Although the Flies are primarily remembered for their punkish rendition of "(I'm Not) Your Steppin' Stone" -- covered from Paul Revere & the Raiders' version -- the vast majority of the U.K. quartet's other material is much more pop-oriented and less aggressive. Complete Collection: 1965-1968 (2002) features 22 tracks from the virtually unknown Brit rockers. The East London band had evolved from The Rebs to the In-Sect and issued a long-player under the latter moniker in 1965. The following year saw two more name changes (the Decadent Streak and No Flies on Us BUT...) and a few personnel adjustments before being signed by Decca Records based upon their double-sided demo disc of "(I'm Not) Your Steppin' Stone" b/w "Just Won't Do." (Incidentally, both demos are included on this collection.) The label convinced the band to shorten their name to simply the Flies and, in October 1966, re-recorded "Steppin' Stone" as well as the mid-tempo love song "Talk to Me" for the respective A and B sides of their debut single. With a great industry buzz beginning to surround the Flies, they were picked up as a live support act, doing gigs with the Who, the Moody Blues, the Move, and Traffic; they even opened for the Jimi Hendrix Experience in February 1967 at the Roundhouse in London. The follow-up 45 also included two strong cuts. The backbeat heavy rocker "House of Love" as well as the lightweight take on the pop standard "It Had to Be You" -- which made the band sound more like Sopwith Camel or the New Vaudeville Band than the acid-laced garage rockers associated with their earlier sides. the Flies eventually landed as the core lineup began to splinter by the end of 1967. John Hunt (drums/vocals) issued a solo single under the guise of Alexander Bell -- which featured a session guitarist named Jimmy Page. Their "theme" (if you will), "Alexander Bell Believes," is an odd bit of Baroque pseudo-peacenik psychedelia, with a decidedly Kinks-influenced mod sound. In addition to the previously mentioned platters, this CD also includes a few pre-Flies pieces, such as the In-Sect covers of Chuck Berry's "Reelin' & Rockin'," the Beatles' "Ticket to Ride," and a demo of the Kinks' "Tired of Waiting for You," among others. (Lindsay Planer, Allmusic)
trax:
01 (I'm Not Your) Stepping Stone 02 Talk To Me 03 House Of Love 04 Alexander Bell Believes 05 A Hymn... With Love 06 Winter Afternoon (demo 1) 07 The Magic Train 08 Gently As You Feel 09 There Ain't No Woman - demo 10 Just Won't Do 11 Sincerely Yours 12 Turning Back The Page 13 Where 14 Winter Afternoon (demo 2) 15 (I'm Not Your) Stepping Stone - demo 16 The Magic Train - demo 17 The Dancer 18 Tired Of Waiting For You 19 Reelin' And Rockin' 20 Ticket To Ride 21 There Ain't No Woman. 22 It Had To Be You
...served by Gyro1966...
.jpg)
%20ALL.jpg)
%20@320.jpg)
%2045%20-%20385A.png)
.jpg)
%2001.jpg)
14 comments:
THE FLIES "Complete Collection 1965-1968"
...served by Gyro1966...
gitit! no pw
http://www6.zippyshare.com/v/66030979/file.html
back cover
http://www5.zippyshare.com/v/61230640/file.html
THE EARLS
Remember Then: The Best of the Earls
ACE CDCHD 366 (1992)
http://www23.zippyshare.com/v/47662228/file.html
The Earls had only one hit of any significance, "Remember Then," which, with its big bass
vocal hook, performed nearly as well on the R&B charts as the pop ones. Remember Then: The
Best of the Earls has 25 tracks that made up most of the recordings they made for Old Town
and Rome between 1961-1965. The Earls' sound isn't as delicate as the Mystics (although they
come close on "Remember Me Baby"), nor as manic as the Dovells, but falls somewhere in
between. The group has a wonderful predilection for coming up with outrageous doo wop chants
that add a humorous dimension to several songs. Aside from their big hit (big being relative
here since it peaked short of the Top 20), The Earls had three other singles that "bubbled
under" the Billboard Top 100. Those semi-hits are here along with unissued versions,
alternate takes, single B-sides, and album cuts. "All Through Our Teens" is a rewrite of the
traditional song "All Through the Night" and "Let's Waddle" is an invitation to a dance
craze that never was, while later recordings show the group experimenting with alternately
funkier and more serious approaches (the latter includes a long virtuoso performance of "Old
Man River"). Remember Then: The Best of the Earls might be more of The Earls than the
average listener requires, but it's an excellent expanded anthology of this talented vocal
group's prime cuts. -- Greg Adams AllMusic
Greg Adams dismisses The Earls, but I remember their rendition of the old standard "I
