The Rock Scene of The Sixties
Tribute guitar of a Hendrix Monterey Fender.
The original Monterey Fender guitar was made in honor of the 30th anniversary of Jimi Hendrix's electrifying performance at the Monterey pop festival in June 1967. Jimi Hendrix burned his hand-painted guitar there.
Each of the 210 copy guitars were hand-painted by artist Pamelina H. She has some amazing work for the Fender Custom Shop as well as other guitar makers. Please visit her web site for an insite into her work - Pamelina H.
ref.: Andy's Custom Shop
A musical retrospect
ENGLISH SUMMARY
NOTE!The music scene of the 60s meant a lot to those of us, who were young at that time. Especially if you were a musician. The following is my own memories from that period - plus what kind people has sent me.
Most Danish bands are omitted in this English version. For complete review, see "Rockscenen i 1960'erne"
I regret if some links no longer works. The reason probably is, that the internet is under constant change. Instead, try Google, or music recordings at YouTube.
Please note, that you will find music stores, venues, stompboxes, amps, speakers and instruments on its own subpage: "Alt det andet".
If you have got further info on the subjects mentioned, or objections, I should like to hear from you. Please write:
Sincerely
Kurt Starlit
aka Cykelkurt
===================================================
GROUPS & SOLISTS GROUPS & SOLISTS Groups & SOLISTS GROUPS & SOLISTS GROUPS & SOLISTS GROUPS & SOLISTS GROUPS & SOLISTS GROUPS & SOLISTS
GROUPS & SOLISTS GROUPS & SOLISTS GROUPS & SOLISTS GROUPS & SOLISTS
GROUPS & SOLISTS GROUPS & SOLISTS Groups & SOLISTS GROUPS & SOLISTS
----- plus a little more -----
Bill Haley & His Comets huge hit in the middle of the 1950s: "Rock Around The Clock", where he together with Carl Perkins ("Blue Suede Shoes"), Elvis Presley ("Jailhouse Rock") and Eddie Cochran ("Summertime Blues") was leading the rebellion among young people of the 50's.
Tommy Steele in 1958 released "A handful of Songs", which was a big hit. The girls were crazy about him. Laurie London "He's Got The Whole World" soon followed, and the entire nation went beserk. When finally Italian singer Robertino hit the charts with "O sole Mio", not an eye was dry.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Jorgen Ingmann
My childhood in the 50s was characterized by Jorgen Ingmann, who started his one man recordings in the beginning of this decade. He is in a class of his own. Especially I admired his playing in "Echo Boogie".
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
I was a young man at twelve when The Shadows released their first (and best) LP in 1959. Bassist Jet Harris was my favorite, especially in jazzy "Nivram" - which is "Marvin" spelled backwards. Many Shadows tunes are written by Jerry Lordan, who lead an exciting life (find him on The Shadows page).
Members of The Shadows first LP from 1959:
Hank Marvin (lead gtr), Jet Harris (bass), Bruce Welch (rhythm gtr), Tony Meehan (dr).
Harris was replaced by John "Licorice" Locking when the group released LP no. 2, "Out of The Shadows". Later mr. Licorice was replaced by John Rostill on LP no. 3, "Out of The Shadows. Three very different bass players with three very different playing styles.
Brian Bennet was brought in as a replacement for drummer Tony Meehan. He was the drummer on LP no. 2 onwards.
After LP 3 I lost interest in The Shadows. They never reached the inspirational heights of LP1.
The Shadows' first & second LP: "The Shadows" & "Out of The Shadows" (with sound examples)After leaving The Shadows, Jet Harris on 6-string Fender bass released a few singles, e.g. "Besame Mucho" and "Diamonds", which was heavily played on Radio Luxemburg. Together with Tony Meehan on drums they (among others) released "Scarlet O'Hara"
The Shadows' third LP: "Dance with The Shadows" (with John Rostill og Brian Bennett) (with sound examples)
Later Meehan withdraw from show business to finish his study as a doctor. Jet Harris kept performing, though it seemed like he had lost his sense of direction (or inspiration?). At the same time he was badly hurt in a car accident. This didn't make things easier. Considering his great talent, it seems a pity he still have to perform around the country these days with revival concerts etc. just to pay the rent. He deserved better.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
One of my classmates had allowance to buy single- and LP records. In some English paper he had read about this group from Liverpool, breaking the sound barrier and making the girls peeing in their trousers at concerts.
Personally I was never instrumentally impressed by The Beatles. But they had the guts to change style now and then. They wrote a lot of melodious songs, which immediately turned into standards as soon as released. For this reason, the group had a reference postion to other groups: where do we stand, compared to The Beatles?
The Beatles at Shea Stadium (1965)
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Turned on?
a revolutionary mind mind blowing turn on, tune in, drop out trip acid pot consciousness flower power drugs state of mind mindblowing experience LSD Pot Many groups & musicians of the sixties had the idea, that they played a whole lot better, once they were "turned on". From my position it was easy to see this was nonsense. Most musicians I knew, usually played quite well. Eating/smoking/drinking this, that and the other only made their playing anything but well. Nevertheless they often claimed to have played their best ever. How do you consider revolution under such conditions?
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Jimi Hendrix
(1967.May.21 at Falkonércenter Copenhagen)
This is first time The Jimi Hendrix Experience is visiting Denmark. At the same time, he hit the charts with "Hey Joe". He used Marshall stacks, which was the first time I enjoyed this exciting view: two cabinets stacked with an amp on top was higher than the man himself. They were a fantastic group, Mitchell was terrific on drums, giving Hendrix much more than backup. Noel Redding was playing all right without impressing anybody.
