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60's: all from 1965 to 1971


leaves lp hey joe festival front

leavesfestivalenlarge
Performer: (interprete) The leaves
Album Title (titre de l'album) HEY JOE
Version of Hey Joe: Leaves cover in English
Duration of Hey Joe: 2:48
Musical genre / Genre musical 60's garage
Medium (Support): LP
Label: FESTIVAL
Cat. Number (Référence): FLDX 525
Mono / Stereo: Stereo
Origin of medium: France
©: recorded (enregistré) 1966
®: released (paru) 1967
Country of Interpreter: Band from Los Angeles, California, USA
Members: (membres) Robert Lee Reiner: Guitar, Harmonica
Tom "Ambrose" Ray: Drums
Jim Pons: Bass
Bobby Arlin* (1940-2010): Guitar
John Beck: Lead Vocals, Sax, Harmonica
Bill Rinehart: Guitar
*Bobby Arlin: see also under name Wonderlick


leaves lp hey joe surrey front

leavessurrey enlarge
Performer (Interprete): The leaves
album Title (titre de l'album) HEY JOE
Version of Hey Joe: Leaves cover in English
Duration of Hey Joe: 2:48
Musical genre / Genre musical 60's garage
Medium (Support): LP
Label: SURREY RECORDS
Cat. Nr / Référence: 3005
Mono / Stereo: Stereo
Origin of medium: USA
©: recorded (enregistré) 1966
®: released (paru) 1966

LP Surrey also numbered 66-2098 (mono) and 66-2099 (stereo)

gb A note about surrey LP: the leaves originally signed up with surrey, a small indie label. The group’s first album was actually already pressed on surrey label (and with surrey labels affixed to the wax) when surrey records was suddenly acquired by and absorbed into mira records, a slightly larger record label. Because, at that point, the covers for the album had not been printed yet, mira records finished the job, printed the covers with their logo and packaged those very few already pressed surrey records in mira covers; in other words, no surrey covers exist; all true first pressings (such as the one we have here) have surrey records packaged in mira covers.
Bob Djukic, Jackson Heights, NY, USA, June 23, 2008
fr Note au sujet du LP Surrey : les Leaves ont signé, à l'origine, avec Surrey, un petit Label indie. Le premier album du groupe a été réellement pressé sur le label Surrey (et avec des labels Surrey apposés à la cire).Rapidemment, les disques de Surrey ont été acquis et absorbés par les disques de Mira, un label légèrement plus grand. Puisque, à ce point, les pochettes pour l'album n'avaient pas encore été imprimées, les disques Mira ont fini le travail, imprimant les pochettes avec leur logo et ont emballé ceux déjà très peu pressés.En d'autres termes, aucune pochette de Surrey n'existe; tous les premiers pressages des disques de Surrey ont été édités avec des pochettes Mira. Si rares sont les disques mono originaux de Surrey qu'ils précèdent même les pressages promo de mira.
Bob Djukic, Jackson Heights, NY, USA, 23 Juin 2008

leaves lp hey joe mira promo front Performer (Interprete): The leaves
album Title (titre de l'album) HEY JOE
Version of Hey Joe: Leaves cover in English
Duration of Hey Joe: 2:48
Musical genre / Genre musical 60's garage
Medium (Support): LP Promo
Label: MIRA RECORDS
Cat. Nr / Référence: 3005
Mono / Stereo: Stereo
Origin of medium: USA
©: recorded (enregistré) 1966
®: released (paru) 1966
 


leaves lp hey joe mira front Performer (Interprete): The leaves
album Title (titre de l'album) HEY JOE
Version of Hey Joe: Leaves cover in English
Duration of Hey Joe: 2:48
Musical genre / Genre musical 60's garage
Medium (Support): LP
Label: MIRA
Cat. Nr / Référence: 3005
Mono / Stereo: Stereo
Origin of medium: USA
©: recorded (enregistré) 1966
®: released (paru) 1966

