Bomp! Magazine #16 (Vol.3 - No.7)
Bomp! Magazine #16 (Vol.3 - No.7)
Bomp! Magazine #16 (Vol.3 - No.7)
ABBA
& the History o f
Swedish Rock
M ONKEE
Mania
in the 70s DWIGHT
The New TWILLEY:
Sounds of Will He?
SHELTER RECORDS
(S )
DISTRIBUTED BY
AB C RECORDS AND
SINCERELY, the long awaited first album from the DWIGHT TWILLEY BAND GRT TAPES
EDITORS C M T b N T S
GREG S H A W
KEN BARNES
C O N TRIBUTING EDITORS
DAVE ROEDER
A L A N BETROCK
G EN ESC ULATTI
M A R TY CERF
ARTICLES
SEYMOUR STEIN
M A X BELL
BRIAN WILSON:
LO.y M U NSO N
COLUMNS
BOMP is published quarterly by Greg Shaw, P.O, Box
7112, Burbank, CA. 91510. Subscriptions are $8 for 8 issues
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THE BEAT [e d ito ria l ] by G reg S h a w ................................ 4
TIME IS ON OUR SIDE
per issue (airmail). This is Vol. 3, No. 7, whole number 16,
pubished October 1976 for sale through January, 1977.
Entire contents are copyright1976 by Greg Shaw.
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v
WHO PUT THE BOMP PAGE 3
television (though it seems many of the same
people who fear hype also live in morbid
dread of TV). But those who claim
abhorrence of hype fall victim to the more
subtle hype of anti-hype, echoing "far out,
man to every low-key FM come-on. And as
for nostalgia, I can't see how waiting for the
next Dylan or Buffalo Springfield is any
different from waiting for the next Beatles.
Except that these people think of themselves
as being hip. We think of them as being
hippies.
To get more directly to the point. Most of
these people have no business writing about
rock & roll. Jon Landau said as much in his
last Rolling Stone column. He pointed out
that rock writers are hung up on words, place
undue emphasis on lyrics, when they are
after all only an incidental factor in the
greatest rock & roll recordings. These college
Something about this magazine seems to fans. What I'm wondering now is, what's the
grad intellectuals would be better off
make people want to express their innermost matter with everyone else? I can excuse the
reviewing films or books as in fact most of
feelings about rock & roll and what it means millions of kids still buying Deep Purple and
them would prefer doing anyway. I can think
in their lives. Nothing strange about it; BOMP Rick Wakeman; after all, they're at the mercy
is written by and for people who take the of whatever's pushed on them by record
music seriously and relate to it on a deeper, stores, radio stations and Rolling Stone. But
more emotional level than, say, your average what about these latter parties? Retail
Kraftwerk fan. What's strange is that we ignorance can be excused for obvious
seem to be a minority. If BOMP appears at reasons, and the problems with radio are too
times to be more concerned with events 10 deep-rooted to even begin investigating here.
years ago than with today, it's only because At the very least, though, one would expect
some of us remember a time when rock & roll - the press, that elite corps of trained
mattered to everybody (or at least everybody trend-spotters and the entrusted arbiters of
we knew). The music elicited such a strong our collective taste, to have a little more on
sense of involvement from its fans that it the ball.
became an integral part of our existence, and My contempt for most 'professional' rock
the involvement was only intensified by the writers is no secret. The majority of them are
thriving pop culture that surrounded rock & glorified male groupies, gossip queens and
roll in its better days. Small wonder that some cocktail leeches, whose lack of writing ability
of us have maintained that attitude and given is exceeded only by their lack of critical
our full support only to artists and trends judgment. They churn out reams of rehashed of no better explanation for the fact that so
capable of leading us back to that state of bios and blind reportage of things seen and many rock critics continue touting the same
grace. heard, without ever invoking the use of their tired old artists that were big 6 years ago, and
Anyway, our readers get pretty intense. brains. How they pass as 'critics' is beyond grovelling at the feet of any spinoff from the
They write us long unbelievably personal me. But let's overlook these people, because Woodstock Nation that happens to form a
missives, and bare their souls as if finding a it isn't really their fault the record industry new group. All the forces of the music
kindred spirit were some kind of minor encourages this sort of parasitism. industry may be behind such artists, but the
miracle. And in a sense I suppose it is. Five thrust of history has passed them by. They're
years ago, the tone of our mail was often yesterday's heroes. And anyone who can't
bitter or desperate; everyone wanted to relive distinguish yesterday from today from
the past, seeing no hope in the future. But tomorrow should not be writing about
lately, in the last year or so, all that has teenage music.
changed. Now the letter-writers are telling us Actually, this hasn't been that much of a
excitedly about new groups, new records and digression. The rock press is a vital element in
new scenesoften in their own home towns. pop culture, and the fact that it's reflecting
Defeat and apathy yielded to guarded yesterday's culture is as good a starting place
skepticism and then gave .way to unbridled as any to launch our ruminations on this
enthusiasm. It's pretty clear to everyone now sticky subject. It isn't only what they write
that the renaissance is at hand and we're all aboutreally, I see nothing wrong with their
gonna have a lot of fun. continued coverage of artists who are, after
I've found it particularly gratifying to We're still left with a good number of all, selling millions of records but the style in
observe this process in some of my friends. people whose intelligence and training makes which they write and the format in which
For instance Gene Sculatti, whose guest them qualified, respected rock critics/jour- they present their articles does have a
editorial appears on the opposite page. nalists, the ones you see most often in bearing.
Gene's one of my oldest friends; we started national publications. O f these, there are The point to be grasped here is that boring
writing for a lot of the same magazines in about a dozen who've -consistently shown subject matter naturally tends to be
1966, and since then have had frequent long any sensitivity to changing trends, who have presented in a boring format (Rolling Stone)
discussions about pop culture and rock embraced a large enough perspective to just as psychedelic writing used to appear in
history. If I was premature in predicting a pop evaluate events in any sort of historical rainbow-washed sheets of hand-drawn
revival back in 1972, Gene has only lately context. The others display a kind of newsprint. On the other hand, if the subject is
come to acknowledge it. Gene's editorial persistent blindness that I fear will bring exciting, it should be displayed in an exciting
makes a strong case for how much ridicule upon them when their time is over. fashion. 16 may be crude, but it gets the
improvement there's been in the records of In the main, they suffer from the same message across to its readers: there's a lot
this last year or so. What Gene doesn't malady they accuse us rock & roll addicts of: happening here. Hit Parader had the same
mention, and what I'd like to explore, is the becoming habituated by their tastes, taken in cheesy layouts in the mid-60s, and yet it was
state of pop culture, beyond what's on by hype, and limited by their own nostalgia. the most relevant and intelligently-edited
record. The difference is, they don't see it in magazine of its kind.
First, though, a slight digression. When I themselves. Of course we love hype; a really There's great excitement in the new rock &
speak of Gene being among the last to good, attention-grabbing, razzle-dazzle rollthe teeming clubs of New York and
recognize the fundamental change coming campaign is in the best tradition of rock & Boston with their stark, staring, leather-clad
over rock, naturally I mean of us hard-core roll, and is no more to be feared than groups and 'who wouldn't rather see a few
** * * * * * * * * *
WHO PUT THE BOMP PAGE 7
Everyone loves Brian, but for an inter
viewer, he's not the easiest person to make
/? E X C
talk. Jim Pewter is one o f the few who Ve
been able to establish a genuine rapport
with Brian under interview conditions. One
o f the true pioneers in the field o f oldies'
broadcasting, Jim has interviewed Brian
several times, going back as early as 1966.
This interview, presented here for the
first time in any magazine, provides a
fascinating insight into the background, TELLS Z S A f All
musical influences and early working
methods o f Brian Wilson, while avoiding
the kind o f sensationalistic exploitation o f
ABOUT THE EARLY PAYS.'o
his personal problems that most articles
have dwelt too heavily on. We feel this
material is a timely complement to the kinds of words. And all of a sudden JP: Do you get a shock when
renewed interest in the Beach Boys that we'd be in there writing words to that someone mentions "Be True to Your
has helped make 1976 a banner year for track. I mean, we'd have a feeling to School"? W hat kind of memory does
rock 8- roll fans. work with and sometimes that was all. that bring back?
JP: With the car songs like "Little BW: Oh that fries my brain! I mean,
JP: Brian, let's talk about your first Deuce Coupe" the lyrics were written that brings back some heavy
record; I believe that was in '62? by Roger Christian, and then there memories...
BW: Oh, I forgot we were doing an was a song that came out about a year JP: The lyric about the cheerleader...
interview! I was looking at the picture later which has really become a BW: Now that's one lyric that I wish
over there. classic: "Don't Worry Baby". everyone would pass on and just listen
JP: That's Groucho. BW: Roger and I spent so many to the music.
BW: Oh, hi Groucho. evenings sitting up.He was really kind JP: One of the tunes you picked out
JP: He's on a surfboard... of a guiding light for me. He'd get off as an all time favorite was one by the
BW: I've forgotten what they look at midnight, he did a night show from Crystals, a song called "Uptown."
like.... 9 to 12 on KRLA, then we'd go out That song was produced by Phil
JP: The first hit was "Surfin' ", back and get a hot fudge sundae and we'd Spector. You were an admirer of his
in '62. How did you decide to tie the sit there for hours talking, writing work, weren't you?
whole surfing scene up into a song, lyrics and all of a sudden it was like I'd BW: Of the works I remember; it's
how did that come about? written 15 songs! hard to remember them all, but that
BW: My brother Dennis came home JP: Did Bill Haley's "Rock Around the was one of my favorites, along with
from school one day and said Clock" affect you in any way? "Be My Baby" and most of the
something about how surfing looked BW: "Rock Around the Clock" Ronettes songs. One of my favorite
like it was going to become the next shocked me, I mean I was so Beach Boys records is "I Can Hear
big craze, and we should write a song electrified by that experience. Some Music" which was by the Ronettes
about it. You see at that time we were of my friends came over and said I had originally. That was Carl singing lead
writing songs for friends and school to hear this new record, so we went on that one, as a matter of fact he
assemblies. So it happened that we out and bought it and took it home produced it too.
wrote a song about surfing due to and put it on. We were screaming, JP: You recorded "Help Me Rhonda"
Dennis' suggestion. that song was really it. in '64 didn't you?
JP: I talked with you on the phone JP: Brian, besides writing and pro BW: Yes, in the middle part of that
about a month ago and asked you to ducing all these tunes you developed year. That's somewhat like a Phil
pick out some of your favorite hits a style of singing in a falsetto that has Spector approach and it has the
from the past for me to bring along to been your trademark through the harmonica part like that record
the interview, and you mentioned a years. How did you develop that style? "Fannie Mae."
record by the Cadets. Was that BW: There was a group called the JP: Who was playing harmonica on
"Stranded in the Jungle"? Four Freshmen, I used to listen to their that, do you remember?
BW: No, that's Kenny & the Cadets. I records all the time, I'd come home BW: I don't remember. I think it was
was Kenny and the other guys went from school and lock myself in my some musician we hired, not one of
by the name of the Cadets. This was room and listen to this group and I the guys. None of us could play
back in '61 and at that time we were practiced the high parts. I wanted to harmonica.
just getting going with a publisher and see if I could get as high as he could JP: Regarding your earlier sides, did
this guy had this great song, his name so I practiced until my range went up. you have a favorite studio that you
was Bruce Morgan, so my mother and So i trained my voice to the point liked to use, or did you experiment
I and a friend of mine did this demo... where it was easy for me to hit that with different studios around town?
hey, this could get to be a long story! falsetto. BW: We went to at least ten of the
JP: You were telling me earlier about JP: W hat instrument were you studios around town. I preferred
the way you write songs. How you get practicing with while you were Western Recorders at 5000 Sunset
down a pattern on the piano and lay developing this style? Blvd. It seemed to have the best echo
down some rhythm tracks. When you BW: An organ and piano, usually chamber for what we liked to do
went in to cut tunes like "Little Deuce those two, though actually I didn't use vocally. It had good balanced echo, a
Coupe", back in '63, was it all live or an instrument much at that time. I'd really fat echo. RCA had a good studio
did you lay down a rhythm track first? just sit there on a chair and sing along too, and Sunset Sound was great.
