 51st Anniversary 3:16 16. The Wind Cries Mary 3:20 17. Highway Chile 3:32 Born in 1940's Seattle, Jimi Hendrix would go on to be the ultimate guitar Legend in both his native America and more crucially here in the UK. In the mid sixties, Eric Clapton was God having given the blues sound a complete overhaul, however in the late sixties Clapton was revealed to be just a mere prophet for Hendrix had arrived to save us all. It's well documented that Hendrix had a gift for creating noises from his guitar that only he could create, this much is true, problem is he raised the bar to a level which has not even been sniffed at since the time of his tragic death in 1970, which certainly has left a big hole on mankind's ability to create. Despite Hendrix's ability and obvious talent, it was only in the last 5 years of his life that he managed to have the huge impact his talent deserved. In 1966, The Animals were on the verge of breaking up, and their bassist Chas Chandler decided he would try his arm at management. Luckily for us, a chance viewing in New York of Hendrix playing blues in a club convinced a gob smacked Chandler that he needed to get this guy over to England. In England, a rhythm section was forged around him, arguably one of the best rhythm sections ever created. Mitch Mitchell, possibly one of the greatest drummers ever to pick up a pair of sticks and Noel Redding on bass, both had the key ability to keep up with Hendrix and produce the glue needed to make the songs sound the way they did. This new three piece would be called The Jimi Hendrix Experience. http://g-ecx.images-amazon.com/image...._AA240_.L.jpg Their first record in the UK was a triumph, released in 1967 on MCA, Are You Experienced was a stunning debut, incorporating at its base the fundamentals of Blues, Rock and Soul with the addition of a more futuristic fuzz sound trying to kick out from all angles, there was also an undeniable jazz influence coming from Hendrix's rhythm section, which probably allowed all these elements to gel with such wonderous results. Nothing more demonstrates the power in Hendrix's fingers then Foxey Lady, imagine if you will just sitting there having placed the needle on the record to hear that guitar slowly marauding its way through your amp and breaking through to produce one of the most hypnotic guitar riffs ever created, brilliant. Yet more Psychedelic wonders and memorable riffs follow with Manic Depression and Purple Haze, but there is much more then just that. There's a mental instrumental with Third Stone From The Sun, and even a tender side being demonstrated on the album, with beautifully poetic songs like The Wind Cries Mary and Hey Joe This is album is frenzied and raw yet at the same time is beautiful, this album was responsible for launching Hendrix onto a stage much bigger then those days where he was in the Isley Brothers backing band a few years earlier, the clamps were now off and he was loose, this was where the legend began. Thanks to later issues, there is now no missing links between the UK version of this album and the US version, its now all available on one album, if you're one of those collector types, you might want to buy both versions, but if not, I'm sure the 17 track version will do you fine. |
Your reviews are quite insightful. I find it hard to believe you are so young.. you've definitely done your homework.
I share your love of the Kinks. They were the true survivors of the first wave British Invasion. Ray Davies never rested on his laurels as a songwriter and many of his current songs reflect a man who is still in touch with the world and his own sense of rebellion. The fact that Ray Davies, at age 62, can write a song like Things Are Going to Change (the Morning After) ... a ruthless reassessment of his own personal failures, is evidence of his fierce committment to confronting his own artistic demons. I think a lot of Americans missed the humor and the double edged social commentary of Ray Davies' songs, which were uniquely British observations about the rigid and oppressive system of class relations in England. |
Os Mutantes - Os Mutantes
(1968) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1. Panis Et Circenses 3:40 2. A Minha Menina 4:45 3. O Relógio 3:31 4. Adeus Maria Fulô 3:06 5. Baby 3:02 6. Senhor F 2:35 7. Bat Macumba 3:10 8. Le Premier Bonheur Du Jour 3:39 9. Trem Fantasma 3:18 10. Tempo No Tempo (Once Was A Time I Thought) 1:48 11. Ave Gengis Khan 3:51 Os Mutantes were formed in Sao Paulo, Brazil, in 1965, and were the forerunners of the Brazillian culture phenomenon known as Tropicalia. But what is this Tropicalia you speak? Well Tropicalia was a cultural revolution in Brazil in the mid to late sixties which not only affected music, but all areas of the arts, giving pieces a more deeper meaning and giving its creators a reason to push the boundaries for what was possible to out shine dictatorship. There is no bigger example of the Tropicalia movement then Os Mutantes' debut in 1968, their self titled album is little known outside of Brazil, but I only had the album a couple of hours before I became absolutely smitten by it. It has left me thinking that if this was an English speaking album, this would probably be heralded as a masterpiece by all and sundry. http://www.hellcola.com/wp-content/u...mutantes_1.jpg For starters it is unbelievable how flexible and open-minded Os Mutantes actually were with this debut, the level of experimentation with their songs featured on this album is far superior to anything coming out of England or America at the time, an experimentation that has made the songs something quite remarkable, and this really cannot be said enough. There are of course your typical carnival side to the sound, which you would expect from a band from Brazil. But not just that, they've decided that fuzz from a guitar is good, and fuzz in any guise is indeed good I think we can all agree. They've also managed to get the orchestra in on most of their songs, with beautiful string and brass accompaniment throughout, but this is a Tropicalia album, you don't think it just stops there do you? We really are not just talking about a Sgt Pepper Samba album here. The harmonisation of the vocals, the poetic quality of the songs (which are in Portuguese obviously but which transend the language barrier) and of course the fact that you have no idea where the album can take you next, brilliant. Like with most albums which successfully fly close to the wind and by rights are one offs, some listeners may find a couple of the more far out pretty songs a little hard to get your head round. But seriously, this album is compelling and is jaw droppingly good at times which makes the album actually an addictive listen. This isn't just a first rate Pychedelic album or an advert for World Music....whatever that means; this is a masterpiece pure and simple. |
Do you have any up's for some of these albums? I have been meaning to check out Os Mutantes for ages and The Sonics i'm definitely interested in.
