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12 Nov 2016

Vespero “Lique Mekwas” 2016 Russian Prog,Space,Psych Rock,Experimental



Vespero  “Lique Mekwas”  2016 Russian Prog,Space,Psych Rock,,Experimental
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Russian folk/psychedelic/progressive rock band Vespero are streaming their new album Lique Mekwas at the official Bandcamp location of R.A.I.G. Records. …… 

Vespero are back with their 14th album, not including Eps etc.. A very productive Russian band that started back in 2005. I have to say this is the best thing I have ever heard from the band and have been spinning this album a lot lately. Wow.. The album is a little over 70mins long and features 7 tracks. The band is also 7 members including violin, sax, wave drum. The Course of Abagaz starts things off with some tasty guitar that is complimented by some great percussion and drums as it slowly builds and the layers start to come together with space sounds and grooves with great solos. The track dies out around 7mins and they head into a new direction and an almost dub like groove starts but the music is really spacey. Cool stuff in this 17min track. Ras Dashen features some beautiful saxophone playing and complimented with synths, violin and cool drumming. It slowly becomes very eastern in feeling. Oromoo’s Flashing Eyes is driven by the drums and violin to start and a really groovy bass line. About 2 ½ mins in the sax kicks in… Some great guitar playing as well. Abyssinian Ground speeds things up and has a very cool drum rhythm and groove over which the violin, keyboards and other sounds mingle well. Intense. Around 4mins the guitar really kicks in. Isidore’s Prophet starts with some spacey synths, hand drumming and sax as it slowly builds. Very jazzy and a killer groove on this one. Follow the Fitawrari is another super grooving track where everyone gets to make a cool solo and play a part, starting with the violin! A sort of Moroccon like thing going on. Gnawa… Next up guitar and what a solo around 7mins.. Cool stuff. Amazing bass playing on this track as well. This one really blew me away. The CD ends with the Emperor’s 2nd Self and this is much more relaxed but some of the guitar is pretty psyched out, while the sax and violin in laid back. Pretty awesome 70 min record…by..Scott aka. Dr. Space ……… 

“Lique Mekwas – an official noble title of impersonators or doubles of the Ethiopian Emperor, who accompanied him far and wide. Two trusted and highly favored officials were given this title at the same time. They always walked or rode on either side of the monarch in battle, or in public processions, dressing as magnificently, or even more magnificently then The Emperor, in order to distract assassins, enemies, and all ill-wishes.” 

“Lique Mekwas” is the 7th studio album by VESPERO. It’s all instrumental musical burlesque telling the story of a young man who was appointed to serve the Crown Prince of Abyssinia as a guard-impersonator, and after the years of hard trials and adventures got to know that he had always been a true King of his country. 

“This Russian band is mining the same vein as classic Ozric Tentacles, spaced-out grooves that combine electronics and other instruments. But Vespero has a lot going on that lift the music about mere grooving… They know how long to ride a groove before switching it up, sometimes ramping up to double-time, sometimes dropping down to a more floating feel, varying the textures to build tension and release it. Lique Mekwas is great fun from start to finish.” – by Jon Davis at “Exposé” (USA) ……… 

Finally, Vespero gets back on track to fulfill the amazing potential that they had shown through the Naughties with their Liventure live albums and especially through their wonderful 2010 studio album, By the Waters of Tomorrow. Every move the band makes here shows maturity, confidence and sensibility. Great melodies, great changes of pace–even in the middle of songs, not as much reliance on the psy-reggae rhythms of the recent past. It’s a long disc coming out at 75 minutes but it is very rewarding listen–no fluff, all substance and intrigue–and with an awesome story being told in concept album form. Guitars, keys, bass, sax and violins are all strongly present with the prominently featured creativity of master rhythmatists, Ivan Fedotov and Alexander Timakov. This could be a masterpiece. Let me get to know it better. 
1. “The Course Of Abagaz” (16:18) opens with bass rapid harmonics play which quickly turns into some awesome rapid firm bass and rhythm guitar lines to support soaring sustained guitar notes performing the leads for the first three minutes. Tenor sax takes front and center over the next two minutes before giving way to more electric guitar. The awesome rhythm section sustains its breakneck speed throughout the first seven minutes of this long song–it sounds kind of like a SANTANA jam–which could be a problem in monotony were it not for the various soloists performing their interesting expositions. At the seven minute mark all instruments stop save for the spacey sounds produced by keyboards and flanged and other treated instruments. What sounds like a Mellotron (but is more likely a heavily treated violin) and Reggae-ish bass establish themselves as the new leads in this cool, slowed down section. PINK FLOYD and HAWKWIND come to mind here–especially as the synths take more of the foreground presence. Violin, guitar and sax solo at the same time, weaving their melodies into the spacey soundscape. What a trip! At 13:36 the music slows and a guitar signals a return to the SANTANA-like jam of the opening. Distorted keyboard has the first solo before echoed sax takes a brief turn, but it is the keys that carry it home to the end. Great song. (9/10) 

2. “Ras Dashen” (9:31) opens slowly, establishing a nice laid back groove with bass and congas and other hand percussives, with some HACKETT-esque volume pedal controlled soloing over the top for the first two minutes. Violin gets the next turn as guitar and keys establish some spacey weave beneath. Then its tenor sax in the fourth minute. Pause in the middle of the fifth minute allows a recalibration and then return to original pace only this time with full drum kit, staccato bass play and muted guitar chords providing that foundational weave for first keyboard solo and then violin. Drums get to shine a bit in the final two minutes. Probably my favorite song on the album. (9/10) 

