THE BEACH BOYS HAVE A PARTY!

Original Released on LP Capitol MAS 2398 (mono)

(US 1965, November 8)

Capitol, which had already released ten Beach Boys albums in three years, was bugging the group for product that it could release in time for the 1965 Christmas season. To buy time while Brian Wilson began conceiving the "Pet Sounds" masterpiece, the group issued a set of covers, featuring '50s rock and R&B hits they had listened to as schoolboys, plus some newer sounds. Packaged as if it had been recorded at an actual party, it was in fact recorded in the studio over a few sessions, with friends, family and romantic partners adding sounds and vocals to create an informal atmosphere. With the exception of a bass guitar, all the instruments were acoustic; the acoustic guitar-and-bongo arrangements, in fact, give this a hootenanny campfire feel. Since its release, this album has gone up a few notches in critical esteem, praised for its loose, casual feel and insight into the group's influences. Realistically, though, its lasting appeal lies mostly with dedicated fans of the group, as fun and engaging as it is. It does have the massive hit "Barbara Ann," which actually features Dean Torrence (of Jan & Dean) on much of the lead vocals; other highlights include a rousing run through "Mountain of Love," an unexpected version of "The Times They Are a-Changin" sung by folk fan Al Jardine, and three Beatles covers. (Richie Unterberger in AllMusic)

Brian Wilson in a record shop (1965)

"I Found My Thrill On... Blueberry Hill"

Original Released on LP RCA Camden CAL 899 (mono)

(US 1965)

Skeeter Davis never received much critical attention, but in the '50s and '60s, she recorded some of the most accessible crossover country music, occasionally skirting rock & roll. Born Mary Penick, Davis took her last name after forming a duo with Betty Jack Davis, the Davis Sisters. Their 1953 single "I Forgot More Than You'll Ever Know" was a big country hit; its B-side, the remarkable "Rock-a-Bye Boogie," foreshadowed rockabilly. That same year, however, the duo's career was cut short by a tragic car accident in which Betty Jack was killed and Skeeter was severely injured. Skeeter did attempt to revive the Davis Sisters with Betty Jack's sister but was soon working as a solo artist. In the early '60s, Davis followed the heels of Brenda Lee and Patsy Cline to become one of the first big-selling female country crossover acts, although her pop success was pretty short-lived. The weepy ballad "The End of the World," though, was a massive hit, reaching number two in 1963. "I Can't Stay Mad at You," a Top Ten hit the same year, was downright rock & roll; penned by Gerry Goffin and Carole King, it sounded like (and was) an authentic Brill Building girl group-styled classic. 

Goffin and King also wrote another successful girl group knockoff for her, "Let Me Get Close to You," although such efforts were the exception rather than the rule. Usually she sang sentimental, country-oriented tunes with enough pop hooks to catch the ears of a wider audience, such as "I Will." Davis concentrated on the country market after the early '60s, although she never seemed too comfortable limiting herself to the Nashville crowd. She recorded a Buddy Holly tribute album in 1967, when Holly wasn't a hot ticket with either the country or the rock audience. But she certainly didn't reject country conventions either: She performed on the Grand Ole Opry and recorded duets with Bobby Bare, Porter Wagoner, and George Hamilton IV. In the 1980s, she had a mild comeback with the rock crowd after recording an album with NRBQ; she also married NRBQ's bass player, Joey Spampinato. Davis passed away September 19, 2004 after a long struggle with cancer.

With Chet Atkins in Tokyo (1965)

Since Davis' 1965 LP "Blueberry Hill" was part of RCA's Camden budget line, it's a ragtag of material from various eras rather than a proper album. In fact, it goes all the way back to her 1958 country hit "Lost to a Geisha Girl," also including country charters from 1961 ("Optimistic") and 1962 ("The Little Music Box"). It's mostly passable-to-decent country-pop in the style the singer had refined by the early 1960s. The double-tracked vocals that were something of a trademark of her early-to-mid-'60s recordings are often present here, and there's more of a pop feel than there is to many another Nashville production from the time, as well as some orchestration. It's a good approach, but it needs really good material to stand out as something special, and the songs here are often on the ordinary side. The only non-charting effort that sounds worthy of being a hit single is "Where I Ought to Be," a melancholy mid-tempo ballad with a nice unexpected descending piano hook in the verse. A low point is certainly "Give Me Death," in which Skeeter plays the part of a double murderess, pleading with the judge for the death sentence with all the urgent conviction of a wronged housewife. (Richie Unterberger in AllMusic)

