Garage/Psychedelic Rock U.S.A. 1960s (Tracks) Ill Wind – “High Flying Bird”

Ill Wind – “High Flying Bird” Video on YouTube

Ill Wind – “Flashes” Full Album Playlist on Spotify

Category/Music Genres :

Garage/Psychedelic Rock U.S.A. 1960s (Tracks)

Band :

Ill Wind (Cambridge, Massachusetts, U.S.A.)

Members :

Ken Frankel (lead guitar, banjo, 1966-68), Richard Griggs (rhythm guitar, vocals, 1966-71), Carey Mann (bass, guitar, organ, vocals, 1966-70), David Kinsman (drums), Connie Devanney (vocals, 1967-73), Judy Bradbury (vocals, 1966), Michael Walsh (bass, vocals, 1968-73), Larry Carsman (guitar, 1970), Walter Bjorkman (guitar, 1971-73), Bryant Thayer (piano, 1971-72)
Related Artists :
Dirty John’s Hot Dog Stand
Ill Wind Band’s Photo

Related image

Track :

Cover Version 

“High Flying Bird”.

High Flying Bird” (sometimes “High Flyin’ Bird“) is a song written by American folk and country singer-songwriter Billy Edd Wheeler, and first recorded by Judy Henske in 1963. It was performed and recorded by many musicians and groups in the mid and late 1960s, and was influential on the folk rock genre.

It is included on the album “Flashes” as B1 track.

Album :

“Flashes”, released on ABC Records ( ABCS-641) in 1968


Line-up/Credits :

Bass, Vocals – Carey Mann

Coordinator – Mark D. Joseph

Design [Cover], Photography By – Bongiorno/Tervinski

Drums – David Kinsman

Engineer [Recording] – Harry Yarmark

Engineer [Remix] – Gary Kellgren

Lead Guitar, Banjo – Ken Frankel

Producer – Tom Wilson (2)

Rhythm Guitar, Vocals – Richard Griggs

Vocals – Connie Devanney

Written-By – Bill Edd Wheeler (tracks: B1), Ken Frankel (tracks: A1 to A4, B2 to B4), Richard Griggs (tracks: A5), Tom Frankel (tracks: A1 to A4, B2 to B4)

Record Company – ABC Records, Inc.

Recorded At – Mayfair Recording Studios

Produced For – Rasputin Production

Mastered At – Longwear Plating

Mastered At – Bell Sound Studios

Published By – Maudlin Melodies, Inc.

Published By – Sleepy Hollow Music

Published By – Robert Lissauer Music Co.