3. “Oromoo’s Flashing Eyes” (10:00) opening with a nice little moving groove within which spacey synth noises and violin get to weave their sounds. In the third minute the song stops and restarts with drums and rhythm section establishing a new somewhat polyrhythmic direction (syncopated drum beats) over which tenor sax takes a turn. By the time the screaming electric guitar takes over the lead in the fifth minute the whole-band rhythm has again congealed into an insistent and unified thrum. Violin and guitar take turns with soli as the foundational music massages and hypnotizes the listener. (9/10) 

4. “Abyssinian Ground” (8:20) is perhaps the odd song on the album as the folk melodies and odd rhythms and unorthodox time signatures force one to wake up and take notice. Who said Russians don’t concern themselves with rhythm or time? Vespero are here proving them wrong. (9/10) 

5. “Isidore’s Prophet” (10:23) long and steady but not enough change, development or nuance. (8/10) 

6. “Follow The Fitawrari” (8:49) has nice development with sax, violin, synths and incredible bass play. There is an awesome spacey section in the sixth minute. The seventh minute puts some PERCY JONES-like bass play beneath the jazz guitar lead. (9/10) 

7. “The Emperor’s Second Self” (11:39) has a very nice slow pace and development from the eerie, spacious opening to the end of the sixth minute. Up to that point all instruments seem to be floating around in their own daydreams. Then the instrumental threads congeal and weave into a cohesive expression. By the 8:00 mark the music is beginning to sound like a meditative/breathworks jam intended to take both listener and musician into altered states of consciousness. Beautiful and awesome! (9/10) 

Overall, an awesome excursion into the spacey, rhythmically massaging world of Kosmisches Musik–done in a jazz fusion style!…..by BrufordFreak…. 

Hey, then you are on a right track on this occasion. Maybe you won’t believe, so please, give it a try from start to finish! VESPERO are offering something rather perfect here. Which means, this is either recommended for the tripped-out late hours of your next beach party (yep!) … or alternatively, in the same way, for a secret solo session by handling a bottle of wine and headphones (another yep!). Living in Astrakhan maybe causes a special inspiration - more than ever I’m wondering how they are able to realize such high quality albums, quasi in a row, since more than ten years now. 

Although still deriving from a space rock fundament, there is a further step towards a jazz/fusion attitude to state overall. The embedded drive is based on the collaboration of two percussionists here, apart from core member Ivan Fedotov, Alexander Timakov is on board too. Great presence by all means! The special ‘Lique Mekwas’ event is starting with The Course Of Abagaz, driven by afro beat, dub, jazz, mellotron and what else, equipped with an Ozric Tentacles feel somehow. 

Besides the violin - melancholy here and Vital(it)y there - the saxophone is very present too, there’s no mistaking. Over the course of seventyfive minutes playing time I can’t detect anything decreasing, the niveau remains on a top level. Strangely enough it took some time for me to concentrate on this album. Strike! I get a kick out of it! 'Lique Mekwas’ proves that VESPERO are real top scorer when it comes to the progressive rock genre. Excellent musicianship taken for granted. Every album differs, they have successfully avoided to repeat themselves until today. 4.5 stars!….by Rivertree….. 

Performed by: 
Ivan Fedotov – drums, percussion, wave drum 
Alexander Timakov – percussion, wave drum 
Arkady Fedotov – basses, synths 
Alexander Kuzovlev – guitars, electric piano (1, 4) 
Alexey Klabukov – keys, synths, noise box «Cacophonator» (1) 
Vitaly Borodin – violin 
with 
Pavel Alekseev – tenor saxophone 

Songs / Tracks Listing 

1. The Course 0f Abagaz (16:18) 
2. Ras Dashen (9:31) 
3. Oromoo’s Flashing Eyes (10:00) 
4. Abyssinian Ground (8:20) 
5. Isidore’s Prophet (10:23) 
6. Follow the Fitawrari (8:49) 
7. The Emperor’s Second Self (11:39)
watch....

Vespero “Subkraut: U-Boats Willkommen Hier" 2012 Russia Prog Rock Kraut Rock ,Space Rock


Bobby Womack "Fly Me To The Moon" 1968 US Soul, Southern Soul






Bobby Womack  "Fly Me To The Moon" 1968 US Soul, Southern Soul
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1968’s Fly Me To The Moon was Womack’s first solo long-player, after a decade of forging a singular path as R&B morphed into soul music, first with the Sam Cooke-sponsored Valentinos, and subsequently as a songwriter and guitarist for the likes of Wilson Pickett. Indeed, the album features Womack’s version of Pickett’s ‘Midnight Mover,’ along with very groovy interpretations of 'California Dreamin’’ (a small hit at the time),’ 'Moonlight In Vermont,’ and the title cut. But it is the singers own superlative material - 'What Is This,’ 'Somebody Special,’ 'Take Me’ - that shines best on this fantastic debut, produced by the estimable Chips Moman at his American Studios facility in Memphis, utilizing one of the finest session crews in southern soul….. 

Bobby Womack, Sam Cooke’s protegé and successful singer/songwriter/guitarist in the Valentinos, went solo in 1968 and traveled down South… DEEP down South, to cut his first album for the New-Orleans based Minit Records - recording most of it in Chips Moman’s studio in Memphis. 

