Brian Poole & The Tremeloes

Twist And Shout & It's About Time

Mp3 192\ 121 Mb

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Brian Poole - vocals (born November 2nd 1941, Barking)
Ricky West - lead guitar (born Richard Westwood, May 7th 1943, Dagenham)
Alan Blakely - rhythm guitar (born April 1st 1942, Bromley)
Alan Howard - bass guitar (born October 17th 1941, Dagenham)
Dave Munden - drums (born December 12th 1943, Dagenham)

Brian Poole founded the group in 1959 in Dagenham, Essex. They began their career as Buddy Holly mimics, Poole going so far as to wear spectacles of the type worn by Holly.
The band built up a following playing at US airbases and dancehalls. Their first big break came in '61 when they turned professional and were booked by the BBC for the popular radio show "Saturday Club" that summer. That appearance led to them becoming regulars on radio. Towards the end of that year, they were offered an audition by Decca. The audition was held on New Year's Day 1962. The producer of the session was informed that he could sign one of the two groups who were vying for a contract that day. He chose Brian Poole & The Tremeloes. The band to miss out was The Beatles.
They scored several hit records between 1963 and 1965, beginning with a cover of The Isley Brothers' "Twist And Shout", which, ironically, had also been covered by The Beatles on their debut album. This was followed with another "dance" song, a version of The Contours' "Do You Love Me", which went to the top of the charts and outsold a rival version by the Dave Clark Five. Other notable covers included Roy Orbison's "Candy Man"and the Strangeloves' "I Want Candy".
After the hits dried up Poole left in 1966 for a solo career which was to prove unsuccessful and he soon retired to work in the family's butcher business.
Contrary to expectations, The Tremeloes prospered without him and carried on making successful records until 1971.

Brian Poole And The Tremeloes

BRIAN POOLE & THE TREMELOES

The Tremeloes

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Disc 1

1. Twist and Shout

2. Twenty Miles

3. If You Gotta Make a Fool of Somebody

4. You Don't Love Me Anymore (And I Can Tell)

5. Meet Me Where We Used to Meet

6. Don't Be Afraid Little Darlin'

7. We Know

8. Alley Oop

9. Baby Workout

10. Over the Mountain, Across the Sea

11. Twist Little Sister

12. Doo Ron Ron (When He Walked Me Home)

13. Run Back Home

14. South Street

15. Peanuts

16. Keep On Dancing [From Just for Fun]
17. Twenty Miles

18. Come On In

19. Swinging On a Star

20. Yakety Yak

Disc 2

1. Time Is On My Side

2. Someone, Someone

3. You Can't Sit Down

4. I Could Make You Love Me

5. Rag Doll6. After a While

7. Chills

8. Times Have Changed

9. Hands Off

10. Uncle Willie

11. Michael Row the Boat Ashore

12. What Do You Want With My Baby?

13. Song of a Broken Heart

14. Heard It All Before

15. Well Who's That?
16. Time Is On My Side

17. Sho' Miss You Baby

18. It's All Right

19. You Don't Own Me

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Tommy James And The Shondells - Anthology

Mp3 320\170 Mb

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Tommy James and the Shondells was a popular 1960s American rock and roll group. They had two number one singles in the U.S. — "Hanky Panky" (1966) and "Crimson and Clover" (1968) — but also released five other top ten hits, including "I Think We're Alone Now," "Mony Mony," and "Crystal Blue Persuasion."

The band initially formed in 1959 as Tom and the Tornadoes, with the then only 12-year-old Tommy James as lead singer. In 1963, he re-named the band The Shondells after one of James' idols, guitarist Troy Shondell. The same year, they recorded the Jeff Barry/Ellie Greenwich song, "Hanky Panky" (originally a B-side by The Raindrops) [1]. James' version sold respectably in Michigan, Indiana and Illinois, but the record label, Snap Records, had no national distribution. The single failed to chart, and the Shondells disbanded. MORE :

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1. Hanky Panky

2. Say I Am (What I Am)

3. It's Only Love

4. I Think We're Alone Now

5. (Baby, Baby) I Can't Take It No More

6. Mirage

7. I Like The Way

8. Run, Run, Baby, Run

9. Gettin' Together

10. Real Girl

11. Love's Closin' In On Me

12. Out Of The Blue

13. Get Out Now

14. (I'm) Taken

15. One Two Three And I Fell

16. Mony Mony

17. Somebody Cares

18. Do Something To Me

19. Crimson and Clover

20. Sugar On Sunday

21. Crystal Blue Persuasion

22. Sweet Cherry Wine

23. Loved One

24. Ball Of Fire

25. She

26. Gotta Get Back To You

27. Draggin' the Line

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The Overlanders - Michelle

Mp3 320\95Mb

NEW LINK

THANK`S wwphil

Тне Rattles - Die deutschen Singles A&B (2CD)

Mp3 320\ 335 Mb

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Personel:

Achim Reichel, * 28. Januar 1944 in Wentorf, Gesang, Gitarre

1966 ersetzt durch Frank Dostal

1969 ersetzt durch Edna Bejarano

Herbert Hildebrandt, * 1943 in Hamburg, Bass

1969 ersetzt durch Zappo Lungen

Hans Joachim Kreuzfeld, * 1944 in Hamburg, Gitarre

ersetzt 1969 durch Frank Mille

Reinhard "Dickie" Tarrach, * 1944 in Hamburg, Schlagzeug

ersetzt 1968 durch Herbert Bornhold

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One of the most successful, and certainly one of the most prolific, German rock groups of the '60s, the Rattles enjoyed reasonable success in their native land without making much of an impression elsewhere (though some of their material was released in other countries). Starting out in the same Star Club-based Hamburg scene as the Liverpool groups of the early '60s, their early repertoire was built upon a similar base of '50s rock and soul/R&B. They released about 30 singles during the '60s (some on the Star-Club label itself), as well as almost ten albums, eventually making the transition to original material, and marching on well into the 1970s. ~ Richie Unterberger, All Music Guide

                              It`s a fantstic, great beat and sixtieteen music materials !!!!