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Syd Barrett - The Madcap Laughs
(1970) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1. Terrapin 5:04 2. No Good Trying 3:26 3. Love You 2:29 4. No Man's Land 3:03 5. Dark Globe 2:02 6. Here I Go 3:10 7. Octopus 3:47 8. Golden Hair 1:59 9. Long Gone 2:50 10. She Took A Long Cold Look 1:55 11. Feel 2:17 12. If It's In You 2:26 13. Late Night 3:10 Syd Barrett left Pink Floyd in 1968; his final contribution to Pink Floyd was the last song on "A Saucerful of Secrets", the very apt Jugband Blues. From here he left to focus on a solo career, whether he left of his own accord or was pushed we can leave for another day, but it took a further two years for Barrett's first solo outing to be released. "The Madcap Laughs", released in 1970 on Harvest, was two years in the making and had production assistance from various people most notably Roger Waters and Dave Gilmore, as well as session musicians of some esteem to perform overdubs on most of the tracks, musicians including Jerry Shirley of Humble Pie on Drums. It's also worth noting that some of these esteemed musicians never actually met Barrett. The various sessions involved in writing and recording the songs for this release were dogged with Barrett's internal and well documented mental turmoil, but this record was recorded in the end and what a record it is. The album opens with "Terrapin", despite the number of producers involved throughout the album; this opening track echoes the style, which will make Madcap Laughs the album it is. http://www.hecklerspray.com/wp-conte...d_barrett.jpeg Every strum is heard, the lyrics are quite mysterious, the vocals are eerie and because the overdubs are done after and away from Barrett's erratic musicianship, the beats and bars are quite unpredictable, which I happen to believe is a good thing. This trend, which I like to think of as classic Barrett recording techniques, continues with "No Good Trying", the marvellous "Octopus", "Golden Hair" and the beautifully composed "She Took a Long Cold Look" and "Dark Globe". The album does have some upbeat moments, "Love You" and "Here I Go" are probably as close to pop songs Barrett ever got, but thankfully he's still a million miles off the norm. Along with "Barrett", another album from Syd Barrett released in 1970, The Madcap Laughs remains a beacon of the talents of this great songwriter, a man whose demons would tragically halt his career but thankfully did not result in this record never being released. Yes, some of the vocals are erratic and sometimes off key, yes some of the songs go off on one a bit with the overdubs trying to keep up, and yes this album is far from being polished, but don't let that stop you, the sum of all the parts of this album make for an unbelievably addictive and surprisingly wholesome record. |
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I'm not down with the kids when it comes to uploads, and have issues (probably linked to an OCD :usehead:) where I must have the physical record scattered around my abode. |
Nice review of Madcap Laughs. I reviewed it myself for my Pink Floyd thread and was interesting comparing the two. As for the up's no worries. We will convert in the ways of the upload :D
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Scott Walker - Scott
(1967) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 Mathilde 2:39 2 Montague Terrace (In Blue) 3:31 3 Angelica 4:02 4 The Lady Came from Baltimore 1:59 5 When Joanna Loved Me 3:08 6 My Death 4:57 7 The Big Hurt 2:26 8 Such a Small Love 4:55 9 You're Gonna Hear from Me 2:53 10 Through a Long and Sleepless Night 4:12 11 Always Coming Back to You 2:41 12 Amsterdam 3:04 Born Scott Engel, in Hamilton, Ohio in 1943, Scott Walker rose to fame in the United Kingdom in the mid sixties as a member of The Walker Brothers, taking the self exiled American band back to the US to conquer the world for one brief moment. In 1967 however, The Walker Brothers were no more, with all three members going their separate ways to forge solo careers. Scott Walker in the same year released his debut; Scott on the Fontana Record Label. It was deliberately as far removed from a Walker Brother pop idol album as you could get. As it turns out Scott was the beginnings of a very successful, yet equally surprising solo career. This first album was the blue print for the next three albums, all sharing similar characteristics, which on paper were not really of your typical late sixties fare. A unique blend of Orchestral arrangements, humorous and dark lyrics all glazed over in an almost crooner like varnish, which in 1967 Britain just lapped up, with the album being a surprise Autumn hit. http://www.smh.com.au/ffximage/2008/...b__300x375.jpg Contained on this album are songs penned by Walker, as well as some fantastic covers