Published By – Bexhill Music

Tracks A2 and B3 are interchanged on the cover. The label lists them correctly.
Version with different ABC label (narrower font among other things) here: Ill Wind – Flashes.
Reissue Edition :
Double- c.d expanded edition on Sunbeam Records (SBR2CD5065), released in 2009
Tracks :
Disc One :
1. Walkin’ And Singin’ (Tom Frankel) – 3:11
2. People Of The Night (Ken, Tom Frankel) – 7:44
3. Little Man (Ken, Tom Frankel) – 4:31
4. Dark World (Ken, Tom Frankel) – 3:45
5. L.A.P.D. (Richard Criggs) – 5:05
6. High Flying Bird (Billy Ed Wheeler) – 4:58
7. Hung Up Chick (Ken, Tom Frankel) – 5:52
8. Sleep (Ken Frankel) – 2:38
9. Full Cycle (Ken, Tom Frankel) – 6:10
All Tracks Recorded In New York, 1968 Produced By Tom WilsonDisc Two :
1. Ill Wind (Ken Frankel) – 2:56
2. All Over Love Is One (Ken Frankel) – 2:26
3. I Can See You (Carey Mann) – 2:55
4. I Tell You I Know (Ken Franke) – 2:51
5. Tomorrow You’ll Come Back (Ken Frankel) – 2:39
6. You’re All I See Now (Carey Mann,  Sandy Darlington) – 2:19
7. Are You Right? (Ken Frankel) – 2:25
8. People Of The Night (Ken, Tom Frankel) – 2:25
9. It’s Your Life (Ken, Tom Frankel) – 2:20
10. Flashes (Richard Griggs) – 3:28
11. The Water Is Wide (Traditional) – 3:35
12. Mauti (Ken, Tom Frankel) – 5:30
13. Waking In The Water (Ken, Tom Frankel) – 3:11
14. 1 And 100 (Ken, Tom Frankel) – 4:31
15. Frosted Summer Drink (Ken, Tom Frankel) – 3:21
Tracks 1-4 are demos made in Terry Hanley’s Studio, Boston, in 1966
Tracks 5-9 are demos made at Capitol Records, NY, in 1967, produced by Dick Weissman
Track 10 is a live recording made at Westborough High School, MA, in 1967
Tracks 11-15 are basement recordings made in Wellesley, Massachusetts in 1968
Ill Wind :
Conny Devanney – Vocals
Ken Frankel – Guitar, Banjo, Harmonica
Richard (Zvonar) Criggs – Guitar, Vocals
Carey Mann – Bass, Vocals
David Kinsman – Drums
With :
Michael Walsh – Bass, Vocal (Disc 2, Tracks 11-15)
Notes :
2-1 to 2-4 are demos made in Terry Hanley’s Studio, Boston, in 1966 
2-5 to 2-9 are demos made at Capitol Records, NY, in 1967
2-10 is a live recording made at Westborough High School, MA, in 1967
2-11 to 2-15 are basement recordings made in Wellesley, MA, in 1968
Lyrics :
There’s a high flyin’ bird, flying way up in the sky
And I wonder if she looks down, as she goes on by?
Well, she’s flying so freely in the sky
Lord, look at me here
I’m rooted like a tree here
Got those sit down
Can’t cry oh Lord, gonna die blues
Now the sun it comes up and lights up the day
And when he gets tired, Lord, he goes on down his way
To the east and to the west He meets God every day
Lord, look at me here
I’m rooted like a tree here
Got those sit down, can’t cry
Oh Lord, gonna die blues
Now I had a woman
Lord, she lived down by the mine
She ain’t never seen the sun
Oh Lord, never stopped crying
Then one day my woman up and died
Lord, she up and died now
Oh Lord, she up and died now, she wanted to die
And the only way to fly is die, die, die
There’s a high flyin’ bird, flying way up in the sky
And I wonder if she looks down as she goes on by?
Well, she’s flying so freely in the sky
Lord, look at me here
I’m rooted like a tree here
Got those sit down, can’t cry
Oh, Lord, gonna die blues
Songwriters: Billy Edd Wheeler
Information about the album/band/track :
In the 1960s a new era of creativity began. The post-WWII values of the 1940s and 50s had begun to show cracks and a new generation, dissatisfied with rigid social boundaries, the Vietnam war and what they perceived as shallow materialism, created a new counter-culture. This change was ripe with opportunities for young musicians, allowing them the freedom to explore new, creative possibilities.
Ill Wind was a result of that perfect storm. The seeds of III Wind took root in 1965 at MIT in Cambridge, Massachusetts, when Ken Frankel, a biophysics graduate student, met Carey Mann, a math graduate student, and they decided to start a rock band. Multiinstrumentalist Ken, although only 23 at the time, had been playing professionally for 7 years, first in high school in L.A. (as lead guitarist in a successful rock band), and then at U.C. Berkeley on banjo, mandolin, and guitar.
Ken had played in bluegrass and oldtime bands in the San Francisco Bay Area with people such as Jerry Garcia, Robert Hunter, Richard Greene, Sandy Rothman and Rick Shubb, as well as lead guitar in a college rock band that played bars and fraternity parties. Carey Mann was also a young but experienced musician. In high school in Pennsylvania he’d played piano in a Dixieland band, and at MIT he won awards as the guitarist in the school’s highly respected jazz band.
After wonderful experience  with Dick Weissman as a very hands-  on producer, the band  was shocked at Wilson’s unexplained lack of focus in the studio. They were  inexperienced and wanted  a strong producer, but he  spent most of the time reading  the newspaper or talking on the  telephone. Following the hasty atmosphere of the recording, he excluded them from the mixing sessions, which were not done to the band’s taste or satisfaction.
The band had a wonderful cover proposal by a local artist, but ABC insisted that they needed a cover photo in one week, because they wanted to release the album right away. ABC arranged for an uninspired studio photo, and then didn’t release the album for six months. When the first run of 10,000 discs appeared in August 1968, there was a mistake in the pressing process, meaning that ‘High Flying Bird’ had a skip where an ending phrase repeated three times (this was corrected on a subsequent pressing of 2000 copies).
The photos on the back cover were accidentally printed so dark that you couldn’t tell what they were, and ABC didn’t print enough albums to meet demand, so many stores couldn’t obtain them, despite putting in multiple orders.  Nonetheless, despite a lack of promotional activity or reviews, and the backlash caused by the ‘Bosstown hype’, ‘Flashes’  was fairly well-received. Three singles were taken (‘Walking and Singing’ b/w ‘High Flying Bird’, ‘Dark World’ / b/w ‘Walking and Singing  and / finally ‘Dark World’ b/w ‘High “lying Bird’), though most copies were promos.
