The West Coast Pop Art Experimental Band Part One Discogs

American psychedelic rock ring

The West Coast Popular Fine art Experimental Ring
From left to right: Bob Markley, Michael Lloyd (bottom), Danny Harris, Shaun Harris, and John Ware.
Groundwork information
Origin	Los Angeles, California, United states
Genres	Psychedelic rock, folk rock, experimental stone
Years active	1965–1970
Labels	FiFo Reprise Amos Forrad
Associated acts	The Laughing Air current California Spectrum Markley, A Group
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 grouping created music that possessed an eerie, and at times sinister temper, and contained material that was frankly political, childlike, and baroque. Representing dissimilar musical backgrounds amongst band members, the grouping, at times, resembled a traditional Byrds-esque folk rock ensemble, but the WCPAEB likewise, within the same body of work, recorded avant-garde music marked by multi-layered vocal harmonies.

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

The band debuted with the anthology Book One in 1966 on the pocket-size FiFo record label. In the early on years of the group, much was made of the WCPAEB's elaborate psychedelic low-cal shows, which became the focal indicate of their live performances in Los Angeles. Following the release of Volume One, the WCPAEB signed with Reprise Records, recording three albums with the company, including arguably their about accomplished work Volume 3: A Child's Guide to Good and Evil in 1968. Two additional albums, Where'south My Daddy? and Markley, A Group, were distributed on independent labels before the group disbanded in 1970.

History [edit]

Formation and first album (1966) [edit]

The group was formed in August 1965 when Los Angeles playboy Bob Markley, a wealthy police graduate and adopted son of an oil tycoon, organized a party at his abode in Beverly Hills. Markley previously hosted the television program Oklahoma Bandstand in 1958, until he was signed by a Warner Bros. Records executive, and purchased a luxury mansion in Los Angeles.^[1] He released two commercially unsuccessful singles, "Will 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'southward own local record labels.^[two] In attendance at Markley's party were dozens of journalists, deejays, and diverse individuals of the "in-crowd", as well as live performances past Al Kooper followed by the Yardbirds.^[iii] Producer Kim Fowley introduced Markley to Michael Lloyd, and brothers Shaun and Danny Harris, members of the group the Laughing Wind.^{[4] [v]}

Lloyd began his music career in 1962 in an instrumental surf rock ring which included Jimmy Greenspoon, known as the New Dimensions and afterward the AlleyKats. The group entered Stereo Masters studio to record three albums, during which fourth dimension Lloyd get-go became acquainted with Fowley.^{[ii] [vi] [seven]} While attending the Hollywood Professional person School, Lloyd befriended the Harris brothers, who recorded the regional hitting "Ski Tempest" with rival act the Snowmen. In early on 1965, Shaun Harris collaborated with Lloyd in his newly formed ring the Rogues, releasing the Harris-Lloyd composition "Wanted: Dead or Alive", on Fowley's Living Legend characterization.^[viii] Shortly thereafter, with Danny Harris and drummer John Ware in the fold, Lloyd and Shaun formed the Laughing Wind, which recorded the single "Proficient to Be Around" for Belfry Records after that twelvemonth.^[9] Recordings made or produced past these pre-WCPAEB acts were nerveless years subsequently the compilation anthology, The West Coast Pop Fine art Experimental Band Companion in 2011.^[10]

Markley became motivated by the big crowd a rock band similar the Yardbirds attracted, specially the number of teenage girls, and proposed he would finance and secure a recording contract for the Laughing Air current, in exchange for his inclusion into the grouping.^[xi] Impressed and slightly seduced by the much older Markley's wealth and entourage, the band accepted his offer. The decision to record equally the Due west Coast Pop Fine art Experimental Band, rather than the Laughing Current of air, was made by Markley, who envisioned the ring as a west coast counterpart to the Velvet Underground.^[12] Looking to accept something tangible to correspond the band, in 1966, the WCPAEB released their debut album on Markley'due south FiFo characterization, Volume One. Much of the album was recorded at Lloyd's personal studio and a rented store-front end on La Cienega Boulevard, before Markley joined the group; notwithstanding, tracks such as "Don't Break My Balloon" and "If You Want This Dearest" indicate he had some influence over the later sessions for the anthology's evolution.^{[13] [xiv]} While Volume One did feature a small selection of original textile, the majority of the album was cover versions including "Louie Louie", "Yous Actually Got Me", and "It'southward All Over At present, Baby Blueish".^[15]

