The Olympics / The Robins - Big Boy Pete / Whole Lot Imagination (Vinyl)

Conclusion: a summary of the best of these two CDs would have made for one better CD, but the collectors will lick their thumbs and fingers as they tick off their discographies. In the meantime I guess I'll have another red wine! Zijn bekendste songs zijn evenwel Great Shakin' Fever dat tussen rockabilly en highschool hangt en het highschool nummer Tall Oak Tree.

Wat er wel op staat zijn zijn beste rock 'n' roll opnames zoals de melodieuze rockabilly Let's Fall In Love, de mysteriebilly The Devil's Queen en de supersnelle rock 'n' roll stroll Bertha Lou, in op Surf Records trouwens de originele versie van dat nummer met Johnny Burnette op backing vocals. Omdat Dorsey nog onder contract stond bij Coral trok Surf de single in en plakte er de stem van Johnny Faire, de latere Donnie Brooks, overheen.

Het bekende Great Shakin' Fever uit vormde op zijn beurt de overgang tussen rock 'n' roll en highschool. At A Distance is - the shape of things to come - een dromerige countrysleper met Hawaiiaanse steel, en ook in Jungle Magic, de mambobilly op de B-kant daarvan, lag de jungle in Hawaii.

Dorsey Burnette tekende in bij Imperial Records met de plechtige ballade Try en de medium tempo stroll Misery met bluesy gitaar James Burton terwijl het treinritme op de drums en wat klinkt als een banjo het medium tempo boemeltreintje Lonely Train redden van het station der middelmatigheid. Het was evenwel op Era Records dat Dorsey Burnette begin zijn eerste en uiteindelijke grootste hit scoorde met de plechtige in violen gedrenkte folky countrypop single Tall Oak Tree waarvan B-kant Juarez Town eigenlijk gewoon Tall Oak Tree sneller gespeeld south of the border duidelijk de mosterd haalde bij Ritchie Valens' La Bamba.

Hey Little One was een bescheidener hitje dat een Roy Orbison tintje gaf aan het muzikale zij het niet tekstuele Mexicaanse gunfighter ballad thema. De B-kant daarvan haalde het aloude Big Rock Candy Mountain uit het oldtimey circuit en gaf het een highschool invulling die mijlenver verwijderd is van de humoristische cool die The Beat Farmers het nummer bezorgden in Nog meer highschool horen we in That's Me Without You, Your Love, Lucy Darlin', Hard Rock Mine, The Boys Kept Hangin' Around en The Ghost Of Billy Malloo, dat laatste in met western toets en spookachtige violen, hoewel de geest uit de titel enkel figuurlijk een spook is, de herinnering van het lief van de protagonist aan haar vorige vriendje dat verdronk - net zoals broer Johnny Burnette vier jaar later zou verdrinken.

House With A Tin Roof is een aangename rustige medium tempo pianoboogie, Rainin' uit is Slim Harpo's Rainin' In My Heart voor mij het beste bluesnummer ooit van de beste bluesartiest ooit, al zal het theoretisch wel swamppop zijn als highschoolpop zonder Harpo's mondharmonica maar met Anita Kerr Singers-achtige backing vocals en Dorsey Burnette's typische brekende stem vol snikken en knikken.

Dit is de beste en compleetste samenvatting van Dorsey Burnette's fifties en early sixties werk, te omschrijven als meer dramatiek dan rock 'n' roll, maar Dorsey Burnette was zo'n kundige vertolker dat het ten allen tijde de moeite blijft. His best known songs however are Great Shakin' Fever that hangs in between rockabilly and highschool and the highschool song Tall Oak Tree.

Dorsey Burnette released loads of 45s on loads of labels not to mention his duo singles with brother Johnny as The Burnette Brothers, The Texans and The Shamrocks and this 34 track CD contains almost all his solo singles until at first sight only six B-sides and one A-side seem to be missing.

What is on the CD is his best rock 'n' roll recordings like the melodic rockabilly Let's Fall In Love, the mysterybilly The Devil's Queen and the super fast rock 'n' roll stroll Bertha Lou, in on Surf Records the original version of this song with Johnny Burnette on backing vocals.

Surf withdrew the single because Dorsey was still under contract to Coral and added the voice of Johnny Faire, who later became Donnie Brooks, on top of Dorsey's.

The well known Great Shakin' Fever from formed in turn the transition between rock 'n' roll and highschool. At A Distance is - the shape of things to come - a dreamy country slow with Hawaiian steel, and also in Jungle Magic, the mambobilly on the B-side, the jungle was located in Hawaii. Dorsey Burnette signed with Imperial Records in with the solemn ballad Try and the medium tempo stroll Misery with bluesy guitar James Burton while the train rhythm on the drums and what sounds like a banjo save the medium tempo Lonely Train from mediocrity.

It was on Era Records in the beginning of however that Dorsey Burnette scored his first and what turned out his biggest hit with the solemn violin soaked folky country pop single Tall Oak Tree, the B-side of which, Juarez Town basically Tall Oak Tree played faster south of the borderwas obviously inspired by Ritchie Valens' La Bamba.

Hey Little One was a more modest hit that added a touch of Roy Orbison to the musical though not lyrical Mexican gunfighter ballad theme. Its B-side took the ancient Big Rock Candy Mountain out of the oldtimey circuit to give it a highschool interpretation miles apart from the humorous cool The Beat Farmers gave the song in We hear more highschool in That's Me Without You, Your Love, Lucy Darlin', Hard Rock Mine, The Boys Kept Hangin' Around and The Ghost Of Billy Malloo, the latter in with a western touch and haunting violins, though the ghost from the title is only figuratively a phantom, the protagonist's sweetheart's memory of her previous boyfriend who drowned - just like brother Johnny Burnette would drown four years later.

House With A Tin Roof is a pleasant easy going medium tempo piano boogie, 's Rainin' is Slim Harpo's Rainin' In My Heart for my money the best blues song ever by the best blues artist ever, although theoretically it would probably qualify as swamp pop done as highschool pop without Harpo's harmonica but with Anita Kerr Singers-like backing vocals and Dorsey Burnette's typical breaking and sobbing voice.

This is the best and most complete summary of Dorsey Burnette's fifties and early sixties work, in general more dramatic than rock 'n' roll, but Dorsey Burnette was such a skillful performer that it's always worth your while.

All these songs have something a Christmas atmosphere for example and I hear echos of Charlie Rich and the germs of what Gene Pitney would soon be doing. Hoe dicht die gospel harmony bij de gewone wereldse vocal harmony lag die ook vaak hemels klonk hoor je in het dubbelzinnige Lemon Squeezer van The Four Barons, en je had zelfs plaatjes die inspeelden op die dunne scheidingslijn: met een titel als Eyesight To The Blind van The Larks ga je er van uit dat het gospel betreft, maar 't is een akoestisch countryblues nummer over een vrouw die zelfs een blinde kan doen zien, wat uiteraard kan tellen qua mirakel.

Die Larks horen we met nog een ander nummer, het opnieuw dubbelzinnige Little Side Car. Too Much Competition is een bluesbopper, en de fantastische jiver Let's Have A Ball van The Wheels uit werd bij The Stray Cats in bekend als Gonna Ball, de titel van hun tweede LP zelfs, met "anoniem" tussen haakjes bij de componisten, maar die componist was helemaal niet anoniem maar gewoon Allen Bunn alias Tarheel Slim die er geen centen van zag wegens op dat moment helaas al in op jarige leeftijd overleden aan keelkanker.

How close gospel harmony came to regular wordly vocal harmony that often sounded heavenly can be heard in the double entendre Lemon Squeezer by The Four Barons, and there were even records that exploited that thin The Olympics / The Robins - Big Boy Pete / Whole Lot Imagination (Vinyl) line: a song title like The Larks' Eyesight To The Blind suggests gospel but turns out to be an acoustic country blues about a woman who can even make the blind see, which is of course quite a miracle.

