Del Shannon - 1961
photographer unknown
Showing posts with label Paul Hornsby. Show all posts
Showing posts with label Paul Hornsby. Show all posts
November 29, 2021
March 6, 2021
Carole King articles/mentions
The Drifters ~ Save the Last Dance For Me & Doc Pomus
David Gates ~ First, Bread
The Hour Glass ~
November 5, 2017
Duane Allman articles/mentions
The Hour Glass & The Power of Love ~
Allman Brothers 'n Paul Hornsby beginnings
Allman Brothers 'n Paul Hornsby beginnings, Pt. 2
mentions:
Gregg Allman ~ December 8, 1947 – May 27, 2017
Duane Allman - 1971
photographer unknown
February 12, 2015
The Hour Glass & The Power of Love ~ Allman Brothers 'n Paul Hornsby beginnings, Pt. 2
This is an addition to the article, 101 Reel-to-Reel Tapes 92, Pt. 1
The Allman Brothers and Paul Hornsby recorded their very first two albums as the group called, The Hour Glass. The two albums were: The Hour Glass (1967) and Power of Love (1968), were both released on Liberty Records which was founded by Max E. Youngstein of United Artists in 1957 initially to distribute records of its movie soundtracks, though it soon branched out into recording music of a number of different genres.
This is the compilation of those two studio albums which was released by United Artists Records in 1973.
- the following is from Wikipedia
The Hour Glass was a 1960s rhythm and blues band based in Los Angeles, California between 1967 and 1968. Among their members were two future members of the Allman Brothers Band (Duane Allman and his brother Gregg) and three future studio musicians at the world-renowned Fame Studios in Muscle Shoals, Alabama (Pete Carr, Johnny Sandlin and Paul Hornsby).
History of the group
Formed from the ashes of two disbanded rival groups that had played
the same southern circuit, The Allman Joys (based in Florida) and the
Men-its (based in Alabama), the group was booked in early 1967 into a
month-long engagement in St. Louis, Missouri, where they met members of the Nitty Gritty Dirt Band, whose manager, Bill McEuen, arranged for them a contract with Liberty Records.
Moving to Los Angeles, they were soon opening for groups like The Doors and Buffalo Springfield and recording their eponymous debut album,
full of lighthearted poppy soul that was quite contrary to what the
group was performing in various clubs and theatres in California such as
the Fillmore West and Troubadour, picked out by the label from a pool of songwriters including Jackson Browne and Jimmy Radcliffe
whose song "Nothing But Tears" was the plug for their initial single.
The album flopped, perhaps because the group, aside from Gregg Allman,
was sparsely used in the studio.
Onstage, the group rarely performed tracks from the album, preferring original material by Greg Allman alongside covers of Otis Redding and Yardbirds
songs. Over the next few months, however, the group lingered, unable to
perform outside of southern California due to label constraints.
Eventually losing bassist Mabron McKinney, they soldiered on, performing
concerts and recording a second album, Power of Love, which featured bassist Pete Carr. However, like their debut, Power of Love,
which also featured the songwriting skills of Gregg Allman and material
that fit the group much better than the material on their debut,
flopped.
Pulling out one last-ditch effort by leaving Los Angeles to work at the legendary FAME Studios in Muscle Shoals, Alabama, the group recorded a handful of tracks that, for once, showed their full potential in the studio. After these tracks were rejected by the label, the group became dejected and broke up. The group over, Duane and Gregg Allman went to Jacksonville, Florida where they jammed with folk-rockers The 31st of February, featuring drummer Butch Trucks. The others went to do session work in Muscle Shoals.
Pulling out one last-ditch effort by leaving Los Angeles to work at the legendary FAME Studios in Muscle Shoals, Alabama, the group recorded a handful of tracks that, for once, showed their full potential in the studio. After these tracks were rejected by the label, the group became dejected and broke up. The group over, Duane and Gregg Allman went to Jacksonville, Florida where they jammed with folk-rockers The 31st of February, featuring drummer Butch Trucks. The others went to do session work in Muscle Shoals.
Liberty Records threatened to sue the group for disbanding.
