Sunday, August 29, 2010

YaroS - Ural (2008) Russia

Request


YaroS - on modern russian language translated, as "burning" or "solar".

Состав:

Владимир Вахрамеев - гитара, варган, yedakie-bone, флуер, вокал;
Дмитрий Злобин - виолончель, гитара;
Сергей Пьянков - кларнет, саксофон;
Илья Иванов - этнические и эстрадные барабаны;
Артём Подосёнов - бас, бэк-вокал
Любовь Зорина - бэк-вокал, флейта

А так же:

Арсений Плешаков - директор, менеджер коллектива
Михаил Белавин - звукорежиссёр
Ян Кунтур - автор ряда текстов

ЯроС - на современный русский язык название группы переводится, как "огненный" или "солнечный". Это оправдывают живые выступления коллектива, полные яркой подачей, искренними эмоциями, теплом, которым музыканты заряжают зал. Группа начала свой творческий путь в 2006 году, развиваясь в направлении фолк-рок. Сегодня "ЯроС" экспериментирует во многих стилях от этно импровизации, до арт-рока, прогрессивного фолка и этно-джаза. В арсенале коллектива более 15 классических, этно и рок инструментов. По отзывам портала Darkside: "Виолончель и деревянные духовые рождают удивительное звуковое полотно: мягкое, теплое, уютно-домашнее, но вместе с тем и величественное, эпичное и красочное – как сами древние Уральские горы!"


YaroS is a group of Ural musicians - experiment makers. The original look at folk music, bright performances, energetic and sincere songs – all of them are distinguishing features of YaroS. The group is in constant search of interesting combination of instruments, traditional and modern art forms. The group plays over 15 instruments of different epochs and territories.
The group is the laureate of numerous Russian and International festivals.

 
 
1. YaroS - Plyaski Leshego (5:32)

2. YaroS - Slavyanskiy Den' (6:15)

3. YaroS - Mesyats Nad Svetlym Borom (5:43)

4. YaroS - Pesn' Dozhdya I Zemli (3:51)

5. YaroS - Konnitsa (6:42)

6. YaroS - Torum (6:24)

7. YaroS - Bat'ka Ural (6:08)

8. YaroS - Matushka Zima (3:37)

9. YaroS - Ural'skiy Voin (4:45)

Saturday, August 28, 2010

The Sidetrack - Baby (1969)


Sidetrack's only known recorded effort is this 1969 demo album which originally appeared
 in a blank sleeve with the album's labels glued to the cover!
Very little information is known from this group. This seems to be a professionally recorded demonstration copy for an intended Elektra release, which never happened.

The Sidetrack consisted of Alan, Christopher and Peter Brown, Kenneth Gullmartin, Andrew Higgs and John Lewis.

This album is something pretty special: a recording that makes one regret Elektra¿s lack of foresight in not making it commercially available as well as the opportunity to develop Sidetrack¿s considerable potential which slipped through the label's fingers.



The album has is own special atmosphere, which is end of 60's styled, song driven with some colourful melodic clarity in expression-. It is well arranged, often with multilayered keyboards (piano's, harpsichord, organ), bass and drums but almost no guitars.

The songs fit well together as if there's a story line between them. The baroque elements are also very special which are worked out now and then, at first only a little bit on Baby, and well adapted into the composition on Sweet Substitute. Blues for Matthew has true Bach-like arrangements, a complex almost symphonic track with string-,band- and vocal arrangements. A blues element of harmonica is mixed greatly into this rather unique track. The first tracks on the second side are rather short. A separate song easily remembered into as a pop standard and to take out of the context of the album, might be Summershi. 2314-B is the second long track, with a jazzy/bluesy, half composed, half improvised evolution of organ, harpsichord, bass, harmonica, and some complex rhythms. Also this track has a rather baroque symphonic theme further on, which is equally successfull and in a catchy way mixed with the other styles. After such an impressive complex track, Knowing what you hold so dear is held much simpler, a short song accompanied by some acoustic guitar arrangement only.



A very enjoyable album which deserves this first reissue. Only a shame there isn¿t a real cover designed for it, we don¿t have real band info, not even a photograph.
But An unusual album that is highly recommended.
 
1. The Sidetrack - Rock & Roll (3:35)

2. The Sidetrack - Peace Of Mind (2:56)

3. The Sidetrack - Summership (2:10)

4. The Sidetrack - 2314 - B (3:02)

5. The Sidetrack - Knowing What You Hold So Dear (3:54)

6. The Sidetrack - Baby (6:25)

7. The Sidetrack - Colors (2:32)

8. The Sidetrack - Wild Eyes (3:23)

9. The Sidetrack - Monkey (2:49)

10. The Sidetrack - Sweet Substitute (11:07)

11. The Sidetrack - Blues For Matthew (1:50)
 
This album is something pretty special: a recording that makes one regret Elektra's lack of foresight in not making it commercially available as well as the opportunity to develop Sidetrack's considerable potential which slipped through the label's fingers. But it's here now!!!
 

