Friday, November 27, 2009

VA - Jukebox Hits of 1951-1965 Part 10 (1965 )


This is last CD box from Jukebox Hits series

1. Petula Clark — Downtown [03:10]
2. The Beach Boys — Help Me Rhonda [02:48]
3. Gary Lewis & The Playboys — Count Me in [02:33]
4. Len Barry — One Two Three [02:24]
5. Roger Miller — King of the Road [02:29]
6. Jackie DeShannon — What the World Needs Now Is Love [03:10]
7. Sam Cooke — Shake [02:51]
8. Shirley Bassey — Goldfinger [02:49]
9. Del Shannon — Keep Searchin' [02:12]
10. Vic Dana — Red Roses for a Blue Lady [02:49]
11. Little Anthony & The Imperials — Hurt So Bad [02:18]
12. The Four Seasons — Bye Bye Baby [02:31]
13. Brenda Lee — Too Many Rivers [02:48]
14. Bobby Goldsboro — Little Things [02:28]
15. Lesley Gore — Sunshine Lollipops & Rainbows [01:38]
16. Gene Pitney — Last Chance to Turn Around [03:06]
17. The Lettermen — Theme from A Summer Place [01:58]
18. Bobby Vinton — Long Lonely Nights [02:28]
19. The Dixie Cups — Iko Iko [02:04]
20. Johnny Rivers — Midnight Special [02:36]
21. Trini Lopez — Lemon Tree [02:55]
22. Roy Orbison — Goodnight [02:29]
23. Johnny Tillotson — Heartaches by the Number [02:38]
24. Wayne Newton — I'll Be with You in Apple Blossom Time [02:27]
25. The Chiffons — Nobody Knows What's Goin' On [02:22]
26. Connie Stevens — Now That You're Gone [03:05]
27. The Ventures — Diamond Head [02:03]
28. Ricky Nelson — Mean Old World [02:18]


1. Bobby Vinton — Mr. Lonely [02:45]
2. Gary Lewis & The Playboys — Everybody Loves a Clown [02:30]
3. Herb Alpert & The Tijuana Brass — A Taste of Honey [02:48]
4. The Vogues — You're the One [02:12]
5. Jewel Akens — The Birds and the Bees [02:10]
6. The Toys — A Lovers' Concerto [02:44]
7. Eddy Arnold — Make the World Go Away [02:43]
8. The Spokesman — The Dawn of Correction [03:28]
9. Petula Clark — I Know a Place [02:50]
10. Frank Sinatra — It Was a Very Good Year [04:30]
11. Skeeter Davis & Bobby Bare — A Dear John Letter [01:57]
12. Sam the Sham & The Pharaohs — Wooly Bully [02:25]
13. Wayne Fontana & The Mindbenders — The Game of Love [02:10]
14. Billy Joe Royal — Down in the Boondocks [02:40]
15. Fontella Bass — Rescue Me [02:54]
16. Peter & Gordon — To Know You Is to Love You [02:41]
17. Buddy Holly — I Gambled My Heart [02:45]
18. Barry McGuire — Eve of Destruction [03:37]
19. Jay & The Americans — Cara Mia [02:34]
20. Barbara Mason — Yes I'm Ready [03:10]
21. Jack Jones — The Race is On [01:49]
22. Barbara Lewis — Baby I'm Yours [02:32]
23. Ellie Greenwich — You Don't Know [03:18]
24. Roger Miller — England Swings [01:55]
25. The Four Seasons — Let's Hang On [03:21]
26. The Beach Boys — California Girls [02:41]
27. The Supremes — Stop! In the Name of Love [02:51]


1. Chat Allen & The Guess Who — Shakin' All Over [02:58]
2. The Association — Cherish [03:23]
3. Glen Campbell — Guess I'm Dumb [02:43]
4. Donovan — Colours [02:47]
5. Duane Eddy — Around the Block in 80 Days [02:22]
6. Glenn Yarbrough — Baby the Rain Must Fall [02:24]
7. Billy Williams — I'm Gonna Sit Right Down [02:11]
8. Jack Scott — Looking for Linda [02:48]
9. Frank Sinatra — Moonlight Serenade [03:33]
10. The Sorrows — Take a Heart [03:19]
11. Johnny Tillotson — Things [01:51]
12. Roy Orbison — Claudette [01:59]
13. Manfred Mann — If You Gotta Go Go Now [02:34]
14. Gary Lewis — Little Miss Go Go [02:26]
15. Jan & Dean — Freeway Flyer [02:40]
16. The Ivy League — Tossing and Turning [02:31]
17. Buddy Holly — Fool's Paradise [02:33]
18. The Hollies — I'm Alive [02:29]
19. Connie Francis — La Vie En Rose [02:16]
20. Herb Alpert & The Tijuana Brass — Zorba the Greek [04:26]
21. Jay & The Americans — Some Enchanted Evening [02:20]
22. Shirley Bassey — Moon River [03:01]
23. The Beach Boys — Barbara Ann [02:08]
24. Brook Benton — Love Me Now [03:02]
25. The Chiffons — Tonight I'm Gonna Dream [02:49]
26. Petula Clark — Gotta Tell the World [02:15]
27. Perry Como — Dream On Little Dreamer [02:24]
28. The Crickets — Now Hear This [02:02]


1. Roy Orbison — Breakin' Up Is Breakin' My Heart [02:11]
2. Ricky Nelson — Since I Don't Have You [02:36]
3. Garnet Mimms — Welcome Home [03:03]
4. Wayne Newton — Red Roses for a Blue Lady [02:25]
5. The Everly Brothers — Donna Donna [02:15]
6. Johnny Tillotson — Oh Lonesome Me [02:32]
7. Nancy Sinatra — So Long Baby [03:11]
8. Sonny & Cher — Baby Don't Go [03:14]
9. The Supremes — I Hear a Symphony [02:45]
10. Al Martino — Spanish Eyes [02:49]
11. The Lettermen — Secretly [02:20]
12. Gary Lewis & The Playboys — She's Just My Style [03:11]
13. Fats Domino — On a Slow Boat to China [01:56]
14. The Drifters — At the Club [02:57]
15. Duane Eddy — Movin' N Groovin' [01:56]
16. Roy Orbison — Ride Away [03:32]
17. Del Shannon — I Go to Pieces [02:30]
18. Linda Scott — If I Love Again [02:35]
19. Roger Miller — Do Wacka Do [01:48]
20. Connie Francis — Souvenirs [02:11]
21. Bobby Goldsboro — Broomstick Cowboy [02:35]
22. Chubby Checker — Do the Freddy [02:28]
23. Bobby Darin — Venice Blue [02:39]
24. Sam Cooke — Win Your Love for Me [02:47]
25. Johnny Rivers — Where Have All the Flowers Gone [03:23]
26. Gene Pitney — Princess in Rags [02:45]
27. The Ronettes — He Did It [02:35]
28. Herb Alpert & The Tijuana Brass — Tijuana Taxi [02:09]
29. Paul Anka & Rita Pavone — Kiddy Kiddy Kiss Me [02:41]