LP German release (same sleeve): Label LINE # LLP5144, Germany, 1966
LP reissue label Line Records # LLP 5144 AS, Germany 1981



leaves cd hey joe one way front Performer (Interprete): The leaves
album Title (titre de l'album) HEY JOE
Version of Hey Joe: Leaves cover in English
Duration of Hey Joe: 2:52
Musical genre / Genre musical 60's garage
Medium (Support): CD
Label: ONE WAY RECORDS
Cat. Nr / Référence: OW 29307
Mono / Stereo: Stereo
Origin of medium: Canada
©: recorded (enregistré) 1966
®: released (paru) 1993
 
leaves cd hey joe one way cover out

leaves cd hey joe one way cover in


leaves cd leaves are happening front Performer (Interprete): The leaves
album Title (titre de l'album) LEAVES-ARE HAPPENING THE BEST OF
Version of Hey Joe: 3 Versions of Hey Joe: in English
Duration of Hey Joe: Hey Joe 2:48 Stereo
release: Mira LPS 3005 and Mira 45-222
Hey Joe, where You Gonna Go? 2:43 Mono
(Stock single version) - release: Mira 45-207
Hey Joe, where You Gonna Go? 2:52 Mono
(Promo single version) - release: Mira 45-222
Musical genre / Genre musical 60's garage
Medium (Support): CD
Label: SUNDAZED
Cat. Nr / Référence: SC 11058
Mono / Stereo: Mono / Stereo
Origin of medium: USA
©: recorded (enregistré) 1965 and 1966
®: released (paru) 2000
"Hey Joe, Where You Gonna Go" (Mira 207): issued December 1965;
re-recorded as "Hey Joe, Where You Gonna Go" (Mira 222, January 1966)
and then again as "Hey Joe" (Mira 222, May 1966)

leaves cd leaves 1966 front Performer (Interprete): The leaves
album Title (titre de l'album) THE LEAVES 1966
Version of Hey Joe: Leaves cover in English
Duration of Hey Joe: 2:48
Musical genre / Genre musical 60's garage
Medium (Support): CD
Label: FRENCH FAN CLUB
Cat. Nr / Référence: FC 006 CD
Mono / Stereo: Stereo
Origin of medium: France
©: recorded (enregistré) 1965
®: released (paru) 1984
also on, same sleeve:
LP label FRENCH FAN CLUB # FC 006, France, 1984
original LP: THE LEAVES 1966 - Label PANDA # PA003 - USA, 1982
leaves cd leaves 1966 cover on

leaves cd leaves 1966 cover in

following text from the above picture, copyright © PANDA Records / Leaves's French Fan Club

