The band was formed in 1966 by student musicians from Oxford, Ohio,
who had played the college bars with their previous groups that included
The Wombats (Nave), Ivan and the Sabres (Browne) and Tony and the Bandits (Bartlett, Albaugh and Dudek). The band played a mixture of blues, hard rock and folk rock, with a few covers from Byrds and The Who. They gigged regularly in an Oxford bar called The Boar's Head, and Cincinnati underground rock venues, The Mug Club and later The Ludlow Garage, and released a single on the Carol Records label,
"Quiet Please". The original band existed as a quartet, and then gained
notoriety by reaching the finals in the Ohio Battle of the Bands at the
Cleveland Public Auditorium in 1967, losing out to the James Gang.
The band then recruited Miami University student Browne as frontman, and also engaged Ohio music-industry impresario Mark Barger, who steered the Lemon Pipers to Buddah Records, then run by Neil Bogart. The Lemon Pipers, relying in part on advice from Barger, agreed to enter into a recording contract and music publishing deal with Buddah. The group began playing larger auditorium and concert hall venues around the US, including an appearance at Bill Graham's Fillmore West in San Francisco on the same bill with Traffic, Moby Grape and Spirit on March 21, 1968. Buddah's plans for the group focused on bubblegum pop rather than rock, and the Lemon Pipers joined a stable already containing Ohio Express and the 1910 Fruitgum Company. Paul Leka was assigned to be their record producer.
Buddah did not know how to handle the band at first and the group's
debut on Buddah was a Bartlett composition, "Turn Around and Take a
Look". When the song failed to make the charts, the label asked Leka and his songwriting partner, Shelley Pinz, who were working out of a Brill Building office on Broadway, to come up with a song. The pair wrote "Green Tambourine" and the band reluctantly recorded it. The song entered the Billboard Hot 100 at the end of 1967 and reached No. 1 in February 1968 on the Billboard and Cashbox charts. The song peaked at No. 7 in the UK Singles Chart, and was also a hit worldwide. It sold over two million copies, and was awarded a gold disc by the Recording Industry Association of America (R.I.A.A.) in February 1968.
The success of "Green Tambourine" caused the label to put pressure on
the group to stay in the bubblegum genre, and in March 1968 the band
released another Leka/Pinz song, "Rice Is Nice", which peaked at No. 46
on the US Billboard charts, No.42 on the US Cashbox charts and No. 41 in
the UK in May.
The band had little enthusiasm for either song, however, dubbing them
"funny-money music" and recording them only because they knew they would
be dropped by Buddah if they refused. "Ordinary Point of View", written by Eric Ehrmann and featuring a Bartlett country solo, was recorded, but rejected by Buddah. Disenchanted with Buddah and the music industry, Ehrmann stopped writing songs and went on to become one of the early contributors to Rolling Stone magazine. As is common with the music associated with the 1960s, a few copyright and royalties
issues connected with the previous owner of Buddah Records inherited by
current owners of the Kama Sutra music publishing catalog and Lemon
Pipers songs remain unresolved.
The Lemon Pipers evolution from 1960s rock music into a gold-record
bubblegum band created what Nave has described as "the duality of the
Lemon Pipers": "We were a stand-up rock 'n' roll band, and then all of a
sudden, we're in a studio, being told how to play and what to play."
The chasm between the label’s aspirations and the band’s own musical tastes became apparent on the Lemon Pipers’ debut album, Green Tambourine.
Produced by Leka, the album contained five Leka/Pinz songs, as well as
two extended tracks written by the band, "Fifty Year Void" and "Through
With You" (the latter, written by Bartlett, bearing influences of The Byrds
and, according to the original LP label, running 8:31 in length). "Ask
Me If I Care" written by Ehrmann, was also featured. Like Lemon Pipers'
members Nave and Albaugh, Ehrmann was a member of the Kappa chapter of Delta Kappa Epsilon fraternity. Writing in Bubblegum is the Naked Truth, Gary Pig Gold
commented: "It was the Pipers’ way with a tough-pop gem in the
under-four-minute category which was most impressive by far: "Rainbow
Tree", "Shoeshine Boy" and especially "Blueberry Blue" each sported a
taut, musical sophistication worthy of The Move and, dare I say it, even the Magical Mystery Beatles
The band recorded a second album for Buddah, Jungle Marmalade,
which again showed both sides of the band – another Leka/Pinz bubblegum
song, "Jelly Jungle", (released as a single and peaking at No. 51 on
Billboard and No. 30 on Cashbox in the US), a version of the Carole King/Gerry Goffin penned song "I Was Not Born to Follow," and an 11 minute, 43 second epic, "Dead End Street"/"Half Light".
