Billy Thorpe and The Aztecs - I'm Talking About you (Australia)

from Jancy

01 - I'm Talking About You

02 - Half As Much

03 - I'll Never Get Over You

04 - Some Other Guy

05 - High Heel Sneakers

06 - Pride

07 - Stand By Me

08 - Devoted To You

09 - When You Walk In The Room

10 - Skinny Minnie

11 - The Cruel Sea

12 - I Call Your Name

Dino, Desi & Billy - I'm A Fool (1965)

FROM JANCY

Dino, Desi & Billy's first album, 1965's I'm a Fool, features the singles "Not the Lovin' Kind" and "I'm a Fool" both of which climbed near the Top 20 in 1965 and represented the commercial high point for the Hollywood trio.

In the spirit of the mid-'60s, most of the rest of the album is made up of covers of hits of the day — "Like a Rolling Stone," "Chimes of Freedom," " (I Can't Get No) Satisfaction" and "It Ain't Me Babe." Like their originals, these covers are competent and breezy featuring the lads' light and polite vocals and restrained musical backing from the cream of L.A.'s session players. Unlike their originals, you'll never need to hear any of these reverent and mostly irrelevant covers more than once, if that. The only fun to be had here is the aforementioned singles, both of which are groovy folk-rockers penned by Lee Hazlewood, the moody and almost punky "The Rebel Kind" and the bopping bubble-fuzz of "Boo-Hoo-Hoo (I Can Tell)." These tracks are good enough that you wish the rest of the record was written by Hazelwood and "Boo-Hoo-Hoo"'s author Joey Cooper. As it is, the album is mostly forgettable.

01 - Not The Lovin' Kind

02 - (I Can't Get No) Satisfaction

03 - Mr. Tambourine Man

04 - I'm A Fool

05 - Like A Rolling Stone

06 - The Rebel Kind

07 - The Chimes Of Freedom

08 - It Ain't Me Babe

09 - Boo-Hoo-Hoo (I Can Tell)

10 - So Many Ways

11 - Seventh Son

Los Shakers - Por Favor ! 1965-1968 (Uruguay)

The concept of a Uruguayan band in the mold of the Hard Day's Night-era Beatles may seem absurd, but it did happen in the mid-'60s. What's more, the Shakers (sometimes billed as Los Shakers on their releases) were fairly successful in mimicking the jangle of the early Beatles sound, writing most of their material with a decent grasp of the British Invasion essentials of catchy tunes and enthusiastic harmonies. While the grammar is fairly broken and pidgin, soundwise the Shakers were actually superior to many of the bona fide Mersey groups; if you like the Beatles sound as heard on tracks like "I Should Have Known Better" or "I'll Be Back," you'll like this stuff. Popular in their native land, the Shakers were understandably unable to compete on an international scale, although their 1966 album, Break It All, was actually issued in the States. Today they enjoy respect from hardcore '60s collectors, and much of their material is available on reissues.

http://en.wikipedia.org/wiki/Los_Shakers

http://www.losshakers.com.br/

http://www.losshakers.com/indexeng.htm

Despite reasonable availability of some of their material to international audiences on reissues, the details of the Shakers' career remained pretty mysterious until Alec Palao's detailed liner notes to their 2000 CD reissue Por Favor. The group was formed by brothers Hugo Fattoruso (lead guitar, keyboards) and Osvaldo Fattoruso (rhythm guitar), who as a team wrote most of their material. Like so many combos around the world, the specific motivation to form the group came from watching the Beatles' movie A Hard Day's Night. The band remained extremely influenced by the Beatles throughout their career and were in fact not too aware of or interested in the work of other British Invasion groups. Signed to a deal by EMI/Odeon in Argentina, they issued their first single, "Break It All," in 1965. The band became very big in both Uruguay and Argentina, and also toured in several other South American countries.

There was never a concerted effort on the band's part to invade the English-speaking market, and they never played in North America. However, a small New York label, Audio Fidelity, took the unusual step of issuing a Shakers album, Break It All, in the States in early 1966. This LP actually consists mostly of re-recordings (and good ones) of songs from their debut Uruguayan long-player, as well as songs that had appeared on singles. For this album Osvaldo Fattoruso ended up singing a bunch of tunes that his brother Hugo had sung, perhaps because Hugo's voice was in hoarse shape. So although this is the album that fans outside of South America are most likely to be familiar with, it actually doesn't contain the original versions from the Shakers' early repertoire, although most of those songs from the original (South American) Shakers debut LP are now included on Ace's Por Favor reissue.
The Shakers continued to follow the Beatles' lead through 1968, introducing Revolver-like guitars and backwards effects, and then some Magical Mystery Tour-type psychedelia, as well as some occasional influence of their native South American rhythms and musical styles. While it's usually obvious where the inspiration is coming from, the level of writing, playing, and harmonies remained quite respectable through their third and final album, 1968's La Conferencia Secreta del Toto's Bar. The Shakers broke up toward the end of the 1960s, with the Fatturoso brothers recording an album for Odeon in 1969 before moving to the United States for a few years to work with Airto Moreira, and then forming the Latin rock group Opa. Drummer Caio Vila and bassist Pelin Capobianco, with a couple of Capobianco's brothers, recorded a 1971 album, and in 1981 the Fatturoso brothers did a reunion album with the Otroshakers.

No doubt this will stand as the most definitive single-disc compilation of Uruguay's Shakers (referred to as "the Shakers" on some releases and "Los Shakers" on others, including this one). There are 32 tracks, and 79 minutes, taken from all three of the LPs they issued in South America between 1965-1968, along with three cuts from 1966 singles, almost everything sung in English. It cements their well-deserved reputation as the top Beatlesque 1960s band from South America — as if any further proof were necessary — and indeed one of the most uncannily Beatlesque bands from anywhere, at any time. Does that mean that this is as good as, or nearly as good as, the Beatles themselves? No, but it's good fun all the same, even if much of the disc sounds like inverted, or at times barely altered, ideas from Beatles riffs and arrangements. They were at their best, perhaps, when mimicking the A Hard Day's Night-era Fab Four, as they did on their 1965 debut LP, Los Shakers, most of which is here. They did, however, evolve to some degree artistically, albeit rather in tandem with how the Beatles' own records changed in 1965-1967, adding some (but not much) native rhythmic styles and riffs here and there; putting Revolver-type vocals and meters into cuts like "Picking Up Troubles" and "Got Any Money?"; putting some down-beat, jazzy riffs into the fine "Too Late"; using freaky backwards guitar and drones in "I Hope You'll Like It," their most advanced cut; and adopting the march-beat, mid-tempo, and sunny harmonies of many 1967 Beatles tunes on numbers like "On a Tuesday I Watch Channel 36." This anthology is not, incidentally, the last word on the Shakers' output: there are no tracks from their U.S.-only 1966 LP, Break It All (which featured re-recordings of their early South American sides), and a handful of other numbers show up on the Brazilian EMI CD All the Best.