The Easybeats - The Shame Just Drained (1977)


from Jancy

For a group that really only scored one major international hit, the Easybeats' songwriting team -- Harry Vanda and George Young -- were very busy bees indeed in the studio in the late '60s. All but one of the songs on this 15-track compilation are taken from sessions between late 1966 and late 1968 that were unreleased at the time; five come from an album that was canned at the last minute. Apparently there were about 20 more outtakes where that came from. Don't pay any mind to the ridiculous claim in the sleeve note that "had all the material been released in the sequence (and quantity) it was created, then the Easybeats' impact might have been far more notable and we might today be comparing their albums alongside Rubber Soul, Aftermath, and other rock milestones." This is cheery late-'60s pop with mild psychedelic influences, echoing the Small Faces, the Turtles, and especially the Kinks. The cheeriness, in fact, verges on childish and sickly sweet in places. It's not bad. In fact, it's occasionally pretty good; it's just not incredibly significant. By far the best track is "Mr. Riley of Higginbottom & Clive," a bit of dry class satire that compares well with Ray Davies' vignettes from the same era

The Shame Just Drained is a compilation album by The Easybeats. The album was released on October 10, 1977. It was later reissued by Repertoire Records and included nine more tracks.

Track listing
  1. "Little Queenie" (Chuck Berry) - 2:41
  2. "Baby I'm a Comin'" (Harry Vanda, George Young, Stevie Wright) - 2:02
  3. "Lisa" (Vanda, Young) - 3:14
  4. "I'm on Fire" (Vanda, Young) - 2:22
  5. "Wait a Minute" (Vanda, Young) - 2:42
  6. "We'll Make It Together" (Vanda, Young) - 2:41
  7. "Peter" (Vanda, Young) - 3:02
  8. "Me and My Machine" (Vanda, Young) - 2:28
  9. "The Shame Just Drained" (Vanda, Young) - 2:43
  10. "Mr. Riley of Higginbottom & Clive" (Vanda, Young) - 2:31
  11. "Kelly" (Vanda, Young) - 3:17
  12. "Where Old Men Go" (Vanda, Young) - 2:33
  13. "Johnny No-One" (Vanda, Young) - 2:31
  14. "Amanda Storey" (Vanda, Young) - 2:48
  15. "Station on the Third Avenue" (Vanda, Young) - 2:58

Additional  tracks

  1. "Do You Have a Soul" (3rd Version]) - 3:07
  2. "Check the Bassline" - 2:59
  3. "Watch Me Burn" - 3:22
  4. "Where Did You Go Last Night" - 2:52
  5. "Heaven and Hell" - 2:43
  6. "Happy Is the Man" - 2:42
  7. "Land of Make Believe" - 3:16
  8. "Coke Jingle, No.1" - 1:05
  9. "Coke Ads #2 & 3" - 2:15


The Easybeats - Friends (1969)


from Jancy

Originally released in 1969, Friends, The Easybeats' last album, was a curiously half-baked and deflated affair, despite some interesting moments. The Australian group's trademark peppiness gave way to a world-weary tone, perhaps as a result of their roller-coaster ride through near-Beatles-like fame in their native land and limited success elsewhere. Apparently much of this collection was actually half-finished demos, which accounts for the fairly sparse feel on several tracks. The least successful songs are the forced rock & roll boogies, with overwrought vocals from lead singer Stevie Wright. The more pensive tracks, like the title tune, have an oddly compelling, hollow feel of resignation bordering on gloom that starkly contrasts with their more well-known mid-'60s material. The Harry Vanda/George Young songwriting team wrote all of the album's songs, including the group's final single, "St. Louis."

The Easybeats - Vigil (1968)


from Jancy

Exactly what happened to the Easybeats between Friday on My Mind in 1967 and this release later in 1968 is something of a mystery. Vigil is as disjointed and lifeless for long stretches as Friday on My Mind was inspired, the group falling into routine pop/rock. There's a real sense of simply going through the motions of making music, and no originality to speak of on most of the songs -- two of the exceptions, "Falling Off the Edge of the World" and "Land of Make Believe," sound like leftovers from Friday on My Mind, which is a welcome relief, but don't justify the purchase of this album, except by the most hardcore fans. The third, "I Can't Stand It," is a solid straight-ahead rocker that could have come off of one of the group's first two Australian albums, except that they would have done it with a quicker tempo in those days; and "Good Times" is a pleasant throwback to the same era, and livelier than anything else on this album.

The Easybeats - Friday On My Mind (1967)


from Jancy

Friday on My Mind" is a 1966 song by Australian rock group The Easybeats. Written by band members George Young and Harry Vanda,[1] the British Invasion-style number became a worldwide hit, making #1 in Australia, #6 in the UK, #16 in the USA, and charting in several other countries. In 2001, it was voted "Best Australian Song" of all time by the Australasian Performing Right Association (APRA) as determined by a panel of 100 music industry personalities.

In addition to its 7" single release in late 1966, the song was issued on a EP in September 1967, with the tracks "Sorry", "Who'll Be the One" and "Made My Bed, Gonna Lie in It". A 2005 rerelease on CD single, along with "Remember Sam", "Pretty Girl" and "Made My Bed, Gonna Lie in It", featured a cover (pictured right) based on an earlier French sleeve.

On 28 May 2001, Australasian Performing Right Association (APRA) celebrated its 75th anniversary by naming the Best Australian Songs of all time, as decided by a 100 strong industry panel, with "Friday on My Mind" being selected as the number one song on the list.[2] At the APRA Awards ceremony You Am I performed "Friday on My Mind" with Harry Vanda of The Easybeats guesting on guitar, Ross Wilson of Daddy Cool performed the #2 listed song "Eagle Rock", Midnight Oil's "Beds are Burning" at #3 was shown on video.[2]

"Friday on My Mind" was ranked #10 out of 2006 songs featured in the Triple M Essential 2006 Countdown. In the series 20 to 01, it was #1 on the "Greatest Aussie Songs" show. The song also appears in the 1980s film One Night Stand.

his is a great album,so full of great songs,even alternate versions of some songs,which this great band often did.It is superb musicianship,singing,overall it is a great 60s sound that could fit right in with songs from todays music."Friday on my mind" was a hit song the world over.A truly great song,other songs here,could well have been big hits,if hitmakers had given these songs a listen.I recommend this band to people who liked hearing the beatles,the rolling stones,dave clark five,the rascals,honeybus,the move or the kinks etc.The music they created was kind of a unique sound,polished and down pat.Music thats a joy to listen to.No imitations here.Highly recommended. ~ Gary J. Reilly (MELBOURNE, VICTORIA Australia)



