11909 - THE ANIMALS - THE COMPLETE FRENCH EP COLLECTION 1964-1967, PART TWO (2003) (REPOST)

THE ANIMALS
''COMPLETE FRENCH EP COLLECTION 1964-1967, PART TWO''
JUN 2003
122:26
**********
PART ONE
EP1
1 - The Animals - The House Of The Rising Sun/4:27
2 - The Animals - Talkin' About You (French EP version)/1:50
3 - The Animals - Donna Send You Back To Walker/2:27
4 - The Animals - Baby, Let Me Take You Home/2:18
EP2
1 - The Animals - I'm Crying/2:44
2 - The Animals - Take It Easy/2:50
3 - The Animals - She Said Yeah/2:16
4 - The Animals - I'm In Love Again/2:58
EP3
1 - The Animals - Boom Boom/3:15
2 - The Animals - Club-A-Gogo/2:17
3 - The Animals - Don't Let Me Be Misunderstood/2:25
4 - The Animals - Roadrunner/2:47
EP4
1 - The Animals - Bring It On Home To Me/2:40
2 - The Animals - Hallelujah! I Love Her So/2:44
3 - The Animals - For Miss Caulker/3:55
4 - The Animals - Mess Around/2:18
EP5
1 - The Animals - We've Gotta Out Of This Place/3:11
2 - The Animals - I Can't Believe It/3:28
3 - The Animals - I Ain't Got You/2:26
4 - The Animals - How You've Changed/3:11
EP6
1 - The Animals - It's My Life/3:04
2 - The Animals - Believe To My Soul/3:21
3 - The Animals - I'm Going To Change The World/3:31
4 - The Animals - Let The Good Times Roll/1:52
*****
PART TWO
EP7
1 - The Animals - Inside Looking Out/3:42
2 - The Animals - That's All I Am To You/2:21
3 - The Animals - She'll Return It/2:39
4 - The Animals - Outcast/3:01
EP8
1 - The Animals - Don't Bring Me Down/3:14
2 - The Animals - Cheating/2:22
3 - The Animals - What Am I Living For/3:11
4 - The Animals - I Put A Spell On You/2:54
EP9
1 - Eric Burdon and The Animals - See See Rider/3:59
2 - Eric Burdon and The Animals - Mama Told Me Not To Come/2:13
3 - Eric Burdon and The Animals - Help Me Girl/2:34
4 - Eric Burdon and The Animals - That Ain't Where It's At/2:59
EP10
1 - Eric Burdon and The Animals - Hey Gyp/3:46
2 - Eric Burdon and The Animals - In The Night/2:28
3 - Eric Burdon and The Animals - When I Was Young/2:57
4 - Eric Burdon and The Animals - Ain't That So/3:17
EP11 (BONUS TRACKS)
1 - Eric Burdon and The Animals - San Francisco Nights/3:17
2 - Eric Burdon and The Animals - Good Times/2:56
**********
REVIEW/AMG
Bruce Eder
This may seem like a strange way to listen to a group's legacy, 42 songs on 11 CD platters in a box. It is a bit pricey, as well, but going up four songs at a time with the Animals sort of makes sense, at least as far as distilling down their most successful and interesting work. The group never quite got the hang of making successful albums; that doesn't mean that they didn't do some very good ones, including their two for EMI, but their 12" platter sales never remotely matched the popularity of their nine hit singles from 1964 through 1966. Their EPs were a different matter -- while the group strained in the studio to assemble 40 minutes of attractive listening, their songs made great four-track platters. In England, they issued five extended-play singles, while in France the group saw twice that many issued in their name, both by EMI Records and the Barclay label. The 11 discs in this box (counting the bonus CD single of "San Franciscan Nights" b/w "Good Times") make up their French EP output across three years, each song remastered in state-of-the-art, 24-bit digital audio and sounding most impressive. Starting with The Animals, containing "House of the Rising Sun," "Talkin' About You" (the official "short" edit), "Gonna Send You Back to Walker," and "Baby Let Me Take You Home," there's a good cross-section of the best work out of just about every group of recording sessions the band ever had -- they never knew how to program an album for mass appeal (especially as they couldn't include any singles on them). The EMI sides are a match in fidelity to the sound on the 24-bit Japanese remasters of the two EMI albums, but the box continues on up past that point to their brief stay with England's Decca Records and Burdon's closing out of the Animals name and eventual formation of Eric Burdon & the Animals. All of the EMI material, and even a major chunk of the Decca-recorded sides (now owned by B&C Recordings), was upgraded elsewhere by 2003, but not the MCA-owned sides such as "Hey Gyp," "When I Was Young," the mastering of which here makes the quality on Polygram's Best of Eric Burdon & the Animals, 1966-1968 sound like it's mastered off of 45s. There is one genuine obscurity, "Ain't That So," from their early psychedelic period. The artwork on the individual sleeves is also more interesting than the images on the jackets of either of their EMI LPs, at least until 1966, when the group's lineup became very fluid and Burdon became the focus of the graphics -- and one also gets a good picture of the 1967-vintage group on the bonus disc sleeve.
**********
TO THE TOP
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11908 - THE ANIMALS - THE COMPLETE FRENCH EP COLLECTION 1964-1967, PART ONE (2003) (REPOST)

THE ANIMALS
''COMPLETE FRENCH EP COLLECTION 1964-1967, PART ONE''
JUN 2003
122:26
**********
PART ONE
EP1
1 - The Animals - The House Of The Rising Sun/4:27
2 - The Animals - Talkin' About You (French EP version)/1:50
3 - The Animals - Donna Send You Back To Walker/2:27
4 - The Animals - Baby, Let Me Take You Home/2:18
EP2
1 - The Animals - I'm Crying/2:44
2 - The Animals - Take It Easy/2:50
3 - The Animals - She Said Yeah/2:16
4 - The Animals - I'm In Love Again/2:58
EP3
1 - The Animals - Boom Boom/3:15
2 - The Animals - Club-A-Gogo/2:17
3 - The Animals - Don't Let Me Be Misunderstood/2:25
4 - The Animals - Roadrunner/2:47
EP4
1 - The Animals - Bring It On Home To Me/2:40
2 - The Animals - Hallelujah! I Love Her So/2:44
3 - The Animals - For Miss Caulker/3:55
4 - The Animals - Mess Around/2:18
EP5
1 - The Animals - We've Gotta Out Of This Place/3:11
2 - The Animals - I Can't Believe It/3:28
3 - The Animals - I Ain't Got You/2:26
4 - The Animals - How You've Changed/3:11
EP6
1 - The Animals - It's My Life/3:04
2 - The Animals - Believe To My Soul/3:21
3 - The Animals - I'm Going To Change The World/3:31
4 - The Animals - Let The Good Times Roll/1:52
*****
PART TWO
EP7
1 - The Animals - Inside Looking Out/3:42
2 - The Animals - That's All I Am To You/2:21
3 - The Animals - She'll Return It/2:39
4 - The Animals - Outcast/3:01
EP8
1 - The Animals - Don't Bring Me Down/3:14
2 - The Animals - Cheating/2:22
3 - The Animals - What Am I Living For/3:11
4 - The Animals - I Put A Spell On You/2:54
EP9
1 - Eric Burdon and The Animals - See See Rider/3:59
2 - Eric Burdon and The Animals - Mama Told Me Not To Come/2:13
3 - Eric Burdon and The Animals - Help Me Girl/2:34
4 - Eric Burdon and The Animals - That Ain't Where It's At/2:59
EP10
1 - Eric Burdon and The Animals - Hey Gyp/3:46
2 - Eric Burdon and The Animals - In The Night/2:28
3 - Eric Burdon and The Animals - When I Was Young/2:57
4 - Eric Burdon and The Animals - Ain't That So/3:17
EP11 (BONUS TRACKS)
1 - Eric Burdon and The Animals - San Francisco Nights/3:17
2 - Eric Burdon and The Animals - Good Times/2:56
**********
REVIEW/AMG
Bruce Eder
This may seem like a strange way to listen to a group's legacy, 42 songs on 11 CD platters in a box. It is a bit pricey, as well, but going up four songs at a time with the Animals sort of makes sense, at least as far as distilling down their most successful and interesting work. The group never quite got the hang of making successful albums; that doesn't mean that they didn't do some very good ones, including their two for EMI, but their 12" platter sales never remotely matched the popularity of their nine hit singles from 1964 through 1966. Their EPs were a different matter -- while the group strained in the studio to assemble 40 minutes of attractive listening, their songs made great four-track platters. In England, they issued five extended-play singles, while in France the group saw twice that many issued in their name, both by EMI Records and the Barclay label. The 11 discs in this box (counting the bonus CD single of "San Franciscan Nights" b/w "Good Times") make up their French EP output across three years, each song remastered in state-of-the-art, 24-bit digital audio and sounding most impressive. Starting with The Animals, containing "House of the Rising Sun," "Talkin' About You" (the official "short" edit), "Gonna Send You Back to Walker," and "Baby Let Me Take You Home," there's a good cross-section of the best work out of just about every group of recording sessions the band ever had -- they never knew how to program an album for mass appeal (especially as they couldn't include any singles on them). The EMI sides are a match in fidelity to the sound on the 24-bit Japanese remasters of the two EMI albums, but the box continues on up past that point to their brief stay with England's Decca Records and Burdon's closing out of the Animals name and eventual formation of Eric Burdon & the Animals. All of the EMI material, and even a major chunk of the Decca-recorded sides (now owned by B&C Recordings), was upgraded elsewhere by 2003, but not the MCA-owned sides such as "Hey Gyp," "When I Was Young," the mastering of which here makes the quality on Polygram's Best of Eric Burdon & the Animals, 1966-1968 sound like it's mastered off of 45s. There is one genuine obscurity, "Ain't That So," from their early psychedelic period. The artwork on the individual sleeves is also more interesting than the images on the jackets of either of their EMI LPs, at least until 1966, when the group's lineup became very fluid and Burdon became the focus of the graphics -- and one also gets a good picture of the 1967-vintage group on the bonus disc sleeve.
**********
TO THE TOP
**********

