Punx!nParkas - the CD is finnaly out!!! July 19, 2006 1:45 AM
for your information, the CD is now ready and out (in mid-july), and after we discussed it with the band and the staff at the ministry ofP.!.P, we have decided that the price'll be 100 sv. KR or 15 US dollars... so if ya like a copy of it please write a li'l letter to yours sincerly (that means me/Carl), and send yer adress to:
oh my, this thread was dusty!!! March 24, 2006 5:14 PM
P.!.P on radio these wedensday
i just got a letter from Mod Radio UK where they told me they where gonna play some P.!.P PoPtones this wedensday at their liveshow... let me quote...
Letter # 1: "I love the sound of your band and I'm hoping you'd allow me to play a couple of your tracks on my show on www.modradiouk.com in my live show on Wednesday 8-10pm (GMT). Cheers, Ash/Mapped Out..."
and of course i did allow him to do that, so...
Letter # 2: " Hey Carl - that's excellent - I'm d/loading We Gotta Get Outta This Place right now. It's a big one from a local band from here The Animals - My scooter club would be one end of a bar with Hilton Valentine at the other end & Chas Chandler lived 5 minutes from my house (but now is buried 2km's away). I'll definitely play that one! I like your take on stuff - excellent! Cheers, Ash."
so just tune in on your 'puter on wedensday to hear P.!.P on www.modradiouk.com ... its completely free to listen, and maybe i'll through in some new rawmixes from the studio, so it'll be world-premier on wedensday...
Man I'm finally getting back here, so good to see this thread alive & kickin' ey!
Here's an off topic little bit but I hope u can appreciate.....
Gang of Four were scheduled to play live in New Orleans before the hurricane destroyed things there;
[I live about 3 hours from NOLA, used to live there many Keith-MOONS ago].
I'd never gotten to see Gang of Four live back in their heyday, so this was gonna be nice.
What a drag... also looks like we can't quite make it to other/nearby cities that they might be jamming in, like Houston, etc.
Bummer, but it's nothin' compared to folks who got hit by Katrina's devastation, I'm lucky in that sense, whew.
Since someone mentioned LITTLE RICHARD earlier, I'm thinking about the connections between his mod looks way back when as well as his black-bit-of-funkness-music, since Gang of Four had that new wave + touch o' mod + funk mixture, etc.
You know for me, sorry I've been gone for a long time, have to help organize some summer fun for the Bush Bunch, anyway Little Richard had the dress, the musical style, down pretty much by the late 50s, now I won't call him a mod, but I will call him a forerunner, and he's still playing, although now in his seventies, he looks really strange doing it, he might even scare Michael Jackson to death!
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the mods,skinheads,suedeheads just throbbed to bluebeat,ska, reggae and the drugs that accompanied it were usually uppers ,blues , mandies and THATS what all those liitle naughty mods etc were up to naughty, naughty lol with love and light eirwenxxx
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very interesting but all these bands, whilst being 'popular' do not, for me, hit the essence of the music that 'moved' the mod. It was Bluebeat and primarily the music of Prince Buster. Al Capone's guns don't argue . . . . . . .
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Celene, Thanks for the disclaimers..I would have forgotten...LOL May 23, 2005 10:34 AM
Originally known as the Alan Price Combo, the group changed its name to "the Animals" when Burdon joined in 1962. With the release of "House of the Rising Sun" in mid-1964, the Animals became the first British group after the Beatles to chart a Number One single in America. Their dark, brooding arrangement of "House of the Rising Sun" - a traditional folk song recorded by earlier by Bob Dylan , became an early milestone in the British Invasion. The Animals followed that single with R&B-based rock songs like "Don't Let Me Be Misunderstood" and "Don't Let Me Down".
"Hope I die before I get old!" If Pete Townshend had stopped right there, followed his own advice and shuffled off his mortal coil after writing the classic 'My Generation', we would still be celebrating his genius today, nearly 40 years after Roger Daltrey stuttered those infamous words.
As it is, of course, he and his 'Orrible 'Oo continued through the next two decades creating more of the greatest rock 'n' roll ever unleashed upon a trembling world. 'Won't get Fooled Again', the amazing rock opera 'Tommy', the magnificent Mod saga 'Quadrophenia', the earth-shattering live performances at Woodstock, The Isle Of Wight and The Who Put The Boot In Tour... these are unsurpassable highlights from rock's rich history.