Friday, August 27, 2010

V.A. - Heimatliche Klaenge vol.28



Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.28


The Black Stars



01 Ich frag dich noch einmal (The Last Time)

02 My Poor Heart Cries

03 Shakin All Over

04 Remember

05 Scrivo Sui Muri

06 Ci-Fermiamo Due Muri

07 Lonely Girl

08 Don't Fight It

09 Il Volto Della Vita (Wiking Groth & Orchestra Ugo Marino)

10 Darlin (Wiking Groth & Orchestra Ugo Marino)

Thursday, August 26, 2010

V.A. - Heimatliche Klaenge vol.27




Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.27



german cover versions 2



01 Chris Andrews - Alles tu' ich fuer dich

02 Bob de Neys - Nicht mal fuer einen Dollar

03 Dany Mann - Hippy Hippy Shake

04 Monica - Bang Bang

05 Jacob Sisters - Was hab ich dir getan

06 Hans Juergen Wenger - Sie liebt mich

07 The Thunderbirds - Cadillac

08 The Beatchers - Shake Hands

09 Twen Boys - Komm gib mir deine Hand

10 Udo Arndt & The Safebreakers - Hey Girl

11 Robert Williams & The Strangers - Du you love me

12 The Lords - Tobacco Road

13 Vicky - Dreamboy

14 Mary Roos - Du

15 Rags - Ich lieb dich

16 Little Juergen & Wallflowers New Sound - Seit ich dich sah

17 Juergen Wenger - Lass doch den Boy von nebenan

18 Brain Diamond & The Cutters - Keine Angst Little Woman

19 Bernhard Frank - Ich lieb dich Baby

20 Malepartus II - Ich glaab die hole mich ab ha-haa

21 Gerry & His Comets - Ich bin froh

22 Five Tops - Dein Herz ist kalt wie Eis

V.A. - Heimatliche Klaenge vol.26



Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.26



german cover versions



01 The Yankees - Halbstark

02 Black Stars - Ich frag dich noch einmal

03 Crazy Combo - Hey Balla Balla

04 Five Tops - Heute ist Heut

05 Gerhard Dlugi - Gloria

06 Gella & die Gentries - Die Schand und das gered'

07 MIchael & The Firebirds - He little Blondie

07 Ronnie Peller - Skinny Minnie

08 Theo Schumann Combo - Wer War Gestern Bei Dir

09 Hannelore Cremer - Kuba Rock

10 Bernhard Frank - Es ist mir egal

11 Four Kinks - Broetchen und Milch

12 Berti - Immer nur die ander'n

13 Manfrd Krug - Es steht ein Haus in New Orleans

14 Hans-Juergen Wenger - Dir fehlt ein Boy

15 Henner Hoier (The Rattles) - The Witch

15 Sigi Hoppe - Der Major

16 Willie Nolte - Happy Jack

17 Die Five Tops - Rag Doll

18 Black Berries -Ich seh Black

19 Bambies - Jyok-a-mot-a-hucke-packe-ju-ju hand

19 Peter Beil - Weitergehn

20 Crazy Girls - Der Feuerstuhl

21 Five Tops - Glaube an das Leben

22 Peggy Peters - Aus

Human Instinct - Singles 1966-1971

REPOST



One of New Zealand's most popular hard rock/psychedelic bands of the late 1960s and early 1970s, the Human Instinct never broke into the international market, despite a couple of concerted attempts to do so in England.
The group evolved from the Four Fours, which had some hits in New Zealand in the mid-1960s, including "Moon Blues," the instrumental "Theme from an Empty Coffee Lounge," and "Go Go." The last of these was a fair beat number that made #12 in New Zealand in September 1966, the same year the Four Fours supported the Rolling Stones on the visiting superstars' second New Zealand tour. In August of that year, the Four Fours sailed to England to try and make an entree into the British pop scene, changing their name to the Human Instinct on the way. In London, the Human Instinct got to play under numerous star groups as a support act. After three Mercury singles stiffed in 1967, they recorded for Deram under producer Mike Hurst and made a couple more unsuccessful 45s. Some of these—the most renowned is "Day in My Mind's Mind"—have surfaced on specialist British sixties rock reissues, and show a competent but rather colorless psychedelic-sprinkled pop band with accomplished vocal harmonies. Drummer Maurice Greer, it has been written, declined a chance to play in Jeff Beck's group before the Human Instinct returned to New Zealand. Upon the band's return their personnel and sound were radically reorganized, with only Greer left from the UK lineup. The most significant addition was guitarist Billy Tekahika, who played under the name Billy TK. Partly because of Tekahika, the Human Instinct embarked on a far heavier psychedelic direction, influenced heavily by the wah-wah and distortion of Jimi Hendrix. Some of the material on their early 1970s albums on Pye was supplied by non-member Jesse Harper, a tape of whom allegedly impressed Hendrix himself. The later incarnation of the Human Instinct did go to England again to try and widen their audience, and again failed. The Human Instinct's cult reputation rests largely upon their first three albums in the 1970s, which have been reissued on CD by Ascension in Australia. Without denying the band's importance in New Zealand, where talented hard rock guitarists were rarer than they were in bigger countries, the records are so-so, or worse, blues-rock-psychedelia that offer little appeal or charm for the collector, despite Billy TK's abilities on guitar. Maurice Greer was still keeping a lineup of the Human Instinct going and recording in the late 1990s.

01 - Cant Stop Around 2:3302 - I Want To Be Loved By You My F 2:2603 - The Rich Man 2:3804 - Illusions 2:2205 - Go Go 2:0006 - I Cant Live Without You 2:2307 - A Day In My Minds MInd 2:1108 - Death Of The Seaside 2:3009 - Renaissance Fair 2:2210 - Pink Dawn 1:5711 - I Think Ill Go Home 3:1712 - You Really Got Me 3:2713 - Midnight Sun 4:1614 - Idea 4:3515 - Black Sally 4:2916 - Tomorrow 4:2117 - Rainbow World 4:1718 - Highway 2:1919 - Texas Sparrow 2:4020 - Children Of The World 2:31

VA - 1960's Rock 'N' Roll Collection/Original Artists (8CD)



1960's Rock 'N' Roll Collection


VOL .1


VOL .2



VOL .3



VOL .4


VOL .5


VOL .6


VOL .7


VOL .8


Tuesday, August 24, 2010

V.A. - Heimatliche Klaenge vol.25


Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.25



arOnda (2)



