Spread The Good Word !

Dear listeners & readers, brothers and sisters, that’s it, the Reverend is going on holidays ! ( here or here ) (Everybody : Aaaaaaaaaa) I’ll be back at the end of August (18th or 20th, something like that) Or in 4 days if it rains everyday… Meanwhile, enjoy the radio (update tomorrow), these few holiday tracks, and don’t forget to visit ALL the blogs & links on your right !!! And if you’re really really bored, you can count all the english grammatical mistakes I’ve made in the last 9 months. (It’s a funny game, really). Take care y’all. PS : No I didn’t post « See you in September ». Johnny Cash & June Carter - Jackson The Kinks - Everybody's Gonna be Happy Robert Mitchum - Coconut Water Marty Robbins - Sweet Leilani Muddy Waters - I Feel So Good Rev. Frost - Vamos A El Red Peppers

Barry Gray was born in Lancashire, England, early in the 20th century and proved a natural musician at a young age. He later studied at the Royal Manchester College of Music and at Blackburn Cathedral and took up the study of composition with Hungarian composer Matyas Sieber (s'il vous plait). He began his music career writing arrangements for Feldman publishers in London, principally of theater music, and subsequently joined Radio Normandy in the 1930s. After several years as musical assistant to Eartha Kitt, Hoagy Carmichael and Vera Lynn, in 1956 he began a long and successful association with producers Gerry and Sylvia Anderson, scoring popular marionation series such as Twizzle, Supercar, Fireball XL5, Stingray and Thunderbirds. He died of heart disease on 26 April 1984, age 75. The Barry Gray Orchestra - Stingray ! The Barry Gray Orchestra - Captain Scarlet The Barry Gray Orchestra - Joe 90

I'm a lil' bit tired today, thanx to Iggy and the Asheton brothers ! During the psychedelic haze of the late '60s, the grimy, noisy and relentlessly bleak rock & roll of the Stooges was conspicuously out of time. Like the Velvet Underground, the Stooges revealed the underside of sex, drugs and rock & roll, showing all of the grime beneath the myth. The Stooges, however, weren't nearly as cerebral as the Velvets. Taking their cue from the over-amplified pounding of British blues, the primal raunch of American garage rock, and the psychedelic rock (as well as the audience-baiting) of the Doors, the Stooges were raw, immediate and vulgar. Iggy Pop became notorious for performing smeared in blood or peanut butter, diving into the audience. Ron and Scott Asheton formed a ridiculously primitive rhythm section, pounding out chords with no finesse -- in essence, the Stooges were the first rock & roll band completely stripped of the swinging beat that epitomized R&a

Born May 10, 1940, in Florence, AL, Arthur Alexander was the son of a bottleneck blues guitarist who performed each Saturday night in the blues joints scattered throughout the region. Despite having his compositions covered by both The Beatles and The Rolling Stones in the sixties, Arthur Alexander never quite caught the break that would have put him over the top. That's the soul fan's misfortune too as Arthur lingered in obscurity until his untimely passing. That’s all. Arthur Alexander - Soldier Of Love Arthur Alexander - Anna (Go To Him)

Guys, stay calm. The Detroit garage band the Pleasure Seekers originally comprised sisters Suzi, Patti and Arlene Quatro, the daughters of jazz musician Art Quatro. The group began while the siblings were all still in their teens, quickly transcending novelty status by writing their own material and playing their own instruments; they made their debut in 1966 with the local hit "Never Thought You'd Leave Me," released on the Hideout label. Around 1969, the Pleasure Seekers rechristened themselves Cradle, a move which also heralded a harder-edged sound; by the early 1970s, however, the trio disbanded, with Suzi going on to fame as a solo performer (as well as co-starring on the hit sitcom Happy Days as the legendary Leather Tuscadero) while Patti joined the California band Fanny. The Pleasure Seekers - What A Way To Die The Pleasure Seekers - Never Thought You'd Leave Me

We saw Cosi Fan Tutte last night (yeah, a night at the opera I know) , and guess what, I’ve found something better…much better…my hero, Bernard Herrmann ! So Brothers and Sisters, kneel now. The man behind the low woodwinds that open Citizen Kane (1941), the shrieking violins of Psycho (1960), and the plaintive saxophone of Taxi Driver (1976) was one of the most original and distinctive composers ever to work in film. Bernard Herrmann started early, winning a composition prize at the age of 13 and founding his own orchestra at the age of 20. After writing scores for Orson Welles's radio shows in the 1930s (including the notorious 1938 "The War of the Worlds" broadcast), he was the obvious choice to score Welles's film debut. Herrmann was a prolific film composer, producing some of his most memorable work for Alfred Hitchcock, for whom he wrote nine scores. A notorious perfectionist and demanding (he once said that most directors didn't have a clue about music,