And now you can relive them all again, smoke bomb by smoke bomb, shattered guitar by splintered drumkit, in the pages of NME Originals: The Who.
Gathering together articles from the hallowed pages of the UK's two most infamous music weeklies, NME and Melody Maker, Originals reprints for the first time since they were first published, all the original news stories, live reports, record reviews and interviews just as they appeared on the newstands way back when.
Whether they were explaining Pop Art and Auto Destruction to a wide-eyed nation, battling it out with The Beatles and the Stones for the top of the charts, getting busted for inciting the kids to riot, or outraging parents the length and breadth of the land, NME and MM were there to cover all the glories and scandals that made The Who immortal.. Lovingly reproduced in one glossy magazine, NME Originals: The Who is the "must buy" magazine for all die-hard fans of Moon The Loon and lovers of rock music alike.
Hard on the Cuban heels of acclaimed issues celebrating the New Romantics of the 1980s and the gods of Glam, NME Originals proudly presents MOD, a 148-page magazine dedicated entirely to the snappiest sartorial scene in the entire history of pop. Spanning five decades and 40 years, NME ORIGINALS: MOD features THE WHO, SMALL FACES, SPENCER DAVIS GROUP and all the other major ‘60s luminaries as well as documenting their influence on their heirs to the bouffant and blazer, THE JAM, LAMBRETTAS, CHORDS, SECRET AFFAIR etc.
As hardly a successful scene has thrived in the UK untouched by the hand of Mod, discerning readers can also expect to encounter BLUR, OASIS and OCEAN COLOUR SCENE as we take that Bank Holiday scooter run with all the acest of faces.
NME ORIGINALS: MOD is out and totally happening right now!
It's my life is one of my fav. with the ANIMALS too, another one is...
We Gotta Get Out Of This PlaceIn this dirty old part of the city Where the sun refused to shine People tell me there ain't no use in tryin'
Now my girl you're so young and pretty And one thing I know is true You'll be dead before your time is due, I know
Watch my daddy in bed a-dyin' Watched his hair been turnin' grey He's been workin' and slavin' his life away Oh yes I know it
(Yeah!) He's been workin' so hard (Yeah!) I've been workin' too, baby (Yeah!) Every night and day (Yeah, yeah, yeah, yeah!)
We gotta get out of this place If it's the last thing we ever do We gotta get out of this place 'cause girl, there's a better life for me and you
Now my girl you're so young and pretty And one thing I know is true, yeah You'll be dead before your time is due, I know it
Watch my daddy in bed a-dyin' Watched his hair been turnin' grey, yeah He's been workin' and slavin' his life away I know he's been workin' so hard (Yeah!) I've been workin' too, baby (Yeah!) Every day baby (Yeah!) Whoa! (Yeah, yeah, yeah, yeah!)
We gotta get out of this place If it's the last thing we ever do We gotta get out of this place Girl, there's a better life for me and you Somewhere baby, somehow I know it
We gotta get out of this place If it's the last thing we ever do We gotta get out of this place Girl, there's a better life for me and you Believe me baby I know it baby You know it too
the album: Released November 1973. The ultimate Who album. The album where all that has gone before comes together into one perfect package. The definitive Rock album, although perhaps not the definitive Who album yet still the most "Who" of any Who album. QUAD was the only Pete Townshend production for his band, which may be the reason for this. Unlike TOMMY, which was a fantasy, QUAD is almost stark in its realism. Searching for what seems an impossible solution, Jimmy rides out on his GS scooter. He is still declaring his Modism striving to be a perfect Mod. Then Jimmy sees the girl he loves with his best friend, which seems to be the final straw, and is upset enough to crash the bike, and ending his life, the move leave the last question open...
the film: Against the backdrop of riots in 60s Brighton, Quadrophenia perfectly captures the teenage need to belong, and identify, with your peers. In 1964 London, Jimmy Cooper (Phil Daniels) divides his time between hanging out with Mod friends and slaving in the post-room of an advertising firm. He doesn't work because he wants to or through a desire to further a career. No, all Jimmy wants is to have enough cash in his pocket to keep his scooter running and bespoke suits trim, leaving a little for "blues". There's nothing that Jimmy likes more than motoring with his pals Dave, Chalky and Spider What better way could there be to exasperate his parents and chat up birds like Steph ) and Monkey?
"Riotous fun following Jimmy's footsteps to all the Brighton locations in the Who's famous film, with expert guide film fan. Full commentary at each stop, illustrated, music. Mods and Rockers mayhem, it's Brighton 1964!"