Too Much Competition is a bluesbopper, and the fantastic jiver Let's Have A Ball by The Wheels became famous in as The Stray Cats' Gonna Ball which even became the title of their second LP, with "anonymous" in the composer credits, although that composer wasn't anonymous at all - it was Allen Bunn alias Tarheel Slim who didn't receive a penny for it due to the fact that he'd already succumbed to throat cancer at the age of 53 in There are worse CDs to buy.

Alle nummers stammen uit en dan vooral uit en de muziek is een opwindende mix van rock 'n' roll, beat en uptempo blue eyed soul ter vergelijking: eind nam Tom Jones zijn eerste single opmaar steeds met de nadruk op de rock 'n' roll, luister bijvoorbeeld naar zijn versie van Ricky Nelson's I've Got My Eyes On You in ook gedaan door Gene Vincenteen goeie dramatische Jezebel bestaat daar een slechte versie van?

Curtis kon een aardig stukje schreeuwen en de van blazers voorziene muziek heeft occasioneel een orgeltje in de gelederen. Curtis kwam uit Liverpool waar hij regelmatig de affiche deelde met The Beatles en optrad in de Cavern club, en vanaf augustus was Pete Best toen die was buitengeflikkerd bij The Beatles een tijdje de drummer van Curtis' groep The All Stars.

Curtis was actief vanaf maar maakte zijn platendebuut pas inen na drie singles op Decca het label dat in The Beatles had gepasseerd die wellicht wegens te weinig promotie niet echt potten braken - dat kreeg je dan weer als je veel in Duitsland zat - trok hij definitief naar het lucratieve Duitse uitgaanscircuit met als bekendste residentie de Star-Club in Hamburg.

Of hij nu op zijn 80ste nog optreedt is ons niet bekend. In elk geval: haal 'm naar de Rhythm Riot! Doo wop groepen met een hit waren eendagsvliegen als uitzondering op de regel in tegenstelling tot de overgrote meerderheid van de doo-wop groepen die nuldagsvliegen waren. Hun Sixteen Candles in gecoverd door The Stray Cats voor de gelijknamige bioscoopfilm getiteld Sixteen Candles werd in februari nummer 2 op de Billboard Hoteen millionseller, een gouden plaat en een golden oldie, maar ook het uptempo The Angels Listened In is nog steeds populair.

Wij gaan uiteraard voor de snelle omdat het leven aan de rappen is, maar Sixteen Candles blijft een dijk van een klassieke ballade uit de tijd dat je nog ongegeneerd je liefde voor zestienjarige meisjes mocht bejubelen. A Year Ago Tonight is een uptempo vervolg op Sixteen Candles, althans thematisch en niet muzikaal want het is een leuke medium tempo deun, en de grote verrassing in What A Surprise is ook een verjaardag.

Probeer daar maar aan uit te raken! Toch is More Than Just Sixteen Candles verplichte kost voor de amateurs van de echte doo-wop die nog niets van The Crests in huis hebben want zij zullen kwijlen bij het aanhoren van zoveel schoonheid. Johnny Maestro overleed in op jarige leeftijd aan kanker, The Crests zelf treden nog steeds op onder leiding van JT Carter, het enige nog levende originele groepslid. Nu volgt een soort Best Of daarvan als 10 inch vinyl langspielplatte in een tot stuks gelimiteerde luxe uitgave met gratis CD.

Het uptempo Hello Josephine en het fake live? De vermelding op www. Minder voor de hand liggend is de tango-achtige instrumental Autumn Leaves op akoestische gitaar, en er staan ook drie eigen nummers op, het fantastische Saw My Baby With Another Guy, het excellent rockende Sad And Blue en het door gitarist Charlie Flynn gepende melodieuze Baby ook in twee versies die ze bij mijn weten later nooit officieel zouden opnemen.

Voor de rest doen wij heus niet moeilijk. De nu jarige King Size Taylor trad nog zeker tot op, dus Als de gemiddelde muziekliefhebber voorts nog iets weet over Burton dan is het dat ie in de mysterieuze swamp riffs op Dale Hawkins' Susie Q speelde. Deze "early groups and sessions" bevat maar liefst 35 tracks waarop Burton, toen nog een tiener, gitaar speelt. De bekendste naam die in de jaren '50 gebruik maakte van James Burton en James Kirkland 's diensten was uiteraard Ricky Nelson.

Er is nauwelijks overlapping met de Ace CD James Burton: The Early Years uit en dus is dit zeker een aanrader voor de fans van gitaar rock 'n' roll en rockabilly met alle VU-meters in het rood. James Burton is er nu 81 en speelt nog steeds als een god. Martin wordt ook beschouwd als een pionier van de fuzzgitaar en een mooi en tegelijkertijd bizar voorbeeld daarvan is het de nagel op de kop getitelde instrumentale The Fuzz uit dat zo'n fuzzgitaar koppelt aan een Anita Kerr Singers achtergrondkoortje en een lading strijkers!

Conway Twitty deed in met Don't Cry No More een gooi naar de uptempo blue eyed dans soul, maar de grootste verrassing hier is - de wonderen van het out-of-copyright - de aanwezigheid van koning Elvis met Please Don't Drag That String Around. De helft van de CD is rockabilly en aanverwanten, de andere helft is de betere fifties countrybop, maar in beide gevallen is de muziek van topniveau.

The Brook Brothers werden in gelanceerd als de Britse tegenhanger, nee, als regelrechte kopie van Everly Brothers en de gelijkenis is inderdaad zeer opvallend: hoewel hun stemmen niet echt op Don en Phil lijken en je ze nooit zal verwisselen met the real thing vertonen hun stemmen wel exact dezelfde knikjes en de manier van samenzingen is vooral als ze er tweestemmig tegenaan gaan - yeah, yeah - griezelig gelijklopend.

Tja, echte broers die samenzingen, het heeft iets genetisch. Bovendien is na beluistering duidelijk dat zowel bij de songkeuze als in de studio er alles aan is gedaan om die gelijkenissen niet alleen zoveel mogelijk in de verf te zetten maar ook zo goed mogelijk uit te buiten en te versterken door muzikale arrangementen in de stijl van The Everly Brothers. Die pauken! Het resultaat is een brok Britse teenrock en highschool zowel interessant voor fans van de mooiste broederstemmen uit de popgeschiedenis als voor verzamelaars van curiosa.

Het duo dat in nog de affiche deelde met The Beatles ging uiteindelijk ten onder aan de beatlemania: in en verschenen nog drie singles die hier niet op staan, rond stopten The Brook Brothers.

Beide broers leven nog: Richard "Ricky" Brook is nu 80 jaar, Geoffrey is er Haal ze naar de Rave! Tha Cats And The Fiddle waren een zangkwartet bestaande uit een leadzanger, twee tenors en een baszanger die zich bedienden van een akoestische tenorgitaar, contrabas, ukulele en een tiple, een tiensnarig instrument verwant aan de ukulele.

In de loop der jaren dat ze bestonden, van totmaakte een vijftiental muzikanten deel uit van de groep die zo'n 35 78 toeren platen uitbracht samen zijn dat toeren, hahaha op labels met mooie, euh, labels als Bluebird, Manor en Gotham vol akoestische Minor Swing Django Reinhardt gitaren, unisono en heterofoongescat, stemmetjes die blaasinstrumenten imiteren, vocale hoogstandjes en contrabassolos om u tegen te zeggen. In de dagen dat The Inkspots en The Mills Brothers de ongekroonde koningen van de vocal harmony scene waren had deze groep had het allemaal en op deze dubbel-CD is het allemaal te horen.