The band left the Buddah label in 1969 and later dissolved. Bartlett, Walmsley and Nave formed Starstruck, whose recording of a Lead Belly song, "Black Betty" was reworked by Super K Productions producers Jerry Kasenetz and Jeff Katz, and released in 1977 under the name of Ram Jam, featuring Bartlett.
Browne moved to California to continue playing music, Walmsley played
bass around Oxford. Bartlett became despondent and reclusive following
the death of his wife Dee Dee. Nave became a jazz disc jockey and played organ occasionally with The Blues Merchants in southwestern Ohio venues.
Drummer Bill Albaugh died on January 20, 1999, at the age of 53.
Classical bubblegum/sunshine band/project. Really great songs here on both albums. If you're in BubbleSun you can't passing by at this.
Cheers
Frank mp3@320
.
Tuesday, 31 January 2017
Second and third album ! The Buckinghams - Time & Charges (1967) & Portraits (1968) 2011 (Reissue) Flac
Born and bred in Chicago, Illinois, the Buckinghams were one of the
most successful groups of 1967. The band started the year off on a
banner note, as they netted a No. 1 hit single with their first single
“Kind of a Drag” — distributed by the regional USA label and appeared on their debut album of the same name.
By the time 1967 drew to a close, the Buckinghams scored 4 more Top 40 winners. And what an amazing feat that was, in light of the truckloads of incredible records arriving in the bins that fabled year. Revolution was in the air with acts like the Doors, the Jimi Hendrix Experience, Procol Harum, and Jefferson Airplane hawking psychedelic commodities. Although the Buckinghams traveled a different route than these bands, they were uniquely forward thinking in their own right.
Shortly after Kind of a Drag sent the band into orbit, they relocated to the Columbia label, where they cut a pair of excellent albums, Time and Charges and Portraits. Now, the always on-the-spot Sundazed Records has again reissued the platters as a solitary set, and here they are …
Released in the spring of 1967, Time and Charges opens up with “Don’t You Care,” which peaked at No. 6 on the national charts. Constructed of crooning horns, breezy boyish vocals and a plush finish, there was no way a tune this catchy could fail. The album also includes the band’s slinky, soul-drenched cover of Cannonball Adderley’s “Mercy, Mercy, Mercy” that seized the Top 5 that summer. Flooded with engaging tempos, complex movements, and a strict anti-war message, “Foreign Policy” is an elaborate progressive rock piece, and a beautiful version of John Lennon and Paul McCartney’s “I’ll Be Back” exerts a nip of a jazz feel.
The tail end of 1967 saw Portraits land on the shelves. Featured among the prizes on the collection are “Hey Baby (They’re Playing Our Song)” and “Susan,” which reached No. 12 and No. 11 respectively. Both these tasty tunes represented the sound and style the public came to know and love of the Buckinghams. Sweeping harmonies, reminiscent of the Beach Boys, combined with brassy horn arrangements and potent melodies were the magical ingredients directing the popularity of the band. But as their albums indicated, the band was adventurous and as daring as the best of the bunch. Rife with stinging guitar leads and rattling rhythms, “Just Because I’ve Fallen Down” is a particular mind-blower heard on Portraits while the rest of the record involves a nice balance of pure pop and horn rock.
Blessed with great vocals, solid chops and the tunes to match, the Buckinghams were an A-Grade band. Filled with songs that are fun, imaginative, arty, thought-provoking and just plain good, Time and Charges and Portraits are satisfying on every conceivable level.(Beverly Paterson)
Enjoy!