Reprise years (1967–1968) [edit]

The WCPAEB embarked on their first tour in June 1966, establishing themselves every bit a alive favorite with Los Angeles hippies at venues such as the Other Identify and Wild Matter. The group shared the nib with the Mothers of Invention, the Seeds, Fe Butterfly, and the Yardbirds, among others. According to Ware, the group's performances were "the ultimate street happening for a while"; highlighted by their ambitious psychedelic light show, which was operated by Buddy Walters, who also bundled low-cal shows for Jimi Hendrix and the Animals.^[16] In a review of a gig in 1967, the Los Angeles Free Press commended the WCPAEB'south musicianship, just was critical of Markley for his "hypster" attitude and non-rhythmic tambourine playing.^[xvi] Although his bandmates did not like his pretentious on and off-stage antics, Markley did manage to negotiate a three-anthology bargain with talent scouts of Reprise Records who had attended WCPAEB'southward performances.^[14]

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

Markley and Lloyd did not get on, which led to the latter leaving the group and Morgan joining full-fourth dimension.^[18] According to Lloyd, Markley became increasingly overbearing on the WCPAEB's creative output, and "he started to believe that he was similar, you lot know, the real deal, equally opposed to the guy who doesn't sing and doesn't actually accept whatever musical thoughts and stuff like that. He wasn't content anymore simply being the guy who ended upwards with the girls that he could become from it".^[18] Lloyd remained in Los Angeles and participated in a number of studio projects with Fowley and Mike Curb such as October State, the Fume, St. John Green, and the Burn Escape.^{[nineteen] [twenty] [21]}

In August 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'southward lack of success, and it served as a waiting period while his brother, Danny, was being treated for depression.^[22] He formed the California Spectrum with Danny, Lloyd, and Jimmy Greenspoon. The group toured the Midwest with Markley'south state-of-the-art low-cal prove, and released ii singles in its brief recording career, "Sassafras" (the same version featured on Volume Ane) and a comprehend of the Left Banke'due south "She May Call You Up Tonight", none of which were met with much attention.^{[2] [22]} When Harris returned to the WCPAEB in 1968, he touted a completely dissimilar line-up, and promoted the California Spectrum with his column in the teen zine Tiger Shell until the grouping disbanded erstwhile in early on 1969.^[two]

In late 1967, the WCPAEB released their tertiary album, Vol. two (Breaking Through), which was the band's most ambitious, admitting less consistent than its predecessor, work to date.^[eighteen] The album featured a peculiar encompass photo of Markley and the Harris brothers sitting bare-chested in a argent bathroom, and a assuming annunciation on the behind: "Every song in this album has been written, arranged, sung and played past the group. No one censored us. We got to say everything we wanted to say, in the mode we wanted to say information technology".^[eighteen] For the first time, each rail was credited either in whole or in part to members of the WCPAEB; yet, Markley's manic narratives and questionable lyrical content (especially young girls) dominate the record. An edited version of the Morgan-Markley composition "Smell of Incense" was issued merely ahead of Vol. 2 (Breaking Through), but information technology failed to chart.^[23] The Dallas psychedelic pop grouping Southwest Fox covered the song in 1968, which reached No. 56 on the Billboard Hot 100.^[24] Amidst its x tracks, the anthology included the politically-satirical "In the Arena", mayhap inspired by the Watts riots.^[23] Vol. ii (Breaking Through) besides features the anti-war song "Suppose They Gave a War and No 1 Comes", the full version of "Odor of Incense", and a rare example of Markley singing is found on "Unfree Child".^[23]