Consequently, Gregg Allman gave them the rights to a solo album to
prevent their doing so. However, tracks for the album were only issued
twenty-five years later when they were released as bonus tracks on the compact disc
reissues of the group's two albums. With his brother back in Los
Angeles, Duane Allman temporarily joined his bandmates in Muscle Shoals,
eventually forming The Allman Brothers Band, enticing his brother back
from Los Angeles.
History of the album
Hour Glass was the debut album by the group of the same name, issued in October 1967 on Liberty Records, the first of two by the group that featured the namesakes of The Allman Brothers Band.
The album was recorded by a group saddled by a producer unable to
quite realize the group's potential. Dallas Smith, a formulaic producer
noted for his work with Bobby Vee,
knew the group was from the South. He knew they had formed from the
ashes of groups that had performed liberal amounts of blues covers. And
he heard soulful qualities in the voice of nineteen-year-old Gregg
Allman. Therefore, he referred to them as a "Motown band", much to the
chagrin of the group.
The Hour Glass was recorded with an emphasis on lead vocalist
Gregg Allman's voice and dispensing with nearly all original material.
Of the eleven tracks on the original LP, only one was penned by a group
member, Gregg Allman's "Got To Get Away". The remaining ten were written
by songwriters running the gamut from Curtis Mayfield and Jackson Browne to Del Shannon and the Goffin-King team. The Hour Glass performed the basic tracks, which were overdubbed by Smith with layers of vocals and instrumentation.
The album was a failure in both sales terms and in properly showcasing the group. On the follow-up, 1968's Power of Love, the group would be given a bigger role in the making of the album.
The album is currently available on the Hour Glass anthology.
The 1992 reissue on EMI, rife with bonus tracks, has fallen out of
print, the bonus tracks now available on the 2004 album Southbound. There is also a November 2001 BGO (Beat Goes On) version (B00005NILR) with 23 tracks and sleeve notes by Neil Young.
Side 2: The Power of Love
Power of Love was the second studio album by Hour Glass, issued in March 1968 on Liberty Records, the final by the group with the namesakes of The Allman Brothers Band. After the failure of their first album, Liberty Records
allowed a greater independence for the group, who had been virtually
shut out of the decision making for their first album by the label and
producer Dallas Smith.
However, with the label's decision to retain Smith as producer, the
group, especially Duane Allman, once again felt constricted by their
label's expectations for the album.
With Smith behind the boards, Gregg Allman was still the focus. The
younger Allman, who had seen only one of his compositions on the
previous album, contributed seven of the twelve tracks. The remainder
were two from Marlon Greene and Eddie Hinton and one each from the teams of Spooner Oldham and Dan Penn, John Berry and Don Covay, and John Lennon and Paul McCartney. The group performed all of the instrumentation, with Duane Allman adding electric sitar to their cover of The Beatles', Norwegian Wood (This Bird Has Flown), a staple of their live act.
Neil Young of Buffalo Springfield
wrote the liner notes, describing his experience sitting in on the
session for the album track, To Things Before, watching Gregg Allman
leading the group through the number.
The album is currently available on the Hour Glass anthology.
The 1992 reissue on EMI, rife with bonus tracks from the aborted
sessions for a Gregg Allman solo release, has fallen out of print. The
bonus tracks are now available on the 2004 album Southbound.