BW: Sometimes. It varied, depending with the high part... JP: When was the last time you were
on how lazy we were feeling. Like JP: You wrote the lyrics to "Surfin' on a Honda, Brian?
sometimes we had the music but no USA" didn't you? BW: Let's see, well, ah, a few years
words. Let's use "Little Deuce BW: Chuck Berry wrote that song. It ago when I crashed my Honda.
Coupe" as an example. We'd do the was called "Sweet Little Sixteen". JP: Did you have a helmet on?
background track for it in the chord When we first got going Mike was BW: Yeah, I didn't get hurt real bad. I
pattern and then when we'd listen to sort of a Chuck Berry fan, so we took ran into a palm tree and fell off the
it, we'd be listening and suddenly go Chuck's song and turned the lyrics bike. I haven't gone riding since.
Wow! I got an idea! I'm hearing these into a surfing song. JP: Where did you grow up?
y > r M
W H O PU T THE B O M P PAGE 11
Larry Parnes and Jack Good would be proud.
In fact it's exactly like what was happening in
1962. W hat's the difference between David
Essex and Adam Faith? The Glitter Band and
the Shadows? Alvin Stardust and Shane
Fenton!
So much of what we accept as rock/rock
culture is phony and dishonest. Is this the
same music that was founded on defiance
[continued from p. 45] and rejection of hypocrisy? At one time we all
knew what the enemy was, and that rock was
BIG BEAT # 1 3 (Boite Postale 23, 42270 Rockers are back too, they held a demonstra youth's best weapon against it. So we grew
Saint Priest en Jarez, France) Carl Perkins, tion recently, and at its extreme the British out hair long like the groups, spent all our
Chuck Berry, Little Richard, Harmonica Frank anti-hippie backlash has produced groups like money on their records and concerts, and
(all in French, good photos) the Sex Pistols whose growing legion of fans
LIQ UO RICE # 1 (7-34 Victoria Centre, called ourselves hip, because we knew what
sport rudely butchered short hair, deliber was real and most people didn't. Now
Nottingham, UK) John Martyn, Beefheart,
ately slashed and blood-stained working class everyone has long hair, nothing is real, and
Mike Heron, more.
clothes, and other things not so easily the rock stars have so much money they
IMOSTALGIA,Vol.2, # 2 (38, Bedford Sq,
described. identify more with Rockefeller than with the
Brighton, UK $ .50) Arthur Lee, Pretty
Things, Andy Fraser, Traffic, etc. Suits, ties, short hair, Mods & Rockers, kids who gave them credence. Somewhere
NEW K O M M O T IO N # 1 (3, Bowrons Ave, and a general sense of alienation and along the line, people stopped being
Wembley, Middx., UK, $1.25) New Publisher, protestthese are the real signs that concerned with what was real, and assumed
new format, same old factual articles on something big is brewing. Far more indicative they could just keep the long hair and still go
50s/60s rock: Buddy Knox, Fats Domino, Al than the records. Every year has had its good on calling themselves hip. What a joke!
Downing, Terry Noland, more. records, and if we've got more this year than This pseudo-hip/hippie culture, if you can
SH O U T # 1 0 7 (Box 226, London SW4, UK, we've had since 1967, it means little in itself. call it that (at one time it was; now it's
$1.50) Mammoth issue including Chuck Berry But the existence of an audience looking for a nothing more than a set of hackneyed
discog, Scepter singles listing, Arthur style and a stance of its own is the most cliches) is the major impediment to the
Alexander interview, much more.
crucial thing we've been missing these many spread of a '70s pop culture. Like the 'critics'
HOT BUTTERED SOUL # 4 4 (67 Albert
Terrace, Wolstanton, Newcastle-u-Lyne, years, and now we see it forming. who are aesthetically stuck in the period of
Staffs, UK, $1) Good coverage of black music It's no coincidence that the inspiration in Crosby, Stills & Nash's first album, we're
Funkadelic, Ric Tic, Chi-Lites, Shirley Good fashion, like the inspiration in music, has afflicted with FM djs who think it's hip to play
man, more. come from the mid-'60s. That was the last Moody Blues and Ten Years After (I'm not
STRAW BERRY FIELDS FOREVER # 1 6 ,1 7 great pop era, as no reader of BOMP needs to making this up, I actually hear it, day after
18,19 (310 Franklin #117, Boston, MA 02110, be told, and we must pick up from there in day, on both of LA's top FM stations). What
$1) The definitive Beatles fanzine. order to go forward. Only now it's not rock makes them think it's hip or happening in any
GULCHER # 2 , 3 (Box 635, Bloomington, IN theory, not my opinion or Ken's or Alan sense? Well, gosh, weren't these groups at
47401) nicely-done tabloid, # 3 has San Betrock's. These kids are doing it because it Woodstock? Didn't you see 'em in Rolling
Francisco special. feels right, and historically, it is right. Stone? Didn't their former members unveil
R O LU N 'R O C K #12,13,14(6918 Peach Ave, Where it goes from here is anybody's their new solo albums at Carnegie Hall? What
Van Nuys, CA 91406, $1.25) Rockabilly guess. This whole scene may yet fizzle out else do you want?
galore. before it can spread to the teenage masses. These people aren't aware of how foolish
O .REXTASY # 9 (Box 206, Brooklyn, NY It's very disturbing to see how readily they all they are, because they're not aware of
11223, $ 1) Wailers, reviews of new records. respond to the ersatz excitement of bands anything. Thankfully, the new generation is.
A TEM # 3 ,4 (1901 depot legal No. 3938,
tike Aerosmith and Starz and, even though I There are enough people supporting the
Nancy, France) a sort of French ZIGZAG;
like them, Kiss. The kids in England are 'street band' scene, and in England the
articles on Eno, Kaleidoscope, Jesse Colin
equally conditioned to accept the phony. 'nouveau punk' scene, that these scenes will
Young, Emmylou Harris, etc.
R ATW (1108 Boylston, Boston, MA 02215) Watching Supersonic (a British TV rock grow, and kids will have the choice between
well done tabloid, articles on current rock. show now being syndicated in the US) has something real and the phony crap that's all
CRAZY M U S IC # 7 (Box 1029, Canberra been an education. Week after week acts like around. It's hard for a mere teenager to reject
City, ACT 2601, Australia, $1) Blues: Freddie Gary Glitter, Alvin Stardust, David Essex, a whole culture, especially one that calls itself
King, Mickey Baker and Earl King interviews, Mud, etc., etc. appear with the most artificial 'hip', without an alternative. Now the
more. staging you could imagine, until they begin to alternative exists, and that simple fact is our
D E N IM D E L IN Q U E N T # 7 (PO Box 7078, seem interchangeable. best hope for the survival of rock & roll and
Sta. A, Toronto, Ontario, Canada, $1) Always All I keep seeing is the manipulators the the vital new pop culture that's waiting, just
a favorite, this ish has Iggy, Springsteen, managers, agents, publishers, etc. perched waiting for its chance to explode.
Kinks, Pagliaro, and much madness. somewhere in the rafters, pulling the strings.
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Ski, Norway, $1) in Norwegian; '50s rock. [ A d v e r tis e m e n t]
G O LD M IN E # 1 1 Box 61, Fraser, Ml 48026, $
.60)
PITTSBURG H M U S IC # 1 (711 Penn Ave,
Ogh, PA, free) local Pittsburgh scene.
BLUE SKY REVIEW (1605 Jones, San
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B O O B O O R A W V O # 1 (1813 Osos, San Luis
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HOT W A C K S # 9 (16 Almondbank Terrace,
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Dan Hart mans charmeied all unages
his eiiergc and prodigious
talents as singer, writer, produce
and complete musician into a
tasty very musical amali am o|
rock and roll that is ail his.
images. Dan iartman s lirst
solo album. On Blue Sky
i m m m w 9
W H O PUT THE B O M P PAGE 13
that they listened to favorite records;
piles of singles filled their rooms, things
like Gene Pitney, the Beach Boys, the
Chiffons, Roy Orbison, and of course
Lou Christie, who was such a profound
inspiration for "I'm On Fire."
Has there ever been a great rock & roll
band that didn't while away countless
hours of their formative years playing
their favorite records and dreaming of
someday surpassing them? For Dwight
and Phil, the isolation of being in Tulsa
was only intensified by the isolation they
felt from the mainstream of what was
called 'progressive rock' in the late '60's
and early '70s, forcing them all the more
to examine their roots and refine their
music to avoid the excesses they saw
being perpetrated on all sides.
Various stabs at taking their music
beyond their living rooms led nowhere.
With a group called Oister they played
small clubs in Tulsa. On a trip to
Nashville in 1969 they met producer Ray
Harris who was interested in them,
though nothing came of it. In '72, Phil
joined a band called El Roacho and
Dwight started a group with Bill Pitcock,
called 1950. Neither project went
anywhere, and the two ended up back
together again, in Los Angeles, where a
demo tape reached Shelter, whose
Denny Cordell promptly signed the
dented airplay, though it's been ages boys. Ironically, though Tulsa is Shel
By GREG SHAW since the hit and the group shows no ter's home base, they had never
inclination toward touring. seriously considered approaching the
How splendid it is to be entering a Who are these mysterious Twilleys Leon Russell-dominated label.
time when the real values of rock & roll who defy the system with such After "Fire" came out and began
are being reinstated in the commercial impunity, and seem to succeed despite burning up the charts, Cordell decided
mainstream. It's like everybody is all logic? The answer is as simple as their to send Twilley & Co. to England for
waking up, rubbing the sleep from their music: they're just a coupla guys who some more recording. They spent two
eyes and saying hey, what's been going know how to make records in a style months there, cutting an entire album
on here? Rock & roll used to be devoid of any but the purest influences, with producer Robin Cable. But Cordell
g re a t what's all this crap they're giving and who care about nothing except wasn't satisfied and only one song,
us? For years the hard-core fans have perfection. That they could achieve any "England", made it onto the final album.
echoed this cry in the wilderness; now at success with such an unrealistic attitude Another from those sessions, "Sharks"
last it's being picked up by the public at is all the more evidence that quality was scheduled as the follow-up single to
large, and a new wave of musicians. tends to seek its own level. "I'm On Fire", and though it was a
The Dwight Twilley Band is among I had the pleasure of meeting most of charming pop number with the same
the most important pioneers of this new the Dwight Twilley band recently, and hard-edged guitar sound that pushed
wave. When their first single, "I'm On discussing their music with them. "I'm On Fire" to the top, it was at length
Fire" came out last summer, its utter Dwight himself is the group's unques rejected for fear of association with the
simplicity and honest intensity cut tioned leader and spokesman; he writes exploitative "Mr. Jaws" trend that had
through the AM dross like a hot knife, all the songs, sings most of the leads, arisen since the song was recorded.
going straight to the top of the charts and plays guitar and keyboards. Besides So after months of indecision,
and proving that there was hope yet for Dwight, there is Phil Seymour, who "Shark" was scrapped and "You Were
all of us. sings, plays drums and bass. Between So Warm" released. And just as it was
From that point on, however, fans of the two of them, they work out the 'bubbling under' the charts, Shelter was
the group have been more perplexed songs and make the records. The rest of hit with a final round of the legal
than inspired by the course of events. the band consists of Johnny Johnson problems that had kept it in a sort of
After such a monstrous hit, there should and Bill Pitcock, who round out the business limbo for a year or more, and
have been an immediate follow-up, but sound. as a result they were unable to support
instead months went by with nothing. It all started around 1967, when the the record as it should have been. So it
Not even an album, though it was two of them met at a matinee of H ard was lost.
reported that at least two LPs' worth of D ay's N ig h t in their home town of Tulsa. But that was all '75, and now it's '76
material was in the can. When finally In true storybook fashion, they struck it and the album is out, it's great, and we
"You Were So Warm" came out, the off immediately and went to Dwight's can see much more clearly where things
few who heard it acclaimed it the house that day to start writing songs. are at with the Dwight Twilley Band. In
masterpiece single of the year. Yet it And for the next 8 years they did little the course of a dozen songs, ranging
failed to even enter the charts. Now, else. They built their own demo studio from hard rockers to breathy ballads, we
more than a year later, the album has and laid down literally hundreds of can discern a style that, while decep
appeared and is receiving unprece songs, and when they weren't doing tively simple, is also strikingly original.