Onwaarschijnlijk ook hoe modern nummers als Thursday Evening Swing uit of Blue Skies uit tachtig! Ik weet niet op welk criterium de selectie van de 53 tracks is gebaseerd maar het zijn vooral uptempo nummers, en in de zalig weghappende mediumtempo songs komen ze heel dicht in de buurt van die Mills Brothers. Vanaf pakweg doet er soms ook een piano mee wat nummers als Sighing And Crying een boogiewoogie injectie geeft.

Een later nummer als Wine Drinker uit toont dan weer hoe dicht ze bij rock 'n' roll stonden. Eindoordeel: Killin' Jive ideaal voor jitterbuggers op een Hep Cats' Holiday, maar voor de niet-ingewijden is 53 nummers The Olympics / The Robins - Big Boy Pete / Whole Lot Imagination (Vinyl) teveel van het goede.

Dan is deze CD, de eerste van wat een reeks van drie gaat worden, een goed vertrekpunt want de titel dekt een lading van 27 nummers die hun groot gelijk al decennialang bewezen hebben en nog steeds volle dansvloeren trekken. De bop stopt niet want alle nummers dateren van totdus geen gedoe met oudere flauwe bijna-rockabilly of latere sixties sounds, al zit er wel een accordeon in Harry Carter's primitieve Jump Baby Jump.

Als ik al de uren die ik op deze plaatjes heb gebopt had gebruikt om te studeren was ik nu directeur van een groot bedrijf geweest in plaats van CD-recensies te schrijven, zo eenvoudig is het, maar dan had ik lang niet zoveel lol in mijn leven gehad.

Wie al langer dan gisteren in de rockabilly zit zal zo goed als alles hier al in een veelvoud aan exemplaren hebben, maar voor de nieuwkomer is dit de beste instap om u onder te dompelen in de fascinerende rockabilly wereld.

Maar wees voorzichtig, want rockabilly is als de mafia. Eenmaal erin raak je er nooit meer uit. Gelukkig staan er geen fouten in de muziek van deze CD met "28 first recordings" waarmee Atomicat weer een ander stokpaardje van mij berijdt. Dames en heren, mag ik u voorstellen aan mijn goede vriend de original! Dat betekent dat van vele songs die wij als vanzelfsprekend beschouwen er vaak oudere versies bestaan, en het blijft een nooit eindigende sport om die op te lijsten. Davis schreef het geeneens maar kocht het van ene Paul Rice.

En zo kan je dus blijven doorgraven. Begrijpt u mijn fascinatie? Het interessantste zijn uiteraard die songs die je automatisch associeert met andere artiesten zoals de vlotte country Singing The Blues van Marty Robbins waaraan Guy Mitchell nauwelijks iets veranderde, net zo min als Frankie Laine aan Buz Butler's Mule Train, in tegenstelling tot Tennessee Ernie Ford die heel wat veranderde aan Merle Travis' Sixteen Tons.

Een toppertje is Only You van The Platters dat u natuurlijk al elfendertig keer hebt, maar deze Only You is hun eigen oer-Only You op Federal Records ineen jaar voor de versie op Mercury die terecht uitgroeide tot een wereldhit.

De Federal versie hier kwam pas op de markt nadat Only You een hit werd op Mercury en toont aan waarom dit in eerste instantie onuitgebracht bleef: dit kladje is pijnlijk slecht. Skokiaan is trouwens een soort zelfgestookt ananasbier. Nogmaals, ik verzin het niet. Ongelooflijk trouwens hoe swingend een zeventig jaar oud zulu deuntje kan zijn.

Een andere exotische dans is de allereerste Mambo No. Het goeie nieuws voor wie niet afgeschrikt wordt door die multitude aan muziekstijlen: er komen nog twee volumes.

Benieuwd wat ze nog allemaal gaan bovendreggen! Deze 33 tracker dient dan ook enkel als excuus voor een bloemlezing van de grootste Britse tieneridolen uit de periode uitgezonderd Clliff Richard. Een grote klassieker is Telstar van The Tornados, hun nochtans op dezelfde leest gestoelde instrumentale Love And Fury is echter al heel wat minder.

Occasioneel horen we een cover van een Amerikaanse hit zoals de poppy Dream Lover van Duffy Power wiens mysterieuze What Now er best mag zijn. De Britse variant van highschool is Lance Fortune's Be Mine en helemaal erg wordt het met de barokke crooner Chapel Of Dreams van Peter Wynne die klinkt alsof hij in zijn eentje The Platters wil zijn, terwijl ene Julian X de Bo Diddley beat koppelt aan een dwarsfluit met op zijn zachtst gezegd een bizar resultaat.

Door de aanwezigheid van een fiks aantal ballades en popsongs is deze CD niet perfect, maar op zich is het een goeie introductie op een te vaak in het verdomhoekje gedrumd stukje Britse popgeschiedenis. Alleen is het merkwaardig dat er in de CD-inlayhoesjes staan afgebeeld van singles die niet op de CD staan.

Nummer twee in de vijfdelige reeks Hillbilly And Rustic Rockabilly Bop waarvan de muziek tot nu toe naar mijn definitie geen, euh, hillbilly en rustieke rockabilly bop is maar voornamelijk de vlotte en gebruiksvriendelijke uptempo jaren '50 country die bij Bear Family onderdak vindt in de Gonna Shake This Shack Tonight reeks.

De goeie ouwe tijd! Dat we veel grote namen tegenkomen had u al door, maar altijd met minder bekende songs. Dit is een ijzersterke compilatie met het beste uit pakweg Laat volume 3, 4 en 5 maar komen, ik verwelkom ze met open armen.

Misschien wordt dat wel de volgende Atomicat CD-reeks, over de twist in Duitsland, hahaha. Je vraagt je trouwens af hoe sommige van die nummers tot in Duitsland geraakt zijn.

Ons oordeel? Leuk, maar enkel aan te raden voor de liefhebbers van popcuriosa en de fanclub van Jo Roland und die Serenaders. Nur Original-Aufnahmen! Wat ons tot slot brengt bij de instrumentals die uitgezonderd de titel niets met horror te maken hebben zoals de saxer Haunted Sax van The Nite Caps, de primitieve gitaar-piano instrumental Transylvania van The Mysterions, The Nightmare van The Nightmares die eerder op een jungle compilatie thuis hoort, en Zombie van The Harlem Wildcats, vooroorlogse jazz swing uit Met de muziek van die nummers is op zich niks mis, maar in het Halloween kader is het leuker als Bill Doggett er op zijn soft sax grinder Doggett was nochtans een orgelist, de toeteraar van dienst is Doggett's vaste saxofonist Clifford Scott Monster Party uit tenminste nog een aantal versnelde smurfenstemmetjes bij sleurt en Frank N.

Conclusie: het redelijk aantal onbekendere opnames rechtvaardigt ook voor Halloween verzamelaars de aanschaf van deze CD. Het resultaat was een weergaloze start-stop rocker met vocale interjecties door een baby ingesproken door de zoon van componist Johnny Parker en een hit die zo'n internationale weerklank vond dat er een Franse cover kwam Sacha Distel terwijl de Duitse cover van Ralf Bendix und die kleine Elisabeth nummer 1 werd in Duitsland. Maar heeft de in op jarige leeftijd overleden Buzz Clifford nog meer songs van dat kaliber opgenomen?

Niettemin zal wie Bobby Vee's Devil Or Angel de beste song aller tijden vindt hier veel plezier aan beleven. The Chordettes waren maagdelijk, klonken esotherisch onschuldig en zongen kitsch, maar wat een wondermooie kitsch, suikerzoet en kerstmis-achtig, niet zozeer crooners maar wat ze in de jaren '50 vocal harmony samenzang noemden, mijmerend over huisje tuintje boompje, gaan wandelen met het hondje Fifi's Walkin' The Poodletrouwen The Wedding als de jongen van hun dromen zijn legerdienst heeft vervuld Lay Down Your Armseen leven in suburbia dat verglijdt terwijl Zorro op TV is.

