Kind of a minor league version of the Doors, Clear Light
were a West Coast phenomenon, and although they didn't last too long,
were an interesting group. A very good slice of Los Angeles psychedelia,
were a six-piece band that combined folk, rock, psychedelia, and even a
touch of classical to their sound. The end result, though, is a little
ponderous and pretentious, but strangely listenable.
The big hit off
this album (produced by Paul Rothchild and engineered by Bruce Botnick) was "Mr. Blue," a psychedelic folk song written by Tom Paxton. It's over six-minutes long and a bit overbaked, but it does have an odd appeal. The finer moments are guitarist Bob Seal's psychedelic folk-rock songs, namely "With All in Mind" and "They Who Have Nothing." Singer Cliff DeYoung went on to have a successful acting career, bass player Doug Lubahn played on the early Doors albums, Dallas Taylor went on to drum for Crosby, Stills, Nash & Young and John Sebastian, and keyboardist Ralph Schuckett
became one of the more popular West Coast session players and
arrangers. A lot of talent in a short-lived ensemble. Dated but charming
West Coast psychedelia.
This is a fine piece of progressive pop psychedelia
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The Shakes is a garage power poppey band from L.A. as far i know. They have a real relaxed sound with good melodies and straight forward arranged songs. I only know this album by the band and i have no further information. Give it a try
In 1966, this Wilmington, DE, group released one of the best garage rock
singles, "She Already Has Somebody," a moody, melodic original on par
with the best efforts by the Zombies. Led by guitarist, singer, and songwriter Ted Munda,
they were popular in their region and totally unknown elsewhere,
releasing a few singles on a tiny local label. It may seem like a slim
legacy, but the group's output stands considerably above the norm of the
hundreds of other comparable American regional garage bands of the
time, due primarily to Munda's fine melodic songwriting, heavily influenced not only by the Zombies but by the Beatles and Beau Brummels. In 1967, Munda formed Friends of the Family, who explored jazzier and more progressive directions, resulting in some interesting material.
All seven songs from the Enfields'
four extremely rare singles, as well as eleven demos recorded by
Friends of the Family in 1967 and 1968. A well-above-average '60s
The Olivers from Fort Wayne, Indiana are best known for their highly
sought after 1967 Picture Cover 45 on Phalanx Records titled "I Saw What
You Did" b/w "Beeker Street". The single got picked up by RCA Records
for nationwide release and is today rated as one of the best and most
exciting double sided major label garage 45s of the 1960s. A planned
second single and LP release for RCA never happened. Long standing
rumours of a "Lost LP" however, were confirmed when a one-of-a-kind
reference acetate of an unreleased GRT album by The Olivers was found
The album, recorded after several line-up changes in early
1969 at Dove Studios in Minneapolis turned out to be a psychedelic
jewel. Unjustifiably shelved 40 years ago, this amazing organ drenched
fuzzfest proves that the band does not only deserve the plaudit "Indiana
Sixties Rock Heroes", but also had the potential for the national
breakthrough that never happened. (reader at discogs)
The Olivers "Beeker Street" Released in 1966"Beeker Street" is an incredible blast of garage-psych madness from Fort Wayne's Olivers.(www.nuvo.net)
It's not easy to get a review of this compilation but to me is what ''nuvo.net'' said about the band that's meets it the best. If you are not a fan of garage music of the sixties maybe this is not what you want :-). To all of the sixties garage fans
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A better title for this 58-minute, 20-song CD might have been The Best of the Easybeats 1967-1969. Like virtually all of the compilations of this band's work (with the notable exception of Absolute Anthology),
Repertoire Records' best-of ignores the group's 1965 and early-1966
Australian sides and their early hits in that country in favor of
distilling down the group's work beginning with "Friday on My Mind."
That might be the work that is best known to most listeners outside of
Australia, but it also gives a skewed perspective of the group's work --
similar to if someone started a Beatles best-of with "Penny Lane." Neophytes might think from this that the Easybeats
started out as a psychedelic rock outfit, when they actually made some
punchy British Invasion-style music for a couple of years. In fairness,
the sound here is excellent, and the choice of songs is good within the
confines of the disc -- one just wishes that some of the more forced
"good-time" music was supplemented with a few of those early rockers,
perhaps in place of a couple of the later, serious songs. The
annotation, surprisingly, is minimal, without even the inclusion of
release dates or histories on the individual songs.(allmusic.com)
The reason why i post this ''Best Of'' is first that i believe there are people who don't know the band and for the second i think this is a compilation of the creative high times of the band (imho :-) ) and here is no filler. All on the record is very good stuff. If you don't know the band grab it.
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Heavily influenced by the quintessential American
power pop acts Fountains Of Wayne and Jellyfish, York, England’s
1998-formed Farrah originally comprised former video shoot runner Jez
Ashurst (b. York, North Yorkshire, England; guitar/keyboards/vocals) his
school friend Mike Walker (b. Michael Ian Walker, York, North
Yorkshire, England; bass/vocals) and Tom Marsh (b. York, North
Yorkshire, England; drums/percussion). Intelligent guitar-based English
acts such as Squeeze and Supergrass also provided inspiration to this
exuberant outfit for their unashamedly catchy, hook-filled material.
Andrew Campbell (b. Uppsala, Uppsala Ian, Sweden;
guitar/keyboards/vocals) joined a year later, in time for the release of
their debut single, ‘Terry’. This caused a minor furore when
confectioners Terry’s Of York objected to their chocolate being featured
on the artwork.
When 80s pop sensation T’Pau re-formed in promotion
of their Red album in 1998, Ashurst was part of their live set-up and
would remain so for many years, alongside his frontman role in Farrah.
Marsh was replaced in 2000 by Max Fidani prior to the recording of
Farrah’s debut, Moustache, with T’Pau’s Ron Rogers. While the tapes
impressed Warner Chappell enough to offer the band a worldwide
publishing deal, they were also signed to Miles Copeland’s Ark 21
Records. Fidani’s tenure with the band was short-lived and he was soon
replaced by Mike Hopkins (b. England) when the band relocated to London.
A further line-up change came in the form of occasional Montana member
Michelle Margherita (b. Cooma, New South Wales, Australia; bass/vocals)
when new father Walker moved back to York in 2001.
While 2004’s Me Too displayed a harder rocking edge
and 2007 brought the eclectic, slickly produced follow-up Cut Out &
Keep, the band failed to break into the mainstream and Hopkins soon
departed. Between these releases, Ashurst had carved out a career in
composition, writing material for ex-Blue pin-up Duncan James and
Japanese superstar Kaela Kimura among others.
Real good Power Pop band from the '00' years. If you like bands like Jellyfish and the other bands who noted in the review (no, not T'Pau) and you love very good melodic songs with fine arrangements you're right here. The chorus background harmonies remembers me to the Rosenbergs.
The band offers here a lot of pop gems of the highest order of this kind of power pop.