West Coast Art Pop Experimental Band You Really Got Me

American psychedelic rock ring

The Due west Coast Pop Art Experimental Band
From left to correct: Bob Markley, Michael Lloyd (bottom), Danny Harris, Shaun Harris, and John Ware.
Background information
Origin	Los Angeles, California, The states
Genres	Psychedelic rock, folk rock, experimental rock
Years active	1965–1970
Labels	FiFo Reprise Amos Forward
Associated acts	The Laughing Wind California Spectrum Markley, A Grouping
Past members	Bob Markley Shaun Harris Danny Harris Michael Lloyd Ron Morgan John Ware

The West Coast Pop Art Experimental Ring (WCPAEB) was an American psychedelic rock band formed in Los Angeles, California in 1965. The group created music that possessed an eerie, and at times sinister atmosphere, and independent material that was bluntly political, childlike, and bizarre. Representing different musical backgrounds among band members, the group, at times, resembled a traditional Byrds-esque folk stone ensemble, but the WCPAEB as well, within the same body of work, recorded avant-garde music marked past multi-layered vocal harmonies.

Aspiring musician and scenester Bob Markley managed to join the group the Laughing Air current in substitution for his connections in the music industry and substantial backing. The original five-piece line-upwardly consisted of Michael Lloyd (rhythm guitar, vocals), Shaun Harris (bass guitar, vocals), Danny Harris (atomic number 82 guitar, vocals), John Ware (drums), and Markley (tambourine, vocals).

The band debuted with the album Book One in 1966 on the small FiFo record label. In the early years of the grouping, much was fabricated of the WCPAEB'south elaborate psychedelic light shows, which became the focal point of their alive performances in Los Angeles. Post-obit the release of Volume One, the WCPAEB signed with Reprise Records, recording three albums with the visitor, including arguably their most achieved work Volume 3: A Kid'south Guide to Proficient and Evil in 1968. Two additional albums, Where'south My Daddy? and Markley, A Group, were distributed on independent labels earlier the grouping disbanded in 1970.

History [edit]

Germination and commencement album (1966) [edit]

The group was formed in Baronial 1965 when Los Angeles playboy Bob Markley, a wealthy law graduate and adopted son of an oil tycoon, organized a party at his home in Beverly Hills. Markley previously hosted the boob tube program Oklahoma Bandstand in 1958, until he was signed by a Warner Bros. Records executive, and purchased a luxury mansion in Los Angeles.^[i] He released two commercially unsuccessful singles, "Volition Nosotros Meet Again" and "Summer's Comin' On", between 1960 and 1961, and produced recordings for some musical acts, including Lucifer and the Peppermints, Bobby Rebel, and Sonny Knight on Markley's own local record labels.^[two] In attendance at Markley'southward party were dozens of journalists, deejays, and various individuals of the "in-crowd", as well equally live performances past Al Kooper followed by the Yardbirds.^[3] Producer Kim Fowley introduced Markley to Michael Lloyd, and brothers Shaun and Danny Harris, members of the group the Laughing Wind.^{[4] [5]}

Lloyd began his music career in 1962 in an instrumental surf rock ring which included Jimmy Greenspoon, known every bit the New Dimensions and afterwards the AlleyKats. The group entered Stereo Masters studio to record iii albums, during which time Lloyd first became acquainted with Fowley.^{[2] [six] [seven]} While attending the Hollywood Professional School, Lloyd befriended the Harris brothers, who recorded the regional hit "Ski Storm" with rival act the Snowmen. In early 1965, Shaun Harris collaborated with Lloyd in his newly formed band the Rogues, releasing the Harris-Lloyd limerick "Wanted: Dead or Alive", on Fowley'due south Living Legend characterization.^[8] Soon thereafter, with Danny Harris and drummer John Ware in the fold, Lloyd and Shaun formed the Laughing Wind, which recorded the single "Good to Be Around" for Belfry Records after that twelvemonth.^[nine] Recordings made or produced by these pre-WCPAEB acts were collected years later on the compilation album, The W Coast Pop Art Experimental Ring Companion in 2011.^[10]

