Friday, July 31, 2009

The Deviants - Disposable (1968)

In the late '60s, the Deviants were something like the British equivalent to the Fugs, with touches of the Mothers of Invention and the British R&B-based rock of the Yardbirds and the Pretty Things. Their roots were not so much in the British Invasion as the psychedelic underground that began to take shape in London in 1966-1967. Not much more than amateurs when they began playing, they squeezed every last ounce of skill and imagination out of their limited instrumental and compositional resources on their debut, Ptooff!, which combined savage social commentary, overheated sexual lust, psychedelic jamming, blues riffs, and pretty acoustic ballads -- all in the space of seven songs. Their subsequent '60s albums had plenty of outrage, but not nearly as strong material as the debut. Lead singer Mick Farren recorded a solo album near the end of the decade, and went on to become a respected rock critic. He intermittently performed and recorded as a solo artist and with re-formed versions of the Deviants. 

  1 Somewhere to Go 7:23  
  2 Sparrows and Wires 0:54  
  3 Jamie's Song 3:34  
  4 You've Got to Hold On 3:56  
  5 Fire in the City 3:00  
  6 Let's Loot the Supermarket 2:34  
  7 Pappa Oo Mao Mao 2:33  
  8 Slum Lord 2:22  
  9 Blind Joe McTurk's Last Session 1:20  
  10 Normality Jam .. 4:23  
  11 Guaranteed to Bleed 3:47  
  12 Sidney B. Goode 0:54  
  13 Last Man 6:12  
Plenty of psychedelic groups of the late '60s embraced a sunny outlook of peace, flowers, and consciousness expansion, but some took a harder line on upending the straight society they sought to replace, and like their spiritual brethren the MC5, the Deviants (under the first-among-equals leadership of writer Mick Farren) saw their music as a vehicle for a Total Assault On The Culture. The only trouble with this was the Deviants' ideas were often a lot more exciting than their music, and while they created a sonic approximation of the rage and defiance behind the Freak Culture on their debut album, Ptooff!, their second LP, Disposable, lacks focus or direction and sounds like the work of addled would-be revolutionaries who aren't sure jut what they're fighting against this morning. Farren has claimed that he and his bandmates were flying on speed during most of the recording of Disposable, but there isn't much energy (artificial or otherwise) in these performances, and many of the tunes collapse into meandering jams performed by musicians who lack the chops or focus to make them into anything more. There are a few exceptions — a wacky mutation of "Surfing Bird" and "Wipe Out" called "Pappa-Oo-Mao-Mao," the defiant "Slum Lord," and "Somewhere to Go," the only extended jam on the LP that manages to actually find a groove and move. But "Normality Jam" feels at least twice as long as its 4:24 running time, "Let's Loot the Supermarket" appears to have been recorded by people who lack the ambition to put on their shoes, let alone liberate needed supplies, and short tracks like "Sparrows and Wires" and "Sidney B. Goode" play like comic sketches without punch lines. Disposable is fascinating as a document of the U.K.'s anarchist hippie scene and where it went both right and wrong, but as entertainment, you're a lot better off listening to Ptooff!. Or looting a supermarket. 

The Deviants - Ptooff! (1967)


The Pleasers - Thamesbeat (1996)

  Hailing from West London and Surrey, The Pleasers called their own music    Thamesbeat, but they definitely owed their haircuts ans suits, if not  
  their sound, to the 60s Merseybeat. it's worth mentioning that the band,  
  according to themselves, briefly pursued a glam direction in the mid-70s. 
  First PLEASERS line-up consisted of Steve McNerney (vocals, guitar), Bo  
  Benham (bass), Dave Rotshelle (ex-The Rockets - drums) and Nick Powell on  
  lead guitar in October of '77. According to McNerney, "We're going to be  
  the first new wave band [that] kids, who are interested in the music, but  
  put off by the bands, will like." The band must have considered that  
  target audience group rather large as Bo Benham told the NME "We're going  
  to be big." 

  Today, The Pleasers anno 1977 definitely fall into the new wave category  
  and one would never ever consider calling them punk. But back in the  
  chaotic days of 1977 with the music scene turned upside down and the  
  record companies desperately trying to grasp punk, The Pleasers, though  
  without a single ominous note, were considered new wave. coming across as  
  little more than new wave Beatles-wanna-bes, The Pleasers managed to ink a  
  deal with Arista Records in mid-1977 and the band found themselves  
  swallowed up in the new wave tide and got marketed as such. The Pleasers'  
  2nd 7" on Arista is thus much more new wavishly produced than their pure  
  pop debut platter on the small indie label Solid Gold, though the lyrics  
  are still about love love love... 

  Sounds, which often championed The Pleasers, said about their music: "You  
  can pogo, frug, jive or shake to 'em." The Pleasers encompassed everything  
  that the safer new wave would: Clean looks, bland lyrics, no rough edges,  
  no insults whatsoever and, last nut not least, their name. as archetypal a  
  new wave band as one can imagine, the later new wave tag itself could  
  easily have been molded straight after The Pleasers. 

  The Pleasers performed at the Hope & Anchor pub as part of the front Row  
  Festival, from which live material was later issued on a double album.  
  Steve McNerney and Nick Powell were involved in a car car accident at the  
  tail end of 1977, but both escaped with only bruises ans sprains, altought  
  their car was totalled. 

  Recorded live in 1977, "Billy" and "Rock 'n' Roll Radio" are the 2  
  Pleasers tunes punking down the 1978 "Hope & Anchor - front Row Festival"  
  double LP. The Pleasers released 3 more 7" records without ever reaching  
  any noteworthly level of sucess. this forced them into becoming little  
  more than a cabaret act. 

  Steve McNerney later performed solo and in Changing Man. In 1996, a  
  retrospective Pleasers CD entitled "Thamesbeat" appeared on the Lost  
  Moment label.  
  Biography by Henrick B. Poulsen

1. Billy Benham/Mcnerney  
2. Troublemaker  
3. You Dont Know Benham  
4. Lets Dance Jim Lee  
5. Stay With Me  
6. Kids Are Allright  
7. Precis Benham  
8. Rock 'n' Roll Radio  
9. Breaking My Heart  
10. My Girlfreind's Back  
11. Im Still In Love  
12. Change My Mind  
13. Lies  
14. Im In Love #2  
15. Who Are You  
16. You Know What Im Thinking Girl  
17. Hello Little Girl  

By Don Williams "

These four guys must have been inspired by Beatlemania (the stage show and the real thing) to an unnatural extent. However, they were actually able to pull off their faux Beatles act (Benham/McNerney, rather than Lennon/McCartney) far better than any reasonable person might expect. An idea like this hinges on the ability to write good songs--and this record shows The Pleasers were able to do that. In fact, Precis Of A Friend, does Rubber Soul-period Beatles as well as the originals, and that's saying a lot! Even a cover of The Who's classic "The Kids Are Alright" has the proper feel. Against all odds, this is really a cool record. Comment Comment | Permalink | Was this review helpful to you? Yes No (Report this)
In the present, the sound, while retro in orientation, is a timeless sound. As proud Londoners, the group described their sound as Thamesbeat but you might know it better by the name their music was given by press of the time: Powerpop.Yes The Pleasers were the group who gave birth to the title that defines strong melodic pop to this day. They were at the forefront of the new wave of guitar-based groups that swept through the Britain`s music industry in the late 70s.They wrote and performed great songs with superb harmonies, jangling guitars and pure sixties drum fills, and their live shows brought back the fashion for being surrounded by cool guy`s wearing thin ties and screaming mini skirted girls. Extremely Highly Recommended!

