For those not in the know, fan albums/album edits are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
The Luv’d Ones are a fun band I’ve listened to a few times. They don’t distinguish much from other hard rock 60s girl bands, but that is still a good sound and they deserve to be enjoyed. One reason I didn’t make an article about them the first time I listened to them is because it seemed everything they did was on a twenty-track compilation album. I decided they still deserved this project, with that comp just being divided in half, as the music drags as one sixty minute block, however I then found some more rare tracks that also help give this article legitimacy. They first recorded under the band name “The Tremelons”, which had the exact same lineup, so it’s strange these early tracks aren’t on that compilation. They also aren’t on Spotify, which is why the fan album with them isn’t on Spotify either.
Those Tremelon recordings were all released in 1965 according to Discogs. The Luv’d Ones box set says the material contained within it was recorded between 1966-1968. Everything released in 1965 or 66 almost is the length of a full album, so I added in some extra tracks and hoped they were recorded in 1966 and thus could hypothetically be released then. The later stuff we’ll say was released 1968.
The Luv’d Ones – Truth Gotta Stand (1966) – YouTube
Char Vinnedge went on to do some solo recordings, none of which I could find. They’re all listed below with possible release dates, which could be wrong.
“Better Look Out” (2011)
“You Asked Me To Go” (2011)
“Friend / Reprise” (2011)
“Silence” (2011)
“It’s Over It’s Done” (2011)
“Life Sentence” (2011)
“Rock Myself To Death” (2011)
“Trucks In My Head” (2011)
“Deathwish” (2011)
“I Never Sing The Blues” (2012)
“Bittersweet” (2012)
“Green Bird” (2012)
“With You I Am Without” (2013)
“How Could You Ask Me To Go” (2013)
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
For those not in the know, fan albums are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
With my recent Buddy Holly fan album and story project, I canonized his two proper studio albums as having happened as I didn’t want to alienate those that would prefer to enjoy the official albums as is. My plan was to continue this methodology for the post-Buddy years. On top of that, considering the fact that Jerry Allison is by far the only consistent member, I came up with some fun albums based on the logic that any song with Jerry is the Crickets. I then listened to my albums with this concept in mind. While some may still prefer listening to the official albums as they are and slotting the stray track ones in, I have found many of the official and personal sequences problematic for a few reasons: Some of these tracks are quite bad and some albums have tracks that would fit better elsewhere. Thus, I’ve decided to publish my stray track sequences here, as well as certain story ideas that can’t be reused, then I’ll write the narrative around what I think would make the best albums, with new sequences that arrange any track how I see fit.
For those that are fans of Jerry Allison or Sonny Curtis, I hope I can do them justice by accumulating so many rare recordings, especially because some are quite solid. One example is that Allison, Curtis, and famed Crickets bassist Joe B. Mauldin did some better known recordings as the Crickets, but also some obscure ones under different names. Those obscure ones are gathered and treated like just any other Cricket track.
During the Bobby Vee and later Jerry Naylor eras of the group, there is shaky and unreliable personnel info. Thus, things are listed vaguely.
Any album without a tracklist is an official album, not a construction of mine (unless where noted).
Based on some research, I think that almost every recording credited to Sonny Curtis as a solo artist prior to his 1979 solo album features the then-current Crickets lineup. There’s a few cases where either a track from a Crickets album is released as a solo Sonny single or the personnel is simply known to include them. However, his first two singles and flipsides have worse odds of featuring them, but I still wanted to include those regardless. The other oddity here is from the 1955 recordings he did. Him and Buddy Holly did six songs together. Five were released on my Buddy Holly & The Two Tones project, but one more, “Queen of the Ballroom”, was excluded due to their being a version with Buddy on vocals. This track almost definitely lacks Jerry Allison, but I didn’t want any of these early rarities to go absent from these albums, so here they are.
The primary source I used for information was Praguefrank, as well as Discogs, Nor-Va-Jak Music, and the Discography of American Historical Recordings.
The first post-Buddy lineup
The Crickets & Their Buddies Volume 2 (1959) – Archive.org
TRACKLISTING
SIDE A
Billy Walker – “On My Mind Again” (Recorded April 8th, 1957)
Hal Goodson & The Raiders – “Who’s Gonna Be The Next One Honey” (Recorded May 2nd, 1957)
Hal Goodson & The Raiders – “Later Baby” (Recorded May 2nd, 1957)
Johnny “Peanuts” Wilson – “I’ve Had It” (Recorded November 10th, 1957)
The Roses (Robert Linville, Ray Rush, David Bingham) – backing vocals (track 3)
Buddy Holly – guitar (track 6)
Larry Welborn – bass (track 6)
Dudley A. Brooks – piano (track 8)
Johnny Mann, Alan Davies, Bill Lee – backing vocals (track 8)
The Crickets – In Style With The Crickets (1960) – YouTube, Spotify
PERSONNEL
Earl Sinks – lead vocals (tracks 2-6, 8-12)
Sonny Curtis – lead guitar (tracks 1-12), lead vocals (tracks 1, 7)
Joe B. Mauldin – bass (tracks 1-12)
Jerry Allison – drums (tracks 1-12)
Dudley Brooks – piano (tracks 1, 2, 3, 7)
The Roses – backing vocals (track 12)
Tommy Allsup – rhythm guitar (tracks 1-5, 7-10)
A common issue with the one-off singers is they can’t sing very well. Bobby Vee and Johnny Burnette are personal least favorites. However, there are some gems. David Box is excellent and by far the group’s best singer that went for a Buddy Holly-vocal style. “You Made Me Love You” also has phenomenal backing vocals.
The Crickets & Their Buddies Volume 3 (1960) – Archive.org
TRACKLISTING
SIDE A
Derrell Felts – “It’s A Great Big Day” (Recorded February 13th, 1959)
Jimmy Bowen – “You Made Me Love You” (Recorded February 21st, 1959)
The Everly Brothers – “(Til) I Kissed You” (Recorded July 7th, 1959)
The Everly Brothers – “Oh What a Feeling” (Recorded July 7th, 1959)
Jack C. Smith – “Honeysuckle Rose” (Recorded 1959, Released May 1960)
David Box – “Don’t Cha Know” (Recorded August 11th, 1960)
SIDE B
Derrell Felts – “Lookie Lookie Lookie” (Recorded February 13th, 1959)
Jimmy Bowen – “Eenie Meenie Minnie Moe” (Recorded February 21st, 1959)
The Everly Brothers – “Let It Be Me” (Recorded December 15th, 1959)
The Everly Brothers – “Since You Broke My Heart” (Recorded December 15th, 1959)
Jack C. Smith – “There’ll Never Be Another” (Recorded 1959, Released May 1960)
David Box – “Peggy Sue Got Married” (Recorded August 11th, 1960)
Derrell Felts – lead vocals, probably guitar (tracks 1, 7)
Sonny Curtis – lead guitar (tracks 2-4, 8)
George Atwood – bass (tracks 2, 8)
Jimmy Bowen – lead vocals, guitar (tracks 2, 8)
Don Everly – lead vocals, probably guitar (tracks 3-4, 9-10)
Phil Everly – lead vocals, probably guitar (tracks 3-4, 9-10)
Chet Atkins – guitar (tracks 3-4)
Lightnin Chance – bass (tracks 3-4)
Floyd Cramer – piano (tracks 3-4)
Jack C. Smith – lead vocals (tracks 5, 11)
David Box – lead vocals, lead guitar (tracks 6, 12)
Ernie Hall – drums (track 6)
Howard Collins – guitar (tracks 9-10)
Barry Galbraith – guitar (tracks 9-10)
Mundell Lowe – guitar (tracks 9-10)
Lloyd Trotman – bass (tracks 9-10)
Hank Rowland – piano (tracks 9-10)
Johnny Burnette & The Crickets – Dreamin’(1960) – YouTube
TRACKLISTING
SIDE A
“Dreamin’” (Recorded January 7th, 1960)
“Kaw-Liga” (Recorded January 7th, 1960)
“You’re Sixteen” (Recorded September 19th, 1960)
“I Beg Your Pardon” (Recorded September 19th, 1960)
“Singing The Blues” (Recorded November 29th, 1960)
SIDE B
“It’s My Way” (Recorded September 19th, 1960)
“That’s The Way I Feel” (Recorded November 28th, 1960)
“Little Boy Sad” (Recorded November 28th, 1960)
“I Love My Baby” (Recorded November 28th, 1960)
“(I Go) Down The River (Recorded November 28th, 1960)
PERSONNEL
Johnny Burnette – lead vocals (tracks 1-10)
Howard Roberts – guitar (tracks 1-2)
Glen Campbell – guitar (tracks 1-2)
Jerry Allison – drums (tracks 1-10)
Johnny Mann Singers – backing vocals (tracks 1-2)
Joseph Gibbons – guitar (tracks 3-10)
Vincent Terri – guitar (tracks 3-4, 6)
George Callender – bass (tracks 3-10)
Ernie Freeman – piano (tracks 3-4, 6)
Milton Pitman – guitar (track 5, 7-10)
Johnny Burnette & The Crickets – Let’s Think About Living (1961) – YouTube, Spotify
TRACKLISTING
SIDE A
“Let’s Think About Living” (Recorded November 29th, 1960)
“It’s Only Make Believe” (Recorded November 29th, 1960)
“Oh Lonesome Me” (Recorded November 29th, 1960)
“Dream Lover” (Recorded November 30th, 1960)
“You’re So Fine” (Recorded November 30th, 1960)
SIDE B
“Blue Blue Morning” (Recorded November 30th, 1960)
“Pledge Of Love” (Recorded November 30th, 1960)
“Honestly I Do” (Recorded September 22nd, 1961)
“Fools Like Me” (Recorded September 22nd, 1961)
“God, Country And My Baby” (Recorded September 22nd, 1961)
PERSONNEL
Johnny Burnette – lead vocals (tracks 1-10)
Joseph Gibbons – guitar (tracks 1-7)
Milton Pitman – guitar (tracks 1-7)
George Callender – bass (tracks 1-7)
Jerry Allison – drums (tracks 1-10)
Tommy Allsup – guitar (tracks 8-10)
Dick Glasser – guitar (tracks 8-10)
Clifford A. Hils – bass (tracks 8-10)
unknown – mandolin (tracks 8-10)
Bobby Vee & The Crickets – Rock Around With Bobby Vee (1961) – Archive.org
TRACKLISTING
SIDE A
“Stagger Lee” (Recorded September 12th, 1961)
“Party Doll” (Recorded September 13th, 1961)
“Come On Baby” (Recorded September 13th, 1961)
“Lonely Weekends” (Version 2) (Recorded September 20th, 1961)
“Mountain Of Love” (Recorded September 20th, 1961)
SIDE B
“No One Knows” (Recorded September 20th, 1961)
“I’m Feeling Better” (Recorded September 28th, 1961)
“Shanghaied” (Recorded September 1961)
“Keep A Knockin’” (Recorded September 1961)
“It’s Too Late” (Version 2) (Recorded September 1961)
PERSONNEL
Bobby Vee – lead vocals (tracks 1-10)
Tommy Allsup – guitar (tracks 1-7)
Red Callender – bass (tracks 1-7)
Jerry Allison – drums (tracks 1-10)
Cliff Crofford – lead vocals (track 7)
Sonny Curtis, Joe B. Mauldin, Howard Roberts, Earl Palmer, Ernie Freeman, and Gene Garf have been credited as being part of both sets of Bobby Vee recordings. The main four players listed above are probably on at least most of all the Bobby Vee tracks.