The Easy - Vol 3 (1966)


from Jancy

1966's Volume 3 was the last album the Easybeats recorded in Australia before heading to England in hopes of conquering the pop world; by this time they were firmly established as Australia's most popular group, and while Volume 3 doesn't quite sound like a band going through the motions, it also suggests they'd accomplished as much as they were likely to with producer Ted Albert and the songwriting team of Little Stevie Wright and George Young. (Significantly, Harry Vanda would come into the forefront as Young's songwriting partner on their next album, Friday on My Mind). But if Volume 3 doesn't capture the Easybeats at their very best, it hardly disappoints; opening with the tough, R&B flavored "Sorry," the album moves through expressive love songs ("Say You Want Me" and "Dance of the Lovers"), tough rockers ("You Said That" and "Not in Love with You"), Beatles-styled smart pop ("Promised Things" and "The Last Day of May") and hard-stomping dance tunes ("My My My") with confidence and aplomb over the course of its 13 tracks. Stevie Wright demonstrates his chops as one of the strongest and most versatile vocalists of the British Invasion era, and guitarists Harry Vanda and George Young cut through these songs with an aggressive strength that put most of their peers to shame. One could argue that Volume 3 is the Easybeats' relative equivalent to Beatles for Sale -- a few notches below their usual standards, but still great rock roll for anyone with a passion for the pre-psychedelic era. [Repertoire's 2006 reissue of Volume 3 adds an impressive eleven bonus tracks to the package. Five come from the Easybeats' first recording session and find them in stiff but engaging form, while most of the rest are odds and ends from their later session with Shel Talmy; "Do You Have a Soul" is outstanding, but the latter-day studio construction "The Easybeats Medley" is best avoided by anyone who cares about this group, or music in general.]

The Easybeats - Its 2 Easy (1966)


from Jancy

The Easybeats' second album was an Australia-only release that only got out elsewhere 27 years later. It was vaguely similar in spots to the band's first -- many of the songs, particularly the hits "Women" and "Sad and Lonely and Blue," were heavily influenced by 1964-vintage Merseybeat groups. Those songs are somewhat deceptive, however, for the group was stretching out stylistically on much of It's 2 Easy. Sharing space with bright, heavily harmonized numbers like "Let Me Be" and "You Are the Light" is a string of songs integrating elements of blues, folk, and even a certain novelty feel, similar to the work of the Kinks. "Come and See Her" and "I'll Find Somebody to Take Your Place" abandon those Beatlesesque melodies in favor of dissonances and a punk attitude. Featuring some gloriously crisp and slashing lead guitar over pleasantly crunchy rhythm playing, "Easy as Can Be" is a catchy, loud, fiercely posturing declaration of lust that could almost pass for a piece of American garage rock.

Most of this album is a respectable piece of mainstream rock & roll, inspired and full of surprises. With the addition of 11 more songs, the original LP has been expanded to 25 tracks and 62 minutes' running time. The added tunes are an uneven lot, derived from various singles, B-sides, and other sources. Some of it is rather lugubrious, but none of it detracts from the value of the original album, which remains one of the best bodies of music in the late British invasion style ever produced.


The Easybeats - Easy (1965)


The new big interesting themes from Jancy

The Easybeats 

Stevie Wright - vocals
Harry Vanda - guitars
George Young - guitars
Dick Diamonde - bass
Snowy Fleet - drums (1964-1967)
Tony Cahill - drums (1967-1969)

The Easybeats were a rock and roll band from Australia. They formed in Sydney in late 1964 and split at the end of 1969. They are widely regarded as the greatest Australian pop band of the 1960s and were the first Australian rock and roll act to score an international pop hit with their classic 1966 single "Friday on My Mind". [A year earlier Australia's folk-pop group, The Seekers, had international hits in 1965.] The Easybeats manager was former Sydney real estate agent, Mike Vaughan.

The band's line-up exemplified the influence of post-war migration on Australian society. All five founding members were from families who had migrated to Australia from Europe: lead singer Stevie Wright and drummer Gordon Henry "Snowy" Fleet were from England; rhythm guitarist George Young was from Scotland; lead guitarist Harry Vanda and bassist Dick Diamonde were from The Netherlands.

 The Easybeats occupy a unique place in the pantheon of 1960s British rock acts. For starters, they were Australian, except that they really weren't -- they met in Sydney alright, and being based in Australia with the talent they had gave them a leg-up over any of the local competition. But lead singer Stevie Wright originally came from England (although he'd been in Australia for some years), and bassist Dick Diamonde hailed from the Netherlands, as did guitarist Harry Vanda, while the others, guitarists George Young and drummer Gordon "Snowy" Fleet, were recent arrivals from Scotland and England -- most significantly, Fleet was Liverpool born and raised, and had been a member of ... Read More...
(SP) The Easybeats:
1966 Come And See Her/Women (Make You Feel Alright)
1966 Friday On My Mind/Made My Bed, Gonna Lie In It
1967 Good Times

(LP) The Easybeats:
1965 Easy
1966 It's 2 Easy
1966 Volume 3
1967 Good Friday
1967 Friday on My Mind
1968 Vigil
1968 Falling off the Edge of The World
1969 Friends
1970 Easy Ridin'

(LP) Flash & The Pan:
1979 Flash and the Pan
1980 Lights in the Night
1982 Headlines
1983 Panorama
1984 Early Morning Wake Up Call
1988 Nights in France


Easy is a studio album by The Easybeats. The album was released in
September 23, 1965.

Thursday, November 26, 2009

The Jacks-Vacant World (1968) Japan


Mp3 320\87Mb
" ...This record is amazing. I discovered it from a former co-worker who played it once, years ago. Then I tried forever to track it down until finally I found the correct band "Jacks". I'm not going to be able to do this record justice with my review but I have to do one since there isn't one already. It's 1968 Japanese music. No english words. It's got a strong mixture of both Japanese and Western 60's rock vibe. There's alot of usage of some sort of bell type instrument. A very lovely soft sound. The music swings from being really beautiful and soft ..very very soft, to some sort of acid-rock/surf-rock/jazz swing type sound. I really can't explain it. It's top notch quality stuff though. The guy has got a great soft voice but occasionally when they go into a more wild section of a song, he breaks out with this great yelling. It's not yelling like stupid punk rock yelling. It's yelling like god help me I'm sad and dying yelling. It's very sophisticated and arty sounding. I don't know much about the old Japanese 1960s scene but I find it really surprising that this came of out Japan in 1968. It's brilliant. The atmosphere on this record is just amazing. Sort of like how you'd imagine the calm before a storm, in the warm but cooling windy air. Almost like you're floating, and occasionally all hell starts to break loose, and then it's back to this calmness. It's great. Seriously, the only way in my mind to ever be able to describe the bulk of this record is to take a Japanese man singing the Beatles' "Yer Blues" in japanese, and cross it with the Radiohead song "No Surprises" which is very simular in calmness and with that bell type sound. It's just this incredible, other-worldy sound that the Jacks have. It's the best stuff I've ever heard and I don't know how to explain it. If you check it out you won't be sorry. Good luck finding a copy though ... " (By Gonzo (USA) )
01 Marianne02 Stop The Clock03 Vacant World04 Is The Broken Mirror05 Gloomy Flower06 Love Generation07 Barn - Manji08 Where_09 Love10 500 Miles From The Sky