Believe" as just about the greatest make-out record of my teenage years. The Earls were from the Bronx
and their deep accents and vocal style epitomized white doo-wop of the era. "Remember Then"
is a great song but their takes on standards such as "Our Day Will Come," "Ol' Man River,"
and of course "I Believe" are outstanding in their own right. They also recorded as Larry
Chance and the Earls but to me they will always be simpl The Earls. -- JohnnyDiego
1 Remember Then
2 Life Is But A Dream
3 Eyes
4 Out In The Cold Again
5 Looking For My Baby
6 Remember Me Baby
7 Never
8 Lookin' My Way
9 All Through Our Teens
10 Don't Forget
11 Cry, Cry, Cry
12 Without You
13 Amor
14 Let's Waddle
15 I Believe
16 Oh What A Time
17 Cross My Heart
18 Kissing
19 Ol' Man River
20 Never (Alternate Take)
21 Ask Anybody
22 Our Day Will Come
23 I Keep A-Tellin' You
24 Cry, Cry, Cry
25 Remember Then (Alternate Take)
Includes Artwork and release dates
BONUS 1 OF 7
THE ACES - The Aces And Their Guests (1975) @320
http://www7.zippyshare.com/v/57959988/file.html
This CD was recorded live at Ma Bea's Club in Chicago in 1975. The nucleus of the band is the famous rhythm group known as The Aces (guitar, bass & drums) led by drummer Freddy Below. The musical style here is classic Chicago blues. The 16 tunes on this low-down, steamy live Chicago club session are "the real thing" - totally natural, heart-felt and deeply moving. Powered by the famous Chicago rhythm section, this session features some great guitar-playing and vocals by special guest Joe Carter - who plays a mean, yet touching, Elmore James-style guitar - and Bobby King.
PERSONNEL
Bobby King, Joe Carter, Johnny Drummer, Freddie Below and others.
Recorded October 14, 1975
Drums – Fred Below
Electric Guitar – Bobby King (10), Joe Carter (5)
Lead Vocals – Johnny Drummer (2)
Producer – Marcelle Morgantini
Vocals, Guitar, Bass – Dave Myers
Vocals, Harmonica – Louis Myers
INFO
http://www.storyvillerecords.com/products/the-aces-their-guests-stcd8049
http://www.allmusic.com/album/the-aces-their-guests-mw0000590680
http://www.discogs.com/Aces-The-Aces-With-Their-Guests/release/5040368
BONUS 2 OF 7
FRED McDOWELL - I Do Not Play No Rock ’n’ Roll (Nov. 1969) @320
CD1
http://www17.zippyshare.com/v/40016681/file.html
CD2
http://www17.zippyshare.com/v/12169875/file.html
By the time acoustic blues master Mississippi Fred McDowell finally plugged in for the first time, something this recording captures, his songs were already a major part of the emerging blues-rock scene of the late 1960s. The slide-guitar genius was a Delta blues purist of the first degree who ignored all else, even while serving as a significant influence on a new generation of blues players. His influence endures, and his music, in its original form, remains riveting. The best example is the timeless classic "You Got to Move," covered by the Rolling Stones in a surprisingly faithful rendition on 1971's Sticky Fingers and radically reconfigured by adventurous jazz diva Cassandra Wilson three decades later on Belly of the Sun. Both versions are excellent, but McDowell's original, saturated with searing sincerity and electrifying licks, is better. In similar style, McDowell demonstrates the inspiration behind "Kokomo Me Baby" (popularized by his protégé Bonnie Raitt), "Good Morning Little Schoolgirl," and "Baby Please Don't Go," all core material of the modern blues-rock repertoire. All have since been done in different styles, but none have been done better. If you're looking for the real roots of modern blues and you haven't explored McDowell's ragged but righteous creations, you need to immediately redefine your search and hear his inspirational source music firsthand. --Michael Point, Blues World
INFO
http://www.amazon.com/Do-Not-Play-Rock-Roll/dp/B00005R8DP
BONUS 3 OF 7
THE YOUNGBLOODS - Earth Music (1967) [2014 Japan Blu-spec CD SICP-30555] @320
http://www40.zippyshare.com/v/50666806/file.html
The Youngbloods' second long-player built on the strength of their self-titled debut by once again creating a blend of captivating songwriting with an infectiously fun delivery. Although the album failed to produce a definitive single -- as "Get Together" had done on their previous effort -- there are a handful of equally definitive sides scattered throughout Earth Music (1967). Featuring Jesse Colin Young (guitar/bass/vocals), Jerry Corbitt (lead guitar), Joe Bauer (drums), and Lowell "Banana" Levinger III (piano/guitar), The Youngbloods recall the uptempo good-time sound of their East Coast contemporaries, the Lovin' Spoonful, on the opening cover of the Holy Modal Rounders' "Euphoria." The first of several stellar compositions from Young follows with the laid-back "All My Dreams Blue." In