10790 - THE ANIMALS - ARK (1983)

THE ANIMALS
''ARK''
AUGUST 1983
47:33

**********

1 Loose Change 02:58 (Steve Grant)
2 Love Is For All Time 04:19 (Danny Everitt, Terry Wilson)
3 My Favorite Enemy 03:42 (Steve Grant)
4 Prisoner Of The Light 04:06 (Eric Burdon, Raskin, Sterling)
5 Being There 03:26 (Geniwells)
6 Hard Times 02:52 (Burdon, Sterling)
7 The Night 03:52 (Burdon, Evans, Sterling)
8 Trying To Get You 04:13 (Rose Marie McCoy, Charlie Singleton)
9 Just Can't Enough 03:51 (Burdon, Sterling)
10 Melt Dow 03:05 (Danny Everitt, Terry Wilson)
11 Gotta Get Back To You 02:39 (Danny Everitt)
12 Crystal Nights 04:09 (Anthony, Burdon, Lewis, Sterling, Evans)
13 No John No 04:16 (Alan Price, Jarrow)

**********

Eric Burdon – vocals
Hilton Valentine – guitar
Alan Price – keyboards, background vocals
Chas Chandler – bass, background vocals
John Steel – drums
Additional personnel
Zoot Money - keyboards
Steve Grant – guitar, synthesizer, background vocals
Steve Gregory – tenor saxophone, baritone saxophone
Nippy Noya – percussion

**********

ABOUT THE ALBUM / WIKIPEDIA
Ark is an album by the original members of The Animals. Released in 1983 on Castle Records, it was the second and last reunion attempt of the band's initial lineup. The album subsequently was followed by a tour by the band.

**********

BIOGRAPHY / AMG
One of the most important bands originating from England's R&B scene during the early '60s, the Animals were second only to the Rolling Stones in influence among R&B-based bands in the first wave of the British Invasion. the Animals had their origins in a Newcastle-based group called the Kansas City Five, whose membership included pianist Alan Price, drummer John Steel, and vocalist Eric Burdon. Price exited to join the Kontours in 1962, while Burdon went off to London. The Kontours, whose membership included Bryan "Chas" Chandler, eventually were transmuted into the Alan Price R&B Combo, with John Steel joining on drums. Burdon's return to Newcastle in early 1963 heralded his return to the lineup. The final member of the combo, guitarist Hilton Valentine, joined just in time for the recording of a self-produced EP under the band's new name, the Animals. That record alerted Graham Bond to the Animals; he was likely responsible for pointing impresario Giorgio Gomelsky to the group.

Gomelsky booked the band into his Crawdaddy Club in London, and they were subsequently signed by Mickie Most, an independent producer who secured a contract with EMI's Columbia imprint. A studio session in February 1964 yielded their Columbia debut single, "Baby Let Me Take You Home" (adapted from "Baby Let Me Follow You Down"), which rose to number 21 on the British charts. For years, it was rumored incorrectly that the Animals got their next single, "House of the Rising Sun," from Bob Dylan's first album, but it has been revealed that, like "Baby Let Me Take You Home," the song came to them courtesy of Josh White. In any event, the song -- given a new guitar riff by Valentine and a soulful organ accompaniment devised by Price -- shot to the top of the U.K. and U.S. charts early that summer. This success led to a follow-up session that summer, yielding their first long-playing record, The Animals. Their third single, "I'm Crying," rose to number eight on the British charts. The group compiled an enviable record of Top Ten successes, including "Don't Let Me Be Misunderstood" and "We've Gotta Get Out of This Place," along with a second album, Animal Tracks.

In May of 1965, immediately after recording "We've Gotta Get Out of This Place," Alan Price left the band, citing fear of flying as the reason; subsequent biographies of the band have indicated that the reasons were less psychological. When "House of the Rising Sun" was recorded, using what was essentially a group arrangement, the management persuaded the band to put one person's name down as arranger. Price came up the lucky one, supposedly with the intention that the money from the arranger credit would be divided later on. The money was never divided, however, and as soon as it began rolling in, Price suddenly developed his fear of flying and exited the band. Others cite the increasing contentiousness between Burdon and Price over leadership of the group as the latter's reason for leaving. In any case, a replacement was recruited in the person of Dave Rowberry.

In the meantime, the group was growing increasingly unhappy with the material they were being given to record by manager Mickie Most. Not only were the majority of these songs much too commercial for their taste, but they represented a false image of the band, even if many were successful. "It's My Life," a number seven British hit and a similar smash in America, caused the Animals to terminate their association with Most and with EMI Records. They moved over to Decca/London Records and came up with a more forceful, powerful sound on their first album for the new label, Animalisms. The lineup shifts continued, however: Steel exited in 1966, after recording Animalisms, and was replaced by Barry Jenkins, formerly of the Nashville Teens. Chandler left in mid-1966 after recording "Don't Bring Me Down," and Valentine remained until the end of 1966, but essentially "Don't Bring Me Down" marked the end of the original Animals.

Burdon re-formed the group under the aegis of Eric Burdon and the New Animals, with Jenkins on drums, John Weider on guitar and violin, Danny McCulloch on bass, and Vic Briggs on guitar. He remained officially a solo act for a time, releasing a collection of material called Eric Is Here in 1967. As soon as the contract with English Decca was up, Burdon signed with MGM directly for worldwide distribution, and the new lineup made their debut in mid-1967. Eric Burdon and the New Animals embraced psychedelica to the hilt amid the full bloom of the Summer of Love. By the end of 1968, Briggs and McCulloch had departed, to be replaced by Burdon's old friend, keyboard player/vocalist Zoot Money, and his longtime stablemate, guitarist Andy Summers, while Weider switched to bass. Finally, in 1969, Burdon pulled the plug on what was left of the Animals. He hooked up with a Los Angeles-based group called War, and started a subsequent solo career.

