![]() Jesse Ballew - saxophone (first line-up).1, Uptight Tonight: Ultimate 60's Garage Collection, Acid Dreams: Testament, Trash Box, Best of Pebbles, Vol. In addition, "No Friend of Mine" has appeared on the 1998 Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968 box set, the CD version of Pebbles, Volume 1, Songs We Taught The Fuzztones, Garage Beat '66, Vol. C." has appeared on Mayhem & Psychosis, Vol. Over the years, songs by the band have appeared on several various artists compilations: "The U.T." appeared on Highs in the Mid-Sixties, Volume 17, "I Want to Be Free" was included on Turds On A Bum Ride, Vol. A number of commentators, including author Jeff Jarema, have noted that during the band's almost fifteen years of existence and various different line-ups, the version of the group that made the name the Sparkles best known was the fourth line-up, which recorded the "Hipsville 29 B. The Sparkles finally disbanded in 1972, with Floyd returning to California to play with Red Wilder Blue. They later returned to Austin and reformed the Sparkles and it was during this period that Steve Weisberg, future guitarist of The John Denver Band, joined the band. When Nunn and Holt decided to quit the band, around 1968, Floyd, Smith, and Marriott relocated to California and changed the band's name to the Pearly Gate, making a handful of appearances in a television series called Judd, for the Defense. The following year, the band recorded "No Friend of Mine" and "Hipsville 29 B. All of these recordings were done in Odessa, Texas, at Tommy Allsup's Westex Studio. Soon thereafter, the songs "Something That You Said" and "Jack and the Beanstalk" were recorded. The band agreed and released the 1966 single "The Hip", which became a major hit in Austin. Nashville record producers Larry Parks and Jay Turnbow offered to sign the band to Hickory Records. Nunn, and the drummer Jimmy Marriott, resulting in the fourth line-up having two drummers, although Floyd would sometimes sing. Harold "Lucky" Floyd and Bobby Smith then recruited Louie Holt, Gary P. Due to disagreements among the band members, this line-up also broke up. This line-up, the third, became quite popular locally and started playing in clubs in west Texas. The band line-up changed again when drummer Harold "Lucky" Floyd, bassist Bobby Smith, and guitarist Donnie Roberts joined the group, with Hatchett leaving to form his own group, The Raiders, along with Blakey. This line-up broke up shortly thereafter and reformed with Gary Blakey on drums, Charlie Hatchett and Stanley Smith on guitars, and Don Settle on bass and backing vocals. The band made their first recording in 1958 for legendary record producer Norman Petty (who also worked with Buddy Holly and Roy Orbison), but the recording went unreleased. and the U.S.The first line-up of the Sparkles consisted of Stanley Smith and Carl Huckaby on guitars, Bob Donnell on bass, Johnny Waller on piano, brothers Jesse and Guy Balew on saxophone and vocals, and Gary Blakey on drums. As successful as it was, Sparkle in the Rain merely poised Simple Minds for their biggest year, 1985, when they followed up with "(Don't You) Forget About Me" and "Alive and Kicking," singles that hit the Top Ten in the U.K. Relatively restrained moments, such as the absurdly titled "'C' Moon Cry Like a Baby" ("Could this be something we don't understand," indeed), resemble stiff stabs at re-creating tense drama akin to the tail end of New Gold Dream. Apart from the brawling "The Kick Inside of Me," which contains one of Kerr's least tethered turns, none of the album cuts matches the urgency heard in the singles. The pounding "Waterfront," hurtling "Speed Your Love to Me," and gleaming "Up on the Catwalk," the album's singles, all reached the Top 30 in the U.K., and by the end of the year, the band was headlining North American hockey arenas and amphitheaters. Despite frontman Jim Kerr's vaguest gesturing and most voluble bellowing to that point, the move worked. For Sparkle in the Rain, they sought U2 producer Steve Lillywhite, whose approach helped shape their performances into a forceful, direct set of commercial rock designed to shake nosebleed seats. The band's sound naturally became less subtle. Their audience expanded, and dates opening for the likes of U2 and the Police placed them in stadiums. They released six albums, including a pair of nervy post-punk classics in Real to Real Cacophony and Empires and Dance, as well as the lavish "new pop" triumph New Gold Dream. ![]() In less than four years, Simple Minds produced and progressed like few other bands.
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