including songs written by his favourite writer, Jacques Brel. The best Brel compositions and strongest song on the album as it happens, is the opening track; Mathilde, it is almost hilarious in its drama and its onslaught like qualities, yet it's a compelling listen and is instantly Scott Walker. Following the opening track, there are ten beautifully orchestrated numbers, with Walker on top crooner form, Montague Terrace (in Blue) and Angelica are stunningly marvellous songs, an enhanced cover of Tim Hardin's The Lady Came From Baltimore continues the momentum that ultimately takes this album into Classic territory. By the time you get to the final track, also penned by Brel, Amsterdam, nothing really surprises you anymore, although the track is such a dark and desperate tale, it is yet again so beautifully performed by Walker, it just works and is not at all out of place. This album was the rebirth and reinvention of a man who had already achieved a great deal in such a short space of time. This album and the following three also ensured that Scott Walker would gain a cult audience and going off this debut album, it isn't difficult to see why. |
There's a ridiculous amount of albums I need off this thread - only yesterday I drew up a list of albums to download that's literally as long as my arm and just realised there's nothing from the 60s on it.
Os Mutantes, the Madcap Laughs and Are You Experienced are a few I've heard of. Scott Walker's an artist I've been meaning to investigate beyond his later work from Nite Flights through to the Drift (all of which are terrific albums if you don't already have them). Great reviews, keep them coming. |
Here's something new for this journal,
When I first went to our resident Mancunian mod with the idea of this journal, I did say that I would also find time to mention the youth of the Republic, and the fine bands that can be found in Mancunia that fit the 1960's remit. This interview and video was done awhile ago, its when I was young and first started out on a solo media career, so please excuse the "errrrrs" and the media whoring. The point of this video is to highlight the marvellous Salford Garage Blues band, "Hard Luck Child". They're quite unique for the Manchester scene, with routes firmly based in the content of this journal. With music that sounds like it was recorded in a dustbin (the way it should sound by the way :usehead:), they're an exciting band who I'm sure will go far. Anyways, to have a listen to their blues ridden stuff, it can be found at Hard Luck Child on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads |
The Sonics - Here Are The Sonics
(1965) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 The Witch 2:40 2 Do You Love Me 2:18 3 Roll Over Beethoven 2:49 4 Boss Hoss 2:24 5 Dirty Robber 2:02 6 Have Love, Will Travel 2:40 7 Psycho 2:17 8 Money 2:00 9 Walkin' the Dog 2:45 10 Night Time Is the Right Time 2:58 11 Strychnine 2:13 12 Good Golly Miss Molly 2:08 If you ever wanted to know what a ton of dynamite would sound like if you lit the fuse and gave it some microphones, guitars, drums and a saxophone, then listen no further. Here it is ladies and gentlemen, 100% unfiltered TNT, all the way from Tacoma, in America's northwest, Here Are The Sonics. Here Are The Sonics is the debut from the brilliant Sonics, released on The Norton Record Label in 1965, the album was a commercial flop proving once and for all that the mass record buying public then, like today, are a pretty foolish bunch. But hopefully you have your head screwed on and will no doubt love this album after one listen or even half a listen. http://ecx.images-amazon.com/images/...pL._AA240_.jpg Other then the health risks, what really is there not to like about this album? Highlights on the album are many and involve either a riff sent from the bowels of the earth, a series of beats crashing down from Mount Olympus or a scream that can kill Santa Claus and ultimately probably did, most likely though it is a combination of all three of these factors in the same song. Psycho, The Witch, Strychnine, Keep A Knockin', Boss Hoss, Have Love Will Travel, Dirty Robber, it is all happening with this album, seriously these songs are some of the finest to come out of America, let alone the 1960's, and The Sonics have been genius enough to have created all these great songs in time for their debut album. Here Are The Sonics in short is one of the ultimate Sixties Garage albums, containing pure grit, as live as it is raw and containing filthy raunch that would make a nun faint, a landmark American album, one of the great debuts, and very much under appreciated by the mass consumer, that's about it really The Sonics - Boom (1966) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 Cinderella 2:44 2 Don't Be Afraid of the Dark 2:22 3 Skinny Minnie 2:11 4 Let the