The album was played often on the radio, especially in New England, the band was paid well for performances, albeit in amounts that (in today’s dollars) would shock contemporary musicians. Ill Wind performed with many well-known acts, including The Who, Fleetwood Mac, The Byrds, Moby Grape, Van Morrison, The Rascals, The Buckingnams and Mitch Ryder. They continued to gig regularly at The Boston Tea Party and started a free music-in the-park series in Cambridge.
They became important leaders of the New England rock scene, and were even recognized on the street. In mid-1968, III Wind was poised to take the next step (whatever that might have been), when Carey announced he was leaving. This was quite a blow, since he was one of the band’s founders. They replaced him with bass player / vocalist Michael Walsh. At the same time, Ken put together a 4-track recording studio in the basement of one of the dormitories where the band was living, consisting of two cheap Sony 2-track reel-to-reel recorders with heads switched around, and some $10 Radio Shack stereo mixers.
The purpose was to make demos of new songs without having to pay for studio time, and perhaps regain control of the band’s destiny from ABC records and Tom Wilson. In 1968, with Michael on bass and vocals, III Wind recorded 5 songs on this makeshift equipment (‘the Wel Tesley Basement Recordings’), but no further record contract resulted. The band broke up following year, when Ken Frankel (who’d married the band’s original singer, Judy Bradbury) moved to Marin County in Northern California, which his friend Jerry Garcia had convinced him was ‘the place to be’ for musicians.
In 1970 the band reformed with all original members except Ken, with Carey rejoining on lead guitar and organ in place of Ken, Conny on vocals, Richard on rhythm guitar, Dave on drums, Michael on bass, and Berred acting as road manager for larger venues. After a few months, Carey quit again and was eventually replaced by Walter Bjorkman. In this form the band carried on doing mostly covers for nearly a year. Richard left in 1971, to be replaced eventually with Bryant Thayer on piano.
In this configuration, with Conny and Dave as the only remaining members from the ABC album, and with Michael still on bass, the band probably played more performances than ever before, but finally dissolved for good in 1973. The surviving members of III Wind remain in touch with each other, and all but Ken still live in New England. He became a successful real estate entrepreneur in Northern California, and owned and ran a major music venue, The Cotati Cabaret, in the 1980s, when he also formed the classical group The Electric Guitar Quartet. Ken received his Ph.D in Psychology, and is currently undertaking psychology research. He continues to perform professionally in Marin County, California.
Carey Mann recorded an album with Dirty Johns Hot Dog Stand in 1970, and played in a variety of bands on the club circuit through 1975. He had always modified his instruments, but is most proud of completely rebuilding his Hammond organ into a different configuration, even adding semi synthesizer stops. After he quit playing music full-time, he developed a successful career in computer technology and still lives in Massachusetts, where ne continues to play rock professionally.
Conny Devanney owned and ran the well known booking agency CoCo (for ‘Conny Company’) for many years. She has never stopped singing professionally, and has been the lead singer with a Dixieland band and  in various bands doing jazz standards, including an 18-piece big band, and her own 7-piece band, with whom she still performs.
After the final version of III Wind broke up, David Kinsman played with John Lincoln Wright & The Sourmash Boys in 1974, but left the music business in 1975 and moved to Maine. There he raised a family and started the successful bicycle parts company Downeast Bicycle, which he ran for 20 years, before selling the company and retiring^ Richard (Zvonar) Griggs received his Ph.D. in composition and music technology in 1982, and worked extensively both as a musician and intermedia artist, before his death in 2005.
He created the III Wind website,, and was the driving force behind the creation of this CD. Michael Walsh continued to be involved in music for over 30 years, working mostly out of Boston, but also Nashville and California. He played with many notable performers, including Jonathan Edwards, Tom Rush, Livingston Taylor, Vassar Clements, James Montgomery, John Pousette-Dart, Andy Pratt, Robin Lane, Mark Spoelstra, Bill Stains and David Mallet. He currently lives in Vermont.
Judy (Bradbury) Frankel embarked on  a successful solo singing career after an amicable divorce from Ken in 1989. She was internationally known as a singer and collector of Jewish Sephardic music. Judy lived in San Francisco for 30 years prior to her death in 2008. To learn more, visit
Berred Ouellette became a successful recording engineer. He has worked on productions in England, France, Venezuela, and 49 of the 50 United States. He has toured with and / or recorded many famous performers, including Livingston Taylor, Tony Williams, Rahsaan Roland Kirk, Aerosmith, Buddy Guy & Junior Wells, The J. Geils Sana, JethroTull, The Beach Bovs, Linda Ronstadt, America and dozens of national jazz acts, and continues to do so. He currently lives in Massachusetts.
The psychedelic group Ill Wind released just one album, and even though it was for a fairly big label (ABC), it was indeed ill-distributed and heard by few at the time. Like a number of late-’60s bands from Boston, Ill Wind suffered from the lack of a consistent musical direction and uneven material and production that didn’t make the most of the bandmembers’ assets, though there was some instrumental and vocal talent in the group. Their album, Flashes, was a tense, brooding stew of folk-rock and freaky psychedelia that didn’t quite coalesce, with the stirring, assertive vocals of Conny Devaney the best ingredient. Although it was produced by one of the best producers in 1960s rock, Tom Wilson (who had worked with Bob Dylan, Simon & Garfunkel, the Mothers of Invention, and others), it didn’t do much, and the Ill Wind disbanded at the end of 1968, though the group re-formed for a few months in 1970.