It goes back to the spring-summer a 1964. I was attending San Fernando Valley State College in Northridge California, and I was in a fraternity called Sigma Phi Beta.
It was my third year a school and it was kind of boring. I was not really committed to higher education, college was just the place you went after high school.
Up until this time I had never really thought about any kind of show business or had any musical aspirations in my life. I had no musical background and none of my family or friends had anything remotely to do with the music business. And, then The Beatles came out!
The biggest thrill I use to have in those days was grabbing a broom and lip-syncing along with the bands that we would hire to play our fraternity parties. It occurred to me that you could actually play music without being terribly competent, as in having studied music for years and years. And it looked like fun. I was thinking about putting a band together but there was one catch I didn't know anyone that played anything, I didn't play anything. All these things came to a head when I was involved in a car accident and was eventually the winner in a $1,000 law suit. I had, at that time, more money that I had ever had in my life. I thought if I could find some people to play, I'd buy the instruments and we'd put together a band.
All I had in mind at the time was to form a band that would play our fraternity parties, like the bands we had been hiring. I thought we could do that so I spoke to two or three of my fraternity brothers. As I look back on it now, since no one played anything, my main interest was finding people who looked good and would look good on stage; there was very little else I had to go on. I didn't even know anvone who could sing. But, I did know who liked music the way I did, and that was a very large part of the beginning.
Robert Lee Reiner was just pledging our fraternity at the time. He and I use to go to local places and see bands and enjoy them, and he was the first person I spoke to. We made Jimmy Curran the drummer for no real reason except for the fact that he wanted to do it. Now we had the nucleus a the band.
Unfortunately we had to go outside the fraternity to find the fourth person because we realized, almost instantly, that there had to be someone in the band who could give us at least some tips on how to play. We found him in a surfer friend of Robert Lee's named Bill Rinehart.
He was attending Pierce College at the time, and had been playing for about six months. He wasn't so good that he refused to play with the three of us who didn't play at all, and he was just gond enough to give us some credibility as a band. He knew a few good songs and with some practice we were soon able to include in our repertoire such songs as TWIST AND SHOUT, and LOUIE LOUIE. We were lucky in that a lot of the songs popular in those days required only three chords.
We were looking for a safe place to play for the first lime so we went to our fraternity and told them we'd play the next party for free - which they gladlv let us do. So on
July 25th. 1964 we had our first job. It was like a rehearsal in front of a live audience. They gave us a lot of encouragement, and we kept at it. Next, we played another fraternity brother's wedding and we got paid for it! Our play list was a cross section of surfing music like LETS GO TRIPPIN, MOONDOG, RUMBLE, MR. MOTO. and some oldies like WHAT I SAY, HONKY TONK, and LITTLE LATIN LOOP DE LOO. We had fun, and in those days people weren't expecting a lot from us so it was an easy little step from one
place to the next. We didn't have a name for the group, we were just the fraternity band. For the better part of the school season that Fall we were hired to play fraternity parties. By this time we were known as The Rockwells.
One of my favorite musical heroes prier to the British Invasion had been Jerry Lee Lewis. I pulled off what I thought was a great coup at the time. I had been given the post of social director of my fraternity, and it was my responsibility to arrange for fund raising events such as dances and the like. So, I hired Jerry Lee Lewis and booked us as the opening act. Not only would we play to the biggest audience we'd ever had, but we would actually get to meet Jet-n Lee Lewis! Bob Eubanks was the M.C. for the show,
and he gave us quite a few words of encouragement. That show at Devonshire Downs was the best we'd ever done.
By now our band had been together about seven and a half months, and we began to realize that we weren't as good as we had wanted to be. We were looking for a fifth person, somebody to be out in front, sumebody to make us look good. Our aspirations had gone beyond fraternity parties - we wanted more. This was, mind you, when not everybody and his brother were putting bands together, not like today. There were very few people doing it, and we were thought of as being a little far out.
We were now playing a few jobs off campus. In fact, our first extended engagement was at a rather dismal place called the Mouse House On Reseda Blvd. in Northridge. just less than a mile from campus. We played a place called the Red Dog Tavern, and one called Chez Joey. As time went on it became more and more obvious to us that we needed a new member with really credible talent. We tried working with a guitar player named Bob Stamps, but unfortunately he was too good and didn't want to waste
his time with us. Then I met John Beck. He played saxophone, and I really liked the sound of it. I suggested that he play with our bband at a rehearsal - which he did.
I remember his first job with us, a sonoritv party from San Fernando State. I really liked his image, his appearance in front. Hes gave us wat I thought at the time to be a
Rolling Stones type of look. Since, our music was pretty raw-edged, more like the Stones than the Beatles. John was officially adopted as our front man. He soon went On to learn to play the harmonica. And we continued on with the five - man ensemble doing school related functions. We even did a school function with Captain Beefheart.
By now our musical repertoire was extended a little past the three chord stuff. And we started te become aware of the fact that we needed a more basic, driving drum beat.
As much as we liked Jimmy Curran, we felt he was loosing interest in the group, and we decided to let him go. Bill Rinehart found Tom Ray, who said that he played the drums. He brought a set of drums to rehearsal one day and he was great. He really gave us a spark we didn't have. Tom Ray was our drummer from that point on. (It wasn't until later on that we found out that Tom Ray had never played the drums before, and actually had rented a set to bring to rehearsal.)
The band now consisted of Robert Lee Reiner on rhythm guitar, Bill Rinehart on lead guitar, myself on bass guitar, ,John Beck in front on tamborine, harmonica and
occasional saxophone, and Tom Ray playing the drums. This was the incarnation of the unit that became known as THE LEAVES.
Up to this point we had been managed by two of our fraternity brothers, and we had developed quite a following in local clubs. One young lady named Marisa, a local fan,
knew the owner of a club called the Yum Yum Tree and managed to get us an audition there and we got the job! It was while we were working at the Yum Yum Tree that we started thinking seriously about pursuing music as a total career instead of a hobby. Those were great days. We would play the Yum Yum Tree in the early part of the evening and then go over the hill into Hollywood later on to see people like the Byrds playing at Ciro's. There were very few bands in those days and we were at a point where we could go over the hill, as it were, into this scene where serious musicians were playing for the sophisticated audience. Through the help of Marisa we acquired a manager who was powerful enough to arrange an audition for us at Ciro's on Sunset Strip. We had just changed our name to THE LEAVES. After the audition I went to San Diego for a week
to visit my folks and received a call saying we got the job. That was the single most dramatic change from fraternity band to professional band, and it was the turning point
of my life from part time student to full time musician. It's hard to explain the feelings we had in those days - it was so heavy and so exciting that I can't put it into words.
As unlikely as it may seem the man who helped us along on the next step of our career was Pat Boone. He came in to see us and signed us to a contract with his production company called Penthouse Productions.
He got us a recording contract with a local company called Mira Records.
Our first song was a song that Bill Rinehart and I wrote called TOO MANY PEOPLE, which was recorded at Harmony Records and was a minor hit in Los Angeles. It got to be number eleven and led to appearances on such T.V. shows as The Lloyd Thaxton Show, Night Street West, Sha - Bang, Where The Action Is, and Shiverree. We were playing with groups that months before were so far removed from us - groups like The Beach Boys, The Byrds, Paul Revere and The Raiders: we did a show at the Hollywood Bowl with Chad and Jeremy, and Perey Sledge.
Bill Rinehart and I were writing a lot of songs and were looking for a record to follow TOO MANY PEOPLE. We recorded a song called BE WITH YOU and another called
THAT'S A DIFFERENT STORY but they were never released. There was a song being done locally by a lot of bands on the strip called HEY JOE, which we added to our play list and went in and recorded. It didn't come out good and that wasn't released either. During this time we were accepting extended bookings in various cities on the west coast;
as far north as Oakland and as far south as San Diego. It was in a town called Hayward in the Bay Area, that we had to make the next major decision about membership in
the band. A tremendous personality conflict had developed beetween Bill Rinehart and the other members of the group, and we decided at the end of that gig that we would come back to L.A. and find ourselves another guitar player. We found Bobby Arlin playing in a snappy rhythm and blues combo, he was kind of "Vegas" looking, maybe a little too slick for us. He was not doing the type of music that we were doing at all, but he sure could play. He joined our band and his ability to play was vastly superior to ours.
He opened up a lot of areas of music that we hadn't explored before.
With each new change we became a better band. At this time we still believed in the song called HEY JOE, and we went back in the studio with Bobby and recorded it again. When the record was released it was recalled because it still wasn't right. We went back in and recorded it again and we nailed it. We had the hit, the big hit! It was the
number one record in most of California and in the top ten in most of the western United States. It got to be a top forty record on the national charts, and we were off.
We had started off less than two years earlier as a fraternity band with a big pipe dream, now here we are a professional Rock and Roll Band.
JIM PONS