"Castaways " - The Tony Rivers Collection Vol.1


Led by Tony Rivers, this group started out doing R&B-based material in the early '60s. Originally signed to EMI's Columbia label, they covered songs by Jackie Wilson in their early days, and had a special penchant for recording songs from American artists, regardless of the idiom. As the decade progressed, they moved into more of a pop and harmony based sound, recording songs like "She" and, in 1966, a single of their version of the Beach Boys' "God Only Knows." They jumped to Parlophone later that year, and then Immediate, where they stayed for one single, "Girl Don't Tell" b/w "Girl From Salt Lake City," then released a single through Polydor. They split up in 1968 when Rivers, with Ray Brown and Kenny Rowe, formed Harmony Grass, a more overtly psychedelic outfit.

This teams both sides of all seven Tony Rivers & the Castaways singles from 1963 to 1966, with 14 previously unreleased tracks from 1963 to 1967. (Both sides of the eighth and final Tony Rivers & the Castaways single from 1968 are on RPM's The Tony Rivers Collection Vol. 2, which is largely devoted to Rivers' subsequent group, Harmony Grass.) Rivers & the Castaways were not a major or extremely original group, and they were quite erratic. But they were enjoyable often enough to make this anthology worthwhile, even if it sounds rather like the work of three or four different artists, given the range of different pop-rock styles covered. Although Rivers' recordings are often noted for being unusually influenced (for a British band) by American harmony pop of the Beach Boys and Four Seasons variety, that's actually only true of about half of the material here. Many of the cuts from 1963 to 1964 are close to the standard Merseybeat mold, even getting into reasonably respectable R&B-pop/rock on "I Love the Way You Walk"; "She" is a very good cover of the Manfred Mann song that could have been a hit. Their knack for group harmonies became more pronounced after their first four singles, with "Come Back Baby" being a fair match for California vocal surf acts like Jan & Dean. On the other hand, their four Beach Boys covers are closely modeled on the originals, to the point of irrelevancy, given the clear superiority of the Beach Boys' versions. The unreleased material is similar to and not quite as good as the singles; "Come On and Love Me Too" is credited to "copyright control," perhaps because the author was ashamed to admit the wholesale rip-off of part of "Surf City"'s melody. Although the occasional Rivers compositions (especially the previously unreleased "Mr. Sun") demonstrate that he was able to emulate his American inspirations fairly convincingly, they aren't on the level of the Beach Boys or the best sunshine pop acts either.~by Richie Unterberger

VA - Motown Around The World

A great novelty item -- some of Motown's biggest hits sung
in foreign languages.


Track : 1 Diana Ross & The Supremes - Come See About Me (Jonny Und Jo)
Track : 2 Marvin Gaye - How Sweet It Is (To Be Loved By You) (Wie Schon Das lst)
Track : 3 Temptations - My Girl (Mein Girl)
Track : 4 Diana Ross & The Supremes - Where Did Our Love Go (Piano)
Track : 5 Diana Ross & The Supremes - Thank You Darling, Thank You Baby
Track : 6 Marvin Gaye - Sympathica
Track : 7 Diana Ross & The Supremes - Moonlight & Kisses
Track : 8 Isela Sotelo - Angelito (Angel Baby)
Track : 9 Smokey Robinson - Being With You (Aqui Con Tigo)
Track : 10 Jermaine Jackson - Let's Get Serious
Track : 11 Stevie Wonder - Music Talk
Track : 12 Four Tops - Reach Out I'll Be There
Track : 13 Diana Ross & The Supremes - You Keep Me Hangin' On (Chi Mi Aiutera)
Track : 14 Temptations - The Way You Do The Things You Do (Sei Solo Tu)
Track : 15 Jimmy Ruffin - What Becomes Of The Brokenhearted (Se Decidi Cosi)
Track : 16 Stevie Wonder - A Place In The Sun (II Sole E' Di Tutti)
Track : 17 Temptations - My Girl (Solamente Lei)
Track : 18 Four Tops - I Can't Help Myself (Sugar Pie, Honey Bunch) (Piangono)
Track : 19 Diana Ross & The Supremes - You Can't Hurry Love (L'Amore Verra)

Bee Gees - First Recording 1963-1967 Vol.3



No popular music act of the '60s, '70s, '80s, or '90s attracted a more varied audience than the Bee Gees. Beginning in the mid- to late '60s as a Beatlesque ensemble, they quickly developed as songwriters and singers to create a style of their own that carried them from psychedelia to progressive pop. Then, after hitting a popular trough, they reinvented themselves as perhaps the most successful white soul act of all time. What remained a constant throughout their history is their extraordinary singing, rooted in three voices that were appealing individually and melded together perfectly.

The group was also music's most successful brother act. Barry Gibb, born on September 1, 1946, in Manchester, England, and his fraternal twin brothers Robin Gibb... Read More...


01 - You´re The Reason
02 - Coalman
03 - Butterfly
04 - Storm
05 - Lum De Loo
06 - You´re Nobody Till Somebody Loves You
07 - You Won´t See Me
08 - The End
09 - I´ll Know What To Do
10 - All By Myself
11 - Ticket To Ride
12 - I Love You Because
13 - Paperback Writer
14 - Somewhere
15 - The Twelfth Of Never
16 - Forever
17 - Top Hat
18 - Hallelujah I Love Her So
19 - Terrible Way To Treat You Baby
20 - Exit Stage Right
21 - I Am The World
22 - Spicks And Specks

Bee Gees - First Recording 1963-1967 Vol.2


Late 1960s - first international fame

Before their departure from Australia to England, Hugh Gibb sent demos to Brian Epstein who managed The Beatles and was director of NEMS, a British music store and promoter. Brian Epstein had passed the demo tapes to Robert Stigwood, who'd recently joined NEMS. After an audition with Stigwood in February 1967, the Bee Gees were signed to a five-year contract whereby Polydor Records would be the Bee Gees' record label in the United Kingdom, and ATCO Records would be the United States distributor. Work quickly began on the group's first international album, and Robert Stigwood launched a promotional campaign to coincide with its release.