THE FIRST 2 ALBUMS OF SANDY NELSON

Sandy Nelson was the biggest - and one of the few - star drummers of the late '50s and early '60s era in which instrumental rock was at its peak. He landed two Top Ten hits, "Teen Beat" (1959) and "Let There Be Drums" (1961), which surrounded his Gene Krupa-inspired solos with cool, mean guitar licks that were forerunners of the surf sound. Nelson had only one other Top 40 hit, "Drums Are My Beat" (1962). He ground out a quick series of instrumental albums in the early '60s - eight within 18 months, as a matter of fact - with several other top Hollywood rock and pop session musicians. Nelson was not that great a drummer, although he was good. His principal importance is that he found a place for drum rock solos in hit instrumental singles, and the more reckless elements of his style no doubt influenced other musicians, such as surf drummers and, later, Keith Moon. Nelson started to play rock & roll as a teenager in Los Angeles in the 1950s, forming a group that included Jan Berry, Dean Torrence, and Bruce Johnston, all of whom would be important to the surf and hot rod scenes a few years down the line. By the late '50s he was playing sessions, including drums on the Teddy Bears' chart-topper "To Know Him Is to Love Him."

 After his "Teen Beat" became a hit for Original Sound in 1959, he signed with Imperial as a solo artist, and continued to work as a session musician. For instance, he's heard on Gene Vincent records of the time, as well as the Hollywood Argyles' big hit "Alley Oop," on which he also did some screams. Nelson's numerous solo albums, despite the assistance of top fellow sessioneers like Steve Douglas (sax), Ernie Freeman (piano), and Rene Hall (guitar), had a lot of basic and unimaginative instrumental rock, whether original material or covers of well-known hits of the day. As with Duane Eddy's recordings, however, these simple albums might have helped inspire aspiring musicians as things to play along and learn with, if nothing else. Near the end of 1963, Nelson was involved in a serious motorcycle accident that necessitated amputation of his right foot and part of his leg. Nonetheless, he managed to resume his drumming career and continued to churn out albums, as well as some singles. (in YesterdaysGold)

Original released on LP Imperial 9105 (mono) / 12044 (stereo)

(US 1960)

Original released on LP Imperial 9136 (mono) / 12089 (stereo)

(US 1961)

KOSTELANETZ's "For the Young at Heart"

Original released on LP Columbia CS 9691

(US, 1968)

Those Lazy-Hazy-Crazy Days of Summer

 Original released on LP Capitol ST 1932

(US, July 1963)

The Top Ten success of Nat King Cole's spring 1963 single "Those Lazy-Hazy-Crazy Days of Summer" sent him into the studio to record a complementary LP of songs that either dated back to the turn of the century or sounded like they did. Working with a big chorus and an orchestra that included such old-fashioned instruments as the banjo, arranger/conductor Ralph Carmichael accompanied Cole on period songs like "After the Ball Is Over" and "In the Good Old Summertime." In addition to its nostalgic appeal, of course, the music had much of the flavor of one of Mitch Miller's singalong records. It wasn't one of Cole's more inspired efforts, but he took to the concept with enthusiasm and produced a disc full of catchy, lighthearted performances in the same mood as the hit single. (William Ruhlmann in AllMusic)

