Wednesday, September 30, 2009

Brian Poole & The Tremeloes -Twist And Shout & It's About Time...

Sophie  for your request  - 
The Tremeloes - English page
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

The Tremeloes

Biographyby Bruce Eder

It's difficult for anyone who has heard them not to like the Tremeloes. They were one of the more prodigiously talented British pop/rock bands of the '60s, and they threw that talent into making amazingly catchy, well-crafted singles that lit up the charts on both sides of the Atlantic from 1966 through 1970. The band first got together in 1958, with a lineup that included singer Brian Poole and Alan Blakely, who started on drums but switched to guitar after drummer/singer Dave Munden joined.

The band built up a following at local dances and clubs, and on the U.S. air base circuit, and by 1961, they had turned professional. Soon after, Rick West, who had previously played with Tony Rivers & the Castaways — and who was classically trained — joined on guitar. They played an audition for Decca Records on New Year's Day 1962, competing with an unknown quartet from Liverpool called the Beatles. Decca chose the Tremeloes, based on the fact that they were from London and, thus, would be more accessible.

They were signed as Brian Poole & the Tremeloes, and it was under that name that they issued several failed singles. Then the group grew their hair longer and pumped up their rhythm guitar sound, and their version of "Twist and Shout," done in that style, reached number four on the English charts. Their next record, a cover of the Contours' "Do You Love Me," was an honest, authentic-sounding screamer of a single that hit number one in England. The band enjoyed a series of hits over the next two years, including a raucous rendition of the Strangeloves' "I Want Candy."

Poole was the center of attention and eventually developed a star mentality. He became convinced that his future was as a pop vocalist, in the manner of such up-and-coming figures as Tom Jones, and by the end of 1965, a split was in the works. The consensus in the music press was that Poole was poised for stardom, while the Tremeloes were headed for oblivion.

Instead, Poole disappeared after a series of failed singles, while the Tremeloes continued, following another membership change — Chip Hawkes (bass, vocals), Dave Munden (drums, vocals), Alan Blakely (guitar), and Rick West (guitar, vocals) became the definitive Tremeloes lineup. Newly signed to CBS Records, they grabbed the Beatles' "Good Day Sunshine" as their next single. The Tremeloes' version never charted, but it re-established them with its heavy airplay and good reviews, and got them onto television. It was their follow-up, "Here Comes My Baby," written by Cat Stevens, that put them back on top. An infectiously tuneful, upbeat song, with superb vocals and solid playing, it became a number four hit in England and reached number 13 in America. "Silence Is Golden" became their first chart-topper in England in three years, as well as their second U.S. gold record. The next three years saw them move from success to success in England and around the world, with another three singles in the U.K. Top Ten and two more in the Top 40.

And then, in 1970, it all ended, in a series of career-killing errors. It started innocuously enough — the members, apparently tired of being treated as a soft pop band, decided to change their image. They spent a year preparing an album entitled Master, that was intended to prove they could do serious songs. The fatal error occurred when the group publicly disparaged their past hits and dismissed the listeners they had attracted as "morons," alienating their fans and any representative of the music press who had previously been in their corner. And Master was a commercial and critical flop.

They tried everything to recover — sounding heavy, going country, spoofing glam rock, and even changing their name to the Trems, without regaining their career momentum, and by the mid-'70s, they were playing in cabaret. In the late '90s, Munden and West were still leading a version of the Tremeloes, with keyboardist/singer Joe Gillingham and bassist/guitarist/singer Davey Freyer, playing regular gigs in England and Europe. And their mid- to late-'60s material was still being reissued in profusion on CD into the 21st century, and still delighting listeners.

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


The Rocking Stars \( Rocking Stars )



 In 1960 the Rocking Stars from the small town of Rastatt were probably the only teenage amateur Rock`n`Roll group that got a chance to make records in Germany at the time. They recorded two flexi discs for the budget label Hallo....


01 - Jailhouse Rock
02 - Flames Of Love
03 - Sealed With A Kiss
04 - Tell The Truth
05 - Walking The Dog
06 - In My Room
07 - Shake Dance
08 - Peter Gunn
09 - I Got A Woman
10 - Don't Ask Me To Be Friends
11 - Blues Stay Away From Me
12 - Temptation
13 - Tina Darling
14 - Lonely Girl
15 - It's The End

45' flexi
16 - Lonely Blue Boy 
17 - Kiss Me 
18 - Hey Baby 
19 - Violetta 
20 - Poem 
21 - Czardas Blues

Erkin Koray - Elektronik Turkuler (1974) Turkey

Mp3\ 89Mb
By Jancy....
Biography Vefik Karaege

The father of Turkish rock music, Erkin Koray is a legend by any measure. Possessing a great voice, he is also a unique and accomplished guitarist, an inventor, a leader, a true intellectual, and a rebel at all costs. He has blended classic oriental Turkish tunes and ethnic and Middle Eastern themes into his psych-driven rock and has stood the test of time, and has weathered political crises as well as military coups. Although his first records are nearly impossible to find and they are sold for impressive prices on eBay (as much as $1,000 for an LP), Koray is one of the most influential Turkish rock musicians even into the 21st century. Along with artists of his era like Cem Karaca, Mogollar, Baris Manco, and Uc Hurel, Koray helped introduce Turkish lyrics into rock music while most of the intellectual Turkish music listeners had gone crazy with American rock & roll. First despised for using Turkish and some oriental themes, he later became known as "the King of Rock."Erkin Koray was born on July 24, 1941, in Istanbul to a mother who was a piano instructor. He started playing piano when he was five and discovered rock & roll when he was around 15 years old. He started playing the guitar, formed a small band with his friends, and tried to play as much as possible. His first concert was on December 29, 1957, with a set list consisting of famous rock & roll songs. With this very first gig, he became a focal point for attention, and his band Ritimciler became the most popular band in the country. He was cited as a "crazy rocker" in most of the newspapers and magazines even before releasing any music on vinyl. After his first release, the single "Bir Eylul Aksami"/"It's So Long," he went on to fulfill his mandatory military service. He returned in 1965 and then left for Germany, just in time to experience the spirit in Hamburg, where the Beatles and many other British bands were regularly playing. Upon returning to Turkey, he became more than just a musician — he became an icon with his long hair and rock & roll lifestyle. He also released some popular singles like "Kizlari da Alin Askere," "Ask Oyunu," and "Kendim Ettim Kendim Buldum."