From the first wave of surf, this 1964 oddball remains one of the best examples of how surf music can work as Halloween party music. It needs help, of course, and that help came in the form of howls, screams, and evil voices saying any number of strange things. « This is a grand example of gimmick studio projects of the sixties. Unlike the "Rat Fink" mung, this has moments of brilliant instrumental surf with an edge and a unique flavor. Some of the originals here were written by (and reportedly performed by) Joe South ("Polk Salad Annie"). Most notable is "The Lone Surfer," melodically interesting enough to have been adopted as a regular part of the Berzerkers' set for the last decade. » (Phil Dirt at Reverb Central ) The Deadly Ones - It's Monster Surfing Time The Deadly Ones - The Lone Surfer FRIDAY BONUS ! Blues Rockers - Calling All Cows

Johnnie Ray was born on January 10, 1927 in Dallas, Oregon. He was partially deaf since childhood and began wearing a hearing aid at age 14. In 1951 singer LaVern Baker and her manager Al Green helped him with his music. He signed a contract with Okeh that year. Few years later, Johnnie Ray had become a very popular singer, and it wasn't long before he was signed to a movie contract. Although he faded from popularity in the United States in the late 50's, he continued to be popular in the UK. The power and clarity in his voice insured him a legion of fans. He toured Australia many times, and had more performances there than any other American performer. In later years Johnnie Ray had liver problems and died of liver failure in February of 1990. Bartender, gimme another drink. Johnnie Ray - Papa Loves Mambo Johnnie Ray - Such A Night Johnnie Ray - Up Above My Head (With Frankie Laine)

British bass guitarist Brian Locking & drummer Brian Bennett started their musical careers as members of Vince Taylor's backing group, The Playboys. In 1959 the Playboys had split up and Locking and Bennett moved to Marty Wilde's backing group, the Wild Cats. This group developed into the instrumental outfit The Krew Kats : Big Jim Sullivan (lead guitar), Tony Belcher (rhythm guitar), Brian Locking (bass) and Brian Bennett (drums). The Krew Kats - Peak Hour The Krew Kats - The Bat

All my deepest condolences and sympathies to the Londoners. Back to music next week. John Lee Hooker - The World Today Little Richard - Hurry Sundown

Welcome back children of the night, I just would like to say a huge « THANK YOU » to Brian at bigrockcandymountain . I’ve send him the track as a tribute, and see the result ! So, yeah, big , big, big, big thanx… 2 more points though (and I quote my Dark Lord Master) 1.If you like it, thank you very much (thanx for the kind emails comments !) 2.If you don’t like it, stick to Britney Spears (There’s no need to write bullshit about me in your email , Mike-from-Wisconsin, you don’t know me very well. And yes, I’m french. And I don’t give a flyin’ fuck about you think... all due respects.) So now, things are clear, thanx again Brian (he’s the Messiaaaah), and thanx to you all for the support. Amen brothers and sisters. Ciao. The Dazzlers - Gee Whiz

The 13th Floor Elevators made their recording debut with "You're Gonna Miss Me". Rocky Erikson had recorded this acerbic composition with an earlier outfit, the Spades (but his new colleagues added an emphatic enthusiasm missing from the original version). The song and his high, swooping tenor brought him to the attention of the 13th floor, whose lyricist and jug player Tommy Hall invited Erickson to join; the Elevators soon cut their own version of "You're Gonna Miss Me," and took the single to number 56 on the pop charts in 1966. The Spades - You're Gonna Miss Me The Spades - We Sell Soul 13th Floor Elevators - You're Gonna Miss Me I've changed my email adress, it's rev.frost@hotmail.fr now The old one is dead. Oh and I've won a A 12" x 15" signed photo of Brian Setzer yesterday. That's all for today.

A West-Side blues guitarist of the same graduating class as people like Otis Rush, Magic Sam combined a blazing guitar with a wonderful soulful voice to do some of the best blues to come out of Chicago in the late 60s. He went on to record a few albums for Delmark that showed the beginnings of a brilliant career that ended up being a major influence on modern blues artists. But he died of a heart attack at 32, and we'll never know where Magic Sam might have gone. Magic Sam - Love Me With A Feeling Magic Sam - 21 Days In Jail

Charlotte Leslie (real name Rosetta Aiello) released her first record under the name of Catherine Alfa. Lucien Morisse, director of AZ records introduced her to Jimmy Walter and Boris Vian who wrote the lyrics of her debut song. The record gained airplay on radio station Europe 1. This success lead to a second EP for AZ before Rosetta signed with Polydor. Guy Mardel, successful singer and friend suggested she changes her stage name to Charlotte Leslie (Leslie is the name of the vibrato effect on hammond organs). Her first EP on Polydor of which included 'Les filles, c'est fait pour faire l'amour' ('Girls are made to make love') a daring fuzzed-up cover of The Capitols 'We got a thing that's in the groove' (with really stupid & funny lyrics actually), marked a radical change of style. While the track is great, it was a strange choice which proved a little too controversial for many radio stations. That’s why we like it here. Charlotte Leslie - Les