The curly hair and gaily coloured clothes of Hendrix & co. was never seen before, the same goes for his guitar playing. It's not an exaggeration til call him a musical revolution. His playing was in a class of its own. At the end of the show he poured gas over the guitar and lit. Oh what a sight! Oh what a sound!
I saw Hendrix three times in Copenhagen, the first being by far the best. Second time he was in a good mood, ending the show by saying "Thank You!" with his guitar. Third time he looked like a shadow. Three months later he died.
His death, though, was not a mystery. He worked too hard, slept too little, smoke a lot of God knows what. Musically he had waved goodbye a long time ago. It had all turned into business and routine - he had lost his enthusiasm.
Drummer Mitch Mitchell told him time and time again (before and after disbanding) to stay with the simple setup: guitar, bass, drums. In this field Hendrix was the one. Subsequent LPs & singles demonstrated how right Mitchell was.
Wild Thing (Monterey Pop Festival 1967)
Back cover of Hendrix' first LP
Eric Clapton once in an interview (in NME) had the nerve to state that, according to Clapton, you could find better musicians than Hendrix: Look, Hendrix is a friend of mine, but as a guitarist there are better.nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
If you look at Hendrix in a formal way, Clapton may be right. But the special thing about Hendrix was, that he were unformal in every way. He played things and ways that no one had thought of - least of all Clapton.
I heard Cream (Ginger Baker, Jack Bruce, Eric Clapton) one time in Copenhagen and was by no means impressed: bad sound, bad performance, bad charisma. The Claptonian way of playing a guitar was heard a thousand times before by guitarists of less fame. Subsequently, though, I got big respect for bassplayer Jack Bruce, when he released a couple of solo LPs - especially Songs for a Taylor with beautiful "Rope Ladder To The Moon".
(Mothers of Invention, Copenhagen concert 1967)
Jazz is not dead - it just smells funny.
It was Frank Zappa, musician, composer, provo and much more, who made this ironic statement when "Be-Bop-Tango" was released 1974. Ironical statements became his trade mark, so to speak.
Mothers of Invention were musical desperados, and Zappa was the brain behind. They hit the charts with "Help I'm a Rock" 1967 - from first LP "Freak Out". The song was, as most material from Zappa, an ironical comment on society in general and American life style in particular.
Suzy Creamcheese, who also was the name of one of the titles of LP1, were lying on the stage floor most of the time, picking herself in several hot spots, and looking mortally offended during entire sets. Later Suzie and Frank got married in LA, living more or less happily with a couple of kids.
To put it shortly - which is difficult with Zappa - you could say that he was a strange character. But also exciting, because he always had an ironical statement on just about any topic. He made us laugh, and then think one more time.
As a musician he never was among the greatest. As a composer he made himself a name - deserved or undeserved. First of all he became a cult, thanks to the ability of putting on. It is said that he had his own advertising management - everything works a little smoother then.
He ended his days at a hospital. He was treated for a rather simple desease, but something went wrong. The ensurance company had to pay high damages for Suzie and the kids. Accordingly, Zappa today has cult status - a project that took most of his career.
Motherly Love
Who Are The Brain Police?
In memory of FZ
Frank Zappa
Zappa i København
Musikalsk analyse
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Red Squares
I heard this English group with singer Geordie Garriock in the lead 1966. With their falsetto vocals they won the sympathy of many a Danish girl. "People Get Ready" was one of their best songs. On the other hand, musically they were rather stagnant. With just drums, bass and 12-string rhythm guitar, the music soon becomes a bit boring.
Now and then you could read about the group in New Musical Express, at one occasion I even heard them on BBC "Top of The Pops". But their singles never broke the sound barrier, and they never were promoted from Danish second divison to English Premier Legue which was, I believe, their ultimate ambition.
Several English groups and musicians these years were staying for longer periods in Denmark (some stayed here forever e.g. bass player Pete Quaife of The Kinks). It semed they lost the cutting edge while staying here. London no doubt was a much tougher place to live, compared to Copenhagen, so who can blame these guys.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Manfred Mann
had the ability to survive in a cruel and ever changing world of pop. Repeatedly they hit the charts, which made living secure for a long time. Manred himself is a bit of a philosophical person, in many interviews he showed great knowledge about music and people. Despite the group's name, he always kept behind, leaving the stage for the lead singer.
Following a string of hits like e.g. "Do Wah Diddy Diddy" and "Pretty Flamingo", lead singer Paul Jones left the group. We saw him in Copenhagen at the end of '69 or maybe beginning of '67 with a backing group (I didn't recognize any of them). And even though I have great sympathy for mr. Jones as a person, his performance wasn't very convincing. Next thing we heard from him was as an actor in some English TV-series (something with doctors or veterinarians). This he managed quite well.
In spring 1966 singer Mike D'Abo was introduced to the group. This meant even more hits like
Semi-detached suburban mr. James,Beside his singing abilities, Mike D'abo was looking good and a competent songwriter, e.g. "Handbags and Gladrags", which, among others, have bee recorded by Chris Farlowe, Rod Stewart and Stereophonics.
My name is Jack (note the photo of Paul Jones displayed 1:38 in the middle of the video. The boys obviously had some fun seeing this.) and
A critic once explained the difference between the two singers this way: Paul Jones brought a dynamic presence and charisma to the Manfreds. Mike d'Abo brought something different and subtler: an under-stated persona, quizzical and elegant, and a gentle tinge of social satire.
Paul Jones og Mike D’Abo - to singers of Manfred Mann
The group disbanded 1969, Manfred changing the name to Manfred Mann's Earth Band and continued with a completely new group. Musically they released a string of pearls like
Blinded by the Light (1976) andEspecially singer/guitarist Chris Thompson was interesting. In a later (1998) interview, Manfred revealed to be proud of the musical standard of his groups down through history.