In 1969, he formed his major band, namely Yeralti Dцrtlьsь (Underground Foursome). Although he was not involved with any long-lasting groups, with Yeralti Dцrtlьsь he helped establish the foundation for the future of Turkish rock. All the members of the band —Ataman Hakman (guitar), Aydin Sencan (bass), Sedat Avci (drums), and subsequently Cahit Kukul (guitars) — helped shape the Turkish rock scene with their future bands and releases. In the '70s, he released famous LPs like Elektronik Turkuler and Tutkusu, the first now regarded as a masterpiece. These LPs also included a number of landmark singles such as "Saskin," "Fesupanallah," "Estarabim," "Arap Saci," "Yalnizlar Rihtimi," and "Cemalim," to name a few. Koray's singles not only became number one hits on the Turkish charts but also became timeless classics: one can hear these songs being covered by local bands in the 21st century — in bars, clubs, and even wedding parties. Although it was not his intention (he said "If everyone in this country is listening to my music, there's either something wrong with me or the country itself"), he somehow connected to almost everyone in Turkey, from every cultural background, social status, and class.Koray traveled abroad occasionally to work and share his musical ideas with foreign colleagues. He's been to Germany, France, and the Netherlands, and was in Germany making music when the Turkish military took power in 1980. Later, in 1982 he went to Canada for a gig. He fell in love, got married, and stayed in Canada until the birth of his daughter, Damla. He then returned to Turkey to raise his daughter in his homeland, and refused to send her to a governmental school, preferring home schooling as an alternative. In the meantime, he released Ceylan, which was poorly received except for the single "Copculer." His other important LPs in the '80s were Gaddar and Hay Yam Yam. As with all the Turkish rock musicians in '80s, however, he had serious economic shortcomings, so he even played the piano in a pizza house to earn money for his recording sessions. Koray generally laid low in the '90s, except for accomplishments such as a 1991 Gьlhane Park concert: alone with his keyboard and guitar, he delivered an strong performance that was later released as the album Tek Basina Konser. That gig was a reference point for most of the young Turkish rockers who later arrived on the scene with their own bands. A second pinnacle was the 1996 album Gun Ola Harman Ola, which features the epic "Akrebin Gozleri" (Eyes of the Scorpion). The album presented more modern Koray material, with classic melodies and lyrics. His latest effort, Devlerin Nefesi, was released in 1999. Since then Koray has remained active and performed live in clubs and festivals. He released a half-documentary/half-fiction book Mezarlik Gulleri (Cemetery Roses) in 2006.Apart from writing, playing, and singing, Koray is also the inventor of the "electro baglama" (saz), which basically involves adding a pickup to a traditional Turkish baglama. After he used this instrument on-stage in concert, it became a popular instrument for other artists in Turkey and the Middle East. He was the first person to open a rock club in Istanbul, although he modestly commented that "someone would do it anyway, it doesn't matter that I do it first." Throughout his career, new generations have first criticized his works and later discovered the treasures within the deep textures of his music and his philosophical lyrics. He has had shortcomings, occasionally recording albums quickly mainly due to economical difficulties. But with his 1961 custom white Gibson Les Paul, Erkin Koray, Turkey's King of Rock, will always be known as one of the most innovative and influential musicians in the country's history.



Monday, September 28, 2009

Drafi Deutscher And His Magics - J's Complete

Mp Mp Mp ##3

Drafi Deutscher (born 9 May 1946 as Drafi Franz Richard Deutscher in Berlin; died 9 June 2006 in Frankfurt am Main) was a German singer and composer of Romani/Sinti ("Gypsy") heritage. His best known song was the 1965 Schlager Marmor, Stein und Eisen bricht, which was featured in the 2006 movie Beerfest during the Oktoberfest scene. He also composed several worldwide hits, e.g., for Boney M.
Boney M "Belfast" composer = Drafi !!! ., Nino de Angelo and Tony Christie. In the 1980s he achieved a huge success with his duo Mixed Emotions together with Oliver Simon and Christopher Evans Ironside, collaborating also with the latter in Masquerade, including theircowritten hit GuardianAngel

 He died 60 years old on june 2006....  

1964 - 1967
01 - Marble Breaks And Iron Bends (Dum Dum)
02 - Come On Let's Go
03 - Summertime
04 - Bachelor Boy
05 - Junge Leute brauchen Liebe
06 - Es ist besser du gehst
07 - Shake Hands
- Roll Over Beethoven
- What'd I Say
- Good Golly Miss Molly
- Memphis Tennessee
08 - What's A Matter Baby
- Mit 17 faengt das Leben erst an
- Komm zu mir
- Zip-A-Dee-Doo-Daa
09 - The Lion Sleeps Tonight
- Teeny
- Hippy Hippy Shake
- Shakin' All Over
- Ready Teddy
10 - Marmor Stein und Eisen bricht
11 - Das sind die einsamen Jahre
12 - Crying In The Morning
13 - Wake Up
14 - I Don't Need That Kind Of Lovin'
15 - The Language Of Love
16 - Amanda
17 - I Wanna Take You Home
18 - Trouble
19 - Heute male ich dein Bild Cindy Lou
20 - Nimm mich so wie ich bin
21 - Hello Little Girl
22 - Take It Easy
23 - Welche Farbe hat die Welt
24 - Ich hab den Mond in meiner Tasche
25 - He's Got The Whole World In This Hand

26 - Weil ich dich Liebe

27 - Guardian Angel - "Masquerade"

28 - Be My Boogie Woogie Baby - "Mr. Walkie Talkie"

THANKS  Jancy . It's unique stuff !

The Hollies - Hello Graham Nash (Live 1983)


Pete Lancaster And The Upsetters - RHYTHM BLUES SHOW


01 - Stupidity
2 - Trouble In Mind
03 - Midnight Hour Blue
04 -
I Like It Like That
05 - Searchin' For Love
06 - Teardrops
07 - One Of These Days / Stuborn Kind Of Fellow
08 - Monkey Time
09 - One Night
10 - You Are My Sunshine
11 - Stagger Lee
12 - Baby Baby Baby
13 - Mary Ann

14 - Nicht zu fassen (Glad All Over)
15 - Gib dem Boy me
hr Zucker (Daisy Petal Pickin)
16 - Baby bleib bei mir ( Come A Little Bit Closer)

17 - Alles ist A
lright (Everything's Alright)
18 - Zehnmal am Tag (Eight Days A Week)
19 - Lass mich rein ( No Repley)


Alex Harvey - The Blues (1964)

Mp220V\120 Mb
Alex Harvey ?


