LOLITAS "SOLO SOLO SOLO SOLO" (1990)

"Solo solo solo solo", front cover

Lolitas were a French-German rock band influenced by Punk, Rockabilly, U.S. Garage, French 60s Ye-Ye Music and Pop. Founded by Françoise Cactus and Coco Neubauer, they were active since the mid 80s for about eight years.

Their name was inspired by the famous Stanley Kubrick's movie "Lolita". The group mainly used the French language in their own music, reserving English mostly for covers of famous songs they regularly included on their albums.

Françoise Van Hove was born in Villeneuve-l'Archevêque, a small village in Burgundy, France. She earned the nickname "Cactus" for her habit of spending her spare time hanging around in the greenhouse behind her parents' house.

During the first half of the 80s she started writing songs and moved to West Berlin; here she joined the Geniale Dilettanten (Ingenious Dilettantes) movement, a merger of the New Wave and Post-Punk scene. During those days she used to make a living by giving French lessons.

"Solo solo solo solo", insert 1, front

Guitarist Coco Neubauer, also known as Coco Nut, was born in southwest France and then used to live in Paris for many years. At age 9 he was fascinated by an early Rolling Stones record played for him by his cousin and fell in love with the Rhythm & Blues genre.

Françoise and Coco met in Berlin, they soon became friends and decided to form a band. Their common interest were focused on American music, from Gospel to Hardcore via Rock'nRoll, Country, etc. Morevoer, having spent her youth listening to the radio, Françoise has always had a soft spot for la Chanson Française, some of her idols were Sylvie Vartan, Christophe, Antoine, Françoise Hardy, Jacques Dutronc, Johnny Halliday...

In early 1986, with the complicity of an unnamed Irish girl on the bass, they founded Lolitas and began to play live in Berlin. Since the original bassist soon returned to Ireland, Italian guitarist/bassist Michele "Tutti Frutti" Bordini (...described as "a mixture of Adriano Celentano and Sid Vicious"...) was chosen as a replacement.

With this new and more stable line-up, Lolitas expanded their sphere of activity playing in other venues across Germany. Despite their French lyrics (...or perhaps exactly because of them...)  the band fascinated the audience exuding a naïve atmosphere, sexy, kitsch and slightly perverse.

"Solo solo solo solo", inner gatefold, left panel

In October 1986, What's So Funny About.. - an independent label from Hamburg - released their homonymus first album which was highly welcomed by the German press. "Lolitas" (...available here...) catched the attention of New Rose who re-released it with a completely different cover in early 1987 for the French market: althought they have never played live in France, the band has made a mark with the Rock'n'Roll aficionados.

New Rose was THE french indie label of the 80s. Created by Patrick Mathé and Louis Thevenon, the label knew ten years (1981/1992) of magnificence and fame; during its existence it was one of the most important independent labels worldwide.

At that point the trio expanded with bassist Olga La Basse - a German girl from the Black Forest region - allowing Tutti Frutti to dedicate himself to the guitar, his preferred instrument.

"Séries Américaines", the second Lolitas album (...available here...), was mostly recorded during Summer 1987 at Vielklang Studio in Berlin with the help of acclaimed Australian record producer and sound engineer Tony Cohen, best known for his work with The Birthday Party and Nick Cave and the Bad Seeds. The album was released later the same year by What's So Funny About.. in Germany and in 1988 by New Rose in France, once again with two completely different sleeves.

"Solo solo solo solo", insert 1, back

As their relation with New Rose intensified, Alex Chilton - who was already collaborating with the label and was a fan of the band - accepted to produce their third album. Chilton was a famous American songwriter, guitarist and singer known for his work with the Box Tops in the late 60s.

"Fusée d'amour" was recorded in Memphis in August 1988. Lolitas discovered the U.S. and had a very good time: not only they lived the big adventure of recording with the legendary Chilton (...who also produced The Cramps and Tav Falco's Panther Burns...) in the city of Sun Studios and Stax, and with the participation of Jim Dickinson at the piano in a few songs, but also made the most of their trip playing some shows in New York, Baltimore, Memphis and down to New Orleans.

The album was released in early 1989 by Vielklang in Germany and by New Rose in France and... Can you guess it? Yes, the two editions featured a completely different artwork! This was also the first Lolitas release available in CD format. Once, again, the album was well received by the press.

New songs were recorded under the supervision of German producer Andy Young in May 1989, and five of them appeared later the same year on the 12" EP entitled "Hara Kiri" (...available here...), released by Vielklang in Germany and by New Rose in France and... Can you guess it again? No, you're wrong, this time the cover artwork was exactly the same...

"Solo solo solo solo", inner gatefold, right panel

Compared to the band's previous output, the five cuts on the EP were unusually melancholic... What could be the reason for this? Maybe it is just pure coincidence, but exactly at this time Tutti Frutti decided to quit the band and returned in Italy to devote himself to a more traditional form of Rockabilly music with his new band, the A-Bombers; sadly I wasn't able to find traces of this activity of him...

Tex Morton - born Peter Hajunga - former guitarist of the German Psychobilly band Mad Sin and the Hard-Rockers Lüde & Die Astros, joined Lolitas in late 1989. According to Coco, he was the only one who could replace Tutti Frutti.

During the previous years Lolitas had already released a few singles, but most of them contained tracks from the albums with no exclusive material. In 1990 Vielklang published a very special item, which is the subject of this post: a gatefold 7" double single which, althought credited to Lolitas, featured four tracks by the individual members (...plus guests...) recorded in late 1988 (Tutti Frutti) and 1989 (all the others).

"Solo solo solo solo", insert 2, front

But let's go back to 1989: in October Lolitas shared the stage with Chris Spedding at a New Rose party during the Berlin Independent Days festival. Spedding is one of the UK's most versatile session guitarists, and has had a long career that saw him tackle nearly every style of Rock'n'Roll as well as sporadically attempting a solo career.

Charmed by the freshness of their Rock sung in French, which for once didn't sound at all like a bad copy of American Rock, Chris confirmed he was ready to produce their fourth album in his adopted new hometown of New York.

In April 1990 Lolitas made their second trip to the USA, excited by the collaboration with Spedding, who gifted them with his warmth, charisma and immense creativity producing the songs and also playing piano, organ, cello, squeeze box (accordion) and backing vocals for them. In May the group toured across the U.S. for the second - and last - time.

"Bouche-baiser", the result of the sessions at Baby Monster Studio in N.Y.C., was released in September by Vielklang in Germany and New Rose in France, it was highly praised by the French and German rock medias.