Track listing:
Side 1: The Hour Glass
- "Out of the Night" (Alex Moore, Bob Welch) - 1:57
- "Nothing But Tears" (Jimmy Radcliffe, B. J. Scott) - 2:28
- "Love Makes the World Go 'Round" (Deon Jackson) - 2:42
- "Cast off All My Fears" (Jackson Browne) - 3:31
- "I've Been Trying" (Curtis Mayfield) - 2:40
- "No Easy Way Down" (Gerry Goffin, Carole King) - 3:20
- "Heartbeat" (Ed Cobb) - 4:52
- "So Much Love" (Gerry Goffin, Carole King) - 2:57
- "Got to Get Away" (Gregg Allman) - 2:14
- "Silently" (Dan Bourgoise, Del Shannon) - 2:48
- "Bells" (Edgar Allan Poe, arr. Peter Alin) - 2:24
Personnel:
- Gregg Allman – organ, piano, vocal
- Duane Allman – guitars, vocal (tracks 1-13)
- Paul Hornsby – piano, organ, vocal (tracks 1-13)
- Johnny Sandlin – drums (tracks 1-13)
- Mabron McKinney – bass (tracks 1-13)
- Several unknown studio musicians on horns, guitars, backing vocals, drums, bass, banjo, keyboards and percussion
- "Power of Love" (Spooner Oldham, Dan Penn) - 2:50
- "Changing of the Guard" - 2:33
- "To Things Before" - 2:33
- "I'm Not Afraid" - 2:41
- "I Can Stand Alone" - 2:13
- "Down in Texas" (Marlon Greene-Eddie Hinton) - 3:07
- "I Still Want Your Love" - 2:20
- "Home for the Summer" (Marlon Greene-Eddie Hinton) - 2:44
- "I'm Hanging Up My Heart For You" (John Berry, Don Covay) - 3:09
- "Going Nowhere" - 2:43
- "Norwegian Wood (This Bird Has Flown)" (John Lennon, Paul McCartney) - 2:59
- "Now Is The Time" - 3:59
- "Down in Texas" (alternate version) (Marlon Greene-Eddie Hinton) - 2:21
- "It's Not My Cross to Bear" - 3:36
- "Southbound" - 3:41
- "God Rest His Soul" (Steve Alaimo) - 4:02
- "February 3rd" (Composer Unknown) - 2:56
- "Apollo 8" (Composer Unknown) - 2:37
- All songs by Gregg Allman, unless noted.
- Tracks 1-12 constitute the original album.
- Tracks 13-18 from the 1969 sessions for Gregg Allman's unreleased first solo album for Liberty (present on 1992 re-release only).
- Tracks 1-12 constitute the original album.
Personnel:
- Gregg Allman – organ, piano, guitar, vocal (all tracks)
- Duane Allman – guitars, electric sitar (tracks 1-6, 8-12)
- Paul Hornsby – piano, organ, guitar, vocal (tracks 1-12)
- Johnny Sandlin – drums, guitar, gong (tracks 1-12)
- Pete Carr – bass guitar, guitar (track 7), vocal (tracks 1-12)
- Several unknown studio musicians on horns, guitars, backing vocals, drums, bass guitar, keyboards and percussion (tracks 13-18)
- Bruce Ellison - Engineer (all tracks)
- from Wikipedia
The Hour Glass & The Power of Love ~ Allman Brothers 'n Paul Hornsby beginnings, Pt.1
101 Reel-to-Reel Tapes 92: The Hour Glass & The Power of Love ~ Allman Brothers 'n Paul Hornsby beginnings
In addition to my 20,000 Vinyl LP collection I'm selling, I have reel-to-reel, pre-recorded tapes for sale. If interested, contact me by email please, not by a comment.
I will have the, Hour Glass, reel-to-reel tape for sale on eBay. I have others for sale on eBay now (see links below).
I will have the, Hour Glass, reel-to-reel tape for sale on eBay. I have others for sale on eBay now (see links below).
~ ~ ~
This album is mostly an historic relic from 1973 with the main characters in The Hour Glass being the Allman Brothers and Bruce Horsby in a very early phase of their careers. It includes the only two albums produced by the band, the self-named, The Hour Glass (1967) and The Power of Love (1968) both of which were released on Liberty Records.
This is the compilation of those two studio albums which was released on United Artists Records in 1973.
In almost every good album there is one song that is completely out of the box, kicks you in the butt and makes you think. That's good!
The majority of the songs on this album are a fusion of early 60's rock, funk, soul, country and gospel. The one exception fits the "out of the ordinary" spectacularly. It is, Bells, a song based on an 1849 poem by Edgar Allan Poe. Bells is a heavily onomatopoeic poem by Edgar Allan Poe which was not published until after his death in 1849. It is perhaps best known for the diacopic use of the word "bells." The poem has four parts to it; each part becomes darker and darker as the poem progresses from "the jingling and the tinkling" of the bells in part 1 to the "moaning and the groaning" of the bells in part 4. It's pretty good!
