Beau Brummels
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )

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A San Francisco, a fungere da ponte fra l'era del folk-rock dei e l'era del flower-power, esercitarono i Beau Brummels del cantante Sal Valentino (al secolo Salvatore Spampinato). Co-fondatori con i Byrds dello stile "jingle-jangle", erano stati i primi a interpretare in California il sound del Merseybeat inglese (Laugh Laugh, alla fine del 1964, prodotta da Tom Donahue e Sylvester Stewart (il futuro Sly Stone), entrambi agli inizi della loro carriera, il primo futuro disc-jockey e il secondo futura star).

Il loro sound era un ibrido di tanti umori che si stavano spargendo per l'America, dal garage-rock alla psichedelia. Ma le canzoni piu` tipiche, come erano serafiche e orecchiabili. Introducing (Autumn, aprile 1965) fu l'album di debutto, e contiene, oltre a Laugh Laugh, anche Stick Like Glue, I Would Be Happy, Still In Love With You Baby, e soprattutto Just A Little, il loro capolavoro, un ibrido di folk-rock e Mersey-beat. Se i Beatles erano il riferimento principale, non mancavano tony "dylaniani" e scudisciate alla Kinks. Quasi tutti i titoli erano scritti dal gruppo (precisamente da Ron Elliot).

I Beau Brummels furono il primo gruppo di San Francisco a diventare famosi in tutta la nazione.

Vol 2 (Autumn, 1965) e` forse migliore come album (o quantomeno meno Beatles-dipendente), annoverando You Tell Me Why, Sad Little Girl e soprattutto Don't Talk To Strangers, che echeggiava lo stile esuberante dei Byrds.

Good Time Music e One Too Many Mornings furono gli ultimi singoli di quella stagione.

Valentino e Elliot, coadiuvati da Van Dyke Parks, virarono poi verso il rock progressivo con Triangle (Warner, 1967). Poi venne la svolta country-rock, con Bradley's Barn (Warner, 1968), in tutto e per tutto seguendo le orme di Byrds e Bob Dylan.

Il gruppo si sciolse dopo quel disco e Valentino formo` gli Stoneground. Elliot registro` il disco solista The Candlestick Maker (1969). La formazione si riuni` anni dopo per Beau Brummels (Warner Brows, 1975), tutt'altro che malvagio.

(Translated by Ornella C. Grannis)

In San Francisco, The Beau Brummels of Sal Valentino (aka Salvatore Spampinato) served to bridge the eras of folk-rock and flower-power. Co-founders with The Byrds of the "jingle-jangle" style, they were the first in California to interpret the English sound of the Merseybeat. Their first hit Laugh Laugh (1964) was produced by Tom Donahue and Sylvester Stewart (the future Sly Stone), both at the beginning of their careers. The first would become a disc-jockey, the second a star.

Theirs was an hybrid sound that reflected the many moods that were permeating America, from garage-rock to psychedelia, although their hits were catchy and angelic. Introducing The Beau Brummels (Autumn, April 1965), their debut album, contains, besides Laugh Laugh, Stick Like Glue, I Would Be Happy, Still In Love With You Baby and Just A Little, their masterpiece, a folk-rock Mersybeat hybrid. Although they were influenced mostly by The Beatles, Dylan's influence is noticeable, along with some licks a la Kinks. Most of their material was written by Ron Elliot.

The Beau Brummels were the first San Francisco band to gain national recognition.

Vol 2 (Autumn, 1965) is arguably their best album, at the very least, the one not so quite Beatles-dependent. It contains You Tell Me Why, Sad Little Girl and Don't Talk To Strangers, which echoes The Byrds' exuberant style.

Good Time Music and One Too Many Mornings were the last singles of that season.

Valentino and Elliot, assisted by Van Dyke Parks, headed toward progressive rock with Triangle (Warner, 1967). Then came the turn to country-rock with Bradley's Barn (Warner, 1968), a step by step chase of The Byrds and Bob Dylan. The band broke up right after its release. Valentino went on to form The Stoneground. Elliot recorded The Candlestick Maker in 1969.

In 1975 they regrouped to record Beau Brummels (Warner Bros), actually quite a good album.

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