PART 1

PART 2

The Monks - Black Monk Time (1966)

Mp3 320\98 Mb

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Major Members: Dave Day, Eddie Shaw, Roger Johnston, Larry Clark, Gary Burger

One of the strangest stories in rock history, the Monks were formed in the early '60s by American G.I.s stationed in Germany. After their discharge, the group stayed on in Germany as the Torquays, a fairly standard beat band. After changing their name to the Monks in the mid-'60s, they also changed their music, attitude, and appearance radically. Gone were standard oldie covers, replaced by furious, minimalist original material that anticipated the blunt, harsh commentary of the punk era. Their insistent rhythms recalled martial beats and polkas as much as garage rock, and the weirdness quotient was heightened by electric banjo, berserk organ runs, and occasional bursts of feedback guitar. To prove that they meant business, the Monks shaved the top of their heads and performed their songs -- crude diatribes about the Vietnam war, dehumanized society, and love/hate affairs with girls -- in actual monks' clothing.This was pretty strong stuff for 1966 Germany, and their shocking repertoire and attire were received with more confusion than hostility or warm praise. Well known in Germany as a live act, their sole album and several singles didn't take off in a big way and were never released in the U.S., it was rumored, because the lyrical content was deemed too shocking. They disbanded in confusion around 1967, but their album -- one of the most oddball constructions in all of rock -- gained a cult following among collectors, and has ironically made them much more popular and influential on an international level than they were during their lifetime. Bassist Eddie Shaw's 1994 autobiography, Black Monk Time, is a fascinating narrative of the Monks' stranger-than-fiction story. ~ Richie Unterberger, All Music Guide

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"Monk Time" – 2:42

"Shut Up" – 3:11

"Boys Are Boys and Girls Are Choice" – 1:23

"Higgle-Dy-Piggle-Dy" – 2:28

"I Hate You" – 3:32

"Oh, How to Do Now" – 3:14

"Complication" – 2:21

"We Do Wie Du" – 2:09

"Drunken Maria" – 1:44

"Love Came Tumblin' Down" – 2:28

"Blast Off!" – 2:12

"That's My Girl" – 2:24

"I Can't Get Over You" – 2:42

"Cuckoo" – 2:41

"Love Can Tame the Wild" – 2:38

"He Went Down to the Sea" – 3:03

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THE GUILLOTEENS - ACTION! ACTION! ACTION!

Mp3 256\88 Mb

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Despite making fans of Elvis Presley and Phil Spector as well as getting a big local hit in Memphis, the Guilloteens are not too well remembered in the pantheon of mid-'60s garage bands. That's unfortunate, because they were one of the better ones, and certainly one of the best from the South, an area that produced fewer garage bands per capita than the leading regional hotbeds of the sound. Perhaps some of the attention given to other regional garage bands of the era has eluded them because they were more versatile than the usual such act, putting fair quotients of blue-eyed soul, pop, and folk-rock into their sound, as well as the more expected British Invasion and raucous frat rock ingredients. The Guilloteens formed in 1964 when Lewis Paul, Laddie Hutcherson, and Joe Davis were members of the touring version of the Mar-Keys (who were by no means the same as the musicians who played on the Mar-Keys' records). When the horn section and singers of the band didn't show up one night, the three played on their own, leading them to decide to form their own group. Local popularity built a fan base that included Elvis Presley, who according to Paul would sneak into Memphis clubs to watch the Guilloteens. It was also Elvis who got the Guilloteens a gig in early 1965 at the Red Velvet Club in Hollywood, where the group briefly relocated. Phil Spector saw the Guilloteens and was impressed enough to start working on producing their original song "I Don't Believe" in the studio. But for reasons that remain obscure, while Spector was out of town, Guilloteens' manager Jerry Williams signed a deal with the newly launched Hanna Barbera label (an off-shoot of the company responsible for popular children's TV cartoons). Still, the Guilloteens' debut single, "I Don't Believe" sans Spector production, was a strong effort mixing British Invasion pop harmony, Searchers-like guitar, and Paul's unusually thick blue-eyed soul vocals. It was a big hit in Memphis, backed with the Kinks knock-off "Hey You," another group original. Paul took vocals on three of the four songs on the band's first two singles, with "For My Own" an impressive follow-up that similarly mixed folk-rock with garage-pop, though it wasn't the same regional hit that "I Don't Believe" had been. Paul quit the Guilloteens, however, after that release, unhappy with their manager. By this time the band had returned to Memphis from Los Angeles, and replaced Paul with Buddy Delaney. Another decent single followed, one side of which ("Crying All Over My Time") was co-written by Hutcherson and Jim Dickinson, the latter later to become famous as a sideman and producer. That was their third and last release on Hanna Barbera, as a southern tour on which they opened for Paul Revere & the Raiders helped get them a deal with Columbia Records. A Revere & the Raiders influence can be heard, in fact, on their first Columbia 45, "Wild Child," a really good slice of tough garage pop-punk that rates as one of the raunchiest garage singles issued on a major label. It couldn't break the Guilloteens nationally, however, and after a final. disappointing, uncharacteristically pop Columbia single in 1967, the group split up. Delaney made a rare single shortly afterward, "Girl," as frontman for Buddy Delaney & the Candy Soupe, though it was nothing more than a slightly reworked version of the old Guilloteens B-side "Hey You." All ten songs from the Guilloteens' singles (as well as Buddy Delaney & the Candy Soupe's "Hey You") were collected for the Misty Lane Guilloteens compilation For My Own. ~ Richie Unterberger, All Music Guide