SB1 Flac
By the time 1967 drew to a close, the Buckinghams scored 4 more Top 40 winners. And what an amazing feat that was, in light of the truckloads of incredible records arriving in the bins that fabled year. Revolution was in the air with acts like the Doors, the Jimi Hendrix Experience, Procol Harum, and Jefferson Airplane hawking psychedelic commodities. Although the Buckinghams traveled a different route than these bands, they were uniquely forward thinking in their own right.
Shortly after Kind of a Drag sent the band into orbit, they relocated to the Columbia label, where they cut a pair of excellent albums, Time and Charges and Portraits. Now, the always on-the-spot Sundazed Records has again reissued the platters as a solitary set, and here they are …
Released in the spring of 1967, Time and Charges opens up with “Don’t You Care,” which peaked at No. 6 on the national charts. Constructed of crooning horns, breezy boyish vocals and a plush finish, there was no way a tune this catchy could fail. The album also includes the band’s slinky, soul-drenched cover of Cannonball Adderley’s “Mercy, Mercy, Mercy” that seized the Top 5 that summer. Flooded with engaging tempos, complex movements, and a strict anti-war message, “Foreign Policy” is an elaborate progressive rock piece, and a beautiful version of John Lennon and Paul McCartney’s “I’ll Be Back” exerts a nip of a jazz feel.
The tail end of 1967 saw Portraits land on the shelves. Featured among the prizes on the collection are “Hey Baby (They’re Playing Our Song)” and “Susan,” which reached No. 12 and No. 11 respectively. Both these tasty tunes represented the sound and style the public came to know and love of the Buckinghams. Sweeping harmonies, reminiscent of the Beach Boys, combined with brassy horn arrangements and potent melodies were the magical ingredients directing the popularity of the band. But as their albums indicated, the band was adventurous and as daring as the best of the bunch. Rife with stinging guitar leads and rattling rhythms, “Just Because I’ve Fallen Down” is a particular mind-blower heard on Portraits while the rest of the record involves a nice balance of pure pop and horn rock.
Blessed with great vocals, solid chops and the tunes to match, the Buckinghams were an A-Grade band. Filled with songs that are fun, imaginative, arty, thought-provoking and just plain good, Time and Charges and Portraits are satisfying on every conceivable level.(Beverly Paterson)
Enjoy!
SB1 Flac
The Kinks- You Really Got Me - The Best Of The Kinks (1980) 1999 Flac
The original release of this ''best of'' (the years '64-'67) was in 1980 by Pye records. This is the ''Castle Records'' release of 1999. What can i say? 20 songs from the first years of her career. I think most of you will have these songs but it is a good start if someone don't know the band.
I will post in a few days the ep's of the band with also a lot of strong stuff. Okay have fun and we
see (hear) later
Frank Flac
I will post in a few days the ep's of the band with also a lot of strong stuff. Okay have fun and we
see (hear) later
Frank Flac
Episode Six- Love, Hate, Revenge (The Singles a & b's, rarities, demos, live recordings) Flac
Anyone arriving from another planet who saw this and the other various collections out on Episode Six
could be forgiven for thinking that the band was a major part of the
1960s British rock & roll scene -- they could even be forgiven,
after hearing a lot of the contents of this double-CD set, for again
assuming that the band was a fixture on the charts, radio, and
television. And even this reviewer is at a loss to explain how Episode Six
never managed to chart a record, even in England, based on the contents
of the first disc in this double-CD set, which contains their single A-
and B-sides from 1964 through 1968.
But the fact is that they didn't, and that the raison d'etre for this and the other CDs of their work is explained in the big, violet-hued sticker on the jewel case that advises, "File Under 'Deep Purple'." This is all solidly commercial and eminently listenable British pop/rock of its era, and very nicely done, whether they were belatedly emulating a Merseybeat sound ("Put Yourself in My Place") or trying to sound like the Beach Boys ("Mighty Morris Ten" -- a sort of U.K. answer to "409"). The title track is a cool piece of psychedelic pop/rock, complete with a jangling fuzz tone-laden lead guitar part and exquisite choruses adjacent to Ian Gillan's lead vocals. Most of what's here has been out before somewhere else, but that doesn't make this fascinating for fans of the period of music in which this band worked, or devotees of Deep Purple's history -- everything here is at least as relevant (and perhaps easier to take on its own musical terms) as, say, Ritchie Blackmore's work with the British instrumental outfit the Outlaws or Jon Lord's work as part of Santa Barbara Machinehead; the fact is, this is the one precursor unit to Deep Purple that should have charted records in the middle/late '60s.