Bobby Vee & The Crickets – Bobby Vee Meets The Crickets (1962) – YouTube, Spotify (Personnel matches the previous Bobby Vee album.)
Despite Bobby Vee’s recordings with Allison being credited as The Crickets, the reunion of Sonny Curtis, along with newbies Jerry Naylor and Glen Hardin, is in my eyes the closest we get to more of the Crickets sound. Mauldin is sometimes credited as being part of the group from the early to mid 60s, but that does not seem to be true. Oftentimes, other players are credited as having partaken in them. There’s some very barebones recordings from 1961 of Allison singing that I suspect were recorded with help from the Bobby Vee-era lineup, but that’s just speculation. If there had been an album of this, I would have made them a Jerry solo album, but as just three recordings, they’re included here. This album probably would have only been released like this if the band needed material quickly, as the flow isn’t great. Still, these songs, as well as the whole Naylor era, are mostly good.
The Crickets – Fell In Love With A Face (1962) – YouTube, Spotify
TRACKLISTING
SIDE A
“Fell In Love With A Face” (Recorded February 2nd, 1962)
“Never Ever Told Me” (Recorded February 2nd, 1962)
“There’s No Better Way To Die” (Recorded February 2nd, 1962)
“Bottom Of The Sea” (Recorded February 2nd, 1962)
“I’m Not A Bad Guy” (Recorded March 9th, 1962)
“I Don’t Need A Friend” (Recorded September 18th, 1961)
SIDE B
“I Believe In You” (Recorded March 19th, 1962)
“The Real Thing” (Recorded June 4th, 1962)
“My Little Kim Ruth” (Recorded September 18th, 1961)
“It’s All Right With Me” (Recorded September 18th, 1961)
“Smooth Guy” (Recorded February 29th, 1960)
“So You’re In Love” (Recorded February 29th, 1960)
“Break It Easy” (Recorded June 19th, 1962)
PERSONNEL
Jerry Naylor – lead vocals
Sonny Curtis – lead guitar, lead vocals (tracks 11-12)
Red Callender – bass
Jerry Allison – drums, lead vocals (tracks 6, 9-10)
“Looking All Over Town” (Recorded October 17th, 1962)
“Teardrops Fall Like Rain” (Recorded October 17th, 1962)
“Farewell, My Bluebell” (Recorded October 23rd, 1962)
“The Ballad of Batman” (Recorded 1962)
“Batmobile” (Recorded 1962)
SIDE B
“Lost And All Alone” (Recorded April 3rd, 1963)
“Don’t Try To Change Me” (Recorded April 3rd, 1963)
“Surfin’ Special” (Recorded June 14th, 1963)
“April Avenue” (Recorded June 14th, 1963)
“A Harlem Girl” (Recorded July 17th, 1962)
“Brand New Doll” (Recorded July 17th, 1962)
PERSONNEL
Jerry Allison – drums
Sonny Curtis – lead guitar, vocals
Red Callender – bass
Jerry Naylor – lead vocals
Glen D. Hardin – piano
Tommy Allsup – guitar (tracks 5-6)
Glen D. Hardin and Joe B. Mauldin have sometimes been credited as playing bass. Ernie Freeman has been credited on piano.
The Crickets – California Sun / She Loves You (1964) – YouTube, Spotify
PERSONNEL
Jerry Allison – drums
Sonny Curtis – lead guitar, vocals
unknown – bass
Jerry Naylor – lead vocals
Glen D. Hardin – piano
Buzz Cason – backing vocals
Glen D. Hardin and Joe B. Mauldin have sometimes been credited as playing bass. Ernie Freeman has been credited on piano.
Despite my criticism of some of the one-off projects, this album is solid other than the Everly Brothers tracks. If it wasn’t obvious, Eddie Cochran is rivaled only by Holly himself and a few others, but that track is out of place for the Crickets. Still two great cuts, regardless.
The Crickets & Their Buddies Volume 4 (1964) – Archive.org
TRACKLISTING
SIDE A
Eddie Cochran – “Cut Across Shorty” (Recorded January 8th, 1960)
The Raiders – “Dardanella” (Released November 1961)
The Everly Brothers – “No One Can Make My Sunshine Smile” (Recorded September 20th, 1962)
The Everly Brothers – “Dancing On My Feet” (Recorded September 20th, 1962)
Lucille Starr – “The French Song” (Recorded October 24th, 1963)
Joe Carson – “Be A Good Girl” (Recorded February 10th, 1964)
SIDE B
Eddie Cochran – “Three Steps To Heaven” (Recorded January 8th, 1960)
The Raiders – “What Time Is It?” (Released November 1961)
Lucille Starr – “Sit Down And Write A Letter To Me” (Recorded October 24th, 1963)
The Everly Brothers – “The Facts Of Life” (Recorded January 16th, 1964)
Joe Carson – “Guess You Don’t Love Me Anymore” (Recorded February 10th, 1964)
PERSONNEL
Jerry Allison – drums (tracks 1-11) (Possibly not on track 10)
Eddie Cochran – lead vocals, guitar (tracks 1, 7)
Sonny Curtis – lead guitar (tracks 1, 3-7, 9-11)
Conrad ‘Guybo’ Smith – bass (tracks 1, 7)
Tommy Allsup – guitar (tracks 2-4, 8)
Unknown other musicians, possibly Bobby Keys on sax (tracks 2, 8)
Don Everly – lead vocals, probably guitar (tracks 3-4, 10)
Phil Everly – lead vocals, probably guitar (tracks 3-4, 10)
Billy Strange – guitar (tracks 3-4, 10)
Red Callendar and/or Pat Vegas – bass (tracks 3-4)
Ray Johnson – piano (tracks 5, 9)
Lucille Starr – lead vocals (tracks 5, 9)
Joe Maphis – guitar (tracks 5, 9)
Bill Pitman – guitar (tracks 5, 9)
Wilbur Pitman – bass (tracks 5, 9)
Herb Alpert – trumpet (tracks 5, 9)
Joe Carson – lead vocals (tracks 6, 11)
James Burton – guitar (tracks 6, 11)
Billy Mize – steel guitar (tracks 6, 11)
Bob Morris – bass (tracks 6, 11)
Billy Armstrong – fiddle (tracks 6, 11)
Bobby Bruce – fiddle (tracks 6, 11)
Glen D. Hardin – piano (tracks 6, 11)
Ray Pohlman – bass (track 10)
Hal Blaine – drums (probably on track 10)
Leon Russell – keyboard (tracks 10)
Harold Cliner – trombone (track 10)
Kenneth Shroyer – trombone (track 10)
John Audino – trumpet (track 10)
Anthony Terram – trumpet (track 10)
Sonny Curtis (Possibly with The Crickets) – Beatle Hits Flamenco Guitar Style (1964) – Archive.org
PERSONNEL
Sonny Curtis – lead guitar
Likely present
Jerry Allison – drums
Glen D. Hardin – keyboard
Tommy Allsup & The Crickets – The Buddy Holly Songbook (1964) – YouTube, Spotify
PERSONNEL
Lynn Bailey – bass
Jerry Allison – drums
George Tomsco – guitar
Tommy Allsup – guitar
Buzz Cason – piano
The Crickets – Surfing, Bo Diddley, and Beatles!! (1964) – YouTube
TRACKLISTING
SIDE A
“Don’t Breathe A Word” (Recorded June 14th, 1963)
“Bring Back My Surfboard” (Recorded June 14th, 1963)
“Don’t Say You Love Me” (Recorded June 28th, 1963)
“A Beatle I Want To Be” (Recorded Late 1963)
“So Used To Loving You” (Recorded Summer 1963)
“Right Or Wrong” (Recorded August 1st, 1963)
SIDE B
“Playboy” (Recorded December 12th, 1963)
“(They Call Her) La Bamba” (Recorded March 23rd, 1964)
“All Over You” (Recorded March 23rd, 1964)
“I Think I’ve Caught The Blues” (Recorded August 27th, 1964)
“Bo Diddley Bach” (Recorded June 1964)
“I Pledge My Love To You” (Recorded June 1964)
PERSONNEL
Jerry Allison – drums, lead vocals (track 10)
Sonny Curtis – lead guitar (absent from track 10)
Red Callender – bass (absent from track 10)
Jerry Naylor – lead vocals (absent from track 10)
Glen D. Hardin – piano (absent from track 10)
Buzz Cason – backing vocals, lead vocals (track 10)
Tommy Allsup – guitar (track 10)
George Tomsco – guitar (track 10)
Stan Lark – bass (track 10)
Glen D. Hardin and Joe B. Mauldin have sometimes been credited as playing bass. Ernie Freeman has been credited on piano.