Alex Harvey was a British journeyman rocker who enjoyed a brief period of widespread popularity in the mid-'70s after decades of struggle. Growing up in Scotland, he turned to music in his late teens and was in a skiffle band by 1955. By 1959, it had evolved into the Alex Harvey Big Soul Band. Harvey took the group to Hamburg, West Germany in the early '60s, there recording his first LP, Alex Harvey and His Soul Band, in the fall of 1963, which did not feature the band. He and his group made their London debut in February 1964, and the same year he recorded The Blues, which essentially was a solo record. In 1965, Harvey dissolved the Big Soul Band... Read More...



IT's MUSIC , FOLK .....

Hep Stars - Complement part 1

Once again - JANCY  !!!

01 - Be My Baby
02 - That's When Your Heartaches Begin
03 - Send Me Some Lovin'
04 - Rockin' Love
05 - I'll Never Quite Get Over You
06 - Sweet Little Sixteen
07 - Oh Carol
08 - Then She (He) Kissed Me
09 - I Got A Woman
10 - Summertime Blues
11 - Jag Vet
12 - The Birds In The Sky
13 - Easy To Fool
14 - Sound Of Eve
15 - Lady Lady
16 - Last Night I Had The Strangest Dream
17 - Morning Comes After Nicht
18 - I've Said It All Before
19 - Hawaii
20 - Bilden Av Dej
21 - Warten auf den Tag
22 - Komm Little Thom
23 - Die Spieluhr
24 - Songs We Sang
25 - Nägonting Har Hänt
26 - Like You Used To Do
27 - I Sagans Land


John Smith &The New Sound - Rock'n Roll

Mp10\162 Hg


John Smith – Biography

John thinks he’s a clown”, said my final school report! was the only time the school got anything right ( for me anyway ).

I started playing the Ukulele in 1955 during my lunch-hour at my first job. I learnt 3 chords, D, G, & A7. Then I heard Josh White, Big Bill Broonzy, & Lonnie Donegan and formed my first skiffle group called “Jubilee”. For our first job, we earned £5.00 between four of us for a 4 hour gig (not bad money for 1955 considering we were only worth 5 shillings). By 1958 we were doing 6-8 gigs a week and learning all the time.

After being offered a solo recording contract in 1964, I recorded “More & More” with a new name…..”Bobby Dean”. It got quite a lot of airplay but never did well.

The name had to go, Bill Wellings, my manager, was a great friend and fan of mine, as I was of him. He introduced me to EMI & the “Top Six” label in 1964. Bill got together some of the best musicians around and we copied the original hits of the day. We were known as “The Ghost Squad”. Our slogan was:

“Six Hits for 6s & 8p”

I had the best couple of years recording about 75 hits of the time and, boy oh boy, did I learn a lot, but how could you miss with the following line-up, all directed by the great Johnny Harris and produced by Bill Wellings at the Pye Studios in London.

MUSICIANS MD : Johnny Harris (also piano, trumpet & backing vocals) Piano / keyboards: Johnny Harris & Laurie Holloway Guitar: Big Jim Sullivan, Bass: Vic Pitt, Lennie Bush Drums: Kenny Clare, Bobby Kevin, Jimmy Nicol ( the Beatles deputy drummer) Organ: Roger Coulan (also percussion) Various Brass & Strings

BACKING VOCALS The Mike Sammes Singers I will be eternally grateful to these very talented performers who were always a joy to work with. During this time I was still recording under my own name

“John Smith & The New Sound” and “John Smith & Co.”

I was very lucky to have my recording of “Winchester Cathedral” make number 2 in Germany and “Snoopy Vs The Red Baron” get to number 8 with a self-penned song “Send her Home” on the ‘B’ side. I worked a lot in Germany (see the video clip of “Beat Club” above) & had a few other successful recordings there such as “Make it Me”, “Don’t Break it Up” and a couple of 12” albums did quite well.

At the ripe old age of 28, I was offered a Job working on a cruise ship (guitar/vocals/comic). I was supposed to stay on the ships for about 4 months, but retired from the sea in 1993. ( See my book “A Laugh on The Ocean Wave”)

During my time ashore, I worked with some of the greats:

Guy Mitchell, Frankie Laine, Al Martino Eddie Fisher Bobby Rydell Del Shannon The Village People Chubby Checker John Rowles Tom T.Hall Blood Sweat & Tears Harry Secombe Dick Emery the wonderful Vera Lynn, and many more

I now reside in Devon with my two favourite ladies Pat & Lily…. (by the way, Lily is a Golden Retriever)

John Smith and the New Sound were a band from the UK originally, but their releases did much better in Germany and France than back home.

'Just A Loser' shows that soulful and heavy sound UK bands were getting at the time. It was written by F. Sheen. The version of Birthday is no improvement over the original. Girl's in Love is an excellent uptempo track with horns. They have several other 45s, including 'Don't Back the Loser' and versions of 'Winchester Cathedral' and 'See See Rider'.

Recently John Smith himself wrote to me in 2008:

I would like to point out that the band pictured on the [sleeve above] is NOT the original "John Smith & the New Sound." The original band frequently flew to Germany in 1966/67 where we had a hit record with "Winchester Cathedral." We followed that up with "Snoopy vs the Red Baron". The 'B' side of 'Snoopy' was "Send Her Home"...which was penned by John Smith. We appeared on "Beat Club" in Germany (TV Bremen), also in Hamburg, Munich & Frankfurt. My records were produced by his manager Bill Wellings. I hope this information is of some use ... the reason it is so accurate is that I am the original John Smith (my real name incidently)!

I have a video of me performing "Winchester Cathedral" on 'Beat Club' in November 1966. Also appearing were Dave Dee & Co., David & Jonathan & a couple of others. I originally recorded "Winchester" with The New Vaudeville Band. Then Bill Wellings (my manager) created the John Smith line-up. The other [versions of] the band were formed after I went to Australia.

I did stay in music, and I started up a cabaret act on my own, sometimes using a guitarist as musical director. In 1969, I was offered a trip to Australia, as a cabaret act, so I went. I worked in Australia for many years, supporting some of the 'greats' such as: Guy Mitchell, Frankie Laine, Blood Sweat & Tears, Cilla Black, Chubby Checker, Bobby Rydell, Al Martino etc. I'm now 68 years of age and I live a quiet life in Devon.