You Angel You (1983).
Would he advise others to do the same?
No, certainly not!
Only if you against all odds, advice and warnings still insist on moving into an unpredictable business of music, you are naive and/or an idiot. For those we can only pray.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Alvin Lee was never my cup of tea. Anyone can learn to play fast, and this he did. But what happened to the feeling - the variation?
Many years later in 2002, he was visiting Copenhagen (Brondby Pop Club) one more time - now as a soloist, along with a bass player and a drummer. What a disappointment he was musically. He didn't seem to have developed himself as a guitarist - or as a person for that matter. His whole attitude was cliché, there was no communication with his group, they simply acted as supernumeraries and were treated as such. His approach towards his public was cliché too; probably he would have said the same nonsense to audiences in Singapore or San Francisco; maybe he'll go there next week. I won't try to stop him.
Brøndby Pop Club (an evening with nostaliga)
Ten Years After (Wikipedia)
Good Morning Little School Girl
I'm Going Home (Woodstock 1969)
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
P. J. Proby
He visited Denmark one time in the sixties - including a lot of publicity. He always was a nob, acting, singing, and screaming as a such. His name especially came to fame when his trousers split during a show. First time it probably happened as a mishap. An English cirtic wrote:
His skin-tight trousers split open during a concert in England. The women in the audience went wild. Somehow, the trousers split again at the next venue. Critics, and the audience, were divided on whether he was using a gimmick to promote his image, or simply an eccentric rock star. During a concert with Cilla Black in 1967 they split again, and Proby was dropped from the rest of the tour by theatre managers.Proby made life difficult for himself with his arrogant style. A few controverses are explained in Wikipedia.
In those days it was a matter of discussion, who was best, Proby or Elvis?
For me personally, I had a weak spot for Proby when he sang e.g. "Secret Love" (unfortunately it is not included on YouTube).
The PJ masterplan was to throw Elvis out, and take over the world. This didn't happen, and let's be thankful. Elvis was down to earth, had self irony and modesty. None of these PJ could be accused for.
Hold Me (his first hit, 1964)
Mark Almond on P.J. (May 2000)
P. J. Proby (Wikipedia)
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Chris Farlowe,
the one and only, I saw him at Karrusellen (the roundabout) Copenhagen 1967. Together with his competent backing group The Thunderbirds they played songs like "Paint it Black", "Yesterdays Papers", "Out of Time" and best of all "Stormy Monday Blues".
In the interview The Story of "Stormy Monday Blues", Farlowe tells, how the song without his knowing was released under a different name, Little Joe Cook. And how leading American blues musicians by hearing the song were convinced that Farlowe, due to his authentic voice, had to be a coloured musician. The Thunderbirds consisted of Albert Lee (guitar), Dave Greenslade (organ), Bruce Waddell (bass) and Ian Mague (drums). On this video Albert Lee (not to be mistaken for Alvin Lee of Ten Years After) many years later is backing Farlowe on electric guitar.
Despite the fact, that Farlowe in the middle of the 1960s had a big name within pop music business, he nevertheless was a very humble, nearly shy young man, who seemed to be honoured that we knew his name. The overall impression of his act was a pleasant personality with a lot of musicality. I liked him from the very beginning.
Chris Farlowe Interview 1983
(note interviewer Rick Wakemann who among others played with Yes)
--------------------------------------------------nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Chris & The Thunderbirds
The songs from Dig the Buzz CD are all recorded 1962-65. This means that all songs from Farlowe's first LP, where he is backed by fabulous Thunderbirds, are included. I had the privilege to enjoy him and his group at Le Carrousel, 1967. They made a strong impact. "Stormy Monday Blues" you don't forget straight away. "Funny how time slips away" is also great in his hands. Even though he don't have the most powerful voice in the world, his way of using it is extraordinary.
The Buzz-record is for collectors. To hear the record is like being back at Karrusellen when it was all groovy. This includes Farlowe.
Chris Farlowe & The Thunderbirds
Dig the Buzz: Complete recordings 1962-65
1. Air TravelChris Farlowe UK
2. I Remember
3. Push Push
4. The Blue Beat (released under pseudonym, "The Beazers")
5. I Wanna Shout (released under pseudonym, "The Beazers")
6. Girl Trouble
7. Itty Bitty Pieces
8. Just a Dream
9. What You Gonna Do
10. Hey Hey Hey Hey
11. Hound Dog
12. Reelin' and Rockin'
13. Voodoo
14. Buzz With The Fuzz
15. You're the One
16. Stormy Monday Blues, Pt. 1 (under pseudonym, "Little Joe Cook")
17. Stormy Monday Blues, Pt. 2 (under pseudonym, "Little Joe Cook")
18. She's Allright (released under pseudonym, "Little Joe Cook")
The Original CF Fanpage
Even though I never heard them live, they deserve a place here, because they had a great impact on my concept of tight sound. A friend introduced me to the group's first LP, which sold really well. The tight sound, rhythm 'n' blues style, the Alan Price way of playing the organ, plus intelligent bass playing of Chas Chandler (who later launched Jimi Hendrix) really made an impression on me. Eric Burdon of course was the lead singer, but it was the instrumental playing that attracted me.
"The House of The Rising Sun" (1964)
"Talkin' 'bout You / Shout" (live at Wembley, 1965)
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
The Alan Price Set
This is Animals' organ player going his own ways. I heard his first single release "I Put A Spell On You" on Radio Luxemburg, and loved it at first listening. It was easy to recognize who was the man with the ideas in the The Animals!
