I Wont Hurt You West Coast Pop Art Experimental Band Movie

American psychedelic rock band

The West Coast Pop Art Experimental Ring
From left to correct: Bob Markley, Michael Lloyd (bottom), Danny Harris, Shaun Harris, and John Ware.
Groundwork information
Origin	Los Angeles, California, U.s.
Genres	Psychedelic rock, folk rock, experimental rock
Years agile	1965–1970
Labels	FiFo Reprise Amos Frontward
Associated acts	The Laughing Wind California Spectrum Markley, A Group
Past members	Bob Markley Shaun Harris Danny Harris Michael Lloyd Ron Morgan John Ware

The W Coast Pop Fine art Experimental Ring (WCPAEB) was an American psychedelic rock ring formed in Los Angeles, California in 1965. The grouping created music that possessed an eerie, and at times sinister atmosphere, and contained material that was frankly political, artless, and bizarre. Representing different musical backgrounds amidst band members, the group, at times, resembled a traditional Byrds-esque folk rock ensemble, but the WCPAEB also, within the same body of work, recorded avant-garde music marked by multi-layered song harmonies.

Aspiring musician and scenester Bob Markley managed to join the group the Laughing Wind in commutation for his connections in the music industry and substantial bankroll. The original 5-piece line-up 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 album Volume One in 1966 on the modest FiFo tape label. In the early years of the group, much was made of the WCPAEB'southward elaborate psychedelic lite shows, which became the focal point of their alive performances in Los Angeles. Following the release of Volume 1, the WCPAEB signed with Reprise Records, recording three albums with the company, including arguably their well-nigh achieved work Volume 3: A Child'due south Guide to Good and Evil in 1968. Two additional albums, Where'southward My Daddy? and Markley, A Group, were distributed on contained labels before the group disbanded in 1970.

History [edit]

Formation and first anthology (1966) [edit]

The grouping was formed in Baronial 1965 when Los Angeles playboy Bob Markley, a wealthy law 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 past a Warner Bros. Records executive, and purchased a luxury mansion in Los Angeles.^[1] He released two commercially unsuccessful singles, "Will We Meet Again" and "Summer'south 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's own local record labels.^[2] In attendance at Markley'south party were dozens of journalists, deejays, and various individuals of the "in-crowd", besides as live performances by Al Kooper followed by the Yardbirds.^[3] 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 later the AlleyKats. The group entered Stereo Masters studio to record 3 albums, during which time Lloyd first became acquainted with Fowley.^{[2] [half dozen] [seven]} While attending the Hollywood Professional Schoolhouse, Lloyd befriended the Harris brothers, who recorded the regional striking "Ski Storm" with rival human action the Snowmen. In early on 1965, Shaun Harris collaborated with Lloyd in his newly formed band the Rogues, releasing the Harris-Lloyd composition "Wanted: Dead or Live", on Fowley's Living Legend label.^[8] Shortly thereafter, with Danny Harris and drummer John Ware in the fold, Lloyd and Shaun formed the Laughing Wind, which recorded the single "Skillful to Exist Around" for Belfry Records later that year.^[9] Recordings made or produced past these pre-WCPAEB acts were collected years subsequently on the compilation album, The W Coast Pop Fine art Experimental Band Companion in 2011.^[10]

Markley became motivated by the large crowd a rock band similar the Yardbirds attracted, especially the number of teenage girls, and proposed he would finance and secure a recording contract for the Laughing Current of air, in exchange for his inclusion into the group.^[11] Impressed and slightly seduced by the much older Markley'southward wealth and entourage, the band accustomed his offer. The conclusion to tape as the West Coast Pop Art Experimental Band, rather than the Laughing Air current, was made by Markley, who envisioned the band equally a west coast counterpart to the Velvet Underground.^[12] Looking to have something tangible to represent the band, in 1966, the WCPAEB released their debut album on Markley'south FiFo label, Volume One. Much of the album was recorded at Lloyd's personal studio and a rented shop-forepart on La Cienega Boulevard, earlier Markley joined the group; yet, tracks such as "Don't Break My Balloon" and "If Y'all Want This Dearest" betoken he had some influence over the later sessions for the album'southward development.^{[thirteen] [fourteen]} While Volume One did feature a small-scale option of original cloth, the bulk of the anthology was cover versions including "Louie Louie", "You Actually Got Me", and "It's All Over Now, Baby Blue".^[15]

Reprise years (1967–1968) [edit]