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The Outcasts - The Outcasts

Mp3 320\92 Mb

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One of the best groups to emerge from the 60's Texas garage scene were The Outcasts. This prolific group released a number of singles on the Askell label of San Angelo 1966-1967. This compilation collects all their singles plus many unreleased songs. As an added bonus trakcs previously unreleased in 1984 have been newly remixed from the original masters.

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The Stillroven - Cast Thy Burden Upon (1966)

Mp3 192\ 67 Mb

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The band known as the Stillroven began in the Minneapolis suburb of Robbinsdale, MN. It was 1965, and their original name was "the Syndicate," a name they thought should be changed when original guitarist Mark Moorhead left the band in 1966. The original lineup also consisted of bassist Rock Peterson, guitarist John Howarth, keyboardist Dave Dean, and drummer Phil Berdahl. When Moorhead left, they recruited Dan Kane to take his spot and changed their name, eventually recording "She's My Woman"/"(I'm Not Your) Stepping Stone" for Falcoln that year. There were only 50 copies printed for radio stations, but their next single was the first one that the public had access to. "Hey Joe"/"Sunny Day" was a hit in their hometown, but that was not enough for Peterson and Kane, who departed the same year. The band found a new bassist and guitarist in Dave Berget and Jim Larkin respectively, and soon was recording their next singles. "Little Picture Playhouse"/"Cast Thy Burden Upon the Stone" was hailed as a hallucinogenic masterpiece by garage rock enthusiasts, but the average music fan did not catch on to the regional popularity they enjoyed in Minneapolis. Their manager moved to Tucson, AZ, where he continued to guide their career from a distance. Larkin and Berget left the band as quickly as they came, being replaced by bassist Mike Flaherty and guitarist Mike O'Gara. They recorded a fourth single under this lineup, "Come in the Morning"/"Necessary Person," but after the first 100 copies printed there was enough internal dissension to have "Come in the Morning" pulled from the single and replaced with a cover of the Small Faces' "Tell Me Have You Ever Seen Me." This would be the last release from the band, as they quietly broke up toward the end of 1968. A career retrospective, Cast Thy Burden Upon the Stillroven, was released in 1996 to appease garage band enthusiasts who had been waiting for more material from the group. The album included many unreleased songs, as well as a few tracks that were originally on compilations. Rumor has it that the band has an entire album recorded from 1968 that has never seen the light of day, and Sundazed Records has even promised a release of the album. ~ Bradley Torreano, All Music Guide

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THE BOB SEGER SYSTEM - Ramblin' Gamblin' Man (1968)

Mp3 192\50 Mb

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Personnel
Bob Seger - organ, guitar, piano, vocals
Dan Honaker - bass, guitar, vocals
Pep Perrine - drums, vocals
Bob Schultz - organ, keyboard, saxophone, vocals
Additional personnel
Michael Erlewine - harmonica
Glenn Frey - Backing vocals on "Ramblin' Gamblin' Man"

Bob Seger started his musical career in the 1960s in his native Detroit as a singer and as the leader of the Bob Seger System. He is best known for his work with the Silver Bullet Band, a group he formed in 1974. Seger is known as a workhorse Midwestern roots-rocker who dealt with blue-collar themes and toured constantly in support of his frequent album releases. As such he is often dismissed as a poor man's Bruce Springsteen, though this is an unfair comparison since Seger's career as a professional musician predates Springsteen's by five years. Seger's successes paved the way for other heartland rockers including John Mellencamp and the Michael Stanley Band. MORE :

Before The Silver Bullet there was The System. Bob Seger, a roots rocker began his long career as a regional favourite in Detroit, Michigan in the mid 60's. It was in 1968 when The Bob Seger System was formed and their signing with Capital that his career really broke out of the motor-city.The release of the single 'Ramblin' Gamblin' Man' paved the way for the album which reached #62 on U.S.Billboard.
This early Seger, although being markedly different from what was to follow in the 70's contains glimpses of the fame to come. Listening, from the title track, blues driven and earthy you'll also find a plenty of the psychedelic sounds of the time,particually in songs like 'Tales of Lucy Blue', the 'B' side of 'Ramblin Gamblin Man', and the hauntingly beautiful melody 'Gone' as well as 'Train Man'. Take a gamble on this one and a good time is guaranteed! ***************

01 - Ramblin' Gamblin Man 02 - Tales Of Lucy Blue 03 - Ivory04 - Gone 05 - Down Home 06 - Train Man 07 - White Wall 08 - Black Eyed Girl 09 - 2+2 10 - Doctor Fine 11 - The Last Song (Love Needs To Be Loved)

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Kim Fowley - Outrageous&Good Clean Fun