Hey Joe is also on following records and CD's (and on plenty of media)








leaves sheet music

Bands listed on this poster are: The LEAVES, LOVE, ENEMIES, The SAFARIS, SAMMY LEE and SON OF ADAM. (Real names: ENEMYS, SURFARIS, SONS OF ADAM)

Who recorded Hey Joe first: The LEAVES or The SURFARIS?
It was the LEAVES. Their 7" single, MIRA 207, that features their first version of Hey Joe was published in December 1965 (The 7" single promo in November 1965).
The Surfaris recorded Hey Joe in 1966.
The same year (but perhaps at the end of 1965), the Group SONS OF ADAM recorded Hey Joe (anyway before The SURFARIS)
This band had the same label as The SURFARIS : Decca.
Decca shut out the release of the SONS OF ADAM's version to give priority to the SURFARIS.
Nearly 50 years later, the version of the SONS OF ADAM has still not been released.
It's a pity because when you listen to the other songs of SONS OF ADAM, you realize that they were an excellent group and we can only assume that their version of Hey Joe
must be worth listening to.
For when the integral release of the songs of SONS OF ADAM (released and originals) in Vinyl or CD?

Qui a enregistré Hey Joe en premier: Les LEAVES ou les SURFARIS?
Ce sont les LEAVES.
Leur 45 tours simple, MIRA 207, où figure leur première version de Hey Joe est paru en décembre 1965 (le 45 tours promo en novembre 1965).
Les SURFARIS ont enregistré Hey Joe en 1966.
La même année (mais peut-être à la fin de 1965), le groupe SONS OF ADAM enregistrait Hey Joe (de toute manière avant les SURFARIS).
Ce groupe avait le même label que les SURFARIS : DECCA
DECCA a bloqué la sortie de la version de SONS OF ADAM pour donner priorité aux SURFARIS.
Presque 50 ans après, la version de SONS OF ADAM n'est toujours pas parue.
C'est dommage car lorsque l'on écoute les autres titres de SONS OF ADAM, on se rend compte que c'était un excellent groupe et l'on peut supposer que sa version
de Hey Joe devait valoir la peine d'être écoutée.
Pour quand une parution de l'intégrale des titres (parus et inédits) de SON OF ADAM en vinyl ou CD?


Leaves Covers