Dino, Desi & Billy - Souvenir (1966)

FROM  JANCY

01 - I Hope She's There Tonight

02 - Pretty Flamingo

03 - Black Is Black

04 - Turn Down day

05 - Look Out Girls (Here We Come)

06 - Josephine

07 - Got To Get You Into My Life

08 - Without Hurtin' Some

09 - Sunny Afternoon

10 - She's So Far Out She's In

Dino, Desi & Billy - Our Time's Coming (1966)

JANCY TOPIC

Dino, Desi & Billy's second album

Dino, Desi & Billy's second album, 1966's Our Time's Coming, could have been titled "Our Time's Passed" since the trio had already reached their commercial peak. In fact the album contains no singles that even charted and almost all the songs are by-the-numbers covers of songs like "Get Off My Cloud," "Hang On Sloopy," "Yesterday" and "Fun, Fun, Fun." Songs that were pretty much perfect in their original incarnations; the group did nothing to improve them. They are certainly pleasant enough but that isn't that much of a selling point. The only original tracks on offer are the goofy throwaway "She's So Far Out, She's In," the instrumental "Desi's Drums" (which goes to show why Hal Blaine played on the rest of the record) and an interesting folk-rock tune "Everything I Do Is for You." That's not much to hang your hat on, and the record marks a precipitous drop in quality from the already somewhat low level of its predecessor. In fact a group without the connections that these guys had probably would have found themselves off their label and back playing record hops in their hometown.

01 - Get Off My Cloud

02 - Act Naturally

03 - You've Got To Hide Your Love Away

04 - Fun, Fun, Fun

05 - Yesterday

06 - Turn, Turn, Turn

07 - Hang On Sloopy

08 - Let Me Be

09 - She's So Far Out She's In

10 - Sheila

11 - Everything I Do Is For You

12 - Desi's Drums

Dino, Desi & Billy - Singles Collection

FROM JANCY

A Hollywood trio that were barely into their teens when they hit the charts in 1965, Dino, Desi & Billy anticipated the bubblegum fad with records that usually featured none of their own contributions, except their characterless vocals. That may be phrasing matters too kindly. The best bubblegum is far more distinctive and catchy than the lowest-common-denominator L.A. session pop/rock that they recorded. But they knew the right people, as they say in the business, which made them stars for a brief time, although they never had an ounce of credibility.

This mid-'60s trio were kind of a cross between the Monkees and Gary Lewis in a few key respects. Like Gary Lewis, their very opportunities to record came about primarily because of their distinguished Hollywood fathers. In the case of these guys, however, the nepotism was rather extreme: Dino was Dino Martin, son of singer/comedian Dean Martin, and Desi was the son of Lucille Ball and Desi Arnaz. Along with classmate Billy Hinsche, they began playing for fun. They'd barely gotten their equipment together when they auditioned for Dean Martin's buddy, Frank Sinatra -- who just happened to record for and run Martin's label, Reprise. By the end of 1964, they'd released their first single for the label, although it was made clear to them that session musicians would handle the instruments.

Top producers and arrangers Lee Hazlewood, Billy Strange, and Jimmy Bowen would oversee the trio's recording dates over the next couple of years. "I'm a Fool" made the Top 20 in 1965; "Not the Lovin' Kind" got into the Top 30 a few months later. None of the group had reached the age of 15 yet, but there they were, playing to screaming crowds as a support act to a Beach Boys tour in 1965, and (for a few months) outselling Sinatra on his own label. This despite (or because of?) the fact that their music was innocuously bland in the extreme, making the Monkees (who also used a pool of L.A. session players) sound positively innovative and hard-nosed in comparison.

Dino, Desi & Billy never got into the Top 40 after 1965, but they recorded singles and albums for years to come (perhaps it would have caused tensions among their families if they hadn't). They were the recipients of compositions by top pop/rock songwriters like Lee Hazlewood, David Gates, Boyce & Hart, Clint Ballard, Jr., and Bonner & Gordon. But it seemed like these songsmiths took care not to give them anything too good, in the manner of Goffin-King's substandard leftovers for early-'60s teen idols.

Billy Hinsche's sister married Carl Wilson, which probably helped the band secure a Brian Wilson composition (which Hinsche helped finish off) for one of their final Reprise singles in 1970, "Lady Love." The group did start to get involved in their recording sessions, as players and composers, toward the end of the '60s. But the talent wasn't there, and in any case the results were much more pop than rock.

Perhaps it's being unduly touchy to come down on the band so hard; they had no aspirations towards anything but wholesome fun, apparently, and 98-percent of other kids their age would have taken advantage of the same connections given the same silver spoons. Keep in mind, though, that bands like Dino, Desi & Billy took away valuable air time and sales from much better groups that really needed it, in an era in which chart considerations were much more vital to ensure an ongoing career. And if you don't believe that, look at the nose dive experienced after the mid-'60s by the Kinks -- who, as it happened, were on Dino, Desi & Billy's U.S. label, and may have been competing for the same promotional budget.

01 - Since You Broke My Heart /

02 - We Know -- Reprise 0324 -- released 11-2-64

03 - I'm A Fool /

04 - So Many Ways -- Reprise 0367 -- 4-12-65

05 - Not The Lovin' Kind /

06 - Chimes Of Freedom -- Reprise 0401 -- 8-18-65

07 - Please Don't Fight It /

08 - The Rebel Kind -- Reprise 0426 -- 11-10-65

09 - Superman /

10 - I Can't Get Her Off My Mind -- Reprise 0444 -- 1-19-66

11 - Tie Me Down /

12 - It's Just The Way You Are -- Reprise 0462 -- 3-23-66

13 - Look Out Girls (Here We Come) /

14 - She's So Far She's In -- Reprise 0469 -- 5-20-66

15 - I Hope She's There Tonight /

16 - Josephine -- Reprise 0529 --10-12-66

17 - If You're Thinkin' What I'm Thinkin' /

18 - Pretty Flamingo -- Reprise 0544 -- 12-13-66

19 - Two in the Afternoon /

20 - Good Luck, Best Wishes to You -- Reprise 0579 -- 4-19-67

21 - Kitty Doyle /

22 - Without Hurtin' Some -- Reprise 0619 -- 8-2-67

23 - My What a Shame /

24 - The Inside Outside Caspar Milquetoast Eskimo Flash -- Reprise 0653

25 -Tell Someone You Love Them /

26 - General Outlne -- Reprise 0698 -- 5-29-68

27 - Thru Spray Colored Glasses /

28 - Someday -- Uni 55127

29 - Hawley /

30 - Let's Talk it Over -- Columbia 4-44975 -- 1969

31 - Lady Love /

32 - A Certain Sound -- Reprise 0965 -- 10-14-70

The Invaders - The Best Of (RB)

