MP3 The Malibooz - Queen´s English
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14 MP3 Songs in this album (42:54) !
Related styles: Rock: British Invasion, Pop: Beatles-pop, Type: Vocal
People who are interested in Beatles The Hollies The Rolling Stones should consider this download.
The Malibooz are proud to announce their latest release,
a collection of new tunes all in the â60âs British Invasion style. What makes this album really special is the inclusion of many original â60âs British Invasion artists including;
Andrew Loog Oldham
Tony Hicks (The Hollies)
Chad Stuart & Jeremy Clyde
Colin Hanton, Ron Davis & Len Barry (The Quarrymen)
Richard Moore (The Troggs)
Mark Griffiths (The Shadows)
Nokie Edwards (The Ventures)
David Carr (The Fortunes, The Ventures)
The tunes feature the authentic British vocal and guitar sound and there is even an instrumental, a salute to The Shadows, called âVenture into the Shadowsâ with guest artists from The Ventures and The Shadows.
Additionally, the album cover was taken by legendary British photographer, Gered Mankowitz; best known for his album cover work with The Rolling Stones and Jimi Hendrix. As a final touch the tracks were all mastered at Abbey Road Studios.
In 1965 The Malibooz did a TV performance from the RCA Pavillion at the New York State Worldâs Fair in Queensâ, New York. In 2004 the boys celebrated The Maliboozâ 40th anniversary with a show at the Cavern in Liverpool and idea for this album was born. So here it is, featuring original members John Zambetti and Walter Egan, the boys from Queens, NY, performing new British Invasion-style songs; QUEENSâ ENGLISH!
P.S. We were going to call it, âSERF MUSICâ but we realized the effort would be feudal.
Contact: KUBRO GROUP/ David Carr ([email protected]://www.tradebit.com)https://www.tradebit.com
BEHIND THE MAKING OF
(A romp through each track by John Zambetti)
This one is all Searchers with a Beatlesâ NOWHERE MAN influenced electric 12-string guitar solo from Johnny Z thrown in for good measure.
The obvious double-meaning tune stems from Walterâs ramblings around London on return from the bandâs Cavern appearance in Liverpool; dealing with music business and personal disappointments no different now then back in the day.
The layered 12 and 6-string acoustics with mandocello and tambourine evokes HIDE YOUR LOVE AWAY-period Beatles. In an attempt to find a suitable wind instrument sound, Johnny Z pulled out his i-phone ocarina APP and laid down a haunting riff. After all, The Troggs used an ocarina in WILD THING, so it must an authentic Brit sound!
Andrew Loog Oldham completes the song with his Dickens-esque reading of the chorus; like the ghost of debauched RnR-past lurking in the tunnels of the tube.
JUST A LITTLE BIT
Buddy Holly meets The Hollies. All the elements are here; from the lush Hollies vocals to the attaché case Buddy Holly used for a drum on PEGGY SUE and the celeste from EVERYDAY. The Holliesâ own Tony Hicks adds his distinctive vocal touch to ensure authenticity. A little more of the American influence comes through at the end with the key change, staccato guitar breakdown reminiscent of Tommy James & the Shondellsâ, I THINK WEâRE ALONE NOW.
A BIT OF AWRIGHT
Spencer Davis sets the tone with his blues harp on this tongue-in-cheek romp through the London sights with your favorite âposhest birdâ. Ian Whitcomb adds a YELLOW SUBMARINE touch with his megaphone-style reading.
Although bearing no resemblance to either the Donovan or Rolling Stones FACTORY GIRL, it is vintage Rolling Stones with a touch of Rod-era Faces but sung in Manchester. Skiffle legends, The Quarrymen provide the choruses with scouser-edged authenticity. Johnny Z brings in some Brian Jones blues harp and Johnny Z, jr some Jeff Beck lead guitar.
A personal one from Walter. Johnny Z throws in some riffs from SO YOU WANT TO BE A ROCK AND ROLL STAR and TIRED OF WAITING; which pretty much spells out what happened
Take a dose of LADY JANE/PLAY WITH FIRE-era Stones and mix it with The Left Banke (probably the most Britishy of the American â60âs groups) and add a drum riff from The New Colony Six (another Yankee cum Brit outfit). Johnny Zâs harpsichord and reading set the tone and Peter Jamesonâs acoustic 12-string drives it along. Two young musicians from the Royal Academy of Music, Virginia Rockwell and Daniel McCallum, on violin and oboe complete the portrait.
Pure Yardbirds; but as sung by Tommy Boyce and Bobby Hart. Ian Whicomb adds some Jerry Lee Lewis piano and Walter ends it with a STROLL ON/TRAIN KEPT A ROLLINâ riff and a Cousin Brucie yelp to send you back to 1964 WABC-AM
The Dave Clark 5 meets Manfred Mann on this one. Starting off with the Troggsâ Richard Moore blasting on the WILD THING ocarina.
