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Love Cannot (Mr Beatnik Dub) ((BETTER))

During the early 1950s, Robbins was living a New York City beatnik idyll when he was drafted by the Air Force, which based him during peacetime in Korea and Japan. The experience provided him with his first glimpses into Eastern philosophies.

Love Cannot (Mr Beatnik Dub)

"I hope that most of us have had the experience of being in love," Robbins explains, "only to realize that as strong as your passion is, that person is not good for you, he or she doesn't fulfill your needs. You may go the rest of your life loving and lusting after that person, but if you have any maturity, you realize and understand that it just can't work. I needed far more at the time than Richmond could've given me."

Nobody would probably disagree about Turn! Turn! Turn! beinga "marking time album" - a little running-on-the-spot exercisebefore psychedelia and sci-fi motives kicked in hard on Fifth Dimension.Yes, pretty much every Byrds album from 1965 to 1968 represented a breakthroughof sorts - except this one. But the Byrds were slow on the move,and a two-album per year schedule was a little too much for them to stomach.A temporary lack of new ideas; the relative poorness of the American scenein 1965 (not much to compete with, really, except for the Bobster, I guess);record label pressure; a backlog of perhaps inferior, but still unreleasedsongs; and, most importantly, the "formula attitude" which theyweren't yet ready to overcome - all of this means that, well, if you lovedMr Tambourine Man dearly, you'll love this as well, but ifone album of that was your natural limit, you'd be much better offsomewhere else. This "sophomore" product is pretty dang good,yep, but there's nothing on here they hadn't done better already.

I have absolutely NO idea why this record always gets such a bad rapfrom critics and fans alike. I have to guess it has to do with the usualbane of all music lovers: inadequate expectations. Indeed, after four yearsof 'second-hand Byrds' that were more like Roger McGuinn's new backingband and hardly ever qualified among all serious music lovers in the earlySeventies, this record was like a revelation for the fans. A new Byrdsrecord! And with all the Byrds in their original line-up: McGuinn, Crosby,Clark, Clarke, and Hillman! It was somehow downplayed that the boys werein it for the money more than for anything else, having been offered areally lush wad o' dough if only they reformed in that lineup. Worse, theimpatient fans and pernicious critics apparently forgot that the year was1973 and not 1965 - were they really expecting the Byrds to release anotherMr Tambourine Man and revolutionize rock music one more time? Afterall the burnouts? After all the crises and perturbations? After not havingworked together in that same lineup for six years? Hah! If anything, theByrds here set that first, and rather sad, precedent: the Reunion Gag ofan old washed-up band, primarily for financial and secondarily for nostalgicreasons. Something that so many bands would have performed only later -like, in the Eighties or Nineties. Jefferson Airplane? Traffic? Zombies?The Who, of course? Don't remind me...

