#60s merseybeat

[kaiserkeller]

SUPER RARE — Klaus Voormann and Gibson Kemp, c. 1965.

Please keep my watermark on if resharing as I have removed big rip marks from the original.

#DJSKKDKDKD #guys #proof that he eats #klaus voormann #gibson kemp #paddy klaus and gibson #1960s #60s #british invasion #merseybeat #classic rock #the beatles

[brianscellarfulofnoise]

Some wintery vibes from Brian for this cold day in Liverpool ✸

#brian epstein #the beatles #beatles #john lennon #paul mccartney #george harrison #ringo starr #merseybeat #1960s #60s #retro #vintage

[zippocreed501]

The Liverbirds - Peanut Butter (1965)

#the liverbirds band #girl group #60's #liverpool sound #mod #combo #beat #merseybeat

[mymelodic-chapel]

The Searchers- Sugar & Spice (Merseybeat, Pop Rock) Released: October 16, 1963 [Pye Records] Producer(s): Tony Hatch

#merseybeat #pop rock #60s #1963 #The Searchers #Searchers

[loudhorizonmusic]

The Liverpool Set.

The Liverpool Set Shane Sennet, a bass player from Montreal, Canada had balls, I’ll give him that! I mean, there was no lacking in confidence, was there? He formed a band with five others back in 1964 and capitalizing on the ‘Mersey Sound’ popularized by bands that formed the British Invasion of USA and Canada in the mid-Sixties, named that band The Liverpool Set. Fair play, though, despite…

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#60s #60s garage #60s music #entertainment #Liverpool #Merseybeat #Sound of The Sixties

[courtingwonder]

The Dark Knights - Send Her To Me (1966) --- youtube.com/watch?v=W7W5DLrfdGY

#merseybeat #music history #music #60s music #1960s #60s #1966 #1900s #20th century #Youtube

[spoiledstrawberry]

Billy Kinsley pictures that make me happy (♥´∀｀)

#liverpool express #the merseybeats #billy kinsley #1960s #60s pop #60s rock #1970s #70s rock #70s soft rock #he is my sunshine #he is rarity #beautiful af #(﹡ˆ﹀ˆ﹡)♡ #I hate those letters that keep getting in the way of the pic :p

[spreadtunes22]

(Picture one is albums which is what I will be doing):

Please Please Me, With The Beatles, A Hard Day's Night, Beatles for sale, help!, Rubber Soul, revolver, Magical Mystery Tour, sgt. Peppers Lonely Hearts Club Band, The Beatles (The White Album), Yellow Submarine soundtrack, Abbey Road, Let It Be, 1962-1966, 1967-1970, Anthology 1 ,2, &3, let it be.. naked, live at the BBC, 1, on air live at the BBC Vol 2

#folk rock #merseybeat #music hall #hard rock #proto metal #british invasion #rockabilly #country rock #experimental music #psychedelic folk #soul music #r&b #doo wop #girl group #60s rock #60s pop #classic rock fandom #jazz #gospel #imaginative #indian classical #neo classical #ska music #baroque #blues rock #ballads #singalong #rocknrollmusic #sunshine pop #avante garde

[singeratlarge]

HAPPY BIRTHDAY to Bryan Ferry—one of my musical heroes as a vocalist, singer-songwriter, style visionary, and frontman/co-founder of Roxy Music.

Ferry is like a man stepping out of a classic film, evincing James Bond, Marlon Brando, and Humphrey Bogart (RM tributed Bogart with “2HB”). Musically, Ferry is influenced by American soul singers, The Beatles, Gershwin-esque pop standards, and European genres (think Balkan-Mediterranean folk, Marlene Deitrich, French chanson, and opera). He is also a chief interpreter of Bob Dylan, John Lennon, and Lou Reed; Ferry’s harmonica playing handily mimics Lennon’s early 60s Merseybeat sound. With a 3 & 1/2 octave range, Ferry’s vocal technique involves a groomed palate, tight vibrato, volatile articulation, and the “talking blues” speak-singing cultivated by Dylan and Reed. Like Billie Holiday, Ferry sometimes sings a tad sharp and off the beat. His style is an acquired taste for some, as he challenges the conventions of male pop/rock singing. One critic called him “Dean Martin for psychotics; Frank Sinatra on LSD.” 

Singer peter chauncey and I covered Roxy Music’s "Mother of Pearl.” Ferry’s lyrics take the dead end of 'party love' and measures it against the durability of pure love, alluding to Boticelli's ‘Birth of Venus’ painting, The Bible, and Frederic Neitzsche. The original “MOP” was a two-tiered rock operetta, opening with a sinister shindig, like a Sam Cooke party crashed by speed freak bikers. The party-groove abruptly cuts to a pensive, down-tempo Velvet Underground-style chord meditation while celebrating the power of eternal love with a fascinating parade of lyrical images. View here: https://www.youtube.com/watch?v=FrXjwnhvqRQ ...Meanwhile, HB BF. Thank you for your years of setting the bar and giving us incredibly excellent music.