Chad & Jeremy add their distinctive harmonies to this song of turnabout; where itâs the lady who just wants a one-night stand. The Fortunesâ David Carr adds his distinctive touch on the piano lead.
SHE COMES AROUND
The Byrds meet The Pretty Things and Faces with a touch of Roy Orbison drum beat.
The Animals as sung by the Leon Russell-led Shindogs. Vintage Keith Richards Stonesâ rhythm guitar leads to the obvious homage to the classic Alan Price HOUSE OF THE RISING SUN organ solo which then sets the stage for Johnny Zâs, Jeff Beck Yardbirdsâ MISTER YOUâRE A BETTER MAN THAN I influenced guitar solo. Whew! My blisters have blisters!
Starting out with The Troggsâ Richard Moore doing the opening guitar pull reminiscent of WILD THING the band launches into a Swinginâ Bluejeans influenced Hippy Hippy shake style riff, adds some Mike Smith organ and ends up with the requisite 60âs-era frenetic screaming
VENTURE INTO THE SHADOWS
When putting together the concept for this album I wanted to pay tribute to The Shadows, who are probably responsible for the majority of the British players picking up an electric guitar. (The Ventures had the same effect on American players.)
Original Venturesâ guitarist Nokie Edwards lays down the lead line with The Shadowsâ
Mark Griffith and John Farrar right beside him with harmony and counterpoint. The Venturesâ keyboardist David Carr completes the picture. This appears to be the first time players from both bands have been on the same tune; truly a legendary recording.
As a final touch, the album was mastered at Abbey Road Studios and the cover photo taken by legendary British photographer, Gered Mankowitz.
©2010 John Zambetti
The Malibooz celebrated their 40th band anniversary in 2004 by performing at our old high school in NYC and then going to Liverpool for a performance at The Cavern Club and at BBC Merseyside. I decided we should do our 1964 set list (which I still have). On first perusal I noticed that it was laden not only with Brit Invasion tunes of the day, but several Brit inspired originals. And why not? We were big fans of the genre, having caught most of the British bands live when they first hit New York. I saw The Beatles at Forest Hills Stadium (a year before Shea Stadium, The Rolling Stones first show at Carnegie Hall (pre-SATISFACTIO; it was half filled), multiple Dave Clark 5 concerts as well as the ever astounding, Murray the K Brooklyn Fox shows that featured huge laundry lists of diversified acts that included The Kinks, The Zombies, The Searchers, The Fortunes, etc.
When The Malibooz finally got around to recording our first full LP for Rhino in 1981 we concentrated on our surf roots and laid down many of the tunes we had written in the â60âs; but they were only the surf tunes. It seemed a shame that these other early originals wouldnât see the light of day.
Thus, the idea for this album was born. The flip-side of our 1965 single GOIN TO MALIBU was the Walter Egan penned Brit inspired THATâS A LIE. We had performed it at our TV performance at the 1965 NY Worldâs Fair (located in Queens, New York!). Thatâs when the showâs host made the remark, âYou boys play everything from surf music to the English sound, whatâs the differenceâ. Yes, indeed, what was the difference? Well I made short work of that in my reply, but the reality is 40 years later we still hadnât realized those tunes.
On July 4th 2008 Donovan was visiting L.A. and stopped by my house. He hadnât seen my new studio and when he did he immediately said, âWe should record something together hereâ. That was all I needed, weâd do our long overdue Brit Invasion album and have some of the original âinvadersâ join us.
I contacted a record executive friend who had many contacts with â60âs musicians. I told him about my planned project and asked if he would set up some introductions for me. His response was, âWhatâs in it for them?â It had never occurred to me that my fellow â60âs musicians would not be as enthusiastic as I was and just do it for the fun of it. Sometimes being naïve about the impossibility of the project youâre about to embark on is the most crucial factor in securing its success!
While in the midst of writing tunes for the project I received a call from Billy Stern. Billy is an old friend who recently became a board member of GUITARS IN THE CLASSROOM. Billy invited me to a GITC fundraiser that featured The Quarrymen. The show was hosted by Sirius Satellite Radioâs Chris Carter from BREAKFAST WITH THE BEATLES. My brother, Teddy, is a producer with Sirius and I figured with the combination of Teddy and Billy Iâd get to meet The Q-men. It worked and I invited them to dinner in Malibu the next day. They had a full schedule, which was growing by the minute, but they really wanted to see Malibu beach (and my guitar pool).