Hep Stars - Complement part 2

Mp8 \ 130Mbb
I have a nice day - with us again JANCY !
Thank You Very Much  Our Good Friend !

Complement to the existing Hep Stars collection:
Basta (1970) Sweden - Hep Stars On Stage - 1964-1969


01 - Shake / Svenne I Love You / We Say Yeah
02 - Let It Be Me
03 - Goin' Out Of My Head / Can't Take My Eyes On You
04 - You Keep Me Hanging On
05 - Svart-Vit Calypso / Naturbarn / Pata Pata / Charlotte's Children Game
06 - Är Det Inte Kärlek Säg ?
07 - A Flower In My Garden
08 - Save Your Heart For Me
09 - Suddenly Tomorrow Is Today
10 - Groove Summertime
11 - Precis Som Alla Anora
12 - Enter The Young
13 - Hope
14 - 5 am
15 - It's Time For A Change
16 - Changing Away From You
17 - It's Been A Long Time
18 - Musty Dusty
19 - Spinning, Spinning, Spinning
20 - There Is Love
21 - Would You Like To Go
22 - It's Now A Winter's Day
23 - Another Time

Sunday, September 27, 2009

The Yardbirds - Little Games (1967)

The Yardbirds' final days: the Page era
The powerful synergy between Beck and Page proved short-lived; Beck was fired from the group after a tour stop in Texas in late October 1966, and the Yardbirds continued as a quartet for the remainder of their career.

If almost any group other than the Yardbirds had released Little Games, it would be considered a flawed but prime late-'60s psychedelic/hard rock artifact instead of a serious step backward, and even a disappointment. Not that it's a bad album -- it just lacks the cohesion and polish of the group's preceding album, The Yardbirds (aka Over Under Sideways Down aka Roger the Engineer). And well it should -- although they were nominally the same group they'd been a year earlier, in reality the Yardbirds had undergone a massive shift in personnel since the release of The Yardbirds. The departure of original bassist Paul Samwell-Smith in June of 1966 set off a sequence of personnel shifts, bringing guitarist Jimmy Page into the lineup, first on bass and then on lead guitar in tandem with Jeff Beck (while rhythm guitarist Chris Dreja switched to bass), until Beck's exit in November 1966 for a solo career left Page as their lone guitarist. At the same time, the band was forced -- by the failure of its single "Happenings Ten Years Time Ago" -- to accept a new producer in the guise of Mickie Most, who was currently enjoying huge success with Donovan and had a formidable string of hit singles to his credit with Herman's Hermits, the Animals, et al. The Yardbirds' blues roots and progressive tendencies clashed with Most's pop/rock preferences, and the two sides never did reconcile, much less mesh for more than a few minutes on the finished album. To top it off, the bandmembers were finally seeing some serious money for their live performances (ironically, just as they were hanging on by their fingertips to a recording contract), courtesy of their new manager, Peter Grant, and so were committed to lots of stage work. The overall result was a hastily done and uneven LP with flashes of brilliance. Apart from the title single -- one of the better compromises between where the group had been and where Most wanted to take them -- the two best cuts were "White Summer" and "Drinking Muddy Water," excellent showcases for the experimental and bluesy sides of the band, respectively; both, curiously, were also virtually thefts, "White Summer" lifted from Davy Graham's arrangement of the 300-year-old "She Moves Through the Fair" and "Drinking Muddy Water" a rewrite of "Rollin' and Tumblin'," a blues standard usually attributed to McKinley Morganfield (aka Muddy Waters). The best of the rest included "Only the Black Rose," a strangely beautiful, moody acoustic psychedelic piece; "Stealing, Stealing," an unusual (for this band) pre-World War II-style acoustic blues complete with kazoo; and "Smile on Me," a hard, bluesy number that could have come from any part of the group's history. The attempt at a catchy rocker, "No Excess Baggage," however, needed more work and better involvement from vocalist Keith Relf; the power chord-laden "Tinker, Tailor, Soldier, Sailor" was a great piece of psychedelic pyrotechnics, but it also sounded more like the Who than the Yardbirds, though it did introduce Jimmy Page's violin bow discourses on the guitar; and "Little Soldier Boy" was a silly psychedelic pop piece more appropriate to the Monkees than the Yardbirds. The album was unintentionally revealing, in hindsight, of the growing schism within the band, as Relf and drummer Jim McCarty's growing embrace of flower power and hallucinogenic drugs came to be reflected in the trippier numbers such as "Glimpses," whereas Jimmy Page was starting to take his blues slower and flashier, and into wholly new territory with that violin bow. One more album or a proper concert might've sealed the deal for the Yardbirds, but instead one more tour sealed the fate of the band. Little Games has been reissued in vastly expanded form several times, starting in 1992.
01. Little Games
02. Smile on Me
03. White Summer
04. Tinker, Tailor, Soldier, Sailor
05. Glimpses
06. Drinking Muddy Water
07. No Excess Baggage
08. Stealing, Stealing
09. Only the Black Rose
10. Little Soldier Boy
11. Puzzles [1991 U.S. Stereo Mix]
12. I Remember the Night [1991 U.S. Stereo Mix]
13. Ha! Ha! Said the Clown
14. Ten Little Indians [1991 U.S. Stereo Mix]
15. Goodnight Sweet Josephine [Version 1 -- Unphased]
16. Think About It
17. Goodnight Sweet Josephine [Phased U.S. Single Version]
18. Most Likely You Go Your Way (I'll Go Mine) [BBC Sessions]
19. Little Games [BBC Sessions]
20. Drinking Muddy Water [BBC Sessions]
21. Think About It [BBC Sessions]
22. Goodnight Sweet Josephine [BBC Sessions]
23. My Baby [BBC Sessions]
24. White Summer [BBC Sessions]
25. Dazed and Confused [BBC Sessions]

Christie - The Best Of ..(2008)


Текст русского кавера "Yellow River":

Есть герой в мире сказочном
Он - смешной и загадочный
На крыше - дом, ну а в нем живет он
Толстый Карлсон
Малыши просят Карлсона
Рассмеши нас пожалуйста
И к нам в окно залети и спой нам
Толстый Карлсон

И пропеллер свой заводит
Смешной чудак, смешной чудак
И к ребятам в окна входит
Ну просто так, ну просто так
Поднимает насторенье
Дразнит, тормошит
Ест клубничное варенье
И ребят смешит
Толстый Карлсон