The original Animals reunited in 1976 for a superb album called Before We Were So Rudely Interrupted, which picked up right where Animalisms had left off a decade earlier and which was well-received critically but failed to capture the public's attention. In 1983, a somewhat longer-lasting reunion came about between the original members, augmented with the presence of Zoot Money on keyboards. The resulting album, Ark, consisting of entirely new material, was well received by critics and charted surprisingly high, and a world tour followed. By the end of the year and the heavy touring schedule, however, it was clear that this reunion was not going to be a lasting event. The quintet split up again, having finally let the other shoe drop on their careers and history, and walked away with some financial rewards, along with memories of two generations of rock fans cheering their every note.

**********

TO THE TOP

**********

10789 - THE ORIGINAL ANIMALS - BEFORE WE WERE SO RUDELY INTERRUPTED (1977) (REPOST)

THE ORIGINAL ANIMALS
''BEFORE WE WERE SO RUDELY INTERRUPTED''
AUGUST 1977
37:25

**********

1 Brother Bill (The Last Clean Shirt) 03:17 (Jerry Leiber, Mike Stoller, Clyde Otis)
2 It's All Over Now, Baby Blue 04:40 (Bob Dylan)
3 Fire On The Sun 02:23 (Shaky Jake)
4 As The Crow Flies 03:37 (Jimmy Reed)
5 Please Send Me Someone To Love 04:42 (Percy Mayfield)
6 Many Rivers To Cross 04:09 (Jimmy Cliff)
7 Just A Little Bit 02:05 (John Thornton, Ralph Bass, Earl Washington, Piney Brown)
8 Riverside County 03:45 (Eric Burdon, Alan Price, Hilton Valentine, Chas Chandler, JOhn Steel)
9 Lonely Avenue 05:20 (Doc Pomus)
10 The Fool 03:23 (Stanford Clark)

**********

Eric Burdon – vocals
Alan Price – keyboards
Hilton Valentine – guitar
Chas Chandler – bass
John Steel – drums

**********

REVIEW / AMG
Bruce Eder
Cut 11 years after the Animals' original lineup recorded their last LP and six years before their more well-remembered reunion tour, this oft-overlooked album is just short of a lost classic; it lacks the intensity of their 1983 studio effort, Ark, but it is more substantial musically than that album and fits in very neatly with their preceding work, as though they'd scarcely skipped a beat. Recorded under the auspices of the late Chas Chandler's Barn Productions, the album was highlighted by a dramatically bluesy rendition of "It's All Over Now, Baby Blue," boasting superb playing by Alan Price. Hilton Valentine's soaring guitar pyrotechnics light up "Fire on the Sun," perhaps the flashiest performance of his career for this most introspective of '60s British blues axemen, and "As the Crow Flies" has the group returning to its roots, as a dark, brooding rendition of the Jimmy Reed song that gives room for Chandler, Valentine, Price, and John Steel to show off their '60s-era blues chops in a more expansive form. After a promising start, the gospel number "Many Rivers to Cross" falls apart a bit, but "Just a Little Bit," with its rippling organ break, the group original "Riverside County," and the pounding finale, "The Fool," make the rest of side two eminently enjoyable, although, coming out in the midst of the punk and disco booms, the LP never had a chance to be heard by more than the most dedicated fans. The album was remastered and reissued on CD in the spring of 2000 by Repertoire Records.

**********

ABOUT THE ALBUM / WIKIPEDIA
Before We Were So Rudely Interrupted is a 1977 reunion album from The Animals, billed here as The Original Animals.

This was a reunion of the five original Animals from the group's first incarnation — Eric Burdon, Alan Price, Hilton Valentine, Chas Chandler, and John Steel, in their first recording sessions (and, save for a one-off concert in 1968, their first musical project at all) since 1965. Bassist Chandler produced the effort using his Barn Records team.

The title refers to the first sentence of William Connor's first column in the Daily Mirror after World War II: "As I was saying before I was so rudely interrupted,...".

The album was remastered and reissued on CD in 2000 by Repertoire Records.

**********

BIOGRAPHY / AMG
One of the most important bands originating from England's R&B scene during the early '60s, the Animals were second only to the Rolling Stones in influence among R&B-based bands in the first wave of the British Invasion. the Animals had their origins in a Newcastle-based group called the Kansas City Five, whose membership included pianist Alan Price, drummer John Steel, and vocalist Eric Burdon. Price exited to join the Kontours in 1962, while Burdon went off to London. The Kontours, whose membership included Bryan "Chas" Chandler, eventually were transmuted into the Alan Price R&B Combo, with John Steel joining on drums. Burdon's return to Newcastle in early 1963 heralded his return to the lineup. The final member of the combo, guitarist Hilton Valentine, joined just in time for the recording of a self-produced EP under the band's new name, the Animals. That record alerted Graham Bond to the Animals; he was likely responsible for pointing impresario Giorgio Gomelsky to the group.

Gomelsky booked the band into his Crawdaddy Club in London, and they were subsequently signed by Mickie Most, an independent producer who secured a contract with EMI's Columbia imprint. A studio session in February 1964 yielded their Columbia debut single, "Baby Let Me Take You Home" (adapted from "Baby Let Me Follow You Down"), which rose to number 21 on the British charts. For years, it was rumored incorrectly that the Animals got their next single, "House of the Rising Sun," from Bob Dylan's first album, but it has been revealed that, like "Baby Let Me Take You Home," the song came to them courtesy of Josh White. In any event, the song -- given a new guitar riff by Valentine and a soulful organ accompaniment devised by Price -- shot to the top of the U.K. and U.S. charts early that summer. This success led to a follow-up session that summer, yielding their first long-playing record, The Animals. Their third single, "I'm Crying," rose to number eight on the British charts. The group compiled an enviable record of Top Ten successes, including "Don't Let Me Be Misunderstood" and "We've Gotta Get Out of This Place," along with a second album, Animal Tracks.

In May of 1965, immediately after recording "We've Gotta Get Out of This Place," Alan Price left the band, citing fear of flying as the reason; subsequent biographies of the band have indicated that the reasons were less psychological. When "House of the Rising Sun" was recorded, using what was essentially a group arrangement, the management persuaded the band to put one person's name down as arranger. Price came up the lucky one, supposedly with the intention that the money from the arranger credit would be divided later on. The money was never divided, however, and as soon as it began rolling in, Price suddenly developed his fear of flying and exited the band. Others cite the increasing contentiousness between Burdon and Price over leadership of the group as the latter's reason for leaving. In any case, a replacement was recruited in the person of Dave Rowberry.

In the meantime, the group was growing increasingly unhappy with the material they were being given to record by manager Mickie Most. Not only were the majority of these songs much too commercial for their taste, but they represented a false image of the band, even if many were successful. "It's My Life," a number seven British hit and a similar smash in America, caused the Animals to terminate their association with Most and with EMI Records. They moved over to Decca/London Records and came up with a more forceful, powerful sound on their first album for the new label, Animalisms. The lineup shifts continued, however: Steel exited in 1966, after recording Animalisms, and was replaced by Barry Jenkins, formerly of the Nashville Teens. Chandler left in mid-1966 after recording "Don't Bring Me Down," and Valentine remained until the end of 1966, but essentially "Don't Bring Me Down" marked the end of the original Animals.

Burdon re-formed the group under the aegis of Eric Burdon and the New Animals, with Jenkins on drums, John Weider on guitar and violin, Danny McCulloch on bass, and Vic Briggs on guitar. He remained officially a solo act for a time, releasing a collection of material called Eric Is Here in 1967. As soon as the contract with English Decca was up, Burdon signed with MGM directly for worldwide distribution, and the new lineup made their debut in mid-1967. Eric Burdon and the New Animals embraced psychedelica to the hilt amid the full bloom of the Summer of Love. By the end of 1968, Briggs and McCulloch had departed, to be replaced by Burdon's old friend, keyboard player/vocalist Zoot Money, and his longtime stablemate, guitarist Andy Summers, while Weider switched to bass. Finally, in 1969, Burdon pulled the plug on what was left of the Animals. He hooked up with a Los Angeles-based group called War, and started a subsequent solo career.