Markley became motivated past the large crowd a rock band like the Yardbirds attracted, especially the number of teenage girls, and proposed he would finance and secure a recording contract for the Laughing Wind, in exchange for his inclusion into the group.^[xi] Impressed and slightly seduced by the much older Markley's wealth and entourage, the band accepted his offer. The decision to record as the Due west Coast Popular Art Experimental Band, rather than the Laughing Wind, was made by Markley, who envisioned the band as a west coast counterpart to the Velvet Underground.^[12] Looking to accept something tangible to represent the band, in 1966, the WCPAEB released their debut album on Markley'due south FiFo label, Volume One. Much of the album was recorded at Lloyd'south personal studio and a rented store-front on La Cienega Boulevard, earlier Markley joined the grouping; withal, tracks such equally "Don't Pause My Airship" and "If You Want This Love" indicate he had some influence over the later sessions for the album'due south development.^{[13] [14]} While Book I did feature a small option of original material, the bulk of the album was embrace versions including "Louie Louie", "Yous Really Got Me", and "Information technology'south All Over At present, Baby Bluish".^[15]

Reprise years (1967–1968) [edit]

The WCPAEB embarked on their first bout in June 1966, establishing themselves as a live favorite with Los Angeles hippies at venues such as the Other Place and Wild Thing. The group shared the beak with the Mothers of Invention, the Seeds, Atomic number 26 Butterfly, and the Yardbirds, amongst others. According to Ware, the grouping's performances were "the ultimate street happening for a while"; highlighted by their aggressive psychedelic lite testify, which was operated by Buddy Walters, who also arranged light shows for Jimi Hendrix and the Animals.^[xvi] In a review of a gig in 1967, the Los Angeles Free Press commended the WCPAEB'southward musicianship, but was disquisitional of Markley for his "hypster" attitude and not-rhythmic tambourine playing.^[16] Although his bandmates did non like his pretentious on and off-stage antics, Markley did manage to negotiate a 3-album deal with talent scouts of Reprise Records who had attended WCPAEB's performances.^[14]

In May 1967, the band recorded and released their showtime album for Reprise, Part 1. By the fourth dimension recording sessions began, Markley had assumed absolute control of the WCPAEB's publishing rights, which explains his unusual selection for the A-side of the anthology's singles: a "spoken rap" composition "1906", co-penned with session musician Ron Morgan, and a cover of the Mothers of Invention's song "Help, I'm a Rock".^[xvi] The album itself featured songs that exhibited a wide-ranging stylistic diverseness, including Byrds-esque folk stone, garage rock, and Baroque pop. The song "I Won't Hurt You" was one of two compositions (the other being "If You Want This Love") from the group'southward debut album re-recorded for Part One, where information technology was given a much more subdued atmosphere and a heartbeat rhythm.^{[12] [17]} Shaun Harris sang the reworked version of "I Won't Hurt You lot", rather than Lloyd, who, aside from some backing vocals on the album, would not sing pb on a WCPAEB release until the 1969 album Where's My Daddy?.^[16]

Markley and Lloyd did not become on, which led to the latter leaving the group and Morgan joining full-time.^[18] According to Lloyd, Markley became increasingly overbearing on the WCPAEB's artistic output, and "he started to believe that he was like, you know, the existent bargain, equally opposed to the guy who doesn't sing and doesn't actually take any musical thoughts and stuff like that. He wasn't content anymore just being the guy who concluded up with the girls that he could get from it".^[18] Lloyd remained in Los Angeles and participated in a number of studio projects with Fowley and Mike Curb such as Oct Country, the Smoke, St. John Green, and the Fire Escape.^{[nineteen] [20] [21]}

In Baronial 1967, just prior to recording sessions for the WCPAEB's second Reprise album, Shaun Harris took a hiatus from the band. His departure was partly due to his disillusionment with the group, primarily with the WCPAEB's lack of success, and it served as a waiting period while his brother, Danny, was beingness treated for low.^[22] He formed the California Spectrum with Danny, Lloyd, and Jimmy Greenspoon. The group toured the Midwest with Markley'southward state-of-the-art calorie-free prove, and released 2 singles in its cursory recording career, "Sassafras" (the same version featured on Book One) and a embrace of the Left Banke'southward "She May Telephone call You Upwardly Tonight", none of which were met with much attention.^{[2] [22]} When Harris returned to the WCPAEB in 1968, he touted a completely different line-up, and promoted the California Spectrum with his column in the teen zine Tiger Beat out until the group disbanded sometime in early 1969.^[2]