The WCPAEB's quaternary album Volume 3: A Child's Guide to Good and Evil was released in July 1968. The album represented a creative jump forward for the ring and is often considered their almost accomplished work.^[25] Ring biographer Tim Forster described Volume three every bit the grouping'due south "most extraordinary accomplishment", one which utilized a "bizarre fusion of innocence and malice" heavily affected by the "exuberance of the British Invasion, folk stone, and flower power-era" being "swept away in a tide of bad drugs, paranoia, and protestation".^[25] The anthology also saw Morgan experimenting with the dawdling quality of the electrical sitar, featured prominently on "Ritual #ane", "Until the Poorest of People Accept Money", the title rails, and "Ritual #2".^[25] In addition, Volume 3'southward front cover design showcased the "butterfly mind" artwork of John Van Hamersveld, who too is credited with the covers of Crown of Creation, Exile on Main St., and Magical Mystery Tour.^{[xviii] [26]} Like the WCPAEB's before albums, Volume iii failed to sell in sufficient quantities to achieve the U.S. charts, and Reprise dropped the band.^[25]

Contained labels (1969–1970) [edit]

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

Lloyd negotiated with Curb to distribute the grouping's 5th and final album on Forward Records. Released in 1970, Markley insisted the anthology, originally cocky-titled, should be released nether the name Markley, A Group. The album benefited from the full involvement and production experience of Lloyd, who sang the majority 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] However, although the album is more often than not considered an improvement over Where's My Daddy?, the group could no longer cope with Markley'southward erratic behavior, and disbanded before long later the anthology's release.^[i]

Aftermath [edit]

Markley continued his playboy lifestyle at a beach house 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] According to various accounts past band members and Fowley, in 1972 Markley had evaded imprisonment and kept a depression-profile after an incident involving two underage girls.^[33] Markley sporadically contacted his one-time bandmates; notwithstanding, Fowley recollected a conversation 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 lone for a day and a half. He was already pretty messed up, but he got very badly dehydrated. When they eventually institute him he was taken to some hospital and placed on a life-support system, unable to speak or recollect".^[33] Markley died on September 9, 2003 in a hospital in Gardena, California; he was 68.^[ii]

At age 20, Adjourn appointed Lloyd vice-president of MGM Records. In the 1970s, he became a successful tape producer for teen idols, including the Osmonds, Shaun Cassidy, and Leif Garrett. In 1986, he was music supervisor for the soundtrack of the flick Dirty Dancing, and has been involved in several other motion picture soundtracks well into the 2000s.^[34] Shaun Harris collaborated with Lloyd to release Harris'south cocky-titled debut solo album in 1973, which explored his country rock influences. Later on, he became the president of Barry Manilow's publishing visitor and virtually recently Harris has written a play about his life.^[35] Although Danny Harris was initially disillusioned with the music industry, he recorded the gospel anthology Thank Him Every Day in 1980. He also worked as a folk musician and role player earlier dying on the set of Saving Mr. Banks from a heart set on on Oct 1, 2012.^{[35] [36]} Morgan helped establish Iii Dog Night (though left before they found commercial success) and joined the Electric Prunes for their album Just Good Old Stone and Roll. He died in 1989 anile 44.^[33]

Ring members [edit]

• Bob Markley (August 29, 1935 – September 9, 2003) - tambourine, spoken word, vocals (1965–1970)
• Michael Lloyd (built-in November 3, 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 2, 1944) - drums (1966–1968)
• Ron Morgan (1945 – 1989) - lead guitar, sitar (1967–1970)

Timeline [edit]

Discography [edit]

Studio albums [edit]

• Volume One (1966)
• Part One (1967)
• Vol. ii (Breaking Through) (1967)
• Volume 3: A Kid's Guide to Proficient and Evil (1968)
• Where's My Daddy? (1969)
• Markley, A Grouping (1970)

Compilation albums [edit]