#MotherofPearl #RoxyMusic #BryanFerry #piano #guitar #operetta #VelvetUnderground #party #love #SamCooke #Boticelli #Venus #Bible #Neitzsche #NickyHopkins #peterchauncey #johnnyjblair #video #music #artrock

#johnny j blair #singer songwriter #music #san francisco #pop rock #Roxy Music #Bryan Ferry #operetta #Velvet Underground #birthday #Peter Chauncey

[mannytoodope]

Damon Albarn (born 23 March 1968) is a musician and songwriter best known as the lead singer of the band Blur. He formed the band after meeting Graham Coxon in 1988. The band released its first album in 1991. The crew did a fair amount of touring in the U.S. The band released three more albums with critical acclaim. Albarn’s writing was heavily influenced by bands from the ’60s, shown in the band’s first three albums. In 1998, He teamed up with comic book artists Jamie Hewlett and other artists to form the virtual band Gorillaz which draws influences from alternative rock, hip hop, reggae, electronic, and pop. The band has released three successful albums.During the ‘90s, Blur held its own in the brit-pop battle. Albarn has formed other “supergroups,” including, The Good, the Bad, and the Queen. He has light and flighty voices perfect for brit-pop and even Merseybeat. I like how he expanded from brit-pop into other genres of music. Albarn is passionate about music and charity work, so he worked with African musicians in the Charity Oxfam. Albarn has composed music for films. Over the past few years, he has been candid about cleaning up after his drug abuse. Albarn has received numerous awards for his songwriting, work, and music. I saw  Gorillaz fall (late summer ), and he had great energy. Albarn is one of the hard-working and vital figures in brit-pop.

#Singer-Songwriter #Musician #Record Producer #Alternative Rock #Brit Pop #World #Art Pop #Blur #The Good The Bad & The Queen #Gorillaz

[peterviney1]

Fontana

Latest addition at Around and Around is the Fontana record label (LINKED). Philips twin label, a hipper twin too. Do read the first section where I compare Fontana images on EPs to a 1960s or 1970s school assembly! Mr Brubeck is headmaster, Dave Dee is the PE teacher etc. Fontana was strong on 60s British beat – Manfred Mann, Spencer Davis Group, Merseybeats, Kiki Dee. Then it had important jazz…

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[ncwhereman]

Hi...

What's your favourite band besides The Beatles? (I'm assuming your favourite band is The Beatles.)

hi! secret santa is that you 🥲

yes, the beatles have been my obsession for what- two years now? i'd also count john lennon's solo stuff into obsession category even though i forgot to mention it in the sign up form :')

i also like a lot of music from the 50s and 60s and 70s- elvis, harry nilsson, lou reed, the whole merseybeat thing, i could go on and on. sorry if it's too broad but usually i decide to obsess over eras and individual songs rather than artists if it makes sense (with certain exceptions like the beatles lmao)

and as for non-classic rock, i absolutely adore lana del rey and father john misty. i also loved mitski's latest album and really discovered sean lennon's music this year which is Amazing

what about your favoite bands?

#srs23 #ask

[brianscellarfulofnoise]

A small Brian section at the Beatles Museum on Mathew Street in Liverpool!

#brian epstein #the beatles #john lennon #paul mccartney #george harrison #ringo starr #sorry for the reflections! #merseybeat #liverpool #60s #1960s #retro #vintage

[turnupthevolumebelgium]

YOU NEVER WALK ALONE

GERRY AND THE PACEMAKERS

No 1 in the UK, 60 years ago today

31 October 2023

#turn up the volume blog #gerry and the pacemakers #you never walk alone

[loudhorizonmusic]

Wimple Winch

Wimple Winch Wimple Winch were one of several bands around the mid-Sixties whose limited output (only three 7″ singles in their case) command very / extremely high prices when they happen to appear for sale. From Liverpool’s Huyton area, they originally formed, in 1961, as Dee Fenton & The Silhouettes. (‘Dee Fenton’ was the stage name of vocalist / guitarist, Demetreous Christopholos.) However,…

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#60s #60s music #featured #freakbeat #garage #Just Four Men #memories #Merseybeat #Sixties #Stockport #Wimple Winch

[mywifeleftme]

138: Various Artists // Experiments in Destiny

Experiments in Destiny Various Artists 1980, BOMP!

BOMP! is a venerable Los Angeles-based indie label, founded in 1974 and would you believe still going to this day. Experiments in Destiny samples 28 bands either signed to or distributed by the label, and it’s a who’s who of “Who?” with a few starrier names scattered in. They specialized in New Wave, homages to ‘50s and ’60s rock, and springy power pop. I wrote this intro after deciding to do a track-by-track recap below, so uh, let’s get to it because there are too many words as it is.