5.014a - The ghost / The Ghostmen

5.014b - A kiss away

5.015a - My Molly / The Savages

5.015b - No use crying

5.019a - Little girl / The Funky Family

5.019b - Rita

5.023a - The boy / Sunny Appleday

5.023b - My crazy world

5.024a - If you let me make love to you .../ The Toxic

5.024b - Waiter

5.026a - Make it real / The Funky Family

5.026b - Good dancer

5.027a - Life / Tortilla Flat 5.027

5.027b - Facts

5.046a - Bella Maria / The Young People

5.046b - Che sara

V.A. - Heimatliche Klaenge vol.24


Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.24



arOnda



5.001a - Dolly / Mike Roger & his Machine-Guns

5.001b - So long, Goodbye

5.004a - Pentension / Little Steve & the Penitence

5.004b - Ruddy Rumpus

5.006a - City sun / The Savages

5.006b - She`s very young

5.008a - Open your heart / The Rascals

5.008b - St. James Infirmary

5.009a - Why don`t you stay / The Savages

5.009b - Inside my love

5.010a - Wer hat die Schuld / The Diamonds

5.010b - Versprich nichts

5.012a - I know / The Savages

5.012b - Promise you

5.013a - Sad Saturday / The Reacers

5.013b - Never alone

Friday, August 20, 2010

V.A. - Heimatliche Klaenge vol.23


Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.23

Casey Jones And The Governors und andere - Bellaphon World Beat Hits Vol.2

01  -  Don't Ha Ha / Casey Jones And The Governors
02  -  Shame And Scandal / The Vanguards
03  -  Gloria / The Vanguards 
04  -  Eve Of Destruction / The Vanguards
05  -  Rolling Like A Stone / Roland Schneider
06  -  My Generation / The Vanguards
07  -  Long Gone Train / Casey Jones And The Governors
08  -  Tall Girl / Casey Jones And The Governors
09  -  Treat Her Right / The Vanguards
10  -  Weґve Gotta Get Out Of This Place / The Vanguards
11  -  Come Along With Me / Sonny Stewart
12  -  Beat March / Roland Schneider
13  -  Beggar In Town / Sonny Stewart
14  -  Blue Tars / Casey Jones And The Governors

V.A. - Heimatliche Klaenge vol.22


Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.22

The Beatchers - Bellaphon World Beat Hits Vol.1  

01  -  Long Tall Sally
02  -  Memphis Tennessee
03  -  Please Mr. Postman
04  -  The House Of The Rising Sun
05  -  Farmer John
06  -  Amerika
07  -  And I Love Her
08  -  Itґs All Ove Now
09  -  Louie Louie
10  -  Then She Kissed Her
11  -  Pretty Woman
12  -  If I Had A Hammer
13  -  Shake Hands
14  -  Do Wah Diddy Diddy

V.A. - Heimatliche Klaenge vol.21


Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.21

Yeah Yeah - Elite SOLP-S33-251

01 - Mean Woman Blues - The Golfs
02 - Listen To My Words - The Leanjeans
03 - Love Is A Swinging Thing - The Eyes
04 - It's No Good Baby - The Golfs
05 - Let's Get Together - The Liverpool Beats
06 - Twenty Flight Rock - The Eyes
07 - Mona - The Walkers
08 - I'll Never Get Over You - The Rollicks
09 - Things We Said Today - The Golfs
10 - Louie Louie - The Rollicks
11 - Stupidity - The Golfs
12 - It Is True - The Pounds
13 - There Is Always Me - The Golfs
14 - Little Queenie - The Pounds

V.A. - Heimatliche Klaenge vol.20




Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.20

Beat - Elite SOLP-S33-250

01 - Baby Baby - The Eyes
02 - Another Saturda Night - The Eyes
03 - Bread And Butter - The Golfs
04 - Walkin' The Dog - The Liverpool Beats
05 - She Said Yeah - The Progressives
06 - Matchbox - The Progressives
07 - Hurtin' Inside - The Progressives
08 - Rosalie Come Back To Me - The Rollicks
09 - A Hard Days Night - The Leanjeans
10 - Jack The Ripper - The Rollers
11 - You Better Move On - The Rollicks
12 - Run Away - The Leanjeans
13 - Sweet Little Rock And Roller - The Rollicks
14 - Ain't Got You - The Progressive

Wednesday, August 18, 2010

Billie Davis - Watcha Gonna Do? Singles,Rarities and Unreleased 1963-66





Carol Hedges was a 16-year-old aspiring singer when she was discovered as the result of a talent contest in 1962. Backed up in the competition by Cliff Bennett's support group, the Rebel Rousers, she won the contest and Bennett got her together with producer Joe Meek.

Hedges was recorded by Meek with his resident group, the Tornados, without achieving success. Luckily, a neophyte music talent manager named Robert Stigwood had also seen her and liked what he heard, and he ultimately took her away from Meek. He was impressed with Hedges' singing, a white soul sound similar to (though not as powerful as) Beryl Marsden's work, and also with the fact that her two musical inspirations were Billie Holiday and Sammy Davis Jr.. Stigwood renamed her Billie Davis and teamed her with Mike Sarne, another singer he had under contract, and the two scored a novelty hit in 1962 with "Will I What." For her solo debut, he gave her a song that he had heard on a visit to America. "Tell Him" had been recorded by the Exciters, but Davis' cover, released on English Decca, made the Top Ten in England in early 1963 despite the fact that the American original actually topped the U.K. charts at the same time. Davis recorded for both English Decca and Pye Records during the early and mid-'60s without ever duplicating "Tell Him"'s success — the closest she came to another hit was in 1968, with "I Want You to Be My Baby." Some of her work was reissued on compilation CDs, including her cover of Burt Bacharach's "The Last One to Be Loved," which appears on Sequel Records' Trains & Boats & Covers. Billie Davis is fondly remembered in England by her early pop/rock success in the pre-Beatles era.