"Solo solo solo solo", back cover

During Autumn 1990 Lolitas extensively toured across Europe and recorded their performances directly to DAT; the best of these recordings were released in 1991 by Vielklang on "La fiancée du pirate", a sort of official bootleg whose audio quality sits somewhere in between an audience tape and a soundboard recording.

A new album was recorded in July 1991 at the group's rehearsal room in Berlin. "My English Sucks" was released by Vielklang in 1992. All the songs on this release are sung in English, it includes brand new songs and new versions of old songs that already apparead on Lolitas' previous albums.

In 1992 New Rose was sold to Fnac and quickly disappeared. Coco moved away to Guadeloupe to start a new life and the group disbanded. In 1995 Françoise Cactus met Brezel Göring at a local supermarket and founded Stereo Total, but this is a completely different story...

A selection of tracks taken from "Fusée d'amour" and "Bouche-baiser" was released in 1998 as "New York - Memphis" by Last Call Records, a label created in 1994 by Patrick Mathé, one of the original founders of New Rose.

"Solo solo solo solo", insert 2, back

"Solo solo solo solo" contains the following tracks:

01. COCO - Bambino (2:02)
02. FRANÇOISE & DIE DREI KAKTEEN - Ich Tanze (2:08)
03. OLGA LA BASSE - Reite, kleiner Reiter! (2:35)
04. TUTTI FRUTTI - A Bomb Bop (2:28)

All tracks were remastered from the original vinyl in September 2015 and are available in FLAC lossless format, along with scans of the complete original artwork.

Please have a look at the comments section for the download link.

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"Poster for a concert at Düsseldorf Spektakulum, 01.12.1989

"Solo solo solo solo" was released by Vielklang in Germany, with cat. number 04036-04, sometimes in 1990, in the form of a deluxe gatefold 7" double single with two printed inserts housed in a transparent 12" plastic-sleeve together with a folded poster painted by Coco.

Althought credited to Lolitas, the single features four tracks by the individual members (...plus guests...) which were recorded in 1989, a few months before the publication, except Tutti Frutti's contribution, which dates back to October 1988.

The first record is opened by Coco, who presents his own Rock version of "Bambino", a cover of "Guaglione", a 1956 neapolitan song written by Giuseppe Fanciulli and Nicola Salerno that was originally performed by Grazia Gresi (...available here) and Aurelio Fierro (...here). In 1957 the song was given French lyrics by Jacques Larue and was brought to success in France by Dalida at the beginning of her career. You can watch Dalida's stunning performance by scrolling down this page or clicking here.

On Side B we find Françoise Cactus - accompanied by Die Drei Kakteen - performing "Ich Tanze", a German cover (...with lyrics written by Françoise herself...) of the 1964 sophisticated classic "Je Danse Donc Je Suis", a song written by Jean-Claude Massoulier and André Popp which is best known for the original version sung by Brigitte Bardot.

The second record offers Olga La Basse's rendition of "Reite, kleiner Reiter!", a 1940 song written by Ralph Maria Siegel that was originally performed by controversial Swedish singer and actress Zarah Leander, and an original Rockabilly composition by Tutti Frutti who had already left the band when "Solo solo solo solo" was released...

Lolitas as they appear on the CD booklet of "Fusée d'amour" (Vielklang edition), 1989

Here's the complete credits list of "Solo solo solo solo" as they appear on the two inserts, along with most of the lyrics and a complete preview of the remastered single:

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COCO - Bambino

Written by Giuseppe Fanciulli and Nicola Salerno, French lyrics by Jacques Larue.

Coco: vocals, guitar, bass, backing vocals
Françoise Cactus: drums, backing vocals
Olga: backing vocals

Recorded at Beat Studio, Berlin, 1989.
Sound engineer: Gerd Bluhm

Produced by Coco and Françoise Cactus.

Dedicated to Olga, Françoise, Michele Tutti Frutti, Tex Morton.
For Christiane Suckow with love and affection!

Les yeux battus la mine triste et les joues blêmes
Tu ne dors plus, tu n'es plus que l'ombre de toi-même
Seul dans la rue tu rôdes comme une âme en peine
Et tous les soirs sous sa fenêtre on peut te voir

Je sais bien que tu l'adores et qu'elle a de jolies yeux
Mais tu es trop jeune encore pour jouer les amoureux

Et gratte, gratte sur ta mandoline mon petit Bambino
Ta musique est plus jolie que tout le ciel de l'Italie
Et chante, chante de ta voix câline mon petit Bambino
Tu peux chanter tant que tu veux elle ne te prend pas au sérieux

Tu peux fumer comme un Monsieur des cigarettes
Te déhancher sur le trottoir quand tu la guettes
Tu peux pencher sur ton oreille, ta casquette
Ce n'est pas ça, qui dans son coeur, te vieillira

L'amour et la jalousie ne sont pas des jeux d'enfant
Et tu as toute la vie pour souffrir comme les grands

Et gratte, gratte sur ta mandoline mon petit Bambino
Ta musique est plus jolie que tout le ciel de l'Italie
Et canta, canta de ta voix câline mon petit Bambino
Tu peux chanter tant que tu veux elle ne te prend pas au sérieux



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FRANÇOISE & DIE DREI KAKTEEN - Ich Tanze

Written by Jean-Claude Massoulier and André Popp, German lyrics by Françoise Cactus.

Françoise Cactus: voice
Ted Gaier: guitar
Rudi Freese: bass
Frank Neumeier: drums

Recorded live at Beat Studio, Berlin, 1989.
Sound engineer: Gerd Bluhm

"Dance" picture on inner gatefold by Irina Hoppe.

Ich tanze, also ich bin
Ich tanze und folge Dir
Und folge ich Dir, ist es nicht für das, was Du denkst
Es ist für den Tanz
Nicht fürs Leben

Guck nicht so traurig
und bemühe Dich nicht,
Mir ständig zu sagen, dass Du nur mich liebst
Ich lege mich nicht fest,
Ich verspreche gar nichts
Mich killt man nicht
Mit einem Blick

Ich tanze,...

Du kannst es versuchen,
Vielleicht gefällst Du mir
Ich halte es nicht für ausgeschlossen
Mich nach dem Tanzen
Fangen zu lassen
Von wem? Das weiss ich nicht
Na warum nicht von Dir?

Ich tanze,...



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OLGA LA BASSE - Reite, kleiner Reiter!

Written by Ralph Maria Siegel.

Olga de la Wolga: vocals, bass
Frank Jürgen Krüger: guitar
Ollie Kobold: drums
Andinger Jung: piano
Ralph Droge: trumpet

Recorded by Gerd Bluhm at Beat Studio, Berlin, in November 1989.

