unzip pass: tdats
A happy new year to you all. This is my fourth female vocals special after Vol19, Vol49 and Vol71. It's another diverse mix of new-to-tdats heavy psych, pop, blues and hard rock through the ages. All-girl The Pleasure Seekers was Suzi Quatro's first band and Martha Velèz's album had some big names playing on it like Eric Clapton, Paul Kossoff, Rick Hayward, Stan Webb and Brian Auger. Flame guitarist Jimmy Crespo later joined Aerosmith in 1979. Anne Sarofeen and Smoke's song is a cover of a track from the same Martha Velèz album that I took 'Feel So Bad' from. The Poppy Family offers a slice of creepy, ominous pop psych and Aura (not to be confused with the Aura on Vol93) was a brass funk band with great acid guitar. Cheryl Dilcher's otherwise pop-orientated album 'Butterfly' contained a couple of killer groove tracks with great guitar, 'All Woman' being one of them with it's male chauvinist-pleasing lyrics. Wild Honey were a Dutch band and their song here stands out from the rest as being part of a later-generation of rock.
01. Fear Itself - Crawlin' Kingsnake (1969)
from album 'fear itself'
02. Made In Germany - The Arrow and the Song (1971)
from album 'made in germany'
03. Sarofeen And Smoke - Swamp Man (1970)
from album 'sarofeen and smoke'
04. Medusa - Medusa (1978)
from album 'medusa'
05. Coreen Sinclair & Indiana - Hey Man (1971)
06. The Poppy Family - There's No Blood In Bone (1969)
from album 'which way you goin' billy'
07. 60,000,000 Buffalo - Royalty Rag & Cocaine Shuffle (1972)
from album 'nevada jukebox'
08. Flame - Queen Of The Neighbourhood (1977)
from album 'queen of the neighbourhood'
09. The Pleasure Seekers - Where Have You Gone (1968)
from retrospective 'what a way to die'
10. Cheryl Dilcher - All Woman (1973)
from album 'butterfly'
11. White Honey - Nothing Going On In The City (1979)
from album 'some kinda woman'
12. Martha Velèz - Feel So Bad (1969)
from album 'fiends & angels'
13. Aura - Skyrocket (1977)
from album 'aura'
14. Freedom North - Losing You (1970)
from album 'freedom north'
15. Fort Mudge Memorial Dump - Crystal Forms (1969)
from album 'fort mudge memorial dump'
longhairmusic.de: When Made In Germany published their eponymous album on Metronome in 1971, this was the reward for their committed practising in grumpy rehearsal rooms for many years. All this began at Beethoven Gymnasium (College) in West Berlin. The West Berliners had started as a schoolboy band in order to play the hits of their protagonists. Under the name of "Cosmics" they still considered the "making of music" a hobby. Encouraged by the local success of competing schoolboy bands and highly infected by the general hysteria for the beat, they soon played in the 1st division. As of 1965 they caused a sensation under the name of "Take Five" in a Berlin youth club. In 1968 they won the first prize in an international beat festival together with the Chechen band "Atlantis". The bands became friends and saw each others. When the musicians of "Atlantis" split up, their guitarist (Stan Regal) stayed in Berlin, married and started to work in Audio recording studio. This was a favourable combination for the band to fulfil their dream to record their music material in a proper recording studio and to get a recording contract as they were technically well-experienced and sufficiently self-confident, too.
The musicians gave up the unpopular name of "Take Five" and called themselves Made In Germany now. Stan Regal provided them the possibility to professionally record in an audio recording studio. First of all, there was planned the recording of a single, an album should follow. A part of the recordings were already completed, when the boys got to know Rita Peuker. Rita was the singer in a local band and the boys had watched her appearing. They were enthusiastic about her and wooed away her at once. The titles were now adapted for Rita and newly produced. Rita became the front woman of Made In Germany.
First, "Don't forget the Time" was published a single recording of the album. A few months later followed an album newly recorded on a CD for the first time.
In this album Made In Germany linked positively pop and progressive rock elements. This is also shown in the duration of the individual titles lasting for within about 3 minutes and up to 9 minutes. The short titles demonstrate the ability of the musicians to compose compact, melodious songs having an unrecognisable value with high standard, in which the flute stands out as leading instrument. On the longer titles the musicians prove their talent for improvisation. They also worked in surprises in sound. In the case of "Man in History" the mag-nificent organ sounds in a church are shown. In that time, Wolfgang Schulz (guitar, vocals) studied electrical engineering and tried out a lot of technical fiddling. So he had developed a rotosizer, an equipment which is based on quadrophonic sounds. It sends sounds smoothly one after the other into 4 loudspeakers. By this, the listener gains the impression, the music is flowing around him. This effect can especially be heard to its advantage when the band appeared in live.
However, Made In Germany would not have been tied to a definitive music trend. "Our style is that we have none!", said Stephan Pade, the songwriter of the band, in a newspaper interview in 1971. "We produce our songs ourselves; presently we are somewhat progressive, but you never know what we will think over tomorrow".
|Made In Germany|
Financially, the album only had an average success. The reputation of the well-known band was especially restricted to Berlin. Indeed, the move to West Germany was repeatedly con-sidered , but, in the end, the band still stayed in their home town, Berlin, where it rather felt isolated, however. The recording company didn't support them when performing an all-German tournament so that the band couldn't sufficiently promote the album in order achieve a good turnover of their record.