The original Animals reunited in 1976 for a superb album called Before We Were So Rudely Interrupted, which picked up right where Animalisms had left off a decade earlier and which was well-received critically but failed to capture the public's attention. In 1983, a somewhat longer-lasting reunion came about between the original members, augmented with the presence of Zoot Money on keyboards. The resulting album, Ark, consisting of entirely new material, was well received by critics and charted surprisingly high, and a world tour followed. By the end of the year and the heavy touring schedule, however, it was clear that this reunion was not going to be a lasting event. The quintet split up again, having finally let the other shoe drop on their careers and history, and walked away with some financial rewards, along with memories of two generations of rock fans cheering their every note.

**********

TO THE TOP

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10788 - ERIC BURDON AND THE ANIMALS - LOVE IS (1968)

ERIC BURDON & THE ANIMALS
''LOVE IS''
DECEMBER 1968
66:37

**********

1 River Deep, Mountain High 07:24 (Phil Spector, Jeff Barry, Ellie Greenwich)
2 I'm An Animal 05:34 (Sylvester Stewart)
3 I'm Dying, Or Am I 04:28 (Eric Burdon)
4 Ring Of Fire 04:58 (June Carter, Merle Kilgore)
5 Coloured Rain 09:38 (Steve Winwood, Jim Capaldi, Chris Wood)
6 To Love Somebody 06:56 (Barry Gibb, Robin Gibb)
7 As The Years Go Passing By 10:13 (Deadric Malone)
8 Gemini; The Madman (Running Through The Fields) 17:23 (Steve Hammond); (Zoot Money, Andy Summers)

**********

Eric Burdon — lead vocals, spoken word
Zoot Money — bass, backing and co-lead vocals On 3, 8, organ, piano, spoken word On 8
Andy Summers — guitar, backing vocals
John Weider — guitar, backing vocals
Barry Jenkins — drums, percussion, backing vocals
Robert Wyatt - backing vocals On 1

**********

REVIEW / AMG
Thom Jurek
It's an eyebrow-raising experience to encounter the cover of "River Deep, Mountain High" that opens the Animals 1968 album, Love Is. Clocking in at nearly seven and a half minutes, it's the weirdest version of the song ever cut. Self-produced by the band, it juxtaposes vocalist and bandleader Eric Burdon's staggering abilities as a rhythm & blues singer with few peers with then-modern-day psychedelia. The Phil Spector, Ellie Greenwich, Jeff Barry-penned vehicle for Ike & Tina Turner was never envisioned like this. There are moments of pure greatness in the track, a rough, garage-hewn rock and R&B foundation underscored by Burdon's blues wail is, unfortunately, completely messed over by the sound effects and his insistence on yelling "Tina, Tina, Tina..." ad nauseam in the bridge. And this is just the beginning. This version of the Animals contained enough serious players that they should have known better: Burdon, keyboardist Zoot Money, drummer Barry Jenkins, bassist John Wieder, and a young guitarist who'd been booted from Soft Machine after a very brief period named Andy Summers. For those who found charm and even inspiration in the Twain Shall Meet and Winds of Change -- both recorded in San Francisco -- Love Is may hold some sort of place in the heart. For those who looked back to the Animals catalog that included such dynamic albums as Animalism and Animalization as well as a slew of killer four-track EPs, this must have seemed like the bitter end. On the other hand, this trainwreck of an album has some interesting moments -- mainly for hearing how hard they tried to imitate other acts who were successful while at the same time trying to forge a new identity from the ruins of who they once were as a band whose day had come and gone. The utterly awful reading here of "Ring of Fire" is almost laughable. Other covers include a rave-up cum psychedelia version of Sly Stone's "I'm an Animal," Traffic's "Coloured Rain," and the Bee Gees "To Love Somebody." The latter -- which has to be heard to be believed -- begins with Summers playing Chuck Berry licks as an intro before it slows down into a completely over-the-top Don Covay-styled soul shot with Burdon underscored by a female backing chorus which counters to push him into the stratosphere. Despite its cheesy organ sound, it has enough power drumming, crunchy guitar, and a neat little piano break by Money to make it work. It's easily the best thing here even if it is absolutely mental. Burdon had heard ex-bandmate Chas Chandler's young guitar protégé Jimi Hendrix's "Third Stone from the Sun" from the Jimi Hendrix Experience's debut album as well. In fact, he enlisted Money's buddy, guitarist Steve Hammond (of Johnny Almond's Music Machine) to come up with a long-form psychedelic suite that evoked it and some of Pink Floyd's weirder experiments at that time. The end result, "Gemini," is hysterically funny now, and must have just seemed to be ecstatically drug-addled tomfoolery at the time. The closer, "The Madman (Running Through The Fields)," by Summers and Money would have been a killer single if they'd edited the acid-fried middle section out of it. As it stands, Love Is was a mess from a band who, once great, had completely lost its way and was on its last legs.

**********

BIOGRAPHY / AMG
One of the most important bands originating from England's R&B scene during the early '60s, the Animals were second only to the Rolling Stones in influence among R&B-based bands in the first wave of the British Invasion. the Animals had their origins in a Newcastle-based group called the Kansas City Five, whose membership included pianist Alan Price, drummer John Steel, and vocalist Eric Burdon. Price exited to join the Kontours in 1962, while Burdon went off to London. The Kontours, whose membership included Bryan "Chas" Chandler, eventually were transmuted into the Alan Price R&B Combo, with John Steel joining on drums. Burdon's return to Newcastle in early 1963 heralded his return to the lineup. The final member of the combo, guitarist Hilton Valentine, joined just in time for the recording of a self-produced EP under the band's new name, the Animals. That record alerted Graham Bond to the Animals; he was likely responsible for pointing impresario Giorgio Gomelsky to the group.

Gomelsky booked the band into his Crawdaddy Club in London, and they were subsequently signed by Mickie Most, an independent producer who secured a contract with EMI's Columbia imprint. A studio session in February 1964 yielded their Columbia debut single, "Baby Let Me Take You Home" (adapted from "Baby Let Me Follow You Down"), which rose to number 21 on the British charts. For years, it was rumored incorrectly that the Animals got their next single, "House of the Rising Sun," from Bob Dylan's first album, but it has been revealed that, like "Baby Let Me Take You Home," the song came to them courtesy of Josh White. In any event, the song -- given a new guitar riff by Valentine and a soulful organ accompaniment devised by Price -- shot to the top of the U.K. and U.S. charts early that summer. This success led to a follow-up session that summer, yielding their first long-playing record, The Animals. Their third single, "I'm Crying," rose to number eight on the British charts. The group compiled an enviable record of Top Ten successes, including "Don't Let Me Be Misunderstood" and "We've Gotta Get Out of This Place," along with a second album, Animal Tracks.

In May of 1965, immediately after recording "We've Gotta Get Out of This Place," Alan Price left the band, citing fear of flying as the reason; subsequent biographies of the band have indicated that the reasons were less psychological. When "House of the Rising Sun" was recorded, using what was essentially a group arrangement, the management persuaded the band to put one person's name down as arranger. Price came up the lucky one, supposedly with the intention that the money from the arranger credit would be divided later on. The money was never divided, however, and as soon as it began rolling in, Price suddenly developed his fear of flying and exited the band. Others cite the increasing contentiousness between Burdon and Price over leadership of the group as the latter's reason for leaving. In any case, a replacement was recruited in the person of Dave Rowberry.

In the meantime, the group was growing increasingly unhappy with the material they were being given to record by manager Mickie Most. Not only were the majority of these songs much too commercial for their taste, but they represented a false image of the band, even if many were successful. "It's My Life," a number seven British hit and a similar smash in America, caused the Animals to terminate their association with Most and with EMI Records. They moved over to Decca/London Records and came up with a more forceful, powerful sound on their first album for the new label, Animalisms. The lineup shifts continued, however: Steel exited in 1966, after recording Animalisms, and was replaced by Barry Jenkins, formerly of the Nashville Teens. Chandler left in mid-1966 after recording "Don't Bring Me Down," and Valentine remained until the end of 1966, but essentially "Don't Bring Me Down" marked the end of the original Animals.