• Legendary Unreleased Albums on the Raspberry Sawfly characterization (1980)
• Transparent Twenty-four hours Sampler on Edsel Records ED 180 (1986)
• The West Coast Pop Art Experimental Band Companion (2011)

Singles [edit]

• FiFo Records
  • "Sassafras" b/due west "I Won't Hurt Yous" (1966)
• Reprise Records
  • "1906" b/west "Shifting Sands" (1967)
  • "Assist, I'm a Rock" b/w "Transparent Twenty-four hours" (1967)
  • "Suppose They Give a War and No One Comes" b/w "Queen Nymphet" (1967)
  • "Smell of Incense" b/westward "Unfree Kid" (1968)
• Amos Records
  • "Costless every bit Bird" b/due west "Where's My Daddy?" (1969)

References [edit]

Citations

1. ^ ^{a b} Forster, Tim. "Teenage Dreams Diverted" (PDF). lookaside.fbsbx.com . Retrieved Oct xvi, 2016.
2. ^ ^{a b c d east} Carr, Steven (2011). The West Coast Pop Art Experimental Band Companion (CD booklet). Sunbeam Records. SBRCD5079.
3. ^ Platt, John. "The Yardbirds in the United states, 1965". members.chello.nl. Archived from the original on July nineteen, 2013. Retrieved August 25, 2016.
4. ^ Forster 1999, p. 1.
5. ^ Stax, Mike. "Kim Fowley: Sins and Secrets of the Silver Sixties". ugly-things.com . Retrieved October xvi, 2016.
6. ^ Unterberger, Richie. "The New Dimensions - Biography". allmusic.com . Retrieved August 24, 2016.
7. ^ "The New Dimensions". home.unet.nl . Retrieved Baronial 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 Due west Coast Pop Art Experimental Ring". members.chello.nl . Retrieved Oct 12, 2016.
12. ^ ^{a b} Forster, Tim (2001). Role 1 (CD booklet). Sundazed Records. SC 6173.
13. ^ "Vol. 1". members.chello.nl . Retrieved October xiii, 2016.
14. ^ ^{a b} Cost, Jud (1997). Volume One (CD booklet). Sundazed Records. SC-11047.
15. ^ Unterberger, Richie. "Volume One - Review". allmusic.com . Retrieved September 4, 2016.
16. ^ ^{a b c d} Forster 1999, p. two.
17. ^ Watts, Peter (2008). The Bizarre Story of the Greatest Cult Band of All Fourth dimension. Shindig! magazine. p. 5.
18. ^ ^{a b c d e} Forster 1999, p. three.
19. ^ Irvin, John. "The Smoke". members.chello.nl. Archived from the original on July xix, 2013. Retrieved October 10, 2016.
20. ^ "The Smoke (self-titled) 1968". therisingstorm.net . Retrieved October 10, 2016.
21. ^ "The Fire Escape - Psychotic Reaction". popdiggers.com . Retrieved October x, 2016.
22. ^ ^{a b} "The Westward Coast Pop Art & California Spectrum". members.tripod.com . Retrieved October 16, 2016.
23. ^ ^{a b c} Forster, Tim (2001). Volume 2 (Breaking Through) (CD booklet). Sundazed Records. SC-6174.
24. ^ Coley, John (2009). Backstage Pass. LuLu Publishing. p. 104. ISBN9780578031354.
25. ^ ^{a b c d} Forster, Tim (2001). Volume iii: A Kid'due south Guide to Skillful and Evil (CD booklet). Sundazed Records. SC-6175.
26. ^ "John Van Hamersveld". tsovet.com . Retrieved October 16, 2016.
27. ^ ^{a b} "Where's My Daddy?". members.chello.nl . Retrieved October xv, 2016.
28. ^ "Amos Anthology Discography". bsnpubs.com . Retrieved October 15, 2016.
29. ^ Forster 1999, p. 4.
30. ^ Stonemason, Stewart. "Where's 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 sixteen, 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 October sixteen, 2016.

Sources

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

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