The sound, tone and feeling of, Bells, completely reflects that of the poem by Poe. It really has not much in the way of music (if that is what you're looking for), which sounds like it's on the radio in the background, but has a quiet, echoey and completely errie male monologue (the poem, maybe). It is WEIRD! A wonderous journey into experimental music. In an album that is not the greatest, even Allman admitted that (see below), Bells is a doozey!
Billed as "America's Only Rock 'n' Roll Magazine", CREEM was a monthly rock 'n' roll publication first published in March 1969 by Barry Kramer and founding editor Tony Reay. It suspended production in 1989 but received a short-lived renaissance in the early 1990s as a glossy tabloid. Lester Bangs, often cited as "America's Greatest Rock Critic", became editor in 1971. The term "punk rock" was coined by the magazine in May 1971, in Dave Marsh's Looney Tunes column about Question Mark & the Mysterians. The same issue introduced "heavy metal" as the name of a genre in a review of Sir Lord Baltimore by "Metal" Mike Saunders.
(click to see pages larger)
The Hour Glass
The Hour Glass
The Hour Glass
The Hour Glass
The Hour Glass
The Hour Glass
The Hour Glass
The Hour Glass
The Hour Glass
This is the compilation of those two studio albums which was released on United Artists Records in 1973.
art direction by Mike Salisbury
illustration by Ron Kriss
album design by John Kehe
illustration by Ron Kriss
album design by John Kehe
In almost every good album there is one song that is completely out of the box, kicks you in the butt and makes you think. That's good!
The majority of the songs on this album are a fusion of early 60's rock, funk, soul, country and gospel. The one exception fits the "out of the ordinary" spectacularly. It is, Bells, a song based on an 1849 poem by Edgar Allan Poe. Bells is a heavily onomatopoeic poem by Edgar Allan Poe which was not published until after his death in 1849. It is perhaps best known for the diacopic use of the word "bells." The poem has four parts to it; each part becomes darker and darker as the poem progresses from "the jingling and the tinkling" of the bells in part 1 to the "moaning and the groaning" of the bells in part 4. It's pretty good!
The sound, tone and feeling of, Bells, completely reflects that of the poem by Poe. It really has not much in the way of music (if that is what you're looking for), which sounds like it's on the radio in the background, but has a quiet, echoey and completely errie male monologue (the poem, maybe). It is WEIRD! A wonderous journey into experimental music. In an album that is not the greatest, even Allman admitted that (see below), Bells is a doozey!
Another song on the album stands out. It is a cover of, Norwegian Wood (This Bird Has Flown) by John Lennon and Paul McCartney. It's a bit cheezy with a happy, jazzy, bouncey beat; a rock version replete with sitar and organ. A lot of fun!
I'm Hanging Up My Heart for You is a slow, bluesy ballad that is a beautiful cover of the great Solomon Burke hit. It has a great, VERY bassey bass back-up that is swooney!
I'm Hanging Up My Heart for You is a slow, bluesy ballad that is a beautiful cover of the great Solomon Burke hit. It has a great, VERY bassey bass back-up that is swooney!
(Links to the songs on YouTube below.)
Duane
and Gregg Allman, his younger brother, grew up in Daytona, Florida,
where they first discovered music. The duo first formed the Escorts,
which evolved into the Allman Joys in the mid-1960s. Eventually, they went on to form Hour Glass and then the Allman Brothers Band.
From the back of the Early Allman compilation (Allman Joys - Early Allman):
"One quiet Nashville evening back in '66, songwriter John D. Loudermilk walked into a small club called the Briar Patch. Up on the bandstand was what looked like just another of the thousands of teen age rock bands of the era. When they started to play, Loudermilk could tell they weren't so typical after all. The two front men were both blond and very intense. One played a trebly, stinging slide guitar; the other sang in an anguished, world-weary voice. John D. wondered how it was that these two looked so young yet played with so much experience. Needless to say, he was very interested in the group, which called themselves the Allman Joys. Allman was the surname of the two blond brothers, Duane and Gregg, who led the band. Although he'd never produced before, Loudermilk decided to take the group into the studio and cut some sides on them.
One of the Allman Joys' sides, "Spoonful," was released locally and sold well. But Loudermilk had already decided to concentrate on song writing, so he brought the group to Buddy Killen, head of Dial Records. Killen thought the group was quite good, so he had John Hurley take them into the studio to record more tunes.