V.A. - The Best Of British (1962-68)

01 Do Wah Diddy Diddy - MANFRED MANN 2:19
02 Mrs Brown You've Got A Lovely Daughter - HERMANS HERMITS 2:40
03 Really Got Me - THE KINKS 2:08
04 Needles And Pins - THE SEARCHES 2:08
05 Silence Is Golden - THE TREMELOES 3:05
06 Little Children - BILLY J KRAMER 2:39
07 Puppet On A String - SANDIE SHAW 2:15
08 Hold Me PJ PROBY 2:30
09 Have I The Right - HONEYCOMBS 2:52
11 Bus Stop - THE HOLLIES 2:48
12 With A Girl Like You - THE TROGGS 2:02
13 Those were The Days - MARY HOPKINS 4:50
14 World Without Love - PETER AND GORDON 2:34
15 Catch The Wind - DONOVAN 2:48
16 If You Gotta Make A Foll Of Somebody - FREDDIE AND THE DREAMERS 1:52
17 She's Not There - THE ZOMBIES 2:18
18 Sorrow - THE MERSEYBEATS 2:12
19 Gloria - THEM 2:31
20 Hippy Hippy Shake - SWINGING BLUE JEANS 2:00

Ladies W.C. - Ladies W.C (1969)

Steve Scott (vocals, bass)
Mario Seijas (drums)
Jaime Seijas (vocals, guitar)
Adid Casta (vocals, guitar)

Credit to the band this much — they actually went right ahead and started their album with a flushing toilet, living up to their name and album art (the latter provided by guitarist/organist Adib Casta, later to gain more fame for his paintings). That droll touch aside, Ladies WC's sole album, like that of many one-offs from the Latin American late-'60s rock scene, is caught somewhere between moments of individual flair and amiable imitation of obvious favorites. Reissued by the Shadoks label in 2004 as part of their continuing exhumation of various small-release rarities — the original album only received a pressing of 4,000 in 1969 — it's still one of the more enjoyable full-lengths to get a digital revival. In his liner notes, bassist Steve Scott, the one American member of the Venezuelan quartet and co-writer of most of the songs with Casta, speaks of their love of such acts as Paul Butterfield, early Steve Miller, Cream, and so forth. There's little question that if one has heard enough electric blues-rock of the period that there won't be many surprises with songs like "Heaven's Coming Up" and "Put That in Your Pipe and Smoke It." To their credit, though, the quartet created a slew of originals instead of simply energetically delivering covers, and that plus their own exuberance means an album that throws in a few curve balls along the way, making an enjoyable listen. The occasional ballads are particularly lovely in a soft, drifting psychedelic way — "To Walk On Water" blends low-key harmonica, chimes, and an echoed vocal to striking effect. The signature touch on the album is a series of sound effects rather than silence separating each of the songs — fire engines, applause, and so forth — and while it wasn't an innovation on their part, it's still amusing enough. 

1 People 2:41
2 I Can't See Straight 3:20
3 To Walk On Water 3:26
4 Heaven's Coming Up 4:22
5 And Everywhere I See the Shadow of That Life 3:25
6 Searching for a Meeting Place 2:49
7 Put That in Your Pipe and Smoke It 3:11
8 The Time of Hope Is Gone 2:35
9 W.E. Blues 2:53
10 I'm Gonna Be 5:48

The Id - The Inner Sounds Of The Id ( 1967)

The Id is a studio project between some musicians who all had their own busy life in music business of which most of them had some fame as arranger or studio artist in the past, and who would also continue like this after this project.

-Guitarist Jerry Cole appeared before on “Tequilla” from the Champs and worked with numerous famous artists, like Jerry Lee Lewis, The Righteous Brothers, Little Richard, Aretha Franklin, Steely Dan, James Taylor, Blood, Sweat And Tears, Chicago, the Byrds, Greg Allman, the Righteous Brothers, Henry Mancini, Kenny Rogers, Hank Williams Jr., and so on, working for Phil Spector as a steady studio musician. Around the time of working on the Id he was recording with the The Beach Boys on their "Pet Sounds" album, besides he was playing kind of surf guitar with his Spacemen. Later he became producer for Frank Sinatra and Dean Martin, and always showed a certain vivid guitar style, while drummer Don Dexter also worked with artists like Rick Nelson ; bass player Glenn Cass went later into country music while his younger brother Norm Cass, as a guitarist, later will do arranging for more than 15 years with country music star Gene Watson ; several of these artists participated in various TV shows).- More ...
01. The Rake - 2.01
02. Wild Times - 3.06
03. Don?t Think Twice - 2.46
04. Stone And Steel - 3.40
05. Baby Eyes - 2.51
06. Boil The Kettle, Mother - 3.01
07. Butterfly Kiss - 2.34
08. Short Circut - 3.01
09. Just Who - 2.44
10. The Inner Sounds Of The Id - 10.29
11. Kimega (Bonus) - 2.50
12. Uh Uh Uh (Bonus) - 3.16

Alex Harvey - Roman Wall Blues (1969)

Alex Harvey - Guitar
Leslie Harvey - Guitar
Mickey Keene - Guitar
Bud Parks - Trumpet
Derek Watkins - Trumpet
Derek Wadsworth - Trombone, brass arrangements
Frank Ricotti - Alto sax, percussion, brass arrangements
Ashton Tootle - Baritone sax, flute
Laurie Baker - Bass guitar, electronics
Maurice Cockerill - Keyboard
Pete Wolfe - Drums

Roman Wall Blues was an awkward though intermittently interesting effort that still found Harvey in the midst of his long, halting transition from soul-blues artist to a more original songwriter who fused satire and hard rock with R&B. Many of the arrangements have a dated horn-adorned soul-rock feel, and the trendy band-on-the-road hippie phraseology isn't as funny as it was probably intended to be. But there are some genuinely enjoyable tracks here and there, like the goofy minstrel folk-rock of "Broken Hearted Fairytale," the desultory lament "Maxine," and the uncommonly grim title track, where Harvey plays the part of an actual Roman soldier on patrol. And Harvey's vocals are never less than exuberant, in the manner of that hyperactive kid who's barely toned down even after reaching adulthood, particularly on the '50s rock & roll-style "Donna." Covering the Rolling Stones' "Jumpin' Jack Flash" was an utterly superfluous endeavor, however. It's among the rarest of Harvey's albums, and as a little-heard link in his evolution it deserves reissue, in spite of its inconsistency. 

1. Midnight Moses
2. Hello L.A. Bye Bye Birmingham
3. Broken Hearted Fairytale
4. Donna
5. Roman Wall Blues
6. Jumping Jack Flash
7. Hammer Song
8. Let my Bluebird Sing
9. Maxine
10. Down At Bart's Place
11. Candy

Fanny - Fanny (1970)

For woody
This disc features the self-titled debut from Fanny, the first all-female rock & roll band signed to a major record label. The self-contained quartet not only sports exceptional musicianship, but also some highly original pop and rock compositions. Under the tutelage of veteran record producer Richard Perry, Fanny challenged (and by all accounts won) the hearts and minds of the prevailing male-dominated recording industry of the early '70s. Fanny is a solid effort with original rockers such as "I Just Realized," "Changing Horses," and "Seven Roads" arguably outweighing the inspired covers of Cream's "Badge" and the obscure Billy Vera/Judy Clay tune "It Takes a Lot of Good Loving." Mixed in with those harder-edged tracks are the comparatively mellow -- yet decidedly hip -- "Bitter Wine," "Candlelighter Man," and "Conversation With a Cop." Prior to the U.S. release of Fanny and before Nickey Barclay officially joined the band, an alternate version of the album was issued in Canada. This adaptation -- christened "Fanny .50" by vinyl collectors and enthusiasts alike -- is different in several notable ways. Most apparent is the unique running order substituting the tracks "Changes," "One Step at a Time,""Nowhere to Run," "Ladies Choice," and "New Day" with "I Just Realised," "Candlelighter Man," "Changing Horses," "Bitter Wine," "It Takes a Lot of Good Lovin'," and "Shade Me." While no exact figures exist in regards to how many copies were pressed or subsequently sold, it has become one of if not the most collectible entry in the band's Reprise Records discography. The Internet-only sonic boutique Rhino HandMade -- online at -- has issued First Time in a Long Time: The Reprise Recordings, which contains both versions of this landmark album.
1. Come And Hold Me
2. I Just Realized
3. Candlelighter Man
4. Conversation With A Cop
5. Badge
6. Changing Horses
7. Bitter Wine
8. Take A Message To The Captain
9. It Takes A Lot Of Good Lovin
10. Shade Me
11. Seven Roads

Georgie Fame & The Blue Flames - 20 Beat Classics (1981)

Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Booker T. & the MG's, and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic.