Price, who played the organ on e.g. "The House of The Rising Sun" with The Animals, subsequently had a couple of hits with his new group like, "Hi-Lili, Hi-lo" and "Simon Smith & His Amazing Dancing Bear".
The Alan Price visit to Copenhagen was not without problems, for example there was too little room for his Set at the diminutive stage at "Karrusellen". But they played like this was the best of all worlds. Later I bought their first LP, which was a showcase of musicianship. Most impressive. The musical style is within the blues- and jazzfield, but also a few chart busters.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
The Cockneys
were a crazy group from London. They performed regularly at Karrusellen in the mid 60s. The lead guitarist was playing really well, he could sing and act like a cock - really funny. "Too Much Monkey Business" was one of my favourites.
I had a talk with the bass player, he was a tall and friendly guy who loved Carlsberg Pilsner. The rhythm guitarist was a little man (at least compared to guitar & bass player), who sang and played well. They looked a bit strange. The ambition level of the group was not that big, judging from the single records they released. These records were so un-original and....well, I nearly felt sorry for them, because they were all nice guys. In other words, a funny and well playing group on stage, but totally un-original on record. Too bad.
An obscure British-invasion era quartet signed to the Philips label, their most notable attribute apart from a pleasingly melodious debut single, "After Tomorrow," -- done in a thoroughly Beatle-esque mode -- were their flamboyant costumes -- done in the manner of the Pearly Kings and Queens -- a charitable group long associated with the cockneys. Their second single, "I Know You're Gonna Be Mine" b/w "Oh No You Won't," was also their last, although their debut record was also reissued, possibly because of the group's appearance miming (and providing the opening and closing credit song) in the movie Go Go, Big Beat. The latter has proved to be their one lasting legacy in popular culture, as neither Philips nor any of its offshoot or successor labels have seen fit to reissue the Cockneys' music.nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Bruce Eder, All Music Guide
ref.: http://www.answers.com/topic/the-cockneys?cat=entertainment
The Small Faces
I also heard them at Karrusellen 1967, but mr. Marriott (guitar) and friends were no delight. Surely they were equipped with Marshall amps (stacks), which meant a lot those days, but they played too loud and enervating. It was clear that no one of the four guys were fantastic musicianwise - not even Ron Wood who later became a member of The Rolling Stones. As the icing on the cake, Steve Marriot was quite namby-pampy, for example he insisted on striking a certain attitude whenever a photographer wanted to take pictures. A complete flop.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
The Association
had a string of hits, e.g. "Along Comes Mary", "Never my Love" and "Windy".
Unfortunately (for me) a huge crowd wanted to see these guys from the states, so I never got in, but so did a lot of others neither. Standing on the outside, we heard them through doors and windows. It was easy to hear, they knew how to play and sing. This must have been mid 1967.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Mr. Bojangles
Some songs are immortal once written.
Such a song is "Mr. Bojangles", which made a huge impression at once.
From old notes I can see that I heard the song on Swedish Radio, May 1969.
Singer/songwriter Jerry Jeff Walker made this song a standard from the very beginning.
Teksten
JJW Official Home Page
JJW
Pladen
A man must carry on
Great Gonzos
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
We got him!
Chris Curtis was The Searchers’ drummer from 1960 to 1966 - the key years - and he was the lynch-pin of the group’s success. Very hyper, very enthusiastic, he was constantly seeking out obscure songs that, nevertheless, had “Hit” written all over them.
And this he did: found the hits for The Searchers.
Leader, singer and drummer Chris Curtis.
He was the driving force in the best years of the group, but for various reasons he left them in 1966.
I always liked him because he had charisma, was very musical as a singer and as a drummer. Besides, he wrote some fine songs. Up through the 1980s, as the group most unwisely was divided in two,
- The Searchers (with two original members John McNally rhythm guitar and Frank Allen bass) and
- Mike Pender's Searchers (with Pender on lead guitar; he was the one that invented the 12-string guitar-sound of The Searchers),
Chris Curtis discreetly kept working on his own projects.
Each individual group member, minus Curtis, through the years gave interviews explaining what it was all about. For this and other reasons it would be interesting to have a word from the man, who was the face of the group and sang the big hits. This he did in 1998, after more than thirty years of silence. Was it worth waiting for? Make your own judgement!
Chris Curtis interview, 1998 & 2003
The Searchers diskography
Chris Curtis - drums, vocal
Mike Pender - lead guitar, vocal
John McNally - rhythm guitar, vocal
Tony Jackson / later Frank Allen (of Cliff Bennet & The Rebel Rousers) - bass, vocal
Don't throw your love away (live)
PS
Inspired by Chris Curtis, as a hommage for the man, back in the 80s I recorded an instrumental version of "Everything You Do" - one of many fine songs on the "Sounds Like Searchers" LP.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
A loving Spoonful
It sometimes feels as though the Lovin' Spoonful have been reduced to a footnote in the history of rock & roll. Yet few of their contemporaries could match the likes of "Daydream," "Summer in the City," and the transcendent "Do You Believe in Magic?"
These are the words of an old fan, who never forgot John Sebastian & Co.
In the middle of the 1960s, the group recorded a string of hits.
They are still worthwhile.
This includes the lyrics.
Historien kort
Greatest Hits (+ lydeksempler)
Album Cover
John B. Sebastian
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Canned Heat
we heard on night at Falkonércentre Copenhagen. A well playing blues-based group, especially I was impressed by lead guitarist Henry Vestine. His equipment consisted of 24 cabinets, each holding 4 x 12" speakers. What a sound!
I was very impressed by his nearly "petrified" sculptural way of playing. This was quite opposite most other guitarist of the time. He had for a short period been a member of "Mothers of Invention". At the much famed Woodstock Festival 1969 Vestine was replaced by Harvey Mandel. His last years were spent in Paris, where he died 1997: Guitarist Henry Vestine Dead at 52.