Ollie appears courtesy of S.U.M.D., F.-J. Krüger appears with moral support, Droge appears courtesy of himself.

Olga greets Tutti Frutti, Coco, Françoise and Tex Morton.

Auf der Wolga
Fährt die Olga
Mit dem Schiff zum weiten Meer.
Doch der Iwan ein Kossak der sie liebt,
Reitet wild, Tag und Nacht hinter ihr her.

Reite, kleiner Reiter, reite,
Immer weiter, reite,
Dann lacht dir das Glück gleich!
Reite durch die Felder, reite
Durch die Wälder, reite
Bald hast du dein Ziel erreicht.

Doch die schnellen Wolgawellen
Trugen schneller als dein Pferd.
Und das Schiff fuhr drum dem Iwan davon
Der verzweifelt von Ferne den Rufe hört
Reite durch die Felder, reite
durch die Felder, reite
Bald hast du dein Ziel erreicht.

Doch das Ende
Der Legende
Das ist traurig aber wahr,
Denn der Iwan
Springt hinein in das Meer
Und so wurden die zwei
Leider kein Paar

Reite, kleiner Reiter, reite,
Immer weiter, reite
Nicht die Liebe macht dich blind.
Reite, mit dem Schimmel reite,
In den Himmel reite
Weil doch tausend Olgas sind?



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TUTTI FRUTTI - A Bomb Bop

Written by Tutti Frutti.

Mike B. Bordini (Tutti Frutti): vocals, guitar
Nikil Merani: double bass
Mathias Meyer: drums
Klaus: sax

Recorded at Beat Studio, Berlin, in October 1988.
Sound engineer: Gerd Bluhm

Well, deciphering the lyrics of "A Bomb Bop" is way beyond me... If you know the lyrics to this song, please get in touch!

The original version of "Bambino", performed by Dalida in 1957, the original version with French lyrics of "Ich Tanze" entitled "Je Danse Donc Je Suis", performed by Brigitte Bardot in 1964, and Zarah Leander's 1940 rendition of "Reiter kleine Reiter!" are included here below for your listening pleasure courtesy of YouTube...

A few more information about Lolitas is available here:

http://www.lastcallrecords.com/frenchbiogs/lolitaf.html

http://pirate.family.free.fr/pages/Lolitas.html

http://www.45toursderockfrancais.net/rockfrancais/lolitas45t.htm

http://www.rockmadeinfrance.com/encyclo/lolitas/

http://euthanasie.records.free.fr/discographie/Zgroupe-L/Lolitas.htm

http://namaste-baba.blogspot.com/2011/04/des-lolitas-stereo-total-mettez-une.html

http://www.discogs.com/artist/Lolitas

If you have any other useful information about Lolitas and "Solo solo solo solo" - especially corrections and improvements to this post - or if you spot any dead links, please get in touch with me at stereocandies [at] hotmail [dot] com or leave a comment in the box below, thank you!

MEGA... PROBLEMS!

I don't know what's happened, but I guess that somehow I did something wrong...: most of the files hosted on my Mega account seem to be unavailable when people try to download them. The files are still there, but for some reason they have a different link now...

Sadly, at the moment I don't have enough spare time to check and fix them all at once... As usual, you can help me by letting me know which files are unavailable leaving a comment or writing to my usual e-mail address, thanks for your help!

[repost] THE SHEEP RECORDS STORY #16: THE MEN FROM S.P.E.C.T.R.E. "BURNOUT FOR DAVIE / HOLY SMOKE" (2000)

Recently I received a DMCA complaint concerning this post I dedicated to The Men From S.P.E.C.T.R.E. back in September 2014... The original post was put off-line by Google, so I decided to repost it today for the completeness of "The Sheep Records Story" that I'm trying to build since long. Since the band, or their publishing company - or whoever - complained about it, no download link is available.



Sheep Records was a Swiss underground label specialized in Garage-Rock, Surf, Lounge and other Rock'n'Roll oddities. Run by Christian Müller from Zürich, along with friends Andi Frick and Andreas Egi, it was active from 1996 to 2004 and published about 30 releases, mostly on 7" vinyl singles.



In october 2006, after about two years of hiatus, all the contents of the now defunct Sheep Records website were deleted from the Internet, and replaced with a blank page announcing that "Der Kebab ist gegessen" ("The kebab is eaten"), a last goodbye and a reference to the label's cataloguing system that included the prefix "kebab" for vinyl releases and "gigot" for CD releases.



The sixteenth Sheep Records release was another great single by The Men From S.P.E.C.T.R.E. This 7" is limited to 300 copies on orange vinyl and 200 copies on black vinyl, for a total of 500 copies; it was released in November 2000.

On Side A we find "Burnout For Davie" which, according to the short Sheep Records press-release «is the theme tune for the swiss TV series '5 Kugeln für Tschanun'»... Uhm, I wasn't able to find any information about it on the Internet: is it meant to be an imaginary TV series? Who knows... Anyway, I guess I enjoyed "Holy Smoke", the track on Side B, more than "Burnout..."... Is it because in the depth of my mind I still think that somehow it is inspired by the Iron Maiden track of the same name? Once again, who knows... As the label puts it, «Psychedelic, laid back... Simply the coolest Hammond instros. This time produced by themselves.»





Here's the track list and the personnel/credits list for this 7" single as they appear on the back cover:

01. Burnout For Davie (4:23)
02. Holy Smoke (4:15)

Guitar: Gerry Germann
Bass: Rolf Keller
Organ: Mario Janser
Drums: Stefan Saurer

Recorded at the Portable Studios by Prof. Fate and his secret machine of massmanipulation.

All songs written by The Men From S.P.E.C.T.R.E.

Cover by Rolf Keller.

The Men from S.P.E.C.T.R.E. have recently opened a page on Bandcamp and are currently offering their albums for download: if you enjoy their music please support them!

Here's the group official biography as it appears on their own website:

The Men from S.P.E.C.T.R.E. (Winterthur, Switzerland) rush out of the speakers, straight through your living room, into your ears and move your pulse. The sound is fit for street races with perfectly tuned cars and at home in NASA promotional films. The rough edges and instrumental action sound echoes the space-rock-bands and soundtracks of the 70s. The catchy beat of Drums, Congas and Bass join the wild Hammond organ and fuzzy Guitar to mash-up the scenes.

"The Living Eye" is the third record of the S.P.E.C.T.R.E.'s and released on American label Hammondbeat Records. "The Living Eye" is more indulgent, more psychedelic, and hits the beat harder than the previous records. The songs "Purple Pill People" and "Black Tank", along with earlier productions, have been released on internationally revered labels like Acid Jazz Records (UK).