01. Will I What (Intro)
02. Sweet Nothin's
03. Will You Love Me Tomorrow
04. Tell Him
05. It's So Funny I Could Cry
06. You Don't Have To Be A Baby To Cry
07. Bedtime Stories
08. You And I
09. That Boy John
10. Say Nothin' Don't Tell
11. School Is Over
12. Give Me Love
13. Whatcha Gonna Do
14. Everybody Knows
15. The Last One to Be Loved
16. You Don't Know
17. No Other Baby
18.Hands Off
19.When You Move You Lose
20.Tastes Sour Don't It
21.Heart and Soul
22. Don't Take All Night
23.You Don't Know Like I Know
24.Two Little People
25.That's Really Some Good
26.Swingin' Tight
27.Just Walk in My Shoes
28.Ev'ry Day

The split of Billie Davis' 1960s recordings between three different labels seems to have made it impossible to compile a truly definitive retrospective of her work, which would take two CDs if it were to be complete. Should you want everything she recorded between her two separate stints with Decca Records, however, this compilation is exemplary, even if its omission of that Decca material (which included all three of her British chart hits) means that this shouldn't be mistaken for a best-of. All of her 1963-1966 singles for Columbia and Piccadilly (including her duets as half of Keith & Billie) are on this 28-track anthology, along with five previously unreleased 1963 cuts (two studio outtakes and three live performances). These show Davis to be a singer worthy of attention by serious British Invasion fans, yet not one who was quite good enough to demand re-investigation by less intense specialists. Influenced by both girl group and soul, she had a perky, girlish, vibrato-heavy sound that wasn't far off the standards of, say, Lulu. Yet she was clearly not in the same league as Lulu either vocally or in terms of the quality of the material she recorded. Some of the tracks are dull or hindered with cheaper, more dated early-'60s British pop production than the likes of Dusty Springfield or Lulu ever had to overcome. Still, there are some very good songs here, like the sassy, swaggering "Whatcha Gonna Do" — the one track here you could peg as a should-have-been hit that never was — and its swinging, infectiously catchy girl group-ish B-side, "Everybody Knows." Other singles (like 1966's "Just Walk in My Shoes"/"Ev'ry Day") showed her gravitating toward credible blue-eyed soul, and "The Last One to Be Loved" is a good and sumptuously orchestrated cover of a Bacharach/David song that's highly reminiscent of Dionne Warwick's mid-'60s recordings — no real surprise, since Warwick herself recorded it too. The duets with Keith Powell (billed to Keith & Billie), however, were tame soul-pop tunes that undermined her strengths. The liner notes give a good account of Davis' career during this hitless period, and if you pick this up in conjunction with the compilation Tell Him: The Decca Years, you'll have everything you need to hear by the singer. ~  by Richie Unterberger

The Mirage - Tomorrow Never Knows : Singles and Lost Sessions 1966-1968


The Mirage managed to release seven singles on three labels in the U.K. between 1965 and 1968 without getting anything resembling a hit or even a solid cult reputation. This can be ascribed to two major factors: the absence of significant original musical vision, and the absence of really strong original material, although they did write many of their own songs.



Dee Murray - lead guitar, vocals
Pete Hynes - vocals
Ray Glynn - guitar, vocals
Pat Hynes - bass guitar
Dave Hynes - drums, vocals


Their upbeat, harmony-laden approach was quite British and owed significant debts to the 1966-era Beatles and the Hollies, as well as lighter ones to the Who. The most British aspect of their sound was their propensity for songs with a storytelling, observational viewpoint. The most famous of these was their 1967 single, "The Wedding of Ramona Blair," about a bride whose groom fails to show up at the ceremony, which has appeared on several compilations of British psychedelia obscurities.

The Mirage signed to Dick James Publishing and served as the house band for that organization; they also backed Elton John at his first solo performances. The group split up in October 1968 when lead guitarist Dee Murray and drummer David Hynes briefly joined the Spencer Davis Group. Murray became bassist in Elton John's band, while Hynes left the Spencer Davis Group in spring 1969 (perhaps with Murray — it's not clear from existing documentation) and re-teamed with the other members of the Mirage to form the Portobello Explosion, who did a 1969 single for Carnaby; that band then changed into Jawbone, who also recorded for Carnaby. Much of the material from their singles, as well as a bunch of unreleased acetates, demos, and BBC broadcasts, can be heard on the CD You Can't Be Serious. ~ by Richie Unterberger
                                     Other : The Mirage (band) - Wikipedia, the free encyclopedia

Tomorrow Never Knows - The Pop Sike World of The Mirage - Singles and lost sessions 1966-1968 (Compilation album on RPM Records - RPMBC319)