PAGE 14
Initial similarities with Beatles and other
mid-Sixties British groups quickly dis
appear. There's a lot of John Lennon in
"I'm On Fire" and the weird arrange
ment of "Sincerely", but really, the>
sound is so spare and polished that
comparisions just slide right off it.
"Everybody always said they heard
Searchers and Hollies and Zombies and
things like that," says Dwight, "but I get
none of that. No Searchers or Hollies
song ever influenced me to tie my shoe.
Some of their songs were okay, but if
anybody influenced us besides the
Beatles and Elvis, it was the Bee Gees."
Mainly, though, it seems to have been
Elvis. The album's biggest surprise, to
me, was "T.V", authentic rockabilly
thumper based largely on "King Cre
ole." After years of listening to hardly
anything but the Beatles, Johnny
Johnson turned Dwight and Phil onto
the early Elvis things.
"W e had never realized that he was
actually as good as all the records he
sold. For us, it was just like the Beatles
had just come out, because we'd never
heard any of that stuff before. He was as
good as the Beatles; it was the same
thing. There was no difference between
the snare drum on Elvis and Beatles
records. Elvis was the greatest singer, he
looked better than anybody, he danced
better than anybody, his songs were
better than anybody's, and it was the
same with the Beatles. Nothing else did
anything for me. And I think we learned
a lot from that."
The Elvis influence shows up in the
emotional strength of Dwight's singing,
in the simple bass-drumsone guitar
sound of the record as a whole, and
more specifically in songs like "T.V."
and "Losing You", with its "One Night"
guitar riff. Their ability to mix this with
the subtleties of Beatle production and
their own approach to echo, gentle
harmonies, and evocative 12-string
guitars, is what gives the group its style.
The more you play the album, the more
you grow to love the little touches that
enrich each song. You find yourself
asking, how can anything that sounds
so plain and uncomplicated mask such
complexity?
The Dwight Twilley Band is one of the
healthiest things to happen to pop in the
'70s. They grew up with the highest
standards in rock & roll, and have
dreamed of nothing less than creating a
teenage sensation, pouring out waves of
hit singles, enlisting legions of scream
ing teenage girls, and becoming the next
phenomenon.
"When you start thinking about it,"
reflects Dwight, "there's really only one
thing. It's the pop thing, the super-pop
thing as we call it; it's a romantic ideal,
but we're romantics, and going to the
limit is what rock & roll is all about.
We're gonna try and go all the way with
it."
9
PAGE 16 WHO PUT THE BOMP
&'
,ms >
recordsno existing rock group would
do, of course; Hollywood had to
m an ufacture one. Naturally 437 strug
gling musicians and actors (Stephen
Stills among them, legend has it)
showed up. And when it came time to
pick the final foursome, did the moguls
consider musical talent? RightMicky
Dolenz, child star of Circus Boy, a
British shrimp named Davy Jones,
who'd starred in Oliver, plus two
unknowns.
Then Screen Gems took this mis
matched unmusical quartet and un
leashed a huge publicity buildup, tying
in the weekly TV series. "W e plan to
give them the same publicity treatment
as the Beatles in every respect,"
[P re-M on kees] 6-69 Greatest Hits - Colgems 115
trumpeted a spokesmen. "With 30,000,
MIKE NESMITH 10-69 The Monkees Present [Mickey,
000 people watching them regularly Just a Little Love/Curson Terr Edan 1001 David, Michaefi - Colgems 117
Monday night, they should be bigger MICKEY DOLENZ 5-70 Changes - Colgems 119
than the Beatles." Bigger than the (Played in a band called the Missing Links. No ?-70 Barrel-Ful o f Monkees -Colgems 1001
Beatles ? Hey, their TV show was a total known records. See also post-Monkees re 9-72 Re-Focus - Bell 6081
leases on Challenge) 7-76 Greatest Hits - Arista 4089
steal from H a rd D a y's N ig h t; their first [same as Re-Focus]
DAVY JONES
record, that "Clarksville" thing, was
Dream Girl/Take Me to Paradise Colpix 764
stolen from "Paperback Writer." And Further notes: In watching the syndicated
What are we Going to do?/This Bouquet
wouldn't you know it;,,!these dumb kids reruns of the TV series, several observers
Coipix 784 have noted the existence of high-quality,
went out and bought a million of it and The Girl From Chelsea/Theme For a New finished songs broadcast on the shows which
pushed it to # 1 . They bought millions Love-C olpix789 apparently never turned up on albums.
of their first album and kept it on the David Jones - Colpix CP 493 There's also a fabulous live concert on one
THE MONKEES show. If it's running in your neighborhood,
charts for 78 weeks, with the second LP &1I = = Last Train to Clarksville/Take a it's worth following with cassette recorder at
supplanting it in the top spot, 31 Giant Step (PS) - Colgems 1001 the ready-there may be enough new
consecutive weeks of Monkees at # 1. 12-66 I'm a Believer/il'm Not Your) Step material for an entire album...
Those albums you know the ping Stone (PS) - Colgems 1003
3-67 A Little Bit Me, A Little Bit You/The [Post-Monkees]
Monkees didn't even WRITE THEIR Girl I Knew Somewhere* - Colgems 1004 DAVY JONES
OWN SONGS! The LP's were sanc 7-67 Pleasant Valley Sunday/Words (PS) You're a Lady/Who Was It?
tuaries for washed-up Brill Building Colgems 1007 MGM 14458
hacks and such look at 'em: Tommy 11-67 Daydream Believer/Goin' Down*(PS) ?-73 Rubberene/? MGM 14524
Colgems 1012 7- 71 Rainy Jane/? Bell 45,111
Boyce and Bobby Hart, Boyce writing
3-68 Valleri/Tapioca Tundra Colgems 1019 3-72 I'll Believe in You/The Road to Love
prehistoric Fats Domino hits, both of 6-68 D.W.Washburn*/lt's Nice to Be With
them making unsuccessful solo records You*(PS) - Colqems 1023 MICKEY DOLENZ Be" 45' 178
since the early 60's, teaming up to write 9-68 Porpoise Song/As We Go Along(PS)f ?-67 Don't Do It/Plastic Symphony III
Colgems 1031 Challenge 59353
the "Where The Action Is" theme for 2-69 Tear Drop City/A Man W ithout a 8- 67 Huff Puff/? Challenge 59372
Dick Clark and Freddy Cannon. Plus all Dream (PS) - Colgems 5000 Note: these came out during the Monkees
these relics of the pre-Beatles era like 5-69 Listen to the Band/Someday Man period, but probably date from much earlier)
Goffin and King, David Gates, Russ (PS) - Colgems 5004 10- 71 Easy on You/Oh Someone (co-arran-
9-69 Good Clean Fun/Mommy & Daddy ged by Peter Tork) - MGM 14309
Titelman, Jack Keller, Jeff Barry, the
(PS) - Colgems 5005 1-12 A Lover's Prayer/Unattended in the
Tokens, Neil Sedaka, and bubble- 5-70 Oh My My/I Love You Better (PS) Dungeon - MGM 14395
gummers like Neil Diamond. Colgems 5011 1-12 Daybreak/Love War (prod.by Harry
8-76 Daydream Believer/Monkees' Theme Nilsson) - Romar710
Arista 0201 MIKE NESMITH
* = non-LP; t = A-side longer than on LP Many fine LPs & 45s with First National Band
and other aggregations. Nesmith has enjoyed
NOTES: Songs indicated as non-LP may a long and productive post-Monkees career,
have appeared on Colgems LPs 115 or 1001, which has no doubt been documented in full
which we haven't seen. There were count by one of those amazing British publications.
less foreign releases of different LP tracks, PETER TORK
most notable being the 1967 English smash Tork has recorded practically nothing since
"Alternate Title" (actually "Randy Scouse the breakup of the Monkees.
G it", but the Liverpudlian slang implications DOLENZ,JONES,BOYCE & HART
were too much for the BBC). We have an ?-75 I Remember the feehng/You & I
Italian release of "Monkees Theme" sung in Capitol 4180
Italian, and there may be other foreign- ?-76 I Love YOU (And I'm Glad That I Said
language records extant. In America there lt)/Savin' My Love For You - Capitol 4271
were several cereal box record releases, and ?-76 Dolenz, Jones, Boyce Ft Hart -
at least two jukebox EPs (CGLP-101, The Capitol LP
Monkees, and CGLP-102, same title, featur
ing six cuts each off their first two LPs.) Final note: Davy Jones was, for a short time,
given his own label, Davy Jones Presents,
10- 66 Meet the Monkees - Colgems 101 with his picture on it. He released nq records
1-67 More o f the Monkees - Colgems 102 of his own on the label, which was devoted to
Yes, you too 6-67 Headquarters - Colgems 103 other artists whom he was presumably
can leam to play 11- 67 Pisces, Aquarius, Capricorn & Jones, presenting to his appreciative fans. Some
just like the Monkees Ltd. - Colgems 104 releases:
with this revolutionary new 5-68 The Birds, The Bees & The Monkees 6662 - Randy Johnson - Fly Superman Fly/
method... just hire - Colgems 109 Have You Been Dreaming
a bunch of studio musicians 12- 68 Head (soundtrack) - Colgems 5008 663 - Dickie Goodman - White House
to do it for you! 2-69 In s ta n t R eplay - Colgems 113 Happening/White House Rock
LOS
ECO
compas
de
nueva
ola
Alexander; above, L-R: th e A tlan tics, D M Z , th e Inflikto rs, and Fox Pass featuring Jon M acey. DUANA LEMAY
Possesion," is excellent. Both sides combine (guitar), Severin Grossman (bass), and Willie You.)" and "New Zit." Teenage Head alright.
the band's heavily Velvet Underground Alexander (vocals, piano).
influenced sound with catch pop melodies. Musically, the same words describe Willie's
THE ATLANTICS
They're great! In addition, Fox Pass creates songs as describe his unusual personality:
great riffs much like The Stones' better Infamous, Absurd, Askew, and even Ironic.
singles. Add their three-part harmonies plus a The Atlantics are quite different from most
For the most part, they're quite simple
of the bands mentioned here although they
good elegant well-dressed presence and you primitivo rock played with a throbbing
share much the same audience. Their brand
have a band with broad appeal. (boom-boom) rhythm. In many cases, the
of music is not at all punky. Instead, they play
Whereas some of these bands do a lot of song titles tell the story themselves:
covers. Fox Pass does none and refuses to do a rather sophisticated brand of music that is
"Garbage Man," "Rhythm Asshole Baby,"
any to please demanding booking agents. still very vital, exciting rock 'n roll. Lots of key
and the next single "(Roll Her Over) Hit 'er
(This can often be a problem on the club with de Axe." changes within songs and all that. They've
also cultivated a very professional image.
circuit.) All songs performed are written by Is America ready for this? Too bad if they
ain't! Yes, some of them even wear suits on stage.