The Who's 1973 album was made into a brilliant film starring Phil Daniels, Leslie Ash, Sting, Toyah Willcox Mark Wingett and Ray Winstone in 1979. This real cult classic is as popular today as when it was released and is available on video and DVD (In which director Franc Roddam mentions the tour). Tour guide Glenda is an expert on it, having spoken to Franc, cast members and so many people involved in different aspects of the filming in order to get behind the scenes stories. She has also researched the real life events on which it is based, having spoken to original mods and rockers and those in Brighton May '64 so makes full use of newspaper cuttings, photos, film stills, and of course the music too. The tour follows the story as events unfold, by going to each location. Want to know more? read on... Where does the tour go exactly? To all the locations as seen in the film, where the Mods arrive, the exterior of the dancehall where Jimmy is thrown out, the arches where Dave and Chalky kip, the cafe where they meet for breakfast and which Jimmy later returns to, the seafront as seen in the film, the part of the beach used for the fight scenes, the shopping street where the police herd them, the alleyway where Jimmy and Steph go (of course, thank goodness still unchanged!), the hotel where Ace is the Bellboy. Also the two cinemas where the film had its premieres in '79 and '97. We follow the story as it unfolds.
What is there to see? Most locations are pretty much unchanged. I have photos taken during filming so you can compare how the site looked in the film with what is there today. At each site I share anecdotes from the actors and others. I also have newspaper cuttings about mods and rockers battles in Brighton, and I've spoken to lots of people who were there, and know about the 1960s Brighton Mod scene. I even tracked down the newpaper cuttings Jimmy sticks on his wall.....
Why did you create this tour? I've always loved the album and the film. As a Tourist Board qualified guide in Brighton I was often being asked where the alleyway was, and if the cafe still exists. There's a lot of wrong information printed about locations, so I made it my business to check it all out. Never mind what's in the books, I know better! But it takes hundreds of hours to research and put together a tour, I couldn't dedicate that time unless I was pretty sure there would be enough interest from film fans. Luckily there is, and it's become one of my favourite tours.
i lived in a town called Margate in the south of england and bank holidays were when the town as well as brighton hosted the annual mods and rockers punch up, the mods on their scooters and the rockers who were bikers on their triumphs and nortons etc ..no harleys much then ...it was almost tribal and although the locals had their moans and it always made national news ..it brought in a lot of trade....i loved both sorts of music. the thing i noted was it was a class thing really the mods were in the main working class lads...and the hippies were mainly middle class..the bikers confessed to having no class..and i can say that cos as i used to hang out with them years ago lol with love and light ....and a bit of social flavour eirwenxxx.
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It's a hard world to get a break in All the good things have been taken But girl there are ways to make certain things pay Though I'm dressed in these rags, I'll wear sable some day
Hear what I say I'm gonna ride the serpent No more time spent sweatin' rent Hear my command I'm breakin' loose, it ain't no use Holdin' me down, stick around
But baby (baby) Remember (remember) It's my life and I'll do what I want It's my mind and I'll think what I want Show me I'm wrong, hurt me sometime But some day I'll treat you real fine
There'll be women and their fortunes Who just won't do ???? ??? ???? Are you gonna cry, when I'm squeezin' the rye Takin' all I can get, no regrets When I, openly lie And leave only money Believe me honey, that money Can you believe, I ain't no saint No complaints So girl go out Hand it out
And baby (baby) Remember (remember) It's my life and I'll do what I want It's my mind and I'll think what I want Show me I'm wrong, hurt me sometime But some day I'll treat you real fine
(It's my life and I'll do what I want) Don't push me (It's my mind and I'll think what I want) It's my life (It's my life and I'll do what I want) And I can do what I want (It's my mind and I'll think what I want) You can't tell me (It's my life and I'll do what I want)
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Alan Price started out as a northern British bluesman, playing with a combo of Hilton Valentine, Chas Chandler and John Steel on the Newcastle club circuit. Price played a mean set of keyboards and had a soul-tinged voice that was sexy but lacked the ferocity to cover the grubbier end of rock.
However, in 1962 they recruited a suitably mean lead singer to fill out the sound and beef up the image. Eric Burdon had one of the grimiest voices in the business and would throw himself into the songs, whip the band into overdrive and slaughter the audience. The original name of the group, The Alan Price Combo, had to go and The Animals came into being. Supporting older, black musical legends like John Lee Hooker and Sonny Boy Williams as they toured the UK, the band grew into a professional unit, with Eric perfecting his skills as a rabble-rouser. The only dark cloud on the horizon was the rivalry between Alan and new front man Eric, and the first signs of resentment soon began to show.