Like theGone label, End was another of George Goldner's labels named for beatnik slang ("It's justthe end, man!"). Many of the albums issued on the End label were various artists compilationsthat included artists such as the Dubs, the Isley Brothers, the Gone All-Stars, and JoAnn Campbell fromthe sister Gone label. The JoAnn Campbell album [LP-306], was an oddity because she released all ofher Goldner singles on Gone and nary a one on End, but the album came out on the End labelnonetheless. The reason for the Gone pop/rock artists showing up on End albums (at least until the1961 Ral Donner album), was that Gone albums were reserved for exclusively jazz releases. End had three major artists. The first of these was the Chantels, five young girls from New York City :Arlene Smith, Sonia Goring, Rene Minus, Lois Harris, and Jackie Landry. They had met Richard Barrettof the Valentines, who worked for George Goldner, and he became their manager, persuading Goldnerto record them. Their first record, "He's Gone"/"The Plea" [End 1001], was recorded in July, 1957 andreleased the next month. "He's Gone" managed a respectable #71 nationally. Their next single,"Maybe" [End 1005], recorded on October 16 and released in December, 1957, went to #15 and becamea classic. Their followup, "Every Night" [End 1015], released in February, 1958, reached #39, and thenext single, "I Love You So" [End 1020], reached #42 after its release in May. After that, chart successescaped them on End. By 1961, they left End and signed with another New York label, Carlton, wherethey had several more chart hits. Anthony Gourdine, Ernest Wright, Tracy Lord, Glouster Rogers andClarence Collins were collectively known as the Chesters, then the Imperials, then soon after as LittleAnthony and the Imperials. Gourdine had recorded with the Duponts for the Winley label as early as1955, and in 1957 formed the Chesters. They recorded one single for the Apollo label [Apollo 521] in1957, then recorded "Glory of Love," released in 1958, for Liberty [56119]. The Chesters signed withGoldner's End label in 1958, and their first single was released in early summer, 1958, on End 1027,with "Tears on My Pillow" backed with "Two People In The World." Just about the time the single wasreleased, the group changed their name to the Imperials, and when the single had gone part way up thecharts to its eventual #4 position, changed their name to Little Anthony & the Imperials. The groupscored five more chart records before 1961, including the top-30 "Shimmy, Shimmy, Ko-Ko-Bop" [End1060] in early 1960.The third hit act for End was the Flamingos, who had recorded for the legendary Chance record label intheir hometown of Chicago as early as 1953. After Chance folded, they signed with Checker in Chicagoand had two R&B charters in 1956, "I'll Be Home" [Checker 830, #5] and "A Kiss from Your Lips"[Checker 837, #12]. They signed with Goldner's End label in 1958, and their first release late that yearwas "Lovers Never Say Goodbye" [End 1035], which reached #25 on the R&B charts and #52 pop inearly 1959. Their next release, "Love Walked In"/"At the Prom" [End 1044] flopped completely, but thethird release, "I Only Have Eyes for You" [End 1046] zipped up to #3 on the R&B charts and #11 pop. "Love Walked In" was reissued as the followup [End 1055], but it only reached #88 pop. Six moresingles reached the pop charts for End, including the Spring, 1960, top-30 single "Nobody Loves MeLikeYou Do" [End 1068]. The End label remained basically the same from the inception of the company into the late 60's.The label was gray with a red lower case "end" at the top on the left side of "end" is the front half of adachshund dog and on the right side is the back half of the same dog. We call this the grey "dog" label.First pressings of albums before 1961 did not have a notation at the bottom of the label (far left). In1961,"A Product of End Music, Inc. New York N.Y." was added to the bottom of the label (near left). When George Goldner sold End to Roulette in 1962, the notation on the bottom of the label changed to"A Division of Roulette Records, Inc." (far left). The label itself also changed to a very light blue ratherthan a grey color, although the design graphics remained the same (the blue "dog" label). Albums thatcame out before 1962 that have a blue "dog" label with the Roulette notation at the bottom are reissuesby Roulette, pressed 1962 or later. Roulette also later reissued some of the End albums on the Roulettelabel itself, such as shown at near left. In the late 1970s, Roulette again reissued several of the End albums, mostly in rechanneled stereo andmarked as such on the covers. The label was a completely revised design (far left), with a medium bluebackground and a wide horizontal orange bar across the middle of the label (the orange "bar" label)."END" was written in blue on either end of the bar. Although most of the 1970s reissue labels were asshown at the far left, some were known with a much lighter shade blue (near left). Most of the End albums were originally issued in mono only, but several of the Flamingos records werealso issued in stereo. These were later issued on CD by Collectables. The End logo on almost all of the original releases had a lower case "end" between the two halves of thedog. Beneath "end" were the words "HIGH FIDELITY." The LP number on these was outside the logoitself. For a short time in 1959, End also used a special "Super High Fidelity" logo under the End logo. This "Super High Fidelity" logo did not appear on their first three issues, that is, the original covers of LP-301 and LP-302, nor on LP-303. About the time LP-304 was issued, End revised the covers from LP-301and LP-302, and the second covers of both of these also had the "Super High Fidelity" logo. After thesethree albums (LP-304 and revised covers of LP-301 and LP-302), it was dropped, as it did not appear onLP-305 or later. 1970s reissues (at right, above) deleted the "HIGH FIDELITY" inside the logo box andreplaced it with the LP number, usually adding a rechanneled stereo disclaimer below the logo. (Theoriginal cover of LP-302 also had the LP number inside the logo box without the words "HIGH FIDELITY"- see cover below)We would appreciate any additions or corrections to this discography. Just send them to us via e-mail. Both Sides Now Publications is an informationweb page. We are not a catalog, nor can we provide the records listed below. We have no associationwith End Records, which we believe is currently owned by Rhino. Should you be interested in acquiringalbums listed in this discography (which are all out of print), we suggest you see our Frequently Asked Questions page and follow theinstructions found there. This story and discography are copyright 1997, 2008 by Mike Callahan. 041b061a72


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