Fame was born Clive Powell...
01. Yeh Yeh
02. Getaway
03. Do Re Mi
04. My Girl
05. Sweet Things
06. Point Of No Return
07. Get On The Right Track, Baby
08. Ride Your Pony
09. Moody's Mood For Love
10. Funny How Time Slips Away
11. Sunny
12. Sitting In The Park
13. Green Onions
14. In The Meantime
15. Papa's Got A Brand New Bag
16. Blue Monday
17. Pride And Joy
18. Pink Champagne
19. Let The Sunshine In
20. I Love The Life I Live


Thursday, July 30, 2009

The Renegades - Cadillac Part 3

The Renegades - Cadillac (ARTONE)
1 - And I Need You
2 - Things Will Turn Out Right
3 - Brocken Heart Collector
4 - If It Get's Lonesome
5 - Walking Down The Street
6 - When I Dream
7 - Right Now
8 - Take A Message
9 - Can't You See
10 - Sun Arise
11 - Cadillac (ital)
12 - Lola (ital)
13 - Se Morisse Il Sole
14 - Uomo Solo
15 - Era Settembre
16 - Hungarian Mod

The Renegades - Have Beat,Will Travel&Renegades Part 2

From Jancy
The Renegades - Have Beat,Will Travel &  Renegades (OXFORD)
1 - Thirteen Woman
2 - Hey Look Over Here
3 - That Kind Of Girl
4 - Blue Eyes
5 - Take A Heart
6 - Rockin Pneumonia & Boogie Woogie Flu
7 - Love Love Love
8 - Nobody's Child
9 - Every Minute Of The Day
10 - The Girl Can't Help It
11 - I Was There
12 - Far From It
13 - Don't Run To Me
14 - The Alamo
15 - Un Giorno Tu Mi Cercherai
16 - Stai Con Noi
17 - I Discorsi Che Mi Fai
18 - You're Gonna Lose Her Loving
19 - This Little Girl
20 - Big Star
21 - That Song Really Knocks Me
22 - Toys
23 - John Fitzgerald Kennedy
24 - Il Piu' Grande Amico
25 - Se Sarai La Ragazza Del Cuore
26 - Il Momento Giusto


The Renegades - Cadillac &Complete Part 1

Kim Brown vocal, guitar
Denny Gibson guitar
Graham Johnson drums
Ian Mallet bass guitar
Joe Dunnett guitar

The Renegades was formed in Birmingham, England in the early 1960s. In the beginning the group's primary influence was The Shadows, but they were soon to change their style into straightforward rock & roll and rhythm & blues. Around 1963, besides hardening their music, they also embraced themselves a harder look, when they started wearing cavalry uniforms of the time of American civil war as their stage outfit.
In February 1964, The Renegades' version of Liszt's 'Hungarian Rhapsody' appeared on a compilation titled 'Brum Beat', which introduced Birmingham's rock groups. Excepting that and an acetate single for Morden-based Oak Records and a budget priced album for Fidelio/Summit Records (produced by Delta Record Company of London), The Renegades did most of their 1964-66 recordings for the Finnish Scandia Records and after that for the Italian Ariston and Columbia Records (which leased the material forward to English, American and Middle-European labels). In Holland it was Artone records that released the records. They changed the track listing of 'Cadillac' a little to make it more attractive for the Dutch market.
Kim Brown, Denys Gibson, Ian Mallet and Graham Johnson conquered Finland in October 1964, when they did a one-off gig at a model show in Helsinki, and then started a constant seven weeks' tour, playing at multifarious dance floors around the Finnish country side (the originally planned three-week stint was extended because of a massive success and demand). The first visit also included two tv-appearances ('Nuorten Tanssihetki' & 'Uudet Tuulet' shows), and signing the record deal with Scandia Records. Since 1967, The Renegades had visited in Finland altogether seven times. Besides them, they also appeared in late 1965 in Germany, Holland, Switzerland and Italy, where they returned in 1966 to took part in song contest with 'Un Giorno Tu Mi Cercherai' at the San Remo music festival.
Although they were treated here as the '2nd Beatles', The Renegades wasn't actually a beat group in the literal sense of the word. Of course they sounded rougher than fifties or early sixties groups, but a notable part of their repertoire was still straight rock & roll, and they were obviously affected by black blues music as well. These influences were heard also in their own compositions, but ironically, their biggest Scandinavian hit 'Cadillac', which was credited to be written by themselves, was actually a simplified remake of rock & roll classic 'Brand New Cadillac', penned and recorded by Vince Taylor. In Sweden, The Renegades version was covered by The Hep Stars, while in Finland, Eero ja Jussi & The Boys remade it as a humorous Finnish translation 'Mosse' (which is a synonym for the popular Russian automobile brand... Hmm ????..., although the lyrics are talking about a horse of the same name).
The Renegades - Cadillac  (HANSA )  &  Complete
1 - Cadillac
2 - Do The Shake
3 - Seven Daffodils
4 - Hold Me Close
5 - What'd I Say
6 - I'm A Hog For You
7 - Lucille
8 - Bad Bad Baby
9 - If I Had Someone To Dream Of
10 - Talahassie Lassie
11 - More Than Peggy Sue
12 - Don't Make A Fool Out Of Me
13 - Look At Me
14 - Iv'e Been Unkind
15 - Everybody
16 - One Day
17 - Casting My Spell
18 - My Heart Must Do The Crying
19 - Walk Out On You
20 - Unchain My Heart
21 - You Love Me Too
22 - Will You Love Me Tomorrow
23 - White, Brown And Black
24 - Matelot
25 - Comin' Home Baby
26 - The World Is My Home

Rocking Vickers - The Complete Collection (1995)

A competently energetic but relatively faceless British mid-'60s band, the Rockin' Vickers are mostly remembered today because the guitarist for the bulk of their recording career was Ian Willis, who would eventually gain international fame as Lemmy with Hawkwind and Motцrhead. The Blackpool band were still Lemmy-less when they made their debut in 1964 with a supremely raunchy version of Neil Sedaka's "I Go Ape," which was anthologized in the '70s on Hard-Up Heroes, the British equivalent of Nuggets. They'd only record three other singles, all of which had Lemmy aboard on guitar. Although capable of generating respectably raunchy, modish heat, they had nothing ... Read More...

01 - I Go Ape
02 - Someone Like Me
03 - Zing! Went The Strings Of My Heart
04 - Stella
05 - It's Alright
06 - Stay By Me
07 - Dandy Davis
08 - I Don't Need Your Kind
09 - Baby Never Say Goodbye
10 - I Just Stand There
11 - Say Mama
12 - Shake Rattle & Roll
13 - What's The Matter Jane
14 - Little Rosy
A very competent group with mod, Merseybeat, and R&B leanings, the Rockin' Vickers never came close to carving a sound of their own. Combined with their lack of original material, that condemned them to trivia-question status in the very competitive days of the British Invasion. Complete: Its Alright! has both sides of all four of their 1964-1966 singles, plus six previously unreleased tracks; the crazed primitive guitar solo on "I Go Ape" is the undoubted highlight. 