The band was started in 1965 in Cambridge, MA, by two graduates – Ken Frankel (biophysics) and Carey Mann (math), who were joined by folk duo of Judy Bradbury and Norm Gan. Around 1965/66 the music scene drifted from the pure entertainment of R&R and beat towards rock and psychedelia, and “Ill Wind” perfectly fit in it with their unique mixture of psychedelia and acid-folk. By that time the original singer Judy Bradbury (who helped to shape the sound of the band) quit to be replaced by another ex-folky – Conny Devanney – a singer p a r e x c e l l e n c e with crystal clear voice.

The band went through hard times (they couldn’t get jobs because they played their own songs and refused to play covers, and they looked and dressed too “hippie” to be generally accepted). However, “Ill Wind” was gigging non-stop in the college circuit and built a solid following, finally becoming a resident act at the “Boston Tea Party” (which was New England’s response to the rock shrine of “Fillmore” in San Francisco). “Ill Wind” recorded a few demos for Capitol (before being dropped by the label) and ended up signed by ABC. In 1968 “Ill Wind” had played with the wide range of top musicians from Chuck Berry to The Who, thus there were many fans waiting for their debut album – which was properly delayed by label, misproduced, artwork ruined, and the label didn’t manufacture enough copies to satisfy the demands.

The original recordings of “Ill Wind” have been heavily counterfeited on both vinyl and CDs by Flash, Afterglow and Akarma. There is however an oustanding legitimate re-issue by “Sunbeam” on 2 CDs, featuring 9 original songs recorded in 1968 starting with bluegrass ballad “Walkin’ and Singin’” and erupting into psychedelic mini-symphony “People of the Night”. The second CD has 15 tracks recorded in 1966 and 1967, plus 5 songs recorded in 1968. The set comes with an excellent well-researched booklet and rare photos.

“Music Museum of New England”

Boston-based Ill Wind was a familiar band on the college and teen dance circuit in New England and New York during the sixties and early seventies.  The first incarnation featured Ken Frankel on lead guitar, Richard Griggs on guitar, Carey Mann on bass, local folksinger, Judy Bradbury, on lead vocals and Dave Kinsman on drums. The band originally mixed folk/rock and bluegrass. As the band evolved into psychedelia and blues, Judy left the band and was replaced by Conny Devanney who had been singing in New York City and Jersey Shore clubs. The band had three lead singers, three songwriters and their songs started to feature complex three part harmonies and long instrumental jams.