Capitol was moving Nat further and further away from his jazz roots, and this bothered his hard core fans. But to the general public, they loved everything he did. This is a case in point. It's just an album of happy sing-a-longs. The title song is not the one that became the big hit, but the beautiful tender ballad, "That Sunday, That Summer." Performed with with a full chorus, and orchestra by Ralph Carmichael, this song tells the story of a man's reflection of his favorite moment with his girlfriend. It's sentimentally sweet and Nat delivers perfectly. The great arrangement by Carmichael opens and closes with just the chorus wich lends a certain sweet fondness to the story told in the song. Capitol's recorded sound is splendid. Natural and open with Nat's voice up front and full. Good for just happy summer listening! (in RateYourMusic)

HIP HUG-HER

Original released on LP Stax 717

(US, May 1967)

Still riding high years after the success of "Green Onions," "Hip Hug-Her" is another 11-song solid session of Southern soul delivered by one of the best bands in the business. In an attempt to appeal to the up-and-coming mod movement, the cover features an alluring model flanked by fashionable faceless people. But not to judge the album by its cover, "Hip Hug-Her" finds the group diving deeper into soulful territories, no doubt aided by the addition of bassist Duck Dunn to the fold. The title track is clearly one of the stronger cuts on the album, but other tunes such as the midtempo Motown anthem "Get Ready" and the group's interpretation of "Groovin'" make this one of the strongest full-lengths in the Booker T. & the MG's catalog. (Rob Theakston in AllMusic)

HEAVEN & EARTH - "Refuge"

Original released on LP Ovation OVQD 1428

(US, 1973)

Unique singer/songwriter album from this girls (Pat Gefell & Jo Andrews). A mix beteween covers and own material, with elusive psychedelic influences. In general the songs aren't very bright, but you can find here some good ones, like the open title, "Jenny".

THE HOLLIES's FIRST ALBUM

Original released on LP EMI Parlophone PCS 3054

(UK, January 1964)

In The Rolling Stone Illustrated History of Rock'n'Roll, Lester Bangs wrote of the Hollies, «During the British invasion, they were mostly just bad, grinding out sloppy covers of 'Stay, ' 'Do You Love Me, ' 'Lucille' and 'Memphis' in the most shamelessly churn-'em-up, bash-'em-out Liverpudlian manner.» While this is an unfair overgeneralization, it's basically an accurate assessment of their first album, which contains all of the above-mentioned cuts. The group stuck to the tried-and-true rock/R&B cover staples of dozens, if not hundreds, of British bands circa 1963 on this 14-cut LP, which featured only one original composition. The Hollies' harmonic blend had yet to fully coalesce; there's plenty of energy, but the voices are adenoidal (and not always in perfect key) and the performances almost embarassingly callow. Nonetheless, the album was a huge hit in Britain, reaching number two and staying in the Top Ten for 18 weeks. "Stay" itself had been their first U.K. Top Ten hit in late 1963, and the album's best track, the edgy R&B/harmony rendition of "Watcha Gonna Do 'Bout It," was one of their better early cuts. The group also covers Ray Charles, Roy Orbison, Conway Twitty, "Rockin' Robin," and "Mr. Moonlight" (before the Beatles) on this set. (Richie Unterberger in AllMusic)

TEN YEARS AFTER: "STONEDHENGE"

Original released on LP Deram SML 1029

(UK, 1969, February 22)

«Everywhere they go they receive standing ovations and wide public acclaim. The musical press of the world are hot on their heels. Likewise the audiences, the numbers of which are incresing in almost overwhelming proportions at every new appearance. Ten Years After have most decidedly made an indelible mark on all who have heard or seen them. "Stonedhenge" was not a hustle and bustle 'factory-made' product. The sessions ranged over a period of some three weeks during which time much ground was covered - some not even evident here. And as Alvin, Chick, Leo and Ric will agree, we've taken a few sizeable steps these last months. But the climax is still some distance away. When Ten Years After finally arrive, watch out baby! The whole world will know and hear of it!» Mike Vernon, Producer (London, 1969)

"I'm Going Home" from Ten Years After's previous release put them on the charts, at least in the U.K. (the band's U.S. breakthrough was at Woodstock a year after its release), but the four-piece was already experimenting with ways to expand their basic boogie rock template. "Stonedhenge" was the result, as producer Mike Vernon helped steer the band into a more jazz- and blues-oriented direction. That's especially evident in the swinging "Woman Trouble," but this set is generally more prone to broadening the sound without losing TYA's basic concept. It doesn't always gel - the four short pieces that feature each musician alone on their instrument is an interesting idea that ends up as a distraction - yet the album boasts some terrific performances by a group that was hitting its peak. Canned Heat, who TYA supported in America and who were also trying to push their own boogie envelope, were a big influence, born out by the very Heat-sounding "Hear Me Calling." 