After dinner, I invited them to see my studio. I can already set it up with the song I wanted them to sing on. I made the proposition and they gladly complied. Their friendly demeanor and thick scouser accents transformed the song and took it right back to 1964. Later on, Len Garry told me he couldnât believe that Colin had sung on the tune. He and Rod had been trying to get him to sing for years, but he never would. Len surmised that Colin felt obliged after the ride to the beach in my â41 Ford Woodie and my wife Joanâs great dinner. Furthermore, he confirmed that this was Colinâs first recorded vocal performance. Remember, Colin was in the original Beatlesâ lineup and drummed on their primitive demo. His drumming is on the Beatlesâ Anthology album. Now I was off and running!
With The Quarrymen on board, I contacted Rhino Records founder Harold Bronson. I had met Ian Whitcomb at Haroldâs home and was hoping heâd remind Ian of that and set the stage for Ian to participate. An email went out and Ian happily complied. His period âmegaphoneâ vocals worked great on A BIT OF AWRIGHT.
I also knew that Harold knew Spencer Davis and hoped heâd do the same. I had met Spencer several times in the distant past and Walter had been on a bill with him in Nashville not so long ago. Harold gave me his number. It turned out that Spencer had been a great friend of our late drummer, Bruce Gary. He was happy to participate as a tribute to Bruce and he also arranged for me to see him in concert at the Wiltern Theatre. The Zombies and The Yardbirds were also on the bill.
Guitar Centerâs Ray Scheer is a friend from the classic car world and also owns Favored Nations Records; The Yardbirds record label. In the late â60âs our band had been on the bill with ex-Yardbird Keith Relfâs band Renaissance and, although none of the other ex-Yardbird/Renaissance musicians were in the current lineup, I felt there was enough of a connection to get a conversation going.
Ray set up the email connection and I began a dialogue with Jim McCarty the original Yardbirdâs drummer. I got to spend some time with him backstage at the Wiltern concert. Jim was into participating but their hectic schedule didnât allow for it.
A few weeks later Spencer was able to come up to the studio. As he was driving into town, he called and said, âGuess who I brought with me?â. It was Peter Jameson! I had last seen Peter in 1970 when Walter and my college band, Sageworth, opened for Spencer & Peter at the Cellar Door in Washington, DC. It was amazing! After some preliminary catching up, Spencer laid down a killer harp part on A BIT OF AWRIGHT and Peter an acoustic 12-string on BITTER GREY. Then we were off to a local Italian café for a long lunch.
Next I contacted Gered Mankowitz. Gered is the legendary British photographer (His photographs are displayed in Englandâs National Portrait Gallery) who is well known for his work with Jimi Hendrix and The Rolling Stones (covers for OUT OF OUR HEADS, BETWEEN THE BUTTONS, GOT LIVE IF YOU WANT IT,etc.) as well as many other artists including Traffic, Marianne Faithful, The Yardbirds and Chad & Jeremy.
Iâd met Gered through original Maliboozâ member, Chris Murray. Chris owns the Govinda Gallery in Washington, DC and represents Geredâs photography in America. Iâd visited Gered several times in London and he had stayed with us on a recent trip to LA. In fact, Gered had photographed my son, Johnny and me when we recorded at Abbey Road Studio #2 in 2001. Amazingly, because Gered primarily worked with the Rolling Stonesâ (he has photographed several of their early album covers), he had never photographed inside Abbey Road! Gered was up for shooting our album cover!
A few weeks later original Rolling Stones producer/manager Andrew Loog Oldham came by the house during an LA visit. I had met ALO many years ago when he produced an album for REPAIRS; a band that included Walterâs cousin on guitar. Andrew now had a show on Sirius and I had run into him again several years ago in Malibu and New York. I played him some of the demos I had recorded for the album. He agreed to participate and did a great reading, in his inimitable style, on LONDON UNDERGROUND.
In the past, I have retained the KubRo Group media/PR company. The Kubro Group consists of the legendary Harvey Kubernik and David Carr. David had straddled both sides of the RnR ocean by playing with both The Fortunes (on both of their smashes, HERE COMES THAT RAINY DAY FEELING AGAIN and YOUâVE GOT YOUR TROUBLES, IâVE GOT MINE) and The Ventures. He would be perfect for the project and he agreed to help.
John Farrar is a neighbor of mine. He is mostly known for writing the music for GREASE and writing/producing mega-hits for Olivia Newton-John, BUT back in the day he did a stint on guitar with The Shadows. When I met John a few years back he was amazed that I knew that. Combined with a mutual interest in tennis, we became friends.
If I was to properly honor the British Invasion, I had to acknowledge their instro roots (I had already covered skiffle with The Quarrymen). What if I had a tune with both The Shadows and The Ventures? VENTURE INTO THE SHADOWS was born.