Mp3 320\ 160 Mb

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This is Kim Fowley doing his spoken/screamed word stream-of-consciousness cartoonish and paranoid hippie rants over the music of a pretty decent jam band -- kind of like "The Trip," but more 1968. The guitarist uses fuzz-tone and wah-wah, but the musical backing is pretty conventional for the most part- they even resort to Chuck Berry licks on one number. Another, the second on the album, reminds me of "T.B. Sheets," of all things, with the slow funky rhythm the band sets down and the paranoid ranting and stuttering by the vocalist. Things only get really, um, outrageous, when the guitarist steals a lick from the Easybeats "Who'll be the one" and the whole thing goes into a kind of free-form space-rock jam with Fowley spouting some nonsense about an invasion of America by the "short hairs" in the year 1987. Truthfully, Fowley is often funny as he screams, chokes, burps, and coughs his way through songs, although the references to "short hairs" and "negroes" kind of dates the humor. The c.d. also comes with two cool radio commercials for the album at the end. I'd recommend this to someone who has a special interest in psychedelic rock of the 60's, or someone who just likes weird stuff, but don't expect something like "We're only in it for the money." .....

In the mid-1960s, Fowley became immersed in the Los Angeles counter-culture, befriending Frank Zappa and his band the Mothers of Invention and later appearing on their Freak Out! LP. A prolific songwriter, he also composed material for the Byrds, the Beach Boys, Soft Machine, Cat Stevens and Them, and produced the likes of Gene Vincent, Warren Zevon and Helen Reddy. Finally, in 1967 Fowley issued his own solo debut, Love Is Alive and Well, a record which found him closely aligned with the flower-power movement. A series of solo records followed, including 1968's Born to Be Wild, 1970's The Day the Earth Stood Still and 1973's International Heroes, but none garnered the commercial success of so many of his other projects....MORE :

Kim Fowley

Outrageous

1. Animal Man

2. Wildlife

3. Hide And Seek

4. Chinese Water Torture

5. Nightrider

6. Bubble Gum

7. Inner Space Discovery

8. Barefoot Country Boy

9. Up

10. Caught In The Middle

11. Down

12. California Hayride

Good Clean Fun

13. One Man Band

14. Ode To Sweet Sixteen

15. Good Clean Fun

16. Search For A Teenage Woman

17. Energy

18. Baby Rocked Her Dolly

19. Motorcycle - HA!!! It`s crazy frog !!!

20. Kangaroo

21. Lights The Blind And Lame Can See

22. Good To Be Around

23. Great Telephone Robbery

24. I'm Not Young Anymore

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The Doc Thomas Group - ltanian Job

NEW POST

The British North American Act - In The Beginning...

Mp3 256\ 52 Mb

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Reissue of one and only album by Canadian 60's legends. Psychedelic flowery pop-syk with good FUZZ guitars and Farfisa organ. Excellent songs and vocal harmonies.

The British North American Act were a 1960's psychedelic band based out of Montreal, Quebec. The group featured five members from various areas of the world -- Hungary, England and Canada. Their only album, 'In The Beginning' (1968), featured sunshine pop elements of The Association and The Turtles along with more roots oriented songs a la Buffalo Springfield.

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The British North-American Act (not to be confused with the British North America Acts) were a garage band with a mildly psychedelic edge that operated out of Montreal during the late '60's. I couldn't really unearth anything about the band or its members, but the liner notes do at least provide us with a list of the group's lineup: "The BNA Act individually... Andy Bator, organ and piano, born in Hungary, February 20, 1947. Bob Allen, lead guitar, born in Montreal, July 3, 1946. Dave McCall, drums, born in Suffolk, England, November 11, 1948. Rick Elger, lead singer, rhythm guitar and harmonica, born in Liverpool, England. Kirk Armstrong, bass, born in Montreal, June 20, 1946. As a group... The British North-American Act works out of Montreal. The amount of time and effort spent is quite evident when you listen to IN THE BEGINNING. Everything they record is original. To date they have more than twenty songs written. Hold onto your seats, here comes the BRITISH NORTH-AMERICAN ACT! In The Beginning is a short but sweet set of songs heavily influenced by the usual suspects of the period. "See How Free" kicks the album off with a mix of harmonizing and twangy guitars somewhat reminicent of The Byrds. "Only A Dream," my favourite track on the record, is a melancholic ballad with a tuneful chorus, while "If You're Looking For Honey" is a more straightfoward blues-based tune with nice work by lead singer Rick Elger on the high "ooo"'s. Lastly, "All The World Is In Your Eyes" closes out the record with a dash of Kinks-inspired whimsy

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1. See How Free

2. Baby Jane Days and Nights

3. Only a Dream

4. Joe Cool

5. World Would Understand

6. I'll Find a Way

7. Just How You Feel

8. Corduroy Coat

9. Give Yourself a Ride

10. If You're Looking for Honey

11. Don't Run Away

12. All the World Is in Your Eyes

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The Big Three - At The Cavern (1963-1964)

Mp 3 \79 MB

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Brian "Griff" Griffiths - guitar/vocals