Early live audiences hated the group, and the only consolation for Harvey was that he actively enjoyed the confrontation. Framed was recorded in under five days, and still steams with the seething fury of its birth, a mixed bag of new creations, odd concoctions, and oldies that Harvey had been playing for up to a decade. Elsewhere, however, the epic "Isabel Goudie" showcased his backing band with a lengthy recounting of a Scottish witch legend, while the decidedly unseasonal Yuletide single "There's No Lights On The Christmas Tree" told the tale of a gangster going to the electric chair.

At the time, though, they couldn't give this stuff away. Fast forward a year and the band's fortunes had changed dramatically. Now regarded as one of the top live acts in the country, the criticism was that their vinyl didn't reflect their live performances.

Next, dynamically produced by Phil Wainman later better-known for his work with the Bay City Rollerswould change that forever. Once again, the title song was a cover, a dramatic version of Jacques Brel's "Au Suivant" transformed into an apocalyptic tango.

More important within Harvey's own subsequent iconography, however, was the pulsing "Faith Healer," a magnificent invocation that was soon to become the band's traditional set-opener replacing a manic version of the Osmonds' "Crazy Horses" and has since, of course, ascended to the status of Rock Anthem.

The seethingly sexual "Swampsnake" and the lascivious "Gang Bang" cater delightedly to the band's reputation for taking no prisoners, but a rambunctious version of Freddie Bell's classic "Giddy Up A Ding Dong" gives ample vent to their lighter side, before Harvey unleashes the semi-autobiographical "Last Of The Teenage Idols," a song recounting his long ago triumph in a Scottish Tommy Steele competition.

It's a great conclusion to the album, and a fitting finale, too, to this release's roundup of SAHB's first full year in action. All tracks composed by Alex Harvey except where noted. Posted by Marios at AM 9 comments:. Thursday, February 20, Monument - The First Monument uk, tough organ and guitar fuelled rockers, Relics remaster. Bywhen this album was first released, it had become somewhat trendy amongst the underground fraternity to actively participate in practises such as ritual magic, occult arts and various other esoteric customs.

With music very much to the fore of this scene, a twilight culture unfurled linking mysticism to it in the form of groups inspired by their own self interest and beliefs. While special imagery and gimmicks were an all important part of such groups presentation there were those, like Monument, whose fascination for the occult drove them away from seeking to glamourise their image.

Vocalist and keyboards man Steven Lowe was a founder member of a witches coven in Essex and this keen interest in the ancient craft served to shape much of the lyrical content of their sole album, which is steeped in sorcery and mysticism. Monument was actually made by Zior under a pseudonym. Ironically, at the outset, they were largely inclined to distance themselves as figureheads of occultism in rock, preferring instead to rely on the strength of their music rather than upholding an image.

Free Text Text Host. Posted by Marios at AM 16 comments:. Wednesday, February 19, Argent - Nexus uk, fascinating art progressive rock, japan remaster. The three first tracks on the album are instrumental, keyboard-dominated progressive rock of a kind all of you will enjoy. Tons of Hammond, mellotron and moogs plays mighty and inspired themes. Very good. The El-piano dominated "Music from the Spheres" and "Man for All Reasons" is a little bit slick, but they're definitively not bad.

The latter is kind of a progressive pop-track in the vein of Kayak. Argent's problem was that the two main songwriters in the band, Rod Argent and Russ Ballard, obviously had very different musical interests. Argent was the one who wrote the most progressive tunes while Ballard was much more hit-song oriented, resulting in a lack of musical profile. Anyway, most of their material is good and so is the performance too.

Posted by Marios at AM 6 comments:. Recordings, should be a no-brainer of a purchase for anyone who is an admirer of Van Dyke Parks' Song Cycle, Richard Harris' two Jimmy Webb collaborations A Tramp Shining and The Yard Went on Foreverthe Free Design's classic '60s albums, the extant fragments of Brian Wilson's previously lost SMiLE album, or any of the other classic examples of ornate late '60s psychedelic pop -- not that what's here is exactly psychedelic, so much as baroque pop, with lots of elaborate, occasionally "out-there" orchestral arrangements that luxuriate in their own ornate weirdness, sort of like Parks' "The All Golden" or "Palm Desert.

The Neon Philharmonic's two albums The Moth Confesses and The Neon Philharmonic are both represented in superb sound on the first CD, but the real treat is the minute long second disc, which encompasses the group's singles -- once one gets past the four cuts lifted off of The Moth Confesses, most of the rest is comprised of some very pretty and nicely produced non-LP single sides that are some of the most enjoyable unknown sunshine pop of the period, and, as Andy Zax, the annotator of this set observes, virtually a third LP in breadth and content.

All in superb condition, many are near mint, some even new. All guaranteed to play clean! Just select the number of records you want in the quantity box and hit buy-it-now or place in your cart. Then, Email the titles you want through eBay's Email system.

However, our identification and veneration of stars, either of stage or screen, is demonstrative of a complex web of social and cultural processes, which raises other questions, and invites comparisons with notions of fame and celebrity. Here, notions of stardom intersect and overlap with those of celebrity.

Whereas stardom is taken to derive from professional success and its popular recognition, celebrity as a form of fame is more contested, particularly in terms of its perceived value. Fred Inglis, in his A Short History of Celebrity, makes a historical distinction between renown, which is governed by and attributed to individuals based on position or achievement, and the more recent phenomenon of celebrity, which he argues is more transitory Inglis,pp.

Despite these particulars of definition, the role that stars play in the pervasive cultural, commercial and social processes connected with popular culture mandates a consideration of the phenomenon in the context of these broader issues. Indeed, the development of academic disciplines around stardom and celebrity reflects the diversity of approaches that may be taken to its investigation. Critical discourses concerning stardom and celebrity date from the s, arising initially as a component of the emergent film studies of the period.

It was in examinations of the roles played by stars within the film industry, and their significance to audiences, that the field has its genesis. Gledhill writes in the introduction to the collection: The star challenges analysis in the way it crosses boundaries: a product of mass culture, but retaining theatrical concerns with acting, performance and art; an industrial marketing device, but a signifying element in films; a social sign, carrying cultural meanings and ideological values, which expresses the intimacies of individual personality, inviting desire and identification; an emblem of national celebrity, founded on the body, fashion and personal style; a product of capitalism and the ideology of individualism, yet a site of contest by marginalised groups; a figure consumed for his or her personal life, who competes for allegiance with statesmen and politicians.

Orgeron identifies three critical theoretical directions, which encompass much of the subsequent interdisciplinary diversity of the work conducted within stardom studies during the past two decades. Despite this being a key element of the perpetuation of stardom, Orgeron argues that it is an aspect of the field that is rarely examined, with a preference for the consideration of stars as celebrity icons taking precedence.

Despite this, in recent decades analyses of the labour processes that go into the production and support of the star image have further developed this area of stardom studies. Therefore, studies in this vein combine aspects of the fields of economics, media and communication studies with sociological studies of audience behaviour and reception. An example of the development of stardom studies from this perspective is the work of Christine Geraghty.

These studies, and indeed the journal itself, not only serve to exemplify the increasingly interdisciplinary nature of the field, but also the continued broadening of the field to encompass stardom as manifested in the film industry, and questions of stardom and celebrity as perpetuated through other media including television and, more recently, social media. Within this burgeoning interest in the study of stardom and celebrity in the second half of the twentieth century and the first decades of the twenty-first century, another significant approach has been to investigate the history of ideas of stardom and celebrity prior to the development of mass market entertainment industries in the twentieth century.

These studies provide a broader historical contextual positioning of the study of stardom and celebrity. Inglis, in his A Short History of Celebrity, aligns the development of the social processes of fame, celebrity and stardom with the acceleration of the development of modernity from the mid-eighteenth century. Despite its origins within film studies in the second half of the twentieth century, the broadening of the study of the processes of stardom and celebrity, and the increasingly interdisciplinary nature of these studies, have also observed an increase in the analysis of the role of stardom within the production and reception of popular music.