addition to the affective songcrafting, Banana's upfront piano fills provide a jazzy counterpoint to the interlocking Bauer/Young rhythm section. This refined power trio would become the mainstay of their later post-Corbitt recordings. "Dreamer's Dream" highlights Corbitt's inimitable contributions to the band with a highly affective melody as well as his unencumbered vocals, which effortlessly intertwine with Young. The countrified interpretation of the traditional "Sugar Babe" is a precursor to the direction that the band's sound would take after their relocation to the West Coast. The track became an international hit no doubt due to its inclusion in the Michelangelo Antonioni film Zabriskie Point (1970). Other standout tracks include the high-steppin' "Wine Song" and one of the better revisitations of Tim Hardin's "Reason to Believe." (Allmusic)
INFO
http://www.allmusic.com/album/earth-music-mw0000074392
BONUS 4 OF 7
THE CREATION - Our Music Is Red - With Purple Flashes @320
http://www76.zippyshare.com/v/54667012/file.html
Titled after a famous quote from guitarist Eddie Phillips and released just before the Creation finally achieved its three-decades-delayed U.S. breakthrough when Wes Anderson usedthe band's trademark hit "Making Time" in his 1999 film RUSHMORE, OUR MUSIC IS RED WITH PURPLE FLASHES outdoes all previous Creation compilations. Collecting every studio track this band recorded in its original '60s incarnation, includingrarities like the rarely-available but bittersweetly beautiful "Sweet Helen" along with legendary mod-psychedelia guitar-blast classics like "Making Time", "Biff Bang Pow", and "Painter Man", and including rare photos and extensive liner notes, this is a textbook example of how to do a compilation.No fan of '60s U.K. pop should be without this record. (Ugly Things)
The Creation was an excellent, excellent band! It's a shame they never managed to keep it together. Comparisons to the Kinks and Who are both accurate and unfair. Because they had the same producer (Shel Talmy) as the early Who and Kinks, their sound is similar, but the Creation is distinct enough to be uniquely their own.
And the music is incredibly memorable! I had never heard of the Creation before, and saw them locally on a whim. I wanted to get their CD immediately, but held off for about a month. It is amazing how many songs I recognized from their concert, having only heard them once!
There really isn't a bad song on the CD, save for a few poorly chosen covers ("Mercy, Mercy," "Hey Joe"), and one could almost hear the evolution and emergence of a great band, had they stuck it out.
As sad as it is that this band had such a brief recording career, what's even more tragic is how virtually unknown they are. Surely, they were as good as any other band in the mid-sixties, and deserve to be part of classic rock stations' play list as much as the Zombies, the Animals, and any other of the lesser British Invasion bands.
If you like the Kinks and Who circa 1966-67, then you need to include the Creation into your collection. They're that good! (Allmusic)
INFO
http://www.amazon.com/Our-Music-With-Purple-Flashes/dp/B0000064RX
Expiring Links:
crazy horse '71
http://www56.zippyshare.com/v/10136014/file.html
frankie miller once in a blue moon '72
http://www39.zippyshare.com/v/35456236/file.html
Ry Cooder - Show Time vbr 1977
http://www8.zippyshare.com/v/26996520/file.html
mitch ryder1
http://www56.zippyshare.com/v/96509284/file.html
mitch ryder2
http://www56.zippyshare.com/v/14456673/file.html
Johnny Rivers - Baby I Need Your Lovin'67
http://www58.zippyshare.com/v/85587827/file.html
the who quick one stereo.
http://www15.zippyshare.com/v/31857333/file.html
C'mon & Dance.Vol.3 goldmine
http://www42.zippyshare.com/v/22422381/file.html
For some reason, the Fred McDowell links don't seem to work. Seems like a zippyshare problem. Maybe it will clear itself up. Other zippyshare links are fine
That's actually "Elephant Mountain" by The Youngbloods, not "Earth Music".
McDowell links are working now. Nevermind...
Thanks
Just want to make some ad for Jake (see above) and Maria because the Bobby Rydell CD probably came from his site:
http://www.jukebox-city.com
It would be worth to be mentioned on the TWZ blogrole. Best regards, Alfred.
Typo! Pleae read TLZ instead. Alfred.
Thank you for the Earls, JohnnyDiego! Most people only know these cats from "Remember Then" (a killer tune), but so many of their other songs are just as good.
RYP - Thank you for the Flies comp. I have it on Flac, but I'm actually happy to reduce that version to the 320 that you provided (I really don't see the difference and Flac takes up too much space).
I can't keep up!
Post a Comment