Stigwood proclaimed that the Bee Gees were "The Most Significant New Talent Of 1967" and thus began the immediate comparison to The Beatles. Their second British single (their first UK 45 rpm issued was "Spicks and Specks"), "New York Mining Disaster 1941", was issued to radio stations with a blank white label listing only the song title. Some DJs immediately assumed this was a new Beatles' single and started playing the song in heavy rotation. This helped the song climb into the Top 20 in both the United Kingdom and the United States. No such chicanery was needed to boost the Bee Gees' second single, "To Love Somebody", into the US Top 20. Originally written for Otis Redding, "To Love Somebody" was a soulful ballad sung by Barry, which has since become a pop standard covered by hundreds of artists including Gram Parsons, Rod Stewart, Janis Joplin, The Animals, Nina Simone, and Michael Bolton. Another single, "Holiday" was released in the United States, peaking at #16. The parent album, the erroneously titled Bee Gees 1st, peaked at #7 in the United States and #8 in the United Kingdom.

Following the success of Bee Gees 1st, the band (which now consisted of Barry on rhythm guitar, Maurice on bass, Vince Melouney on lead guitar and Colin Petersen on drums), began work on the act's second album. Released in late 1967, Horizontal repeated the success of their first album, featuring the #1 UK single "Massachusetts" (a #11 US hit), and the #7 UK single "World". The sound of the album Horizontal had a more "rock" sound than their previous release, though ballads like "And The Sun Will Shine" and "Really And Sincerely" were also prominent. The Horizontal album reached #12 in the US, and #16 in the UK promoting the record, the Bee Gees made their first appearances in America, playing live concerts and television shows such as The Ed Sullivan Show and Laugh In.


1 - I Want Home
2 - Monday´s Rain
3 - All Of My Life
4 - Born A Man
5 - Big Chance
6 - How Many Birds
7 - Playdown
8 - Second Hand People
9 - I Don`t Know Why I Bother With Myself
10 - Jingle Jangle
11 - Tint Of Blue
12 - Where Are You
13 - Glass House
14 - Can´t You See That´s She´s Mine
15 - From Me To You
16 - Yesterday´s Gone
17 - Just One Look
18 - In The Morning
19 - Like Nobody Else
20 - Daydream
21 - Lonely Winters

Bee Gees - First Recording 1963-1967 Vol.1



Early years

The elder Gibb brothers were born on the Isle of Man, but the family returned to father Hugh Gibb's home town of Chorlton cum Hardy, Manchester, England, in the early 1950s where the boys began to sing in harmony. On one occasion, the boys were going to lip sync to a record in the local Gaumont cinema (as other children had done on previous weeks), but as they were running to get there Maurice dropped the record and it broke. Now having no record, the brothers sang live and received such a positive response from the audience that they decided to pursue a singing career.

In 1958, the Gibb family, including infant brother Andy (born 5 March 1958 in Manchester, England), emigrated to Redcliffe in Queensland, Australia. The still very young brothers began performing where they could to raise pocket change. First called the Rattlesnakes, later Wee Johnny Hayes & the Bluecats, they were introduced to radio DJ Bill Gates by racetrack promoter Bill Goode (who saw them perform at Brisbane's Speedway Circuit). Gates renamed them the "Bee Gees" after his and Goode's initials – thus the name was not specifically a reference to "Brothers Gibb", despite popular belief.[5][6]

By 1960, the Bee Gees were featured on television shows, and in the next few years began working regularly at resorts on the Queensland coast. Barry drew the attention of Australian star Col Joye for his songwriting, and Joye helped the boys get a record deal with Festival Records in 1963 under the name "Bee Gees." The three released two or three singles a year, while Barry supplied additional songs to other Australian artists.

A minor hit in 1965, "Wine and Women", led to the group's first LP The Bee Gees Sing and Play 14 Barry Gibb Songs. By late 1966, the brothers decided to return to England, while the rest of their family stayed in Australia. They were not confident, however, of success in England as Barry told a friend, Steven Spence, later of Lloyds World, that they would be back next year.[citation needed] While at sea in January, 1967, they heard that "Spicks and Specks", a #1 hit in October 1966 had been awarded Best Single of the Year by Go-Set, Australia's most popular and influential music newspaper.


1 - Little Miss Rhythm & Blues
2 - The Battle Of The Blue And Grey
3 - Three Kisses Of Love
4 - Timber
5 - Take A Hold Of That Star
6 - Don´t Say Goodbye
7 - Peace Of Mind
8 - Claustrophobia
9 - Could It Be
10 - Turn Around And Lool At Me
11 - Theme From Jamie Mc Pheeters
12 - Everyday I Have To Cry
13 - You Wouldn´t Know
14 - Wine And Woman
15 - Follow The Wind
16 - I Was A Lover A Leader Of Men
17 - And The Children Laughing
18 - I Don´t Think It´s Funny
19 - How Love Was True
20 - To Be Or Not To Be
21 - Cherry Reed

Sunday, November 22, 2009

Elton John - Chartbusters Go Pop! 16 Legendary Covers from 1969-70 as Sung by Elton John

These were taken from the time prior to Elton John's first success as a solo performer and were used on budget-priced compilations of hit songs by nameless 'soundalike' performers under such brand names as Top of The Pops and Hot Hits often on the Music For Pleasure label.

These compilations were extremely cheap and sold in vast quantities in the years before compilations featuring the original artists were on sale from such labels as K-Tel.

On this particular album some of the tracks do not sound like Elton because he was trying to replicate the sound of the original artist as best he could.
Label: Purple Pyramid
Release Date: Summer 1998

1. Natural Sinner (Andy Fairweather Low)
2. United We Stand (Tony Hiller / Peter Simons)
3. Spirit In The Sky (Norman Greenbaum)
4. Travelin' Band (John Fogerty)
5. I Can't Tell The Bottom From The Top (Guy Fletcher / Doug Flett)
6. Good Morning Freedom (Cook / Greenaway Hammond / Hazelwood)
7. Up Around The Bend (John Fogerty)
8. She Sold Me Magic (Lou Christie / Herbert Twyla)
9. Come And Get It (Paul McCartney)
10. Love Of The Common People (Hurley / Wilkins)
11. Signed Sealed Delivered (Wonder / Garrett / Wright / Hardaway)
12. It's All In The Game (Dawes /Sigman)
13. Yellow River (Jeff Christie)
14. My Baby Loves Lovin (Cook / Greenaway)
15. Cottonfields (Leadbetter)
16. Lady D Arbanville (Cat Stevens)