If one didn’t know any better, one would surely believe upon listening to this disc that Womack was signed to either Stax or FAME - it truly is THAT good and THAT Southern… 

Bobby had a penchant for turning even the schmaltziest of tunes into sweat-dripping, raw soul jams. Case in point is “Fly Me to the Moon”, a delicious, mid-tempo and horn-heavy take on the Tony Bennett classic. Womack’s raspy vocal and his inimitable guitar wizardry are spot on from track one… 

“Baby! You Oughta Think It Over” is pure, hard socking Southern Soul, featuring blaring horns, a sturdy, meaty beat and subdued, tasteful strings, while an interpretation of his own “Midnight Mover” is every bit as wild and feisty as Wilson Pickett’s hit version. 

Bobby’s first solo hit, however, would be “What Is This”, an amazing, fast paced, complex soul extravaganza that really puts the emphasis not only on Womack’s incredible, rough and powerful voice, but especially on his talent as a guitarist as well; the chord progressions are exhilarating. 

It’s the anguished ballad “Somebody Special” that knocked me out (five times) upon first listen. Bobby belts, wails, croons and soars on this sad, harrowing tale of unrequitted love. The haunting strings ad to the incredibly tense atmosphere. A masterpiece. 

“Take Me” straddles the middle ground, a fantastic, mid-tempo soul gem that is embellished by some very effective wails on the harmonica. 

Next up is a gorgeously soulful take on the evergreen “Moonlight In Vermont” - really, Bobby’s version is the only one I can dig - while the breathtakingly beautiful and inspiring “Love, the Time Is Now” conjurs up the sound, sentiment and message of Womack’s mentor Sam Cooke’s brilliant “A Change Is Gonna Come”. Listen when Bobby sings the line 'let my people go’, which is immediately followed by a harrowing fill from a weeping harmonica. 

Less political, but equally moving, is “I’m In Love” - this too was a hit for Wilson Pickett in 1968, but when Bobby interprets his own material, there’s just no comparison. Then again, he proved well at ease with other people’s songbook, as demonstrates a latin-esque, hazey spin on the Mamas & the Papas “California Dreamin’”. 

But Womack ends his first, magnificent full-length disc on a steamy, rocking, funky note: Both the strutting “No Money In My Pocket” - which features Bobby overdubbing his own backing vocals and 'sock-it-to-'em’ adlibs - and the frantic beater “Lillie Mae” are superior grooves, totally on par with anything coming from the James Brown school. 

Truly a special album to me, and one I will hold dear probably forever….by..soulmakossa …. 

Womack’s career began singing gospel with his brothers at their father’s church. They were soon discovered by Sam Cooke, moved into secular music and signed to his SAR Records label. Under Cooke’s tutelage they released many singles as The Valentinos, and were successful on the R&B charts. Bobby soon became the group’s lead singer, and his song “It’s All Over Now” became a #1 pop hit in the UK for the Rolling Stones. Around this time he also worked as Cooke’s session guitarist. After Cooke’s death the Valentinos’ careers dwindled, and they disbanded in 1966. During this period Womack stuck mostly to session work, though he also had success as a songwriter, contributing many songs to Wilson Pickett’s repetoire (including “I’m A Midnight Mover” and “I’m In Love”). 
His first solo album came in 1968 on Minit Records, and with it he established his passionate style of soul music. Alongside strong originals (including the aforementioned songs he wrote for Pickett), it had some fantastic cover material, including the brilliant title track, which was a #16 R&B hit. The best-known song has got to be his stunning interpretation of The Mamas & The Papas’ “California Dreamin’”, which he complete re-invented, and got to #20 on the R&B chart with. His own composition “What Is This” also got to #33. 
Though he was doing well on the R&B chart, Womack had yet to break into the the Top 40 of the pop chart, and was still doing better as a songwriter than a singer. Though it is often overlooked in the shadows of his later successes in the 70s, his debut album remains one of his strongest and most interesting…… 

Musicians: 
Reggie Young, guitar 
Gene Chrisman, drums 
Bobby Emmons, organ 
Bobby Woods, piano 
Mike Leech, bass 

Tracklist 
A1 Fly Me To The Moon (In Other Words) 2:09 
A2 Baby! You Oughta Think It Over 2:37 
A3 I’m A Midnight Mover 2:02 
A4 What Is This 2:32 
A5 Somebody Special 2:57 
A6 Take Me 2:34 
B1 Moonlight In Vermont 2:33 
B2 Love, The Time Is Now 3:19 
B3 I’m In Love 2:41 
B4 California Dreamin’ 3:32 
B5 No Money In My Pocket 3:05 
B6 Lillie Mae 2:12 

Janis Joplin & the Kozmic Blues Band “Live Concertgebouw, Amsterdam, NL 1969-04-11″ bootleg





Janis Joplin & the Kozmic Blues Band “Live Concertgebouw, Amsterdam, NL  1969-04-11″ bootleg
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Fantastic Janis with the Kozmic Blues Band at the Concertgebouw, Amsterdam on April 11, 1969. 
This recording has been around on the parallel markets with the title Summertime, the sound is extraordinary except for occasional noises similar to those produced by a DAT playing a tape with some flaws......

Hard, if not impossible to imagine it’s been 43 years since Janis Joplin left the scene. October 4th, 1970, Janis Joplin was found dead in her room at the Landmark Hotel in Hollywood of an overdose. The news came as a shock, and the world was robbed of one more iconic artist, gone way-way too soon.

So as a way of tribute, here is a concert she did during her tumultuous European tour of 1969 with her new group The Kozmic Blues Band, performing live at The Concertgebouw in Amsterdam on April 11, 1969 and recorded by the Netherlands radio outlet VPRO.