With John Farrar on board I wanted to try to get one of the original Ventures involved. In the meantime through guitarist/author Robb Lawrence (who incidentally was the photographer for the picture sleeve of our Maliboozâ Columbia single in 1980) I attempted to reach Nokie Edwards. Unfortunately, Nokieâs wanderings had left Robb with non-current contact info. On a whim, I decided to try Nokieâs website. Sure enough, Judy Edwards replied and a date was set for me to record Nokie at his Yuma, AZ home.
In 1983 my brother, Teddy, had played drums for Chad & Jeremy on a British Invasion redux tour. Also Jeremy was a great friend of Geredâs. I had Gered set the stage and I sent Chad an mp3 of GOOD TONIGHT. He dug it, felt is was reminiscent of SUMMER SONG and would be perfect for them. I told the scholarly Chad that The Malibooz had preformed SUMMER SONG at our high school elocution contest (after all, players play!). Thatâs all he needed to hear; Chad & Jeremy were in.
In the meantime, old British buddy, Roger Swallow came by to add some percussion. In England, Roger had been on Rutland Weekend Television ( where the original Rutles parody was created). He also played drums for Ian Mathewsâ Southern Comfort, Al Stewart and a host of other British outfits. Roger, Walter and I had played in the Magneto Band together in the mid â70âs and weâd always remained close. Roger now spends his time between businesses in London and LA. He offered to corral Shadowsâ bassist Mark Griffiths for the project as well as participate himself. Mark added some great guitar parts to VENTURE INTO THE SHADOWS.
I called the band together and we began recording. We were finishing up recording LONDON UNDERGROUND ( It has a bit of a HIDE YOUR LOVE AWAY vibe to it) and we thought it would be nice to have pan flute type sound in it as an homage. After trying several patches I remembered that I had an ocarina application on my I-phone. Ocarina would be perfect. After all, The Troggs had used one on WILD THING. I fired it up and it sounded great. Shortly thereafter a friend gave me The Troggsâ Richard Mooreâs number. Richard came by to add the WILD THING guitar pull to SO BAD. I told him the ocarina story and he said, âThe WILD THING ocarinaâ¦I have it right here!â To my amazement he pulled the ocarina out of his backpack. It was immediately added to DIT DIDIDIT.
One of The Maliboozâ favorite groups is The Hollies. In fact, we performed LOOK THROUGH ANY WINDOW for the Ted Mack Original Amateur Hour (we lost out to a roller skating accordionist!). I contacted The Hollies manager Jimmy Smith. I sent him the demo of JUST A LITTLE BIT to see if Tony Hicks might get involved. I had written JUST A LITTLE BIT as kind of Buddy Holly meets The Hollies (On the track I even included the celeste from EVERYDAY and the attaché case drumming from PEGGY SUE matched with a Hollies-style vocal arrangement). It seemed perfect to me. Promptly, Jimmy emailed back that Tony would be happy to replace the guitar, bass and drum tracks. No man, we want that voice!! Oh you want him to sing! Tony did a fantastic job on JUST A LITTLE BIT and really gave it an authentic sound. It takes me right back every time I hear it.
The Searchers are another fave of ours. I had met Frank Allen back when Teddy did the 1983 British Invasion tour and I contacted him. It turns out that The Searchers are touring more than ever and they didnât have a break to participate. I told Frank about my idea to do a little homage to the first Searcherâs LP. The one where they had the âMeet The Searchersâ grid that included the boysâ weights; in stone! I wanted to do it right and couldnât find my original LP. Frank got on it and within a few days emailed me a photo of the âgridâ. Our take on it is part of the QUEENSâ ENGLISH CD package.
As we were finishing up the mixes I got together with Jeffrey Foskett. He was performing nearby as Brian Wilsonâs musical director. I gave Jeffrey a copy of the mixes. He called me the next morning to say he really dug them. I told him we were mastering at Abbey Road Studios. I knew he had done the TV show, LIVE FROM ABBEY ROAD with Brian and I wondered if he had any connections there. We had been trying to get Tony Hicksâ son, Paul involved but I was reluctant to ask Tony. Jeffrey couldnât believe it. Paul Hicks was a good friend of his; but he never knew he was Tony Hicks son! Paul had engineered the Beatlesâ Rock Band sessions and worked closely with producer Giles Martin. Needless to say, he was highly sought after. Jeffrey contacted him and Paul agreed to help.
So thatâs how QUEENSâ ENGLISH came to be. In the end, no one ever asked me, âWhatâs in it for them?â Instead, the passion and enthusiasm that made the British Invasion of the 1960âs immortal is still very much alive. Over the past 40+ years weâve all traveled different paths, but in the end we all love the music just as much now as we did then.
©2010 John Zambetti
in partnership with CDbaby
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