In late 1967, the WCPAEB released their third album, Vol. 2 (Breaking Through), which was the ring's most aggressive, albeit less consistent than its predecessor, piece of work to date.^[eighteen] The album featured a peculiar embrace photo of Markley and the Harris brothers sitting bare-chested in a silver bathroom, and a bold announcement on the backside: "Every song in this album has been written, arranged, sung and played by the group. No one censored united states. We got to say everything we wanted to say, in the manner we wanted to say it".^[18] For the beginning time, each track was credited either in whole or in office to members of the WCPAEB; however, Markley's manic narratives and questionable lyrical content (peculiarly immature girls) boss the record. An edited version of the Morgan-Markley composition "Smell of Incense" was issued just alee of Vol. two (Breaking Through), merely it failed to chart.^[23] The Dallas psychedelic pop group Southwest FOB covered the song in 1968, which reached No. 56 on the Billboard Hot 100.^[24] Amongst its ten tracks, the album included the politically-satirical "In the Arena", possibly inspired past the Watts riots.^[23] Vol. 2 (Breaking Through) also features the anti-state of war song "Suppose They Gave a State of war and No 1 Comes", the full version of "Smell of Incense", and a rare instance of Markley singing is found on "Unfree Kid".^[23]

The WCPAEB'due south fourth album Book iii: A Child's Guide to Good and Evil was released in July 1968. The album represented a creative spring forward for the ring and is often considered their nearly accomplished work.^[25] Band biographer Tim Forster described Volume three as the grouping's "most boggling achievement", one which utilized a "bizarre fusion of innocence and malice" heavily affected by the "exuberance of the British Invasion, folk stone, and bloom power-era" being "swept away in a tide of bad drugs, paranoia, and protest".^[25] The anthology also saw Morgan experimenting with the droning quality of the electric sitar, featured prominently on "Ritual #1", "Until the Poorest of People Have Money", the championship track, and "Ritual #2".^[25] In addition, Volume 3'south front cover blueprint showcased the "butterfly mind" artwork of John Van Hamersveld, who also is credited with the covers of Crown of Creation, Exile on Main St., and Magical Mystery Tour.^{[18] [26]} Similar the WCPAEB'due south before albums, Volume 3 failed to sell in sufficient quantities to reach the U.South. charts, and Reprise dropped the band.^[25]

Independent labels (1969–1970) [edit]

Late in 1968, Jimmy Bowen established his label Amos Records and signed the grouping the following year. While the band worked on the Where's My Daddy? anthology, Danny Harris rejoined and Lloyd returned to provide backing vocals and co-write "Where's My Daddy?", "Where Money Rules Everything", and "Coming of Age in L.A." with Markley.^{[27] [28]} It became credible on the album, however, that the echoing vocal harmonies found on the band's preceding works were replaced by a closely-miked audio.^[29] The album loosely possessed the components of a concept piece, narrated through the eyes of a immature homeless girl named "Poor Patty" as she journeys through the chaos of post-Summer of Honey Los Angeles. However, Where'due south My Daddy?, as well equally its accompanying unmarried "Free as Bird", failed to reverse the WCPAEB's commercial fortunes, and it is regarded past critics and fans as the group's most lackluster album release.^{[27] [30]}

Lloyd negotiated with Curb to distribute the group's 5th and final album on Forward Records. Released in 1970, Markley insisted the album, originally self-titled, should be released nether the name Markley, A Group. The anthology benefited from the total involvement and production experience of Lloyd, who sang the bulk of the pb vocals, provided keyboards, and organized the orchestral arrangements. Danny Harris was a key influence on the album, writing half of its tracks.^[31] Nevertheless, although the album is generally considered an improvement over Where's My Daddy?, the group could no longer cope with Markley's erratic behavior, and disbanded soon afterward the album's release.^[1]