Much of the European concert tour was filmed and has been shown at various times. It’s not known if film of this particular concert exists, but it was broadcast complete on radio.

Whatever faults the press had with the band (and there were a lot at the time), the universal opinion was the overwhelming voice of Janis Joplin and the pure artistry that emanated from her.

No one has come along to eclipse that. Perhaps no one ever will.

Janis Joplin was clearly one of a kind........

Personell:
Janis Joplin - Vocals
Sam Andrew - Guitar
Brad Cambell - Bass
Richard Kermode - Organ
Terry Hensley - Trumpet
Terry Clements - Tenor Sax
Roy Markowitz - Drums
Cornelius "Snooky" Flowers - Vocals / Baritone Sax

Track List:
1 - Instrumental
2 - Maybe
3 - Summertime
4 - Try
5 - Can't Turn You Loose
6 - Combination Of The Two
7 - Ball And Chain
8 - Piece Of My Heart

Iveys “Maybe Tomorrow” Incredibly rare 1969 UK Psych Pop Rock



Tom Evans, Bob Jackson, Reed Kailing, Mike Gibbins, Donnie Dacus

U.K. fan club postcard

U.K. poster included with first Warner Brothers LP, Badfinger






Pete, Joey standing; Tom, Mike sitting, from Sep. 1972 Hit Parader magazine

promo photo with girl (Apple) used on ads for 1st U.S. Tour


promo poster for Sunn Amps (photos from Wish You Were Here sessions)


Michael Holm, Bob Jackson, Dan Grenier, Tom Evans, Al Wodtke, Greg Gehring

MTstereoproofUS

Iveys1967promophoto_full


Iveys black & white promo photo taken after Tom Evans joined the group in 1967.




rare acetape


Apple Records promo photo (smiling)

AppleLPsMay1969

Belfast, Ireland.


Belfast, Ireland




Badfinger color group photos ©Apple Corps Ltd.Badfinger

Badfinger color group photos ©Apple Corps Ltd.Badfinger

Badfinger color group photos ©Apple Corps Ltd.Badfinger


Iveys “Maybe Tomorrow” Incredibly rare 1969 Japanese Apple label 12-track UK Psych Pop Rock
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This album is legendary for many reasons - it was originally scheduled for release on 4th July 1969, however the UK release was withdrawn along with SAPCOR 7 which was going to be the Delaney & Bonnie album until released on Elektra/Atlantic. The number was reassigned to the Trash LP, but this too was withdrawn. T 
he band then changed their name to Badfinger and after recording a McCartney demo and other songs for the ‘Magic Christian’ soundtrack enjoyed limited success. 

Despite being nearly forty years old the vinyl remains in stunning near MINT condition with only a couple of the very faintest surface marks visible and a beautiful 'just pressed’ lustre. The matrix numbers have been machine stamped into the 'dead wax’ area: 
Side One SAPCOR-8A 
Side Two SAPCOR-8B 

The labels are the familiar Apple design with regular sliced and unsliced sides and 'Mfd. By Toshiba Musical Industries’ text. Both the AP-8719 and SAPCOR 8 catalogue numbers are printed on the labels. There are some spindle marks around the centre hole on each side indicating that although it has seen some turntable action it has equally been extremely well cared for. 

The full colour pasted picture sleeve has the Apple logo, AP-8719 catalogue number and stereo symbol printed on the front with a brief biography by Derek Taylor on the reverse. It too is in remarkable condition. There is just a little light shelfwear on the back, and it is otherwise as fresh as the day it was printed with all edges intact and clearly legible spine print. 

The original 4-page insert is also included. It features a black and white photo of the band, tracklisting, Japanese text biography and notes on the recordings, plus English lyrics. It shows barely any signs of age - no writing, rips, tears, foxing or discolouration. 

Essential for collectors of Beatles, Badfinger and Apple, this is almost impossible to find regardless of condition. That it is an investment grade piece is just the icing on the (apple) cake! …………………. 

 In 1969 Apple Records released Maybe Tomorrow by The Iveys, a band that was poised to be the next big thing. 

Although the album was scheduled to be released worldwide, the release in the U.S. and the U.K. at that time was halted without explanation. Many reasons for halting the album have been suggested by the band and Apple employees, but the most common theory in that Apple’s newly-hired president, Allen Klein, stopped all non-Beatle releases on Apple until he could examine the company’s finances, which were in disarray at the time. 

Dismayed by the failure of their first album to get a proper release and the general consensus among band members that the name The Iveys was a bit too twee, the group changed their name to Badfinger and later re-released most of the songs from Maybe Tomorrow on Badfinger’s Magic Christian Music. 

The song “Maybe Tomorrow” is a decent little pop tune.“Tube Train” is a standout raver with a distinct Who vibe, a lost gem…… 

Original Sleeve Notes - 1969 
The Iveys came to Apple in search not of fame and riches or success - which rewards they are discovering slowly and with increasing exhilaration - but to find a young energy source and a warm environment. That their yearnings brought them what they looked for was due partly to Apple’s affection for four very nice kids and partly to the band’s pop skills. They were not, nor are they now adventurous innovators, but they are ready, they are ready to be. 
The Iveys can sing and they can play tight, rich stuff, write it too; they can write anything. They are lovely lads, Mike, Ron and Pete coming from Swansea, and Tom from Liverpool. They have a manager, Bill Collins, who is their mother, their father and their favourite son. For them all Apple feels love and admiration. 
You will see why or rather you will hear why, when the youth and honesty of this album is introduced to your sensibilities. 
The Iveys offer you themselves, their writing and their music, for this, their first album is “all their own work”. 
Derek Taylor 1969. 