Too bad, he was a great guitarist.
Lead singer Bob "The Bear" Hite did not have his name for nothing. A fat bearded man, making us all feel at home with his friendly comments during the show. Bob Hite was a great collector of blues records, he knew a lot in this field, had every record worth mentioning. Unfortunately he also died too young.
Slide guitarist Alan "The Owl" Wilson sang the great hit "On The Road Again", but otherwise he was not dominating within the group. He committed suicide after a few years with the group, possible due to man's treatment of nature. Guitarist Harvey Mandel later on one of his records ("The Snake" 1972) wrote and recorded "Ode to The Owl".
Bass player Larry "The Mole" Taylor (session musician on - among others - records by The Monkees) and drummer Adolfo "Fito" de la Parra, later worked on solo projects by Harvey Mandel.
It was a marvellous evening with Canned Heat, in a hurry I got hold on their first (and best) LP: "Canned Heat" (Liberty Records). It is still to this day worth hearing!
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Meet The Strangers
The Strangers at "Hit Club", Aalborg Denmark, 1966
L-R: Preben Nielsen (rhythm guitar & vocals), Ole Uhrenholt (bass guitar & vocals),
Henning Nor (lead guitar & vocals) og Jorgen Jensen (drums).
Yeah, let's meet The Strangers,
nice people from way behind, you know......(don't you?)....
Meet The Strangers
Meet mr. Nor
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
A movie from 1962. The story is about a band and all the trouble they have to deal with - each and a group. For two weeks "The Strangers" acted as a warm-up band before the movie was shown.
On Radio Luxemburg "Some People" was heavily played. I guess Jet Harris also recorded the song, but in the movie it was played by "The Eagles" (no, not those of later fame).
The actors:Some People
Kenneth More ... Mr. Smith
Ray Brooks ... Johnnie
Anneke Wills ... Anne (as Annika Wills)
David Andrews ... Bill
Angela Douglas ... Terry
David Hemmings ... Bert
Oh boy, those were the days!
Reviewing "Some People" and The Strangers
--------------------------------------------------
Review Summary
More of a corny propaganda film for a British social engineering policy program of the 1960s than a serious attempt to tackle an issue, this youth drama is notable chiefly because it features an early performance by David Hemmings, four years before he rose to prominence in Blow-Up (1966).
Bert (Hemmings), Bill (David Andrews), and Johnnie (Ray Brooks) are a trio of juvenile delinquents in Bristol who lose their driver's licenses after a 100 mile-per-hour accident on their motorcycles. Bored without their speed machines and alienated in their economically-depressed factory town, they assemble a rock band with the aid and encouragement of Smith (Kenneth More), the choir director of a local church who offers his facilities for rehearsal space.
The band becomes involved with a youth awards program devised as a community outreach vehicle by the Duke of Edinburgh and the British government, and despite some lingering moments of dissension, they begin to turn their lives around, encouraged all the while by a hopeful adult community.
Karl Williams, All Movie Guide
--------------------------------------------------
"Some People" review i NY Times
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Yesterdays
A lot happened during the 60s, not least within the music scene. "New Musical Express" covered the English scene. For a couple of years I bought NME every week. In this way you knew what was happening on the rock scene.
A number of people made the decision to catalogue all issues of NME, in this way getting a survey of the time. Thanks to all these hard working people!
1960s British Rock and Popular Music
NME, the UK's Premier Music Weekly for over 50 years
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Starry, Starry Night...
It's the Don McLean hit from way back that starts this way.
The other day it suddenly started to play inside my head - and don't ask why.
But it's a good song with breathtakingly beautiful lyrics.
Vincent (Starry, Starry Night)
Van Gogh Gallery
Don McLean Online
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Harvey Mandel
is an American guitarist in a class of his own. His first record was released 1968, but it never reached the Danish market. Until e-trading was made an option, I had to vacuum second hand shops for his records (sometimes a sailor brought an LP home). Today you'll find his records on the web, e.g. Harvey's Homepage and Amazon.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
A partial answer
nazz
as used by David Bowie on Ziggy Stardust, nazz means the hippest, most magnetic of beings. He clearly lifted this term (and many other phrases) from the 50's--60's beat poetry of Richard "Lord" Buckley whose poem The Nazz is a jive iteration about Jesus of Nazareth.
With this Urban Dictionary, which is daily opdated, you have every chance of finding the word you seek. Allow me, though, to correct the dictonary as the word "nazz" in a pop context is somewhat older than Ziggy Stardust (of the late seventies). English group The Yardsbirds recorded at song called "The Nazz Are Blue" around 1966 (you'll find the song on an LP from that time). I never understood what the word meant, and asked anyone with the slightest idea of English to get an answer, but alas, never got one. With Urban Dictionary I finally found an answer on "nazz", so what does "The Nazz Are Blue" mean?
KøligKaj hænger med kastanjen? (ha-ha, you have to be a Dane to understand that)
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Terry Sylvester
When Graham Nash decided to leave The Hollies in late 1968, the group called upon an old friend to fill Nash's big shoes, Terry Sylvester then of The Swinging Blue Jeans and previously a member of The Escorts.
No matter if you're interested in The Hollies music or not, it can be of interest to hear the story behind their succes from one of those who was there: Terry Sylvester.
Part 2, The Hollies at their peak
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Crosby, Stills & Nash (Young stayed at home)
When and if you are able to sing, play and not being afraid of variation, well yes, then it is bound to be succesful. And so it did.
