Dumb Ditties 1977 Rapidshare

My Music Is Lost In Tyme: May 2. Based on sheer musical ability, the Q 6. Pretty Things or the Yardbirds. Indeed, the Dutch quintet could have held their own with either of those groups or the Animals without breaking a sweat, based on the recorded evidence, and they also had room for some of the more countrified blues evident in the work of the Downliners Sect. Yet the Q 6. 5 have remained one of Europe's best- kept star caliber musical secrets for more than 3.

Janoulis formed the group Starfoxx in 1974 that had a nationally charted hit 'Disco Rock' in 1977 and, as. My idea was Sopwith Camel. Everybody laughed at me; they thought it was. GOOFY GREATS (1975) LOONEY TUNES (1976) dead Link DUMB DITTIES (1977) Posted by skids at 10:12 AM. Ray Stevens - Gitarzan http:// 1. Rapidshare deletes files if they aren't uploaded often enough to suit them. Dirty Ditties (42) Dirty Maggie May (1) Edgar A. Poe (4) Folk Songs (25). Straight Dope Message Board > Main > Cafe Society > Snoopy vs the Red Baron record. View Full Version : Snoopy vs the Red. XTC - Meccanik Dancing 5. Peel Session 1977; Best of Peel Sessions Vol 63; The Resistance - Peel Session 1979; Fleetwood Mac - Peel Session 1969; Bill Nelson - Peel Session 1981; Dislocation Dance - Peel.

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• Deep Purple goes progressive. Plus, Ian almost sounds like Mike Nesmith on that.

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In 'Airplane' (1980) he turned a dumb gag into a memorable one: 'Surely you can't be serious.' 'I am serious, and don't call me Shirley.' After many more spoof.

The Q 6. 5 were Frank Nuyens (guitar, vocals, sax, flute, harmonica), Wim Bieler (vocals, harmonica), Peter Vink (bass), Joop Roelofs (guitar), and Jay Baar drums, who first got together in 1. Hague. The city was known as . The group's professed influences were American soul acts like Sam & Dave, Wilson Pickett, and Otis Redding, yet somehow, when they performed, what they played came out closer in form and spirit to the likes of the Pretty Things, the Downliners Sect, and the Yardbirds than it did to any of those soul acts, at least at first.

They landed a recording contract with Phonogram, a unit of Philips Records, late that year, and put on the Decca label. This was a strange record for a band professing an admiration of Sam & Dave or Wilson Pickett, a frantically paced piece of punk- style blues- rock with an infectious Bo Diddley beat, screaming, raspy vocals, and a savage attack on their instruments.

Holland rode the bestseller lists for 1. The B- side, another original called . It was a good enough record to get Phonogram's management interested in promoting the group in England, which led to a publicity stunt that was not only a waste of time, but utterly foolish, sending the group to England by boat and having them come ashore in a rubber lifeboat, a though they'd come across the ocean that way. They were then supposed to play a gig, but as nobody had secured work permits, the group was only able to pose for photographs and press interviews before returning to the Netherlands.

The Q 6. 5 were greeted at the shore in Schevenning when they landed (again manning the lifeboat to land) by 3. The band may not have done much for themselves in England, but they garnered a top 1. Netherlands. With two successful singles under their belt, the group debut album, Revolution, followed in 1. Revolution was a powerful blues- rock album that included a snarling rendition of Willie Dixon's . The highlight, however, was a riveting 1.

Sonny Boy Williamson II's . Their music during this period reached what was arguably its peak—. They were unique in their approach, mixing the sounds of saxes and even an ocarina—an instrument virtually unknown in rock away from the Troggs—into country and Chicago- style blues. The group continued trying to make it as a blues- rock band for most of 1.

Their sound began to change late in the year, just as music was turning psychedelic, and around the time just before Wim Bieler was drafted into the army. His exit heralded the end of the Q 6. Nuyens, Baar, and Roelofs hooked up with Herman Brood (piano, vocals) and Henk Smitskamp (vocals, bass) to form a new, more psychedelic oriented outfit, which eventually evolved into a group called Circus, which lasted, in varying line- ups, for the year of 1. Peter Vink, meanwhile, joined a group called Big Wheel, whose line- up included future Focus member Cyril Havermans.

In 1. 96. 9, a second Q 6. Revival and made up of singles and latter- day tracks. The music was still powerful and very intense—perhaps too much so—if not as accessible. Had the line- up stayed intact, the group might even have found an audience. They still played well, even if it was experimental in nature (and what blues they played was more psychedelic than classic style). They might've given bands like the Creation a run for their money, but the Q 6.

The Q 6. 5 reformed in 1. Beer Klaasse on drums, and signed to Negram Records, staying together for one year and two LPs, Afghanistan and We Are Gonna Make It, which had a slightly more psychedelic orientation.

The Q 6. 5's line- up changed during the early '7. Nuyens exited to join Baar in a band called Rainman, while the Q 6.

John Frederikz on vocals and Joop van Nimwegan on guitar. The original Q 6. The group continued in various configurations throughout the middle of the 1. During the early 1. Dutch bands such as Ekseption (Holland's answer to The Nice) began getting a tiny bit of exposure in England and America, and in 1. Focus. The Q 6. 5 were around a little too early for their own good, in terms of finding any major exposure in England, much less America, but they were at least as worthy of being heard as any number of better known British bands of the period.