The first gigs were at college mixers and frat parties in the Boston/Cambridge area. After recording a demo tape at Hanley Studios in Medford, the band got their first gig out of the Boston area at a CYO dance in Stoneham. The young kids were so enthusiastic about the new sound that Ill Wind began playing at other CYO and teen dances around New England.

Soon the band attracted the attention of booking agencies and started playing colleges around   New England and New York at the time when colleges had large entertainment budgets. They also started playing at the Boston Tea Party, where they made regular appearances, plus many of the big ballrooms where the big bands of the 30s and 40s played. The band was working full time now and brought in Ken’s brother, Tom, to help manage the band and do sound levels at performances. Soon after that Richard “Berred” Ouellette joined the band as road manager. Over the years, Ill Wind performed with many well known bands including The Who, Fleetwood Mac, The Byrds, Moby Grape, Van Morrison, The Rascals, The Buckinghams, Jethro Tull, The Youngbloods, Mitch Ryder, Vanilla Fudge and also backed Chuck Berry.

In 1967, the band recorded five songs for Capitol Records at their studios in New York, produced by Dick Weisman, formally of the Journeymen. Although months of negotiations ensued, no record contract was signed and the songs were never released. The band started working with the William Morris Agency and was booked on a West Coast tour.

Upon returning from California, the band spent two weeks playing on Long Island and New York City where they met Tom Wilson. Tom had just formed his own production company after producing albums for Bob Dylan, Simon and Garfunkel and The Mothers of Invention. The band signed with ABC Records and in 1968 the album, Flashes, produced by Wilson, was released as well as a single, “In My Dark World” b/w “High Flyiing Bird”. The respected British music magazine Mojo noted that the album included “some of the finest psychedelia conceivable”

Unfortunately, ABC did not press enough albums to meet demand, and many stores couldn’t stock them. Nonetheless, Flashes was fairly well received and was played often on the radio across the country including WBCN and was “pick of the week” in several markets.

The original band broke up in 1969 and reformed in 1970 with Conny Devanney, Dave Kinsman, Michael Walsh on bass, Walter Bjorkman (formerly of Cloud and Swallow) on lead guitar and Bryant Thayer on piano. Featuring Conny’s strong vocals and Walter’s blues guitar, Ill Wind was a big draw at colleges and concert clubs until disbanding in 1973.

Ironically, more has been written about Ill Wind since they broke up. Richard, Walter, Judy and Tom have died. The other members reside in New England and California.

In 2009, the British label, Sunbeam Records, re-released Flashes as a double CD and double vinyl album that included the five previously unreleased cuts from Capitol as well as other earlier recordings.

Photos about the album/band/track :

Ill Wind – “Flashes” Album cover photo (front)


Ill Wind Band’s Photos

Conny Devanney (Singer)

Image result for ill wind band

Related image


Image may contain: 6 people, people sitting

Ill Wind2

Image may contain: one or more people, people standing, tree, plant, outdoor and nature

Ill Wind4

Links about the album/band/track :

Ill Wind – “High Flying Bird” Video file link on YouTube

Ill Wind – “Flashes” Full Album Video file link on YouTube

Ill Wind Band’s Page on Spotify

Ill Wind Band’s Page on Discogs

Ill Wind Band’s Page on Rate Your Music

Ill Wind Band’s Page on Facebook

Ill Wind – “Flashes” Full Album Download Link on Rockasteria Blog

Ill Wind – “Flashes” Full Album Download Link on The Free Spiritual Be-In Blog

Ill Wind – “Flashes” Full Album Download Link on Rock Archeologia 60-70 Blog

Ill Wind – “Flashes” List on eBay

Ill Wind Band’s Page on Apple Music



Blues Rock/ Rhythm And Blues U.K. 1970s (Tracks) Chicken Shack – “Going Down”

Blues Rock/ Rhythm And Blues U.K. 1970s (Tracks)

Chicken Shack (Stourbridge, West Midlands, U.K.)