“Lord Of The Manor” and the Carson tracks are the ones here I like.
The Crickets & Their Buddies Volume 5 (1968) – Archive.org
TRACKLISTING
SIDE A
Joe Carson – “Release Me” (Recorded February 10th, 1964)
Joe Carson – “Who’ll Buy The Wine” (Recorded February 10th, 1964)
The Everly Brothers – “I Used To Love You” (Recorded November 12th, 1965)
The Everly Brothers – “It’s All Over” (Recorded November 12th, 1965)
Rusty Steagall – “Motel Rooms And Coffee Shops” (Recorded March 1st, 1966)
SIDE B
Joe Carson – “I’ll Be There” (Recorded February 10th, 1964)
Joe Carson – “Fraulein” (Recorded February 10th, 1964)
Rusty Steagall – “Playboy Heart” (Recorded March 1st, 1966)
The Everly Brothers – “Lord Of The Manor” (Recorded February 27th, 1968)
Jammë – “Empty Feelings” (Recorded 1968)
PERSONNEL
Jerry Allison – drums (tracks 1-10) (Possibly not on tracks 3-4)
Sonny Curtis – guitar (tracks 1-4, 6-7, 9)
Joe Carson – lead vocals (tracks 1-2, 6-7)
James Burton – guitar (tracks 1-4, 6-7, 9)
Billy Mize – steel guitar (tracks 1-2, 6-7)
Bob Morris – bass (tracks 1-2, 6-7)
Billy Armstrong – fiddle (tracks 1-2, 6-7)
Bobby Bruce – fiddle (tracks 1-2, 6-7)
Glen D. Hardin – piano (tracks 1-2, 6-7)
Doris Hallcom – bass (tracks 3-4)
Jim Gordon – drums (probably on tracks 3-4)
Don Randi – harpsichord (tracks 3-4)
Leon Russell – keyboard (track 4)
Rusty Steagall – lead vocals (tracks 5, 8)
Don Lanier – guitar (tracks 5, 8)
Glen Campbell – guitar (tracks 5, 8)
Larry Knechtel – bass (tracks 5, 8)
Don Randi – keyboard (tracks 5, 8)
Terry Slater – bass (track 9)
Don Adey – lead vocals, rhythm guitar (track 10)
Timmy Smyser – bass (track 10)
Paul Downing – lead guitar (track 10)
These two Sonny Curtis albums, as well as some Crickets or Sonny material from around this time, are incredibly strong and deserved to have been released on Crickets albums. In fact, I’ll go as far as to say that Style is the best work covered in this post, being comparable in quality with Buddy Holly.
Sonny Curtis (Possibly with The Crickets) – The 1st Of Sonny Curtis (1968) – YouTube, Spotify
PERSONNEL
Sonny Curtis – lead guitar
Glen D. Hardin – keyboard
Likely present
Jerry Allison – drums
Sonny Curtis (Possibly with The Crickets) – The Sonny Curtis Style (1969) – YouTube, Spotify
PERSONNEL
Sonny Curtis – lead guitar
Likely present
Jerry Allison – drums
Glen D. Hardin – keyboard
Lee Dresser & The Crickets – El Camino Real (1969) – Archive.org
PERSONNEL
Rick Cathaway – bass
Jerry Allison – drums
Lee Dresser – lead vocals, guitar
Glen D. Hardin – piano
Eric Clapton & The Crickets – Eric Clapton (1970) – YouTube, Spotify
PERSONNEL
Eric Clapton – lead guitar, lead vocals
Delaney Bramlett – rhythm guitars, backing vocals
Stephen Stills – guitars, bass (track 11), backing vocals
Leon Russell – piano
John Simon – piano
Bobby Whitlock – organ, backing vocals
Carl Radle – bass
Jim Gordon – drums
Bobby Keys – saxophones
Jim Price – trumpet
Jerry Allison – backing vocals
Bonnie Bramlett – backing vocals
Rita Coolidge – backing vocals
Sonny Curtis – backing vocals
The 70s is the beginning of the downfall of the Crickets. This era is consistently okay, with this album of mostly Buddy Holly covers being one of the better efforts.
The Crickets – Rockin’ 50’s Rock’n’Roll (1970) – YouTube, Spotify
PERSONNEL
Sonny Curtis – lead vocals, lead guitar
Jerry Allison – drums, vocals
Jerry Scheff – bass
Glen D. Hardin – piano
This is one of the weaker albums I constructed simply because it spans from the mid 60s to the early 70s. It was one reason I found issue with this “stray track” idea. Note there’s two 1972 Sonny Curtis tracks I could not find: “Sunny Mornin’” and “Lights Of L.A.”.
The Crickets – Million Dollar Movie (1971) – YouTube
TRACKLISTING
SIDE A
“Million Dollar Movie” (Recorded Mid 1968)
“We Gotta Get Together” (Recorded August 27th, 1964)
“Everybody’s Got A Little Problem” (Recorded August 28th, 1964)
“Now Hear This” (Recorded January 1st, 1965)
“Thoughtless” (Recorded January 2nd, 1965)
“Rave On” (Recorded January 3rd, 1965)
SIDE B
“A Million Miles Apart” (Recorded Mid 1968)
“Last Call” (Recorded July 1966)
“Love Is All Around” (Recorded Fall 1970)
“Here, There And Everywhere” (Recorded Fall 1970)
“Unsaintly Judy” (Recorded Spring 1971)
“You Don’t Belong In This Place” (Recorded Spring 1971)
PERSONNEL (Only confirmed contributions listed)
Jerry Naylor – lead vocals (tracks 4-6)
Sonny Curtis – lead guitar (tracks 1, 7-12), lead vocals (tracks 7-12)
Jerry Allison – drums (tracks 2-6) (Probably on every track), lead vocals (track 2)
Glen D. Hardin – (Possibly plays piano on tracks 1, 7-12)
Buzz Cason – lead vocals (tracks 2-3)
Tommy Allsup – guitar (tracks 2-6)
George Tomsco – guitar (track 2)
Stan Lark – bass (track 2)
Lynn Bailey – bass (tracks 3-6)
Johnny Rivers & The Crickets – L.A. Reggae(1972) – YouTube
PERSONNEL
Joe Osborn – bass
Miss Bobbye Hall – congas, bongos
Jerry Allison and/or Jim Gordon – drums
Dean Parks and/or Larry Carlton – guitar
Herb Pedersen and/or Michael Georgiades – backing vocals
Gary Coleman – percussion
Larry Knechtel and/or Jim Webb and/or Michael O’Martian – piano/organ
A Long Way from Lubbock is an officially released album, though one frustrating issue is that it pointlessly takes recordings from the previous two 1973 albums. There were two much better ideas that could have been used for a follow up. There’s basically one album’s worth of strays listed below that have no overlap with previous albums. The other idea is to cut out the dud tracks and make these albums all much shorter. The Remnants album is bizarrely forty minutes long. The album listed below was all recorded in 1973, except for “Carolyn Walking Away”, where that’s just a guess.