Cover photograph originally by Peter Asher ©1969 

In October 1991 the album was digitally remastered from the original two-track stereo master mix tapes and eight-track master session tapes by Ron Furmanek, and engineered by Mike Jarratt at Abbey Road Studios. 
This re-issue has an 8-page booklet which includes some very detailed and lengthy sleeve notes written by Steve Kolanjian. 
The 1991 c.d. has a catalogue number of CDSAPCOR 8 (CDP 7 98692 2). 

Excerpt from the C.D. Liner Notes - 1991 
The Iveys first recordings were issued in November 1968 and the public didn’t know what to think of them. Their personnel were billed by only their first names. “Maybe Tomorrow” the single A-side was written by “Tom”. The flip, “And Her Daddy’s A Millionaire” was written by “Tom & Pete”. Just who were these guys who sounded so influenced by The Beatles ? 
“Maybe Tomorrow” should have been a big hit. It wasn’t. Apple had to think this through. The “Maybe Tomorrow” album they had prepared for worldwide release only trickled into Japan and a few European countries. A follow-up single was soon issued, “Dear Angie” but only a few came out in Europe. It’s jacket revealed the group members full names but very few people saw it. The only other Iveys track Britain would see was “Storm In a Teacup” a non-LP track that was featured on a promotional E.P. for Walls Ice Cream. 
Thinktankers at Apple thought perhaps the name was a problem - wasn’t it a bit feeble ? Everyone had thoughts for a new name. John Lennon wanted “Prix”, Paul McCartney “Home”, but Neil Aspinall’s suggestion of “Badfinger” was the one they finally went with. Ron Griffiths left and in came Joey Molland. Badfinger was now on the road to success……. 

The band that would evolve into Badfinger began in the early 1960s as The Panthers in Swansea, Wales. The Panthers consisted of Pete Ham (lead guitar), Ron Griffiths (bass guitar), David ‘Dai’ Jenkins (guitar) and Roy Anderson (drums). By the mid ’60s, the band had changed their name to The Iveys; coined from a street in Swansea named Ivey Place as well as a nod to The Hollies. Not long after the name change, Mike Gibbins became the band’s permanent drummer. In 1966, Bill Collins began managing the band and they all relocated to a house in London at 7 Park Avenue, Golders Green. Although not savvy in business matters, Collins was instrumental in encouraging the band to write their own material and hone their craft. Collins insisted that the key to success in music was songwriting. In 1967, guitarist Dai Jenkins was replaced by Liverpudlian Tommy Evans and The Iveys lineup was complete. 

In 1968, Mal Evans, Beatles roadie and insider, championed The Iveys’ cause and brought the band to the attention of The Beatles. The Beatles had just founded Apple Records and The Iveys would be the first artists signed to the brand new label. The Ivey’s first release on Apple was the single “Maybe Tomorrow”, a lush power ballad. The single would be a major hit in a few European countries and in Japan but failed to chart in the U.K. and had only minor chart success in the U.S. It also served as the title track for the only album released by The Iveys. Maybe Tomorrow would be mostly produced by Tony Visconti (who would later have great success producing T.Rex and David Bowie). Mal Evans also produced some of the sessions. Maybe Tomorrow was released in 1969 on Apple in Italy, Germany and Japan. No definitive explanation has ever been given as to why it wasn’t released in the U.S. or U.K. 

The Iveys were beginning to feel both disappointed and frustrated as they struggled to find a song that Apple deemed worthy as a single release. It would be an interview with Ron Griffiths in Disc & Music Echo that would catch the attention of Paul McCartney. 

“We do feel a bit neglected. We keep writing songs for a new single and submitting them to Apple but The Beatles keep sending them back, saying they’re not good enough.” 

McCartney had been asked to provide three songs for the soundtrack of a new film, The Magic Christian, starring Peter Sellers and Ringo Starr. Paul saw this as an opportunity for The Iveys. He offered the band his composition for the film, “Come and Get It”, and the band could provide the other two songs for the film. McCartney would produce the sessions for “Come and Get It”, “Carry On Till Tomorrow” and “Rock Of All Ages” at Abbey Road Studios in August of 1969. 

Due to internal friction within the band, Ron Griffiths was dismissed in October of 1969. A number of bassists were auditioned with no success. Tom Evans volunteered to switch to bass when the band hired Liverpudlian guitarist Joey Molland. Further change was forthcoming as both the band and Apple Records agreed that a name change was necessary for the band. Pete Ham would explain, 

“We felt our original name was too nice. And people kept asking us if we were the old Ivy League.” 

John Lennon suggested the band call themselves “The Prix” while McCartney offered “Home”. It would ultimately be Apple’s Neil Aspinall who would suggest “Badfinger”. The name was derived from the early working title to the Lennon/McCartney song that eventually given the title “With a Little Help from My Friends”. Lennon had called it “Bad Finger Boogie” due to the fact that he had an injured finger while playing the piano during the composition process with McCartney. 