Burdon re-formed the group under the aegis of Eric Burdon and the New Animals, with Jenkins on drums, John Weider on guitar and violin, Danny McCulloch on bass, and Vic Briggs on guitar. He remained officially a solo act for a time, releasing a collection of material called Eric Is Here in 1967. As soon as the contract with English Decca was up, Burdon signed with MGM directly for worldwide distribution, and the new lineup made their debut in mid-1967. Eric Burdon and the New Animals embraced psychedelica to the hilt amid the full bloom of the Summer of Love. By the end of 1968, Briggs and McCulloch had departed, to be replaced by Burdon's old friend, keyboard player/vocalist Zoot Money, and his longtime stablemate, guitarist Andy Summers, while Weider switched to bass. Finally, in 1969, Burdon pulled the plug on what was left of the Animals. He hooked up with a Los Angeles-based group called War, and started a subsequent solo career.

The original Animals reunited in 1976 for a superb album called Before We Were So Rudely Interrupted, which picked up right where Animalisms had left off a decade earlier and which was well-received critically but failed to capture the public's attention. In 1983, a somewhat longer-lasting reunion came about between the original members, augmented with the presence of Zoot Money on keyboards. The resulting album, Ark, consisting of entirely new material, was well received by critics and charted surprisingly high, and a world tour followed. By the end of the year and the heavy touring schedule, however, it was clear that this reunion was not going to be a lasting event. The quintet split up again, having finally let the other shoe drop on their careers and history, and walked away with some financial rewards, along with memories of two generations of rock fans cheering their every note.

**********

TO THE TOP

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10787 - ERIC BURDON & THE ANIMALS - EVERY ONE OF US (1968)

ERIC BURDON & THE ANIMALS
''EVERY ONE OF US''
JULY 1968
45:58

**********

1 White HouseS 03:51
2 Uppers And Downers 00:24
3 Serenade To A Sweet Lady 06:12 (John Weider)
4 The Immigrant Lad 06:14
5 Year Of The Guru 05:25
6 St. James Infirmary 05:01 (Traditional)
7 New York 1963 - America 1968 18:47 (Eric Burdon, Zoot Money)
Tracks By Eric Burdon, Except 3, 6, 7

**********

Eric Burdon - vocals
Vic Briggs - guitar, bass
John Weider - guitar, celeste
Zoot Money (credited as George Bruno) - Hammond organ, vocals, piano
Danny McCulloch - bass, vocals, 12-string guitar
Barry Jenkins - drums

**********

REVIEW / AMG
Bruce Eder
Eric Burdon & the Animals were nearing the end of their string, at least in the lineup in which they'd come into the world in late 1966, when they recorded Every One of Us in May of 1968, just after the release of their second album, The Twain Shall Meet. The group had seen some success, especially in America, with the singles "When I Was Young," "San Franciscan Nights" and "Sky Pilot" over the previous 18 months, but had done considerably less well with their albums. Every One of Us lacked a hit single to help drive its sales, but it was still a good psychedelic blues album, filled with excellent musicianship by Burdon (lead vocals), Vic Briggs (guitar, bass), John Weider (guitar, celeste), Danny McCulloch (bass,12-string, vocals), and Barry Jenkins (drums, percussion), with new member Zoot Money (credited, for contractual reasons, as George Bruno) on keyboards and vocals. Opening with the surprisingly lyrical "White Houses" -- a piece of piercing social commentary about America in early 1968 -- the record slid past the brief bridge "Uppers and Downers" and into the extended, John Weider-authored psychedelic mood piece "Serenade to a Sweet Lady," highlighted by Briggs' superb lead acoustic guitar playing and Weider's subdued electric accompaniment. This is followed by the acoustic folk piece "The Immigrant Lad," a conceptual work that closes with a dialogue, set in a workingman's bar, in which two Cockney workers, voiced by John Weider and Terry McVay, talk about their world and their lives. "Year of the Guru" is another in a string of Jimi Hendrix-influenced pieces by this version of the Animals, showing the entire band at the peak of their musical prowess, and Burdon -- taking on virtually the role of a modern rapper -- generating some real power on some surprisingly cynical lyrics concerning the search for spiritual fulfillment and leaders. "St. James Infirmary" recalls "House of the Rising Sun," as both a song and an arrangement, and is worthwhile just for the experience of hearing this version of the group going full-tilt as a rock band. And then there is "New York 1963 -- America 1968," an 18-minute conceptual track with a center spoken word section featuring not a group member, but a black engineer named Cliff, who recalls his experience as a fighter pilot during World War II, and tells of poverty then and now -- although the opening section starts off well enough musically, amid Burdon's sung recollections of coming to America and his fixation on the blues and black music in general, and the closing repetition of the word "freedom" anticipates Richie Havens' famed piece (actually an extension of "Motherless Child") from Woodstock, the track is too long and unwieldy for any but the most fanatical listener to absorb as more than a curiosity of its time. In fairness, it must also be said that Burdon's mixing of politics and music, social criticism and art, however inappropriate as pop music for a mass audience, was out in front of most of the competition during this period, in terms of boldness and reach, if not grasp. The extended jamming on this and the other songs also highlighted a fundamental problem that afflicted this version of the Animals from the get-go, the fact that they were touring too much to write enough songs to properly fill their albums, which meant extending the instrumental portions of everything that was on them, in order to fill up the running time; this group had the musicianship and talent to pull it off totally successfully in all but one instance here. This album would be one of the last times that this lineup of the group would appear on record -- Briggs and McCulloch would leave later in the year, both to be replaced by Andy Somers (aka Andy Summers), and the group as a whole would pack it in with the waning of 1968.

**********

BIOGRAPHY / AMG
One of the most important bands originating from England's R&B scene during the early '60s, the Animals were second only to the Rolling Stones in influence among R&B-based bands in the first wave of the British Invasion. the Animals had their origins in a Newcastle-based group called the Kansas City Five, whose membership included pianist Alan Price, drummer John Steel, and vocalist Eric Burdon. Price exited to join the Kontours in 1962, while Burdon went off to London. The Kontours, whose membership included Bryan "Chas" Chandler, eventually were transmuted into the Alan Price R&B Combo, with John Steel joining on drums. Burdon's return to Newcastle in early 1963 heralded his return to the lineup. The final member of the combo, guitarist Hilton Valentine, joined just in time for the recording of a self-produced EP under the band's new name, the Animals. That record alerted Graham Bond to the Animals; he was likely responsible for pointing impresario Giorgio Gomelsky to the group.

Gomelsky booked the band into his Crawdaddy Club in London, and they were subsequently signed by Mickie Most, an independent producer who secured a contract with EMI's Columbia imprint. A studio session in February 1964 yielded their Columbia debut single, "Baby Let Me Take You Home" (adapted from "Baby Let Me Follow You Down"), which rose to number 21 on the British charts. For years, it was rumored incorrectly that the Animals got their next single, "House of the Rising Sun," from Bob Dylan's first album, but it has been revealed that, like "Baby Let Me Take You Home," the song came to them courtesy of Josh White. In any event, the song -- given a new guitar riff by Valentine and a soulful organ accompaniment devised by Price -- shot to the top of the U.K. and U.S. charts early that summer. This success led to a follow-up session that summer, yielding their first long-playing record, The Animals. Their third single, "I'm Crying," rose to number eight on the British charts. The group compiled an enviable record of Top Ten successes, including "Don't Let Me Be Misunderstood" and "We've Gotta Get Out of This Place," along with a second album, Animal Tracks.

In May of 1965, immediately after recording "We've Gotta Get Out of This Place," Alan Price left the band, citing fear of flying as the reason; subsequent biographies of the band have indicated that the reasons were less psychological. When "House of the Rising Sun" was recorded, using what was essentially a group arrangement, the management persuaded the band to put one person's name down as arranger. Price came up the lucky one, supposedly with the intention that the money from the arranger credit would be divided later on. The money was never divided, however, and as soon as it began rolling in, Price suddenly developed his fear of flying and exited the band. Others cite the increasing contentiousness between Burdon and Price over leadership of the group as the latter's reason for leaving. In any case, a replacement was recruited in the person of Dave Rowberry.