Cover Version (first recording/release of the song by the band Moloch in 1969)

“Going Down” (written by Don Nix) A4 track (A’ Side closing track) included on the album “Imagination Lady” 

Released on Deram Records (SDL 5) in 1971

Line-up/Credits :

Stan Webb – guitarvocals

John Glascock – bass

Paul Hancox – drums

Neil Slaven – producer

George Chkiantz – recording engineer

David Anstey – cover art

Brian Ward – photography

Lyrics :

Well, I’m going down
Down, down, down, down, down
I’m going down
Down, down, down, down, down
I’ve got my head out the window
And my big feet on the ground
She’s gone
Gone, gone, gone, gone, gone
She’s gone
Gone, gone, gone, gone, gone
I’ve got my head out the window
And my big feet on the ground
So, I’m going down
Down, down, down, down
I’m going down, down, down, down, down
Down, down, down, down, yes I am
I’ve got my head out the window
And my big feet on the
Well, I’m goin’ down
Down, down, down, down
I’m going down
Down, down, down, down, down
I’ve got my head out the window
And my big feet on the ground
Gone, gone, gone, gone, gone
She’s gone
Gone, gone, gone, gone, gone
I’ve got my head out the window
And my big feet on the
Well, I’m down
Down, down, down, down, down
I’m goin’ down
Down, down, down, down, down
I’ve got my head out the window
And my big feet on the ground, yes I have
Well, she walked out the door
And I crawled right out there
Songwriters: don nix

Formed in 1967, Chicken Shack consisted of Stan Webb on guitar/vocal, Andy Sylvester on bass, Christine Perfect on vocals/keyboards, and Alan Morley on drums. An earlier 1964 incarnation had been called ‘Sounds of Blue’ and Christine played in this band while a student at art college in Birmingham. Sounds of Blue dispanded after a year when Christine and another member left Birmingham for careers in London. Then, at the beginning of 1967, Andy once again contacted Chris and suggested that she rejoin her former mates in a new band. (The group got their name from the chicken coup in Kidderminster where the band often rehearsed.) Chris admits that she was not the most accomplished blues pianist when she joined the group, but developed her own style from listening to Freddy King records.

Chicken Shack made their public debut at the Great Britain’s National Blues & Jazz Festival at Windsor along with Fleetwood Mac on August 13, 1967– “There were two stages at Windsor, the main one an open-air ramshackle structure, the other inside a marquee. Fleetwood Mac had their initiation on the main stage but much was made of Chicken Shack’s tented debut.” The group became the second major signing of the Blue Horizon record label (co-founded by Mike Veron), the first being Fleetwood Mac. Chicken Shack’s first two albums,Forty Blue Fingers Freshly Packed and Ready to Serve and OK Ken?, were quite successful, with much of the credit due to the fact that they had a beautiful, talented, femalekeyboardist and vocalist– something that most definitely added individuality to the group in the male-dominated late 60’s music scene. Christine’s version of Etta James’ ‘I’d Rather Go Blind’ was a massive hit, and she was voted Best Female Vocalist in the Melody Maker polls two years running. After Christine married John McVie and left the band, Stan Webb did carry on with the band in various incarnations, but Chicken Shack never quite matched their earlier success. The ‘irrepressible’ Stan Webb still lives in Kidderminster in a house that is filled with twenty-nine years of Chicken Shack memoribilia. The talented, yet relatively unrecognized, guitarist has this to say about the way major success has eluded him: “Some people say, ‘You should be on stage at the Albert Hall, not Eric Clapton.’ And I think, well, I don’t agree with that, but I should certainly be able to go on there as well. But I’m happy with what’s happening now. I’ve done the years and I’m getting more respect than I ever did then. It’s worked for me.”

Chicken Shack – “Imagination Lady” Album cover photo (front)
Chicken Shack – “Imagination Lady” Album photo (A’ Side)


New Wave/Post Punk/Punk/Rock U.K. 1970s (Tracks) The Clash – “Brand New Cadillac”

New Wave/Post Punk/Punk/Rock U.K. 1970s (Tracks)

The Clash (London, U.K.) 

Cover Version

Brand New Cadillac” is a 1959 song by Vince Taylor, and was originally released as a B-side. Featured musicians on the released recording were: Joe Moretti (guitars), Lou Brian (piano), Brian Locking (bass) and Brian Bennett (drums).

