The Group (1966) Sidney Lumet, Candice Bergen, Joan Hackett, Elizabeth Hartman, Drama

Most 1960s garage rock obsessives collect singles rather than albums for a good reason: While plenty of snarling teenagers could come up with two decent songs at a stretch, a precious few seemed able to brainstorm a dozen tunes without reaching to the bottom of the barrel or resorting to covers of other people's hits. But there were exceptions to this rule, among them the Sonics, the Litter, and, especially, the Remains, who never enjoyed much success on the national charts but were fabled heroes in their home town of Boston. The Remains' 1966 album for Epic is a classic, packed with great songs from singer/guitarist Barry Tashian, bassist Vern Miller, and pianist Bill Briggs, and boasting exciting, fiery performances, and if the full firepower of their legendary live shows didn't always come through on tape…

The Group released one album in 1978 and later evolved to the Pekka Pohjola Group. Double digipak CD. The 2nd disc features an extended studio session with the Sibelius academy orchestra plus two studio outtakes from the original album. Highly influenced by Weather Report and the jazz fusion scene of the 70s, The Group was set up after Pekka Pohjola and Vesa Aaltonen came back to Finland from Sweden. They both played in the Swedish prog/jazz rock band Made in Sweden. As The Group’s guitarist Seppo Tyni remembers, Aaltonen came back to Finland in early 1977 and Pohjola later in the summer. From the early 1977 Aaltonen and Tyni both played in Olli Ahvenlahti Quintet that for example performed at the Finnish Eurovision qualification (though they played as a quartet there)…

This 22-song compilation features all of the essential recordings cut by the group in 1965 and 1966 after they broke with their original producer Mickie Most, and before Eric Burdon dissolved the core of the original lineup to pursue solo stardom with an Animals group featuring entirely different musicians. These tracks were perhaps more soul-oriented than their previous recordings, but the group still burns on the hits "Inside Looking Out" and "Don't Bring Me Down." Despite the absence of original keyboardist Alan Price, the group continued to showcase Burdon's passionate vocals and burning, vibrant organ (by Price's replacement Dave Rowberry) on both renowned and obscure R&B tunes, with an occasional original thrown in. Besides the entirety of their final British LP Animalisms (from 1966) and the above-mentioned singles, the CD includes the hits "Help Me Girl" and "See See Rider" (credited to "Eric Burdon and the Animals," these were possibly Burdon solo records). The four tracks from their first release, an independently released 1963 EP featuring primitive R&B standards, are small but noteworthy bonus cuts that close this collection.

The Happenings are best-known for their hit single "See You in September," which is a sunny slice of sunshine pop featuring happy, bouncy vocals and intricate harmonies reminiscent of great white doo wop groups like the Four Seasons and the Tokens, who were not-so-coincidentally the Happenings' mentors and producers. Collectables has reissued both of the Happenings' records on one disc: 1966's The Happenings and 1967's Psycle. Both discs feature the stunning vocal gymnastics of their hit single and their updated doo wop sound coated with an easy listening gloss of strings on a not-very-thick Wall of Sound. Most of the songs on their debut were written by the members of the Tokens and are not bad but not that memorable, as they follow the formula of their hit but pale in comparison. An exception to this is the strange "You're in a Bad Way," which is a spooky track filled with death-related imagery that sports a surprisingly funky backbeat.

Midnight Ride marked just about the pinnacle of Paul Revere & the Raiders' history as a source of great albums. Even more to their credit, most of the music on Midnight Ride was written by the bandmembers themselves, and not just Mark Lindsay and Paul Revere, but Phil Volk, Drake Levin, and Mike Smith getting a shared songwriting credit. The irony is that this was the last album on which that egalitarian spirit was to dominate; alongside the tight, hard, eminently danceable rock & roll sounds that comprise about two-thirds of this album, there are signs of the softer, more introspective balladry that lead singer Mark Lindsay was starting to favor in his songwriting ("Little Girl in the Fourth Row," etc.)…

One gets the feeling that, as 1966 drew to a close amid an incredible acceleration of innovations in the pop and rock world, the Hollies felt the need to prove themselves capable of artistic growth despite having established a very winning formula. For Certain Because… was their first album entirely composed of original material, and it echoed pop's increased sophistication with fuller, more adventurous arrangements and more personal, folk-rock-influenced compositions. Such was the intense competition of the time that this record couldn't hope to take on Revolver, Aftermath, or Face to Face, but it nevertheless remains an admirable effort that may stand as the group's most accomplished album (greatest-hits packages excepted) of the '60s. The Hollies were very much a pop group and didn't let their somewhat more sober and introspective compositions stand in the way of their glittering harmonies and jangling guitars…

One gets the feeling that, as 1966 drew to a close amid an incredible acceleration of innovations in the pop and rock world, the Hollies felt the need to prove themselves capable of artistic growth despite having established a very winning formula. For Certain Because… was their first album entirely composed of original material, and it echoed pop's increased sophistication with fuller, more adventurous arrangements and more personal, folk-rock-influenced compositions. Such was the intense competition of the time that this record couldn't hope to take on Revolver, Aftermath, or Face to Face, but it nevertheless remains an admirable effort that may stand as the group's most accomplished album (greatest-hits packages excepted) of the '60s. The Hollies were very much a pop group and didn't let their somewhat more sober and introspective compositions stand in the way of their glittering harmonies and jangling guitars…