In the meantime, the group was growing increasingly unhappy with the material they were being given to record by manager Mickie Most. Not only were the majority of these songs much too commercial for their taste, but they represented a false image of the band, even if many were successful. "It's My Life," a number seven British hit and a similar smash in America, caused the Animals to terminate their association with Most and with EMI Records. They moved over to Decca/London Records and came up with a more forceful, powerful sound on their first album for the new label, Animalisms. The lineup shifts continued, however: Steel exited in 1966, after recording Animalisms, and was replaced by Barry Jenkins, formerly of the Nashville Teens. Chandler left in mid-1966 after recording "Don't Bring Me Down," and Valentine remained until the end of 1966, but essentially "Don't Bring Me Down" marked the end of the original Animals.

Burdon re-formed the group under the aegis of Eric Burdon and the New Animals, with Jenkins on drums, John Weider on guitar and violin, Danny McCulloch on bass, and Vic Briggs on guitar. He remained officially a solo act for a time, releasing a collection of material called Eric Is Here in 1967. As soon as the contract with English Decca was up, Burdon signed with MGM directly for worldwide distribution, and the new lineup made their debut in mid-1967. Eric Burdon and the New Animals embraced psychedelica to the hilt amid the full bloom of the Summer of Love. By the end of 1968, Briggs and McCulloch had departed, to be replaced by Burdon's old friend, keyboard player/vocalist Zoot Money, and his longtime stablemate, guitarist Andy Summers, while Weider switched to bass. Finally, in 1969, Burdon pulled the plug on what was left of the Animals. He hooked up with a Los Angeles-based group called War, and started a subsequent solo career.

The original Animals reunited in 1976 for a superb album called Before We Were So Rudely Interrupted, which picked up right where Animalisms had left off a decade earlier and which was well-received critically but failed to capture the public's attention. In 1983, a somewhat longer-lasting reunion came about between the original members, augmented with the presence of Zoot Money on keyboards. The resulting album, Ark, consisting of entirely new material, was well received by critics and charted surprisingly high, and a world tour followed. By the end of the year and the heavy touring schedule, however, it was clear that this reunion was not going to be a lasting event. The quintet split up again, having finally let the other shoe drop on their careers and history, and walked away with some financial rewards, along with memories of two generations of rock fans cheering their every note.

**********

TO THE TOP

**********

10786 - ERIC BURDON & THE ANIMALS - THE TWAIN SHALL MEET (1968)

ERIC BURDON & THE ANIMALS
''THE TWAIN SHALL MEET''
APRIL 1968
43:30

**********

1 Monterey 04:39
2 Just The Thought 03:50
3 Closer To The Truth 04:35
4 No Self Pity 04:55
5 Orange And Red Beams 03:44 (Danny McCulloch)
6 Sky Pilot 07:23
7 We Love You Lil 06:45
8 All Is One 07:37
Tracks By Eric Burdon & The Animals, Except 5

**********

Eric Burdon - vocals On 1, 3, 4, 6, 7, 8
John Weider - guitar, violin
Vic Briggs - guitar
Danny McCulloch - bass, vocals On 2, 5
Barry Jenkins - drums

**********

REVIEW / AMG
Bruce Eder
The mix of topical songs, surreal antiwar anthems, and diffuse psychedelic mood pieces on The Twain Shall Meet is extremely ambitious, and while much of the group's reach exceeds its grasp, it's all worth a trip through as a fascinating period piece. In fact, the mood pieces predominate, mostly underwritten and under-rehearsed, and recorded without the studio time needed to make them work. "Just the Thought" and "Closer to the Truth" are dull and unfocused, even as psychedelia, while "No Self Pity" and "We Love You Lil" are above average musical representations of mind-altered states. "We Love You Lil" opens with a clever play on the old popular tune "Lili Marlene" that leads to an extended guitar jam and ethereal backing that rather recalls the early work of Focus, among other progressive rock acts. "All Is One" is probably unique in the history of pop music as a psychedelic piece, mixing bagpipes, sitar, oboes, horns, flutes, and a fairly idiotic lyric, all within the framework of a piece that picks up its tempo like the dance music from Zorba the Greek while mimicking the Spencer Davis Group's "Gimme Some Lovin'." On the more accessible side are "Monterey," a distant precursor to Joni Mitchell's more widely heard post-festival anthem "Woodstock," with some clever musical allusions and a great beat, plus lots of enthusiasm; and the shattering "Sky Pilot," one of the grimmest and most startling antiwar songs of the late '60s, with a killer guitar break by Vic Briggs that's marred only by the sound of the plane crash in the middle.

**********

BIOGRAPHY / AMG
One of the most important bands originating from England's R&B scene during the early '60s, the Animals were second only to the Rolling Stones in influence among R&B-based bands in the first wave of the British Invasion. the Animals had their origins in a Newcastle-based group called the Kansas City Five, whose membership included pianist Alan Price, drummer John Steel, and vocalist Eric Burdon. Price exited to join the Kontours in 1962, while Burdon went off to London. The Kontours, whose membership included Bryan "Chas" Chandler, eventually were transmuted into the Alan Price R&B Combo, with John Steel joining on drums. Burdon's return to Newcastle in early 1963 heralded his return to the lineup. The final member of the combo, guitarist Hilton Valentine, joined just in time for the recording of a self-produced EP under the band's new name, the Animals. That record alerted Graham Bond to the Animals; he was likely responsible for pointing impresario Giorgio Gomelsky to the group.

Gomelsky booked the band into his Crawdaddy Club in London, and they were subsequently signed by Mickie Most, an independent producer who secured a contract with EMI's Columbia imprint. A studio session in February 1964 yielded their Columbia debut single, "Baby Let Me Take You Home" (adapted from "Baby Let Me Follow You Down"), which rose to number 21 on the British charts. For years, it was rumored incorrectly that the Animals got their next single, "House of the Rising Sun," from Bob Dylan's first album, but it has been revealed that, like "Baby Let Me Take You Home," the song came to them courtesy of Josh White. In any event, the song -- given a new guitar riff by Valentine and a soulful organ accompaniment devised by Price -- shot to the top of the U.K. and U.S. charts early that summer. This success led to a follow-up session that summer, yielding their first long-playing record, The Animals. Their third single, "I'm Crying," rose to number eight on the British charts. The group compiled an enviable record of Top Ten successes, including "Don't Let Me Be Misunderstood" and "We've Gotta Get Out of This Place," along with a second album, Animal Tracks.

In May of 1965, immediately after recording "We've Gotta Get Out of This Place," Alan Price left the band, citing fear of flying as the reason; subsequent biographies of the band have indicated that the reasons were less psychological. When "House of the Rising Sun" was recorded, using what was essentially a group arrangement, the management persuaded the band to put one person's name down as arranger. Price came up the lucky one, supposedly with the intention that the money from the arranger credit would be divided later on. The money was never divided, however, and as soon as it began rolling in, Price suddenly developed his fear of flying and exited the band. Others cite the increasing contentiousness between Burdon and Price over leadership of the group as the latter's reason for leaving. In any case, a replacement was recruited in the person of Dave Rowberry.

In the meantime, the group was growing increasingly unhappy with the material they were being given to record by manager Mickie Most. Not only were the majority of these songs much too commercial for their taste, but they represented a false image of the band, even if many were successful. "It's My Life," a number seven British hit and a similar smash in America, caused the Animals to terminate their association with Most and with EMI Records. They moved over to Decca/London Records and came up with a more forceful, powerful sound on their first album for the new label, Animalisms. The lineup shifts continued, however: Steel exited in 1966, after recording Animalisms, and was replaced by Barry Jenkins, formerly of the Nashville Teens. Chandler left in mid-1966 after recording "Don't Bring Me Down," and Valentine remained until the end of 1966, but essentially "Don't Bring Me Down" marked the end of the original Animals.