The Men from S.P.E.C.T.R.E. have toured Italy, Spain, UK, Germany, Belgium, France, and Switzerland. The Swiss quintet will be on stage with "The Living Eye" ...heading for lots of trouble.

The Men From S.P.E.C.T.R.E., 1998

More information about Sheep Records and The Men From S.P.E.C.T.R.E. is available here:

http://www.surfnroll.de/interviews/sheep/sheep.html

http://www.men-from-spectre.org

http://menfromspectre.bandcamp.com/

http://www.myspace.com/menfromspectre

http://www.youtube.com/results?search_query=%22men+from+s.p.e.c.t.r.e.%22

The Sheep Records story will continue in the next months. All your inputs are more than welcome, if you want to get in touch please write to stereocandies [at] hotmail [dot] com or leave a comment in the box below, thank you!

EXPORTATIONS "MEET THE EXPORTATIONS" (1978)

Once you were in love with me
There was no-one else that you wanted to see
But now that you've gone all I do is cry
Once I was the apple of your eye

Because I fell in love too late
There's no correcting my mistake
Time wasn't on my side, hey baby
Because I fell in love too late
There's no correcting my mistake

Now that I'm in love in with you
You say there's nothing that you can do
But my love for you grows each passing day
And girl, oh girl, I've got to find me a way

That special feeling that you had is gone
And like a fool I sit all alone
For the love, for the love that we could have had
Oh girl I know that I need it so bad

Now, when I had you, I just let you slip away from me, baby
Girl, you see, time wasn't on my side
But I feel in love, in love, in love
Can I say, can I say, can I say, that we can start all over again
Too late, too late to apologize, I need you baby right by my side...

[from the lyrics of "Fell In Love Too Late"]



My friends, I've been delaying this post for about two months hoping that I would be able to find a little bit more information about the Exportations, the lovely vocal group from Detroit that is featured today. Unfortunately, I wasn't successful and this time you'll have to enjoy the music with just a few accompanying words...

Let's start from the elusive liner notes written by Clarence "Foody" Rome Jr. of W.C.H.B. Radio 110 AM that appear on the back cover of "Meet the Exportations":

«I've known The Exportations for four years now, but those of you who don't know them let me take time to introduce them to you. The Exportations is a Five member group with three brothers (The Gibson Brothers) Arthur (Rick), Willie (Crick) and Bernard (Bee), also there is Anthony Pilgrim (Amp) and Lucian Thomas (Sonny). Ladies and gentleman you have just met the Exportations and we truly hope you'll enjoy this LP for it is a first, but not the last. Once you have heard this album you'll agree The Exportations sing with close tight harmony and feeling. As you know we could go on and on but I'll let you judge for yourself. While enjoying this album keep these thoughts in mind. Sometimes words can't express feelings but it all comes out in a song. After it's all said and done we couldn't have done it at all without the help of the Lord above.»



Well, at least now we know the name of the five members of the group and we can play a little game: Give every face a name... I bet my luck that the three Gibson brothers are - on the front cover, from the left - the first, the second and the fourth guy, what do you think? It would be way too long to explain how I came up with this conclusion, but I believe that Bernard Gibson is the second guy from the left... Now, seriously, maybe there is someone out there who can match the faces with the names...? Let's get in touch if that is the case, thanks!

According to Jimmy Anderson, who wrote songs for the group and also managed them, all the five members could lead-sing, and Exportations toured nine countries in Europe sometimes during the late'70s or early '80s.

"Meet the Exportations" is the only album that the group recorded. During the '80s it was followed by four singles, most of which are rare - and quite expensive! - nowadays.

Here's the short list:

- "Find Another Day" b/w "I Want You", VIR-RO Records, EXP 1001, 7", 1980

- "Easy Come, Easy Go" b/w "You Did It", VIR-RO Records, VR-001, 7", 1981

- "Party Down (Vocal)" b/w "Party Down (Instrumental)", Birdie Records, BD-1003, 12", 1982

- "Find Another Day (Vocal)" / "Find Another Day (Instrumental)"b/w "Find Another Day (Fresh Mix)", Spectrum X Records, SPX 404, 12", 1986

"Meet the Exportations" original inner sleeve shows United Artists goodies of 1978...

During the mid '80s, the Exportations changed their name to Living Proof and enjoyed a few 12" releases which culminated in their only album (...again...), which was published in 1989 by G.E.M.C. Records; this will be the subject of a future post here on Stereo Candies.

Here's the complete list of Living Proof's output:

- "Hold On To Your Dreams" b/w the same track, Fantasy Records, Fantasy 977, 7" promo, 1986

- "Hold On To Your Dreams" b/w "You Can Make It If You Try", Fantasy Records, D-278, 12", 1986

- "Hold On To Your Dreams" b/w "You Can Make It If You Try", Marquee Records, MQ 100, 12", 1986

- "You're the Apple of My Eye" b/w "You're the Apple of My Eye (Radio Edit)", G.E.M.C. Records, 12-PO18, 12", 1988

- "Where Did I Go Wrong" b/w "Where Did I Go Wrong (Radio Edit)" / "Where Did I Go Wrong (Instrumental)", G.E.M.C. Records, 12-PO29, 12", 1989

- "Living Proof", G.E.M.C. Records, GEM 4002, LP/CD with 8 tracks, 1989

According to this page, during the years Bernard Gibson was also briefly involved with the Five Special and The Floaters; he toured with The Jackson Five and Jeffrey Osborne, and later became a member of the Dennis Edwards Temptations Review for sixteen years.

I truly don't know what happened to the rest of the group; after months of research the Exportations remain almost a black hole for me...

...the warmth of music brights up a cloudy day, sort of...

"Meet the Exportations" contains the following tracks:

01. Strange Sensations (4:14)
02. Fell In Love Too Late (5:31)
03. Kiss Me Love (5:07)
04. Main Ingredient (3:33)
05. You've Been a Long Time Coming (8:19)
06. Music (6:52)
07. Strange Sensations (Instrumental) (4:09)

All tracks were remastered from vinyl in June 2015 and are available in FLAC lossless format or high-quality 320 Kbps MP3 files. Both formats offer complete printable PDF artwork.

Please have a look at the comments for the download links.



"Meet the Exportations" was released sometimes in 1978 by United Artists with cat. number UA-LA872-H. No singles were excerpted from the album, except a promo version of "Strange Sensations" which contains a mono version of the track on Side A and a stereo version on Side B.

I guess that the album wasn't supported or promoted very much by the label and it probably didn't sell well; most of the copies that are available for sale nowadays have a cut corner and we all know what this means...