'They were really way ahead of their times, I realize now," Killen says. 'Nobody really understood what Duane and Gregg were all about at the time. Eventually I gave them their release and they went to California, leaving these tapes behind.' Duane and Gregg Allman went on to form Hour Glass and the Allman Brothers Band."
Note: Loudermilk's memory is slightly inaccurate, since Duane did not learn to play slide guitar until the Hour Glass, a couple of years later.
"One quiet Nashville evening back in '66, songwriter John D. Loudermilk walked into a small club called the Briar Patch. Up on the bandstand was what looked like just another of the thousands of teen age rock bands of the era. When they started to play, Loudermilk could tell they weren't so typical after all. The two front men were both blond and very intense. One played a trebly, stinging slide guitar; the other sang in an anguished, world-weary voice. John D. wondered how it was that these two looked so young yet played with so much experience. Needless to say, he was very interested in the group, which called themselves the Allman Joys. Allman was the surname of the two blond brothers, Duane and Gregg, who led the band. Although he'd never produced before, Loudermilk decided to take the group into the studio and cut some sides on them.
One of the Allman Joys' sides, "Spoonful," was released locally and sold well. But Loudermilk had already decided to concentrate on song writing, so he brought the group to Buddy Killen, head of Dial Records. Killen thought the group was quite good, so he had John Hurley take them into the studio to record more tunes.
'They were really way ahead of their times, I realize now," Killen says. 'Nobody really understood what Duane and Gregg were all about at the time. Eventually I gave them their release and they went to California, leaving these tapes behind.' Duane and Gregg Allman went on to form Hour Glass and the Allman Brothers Band."
Note: Loudermilk's memory is slightly inaccurate, since Duane did not learn to play slide guitar until the Hour Glass, a couple of years later.
By 1967, the group spent time in St. Louis, where a Los Angeles-based
recording executive discovered them; they consequently moved out West
and were renamed the Hour Glass, cutting two unsuccessful albums for
Liberty Records. This recording is a "Twin Pak" and includes both albums.
An item of interest is a
booklet included with the tape, "Program notes enclosed". It had a
preface by Martin R. Cerf and notes by Ben Edmonds, editor, CREEM Magazine, July 1973.
Billed as "America's Only Rock 'n' Roll Magazine", CREEM was a monthly rock 'n' roll publication first published in March 1969 by Barry Kramer and founding editor Tony Reay. It suspended production in 1989 but received a short-lived renaissance in the early 1990s as a glossy tabloid. Lester Bangs, often cited as "America's Greatest Rock Critic", became editor in 1971. The term "punk rock" was coined by the magazine in May 1971, in Dave Marsh's Looney Tunes column about Question Mark & the Mysterians. The same issue introduced "heavy metal" as the name of a genre in a review of Sir Lord Baltimore by "Metal" Mike Saunders.
booklet
photo by Styrous®
photo by Styrous®
booklet center-fold
photo by Styrous®
photo by Styrous®
booklet back
photo by Styrous®
photo by Styrous®
booklet - page 1 detail photo by Styrous®
booklet - page 2 detail photo by Styrous®
booklet - page 3 detail photo by Styrous®
After the failure of the album to enter the chart, the Hour Glass
traveled to Fame Studios in Muscle Shoals, Alabama, in an attempt to
further refine their sound. However, Dallas Smith and Liberty Records
were displeased with the group-produced blues-fueled rock tracks that
the group returned to Los Angeles with, as they were light years away
from the pop music Smith envisioned them performing. Additionally,
seeing himself cut out of the group's picture was not ideal for Smith,
even if his relations with the group had been strained.
reel-to-reel tape
detail photo by Styrous®
detail photo by Styrous®
Hour Glass disbanded shortly thereafter, with Gregg Allman returning
to California to satisfy the terms of the group's contract with Liberty.
Paired with a studio band, Allman recorded roughly an album's worth of
material, though it took nearly a quarter of a century for it to
surface.
The album is currently available on the Hour Glass anthology.
The 1992 reissue on EMI, rife with bonus tracks from the aborted
sessions for a Gregg Allman solo release, has fallen out of print. The
bonus tracks are now available on the 2004 album Southbound.