1. Mirage - Tomorrow never knows (2:36)

2. Mirage - You can't be serious (1:59)

3. Mirage - Gone to your head (2:05)

4. Mirage - I want love (2:24)

5. Mirage - Hold on (2:22)

6. Mirage - Can you hear me (2:58)

7. Mirage - One more time (1:59)

8. Mirage - That I know (2:18)

9. Mirage - The wedding of Ramona blair (2:14)

10. Mirage - Lazy man (2:23)

11. Mirage - Ebaneezer beaver (2:22)

12. Mirage - Mrs busby (2:33)

13. Mirage - I see the rain (2:06)

14. Mirage - Lonely highway (2:44)

15. Mirage - Hello enid (2:12)

16. Mirage - Is anybody home (2:43)

17. Mirage - What do I care (2:11)

18. Mirage - How's your pa (2:59)

19. Mirage - Lazy man (alternative version) (3:01)

20. Mirage - See my world (2:52)

21. Mirage - Katherine (2:07)

22. Mirage - Ebaneezer beaver (acoustic demo) (2:02)

23. Mirage - Go away (1:51)
 
Although an unauthorized Mirage CD compilation (You Can't Be Serious) combining some of their singles with unreleased material made its appearance around 2000, this official anthology is preferable for its better sound quality and thorough liner notes. Tomorrow Never Knows — The Pop Sike World of the Mirage: Singles & Lost Sessions is still not a complete document of the group, featuring just six of the tracks that appeared on their eight singles (some of which were issued under different names than the Mirage), though it does offer a whopping 17 unreleased cuts, some of which didn't show up on You Can't Be Serious. As a band obviously inspired by the Beatles, the Hollies, and to a lesser degree by the Who and the Kinks, the Mirage were more convincing emulators than most, though they still weren't as original or as inspiring as their role models. The best comparison might be to the Hollies as they were moving from British Invasion pop to psychedelia-influenced pop — there's more ambition at work here than the average British Invasion group, but it's not nearly as far out or cutting edge as the Beatles and the Who were by the late '60s. If you're looking for comparisons, some of them are in-your-face; "You Can't Be Serious" can't fail to bring to mind "Nowhere Man"-era Beatles with a dash of the Hollies. Meanwhile, the demo of "Lazy Man" is a rip-off of "Rain"; although it was rearranged so that the similarity was far more subtle by the time it had been re-recorded for a 1967 single, the rearrangement in turn borrowed heavily from the Who circa "Happy Jack." There's also their brave interpretation of "Tomorrow Never Knows" for a 1966 single, and while that track has its novelty value as a cover of a Lennon-McCartney tune rarely done by other artists, its far more basic rock arrangement can in no way stand up to the brilliant psychedelic original. The Mirage's strongest suit was probably their slightly spooky, almost churchy story-songs, like "The Wedding of Ramona Blair" (the most famous of their official 45s among '60s collectors) and "Mrs. Buzby." These are strong enough to make this release of some interest to those who treasure that time when British Invasion pop/rock, mod, and psychedelia crossed to some extent, though the Mirage were more competent executors of those trends than innovators. ~  by Richie Unterberger


Also :

(fromFaintly Blowing)

Monday, August 16, 2010

Dusty Springfield - Singles and EPs Of Sixties



Dusty Springfield the first Lady of Soul
•Born: 16 April 1939
•Birthplace: London, England
•Died: 2 March 1999
•Best Known As: Husky-voiced soul singer of the 1960s

Name at birth: Mary O'Brien
Mary O'Brien began singing with a group called The Lana Sisters, then formed the Springfields with her brother. They had a few hits in the U.K., but in 1963 she embarked on a solo career, using her stage name, Dusty Springfield. Over the next decade she had a string of hits, including "You Don't Have to Say You Love Me" and "Son of a Preacher Man." She died in 1999.

Hailed as "an important cog in the history of pop music" by John J. O’Connor in the New York Times, British singer Dusty Springfield became a major star after first going solo in 1964. In the New York Times Magazine in 1995, Rob Hoerburger called her "the finest pop vocalist Britain has ever produced." Jim Pierson made note of her versatility in the compact disk liner notes for Dusty Springfield: Stay Awhile—I Only Want to Be with You/Dusty, saying, "Depending on the requirements of the song, she could be pop diva, soul siren or rock n’ roll queen". ~ More
***
Britain's greatest pop diva, Dusty Springfield was also the finest white soul singer of her era, a performer of remarkable emotional resonance whose body of work spans the decades and their attendant musical transformations with a consistency and purity unmatched by any of her contemporaries; though a camp icon of glamorous excess in her towering beehive hairdo and panda-eye black mascara, the sultry intimacy and heartbreaking urgency of Springfield's voice transcended image and fashion, embracing everything from lushly orchestrated pop to gritty R&B to disco with unparalleled sophistication and depth. She was born Mary O'Brien on April 16, 1939, and raised on an eclectic diet of classical music and jazz, coming to worship Peggy Lee; after completing her schooling she joined the Lana Sisters, a pop vocal trio which issued a few singles on Fontana before dissolving. In 1960, upon teaming with her brother Dion O' Brien and his friend Tim Feild in the folk trio the Springfields, O'Brien adopted the stage name Dusty Springfield; thanks to a series of hits including "Breakaway," "Bambino," and "Say I Won't Be There," the group was soon the U.K.'s best-selling act. ~ More
***
OTHER :


Dusty Springfield - Singles and EPs Of Sixties Years (home compiling)

1964 Dusty (EP)
1964 I Only Want To Be With You (EP)
1964 Tanto So Che Poi Mi Passa (Italy SP)
1964 Warten Und Hoffen (Germany SP)
1965 Dusty In New York (EP)
1965 Losing You (USA SP)
1965 Mademoiselle Dusty (EP)
1965 Tu Che Ne Sai (Italy SP)

Sunday, August 15, 2010

John Fred & His Playboy Band - Permanently stated (1968)






" ... John Fred strode into the studios of KALB radio in Alexandria in the summer of 1966 bearing a copy of his brand new single release: "Sun City". You really had to be into Swamp Rock, which I was, to appreciate that song, which I did. I played it so often, it sounded like the hiss of a steam engine in the background. After hearing that, John stopped by to thank me, and shoved a half dozen copies into my hand. "Please don't stop playing it until these wear out," he laughed. "Then call me and I'll bring some more." Well, it never made many charts, but it was and always will be my favorite John Fred song...."