Side A starts with "Strange Sensations", a track written by producer Clarence W. Rome, Jr.; the song has a nice arrangement and is a fine way to begin an album. The group show off their individual features and it would be interesting to know who's singing what, the falsetto, the tenor, the harmonies, etc.

"I Fell In Love Too Late" is one of my favourite tracks from the album, and the only one whose lyrics I was able to decipher in their entirety. The song was written, once again, by Rome along with bassist Alfred Boyd, Stephen Nathaniel Pettis and Eugene Pettis; the harmonies on this piece are particularly effective and I guess it's no coincidence that the song was recycled on the Living Proof album in 1989.

With the faster "Kiss Me Love", we enter in a more Funky territory. Just like the previous number, this piece was written by Rome with Boyd and the two Pettis. The second half of the song has a long instrumental section and I'd like to give a particular mention to the arrangement which succeed in keeping the track busy without making it overcrowded.

First side closes with "Main Ingredient", another slow song written by the band's manager, Jimmy Anderson, along with Soul singer and songwriter Tyrone Pickens of Tony & Tyrone fame.

Side B starts with the veeery long (...more than eight minutes...) "You've Been a Long Time Coming", another piece written by the Rome / Pettis / Boyd / Pettis team. The song begin with a relaxed intro but soon changes direction to almost reach the Disco dancefloor. The refrain stucks in your head and you can't help to wonder why this song wasn't released as a single...

"Music", written by producer Clarence W. Rome, Jr. alone, is for sure the funkiest track on the album. Its repetitive structure only allows a couple of breaks and includes the usual chit-chat as found in other more famous songs, for example the full version of The Intruders' "I'll Always Love My Mama" or the beginning of Isaac Hayes' "Juicy Fruit (Disco Freak)".

The album ends with an instrumental version of "Strange Sensations" which doesn't suffer much from the lack of vocals.



Here's the complete credits and personnel list of "Meet the Exportations" as they appear on the back sleeve:

Exportations are:
Arthur "Rick" Gibson
Willie "Crick" Gibson
Bernard "Bee" Gibson
Anthony "Amp" Pilgrim
Lucian "Sonny" Thomas

Dave Davidson: lead and rhythm guitar
Willie Hollis: keyboards, piano and Clavinet
Tony Longgrear: bass
Norman Perry: drums
Butch Lomax: drums

Wendell Spencer: string synthesizer and Clavinet
Jimmy McKee: Clavinet
Dennis Addison: congas
Clarence W. Rome, Jr.: congas and bongos

Art director: Bill Burks
Album design: Earl Klasky and Jeff Lancaster
Photography: Houser D'Orio

Rhythm arrangement by Foverro and Dave Davidson.
Rhythm arrangement on "Strange Sensations" and "Music" by Foverro.
Horns arrangement by Jimmy McKee, Foverro and Harold Jones.
Horns arrangement on "Strange Sensations" by Jimmy Roach.

Mixing and recording engineers: Mike Grace and Mark Calice
Recorded and mixed at The Sound Suite, Detroit, Michigan.

Produced by Clarence (Foody) Rome, Jr., for Foverro Productions.

Special thanks to all the Sound Suite Gang, John, Mike, Karen and Mark, Major Anthony, Jack, Pat and Spencer, Mike Stokes.

God bless Mrs. Lillie Mae Gibson, Mrs. Lenore Pilgrim and Mrs. Kathryn Thomas, our mothers, for their strenght, guidance and prayers.

Right on to Al (Perk) Perkins for his help and encouragement.

Special thanks to Masai Karega Kenyatta (Fred Goree) of W.C.H.B. Radio 1440 AM, Detroit, Michigan, for his very much accepted advice and idea for the song "Main Ingredient".

The following clips offer a preview of the remastered album, enjoy "Fell In Love Too Late", "Kiss Me Love", "Main Ingredient" and "You've Been a Long Time Coming"!

More information about the Exportations and Living Proof is available here:

http://www.discogs.com/artist/1380950-Exportations

http://funk-o-logy.com/forum/viewtopic.php?f=49&t=5831

http://souldennis.blogspot.com/2013/07/an-interview-with-jimmy-anderson-aka.html

http://seesaawiki.jp/w/golden_age_of_soul/d/The%20Exportations

http://blog.livedoor.jp/adhista/archives/1544299.html

http://blog.livedoor.jp/adhista/archives/1545696.html

http://soulful.cocolog-nifty.com/soulog/2009/07/the-exportation.html

http://www.discogs.com/artist/990762-Living-Proof-3

http://seesaawiki.jp/w/golden_age_of_soul/d/Living%20Proof?wiki_id=39060

http://soulful.cocolog-nifty.com/soulog/2009/07/living-proof-li.html

http://blog.livedoor.jp/adhista/archives/1544295.html

http://blog.livedoor.jp/samny/archives/51977408.html

http://www.discogs.com/artist/652873-Bernard-Gibson

http://www.discogs.com/artist/445432-Rick-Gibson

http://reedmusic.wix.com/magic-of-motown#!music/c1x9v

http://www.discogs.com/label/324743-The-Sound-Suite-Detroit

If you have any other useful information about this post, or if you spot any dead links, just get in touch with me at stereocandies [at] hotmail [dot] com or leave a comment in the box below, thank you!

BRIAN BENNETT BAND "ROCK DREAMS" (1977)

Brian Lawrence Bennett was born in Palmers Green, North London, on February 8th, 1940. His interest in music dated from an early age: as a small child he used to listen to radio broadcasts from the Aeolian Hall. He was soon hooked on the sounds of Glenn Miller and other Big Bands of the era.

He became fascinated by drums and percussion and lists Gene Krupa, Louis Bellson and, especially, Buddy Rich as his early musical heroes. By 1953, Brian had saved up enough money to purchase a rudimentary drumkit and he practiced constantly. Before long he was performing regularly with his school orchestra and youth club big bands.

He began playing professionally even before he left school, with his own Tony Brian Trio and The Esquires Dance Band. He also began composing music and writing songs from the age of fourteen onwards.

Brian's initial background was in Jazz and Swing, but by 1956 - the year he left school at sixteen to play drums in a Ramsgate skiffle group performing for holiday makers- he was equally adept at playing Rock'n'Roll. «It wasn't originally by choice», recalled Brian, «but there were more and more jobs being offered and I didn't want to turn them down!».

A teenage prodigy, he became the house drummer at the legendary 2Is Club - now known as the birthplace of British Rock'n'Roll - in London's Soho, backing artists like Tony Sheridan, Terry Dene, Vince Eager and Vince Taylor, and from there he earned a regular spot on the Jack Good's legendary TV music showcase Oh Boy!.