Alvin Lee keeps his fleet fingers in check, preferring to work his style into a more organic fusion. Tracks such as the creeping "A Sad Song" successfully build tension without the need for speedy guitar solos. The eight-minute "No Title" takes the basic TYA blueprint but slowly creates a moody atmosphere for three minutes until Lee cranks out a terse, loud extension on its main riff that sets the stage for Chick Churchill's eerie organ solo. The quartet and their producer also experimented with primitive panning and tape manipulation to impressive results. The closing "Speed Kills" returns TYA to its basics, perhaps as a way to let its existing fans know they can still churn out the rocking when needed. The album was remastered and expanded in 2002 by adding informative liner notes from drummer Ric Lee, four extra tracks including the tiresome, 15-minute "Boogie On," and an edited single version of "I'm Going Home," UK artwork (the initial U.S. edition was an embarrassing botch job) and pristine sound from the original tapes. (Hal Horowitz in AllMusic)

THE BEACH BOYS - "Pet Sounds"

Original released on LP Capitol T 2458

(US 1966, May 16)

The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well).

The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. (Richie Unterberger in AllMusic)

POP FIVE MUSIC: INTEGRAL (1968 - 1972)

«Começámos em 1967 como muitos outros grupos iniciam as suas carreiras musicais; tocando em festas de amigos, bailes de finalistas, arraiais e festivais de música. Na época, tocávamos versões dos Beatles, Rolling Stones, Procol Harum, Moody Blues e outros, já sob a direção artística de Fernando Matos que, desde logo, nos incutiu a apetência da improvisação musical, deixando de lado a cópia absoluta. Os discos eram considerados “artigo de luxo” e editados muito mais tarde, depois de terem saído em Inglaterra ou Estados Unidos. Por isso mesmo, as nossas primeiras gravações foram êxitos de outras bandas. Mas, já no nosso primeiro EP, incluímos um original de Tozé Brito, “You’ll See”. No primeiro album, também a originalidade nos levou a fazer arranjos de música clássica, “Jesus, Alegria dos Homens” de J. S. Bach. Nesta fase, Tozé Brito e David Ferreira abandonam o grupo dando lugar a Miguel Graça Moura.»

Nesta história existe um facto, que merece ser revelado e que tem a ver com a música mais mediática dos Pop Five Music Incorporated: O “Page One” nasceu de uma secção rítmica (bateria e baixo), em que o Tozé Brito também colaborou na sua criação. Este êxito foi o indicativo do programa de rádio mais escutado na época, “Página Um”, de José Manuel Nunes. Este single foi editado em vários países europeus e não só, com a particularidade de na Alemanha terem colocado no lado A o arranjo da música clássica de J. S. Bach, “Ária Para a 4ª Corda”.

Tudo isto levou a editora Orfeu, de Arnaldo Trindade, a contratar o grupo para gravar nos estúdios da Pye, em Londres. Estávamos em Janeiro de 1971, ano do 1º Festival de Vilar de Mouros, em que fomos cabeça de cartaz ao lado de Elton John e dos Manfred Mann. Como referência, convém assinalar que os primeiros discos foram gravados em duas (2) pistas, nos estúdios da R.T.P. do Monte da Virgem, no Porto, enquanto que em Londres colocaram à nossa disposição 16 pistas o que, na altura, era o máximo disponível tecnicamente. Destas gravações foram editados vários singles, que saíram espaçadamente até finais de 1972, ano em que Os Pop Five Music Incorporated acabaram.» (Álvaro Manuel Cunha Azevedo, Novembro de 2003)