Monday, July 27, 2009

Cliff Bennett And The Rebel Rousers - Cliff Bennett & Got To Get You Into Our Life (1965&1967)


Mp3 192\ 93 Mb


Cliff Bennett & The Rebel Rousers was the first London band to be signed by The Beatles manager, Brian Epstein. Their innovative brass sound introduced British youth to soul music. Within three months of Epstein's management, the band had their first UK hit single with “One Way Love” and a tour of Germany with The Beatles. They were the first British band to be signed to the Motown label.
Cliff crowned his success with The Rebel Rousers in 1966 with a song written exclusively for him by Lennon & McCartney - "Got To Get You Into My Life" which reached No. 3 in the UK charts, creating a unique British soul sound. Their other hits include: "Back In The USSR", "One Way Love" and "I'll Take You Home"
The Rebel Rousers, named after a Duane Eddy number, were initially born in the mid 50's by Cliff Bennett and various friends performing skiffle numbers and Rock & Roll covers wherever they could find space to rehearse. By the turn of the decade the band had stabilized to its first professional line up of Cliff Bennett, Mick King, Frank Allen, Sid Phillips and Ricky Winters. It was during this time that they were discovered by legendary producer Joe Meek who took them into his studio and recorded such great songs as "Poor Joe" amongst others.
Whilst the Joe Meek era produced no hits it did get the band noticed enough to secure tours of the Hamburg clubs in Germany and it was here that Cliff Bennett and The Rebel Rousers were spotted and signed up by The Beatles Manager Brian Epstein.
With the demise of the Rebel Rousers in 1969 Cliff formed 'Toe Fat' who recorded two albums before Ken Hensley and Lee Kerslake left to form Uriah Heep
Over recent years Cliff has found a new generation of fans enjoying his soulful music once again and has toured with The Manfreds, Alan Price, Georgie Fame, Chip Hawkes, The Animals, Zoot Money, Dave Dee and Colin Blunstone. He has also gained a new lease of life in Denmark where he is currently a regular on the tour circuit.
In 2007 we see Cliff teaming up with the official new Amen Corner where they have put together their The Best of Psychedelic and Rhythm ‘n’ Blues Tour featuring a two hour non-stop show with the very best in 60’s Psychedelic Pop & British 60’s R’n’B. (

The Official Website of Cliff Bennett

Cliff Bennett on

Cliff Bennett & Got To Get You Into Our Life
(ADA Sound Label)
Cliff Bennett And The Rebel Rousers (1965) - Review by Bruce Eder

If Cliff Bennett's debut album could've come out a year sooner than it did, it just might've pushed Bennett and his band the Rebel Rousers to the front rank of British Invasion acts, and maybe just a few steps from the top rank of British beat artists at home — it's that good. more

Got To Get You Into Our Life (1967) - Review by Bruce Eder

The third album by Cliff Bennett & The Rebel Rousers followed the tried-and-true formula of its two predecessors, with superior results. Bennett's cover of the Beatles' "Got To Get You Into My Life" was a popular single in its own right, and with that number as the jumo-off point for the long-player, the group produced a superb album around it, filled with nothing but highlights — Bennett was in top form covering Sam & Dave and Wilson Pickett numbers, as well as one fine original ("Baby Each Day"), and this record contained some of the best blue-eyed soul coming out of England at the time. Indeed, his renditions of "Barefootin'" and "Ain't Love Good Ain't Love Proud" hold up as well in 2007 as they did in 1967. Sad to say, Got To Get You Into Our Life was also the swan song for the Rebel Rousers, who subsequently parted company with Bennett


1. I Can't Stand It 2. Sweet And Lovely 3. Make Yourself At Home 4. You've Really Got A Hold On Me 5. Ain't That Lovin' You Baby 6. Sha La La 7. One Way Love 8. Steal Your Heart Away 9. It's All Right 10. Beautiful Dreamer 11. Mercy Mercy 12. Talking About My Baby 13. The Pick-Up 14. It's A Wonder 15. Ain't Love Good Ain't Love Proud 16. 634-5789 17. Roadrunner 18. Baby Each Day 19. Got To Get You Into My Life 20. Barefootin' 21. See Saw 22. I'm Not Tired 23. Stop Her On Sight 24. You Don't Know Like I Know 25. C C Rider Blues


Sunday, July 26, 2009

The Shadows Of Knight - 4 albums



News from Jancy

"The Stones, Animals and Yardbirds took the Chicago Blues and gave it an English interpretation. We've taken the English version of the Blues and re-added a Chicago touch." The Shadows of Knight's self-description was fairly accurate. Although this mid-'60s garage band from the Windy City did not match the excellence of either their British or African-American idols, the teen energy of their recordings remains enjoyable, if not overwhelmingly original. The group took a tamer version of Them's classic "Gloria" into the American Top Ten in 1966, and also took a Yardbirdized version of Bo Diddley's "Oh Yeah" into the Top 40 the same year. Their patchy albums contained a few exciting R&B covers in the Yardbirds/Stones... Read More...


All Reviews from for CD release

Gloria - 1966

Although revisionist historians will claim that any Shadows of Knight best-of that includes "Gloria" will cover just about everything you'll ever need on this Chicago punk band (and usually acting as if Van Morrison's and Them's original was the actual hit — wrong), true believers have long championed their two original albums for the Dunwich label, especially their debut long-player named after their big hit. Why? Simply because it positively rocks with a raw energy of a band straight out of the teen clubs, playing with a total abandon and an energy level that seems to explode out of the speakers. Equal parts Rolling Stones, Yardbirds, Who, and snotty little Chicago-suburb bad boys, the Shadows of Knight could easily put the torch to Chess blues classics, which make up the majority of the songs included here. Their wild takes on "I Just Want to Make Love to You," "Oh Yeah," and "I Got My Mojo Working" rank right up there with any British Invasion band's version from the same time period. Original material was never plentiful on either SOK long-player, but worth checking out are "Light Bulb Blues," the blues ballad "Dark Side," and the why-me? rocker "It Always Happens That Way." Completing the package is the inclusion of three bonus tracks, the single-only "Someone Like Me" and an alternate version, and "I Got My Mojo Working," which is vastly superior to the take on the original album. A not-too-vastly-different alternate mix of "Oh Yeah" completes the bonus tracks, although the original album version is curiously missing from this otherwise excellent package. Nonetheless, a reissue well worth adding to the collection. If you're only going to own one Shadows of Knight package, you could, and should, start right here.


01 - Gloria
02 - Light Bulb Blues
03 - I Got My Mojo Working
04 - Dark Side
05 - Boom Boom
06 - Let It Rock
07 - Oh Yeah
08 - It Always Happens That Way
09 - You Can't Judge A Book
10 - Hoochie Coochie Man
11 - I Just Want To Make Love To You



Back Door Men - 1967

The original LP version of this album, the second by the legendary white Chicago garage punk/blues outfit, was one of the most sought-after artifacts of mid-'60s punk rock. Back Door Men was a loud, feedback-laden, sneering piece of rock & roll defiance, mixing raunchy anthems to teenage lust ("Gospel Zone," "Bad Little Woman"), covers of Chicago blues classics (Willie Dixon's "Spoonful," Jimmy Reed's "Peepin' and Hidin'"), raga rock ("The Behemoth"), folk-rock ("Hey Joe," "Three for Love," "I'll Make You Sorry"), and a blues-punk grab off of commercial Top 40 ("Tomorrow's Gonna Be Another Day") all on one 12" platter. What makes the record even more startling is that every one of these tracks, however far afield they go from one another, works. The band strides across the music spectrum with a reach and boldness that most listeners usually only associate with the likes of the Beatles or the Rolling Stones, and a grasp that, for a moment here, may have exceeded either of those groups, as they slide from electric guitar into extended Chess-style blues instrumentals ("New York Bullseye").