“Come and Get It” would be the first release under the name Badfinger. It was released in December 1969 in the U.K. and January 1970 in the U.S. and reached the top 10 throughout the world, including #7 on the U.S. Billboard chart and #4 on the U.K. Melody Maker chart. An album was needed to coincide with the release of the single, so Apple compiled one with the three McCartney produced songs from The Magic Christian film along with a few newer recordings produced by Mal Evans with the rest comprised of remixed tracks from The Iveys’ Maybe Tomorrow album. Although all material was recorded by The Iveys, the resultant album, Magic Christian Music, would be released under their new name of Badfinger…… 

Maybe Tomorrow was the only album released by The Iveys (who later called themselves Badfinger). It was issued in 1969 on the Apple label in Japan, West Germany and Italy. The scheduled release of the album in the U.S. and UK at that time was halted without explanation. Many reasons for halting the album have been suggested by the band and Apple employees, but the most common suspicion held by all parties is that Apple’s newly-hired president, Allen Klein, had stopped all non-Beatle releases until he could examine the company’s finances (which were in disarray at the time).The Iveys were a successful live act on the London circuit when they attracted the attention of Apple employee Mal Evans in early 1968. It was through Evans’ perseverance that demonstration recordings made by the group were presented to The Beatles (Apple’s presidents). Although the band was initially waived by Paul McCartney and John Lennon, the former relented as more impressive Iveys tapes were brought in by Evans.The group signed with Apple in April 1968 and began making recordings immediately upon their arrival. With the incentive of releasing a worthwhile single, the band was not focused on compiling an LP. Maybe Tomorrow was therefore culled from various studio recordings the group made during a 12-month period. The songs on the LP vary widely from pop, rock, and psychedelic. With few exceptions, they do not resemble the sound Badfinger would later become known for. The title track was released as an Apple single in 1968 and enjoyed limited success in regional markets.Due to Badfinger’s subsequent fame and the album’s limited release, Maybe Tomorrow became an expensive collectible for many years, often earning between $200 and $400 US dollars for a single used copy. Although a 1990s re-release of the album on CD format curbed demand for the original album, the CD itself became collectible because of its limited run. …… 

(January 19, 2004 - Rewrite) In early December 2003 I received information about an excellent old cover of the Iveys song, “Maybe Tomorrow.” The information was from Robert Fitzpatrick of Australia. Robert found the track on an old compilation album from 1976 titled, “Hit Songs from the 70’s.” .“ Other artists on the Australian released collection include the Easybeats and Steve Wright. Robert sent along an mp3 which has been featured on the website since early December. 

We played a little guessing game to see if anyone knew the artist. It took almost a month, but someone finally got the correct answer to the mystery group that recorded the Iveys’ "Maybe Tomorrow.” Mark Johnston said the band was a UK outfit who recorded at Morgan Studios and were known as Angel Pavement. You can click on the Angel Pavement image to the right and listen to an mp3 of their excellent cover of the Iveys’ “Maybe Tomorrow.” 

Ironically, last year an album of their material was released (only on LP) and titled, “Maybe Tomorrow.” In trying to research some information about Angel Pavement, I found several websites that do tell their story and give some reviews of their LP (see below for links to Angel Pavement information). As I read up on Angel Pavement, one question kept popping in my head. Why did they choose a semi-obscure tune as “Maybe Tomorrow” to cover. Well, curiosity got the best of me and I sent of an email to members of the band Angel Pavement. I received two replies, one from bass player Graham Harris, the other from lead guitarist, songwriter, Alfie Shephard. The following is what they had to say concerning their band and how Angel Pavement came about to covering the Iveys’ “Maybe Tomorrow.” 

Graham Harris: “We used to perform 'Maybe Tomorrow’ on stage and decided to record it for the LP in 1969/70 when we got back from Mexico.(although of course it wasn’t released until 30 years later !) We had a new guitarist by then (John Cartwright) who added some lovely acoustic guitar work. The song always seemed to suit our vocal style and we seem to be constantly compared to the Iveys (along with others) It was never released as a single by us.” 
Alfie Shephard: “Our drummer Mike 'Candy’ Candler’s sister actually bought the Iveys record 'Maybe Tomorrow’ and suggested it would be a good song for us to do. We agreed and performed it in our stage show from late 1969. Geoff Gill, who was our producer at Morgan Studios Willsden, loved the song and said we must record it with full orchestration. This we duly did and it was decided that it would be our 3rd single following on from 'Baby You Gotta Stay’ and 'Tell Me What I’ve Got To Do’, the release date being late 1970. However, along with our album entitled 'Socialising’, the release never materialised much to my chagrin. Most of the material was original. Which begs the the question how come the track turned up on a compilation CD entitled 'Hits of the '70s’ in Australia ?! Was the track released as a single down under I wonder?” 

With regards to the release of their album 30 years after it was recorded, Harris and Shephard offered the following information: 
Graham Harris: “The LP is a limited edition of 1000 and David Wells (the guy who released it) tells me that when it is sold out there is a chance that it may be released in CD format. When I spoke to him a few months ago they had sold around 700. I find the ripped single sleeve intruiging as the only copies of the single I have (or ever saw) were in the standard Fontana cover.” 
Alfie Shephard: “I played with the group on 6 and 12-string guitar from it’s foundation in 1966 up to the very end in 1971, Graham was the bass player (and a very good one at that), there being 3 other members making a five piece in all. We were professional from 1968-71. 'Maybe Tomorrow’, was in fact released as a vinyl LP by David Wells on the Tenth Planet label in February 2003. It contains all the tracks that were destined for 'Socialising’ plus one or two extras. It also had an excellent sleeve insert compiled by David which gives a concise history of the group and several pics for promotional purposes and some of us live on stage. I don’t know if there are any immediate plans to put the album out on CD. Personally I hope it does come out on CD which will allow radio plays. On a personal note I am very pleased with the album, I think it has withstood the passing of time and it makes all those hours on end spent in the studio seem worthwhile.”……………. 