Johnny "Gus" Gustafson - bass/vocals

Johnny "Hutch" Huthinson - drums

The Big Three were possibly the most highly respected musicians of all the Liverpool groups. They evolved from a group called Cass & The Cassanovas which were formed in the late 50's by Brian Casser. Although originally a four-piece outfit, by 1959 they had slimmed down to a trio comprising of Casser (guitar/vocals), Adrian Barber (guitar) and Johnny Hutchinson (drums). In need of a bass guitarist, Hutchinson brought in Johnny Gustafson. At that time Gustafson didn't have a proper bass guitar so Barber converted an acoustic for him. Late in 1960, Casser left the group and moved to London reducing them to a trio again. In January 1961 the Cassanovas re-emerged as the Big Three. Despite being a three-piece they were one of the loudest bands in Liverpool due to Barber's talents in the electronics field. He built the band giant amps, standing over five feet high, which were nicknamed "coffins". Brian Epstein signed them to his sable and sent them over to Hamburg. It was during that trip that Brian Griffiths joined the group, Barber left, and the best-known line-up of the Big Three was established. Their musicianship and attack were legendary and they exerted a considerable influence on their contemporaries. Epstein arranged for them to audition for Decca Records and they recorded "Some Other Guy". The group were not happy with the recording and appalled when they were told that Decca would be releasing it and wouldn't allow them a proper recording session so they could perform the song they way they wished it to be played. Instead of understanding why the Big Three were so popular - because of their aggressive sound, their wildness, their casual appearance on stage - he put them into suits and began to dilute their sound, choosing lightweight pop numbers and insisting, against their wishes, that they record them. The Big Three and Epstein terminated their partnership in July 1963, but the damage had been done. Gustafson and Griffiths quit, and with drummer Ian Broad from Rory Storm & the Hurricanes formed the Seniors and left for Germany. Hutchinson replaced them with Faron and Paddy Chambers from Faron's Flamingo's. By mid-'64 their days were numbered. Paddy Chambers left and was replaced by Paul Pilnick from the All Stars. Pilnick only stayed a short time before moving on to Tony Jackson & the Vibrations. Hutchinson received an offer to join Kingsixe Taylor & the Dominoes but declined, opting insted to hang up his drumsticks.
Their best memorial is probably the E.P. "Live At The Cavern", actually recorded in 1963 and featuring the class

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1 Some other guy 1:51

2 Let true love begin 2:38

3 By the way 2:13

4 Cavern stomp 1:38

5 I' m with you 1:46

6 Peanut butter 2:07

7 Bring it on home to me 2:21

8 You've gotta keep her under hand 2:54

9 High scool confindential 2:23

10 What' I say 3:37

11 Don't start running away 1:48

12 Zip-a-dee-doo-dah 2:31

13 Reelin' and rockin' 2:10

14 Bring it on home to me 1:54

15 Bring it on home to me 2:03

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The Zakary Thaks - Face To Face

Mp3 256\74 Mb

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One of the best garage bands of the '60s, and one of the best teenage rock groups of all time, Zakary Thaks released a half-dozen regionally distributed singles in 1966 and 1967; some were hits in their hometown of Corpus Christi, TX, but none were heard elsewhere until they achieved renown among '60s collectors. Heavily indebted (as were so many bands) to R&B-influenced British heavyweights like the Stones, the Kinks, and the Yardbirds, the group added a thick dollop of Texas raunch to their fuzzy, distorted guitars and hell-bent energy. Most importantly, they were first-rate songwriters, with the breakneck "Bad Girl" (later compiled on Pebbles, Vol. 2), "Won't Come Back," the smoking "Face to Face," "Can't You Hear Your Daddy's Footsteps," and the folk-rock/Merseybeat hybrid "Please" ranking among the top echelon of American '60s garage rock. Their 1967 singles found the group moving into psychedelic territory; some songs betrayed a Moby Grape influence, and some good melodic numbers were diluted by poppy arrangements that recalled the Buckinghams and Grass Roots. Lead singer Chris Gerniottis, only 15 when Zakary Thaks began making records, joined another interesting Corpus Christi garage/psychedelic group, the Liberty Bell.

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1. Mirror Of Yesterday

2. Please

3. Face To Face

4. Bad Girl

5. I Need You

6. Won't Come Back

7. Weekdays Blues

8. Can't You Hear Your Daddy's Footsteps

9. Green Crystal Ties

10. My Door

11. Outprint

12. Everybody Wants To Be Somebody

13. Footsteps Jam

14. The Mirrors Reflection
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Remo Four (1963-1964) The Pye Singles & Other Singles

Mp3 320\90 Mb

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The Remo Four were a 1950s-1960s rock band from Liverpool, England. They were contemporaries of The Beatles, and later had the same manager, Brian Epstein. Its members were Colin Manley (born 16 April 1942, in Liverpool, Lancashire died 9 April 1999) (lead guitar/vocals), Philip Rogers (rhythm guitar/bass guitar/vocals), Don Andrews (born Donald Andrews, in 1942, in Liverpool) (bass guitar/vocals), and Roy Dyke (drums) (born 13 February1945, in Liverpool).
Manley and Andrews formed the Remo Quartet in 1958, with singer/guitarist Keith Stokes and drummer Harry Prytherch. They progressed from playing local parties and contests to regular hall appearances, and turned professional, changing their name to the Remo Four in summer 1959. They played a mix of vocal harmony material (a la The Everly Brothers), and instrumental numbers in the manner of The Shadows, The Ventures, and Chet Atkins.
The Remo Four were voted Number Three Group in a 1961 Mersey Beat poll, and among their fans were The Beatles, fresh from a season in Hamburg, Germany. Both groups were among the regulars at the Cavern Club during 1961 and 1962. While The Beatles travelled back and forth to Hamburg, the Remo Four began playing American Air Force bases in France, building their stage and musical experience. A highlight of their early career was sharing the stage with the Shadows, in the latter's only Cavern Club appearance. Johnny Sandon joined the Remos as vocalist in 1962, and stayed for two years.
In early 1963, Prytherch decided to get married and find a regular job, and Roy Dyke took his place in the band. That year the band signed up with Epstein's NEMS Enterprises and acquired a new lead singer, Tommy Quickly, and a recording contract with Piccadilly Records, backing Quickly on "Tip of My Tongue" and other songs. The band also released instrumentals, including a driving rendition of Henry Mancini's Peter Gunn theme.
Different members came and went, including songwriters Wayne Bickerton and Tony Waddington (who later joined Pete Best in a group, that moved to America), and Tony Ashton (keyboards/vocals), who replaced Don Andrews, with Rogers moving to bass. Another NEMS artist, Billy J. Kramer, became a frontman for the band, which adopted the name "The New Dakotas" while backing him. Despite their talent and track record, the band's success in the record market was limited, and most of their work came as backing musicians, or as the house band in German clubs, including the Star-Club in Hamburg. They released an album, Smile!, on the Star-Club's own label in 1967, featuring elements of rock and jazz