Side One

Stiv Bators: First time hearing the solo work from the Dead Boys’ Stiv Bators, and it turns out he’s… Tom Petty-ish?

The Real Kids: Pitching this here with no real forethought, but you can divide power pop bands by whether or not their singers sound like their throat is dry. Boston’s The Real Kids are great, great dry-throated power pop, and probably one of the better-known acts here thanks to “All Kindsa Girls” showing up on a lot of compilations. They’d already broken up by 1980, so we get an unreleased demo that probably wasn’t easy to find elsewhere at the time.

The Dadistics: Somewhere between the Slits and Rough Trade, a little Pat Benatar in the vox—puts me in the mind of the similarly cool and obscure Mo-Dettes. The first third of the song is a no wavey fakeout, then it goes into a kinda Feeliesy riff. Extremely cool! And vocalist Audrey Stanzler went on to be part of the original lineup of… Ministry?!

Blake Xolton & The Martians: Tasting notes: Maybe Magazine at their most electronically disassociated? Blake Xolton was a producer with a very sparse discography, who may also have been part of the phony International Society of Poets who set up the controversial Poetry.com, a “poetry shearing site” per Wikipedia.

Jimmy Lewis & The Checkers: Pubby cover of the Aretha Franklin chestnut “Think.” Probably a little too close to Huey Lewis & the News for my taste.

The Nuns: Blondie-esque New Wave, with some very cool guitar and backing vocal effects that make it sound like the action is taking place in a futuristic resurrection chamber.

Gary Charlson: A smooth Kansas City pop rocker—his vocals strongly remind me of some minor prince of '70s classic rock radio, but all I'm coming up with is the guy from .38 Special, and I know that's not it. His sole EP covers a number of the titans of power pop (e.g. the expected Raspberries, Byrds, and Badfinger, the at the time obscure Big Star, the eternally head’s only Crabby Appleton and Vance or Towers), but he somehow never ended up cutting an LP despite a very radio-ready sound. Self-produced wonder? Nice bit o' Middle American flavour to it.

Side Two

Rodney & The Brunettes: Cutesy one-off cover of the surf rock classic by LA DJ Rodney Bingenheimer, who gives a respectable effort.

The "B" Girls: Toronto girl group who might've been able to get some of that Go-Go's money with a little polishing. Good harmonies, lead singer had a nice voice on her.

The MnM's: Excellent shake and pop, written by Paul Collins of the Nerves and the (American) Beat, and featuring the latter band's Steve Huff on bass. Vocalist Marci Marks is the kind of diminutive punk girl I’d probably have been crazy for at the time.

Paul Collins: Speaking of Collins, this is a second reminder in a row that I really need to get around to listening to his post-Nerves material, because this is a great sub-two minute blast of punkified Merseybeat.

Nikki & the Corvettes: Three-piece girl group from Detroit that sound strikingly like Tweens, a 2010s pop punk fav of mine. I'm addicted to this particular kind of snotty/bratty femme vocal, love how much room the single guitar gives to hear the bassist noodling around. Somehow I think this is the first time I’m hearing these guys.

Kathy & the Lawnmowers: After five straight '60s revival songs, we take an abrupt detour into Devo world. Kathy & the Lawnmowers were produced by the notorious Kim Fowley, who provides a blurb in the liners explaining that the mysterious bandmembers arrived at a session wearing masks having never met before, cut some tracks, then removed their masks, didn't like the looks of one-another and split for good. That's obviously baloney, but I prefer it to the version where Fowley did something terrible to them, which would not be uncharacteristic. They’re also credited as Jukebox Rebel Queens on the back cover? Anyway, fun trash sci-fi ramble about green children.

Side Three

The Sonics: "Up (to) the Junction"—sadly not a Squeeze cover, but pretty fetching stuff from the legends nonetheless. The bluesy rocking side of the Sonics (as opposed to the frothing proto-punk side), nice biting guitar tone.

The Weirdos: Per the liners, allegedly LA's first punk band, a claim I can't dispute because I continue to not know much of anything about LA punk, this is fun rockabilly style fair, like a less stylish Cramps. Good stomping beat.

The Zantees: A Gene Vincent cover in a Stray Cats vein, with a guitar player who can really go in that zippy old school Scotty Moore style.

Jon & the Nightriders: A surf rock instrumental cover—I wondered if "Super Jet Rumble" might've been by the Jet-Tones (of "Jet Tone Boogie" 'fame'), but no, seems to be a tune by The Breakers. Anyway, this sounds like every surf rock song, which is to say it rules but not in a way you'll necessarily remember.