The Iveys were formed in Swansea, Wales, in the early 1960’s. Led by guitarist Pete Ham under various names like Black Velvets and the Wild Ones, they finally decided to stick with the name “The Iveys” - rumour says after the Hollies´song Poison Ivy 
They played numerous gigs in the Swansea area, and eventually the managed to get more attractive job as opening act for bands like the Who, the Yardbirds, the Moody Blues, and the Spencer Davis Group 

By 1966, a new manager in Bill Collins had them based in 7 Park Avenue, Golders Green, London, where they continued to make a name for themselves. Collins encouraged the members of the Iveys to write their own songs and especially Ham soon proved the most proficient at this. By 1967, various record companies and producers, including Decca, Pye, and CBS, expressed an interest in signing them, but they ended up signing with the newly formed Apple Records label in 1968. 

They recorded numerous demos and acetates, but only released one album and a couple of singles, before changing their name to Badfinger. Check out the Badfinger page for more information!! 

Addition: 

From fellow Badfinger fan John Warburg I’ve received this information about Pete Ham’s early career: 

“The Panthers (formed in 1961, in Swansea, Glamorgan, South Wales): Pete Ham Fentoweil guitar; (born Peter William Ham, 27.4.1947, in Townhill, Swansea died 24.4.1975, in Weybridge, Surrey); David Franklin guitar; Roy Anderson snare drums; John Harrel bass; Dai Jenkins rhythm guitar, vocals (replaced Franklin) (born David Jenkins). 

The Black Velvets (formed in 196? in Swansea): Pete Ham guitar; Roy Anderson drums; John Horrel bass; Dai Jenkins rhythm guitar, vocals. 

The Wild Ones (formed in 196? in Swansea): Pete Ham guitar, vocals, occasional organ; Roy Anderson drums; John Horrel bass; Dai Jenkins rhythm guitar, vocals; Terry Gleason drums; Ron Griffiths bass, vocals (Winter 1964) (born Ronald Llewellyn Griffiths, 2.10.1946, in Swansea, Glamorgan, South Wales) (ex The Jaguars). 

The Wild Ones (formed in 196? in Swansea): Pete Ham guitar, vocals, occasional organ; Roy Anderson drums; John Horrel bass; Dai Jenkins rhythm guitar, vocals; Terry Gleason drums; Ron Griffiths bass, vocals (Winter 1964) (born Ronald Llewellyn Griffiths, 2.10.1946, in Swansea, Glamorgan, South Wales) (ex The Jaguars). 

The Iveys (formed in Winter 1964, in Swansea, split in Sep 1969): Pete Ham guitar, vocals, occasional organ (Winter 1964 - Sep 1969); Dai Jenkins rhythm guitar, vocals (Winter 1964 - Aug 1967); Terry Gleason drums (Winter 1964 - Mar 1965); Ron Griffiths bass, vocals (Winter 1964 - Sep 1969); Mike Gibbons drums, vocals (Mar 1965 - Sep 1969) (born Michael George Gibbons, 12.3.1949, in Swansea); Tom Evans rhythm guitar, vocals (Aug 1967 - Sep 1969) (born Thomas Evans Jr, 5.6.1947, in Liverpool, Lancashire died 23.11.1983).” 

Band Members: 
Pete Ham: Lead singer, lead guitarist and main songwriter. An unusually gifted musician and songwriter, who wrote, during his short lifetime and handful of evergreen classics like “Without You”, “Day After Day”, “No Matter What” and Baby Blue" 
Tom Evans: Rhythm guitar and vocals. Evans was a prolific songwriter too, and he co-wrote “Without You” with Pete Ham 

Mike Gibbins: Drums . Talented drummer, who wrote one or two songs for most Badfinger albums. 

Ron Griffiths: Bass and vocals. Wrote a few songs for the group - best known is “Dear Angie” 

David Jenkins: Rhythm guitarist left around 1966 to be replaced by Tom Evans…… 

The story is well-known: south Wales pop group, the Iveys, are discovered by the Beatles’ aide-de-camp Mal Evans, who not only signs them to Apple Records but produces their first sessions. Their first single, the glorious Bee Gees-like ballad “Maybe Tomorrow,” is released in November 1968, yet it unaccountably stiffs. Disheartened, Apple shelves the planned U.S./U.K. release of the Iveys’ debut album, though it does eventually sneak out in Japan and Germany. The group replaces bassist Ron Griffiths with Liverpudlian Joey Molland and, at label exec Neil Aspinall’s suggestion, changes their name to Badfinger, swiped from Paul McCartney’s working title for “With a Little Help From My Friends.” (John Lennon wanted to call them “Prix,” preferably with the final letter pronounced.) Despite their early success, Badfinger goes on to become probably the unluckiest and one of the most tragic bands in pop music history. However, very few people have ever heard the Iveys’ Maybe Tomorrow album; copies of the original Japanese and European pressings were hens-teeth rare, and even the 1992 CD reissue with bonus tracks was seemingly in print for about 35 seconds. This is a shame, because Maybe Tomorrow ranks with Badfinger’s best; in some ways, it’s actually preferable to Badfinger’s albums, because the production (four tracks by Mal Evans, the rest by a then-unknown Tony Visconti) is much fresher and less precise than it would be on Badfinger’s slicker later albums. (Even the six tracks that eventually ended up in remixed form on Badfinger’s debut, Magic Christian Music, sound better here.) Though the party line has always been that the Iveys sounded like the Beatles, in reality, these 12 tracks have much more in common with the minor-key mopery of the early Bee Gees, from the heartbreaking “Dear Angie” (Griffiths’ only writing contribution, which ironically would show up again on the first Badfinger album after he was kicked out of the group) to the frankly rather silly music hall-style “They’re Knocking Down Our Home,” a Pete Ham exercise in maudlin sentimentality that makes “She’s Leaving Home” look subtle, though it does feature a nice clarinet part. Mike Gibbins’ Kinks-like “Think About the Good Times” is the album’s undiscovered gem, though the Ham and Tom Evans co-write “Yesterday Ain’t Coming Back,” with its weird staccato reeds section and unexpectedly aggressive middle eight, complete with burping, frog-like bass vocals, is probably the best track. Of the four bonus tracks, the extremely silly “Looking for My Baby,” from the Iveys’ 1967 Apple demo, and the Creation-like rocking flip of the “Maybe Tomorrow” single, “And Her Daddy’s a Millionaire,” are the best, with “No Escaping Your Love” and the previously unreleased “Mrs. Jones” there for completists’ sake…..by Stewart Mason ….. 