CS&N vistited Denmark 1969-70 to promote their first (and best) LP. Falkonércenter was filled that evening the group played here. The show was parted in two halves, an acoustic and an electric. In second half, when the big equipement was approaching the rotating stage, Graham Nash (ex-Hollies) went down on his knees to kiss the floor. Rather funny.
They all made a symphatetic impression, we were in the middle of a period where electric equipment couldn't get big enough, and then comes these three guys, playing and singing the acoustic way. Courageous. I believe that CS&N in this was changed peoples' minds in a way that it gradually became more respectably to play acoustic in a rock context. This was needed.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Keep on rocking!
The Zimmers, the oldest and greates rock band in the world.
40 old people who refuse to be swept under the carpet.
Whether they're fed up in old peoples' homes or stuck on their own in a tower block.
Together they made Abbey Road rock...
Yeah, keep on rocking!
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
(Syd Barret dead 2006)
The bright Head
Syd Barrett, one of the founding members of Pink Floyd, is dead.
Actually he was much more than a founding member. First of all he was a guitarist and originator of Pink Floyd's first and most original (LP) record: "Piper at the Gates of Dawn". It was a complete breakaway from everything previously heard on the pop-scene. Immediately it reached status as a classic up among the chosen few.
On a personal level Barret was the lonely wolf. Furthermore he had psychic difficulties, which got even worse as he started to experiment with mindblowing chemicals. This was also the reason he had to leave the group at an early stage of their career. The following solo projects from his hand were even more original, compared to the days of Floyd: "The Madcap Laughs Again" and "Barrett" were both very original.
Syd Barrett pages
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Mungo Jerry
I heard one night in Koge (south of Copenhagen) 1977. Among many others they of course played the inevitable "In The Summertime". Competent musicians who knew their repertoire and not that much more.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
The year was 1967, there was a war going on in Vietnam, when we heard this group from over there. If I have to be quite honest, this was not my biggest experience ever. John Kay & co. failed to meet the expectations of an audience who had grown accustomed to visits by huge names within rock music.
The band played their hits, received applauses, and we understood that this was a visit by political friends from America. But we also understood that musically they were not that hot. No improvisations or anything else which could make this evening a little different (the organ player brought a huge Hammond monster with two big Leslies which sounded great, but didn't help musicalwise).
For ten minutes I tried to close my eyes and just listen, to see if it made any difference. The sound did not become any better by this experiment, so I you came to hear the well-known hits, you found what you came for. The rest of us left in a disappointed mood.
Steppenwolf had a couple of hits, for example "Born To Be Wild" and "Magic Carpet Ride", so congratulations on that , but stagewise I had expected much more than just rattling off their hits.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Dantalion's Chariot (w. Zoot Money at ABC-Theatre, 1967)
The group arrived at stage with a delay (45 minutes or so). They were dressed in white due to the light show. The group was quite well-known for their advanced light show. Music and light fit perfect together. It's a pity that the group had such a short lifetime. We were lucky to see them in time. What an experience!
Dantalions Chariot - Madman Running Through The Fields, 1967, Columbia DB 8260nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Track List: "Madman Running Through The Fields", "The sun came bursting through my cloud"
CD - Dantalions Chariot "Chariot Rising", 1995, Tenth Planet TP 015
Track List:
Madman Running Through The Fields, World War Three, This Island, Fourpenny Bus Ride, Four Fireman, Sun Came Bursting Through My Cloud, Recapture The Thrill, Soma, Coffee Song, High Flying Bird.
Review: This CD contains the collected works of one of the most promising British psychedelic bands, whose output in 1967 consisted of one single. They recorded tracks for an album that was not released at the time, as the band broke up before its scheduled release. They finally became available on this 1996 CD issue, though the single, ‘Madman Running Through The Fields’ has been available on compilations. The creative nucleus of the band was Zoot Money, an established keyboard player and vocalist, and Andy Summers (or is it Somers?) later of numerous bands, the most successful of which was of course Police.
The collection opens with ‘Madman Running Through The Fields.’ It’s a mind-blower with superb effects embellishing a beautifully crafted song. Feedback, reverse drumming and organ whines lead into a verse underpinned by typical Summers echoey riffing, there’s a complete change of ambience for the chorus, with flute and soaring vocals from Money, and the fade-out has a spacey tremolo effect from Summers and panting of the madman himself. ‘World War Three’ is a predicable lament on the horrors of war filtered through an acid haze, but it has superb guitar playing that’s heavily distorted and Summers must have stomped the wah-wah pedal to pieces by the end! ‘This Island,’ an instrumental, has sea, sitars, and operatic soprano. Quite relaxing, I suppose, but a bit inconsequential. ‘Fourpenny Bus Ride’ is a bouncy pop ditty, typical of the times and nothing remarkable. ‘Four Firemen’ is a sub-Syd Barrett, tuneless dirge about four firemen involved in a demarcation dispute. You’ll either laugh your pants off, or fast-forward after about thirty seconds. ‘Sun Came Bursting Through My Cloud’ is a whimsical, likeable ballad, the B-side of the single. You’ll be humming this one until they come to take you away (haha!). ‘Recapture The Thrill’ in similar vein, has more cynical lyrics and a lopsided ¾ rhythm. ‘Soma’ is more sitar, flute and acoustic guitar noodling that works better than ‘This Island’ by virtue of more variation and generally much niftier playing. ‘Coffee Song’ was done by Cream, but gets a lighter, more wistful feel here. The greater instrumental variety and more leisurely pace work well. ‘High Flying Bird’ (not the Airplane song) is pure dippiness with a bossa-nova feel, though Andy Summers does lift it with a Santana-like solo. It’s a sad anticlimax to a patchy album.