Aftermath [edit]

Markley continued his playboy lifestyle at a beach business firm he purchased in Los Angeles. He produced Jim Stallings' (J. J. Light) European hit "Heya" and the anthology of the same name before vanishing from the music business concern.^[32] Co-ordinate to various accounts past band members and Fowley, in 1972 Markley had evaded imprisonment and kept a low-contour after an incident involving two underage girls.^[33] Markley sporadically contacted his former bandmates; however, Fowley recollected a chat with Stallings in 1992: "He [Stallings] told me that Bob had been sitting in this rowing boat on a lake near Las Vegas - he was like a recluse. It got loose from its moorings and he drifted off lonely for a 24-hour interval and a half. He was already pretty messed up, merely he got very badly dehydrated. When they eventually found him he was taken to some infirmary and placed on a life-support system, unable to speak or think".^[33] Markley died on September 9, 2003 in a infirmary in Gardena, California; he was 68.^[2]

At age 20, Adjourn appointed Lloyd vice-president of MGM Records. In the 1970s, he became a successful record producer for teen idols, including the Osmonds, Shaun Cassidy, and Leif Garrett. In 1986, he was music supervisor for the soundtrack of the motion picture Dirty Dancing, and has been involved in several other flick soundtracks well into the 2000s.^[34] Shaun Harris collaborated with Lloyd to release Harris's cocky-titled debut solo anthology in 1973, which explored his country rock influences. Subsequently, he became the president of Barry Manilow'southward publishing company and most recently Harris has written a play virtually his life.^[35] Although Danny Harris was initially disillusioned with the music manufacture, he recorded the gospel album Thank Him Every Solar day in 1980. He besides worked as a folk musician and actor before dying on the set up of Saving Mr. Banks from a heart assault on October ane, 2012.^{[35] [36]} Morgan helped found Iii Dog Night (though left earlier they found commercial success) and joined the Electric Prunes for their album Only Adept Old Rock and Roll. He died in 1989 anile 44.^[33]

Band members [edit]

• Bob Markley (August 29, 1935 – September 9, 2003) - tambourine, spoken discussion, vocals (1965–1970)
• Michael Lloyd (born November iii, 1948) - rhythm guitar, keyboards, vocals (1965–1967, 1969–1970)
• Shaun Harris (built-in March 2, 1946) - bass guitar, vocals (1965–1970)
• Danny Harris (March 19, 1947 – October 1, 2012) - lead guitar, vocals (1965–1967, 1969–1970)
• John Ware (born May ii, 1944) - drums (1966–1968)
• Ron Morgan (1945 – 1989) - pb guitar, sitar (1967–1970)

Timeline [edit]

Discography [edit]

Studio albums [edit]

• Volume One (1966)
• Role One (1967)
• Vol. 2 (Breaking Through) (1967)
• Volume 3: A Child'south Guide to Practiced and Evil (1968)
• Where's My Daddy? (1969)
• Markley, A Group (1970)

Compilation albums [edit]

• Legendary Unreleased Albums on the Raspberry Sawfly label (1980)
• Transparent Day Sampler on Edsel Records ED 180 (1986)
• The West Coast Pop Art Experimental Ring Companion (2011)

Singles [edit]

• FiFo Records
  • "Sassafras" b/w "I Won't Hurt You" (1966)
• Reprise Records
  • "1906" b/westward "Shifting Sands" (1967)
  • "Help, I'1000 a Rock" b/due west "Transparent Day" (1967)
  • "Suppose They Give a War and No One Comes" b/w "Queen Nymphet" (1967)
  • "Smell of Incense" b/w "Unfree Child" (1968)
• Amos Records
  • "Complimentary as Bird" b/westward "Where's My Daddy?" (1969)

References [edit]