"Judy In Disguise" was his only National Chart hit. It was written by the Louisiana native who was born John Fred Gourrier. John was allready a well known Louisiana artist when he heard The Beatles "Lucy In The Sky With Diamonds". John liked the ring of "disguise" over "the sky" and felt the Beatles had missed the opportunity to do a sequel, so he did it for them. Hence, Judy In Disguise was born, with some perfectly nonsensical lyrics, including the famous line from a Playtex living bra commercial.i.e., "Cross your heart, with your living bra" The band didn't want to do such a teeny bopper song and they hated the ending ("I guess I'll just take your glasses")



Born John Fred Gourrier in Baton Rouge May 8, 1941; he was married and had one son; John died in New Orleans University Hospital on April 15, 2005 of a kidney ailment.
His father was a professional baseball player, but Gourrier needed little encouragement to play sport at Catholic High School. Growing to six foot five, he became increasingly skilled at basketball and he was awarded an athletic scholarship to a university in Louisiana.
Gourrier became interested in black rhythm and blues after hearing Fats Domino's "Goin' to the River". In 1956 he formed a band with his school chum and at first they called themselves the Redcaps. Later they changed it to The Playboys, inspired by a copy of Playboy magazine one of the group members brought to a practice session.

In 1958 Sam Montalbano, who promoted dances in Baton Rouge, was so impressed that took them into the legendary Cosimo's studio in New Orleans for a session. The band followed Fats Domino, who was recording "Whole Lotta Lovin' ", and some of Fat's band members helped out on John's original "Shirley". The record became a regional hit but Montalbano had poor distribution and put a photograph of the band in a trade paper. When the disc-jockeys realized the band was not black but white, they stopped playing the record. John returned to his studies.

In 1959, the success of "Shirley" led John Fred to New York City to appear on rock 'n' roll pioneer Alan Freed's radio show.

Around 1964 he established a new group, John Fred and the Playboy Band. Their version of "Boogie Children" combined John Lee Hooker's "Boogie Chillen" with Frankie Lee Sims's "Walkin' with Frankie" and was a regional success, as was "Up and Down" and "Agnes English". The international breakthrough came with "Judy in Disguise (With Glasses)". The title was inspired by seeing girls in Fort Lauderdale sporting large sunglasses which disguised their features. As well as the obvious nod to the Beatles (for example, "lemonade pies" for "marshmallow skies"), the up-tempo dance number owed something to the bass line from "Rescue Me" by Fontella Bass. The record topped the US charts, ironically replacing the Beatles' "Hello Goodbye".
To date, the song has sold more than 5 million copies. After its success, John Fred decided to leave Paula Records and joined the likes of Elton John and Neil Diamond on the roster of Los Angeles-based Uni Records.
In 1969 Gourrier was introduced to Elvis Presley, who praised "Boogie Children". The Playboy Band made three albums but had no further hit singles, although, in 1982, "Shirley" was recorded by Shakin' Stevens and went into the UK Top Ten.

In 1979, John Fred began producing records for other artists, including Irma Thomas' critically acclaimed comeback album, Safe With Me. He has also written, performed and produced jingles for such advertisers as Greyhound Bus Lines, Decker Hot Dogs and Ban Deodorant as well as the song "Baseball at the Box" for Louisiana State University's baseball team. He also coached basketball.
                                                  

John Fred & His Playboy Band was formed in 1955 by 14-year old John Fred Gourrier, a basketball/baseball player at LSU and Southeastern Louisiana University as “The Redcaps”, but in 1956 one of the members of the group who was a big reader of Playboy magazine suggested they rename the group to “The Playboys”. Sam Montalbano”, the president and owner of “Montel” records who also managed the local Catholic Youth Center would hold dances and sock hops. He booked John and his group and a close friend Johnny Ramistella (better known as Johnny Rivers) to as many of them as they could make. With his help the group released a few singles to little success, and they toured the US with Jimmy Clanton, Roy Orbison, Thomas Wayne and Duane Eddy. In 1960 John decides to attend college and at 6 foot 5 inches tall was a decent basketball player. After graduation he formed a new group and they started recording and releasing singleson the small independent label “N Joy” records, like Boogie Children (John Lee Hooker), Dial 101 (Cause I Still Love You), You’re Mad At Me and How Can I Prove. In July 1966 they sign a new contract with Paula records in Shreveport, LA owned by Stan Lewis and in December they released they debut album “John Fred & His Playboys” but it failed to make the charts. It is followed up by sme singles that did go to #1 in Louisiana charts, but again fails to make the national singles charts.

On 25 November 1967 they released “Judy In Disguise (With Glasses)” composed by both Fred and Andrew, that was a parody of “Lucy In The Sky With Diamonds” by the Beatles. By 20 January the next year Judy had supplanted “Hello Goodbye” by the Beatles, as the number one record in the U.S. It stayed at #1 in the US for 2 weeks and peaked at #3 in the UK. Fred once stated, "Judy In Disguise" was a once in a lifetime thing. That song was us, but we were so much more, and most people never got to know that side of us."
Because of the success of Judy the group was invited to appear on “The Tonight Show Starring Johnny Carson”. They also released their second album titled 㦎:40 Of John Fred” which was the length of time of all 12 of the songs that appeared on it but it never made the charts. They did released several LPs and singles but with with little or no success and they split in 1970.

In 1978 John began producing records for other artists, including Irma Thomas. He also went on to become vice president of RCS (Record Company of the South) in Baton Rouge, where he worked as a record producer. In 1984 the small independent company Sugarcane records compiled and released a 12-song compilation album titled “The Best Of John Fred & The Playboys”.

In the late 1990s Fred teamed up with bookie king G. G. Shinn and Joe Stampley of Springhill in North Louisiana to form a country music group calling themselves The Louisiana Boys. In March 1997 they released one album on Bayou Music records titled “The Louisiana Boys” they also performed at venues all throughout the state like the Louisiana Folklife Festival.
On 1 January 2000 John released his first new album in over 30 years with “I Miss Ya’ll (The Unreleased Masters)” on Club Louisianne records located in Baton Rogue. The 15 songs on this album were recorded at several different studios throughout southern Louisiana. The album contained a combination of new versions of some old John Fred songs with newly composed songs.