The Crickets – A Long Way from Lubbock(1973) – Archive.org
TRACKLISTING
SIDE A
“That Is Not What I Need”
“Carolyn Walking Away”
“Rock’n Roll (I Gave You The Best Years Of My Life)” (Recorded October 1973)
“My Mama Sure Left Me Some Good Old Days” (Recorded October 1973)
“An American Love Affair”
“He’s Got A Way With Women”
SIDE B
“You Make It Way Too Hard”
“Ain’t Protestin’” (Demo version)
“Ain’t Protestin’” (Band version)
“Bony Moronie”
“I Like Your Music”
“Now & Then It’s Gonna Rain”
PERSONNEL
Sonny Curtis – lead vocals, lead guitar
Ric Grech – lead vocals, bass, piano
Jerry Allison – lead vocals, drums
Nick Van Maarth – lead vocals, guitar
Albert Lee – lead vocals, guitar, piano
Steve Krikorian – vocals
Lee Dresser & The Crickets – To Touch The Wind (1975) – Can’t find
PERSONNEL
Lee Dresser – lead vocals (tracks 1-12), guitar, banjo, harmonica (tracks 2-6, 8-12)
Larry McNeely – banjo (tracks 1-12)
Pat Smith – bass (tracks 1, 7)
Al Garibaldi – drums (tracks 1, 7)
Dan Crary – guitar (tracks 1, 7)
Pete Jolly – piano (tracks 1, 7)
Red Rhodes – steel guitar (tracks 1, 7)
Joe Osborn – bass (tracks 2-6, 8-12)
Jerry Allison – drums, hambone (tracks 2-6, 8-12)
Ron Dasaro – organ (tracks 2-6, 8-12)
Doug Gilmore – hambone (tracks 2-6, 8-12)
Glen D. Hardin – piano (tracks 2-6, 8-12)
Al Perkins – steel guitar (tracks 2-6, 8-12)
The Teesdale Street Choir – backing vocals (tracks 2-6, 8-12)
Originally this album spanned into the 80s with a few solo Sonny singles. Two issues with that is that those 80s tracks almost certainly lacked Jerry Allison and Sonny’s real solo career where Jerry was absent is quite confusing. Many of the released albums are unavailable online and I later found more stray tracks. There’s also some repeats from one album to another. Thus, you can think of this as the last release of his for quite a while with Jerry before they went separate ways into less documented music, though it’s quite short. I liked that the 1973 strays perfectly make up their own album, while this is everything after in the 70s. Note that a track called “When It’s Just You And Me” is from 1975, but isn’t accessible. If it was, it would make this one a bit longer.
The Crickets – Reunion(1978) – Archive.org (All tracks recorded in 1978 except where noted otherwise.)
TRACKLISTING
SIDE A
“It’s Only A Question Of Time” (Recorded July 10th, 1975)
“Where’s Patricia Now” (Recorded February 1976)
“The Breeze”
SIDE B
“Mulholland Drive”
“It’s Only Rock’n’Roll”
“Cruise In It”
“Rock Around With Ollie Vee”
PERSONNEL (Only confirmed contributions listed)
Sonny Curtis – lead vocals, lead guitar (tracks 1-7)
Jerry Allison – drums (tracks 3-7)
Joe B. Mauldin – bass (tracks 3-7)
Mauldin, Curtis, Jennings, and Allison
Note that half of Rollin’ and a 1982 track called “Dream Well All Of You Children” are missing. Also, the three Sonny Curtis albums listed below are not fan albums and instead are official. I’m writing out the tracklisting to make it more explicit what I do have. The personnel notes will be absent for solo Sonny due to this article being more about Jerry.
Sonny Curtis (1979) – Archive.org (Missing Two Tracks)
TRACKLISTING
SIDE A
“The Cowboy Singer”
“Walk Right Back”
“So Used To Loving You”
“Tennessee”
“Do You Remember Roll Over Beethoven”
SIDE B
“It’s Not Easy Being Fifteen”
“I Fought The Law”
“I’ll Stay With You” (Can’t find)
“Cheatin’ Clouds” (Can’t find)
“Ain’t Nobody Honest”
Sonny Curtis – Love Is All Around (1980) – Archive.org
TRACKLISTING
SIDE A
“Love Is All Around”
“You Made My Life A Song”
“Eager For The Edge”
“The Real Buddy Holly Story”
“Fifty Ways To Leave Your Lover”
SIDE B
“Wild Side Of Life”
“The Cowboy Singer” (Same recording as on the 1979 album)
“I Fought The Law” (Same recording as on the 1979 album)
“Walk Right Back” (Same recording as on the 1979 album)
“The Clone Song”
With one exception, the personnel for the Waylon Jennings albums won’t be listed due to how confusing it all is.
Sonny Curtis – 1981 and 1982 loose tracks – Archive.org
“Good Ol’ Girls” (From Rollin’ (1981))
“Married Women” (From Rollin’ (1981))
“Rollin’” (From Rollin’ (1981))
“More Than I Can Say” (From Rollin’ (1981))
“I Like Your Music” (From Rollin’ (1981))
“The Christmas Song” (Chestnut Roasting On A Open Fire) (1981)
“Together Alone” (1982)
“Love is All Around” (From Sonny Curtis (2007)) (Unsure of recording date, very roughly guessing 1982)
“Hung Up In Your Eyes” (From Sonny Curtis (2007)) (Unsure of recording date, very roughly guessing 1982)
“My Worst Enemy” (From Sonny Curtis (2007)) (Unsure of recording date, very roughly guessing 1982)
“Party Of The First Part” (From Sonny Curtis (2007)) (Unsure of recording date, very roughly guessing 1982)
Waylon Jennings, Willie Nelson & The Crickets – WWII(1982) – YouTube, Spotify
PERSONNEL
Waylon Jennings – guitar, vocals
Jerry Allison – drums
Gene Chrisman – drums, percussion
Chips Moman – guitar
Reggie Young – guitar
Willie Nelson – guitar, vocals
Bobby Emmons – keyboards
Johnny Christopher – guitar, backing vocals
Bobby Wood – piano
Toni White – backing vocals
Mike Leech – bass
Jerry Bridges – bass
Waylon Jennings & The Crickets – It’s Only Rock & Roll (1983) – YouTube, Spotify
Waylon Jennings & The Crickets – Never Could Toe the Mark(1984) – YouTube, Spotify
Most of the Payne stuff feels like a parody of the band, with the new lead singer doing a bad Holly impression. It’s a shame Allison and Mauldin didn’t make Crickets albums with Waylon Jennings or Sonny, especially because most of the Crickets’ 60s and 70s songs lack Mauldin and now that he’s back they’re either inactive or making such poor material.
Gordon Payne & The Crickets – Jigger, Crank & Jive (1988) – Archive.org
TRACKLISTING
SIDE A
“Back Home In Tennessee” (Released 1988)
“Blackmail” (Released 1988)
“I Can’t Hold On Any Longer” (Released 1988)
“For A While We Helped Each Other Out” (Released 1988)
SIDE B
“I Got A Woman” (Recorded Late 70s-Early 80s)
“She’s Got A Right To Cry” (Recorded Late 70s-Early 80s)
“Do You Ever Think Of Me” (Recorded Late 70s-Early 80s)
“Let’s Do It Again” (Released 1988)
PERSONNEL
Gordon Payne – lead vocals, lead guitar (tracks 1-8)
Jerry Bridges – bass (tracks 5-7)
Jerry Allison – drums (tracks 1-8)
Joe B. Mauldin – bass (tracks 1-4, 8)
The Payne lineup
Gordon Payne & The Crickets – T-Shirt (1988) – Archive.org
“I Think I’m In Love” (From Spectrum (1987), though recorded in 1985)
“Now I’ve Got A Heart Of Gold” (From Spectrum (1987), though recorded in 1985)
“Monetta” (Recorded 1990)
“Evening Shade” (Recording date guessed 1990)
“I Fought The Law” (Recorded June 1990 in Torino, ITA)
Sonny Curtis – No Stranger to the Rain (Released September 1990) – Archive.org
“I’m No Stranger to the Rain” (Possibly the same recording that was on the previous album, Spectrum)
“Hello Mary Lou”
“You’re the Lesson I Never Learned”
“When Amarillo Blows”
“Back When Has Been Lover”
“I Saved My Last Name for You”
“Bad Case of Love”
“Think It Over”
“That’ll Be the Day”
“More Than I Can Say”
“Well, All Right”
“Rock Around with Ollie Vee”
“Midnight Shift”
Gordon Payne & The Crickets – Double Exposure (1993) – YouTube, Spotify
PERSONNEL
Gordon Payne – lead vocals, probably guitar
Sonny Curtis – lead guitar
Jerry Allison – drums
Joe B. Mauldin – bass
Glen D. Hardin – keyboard
Too Much Monday Morning is a shockingly good album that goes to show how much a shame it was that this lineup wasn’t more often all together. Naylor, and especially Sinks and Box are good, but Curtis’ voice feels more at home with the Crickets. After this album, the band would go back to being an oldies act, often redoing their own songs needlessly. Admittedly, not many people are out asking for the next hot Sonny Curtis and the Crickets album.