In 1964 they moved to London, where they teamed up with producer Mickie Most, and signed to Columbia. They blasted their way through Price's arrangement of the traditional House Of The Rising Sun, which went to #1 in the UK, the USA and around the world.
For the rest of the 60s, The Animals hit the charts regularly, most famously with Don't Let Me Be Misunderstood and We Gotta Get Out Of This Place. However, it wasn't long before ego problems resurfaced, and only two LPs, The Animals (1964) and Animal Tracks (1965), were recorded before Price left to pursue a more mainstream solo career.
He was quickly replaced by Newcastle's Dave Rowberry. Steel had also left the band by the release of its third album, Animalism (1966), the new drummer being Barry Jenkins (ex-Nashville Teens). In the limbo of these personnel changes, Burdon recorded a solo single and an LP (Eric Is Here) and moved his base to California. There he formed a second incarnation of the band, Eric Burdon & The Animals, comprising Burdon, Jenkins, guitarist Vic Briggs, John Wieder (guitar/violin) and Danny McCulloch (bass).
This line-up produced two LPs with a different style from the R&B stompers they'd kicked around in the clubs of London and the north of England. 1967's Wind Of Change featured tracks with titles such as Poem By The Sea, It's All Meat, and Yes, I Am Experienced, Burdon's reply to the title of Jimi Hendrix's just-released debut album.
The new, 'psychedelic' Animals did fairly well, with chart successes at home and in the USA (including Monterey and San Franciscan Nights), but not well enough to avoid McCulloch and Briggs being replaced by bassist Zoot Money and guitarist Andy Summers. This final line-up was packed full of skilled musicians, each of whom had his own musical statement to make. Expecting them to function as a unit was demanding too much and after two minor LP releases, The Animals folded.
Formed in Kentish Town in 1963, the front man of The Action was singer Reg King, a natural lunatic in the Keith Moon mould. He and the band had originally come together as The Boys, to back singer Sandra Barry.
The Action sought out the best of American soul music, and played their discoveries to hip audiences everywhere. At Portsmouth, a phalanx of Mods on scooters would meet their van outside the city limits, and escort them to the gig as if they were royalty. They were actually sacked from a support slot with The Who by Kit Lambert for being too good.
No less a figure than George Martin spotted their innate musicianship, and he recorded a string of near hit singles with them, in which underground soul covers like Land of a Thousand Dances and I'll Keep On Holding On, gave way to band compositions, Never Ever and Shadows and Reflections. The latter was particularly gorgeous, paying homage to the softer harmony sound of the likes of The Association, percolating through from the West Coast.
Although an LP was planned, and readers of Rave magazine were even invited to design its cover, the band imploded at this point, and Watson jumped ship. It was not until 1981 that - rediscovered by such 'new' Mods as Paul Weller, who wrote their liner notes - The Action finally released an album - The Ultimate Action.
Finally in 1995, Brain records issued a CD The Lost Recordings 1967/68. Demos for the never-released album Rolled Gold, they capture perfectly the point when mod was becoming hippie, a mix of the tuneful and the other-worldly when all was fresh and hopeful.
The recordings show the added musical dimension given by new arrivals Martin Stone and Ian Whiteman. Whiteman brought a jazz sensibility on keyboards and flute and saxophone, while Stone was already a blues legend from his guitar work on the first Savoy Brown LP.
Reg King had already left by the time the band became Mighty Baby and demos from late 1968 eventually emerged on the 1985 Actions Speak Louder Than LP, mistakenly attributed to The Action, and with a picture of that band on the cover. Some are embryonic versions of the songs which emerged on Mighty Baby, released in 1969, an archetypal product of the London underground, on the independent Head label, produced by DJ and scene maker Guy Stevens - who banned lan Whiteman's flute; "I don't record flutes" - and with a startling sleeve designed by Martin Sharpe of Oz magazine.
The band became a fixture at open air festivals. Live, their music stretched out into infinity on set-piece jams like India. On their day, Mighty Baby was the nearest Britain ever came to The Grateful Dead, with better singing, and with the same ego-less charm. Of course, on a bad night, they were almost unlistenable.