Burdon re-formed the group under the aegis of Eric Burdon and the New Animals, with Jenkins on drums, John Weider on guitar and violin, Danny McCulloch on bass, and Vic Briggs on guitar. He remained officially a solo act for a time, releasing a collection of material called Eric Is Here in 1967. As soon as the contract with English Decca was up, Burdon signed with MGM directly for worldwide distribution, and the new lineup made their debut in mid-1967. Eric Burdon and the New Animals embraced psychedelica to the hilt amid the full bloom of the Summer of Love. By the end of 1968, Briggs and McCulloch had departed, to be replaced by Burdon's old friend, keyboard player/vocalist Zoot Money, and his longtime stablemate, guitarist Andy Summers, while Weider switched to bass. Finally, in 1969, Burdon pulled the plug on what was left of the Animals. He hooked up with a Los Angeles-based group called War, and started a subsequent solo career.

The original Animals reunited in 1976 for a superb album called Before We Were So Rudely Interrupted, which picked up right where Animalisms had left off a decade earlier and which was well-received critically but failed to capture the public's attention. In 1983, a somewhat longer-lasting reunion came about between the original members, augmented with the presence of Zoot Money on keyboards. The resulting album, Ark, consisting of entirely new material, was well received by critics and charted surprisingly high, and a world tour followed. By the end of the year and the heavy touring schedule, however, it was clear that this reunion was not going to be a lasting event. The quintet split up again, having finally let the other shoe drop on their careers and history, and walked away with some financial rewards, along with memories of two generations of rock fans cheering their every note.

**********

TO THE TOP

**********

10785 - ERIC BURDON & THE ANIMALS - WINDS OF CHANGE (1967)

ERIC BURDON & THE ANIMALS
''WINDS OF CHANGE''
AUGUST 1967
57:09

**********

1 Winds Of Change 03:59
2 Poem By The Sea 02:15
3 Paint It Black 05:56 (Mick Jagger, Keith Richards)
4 The Black Plague 05:55
5 Yes I Am Experienced 03:36
6 San Franciscan Nights 03:16
7 Man - Woman 06:02
8 Hotel Hell 04:11
9 Good Times 02:57
10 Anything 03:19
11 It's All Meat 02:00
Bonus Tracks (2003)
12 Good Times 02:57
13 Ain't That So 03:24
14 San Franciscan Nights 03:16
15 Gratefully Dead 03:58
Tracks By Eric Burdon & The Animals, Except 3

**********

Eric Burdon - vocals
Vic Briggs - guitar, piano, arrangements
John Weider - guitar, violin
Danny McCulloch - bass guitar
Barry Jenkins - drums
Additional Personnel
Keith Olsen - bass Guitar on some tracks after Danny McCulloch broke his wrist

**********

REVIEW / AMG
Bruce Eder
Winds of Change opened the psychedelic era in the history of Eric Burdon & the Animals -- although Burdon's drug experiences had taken a great leap forward months earlier with his first acid trip, and he and the group had generated some startlingly fresh-sounding singles in the intervening time, it was Winds of Change that plunged the group headfirst into the new music. The record was more or less divided into two distinctly different sides, the first more conceptual and ambitious psychedelic mood pieces and the second comprised of more conventionally structured songs, although even these were hard, mostly bluesy and blues-based rock, their jumping-off point closer to Jimi Hendrix than Sonny Boy Williamson. The band's new era opened with waves washing over the title track, which included sitar and electric violin, while Burdon's voice, awash in reverb, calmly recited a lyric that dropped a lot of major names from blues, jazz, and rock. "Poem by the Sea" was a recitation by Burdon, amid a swirl of echo-drenched instruments, and it led into one of the group's handful of memorable covers from this period, "Paint It Black" -- driven by John Weider's electric violin and Vic Briggs' guitar, and featuring an extended vocal improvisation by Burdon, their approach to the song was good enough to make it part of the group's set at the Monterey International Pop Festival that June, and also to get a spot in the documentary movie that followed. "The Black Plague" opens with a Gregorian chant structure that recalls "Still I'm Sad" by the Yardbirds, and was another vehicle for Burdon's surreal spoken contributions. There were also, as with most of the group's work from this period, a few easily accessible tracks that could make good singles, in this instance "Good Times" and "San Franciscan Nights," a Top Ten record in various countries around the world in the last quarter of 1967, although, as Alan Clayson points out in his notes, the latter song was overlooked in England for nearly 12 months after its release elsewhere, and then appeared as the B-side to the relatively straightforward, brooding, moody rocker "Anywhere." Burdon was so inspired by Jimi Hendrix's music that he wrote one of the psychedelic era's rare "answer" songs, "Yes I Am Experienced," as an homage to the guitarist; the latter's influence could also be heard in "It's All Meat," the LP's closing track, and a song that calls to mind an aspect of this band that a lot of scholars in earlier years overlooked -- the fact that Briggs, Weider, et al. had the skills to make music in that style that was convincing and that worked on record, on their terms.

**********

BIOGRAPHY / AMG
One of the most important bands originating from England's R&B scene during the early '60s, the Animals were second only to the Rolling Stones in influence among R&B-based bands in the first wave of the British Invasion. the Animals had their origins in a Newcastle-based group called the Kansas City Five, whose membership included pianist Alan Price, drummer John Steel, and vocalist Eric Burdon. Price exited to join the Kontours in 1962, while Burdon went off to London. The Kontours, whose membership included Bryan "Chas" Chandler, eventually were transmuted into the Alan Price R&B Combo, with John Steel joining on drums. Burdon's return to Newcastle in early 1963 heralded his return to the lineup. The final member of the combo, guitarist Hilton Valentine, joined just in time for the recording of a self-produced EP under the band's new name, the Animals. That record alerted Graham Bond to the Animals; he was likely responsible for pointing impresario Giorgio Gomelsky to the group.

Gomelsky booked the band into his Crawdaddy Club in London, and they were subsequently signed by Mickie Most, an independent producer who secured a contract with EMI's Columbia imprint. A studio session in February 1964 yielded their Columbia debut single, "Baby Let Me Take You Home" (adapted from "Baby Let Me Follow You Down"), which rose to number 21 on the British charts. For years, it was rumored incorrectly that the Animals got their next single, "House of the Rising Sun," from Bob Dylan's first album, but it has been revealed that, like "Baby Let Me Take You Home," the song came to them courtesy of Josh White. In any event, the song -- given a new guitar riff by Valentine and a soulful organ accompaniment devised by Price -- shot to the top of the U.K. and U.S. charts early that summer. This success led to a follow-up session that summer, yielding their first long-playing record, The Animals. Their third single, "I'm Crying," rose to number eight on the British charts. The group compiled an enviable record of Top Ten successes, including "Don't Let Me Be Misunderstood" and "We've Gotta Get Out of This Place," along with a second album, Animal Tracks.

In May of 1965, immediately after recording "We've Gotta Get Out of This Place," Alan Price left the band, citing fear of flying as the reason; subsequent biographies of the band have indicated that the reasons were less psychological. When "House of the Rising Sun" was recorded, using what was essentially a group arrangement, the management persuaded the band to put one person's name down as arranger. Price came up the lucky one, supposedly with the intention that the money from the arranger credit would be divided later on. The money was never divided, however, and as soon as it began rolling in, Price suddenly developed his fear of flying and exited the band. Others cite the increasing contentiousness between Burdon and Price over leadership of the group as the latter's reason for leaving. In any case, a replacement was recruited in the person of Dave Rowberry.

In the meantime, the group was growing increasingly unhappy with the material they were being given to record by manager Mickie Most. Not only were the majority of these songs much too commercial for their taste, but they represented a false image of the band, even if many were successful. "It's My Life," a number seven British hit and a similar smash in America, caused the Animals to terminate their association with Most and with EMI Records. They moved over to Decca/London Records and came up with a more forceful, powerful sound on their first album for the new label, Animalisms. The lineup shifts continued, however: Steel exited in 1966, after recording Animalisms, and was replaced by Barry Jenkins, formerly of the Nashville Teens. Chandler left in mid-1966 after recording "Don't Bring Me Down," and Valentine remained until the end of 1966, but essentially "Don't Bring Me Down" marked the end of the original Animals.