Jon Macey alone or with the other three band
Lead guitar player Jeff Lock has had
members. Says Jon, "W e believe in DMZ
twelve years of classical training and it
hooklines, harmonies, uptempo rock, and
shows. The great thing is that there's nothing
tuned guitars." To quote one of their songs. "Wake Me When It's Time To Grow Up" is pretentious about The Atlantics, a trap a lot
"It's Rock. Disco Sucks!" one of this band's originals and the title pretty of bands with their kind of training fall into.
much says it all about these guys. DMZ is Their piledriver riffing places them squarely in
WILLIE ALEXANDER S LOCO BOOM wonderfully stuck in a 60's time-warp. They
BOOM CONCERT BAND
the Hunter-Ronson school of rock with
quite openly aspire to be The Standells, (or is jazz-flavored guitar solos a la Peter Frampton.
it The Seeds?). In any event, both bands, Their whole sound is anchored by the
First of all, it is most important that you along with the MC5, Stooges, and The crushing rhythm section of an animal
know that this strange band is also known as Flamin' Groovies are major influences. drummer named Bobby Bear and bassist
The Boom Boom Band and Willie Alexander DMZ claims to have met somewhere in the Bruce Wilkenson. Bob Maron handles vocals
is known also as Willie Loco. Any one of Boston subway system but in reality four of and Tom Hauck provides a strong rhythm
these names on a marquee is likely to (well the five members are students at Boston guitar. Plans for a single of one of their
theoretically) bring the masses running, University. Louis and Val on bass and lead originals, the cabaret-sounding "A Smile Can
clutching their cover charges in their wet respectively are exiles from Cincinnati. Jay Turn the Other W ay," are in the works.
palms. (they prefer only first names) plays rhythm
Every rock scene needs a catalyst to get it guitar and David Robinson, late of The THE INFLIKTORS
going and draw attention to it. There's little Modern Lovers, plays drums. All these people
doubt that when Willie's record (on Garage back a young wild-eyed hyper singer named It would be hard not to like the Infliktors.
Records) "Kerouac"/"Mass. Ave." was Mono Mann, who someday may out-lggy There's a certain sensibility and profession
released last summer, people began to realize Iggy Pop. One of his idols is Roky Erikson of alism about them that quickly endears them
that there was more happening in Boston The Elevators. That ought to give you some to their audience. They come out confident
than just disco muzak. The record caused a idea of what he's about. Mono plays piano and smiling as they launch full-force into their
great deal of excitement and "Mass. Ave.," very well and has his Jerry Lee Lewis riffs infectious brand of r&b-tinged punk rock.
which Willie claims was conceived on a down pat but he rarely stays near enough to The Infliktors immediately remind one of the
barstool at one of Mass. Ave's. many it to play it for more than a few seconds. better British pub bands of recent years,
watering spots, has become somewhat of a Instead he'd rather grab at his two guitar particularly Dr. Feelgood and Ducks Deluxe.
theme song for the whole scene. players or grovel at the feet of a girl on the Their choice of songs is very similar to these
This whole band oozes with charisma and dance floor. His life ambition, says Mono, "is two groups; drawing from Huey "Piano"
star-quality right off the stage. Willie himself to play at Beaver Cleaver's house." He'll Smith, Eddie Cochran and Otis Redding, to
is a one-of-a-kind. I think he's the something never make it. They'll never let him in. name a few in the Infliktors' vast repertoire.
different we've all been looking for. He's DMZ is an extremely visual straight-out Also included are such latter-day influences
played in The Lost, The Bagatelle, and The rock and roll band who plan to make a series as the Stones, Dylan, Garland Jeffreys and
Velvet Underground; and one gets the of obscure singles. In addition to songs by especially the Kinks. These, together with an
feeling from watching him perform that it's all the bands mentioned above, they have impressive group of originals (my fave is a
been leading to this. Remember these names: several very good originals including: "Baby tune called "A ll the Alchemists") make them
David McLean (drums), Billy Loosigian Boom," "Pretty Girl (I Don't Want To Hate one of Boston's strongest contenders.
m - w m ^ m j
W H O PU T THE B O M P
frustration. The success of that album and
the great reception of leader Jonathan
Richman's songs on the Beserkley Chart-
busters album have led Jonathan to form a
new Modern Lovers which should begin
appearing in the Boston area soon. A new
album has also been issued on Beserkley.
Jonathan's songs are very simple three
chord rock, but incredibly original. They're
almost like short stories set to music. "New
Teller" is simply a song about having a crush
on a bank teller and getting in her line no
matter how much longer it is than the others.
"Roadrunner," perhaps Jonathan's best-
known song, is the definitive highway
cruising song. In general, his songs capture
the feeling of what it's like to be teenage in
America.
REDDY TEDDY
Reddy Teddy, as the name might imply,
is a pure rock & roll band in the Who/Aero-
smith vein. The lineup includes Bug W itt on
drums, Scott Barrenwald on bass, Matthew
McKenzie on guitar, and John Morse,vocals.
Their approach to music is also similar with
McKenzie being an excellent power chord
style player. He's also a good singer and
when he joins lead singer Morse, the band is
capable of generating some real excitement.
Reddy Teddy relies almost entirely on their
original harmony and hard rock material,
BY GREG SHAW shared these same influences) molding a new style of variations on ABBA songs.
rock & roll pop for the '70s, taking advantage of ad
"A B B A is the most exciting pop phenomenon vances in recording and production techniques.
of the '70s," claims their bio, and for once it's no I'd been a fan since Bjorn & Benny days and
hype. My admiration for this group knows few before, of course, and "Rock 'n Roll Band" was one BJORN & BENNY/ABBA DISCOGRAPHY
bounds. Here's a group who can create pop songs as of my favorite records of 1973. When "W aterloo"
BJORN & BENNY
super-charged and overpowering as anything this came out I was just floored; finally someone had
side of the Philies label, making everybody else from done it, remarried that long-estranged couple, rock Tank om jorden vore ung/Traskofolket Polar 1140
Peter Frampton to the Runaways look incredibly & roll and pop. Excitement mounted with every re 72 People Need Love/Merry-go-round Polar 1156
lame in comparison, in addition to which they pro lease, which in those days as now had to be tracked Playboy 50014(A)
duce their own records with a sound so pure and down in Swedish and British pressings months 73 Rock 'n Roll Band/Another Town,Another Train
dynamic and uniquely their own that they should before they came out here. "Ring Ring" was brilliant: Playboy 50025(A)
long since have been acknowledged as among the such energy, what sound. The louder you played 73 Ring.Ring/She's My Kind of Girl Polar 1172
world's most brilliant producers. these records the better they got. "Honey Honey" LP: Ring Ring - Polar 242
ABBA's story goes back to the beginnings of was also sensational, with its "Sugar Sugar" conno ABBA
Swedish rock, to 1965 when Benny Andersson was tations and the absurdity of those pristine voices 74 Waterloo/Honey Honey [in Swedisn[-Po\ar 1186
in the Hep Stars. He met Bjorn Ulvaeus in 1966, they cooing of carnal delights. 74 W aterloo/Watch Out - Polar 1187/Atlantic 3035
began writing together, and eventually both joined The supreme triumph came with "S o Long." 74 Ring Ring/Rock 'n Roll Band - Epic 2452(E)
the Hootenanny singers, breaking away in 1971 as a When my copy arrived from England and I rushed to 74 So Long/I've Been Waiting for You - Epic 2848
duo called Bjorn & Benny. Soon their wives, put it on, it was like the first time I'd heard "Da Doo 75 I Do,I Do, I Do, I Do, I Do/Rock Me - Epic 3229
Agnetha and Annifred began appearing on the Ron Ron" or "I Wanna Hold Your Hand." Anything 75 Mamma Mia/Tropical Loveland - Epic 3790
records as backup singers, and by 1973 it had revolutionary in rock & roll is a matter of sound above 75 Honey Honey/Dance Atlantic3209
become ABBA, with the girls out front and equal all, and this was the biggest, hottest, most over 75 Ring Ring/Hasta Manana Atlantic3240
billing for all. whelming sound that had hit me in ages. 75 S.O.S./Man in the Middle Atlantic3265
Once the format was settled, it was one of those Unfortunately, my fantasies failed to take 76 I Do, I Do, I Do, I Do, I Do/Bang-a-Boomerang
showbiz success stories. ABBA won Eurovision with shape. "S o Long" was a relatively small hit and for -A tlantic 3310
"W aterloo" and began raking in countless gold the next 45 they released "I Do, I Do, I Do, I Do, I Do" 76 Mamma Mia/ Atlantic3315
records and every other conceivable kind of award. a rather syru py ballad of the type they had been wont 76 Fernando/Hey Hey Helen - Atlantic 3346
All over Europe and the world they scored hit after to use as album tracks. It became a smash hit, influ 76 Dancing Queen/That's Me Epic 4499
monster hit. The only thing they haven't won is true encing the group's future recordings in a direction 74 LP: Waterloo - Epic 80179/Atlantic 18101
critical recognition. very different from that in which they'd been leading. 75 LP: ABBA - Epic 80835/Polar 262/Atlantic
One problem they've faced in gaining "Mamma M ia" and "Fernando", though they had an 76 LP: Greatest Hits - Epic 69218/Atlantic 18189
acceptance from progressive-minded fans is their atmospheric quality I found quite appealing, were RELATED
overtly pop orientation. And to be honest, I miss non rockers, as is "Dancing Queen", their latest in 74 Agnetha Faltskog - Golliwog - Cupol 299
rock & roll foundation that's been diminishing since Europe and an outright disco n u m b e r-th o not 75 Agnetha Faltskog - LP: Eiva Kvinnor / Ett Hus
the early records. The songs that won me over w ithout the usual ABBA touch of class. Cupol 351
"Rock 'n Roll Band", "Ring Ring", "S .O .S .", I hope this proves to be only a temporary phase, 74 Ted - Gonna Make You My Angel/Cant Stop the
"W aterloo", and the monumental "S o Long" because ABBA has the potential to create real Train - Epic 3126 [prod. b yB E tB ]
featured a wall of sound no hard rock fan could fail to classics that will live for years, and they shouldn't be 75 Annifrid Lyngstad - LP: Frida Ensam - Polar 265
be shaken by. I was enormously excited at what I satisfied with mere pop hits. Meanwhile fans of the 73 Svenne Et Lotta - Oldies B ut Goodies - Polar 251
surmised they were up to, namely taking their ABBA sound should try to find the Swedish solo LPs 75 Svenne & Lotta - L P :2 - Polar 358 (prod by B&B)
influences ('50s rock, early '60s girl groups, west by Agnetha and Annifried, and the 2 Svenne & Lotta
coast harmonies) and, not unlike Roy Wood (who All Polar releases Swedish, all Epic releases British,
LPs on, all on Polar, with many unusual oldies and all Atlantic releases American. Cupol is Swedish.
w m w
W H O PU T THE B O M P
PAGE 39
In a matter of just a few months, 'punk' showed themselves to be among the most
has become the most overused word in the exceptional individuals of our time.
pop vocabulary. Like 'acid-rock' it has become The ideal punk is not hard to envision;you
a convenient catch-all for the new generation need only watch Happy Days every Tuesday
of street bands (who almost unanimously night. Now here's someone you can respect.
reject the word, preferring to think of their The Fonz is cool, he's hip, he knows good
music as straignt-ahead, no-frills rock & roll) from bad, cool from uncool, happening from
and it seems to be taking root despite not happening, as naturally as a bird knows
everyone's protests. where to fly. He's got an inborn sense of
In New York, the Daily News recently style, of how to achieve an effect and what
devoted a cover story in the Sunday magazine can be done with image but only if pulled off
section to the 'punk' scene, attributing its completely and convincingly. Whether play
spread to Punk Magazine and talking about ing a dandy or a hood, the true punk has a
the historical reasons for the resurgence of sort of unconscious grace, a punk elegance
simplistic, teenage rock at the present time. In that sets him apart from ordinary people. And
England, the word was unknown a year ago he knows what uncool people don't: that if
except to habitues of Rock On Records, you want to look far-out, you've got to BE far-
collectors of Standells albums who under out or it doesn't work for long.
stood the original meaning of 'punk rock' as The Fonz is only a fictional ideal, of
describing the mid-60s suburban Ameripan course. Nobody has ever been as cool, at
groups who adapted the early Stones/British every moment, as the Fonz. But a lot of people
Invasion sound, as anthologized on Nuggets. have embodied some or all of his attributes in
Eddie & the Hot Rods were playing to 20 greater or lesser degree, and these are the
people at the Kensington Pub, and thought it ones I think of when the word 'punk' comes
was the greatest compliment ever when I said up. I think of Chuck Berry, knowing his music
they reminded me of the Chocolate Watch- was heavier than anything else around, being
band. Now all that has changed. To read the as outrageous as he could despite every form
British weeklies, you'd think Punk Rock was of racism and culture shock hurled against
the biggest thing since the Beatles. Caroline him. I think of Spector, whose abhorrence of
Coon in Melody Maker has devoted reams to mediocrity led to a large percentage of rock's
the Sex Pistols and the recent Punk Rock all-too-few moments of brilliance, and whose
festivals in France and London. Jonh Ingham nonconformity and impatience with fools
has done the same in Sounds, while NME resulted in him being driven from the record
recently put the Hot Rods on their cover. business. I think of Brian Epstein and the
So in two major cultural centers, at least, Beatles, who conceived and put across to the
Punk Rock seems to be a genuine (if media- entire world the biggest cultural phenomenon
perpetuated) phenomenon. The British critics in history. I think of Dylan, who stood before
at least have tried to make some distinction thousands of booing people because he knew
between this music and the original Punk his idea of combining protest and poetry with
Rock, because the similarities are only super rock & roll was right, and he didn't have to
ficial. The new wave of punks has invented its take shit from any nerds who couldn't see it.
own styles, fashions, attitudes and heroes, These are admittedly high standards. I
and like its music, the emphasis is on can't think of anyone in today's rock scene
rigorously-maintained simplicity, rejection of with the audicity and strength of character to
late-60s 'hip' culture and all its pretentions, even meet the basic qualifications. Peter
and a studied mutation of the look and style of Frampton? Steve Tyler? The Runaways? The
the Mod era. Ramones? Bruce Springsteen? What a laugh.