The Crickets – Too Much Monday Morning (1996) – YouTube, Spotify
The Everly Brothers, Eric Clapton, Nanci Griffith, Bobby Vee, Albert Lee, Waylon Jennings, Johnny Rivers – guest vocals
Many, many more guest performers. Only ones that have previously worked with the Crickets are listed here.
Mike Berry & The Crickets – About Time Too! (2005) – YouTube, Spotify
PERSONNEL
Sonny Curtis – lead guitar, rhythm guitar, lead vocals
Jerry Allison – drums, lead vocals
Joe B. Mauldin – bass, backing vocals
Mike Berry – lead vocals, backing vocals
Chas Hodges – piano, backing vocals, guitar
Chad Hodges & Jerry Allison – Before We Grow Too Old (2007) – Archive.org
PERSONNEL
Jack Clement – dobro
Jerry Allison – drums, lead vocals (tracks 7, 10)
Chas Hodges – piano, lead vocals, guitar
There seems to have been a whole album of John Beland tracks recorded, but this is the only one I could find. The Limitations’ “Well… All Right” I also can’t find.
The Crickets & Their Buddies Over The Years (2013) – Archive.org
TRACKLISTING
SIDE A
J.J. Cale – “I’m A Gypsy Man” (Released 1976)
John Beland – “True Love Never Runs Dry” (Recorded 1978)
Bobby Vee – “Buddy Holly Medley” (Recorded April 16th, 1989)
Dale Hawkins – “Rain On The Roof” (Recorded 1990s)
David Falconi (Might be misspelling his name) – keyboard (track 3)
Joe B. Mauldin – bass (track 3), possibly plays bass on tracks 4-7
Dale Hawkins – lead vocals, guitar (tracks 4-7)
Ray Flack – lead guitar (tracks 4-7)
Joe Osborn – possibly plays bass on tracks 4-7
unknown – piano (tracks 4-7)
Joell Le Sonier – accordion (tracks 8-9)
Margot Buchanan – backing vocals (tracks 8-9)
Sam Brown – backing vocals (tracks 8-9)
Sonia Jones – backing vocals (tracks 8-9)
Gerry Conway – drums (tracks 8-9)
Brian Hodgson – bass (track 8)
Paul Henry – guitar (track 8)
Rufus Thibodeaux – fiddle (tracks 8-9)
Nick Payne – harmonica (track 8)
Lonnie Donegan – lead vocals, rhythm guitar (tracks 8-9)
Sticky Wicket – washboard (track 8)
Vic Pitt – bass (track 9)
Chad Hodges – performer (track 10)
Dave Peacock – performer (track 10)
Albert Lee – guitar (track 10)
Track 2’s personnel information is especially confusing, but it does seem Allison, Mauldin, and Curtis are on it in some capacity.
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
The Zombies, known for making one of the most famous psychedelic albums of all time, had a surprisingly varied career. Despite only having released two original lineup albums, one in 1964 and another in 1968, there’s enough studio or studio-passing tracks that there could have been an album a year from ‘64 to ‘68, and we could get even more if you count the solo eras of the two main members. Despite the consistent quality of music, one issue that would be hard to avoid with those hypothetical albums also afflicts Begin Here. There is a lack of cohesion. Some of these songs prioritize romantic singing and an environment-filling organ. Other tracks are beefy rockers with strangely less focus on the famous Colin Blunstone’s vocals and Rod Argent’s keyboard. The consequence of this is not a bad album, but an unfocused one. As such, treating this as a compilation helps the experience.
The opening track is “Road Runner”, which has a beautifully fiery lead guitar. Blunstone, like other singers like Roger Daltrey, can’t quite capture the elegance of original performer Bo Diddley, but is still good. That guitar and interplay with the drums really makes the song. “Summertime” plays to the band’s natural strengths. It’s a warm ballad with breathy vocals and nice harmonies. The keyboard has clear jazz influences. The bass and drums add a perfect backing to amplify the intended tone. While the group isn’t known for their covers, they’ve managed some extremely cohesive ones that add in the jazz and R&B leanings of the five living dead, a sound all their own.
“I Can’t Make Up My Mind” has similar positives, with more intense playing and singing. The organ, especially its solo, provides some class and texture. Without it, you’d basically have a different band, as it contrasts the hard hitting guitar and drums. “The Way I Feel Inside” showcases how strong Colin’s voice and Rod’s playing are, though compositionally and lyrically the track is too simplistic, so the intended effect of “less is more” isn’t reached. The full band demo adds some much needed energy. “Work ‘n’ Play” follows and is pretty jarring. It’s a nice reminder of the R&B, but is similarly dull and notably lacking any vocal work. Rod Argent plays harmonica and not very well, though the whole track coasts on being upbeat and fun, though it would have more value on a rarities compilation where this would be more of a curio than album filler.
“You’ve Really Got a Hold on Me/Bring It On Home to Me” is the third track to not have the magnetic and razor sharp playing of the band, but the vocal harmonies help make up for that. This shows how even though the band has a wonderful sound, they should have put more work into making their covers feel distinct. Colin’s vocals seem flat when compared to the originals, most notable in the section of the song that’s close to spoken word, where you’d expect Smokey Robinson to be aching his heart out. “She’s Not There” rightfully is one of the group’s most famous songs. It has all the previous positives. One favorite is the clean and prominent bassline thumping in the back. Every member gets at least a little section to show off, though the piece feels cohesive due to how tight they fit together and how infectious their spirit is.
“Sticks and Stones” is another rocker and cover. The electric drumming and amusing singing made this a personal favorite on the album, though it lacks the sophistication or exceptionally thoughtful playing of the best of the group. The rocking covers might work better in a live setting. The band is playing like they want to show off, but there’s obviously no audience to do that to. This is also a strange opener to a side. Why not pick something like the more exciting “She’s Not There”? “Can’t Nobody Love You” is another great one, due to Colin’s smooth voice gliding effortlessly off the organ and drums in this ballad. The name checking of other R&B singers is a favorite part, as if cementing this song into history.
Next are four originals in a row. “Woman” seems like a cover, but isn’t. Colin’s rocking voice feels more natural here, with his scream and the organ solo showcasing playfulness and more familiarity with the track, as if it was well rehearsed. There’s an added level of excitement, especially in the backing vocals. It’s like they really wanted to give their take on this type of song. “I Don’t Want to Know” and “I Remember When I Loved Her” are also derivative of the band’s influences, but the personal touches make it special. The vocal harmonies and on point playing are two of the biggest keys to success, which is something that propels any track they’re featured on. Loved Her has especially haunting keyboard, though also especially vapid lyrics. “What More Can I Do” is the best of these four. The singing and playing have a sense of tension, like the singer is pained by the conflict going on. There’s expectedly many little touches, like the drumming at the very end.
“I Got My Mojo Working” can be best defined as chaotic. The singing is dirty, notably less refined than what came before it. The instruments blast out, with the drums particularly blaring. A harmonica solo is the most telling example of this, seeming to defy a time signature. The track as a whole resembles an early punk band and as such is a little magical in its own right, but demonstrates the less mindful side of the Zombies and is frankly their weakest cut. It doesn’t at all fit with the other songs on this album, which seem to have a clear focus and intent. This one is by comparison an informal jam. It being the end of the album and having Argent singing lead makes it feel tacked on, as if to be a surprise. That might work in other circumstances, but here wastes the tension and pathos built up by the previous “romantic” tracks.
OVERVIEW
Begin Here isn’t just a strong debut, it’s many strong debuts. As was common at the time, the Zombies followed trends and here seemed to be trying to follow several trends. You could argue they were setting the groundwork. If the jazzy stuff was successful, they could build off that here. If the R&B material won, then they’d pursue that direction. To compare them to an influence of theirs, basically all Beach Boys songs have complex harmonies, which gives them a definable sound. The Zombies sometimes have complex harmonies, others more basic ones, and sometimes not any at all. The group may have been successful if they stuck in a lane, but it’s hard to deny the quality of what’s available. Even the weaker tracks have solid playing and Blunstone to love. Criticisms of either of those mainly come down to those elements just being serviceable, as opposed to exceptional.
For those not in the know, fan albums are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
The Flamingos are a fun little group to analyze, mainly known for their wonderful track “I Only Have Eyes For You”. They have had many other great cuts and this project hopes to make them more accessible. Another favorite is “Lovers Never Say Goodbye”. The group has had many lineups and some varying quality, but they provide a satisfying experience. From seemingly the genesis of the act in 1953 to the present, “The Flamingos” have been active with a 50s member. It’s one of those Ship of Theseus issues that is especially common with doowop acts. Thus, I’m defining “The Flamingos” by its three most prominent members: Jake Carey, Zeke Carey, and Paul Wilson. The three were constants, with one slight exception, from the beginning to 1964, at which point Wilson left and everyone else was more or less doing an oldies’ act with few recordings. For a more detailed history on the Flamingos, see https://www.uncamarvy.com/Flamingos/flamingos.html and http://theflamingos.com/history-of-the-flamingos/.