In 1972 as well as in 1973 one each single was recorded for BASF which are contained as bonus tracks. In preparation for a second LP in 1974, there were other songs which were recorded in a Hamburg studio as demo version with a slightly changed team (new drummer). How-ever, this LP could never be completed, as Rita left this group shortly after the recording. From this time, there are three titles that can be heard as bonus tracks on the CD. Unfortunately, their sound quality doesn't correspond to the justified expectations. They shall not be withheld from the listeners, however, as a contemporary document.
In changing teams Made In Germany continued to play for several years. "Just for fun" the band recorded a German-language single which, however, can be ignored.
forcedexposure.com: Hailing from New York, Sarofeen and Smoke was led by singer Anne Sarofeen, who's described in the album's own liner notes as 'a lady both fierce and gentle, whose music knows truth, tragedy and beauty.' We don't really know if she's fierce or gentle, but her incredible voice has often been compared to that of Janis Joplin, Ellen McIlwaine and Mariska Veres (of Dutch stars Shocking Blue); unfortunately rock history is cruel and she never received the credit she deserves for being right at the top with other unique female singers. She has also composed half of the songs on the album. The album offers 9 songs in a bluesy, heavy psychedelic vein, which to a certain extent remind us much of Jefferson Airplane. Most of the songs are the band's own compositions, with the only exceptions being a take on Martha Velez, 'Swamp Man,' and a cover of 'Rocky Mountain Blues,' well chosen covers that fit perfectly the band's identity.
|Sarofeen and Smoke LP - rear|
|The Poppy Family|
|Which Way You Goin' Bill? LP (1969)|
|Medusa - LP band shots with Gerry Brown and John Lee|
|Medusa LP front (1978)|
|Coreen Sinclair & Indiana - For Little Birds / Hey Man|
|Judy Roderick & Bill Ashford|
A huge thanks to Record-Fiend blog for this article on 60,000,000 Buffalo: "Upon the demise of the '60s, it was not uncommon for the folkies of that decade to embrace the rural rock movement of the early '70s. That is, if they hadn't already picked up electric instruments and started rockin' after the release of Bob Dylan's Bringing It All Back Home in 1965. In the case of Judy Roderick, who had put out two highly regarded mostly acoustic albums for Columbia and Vanguard in the mid-1960s, Nevada Jukebox was the product of a 1971 recording session with her new group, 60,000,000 Buffalo. Her signature voice was still there, although years of woodshedding in her adopted home state of Colorado throughout the latter half of the 1960s clearly had an effect on her delivery, which showed the influence of Janis Joplin and other female vocalists of similar ilk. The album photography shows her looking somewhat like a less appealing Bonnie Bramlett along with a man who is probably either bassist Brent Williamson or guitarist Don DeBacker [Edit: It's actually Bill Ashford]. What a pity that the ravages of living through the 1960s deprived Roderick of her elfin beauty that was readily apparent on the cover of her Woman Blue LP.
|Nevada Jukebox - LP front (1972)|
|Nevada Jukebox - LP rear (1972)|
RDTEN1's review over at RYM for this information: "Flame's stomping grounds were Brooklyn. Depending on what references you believe, Flame was actually the brainchild of producer Jimmy Iovine who was looking for a platform to showcase singer Marge Raymond who had been pursuing a musical career since the early 1960s. Raymond's career as a professional musician started when she was a teenager. She fronted Margie and the Formations who enjoyed a couple of minor early-1960s successes. Working as a demo and background singer, in the 1970s she was a member of the group Sumagna. The trio (Raymond, Susan Collins and Nnancy O'Neill) never enjoyed success on their own, but became in-demand backing singers, supporting a wide variety of acts including Ritchie Havens and The New Riders of the Purple Sage. Raymond also did background vocals on her own, eventually catching the attention of Iovine.
With Iovine's support Raymond began working with drummer Eddie Barbato, lead guitarist Jimmy Crespo, bassist John Paul Fetta, keyboardist Bob Leone, and rhythm guitarist Frank Ruby. As Flame the were subsequently signed to RCA Victor, releasing 1977's Iovine-produced "Queen of the Neighborhood" . The E Street band's Steve Van Zandt provided arrangements. While the band were quite an accomplished unit (particularly guitarist Crespo), from a marketing standpoint the spotlight was clearly on Raymond and her dark, sultry, slightly dangerous pout (check out the album cover). Raymond certainly had the vocal chops to attract your attention, though, like Joplin, it occasionally wasted on misguided boogie ('Everybody Loves a Winner'), or equally vapid AOR ballads ('You Sit In Darkness') that misinterpreted loud and shrill for good.
RCA made some attempts to market the band, sending them on the road opening for a host of national bands including BTO, and Foreigner. It didn't do much for sales, though the band did hang together long enough to record a sophomore LP."
Thanks for listenin! Rich