The WCPAEB embarked on their commencement tour in June 1966, establishing themselves equally a alive favorite with Los Angeles hippies at venues such every bit the Other Place and Wild Thing. The grouping shared the bill with the Mothers of Invention, the Seeds, Iron Butterfly, and the Yardbirds, among others. Co-ordinate to Ware, the group's performances were "the ultimate street happening for a while"; highlighted by their aggressive psychedelic light show, which was operated past Buddy Walters, who also arranged light shows for Jimi Hendrix and the Animals.^[16] In a review of a gig in 1967, the Los Angeles Gratis Press commended the WCPAEB's musicianship, only was critical of Markley for his "hypster" mental attitude and non-rhythmic tambourine playing.^[16] Although his bandmates did not like his pretentious on and off-stage antics, Markley did manage to negotiate a 3-album bargain with talent scouts of Reprise Records who had attended WCPAEB's performances.^[14]

In May 1967, the band recorded and released their beginning album for Reprise, Function 1. Past the time recording sessions began, Markley had assumed absolute command of the WCPAEB's publishing rights, which explains his unusual selection for the A-side of the album'south singles: a "spoken rap" composition "1906", co-penned with session musician Ron Morgan, and a cover of the Mothers of Invention'southward song "Help, I'yard a Stone".^[16] The album itself featured songs that exhibited a broad-ranging stylistic diversity, including Byrds-esque folk rock, garage rock, and Bizarre popular. The song "I Won't Injure You" was one of ii compositions (the other being "If You lot Desire This Love") from the grouping'due south debut anthology re-recorded for Part 1, where information technology was given a much more subdued atmosphere and a heartbeat rhythm.^{[12] [17]} Shaun Harris sang the reworked version of "I Won't Hurt You", rather than Lloyd, who, aside from some backing vocals on the anthology, would non sing pb on a WCPAEB release until the 1969 album Where's My Daddy?.^[sixteen]

Markley and Lloyd did not go on, which led to the latter leaving the grouping and Morgan joining full-time.^[eighteen] According to Lloyd, Markley became increasingly overbearing on the WCPAEB'due south creative output, and "he started to believe that he was like, yous know, the real deal, as opposed to the guy who doesn't sing and doesn't really have any musical thoughts and stuff like that. He wasn't content anymore just being the guy who concluded up with the girls that he could get from it".^[18] Lloyd remained in Los Angeles and participated in a number of studio projects with Fowley and Mike Curb such as Oct Country, the Smoke, St. John Light-green, and the Fire Escape.^{[xix] [20] [21]}

In August 1967, but 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'south lack of success, and it served as a waiting menstruum 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's state-of-the-art light show, and released two singles in its cursory recording career, "Sassafras" (the same version featured on Volume One) and a cover of the Left Banke's "She May Telephone call You Up Tonight", none of which were met with much attention.^{[ii] [22]} When Harris returned to the WCPAEB in 1968, he touted a completely dissimilar line-up, and promoted the California Spectrum with his cavalcade in the teen zine Tiger Crush until the group disbanded former in early 1969.^[2]

In tardily 1967, the WCPAEB released their third anthology, Vol. 2 (Breaking Through), which was the band's nearly ambitious, admitting less consistent than its predecessor, work to appointment.^[18] The album featured a peculiar encompass photograph of Markley and the Harris brothers sitting bare-chested in a silver bath, and a bold declaration on the backside: "Every song in this album has been written, arranged, sung and played by the grouping. No one censored united states. We got to say everything nosotros wanted to say, in the way we wanted to say it".^[eighteen] For the kickoff time, each track was credited either in whole or in role to members of the WCPAEB; however, Markley's manic narratives and questionable lyrical content (peculiarly young girls) dominate the record. An edited version of the Morgan-Markley composition "Aroma of Incense" was issued just alee of Vol. 2 (Breaking Through), but it failed to chart.^[23] The Dallas psychedelic pop group Southwest Trick covered the song in 1968, which reached No. 56 on the Billboard Hot 100.^[24] Amidst its ten tracks, the album included the politically-satirical "In the Arena", possibly inspired by the Watts riots.^[23] Vol. 2 (Breaking Through) as well features the anti-war song "Suppose They Gave a War and No 1 Comes", the full version of "Scent of Incense", and a rare instance of Markley singing is found on "Unfree Child".^[23]