In considering issues of stardom within the popular music industry, many of the same questions of star construction and reception apply, though particulars of the mechanics of the music industry necessarily shape perspectives on these issues. Similarly, many questions of identity as negotiated through processes of stardom remain current when examining the reception of the stars of popular music.

Identifying the point at which stardom became a key aspect of the popular music industry is difficult. The emergence of rock-and-roll in the s and the prominence of artists such as Chuck Berry and Elvis Presley have been identified by David R.

Successful rock-and-roll artists of the s and s set a precedent for the reception of stars in the later twentieth century. Interestingly, this understanding of stardom rejects the economic component of relative commercial success, instead focusing on artistic achievement. Yet, monetary success is one significant way in which music stardom is commonly measured. In a key work on the economics of stars in the areas of sport and the arts, Moshe Adlerp.

But how does one know about music? By listening to it, and by discussing it with other persons who know about it. In this learning process lies the key to the phenomenon of stars. Adler,p. Viewed in this way, stardom may be construed as a measurement of popularity by quantity of consumers, in both the acquisition of recordings and concert attendance, and is not necessarily an indicator of musical ability or talent.

Personal identification with stars on the part of the consumer is a significant aspect of the process of star consumption and reception. In popular music, this process is mediated by the music and the meanings consumers interpret in the music. Often, consumers attempt to interpret the music and lyrics of a star persona by looking for connections between the music and details of the personal lives of the individual artist and themselves. Toynbee noted an assumption that the meaning of the music could be found in the lives of its makers.

Meaning, then, is the subject of negotiation between the producers and audience. Similarly, Roy Shuker has discussed stardom in popular music as a consequence of the interaction between artistic creativity and audience reception: Stardom in popular music, as in other forms of popular culture, is as much about illusion and appeal to the fantasies of the audience, as it is about talent and creativity.

Stars function as mythic constructs, playing a key role in their fans ability to construct meaning out of everyday life. Such stars must also be seen as economic entities, a unique commodity form which is both a labour process and product, effectively brands who mobilize audiences and promote the products of the music industry. Shukerp. Importantly, Shuker argues that fascination with the stars of popular music cannot be simply explained in terms of the political economy.

Values such as authenticity, which are invested in individual musicians, create and maintain the notion of the star through the fanatic ritual of adoration and transcendence. Many contemporary stars are now frequently considered auteurs, carefully maintaining control over their public profile.

While there might be many biographies of, or extensive literature on, a popular musician or band written by both journalists and academics, Shuker is one of only a handful of scholars who have considered the connections between popular music, stars and stardom more broadly. The interrelationship of ritual, pleasure and economics in popular music.

The musical icons, the stars, cultural myths and the stardom are inherent in popular music and vital to its existence. There is a fine distinction between popular music stardom and auteur status; the latter signifying the reception of an artist as being genuinely creative, and one who explores and extends the dimensions of their art form.

Moore and Keir Keightley Stardom, in conjunction with endurance, is one factor that informs canonisation. The ability for the work of a popular music artist to be strongly received not simply at the time, but over time, is integral to its potential canonisation. However, as Carys Wyn Jones noted, the construction of a rock canon involves many records and artists widely received as non-rock music.

Inductions also include affiliates of rock performance such as electric guitar pioneers Leo Fender and Les Paul, and producers including Leonard Chess, Glyn Johns and Quincy Jones, suggesting that some associates and affiliates of canonised rock artists are received as equally important as the stars themselves. Another significant aspect of the role of stardom in the process of canon formation is the posthumous canonisation of popular music artists.

That the posthumous attainment of canonical status is more often attributed to stars of rock and hip-hop than those of pop music aligns with the critical reception of rock and hip-hop as valorising auteurship over the performance of the works of others.

It is unsurprising, then, that the star status of such artists becomes heightened upon their death. More recently, as Catherine Strong and Barbara Lebrun noted in Death and the Rock Starthere is a growing fascination with the ramifications of death in popular music, in terms of both commercial potential and reception. The authors themselves admit to a shared fascination with popular music. Definitions, Discourses, Interpretations. For example, the careers of former rock stars Gary Glitter and Ian Watkins, and pop star Gloria Trevi, all ended as a consequence of their convictions for serious crimes.

Therefore, documented histories, critiques and interpretations of contributions made by female and non- binary identifying musicians to popular music are limited. Of note, then, is that in this edited collection, three biographical chapters that focus on women musicians are presented. In a counter narrative to the desire for stardom are Australian musicians Judy Jacques and Wendy Saddington, who shrugged off star status in the s and s to pursue creative paths independent of the popular music industry.

She has successfully constructed, managed and facilitated her connection with her audience through the production of musical outputs perceived to be unique and significant within the current congested popular music landscape. This suggests that the immediacy and global capture of contemporary technology and social media provide greater opportunities for popular musicians to establish an audience base and then to operate more independently of the major industry players.

The late twentieth century has witnessed the rise of music technology stars, in terms of designers, engineers and equipment. Consider, for example, this definition of masterclasses for the convention of the Audio Engineering Society AES, : An AES Master Class is given by an expert recognized in the field; a well- known star with name recognition.

There is one presenter per session. An example would be having Rupert Neve talk about console design; or Mr Marshall talk about guitar amplifier design.

This can be thought of as a star discussing something that was famous, or a high-level tutorial, covering advanced applications. We hope to draw people into the convention to hear a star. The canonisation of popular music stars has, therefore, clearly extended far beyond artist, genre and recording. Today, the notion of popular music stardom is manifested in its most instant, gratifying and exaggerated form in the television reality program.

Su Holmesp. Reality television shows, including The Voice, X Factor and programs based on other similar formats, project an aspirational notion of stardom as manufactured, potentially transformative and instantaneous. Central to these shows are the music industry power intermediaries, in some cases in conjunction with the voting public, who decide which of the performers project the necessary star aura, narrowing the competition until an eventual winner is selected.

Unsurprisingly, many tensions exist surrounding these formats. The emphasis on singing and performing cover versions of well-known contemporary songs obscures understandings of stardom based on notions of auteurship and originality.

Since the consolidation of rock stardom in the s, perceptions of musicality and originality have been central to the attribution of The Olympics / The Robins - Big Boy Pete / Whole Lot Imagination (Vinyl) status to popular musicians and, therefore, to the shaping of rock and stars in the. Thus, overshadowing of these values within projections of popular music stardom presented in these reality television programs is often treated with suspicion.

Yet, these shows successfully achieve the mediation of the aesthetics of stardom via live performance and the pressures commensurate with performance to large audiences. To reveal these somewhat intangible aesthetics of stardom, Mark Duffett has explored the aura elicited by musicians in live performance.

Critically, he noted heckling by audience members as a symbolic gesture that not only shifts the power balance between performers and fans, but also disrupts the aura of stardom emanating from the stage. Therefore, in popular music studies, we see the notions of stars, stardom and celebrity manifest in myriad ways.

While we do not seek to investigate all potential lines of inquiry within this collection, nor discuss all artists considered stars of popular music, the studies brought together in this volume illuminate some interesting perspectives that serve to contribute to the developing discourse on stardom in popular music. When first discussing a theme for the Conference of the Australia and New Zealand branch of the International Association for the Study of Popular Music IASPMa focus on stars and stardom within popular music emerged after it was realised that, surprisingly, such an investigation had not been previously attempted in either a regional or an international conference of IASPM.

Stars and stardom, it seemed, were so intertwined with contemporary popular music that their alignment had almost been taken for granted. Biographical appraisals were prevalent, and various applications of astronomical metaphors, in both cultural commentary and academic discourse, illuminated many inquiries.