Sure, it’s unfair to judge the band’s potential on the music presented here. However, the packaging shows great shots of their legendary lightshow, gives a comprehensive history of the band, and reproduces rare photos of them, a picture of the single sleeve, and other memorabilia of a Golden Age. It’s worth getting for a glimpse of those wonderful times, and the better moments on the album.
ref.:
http://www.pooterland.com/index2/bandsmenu/bands_d/bands_d.html
Tapestry of Delights
Welcome to the e-book version of The Tapestry Of Delights, our extensive guide to U.K. psych, beat and progressive music between 1963 - 1976. This book contains band histories/musical analysis on over 3,400 UK acts of the era with personnel and discographical information, where known. Also included are listings of over 375 compilations, and over 1,100 sleeve illustrations.
As a test of Tapestry, I tried to look for Dantalian's Chariot. This is what I found:
They were certainly a talented outfit. Andy Summers, of course, later played with The Police, and Colin Allen went on to play with John Mayall and Stone The Crows. They recorded just one single for Columbia, "The Madman Running Through The Fields". Penned by Money and Andy Summers it was perhaps one of the finest pieces of psychedelia recorded in the UK, this single is now very sought-after. The song was later covered by Eric Burdon and The Animals (with a line-up including Zoot Money and Andy Summers) on their Love Is album and is also on Transition (Direction 863231) 1968 by Zoot Money. Dantalion's Chariot's live appearances were amazing. They took to the stage in white robes and had what was generally regarded as the best light show in town. The only problem was this ensured they made heavy financial loses with every appearance.Yes, they were something special.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
The Move
This group from UK was very focused on the charts, and actually succeded quite well. Leader and lead guitarist Roy Wood had some ideas of his own, to the great benefit for the rest of the group.
We was The Move in the concert hall of Tivoli Copenhagen 1968. Well, the concert actually was interrupted from the very beginning, when the band in song #2 apparently couted to four and stopped playing. Roy Wood threw his guitar through the baffle of his speaker four meters away. Splitseconds later the rest of the band more or less did the same with a catastrophic effect. The stage was looking like a bomb crater, when they left. Their whole appearance had lasted less than five minutes, and suddenly it was all over.
The organizers tried in vain to convince the group to go on with the concert.
Out in the street a few minutes later I talked to Roy Wood, as the group was hiring a cab. He said the group never heard of any sound check, that the equipment was a load of bull...., and besides the organizers were a bunch of stupid motherf......
Who is to blame for this incident, I don't know. What i do know is, the sound was by no means exceptional, and the arranger claiming having booked the group for a sound check at 11 a.m. The group never turned up.
Never mind, we had five funny minutes.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
John Mayall's Blues Breakers, ABC Theatre Copenhagen 1967
An awful lot of musicians through the years passed through this group.
This evening guitarist Eric Clapton was leaving the band, and Mick Taylor was signing in. Usually Mayall was only hiring class A musicians, so expectations were naturally high this evening. Personally though, I had expected a lot more, as Taylor's playing was on one hand quite all right (not being exactly impressing), but at the same time unpersonal. Apparently he had no personal style. He played a lot of fast solos, as if to make an impression on the audience and the Mayall, the leader. Who Mick Taylor was as a musician, I never found out.
At later occasions I heard Taylor with The Rolling Stones without making any difference.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
Roundabout?
Hiya Kurt,
I'm in the UK & found your website. Interesting!.. although I can only understand a bit of Danish...... I have a question; did you maybe see DEEP PURPLE play in Denmark in April/May 1968 when they were called Roundabout??
Al the best,
Tonny
Read the answer HERE.
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
A meeting with consequences
Al Kooper & Mike Bloomfield
Foto: Jim Marshall
When the LP "Super Session" was released 1968, it immediately turned into a reference record within electric blues. The man behind the ideas (including some mindblowing horn arrangements) was Al Kooper, who already was known as the organ player of Bob Dylan's album "Highway 61 revisited", and as a founder of the jazz/rock band Blood, Sweat & Tears.
The guitarist that made Super Session something special was legendary Mike Bloomfield. Previously he had played with Butterfield Blues Band, and later with The Electric Flag. In 1968 The Flag released their first album, called A Long Time Comin'.
Basically all songs of Super Session are improvised. Nevertheless the album went for the album charts. It reached #11 and sold more than 450.000 copies, which gave Kooper & co. a gold record. Besides it earned him respect within the CBS organisation; that it was possible to produce "serious" music within pop business - just like jazz. Kooper: "All of a sudden, I had the respect of the CBS shorthairs."
Bloomfield inspired countless guitarists all over the world. They were all impressed by his beautiful sound, but at the same time intelligent (maybe even rude) playing. Later the Super Session LP was converted to CD, which only made it even better, as further details became audible.
Mike Bloomfield is long gone by now, and Al Kooper in 1998 released the book, "Backstage Passes and Backstage Bastards", which tells the story of Super Session - a fantastic story.
LP/CD - SUPER SESSIONThe music on this record was performed spontaneously by the personnel as listed.
Side 1, Mike Bloomfield - Al Kooper:
1. Albert's Shuffle (Bloomfield - Kooper) 6:54
2. Stop (Ragovoy - Shuman) 4:20
3. Man's Temptation (Mayfield) 3:24
4. His Holy Modal Majesty (Kooper - Bloomfield) 9:16
5. Really (Bloomfield - Kooper) 5:30
Side 2, Steve Stills - Al Kooper:
6. It takes a Lot to Laugh - It takes a Train to Cry (Dylan) 3:30
7. Season of the Witch (Leitch) 11:07
8. You Don't Love Me (Cobb) 4:11
9. Harvey's Tune (Brooke) 2:07
Personnel:
Al Kooper - organ, vocals
Mike Bloomfield - electric guitar (side 1 only)
Steven Stills - electric guitar (side 2 only)
Harvey Brooke - bass
Eddie Hoh - drums
Barry Goldberg - electric piano
The horns were added as an afterthought.