23 Track Complication From The Very Rare SA Beat Group With Great Inst. Trcks 1963-67

The rise of the Invaders can be traced directly to the South African tour in March 1961 of Cliff Richard and the Shadows. Richard and The Shadows were appearing at the Feather Market Hall in Port Elizabeth, a concert for which twenty-one year old John Henry Burke (born 23 March 1940) of Uitenhage had purchased a ticket. Johnny Burke rushed home after the show, tried a few chords on an old, battered guitar in front of a mirror and declared aloud, “I was born for show business and someday I’ll be famous like The Shadows!” Prophetic words indeed.

MORE

The Fourmost - The Best of The EMI Years

The Fourmost were originally known as the Blue Jays, then the Four Jays, and then the Four Mosts, before taking on the name under which they finally succeeded. Lead guitarist and singer Brian O'Hara (b. Liverpool, Mar. 12, 1942) and rhythm guitarist and singer Mike Millward (b. Bromborough, Cheshire, May 9, 1942) had a pleasing attack on their instruments and sang well enough, even harmonizing well, and with bassist/singer Billy Hatton (b. Liverpool, June 9, 1941) and drummer (and sometime singer) Dave Lovelady (b. Liverpool, Oct. 16, 1942), the Fourmost were one of the better combos working Liverpool in the early '60s. They could rock hard, with a crisp guitar sound and vocals that wailed convincingly, and Hatton's bass work had a nicely melodic sound -- the group lacked the distinctiveness of Gerry & the Pacemakers at their best, but were never as sappily sentimental as their major sub-Beatles Liverpool rivals could get, and had a livelier, leaner, and more refined sound than such competitors as the Swinging Blue Jeans.

The Fourmost's fortunes took a sharp turn upward in 1963 when they were given the nod by Brian Epstein and became a part of his stable of Liverpool-based acts. Their bookings improved and they were signed to EMI's Parlophone label, where they were recorded by George Martin. The band also got access to a pair of Lennon-McCartney originals ("Hello Little Girl," "I'm in Love") that got them noticed, and they peaked in April of 1964 with the single "A Little Lovin'," which got to number six in England. Unfortunately, none of the Fourmost were songwriters, and this left them at the mercy of outside inspiration and outside sources for songs, which quickly dried up as dozens of rival bands started covering the same material.

They also looked a bit stiff on-stage and on television, which was a problem as the bands around them got bolder in their presentations. Additionally, like a lot of early Liverpool acts, the Fourmost were oriented toward music careers that left room for cabaret-style humor, believing -- as had been the case before the Beatles -- that a band eventually branched out from straight-ahead rock & roll. Their music included a fair lacing of comedy tracks amid perfectly respectable covers of numbers like "The 'In' Crowd" and "Some Kind of Wonderful." Once the music around them began maturing in a different direction, into more advanced forms of rock & roll rather than toward pop, they found themselves on the outside looking in -- in 1965, while the Beatles were taking the first steps into the druggy ambience and the diverse folk and Indian sounds that would spice their second flourishing, and the Rolling Stones were shaking up the airwaves with "Satisfaction," the Fourmost were covering "Why Do Fools Fall in Love" (a great song, to be sure, but not exactly aiming high in ambition). With a few breaks and more focus, they might have been a somewhat more pop-oriented equivalent to the Action, but it wasn't to be.

The group never charted a single after the spring of 1964, despite an attempt in the summer of the 1966 to piggyback once more on the Beatles' work with a cover of "Here, There and Everywhere." The death of Mike Millward from leukemia in 1966 doomed the band's prospects, although Paul McCartney was still throwing some help their way as late as 1969. By then, they were fixtures on the cabaret circuit, and long since forgotten by most of the public.

1. The Fourmost - Hello Little Girl (1:52)


2. The Fourmost - Just In Case (2:42)

3. The Fourmost - I'm In Love (2:09)

4. The Fourmost - Respectable (2:06)

5. The Fourmost - I Love You Too (2:04)

6. The Fourmost - A Little Loving (2:10)

7. The Fourmost - Waitin' For You (2:24)

8. The Fourmost - How Can I Tell Her (2:28)

9. The Fourmost - You Got That Way (2:05)

10. The Fourmost - Baby I Need Your Lovin' (2:27)

11. The Fourmost - He Could Never (2:32)

12. The Fourmost - My How The Time Goes By (2:15)

13. The Fourmost - Girls, Girls, Girls (2:24)

14. The Fourmost - Why Do Fools Fall In Love (2:02)

15. The Fourmost - Till You Say You (3:02)

16. The Fourmost - Yakety Yak (2:32)

17. The Fourmost - My Block (2:42)

18. The Fourmost - So Fine (2:36)

19. The Fourmost - Some Kind Of Wonderful (2:34)

20. The Fourmost - Girl Can't Help It (2:27)

21. The Fourmost - I'm in Love (2:07)

22. The Fourmost - In Crowd (2:35)

23. The Fourmost - Baby Sittin' Boogie (2:23)

24. The Fourmost - Heebie Jeebies (2:00)

25. The Fourmost - Sure To Fall (In Love With You) (2:16)

26. The Fourmost - Everything In The Garden (2:08)

27. The Fourmost - Stop

28. The Fourmost - Here, There And

29. The Fourmost - You've Changed

30. The Fourmost - Go Away

31. The Fourmost - Turn The Lights Down

32. The Fourmost -Aunty Maggie's Remedy

The Con's Combo - Los Fabulosos Suecos& The Con's Combo (RB)

Two Ultrarare Sweden Soul-Beat Lps 1966-68

Katrineholm: Ingemar Söderlund (vocals), Conny Söderlund (guitar/vocals), Johannes Ljungkvist (guitar), Ulf Hellqvist (bass), Nils Sandström (saxophone), Christer Söderlund (drums)


Argentina: Conny Söderlund (guitar/vocals), Bo Gathu (bass), Owe Monk (Johansson) (electric organ/piano/vocals)

Four hundred TV appearances in five years! No, we are not talking about Elvis Presley, the Beatles, the Stones, Bob Dylan, Michael Jackson, Bruce Springsteen, or Madonna. Of the almost 500 biographies in this book, the story of Con’s Combo is certainly the most unique. Now, being on TV is perhaps not so sensational. For example, it probably takes quite a while to count up the number of times the Beatles and Rolling Stones were on television. But that number likely doesn’t come close to the around 400 (!) times that Con’s Combo appeared on TV ЃEand this was during a time period of only five years!