Others provided a critical discourse of stardom in the popular music industry more broadly. Collectively, the presentations demonstrated. The chapters that follow derive from papers that were first delivered at the conference, and serve to demonstrate that there remains scope for continued analysis of questions of stardom as they relate to popular music, its production and its reception.

The aims of this book, therefore, are threefold. First, in assembling a collection of chapters dedicated to the study of stars and stardom, we hope to bring together an overview of current discourse in this important, yet varied field. Second, we aim to expand on understandings of The Olympics / The Robins - Big Boy Pete / Whole Lot Imagination (Vinyl) via seven key works, each of which approaches the topics of stars and stardom in popular music from original angles.

Third, we aim to reveal understandings of stardom by focusing on areas usually hidden in mainstream cultural commentary. This collection, therefore, explores stardom with emphasis on gender in chapters by Robin Ryan, Julie Rickwood and Phoebe Macrossanrace in chapters by John Whiteoak and Vincent Perrythe understudied areas of stardom in songwriting in a chapter by Clive Harrison and in the confluence of popular music and opera in a chapter by Eve Klein.

Here, Whiteoak critically. This book makes a significant contribution to understandings of stars and stardom by revealing contributions made to popular music by understudied female artists. In this critical biography, Ryan traces how Jacques negotiated a complex of stardoms during her career.

First, Ryan recognises Jacques as a teenage jazz star and the formation of cult status surrounding her artistry. Providing another perspective on the Australian female artist and stardom, Julie Rickwood considers the legacy of the late underground rhythm-and- blues artist Wendy Saddington. Perry considers the concealed nature of recording artist backing bands in the s and the tensions between musician anonymity relative to star performativity.

This account of practice-led research recreates the environmental, instrumental and aesthetic components of a Motown project and evaluates interpersonal skills, the limitations of historical recording processes and unified performance as major factors on its success. In a chapter on the clashing of worlds of stardom, Eve Klein considers both the musical synergies and critical tensions in a record conflating two stars of entirely different musical spheres.

These chapters conceptualise the manifestation of stardom in popular music and in wider media. In doing so, they reveal hidden stars, illuminate fading stars, foreground shadowed stars and offer a breadth of analytical and contextual insight into this evolving discourse.

References Adler, M. American Economic Review 75 1 : — Ginsburg and D. Throsby, — Amsterdam: North-Holland. Audio Engineering Society. Bennett, S. Journal on the Art of Record Production 7. Binh Minh, H. Reuters, 1 August. Boorstin, D. New York: Atheneum. Boudreaux, R.

Sydney Morning Herald, 23 December. Brady, A. Celebrity Studies 2 3 : — Popular Music History 4 3 : — Csikszentmihalyi, M. In Conception of Giftedness, edited by R. Sternberg and J. Davidson, — New York: Cambridge University Press. Deller, R. Celebrity Studies 7 3 : — Popular Music and Society 32 1 : 37— New edition, with a supplementary chapter and bibliography by Paul McDonald. London: British Film Institute. Original edition, Heavenly Bodies: Film Stars and Society. Abingdon: Routledge.

Geraghty, C. In Reinventing Film Studies, edited by C. Gledhill and L. Williams, — London: Arnold. Gledhill, C ed. Stardom: Industry of Desire. London: Routledge.

Oxford: Oxford University Press. Grohl, D. Rota and J. Sound City. Roswell Films Ltd. Holmes, S. Television and New Media 5 2 : — A Short History of Celebrity. Princeton: Princeton University Press. International Review of the Aesthetics and Sociology of Music 27 1 : 53— Celebrity Studies 3 1 : 1— Frith, W. Straw and J. Street, — Cambridge: Cambridge University Press.

Celebrity and Power: Fame in Contemporary Culture. Minneapolis: University of Minnesota Press. McNally, K. Urbana: University of Illinois Press. Moore, A. Popular Music 21 2 : — Kolker, — Oxford University Press. Redmond, S. Celebrity Studies 1 1 : 81— Redmond and S. Holmes, 1— London: SAGE. Wales Online, 19 December. Rosen, S. American Economic Review — Shuker, R. Abingdon and New York: Routledge. Understanding Popular Music Culture.

Shumway, D. Death and the Rock Star. Toynbee, J. London: Oxford University Press. Turner, G. Understanding Celebrity. Bonner and P. Warwick, J. Popular Music and Society 35 2 : — Aldershot: Ashgate. Clive Harrison. Introduction Within the broadest cultural realm, and through the varied creativity definitions and process models presented by scholars Bastick, ; Csikszentmihalyi,p.

Kaufman and Beghetto proposed an expanded model of creative magnitude in which mini-c refers to creativity in children, little-c refers to everyday innovation, Pro-c refers to professional creative expertise and Big-C refers to eminent accomplishment of paradigm- shifting or domain-changing creativity pp.

Rather than view the songwriting goal as a binary, such as exploration and process, or the presentation of an artistic product, it is suggested that it is a confluence of all three. That is, a willingness and enthusiasm for exploration, a fascination with process and a consciousness of the presentation of an artistic product. To consistently deliver worthy song contributions to the songwriting domain as a field professional, the Pro-c songwriter s need to act within the systems model of creativity Csikszentmihalyi, ; Feldman, Csikszentmihalyi and Gardner, That is, they must acquire an expert knowledge of the domain, create songs that are deemed creative for simplicity, defined herein as novel, useful and nonobvious 1 and have access to the field—the experts, intermediaries, gatekeepers, critics and audience in that society.

Overview For this discussion, songwriting will be viewed as a creative task with varying degrees of magnitude from mini-c, through little-c, then Pro-c and, finally, the Big-C creativity of exemplars. Located within the sociocultural, and subject to the interdependency of field and domain, the following factors identified as influencing the creative process are examined: discriminant pattern recognition, naturalistic intelligence, productivity, fruitful asynchrony, propulsion theory, risk, field switching, expert variation and selective retention, and the production of significant works.

For songwriters, it is posited that focus should be directed to its acquisition, rather than to factors beyond their control the opinions of a particular music critic, for example, or a fortuitous opportunity occurring. Adeptus and its Acquisition By acquiring the habitus Bourdieu, of the songwriting domain— that is, knowledge of the practical skills, techniques, concepts and procedures necessary for creating appropriate lyric, melody, harmony, rhythm, texture and style—quality song artefacts are more likely to be consistently created.

Directed practice and reflection on songwriting procedures over an extended period is also necessary to develop expertise as a songwriter as is the case with instrumental practice. Then I went to New York City and then out on the chitlin' circuit, behind the Cotton Curtain, where our first stop was North Carolina and I got slapped right in the face with dis- crimination and racial prejudice.

Hence, Seattle bands like Dave Lewis and the Dynamics have developed original and natural styles of playing that are welcome alternatives to the pop music that is packaged and peddled by Madison Avenue and shoved down the ears of gul- lible subteens as "music of today. In fact, the best Pa- cific Northwest bands did not reject anything at all, including 53 what Coryell believed to be "Madison Avenue pop," but main- tained an elastic attitude that incorporated everything it heard in idiosyncratic ways: This is as true of Jimi Hendrix as it is of Quincy Jones and, for that matter, grunge bands like Soundgar- den, Seattle's rap kingpin, Sir Mixalot, or even that poor 01' hack, Kenny G.

Out of this stew of influences a Pacific Northwest rock aes- thetic began to emerge. It boiled down to a willingness to try anything, make any unlikely noise, adapt all available resources in the service of shaking the spirit. Outsiders thought of Seattle as wild, but locally Tacoma was re- garded as the genuinely tougher place-smaller, more industri- alized, more working class, more militarized, and more ethnic than Seattle, suffering beneath the noxious "Tacoma aroma" produced by the city's mills, a Northwestern Nazareth from which nothing good could come.

It was in Tacoma that the great rhythm and blues singer Little Willie John stabbed a man to death and wound up spending the brief rest of his life at the state pentitentiary in Walla Walla.