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The Gestures-"The Gestures" (1964)

Mp3 320\96 Mb

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The Gestures were a teenage American rock group based out of Mankato, Minnesota.

The Gestures is a 60's garage rock'n'roll band from Mankato, MN. Originally known as The Jesters, they rather suddenly changed their name in The Gestures. They played together just for one year. In the October 1964 the Minneapolis based label Soma released The Gestures' first and only hit single: "Run Run Run", written by Dale Menten. Later "Run Run Run" was released on Nuggets compilation.The song hit the Billboard's top 50.

Running the table from Pretty Things-fueled punkers to Zombies-like inspired covers of the day to their own brilliant originals, Dale Menten's boys layer cool vocals upon fiery guitar and keyboard workouts. Spotlighting their huge national hit "Run Run Run," our set also sports the groups' history, vintage photos/posters and more!

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One of the first American garage bands to write and perform British Invasion-derived material, the Gestures only recorded two singles in the mid-'60s. But one of those, "Run, Run, Run," was an excellent effort indeed, with its blend of surf-styled guitar, terrific pummeling drums, and Beatlesque harmonies. It made #44 nationally in late 1964, and made the Top Ten in several cities, but the Minnesota group only made one follow-up before disbanding. Recording for a tiny regional label, there wasn't enough of a support network to build the Gestures into a bigger act, although some strong original songs -- which employed pleasing harmonies and unusual, almost jazzy chord structures -- indicated that the group had considerable potential. As it was, they're just another in a line of young groups whose prospects were short-circuited by limited opportunities, although "Run, Run, Run" is now acknowledged as one of the earliest and best garage 45s, especially after it was reissued on Pebbles, Vol. 9. ~ Richie Unterberger, All Music Guide

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01 - Hi-Heel Sneakers

02 - I'm Not Mad

03 - Don't Mess Around

04 - Run Run Run

05 - Things We Said Today

06 - Can I Get a Witness

07 - Long Tall Texan

08 - Don't Let the Sun Catch You Crying

09 - It Seems to Me

10 - She Cried

11 - When Does Linda Cry

12 - Savage World [instrumental]

13 - Candlelight

14 - Things We Said Today [Alternate Backing Track]

15 - I'm Not Mad [Alternate Version]

16 - Stand by

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LINK

The Chocolate Watchband - At The Love In Live!

Mp3 224\82 Mb

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Originally formed in San Jose, CA in 1964 and officially breaking up in March 1970, Chocolate Watchband is back. Today C.W.B. are considered both internationally and historically amongst the foremost of all American garage bands from that era. Releasing only 3 albums altogether under the supervision of producer/songwriter guru Ed Cobb in 1967, 1968 and 1969, C.W.B. are more popular and collectible today than ever.

This Southern California punk powerhouse were one of the finest exponents of English influenced R & B, and on a good day, even gave The Rolling Stones a run for their money. The sneering vocals of Dave Aguilar were complemented by Mark Loomis (guitar), Sean Tolby (guitar), Bill Flores (bass) and Gary Andrijasevich (drums). Spotted by legendary producer and songwriter Ed Cobb, the man who also developed The Standells sound, their first release was a cover of Davie Allen's Blue's Theme, released under the name The Hogs. The first release under their own name was a classic slice of Ed Cobb. Sweet Young Thing (1966) was a searing, evil slab of raw, powerful R & B, with Aguilar's vocals a stand-out. Their debut album No Way Out featured the soon-to-be garage standard, Let's Talk About Girl's (1967), though Cobb decided to replace Aguilar's raw vocal track with the more dulcet tones of session singer Don Bennett. This kind of producer and label involvement caused disharmony in the group and soon members were coming and going with increased regularity. However, Cobb kept the group's name alive, releasing the album The Inner Mystique (1968), featuring a whole slew of studio musicians, though the album did contain excellent versions of The Kinks' I'm Not Like Everybody Else and Bob Dylan's It's All Over Now Baby Blue. A final album One Step Beyond (1969) again seemed to be the producer's vehicle though it did feature Aguilar's terrific track Don't Need Your Lovin'. The groups influence seemed to grow and grow as the years passed, finding new audience's and fans generation after

This album - great live work !!!!!!