Citations

1. ^ ^{a b} Forster, Tim. "Teenage Dreams Diverted" (PDF). lookaside.fbsbx.com . Retrieved October 16, 2016.
2. ^ ^{a b c d eastward} Carr, Steven (2011). The Due west Coast Pop Fine art Experimental Band Companion (CD booklet). Sunbeam Records. SBRCD5079.
3. ^ Platt, John. "The Yardbirds in the U.s., 1965". members.chello.nl. Archived from the original on July xix, 2013. Retrieved August 25, 2016.
4. ^ Forster 1999, p. i.
5. ^ Stax, Mike. "Kim Fowley: Sins and Secrets of the Silver Sixties". ugly-things.com . Retrieved October 16, 2016.
6. ^ Unterberger, Richie. "The New Dimensions - Biography". allmusic.com . Retrieved Baronial 24, 2016.
7. ^ "The New Dimensions". habitation.unet.nl . Retrieved August 24, 2016.
8. ^ Bishop, Chris. "The Rogues". garagehangover.com . Retrieved August 24, 2016.
9. ^ "Singles & Other Stuff". members.chello.nl. Archived from the original on September 28, 2013. Retrieved August 28, 2016.
10. ^ Allen, James. "Companion - Review". allmusic.com . Retrieved August 28, 2016.
11. ^ Bluhm, Erik. "The West Coast Pop Art Experimental Band". members.chello.nl . Retrieved October 12, 2016.
12. ^ ^{a b} Forster, Tim (2001). Part One (CD booklet). Sundazed Records. SC 6173.
13. ^ "Vol. 1". members.chello.nl . Retrieved October thirteen, 2016.
14. ^ ^{a b} Cost, Jud (1997). Volume One (CD booklet). Sundazed Records. SC-11047.
15. ^ Unterberger, Richie. "Volume 1 - Review". allmusic.com . Retrieved September 4, 2016.
16. ^ ^{a b c d} Forster 1999, p. 2.
17. ^ Watts, Peter (2008). The Bizarre Story of the Greatest Cult Ring of All Time. Shindig! magazine. p. five.
18. ^ ^{a b c d e} Forster 1999, p. three.
19. ^ Irvin, John. "The Smoke". members.chello.nl. Archived from the original on July 19, 2013. Retrieved October ten, 2016.
20. ^ "The Smoke (self-titled) 1968". therisingstorm.internet . Retrieved October x, 2016.
21. ^ "The Fire Escape - Psychotic Reaction". popdiggers.com . Retrieved October 10, 2016.
22. ^ ^{a b} "The West Declension Pop Art & California Spectrum". members.tripod.com . Retrieved October sixteen, 2016.
23. ^ ^{a b c} Forster, Tim (2001). Volume 2 (Breaking Through) (CD booklet). Sundazed Records. SC-6174.
24. ^ Coley, John (2009). Backstage Laissez passer. LuLu Publishing. p. 104. ISBN9780578031354.
25. ^ ^{a b c d} Forster, Tim (2001). Book 3: A Kid's Guide to Good and Evil (CD booklet). Sundazed Records. SC-6175.
26. ^ "John Van Hamersveld". tsovet.com . Retrieved October xvi, 2016.
27. ^ ^{a b} "Where's My Daddy?". members.chello.nl . Retrieved October xv, 2016.
28. ^ "Amos Anthology Discography". bsnpubs.com . Retrieved Oct fifteen, 2016.
29. ^ Forster 1999, p. 4.
30. ^ Mason, Stewart. "Where'south My Daddy? - Review". allmusic.com . Retrieved October 15, 2016.
31. ^ Forster 1999, p. 5.
32. ^ "J.J. Light". psychedelicfolk.com . Retrieved October 16, 2016.
33. ^ ^{a b c} Forster 1999, p. 6.
34. ^ "Michael Lloyd, Lifetime Achievement Award Recipient". taxi.com . Retrieved October 16, 2016.
35. ^ ^{a b} "After the WCPAEB". members.chello.nl. Archived from the original on September 28, 2013. Retrieved October 16, 2016.
36. ^ "Daniel Duffy Harris". legacy.com . Retrieved Oct sixteen, 2016.

Sources

• Forster, Tim (1999). "The Fable of the West Declension Pop Art Experimental Band". Ptolemaic Terrascope (26–27). Archived from the original on 2016-10-18.

dethridgebete1979.blogspot.com

Source: https://en.wikipedia.org/wiki/The_West_Coast_Pop_Art_Experimental_Band

Share this post