By 1959, Bennett was regarded as one of the top Rock & Roll drummers in England and one of the most sought-after percussionists around. That year he joined The Wildcats, the backing band of Rock & Roll singer Marty Wilde.



He remained with Wilde for two years, also playing outside live gigs with stars such as Tommy Steele, and he was also featured on a Wildcats instrumental release of "Trambone" recorded as the Krew Kats. In 1960 he embarked on the legendary tour featuring Eddie Cochran, Gene Vincent and Marty Wilde.

When Marty embarked upon a career in films and musicals, The Wildcats evolved into The Krew Kats and cut a brace of fine instrumentals. After a brief stint as an orchestral pit drummer, in October of 1961 lightning struck for Bennett's career when Tony Meehan - then regarded as the top drummer in England - quit The Shadows, who were then the top Rock & Roll British band as well as the backing group for Cliff Richard, the top singer in the field.

The opening was one of the most coveted in the country - The Shadows were regularly topping the charts in their own right, and their concerts with Richard were riotous affairs, huge sell-outs in front of hordes of screaming fans across England - Bennett was offered the spot. He accepted and was with the group across a string of hit singles and albums, lasting through their intended official breakup in 1968, on the occasion of the group's tenth anniversary as a professional band.

His drumming talents were but one aspect of his monumental musical contribution to the band. He wrote or co-wrote over 100 tracks for them, as well as over 20 compositions for Cliff Richard... He also earned his first Ivor Novello award for composing the title theme to the movie "Summer Holiday", which starred Richard and the band - he also contributed songs to their subsequent movies, up through "Finder's Keepers".

A favourite feature for the audience at any Shadows' concert was always his drum solo, with "Little B" - a must showcase for every Beat-Drummer in the pre-Beatles era - perhaps being the best known and highly regarded piece which has inspired countless drummers over the years and is still performed now by budding young drummers at Shadows' music clubs throughout the UK.

Many drummers back then considered each new Shadows' record as a drum lesson - learning how to play the fills in classic tunes such as "The Rise and Fall of Flingel Bunt" and "Foot Tapper".

"Rock Dreams" original insert (front)

In 1967 Bennett released his first solo LP exploring Jazz and Easy Listening territories with the aptly entitled "Change of Direction", which was followed in 1969 by "The Illustrated London Noise", a return to Rock and Funky music.

Following the 1968 "farewell" Shadows concert, he participated along with lead guitarist Hank Marvin and bassist John Rostill in the band's brief 1969 reunion for a tour of Japan.

By the early '70s Brian was a highly successful and much sought after session drummer working with a vast array of different artists including Ella Fitzgerald, Olivia Newton-John, Engelbert Humperdinck, Richard Harris, The Walker Brothers and many more.

With The Shadows on extended hiatus, Bennett turned to other areas of music. He'd already developed some insights into the mechanics of music through his work as a songwriter, and he took a correspondence course in arranging and orchestration that, when added to his natural ability as a composer, ended up reshaping his whole career. He'd always provided vocals on the Shadows' own recordings, and now he re-established his performing credentials on the piano as well as the vibraphone.

He became Cliff Richard's musical director and formed The Brian Bennett Orchestra touring the world including the first Western rock concerts performed in Russia. Even more important, amid the string of hit albums with Richard that followed, he also started writing music for movies / television and part of this huge load of work was published on many library records by specialized labels like KPM Music and Bruton.

In 1977 he published his third proper solo album, "Rock Dreams" - the subject of this post - credited to the Brian Bennett Band, which was followed the next year by the Disco/Funk opus "Voyage - A Journey Into Discoid Funk".

"Rock Dreams" original insert (back)

Later on, Brian developed yet another career composing music for films. During the '80s, he was awarded his second Ivor Novello award (for 25 years services to music) and wrote music for a wide range of programmes including "Dallas", "Knotts Landing", "Pulaski", The Royal Wedding of Prince Charles and Lady Diana Spencer (!!!), "BBC Golf" theme, "The Sweeney", Dennis Hopper's film "The American Way" and Ellen Barkin and David MacCallum's "Terminal Choice". In 1990, he won his third Ivor Novello award for Best Score For a Television Series (The Ruth Rendell Mysteries).

From the 1990s to 2000, he was in demand more than ever and he composed music for the long-running series "The Knock", "Nomads of the Wind", "Global Sunrise", "Living Britain", "Dirty Work", "David Jason In His Element" and Hansjörg Thurn's film "The Arpist".

In 2001 Bennett was the proud recipient of the Gold Badge Award given by the British Academy of Composers & Songwriters Society. He also won the Royal Television Society Craft & Design Awards 2000/2001 for Best Original Title Music for "Murder In Mind". In 2004 he was awarded an OBE and collected his award from The Queen at Buckingham Palace.

In 2009 and 2010 Cliff Richard and The Shadows embarked on a 50th anniversary tour with 36 shows in the UK, Europe, Australia, New Zealand and South Africa.More recently, Bennett wrote with his son, Warren, 24 episodes of the award-winning TV series "New Tricks". He also recorded and produced an album with Cliff Richard and The Shadows.

As of early 2015 he is working on a musical called "Soho", the music for a production called "Starchild" and an album of the music of John Barry played by The Brian Bennett Orchestra...

Although he'll always be associated with The Shadows, playing drums for them is merely one aspect of a glittering musical career.

"Rock Dreams" contains the following tracks:

01. Rock Dreams (Introduction) (1:17)
02. Rock & Roll Dreamer (4:13)
03. Banja Booga (2:44)
04. Rave On (2:49)
05. Milwaukee Massacre (3:01)
06. C'mon Everybody (2:54)
07. Thunderbolt (3:04)
08. Saturday Night Special (4:23)
09. The Girls Back Home (3:37)
10. Wallop (3:40)
11. Farewell To a Friend (2:48)
12. Drum Odyssey (5:36)
13. Rock Dreams (Finale) (1:02)

All tracks were remastered from the original vinyl and CD in July/August 2015, they are available as a FLAC lossless format file or as a high-quality 320 Kbps MP3 file. Both formats offer complete printable PDF artwork.

Before burning this album on CD-R using the provided CUE file you must convert the original FLAC audio file to WAV format using an appropriate software. Please have a look here if you need some help.

As usual, please have a look at the comments for the download links.



"Rock Dreams" was released in the U.K. by DJM Records with cat. number DJF 20499 sometimes in early 1977. The album was preceded by the "Thunderbolt" single which was released in September 1, 1976, which included "Clearing Skies", an exclusive cut, on the flip side.