Disc two, designated "Rarities, Demos, and Live Recordings" is even better and more interesting, showing some of the rougher and more intriguing edges of their sound that got smoothed down in the process of completing their singles.
Certainly, no first-tier U.K. band of the time ranked below, say, the Hollies or the Move would feel defensive about anything on this disc, with the possible exception of the one digression here to harmony pop, "The Way You Look Tonight." (allmusic.com, Bruce Eder)
Hello folks, please don't be put off by the association with ''Deep Purple'' like i did it in the past. That was a big mistake by me. This band was a great ''British Invasion, Psychedelic/Garage, British Psychedelia'' band. This is a great collection of her work in the sixties. From garage beat to psychedelic pop further to a little more progressive style at the end of the band they had a lot of great songs.Surprisingly they sound in some songs very american influenced (Love is a swinging thing, Steal your heart). Anyway this was a top notch sixties pop band. Enjoy it!
Frank Flac
But the fact is that they didn't, and that the raison d'etre for this and the other CDs of their work is explained in the big, violet-hued sticker on the jewel case that advises, "File Under 'Deep Purple'." This is all solidly commercial and eminently listenable British pop/rock of its era, and very nicely done, whether they were belatedly emulating a Merseybeat sound ("Put Yourself in My Place") or trying to sound like the Beach Boys ("Mighty Morris Ten" -- a sort of U.K. answer to "409"). The title track is a cool piece of psychedelic pop/rock, complete with a jangling fuzz tone-laden lead guitar part and exquisite choruses adjacent to Ian Gillan's lead vocals. Most of what's here has been out before somewhere else, but that doesn't make this fascinating for fans of the period of music in which this band worked, or devotees of Deep Purple's history -- everything here is at least as relevant (and perhaps easier to take on its own musical terms) as, say, Ritchie Blackmore's work with the British instrumental outfit the Outlaws or Jon Lord's work as part of Santa Barbara Machinehead; the fact is, this is the one precursor unit to Deep Purple that should have charted records in the middle/late '60s.
Disc two, designated "Rarities, Demos, and Live Recordings" is even better and more interesting, showing some of the rougher and more intriguing edges of their sound that got smoothed down in the process of completing their singles.
Certainly, no first-tier U.K. band of the time ranked below, say, the Hollies or the Move would feel defensive about anything on this disc, with the possible exception of the one digression here to harmony pop, "The Way You Look Tonight." (allmusic.com, Bruce Eder)
Hello folks, please don't be put off by the association with ''Deep Purple'' like i did it in the past. That was a big mistake by me. This band was a great ''British Invasion, Psychedelic/Garage, British Psychedelia'' band. This is a great collection of her work in the sixties. From garage beat to psychedelic pop further to a little more progressive style at the end of the band they had a lot of great songs.Surprisingly they sound in some songs very american influenced (Love is a swinging thing, Steal your heart). Anyway this was a top notch sixties pop band. Enjoy it!
Frank Flac
Shapes & Shadows – Psychedelic Pop And Other Rare Flavours From The Chapter One Vaults 1968-72 (
If the latter part of the 1960s is your bag music-wise, you might want to check out Shapes & Shadows – Psychedelic Pop And Other Rare Flavours From The Chapter One Vaults 1968-72.
It’s another Cherry Red collection, this one via the Grapefruit imprint and a single disc collection of 26 tracks. According to the write-up, the Chapter One label, founded by songwriter Les Reed in 1968, had a couple of minor hits, but is perhaps more interesting for its misses – music that is now in serious demand from collectors and has cropped up on compilations of late in bits and pieces.
Hier noch ein Betthupferl zu später Stunde. Ich verabschiede mich mit einem freundlichen ''Gute Nacht'', denn ich geh' jetz ins Bett.
Sleep well
Frank
mp3@320
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