12 - Bad Little Woman
13 - Gospel Zone
14 - The Behemoth
15 - Three For Love
16 - Mystery Track - I'm Not Talking
17 - Hey Joe
18 - I'll Make You Sorry
19 - Peepin' And Hidin'
20 - Tomorrow's Going To Be Another Day
21 - New York Bullseye
22 - High Blood Pressure
23 - Spoonful

24 - I'm Gonna Make You Mine
25 - Willie Jean
26 - Someone Like Me
27 - I Am The Hunter



Raw 'N Alive at the Cellar, Chicago - 1966

This is one of the very few live garage band tapes from the mid-'60s of relatively decent sound quality (considering the standards of the era). The song selection of this set should also please fans of one of the most famed '60s garage bands, captured here at a club in their home turf of Chicago in December 1966. The 13 songs include live versions of many of the tunes from their first (and best) album, as well as a six-minute workout of their lone national hit "Gloria" and a couple of Solomon Burke covers. However, it's not essential if you already have the original albums, or the fine best-of compilation released in the U.K. on Edsel, Gee-El-O-Are-I-Ay. These versions are very close in arrangement to the officially released ones, but the performance is less accomplished, as it were, and the sound quality worse. An interesting artifact that nevertheless has little appeal beyond '60s garage collector circles, although the very brief quotes from the Mothers of Invention's "Help I'm A Rock" are most curious and unexpected.


01 - i got my mojo working
02 - oh yeah
03 - tomorrow's gonna be another day
04 - it takes a long time comin'
05 - let it rock
06 - hey joe
07 - gospel zone
08 - got to get you off my mind
09 - everybody needs somebody to love
10 - don't fight it
11 - spoonful
12 - dark side
13 - gloria



Shake(aka Shadows Of Knight ) - 1969

In 1966, the Shadows of Knight were the biggest band on the Chicago garage rock scene, having hit the charts with the massive hit single "Gloria" and a solid follow-up, "Oh Yeah." However, three years later things didn't look so rosy for the group — after a multitude of lineup changes, lead singer Jim Sohns was the only original member left in the Shadows of Knight, and the record company that had put them on the charts, Dunwich, had effectively gone out of business. Determined to stay in the game, Sohns and bassist Lee Brovitz put together a new version of the band and signed a recording deal with Super K Productions, the masterminds behind such bubblegum acts as the Ohio Express and the 1910 Fruitgum Company. While Super K producers Jerry Kasenetz and Jeff Katz scored a final hit for the Shadows of Knight with "Shake," the self-titled album that followed is a bit of a mess. Kasenetz and Katz were more interested in hits than the concept of group identity (no great shock there), and with the Shadows of Knight going through a bit of a personality crisis after so much personnel turnover, the result was an album that wanders all over the stylistic map — along with the sort of sneering garage rock that was their stock in trade ("I Wanna Make You All Mine" and a different version of "Shake") and a lascivious blues workout on "Back Door Man," SoK wade though some clumsy psychedelia ("Uncle Wiggley's Airship"), attitudinal proto-punk ("I Am What I Am"), hard rock with lots of guitar soloing ("I'll Set You Free" and "Bluebird"), and moody pop ("Alone" and "Times & Places"). Without much in the way of a musical focus (and with Kasenetz and Katz reportedly loading down the songs with instrumental overdubs without the group's OK), Shadows of Knight sounds more like a multi-artist compilation than an album by one of the great acts of the garage rock era, and in this case that's not a compliment, though there are enough great moments to make this an interesting curio if not an especially effective album.


By mid-1967, the only original member of the Shadows of Knight remaining was vocalist Jim Sohns, who, through simple default, inherited the band's name and legacy.In 1968, Dunwich sold the master tapes to its Shadow of Knight recordings to Atlantic Records for one dollar. Sohns then moved the band from Chicago to New York, where they signed with Buddah Records.[2] Sohns had hoped to take the band in a British power-rock direction, but the Super K record label pulled them into a more commercial orientation, pairing the band with bubblegum groups such as the 1910 Fruitgum Company and the Ohio Express on tour. In 1969, the second generation Shadows of Knight released "Shake" on Buddah's short-lived subsidiary Team Records; the track eventually climbed to #46. That same year, without the band's knowledge or consent, the unsuccessful update "Gloria '69" was released by Dunwich. It consisted of new bass and guitar tracks overdubbed by Peter Cetera (later of Chicago) and Jim Donlinger, both Chicago rock veterans... Read more...

Lossless (FLAC +CUE+SCANS)

01 - Follow
02 - Alone
03 - Times & Places
04 - I Am What I Am
05 - Uncle Wiggley's Airship
06 - I Wanna Make You All Mine
07 - Shake Revisited '69
08 - I'll Set You Free
09 - Under Accustic Control
10 - Bluebird
11 - Back Door Man
12 - From Way Out To Way Under
13 - My Fire Department Needs A Fireman

14 - Shake 45' version
15 - Run Run Billy Porter


The Pretty Things - ON FILM + 2 Albums

MOV-180 Mb and Mp3 -32;102Mb
"The Pretty Things On Film"
(Promo Film 1966 )
The video is called "The Pretty Things On Film", and it could be a promotional film for their 1966 U.K. EP of the same title.
It features the same four songs as on the EP (Fontana TE 17472) - "Midnight To Six Man", "Can't Stand The Pain", "Me Needing You" and "J.S.D.". 
Phil May: vocals
Dick Taylor: lead guitar
Birian Pendleton: rhythm guitar
John Stax: bass
Skip Alan: drums
1. Me needing you
2. Midnight to six man (studio recording)
3. Can't stand the pain
4. Me needing you (live from a night club)
5. L.S.D (live from a night club)

Pretty Things - Fontana Years 45'
01 - Rosalyn
02 - Big Boss Man
03 - Don't Bring Me Down
04 - We'll Together
05 - I Can Never Say
06 - Get Yourself Home (unreleased)
The Pretty Things - Electric Banana (1968)
Phil May, Dick Taylor, John Povey & Wally Allen
This nor that other, as row song for film, subsequently published on serieses bootlegs under pseudonym "Electric Banana"
To supplement their income, 60s UK psych group The Pretty Things (Phil May - vocals, Dick Taylor - guitars, John Povey - drums and keyboards and Wally Allen - bass) recorded material for the De Wolfe sound library under the name The Electric Banana
The Electric Banana was an alias used by British rockers the Pretty Things beginning in the '60s and throughout the '70s, comprised of members Phil May (vocals), Dick Taylor (lead guitar), Wally Waller (bass), and John Povey (drums). In an effort to make some quick money, the group contributed music to a variety of low-budget films, one such title being The Haunted House of Horror. The Electric Banana issued several obscure albums (all long out-of-print and extremely hard to find) -- 1967's self-titled debut, 1968's More Electric Banana, 1969's Even More Electric Banana, and 1970's Hot Licks. ~ Greg Prato, All Music Guide
Electric Banana — 1968 (1967)
More Electric Banana — 1968
Even More Electric Banana — 1969
Hot Licks — 1970
The Return Of The Electric Banana — 1978
01. Walking Down The Street (2:53)
02. If I Needed Somebody (3:08)
03. Free Love (2:14)
04. Cause I'm A Man (2:52)
05. Danger Signs (2:42)
06. I See You (3:48)
07. Street Girl (2:46)
08. Grey Skies (2:37)
09. I Love You (2:21)
10. Love, Dance And Sing (2:51)
11. Thousand Ages From The Sun (2:29)
12. Do My Stuff (4:53)
13. Take Me Home (5:10)
14. James Marshall (3:36)

Thursday, July 16, 2009

The Rokes - Let's Live for Today :The Rokes in English 1966-1968

The Rokes were one of the more unusual British Invasion-era groups to come out of England, if only for the pattern and locale of their success. They never sold many records in England, or any in America, but they were a major act in Italy and also managed to make an extraordinary, albeit indirect, impact on the 1960s with a song that they originally premiered in Italian. 

London-born Shel Shapiro (b. 1943) had broken into music as a guitarist and singer with Rob Storm & the Whispers (later the Rob Storme Group) and subsequently backed Gene Vincent during a tour of England. He played in Hamburg as a member of the Shel Carson Combo and then became a member of the band backing ... Read More...