The original Action line-up of the band reunited on August Bank Holiday 1998 at Ryde Town Hall on the Isle of Wight as the highlight of a mod rally. Though somewhat rusty, and balder and broader than thirty odd years before, the band swung with a passion. and played much the same set that they would have done in 1966.
The summer of 1966 was on the way and all kinds of good and varied things had been topping the charts that year in Britain - The Spencer Davis Group's Keep On Running, the Walker Brothers' The Sun Aint Gonna Shine Anymore, plus the then-inevitable Beatles, whose Paperback Writer was a tenth Number One for the Liverpool crew.
Suddenly, in that sunny June, there were rumblings of something important happening to pop music - in Andover, Hampshire of all places. Not an area generally noted for the uninhibited high life, and certainly not for rock & roll revolutions.
But from Andover emerged a band called The Troglodytes, a rather uncommercial name which was shortened to The Troggs once they landed a recording contract with Fontana. What manner of men were these blinking into the daylight from the heart of sleepy Hampshire? They had a lead singer named Presley - Reg Presley to be exact, and quite definitely no relation to Elvis. There were four Troggs: Guitarist Chris Britton, bassist Pete Staples, drummer Ronnie Bond and Presley, and their first record was Wild Thing, produced by Larry Page.
Page knew a thing or two about what made pop music tick. He'd toured and recorded under the billing 'Larry Page the Teenage Rage' and had his share of controversial headlines. Then he had switched to production and management.
The record came just at the right time to upset the psychedelic apple cart which was infecting the straightforward pop scene. Presley rasped out the lyrics in a blatantly sexy manner and there was a positive minimum of musical adventure or invention about what went on behind that rurally-accented voice. Their records rang with a naive enthusiasm which allowed the group to build a respectable following on the club scene, where they continued to recreate the good old days.
The Troggs clearly were a business-like bunch of rockers who eschewed the apparent apparent build-up of progressive music in the pop business. The second record was With A Girl Like You, a Number 1 where Wild Thing had reached second place. The third, I Can't Control Myself, went to Number Two and then came Any Way That You Want Me, Give It To Me, Night Of The Long Grass and Love Is All Around.
Then after just 18 months of fervent furious activity, The Troggs stopped having Top 20 hits. But in that short space of time they had laid claim to being 'living legends of pop'.
Wild Thing was a song by Chip Taylor, a very experienced writer, and The Troggs simply lambasted both melody and lyrics. A couple of years later it was to become a highlight of the stage act of one Mr Jimi Hendrix. By the time of I Can't Control Myself, controversy really hit The Troggs. One line in the song had them banned in Australia, placed on the BBC's 'restricted list' and widely criticized by the battalions of self-appointed guardians of pop morals.
The line was "your slacks are low and your hips are showing". Incredibly that was regarded as being unnaturally outspoken. But the truth was that Reg Presley had developed a style of vocal delivery that could make reading from the telephone directory appear sexy. With The Troggs it wasn't a matter of the songs they sang being all that sexy - it was the way they sang and played them. The controversy fired The Troggs to develop their rustic personalities. They exaggerated their accents, splattering conversations with "oi's" and "moi's", and they deliberately cultivated the use of country bumpkin language.
Two Troggs' albums, From Nowhere and Trogglodynamite, were big sellers, but in LP form it must be admitted the group's musical imperfections and weaknesses came through. At no time, though, did their sheer exuberance and energy dry up.
Legal hassles with Larry Page no doubt contributed to their demise as a chart band, but they did continue working overseas clubs with the occasional tour of one-nighters in Britain. Then in 1973, there were unmistakable and unexpected signs that The Troggs were becoming cult figures in America. After all it was US audiences who failed to make The Troggs superstars when they first had the chance. The band had toured with The Who and, on a slightly different level, with Herman's Hermits. But the rumblings from the US pop papers got louder and louder. The Troggs old, sexy singles were being played over and over again on radio stations, injecting a bit of old-fashioned fire into what was in danger of becoming a staid rock scene.
There had been personnel changes. Chris Britton had got fed up with the delay in finding fame a second time around and went off to run a disco in Portugal and was replaced by Canadian-born Richard Moore. And Tony Murray had taken over from bassist Staples. But there was still the ebullient, podgy, amiable and outspoken Reg Presley doing the singing, and drummer Ronnie Bond improving his interpretation of the role of rustic layabout.