Of course, many people will wonder why they’ve never even heard of this group. Well, we’re not talking here about Swedish or European TV. This is South American TV, in particular Argentinean TV. The members of Con’s Combo spent nine years in Argentina, with side trips to other South American countries. There are certainly not many music collectors who know that the group made a number of singles as well as three albums during their time in Argentina, but the group were pretty much superstars in that country ЃEone of our first and certainly least-known pop exports.


All of this was a long way from the group’s beginnings back in Katrineholm in the early 1960s. It was the Söderlund brothers who started the band, and eventually their cousin, Ingemar Söderlund, became a guest performer in the group. Though Ingemar had his own record contract, he was not really a pop or rock singer. However, before Ingemar joined Con’s Combo, they made an EP that Owe Monk had put on the Swedish charts as a member of the duo the Vagabonds called “Sommar i StockholmЃE(Summer in Stockholm).
Some years later Conny Söderlund, Bo Gathu, and Owe Monk met two fellows from the South American group Lecuona Cuban Boys. They got together and did a tour in Finland. Osvaido Venini then suggested that they should travel to Argentina, where there were plenty of gigs, and Con’s Combo made the unique decision to move there. Although Venini himself left after only a year in Argentina, it turned out that there was plenty of work and record contracts there for Con’s Combo. During their busiest period, the group appeared three times a week on TV. The members even became good friends with the beatnik group the Shakers (who have achieved cult status among collectors of 1960s pop music with their album “Break It AllЃE from Uruguay.
In 1968 Con’s Combo represented Sweden at a song festival that took place in Brazil. There were 34 countries taking part (Canada was represented by Paul Anka), and Con’s Combo won 10th place. Just like the Beatles, Con’s Combo even had their own guru to encourage the group (although he probably was more interested in just being a groupie).

Argentinean singles were played at 33 rpm, something unusual which could lead to misunderstandings. When Conny Söderlund appeared solo on a TV program from Los Angeles around 1969-70, he was to lip-sync one of the singles by Con’s Combo. A problem arose when someone set the record at 45 rpm. Just at that moment, punk music was invented.
In the mid-1970s the members of the group moved back to Sweden, but they can certainly feel very pleased with their pioneering achievements.

The Beggers & The Blackstones - 2 LP ON 1 CD (RB)

Two Ultra Rare Brazilian Beat Groups Great Mersey Beat 1964

V.A. - Swinging 60s

Wimple Winch - The Story Of Just Four Men 1963-1968

REPOST

Wimple Winch was an interesting British '60s group, weaving soul, intricate harmonies, and unusual whimsical lyrics into their original material. Starting out as Just Four Men, the Liverpool-area outfit was initially just one of the dozens of Merseybeat groups riding the Beatles' coattails, although they cut a couple of fair singles. Changing their name to Wimple Winch, they released three much more progressive singles that were popular locally, including the explosive raver "Save My Soul" and the dramatic story-song "Rumble on Mersey Square South." Arguably the most creative group to work from Liverpool after the Merseybeat boom dried up, they broke up in the late '60s, leaving a wealth of unreleased material. Much of that material, as well as their rare singles, eventually appeared on compilations of British Invasion and British psychedelic rarities in the '80s.

Wild Gentlemen - Gilly gilly (1967) VINIL

The Wild Gentlemen from Geneva Switzerland.

Ex-Gentlemen group from Genf. Super rare and great Swiss beat/rnb/garage LP from 1967! It was recorded in 1966, and then released in 1967. This is the same band as The Gentlemen on Swiss Columbia records

Bernard Gugelmann (drums, vocal),

Jean-Claude Tschanen (bass, vocal),

Anthony Manias (guitar, vocal)

 and Richard North (guitar, vocal).

Switzerlands finest Beat from 1967.

THANKS promo for this SHARE

1. The Wild Gentlemen - Gilly Gilly (2:10)

The rock 'n' roll or "beat music" fever continued to shake young people throughout Switzerland until the end of the 1960's, without ever assuming epidemic proportions. The Nightbirds from Locarno in Italian-speaking canton Ticino cultivated an urban rhythm 'n' blues sound while guitarist Marco Zappa and the Teenagers modeled their music on that of the Beatles and the Animals. French-speaking Switzerland sent The Wild Gentlemen into the fray. They came up an unintentional swan song to the lighter rock 'n' roll of the early years with their nonsensical hit "Gilly Gilly".

2. The Wild Gentlemen - Please ,Don't Run Away (2:36)

3. The Wild Gentlemen - Baby,Bye Bye (2:41)

4. The Wild Gentlemen - My Dream (2:14)

5. The Wild Gentlemen - Here It Comes (2:23)

6. The Wild Gentlemen - Why Can't You Be Like Others Girl (2:25)

7. The Wild Gentlemen - Hulla Balloo Da Da Ding Dong Dang (1:57)

8. The Wild Gentlemen - Come On Girl (2:08)

9. The Wild Gentlemen - Stay With Me (2:10)

10. The Wild Gentlemen - I'm Gonna Leave You (3:32)

11. The Wild Gentlemen - But It Hurts Too Much Inside (3:33)

12. The Wild Gentlemen - On My Door (3:08)

13. The Wild Gentlemen - It Was A Big Mistake (2:43)

14. The Wild Gentlemen - Give Me Lovin (2:24)

V.A.- Unearthed Merseybeat vol.1;2;3

Vol.1-From the Birth of Merseybeat to Psychedelia 1957-1968
Vol.2-The Golden Age 1961-1966
Vol.3-The Dawn of a New Era 1957-1968