The Rokes - Discografia
Let's Live for Today
Formed in 1962, the Rokes were a better than average English pop group who found the competition for gigs was rather tough at home, so in 1963 they set their sights on Hamburg, where the Beatles had gotten their first break a few years earlier. While the German gigs didn't do much for their career, they did lead to an offer to tour Italy backing up U.K. vocalist Colin Hicks, and the Rokes became a major draw in Italy, scoring a number of hits with both original material and covers of popular American and British rock tunes translated into the native tongue. Rokes leader Norm Shapiro also wrote a number called "Passing Thru Grey" that became a major hit for the Grass Roots when the lyrics were changed to "Let's Live for Today." However, the Rokes' European success and Shapiro's talent as a songwriter didn't translate into any chart success in America or Great Britain, even though the band recorded plenty of English-language material during their long stay in Italy. Let's Live for Today: The Rokes in English 1966-1968 collects 16 rare sides from the group, and the happy irony is how veddy British this stuff sounds, even though it was recorded in Rome and was barely heard outside of Italy. "No No No," "Put the Pen Down," and "Ride On" are classic British Invasion-era pop, "Regency Sue" and "The Works of Bartholomew" suggest the characteristically English whimsy of the Kinks (though Shapiro's melodic sense recalls Dave Davies rather than his brother Ray), "I Would Give the World" and "When You Are Gone" are fine exercises in Baroque pop, and "When the Wind Arises" is a splendid example of early psychedelic pop. The set also includes the Rokes' recording of "Let's Live for Today" as well as the unreleased original version, "Passing Thru Grey"; overall, this disc might seem like barrel-scraping to less educated fans of British beat-era stuff, but despite their obscurity, this collection shows the Rokes earned their success in Italy on their very real merits as musicians and songwriters, even if they didn't get the same respect at home. ~ Mark Deming, All Music Guide

1. Let's Live For Today 
2. No No No 
3. Telegram For Miss Marigold 
4. Ride On 
5. Put The Pen Down 
6. The Works Of Bartholomew 
7. Regency Sue 
8. I Would Give The World 
9. When The Wind Arises 
10. Hold My Hand 
11. A Thing Like That 
12. Ripe Apples 
13. Stop And Watch The Children Play 
14. When You Are Gone 
15. Somewhere 
16. Passing Through Grey 

Product Description
The Rokes were Brits who went to Italy in 1963 and became one of the biggest bands in the land for the rest of the decade. They chalked up numerous Italian language hits and recorded four albums as well as becoming an enormous live draw and TV favorites. However, scattered across those albums were a number of English language songs that somehow came off sounding like a Euro-tinged blend of The Beatles, Hollies, Kinks and Pretty Things. In '67, The Rokes released the first English language version of 'Let's Live For Today', a song they'd already cut in Italian. It went on to become a huge US hit in the hands of The Grass Roots and was covered by scores of bands. Here, for the first time on CD, are virtually all of The Rokes' English language recordings from 1966 to 1968. 16 tracks. Rev-Ola.

Wednesday, July 15, 2009

The Chocolate Watchband - One step beyond (1969)

The third and final of the original studio albums by the Chocolate Watchband, One Step Beyond is a bit misleading and contradictory. On the one hand, it's as close as any performing group called the Chocolate Watchband ever got to making a finished album of their own, which is reflected in the fact that all but one song here was an original by the bandmembers; but on the other hand, this is a different Watchband lineup, assembled by Sean Tolby and Bill Flores, including guitarist Mark Loomis and drummer Gary Andrijasevich (both of whom had left in 1967 to join the Tingle Guild), and original, Foothill College-era Chocolate Watchband member Danny Phay (who'd also been in the Tingle Guild). Missing is David Aguilar, the band's one-time lead singer and most visible songwriter up to that time -- and the result is an album that has almost none of the influence of the Rolling Stones, and, instead, shows the greatest folk-rock influence in their history. The overall sound is brittle but melodic, reminiscent in some ways of the Quicksilver Messenger Service, the Charlatans, Moby Grape, and the Jefferson Airplane. Danny Phay isn't nearly as charismatic a singer as Aguilar, but he's not bad, either, and there are lots of interesting shared vocals. There's also quite a bit more guitar noodling here than on any previous Watchband recording -- that's not necessarily a bad thing, though it does dilute some of the impact of the punkier moments. "Devil's Motorcycle" is also of special interest to fans of Moby Grape, as it features the Grape's Jerry Miller subbing for Loomis on lead guitar. They shined on Ashford & Simpson's "I Don't Need No Doctor" as well as the Loomis/Andrijasevich original "Uncle Morris," and "Flowers" was a beautiful piece of folk-based psychedelia, while Sean Tolby's "Fireface" recaptured some of the original band's thicker rock textures. Original Foothill College-era member Ned Torney was also present on the sessions playing keyboards, but his work was left out of the final mix of the album, which meant the guitars got even greater exposure than intended. The overall album, which clocks in at well under 25 minutes, is an interesting and well-played coda to the band's history, but is also a long way from the sound of the group's earlier releases.
1. Uncle Morris
2. How Ya Been
3. Devil's Motorcycle
4. I Don't Need No Doctor
5. Flowers
6. Fireface
7. And She's Lonely

Bonus Tracks:

8. Don't Need Your Lovin'
9. Sitting There Standing
10. Blues Theme
11. Loose Lip Sync Ship
All tracks stereo except 8-11 (mono)

Tracks 8 -9 from the "Riot on Sunset Strip" soundtrack

Monday, July 13, 2009

Beatlemania - A Top Six

Genuine present for fan of the Beatles from JANCY 
Beatlemania - Top Six TSL 1

01 - I Want To Hold Your Hand
02 - Roll Over Beethoven
03 - From Me To You
04 - Till There Was You
05 - Please Mr Postman
06 - Twist And Shout
07 - All My Loving
08 - She Loves You
09 - I Wanna Be Your Man
10 - Love Me Do
11 - Please Please Me
12 - Money

Top Twelve vol.2 - Top Six TSL 3
14 - Not fade Away
15 - Don't Throw Your Love Away
16 - Hubble Bubble
17 - I Belive
18 - Just On Look
19 - Can't Buy Me Love
20 - Boys Cry
21 - Don't Turn Around
22 - Everything's Al'right
23 - World Without Love
24 - Tell Me When

Pinkerton's Assorted Colours - Flight Recorder (2004)

Pinkerton's Assorted Colours were a pretty typical mid-'60s pop group, although, for all the money poured into them, they managed just the one hit, Mirror Mirror, although their sound was as post-Beatles as you could ask for. Maybe that was the problem - lack of originality, although it didn't seem to do, say, Herman's Hermits any harm. Like so many other acts of the day (The Tremeloes spring to mind), they mutated into a psych-lite outfit come 1967, changing their name to The Flying Machine and releasing a million-seller in the States, the infuriatingly catchy Smile A Little Smile For Me. Those nice people at Sanctuary have compiled what must be every note ever recorded by both incarnations of the band onto Flight Recorder: From Pinkerton's Assorted Colours to The Flying Machine, disc one dealing with their singles A and B-sides, while disc two mops up album tracks, demos and the like. As you'd expect, it's a bit of a rag-bag, the occasional more inventive track like Flying Machine sitting next to '60s pop by-numbers like Mirror Mirror and There's Nobody I'd Sooner Love with, regrettably (if unsurprisingly), vastly more of the latter than the former.

