Happy first Saturday of 2018. This month, I put rocking records to end the week. So here is this, a double record I got for a dollar.
Humble Pie was one of the first super groups (experts vary but I give that distinction to Cream). Formed in Essex, UK in 1969, the group consisted of Steve Marriot of Small Faces, Greg Ridley from Spooky Tooth, Jerry Shirley from The Apostolic Intervention, and Peter Frampton from the Herd. The band had pretty good success on both sides of the Atlantic .
Frampton left in 1971, to be replaced by Clem Clempson. Further success followed until the band’s breakup in 1975. Several reformations under various incarnations would follow.
This was the band’s first live recording, recorded in May of 1971 and released 1971. It would also be their first Gold record. Frampton would leave the band for bigger fame shortly before its release. Consisting of an hour long set from the Filmore East in New York, the album tears through mostly covers from Ida Cox, Dr John, Muddy Waters, and Willie Dixon among others as well as one original song. Apparently, Marriot and Shirley were quite high when they mixed the album and took most of the audience sound out of the first mix so back to the mixing desk they went.
I went with Ray Charles’ classic “Hallelujah” as a s ample, mostly because the record was in rough shape and this was the only track that did not skip.
Bringing Dutch record week to a close with an English band and the record which convinced me to buy records while on vacation despite not having the proper luggage to carry records back to the US. As with the rest of the albums this week, this was one Euro. However, since it is a double record, it is technically a half Euro per disc.
For some reason, this record had a poster of Danny De Monk in it. He was a Dutch child actor and singer from the 80’s who still gets around today.
The Shadows were a UK band who were successful both in their own right and as the backing band for Cliff Richard. Between the two incarnations, the band would have 69 UK charting singles. Lead by lead guitarist Hank Marvin, their biggest solo hit was the instrumental “Apache”.
Read more about the group here as I am lazy on Saturday
This was a double album, released sometime after 1973, is a combination of two earlier albums: 1964’s Dance With The Shadows, which went #2 in the UK, and The Sound of The Shadows, released in either ’64 of ’65. It would go to #4. These albums were their third and fourth respectively. Both were recorded during the bands classic period. Both albums are pretty decent. I was surprised when more than a couple had vocals as I thought the band was strictly instrumental. A lot of popular songs on here as well. Because I hyped it up a bunch, I was a bit let down when I heard it. However, it is still pretty good stuff. I was just hoping for a more Venture-y sound for more of the record.
But again, they had some good songs. One of which was their version of “Zambesi”. The Bert Kaempfert version is on this blog if you use the search function. I also liked their version of “Temptation” also previously on this blog although by whom I forget. Finally, because I always post it, “Brazil”.
This was 80 cents. For that price, it had enough songs that I knew that made it a good buy. Also, I was attracted to the track which I am using as a sample.
This was Manchester’s own Herman’s Hermits’ fifth album, released in 1967. One cool thing about this is that the same album was released in both the US and the UK. Record companies seemed to do this more often after 1967. Anyway, the title track was a huge hut for the band. It would also be their last #1 single in the US. The album would reach #11 in the States. At the time, the band was thought of as more of a single’s band. This album, at least according to Allmusic.com, changed that.
The album is pretty good. It is a good collection of songs. I really liked “No Milk Today”, “Dandy” (not related to the Kink’s version), “Gaslight Street”, and “Saturday’s Child” ( done previously by the Monkees).
But the big delight is the band’s version of the torch standard “Jezebel” complete with a bass line that borrows from “The Peter Gunn Theme”. It does not sound within the bands comfort zone and thus really steals the show.