# Elton on backing vocals

The title is no joke, but dead-on truth in advertising. Circa 1970, John helped pay the rent and gain studio expertise as a session vocalist for British quickie budget exploitation LPs that "re-created" the sound of current hit singles. John takes on such vintage AM mothballs as "Up Around the Bend," "My Baby Loves Lovin'," "Yellow River," and "Signed Sealed Delivered" here, along with a few songs that were only hits in the U.K.. These records were never intended to be taken seriously as artistic statements, and one suspects that the studio players were having fun at someone else's expense on "In the Summertime," with farting raspberry noises and ridiculous orgiastic grunts by John during the instrumental break. Most of the time, though, he played it straight, his supple pipes proving to possess the necessary versatile anonymity required of such projects. This reissue, complete with scholarly liner notes, aspires to do nothing more than preserve this footnote in the budding superstar's career, of interest mostly to completists and novelty seekers. As far as unintentionally funny moments go, the highlight has to be John extolling, "To be young, gifted and black, that's where it's at!" on his cover of the Nina Simone classic. ~ Richie Unterberger, All Music Guide 

Coca Cola Commercials vol.3

From Jancy
01 - The Who
02 - The Box Tops
03 - The Box Tops
04 - The Box Tops
05 - Bee Gees
06 - Bee Gees
07 - The Tremeloes
08 - Sandy Posey
09 - Sandy Posey
10 - Sandy Posey
11 - Marvin Gaye & Tammi Terrell
12 - Marvin Gaye
13 - Brooklyn Bridge
14 - B J Thomas
15 - B J Thomas
16 - Carla Thomas
17 - Jerry Butler
18 - Carla Thomas & Jerry Butler
19 - Vanilla Fudge
20 - Vanilla Fudge
21 - Moody Blues
22 - Moody Blues
23 - Ray Charles & Aretha Franklin
24 - Ray Charles & Aretha Franklin
25 - Ray Charles
26 - Aretha Franklin
27 - Tommy Boyce & Bobby Hart
28 - Tommy Boyce & Bobby Hart
29 - The 5th Dimension
30 - The 5th Dimension
31 - Gladys Knight & The Pips
32 - Gladys Knight & The Pips
33 - The Easybeats
34 - The Easybeats
35 - The Easybeats
36 - The Everly Brothers
37 - The Four Seasons
38 - Freddie and the Dreamers
39 - Golden Earring
40 - The Left Banke
41 - Little Milton
42 - Little Milton
43 - Los Bravos
44 - Mary Hopkin
45 - Nancy Sinatra
46 - Neil Diamond
47 - Neil Diamond
48 - New Vaudeville Band
49 - New Vaudeville Band
50 - The Shirelles & John W. Bubbles
51 - Otis Redding

52 - Come Alive - The Pepsi Generation

Coca Cola Commercials vol.2

From Jancy

01 - The Seekers
02 - The Seekers
03 - Fontella Bass
04 - Tom Jones
05 - Tom Jones
06 - Petula Clark
07 - Petula Clark = 06 long version
08 - Jay & The Americans
09 - Wayne Fontana & The Mindbenders
10 - Jan & Dean
11 - Freddie Cannon
12 - Freddie Cannon
13 - Gary Lewis & The Playboys
14 - Gary Lewis & The Playboys
15 - Petula Clark
16 - Petula Clark
17 - Petula Clark = 16 long version
18 - The Supremes
19 - The Supremes = 18 long version
20 - The Supremes
21 - The Troggs
22 - The Troggs = 21 long version
23 - Lee Dorsey
24 - Lee Dorsey
25 - Leslie Gore
26 - Leslie Gore = 25 long version
27 - Leslie Gore
28 - The Vogues
29 - The Vogues = 28 long version
30 - The Vogues
31 - Roy Orbison
32 - Roy Orbison = 31 long version
33 - Roy Orbison
34 - Roy Orbison = 33 long version
35 - Roy Orbison
36 - Roy Orbison = 35 long version
37 - Roy Orbison
38 - The Drifters
39 - Ray Charles
40 - Nancy Sinatra
41 - Joe Tex
42 - Moody Blues
43 - Moody Blues = 42 long version
44 - The Fortunes
45 - Lulu
46 - Lulu
47 - The American Bread
48 - The American Bread
49 - Jay & The Techniques
50 - Jay & The Techniques
51 - Aretha Franklin
52 - Aretha Franklin


Coca Cola Commercials vol.1


Leigh Stephens - Red Weather (1969)

Rock guitarist Leigh Stephens was a founding member of the power trio Blue Cheer, a hard rock band based in San Francisco, along with bassist/vocalist Dickie Peterson and drummer Paul Whaley. The group was signed to Philips Records and released its debut album, Vincebus Eruptum, in January 1968. Containing a Top 20 revival of Eddie Cochran's "Summertime Blues," the LP soared to number 11 in the Billboard chart. Less successful was the follow-up, Outsideinside, released in August 1968, which reached the Top 100. In late 1968, Stephens, who later described himself as the only member of Blue Cheer... Read More...

1 Another Dose Of Life 4:47 (Stephens)
2 Drifting 6:41 (Stephens)
3 Indians 4:47 (Stephens, Koske)
4 I Grow Higher 5:39 (Stephens, Albronda)
5 Red Weather 3:14 (Stephens)
6 If You Choose Too 5:10 (Stephens, Albronda)
7 Joannie Mann 5:05 (Stephens)
8 Ckicken Pot Pie 3:12 (Stephens)

Red Weather was the first solo project from the lead guitarist of Blue Cheer. Originally released on the Phillips/Mercury label in 1969, the album immediately became a favorite on the underground music scene and established Stevens as a solo act. The music on Red Weather was dramatically different than that of Blue Cheer, with a well structured psychedelic sound like Quicksilver or the Grateful Dead rather than the sledgehammer hard rock sound of his former band. Recorded in England at the Trident Studios with the help of Nicky Hopkins on keyboards, drummer Mick Waller from the Jeff Beck Group, and Kevin Westlake from Blossom Toes, the album was hailed as a masterpiece by many British rock fans but was equally dismissed by Blue Cheer fans. The album contained eight songs that highlighted Stevens songwriting ability rather than his guitar prowess. After nearly 30 years the album was rereleased complete with the original psychedelic artwork cover.