The secret of Pacific Northwest rock is that the best bands of the fifties and the sixties -including the Wailers, the Sonics, and the Ventures-all hailed from Ta- coma, not Seattle. Buck and Bill may have been rock'n'rolllon- ers, but not for long. The area's most important band of the frl'- ties was not the Bluenotes but the Wailers, a group whose members were drawn from several different Tacoma high schools, including Coliseum.

In and nothing that could be called a "rock scene" existed. The Wailers came together as a fundamentally instrumental combo drawing on the light jazz styles professed by Dave Lewis and the then popular "cool" West Coast jazz style. It wasn't until Buck scraped together the cash for the first Fender Precision electric bass that showed up in a Seattle music shop in early that the Bluenotes became a recogniz- able rock'n'roll group.

We just thought that the natural configuration for a rock band at that time would be bass guitar, lead guitar, drums, sax- ophone, piano, organ. So we had a Wurlitzer, which was our piano, we had an M3 organ-that was our configuration. And eventually what we did in the Bluenotes was, we added another tenor and a baritone sax and we had that real rich sound.

No brass, all saxes. Warm, hard. They had jugglers and dancers and we happened to win. So they put us on a half-night with this country band. At first, the audience was 25 percent rock'n'roll people and 75 per- cent country. Then Then 75 percent for us. Then percent. The owners couldn't believe it, that people would come out and pay to see this stuff.

And they were at what might have been the most beautiful high school in North America, for Coliseum High overlooked the full sweep of Commencement Bay from a hilltop perch that held on one side a natural amphi- theatre-the Coliseum-where football games were played in full view of what seemed to be the entire north Pacific.

No mir- acle that such a school produced more than its share of dream- ers. Yet American working-class high schools consider it their mission to stamp out dreaming in favor of students who follow orders and get down to business.

This is nowhere truer than at working-class American high schools abutting military bases, pulp mills, sawmills, and aircraft factories. You didn't have to be a bookworm to understand that, you just had to be alive enough to grasp the dehumanizing futility of what the faculty passed off as success.

Perhaps this accounts for the eventual status of that fine chemistry student, Rockin' Robin Roberts, as Seattle rock's prime wildman. He had a lot of nervous energy and he let loose with it wherever he was. He was a genius, really.

He was a chemist, eventually got a master's degree. And he was 55 the greatest natural-born entertainer I've ever seen. He was alive. It could also make you a star. But first you had to make the leap. The way Buck remem- bered it, "You had the city fathers, the city mothers, trying to protect the kids from this rock and roll music. It was only going to last a year anyway. It wasn't even called rock and roll then. There wasn't really a name for it until somebody coined the word: rock and roll.

It was rhythm and blues then, or rockabilly in the Southeast. Then hey, that rocks, that rolls. It was black talk, old blues guys rapping. You had to find your own places. We'd play parties and once in a while we'd go out and rent a hall, a grange hall or fire hall or Norwegian hall, you know; and get four, five hundred people to come out.

You couldn't do the teen dances. The only teen dances were the ones the high schools put on-chaperoned, ballroom situations-with an old band playing foxtrots and so on. It was Holden was about 19; none of the other band mem- bers were yet The cops came by and I was arrested for contributing to the delinquency of minors.

There he wrote his big hit, "Love You So," whose lyrics started out as part of a letter he was writing to his girlfriend. Sitting in his cell with nothing better to do, Holden improvised a doo-wop melody to the poem. But my brothers, Oscar Jr. He heard my 'letter' in jail and asked me to come and see him.

So I sang it for Larry and his wife, Mary. She had this label, Nite Owl, with Chuck Margolis. She loved the song, so Larry Nelson recorded it; he put together the Thunder- birds for me to record it with. But with its pledge of "true love for all eternity" and its ghostly melody whose mildly dissonant or- igins are in Little Bill and the Bluenotes' "I Love an Angel" of the year before, and resurfaced four years later in 1.

Frank Wil- son's Top 10 "Last Kiss"its clunky wood-block accents and its rhumbafied rhythm, "Love You So" finally transcends ghastly to become haunting. Holden's vocal was the one part of the record that stood out clear and strong.

What he'd written encapsulated every awful teen love song cliche, so much so that the song could have been penned by a rock-hating parodist like Stan Freberg or Steve Al- len as a gag. Actually, a lot of record labels came in - Liberty, War- ners. But they all said, well, we'll take the singer and do a five- year development plan, but this record is a piece of shit," Holden said. Bob Keen was the only one who came in and said, 'Here's some money. Let's go. The Northwest had turned out a variety of good records that were also strong sellers in recent years, the best of which might have been the wimp-perfection of the Fleetwoods' "Come Softly to Me" and "Mr.

Blue," each of which hit 1 in His accomplish- ments include something far more significant than putting a crude anthem of puppy love, no matter how definitive, into the Top Holden's bands always had an unconven- tionallineup. The group had drums, piano, two horn players, and Holden himself sitting on a stool as Richard Berry often did with bongos between his knees, leaning forward into the mike to sing. But their most important member-in some ways eclips- ing Holden himself by the singer's own account-was Carlos Ward, who played baritone, alto, and tenor saxophone, flute and "all woodwinds.

These would pit the Playboys in a face-off against the Wailers, or the Wailers against the Frantics, or one of those against Little Bill and the Bluenotes, or one of the dozens of other new bands now cropping up.

The aim of local promoters may have been to pit the new wave of rock bands against each other like so many low-level club fighters. Sometimes it worked out that way: "They were almost like gang wars-inasmuch as they were inter-city rival- ries," setting bands from Seattle against those from Tacoma, the way both Holden and Ormsby remembered it. But the bands thrown into competition at ballrooms like Parker's, the Encore, the Eagle, Tacoma's Crescent Ballroom, and the Spanish Cas- tle-the jousting arena between the two biggest towns-failed to feud.

Instead, those groups "became a fraternity that will last until we die because we went through so much together as bud- ding rock'n'rollers," as Holden put it. To me, it started to create a healthier scene. And the Wailers were sorta the hub of that. Because with a hit record right out of the chute, it just gave people incentive-God, we can do that too. Sometimes you'd have two guitars plugged into one amp-I mean, that was the way it was.

This brotherhood encompassed not only the big-time bands but dozens that never hit the charts and would be forgotten ex- cept for collectors. Or except for the fact that one or another of such a lost band's members-for instance, Larry Coryell of the Dynamics and the Checkers, or Jimi Hendrix of the Rocking Kings-went on to careers outside the Northwest, in the big-time music world that believed in its predictable ignorance of its own origins it had nothing to do with the territory up around Puget Sound.

In that world inhabited by the music business, rock'n'roll wasn't even an issue; rock faltered and "died" in and You probably know the autopsy findings: Elvis went into the Army, Chuck Berry was sent to jail, Little Richard sent himself back to church, Jerry Lee Lewis was banned for marrying his year-old cousin, the plane carrying Buddy Holly and Ritchie Valens and the Big Bopper went down, and perhaps most dam- aging of all Alan Freed and a host of other deejays were ruined in the payola scandal.

So the Big Beat ceased to dominate the airwaves-untilwhen the Beatles and the blessed British Invasion arrived.

It didn't happen that way. Ask Berry Gordy and the gang at Motown. Ask the Beach Boys. Ask the Four Seasons. Or trust the ghost of Casey Stengel, and get off your own lazy butt and go ahead and look it up. The facts are right there in the charts. In places like Motown or the Pacific Northwest, beat music still kicked hard as ever.

That may have been what the serge-suited record and radio executives of America hoped had happened; it may have been the result that the united martinet vice-principals of U. But in reality, the music prospered and took on new forms. The teenage rock bands of the Pacific Northwest built a great lost rock'n'roll scene in those years when the Big Beat wandered in the wilderness and, not only that, without the help of a single Brit, they created one of the first great modern rock scenes, one in which spirit and community were central for both musicians and audiences.