The Lipstick Killers: High energy Australian garage rock that the band apparently called "straight edge music"; presumably Ian MacKaye had to go down to the Yabba and win a few rounds of the game from Wake in Fright to win the rights to that term. While we're at it, the song's called "Hindu Gods (of Love)"—Warren Zevon and R.E.M., you've got some explaining to do! Presumably on the B-side of the original single they also coined the term 'hyphy' and invented Lou Barlow.

The Hypstrz: A Minneapolis band with a legendary live reputation, but I can't really fuck with bands whose main gimmick is garaged up versions of old R&B sides. They probably absolutely crushed it live, but this version of "In the Midnight Hour" just kinda exists for me.

The Last: Clearly a last-minute (not a pun, fuck you) addition as it's not listed on the back of the sleeve or in the liners, the Last's "She Don't Know Why I'm Here" is a slashing piece of Anglophile psych-pop and one of the best things on this entire comp. It stuffs a remarkable number of twists and turns, false finishes, and secondary riffs into its three-and-a-half-minute runtime. The Last have a small cult following for their run of singles and debut LP LA Explosion! My only regret is that they didn't include the original single version of this one, as it elevates a groovy jam into a thrashing raveup.

The Dead Boys: Stiv Bators' second appearance on the comp; the Dead Boys were an almighty force in their day, but there's something kinda funny to me about ol' sloppy Stiv being the centrepiece of any label's roster. A good-enough take on "3rd Generation Nation" from their live LP Night of the Living Dead Boys—RateYourMusic reviewer mofoking shares some interesting backstory on how that LP came to be distributed by Bomp! and why nearly all of Stiv's vocals had to be overdubbed.

Side Four

The Crawdaddys: Perfectly competent Velvets cover, though the vox sneer their way past Lou into a Dylan impression.

The Martians: Previously appearing on this comp backing up "Blake Xolton" on a weirdo New Wave Christmas song, their own sound is traditional Merseybeat stuff. This isn't a classic, but it's a damned fine pastiche. Apparently they were a pair of record producers who joined together for this project, sharing lead vocal duties and playing all of the instruments themselves. No wonder it sounds great.

Pete Holly & the Looks: Heavy New Wave from Boise, Idaho, sporting a hilarious watery vocal filter and waka-waka guitar riffing. The chorus conceit is goofy ("Look out! Below!") but the Boiseans acquit themselves well. Somebody had to hold down the fort between Paul Revere & the Raiders and Built to Spill, so my thanks to Pete Holly.

The Wombats: Not the ’60s Wombats from Illinois or the ‘90s Wombats from also Illinois or the ‘00s Wombats from Liverpool, but rather a fourth Wombats from Cleveland, presumably the marsupial capital of the Lower Midwest. This (“Utter Frustration”) is sloppy and great and went by very quickly while I was trying to research whether Ohio's indeed part of the Lower Midwest, so I had to listen to it again.

Rainbow Red Oxidizer: A former sideman for the Seeds' Sky Saxton (presumably around the time he was fucking around with the Source Family), Rainbow Neal is accompanied by members of Focus, Spirit, Captain Beefheart's Magic Band, and even Mars Bonfire from Steppenwolf. I've got like six tabs open trying to figure out what this guy's deal is--love when a compilation sends me down a research hole like this. I'm sampling the Oxidizer LP now, and despite its New Wave window dressing, it's viciously sarcastic garage rock with the occasional jangly gem—if anything Rainbow's voice reminds me of Wire's Colin Newman. What a great song "When You Walk in the Room" is!

Cheek: Okay, these guys are Australian, covering an old Easybeats song, and are even produced by Vanda & Young, who give them something like a vintage AC/DC production sound, though these guys are considerably poppier than Angus and company. Vocalist does have a faint Bon Scott keen to his voice at times though.

The Romantics: Detroiters best known for "What I Like About You" (one of those songs I have heard ten thousand songs and never questioned the provenance of) turn in a rarity in "Running Away," a slab of pristine midwestern power pop that was apparently intended to be issued as a single with BOMP! but ended up seeing its first release here. They'd lose the Romantics to the Atlantic-distributed Nemperor Records right before they blew the fuck up, which has gotta be a label owner's nightmare.

Well, that took goddamn forever. If you’re still around, the tracks I most recommend fishing out are the Real Kids, Dadistics, “B” Girls, MnMs, Paul Collins, Nikki & the Corvettes, Last, Martians, Wombats, and Rainbow Red Oxidizer tunes. Not a bad haul!

138/365

#bomp! #garage rock #punk #'70s punk #new wave #'80s music #'70s music #music review #vinyl record #the romantics #the dead boys #the nerves #paul collins #cheek #rainbow red oxidizer #stiv bators #the real kids #the dadistics #blake xolton #the martians #nikki and the corvettes #the b-girls #the last #the nuns #jimmy lewis #gary charlson #the sonics #the zantees #the weirdos #lipstick killers