Jeronimo - 3 albums (1970-71-72) Germany

Ringo Funk - vocal/drums
Gunnar Schafer - vocal/bass
Rainer Marz - guitar
Hajo Born - guitar/keyboards
Walter Ortel - keyboards/vocal

Коллектив JERONIMO был одним из самых известных хард-роковых ансамблей в Германии на рубеже 60-70х годов. Музыканты всегда старались балансировать на грани с коммерческим саундом, причем делали это весьма успешно. Самое удивительное, когда большинство их коллег по сцене со временем шли в сторону упрощения звучания, участники JERONIMO двигались в противоположном направлении. Но обо всем по порядку.
Первоначальный состав сложился на рубеже в 1969 году, и лишь ритм секция так и осталась несменной на протяжении всей истории коллектива. Начинали они отнюдь не в андеграунде - в то время их музыка представляла собой смесь бит рока, рок-н-ролла и фолк рока, довольно легковесного. Со временем лишь утяжелялся саунд, но направление вплоть до выхода первой пластинки оставалось неизменным. Причем сразу пара синглов оказались на вершинах хит парадов во многих европейских странах - Na na hey hey/The light life needs и Hey ya.
  За год до выхода дебютного альбома три сингла попали на странную компиляцию - "Spiritus orgaszmus", где одну из сторон винила заняли вещи CCR, а вторую 6 песен JERONIMO. К моменту выхода альбома "Cosmic blues" состав покинул Hajo Born (Walter Ortel ушел еще раньше, в 1970 году он собрал EPSILON). Таким образом, наконец, сложился фирменный состав - трио (Funk-Schafer-Marz). 
Именно такая конфигурация оказалась наиболее удачной для JERONIMO. 
12 песен на первой пластинке составили либо синглы, изданные ранее, либо композиции готовые для выпуска в таком качестве. Отсюда некоторая "попсовость" звучания, ощущение, что слушаешь сборник хитов. Тем не менее, хитов хороших, мелодичных и, что самое главное, не самых избитых. Музыканты подкупали жесткими гитарными партиями (некоторым рифам позавидовали бы BLACK SABBATH и BLUE CHEER) в купе с запоминающимися мелодиями и энергичным исполнением. Звук по тем временам вообще был эталонным. В итоге - "Cosmic blues" работа очень неровная, но весьма привлекательная. 
По всей видимости, учитывая их невероятный драйв, на сцене они задавали жару. В самом начале своей карьеры музыкантам посчастливилось выступать в турне по Германии вместе со STEPPENWOLF. В дальнейшем последовали гастроли вместе с GOLDEN EARRING и DEEP PURPLE. Не чужда была группа и телевидению - в начале 70х они повлялись в таких программах как "HITS A GOGO", "BEATCLUB" and "BANANAS".
  В 1970 году Rainer Marz предпочел начать сольную карьеру, а в JERONIMO на его место пришел Michael Koch. Будучи незаурядным гитаристом Koch помог группе окончательно избавиться от своих поп роковых корней, во многом за счет собственного материала. В 1971 году трио заиграло бескомпромиссный хард/блюз-рок. Клавишные оказались практически забыты, на первые роли вышли убойные гитарные рифы, которыми оказался простo переполнен их второй альбом,названный просто "Jeronimo". 
Девять композиций не слишком отличались друг от друга. Каждая была просто до отказа заполнена резкой тяжеленной гитарой, жестким басом и неистовой молотьбой "драммера". Однако все получилось не столь здорово, как это может показаться из описания. Где-то на второй половине пластинка явно утомляет, монотонность начинает надоедать. Музыканты попытались внести разнообразие в предпоследнюю вещь Hagudila - однако барабанное соло кажется излишне затянутым. Выделить наиболее удачные песни тяжело - все они непременно хороши, но и довольно похожи друг на друга. Добавленные на CD издание бонусы за счет слащавого песнопения напоминают нам о "славном" коммерческом прошлом группы. Поэтому позволим себе не согласиться с Dag Erik Asbjornsen, которые называет "S/t" JERONIMO "лучшим альбомом группы". Все-таки, даже слегка "попсовый" "Cosmic blues" слушается более органично. 
  Лишь годом позже, под руководством Peter Hauke на его Bacillus label, трио создало по-настоящему достойный альбом, котором могли бы гордиться многие хард-роковые исполнители 70х годов. Опять же не согласимся с Asbjornsen, что "работе не хватает энтузиазма предыдущей пластинки". Попытка вплести в ткань тяжелого рока прогрессивные элементы оказалась скорееудачной, чем нет. 
Вновь девять композиций, зато, на этот раз, совершенно отличных не только от раннего творчества, но даже друг от друга. Начинается представление с рок-н-ролла Time ride, но уже скоро следует гитарный "монстр" There are people. Психоделическая гитарная партия идеально обрамляет великолепную композицию. Следующая вещь Blind man близка традициям хард-блюза (не зря название идентично песне Лесли Уэста (Leslie West) с его первого сольника 69го). Затем идет задумчивая баллада To be alone с атмосферой утраты и тоски. К слову, ничего подобного ранее под рамкой JERONIMO не выходило. Все вышеназванные вещи были сочинены Koch, теперь настала очередь показать себя и представителям ритм секции. Басист сочинил, пожалуй, самую ударную композицию - Sunshine с оригинальным переплетением акустической и электро-гитары. Завершающая альбом Gone сделана в ритм енд блюзовом ключе, а Do you still remember уже продемонстрировала фолк-роковые увлечения Schafer'а. Funk написал лишь одну вещь - Ice cram - и как ни парадоксально ей оказалась самая лиричная и изящная баллада, которую когда либо записывали JERONIMO. Лишь одна вещь была создана всем трио вместе - прогрессив/блюз/хард-роквый номер Indian river. Интригующий гитарный риф, искаженный вокал, загадочная атмосфера - и шедевр готов. 
К сожалению, именно после своего лучшего альбома группа распалась. В дальнейшем лишь Ringo Funk мог похвастаться успешной карьерой - сразу после роспуска JERONIMO он вошел в состав ATLANTIS. Группы, значительно более успешной и популярной.
JERONIMO was founded in 1969 and in '69/'70 they had their first two hits "HE YA" and "NA NA HEY HEY". With these two chartbreakers, JERONIMO climbed to the number 1 position in almost all European countries.

In 1970 JERONIMO and "STEPPENWOLF" toured successfully through Germany and in the same year JERONIMO partook in the legendary "Progressive Pop Festival" in Cologne. Following that, JERONIMO shared the headlines with such groups as "DEEP PURPLE" and "GOLDEN EARRING" at various European open-air festivals.

In 1971, JERONIMO'S biggest stage-performance was in Lausanne for "UNICEF" and was televised worldwide.

JERONIMO could be seen in numerous European television shows and in Germany they were on "HITS A GOGO", "BEATCLUB" and "BANANAS".

In 1970, JERONIMO, together with CREEDENCE CLEARWATER, presented the album "SPIRIT ORGASZMUS", which was a success throughout all of Europe.

After 30 years and millions of records sold worldwide, JERONIMO is still cult. In 1999/2000, their hits "NA NA HEY HEY" and “HE YA" were re-released on numerous hit-compilations.

The CD's "COSMIC BLUES", "TIME RIDE" and "BEST OF" have been available in record stores since 1991.

After numerous negotiations with "the purple record-company" in Frankfurt, Ringo Funk successfully acquired the rights to all of JERONIMO'S songs in November of 2000.

In the spring of 2002, 4 new CD's "JERONIMO", "COSMIC BLUES", "TIME RIDE" and "BEST OF" will be released, which have been digitally mastered from the original recordings. There will be a bonus track on each of the CD's (partially with previously unreleased material).