As America latched onto The Troggs, so did Larry Page (again) who patched up old differences and took the band back into the studios. The first single from the new period was a version of the old Beach Boys' hit Good Vibrations, and it proved a very good talking point. It was talked about mostly as a strong comeback bid, whereas in truth Reg Presley had not done badly out of pop. There had been royalties coming in from his songs over the years, and he had built his own £50,000 Sw
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I have never heard of The Who being called the detours. Did they release anything under that name?
Immediately prior to becoming "the Who", they were known as "the high numbers" and released a few singles. Two of which are featured on the Quadrophenia film soundtrack album(1979.....NOT the 1974 Quadrophenia album)
Hi ya Everyone. I just spotted this site and had to join!!
The last real mod (though very commercial) band to rank high up the charts in the UK was 'The Jam', though Blurr gained a Mod following and their video to 'park life' featured Phil Daniels who played Jimmy in quadrophenia.
I was a Mod in the early 80's and the '85 scooter run to the isle of Wight saw over 12,000 scooters. A beer truck was hijacked there and most of it was drunk within 24 hours, in the middle of a farmers field. 2 police cars arrived to arrest over 1000 drunk Mods and scooter boys....didn't get much of a result there and one of the cars was stolen.
The Kinks had the songs to get a very varied group as fans. The band rode in on the British invasion with loud, unruly rockers but soon turned into a quirky, nostalgic outfit that made their best work totally out-of-sync with the rest of the music world, although Ray Davies had an ear for melodies and thoughtful lyrics.
When the band started out with a string of hits including "You Really Got Me" and "All Day and All the Night," it looked like they were on top of the world and ready to stay there. However, problems affected the band including, for Davies, nervous breakdowns, blackouts and drunken fits. As Ray put it, there was "jealousy, greed, resentment, misunderstanding" not to mention his storing money in footware. It was the pressure of touring, mistrust of managers and record companies and worst of all, an incident with the powerful American Federation of Musicians union. Whether Ray did or didn't slug someone isn't important- the result is that the band was banned from gigging in the USA for four years. For a band that was just peaking, this was a disaster. Considering that a lot of bands don't last four years, it was amazing that they had survived, especially as they had had to watch a series of other British bands take the States by storm.
Back home in England, their singles scored pretty well though their albums were (financial) flops. It was during this time, about 1966-1971, that was the band's prime time where they made great, very unfashionable music. Like the Beach Boys, the Beatles and Rolling Stones, the band starting making albums as complete statements rather than just a bunch of singles with fillers. But while the rest of the USA/UK bands were indulging in psychedelic sounds, Davies and company were indulging in whimsy, music hall and nostalgia: you could almost imagine him in a straw hat and striped shirt with a cane, a smile and a wink prancing around a stage. It was too British for the American market and not "groovy" enough for Swinging London. The result was that The Kinks albums from this time (up to LOLA) were thought to have only chalked up sales of only a couple of thousand after tearing up the charts a few years before that.
Not too surprising then, the group was in constant upheaval. Other than Ray chasing a manager around the streets, only to wind up in a looney bin. Bassist Peter Quaife quit and rejoined the band only to quit again in 1969. Drummer Mick Avory took time off for medical reasons and Ray's brother Dave auditioned replacements for Ray himself in the band. The few gigs they did manage were sloppy and full of fist-fights among the group. What's worse, the band was getting little support from their record company and their producer Shel Talmy was getting pushed out by Ray so that he could take over the production chores. With his professional and personal life turning into %#&!*%, his lyrics started to reflect this burden, getting depressed at first and looking for escapes later and the music itself maybe also leaning to "good-old-days."
A cab driver once said to Davies "I like your songs, but why are you always trying to take the starch out of us?" Ray's response was "I haven't got it in for anybody. Because in all these people I can see the same weaknesses I've got."
"Dedicated Follower of Fashion" and "Well Respected Man" showed that Davies was knew how to rap the middle-class over the knuckles. Although the band was starting to show some sophistication with THE KINKS CONTROVERSY (with "I'm On An Island" and a Sleepy John Estes cover), their prime stuff really began with FACE TO FACE. Mixing their rowdy rock with Indian scales, folk, music hall, they did it all tastefully with only Nicky Hopkins' harpsichord playing along with them. Ray's songs ran the gamut from the commercialization of culture, a plea to a lost love, working as a sideman and a sympathetic nod to a fop. Most of all, Ray was painted a depressing picture of losing your marbles, losing your house and losing your woman- some real working class blues. Thanks to a deceptively bouncy opener and closer (about not getting a call through and another farewell to a woman) and the fact that he or Talmy didn't go for horn or string clutter, this sounded plausible rather than mean-spirited (like he'd later be) or overwraught (ditto). If anything, this great album is a triumph because he rummages through all his pain but won't give in to it. Of course, it helped that they had one of their few US hits at this time with the wistful sing-a-long "Sunny Afternoon."