The WCPAEB's fourth album Volume iii: A Kid's Guide to Adept and Evil was released in July 1968. The album represented a creative leap forward for the band and is often considered their most achieved work.^[25] Ring biographer Tim Forster described Volume 3 as the grouping'south "nigh extraordinary accomplishment", one which utilized a "baroque fusion of innocence and malice" heavily afflicted by the "exuberance of the British Invasion, folk rock, and bloom ability-era" being "swept away in a tide of bad drugs, paranoia, and protest".^[25] The album also saw Morgan experimenting with the dawdling quality of the electric sitar, featured prominently on "Ritual #1", "Until the Poorest of People Have Money", the championship track, and "Ritual #2".^[25] In addition, Volume 3'south front cover design showcased the "butterfly listen" artwork of John Van Hamersveld, who also is credited with the covers of Crown of Creation, Exile on Main St., and Magical Mystery Tour.^{[18] [26]} Like the WCPAEB's earlier albums, Volume iii failed to sell in sufficient quantities to achieve the U.S. charts, and Reprise dropped the band.^[25]

Independent labels (1969–1970) [edit]

Tardily in 1968, Jimmy Bowen established his label Amos Records and signed the group the following year. While the band worked on the Where's My Daddy? anthology, Danny Harris rejoined and Lloyd returned to provide backing vocals and co-write "Where'due south My Daddy?", "Where Coin Rules Everything", and "Coming of Historic period in L.A." with Markley.^{[27] [28]} Information technology became apparent on the album, however, that the echoing vocal harmonies found on the band'south preceding works were replaced by a closely-miked sound.^[29] The album loosely possessed the components of a concept piece, narrated through the eyes of a young homeless girl named "Poor Patty" as she journeys through the chaos of postal service-Summer of Dear Los Angeles. Still, Where's My Daddy?, equally well as its accompanying single "Free as Bird", failed to opposite the WCPAEB'due south commercial fortunes, and information technology is regarded by critics and fans as the grouping's most lackluster album release.^{[27] [30]}

Lloyd negotiated with Adjourn to distribute the group's fifth and terminal album on Forrad Records. Released in 1970, Markley insisted the album, originally self-titled, should exist released under the name Markley, A Group. The album benefited from the total involvement and product experience of Lloyd, who sang the majority of the lead vocals, provided keyboards, and organized the orchestral arrangements. Danny Harris was a cardinal influence on the album, writing half of its tracks.^[31] Yet, although the album is more often than not considered an improvement over Where'southward My Daddy?, the group could no longer cope with Markley's erratic behavior, and disbanded soon after the album'south release.^[1]

Aftermath [edit]

Markley connected his playboy lifestyle at a beach business firm he purchased in Los Angeles. He produced Jim Stallings' (J. J. Light) European hit "Heya" and the album of the aforementioned name before vanishing from the music business organisation.^[32] According to various accounts by band members and Fowley, in 1972 Markley had evaded imprisonment and kept a low-contour later on an incident involving two underage girls.^[33] Markley sporadically contacted his former bandmates; however, Fowley recollected a conversation with Stallings in 1992: "He [Stallings] told me that Bob had been sitting in this rowing gunkhole on a lake near Las Vegas - he was like a recluse. Information technology got loose from its moorings and he drifted off solitary for a day and a half. He was already pretty messed up, only he got very badly dehydrated. When they eventually found him he was taken to some hospital and placed on a life-support system, unable to speak or recall".^[33] Markley died on September 9, 2003 in a hospital in Gardena, California; he was 68.^[2]

At age 20, Curb appointed Lloyd vice-president of MGM Records. In the 1970s, he became a successful record producer for teen idols, including the Osmonds, Shaun Cassidy, and Leif Garrett. In 1986, he was music supervisor for the soundtrack of the film Dirty Dancing, and has been involved in several other movie soundtracks well into the 2000s.^[34] Shaun Harris collaborated with Lloyd to release Harris'southward self-titled debut solo anthology in 1973, which explored his country rock influences. After on, he became the president of Barry Manilow's publishing visitor and near recently Harris has written a play well-nigh his life.^[35] Although Danny Harris was initially disillusioned with the music industry, he recorded the gospel album Thank Him Every Day in 1980. He besides worked as a folk musician and actor before dying on the set of Saving Mr. Banks from a centre attack on October one, 2012.^{[35] [36]} Morgan helped found Iii Canis familiaris Nighttime (though left before they found commercial success) and joined the Electric Prunes for their anthology Just Good Old Rock and Curlicue. He died in 1989 anile 44.^[33]

Band members [edit]