In today's punk scene, any ignorant sod It may be that the generation of punk heroes is
can become an idol merely by donning black past, that our culture has reached the point
leather and drooling a lot. The standards were where to be a rebel is an outmoded concept,
very different in the '50s and '60s. Everything an irrelevant goal. Meanwhile 'punk' is a
that youth wanted to do, it was doing for the vague enough term to include all the losers
first time, and that involved a lot of rule and misfits who are causing most of the
breaking, trailblazing, risk-taking. The people current fuss,and anyone who doesn't want to
today's punks derive all their inspiration from be confused with them had better find
were a different breed than we've seen in a something else to call themselves.
long time. Because they had to defy society to If today's punks are a watered-down
live the way they instinctively knew was right, version of the ideal, at least they've got the
they became rebels, they took a lot of abuse, right idea. And maybe the kids who grew up
and some of them cracked under it. But others with the Fonz will raise the standard someday.
3 ________________________________
4 ____________________________
5 ________________________________
Entered by:
Optional question: Can you think of a better term for
todays new music than "Punk Rock? If so, tell us! With
any luck, maybe itll catch on....
MO NDO DECO
THE QUICK
Mercury 1114
PAGE 43
album is considerably better than anything
Collection
songs don't disappoint. I love the line in "Get
summer Night's Dream".
You Tonight" that goes "like sugar, sugar
One. could quibble with some of the
you're so sweet". "W e Rode Through the
inclusions, since most of the Dore and Liberty
singles are readily available, and most Night" is also choice. "She took me home to
hard-core collectors have the Ode singles meet her mom & dad, I never met a girl who
If you collect records, you know how hard with the exception of "Sing Sang a Song", was such a drag..."
it is to find the really good thingsforeign EPs, the only one n o t included. And it might have "Down South to Georgia" features one of
early English and surfing records, picture been nice to have one of their Coke those intense trogglodyte beats, as does
covers, limited-edition radio station LPs, "Supergirl". The soft, breathy Troggs sound
commercials stuck in. Also, there should
promo copies, etc. Or the ephemeral stuff: of "You Can Cry If You W ant To" is
posters, magazines, books, buttons, stickers, have been liner notes explaining the origin of
the various tracks. They shouldn't take it for employed to good effect in "After the Rain".
decals, press kits and the like. "Rock 'N ' Roll Lady" is a sharp-edged rocker,
You send for dozens of different auction granted we know things like that "Smile Just
Smile", a 1959 W B single by the Nortones, is nice.
lists and get back list after list full of the same
old junk; bargain bin albums at ridiculously reputed to feature Dean on vocals (though he Two of the album's highlights are "Walkin'
inflated prices, singles from 6 months ago with denies it). If they're aiming at collectors, they the Dog", the obligatory R&-B remake, drawn
minimum bids of $3!! It makes you begin to should include some documentation. out here to more than 4 minutes of barking
feel that collecting is a waste of time and However, it's still an odd and valuable and snarling from Reg Presley, and the
money. collection, and the sound quality isn't bad equally obligatory early Troggs song re
considering the stuff was mastered from old vamped, this time being "Gonna Make You."
records. Though not as overwhelming as the original,
WELTI. W I S E U P ! ! it has a weird reptilian charm all its own, and
MY FRIEND JACK after 5 minutes you're reluctant to hear it end.
Here at BOMP, we know what you're THE SMOKE Mind you, the Troggs can do much better.
looking for. If you're just starting your col Gull 25 224-OB [German] There's nothing here with the impact of
lection, we have all the best '60s rock at low "Feels Like a W oman", their highest mark in
set prices, and a large amount of '70s collect recent years. And a couple of the tracks are
This album makes available again the
ibles and current albums for less than you'd definite fillers. Producer Larry Page can do
pay in a budget bin. For hard-core collectors, best of a group whose original records are
frightfully rare, amazingly good, and only better as well; the album design, which
we offer the greatest selection of rare and simulates a tape box, is unconsciously
obscure English, punk, surf, psychedelic, girl recently uncovered by collectors. The Smoke
were a British band who also recorded as revealing these tapes could use some
groups, and lots of '50s and 70s rarities too.
Chords 5, and mined the same stylistic vein remixing. But the Troggs themselves are
Our ephemera selection is the largest
anywhere. We also carry hundreds of original as Creation, during the years 1966-68. In beginning to sound more alive, and the new
English pressings, going back to the '50s, as other words, highly kinetic pop-rock in the members are playing and writing now as if
well as classic recordings from Holland, Mod/distortion style of the early Who. they'd been Troggs all their lives. They
Germany, Australia, Sweden, Italy, etc.Records Their first single was "M y Friend Jack", should move to NY, play at CBGB, and
you won't find anywhere elsegreat records a big hit in Germany and many other get Craig Leon to produce their next album.
nobody ever heard of (reading our lists is an countries, though surprisingly not in England. Then maybe the world would realize they're
easy way to get an education in rare records). the king punks of 'en all.
It was an absolutely breathtaking mindblitz,
Unique treasures that will make your collection
with marvelous period lyrics about a ALSO RECEIVED:
truly special. R o c k a n d R o ll a t the
mysterious fellow from the West Coast with a C a p ito l T o w e r (French Capitol) was compiled
BOMP auction/sale lists come out at least
pocket full of odd sugar cubes. An by Georges Collange of the Gene Vincent
10 times a year. If you're not getting it, you
undeniable classic. It was such a hit in Memorial Society, and it's packed with great
don't know what you're missing! Just fill out
the handy coupon below and send it in Germany than an entire LP was released rockers by Tommy Sands, Jerry Reed,
today w e'll add you to our mailing list there. Today, it commands more than $50 in Wanda Jackson, Jack Scott, Johnny Burn
immediately. (Overseas please include 2 IRCs) the Fatherland and is never even seen on ette, Gene Vincent, and various others. A
these shores. This LP appears to be a pretty strong 2 record set; if you can't find it, write
NOW!
(Parenthetical note: If you ever need to get
3 singles in England featuring Geoff Gill and
perhaps others of the original band.
So much for history and sources. This
album is worth its price for "M y Friend
funky for high energy tastes, but a curiosity
many collectors will want to own. Write to
Delphi Productions, Box 2212, Southfield, Ml
48076... If you like light, countryish pop,
rid of your records, perish the thought, we buy Jack" alone, but you'll find it also contains Vincent Contreas has turned out an excellent
collections too.) several other fine examples of late '60s homemade album ( W ild S tra w b e rrie s,
distorto-rock, notably "You Can't Catch Audem 1004) that you can order from 21
M e", "High in a Room , "W e Can Take It", Jacob Way, Reading, M A. He's a good song
"It's Just Your W ay of Loving" and "I writer and a BOMP reader too so give him a
BO M P, Box 7112,Burbank,CA Wanna Make It With You." When they break... Frankie Ford has put out his first
I 91510 weren't raving after the fashion of Creation, album since Sea Cruise (1959). It's not a rock
they sounded quite a bit like the Troggs. All in .& roll album in any sense, but a good intro
Sirs: Please send me your record all, the Smoke were a group whose almost duction to Frankie's current style with songs
lists. total obscurity this album thankfully alleviates like "Bridge Over Troubled W ater" and "Ode
get it while you can. to Billy Joe." You've got to admire the
quality of his singing, arrangements and
Name ___________ A g e --------- production he's easily competitive with any
Street__________________ Z ip -------- THE TROGG TAPES
THE TROGGS of the bozos you see on the Merv Griffin
City____________________ State__ | Show singing this stuff. It's what he's chosen
Private Stock PS 2008
to do, and he's good enough to succeed with
|j| [W e s p e c ia liz e in o v e r s e a s orders] j j j | Although they still, and will always, sound it. The LP can be ordered from Briarmeade
exactly like the Troggs always have, jh is Records, Box 5180, St. Louis, MO 63139,
F - A - NZ I
around. Some nice things this time, esp. a
story on early '60s R&B radio in Chicago, and
a lot of auctions. Good luck, Lenny.
NR BOWIE
BONZO DOG DOO-DAH BAND: Not really merseybeat, but they did
start recording earlier than is gen
erally realized. This listing includes 45s only.
4-66 My Brother Makes the Noises for the Talkies/I'm Gonna Bring a Water
melon to My Gal Tonight Parlophone R 5430 NR
9-66 Alley Oop/Button Up Your Overcoat Parlophone R 5499 NR
11-67 Equestrian Statue/lntro & Outro Liberty 15040 NR DAVID BOWIE & LOWER THIRD: After the King Bees, Davie Jones
11-68 Urban Spaceman/Canyons of Your Mind Liberty15144 Imperial 66345 changed his name to Bowie and
?-68 Mr. Apollo/Ready-Mades Liberty 15201 NR started this group, which included Dennis Taylor (gtr), Graham Rivens (bass)
?-69 I W ant to Be W ith You/W e Were Wrong Liberty 15273 NR and Phil Lancaster (drums). The group name was dropped after the first 45.
?-69 You Don My Brain In/Mr. Slater's Parrot Liberty 15314 NR
9-72 Slush/King of Scurf UA UA 50943 1-66 Can't Help Thinking About M e/And I Say to Myself Pye17021 WB5815
4-66 Do Anything You Say/Good Morning Girl Pye 7n 17079 NR
BOOMERANGS: (Manchester) 8-66 I Dig Everything/I'm Not Losing Sleep Pye 7n 17157 NR
Don't Let Her Be Your Baby/ Fontana NR 12-66Rubber Band/The London Boys Deram 107 Deram 85009
2-66 Dream W orld/Upgraded Pye7n 17049 NR 4-67 Laughing Gnome/Gospel According to Tony Day Deram i23London20079
7-67 Love You Till Tuesday/Did You Ever Have a Dream
BOSTON CRABS: Deram 135 Deram 85016
2-65 Down in Mexico/Who? Col. DB 7586 Capitol 5493 1-67 Rubber Band/There Is a Happy Land Deram 85009
9-65 As Long as l Have You/Alley Oop Columbia DB 7679 NR LP: David Bowie - Deram 1007(E)/Deram 18003(A)
2-66 Gin House/You Didn't Have to Be So Nice DB 7830 Tower 368 LP: Hitmakers Vol. 4 - Pye 18144(E): Cant Help Thinking Bout Me
BOZ: Enduring pop figure, later in King Crimson and now Bad Company.
Surname Burrell.