Two more singles were excerpted from the album in 1977: "Saturday Night Special" b/w "Farewell To a Friend" on March 18, and "The Girls Back Home" b/w the exclusive track "Jonty Jump" on June 24. Strangely enough another single including "Wallop" and "The Girls Back Home" was released in Sweden by Mercury in 1981, about four years after the original album release...

In 1997, exactly twenty years later, the album was finally re-released on CD - coupled with Brian Bennett's "Voyage - A Journey Into Discoid Funk" by See For Miles Records. Unfortunately, all the tracks on this edition were remastered from vinyl, not from the original master tapes... Anyway, the booklet of such CD offers precious information about Bennett and the album. The notes were compiled by Rob Bradford, here's some of them:

«During the mid '70s, one of Brian Bennett's jobs was as producer/arranger/MD for DJM Records. It was during this period that the idea for "Rock Dreams" came to him:

«I'd actually been reading a book called "Rock Dreams". It was full of photographs and paintings. I realised that I actually knew, or had worked with many of the stars featured in the book. It was then that the idea for my own "Rock Dreams" proiect began to take shape. Instead of a photographic or pictorial album, what about a musical equivalent? It would be like a trip down memory lane for me, paying homage to a lot of the musicians I'd encountered along the way. That's how the whole thing started. I discussed the idea with a few friends and they said 'Go for it!' Luckily, the people at DJM thought that it was a good idea too. It was a lovely album to work on because all of the people involved were personal friends as well as being great musicians. I mean, I was even able to get Cliff to do backing vocals! So that's what it is, basically a musical journey from circa 1958 to 1978.»



Rock Dreams (Introduction and Finale): a gentle, dreamy little item with rippling synths and voices employed quasi-instrumentally as they intone "Rock Dreams". The structure is not dissimilar to a familiar passage from "Tubular Bells".
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Brian: «Just a simple little number to lead into and out of the album.»

Rock and Roll Dreamer: a contemporary rocker, with Joe Fagin handling lead vocal chores. Excellent soloing from Alan Parker, without being over-indulgent. Very classy playing from all concerned. Clean sound and production.
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Brian: «It's about the wannabes you come across. That, and the life of the roadies. Everybody dreams of making it.»

Banja Booga: a real fun instrumental. A sort of Hillbilly / Cajun / Bluegrass pastiche. Brilliant playing from both Alan Parker and Pete Willsher. It's not exactly "Duelling Banjos" or "Foggy Mountain Breakdown", but you get the picture.
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Brian: «It was just a little C&W thing. Something that I'd always wanted to do. I wrote it with Alan Hawkshaw and Alan Parker.»

Rave On: a contemporary reading of the old Buddy Holly favourite. Launched on a raft of acoustic guitars, it's quite laid-back and yet charged with emotion and loaded with affection. Joe Brown's vocals are beautifully understated.
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Brian: «I just had to have a Buddy Holly number on there. He was such a great influence on so many people. Not only that, but Jerry Allison was one of the first Rock'n'Roll drummers that I actually paid any attention to.»

Milwakee Massacre: a great boogie-woogie type rave up of a number. Alan Parker trots out some splendid Chuck Berry pastiche riffs, but the real star here is Alan Hawkshaw. He's a great pianist and he really cuts loose in the manner of 'Pine-Tops' Smith, Freddie 'Fingers' Lee, Jerry Lee Lewis et al. The Killer would love it!
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Brian: «It wasn't a tribute to Jerry Lee Lewis as such, at least it didn't start out with that intention. It was just an excuse to indulge in one of those rocking boogie-woogie type things.»

C'mon Everybody: it has a contemporary, almost lazy feel to it, yet it harks back to the past as well. The early slapback echo feel is recreated quite effectively. This may sound heretical, but with the thumping backbeat, it's almost akin to what Mike Leander was doing with Gary Glitter! Nice percussive effects with handclaps and a tasty guitar break from Alan Parker. Plus, Joe Fagin performs a fair Eddie type vocal.
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Brian: «I wanted this track on in memory of Eddie Cochran. The tour with him and Gene Vincent back in 1960 was one of my personal highlights. Eddie was a talented musician and a really nice guy. Everybody learned an awful lot from him on that tour. Big Jim Sullivan, Brian Locking, Colin Green and myself. Eddie wasn't just a great singer and guitarist, he played drums too!»

Thunderbolt: Shadows' fans have long admired this splendid instrumental. Indeed, they've lobbied the group to record it over the years. Alan Tarney is featured on bass and former Cliff Richard guitarist Terry Britten plays the elegiac lead with some aplomb. Great thunderstorm FX too.
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Brian: «I'll come clean now. Many fans over the years have assumed that "Thunderbolt" was one of my library music pieces. It wasn't. It was written specifically for "Rock Dreams" to represent that part of my career spent with the Shads.»

Saturday Night Special: this is not the classic Lynyrd Skynyrd track of the same name, nor is it "Saturday Night Fever". But it is a track for the early '70s. The FX on the guitars is reminiscent of the [Shadows'] "Specs Appeal" era. Alan Parker, Les Hurdle and Alan Hawkshaw are all prominent. There's lots of percussion and funky bass guitar. Superb congas from Jim Lawless too.
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Brian: «It's a sort of nod to the typical dance floor music of the time. I did a lot of sessions playing stuff like that. I thought it would be interesting to write something in a similar vein.»

The Girls Back Home: quite simply, this is a delightful recreation of the 1966/67 era Beach Boys sound. Sheer vocal delight. Tony Rivers, Stu Calver, John Perry and the rest turn in a quite magnificent performance. The fact that they recorded Beach Boys' styled vocals in the '60s as Tony Rivers and the Castaways undoubtedly helped!! I can certainly detect elements of "California Girls" and "God Only Knows" in there!
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Brian: «I've always been a great Beach Boys' fan. Again, it was just a little exercise to write something in a similar vein. I was quite pleased with the end result. Actually, Warren [Bennett] helped to write this one. It must have been one of his earliest efforts. He was only about fifteen or sixteen at the time.»

Wallop: the kind of track where everyone has the chance to solo on various instrumental breaks, be it organ, keyboards, bass, drums, guitar or whatever. It's like a melange of heavy rock and Quo-like boogie, ...almost. There's even a Moog in there somewhere. But it's all very tasteful and veers away from histrionic over-indulgence.
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Brian: «I wrote this one with Alan Hawkshaw, just to give everyone a chance to show off their playing skills a little bit. Also. again, an attempt to write something similar to a lot of the mainstream music that was around in 1978.»