The first stable lineup had the following order: Jake Carey (bass), Zeke Carey (second tenor), Johnny Carter (first tenor), Paul Wilson (baritone), and Sollie McElroy (lead). They recorded thirteen tracks on the Chance label. Thus, our first album will be called…
“Carried Away” (Recorded After January 28, Before December 24, 1953)
“Plan for Love” (Recorded After January 28, Before December 24, 1953)
SIDE B
“You Ain’t Ready” (Recorded After January 28, Before December 24, 1953)
“Golden Teardrops” (Recorded After January 28, Before December 24, 1953)
“Blues in a Letter” (Recorded December 24, 1953)
“September Song” (Recorded December 24, 1953)
“Jump Children” (Recorded December 24, 1953)
“Cross Over the Bridge” (Recorded February 17, 1954)
“Listen to My Plea” (Recorded February 17, 1954)
The quintet then went to Parrot, but for only eight recordings. Halfway through their stay, Sollie was replaced with a Nate Nelson. He is sometimes considered the best of the lead singers. The outfit next went to Checker. The first four of which will be used to make the second LP.
Around the same time, the Flamingos went to Decca and both Zeke Carey and Johnny Carter were drafted. The next recording lineup featured Tommy Hunt and Terry Johnson. Interestingly, Terry, who joined the act in 1956, is even today touring as the Flamingos, almost seventy years later! Tommy was touring as them as well in the 2010s, but I couldn’t find out if he’s still going, though he is alive. Due to the lack of Zeke, I’ve decided to declare this era not really the Flamingos. Seeing as Nate Nelson seemed to be the most emphasized member, I’ll call it…
Nate Nelson’s Flamingos Sing The Ladder Of Love And Ten More Cuts (1958) – YouTube
TRACKLISTING
SIDE A
“The Ladder Of Love” (Recorded April 19, 1957)
“That Love Is You” (Recorded April 19, 1957)
“Let’s Make Up” (Recorded April 19, 1957)
“Helpless” (Recorded August 15, 1957)
“My Faith In You” (Recorded August 15, 1957)
SIDE B
“Jerri-Lee” (Recorded August 15, 1957)
“Hey Now!” (Recorded August 15, 1957)
“Kiss-A-Me” (Recorded May 6, 1958)
“Where Mary Go” (Recorded May 6, 1958)
“Ever Since I Met Lucy” (Recorded May 6, 1958)
“The Rock And Roll March” (Recorded May 6, 1958)
The Decca era is one of the strongest “albums” here. The last change in labels that will be looked at is to End. These are some of the most acclaimed recordings the group did. This is also the era we started getting LPs. The first is called The Flamingos (1959). It was released by Checker and takes various recordings from various times and labels. While sources consider it their first proper album, I am demoting it to merely a compilation. However, afterwards we got four LPs that got the job done pretty nicely. Each album covers a recent and short timespan of recordings, though we have few recording dates. The albums are called Flamingo Serenade (1959), Flamingo Favorites (1960), Requestfully Yours (1960), and The Sound Of The Flamingos (1963). There appear to be only five non-album tracks before 1961, then eleven more strays from 1961-1964. I had the idea of taking some of those early strays and making them bonus tracks for the main albums, but I decided to pick the simpler option of just adding them to the beginning of my final album, though maybe it would be better to put them with other tracks recorded around the time they were? With or without those, it is still probably the strongest record despite the lineup changes, with the last tracks having a contemporary and catchy sound. It makes me suspect the later works by the group and its then former members are good, as the proper Flamingos were good all the way to the end.
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
For those not in the know, fan albums are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
In my musical journey, I’ve caught many a-classic song. I’ve heard covers of tracks like “I’m A Man” and others by the Liverpool crowd. I was amused by how often the lyrics were self-congratulatory about its songwriter, Bo Diddley. Possibly the first time I ever heard the man himself was his cut, “Pills”, which instantly became one of my all time favorite songs. Amusingly, this post covers his music right before “Pills”. Ending in 1960 seemed especially clean and easy on my brain. It’s also nice that everything here is on Spotify. While the first 1961 album is, as well, afterwards things become much more spotty.
Some might say this is his “golden era”. However, some of the stuff here is a little too predictable, with Bo’s sexual prowess and playing style being worn a little too thin. Melodies are even reused a bit. Still, some of the music here is fantastic. The first I would consider a 10/10, being a better version of the actual debut. The one titled Bo Diddley’s Travelin’ West is the only one here I don’t really like. The rest bring a more consistent package. Roughly, each album here is weaker than the one before it. The goal here is to order things logically, with no repeats or missed tracks. The actual albums are the definition of a mess. Here, songs are sorted with other tracks recorded at the same time.
When I was reading the blog, Albums Back from the Dead, I thought it was fun that they did this same idea with a lot of similar artists to Bo Diddley, but not the man himself. Many of these guys got really weird album sequencing. Something the blog poster did was utilize the official album names and covers when possible. Thus, I’ve done the same thing. When that’s not possible, I’ve named the albums off a song, usually one that references Diddley by name.
For those interested, each album covers songs from the following time frame: The 1st is entirely 1955, the second is 1955-1957, the third 1957-1958, the fourth 1958-1959, the fifth and sixth are 1959, and the last four are all 1960. I’m not sure why he was so productive. Also, there’s a live recording I could not find from 1959. Thus, if we wanted we could add that in and say those two years yielded eight album releases. Still, I think that because of some of the lesser stuff here and there, some could’ve been cut. Most of these tracks are sourced from the three volume series of early tracks by Hip-O Select. Some of this stuff might be demos but pretty much everything sounds like a professional work, even if I don’t like it. I’ve also discovered many wonderful songs, some not as well known. One gem is the beautiful ballad, “Our Love Will Never Go”. Still, the famous first two songs from the first album here and the official first album might be the two finest tracks of Bo’s career, perfectly epitomizing his vibe.
Some of these covers I made, while others are official works or I found them online.
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
Roger Waters, Syd Barrett, Richard Wright, and Nick Mason, one of the all-time great rock bands
Syd Barrett is Jesus Christ. At least, that’s the way it seems he’s taken by some. Despite releasing little more than three albums in his time, he’s left an impact that makes some starving for more. Fortunately, we’ve gotten a little more, though less than you’d hope. One is a rarity compilation covering his solo career, Opel, and later this one, 1965–1967: Cambridge St/ation. This is a priceless collection that gives us a further view into the eccentricities of this mentally ill, but no less brilliant man. It and the proper album, The Piper at the Gates of Dawn, cover essentially all of Syd with Pink Floyd without getting into little things that are more for the super fans. There are recordings that at least have existed that seem like obvious inclusions. Maybe they are either lost or are really bad. Even if they are somewhat bad, it’s a shame to not include them when this era is so lacking in recordings.
The album starts with recordings from the band in their R&B days, at least a year before they recorded their classic ‘67 songs. While it’s easy to note and criticize the novice qualities, they work well as what they are, entertaining demos. They aren’t really Pink Floyd in a sense, other than interesting moments that remind you of the band they would become. The least-Floyd part is the lead guitar, which is very R&B influenced and not invoking of psychedelia or the styles of Syd Barrett and his ultimate replacement, David Gilmour. Those parts are in fact played by an early member of the group, Bob Klose. Syd Barrett’s vocals and Richard Wright’s keyboard are much more in-line with what the group would become. Richard Wright gives that space rock touch to the blues standard, “I’m a King Bee”, which is an odd choice for a song like that, but it works. “Lucy Leave”, “Remember Me”, and especially “Butterfly” take advantage of Syd’s quirky singing and songwriting and are not too unnatural starting points for the band. The other three tracks are very strange due to things like stomping basslines and the emulation of R&B tricks. They are oddities, beyond oddities, especially the Bo Diddley pastiche, “Double O Bo”. They are enjoyable enough tracks that fans can grow to love, as long as you aren’t expecting them to sound too like what came next…
The album gets going with a series of singles that prove how good Syd was at them. They all are fresh and strange; psychedelic, but not excessive in its tropes. The guitar effects are a lot richer and well chosen than some other music of the time. You can understand why it was felt Syd would be an unstoppable musician. The group is very cohesive. The members get little moments to shine. While Syd’s guitar is great at propelling the landscape of the material, Richard Wright is once again the secret weapon with his keyboard sound feeling so distinctive. It’s weird to listen to a Syd song without Rick, then one with. Most of Syd’s solo work that features a keyboard player, features Wright doing it. Wright’s one composition here, “Paintbox”, puts himself on display and is a welcome addition to the set. Favorite parts are the really high vocal on “Apples and Oranges”, which manage to not come off as cheesy, as may seem a risk. The breakdown on “See Emily Play” rocks out, without being distracting or unnecessary, probably because the group was so well rehearsed. The four came together to have a real unforgettable flair within their contemporaries and bands to come. Their singles are the best examples of that.