2-66 Isn't That So/You're Just the Kind of Girl I W ant DB 7832 NR
4-66 Meeting Time/No (ah) Boby Knows Blues Columbia DB 7889 NR
6-66 Pinocchio/Stay as You Are Columbia DB 7941 NR
8-66 Baby Song/Carry On Screaming Columbia DB 7972 NR
11-66 Pinocchio/Baby Song NR Epic 10097
5-68 I Shall Be Released/Down in the Flood Columbia DB 8406 NR
8-68 Light My Fire/ Columbia DB 8468 NR
BRAND:
1-65 Hear 'em Talking/Zulu Stomp Piccadilly 7n 35216 NR
I'm a Lover Not a Fighter Piccadilly NR
BR EAD C R U M BS:R ecorded for Polydor. Later the Sean Buckley Set.
BREAKAWAYS:AII girl vocal group, a spinoff from Vernons Girls. Did much
session work, and appeared in the film Just For Fun
(1963). ''H e Doesn't Love Me" in particular is one of the best British attempts to
capture the girl-group sound.
?-62 He's a Rebel
11-63 That Boy of Mine/Here She Comes
Pye 7n 15471
Pye 15585 London 10526
NR
THE BREAKAWAYS
6- 64 That's How It Goes/He Doesn't Love Me Cameo 323
11-65 Danny Boy/Your Kind of Love
7- 67 Sacred Love/Don't Be a Baby
Pye7n 15973
CBS 2833
NR
NR
HES A REBEL
5-68 Santo Domingo/So In Love Are We MCA 1018 NR
:): That Boy of Mine JOE BROWN & BRUW ERS: Spiky-haired Cckney guitarist/singer was
a longtime fixture on the scene despite
BRITT: (Swedish) song written by Carter-Lewis) only three Top 10 hits. Much of his material was novelty or music-hall oriented,
10-65 You Really Have Started Something/ Piccadilly 35273 NR but occasionally (as on "Darktown Strutters Ball") his arrangements were in
teresting. Made a contemporary comeback in 1967 with " A Little Help From My
BUDDY BRITTEN & REGENTS: Friends", faded again, and formed Brown's Home Brew in 1974 to little com
?-62 My Pride My Joy Piccadilly 35075 NR mercial effect. Appeared in films What a Crazy World, Just For Fun (1963)
6-65 She's About a Mover/ Piccadilly 35241 NR Three Hats for Lisa (1968).
8-65 Right Now/ Piccadilly 35257 NR
I Guess I'm on My Way/Zip a Dee Doo Dah ?-59 People Gotta Talk/Comes Today Decca
Oriole NR
1963 ?-60 Darktown Strutters Ball/Swagger Decca F 11207
You Gotta Make a Fool of
7-60 Jellied Eels/Dinah Decca F 11246
Somebody; I'll Cry No More
7-61 The Switch/Shine Pye 15322 NR
BRODIE BROTHERS: 7-61 Stick Around/Crazy Mixed-Up Kid Piccadilly 35000 NR
?-66 If You Only Loved Me/Strange 3-62 Popcorn/What a Crazy World Piccadilly London 10507
Columbia DB 8105 NR 9-62 The Other Side of Town/Your Tender Look Piccadilly 35058 London
TONY BROOK a- THE BREAKERS: (good record) 10522
6-64 Ooh Poo Pah Doo/Meanie Genie Columbia DB 7279 NR 12-62 It Only Took a Minute/AII Things Bright & Beautiful Piccadilly Cameo 241
6-62 A Picture of You/Layabout's Lament Piccadilly London 10517
P J
WHO PUT THE BOMP PAGE 51
2-63 That's W hat Love Will Do/Hava Nagila Piccadilly 35106 Dot 16508
HT3 : Stellar 1504
6-63 Nature's Time for Love/The Spanish Bit Piccadilly 35129 NR
8-63 S^ify Ann/There's Only One of You Piccadilly 35138 NR
12-63Heiiciiles Unchained/Little Ukelele Piccadilly NR
4-64 Yoy p o Things to Me/Everybody Calls Me Joe Piccadilly 35163 NR
3- Teardrops65 in the Rain/Lonely Circus Pye Jamie 1298
6- Sicilian 65Tarantella/Thinkin'That I Loves You Pye15888 NR
8-65 Little Ukelele/Sally Ann NR Hickory 1329
11-65Charlie Girl/ Pye 15983 NR
4- ^ea.bf66Heartbreak/Mrs. O's Theme Pye 17074. NR
7- 66
LitflelRay of Sunshine/Your Loving Touch Pye 17135 NR
11-66A ^qtisfied Mind/Stay a Little While Pye NR
7-67 A lliittle Help From my Friends/Show Me Around Pye 17339 WB 7055
7- Katerine68 MCA NR
1-70 Adieu Monsieur Le Professeur/Diamonds of Dew MGA Kapp 2068
8- Hey Mama/73 Bell 45364
10-75Alyvays Laughing/We Never Were That Kind DeccaF13610 NR
1963 EPji J usf For Fun (with Mark W ynterl - Pye nep 24167(E): W hat's the
l Name of the Game; Let Her Go
1963 LP: Joe Brown Ft Mark Wynter - Pye Glden Guinea 179(E)
1962 LPi /4 Picture o f You - Pye Golden Guinea 146(E)
Live - Pye
Best o f - Pye
Golden Hour - Py GH 583
SAN D R A BROWN & HER BOYFRIENDS; Boyfriends later became
the Boys.
By, Hook or By Crook Columbia
JACK BR(JCE: Played with countless groups before Cream. One early solo 45.
4- 66 Im Gettin Tired/R ootin'Tootin' Polydor 56036 NR
TOMMY BRUCE & BRUISERS; 'A in 't Misbehavin' a big hit in 1960
?-60 A in't Misbehavin'/Got the Water Boilin' Columbia 4453Capitol 4403
I'rp Dn Fire/ Columbia
11- 62 Bgqons and Bgws/The London Boys Columbia 4927
5- 63 Left's Do It Let's Fall in Love/ Columbia 7025
5-64 Let It Be Me/No More Columbia 7241
12-64 Suzanne/lt's Driving Me W ild Columbia Capitol 5354
BRUINS:
?-64 ;Ndt|:pdy But You/One More Try Comet 2167
BRUISERS: Backing group for Tommy Bruce i t Peter Lee Stirling
?-63 side G irl/Don't Cry Parlophone R 5042 NR
?-63 Yoifr Turn to Cry/Give It to Me Parlophone R 5092 NR
'BRUMBEATS: (Birmingham) While Smokeys cult of admirers grows, I
12-63 I Ju^t Don't Remember Decca11834 NR
urge you to pick up on these singles as soon as
BEAU BRUMMELL ESQUIRE: (Real name Mike Bush) possible, due to the fact that only limited
1- 65 I Know, Know.Know/Shoppih' Around Columbia DB 7447 NR quantities are pressed. And once you do, theyll
4-65 Nexjt Kiss/Come and Get Me Columbia DB 7538 NR leave you begging for more.
9-65 Better Man Than l/Teardrops Columbia DB 7675 NR
4- 66 jTake Me Like I Am/You Dont Know W hat You've Got DB 7878 NR Phast Phreddie, B a c k D o o r M a n
BRYAN & BRUNELLES: excellent record (see review in BOMP 14) Send $1.75 per disc to:
2- 65 Jboqueline/Louie Louie H M V 1394 NR S & M Records
t[for more detail on group see Pete Frame's letter in BOMP 15] 6777 Hollywood Blvd
9th Floor
JOHN BRYANT: (Beatles song) ' , Hollywood, CA 90028
11-65 Teil Me W hat You See/ Fontana NR 3 different 45 s available
BUBBLES & COMPANY:
5- 65 Underneath My Piljow/Just One Girl Pye 15875 Blue Cat 120
Knight lead singer Jim Sohns said recently that About the Shangri-Las: remember an Ellie
cumulative sales are over a million and a quarter. Greenwich quote concerning the death of the girls?
The list of Dunwich productions are not all Traut Is this true? Also, I vaguely recall seeing the Shangs
efforts. Jim Golden produced Keith Everett, Ken at one time having 3 girls in the backup rather than
Nordine and the New World Congregation. Bob the classic 2. Any idea?
Monaco produced Crow. Also, Traut is not Tim Doherty
producing Natalie Cole as reported. Pacific Palisades, CA
I caught the Shadows of Knight twice recently,
and they were great. Fans might like to know that [A t one time, there were indeed4 Shangri-Las. but /
they do a 30-minute version of "G loria" with riffs don't know the exact story. / have heard though
stolen from everyone from Dick Dale to Lenny Kaye that Ellie Greenwich is putting together or writing
(Sohns loves Patti Smith's version of the song). songs for a "ne w group o f Shangs, and that
Apparently Mike Thom wasn't aware that the Shadow Morton is somehow involved. Further
Ides of March and the Cryan Shames were merged reports as they come in....]
for a short while last year as the Ides-Shames
Union. Peterik's Shy Rhythm Section has an album
in the can for Epic, and the Shames have reunited WELL YOU HEARD ABO UT
sans Fairs and Guillory. THE BOSTON...
Cary Baker
Wilmette, III. I'm writing concerning the Boston/New England
article in BOMP #14. There were tw o important
FAVE RAVES areas which the article didn't touch. The first was
AAA Recording Studios, located just outside the
The new issue of BOMP is a stunner! I was Combat Zone (Boston's adult entertainment
JUST A KISS A W AY particularly enchanted with Greg Shaw's Flamin' district). In the following discography of Boston
Groovies review. Obviously, the LP is brilliant, but singles, some are listed as being recorded at AAA,
Does the word "Entm oot mean anything to and the rest seem to follow a pattern of matrix
you? That question and others of the same variety the review is just as strong in its own right. The
passages on adapting past songs, and the final numbers:
have been going through my mind for some time paragraph on what separates good from great Tallyemen - "Little By Little'VYou Don't Care About
now. I mean, names like Jay Kinney. Tom Dupree, songs, are incredible. Robert Christgau should be M e-Tally 200,688/9
Lenny Kaye, and of course Paul Williams keep forced to read the review until he finally Head Et the Hares - "I W on't Come Back'VOne
popping up in the rock press and it finally registered: understands what rock & roll is about. Against the W orld" - H&H 200,891/2
science fiction fandom grew up and became rock Et Stephen Neill Twin Della - "N ancy"/"Love Em and Leave Em -
roll fandom! Carson, CA Twin-Dells Records 201,022/3
I suppose I first started suspecting things when I No Mads - "Breaking Free"/"Liverpool Lover" -
saw words like fanzine and fandom in Rolling Stone CHICAGO II Battle of the Bands 201 353/4
and being aghast at the fact that my secret Chain Reactions - "W hat Am I Supposed to
organization was suddenly common knowledge... I have a few comments on the Chicago survey. D o "/"L ife " - Francais 201,436/7
Great Ghul! Fanzine reviews and a lettercol to boot, The Dunwich story brings up an interesting point Violets of Dawn - "Violets of D aw n"/"W ind is
in a rock & roll magazine y e t!! that bears further examination: censorship. Clark W ind" - Vecchia 201 449/50
At one point in my life, sci-fi fandom was all I Weber, as program director of WLS, was reluctant The Collage - "Best Friend"/"Girl Don't Tell Me" -
lived for. But something happened. I started a band to put anything even remotely off-color on the air. Coliseum 201 468/9
and my ego was being satiated far more than it had The "Gloria thing was a setup, where he played Whirlwinds - "Let Her K n o w "/"A n y Old Tim e" -
ever been. Since that time ('69 or 70) I've been in the record, deplored the 'suggestive' lyrics, and Parsay 2002
this band, and I've gotten to see the world and all asked for opinions from listeners. WLS censored
the rest of that, but I always did miss the fanzines. many records during this period, including Also possibly connected are these already listed in
And you've done it Shaw: managed to combine the "Rhapsody in the Rain' by Lou Christie, which they your article:
best of tw o worlds. flatly refused to play. Meanwhile, CFL was playing it Minets - "Secret of Love"/"Together" - Rock It
Some suggestions: how about a piece on the to death. When "Hold On" by the Mauds came out 200, 054/5
Music Macnine (the influence of those leather in the spring of '67, WLS refused to play it due to Cobras - "Come On Back/Summertime - Feature
201,264/5
? loves had much to do with Kiss, as did their "Talk,
alk") and one on the Easybeats too, please!!