Vol.1-From the Birth of Merseybeat to Psychedelia 1957-1968

Product Information

By "unearthed Merseybeat," Viper Records doesn't just mean obscure Merseybeat, but unheard Merseybeat. Virtually all of these 20 tracks were previously unreleased, though one of them (Wimple Winch's "Rumble on Mersey Square South") has made it onto some mod-psychedelic reissue compilations. The rest is a real cross-quilt of stuff, including a few big or relatively big names (Gerry & the Pacemakers, the Merseybeats, the Merseys, and the Swinging Blue Jeans), but largely devoted to the sort of artists only known by those who read the very small print of record collecting magazine articles about the British Invasion. Given the arcane sources, the sound quality is understandably variable, from release-quality excellence to tracks seemingly taken from the dustiest of acetates and decaying reel-to-reel tapes. Even taking that into account, this is a worthy and occasionally fascinating dig into the Merseybeat remains, most of this dating from the early- to mid-'60s, but stretching back as far as 1957 and as late as 1968. The best buried treasure is an alternate version of the Merseys' "Sorrow," minus the brass heard on the hit U.K. single, and in some ways preferable to the slicker, more familiar version. The Merseybeats' "The Things I Want to Hear (Pretty Words)" is a quite good 1964 outtake, just as good as most of their singles. Also in the classic, bouncy, melodic Merseybeat style, and pretty good tunewise, are the Kirkbys' "Don't You Want Me No More" and the Eyes' "She," the personnel on the latter including Beatles associate Klaus Voormann and Lewis Collins of the Mojos. A good deal of this CD, however, is far more in the rawer R&B or instrumental rock vein, including a 1961 cover of "What'd I Say" by Gerry & the Pacemakers and a very good cover of Buddy Holly's "I'm Gonna Love You Too" by Denny Seyton & the Sabres. At the more modern end of the scale, the Swinging Blue Jeans' 1966 outtake "Keep Me Warm ('Til the Sun Shines)" is more interesting harmony mod pop than much of what they were putting out on their official records at that point; the Kirkbys' "Dreaming" is a nice, mid-'60s Beatles-ish soundalike with flowery lyrics; Jason Eddie's "Mr. Busdriver" is fair late-'60s mod rock with a tinge of soul; and Wimple Winch's "Rumble on Mersey Square South" is a superb slice of ominous storytelling mod rock. Though it's an archival compilation, in a way this reflects the actual range of Merseyside '60s rock better than anthologies that concentrate on the well-known mid-'60s hit acts.
1. The Merseys - Sorrow (2:21)



2. Johnny Guitar/ Paul Murphy - She's Got It (1:31)


3. Denny Seyton And The Sabres - House Of Bamboo (2:24)


4. The Kirkbys - Don't You Want Me No More (2:12)


5. The Bo-Weevils - I'm A Lover, Not A Fighter (3:03)


6. King Size Taylor And The Dominoes - Good Golly Miss Molly (2:00)


7. The Remo Four - Trambone (1:37)


8. Gerry And The Pacemakers - What'd I Say (3:16)


9. The Merseybeats - The Things I Want to Hear (2:22)


10. The Four Just Men - Instrumental (2:14)


11. The Dennisons - Tutti Frutti (2:19)


12. The Newtowns - Tomorrow (2:50)


13. Denny Seyton And The Sabres - I'm Gonna Love You Too (2:00)


14. The Eyes - She (1:51)


15. Jason Eddie - Mr Busdriver (1:58)


16. The Remo Four - Walk Don't Run (2:00)


17. The Kirkbys - Dreaming (2:29)


18. King Size Taylor And The Dominoes - Fortune Teller (2:14)


19. The Swinging Blue Jeans - Keep Me Warm ( 'Til The Sun Shines ) (2:56)


20. Wimple Winch - Rumble On Mersey Square South (4:32)
 
 
Vol.2-Unearthed Merseybeat: The Golden Age 1961-1966

Product Information

Like its predecessor, this second volume of Unearthed Merseybeat is truly archeological in its excavation of 1961-1966 Liverpool-area rock. It's not just obscure; it's wholly unreleased, all 20 of the tracks seeing the official light of day for the first time here. Despite the presence of a few name bands (Gerry & the Pacemakers, the Swinging Blue Jeans, the Merseybeats), it should be emphasized that this really is for serious collectors: the sound quality is sometimes rough, there are an abundance of cover versions of early American rock & roll songs, and nothing here is on the level of the best Merseybeat music, whether by the Beatles, Searchers, or lesser lights. Too, it's not even quite as good as Vol. 1 of the series, in part because of the presence of a number of so-so cover versions, in part because Vol. 1 likely creamed off the very best unreleased Merseybeat there is to be found. Nevertheless, it's a reasonably fun listen, and serious historians will relish the chance to hear those early recordings by Gerry & the Pacemakers, the Swinging Blue Jeans, and the Merseybeats in particular, as all of those tracks predate anything these bands released. Gerry Marsden and his boys are represented by a brace of 1961 cuts, those being a cover of "Whole Lotta Shakin' Goin' On" and the Marsden original "Why Oh Why," both recorded at a church hall; the Swinging Blue Jeans by live 1961 covers of Duane Eddy's "40 Miles of Bad Road" and the Ventures' "Walk Don't Run"; and the Merseybeats by home-recorded 1962 Everly Brothers tunes. The only other group most British Invasion fans might be likely to recognize are Rory Storm & the Hurricanes, Ringo Starr's pre-Beatles band, though Ringo was long gone by the time they did the 1965 version of Carl Perkins' "Lend Me Your Comb" here. While most of the rest serves as evidence of the naïve energy '60s Merseybeat outfits brought to rock & roll, what's missing, for the most part, is the outstanding original material that made the early recordings by the Beatles and some others from the region so significant. The welcome exceptions are the two mid-'60s numbers by the Kirkbys, which show them to be solid followers of the harmony-laden sounds of the Searchers and early Beatles.