After all of this artful doom and gloom, SOMETHING ELSE (their last album with Talmy) was a little more upbeat. "David Watts" was more class consciousness and a little green envy to a bouncy beat. Dave had his amusing Dylan-ish "Death of A Clown" and the hopeful "Love Me Till The Sun Shines" (both part of his planned solo album) along with the sweet "Funny Face". Ray weighed in with lythe "Two Sisters," "End of the Season" and "No Return" where he calmly sang of jealously, ennui and more lost love (who said adversity didn't make great art?). "Harry Rag" and "Tin Soldier Man" were old-timey flourishes about the evils of pot and light political commentary: he'd turn to more nostalgia and anti-war propaganda in the next albums. His great side-closers stole the show though. "Situation Vacant" was a snappier version "Sunny Afternoon"'s down-and-out rummaging. "Waterloo Sunset" is probably th
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dedicated followers of the KINKS? May 16, 2005 1:36 AM
alot of these band will have their own topic when i, or someone who wants to tell us something have got he time, Jonathan i think it sounds interesting with your band, cant you tell us something about it and the time you played???
He brother, I promise to find out how to use Care2 groups better tomorrow, so I should be a better contributor tomorrow. You have a vast knowledge of contemporary music, I'll be glad to learn from you! Good Night, I'll be back tomorrow! Blessings!! Love Jon
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My band played a couple of Small Faces tunes, we started off solidly into the Brittish invasion with tunes from the Animals, the Kinks, Early Stones, plus BBKing, Taj Mahal and a number of traditional Blues tunes from the 50s, we kept at this music, well past the point of Physcodleia, although Early Hendrix, from his army days and his East End days were part of our mix also. I always missed this music, as we changed to meet the times, it was great for a singer, and that was my thing! You know that the music scene in the mid to late 60s was such a weird assemblage of musical styles, its kind of hard to figure who carried through to what, and what marked the change from genre to genre, Id like to hear your take on all this!
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another gigantband was the who, they started as the Detors May 15, 2005 10:30 PM
In early 1964, The Detours discovered a rival group also named The Detours, and decided to change their name. Pete's friend from art school, Richard Barnes, suggested The Who and it was officially adopted. Not long after this Doug Sandom was encouraged to leave the band. That April his seat was taken over by young maniacal drummer Keith Moon (born 23rd August, 1947). Moon, dressed all in ginger-colored clothing with hair dyed to match, had insisted on performing with The Who at a gig. He smashed their replacement drummer's foot pedal and was accepted into the band.
The Who found another way to attract fans. Pete accidentally cracked the neck of his guitar on a low ceiling during a show, meaning that the next time they played there, fans called for Pete to smash his guitar again. He did, but this time, Keith followed it up by smashing his drum kit. Also around this time, Pete developed his windmilling style of guitar playing which he adapted from a stage move of Keith Richards
Fortunately, at this time, two men called Kit Lambert (son of composer Christopher Lambert) and Chris Stamp (brother of actor Terence Stamp), were looking for a band to base a new film around. They discovered The High Numbers in July 1964 and became the band's new managers. After a failed audition for EMI Records, the band's name changed back to The Who.The Who got their first big break in London by taking over the Tuesday night spot at the Marquee Club in November 1964. They were advertised all over London with black handbills designed by Richard Barnes featuring a windmilling Pete and the legend "Maximum R&B."
Soon after this, Kit and Chris pushed Pete to begin writing songs for the group, particularly one to attract The Kinks' producer Shel Talmy. Pete adapted a song he had already written called "I Can't Explain" to The Kinks' style and won over Talmy. The Who signed a contract, making Talmy their producer for the next five years. He in turn, signed them to Decca Records in the U.S. Pete's earliest songs were written to match Roger's macho stage posture. Roger was the leader of the group at the time, a position he controlled with his fists. Pete's increasing abilities as a songwriter threatened that position, especially after the hit single "My Generation." It was a defining ode to the Mod outlook on life, with the singer stuttering from amphetamine-overdose crying out "I hope I die before I get old." With the single a hit in the charts in December 1965, Pete, John and Keith forced Roger out of the band because of his violent ways. Roger promised to be a "peaceful perce" from then on, and was accepted back.
one of the greatest mod-band where the Small Faces May 15, 2005 10:23 PM
The Small Faces, the East-End's fab four, created an enduring legacy during a brief career so much so they not only do they remain highly respected but they continue to attract a young fan base and are widely cited as influences by major artists today including Paul Weller, Oasis, Blur and Supergrass. They became "special" because they were essentially music fans playing the music they loved. They were genuine Mods and so the audience identified with them more than with groups like the Who. Typically when being complimented on his songs, Marriott would suggest that the person in question should listen to the originals instead.