Burdon re-formed the group under the aegis of Eric Burdon and the New Animals, with Jenkins on drums, John Weider on guitar and violin, Danny McCulloch on bass, and Vic Briggs on guitar. He remained officially a solo act for a time, releasing a collection of material called Eric Is Here in 1967. As soon as the contract with English Decca was up, Burdon signed with MGM directly for worldwide distribution, and the new lineup made their debut in mid-1967. Eric Burdon and the New Animals embraced psychedelica to the hilt amid the full bloom of the Summer of Love. By the end of 1968, Briggs and McCulloch had departed, to be replaced by Burdon's old friend, keyboard player/vocalist Zoot Money, and his longtime stablemate, guitarist Andy Summers, while Weider switched to bass. Finally, in 1969, Burdon pulled the plug on what was left of the Animals. He hooked up with a Los Angeles-based group called War, and started a subsequent solo career.

The original Animals reunited in 1976 for a superb album called Before We Were So Rudely Interrupted, which picked up right where Animalisms had left off a decade earlier and which was well-received critically but failed to capture the public's attention. In 1983, a somewhat longer-lasting reunion came about between the original members, augmented with the presence of Zoot Money on keyboards. The resulting album, Ark, consisting of entirely new material, was well received by critics and charted surprisingly high, and a world tour followed. By the end of the year and the heavy touring schedule, however, it was clear that this reunion was not going to be a lasting event. The quintet split up again, having finally let the other shoe drop on their careers and history, and walked away with some financial rewards, along with memories of two generations of rock fans cheering their every note.

**********

TO THE TOP

**********

10784 - ERIC BURDON & THE ANIMALS - ERIC IS HERE (1967)

ERIC BURDON & THE ANIMALS
''ERIC IS HERE''
MARCH 1967
31:38

**********

1 In The Night 02:27 (Tommy Boyce, Bobby Hart)
2 Mama Told Me Not To Come 02:16 (Randy Newman)
3 I Think It'S Gonna Rain Today 02:06 (Randy Newman)
4 On This Side Of Goodbye 03:25 (Gerry Goffin, Carole King)
5 That Ain'T Where It's At 03:00 (Martin Siegel)
6 True Love (Comes Only Once In A Lifetime) 02:35 (Bob Haley, Nevel Nader)
7 Help Me Girl 02:40 (Scott English, Larry Weiss)
8 Wait Till Next Year 02:17 (Randy Newman)
9 Losin' Control 02:46 (Carl D'Errico, Roger Atkins)
10 It's Not Easy 03:07 (Barry Mann, Cynthia Weil)
11 The Biggest Bundle Of Them All 02:11 (Ritchie Cordell, Sol Trimachi)
12 It's Been A Long Time Comin' 02:43 Jimmy Radcliffe, Joey Brooks)

**********

Eric Burdon - vocals
Vic Briggs - guitar, piano
John Weider - guitar
Danny McCulloch - bass
Barry Jenkins - drums
Additional Personnel
Benny Golson – arranger, conductor
Horace Ott – arranger, conductor

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REVIEW / AMG
Bruce Eder
During the months after Eric Burdon and the remaining members of the original Animals split, the singer cut this album backed by an orchestra and doing songs by Randy Newman, Barry Mann and Cynthia Weil, and other pop-music fixtures -- quite a turnaround for the blues purist Burdon, and also very effective as mainstream pop music, including the U.S. hit "Help Me Girl." To add to the general confusion surrounding this material, some of it seems to have been recorded with the original Animals, or at sessions conducted while they were still together. Several songs, including "Help Me Girl," show up on Sequel Records' Inside Looking Out.

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BIOGRAPHY / AMG
One of the most important bands originating from England's R&B scene during the early '60s, the Animals were second only to the Rolling Stones in influence among R&B-based bands in the first wave of the British Invasion. the Animals had their origins in a Newcastle-based group called the Kansas City Five, whose membership included pianist Alan Price, drummer John Steel, and vocalist Eric Burdon. Price exited to join the Kontours in 1962, while Burdon went off to London. The Kontours, whose membership included Bryan "Chas" Chandler, eventually were transmuted into the Alan Price R&B Combo, with John Steel joining on drums. Burdon's return to Newcastle in early 1963 heralded his return to the lineup. The final member of the combo, guitarist Hilton Valentine, joined just in time for the recording of a self-produced EP under the band's new name, the Animals. That record alerted Graham Bond to the Animals; he was likely responsible for pointing impresario Giorgio Gomelsky to the group.

Gomelsky booked the band into his Crawdaddy Club in London, and they were subsequently signed by Mickie Most, an independent producer who secured a contract with EMI's Columbia imprint. A studio session in February 1964 yielded their Columbia debut single, "Baby Let Me Take You Home" (adapted from "Baby Let Me Follow You Down"), which rose to number 21 on the British charts. For years, it was rumored incorrectly that the Animals got their next single, "House of the Rising Sun," from Bob Dylan's first album, but it has been revealed that, like "Baby Let Me Take You Home," the song came to them courtesy of Josh White. In any event, the song -- given a new guitar riff by Valentine and a soulful organ accompaniment devised by Price -- shot to the top of the U.K. and U.S. charts early that summer. This success led to a follow-up session that summer, yielding their first long-playing record, The Animals. Their third single, "I'm Crying," rose to number eight on the British charts. The group compiled an enviable record of Top Ten successes, including "Don't Let Me Be Misunderstood" and "We've Gotta Get Out of This Place," along with a second album, Animal Tracks.

In May of 1965, immediately after recording "We've Gotta Get Out of This Place," Alan Price left the band, citing fear of flying as the reason; subsequent biographies of the band have indicated that the reasons were less psychological. When "House of the Rising Sun" was recorded, using what was essentially a group arrangement, the management persuaded the band to put one person's name down as arranger. Price came up the lucky one, supposedly with the intention that the money from the arranger credit would be divided later on. The money was never divided, however, and as soon as it began rolling in, Price suddenly developed his fear of flying and exited the band. Others cite the increasing contentiousness between Burdon and Price over leadership of the group as the latter's reason for leaving. In any case, a replacement was recruited in the person of Dave Rowberry.

In the meantime, the group was growing increasingly unhappy with the material they were being given to record by manager Mickie Most. Not only were the majority of these songs much too commercial for their taste, but they represented a false image of the band, even if many were successful. "It's My Life," a number seven British hit and a similar smash in America, caused the Animals to terminate their association with Most and with EMI Records. They moved over to Decca/London Records and came up with a more forceful, powerful sound on their first album for the new label, Animalisms. The lineup shifts continued, however: Steel exited in 1966, after recording Animalisms, and was replaced by Barry Jenkins, formerly of the Nashville Teens. Chandler left in mid-1966 after recording "Don't Bring Me Down," and Valentine remained until the end of 1966, but essentially "Don't Bring Me Down" marked the end of the original Animals.

Burdon re-formed the group under the aegis of Eric Burdon and the New Animals, with Jenkins on drums, John Weider on guitar and violin, Danny McCulloch on bass, and Vic Briggs on guitar. He remained officially a solo act for a time, releasing a collection of material called Eric Is Here in 1967. As soon as the contract with English Decca was up, Burdon signed with MGM directly for worldwide distribution, and the new lineup made their debut in mid-1967. Eric Burdon and the New Animals embraced psychedelica to the hilt amid the full bloom of the Summer of Love. By the end of 1968, Briggs and McCulloch had departed, to be replaced by Burdon's old friend, keyboard player/vocalist Zoot Money, and his longtime stablemate, guitarist Andy Summers, while Weider switched to bass. Finally, in 1969, Burdon pulled the plug on what was left of the Animals. He hooked up with a Los Angeles-based group called War, and started a subsequent solo career.

The original Animals reunited in 1976 for a superb album called Before We Were So Rudely Interrupted, which picked up right where Animalisms had left off a decade earlier and which was well-received critically but failed to capture the public's attention. In 1983, a somewhat longer-lasting reunion came about between the original members, augmented with the presence of Zoot Money on keyboards. The resulting album, Ark, consisting of entirely new material, was well received by critics and charted surprisingly high, and a world tour followed. By the end of the year and the heavy touring schedule, however, it was clear that this reunion was not going to be a lasting event. The quintet split up again, having finally let the other shoe drop on their careers and history, and walked away with some financial rewards, along with memories of two generations of rock fans cheering their every note.

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