the lyrics "Hold on, I'm coming..." The group had
to provide WLS with a special version where they Also, no mention of Minuteman Records except
I don't herald the coming of the Runaways (as I sang "Hold on. don't you w orry". Incidentally, for Improper Bostonians releases. I have 3 earlier
do that of the Silver Surfer, for instance) but I do about that time van Morrison's "Brown Eyed Girl'* releases, and it appears Chip Taylor and Al Gorgoni
think their existence is essential to all future girl was also censored, with the line "M akin' love in the were involved in all 3:
bands. A respectable first step, say I. If you don't green grass behind the stadium" altered to 200 - Don Thomas - "Turn Her A rou nd"/"D o You
like their record, you can always hang out Laughin' and a-runnin' behind the stadium" and Wanna Know"
backstage and try to make it with them something this version actually showed up on the mono 203 - Just Us - "I Can't Grow P eaches"/"l Can Save
I intend on doing, purely as a religious experience, version of the album. It all seems silly now, doesn't You"
you understand...... it? 205 - The Doorway Through - "S pringtim e"/"K eep
Gene Simmons The Baker-Lind story states the Shadows of Talking River"
c/o Rock Steady Management Knight's "W illie Jean" was a hit. which it wasn't,
New York, NY making an anemic #26 on CFL s top 30 for one Don Thomas played guitar on Just Us LP on Kapp.
week only. Also, you might note that "Oh Yeah" on Just Us were of course Gorgoni and Taylor,
the first Shadows LP is not the same version of "Oh "Peaches" was a big hit in Jan '66 and picked up
[Thanks for your letter Gene. We haven't written nationally by Colpix (803). hitting #55 in Cashbox
about your group yet, but in another 5 years the Yeah" released on the single. The 45 version is in
true stereo on the Nuggets album. 4/16/66. The Doorway Through had a girl singer,
history o f blitzkrieg rock in the m id '70s w ill make a both sides are quiet folk rock.
great story. It's a real surprise to find a fellow former Unfortunately, it seems the people doing the
stories on the New Colony Six and the Cryan Ed Bangs
SF fan in such an unlikely place, but I'm glad you Charlestown, MA
can appreciate some o f BOM P's more subtle Shames had only the W hitburn book of national
aspects. By the way we've got an interview with charts to go on. Actually these tw o groups were
Vanda & Young and a complete Easybeats history much more successful in Chicago than is reflected WHATEVER HAPPENED TO FESTIVALS?
coming up very shortlyEd. ] in the Billboard Top 100.
Mike Thom's story on the Cryan Shames Regarding the Pop Festival of 6-3-63 at Hayes
contains one glaring goof: "Georgia" was hardly "a mentioned under Ray Anton in your British
CHICAGO fairly obscure single' since the flip was actually the Encylopedia, I was there and still have the
New issue was great, your best yet. The Chicago A side: "M r. Unreliable" was a top 10 record in programme! You may like to know the order in
section turned out quite well. Allow me, however, Chicago, in April '67. "I Wanna Meet You", which which the acts appeared: Blue Diamonds; Ray
to correct a few things. Bill Traut of Dunwich claims Thom notes failed to burn up the charts, peaking Anton; Mickie Most; the Golli Golli Boys; Jimmy
that "Gloria sold only 750,000, while Shadows of at # 85" was also top 10 locallv. Crawford & the Raven; Johnny, Mike Et the
^ ^ ^ PAGE 55
DANDELION WILL MAKE YOU WISE...
DAVE EDM UNDS SEZ:
I was really pleased to read, in BOMP 15, priase
I HEAR YOU K N O C K IN \ for some of the stuff Mike Hart recorded for
BUT YOU C A N T COME IN ~ ~ ~
Dandelion. It's most frustrating to work on records
you believe to have some real merit only to see them
UNUESS YOURE W E A R IN ' A ignored by the folks lining up for the newie from
B O /V tP T -S H lR T .T Purple or the Zeps. Mike Hart Bleeds sold, I think,
about 800 copies, and the single fared even worse.
I wonder if any of your corps of loony readers
Shades; Jackie Lynton tr the leenbeats; the ever managed to get into Stack Waddy (or
Cresters; Robb Storme & the Whispers; Del Stackwaddywe were never sure which) who
Shannon; Cherry Rolland; Cliff bennett &the Rebel made two tempestuous LPs for us?
Rousers; Screaming Lord Sutch & His Savages; I am, I'm afraid, an irregular reader of
Billy J. Kramer & the Dakotas; Tony Holland & the BOMPnot because there is anything wrong with
Packabeats; Vince Taylor & the Playboys; Freddie & it, but because reading it makes me fretful,
the Dreamers; Brian Poole & the Tremeloes; Eden over-anxious and envious. How can there be so
Kane. Each act played from ten minutes to a half many fine records which have contrived over the
hour. Mickie;Most had just returned from S. Africa years to avoid my acquisitive clutches?
after II # 1s of Buddy Holly covers. He was pretty Finally, can anyone help me find a record by an
bad. Oklahoma band, Dann Uankee Er the Carpet
Dave Germardi baggers? I used to work with them a lot in the
Middlesex, UK mid-'60s when I was John Ravencroft and working
for . They only made one single and I can't
remember what label it was on. Titles were "Roll
Over Beethoven" and "If You Gotta Go, Go Now."
John Peel
London, England
(,Appreciate the comments, John, and i f it's any
consolation, we don't have all the records written
about in BOMP either; not by any means. Nobody
ever will, I'm afraid. As for the Carpetbaggers, that's
one I never heard, b u t rest assured the second copy
that comes my way w ill be instantly forwarded to
youI I'm sure many o f our readers are familiar with
Stackwaddy, but for any who aren't, their two
British-only LPs are a must. They were like a heavy
metal, punk version o f Dr. Feelgood, 5 years ago.
Their songs included "You Really Got M e",
"R osatyn, "it's A ll Over now ". "I'm a Lover N ot a
Fighter", Long Tall S horty", ''Bring i t to Jerome",
"M ystic Eyes"and "The Girl From Ipanema"..,.]
Join the and Jeff Beck has gone beyond the limitations of
rock & blues progressions, it's about time Relf got
some credit, at least in his own obituary.
in 1964, when everybody from over there hit over
of "It's My Party." Lesley mentioned that she heard
the birthday party" story before and believes it
was some kind of Mercury promotion gimmick. The
fact was that Quincy and she sat down and listened
fabulous here, they all came on like Junior Jr. Parkers. Keith
Yardbird had like most British bruiser-bluesers vocal
limitations; not much range, power, etc. But he
came up with a style totally unique. A master of
to about 200 demos after they had already decided
to record. "It's My Party" was among the songs
they decided to cut.
Also, as a point of interest, two of her biggest hits
Fan Club!
YOU GET;
When fame came to the guitar alumni, 'Kent' Relf
was written off with other misspelled band
members (who could ever forget S. Smith-
McCartney and good ole Ereja/Drega) as "picking
up the odds & ends in the background".
Membership card In the ayes of many he was Mr, Zero . In Sept.
Newsletters 7 1 ,1and a few friends asked 74 college students if w S ' t j ,rh th <iayR j for
Special book they knew who he was. 3 did. Perhaps he himself ter a JT t u be>yfrienr JohalU ral,:
didn't conceive his better side, and while t ^ * 0 n e ? h il n o f e ' U
*2-eolor lapel button, large Renaissance is lovely, Armageddon was just that
Press k it w ith photo, bio, etc. after a wait of half a decade. r ad 'e ft t L but m y best
For Keith Relf, his present fame may lie in being a finally e /, 1
Send $7 to P.O.Box 7112, Burbank, CA 91510 kind of king of those shooting stars of the '60s the \uter, th e v 'e becl< ah hoii " ,u"
public has forgotten, never known or understood. Judy wo y 'vere h o ld : Ur and i
Roky Erickson, Tommy Hall, Syd Barrett, Arthur
Lee, Sean Bonniwell, Mayo Thompson, Sky Saxon Upset I iu " erln h k r h j l e?da
and on into the deep. Thank you for reminding us of
a/' 'ends Cn'ed
eyes out , !a down J ?' ! Wf
our roots, as deep as some of them go.
th a t e ll
Brent Hosier hat i Vsf0 h*h t h in j^ l J w ,
m i0 Wh0
In case you haven't turned it up yet, Cynthia
Weil's early solo record was "The Toddle"/ Miss
Prim's Theme" by Miss Prim & the Classroom Kids, b(f L e slie
on Amy 872. Both sides Mann-Weil-Mike Anthony,
produced by Barry Mann. Good novelty disceven I wasr, y n * er tand how v
has a few token "bomps" thrown in for good then, a , P rPer /,. felt, (>u
measurel
David Gnerre
Fontana, CA
Su<*ts u r e h L make sure n e a l h <'
HELPANYONE? you w in b Ok a f)00r/ t, ,Q> her
an d h o t l e l /'^ 'h e a rte d a h ' 1 hope
Seeing that 1966 hit list for WBZ Radio reminded y o u r s i r % ; oorne between ^ 1
me of my desire to locate old surveys from stations
in LA where I grew up. Can you help me locate * " * '* # .
MILK & COOKIES FAN CLUB these? I need KHJ lists from # 1 (mid-1965, I think)