They had charismatic front men in Steve Marriott and Ronnie Lane who also became a superb songwriting partnership. These two had met when Lane came into Jim Marshall's music store where Marriott was working, looking for a new bass. He was playing with the Outcasts with Kenney Jones at the time. Marriott had been on the London stage as the Artful Dodger in Oliver and had been in a band called the Frantics, followed by the Moments who had released a couple of singles. They hit it off and discovered that they shared an interest in American R&B. Bit more here
The group was named the Small Faces as they were all short and were true Mods. The top Mods were always known as "faces." They started to rehearse in the Ruskin Arms in East Ham which was run by Jimmy Winston's parents. The group made their debut at Peter Stringfellow's Mojo club in Sheffield and in London at the Cavern Club in Leicester Square. Manager Don Arden had been persuaded to check them out and they signed to his company. They were rewarded with a wage of £20 per week and accounts at the major clothes shops in Carnaby Street. They also signed to Decca Records. The debut single What'Cha Gonna Do About It was essentially a rewrite of Everybody Needs Somebody to Love. This put the band in the charts. At this time the band was becoming disillusioned with organ player Jimmy Winston who appeared to be hogging the limelight from Marriott on TV appearances and he was told to leave. It has also been suggested that he was too tall!
Winston was replaced by Ian "Mac" McLagan who had been in Boz & the Boz People and the Muleskinners. He fitted into the group perfectly, not only because of his size but also because of his love of the same music. The band's second single was I've Got Mine, penned by Marriott and Lane. This failed to chart and Don Arden turned to songwriters Kenny Lynch and Mort Schuman for the next single. Sha La La La Lee is a very catchy tune that took the band back into the charts. The band continued to have hits with Hey Girl and All or Nothing, the latter making number one in the UK. the album Small Faces was released and showed the band at their R&B best. However, the band as becoming disenchanted with Don Arden and were attracted to the Immediate record label by promises of plenty of studio time to experiment. Immediate had been set up by Andrew Loog Oldham.
The band went through a transformation at Immediate. The space they were given help them change from a pop band into one that was pushing at the frontiers of music. The first single released on Immediate was Here Come The Nice, a song about drug dealers that seemed to pass the censors with no problem. At the same time, Decca released Patterns intended as a spoiler and this was not promoted by the band. Here Come The Nice put the band back in the charts though.
The second single on Immediate has become a classic of the times. Itchycoo Park also made some impression on the charts in America. the park itself was Manor Park in East London that was renowned for its stinging nettles (itchy) and courting couples (coo). The single was followed by the second "official" album. Small Faces showed just how far the band had come with the songs moving beyond pop or even the band's R&B roots to show more inventiveness.
The Small Faces were at their creative peak. This was best highlighted in the next single. Tin Soldier had originally been written for Immediate stable-mate PP Arnold. She was so impressed with the track that Marriott kept it for the Small Faces although PP Arnold does sing backing vocals. Tin Soldier ranks as one of the greatest singles ever released.
The greasers of the do-op era were kind of the American counterpart of mods to me, and I noticed in English Cinema that their clothes and accesories were pretty much the same, what I don't know about were the continental equivalents, it seemed like we never heard anything stateside from Europe, outside of England.
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not quite, i think the beatnicks where more political, the mods where in on dancing all night, show off their scooters and zoot suit, and having a ball on the other side of the societyborder...
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a youth subculture that began in London in the early 1960s; a working-class movement with highly stylized dress and short hair; listened to rhythm and blues music and travelled on motor scooters www.cogsci.princeton.edu/cgi-bin/webwn
The Mods and the Rockers were two British youth movements of the early 1960s.Gangs of mods and rockers fighting in 1964 sparked a moral panic about British youth. They can be seen as a type of Folk devil. en.wikipedia.org/wiki/Mods_(youth_movement)