Good Times Roll 2:00 5 Don't You Just Know It 2:49 6 Jenny, Jenny 2:19 7 He's Waitin' 2:32 8 Louie, Louie 3:00 9 Since I Fell for You 3:59 10 Hitch Hike 2:45 11 It's All Right 2:10 12 Shot Down 2:08 One of two landmark albums released by Tacoma, Washington's very own, The Sonics. In 1966, The Sonics released the follow up to their triumphant yet largely forgotten debut, "Here Are The Sonics"; "Boom" was just as harsh, just as raw and just as electric as that marvellous release from 1965. "Boom", released on the Norton Record Label was the last great album from this very much-underrated act. Charting nowhere in 1966 and offering very little in mass consumer appeal, the album forced The Sonics to reassess their sound and focus, as a result this left any follow up albums sadly lacking that little extra bite, making Boom even the more important. "Boom" is classic Sonics, gritty, electric and pure unadulterated filth, which is all you can ask for from a band who made it their business to turn it up and smack you right between the ears with the equivalent of a bag of spanners. http://ecx.images-amazon.com/images/...RL._AA240_.jpg The album starts with "Cinderella", brace yourself folks, this is proper rock n roll and could scorch the brain, be warned that track 7 "He's Waitin'" has similar health damaging qualities. Moving to track two we have "Don't Be Afraid of The Dark", which starts off (well first 10 seconds) seemingly all nice and gentle, but then again this is Gerry Roslie on lead vocals so don't get too snug. Roslie's vocals are very strong on this album; for example his vocals on "Jenny Jenny", are by no means overshadowed by the Little Richard original. It's a shame that this man's talents weren't more widely recognised at the time. Another powerful cover from The Sonics can be found on "Boom", "Louie Louie" I think sums The Sonics up perfectly, taking a simple idea and injecting it with napalm and making it unbelievably dirty and explosive. A formula, which started in 1965 and very much continued with this 1966 release. From start to finish this second album from The Sonics is a real treat, so hunt it down. |
Totally missed this journal Cellartapes.. looks sweet! I'm creeping up to mid-20's aswell and I also love the 60's, don't worry our time will come sir
Do you have Mass in F Minor by the Prunes? It's mental. I intend to check out Turquoise! |
The Sundowners - Captain Nemo
(1968) http://ecx.images-amazon.com/images/...500_AA240_.jpg Tracks 1 Sunny Day People 2:36 2 Edge of Love 3:10 3 Let It Be Me 4:36 4 Dear Undecided 2:24 5 Ring Out Wild Bells 2:27 6 Plaster Casters 2:43 7 Captain Nemo 3:45 8 Always You 2:54 9 Easy Does It 2:48 10 Blue-Green Eyes 3:03 11 So Sad 3:59 The Sundowners were formed in 1959 in Lake George, New York; however they only ever released one LP, the cult classic Captain Nemo in 1968, a low selling record which you can now purchase for a shockingly cheap amount (in Mancunia anyway). The Sundowners between 65 and their subsequent demise in the late sixties would be there or thereabouts, coming close to fame and fortune but never quite achieving it themselves, playing alongside such household names as The Monkees, Ike & Tina Turner and Jimi Hendrix. They also tried their arm at acting, appearing in a couple of films in the late sixties alongside some illustrious names, but soon they would vanish leaving not much of a trace. However the one trail they did leave for us all was their one release in 1968, released on the Decca record label. This is somewhat of a Sunshine Pop/Psychedelic underground classic; Captain Nemo was very much overlooked by the record buying public of the day. This was probably due to the amount of quality albums being released in that year which no doubt out muscled The Sundowners down the pecking order, particular with the alternative less mainstream record buying public. It also suffers from not having a particular outstanding single, something which I will come back to. http://ecx.images-amazon.com/images/...AL._AA240_.jpg But now forty years on, I think this album can be reassessed as a release which should have done a lot better. The production on the album for example, done by Sundowner guitarist Dominick DeMieri, is of a very high and exceptional standard; the songs as said previously although not particularly amazing, are of a quality which as a collection of songs makes you feel satisfied with life, and a front cover which it has to be said is a fine piece of art. So all in all, this album is actually a strong piece containing some nice wholesome tracks. Songs like the opening track, Sunny Day People, Dear Undecided and Edge of Love certainly will not have you going back to the shop for a refund. A definite must for collectors and a general all round thumbs up from me. |
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