Хоть и мы люди взрослые,
Вечно ходим с вопросами
И как тут быть, если нет тебя здесь
Толстый Карлсон
День и ночь ждем мы Карлсона,
Прилетай к нам пожалуйста!
Нам трудно жить без тебя, чудак наш
Толстый Карлсон

Вот мы слышим, вот мы слышим
Мотора стук, веселый стук
Это с крыши, прямо с крыши
Спешит к нам друг, наш чудесный друг
Это значит сказка
Может доброй явью стать
Если Карлсон нам поможет
Этот мир понять
Толстый Карлсон

Оригинальный текст:

So long boy, you can take my place
Got my papers, I've got my pay
So pack my bags and I'll be on my way
To Yellow River

Put my gun down, the war is won
Fill my glass high, the time has come
I'm going back to the place that I love
Yellow River

Yellow River, Yellow River, is in my mind and in my eyes
Yellow River, Yellow River, is in my blood, it's the place I love
Got no time for explanations, got no time to lose
Tomorrow night you'll find me sleeping underneath the moon
At Yellow River

Cannon fire lingers in my mind
I'm so glad that I'm still alive
And I've been gone for such a long time
From Yellow River
I remember the nights were cool
I can still see the water pool
And I remember the girl that I knew
From Yellow River

Yellow River, Yellow River,
Is in my mind and in my eyes
Yellow River, Yellow River,
Is in my blood, it's the place I love

01. Yellow River
02. Inside Looking Out
03. San Bernadino
04. Put Your Money Down
05. Until The Dawn
06. Gotta Be Free
07. Here I Am
08. I’ve Got A Feeling
09. New York City
10. Down The Mississippi Line
11. Country Boy
12. Johnny One Time

Saturday, September 26, 2009

The Hep Stars - The Hep Stars(1966-67)

Mp 3\118Mb

LINK !!!!!

V.A.- Surfbeat Behind The Iron Curtain Vol.2 2004

SPECIALLY  FOR - fernando--

Second compilation of raunchy & extravagant instrumental music recorded during the Cold War. 24 tracks of demented sounds created in extremely difficult conditions by the youth of Eastern Europe. AIP. 1999.

Part one of this series got a little flak because about half the tracks were recorded by bands that were not from behind the Iron Curtain. No such problem with the follow-up; all 24 cuts were done by groups from East Germany, Russia, Hungary, Romania, Czechoslovakia, and Poland between 1963-1967. Many of them are instrumental, and despite the "Surfbeat" in the album title, it's striking how much they're influenced not by surf music or the Ventures, but by the Shadows. Those galloping rhythms, the tremolo-laden sound with hints of country and Hawaiian music -- it's beyond a doubt that the Shadows, through radio broadcasts or clandestine means, were getting heard in Eastern Europe. Of course the recording conditions and execution were more primitive in these socialist lands, which puts on a layer of spookiness that gives it a certain charm. There are also some vocal numbers that show the more expected British Invasion influence, like the Olympics (from Czechoslovakia) singing in very clumsy English on "Story of the Girl with the Bass Guitar"; the East German Team 4, who sound like a credible American folk-rock garage band; and Romania's Mondial, who do a song that quite resembles Paul Revere & the Raiders' "Just Like Me." Oddly, the T. Schumann Combo (from East Germany) do a pretty faithful and competent cover of Booker T. & the MG's "Hip Hug-Her.


1. Singing Guitars - Torrero (1:03)
2. Singing Guitars - Perfidia (2:18)
3. Hungarian Ensemble - Koncert A Marson (3:05)
4. Satelliten - Scary Night (1:51)
5. K. Duba & Guitarmen - Winnetou (2:28)
6. Sputnicks - So Much Love (1:36)
7. Mefistos - I Am Coming Home Baby (2:57)
8. Taifuns - The West Wind (2:33)
9. The Olympics - Story Of The Girl With The Bass Gu (1:55)
10. Sputniks - Spanish Gypsy Dance (1:51)
11. Karel Duba & His Big Beat Band - Steps Inthe Sand (2:50)
12. T. Schumann Combo - Pussta Beat 45s Version (2:20)
13. Cornel Fugaru & Sincron - The Joddler From Gorj (2:31)
14. Studio 6 - Party Time (2:44)
15. Illes - Oh Mondd (2:23)
16. Hungarian Ensemble - Rollin, Rollin (2:24)
17. Team 4 - Ich Hab Ihr Ins Gesicht Gesehn (3:40)
18. Sincron - Play With The Maiden (2:55)
19. The Olympics - Mary Mary (2:17)
20. T. Schumann Combo - Hackepeter Hip Hug Her 60' (2:47)
21. Amigos - Komm, Gib Mir Deine Hand (2:21)
22. George & Beathovens - Lez Blazniveho Basnika (2:34)
23. Monodial - Omule (3:00)
24. Monodial - Orbul (3:27)

V.A.- Surfbeat Behind The Iron Curtain Vol.1 2004


Recorded between 1963 & 1966. Includes liner notes by Harry Vee.

This is part of Archive International's Planetary Pebbles series.

Just when you think you've heard it all, along comes this compilation of '60s surf/instrumental rock from behind the Iron Curtain -- a scene that was barely even known to have existed, and whose bands were rarely given the opportunity to even record. Actually, the title is a bit of a misnomer, as 11 of the 24 tracks are actually from non-Communist countries, including West Germany, Japan, Italy, Holland, and the U.K. It's all still damn rare stuff, and surprisingly good, especially when you consider that when the Iron Curtain bands recorded, they usually had to do so on state-owned labels. This nonetheless holds up pretty well against the better instrumental guitar rock from the era, and is not so much influenced by surf music as by the Ventures, the Shadows, and the Tornados. The production (particularly for the Eastern European bands) can be primitive, but the playing can be hot, especially from the Japanese T. Terauchi, the East German Die Sputniks, and the Romanian Sincron. Acts from Poland and Czechoslovakia are also represented; the Czech Slava Kunst Orchestra has to be the weirdest (and most ridiculous) of the lot, with their berserk hybrid of twist rock, nonsense vocals, and wedding dance-band music. That track aside, this is actually a respectable compilation that's not solely of novelty value. ~ Richie Unterberger

Full Title - Surfbeat From Behind The Iron Curtain Vol 1. This CD consists mainly of ultra rare tracks from East Germany, Poland, Romania & Czechoslovakia. AIP. 1997.