1. The Kirkbys - Penny In My Pocket (2:34)



2. Denny Seyton & The Sabres - Karen (1:58)


3. Gerry & The Pacemakers - Whole Lotta Shakin' Goin' On (2:30)


4. The Four Just Men - Friday Night (2:16)


5. The Swinging Blue Jeans - 40 Miles Of Bad Road (1:36)


6. The Merseybeats - All I Have To Do Is Dream (2:06)


7. The Delmonts - Before You Accuse Me (2:59)


8. The Newtowns - Please Stay (3:15)


9. The Bo-Weevils - Keep Your Hands Off Her (2:54)


10. The Four Just Men - La Bamba (2:33)


11. The Pathfinders - I'm Ashamed Of You Baby (2:42)


12. Denny Seyton & The Sabres - Big River (2:34)


13. Rory Storm & The Hurricanes - Lend Me Your Comb (1:48)


14. The Swinging Blue Jeans - Walk Don't Run (2:39)


15. The Cordes - Clarabella (3:07)


16. Gerry & The Pacemakers - Why Oh Why (3:02)


17. Earl Preston & The TT's - Bony Moronie (2:20)


18. The Merseybeats - So How Come (No One Loves Me) (1:55)


19. The Kirkbys - Bless You (1:54)


20. The Newtowns - Over The Rainbow (3:23)
 
 
Vol.3-Unearthed Merseybeat: The Dawn of a New Era 1957-1968

Product Information

The third volume in the Unearthed Merseybeat series follows the same pattern as the previous two editions, with 20 rare, mostly unreleased cuts whose value might be more archival than purely musical. There's some genuinely good music here, though, and even what isn't so good helps illuminate the dustier corners of the Merseybeat sound, which encompassed more than just the Beatles or bands playing in what most people think of as the Merseybeat style. If you do like that Merseybeat style, however, there's some of that here, and generally they're the best tracks on the CD. The Kinsleys, a spin-off of the Merseybeats, offer some archetypal catchy, innocuous Merseybeat with the 1964 recording "Do Me a Favour," which the Swinging Blue Jeans would rework a little later for their single "Promise You'll Tell Her." The Merseybeats themselves are represented by a good 1965 outtake of "Soldier of Love," though it isn't nearly as good as the Beatles' 1963 BBC version. Both of these tracks are in excellent studio quality, but Gerry & the Pacemakers' 1961 recording "Pretend," like some of the other material here, is taken from a muffled, lo-fi source. The same thing goes for the two cuts by the only other group here to have hits in the U.S., the Swinging Blue Jeans, which were cut live in 1960. Of the remaining songs, the best are the two psychedelic ones by Jimmy Campbell ("Michaelangelo") and his group the 23rd Turnoff ("Flowers Are Flowering"), which are among the few relics that show a Liverpool '60s band other than the Beatles convincingly moving into psychedelic pop. Some of the other tracks verge on the purely documentary in value, whether presenting average rock & roll covers or generic if modestly enjoyable early Merseybeat (the Four Originals, the Connoisseurs, Steve Day & the Kinsmen). Rarities by a couple more interesting names, however, are on hand with just-ex-Searchers-drummer Chris Curtis' unissued 1966 track "(Baby) You Don't Have to Tell Me" (shelved when the Walker Brothers issued the same song) and the Merseys' 1966 cover of Sam Cooke's "Nothing Can Change This Love." Like the other volumes in this series, this one is given comprehensive liner notes explaining the origins of these obscurities.

1. The Kinsleys - Do Me A Favour (1:59)


2. Lance Fortune & The Firefighters - Come Go With Me (1:51)

3. The Merseybeats - Soldier Of Love (2:16)

4. The Connoisseurs - Make Up Your Mind (3:01)

5. The Swinging Blue Jeans - Once In A While (3:36)

6. Earl Preston & The TT's - Betty Jean (2:37)

7. Dale Roberts & The Jaywalkers - Daydream (2:25)

8. Earl Royce & The Olympics - Shake Your Tail Feathers (2:12)

9. Lance Fortune & The Firefighters - That'll Be The Day (2:12)

10. Gerry & The Pacemakers - Pretend (2:25)

11. The 23rd Turnoff - Flowers Are Flowering (3:19)

12. The Connoisseurs - I'm Lookin' Thru You (2:34)

13. The Four Just Men - Sticks And Stones (2:29)

14. The Four Originals - You Won't Be Leaving (2:24)

15. Chris Curtis - Baby You Don't Have To Tell Me (2:15)

16. The Merseys - Nothing Can Change This Love (1:59)

17. The Swinging Blue Jeans - Ain't What You Do (2:10)

18. Steve Day & The Kinsmen - Last Bus Home (2:23)

19. Focal Point - Sycamore Sid (2:42)

20. Jimmy Campell - Michaelangelo (2:08)

The Shadows of Knight - Dark Sides (Best Of The Shadows Of Knight)

"The Stones, Animals and Yardbirds took the Chicago Blues and gave it an English interpretation. We've taken the English version of the Blues and re-added a Chicago touch." The Shadows of Knight's self-description was fairly accurate. Although this mid-'60s garage band from the Windy City did not match the excellence of either their British or African-American idols, the teen energy of their recordings remains enjoyable, if not overwhelmingly original.

The Shadows Of Knight - 4 albums from JANCY

The group took a tamer version of Them's classic "Gloria" into the American Top Ten in 1966, and also took a Yardbirdized version of Bo Diddley's "Oh Yeah" into the Top 40 the same year. Their patchy albums contained a few exciting R&B covers in the Yardbirds/Stones style and a few decent originals in the same vein. The group's original lineup splintered quickly, and the Shadows faded in the late '60s after briefly pursuing a more commercial pop sound. Vocalist Jim Sohns continued fronting various incarnations of the band and was ultimately arrested in 1980, although he only served a three-year sentence for drug charges. In the years that followed, the Shadows of Knight enjoyed something of a comeback as several labels reissued their material, and Sohns pieced together a new touring lineup. Shows with the Romantics and Cheap Trick followed, as did the release of two new albums: 2007's A Knight to Remember and 2008's Rock 'n' Roll Survivors.

1. Shadows Of Knight - Gloria (2:37)

2. Shadows Of Knight - Dark Side (2:03)

3. Shadows Of Knight - Oh Yeah (2:48)

4. Shadows Of Knight - Light Bulb Blues (2:35)

5. Shadows Of Knight - It Always Happens That Way (1:56)

6. Shadows Of Knight - I Got My Mojo Working (3:33)

7. Shadows Of Knight - You Can't Judge A Book (By The Cover) (2:40)

8. Shadows Of Knight - Bad Little Woman (2:38)

9. Shadows Of Knight - Gospel Zone (3:19)

10. Shadows Of Knight - I'll Make You Sorry (2:41)

11. Shadows Of Knight - I'm Gonna Make You Mine (2:33)

12. Shadows Of Knight - Peepin' And Hidin' (3:02)

13. Shadows Of Knight - Willie Jean (2:49)

14. Shadows Of Knight - The Behemoth (2:35)

15. Shadows Of Knight - Someone Like Me (2:21)

16. Shadows Of Knight - Three For Love (2:37)

17. Shadows Of Knight - Shake (2:31)

18. Shadows Of Knight - My Fire Department Needs A Fireman (2:22)

19. Shadows Of Knight - Alone (2:07)

20. Shadows Of Knight - I Am The Hunter (2:52)

Mark Wirtz - Theme From A Teenage Opera (1996)

FROM JANCY

Mark Wirtz - A Teenage Opera: The Original Soundtrack Recording Theme from a Teenage Opera

The Teenage Opera - one of the legendary long lost projects of the sixties - comes to life for the first time. RPM is presenting the soundtrack for The Teenage Opera - in as near a form to the original concept as possible - as it would have been had EMI not pulled the plug back in 1968. Producer Mark Wirtz began work on The Teenage Opera story idea in 1966 when contracted to EMI, and teamed up with a group of musicians including Steve Howe and Keith West plus engineer Geoff Emerick.