Mellotron (MkII, of course) on a mere one obvious track, player (as so often with '60s groups) unknown, with a cool flute part on Look At Me, Look At Me, that couldn't sound more like Manfred Mann if it tried. It's possible there's some more hidden away here and there (see: the backing flutey sound on Angel (She Was Born Out of Love)), but chances are they're regular orchestral instruments. I've read that Smile A Little Smile... has some, too, but neither version here obliges
2004 remastered compilation for the late 60s early 70s harmony pop act who changed their name from Pinkerton's 'Assorted' Colours to The Flying Machine. 50 tracks including their big hits, 'Mirror Mirror', 'Don't Stop Loving Me Baby' & 'Smile A Little Smile For Me', A & B sides, album tracks, & unissued sides. This material has been unavailable on CD for several years & some is previously unissued. Includes fold out sleeve with extensive liner notes & other memorabilia. Castle.(
Flight Recorder: From Pinkerton's Assorted Colours to The Flying Machine 
( recorded 1965-71)


Disc: 1 

1. Mirror Mirror - Pinkerton's Assorted Colours, Newman 
2. She Don't Care - Pinkerton's Assorted Colours, Newman 
3. Don't Stop Loving Me Baby - Pinkerton's Assorted Colours, Newman 
4. Will Ya? - Pinkerton's Assorted Colours, Calvert 
5. Magic Rocking Horse - Pinkerton's Assorted Colours, Newman 
6. It Ain't Right - Pinkerton's Assorted Colours, Newman 
7. Mum and Dad - Pinkerton's Assorted Colours, Murray 
8. On a Street Car - Pinkerton's Assorted Colours, Henry 
9. There's Nobody I'd Sooner Love - Pinkerton's Assorted Colours, Macaulay 
10. Duke's Jetty - Pinkerton's Assorted Colours, Jones 
11. Kentucky Woman - Pinkerton's Assorted Colours, Diamond 
12. Behind the Mirror - Pinkerton's Assorted Colours, Wayne 
13. Smile a Little Smile for Me - Pinkerton's Assorted Colours, Macaulay, Tony 
14. Maybe We've Been Loving Too Long - Pinkerton's Assorted Colours, Killbourn 
15. Send My Baby Home Again - Pinkerton's Assorted Colours, MacLeod 
16. Look at Me, Look at Me - Pinkerton's Assorted Colours, Macaulay 
17. Baby Make It Soon - Pinkerton's Assorted Colours, Macaulay 
18. There She Goes - Pinkerton's Assorted Colours, MacLeod 
19. Hanging on the Edge of Sadness - Pinkerton's Assorted Colours, Leander 
20. The Flying Machine - Pinkerton's Assorted Colours, Pass 
21. The Devil Has Possession of Your Mind - Pinkerton's Assorted Colours, Pass 
22. Hey Little Girl - Pinkerton's Assorted Colours, Hiller 
23. Yes I Understand - Pinkerton's Assorted Colours, Greenaway 
24. Pages of Your Life - Pinkerton's Assorted Colours, Newman 
Disc: 2 
1. Smile a Little Smile for Me - Pinkerton's Assorted Colours, Macaulay, Tony 
2. My Baby's Coming Home - Pinkerton's Assorted Colours, Macaulay 
3. A Thing Called Love - Pinkerton's Assorted Colours, Reed, Jerry 
4. Marie Take a Chance - Pinkerton's Assorted Colours, Macaulay 
5. Waiting on the Shores of Nowhere - Pinkerton's Assorted Colours, Saker 
6. That Same Old Feeling - Pinkerton's Assorted Colours, Macaulay, Tony 
7. Broken-Hearted Me, Evil-Hearted You - Pinkerton's Assorted Colours, Macaulay 
8. Memories of Melinda - Pinkerton's Assorted Colours, Macaulay 
9. Mirror Mirror - Pinkerton's Assorted Colours, Newman 
10. Don't Stop Loving Me Baby - Pinkerton's Assorted Colours, Newman 
11. Magic Rocking Horse - Pinkerton's Assorted Colours, Newman 
12. Shine a Little Light on Me - Pinkerton's Assorted Colours, Colman 
13. St. Louis Child - Pinkerton's Assorted Colours, Colman 
14. Strawberry Fool - Pinkerton's Assorted Colours, Jones 
15. Angel (She Was Born Out of Love) - Pinkerton's Assorted Colours, Young 
16. People Say - Pinkerton's Assorted Colours, Barry 
17. One Man Band - Pinkerton's Assorted Colours, Westlake 
18. The Lies in Your Eyes - Pinkerton's Assorted Colours, Newman 
19. Me Without You - Pinkerton's Assorted Colours, Newman 
20. Can't Break the Habit - Pinkerton's Assorted Colours, 
21. Shadows on a Foggy Day - Pinkerton's Assorted Colours, Knight 
22. If You Were True - Pinkerton's Assorted Colours, 
23. 4 O'Clock in New York - Pinkerton's Assorted Colours, Callendar 
24. Hard, Hard Year - Pinkerton's Assorted Colours, Clarke 
25. Fools Rush In - Pinkerton's Assorted Colours, Mercer 
26. The Flying Machine - Pinkerton's Assorted Colours, Pass

Pinkerton's Assorted Colours- Behind The Mirror (1965-68)

Formed in Rugby in 1964, the first line-up of this band -- originally known as The Liberators -- was Samuel ("Pinkerton") Kemp on autoharp and vocals, Tony Newman on rhythm guitar, Tom Long on lead guitar, Barrie Bernard playing bass, and John Wallbank on the drums. Following a brief hook-up with producer Shel Talmy, which resulted in one single, Wallbank exited the line-up, to be replaced by Dave Holland. The quartet were seen and signed by Reg Calvert, the manager of the Fortunes, after which they changed their name to Pinkerton's Assorted Colours and adopted brightly colored costumes for their stage act. ... Read More...
02 - She Don't Care
03 - Don't Stop Loving Me Baby
04 - Will Ya
05 - Magic Rocking Horse
06 - It Ain't Right
07 - Mum And Dad
08 - On A Street Car
09 - There's Nobody I'd Sooner Love
10 - Duke's Jetty
11 - Kentucky Woman
12 - Behind The Mirror
13 - Mirror Mirror
14 - Don't Stop Loving Me Baby
15 - Magic Rocking Horse

Thanks and  lajso 

The Sonics - Psycho-Sonic (1964-65)


The Sonics:
Gerry Roslie — organ, piano, lead vocals
Andy Parypa — bass guitar
Larry Parypa — lead guitar, vocals
Rob Lind — saxophone, vocals, harmonica
Bob Bennett — drums

A rock & roll band from Tacoma, WA, the Sonics' original members were Gerry Roslie (lead singer, piano, organ), Andy Parypa (guitar), Larry Parypa (bass), Bob Bennett (drums), and Rob Lind (saxophone). Forming in the wake of the early-'60s success of local favorites the Kingsmen and the Wailers (whose Etiquette label they recorded for), the Sonics combined classic Northwest-area teen band raunch with early English band grit (particularly influenced by the Kinks), relentless rhythmic drive, and unabashed '50s-style blues shouting for a combination that still makes their brand of rock & roll perhaps the raunchiest ever captured on wax. 

...
!!!Here Are The Sonics!!! 1964
1 - Witch (2:40)
2 - Do You Love Me (2:18) ( Written By - B Gordy Jr.)
3 - Roll Over Beethoven (2:49) (Written By - C. Berry)
4 - Boss Hoss (2:24)
5 - Dirty Robber (2:01) (Written By - K. Morrill / J. Greek)
6 - Have Love Will Travel (2:39) (Written By - R. Berry)
7 - Psycho (2:17)
8 - Money (That's What I Want) (2:00) (Written By - J. Bradford / B. Gordy)
9 - Walking The Dog (2:44) (Written By - R. Thomas)
10 - Night Time Is The Right Time (2:58) (Written By - L. Carr / R. Sykes)
11 - Strychnine (2:13)
12 - Good Golly Miss Molly (2:08) (Written By - R. Blackwell / J. Marascalco)
13 - The Hustler (2:14)
14 - Psycho (Live) (2:06)