I always link to more information on my blogs; it makes them too bulky if I put it in; and I don't use, verbatim, information from other sites, but the information from Wikipedia was so incredible and spread out over so many entries, I couldn't resist putting them together. It has histories of the band as well as the albums with track and personnel info. If you're interested and want to check it out further, there is a link to it at the end.
I always link to more information on my blogs; it makes them too bulky if I put it in; and I don't use, verbatim, information from other sites, but the information from Wikipedia was so incredible and spread out over so many entries, I couldn't resist putting them together. It has histories of the band as well as the albums with track and personnel info. If you're interested and want to check it out further, there is a link to it at the end.
Track listing:
Side 1: The Hour Glass
- "Out of the Night" (Alex Moore, Bob Welch) - 1:57
- "Nothing But Tears" (Jimmy Radcliffe, B. J. Scott) - 2:28
- "Love Makes the World Go 'Round" (Deon Jackson) - 2:42
- "Cast off All My Fears" (Jackson Browne) - 3:31
- "I've Been Trying" (Curtis Mayfield) - 2:40
- "No Easy Way Down" (Gerry Goffin, Carole King) - 3:20
- "Heartbeat" (Ed Cobb) - 4:52
- "So Much Love" (Gerry Goffin, Carole King) - 2:57
- "Got to Get Away" (Gregg Allman) - 2:14
- "Silently" (Dan Bourgoise, Del Shannon) - 2:48
- "Bells" (Edgar Allan Poe, arr. Peter Alin) - 2:24
Personnel:
- Gregg Allman – organ, piano, vocal
- Duane Allman – guitars, vocal (tracks 1-13)
- Paul Hornsby – piano, organ, vocal (tracks 1-13)
- Johnny Sandlin – drums (tracks 1-13)
- Mabron McKinney – bass (tracks 1-13)
- Several unknown studio musicians on horns, guitars, backing vocals, drums, bass, banjo, keyboards and percussion
- "Power of Love" (Spooner Oldham, Dan Penn) - 2:50
- "Changing of the Guard" - 2:33
- "To Things Before" - 2:33
- "I'm Not Afraid" - 2:41
- "I Can Stand Alone" - 2:13
- "Down in Texas" (Marlon Greene-Eddie Hinton) - 3:07
- "I Still Want Your Love" - 2:20
- "Home for the Summer" (Marlon Greene-Eddie Hinton) - 2:44
- "I'm Hanging Up My Heart For You" (John Berry, Don Covay) - 3:09
- "Going Nowhere" - 2:43
- "Norwegian Wood (This Bird Has Flown)" (John Lennon, Paul McCartney) - 2:59
- "Now Is The Time" - 3:59
- "Down in Texas" (alternate version) (Marlon Greene-Eddie Hinton) - 2:21
- "It's Not My Cross to Bear" - 3:36
- "Southbound" - 3:41
- "God Rest His Soul" (Steve Alaimo) - 4:02
- "February 3rd" (Composer Unknown) - 2:56
- "Apollo 8" (Composer Unknown) - 2:37
- All songs by Gregg Allman, unless noted.
- Tracks 1-12 constitute the original album.
- Tracks 13-18 from the 1969 sessions for Gregg Allman's unreleased first solo album for Liberty (present on 1992 re-release only).
- Tracks 1-12 constitute the original album.
Personnel:
- Gregg Allman – organ, piano, guitar, vocal (all tracks)
- Duane Allman – guitars, electric sitar (tracks 1-6, 8-12)
- Paul Hornsby – piano, organ, guitar, vocal (tracks 1-12)
- Johnny Sandlin – drums, guitar, gong (tracks 1-12)
- Pete Carr – bass guitar, guitar (track 7), vocal (tracks 1-12)
- Several unknown studio musicians on horns, guitars, backing vocals, drums, bass guitar, keyboards and percussion (tracks 13-18)
- Bruce Ellison - Engineer (all tracks)
- from Wikipedia
Duane Allman discography
Bells on YouTube
Norwegian Wood (This Bird Has Flown) on YouTube
I'm Hanging Up My Heart for You on YouTube
Norwegian Wood (This Bird Has Flown) on YouTube
I'm Hanging Up My Heart for You on YouTube
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