The story of The Teenage Opera was to include sketches of different characters who inhabited a fantasy village, which in turn was part of a story being told by a young man to a young woman. Two singles were released as Excerpts from the Teenage Opera - "Grocer Jack "and "Sam", both here in stereo for the first time and featuring Keith West's vocals (the former also including "Theme From A Teenage Opera" on the b-side). Whilst "Grocer Jack" became a huge UK & European hit, "Sam" failed to emulate it and after EMI saw how much money the two singles had swallowed up they lost interest, patience or whatever, and refused to finance The Teenage Opera project. Undeterred, Mark Wirtz continued to use his musical ideas and a number of Teenage Opera characters and themes appeared over the years on a variety of singles by different bands or as solo releases.
It is by using these singles and tracks which Mark Wirtz has collected together that we are at last able to present for the first time, after 30 years, A Teenage Opera. There are 24 tracks - most never reissued on any format, six previously unreleased. With the full cooperation of Wirtz, the Opera is presented as a Film Soundtrack and includes incidental music linking the tracks together, taken from Wirtz's own library of original demos. These include different versions of the 'Theme', 'Grocer Jack', and 'Weatherman'. At the time, 1967, the Teenage Opera was very newsworthy with Cliff Richard being mooted to play the leading role in the film. The hype reached crazy proportions and made the daily newspapers. Today The Teenage Opera is still talked about in "whatever happened to" circles and its emergence now will be of immense interest to all lovers and collectors of 1960's music.

The Story Behind “The Teenage Opera”


http://www.leonardslair.co.uk/teenage.htm

http://en.wikipedia.org/wiki/A_Teenage_Opera

1 Theme from a Teenage Opera 2:33


2 Festival of Kings 2:45

3 Grocer Jack [Excerpt from a Teenage Opera] 4:40

4 The Paranoiac Woodcutter, No. 1 1:25

5 Mr. Rainbow 2:32

6 Glory's Theme (All Aboard!) 4:51

7 On a Saturday 3:11

8 Possum's Dance 2:36

9 Auntie Mary's Dress Shop 2:45

10 Love & Occasional Rain 4:44

11 Grocer Jack (Reprise) 1:08

12 Sam 5:12

13 Farewell to a Broken Doll 3:22

14 (He's Our Dear Old) Weatherman 4:01

15 Shy Boy 2:36

16 Grocer's Jack Dream 3:34

17 Barefoot & Tiptoe 2:44

18 Kinckerbocker Glory 2:23

19 Dream, Dream, Dream 2:14

20 Colonel Brown 2:51

21 Cellophane Mary-Jane 2:31

22 Paranoiac Woodcutter, No. 2 1:10

23 Theme from a Teenage Opera [End Titles] 2:44

"A Teenage Opera," like the Beach Boys' infinitely more celebrated Smile, was never truly completed as such; collectors have always wondered, however, if the project exists as a "lost" album of sorts. This 23-track sequence of tracks by Keith West, Tomorrow, Wirtz, Kippington Lodge, the Sweetshop, Zion de Gallier, and Steve Flynn (some previously unissued), is as close an approximation as can be delivered. The psychedelically-influenced baroque rock-cum-easy listening arrangements are interesting, but really this is too twee and precious to qualify as anything like a lost masterpiece. Nor is it much of an orchestral pop suite; it's more a grouping of songs with a similar sunny fairyland vibe, sounding like an in-progress version of a children's rock record. You're far better off hearing "Teenage Opera," "Sam," and the Tomorrow cuts — which are the gutsiest and most durable selections here by a wide margin — on RPM's The Complete Keith West compilation, or the original (and only) Tomorrow album.

***********

Mark Wirtz

"Easy listening" isn't really an appropriate classification for Mark Wirtz; "instrumental pop" may suit him better. An EMI staff producer in the late '60s, Wirtz's most enduring contributions to contemporary music were as producer of Tomorrow, one of the finest overlooked British psychedelic groups (featuring guitarist Steve Howe in his pre-Yes days). (It's also been reported that Wirtz turned down a chance to work with Pink Floyd in the Syd Barrett days.) Wirtz also made some "mood music" albums on his own, the most ambitious of which was a "Teenage Opera" song cycle of sorts that he began working on in 1967. Tomorrow lead singer Keith West was enlisted as lyricist, and one piece developed into West's 1967 "Excerpt from a Teenage Opera" single. A grandiose, multi-part orchestrated narrative, it became an unexpectedly huge (number two) hit in Britain in the summer of 1967.

This led to reports that an entire "Teenage Opera" was in the works, and indeed West did record a marginally successful follow-up ("Sam") in the same vein. The entire opera, however, never appeared, partly because West wasn't entirely keen on the project, and was far more eager to continue playing underground psychedelic rock with Tomorrow (which would break up in 1968 anyway) than to sing far more pop-oriented material as a solo act. Wirtz continued to work as a producer and issue more rock-influenced easy listening albums; dribs and drabs of songs that may have been earmarked for the "Teenage Opera" project would appear under the names of both himself and non-entities like Sweetshop and Zion de Gallier. While the "Teenage Opera" and "Sam" singles sound as much like kiddie rock as grand concepts in the making, it's possible that their suite-like construction influenced the Who's Tommy and the Pretty Things' S.F. Sorrow, both of which are usually referred to as the first full-blown rock concept albums that followed a storyline. In 1996, a mock-up of what the "Teenage Opera" album may have sounded like was built from tracks by Wirtz, West, Tomorrow, and others, and issued on the RPM label.

Helen Shapiro - The Ultimate Helen Shapiro

Английская певица Хелен Шапиро родилась 28 сентября 1946 года в Лондоне. Ее дедушка и бабушка были евреями-иммигрантами из России. Родители Хелен были крайне бедны и не могли позволить себе иметь в доме даже самый дешевый проигрыватель... 8((

, а музыку они очень любили. Именно поэтому с самого раннего детства они начали обучать свою дочь пению и игре на банджо. В раннем возрасте Хелен начала петь в школьной джазовой группе. Ее голос очень необычным, несвойственным для девочек ее возраста. Профессиональная певческая карьера Хелен началась в 1960 году, когда ей было всего-навсего четырнадцать лет. Эта рано начавшаяся карьера и жесткий график выступлений не позволили Хелен нормально учиться в школе.