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1. Blues Theme

2. Gone And Passes By

3. Don't Need Your Lovin'

4. Are You Gonna' Be There?

5. It's All Over Now Baby Blue

6. I'm Not Like Everybody Else

7. Sittin' There Standin'

8. She Weaves A Tender Trap

9. Misty Lane

10. Sweet Young Thing

11. Let's Talk About Girls

12. I Just Want To Make Love To You

13. I'm Movin' On 14. An Inspiration Message

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LINK

Chocolate WatchBand - No way out (1967)

Mp3 256\70Mb

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The Chocolate Watchband's debut album, No Way Out was also their most heavily Rolling Stones-influenced album, but appreciating the album and what's on it (and what's not) requires some explanation — especially as an original vinyl copy could set you back $100 or more. Released in September of 1967, No Way Out came at the end of the band's first 15 months of existence, a period that encompassed the recording and release of four singles of generally extraordinary quality, and as good as anything heard from any garage band anywhere during that period. Just two of those single tracks, "Are You Gonna Be There (At the Love-In)" and "No Way Out," ended up on the original ten-track LP, but even they could (and should) have been the core of an immensely powerful LP. Instead, out of the remaining songs, only two — the group's nicely cranked-up version of Chuck Berry's "Come On" (obviously influenced by the Rolling Stones' debut single, which was, itself, a good trick, since the latter had never seen a U.S. release in any form) and the psychedelic Bo Diddley-based "Gone and Passes By" — were recorded by the entire group and released in the form intended. The other six tracks included Watchband recordings, such as "Let's Talk About Girls," "In the Midnight Hour," and "Hot Dusty Road," on which lead singer David Aguilar's vocals had been replaced by those of session singer Don Bennett (co-author of the band's single "Are You Gonna Be There (At the Love-In)") and also embellished with extra instrumental overdubs; two instrumentals, "Expo 2000" and "Dark Side of the Mushroom," recorded by a group of studio musicians put together by engineer Richie Podolor; and, finally, the bizarre "Gossamer Wings," a psychedelic digression by Bennett and company that used the band's basic track from the 1966 single B-side "Loose Lip Sync Ship" as its jumping-off point. So what's here is not really representative of the Chocolate Watchband that was seen in the movie Riot on Sunset Strip, or heard on those four killer singles in 1966 and early 1967. All of that said, No Way Out is still an extremely impressive and enduring album that nicely straddles the garage punk and psychedelic genres; the Watchband's "Come On" still gets this reviewer's pulse bouncing to Chuck Berry's beat, and it and the other three finished band cuts are still highly potent, slashing, exciting, clever pieces of music. "Gone and Passes By" and "No Way Out" are sharp works of psychedelic punk music, the former mixing sitar music with a shimmering Bo Diddley beat to superbly seductive effect, while the latter is built on a twisting, jagged blues- and raga-based lead guitar line that recalls the late-1966 vintage Jefferson Airplane's work. And "Are You Gonna Be There (At the Love-In)" is a stirring, even threatening anthem to youthful defiance. Of the rest, "Let's Talk About Girls" is still a very good track and a killer opener for the album, despite the tampering by the producers, and "In the Midnight Hour" and "Hot Dusty Road" are not too far behind. As for the instrumentals, "Dark Side of the Mushroom" and "Expo 2000" are decent filler, even if they have nothing to do with the band. So the record, though flawed from day one of its release history, is still an essential '60s album in any collection, in its vinyl version or either of two expanded reissues on CD, from Sundazed and Big Beat, respectively.

Selected Discography
Sweet Young Thing 7" Uptown 1967
No Way Out LP Tower 1967
Are You Gonna Be There (At The Love In)? 7" Uptown 1967
Misty Love 7" Uptown 1967
The Inner Mystique LP Tower 1968
One Step Beyond LP Tower 1967

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The Chocolate Watchband never charted a record nationally. Indeed, ask most casual 1960s rock fans about them and you'll probably get little more than a blank stare. Most will remember their AVI Records labelmates the Standells more clearly, because they actually managed to chart a few singles. Alas, the Watchband had the disadvantage of being a punkier band than the Standells, and suffering continual lineup changes. The Chocolate Watchband was a mod-outfitted garage punk unit par excellence, their sound founded on English-style R&B with a special fixation on the Rolling Stones at their most sneering. After hooking up with producer Ed Cobb, a former member of the 1950s vocal ensemble the Four Preps, the group released No Way Out in mid-1967, though the Watchband had already begun breaking up. A new incarnation carried them through 1967, though the band's existence as a viable performing unit were all but over. The group's producers had other ideas, however, releasing two more albums (The Inner Mystique, One Step Beyond) in 1968 and 1969 , sporting the band's name but not too much else associated with the group. That would probably have been the end of the group's story, but in the early '80s, record buyers and, more particularly, young musicians discovered the Watchband. A set of Australian reissues of the group's albums quickly found a market in America and Europe. Thus, it was no surprise when, in 1994, Sundazed Records reissued the complete Watchband catalog on compact disc. ~ Bruce Eder, All Music Guide

The official Chocolate Watchband website.

The Chocolate Watchband

Wikipedia

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1. Let's Talk About Girls2. In the Midnight Hour3. Come On4. Dark Side of the Mushroom5. Hot Dusty Road6. Are You Gonna Be There (At the Love-In)7. Gone and Passes By8. No Way Out9. Expo 200010. Gossamer Wings
BONUS TRACKS:
11. In the Midnight Hour (previously unissued version)12. Milk Cow Blues13. Psychedelic Trip (previously unissued