Farewell To a Friend: sheer poetry, but without words. Beautiful acoustic guitars, shimmering synthesisers and plangent, keening pedal steel. Very nostalgic. It's just a gorgeous, yearning track played with great sensitivity.
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Brian: «That was my tribute to John Rostill. A lovely guy and I still miss him.»

Drum Odyssey: I recall that when Brian released "Change of Direction" [back in 1967], reviewers were quick to point out that it simply wasn't a terribly self-indulgent Sandy Nelson type LP with loads of drum numbers on it. Brian has never been that way inclined, his drums have always been an integral part of the whole. On this track though his drum and percussion work is well to the fore. As ever though, it's not iust mindless incessant tub-thumping. No, it's intelligent and well-crafted. It's avant-garde and yet accessible with myriad overdubs. Just lots of drums, percussion and fascinating FX. Other instruments support relatively unobtrusively. Also, an early appearance of syndrums, which Brian used to good effect on 1979' "Riders In the Sky". A sort of Techno "Little 'B"!
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Brian: «I always like to try out new ideas. There were some interesting technological developments at the time and I tried to utilise and incorporate some of them. I was fairly pleased with the overall effect.»

A magazine ad for the "Thunderbolt" single, late 1976

Listening to "Rock Dreams" in 1997, exactly twenty years after it was released, is a pleasant and edifying experience. It hasn't really dated and it still sounds quite fresh. It's probably a more relevant album now than it was then!

It's significant that artists then could put out carefully prepared albums that they were both really interested in and had a certain amount of direct control over. Brian did "Rock Dreams" simply because he genuinely wanted to do it! He wasn't at the mercy of executives who wondered whether or not this album would sell in excess of 250,000 copies.

The cover of "Rock Dreams" is made to look like a photograph from an album (...hands up those who remember adhesive photo-corners...). The cover painting was actually faithfully copied from a print of Brian lugging his drumkit down the platform of Bexhill station during the Eddie Cochran tour in 1960. «It was bloody hard work,» recalls Brian, «but I got nearly as good at carrying my drums as I did at playing them!»

Here's the complete credits and personnel list of "Rock Dreams" as they appear in the original liner notes:

Rock Dreams, 'Introduction' and 'Finale' (Bennett)
Alan Parker: electric guitars
Alan Hawkshaw: keyboards
Les Hurdle: bass
Brian Bennett: drums
Tony Rivers, John Perry, Stuart Calver: vocals

Rock'n'Roll Dreamer (Bennett)
Joe Fagin: vocals
Alan Parker: electric guitars
Alan Hawkshaw: keyboards
Les Hurdle: bass
Brian Bennett: drums

Banja Booga (Bennett / Parker / Hawkshaw)
Pete Willsher: Driftwood steel guitar
Alan Parker: 5 string banjo
Alan Hawkshaw: keyboards
Les Hurdle: Fender bass
Brian Bennett: drums and percussions

Rave On (Sonny West / Bill Tilghman / Norman Petty)
Joe Brown: vocals
Alan Parker: D6 dobro guitar, FT49 High Strung (1934)
Les Hurdle: Fender bass
Alan Hawkshaw: Fender piano
Brian Bennett: drums and percussions

Milwakee Massacre (Bennett / Parker / Hawkshaw)
Alan Hawkshaw: piano
Alan Parker: 1958 Fender Strat, D6 dobro guitar, guitar
Les Hurdle: bass
Brian Bennett: drums

C'mon Everybody (Eddie Cochran / Jerry Capehart)
Joe Fagin: vocals
Alan Parker: electric guitars
Alan Hawkshaw: keyboards
Les Hurdle: bass
Brian Bennett: drums
Cliff Richard, Tony Rivers, Dennis Waterman, John Perry, Stuart Calver: backing vocals

Thunderbolt (Bennett)
Terry Britten: guitar
Alan Tarney: bass
Graham Todd: piano
Brian Bennett: drums and tymps

Saturday Night Special (Bennett)
Alan Parker: Martin D28 and Les Paul standard guitars
Alan Hawkshaw: Clavinet, A.R.P. synthesizer, keyboards
Les Hurdle: bass
Brian Bennett: drums, tambourine, timbales and cowbells
Jim Lawless: congas

The Girls Back Home (Brian Bennett / Warren Bennett)
Tony Rivers: lead vocals and vocal arrangements deluxe
Alan Parker: guitars
Alan Hawkshaw: Fender piano, A.R.P. synthesizer
Les Hurdle: bass
Brian Bennett: drums, tuned woodblocks and percussion
Cliff Richard, John Perry, Stuart Calver: backing vocals

Wallop (Bennett / Hawkshaw)
Alan Parker: guitars
Alan Hawkshaw: Moog and keyboards
Les Hurdle: bass
Brian Bennett: drums and percussion

Farewell To a Friend (Bennett)
Alan Parker: Martin n° 4 gut-strung, solo guitar
Les Hurdle: bass
Pete Willsher: steel guitar

Drum Odyssey (Bennett)
Brian Bennett: Premium drums, congas, shakers, maracas, claves, bells, tuned woodblocks, Los drums, African talking drums, Premier piccolo snare drum, tymps + odds and sods
Alan Hawkshaw: Fender piano
Alan Parker: guitars
Les Hurdle: bass

Produced by Brian Bennett.

Engineered by Dick Plant at The Music Centre, Wembley, Middlesex

Cliff Richard appear courtesy of EMI Records Ltd.

Brian Bennett as he appears on the cover of the Dutch release of "Thunderbolt", 1976

The following clips offer a preview of the remastered album; here's "Drum Odyssey", "Banja Booga", "Saturday Night Special", "The Girls Back Home" and "Thunderbolt", enjoy!

More information about Brian Bennett is available here:

http://www.discogs.com/artist/934594-Brian-Bennett-Band

http://www.45cat.com/artist/the-brian-bennett-band

https://rateyourmusic.com/artist/brian_bennett

http://en.wikipedia.org/wiki/Brian_Bennett_%28musician%29

http://www.brianbennettmusic.co.uk/

http://zildjian.com/Artists/B/Brian-Bennett

http://www.brianbennettmusic.co.uk/art_rhythm.php

http://www.mikedolbear.co.uk/story.asp?StoryID=1449

http://www.drummerworld.com/drummers/Brian_Bennett.html

http://www.allmusic.com/artist/brian-bennett-mn0000621102

http://www.whosampled.com/Brian-Bennett/sampled/?sp=1

If you have any other useful information about Brian Bennett, and "Rock Dreams" - especially corrections and improvements to this post - or if you spot any dead links, please get in touch with me at stereocandies [at] hotmail [dot] com or leave a comment in the box below, thank you!