“Brand New Cadillac” (written by Vince Taylor) A2 track included on the album “London Calling” 

Released on CBS Records (S CBS CLASH 3) on 14th December 1979

Line-up/Credits :

Lyrics :

My baby drove up in a brand new Cadillac
Yes, she did
My baby drove up in a brand new Cadillac
She said, “Hey, come here, Daddy”
“I ain’t never comin’ back”
Baby, baby, won’t you hear my plea?
C’mon, sugar, just come on back to me
She said, “Balls to you, Big Daddy”
Baby, baby, won’t you hear my plea?
Oh come on, just hear my plea
She said, “Balls to you, Daddy”
She ain’t coming back to me
Baby, baby drove up in a Cadillac
I said, “Jesus Christ, where’d you get that Cadillac?”
She said, “Balls to you, big Daddy”
She ain’t never coming back!
She ain’t never coming back!
She ain’t never coming back!
She ain’t never coming back!
She ain’t never coming back!
Songwriters: Vince Taylor
The Clash – “London Calling” Album cover photo (front)
the clash london calling 1

Garage/Psychedelic Rock U.S.A. 1960s (Tracks) The Litter – “Codine”

Garage/Psychedelic Rock U.S.A. 1960s (Tracks) 

The Litter (Minneapolis, Hennepin County, Minnesota, U.S.A.)

Cover Version 

“Codine” (written by Buffy Sainte-Marie, 1964) A3 track included on the album “Distortions”

Released on Warick Records ( 671) on 1st May 1967, recorded in 1966 at Dove Recording Studios, Minneapolis and Warren Kendrick’s Lake Street Studio, Minneapolis.
Back cover reads…SCOTTSIDE MUSIC – 9358 James Avenue S., Minneapolis.

Line-up/Credits :

Dennis Waite – Vocal, Keyboard
Tom “Zippy” Caplan – Lead Guitar, Vocals
Dan Rinaldi – Rhythm Guitar
Tom Murray – Drums
James Worthington Kane III – Bass, Organ, Vocals

Warrn Kendrick – Producer

John Wright, Steve Blauvelt – Photography

Lyrics :

An’ my belly is craving, I got shakin’ in my head
I feel like I’m dyin’ an’ I wish I were dead
If I lived till tomorrow it’s gonna be a long time
For I’ll reel and I’ll fall and rise on codine
An’ it’s real, an’ it’s real, one more time
When I was a young man I learned not to care
Wild whiskey, confronted I often did swear
My mother and father said whiskey is a curse
But the fate of their baby is many times worse
An’ it’s real, an’ it’s real, one more time
You’ll forget your woman, you’ll forget about man
Try it just once, an’ you’ll try it again
It’s sometimes you wonder and it’s sometimes you think
That I’m a-living my life with abandon to drink
An’ it’s real, an’ it’s real, one more time
Stay away from the cities, stay away from the towns
Stay away from the men pushin’ the codine around
Stay away from the stores where the remedy is found
I will live a few days as a slave to codine
An’ it’s real, an’ it’s real, one more time
An’ my belly is craving, I’ve got a shakin’ in my head
An’ I’ve started heating whether my body said
Steady yourself with the grains of cocaine
An’ you’ll end dead or you’ll end up insane
An’ it’s real, an’ it’s real, one more time
An’ my belly is craving, I got shaking in my head
I feel like I’m dyin’ an’ I wish I were dead
If I lived till tomorrow it’s gonna be a long time
For I’ll reel and I’ll fall and rise on codine
An’ it’s real, an’ it’s real, one more time
An’ it’s real, an’ it’s real, one more time
Songwriters: Buffy Sainte-Marie
The Litter – “Distortions” Album cover photo (front)
the litter distortions 1



7/12-Singles/E.P.s Classical/Ost/Stage And Screen/Theme 1970s John Christopher Williams – ” Cavatina”

Classical/Ost/Stage And Screen/Theme 1970s

John Christopher Williams (Melbourne, Australia)


Cover Version

” Cavatina” (written by Stanley Myers) B’ Side single released on Cube Records (BUG 80) on 30th June 1978

Cavatina” is a 1970 classical guitar piece by British composer Stanley Myers written for the film The Walking Stick (1970), and popularised as the theme from The Deer Hunter some eight years later. As the Italian diminutive of cavatacavatina is a musical term frequently applied to any simple, melodious air.