The dancers on the floor and the players on the stage came to enact a ritual to the call of duh duh duh. Nothing mystical about it necessarily ; perhaps they were doing nothing more than trying on gestures that might give some lift to the lives they were leading at school.

And maybe afterward, when it turned out that high school never ended, that the hall- way hierachies and locker-room bullying only got worse in col- lege and at work, maybe duh duh duh. And maybe some of them, deciding that enough was enough, simply danced to duh duh duh. Maybe it was just that and noth- mgmore.

Or invent your own explanation. But much as many hated it, rock'n'roll did not die and, somehow, duh duh duh. At the battles of the bands, Ron Holden said, the hip kids did the dirty boogie and the bop, competing for a prize.

I gave them the perfect song for chalypso - 'Louie Louie. It gave us victories because it crossed all lines with its rhythmic pattern and its sensuous beat and the message that it sent. And the rivalry became broader and bigger, especially with the development of the Wail- ers, and especially when the Wailers got Gail Harris and Rockin' Robin Roberts. With Holden out of town, "Louie Louie" went up for grabs. Every band in the area played it. Crowds loved it, often demand- ing to hear it several times a night.

But nobody owned it. It was just a song that "everybody" -the Wailers, the Bluenotes, the Frantics, and the new bands that sprang up in the wake of their success-played, like a Buddy Holly or Chuck Berry song. In fact, a lot of people say that it was the Frantics who did the best version of the Richard BerrylRon Holden arrangement. The Bluenotes split up. Rockin' Robin and Buck held the group together only a few months. Mter all, Orsmby pointed out, the two groups had often swapped personnel: "The Bluenotes would open for an artist like, say, James Brown.

And after our slot in that show was over, 1'd go out and sit in with the Wailers for the last half of their night. It didn't happen every night but as often as I could. Around the same time, Rockin' Robin started singing with them, although he was only one of three vocalists the others were the Orbisonesque Morrill and the extremely teenage belter Gail Harris, whom Buck remembered as "a year-old white girl screaming rhythm and blues rave-ups".

Rock shows proliferated throughout the Northwest from local gigs down to Portland, Oregon, and through the Cascades, west to Boise, Idaho, and east to Wenatchee. The Wailers and their mates and imitators played in hamburger stand parking lots and on the rooftops of drive-in theatre concession stands.

They played to preppy high school kids and grease balls in car clubs, to servicemen barely ready to shave and workers spoiling for a new kind of honky tonk, every weekend and all through the week once school let out.

The toughest crowds came from the car clubs, groups like the Stompers or the Roman Wheels, who weren't the low-riders of East Los Angeles but, Ormsby remembered, "a bunch of people in hot cars, drinkin' beer, havin' a good time, goin' out to dances. And they all had these real hot cars and they'd go toolin' around.

Fifty of 'em would show up at a drive-in restaurant after the dance. But the car The Olympics / The Robins - Big Boy Pete / Whole Lot Imagination (Vinyl) were only the edge of a scene whose emotional essence one observer described as "a rough, remote cool.

Though their hit record made them regional stars, the Wail- ers still toured like the small-time show band they were. This was a regular auto, just a car. And nothing on top, unless we had a couple of bags; then we'd get one of those baskets, we'd put our suitcases on top, and the car would sit about one inch off the ground, you know," said Ormsby. Five hours to go a little more than a hundred miles, then "Just set up and go - that was before the union thing" - seems so primitive by today's standards that the Wailers might as well have been moving around by Conestoga wagon.

To prepare themselves, they practiced in garages in their little working-class neighbor- hoods of single-family one-story frame bungalows on small city- size lots.

The group's sound equipment was as primitive as its trans- portation and rehearsal space. They had "two mikes running through an amp-like little contact mikes. And we never had any PA system. So a little later when we played for 2, people with a Bassman four-speaker amp and maybe a Standell with two 12s [inch speakers] in it, it was loud. It was. And maybe a Bogen amplifier with two University horn speakers. They were big metal horns with drivers on the back-that was our P. Then you could create energy just with not a whole lotta sound.

It was electricity, you know, it was energy. And you just learned how to do it. It wasn't power because it wasn't any pow- erful amps. It depended on how you played it and how The Olympics / The Robins - Big Boy Pete / Whole Lot Imagination (Vinyl) mixed yourself. Jazz guys did the same thing, how they worked off each other. So it was a real good way to learn how to create that energy because you never really had anything that was distracting you or giving you a false impression of how you were really mixed in with the band.

I mean you actually had to do it to get the strength. You know, fusing. You know, the idea of what people thought white music was. Because they really didn't know. I al- ways thought that maybe Dick Clark just fed people a lotta mu- sic. Or Pat Boone doing Fats Domino. And that's what white people thought it was.

But when they heard us do our own versions of those songs they went, 'Holy mackerel! Where'd this come from? It was okay then to go to a dance if you were 15 and We wore suits. We all dressed alike-had uniforms, sort of, but they were normal suits. We wore ties and stuff. I look at pictures of the Beatles and they got the same drift goin', y'know?

Had labels like the Wailers' New York-based Golden Crest or the Bluenotes and Fleetwoods' lo- cally-owned Dolphin later Dolton possessed either vision or development capital, the whole story might have turned out dif- ferently.

Or maybe if some sharp-eyed promoter with a sense of what all this weekend furor portended had turned up, the whole Northwest scene would have burned itself out in six months, and all that talent and energy would have gone to a fate more tawdry than the mere obscurity that awaited it.

But one way or another, the verve and invention that bands like the Wailers possessed were displayed in isolation. Records leaked out and, because no- body thought of a "career," because the record label was on to the next good sound or the guitarist's girlfriend wanted to get hitched and settle down or the Army drafted the drummer, the show stopped. By the end of the Wailers were through with Golden 65 Crest, a label to which their connection had never been more than third-hand anyway.

Mineo put them in touch with some recording industry types from New York. Anyway, this guy flies out at A. He set up a microphone on a foot stand, pointed at the stage, and said, 'Play. But maybe that was just a demo date- "Tall Cool One" didn't chart until the following May. We thought that's how you did it We got a call from Dick Clark in Philadelphia, and he said, 'You boys come out and be on my show.

We were like the Three Stooges; we didn't know what we were doing. We were missing half our gigs. The rest of the band wanted to put out "Dirty Rob- ber," which featured a Morrill vocal. By latethe Wailers had re- nounced their contract with Golden Crest most of the band members were only 16 years old when it was signed and had begun looking around for a new opportunity.

So Ormsby con- vinced Kent Morrill and Rockin' Robin that they should start their own record company, and the three of them formed Eti- quette Records, which consisted of not much more than a hand- shake among themselves and a red and black label logo.

To make it more, they needed another Wailers hit. Casting about for material, they heard the siren call of duh duh duh.

Lay, Lady, Lay - Bob Dylan - More Bob Dylan Greatest Hits (CD), Just Move Along, Alicia Bridges - I Love The Nightlife (Disco Round) (Med Mix 87) (Vinyl), Pino Sansanelli - Pino Sansanelli (Vinyl, LP, Album), No Regrets - Jimmy Barnes (2) - No Regrets (Vinyl), Todd Rundgren - A Cappella (Vinyl, LP, Album), Little L (Shelter Beats), Head <<Cabeza>> - Prince - Dirty Mind (Vinyl, LP, Album), Out In The Night - Various - Dance Dance Dance - 100% Funk (Vinyl, LP), Inside Your Soul (Da After Remix), Memories of Days Gone - Basil Poledouris - The Touch (CD, Album), Love Glove (Alternate Version) - Visage - Love Glove (Alternate Version) (Vinyl), Oman - Dead Can Dance - Toward The Within (CD, Album), Auf, Matrosen! (Remix 1) - Automatic Noir - Auf, Matrosen! (CD)