His final album, Somebody's Knockin' was released in 2002.

Tee Set - My Belle Amie (1970)


Tee Set was a pop rock band formed in 1966 in Delft, Netherlands.




The group recorded a single in 1969 entitled "Ma Belle Amie", which was a hit in their native country, selling over 100,000 copies. The group released an album in the United States on Colossus Records in 1970 entitled Ma Belle Amie, which reached #158 on the Billboard 200 chart,just as the single took off in America, eventually reaching #5.The single sold over one million copies, and was awarded a gold disc. In the Netherlands, the next single "She Likes Weeds" attained #1 there. However, the track was banned in the U.S., because it was said to refer to using drugs. However, the title was taken from the film The Ipcress File. A follow-up single, "If You Do Believe in Love", hit #81. The group disbanded in 1975, but briefly reunited in 1979 and 1983.


1. Tee-Set - Ma Belle Amie (3:11)

2. Tee-Set - Charmaine (3:23)

3. Tee-Set - Walk On By My Door (2:26)

4. Tee-Set - Finally In Love Again (3:17)

5. Tee-Set - In My House (3:05)

6. Tee-Set - The Angels Coming [In The Holy Night] (2:34)

7. Tee-Set - We Will Be There (2:57)

8. Tee-Set - Willy Nilly (2:53)

9. Tee-Set - Just Another Hour (2:48)

10. Tee-Set - Bring A Little Sunshine (3:03)

11. Tee-Set - I Don't Want To Know (2:09)

12. Tee-Set - Long Ago (2:42)

Teddy Randazzo - The Girl From U.N.C.L.E. (1966) + The Man From U.N.C.L.E. (1965)







Without a doubt the finest version of the "Man From U.N.C.L.E." theme is featured on this mixed album from Jerry Goldsmith and Terry Randazzo. One side of the album comprises Latin-flavoured tracks from the 'Girl From U.N.C.L.E.' series, while the other is a mix of incidental music from both shows. A strong mix of 60's pop and Latin influences with a hint of jazz. ~ (Blaxploitation.com)


1. The Man From U.N.C.L.E.

2. Shall We Gather At The Boat Dock

3. Out Of The Frying Pan

4. April

5. Mother Muffin

6. Movin' On

7. The Girl From U.N.C.L.E.

8. Sneaky Search

9. Somewhere In Greece

10. The Countess

11. Bomb Scare

12. Follow The T.H.R.U.S.H.
 
The Challengers - The Man From U.N.C.L.E. (1965)
 

01 - The Man From U.N.C.L.E.

02 - Walk With Me

03 - You've Got Your Troubles

04 - Everything To Me

05 - Secret Agent Man

06 - Catch Us If You Can

07 - The Streets Of London

08 - Tammy

09 - Action

10 - How Could I?

11 - My Girl Sloopy

12 - Summer Nights
 
Sorry,but tracks 13,14 is missing

Thursday, August 12, 2010

Beach Boys - Concert (1964)


Beach Boys Concert is a live album by The Beach Boys, released in 1964. It is their seventh album in all, and their third alone in the same year. What is perhaps most notable about the album is that it provided The Beach Boys with their first #1 album in the US, remaining at the top for four weeks and becoming another gold seller.
Beach Boys Concert proves to be a timely release because leader and producer Brian Wilson was about to vacate his position in the live group, and would only perform sporadically with them over the course of the next three decades. It is also the only live document of the original five members of The Beach Boys in officially released LP form. It was recorded live at the Memorial Auditorium in Sacramento, CA.
The album includes several songs that The Beach Boys regularly performed live but had not previously included on an album, such as "Papa-Oom-Mow-Mow", "The Wanderer" and "Monster Mash". "The Little Old Lady From Pasadena" was actually a Jan & Dean hit. Alongside those were a sampling of their favorites, such as "Hawaii", "In My Room", "Fun, Fun, Fun" and "I Get Around".
Studio doctoring on Beach Boys Concert is very evident, from the overdubbed vocals, and the fact that the concert also featured recordings from December 1963 (also where announcer Fred Vail's introduction comes from). Most obviously, Brian Wilson used the original music tracks for both "Fun, Fun, Fun" (which was sped up) and "I Get Around", both of which had elements removed to make them appear as though they were new performances.
Despite the shady circumstances surrounding its post-production (as is the case with many live albums), Beach Boys Concert is still an edgy live document and a missing link in their early discography, which captured The Beach Boys in a context that was about to change forever.

The Beach Boys - In Concert 1964



01 - Fun Fun Fun

02 - The Little Old Lady From Passadena

03 - Little Deuce Coupe

04 - Long Tall Texan

05 - In My Room

06 - Monster Mash

07 - Let's Go Trippin'

08 - Papa Oom Mow Mow

09 - The Wanderer

10 - Hawaii

11 - Graduation Day

12 - I Get Around

13 - Johnny B. Good



14 - Radio Jingle / Concert Promo



Concert Outtakes



15 - Intro

16 - Survin USA

17 - Surfer Girl

18 - Don't Worry Baby

19 - Be True To Your School

20 - Hushabye

The Ventures - On Stage (1965)


Explosive live recordings from Japan, England, and the U.S., with a hot greatest-hits medley and a wild "Driving Guitars" being among the highlights. The Ventures on Stage Around the World is out of print but worth any search. ~ Cub Koda, All Music Guide




The Ventures On Stage

"The Ventures на сцене" - студийный альбом американской инструментальной рок-группы The Ventures, выпущенный в июне 1965 года в США фирмой Dolton. Альбом составлен из записи концертов в Японии, Англии и США. Высшие позиции The Ventures On Stage в Billboard - №27, в Cashbox - №19.