John Williams – “Cavatina” B’ Side single photo

john williams cavatina photo

John Christopher Williams – “Cavatina” Video file link on YouTube

John Christopher Williams Artist’s Homepage

John Christopher Williams – Artist’s Interview file link on Classical Guitar Magazine

John Christopher Williams Artist’s Page on Facebook

John Christopher Williams Artist’s Page on Discogs







Folk/Fusion/Jazz/Progressive Rock Finland 1970s Piirpauke – “Konevitsan Kirkonkellot”

Folk/Fusion/Jazz/Progressive Rock Finland 1970s 

Piirpauke (Piippola, Pohjois-Pohjanmaa, Finland)  Folk/Fusion/Jazz/Progressive Rock band

“Konevitsan Kirkonkellot”  B2 track included on the album “Piirpauke” 

Released on Love Records (LRLP 148) in November 1975

Line-up / Musicians :

Antti Hytti / bass, vocals, percussion
Jukka Wasama / drums, percussion, vocals, gong
Esa-Pekka Salonen / French horn
Hasse Walli / guitar, cymbal
Sakari Kukko / soprano saxophone, piano, flute, percussion, vocals
Otto Romanowski / synthesizer

Konevitsan kirkonkellot (English: The Church Bells of Konevets) is a Karelian folk song, best known as the 1975 recording of Finnish music group Piirpauke. Its melody repeats the chime of the church bells of the Konevsky Monastery in Lake Ladoga. The song was first recorded by kantele player Ulla Katajavuori in 1952.Other recorded versions include the 1978 version by Matti Kontio, Martti Pokela and Eeva-Leena Sariola, and the 2002 version by heavy metal band Sentenced, used as an intro in their album The Cold White Light

Piirpauke’s Konevitsan kirkonkellot was released in their 1975 debut album Piirpauke. The song is composed of two parts of the original theme with an improvised part in the middle. The improvised part is known of the classic guitar solo by Hasse Walli. French horn was played by 17-year-old music student Esa-Pekka Salonen, who later became a famous conductor.

Live versions are included in Piirpauke’s albums Historia of Piirpauke Vol. 1 (1977) and Metamorphosis – Live 1977–1995 (1995).

Piirpauke – “Piirpauke” Album cover photo (front)

piirpauke same 1

Piirpauke ~ “Konevitsan kirkonkellot” Video file link on YouTube

Piirpauke – “Piirpauke” Full album Video file link on YouTube

Piirpauke Band’s Page file link on Spotify

Piirpauke Band’s Page file link on Discogs

Piirpauke Band’s Page file link on Facebook

Piirpauke/Sakari Kukko Homepage

Piirpauke/Sakari Kukko Interview file link on It’s A Psychedelic Baby Magazine

7-inch Singles/E.P.s Rautalanka/Surf Rock Finland 1960s The Sounds – “Troika (Troikka)”

7-inch Singles/E.P.s Rautalanka /Surf Rock Finland 1960s

The Sounds (Finland)

Cover Version of a traditional song

“Troika” (Troikka) (written by O. Antero, K. Manilov) B’ Side single released on Fontana Records (271 569 TF) in 1963

The Sounds was a Finnish rautalanka/pop group, founded in 1962, disbanded in 1965.

Last known line-up:
Jussi Raittinen – rhythm guitar (1963-1964, 1965)
Kaj Westerlund – solo guitar (1965)
Peter Ekman – bass (1962- )
Eero Raittinen – drums (1963-1964, 1965)

Former members:
Henrik Granö – solo guitar (1962- )
Bobi Söderblom – rhythm guitar (1962-1963)

Johnny Liebkind – drums (1962-1963)

Timo Puustinen – rhythm guitar (1963)

Esa Helasvuo – keyboards (1964- )

Martin Brushane – drums (1964- )
Ronnie Österberg – drums


The Sounds – “Troika (Troikka)” B’ Side single photo


The Sounds – “Troika” Video file link on YouTube

The Sounds Homepage

The Sounds Group page on Facebook