Sonic Boom 1965 

15 - Cinderella (2:45)
16 - Don't Be Afraid Of The Dark (2:26)
17 - Skinny Minnie (2:15) (Written By - B. Haley / R. Keefer / C. Cafra / M. Gabler)
18 - Let The Good Times Roll (2:04) (Written By - L. Lee)
19 - Don't You Just Know It (2:53) (Written By - H. Smith / J. Vincent)
20 - Jenny Jenny (2:21) (Written By - E. Johnson / Penniman)
21 - He's Waitin' (2:41)
22 - Louie Louie (2:57)( Written By - R. Berry)
23 - Since I Fell For You (4:01) (Written By - B. Johnson)
24 - Hitch Hike (2:46) (Written By - W. Stevenson / C. Paul / M. Gaye)
25 - It's Alright (2:14)( Written By - C. Andrews)
26 - Shot Down (2:13)
27 - Keep A Knockin' (1:56) (Written By - R. Penniman)
28 - Witch (Live) (3:01)
29 - Witch (Version 2) (2:38) 

Everyone would agree that the Sonics reached their peak on their 1964-65 recordings for Etiquette. This 29-track compilation has everything they recorded for the label, extended not just to everything from their singles and two albums, but also with an alternate take of "The Witch" and live recordings of "Psycho" and "The Witch." Consequently, it's the best Sonics release on the market, though you should be warned: it's not wall-to-wall greatness. After the first half-dozen or so songs, you might well be ready to buy into their legend as one of the great (and certainly rawest) '60s garage bands, as those tracks include their toughest elementary riff-fueled pounders: "The Witch," "Psycho," "Boss Hoss," "He's Waitin'," and "Strychnine." But too much of the rest is filled out with covers of '50s and '60s rock and R&B standards, and the relentlessly frantic bang-it-out frat punk and throat-tearing vocals get blurry after a while, though at least they threw in a little-covered tune with their version of Adam Faith's "It's Alright." [The 2003 CD edition of this anthology, incidentally, is substantially different from Big Beat's first release of the material, though it has identical tracks and the same title. It's taken from first-generation tapes, and also has a 20-page booklet of liner notes with extensive quotes from several band members (including lead singer Gerry Roslie) and others involved in the group's career.]

The Zombies - As Far As I Can See (2004)

Colin Blunstone and Rod Argent
Legendary British Invasion innovators The Zombies made some of the most sublime melodic pop-rock of the 1960s, and their three Top 10 smashes—"She’s Not There," "Tell Her No," and "Time Of The Season"—are all-time classic hits. Their distinctive sound was due in large part to Colin Blunstone’s masterful vocals and Rod Argent’s keyboard wizardry. The reunited pair proves that theirs is a timeless partnership with AS FAR AS I CAN SEE . . . , the first studio album of original Zombies material in more than 30 years!
Well, I fell for it. In a year of highly touted reunions by everyone from the Pixies to Mission of Burma, I wanted to believe that The Zombies' first album since 1968's psych-pop masterpiece Odessey & Oracle would be a first-class tour de force. "We haven't come together cynically, or to make a buck," songwriter and keyboardist Rod Argent assures us in the liner notes. LIES! Argent and singer Colin Blunstone have been touring together for the past few years, and even released a disc together under their own names, 2002's unremarkable Out of the Shadows, that should have served as a stern warning. But their new record gets the Zombies name, Argent writes, because it has a "group" sound, and because all the songs were written with Blunstone's voice in mind-- presumably including "I Don't Believe in Miracles", originally from Blunstone's 1972 solo record Ennismore, which here gets the 80s soft-rock treatment, "Rose for Emily" piano intro notwithstanding.  and ...More...

1. In My Mind a Miracle
2. Memphis
3. Southside of the Street
4. I Want to Fly
5. Time To Move
6. I Don't Believe In Miracles
7. As Far As I Can See
8. With You Not Here
9. Wings Against The Sun
10. Together
11. Look For A Better Way

The Zombies - Into the afterlife (2007)

Almost a decade in the making, Big Beat is very proud to finally announce the release of The Zombies' "Into The Afterlife". A natural sequel to our acclaimed best-selling box set "Zombie Heaven", this compilation is essentially "what they did next".
The Zombies split in April 1968 upon the completion of their masterwork "Odessey & Oracle". Songwriters Rod Argent and Chris White busied themselves forming a production company, whilst the other band members, including lead singer Colin Blunstone, depressed by the lack of recognition for "Odessey", retreated back to 'civvy street':
Throughout 1968 Chris and Rod demo'ed their new material with an embryonic version of what would become the group Argent. The best of these experimental recordings are included on "Into The Afterlife" and as with the Zombies, the songs and performances are better than most other groups' regular releases. Meanwhile, Colin Blunstone had been romanced back into the studio by producer Mike Hurst and, under the nom-de-disque of Neil MacArthur, made three excellent singles including a revamp of 'She's Not There' that hit the UK Top 40 in 1969. All nine sides recorded by Colin in this period are featured and include his fabulous interpretations of Nilsson's 'Without Her', Billy Vera's 'Don't Try To Explain' and the Buffalo Springfield's 'Hung Upside Down', the latter previously unreleased.
As a special bonus, the disc contains special mixes of Zombies material that showcase the orchestral overdubs that were added for their aborted RIP project, plus a rare vintage live cut. Over half of "Into The Afterlife's" contents is unissued, and indeed, ninety percent has never appeared on CD before. Add to that detailed notes that clarifies this murky yet fascinating period in the group's history and this becomes a worthy addition to the perfectly-formed discography of the Zombies.
The Zombies - Into the afterlife 
1. She's Not There - (with Neil MacArthur) 2. Hung Upside Down - (previously unreleased, with Neil MacArthur) 3. Unhappy Girl - (previously unreleased, with Chris White/Rod Argent) 4. She Loves the Way They Love Her - (previously unreleased, with Chris White/Rod Argent) 5. Telescope (Mr. Galileo) - (previously unreleased, with Chris White/Rod Argent) 6. Walking In the Sun - (Orchestral Mix, previously unreleased) 7. Without Her - (with Neil MacArthur) 8. Twelve Twenty Nine - (with Neil MacArthur) 9. It Never Fails To Please Me - (previously unreleased, with Chris White/Rod Argent) 10. I Could Spend the Day - (previously unreleased, with Chris White/Rod Argent) 11. I Know She Will - (Orchestral Mix, previously unreleased, with Zombies) 12. Don't Try To Explain - (with Neil MacArthur) 13. World Of Glass - (with Neil MacArthur) 14. To Julia (For When She Smiles) - (previously unreleased, with Chris White/Rod Argent) 15. If It Don't Work Out - (Orchestral Mix, previously unreleased, with Zombies) 16. Never My Love - (with Neil MacArthur) 17. It's Not Easy - (with Neil MacArthur) 18. Telescope (Mr. Galileo) - (previously unreleased, with Chris White/Rod Argent) 19. Going To a Go Go - (previously unreleased) 20. Ma Non E Giusto (She's Not There) - (Italian, with Neil MacArthur)

Simon Dupree And The Big Sound - Kites (1966-69)

Twenty songs recorded by the group between mid-1966 and 1969, including three early singles and seven songs off of the Without Reservations album. "Kites" is by far the best known number, and some of the later psychedelic efforts, including the Derek, Phil, and Ray Shulman-composed "She Gave Me the Sun" and the Shulman-Shulman "Thinking About My Life," are entertaining period pieces. But the real meat here is the group's R&B material from 1966 and earlier in 1967 -- Derek Shulman was a convincing shouter, and when the group slipped into the right groove, even on the edge of their leap into psychedelia ("Reservations"), they could rise to the occasion with good results. The group comes off as very similar to the Spencer Davis Group. It offers a glimpse of the sound that made the group very successful on the club circuit, some enjoyable druggy trifles, and vague hints of things to come from its members.
01 Kites
02 Like the Sun Like the Fire
03 Sleep
04 For Whom the Bell Tolls
05 Broken Hearted Pirates
06 60 Minutes of Your Love/A Lot of Money
07 Love
08 Get off My Bach
09 There's a Little Picture Playhouse
10 Day Time, Night Time
11 I See the Light
12 What Is Soul
13 Amen
14 Who Cares
15 She Gave Me the Sun
16 Thinking About My Life
17 It Is Finished
18 I've Seen It All Before
19 You Need a Man
20 Reservations