• Bob Markley (August 29, 1935 – September ix, 2003) - tambourine, spoken give-and-take, vocals (1965–1970)
• Michael Lloyd (born November iii, 1948) - rhythm guitar, keyboards, vocals (1965–1967, 1969–1970)
• Shaun Harris (built-in March 2, 1946) - bass guitar, vocals (1965–1970)
• Danny Harris (March xix, 1947 – October i, 2012) - pb guitar, vocals (1965–1967, 1969–1970)
• John Ware (born May ii, 1944) - drums (1966–1968)
• Ron Morgan (1945 – 1989) - atomic number 82 guitar, sitar (1967–1970)

Timeline [edit]

Discography [edit]

Studio albums [edit]

• Volume One (1966)
• Office One (1967)
• Vol. 2 (Breaking Through) (1967)
• Volume iii: A Kid's Guide to Good and Evil (1968)
• Where'due south My Daddy? (1969)
• Markley, A Group (1970)

Compilation albums [edit]

• Legendary Unreleased Albums on the Raspberry Sawfly label (1980)
• Transparent Mean solar day Sampler on Edsel Records ED 180 (1986)
• The W Coast Popular Fine art Experimental Ring Companion (2011)

Singles [edit]

• FiFo Records
  • "Sassafras" b/westward "I Won't Hurt Yous" (1966)
• Reprise Records
  • "1906" b/w "Shifting Sands" (1967)
  • "Help, I'm a Stone" b/due west "Transparent Mean solar day" (1967)
  • "Suppose They Give a War and No One Comes" b/w "Queen Nymphet" (1967)
  • "Aroma of Incense" b/w "Unfree Child" (1968)
• Amos Records
  • "Free as Bird" b/w "Where's My Daddy?" (1969)

References [edit]

Citations

1. ^ ^{a b} Forster, Tim. "Teenage Dreams Diverted" (PDF). lookaside.fbsbx.com . Retrieved October 16, 2016.
2. ^ ^{a b c d e} Carr, Steven (2011). The West Coast Popular Art Experimental Band Companion (CD booklet). Sunbeam Records. SBRCD5079.
3. ^ Platt, John. "The Yardbirds in the U.s.a., 1965". members.chello.nl. Archived from the original on July xix, 2013. Retrieved August 25, 2016.
4. ^ Forster 1999, p. one.
5. ^ Stax, Mike. "Kim Fowley: Sins and Secrets of the Silverish Sixties". ugly-things.com . Retrieved October 16, 2016.
6. ^ Unterberger, Richie. "The New Dimensions - Biography". allmusic.com . Retrieved August 24, 2016.
7. ^ "The New Dimensions". abode.unet.nl . Retrieved August 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 Band". members.chello.nl . Retrieved October 12, 2016.
12. ^ ^{a b} Forster, Tim (2001). Part Ane (CD booklet). Sundazed Records. SC 6173.
13. ^ "Vol. i". 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 Baroque Story of the Greatest Cult Band of All Time. Shindig! magazine. p. five.
18. ^ ^{a b c d eastward} Forster 1999, p. three.
19. ^ Irvin, John. "The Smoke". members.chello.nl. Archived from the original on July nineteen, 2013. Retrieved Oct 10, 2016.
20. ^ "The Fume (self-titled) 1968". therisingstorm.cyberspace . Retrieved October 10, 2016.
21. ^ "The Fire Escape - Psychotic Reaction". popdiggers.com . Retrieved October ten, 2016.
22. ^ ^{a b} "The West Coast Popular Fine art & California Spectrum". members.tripod.com . Retrieved October 16, 2016.
23. ^ ^{a b c} Forster, Tim (2001). Book 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 3: A Child's Guide to Adept 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 15, 2016.
28. ^ "Amos Album Discography". bsnpubs.com . Retrieved October xv, 2016.
29. ^ Forster 1999, p. four.
30. ^ Mason, Stewart. "Where's My Daddy? - Review". allmusic.com . Retrieved October 15, 2016.
31. ^ Forster 1999, p. 5.
32. ^ "J.J. Calorie-free". psychedelicfolk.com . Retrieved October xvi, 2016.
33. ^ ^{a b c} Forster 1999, p. 6.
34. ^ "Michael Lloyd, Lifetime Achievement Accolade Recipient". taxi.com . Retrieved October 16, 2016.
35. ^ ^{a b} "After the WCPAEB". members.chello.nl. Archived from the original on September 28, 2013. Retrieved Oct 16, 2016.
36. ^ "Daniel Duffy Harris". legacy.com . Retrieved October 16, 2016.

Sources

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

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Source: https://en.wikipedia.org/wiki/The_West_Coast_Pop_Art_Experimental_Band

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