JERONIMO wurde 1969 gegründet und hatte 69/70 zwei Hits: "HE YA, HE YA" und "NA NA, HEY, HEY". Mit diesen beiden Hits wurde JERONIMO in ganz Europa bekannt und erreichte in fast allen europäischen Ländern die Nummer 1.

1970 tourten JERONIMO und "STEPPENWOLF" erfolgreich durch Deutschland. Im gleichen Jahr war JERONIMO auf dem legendären "Progressive Pop Festival Köln" zu sehen. Anschließend trat JERONIMO auf mehreren europäischen Open-Air-Festivals mit Bands wie "DEEP PURPLE" und "GOLDEN EARRING" auf.

Den für die Gruppe JERONIMO größten Auftritt hatte sie 1971 in Lausanne für "UNICEF", der über das Fernsehen weltweit ausgestrahlt wurde.

JERONIMO trat in zahlreichen Fernsehsendungen in verschiedenen europäischen Ländern auf, in Deutschland in den Sendungen "HITS A GOGO", "BEATCLUB" und "BANANAS"

Auf der 1970 veröffentlichten, in ganz Europa erfolgreichen LP "SPIRIT ORGASZMUS", sind JERONIMO und "CREEDENCE CLEARWATER REVIVAL" gemeinsam präsentiert.

Nach über 30 Jahren und Millionen verkaufter Tonträger weltweit ist JERONIMO immer noch Kult. Mit den beiden Hits "NA NA, HEY, HEY" und "HE YA, HE YA" zuletzt in 1999/2000 auf zahlreichen Hitsamplern veröffentlicht.

Seit 1991 sind die CD's "COSMIC BLUES", "TIME RIDE", und "BEST OF" im Handel.

Ab September 2001 wird JERONIMO wieder live auf europäischen Bühnen zu sehen sein.

Nach unendlichen Auseinandersetzungen mit der "Lila Schallplattenfirma in Frankfurt" besitzt Ringo Funk seit November 2000 sämtliche Rechte an allen Titeln von JERONIMO.

Im Frühjahr 2002 werden 4 neue CD's, "JERONIMO", "COSMIC BLUES", "TIME RIDE" und "BEST OF" erscheinen, die vom Originalband digital remastert wurden. Außerdem ist auf jeder CD ein Bonustrack (teilweise unveröffentlichtes Material).

Jeronimo - Cosmic Blues (1970)

Jeronimo - Jeronimo (1971)

Jeronimo - Time Ride (1972)

Spirit Orgaszmus of Jeronimo and Creedence Clearwater Revival (1970)

This album is unique in music-history because CCR had a compilation exclusively with Jeronimo.

Dieses Album ist einzigartig in der Musikgeschichte, da CCR ausschließlich mit Jeronimo eine Kopplung einging.

1969/70 schon landete Jeronimo mit "HEY YA HEY YA" und "NA NA, HEY HEY" 2 Hits die Europaweit! auf Rang 1 landeten.
1970 tourten Jeronimo mit grossem Erfolg mit der Band "Steppenwolf" durch Deutschland. Ausserdem spielten sie auf diversen Open Air Festivals wo auch Bands wie "Deep Purple" und "Golden Earring" auftraten.
Jeronimo hatte zahlreiche Fernsehauftritte in vielen Europaischen Landern.
1970 veroffentlichten Jeronimo ihr erstes Album "Spirit Orgaszmus" welches sie mit "Creedence Clearwater Revival" prasentierten.
1991 erschienen dann "Cosmic Blues", "Time Ride" und die "Best Of" erstmals auf CD.
2002 erschienen dann in Neuauflage und Digital Remastered vom grossen Meister (himself) "Eroc" die CD's "Jeronimo", Cosmic Blues", "Time Ride" und "Best Of" alle mit Bonus Tracks z.t. unveroffentlichtes Material.
1970 erschien die in pinkfarbenem Vinyl gepresste LP „Spirit Orgaszmus of Jeronimo and Creedence Clearwater Revival“, die jeweils eine Seite mit Titeln von Jeronimo und eine Seite mit Creedence Clearwater Revival enthielt.
01. CCR-It Came Out Of The Sky
02. CCR-The Night Time Is
03. CCR-Ninety-Nine And A Half
04. CCR-The Midnight Special
05. CCR-Porterville
06. CCR-Cross-Tie Walker
07. Jeronimo-Heya
08. Jeronimo-Hands
09. Jeronimo-So Nice To Know
10. Jeronimo-The Light Lif
11. Jeronimo-Number 5
12. Jeronimo-No No No

The Golliwogs - pre Creedence Clearwater Revival plus


Of all the vault recordings by '60s rock groups that were unearthed and repackaged, few are less indicative of future fame and greatness than the Golliwogs'. With no changes in personnel, the group became superstars as Creedence Clearwater Revival. As the Golliwogs, they issued seven singles in the mid-'60s; all flops, they were eventually repackaged as a retrospective. These 45s liberally borrowed from the British Invasion and other rock and R&B trends of the day without displaying a shred of distinction, or even an especially high energy level. It doesn't take a genius to figure out what the problem is; over half the songs were sung not by John Fogerty, but his brother, Tom. The half-dozen numbers sung by John are indeed more palatable, but even so, his songwriting had a distance to go before attaining maturity. The Golliwogs' recordings are interesting for their historical insight, but listeners shouldn't approach them expecting anything on the level of Creedence.



The Golliwogs - Pre Creedence

 Fantasy &Scorpio 45'

01 - Don't Tell Me No Lies

02 - Little Girl (Does Your Mama Know?)

03 - Where You Been

04 - You Came Walking

05 - You Can't Be True

06 - You Got Nothin' On Me

07 - Brown-Eyed Girl

08 - You Better Be Careful

09 - Fight Fire

10 - Fragile Child

11 - Walking On The Water

12 - You Better Get It Before It Gets

13 - Porterville

14 - Call It Pretending

 Both sides of all seven of their singles, originally issued on Fantasy and Scorpio. It is odd to hear the group casting about for an identity; songs variously bring to mind the Zombies, Them, Merseybeat, even hints of the Beach Boys. "Fight Fire" was their best early number, and has a fairly high reputation among garage fans. The later cuts (all sung by John) show the group starting to develop a rootsier, funkier approach more in line with Creedence. Has early versions of "Walking on the Water" and "Porterville," which were included on the first Creedence album.


15 - Tell Me

16 - You Can't Be True

17 - I Only Met You Just An Hour Ago

18 - She Was Mine

19 - Gonna Hang Around

20 - Try Try Try

21 - Instrumental No.1

22 - Little Tina

23 - Promotional Spot


Tommy Fogerty & The Blue Velvets

24 - Come On Baby

25 - Oh My Love

26 - Have You Ever Been Lonely

27 - Bonita