Удивительно, что The Ventures - активно гастролировавшая группа и, естественно, живее слушавшаяся на концертах, стала выпускать концертные альбомы только с 1965 года. Инициативу проявили японцы. Первые live albums группы вышли именно в Стране Восходящего Солнца, где The Ventures были гораздо популярнее, чем у себя на родине и где бы то ни было. Даже в 1970-х, когда слава The Ventures на Западе поблекла, Восток продолжал и продолжает питать к ним горячую любовь. Об этом красноречиво говорит статистика: The Ventures выпустили за все свое существование более 250 альбомов. 150 из них выпущены исключительно в Японии. Одними из таких эксклюзивов и были The Ventures in Japan (1965) и The Ventures in Japan, Vol. 2 (1965). Тогда-то американцы спохватились и выпустили этот первый в США концертный альбом.


01 - Wipe-Out

02 - Journey To The Stars

03 - Slaughter On 10th Avenue

04 - Caravan

05 - Pedal Pusher

06 - Apache '65

07 - Bumble Bee

08 - Driving Guitar

09 - Medley: Walk Don't Run, Perfidia, Lullaby Of The Leaves

10 - Yellow jacket
 
КАК НАЧИНАЛИ THE VENTURES




Основатели группы Дон Уилсон и Боб Богл встретились в 1958 случайно, когда Богл искал себе машину в салоне подержанных автомобилей, которым владел отец Уилсона. Обнаружив друг у друга огромный интерес к игре на гитаре, они решили играть вместе, а для подработки Уилсон присоединился к Боглу в его работе каменщиком. Они назвали себя поначалу The Versatones и выступали дуэтом в маленьких клубах, пивных барах и на вечеринках по всему Северо-Западному побережью. Уилсон играл на гитаре ритм, а Богл лидировал. В 1959 они даже записали сингл с двумя вокальными мелодиями "The Real McCoy" и "Cookies and Coke", но пластинку никто не заметил.
Потом они взяли к себе в качестве басиста Ноки Эдвардса, увидев как он неплохо играл в одном ночном клубе. У Богла была в то время пластинка Чета Аткинса Hi Fi in Focus, на которой их любимой вещью была "Walk Don't Run". Ребята загорелись желанием сделать ее сами, но поскольку они не могли себе позволить такую богатую джазовую аранжировку, как у Аткинса, сделали собственный гитарный вариант: попроще, но очень зажигательно. Вскоре они записали ее в студии в таком составе: Богл - на лидер-гитаре, Уилсон - на ритму, Эдвардс - на басу, а на барабанах тогда сыграл сессионник Скип Мур. Они штампанули какое-то количество сорокопяток и разослали их в несколько фирм записи. Когда все компании прислали отказ, ребята обратились к матери Уилсона Джоси, и та решила создать собственную компанию Blue Horizon для продвижения их записей.
Тем временем, одна из их сорокопяток попала к знаменитому тогда в Сиэттле диджею Пэту О'Дэю, и он стал включать ее каждый час в качестве заставки к новостям. Вскоре слушатели забросали его вопросами, заинтригованные этой музыкой. Одним из слушателей оказался Боб Рейсдорф, владелец фирмы Dolton Records. Он тут же решил подписать с The Ventures контракт на дистрибуцию их музыки в США. Спустя несколько месяцев, "Walk Don't Run" стала национальным хитом, достигнув к сентябрю 1960 года №2 в Billboard Hot 100.
Нуждаясь в постоянном барабанщике, они наняли Хоуи Джонсона, поехали в турне, а в перерывах между плотным графиком выступлений записали первый альбом "Walk Don't Run" (1960). The Ventures были пионерами идеи создания концептуальных альбомов, начиная с The Colorful Ventures (1961), где каждая песня альбома посвящалась определенной теме.
В 1962 году Ноки Эдвардз, талантливый гитарист, игравший поначалу на басу, заявил друзьям, что группа сильно теряет от того, что он не лидер-гитарист. Боб Богл, без проблем, согласился взять вместо него бас-гитару, и эта рокировка плодотворно оправдала себя: звучание группы модернизировалось, обеспечив успех группы на протяжении всех 1960-х.
В 1962 году первоначальный барабанщик Хоуи Джонсон сильно пострадал в автокатастрофе, необратимо повредив позвоночник. По совету врача он покинул The Ventures. Богл и Уилсон давно знали ударника Мэла Тэйлора, который играл тогда в Паломино (Северный Голливуд). Тэйлор был известен своей агрессивной манерой игры и тяжелыми ударами по барабанам. The Ventures пригласили его, поначалу, на несколько сессий записи. Так Мэйлор и остался с ними, на ближайшие 32 года, до самой своей смерти от рака в 1996 году. В этом классическом составе The Ventures играли и записывались до 1968 года.

Альбом The Ventures On Stage представляет одни из самых популярных композиций The Ventures: Wipe-Out, Driving Guitars и принесшие им первый оглушительный успех Walk, Don't Run и Perfidia. Продюссер Дик Глассер неплохо смикшировал восторг толпы со звучанием музыки. Одно другому не мешает, крики скорее дополняют драйва в музыку, подливая, как говорится, "масла в огонь". В стереоварианте The Ventures создали свое неповторимое звучание, старались использовать стереоразделение на полную катушку, подчеркивая каждый инструмент. Альбом отлично передает атмосферу начала 1960-х, когда за билетами на концерты The Ventures во многих городах мира выстраивались многотысячные очереди и приходилось срочно менять гастрольное расписание, внося в него дополнительные выступления.