Next are tracks that were unreleased. Some weren’t released in any capacity, while some are alternate versions of available songs. The distant vocal on “Vegetable Man” is both trippy and a cool effect, making sense with the theme of isolation. We have a secret song in an alternate version of “Matilda Mother”, which has very different lyrics that are a surprising gem to someone that overlooked this before. It gives the classic song a different tone. It’s a shame it seems the recording wasn’t kept in as good of quality as other tapes. There’s also an alternate version of Barrett’s only song on the group’s second album, “Jugband Blues”. It’s an interesting look at the development of the piece. The released version is undeniably much better in how polished it is, but pay attention to this earlier version’s pause before the horns come in. It introduces them more unsettlingly. These unreleased recordings, which are mostly from shortly before Syd left the group, paint his mental collapse as he talks about darker subject matter. The tracks can seem a little morbid, but the tip-top playing and writing make them captivating and highlights among Syd and also the band’s entire work. Listening from track one up to the end of this point covers a timeline of the development and mental decline of Syd Barrett, though not a decline in terms of quality of material. The running order is not that bad to listen to if you want a “second Barrett Pink Floyd album”, though it could be better for someone looking for a cohesive album experience.
What’s left, which is about an hour, features the band playing a live show and then a thirty-minute avant-garde piece in studio. For the sake of a good listening experience, the live show should probably have been cut. The vocals are almost completely inaudible and the divergence doesn’t flow particularly well from or to the studio tracks. The desire is understandable to include a Syd-era live recording, and it seems this was the best-recorded one, but it fails to carry the tone of the journey of this band by being a full show tossed in the middle of a series of studio recordings. A few highlights would’ve been better cohesion-wise, though as a fan of all things Syd, I am not sorry to have as much as possible, including this. The avant-garde piece, titled “John Latham”, expands upon all the group has done before or after. Its drone and eclectic structure make it feel unlike anything else the band did, while not feeling like it couldn’t be them. The chirping space guitar, atmospheric keys, banging ominous drums, and bouncing bass are all there. The guitar is reminiscent of “Pow R. Toc H.”’s animal noises. That’s one of the fun things to pick up on for those mapping the trajectory of the group.
OVERVIEW
For those that know and love the David Gilmour-era of Pink Floyd, this may not satisfy. It’s not a Gilmour-feeling album. Beyond him not being on it, it doesn’t have his style. If when Syd Barrett left the group, the remaining changed their name to something else (ala Small Faces to Face or Jefferson Airplane to Jefferson Starship), people probably wouldn’t think, “it’s the same band, so why change the name?”. Syd Barrett is in a league of his own and that can cause fans to argue over whether he or Roger Waters was the superior leader of the outfit. That is like comparing Apples and Oranges. The logical extension from Piper and this compilation is solo Syd, not 1968 Pink Floyd. It is in fact a compelling and necessary chapter for Syd in terms of mapping how we got from Piper in 1967 to something miles away in 1970’s The Madcap Laughs. It is not particularly necessary to someone that doesn’t care beyond the era with Gilmour. They would want the pre-script highlights of Piper (if that) and then jump to either the group’s second album or 1968 rarities comp, which are the first two projects to lay the groundwork for what would become of that. Thus, this album details a band that died quickly; a band that didn’t live past the beginning of 1968, or 1970 if you would consider solo-Syd the same thing. I wouldn’t, seeing as the Floyd band brings a very unique sound to the table. Cambridge St/ation is a fascinating and generally cohesive finale of this promising rock group that seemed to have it all figured out, only to fall apart under tragic circumstances that name “1965-1967” Pink Floyd one of the great ‘what ifs’ of rock and roll.
For fun, here’s a “cohesive” trim and slight reorder of this album, for the sake of better flow.
For those not in the know, fan albums are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
One of the most famous “unappreciated in their time bands” is Small Faces. The soulful vocal of Steve Marriott with the intricate playing of him (guitar), Ronnie Lane (bass), Kenney Jones (drums), and Ian McLagan (keys) made for one of the most legendary unappreciated bands. While gone too soon, they’ve left behind about six studio albums of quality material.
The first album to listen to is the official Small Faces. Next is my construction of the minimal material recorded before the first album and what came after. From the Beginning is an official compilation that covers similar material. Much of this material was first released on that collection. However, it includes some overlap with the second official studio album and some deserving material is missing. The next thing to go to is the official second album. It’s officially called Small Faces, but the album cover includes the name three times; thus I like to call it Small Faces Small Faces Small Faces. It’s nice to have exactly one album in between them, so I can call my first fan album Small Faces Small Faces.
Afterwards is the next bundle of material, which I’ve named I Feel Much Better. This compiles some of the group’s most famous material as it has a lot of singles. The American version of Small Faces x3 had a lot of different tracks and is basically half x3 and half I Feel Much Better. The next album is my favorite Small Faces album, the official Ogdens’ Nut Gone Flake. It’s a famous rock album for a reason! The final full length generally contains material from the group’s unfinished fourth album. Other people’s fan albums of this usually include material to fill out the runtime that in my opinion shouldn’t be included; things like material from the bands that Small Faces members joined upon their breakup. I was able to find enough material for a true Small Faces album, but there was a problem. Half of it was instrumental, with many of them sounding like there should be vocals. Some of the instrumentals will be moved to an oddities set. I must break my “no live tracks” rule to finish the sixth proper album. The group didn’t have many live recordings, but some late-in-the-day ones were included with finished fourth album songs called In Memoriam. They will be used with most of the studio material. The Autumn Stone is the title for this third fan album/sixth overall album.
While those six albums realize every studio track, bar those few instrumentals, there’s a lot of odd ball material for those interested. Steve Marriott did about an album’s worth of material before joining Small Faces. The last few tracks feature Kenney Jones, Ronnie Lane, and early Small Faces keyboardist Jimmy Winston. They were excluded from a proper Small Faces album due to being so amateurish and incomplete. This Steve Marriott album is less a fan album and more a compilation. I just put the tracks in order so one can feel the progression before making it to the actual Small Faces in what is more or less recording order. There’s also an officially released live album, as well as various other live tracks. A fan albumer with the site Albums That Should Exist did a pretty good job of catching a lot of the live tracks. Thus, I am canonizing their version in my project. You can say the band in my universe released all those albums the way ATSE constructed them. I didn’t have any hand in constructing the ATSE live albums and am not taking credit for them.
A live bootleg exists and it’s included in the links below. Once again I didn’t sequence it. There’s also material the band appeared on for other artists, namely Billy Nicholls recordings and enough random tracks to go on the same album as the one with primarily instrumental throwaways. Some of the Nicholls tracks might not feature Small Faces, but I’m not sure which ones. Finally there’s all the solo material by early member Jimmy Winston. Why not include them? That Jimmy album is officially released. I couldn’t find a copy of it, but it’s listed for those dedicated enough to find it. This should cover those interested in this band before their untimely end. Perhaps at some point I’ll cover what they did next.
Tracklists
STEVE MARRIOTT – GIVE HER MY REGARDS
TRACKLISTING
SIDE A
“Consider Yourself”
“Be Back Soon”
“I’d Do Anything”
“Imaginary Love”
“What’d I Say”
“Give All She’s Got”
“Give Her My Regards”
“Blue Morning”
“You Really Got Me”
SIDE B
“Money, Money”
“You’ll Never Get Away From Me”
“Good Morning Blues”
“Before You Accuse Me”
“As I Was Walkin’ aka 1964”
“Mod Blues Tune”
”Mezmerizing Tune”
“Mezmerizing Tune Take 2”
“That’s What I Want”
SMALL FACES – SMALL FACES SMALL FACES
TRACKLISTING
SIDE A
“What’s a Matter Baby”
“I’ve Got Mine”
“Baby Don’t You Do It”
“Almost Grown”
“Plum Nellie”
“All or Nothing”
SIDE B
“Hey Girl”
“Take This Hurt Off Me”
“I Can’t Dance with You”
“You’ve Really Got a Hold on Me”
“Understanding”
“Grow Your Own”
“Runaway”
SMALL FACES – I FEEL MUCH BETTER
TRACKLISTING
SIDE A
“I Can’t Make It”
“Yesterday, Today and Tomorrow”
“Patterns”
“That Man”
“My Mind’s Eye”
“Picaninny”
“Here Come the Nice”
SIDE B
“Just Passing”
“Call It Something Nice”
“I’m Only Dreaming”
“Take My Time”
“Tin Soldier”
“I Feel Much Better”
“Itchycoo Park”
SMALL FACES – THE AUTUMN STONE
TRACKLISTING
SIDE A
“Every Little Bit Hurts”
“Don’t Burst My Bubble”
“Donkey Rides, a Penny a Glass”
“Collibosher”
“Rollin Over (Live)”
“If I Were A Carpenter (Live)”
“All Or Nothing (Live)”
SIDE B
“Tin Soldier (Live)”
“Kamikhazi”
“Wham Bam, Thank You Man”
“Red Balloon”
“The Autumn Stone”
“The Universal”
SMALL FACES – THE ODDS
TRACKLISTING
SIDE A
“P. P. Arnold – (If You Think You’re) Groovy”
“Traffic – Berkshire Poppies”
“Ronnie Lane & Kenney Jones – Mind The Doors Please”
“Fred aka The Pig Trotters”
“Jack aka The War of the Worlds”
“Wide Eyed Girl on the Wall”
“Every Little Bit Hurts (Live)”
“Johnny Hallyday – Amen (Bang Bang)”
“Johnny Hallyday – Reclamation (News Report)”
“Johnny Hallyday – Regarde Pour Moi (What You Will)”
SMALL FACES – LIVE IN VIENNA
TRACKLISTING
SIDE A
“Jam”
“Song of a Baker”
“Long Black Veil”
SIDE B
“Every Little Bit Hurts”
“All or Nothing”
“Tin Soldier”
Links to everything
Steve Marriott – Give Her My Regards (1964) – YouTube
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
The Who captured the dirty garage rock/proto-punk sound with their first Pete Townshend written single, “I Can’t Explain”. Not to be out done by himself, Townshend got to work on another teenage-expression rocker. “My Generation” followed. It was a big hit that still rings strong today and the band’s first LP followed. Some bands, due to lack of artistic freedom or lack of confidence in their own songs, make albums with a lot of covers. Someone must’ve believed in Townshend, because My Generation consists of eight Pete-written originals, three covers, and one improvised jam essentially written by the band.