- Al Kooper
Al Kooper
Mike Bloomfield
Mike Bloomfield & Super Session
--------------------------------------------------
(Al Kooper Amager Bio, Copenhagen, 2006.Maj.05):nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
The Preacher
This man is a genuine legend. Guitar/organ player and singer Al Kooper has been in business since 1958. His great luck was to play on a Bob Dylan session in the mid 60s which among others gave us "Like A Rolling Stone".Those were the words in a preface to the Kooper concert of Copenhagen - May 5, 2006 to be exact. This was his first trip to Denmark ever. And of course he brought with him The Funky Faculty!
Al Kooper is the founder of jazz-rock band Blood, Sweat & Tears. Before that he played with a number of bands, e.g. The Blues Project, Mike Bloomfield, Rolling Stones (Al is playing the keybards on "You Can't Always Get What You Want"), Jimi Hendrix ("Long Hot Summer Nights"), The Who ("Rael"), Ray Charles live, and produced Lynyrd Skynyrd's first theree albums, among these the "Sweet Home Alabama" hit.
1979 Kooper moved to England to produce George Harrison's album, "Somewhere in England". He also recorded with the remaining parts of The Beatles: Harrison, McCartney, Starr on #1 hit single "All Those Years Ago". And recorded a lot of other people - too many to mention here. In a "Rolling Stone" (music magazine) poll, 12 of his productions were among World's 500 Most Important Records Ever.
Now he is on a world wide tour with his Boston-based band - exclusively with teachers from Berklee School (all of them professors actually): The Funky Faculty. Al Kooper must be experienced. Hear the legendary hits by the man who produced and played at the sessions.
A couple of numbers from the faculty's latest CD (Black Coffee) was presented with enegy and enthusiasm. Because it was possible to come very close to the stage, we (the audience) had a fluent contact with the group all through the concert. Kooper in a good mood told about himself and his band. In his younger days Kooper was a slim, sexy and beautiful man. Today things has changed. Besides he got diabetes a couple of years ago (in 2000 I believe) and lost his sight. Nevertheless, along with his group of music professors he managed to create an atmosphere of intimate nostalgy wrapped in present sound; especially I enjoyed bass player Tom Stein). The repertoire is very broad, from Steve Cropper's "Green Onions" via the Super Session hit "Season of The Witch" to a jazzy pearl like "I Want You".
During last song ("Comin' Back in a Cadillac"), old man Kooper walked among the audience (supported by a helper as he is blind) singing, like he was a president or a preacher. And in a way he was. For me personally this was a meeting I had missed for more than thirty years. To stand face to face with this man was like meeting a long awated friend. What a blessing we made it!
LP - "Blood, Sweat & Tears" (second album)
The other day I heard Billie Holiday on the radio. She sang a song from mid 1950s. It made me think, when I heard the song ""God Bless The Child" for the first time? Oh yes, it was in 1969 with jazz-rock band Blood, Sweat & Tears - in a completely different arrangement. That album hit like a bomb. Precise playing by trained musicians....apparently that type of arrangement was never heard before. Most unusual in a rock context.
The first album called "Child Is Father To The Man" was produced under Al Kooper's leadership. He sang and played the Hammond organ. After this, he left the group. For their second album the group had invited canadian singer David Clayton-Thomas. With his powerful voice he gave the group the ability to hit the charts - especially "Spinning Wheel" which was praised by many.
But the band was also critisized. Some (many?) felt that they played "too well, too precise" as someone put it. The improvisional part was missing, the arrangements were too un-rocky.
Well, what can you say....oh yes, all of them were professional musicians, they knew how to read and play notes. They didn't have to play over and over again to learn a song/arrangement. For this reason improvisation was only used when needed.
CD - Blood, Sweat & Tears - "BS&T" Columbia 8251
Original album released as Columbia LP KCS 9720 in 1969
1. Variations on a Theme by Erik SatieDavid Clayton-Thomas - lead vocals
2. Smiling Phases
3. Sometimes in Winter
4. More and More
5. And When I Die
6. God Bless The Child
7. Spinning Wheel
8. You've Made Me So Very Happy
9. Blues - Part II
10. Variations on a Theme by Erik Satie
Bonus tracks
11. More and More (live)
12. Smiling Phases (live)
Dick Halligan - organ, piano, trombone, vocals
Steve Katz - guitar
Jim Fielder - bass
Bobby Colomby - drums, percussion, vocals
Lew Soloff - trumpet, flugelhorn
Jerry Hyman - trombone, recorder
Fred Lipsius - saxophone, piano
Chuck Winfield - trumpet, flugelhorn
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
LINKS
Danish Rock (Wikipedia)
Karma Music (TomrerClaus)
www.45rpm.org.uk (sange og artister på engelske single-plader i perioden 1950-1970)
Dansk Rock'n'Roll i forrige århundrede (drummer Torben Sardorf)
Søren Land (journalist, many 60s articles)
Claus "Jeppe" Rasmussen (ex Beautifools & Alrune Rod)
Brondby Pop Club (30 years anniversary)
First appearance was in Denmark (Led Zeppelin)
De bedagede pigtrådshelte (Allan Mylius Thomsen)
1998 & 2003 interviews (Chris Curtis of The Searches)
The Rollings et al ( "Nojer", Fender Jazzmaster & Gert Michelsen)
Harvey Mandel (Pic of the Month, June 2004)