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LINK

Octopus - Restless Night -1970

Mp3 320 \116 Mb

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Originally named The CORTINAS, this mid-60's Hatfield quartet was discovered by The TROGGS' soon-to-be bassist Tony Murray and Nigel Olssen, destined to be Elton JOHN's regular drummer. It is Murray who eventually introduced the band to producer Larry Page, The TROGG's manager, and by 1968 OCTOPUS had earned a support spot to a promising young band called YES. They also got booked into the Marquee Club, toured Europe, shared the stage with HUMBLE PIE and STATUS QUO among others, and in 1970 released a first-rate pop album titled "Restless Night"; unfortunately, however, it failed to attract much enthusiasm outside their hometown. They stuck together for a while and then decided to split up in 1972. Their keyboard player John Cook later joined MUNGO GERRY whereas bassist Nigel Griggs and drummer Malcolm Green, both moving to Australia, eventually became members of SPLIT ENZ.Their sole album is a fascinating specimen of early 70's pop with tinges of psychedelia, with musical phrases and choruses highly reminiscent of The BEATLES and TEN CC. Complete with the era's typical fuzz guitar and swirly organ, the album features short but catchy song-based melodies, a few bluesy jams and very strong vocals. The extremely rare original LP is no doubt worth a bundle but anyone interested in some fine pre-prog, 70's psych pop ought to seek out the 1997 CD release which contains several bonus tracks.You'll definitely be hooked by this OCTOPUS if you're a BEATLES, BADFINGER or TEN CC fan. http://www.progarchives.com/album.asp?id=5623

Line-up/Musicians
- Nigel Griggs / bass, guitar

- Paul Griggs / lead vocals, guitar, piano

There are more members in this band.

Musicians.Tracks 1.2.5.11.12.13.14.Paul Griggs - Lead Guitar- Vocals.Nigel Griggs - Bass Guitar - Vocals.Rick Williams - Rhythm Guitar - Vocals.Brian Glasscock - Drums.

Tracks 3.4.6.7.8.9.10.Paul Griggs - Lead Guitar - Vocals.Nigel Griggs - Bass Guitar - Vocals.John Cook - Wurlitzer Organ - Piano - Vocals.Malcolm Green - Drums.

For the complete history of "OCTOPUS" see www.paulgriggs.com

Octopus - Restless Night -1970

1. The River (4:26)

2. Summer (3:05)

3. Council Plans (3:37)

4. Restless Night (4:02)

5. Thief (3:38)

6. Queen and the Pauper (3:39)

7. I Say (1:54)

8. Johns' Rock (2:40)

9. Rainchild (3:05)

10. Tide (5:37)

Bonus Tracks:

11. Girlfriend (2:56)

12. Laugh at the Poor Man (3:14)

Bonus Tracks on GTR:

11. Laugh At The Poor Man (3:14)

12. Girlfriend (2:54)

13. The River - single version (3:23)

14. Thief - single version (3:37)

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St.John Green - St.John Green (1968)

Mp3\62 Mb

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“‘St. John Green’ is one of the great lost records…Somebody will reissue it someday and people will start crying and jacking off and smoking dope to it. It’s a great record. There’s only a handful of records that I’ve made that are great.”-Kim Fowley to Mike Stax (“Ugly Things” magazine issue #19, 2001)

A rare jewel of 60’s classic psychedelic rock.

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Through mutual associations in Topanga Canyon, St. John Green connected with Fowley sometime in 1968, and he in turn spurred them on to outdo or to die all over what would be their sole album. They wound up doing both. “St. John Green” is by turns frightening, dark, funny and stupid as it reeks of bad trip freak outs in matte black painted rooms with no furniture lit only by a single red bulb and burning cigarette ends. What emanates forth immediately from this darkness are the mystic incantations of vocalist/bassist Ed Bissot who is mean, moody, magnificent AND for his sins is stuck in a garage of sick creep psychedelia for all eternity. His delivery is so full of promises and not threats you begin to feel that this guy exists precariously balanced over a yawning chasm between Jim Morrison and Arthur Brown without trying at all really MEANS IT. And he is shored up all the way by a fine-tuned band in total sync with his visions of the four D’s --death, doom, damnation and dread -- in a weirdly accomplished album that runs a gamut of styles from supernatural ruminations to the cheapest of goofball noveltie NEXT :

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Sweet Smoke - 1970

Artist: Sweet Smoke
Album: Just A Poke
Original Release Date: : 1970
Genre: Rock\EarlyProgressive

Mp3\МИК(320-240 kbs)\56 Mb

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"To Sweet Smoke music was not simply a collection of songs that the audience would sit back and listen to, but rather it was a living vehicle through which they could share with everyone their vision and joy of life.To Sweet Smoke music was magic, their concerts were an interaction between them and their audiences, and their group was like a Cosmic Space Ship forever exploring the unknown regions of our musical universe."

Musicians:

Michael Paris: Sax, Flute, Vocal

Marvin Kaminowitz: Guitar, Vocal

Steve Rosenstein: Guitar, Vocals

Rochus Kuhn: Violin, Cello

Jeffrey Dershin: Piano, Percussion, Vocals

Andrew Dershin: Bass

Jay Dorfman: Drums

Sweet Smoke responsible for all manner of percussion
Sweet Smoke was an American music group living and playing in Europe from 1970 till 1974. Originally from N.Y. the group moved to Germany where they lived as a family commune.

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1. Baby Night (Sweet Smoke) (16:24)

2. Silly Sally (Sweet Smoke) (16:22)

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The Guess Who - It's Time (1966)

Mp3\320 kbs\68 Mb

Who that does not know? Then here...

The Guess Who - It's Time (1966)

01-All Right

02-And She's Mine

03-As

04-You Know He Did

05-Baby Feelin'

06-Clock On The Wall

07-Don't Act So Bad

08-Believe Me

09-Seven Long Years

10-One Day

11-Gonna Search

12-Guess I'll Find A Place

LINK 1 :