1. Sincron - Pe Linga Ploppi Fara Sot (2:56)
2. Capras - Beginning Of Autumn (2:19)
3. Terry (Takeshi) Terauchi & Bunnys - Theme From Unfinished Symphony (2:45)
4. Black 'n' Whites - Komandosi (3:23)
5. Eliminators - The Saint (2:48)
6. Mefisto - Return Of Gemeni (2:07)
7. Die Sputniks - Sputnik Thema (2:03)
8. Thunderbirds - African Guitar (2:40)
9. Alarm - Nocny Alarm (2:17)
10. Boomerangs - Crazy Guitars (2:37)
11. Trocadero Sextet - Leicht Verdreht (2:02)
12. Charles Blackwell Orchester - Bumble Beat (2:00)
13. Klaus Lenz Sextett - Corso (2:23)
14. Slava Kunst Orchestra - Lucifer In Coelis (4:46)
15. Thunderbirds - Twististin Safari (2:12)
16. Theo Schumann Combo - Aladin (2:16)
17. Black 'n' Whites - Take Blya Moja (2:39)
18. Sincron - In Gara La Leordeni (2:50)
19. Gisha Brothers - Werwos Rock (2:28)
20. Constellations - Colorado (2:17)
21. Javalins - Javalins Rock (2:27)
22. Franke Echo Quintett - Melodie Fur Barbara (2:39)
23. Eliminators - Wipe Out (3:27)
24. Karel Duba & His Guitar Men - The Coach (2:50)

Tuesday, September 01, 2009

Paul Nero - Dance Party


The Legendary Nightshadows - vol.3: The Psychedelic Years 1967-1969

The Atlanta-based Night Shadows were one of the earliest and longest-lived garage bands in the U.S., with a career that extended from the formative days of rock & roll to the psychedelic era. Guitarists Ronnie "Goose" Farmer and Johnny "Cha Cha" Pitner and drummer Craig Wemmers formed their first band, the Kavaliers, in 1956 — the teens soon recruited friend Aleck Janoulis to play bass, followed by the 1958 addition of keyboardist Mike Moore, who also brought to the proceedings a homemade theremin capable of creating cosmic sonic embellishments that foreshadowed the group's later evolution into acid punk.

In mid-1959 drummer Ray Massey...

1 The Prologue (The Voice of Electric Bob)
2 So Much (1967 Version)
3 I Can't Believe 4 Plenty of Trouble
5 In The Air 6 Anything But Lies (Time After Time)
7 Gimme, Gimme
8 Don't Hold Your Breath
9 Listen To My Heart
10 Fly High
11 60 Second Swinger
12 Psychedelic Illusion
13 Little Phil Jokes With The Audience
14 Anything But Lies (Lost Live Version)
15 Turned On 16 The Hot Dog Man (Stoned Version)
17 Epilogue: Fly High Reprise
18 Excerpt from a 1979 Radio Retrospective on Little Phil
19 The Garbage Man (1961)

Arrows-First Hit (1976)

:.::KpNemo.Ru / Music / 
The Arrows were a mixed group of American and British musicians that made their biggest impact in Britain during the mid-'70s. The band worked with producer Phil Coulter on their one and only album, 1976's First Hit, which didn't really catch on in America but gave them a modicum of success in Europe. They also had several singles produced by Mickie Most during this era, the most important being "I Love Rock 'N Roll," which would go on to be a smash hit for Joan Jett a few years later. The band was made up of bassist/vocalist Alan Merrill, guitarist Jake Hooker, and drummer Paul Varley. The three also scored a television deal, leading to a regular series that played from 1976 to 1977. The group broke up in 1978, leading Merrill to pursue a solo career and record with artists as varied as Meat Loaf and Rick Derringer.
01. Once upon a Time
02. First Hit
03. Thanks
04. What's Come Between Us
05. Boogiest Band in Town
06. Don't Worry 'Bout Love
07. Let Me Love You
08. Feelin' This Way
09. Love Child
10. Love Is Easy
11. Gotta Be Near You
bonus tracks
12. Touch Too Much
13. We Can Make It Together
14. Toughen Up
15. Diesel Locomotive Dancer
16. My Last Night With You
17. Movin' Next Door With You
18. I Love Rock and Roll
19. Broken Down Heart
20. Hard Hearted
21. My World Is Turning on Love

Marmalade - The Definitive collection (2cd)

Marmalade is one of those groups that just seems to endure. They are best remembered today for one record, their cover of the Beatles' "Ob-La-Di, Ob-La-Da," although they charted number one records and even Top Ten American singles into the 1970s. The group, especially as constituted up through the early '70s, had many sides, including white soul, harmony dominated pop/rock, and progressive pop, all very much like the Beatles in their middle years. However, it was their cover of a Beatles song, oddly enough, that weighed down their reputation. 

In point of fact, they did somewhat resemble the Beatles musically, having started out as a band of teenagers eager to play hard rock & roll; like the Beatles... Read More...
CD 1
01.Reflections of My Life 
03.I See the Rain 
04.Lovin' Things 
05.Stay With Me Baby 
06.Baby Make It Soon 
07.Hey Joe 
08.Cousin Norman 
09.Empty Bottles 
11.Can You Help Me 
12.My Little One 
13.Ballad Of Cherry Flavar 
14.Wait for Me Mary-Ann 
15.I Shall Be Released 
16.Ob La Di Ob La Da 
18.Piece of My Heart 
19.Super Clean Jean 
20.Is Your Life Your Own 

CD 2 

01.Lovin' Things 
02.I Shall Be Released 
03.I See The Rain 
04.Hey Joe 
05.Summer In The City 
06.There Ain't No Use In Hanging On 
07.Piece Of My Heart 
08.Wait For Me Mary-Anne 
09.Mr. Tambourine Man 
11.Mr. Lion 
12.Station On Third Avenue 
13.Mess Around 
14.Man In A Shop

Kenny - Singles collection plus...( 1973-1976 )

One of the many bands thrust onto the British glam scene as it approached its end in the mid-'70s, Kenny was generally regarded, alongside the Bay City Rollers and Slik, as simply another in a long line of acts created by master songwriters Bill Martin and Phil Coulter. In fact, although the five-piece group's best-known material was indeed the work of that pair, Kenny's Rick Driscoll and Yan Stile were also very competent songwriters in their own right, as the group's final few releases proved. 