Впрочем, вряд ли об этом пожалела. Ее сильный, красивый голос некоторые специалисты сравнивали с голосами известных оперных певиц и прочили Хелен карьеру именно в опере, однако сама юная певица видела себя в роли джазовой певицы. Кумирами молодой британской звезды были Фрэнк Синтара и Джуди Гарланд.

Заметили юное дарование представители звукозаписывающей компании EMI. В 1961 году две песни в ее исполнении заняли первую строчку в британском хит-параде. Это были You Don’t Know и Walkin’ Back To Happiness. Ее взрослый и красивый голос мгновенно стал сенсацией.

Прежде чем Хелен исполнилось шестнадцать, ее признали лучшей английской певицей. Со 2 февраля по 3 марта 1963 года в британском гастрольном турне Хелен Шапиро принимали участие Beatles. Beatles подружились с Хелен, она была первой, кому Джон и Пол сыграли песни "From Me To You" и "Thank You Girl". Ребята попросили помочь им

выбрать, какая из песен лучше подойдет для стороны "А" их будущего сингла. Хелен выбрала "From Me To You" и этот сингл стал №1 в Великобритании.

Карьера Хелен Шапиро была скоротечной. Уже в 1964 году о ней начали забывать. За три года ей удалось выпустить несколько синглов и один альбом. После 1964 года Хелен пела в театральных мюзиклах, вскоре стала джазовой певицей, в еще через какое-то время увлеклась госпел-музыкой (традиционное религиозное пение афро-американского протестантского населения США). Также Хелен сыграла одну из ролей в мюзикле «Оливер!» Лайонела Барта и снялась в нескольких телевизионных сериалах. В 2002 году она закончила карьеру певицы, посвятив себя вопросам религиозного характера.

http://www.electricearl.com/dawson/helenshapiro.html

Helen Shapiro is remembered today by younger pop culture buffs as the slightly awkward actress/singer in Richard Lester's 1962 debut feature film, It's Trad, Dad. From 1961 until 1963, however, Shapiro was England's teenage pop music queen, at one point selling 40,000 copies daily of her biggest single, "Walking Back to Happiness," during a 19-week chart run. A deceptively young 14 when she was discovered, Shapiro had a rich, expressive voice properly sounding like the property of someone twice as old, and she matured into a seasoned professional very quickly.

She grew up in London's East End and was performing with a ukulele at age nine as part of a school group -- supposedly called Susie & the Hula Hoops.whose members included a young Mark Feld (aka Marc Bolan) -- that used to sing their own versions of Elvis Presley and Buddy Holly songs. She subsequently sang with her brother Ron Shapiro's trad jazz turned skiffle outfit at local clubs before enrolling in classes at Maurice Burman's music school in London. Burman was so taken with Helen Shapiro's voice that he waived the tuition to keep her as a student. He later brought her to the attention of Norrie Paramor, then one of EMI's top pop producers (responsible for signing Cliff Richard & the Shadows). Shapiro's voice was so mature that Paramor refused to believe from the evidence on a tape that it belonged to a 14-year-old until she came to his office and belted out "St. Louis Blues." She cut her first single, "Please Don't Treat Me Like a Child," a few weeks later and broke onto the British charts in 1961... Read More...

It wasn't to be, however. After appearing in her second movie, Play It Cool, which starred Billy Fury, Shapiro faded from the charts, although she didn't disappear from the British musical consciousness. She still headlined tours in the United Kingdom and in early 1963, she made the acquaintance of a support act that had been newly signed to EMI: the Beatles. She headlined the Beatles' first national tour of England and Shapiro and the group enjoyed each other's company. At 16, she was much more the seasoned professional than the older Liverpool quartet, who loved her voice and her unassuming manner. She sang with them on the bus, advised them to make "From Me to You" their next record after "Please Please Me," and they, in turn, wrote "Misery" for her. Astonishingly, EMI -- not yet sensing the golden touch that the Beatles (who had yet to cut their first LP) would soon reveal -- declined to give Shapiro the chance to record a Lennon-McCartney tune, costing her the chance to become the first artist to cover a Lennon-McCartney song just at the point when the Beatles were about to sweep all before them in the pop charts.

There's no telling what Shapiro, with her rich intonation, could have done with that downbeat little diamond in the rough in the early Lennon-McCartney song bag. Shapiro had another chance at an even more promising song later in 1963 when she went to cut an album in Nashville. In a session backed by the likes of Grady Martin and Boots Randolph, she cut the very first recording of "It's My Party." And again, EMI failed to get behind the single, sitting on its release until a virtual unknown named Lesley Gore got her rendition out first on Mercury and topped the U.S. charts. Shapiro's career at EMI ended in 1963 and her periodic attempts to resume recording at Pye, DJM, and Arista over the next decade failed to generate any chart action

Helen Shapiro - The Ultimate Helen Shapiro 2003

1. Helen Shapiro - It's My Party (2:27)

2. Helen Shapiro - Lipstick On Your Collar (2:19)

3. Helen Shapiro - He's A Rebel (2:18)

4. Helen Shapiro - Walkin' Back To Happiness (2:32)

5. Helen Shapiro - Will You Love Me Tomorrow (3:22)

6. Helen Shapiro - A Teenager In Love (2:19)

7. Helen Shapiro - Fever (2:26)

8. Helen Shapiro - I Don't Care (2:33)

9. Helen Shapiro - Are You Lonesome Tonight (2:48)

10. Helen Shapiro - Beyond The Sea (La Mer) (3:30)

11. Helen Shapiro - Don't Treat Me Like A Child (2:34)

12. Helen Shapiro - It Might As Well Rain Until September (2:22)

13. Helen Shapiro - Move Over Darling (2:34)

14. Helen Shapiro - Please Mr Postman (2:39)

15. Helen Shapiro - Tell Me What He Said (2:48)

16. Helen Shapiro - You Don't Know (2:42)

17. Helen Shapiro - Walk On By (2:50)

18. Helen Shapiro - St Louis Blues (4:46)

19. Helen Shapiro - Basin Street Blues (3:35)

20. Helen Shapiro - Blues In The Night (4:04)

21. Helen Shapiro - My Guy (2:52)

22. Helen Shapiro - Woe Is Me (2:03)

23. Helen Shapiro - Look Who It Is (2:14)

24. Helen Shapiro - Little Miss Lonely (2:56)

25. Helen Shapiro - Keep Away From Other Girls (2:26)

26. Helen Shapiro - Let's Talk About Love (1:57)

27. 27 Queen For Tonight

28. 28 It's In His Kiss