through 1969, and KRLA from as far back as 1963,
729 Arbuckle to its discontinuation in the early 70s. Ann Coders.
Woodmere, NY 11598 Michael Devich
Box 659, Lake Isabella, CA
m m m m m
PAGE 56 WHO PUT THE BOMP
- EP: Shanes Et Moonlighters
ON GETTING TOGETHER
SHIVERS - 1Don't Mind/No No No No - Gazed 194
I recently tried ordering the book All Together - LP: Zingo Toppem 2511: Baby It's Too
Now fronr) a book store, and was told I had to write Late
directly to the publisher. I did so, and received a - LP: Beat Hits 66/67-Sonet GP 9914:
note saying they were completely sold out and Just Like a Woman
wouldn't have more copies for at least 5 weeks. But RED SQUARES - Sherry - Columbia DS 2328 (67)
if anyone else is interested in obtaining the book - Turning Around - DS 2341 (67)
[with its nearly complete Beetle recording data, as - Lollipop - DS 2358 (68)
reviewed in BOMP # 15], they should write to Mew Orleans Whald I may SLAMCREEPERS - Cross a Million Mountains/I've
Pierian Press, 5000 Washtenaw Ave, Ann Arbor, Ml Bama lama hama lee Around and around a Way of My Own - Bid 110
48104. It costs $14.95, cloth bound. - Mr. Personality Man/Cash Box
-Mike Schaalma Ladies Behavious - Bill 126
Fond du Lac, Wl - It's Saturday (68)
MISCELLANEOUS GROUPS - Land of Love(68)
SLEEPSTONES - My Little Girl (65)
BEATCHERS - EP (same as Namelosers) - Good Morning Little Schoolgirl
PICKY PICKY BEST - LP: Beat Hits 65/66 - Sonet GP 9907: Get ( 66 )
Off My Cloud/Hang On Sloopy SPREADERS - LP: Beat Hits 66/67- Sonet GP 9914:
While admiring the efforts in assembling a With a Girl Like You
complete' Encyclopedia of British Rbcka pains CADS - Don't Know My Tomorrow/Get out of my
taking work for which yob are to be congratulated Life Woman - Sweden 4505 (68)
it must be said that some of the information in CHICKS - Christmas Present/My Song and You -
your listings is sadly inaccurate. SweDisc 1006
EVIL EYES - Mister Mystified/Moving Around -
The assumption, for instance, that Irish-born Decca 44524
B.P. (Bernard Patrock) Fallon was in any way
involved in the Anglos 45 from 1965 is fanciful, as he FEW - Hum-a-Zoo/Ohce I Had a Dream - Mercury
didn't come to England until 1966to work in a 131400
bakery. No, the record was arranged, conducted, - They Won't Go/Seeing is Believing (67)
co-written and produced by one Larry Fallon. - Time and Tide/So Long (68)
Though I know nothing else about the gent in FLIPPERS - The Children/I Could Hear Her Cry -
question, he did crop up on former Uglys singer Karusell 621
Steve Gibbons' solo LP Short Stories (Wizard 19711 "14" - lm Krankhaus/Meet Mr. Edgar - Olga 39
playhing brass & flutes on one track. FRIENDS - He'S in Town/Joe McCartney - Karusell
Another peculiarity was in attributing the 666
Graham Bell single on Polydor to his namesake GIANTS - LP: Live
in Skip Bifterty. I can understand the mixup as the HI-BALLS - Cause I Want to Know/Look at Me -
record was made in '66 and Bifferty wasn't formed Karusell 658
until a year later, but the fact is it's another G.B. - LP: Beat Hits 66/67 - Sonet GP 9914:
Pontusvon Tell I'm a Boy/Hi Lili, Hi-lo
Sweden ICECREAM - Mohair Sam/I've Been Lovin' You -
[Thanks for the corrections. We don't claim to Platina 182
be perfect, but with the help of trivioiogists like INSIDE LOOKING OUT - Make Love/Love Potion -
yourself we should be able to plug most ofthe gaps Polydor 2053013
eventually.] JOKERS - Broken Engagement/I W ont Untie You - STEAMPACKET - Take Her Any Time/Only in Her
, Arvu SweDisc 1147 Home Town - Polydor 59725 (66)
TEEN TONES THEORY DEBUNKED LADY KATE 6 . LP: Beat Hits 65/66 - Sonet GP - Baby, You've Got It/She's Down
9907:Eve of Destruction/Midnight Hour -Knappupp 4600
In the Fall '75 issue you asked if the Rivieras LORDS - There's No Other/Walkin' Talkin' - Record - Viva L'Amour (67)
had anything to do with "Fortune Teller" by the 2002 STRANGERS - Trust Me (65)
Teen Tones. Well I remember the Teen Tones and I LUCAS - Certain Girl (66)
also talked to Bill Dobslaw's wife who said she JEAN LUNDENS - She Lied to Me/She Has Gone - You Can't Sit Down (66)
didn't think there was any connection. By the way, Away - Gazed 169 SUNSPOTS -Sonet LP 9911: To Feel and
Dobslaw now writes a 'conservative' column for a MERRYMEN - Walking Down Lonesome Road/ Hold/Romance/She Said That She
local paper, and sings in a barbershop harmony Spider - Karusell 617 Loves Me
group! -In Vain (65) - LP: Beat Hits 65/66 - Sonet GP 9907:
Ron Trowbridge MICHAEL & PLAYMATES- LP: Beat Hits 65/66 - My Generation
South Bend, IND op 9907: Yesterday Man/lt's My Life TEENAGERS - Girl on a Swing/I Never Found You -
MODERATIONS - Hard to Forget/Shake - G&P Columbia DS 2335 (67)
[Thanks to everyone else who wrote; sorry we 1009 TRONICS - Burn That Candle (65)
MODS INC - First Woman/Yes I Want - Carnival VAT 66 The Birds in the Sky/The Square of the
couldnt squeeze in all your letters, but dont let that
discourage you from commenting on every issue. 101 Won Fights - Olga 34
We read them all carefully and are greatly interested MOONLIGHTERS' - Today is the Day/Cave of Gold - - Lady Lady/I'll Better Be Alone - Olga 41
Interdisc 1187 WIZARDS Well All Right/That She Does -
in what you have to say. Send all letters to P. 0. Box - Hi Lili, Hi-Lo (66) Scan-Disc 1019
7112, Burbank, CA. 91570.]
Regularly?
Get BOMP delivered to your door for BOMP RECORDS
three years at a price off the regular The BOMP label has several releases
rate, a bigger saving than ever before. No which will be of interest to all rock & roll
UKATA 6 more wondering if you've already sent
your cash, no more pestering your local
fans and collectors:
outlet to see if they've got the new issue 101 Flamin' Groovies - You Tore Me
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Down/Him or Me
102 Wackers - Tonite/Captain Nemo
BOMP subscribers also receive many 103 Poppees - If She Cries/Love of the
fringe benefits. You'll receive, absolutely Loved
CHICAGO ROCK free, our regular auction & set sale lists 104 EP: The Choir - rare unreleased
DUNWICH PRODUCTIONS for rare records, you'll have access to our 105 EP: John Mendelsohn's The Pits
Shadows of Knight - My Fire Dept. Needs a Fireman mail-order service which provides a
/Taurus - Super K 8 complete spectrum of products for the BOMP 45's are $2 each. EP's are $3 each,
LP: Blackwood Apology - House o f Leather -
Fontana 67591
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Dunwich 164 - Knaves - Inside Outside/Your Stuff mailings that go out to our subscribers
DESTINATION RECORDS from time to time.
607 - Kane & Abel
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113 - Ralph Marterie - Masquerade Baby I like your offer and have checked the appropriate box:
USA RECORDS
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890 - Trafalgar Square - Til the End of the Day/lt's Send record lists. I ll subscribe later.
a Shame Girl Send Bomp records (listed on separate sheet)
901 - Affluents - Get Ready/Tom's Song
IRC RECORDS
I enclose___________ total.
6904 - Dick Biondi - Knock Knock/Pizza Song
n P IO - R n n n iQ A w /x r
Name__ __ A g e .
Angelo's Angels - Spring Cleaning/Tomorrow -
Ermine 55 (local top 20 hit) Address . . Z I P __
Blue Angels - Shake a Tail Feather/Dance W ith Me i
,. Lynda - Cap 077 C ity ------ . State_
Buckinghams - LP: Portraits - Col. CS 9598
Cave Dwellers - Run Around/You Know W hy -
Jim-Ko 41085
AUCTION: Yardbirds, Keith West, Creation, Beau LIVE TAPES: For sale, trade. 60s, 70s TV, FM TIRED OF COLLECTING? Or just need cash? Before
Brummels, Mighty Baby, many British groups and concerts, interviews. Also Firesign Theatre. Credi you sell your collection to the junkman or donate it
others. Many rare items. Send Inti. Reply Coupon bility Gap radio shows '71. Send stamp for lists to the Goodwill, let us make an offer. As the world's
for lists. Heinz Kogel, Lange Str. 44, 2880 Brake, W. (cassette only). Brian Izen, 1931 Washington Ave, largest dealer of 60s and 70s rarities (we also handle
Germany. Santa Monica, CA 90403. good 50s rock) BOMP can give you the best price
---------- ----------- ---- jr;------------------------------- for your collection. So before you sell, send us a list
Mint albums for sale: Beck.Bogert & Appice -Live Free auction list: Punk, surf, rockabilly, rock Ef b and we'll make you a good offer. BOMP, Box 7112,
in Japan (2-LPs) -$30; Flamin' Groovies - Teenage John Jackson, Box 724, Farmingdale, NY 11735. Burbank, CA 91510.
Head -$8, Flamingo -$7; Lori Burton - Breakout -$6;
Longbranch Pennywhistle - $8; Ivy League - Tossing GREAT SOUNDS OF THE SIXTIES: High Quality VKOZA OKHQ JZLNB! Auction/sale/tr&de: 60's,
& Turning - $7; ? & Mysterians - 96 Tears -$6, Reproductions. 001 KENNY Et THE CADETS some other, 45's, LPs, stuff. Obscurities and
Action -$6. Add .60 postage. Gary Rosenowitz, 902 "B arbie'V 'W hat is a Young Girl Made O f" (Randy) cheeze. Free list. Michael Churchman, 227 W. Cook
East 56 St, Brooklyn, NY 11234. - very rare,first BEACH BOYS disc. 002 SPADES St, Santa Maria, a 93454. j
"You're Gonna Miss M e "/"W e Sell Soul" (Zero) -
FREE! Auction Er Set Sale lists to serious collectors. pre-13th Floor Elevators ROKY ERICKSON great Live 60's tapes/backstage photos! Beach Boys,
Truly high-quality material. Some of the rarest & punk-rocker! 003 SEEDS "Shuckin' & J iv in g "/" Raiders, Byrds, Monkees, Simon-Garfunkel, Elvis,,
best. Foreign issues, rockabilly, etc. Craig Moerer, "You Took Me By Surprise" (Productions Unlimit Spoonful, Doors, Who, Airplane, Rock specials,
ed) - very obscure Et mysterious release, probably Hullabaloo, etc. Send 50 cents cash/,stamps for
Box 13247-W, Portland, OR 97213. from '68, great record!! TO ORDER: US and Canada details: RJL, 7047 Franklin #204, LA,. CA 90028.
send $3.00 per item, plus 40 cents postage.
Nazz; Nazz Nazz; Nazz III. Excellent condition. $25 Overseas, send one IRC for details. Dealer inquiries
each. Wayne Gately, 2116 Third Ave, Sacramento, invited. INTERNATIONAL ARTISTS, P.O. BOX RARE RECORDINGS: Beatles, Beach BoySs, Elton,
CA 95818. 38176, Hollywood, CA 90038. Springsteen, British Invasion, CSNY, T|V rock,
Spector interview, much more. Specify your
W ANT D: Info on SRC, Personal interest, not deal UNDERGROUND LPS: Rare unreleased live Et interests. Send SASE or 25 cents in stamps or coin.
er. Mom,2705 Lancashire # 7,Cleveland,OH 44106. studio recordings: Patti Smith, Roxy, Stones, 'Cassettes only. Leaf, 1546 S. Saltair Ave # 7, West
Beatles, Queen, Dylan, Springsteen, etc. Largest LA, CA 90025. ' ji
Large record sale to be held in 3 parts. 1000's of selection anywhere. Original movie posters 1930's
present, rock collectibles, etc. Catalog 50 cents. Hard-to-find soundtracks, disco and rockj Sbme set
items from the '50s to 70s. 45s, picture sleeves, 45
Comix-Records Store, Box 2037-A, Springfield, VA price. Periodic auctions. Send $1.00 for auction list.
and 33% EPs. Albums and lots of Elvis,Beatles, 22152. The Vinyl Junkie, Box 3598, LA, CA 90028.
Beach Boys, Stones and much much more. Artists
fromA-Z. Rock, soul Et country. If interested send
SASE to Steve Bates, Box 13608, Portland, OR
97213.
Elton John by Greg Shaw. One of the most complete biographies on Elton J ohn, this book is filled with a detailed personal
history and a comprehensive appendix. Greg Shaw, senior editor of Phonograph Record Magazine and editor of Who Put
The Bomp, fills in all the gaps on one of the most important stars of the decade.
The Allm an Brothers by Tom Nolan. Probably the most influential American band of the seventies, The Allman
Brothers legend has never been properly captured in book form. This biography includes never before seen photographs
from the private collections of the Allman Brothers family albums. Tom Nolan, well-known critic, has created a brilliant
study of America's foremost Southern band.
The Beach Boys by Ken Barnes. If the most detailed facts on a band that has been influencing and reflecting the trends of
almost two generations of music listeners is what you want, then Ken Barnes book on The Beach Boys will astound you.
Barnes, whose critiques have been printed in Rolling Stone and Phonograph Record Magazine, has captured the essence of
one of the world's longest lasting and most talented bands.
Rod Stewart by Richard Cromelin. One of Englands greatest showmen, Rod Stewart has been on the English and
American music scene for just over twelve years. Richard Cromelin has captured on paper the excitement and personality
of this superstar. The book includes an incredible discography and reveals many new details on the life of Rod the Modi
Carole King by Mitchell S. Cohen. Though Carole Kings music has been a part of us all since the late fifties, few know
very much about her. Through extensive research, with much love and care, Mitchell S. Cohen, a rock writer whose
material has appeared in Phonograph Record Magazine, Good Times and Englands Let It Rock, reveals detailed facts on
the life and music of Carole King, perhaps the most important songwriter to emerge in American pop. Complete with a
detailed discography and appendix of her work.
Chappell/Sire Books
S IR E