Indeed, the group had already existed for some three years before Martin and Coulter first encountered them. Under the name Chufff..
.
01 The Bump
02 Forget The Janes The Jeans and The Jeans and The Might Have Beens
03 Fancy Pants
04 I'm a Winner
05 Baby, I Love You O.K!
06 Sound of Super K
07 Julie Anne
08 Dancin' Feet
09 Nice to Have You Home
10 Happiness Melissa
11 Forever and Ever
12 Hey Mr. Dream Seller
13 Glad Glad Glad
14 Hot Lips
15 Bangin' My Head Against a Brick Wall
16 Red Headed Lady
17 Alone Together
18 (Your Love Has Lifted Me) Higher and Higher
For a band whose hitmaking career ran to no more than 12 minutes worth of music, this is an awful lot of Kenny. Four tracks -- "The Bump," "Fancy Pants," "Baby I Love You OK," and "Julie Ann" -- round up all that history recalls as classic Kenny; respectively, they reached number three, number four, number 12, and number ten on the British chart during 1974-75, after which the band lapsed into an almost deafening commercial silence. But if Collection has one mission in mind, it is to prove that it wasn't strictly a fate they deserved. The band's Sound of Super K album, included in its entirety, indicates a pop sensibility which was at least on a par with the contemporary Mud and Rubettes, and, while that isn't necessarily a recommendation, it shouldn't have been a death sentence either. The problem, of course, was timing. By the time Kenny made their breakthrough, both the pop and glam veins which they were mining had hit on very hard times, indeed, while songwriters Bill Martin and Phil Coulter were still reeling from their dismissal from the Bay City Rollers camp. It would be another year before the pair truly regained their equilibrium, by which time they had already transferred their affections to another band entirely, the young Midge Ure's Slik. Indeed, Kenny's status as a kind of noble no-man's-land between those two giants is only reinforced by the two best cuts on this entire collection: "The Bump," which had already seen service on a Rollers B-side; and "Forever and Ever," which would become Slik's debut hit. For the remainder, The Kenny Collection Plus slips blithely between punchy glam pop and dreamy teen ballads, a few high-tempo dancefloor crashers and a surprisingly mature rendition of "(Your Love Has Lifted Me) Higher and Higher." Nothing, however, is more memorable than it needs to be, and, ultimately, nothing is anything more than perfunctory. A greatest hits EP would probably have served Kenny far better.

Saturnalia - Magical Love (1969)

Perhaps the most interesting things about Saturnalia did not involve their actual music. Their rare 1969 album was produced by Keith Relf shortly after he had left the Yardbirds; it was also one of the first rock LPs issued as a picture disc. Perhaps reflecting Relf's own vision in early Renaissance, the music was early progressive rock with a serious classical-influenced tone combining male and female lead vocals, though with less distinction than Renaissance did either when Relf was in the band or in their more internationally successful 1970s work.
01. Magical Love
02. She Brings Peace
03. And I Have Loved You
04. Winchester Town
05. Traitor
06. Soul Song
07. Princess And The Peasant Boy
08. Dreaming
09. Step Out Of Line
Saturnalia's sole and rare album was on the ostentatious side of early progressive rock, perhaps slightly anticipating some of the earnest classical-rock-fusion-with-female-vocals explored by Renaissance in the 1970s. The songs tend toward the winding and ponderous side, and the vocals -- especially those by female singer Aletta -- can cross into the histrionic in the more strident passages. Perhaps a little more influenced by the male-female vocal tradeoffs typical of some late-'60s American psychedelic bands than most such British efforts, it also boasts plenty of hard rock guitar and a good helping of lyrics reflective of a fantasy world, à la "Princess and the Peasant Boy" and the title track. As the song that brings in the strongest British acoustic folk feel, "Dream" is one of the more palatable tracks, but groups such as Renaissance were able to craft more accessible and memorable material using some of the same elements.
(motto )

Fleur De Lis - Facing Morning (1972) Denmark

— Leif Nielsen / guitar, vocals, clavinet
— Bjarne Pedersen / guitars
— Peder Pedersen / bass, acoustic guitar
— Svend Thomsen / organ
— Kaj Olesen / drums
Спасибо Алёна и К°
"Fleur de Lis" is a stoned progressive rock curiosity from Denmark. They delivered their unique album in 1972, largely made of fuzzed out improvised guitars, vintage organs and stressed pop vocals. "Home of mind" starts with a dreamy like prelude, carries on a colourful, amazing psych song, a good mention to the guitar breaks at the end. "Har I set" is a spacious, mysterious song for organs, voices, an almost kraut-sounding, darkness experience. "Facing Morning" is a melodic folk ballad with hippie accents and female vocals. "In love" is a fuzzy rock 'n roll trip with lot of Hammond organs and epic guitars. "Why" is a moody, melancholic ballad written in a rather pop style. "Bad loser" is an other melodic, sad rocking "trip", full of dreamy like organs. "Sympathetic attitude" is a normative beat rock song. "Wbn" is a melodic folk dreaminess, including gorgeously expressive guitars. A few conventions and many absorbing, moody songs with delicate melodies. Absolutely recommended for fans of (light) krautrock and prog related bands as Vanilla Fudge..."
1. Home Of Minds (Leif Nielsen) - 8:07
2. Har I Set? (Kaj Olesen, Leif Nielsen) - 5:16
3. Facing Morning (Leif Nielsen) - 2:25
4. In Love (Leif Nielsen) - 2:27
5. Why (Svend Thomsen) - 3:46
6. Bad Loser (Leif Nielsen) - 3:38
7. Sympathetic Attitude (Svend Thomsen, Leif Nielsen) - 5:50
8. Sneen (Leif Nielsen) - 1:03
9. East Hill Rag (Fleur de Lis) - 1:23
10. Settlement (Bjarne Pedersen, Leif Nielsen) - 1:59
11. After The Settlement (Bjarne Pedersen, Leif Nielsen) - 5:30
12. Gensyn 1 (Svend Thomsen, Leif Nielsen) - 3:37
13. Gensin 111 (Svend Thomsen, Leif Nielsen) - 4:25
14. WBN (Svend Thomsen, Pede
Danish band Fleur De Lis put out this interesting piece of psychedelia in 1971, a mega-rare, privately pressed album, lovingly re- issued by the wonderful vinyl specialists 'Amber Soundroom' (with a shuffled track-listing, to one's chagrin), hopefully to reach a wider audience and give this largely uknown group some well earned significance. 
The music is more 'psych' than 'space' and can be compared to Hawkwind's debut, with hints of early Krautrock, maybe even West- Coast acid-rock (Moby Grape comes to mind for some reason). Songs are sung in both English and Danish, and the main features are fuzzy guitars and clean tone organ, with the vocals quite up-front in the mix. The overall mood is up-tempo, but some tracks are quite sombre - 'Har I Set ?' is just beautiful. Listen to it late at night with the lights out ! Some of the songs show great potential, like Gensyn I and Gensyn III (two tracks not listed here, and there's no Gensyn II...), displaying ever growing confidence and stronger prog tendencies. All in all, quite an album that's worth the effort. 