Badfinger originated in 1961 as a band out of Swansea, South Wales called The Panthers. By 1964 they settled on The Iveys, named after a street in Swansea called Ivey Place. The Iveys performed a wide range of cover tunes from Motown, blues, soul to Top 40, psychedelic pop, and Beatles. Thanks to Mal Evans (the longtime “roadie” for The Beatles) they were finally signed on 23 July 1968, as the first non-Beatle recording artists for the Apple record company. The Iveys first single was released worldwide, “Maybe Tomorrow”, late in 1968. It reached the Top Ten in a number of European countries. McCartney gave The Iveys a needed boost when he offered them the chance to record and release “Come And Get It”, a song he had written for the soundtrack of the film The Magic Christian. In October 1969, while the release of “Come and Get It” was pending, the band and Apple Records agreed that a name change was now critical. “The Iveys” were still sometimes confused with “The Ivy League”. After much debate, the group changed their name to Badfinger. Other suggestions had included: “The Glass Onion,” “The Prix”, and “The Cagneys” from John Lennon, and “Home” by Paul McCartney. The name Badfinger had been suggested by Apple’s Neil Aspinall as a reference to “Bad Finger Boogie”, an early working title of Lennon/McCartney’s “With a Little Help from My Friends”. “Come and Get It” was released in December 1969 in the U.K. and January 1970 in the U.S. It reached Top 10 throughout the world. Geoff Emerick then took over as their producer and they completed the album; No Dice. Another track from No Dice, “Without You”, was covered by Harry Nilsson became an international hit, an all-time ballad, in early 1972. Badfinger toured America for three months in late 1970 and were generally received well, although the group complained of constant comparison to The Beatles. Media comparisons between Badfinger and The Beatles would continue throughout Badfinger’s career. During this time, various members of Badfinger also recorded on sessions for fellow Apple Records labelmates, most notably playing acoustic guitars on tracks from George Harrison’s All Things Must Pass and providing backing vocals on Ringo Starr’s single “It Don’t Come Easy”. Evans and Molland performed on John Lennon’s album Imagine, and all four members of the band appeared as backup musicians throughout George Harrison’s Concert for Bangladesh in August 1971. By 1972, the group was under contract to release only one more album with Apple Records. Despite Badfinger’s success, Apple was facing troubled times overall and its operations were dwindling down. Label president Allen Klein informed Badfinger’s management that the label would not be as generous regarding a new contract. After this, they signed a contract with Warner Bros. But this career ended in a lawsuit. Warners Records stopping the promotion of the album “Wish You Were Here” and the distribution of the record worldwide, thus completely halting Badfinger’s career. Badfinger spent the early months of 1975 trying to figure out how to proceed with the unclear legal situation at hand, including the one withdrawn album and the one rejected album. But by April 1975, salaries were no longer arriving and panic set in, especially for Pete Ham, who had recently acquired a house and whose girlfriend was expecting a child. On 24 April 1975, singer and guitarist Pete Ham hanged himself in his garage studio in Surrey, he cited his lost ability to cope with his disappointments in life. In 1983, Tom Evans and Joey Molland had an extensive heated argument on the telephone regarding Badfinger past income, still in escrow from the Apple era. The “Without You” songwriting royalties Evans was now receiving were claimed by Molland, former manager Bill Collins and Gibbins. Following this argument, Evans hanged himself in the garden at his home. Mike Gibbins died October, 4th 2006……. 

Iveys original Line-Up : 
Pete Ham (1947-1975) - Lead Guitar 
Mike Gibbins (1949) - Drums 
Ron Griffiths - Bass 
Tom Evans (1947-1983) - Guitar 

Tracks: 
01. See-Saw Granpa — 3:33 
02. Beautiful And Blue — 2:38 
03. Dear Angie — 2:39 
04. Think About The Good Times — 2:21 
05. Yesterday Ain’t Coming Back — 2:57 
06. Fisherman — 3:09 
07. Maybe Tomorrow — 2:52 
08. Sali Bloo — 2:35 
09. Angelique — 2:26 
10. I’m In Love — 2:25 
11. They’re Knocking Down Our Home — 3:41 
12. I’ve Been Waiting — 5:15 
Bonus 
13. No Escaping Your Love — 2:12 
14. Mrs. Jones — 2:15 
15. And Her Daddy’s A Millionaire — 2:08 
16. Looking For My Baby — 2:08  

johnkatsmc5, welcome music..

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