Ignoring the few better known tracks and hidden gems, much of the album feels like they’re covers. Tracks like “The Good’s Gone” and “Much Too Much” have a generic feeling to them. Singer Roger Daltrey and to a lesser extent the band don’t seem to have their hearts here. Maybe they didn’t have that long to rehearse? Actual covers like “Please, Please, Please” and “I’m a Man” feature Daltrey going past breaking point in a misguided attempt to capture the magnificent controlled madness of James Brown and Bo Diddley respectively. He wails like he hasn’t done it before. At his worst, Daltrey is a good enough singer, but he is much better when staying in his own lane.
A few tracks seem designed to follow the footsteps of “I Can’t Explain” and “My Generation”, very heavy-for-the-time tracks with a sense of teenage angst. “Out in the Streets”, “It’s Not True”, and “The Kids Are Alright” have tasty guitar solos and a hard rocking rhythm. Drummer Keith Moon isn’t left without anything to do. Soaring backing vocals and up-tempo energy make these tracks a delight, though also expected. Of course they’d do more songs like these ones. “The Kids Are Alright” does step from that formula a bit with a power-pop and somewhat more lighthearted sound. It drops the proto-punk edge for a more chilled vibe to great effect. It’s a comedic romp about teenage experiences. This would be refined more on later tracks, though this style is present in a lesser extent on Explain and Generation.
“A Legal Matter” is the closest thing here to a ballad. It’s a little more cooled and features the less sultry voice of guitarist Pete Townshend on lead vocals. While it feels like filler, it’s still a nice song with a really good guitar riff at the end. “The Ox” is a track named after bassist John Entwistle, though the bass is not very prominent on the track. The song is a jam session between Entwistle, Moon, Townshend, and session keyboardist Nicky Hopkins. Townshend and Hopkins get their little moments and solos, though the more in-your-face instrument is the drums. There’s such a high energy and movement here that it’s impossible not to love this cut. It feels like it’s constantly trying to impress you and the quartet does so effortlessly. Hopkins has great interplay with Moon and you’d think he was part of the band if you didn’t know better. Ending an album with an instrumental can sometimes seem overly flashy but here it’s done to great effect. This band wants to prove it can rock and that is demonstrated as the record fades out.
That being said, there is one track that forwards the aggression and high muster of “The Ox” even further than “The Ox”. “My Generation” is one of the quintessential rock songs of all time for good reason. The anger and frustration of being a young person is communicated through the various instruments and lyrics. Moon’s high energy is constantly at work with the thrashing bass and guitar as Daltrey despairs on how “people try to put us down”. The lack of confidence in a teenager comes through with his stutter, adding a cool effect to the performance in the process. Townshend and Entwistle’s backing vocals blend well with Daltrey to make an amusing harmony to such a raucous track. The lyrics are soaked in the internal dread of the singer, typified by lines like, “Things they do look awful cold”, “Why don’t you all fade away”, and the famous, “I hope I die before I get old”. The track reaches a crescendo where the instruments begin bashing as hard as they can before boiling over and the song ends. Those in the 60s might find it hard to believe that this song could be out done. It ultimately was with the punk movement that formed around ten years later. The album should’ve ended with “My Generation” and the others tracks moved up in the line.
OVERVIEW
None of the tracks here are even close to bad. While some of it is filler, they still pack a strong rock spirit and very strong playing from this tribe of misfits. The quaintness can turn off some, but even they can’t turn away from the highlights. My personal favorites are, “The Kids Are Alright”, “It’s Not True”, “The Ox”, and of course, “My Generation”.
For those not in the know, fan albums are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
The first bundle of recordings by The Who were slightly lacking, but starting with their first official album, My Generation, they were on their A-game. That’s continued here with the second collection of stray tracks, Ready Steady Who. The tracks here are mostly very good. Exceptions are “Barbara Ann” and “Batman”, but those are still entertaining.
This was my listening order:
“Instant Party Mixture”
“Circles”
“Substitute”
“Disguises”
“I’m A Boy”
“In The City”
“Barbara Ann”
“Batman”
“Man With Money”
“My Generation / Land Of Hope And Glory”
“Bucket T”
“Happy Jack”
“Dancing In The Street”
“I’ve Been Away”
“You Rang” was going to be included, but it’s in such low quality that I cut it. This fan album could accompany My Generation. Why not listen to both albums at once, like a double album? There were also a few changes in tracklisting, so here’s the proper tracklist:
THE WHO – READY STEADY WHO
TRACKLISTING
SIDE A
“Instant Party Mixture” (Pete Townshend)
“Circles” (Pete Townshend)
“Disguises” (Pete Townshend)
“I’m A Boy” (Pete Townshend)
“In The City” (John Entwistle, Keith Moon)
“Barbara Ann” (Fred Fassert)
“Batman” (Neal Hefti)
SIDE B
“Dancing In The Street” (Marvin Gaye, William “Mickey” Stevenson, Ivy Jo Hunter)
“Happy Jack” (Pete Townshend)
“Man With Money” (The Everly Brothers)
“Bucket T” (Don Altfeld, Roger Christian, Dean Torrence)
“I’ve Been Away” (John Entwistle)
“My Generation / Land Of Hope And Glory” (Pete Townshend, Edward Elgar)
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
This’ll be the cover of this album when I get a chance to use a computer.
For those not in the know, fan albums are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
The Who is a great, classic band that tends to have great stray tracks. This is their first bunch of songs and also everything of their’s that was studio recorded before their first album. Their BBC sessions are counted as studio and live tracks are excluded entirely. These tunes are a little shakier in quality than their later stuff, but it’s still a good album with some absolute bangers. The main issue is that The Who’s originals are really good and this album has mostly covers. “I Can’t Explain” is my personal favorite track here.
My listening order for anyone curious is:
Side A
“Zoot Suit”
“I’m the Face”
“Bald Headed Woman”
“Baby Don’t You Do It”
“Here ‘Tis”
“Anytime You Want Me”
“Anyway, Anyhow, Anywhere”
“Shout and Shimmy”
Side B
“Daddy Rolling Stone”
“Good Lovin'”
“Just You and Me, Darling”
“Leaving Here”
“Motoring”
“Lubie (Come Back Home)”
“I Can’t Explain”
That listening order is pretty good, but one issue is that “I Can’t Explain” isn’t a good closer. “Anyway, Anyhow, Anywhere” is much better. Moving that to the end necessitated some changes. My new one has better flow. I like it when the title of Who albums are puns on their name, such as “Who’s Next”, so I titled this one accordingly.
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
THE WHO – WHO’S FIRST
TRACKLISTING
SIDE A
“Zoot Suit” (Peter Meaden)
“Good Lovin'” (Rudy Clark, Arthur Resnick)
“I’m the Face” (Peter Meaden)
“Bald Headed Woman” (Shel Talmy)
“Baby Don’t You Do It” (Holland-Dozier-Holland)
“Here ‘Tis” (Ellas McDaniel)
“Shout and Shimmy” (James Brown)
“Anytime You Want Me” (Garnet Mimms, Jerry Ragovoy)
Side B
“Daddy Rolling Stone” (Otis Blackwell)
“Just You and Me, Darling” (James Brown)
“Motoring” (Ivy Jo Hunter, Phil Jones, William “Mickey” Stevenson)
“Lubie (Come Back Home)” (Paul Revere Dick, Mark Lindsay)
“Leaving Here” (Holland-Dozier-Holland)
“I Can’t Explain” (Pete Townshend)
“Anyway, Anyhow, Anywhere” (Roger Daltrey, Pete Townshend)
The Filme Diary 