Kzat Acheret -Kzat Acheret \ Nonames (1974) Israel

Kzat Aheret [Israel]
Alternatively spelled Ktzat Acheret, a.k.a. Nonames
I would like to recommend one of the better progressive rock bands that was ever created. The Hebrew name of the band is Kzat Aheret (in English this translates to "A Little Different"). But besides the Hebrew name, on the album cover, there is one more name - "Nonames". They are a band that was created in Israel in 1974, by a three very talented musicians and composers; Shem-Tov Levi-flute and voices [mainly], Shlomo Ydov-guitars and voices [mainly], Shlomo Gronich-keybords and voices [mainly]. I write "mainly" because they played many more instruments like drums and string instruments. A very astonishing band for Israel in those days. They were experienced in many progressive styles, like a very sophisticated psychedelic style, with classical and extravagant improvisations and forms, with melodic and dissonant melodies, and with a theatrical style of humor in many episodes, and sometimes were influenced with their own folk music. They used great orchestration. They released their only album in '74 and published many singles. -- Dickmann Ofer (Israeli progressive rock)
By 1973 Israel was involved in the terrible Yom Kippur war, this was a traumatic event for the Israeli nation. After the war, many artists tried to express the trauma. Gronich teamed up with Shlomo Ydov and assisted by several session musicians they recorded a brilliant album under the name Nonames/Ktzat Acheret (A Bit Different). This album reflected some of the pain and anguish of the Yom Kippur trauma and was very varied musically. At this stage strong influence of groups such as Gentle Giant and Mahavishnu Orchestra was reflected in their music, but they added a dose of jazz, classical, avant-garde, Middle-Eastern music and Balkan rhythms and a certain sense of humor. it had many highlights including the 3 instrumentals Shemi's Piece and Quinta which sounded like a symphonic version of Italian band Area and 204 that sounded like Gentle Giant on avant-garde pills, Two Chinese, The Little Prince and Pink Skies. This album is an essential masterpiece of Israeli prog. The band split due to Gronich's departure to USA.
Ktzat Acheret (1974) 
1. Travelling - 3:12 
2. Guru - 4:35 
3. The Little Prince - 2:43 
4. Shemi''''s Piece - 4:07 
5. Pink Skies - 4:33 
6. Spring - 2:06 
7. Two Chinese - 3:46 
8. Quinta - 4:21 
9. The Echo - 3:12 
10. 204 - 5:18 
11. Sweet Song - 3:32 
12. Bissalad - 1:42 

Spanky and Our Gang - Spanky's Greatest Hit(s) 1969

Spanky & Our Gang is one of those odd groups that, despite having had a string of Top 40 chart hits in a two-year period from 1967 through 1969, somehow falls between the cracks of 1960s pop music history. Their hits, particularly "Sunday Will Never Be the Same," "Lazy Day," "Like to Get to Know You," and "Give a Damn," were as much a part of the ambience of the middle to late '60s as any of the best known songs of the Mamas & the Papas with whom they're frequently compared. Yet they fell short of the latter group as cultural icons; they lacked the L.A.-based group's distinctively accessible collective personality, or anything like its individual members' visual appeal, and they also had none of the Mamas & the Papas... Read More...

01 - Sunday Will Never Be The Same
02 - Makin' Every Minute Count
03 - Lazy Day
04 - Commercial
05 - It Ain't Necessarily Bird Avenue
06 - Everybody's Talkin' [Theme From Midnight Cowboy]
07 - Sunday Morning
08 - Like To Get To Know You
09 - Give A Damn
10 - Three Ways From Tomorrow
11 - And She's Mine
12 - Yesterday's Rain

This highly regarded anthology was the first -- and for over a decade the only -- CD entry from Spanky & Our Gang. Spanky's Greatest Hit(s) was issued in 1969 following the band's decision to call it quits after the untimely passing of co-founder Malcolm Hale as the group readied their third LP, Without Rhyme or Reason (Anything You Choose). While the track selection on this package is admittedly light on some of the band's more interesting album cuts, as the title insinuates it does feature "the hits(s)" as well as a few interesting surprises, making it a desirable package for casual fans as well as collectors. It is a gross injustice that Spanky & Our Gang have been summarily dismissed as a light rock or sunshine pop act. Indeed, among their assets are their vocal harmonies and airy string arrangements -- as heard on their biggest hits, "Sunday Will Never Be the Same" and "Lazy Day." Behind that veneer was one of the more eclectic vocal groups of the era. With the aid of veteran producers and arrangers such as Bob Dorough, Jerry Ross, and Stu Scharf, Spanky & Our Gang incorporate elements of jazz and folk into their interpretations and cover versions. A prime example is their take on "Everybody's Talkin'," which resonates more with Fred Neil's original folk rendering than with Harry Nilsson's hit version. Likewise, they add a depth to Margo Guryan's "Sunday Mornin'" that is merely hinted at on the original. The band also drew upon their own talents for material and vocal arrangements. In particular are the numerous contributions of Lefty Baker, including the upbeat "Yesterday's Rain" and "Three Ways From Tomorrow." Latter-era member Kenny Hodges' assistance is noted as he recalls his folky roots as a member of the Bitter End Singers during the early to mid-'60s. Spanky McFarlane's liner notes -- written specifically for this CD reissue -- also indicate that many of the group's trademark vocal harmonies, complex as they often were, also came from within. There are a few notable differences between several versions of songs found exclusively on this package and those located on the original albums -- which are, incidentally, not available stateside, but only as pricey Japanese imports. For starters, "Sunday Mornin'" is offered up in an extended form that includes some behind-the-scenes hijinks between the band and their concurrently new producers, Dorough and Scharf. Additionally, "I'd Like to Get to Know You" does not include the introductory party atmosphere and spoken prologue found on the album version. A similarly titled Greatest Hits disc was issued in 1999, and while it arguably includes a much more accurate portrayal of the band'
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