Sunday, August 29, 2010

YaroS - Ural (2008) Russia


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


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

Johnny Lion & The Jumping Jewels - The Complete Collection Vol. 1-2

In the pre-Beatles era (the Fab Four visited The Netherlands in early June 1964), Johnny Lion & The Jumping Jewels were one of the Dutch top bands comparable to England's Cliff Richard & the Shadows.

They got together in 1960 when singer Jan van Leeuwarden sat in with The Real Rhythm Rockers, who comprised Hans van Eijk on "bass" (actually a guitar with thick strings) and Frits Tamminga on drums. They decided to start a band together called Johnny & the Jewels. Joop Oonk became their bass player. After some time, Tjibbe Veeloo joined as rhythm guitarist. They came under the guidance of Herman Batelaan, who got The Jewels a recording contract with the mighty Phonogram organization, and released "Wheels" in early 1961 on the Philips label under a new name, The Jumping Jewels. As it later turned out, only lead guitarist Hans van Eijk played on the records, the backing was done by older professional studio musicians like Kees Kranenburg Sr., drummer of the well-known ballroom orchestra The Ramblers. The band mainly released covers or arrangements of existing songs: "Wheels" was a cover of American band The String-A-Longs and the B-side, "Ghost Riders In The Sky", had been recorded by The Ramrods. Other hits were the theme for the motion picture "Exodus", "Mexico" (a US hit by Bob Moore), the tango "Olй Guapa" (first recorded in 1937 by Malando) and "Guitar Tango", a French song first recorded by Dario Moreno & Tino Rossi, which was later also covered by The Shadows (albeit in an acoustic version).

In 1962, Jan van Leeuwarden (renamed Johnny Lion) also started recording and touring with The Jumping Jewels as his backing band. Incidentally, his first single was "My Bonnie" (in Germany a hit by Tony Sheridan & The Beatles). In late '62, drummer Frits Tamminga suffered a nervous breakdown and was temporarily replaced by Kees Kranenburg Jr., son of their studio drummer. In 1963, The Jumping Jewels released their first album, "Jumping High", a sign that facilities and recordings started getting more and more professional. The combo had a string of hits including "Zuyderzee Blues" (originally by The Ramblers), a South-African song called "Africa" and Eddy Christiani's "Wild Geese". Thanks to the parallel success of Johnny Lion, they became one of the Dutch top acts by mid-1963. Around that time, Kees Kranenburg Jr. replaced Tamminga permanently; he would also play on the following Jumping Jewels records. More hits followed, including "Dakota" (which they'd heard on a Shadows album), Allen Toussaint's "Java" and "Irish Washerwoman", an arrangment of an 18th century Irish tune. In early 1964, they recorded a live album with Johnny Lion at Les Galeries in Scheveningen. It included an instrumental version of The Beatles' "I Saw Her Standing There", a sign the times were changing. The Jumping Jewels had a number 1 hit in Peru - of all places - with this track! And more international success followed when in the spring they did a tour of the Far East, covering Singapore, Malaysia and Pakistan. The domestic success continued with two more hits, "Zambesi" and "Jumping Can Can". They recorded a 10-inch album with background music for DeWolfe Music in England, which since then has become a much sought-after collector's item.
In 1965, manager Batelaan got them into show business by booking them for a season at Circus Boltini. Johnny Lion then completely changed style and recorded a song in Dutch without The Jewels, "Sophietje", which went to Number 1. In the fall of 1965, The Jumping Jewels announced they would start backing Lion's biggest rival, Rob de Nijs, whose backing band The Lords had switched to beat music. However, manager Batelaan went to court for breach of contract, preventing the band from using the name The Jumping Jewels. Meanwhile, Hans van Eijk got an offer for a PR job from Koekoek Musical Instruments (importer of Fender) and accepted. The other Jewels then decided to continue as a beat group called The JayJays. Hans van Eijk played on their first single, but by January 1966, he'd been replaced by Frank Nodelijk (ex-Crescents, to Peter Andrew & the Sapphires) and later Leo Bennink (ex-Mack).
In 1971, a "Best Of The Jumping Jewels" album was released, enabling listeners to hear the band in true stereo for the first time. This LP was so successful that Phonogram decided to release a second volume, and so a "Best Of Johnny Lion & The Jumping Jewels" came out in 1973. It led to Herman Batelaan approaching the former band members to record a new album. However, Joop Oonk was too busy with his management company, Tjibbe Veeloo was not interested and Kees Kranenburg Jr. was recovering from a serious road accident. The resulting album, "Forever Yours" from 1975, was done by Hans van Eijk with Paranova members Ernst van Thiel (d) and Hanno Gerritse (b). Fred Brekelmans played keyboards. The album - produced by Hans van Eijck of The Tee Set, not to be confused with Jewel Hans van Eijk! – was, however, not an album in the old Jumping Jewels style, but a set of modern instrumentals with wah-wah effects and synthesizer sounds. Van Eijk then decided to go on the road on the back of the album (with Brekelmans, Rob Houdt on drums and Johan Korringa on bass). Under his own name Van Eijk released some singles and albums over the years.
In 1985, Johnny Lion and Hans van Eijk did a one-off reunion for a radio show. This led to a full-fledged reunion in 1991 of a line-up of Hans van Eijk, Joop Oonk, Kees Kranenburg Jr. and Leo Bennink (who had never been an actual Jewel, but had been in The JayJays with Oonk and Kranenburg) doing a revival TV show with Johnny Lion. It was then announced The Jumping Jewels would tour and record again, but after one single the project slowly petered out. From the mid-1990s, Johnny Lion & The Jumping Jewels performed at special events with Hans van Eijk, Joop Oonk, Tom op 't Hof (d) and Roy Soeriorosero (g, ex-F.B.I.). They even returned to Singapore in December 2003 (with Kees Kranenburg Jr. on drums again) to revive old times.
Hans van Eijk still tours with a band called The New Jumping Jewels, whose bass player is "Hoss" van Hardeveld (formerly of Unit Gloria). The other members are Ruud Jansen (g) and Henk Doove (d). Of the original members, Joop Oonk is a showbiz manager, Kees Kranenburg Jr. is a jazz drummer and Leo Bennink is still very active, playing with his old band The Black Albinos and a project with former Redbone drummer Peter DePoe. Tjibbe Veeloo left the music business in 1967 and claims he hasn't touched an electric guitar since. -

Johnny Lion & The Jumping Jewels 1

01 - Bonnie Rock

02 - Ginny Come Lately

03 - Teenage Senorita

04 - Devil Woman

05 - Blame It On The Bossa Nova

06 - Count On Me

07 - Gipsy Woman

08 - Let's Make A Habit Of This

09 - Teeny

10 - Loddy-Lo

11 - On My Mind

12 - You've Done It Again

13 - I Wanna Dance With You

14 - Forget Him

15 - Valley Of Tears

16 - Somethin' Else

17 - A-me-ri-ca

18 - Come On Home

19 - Things That Can Remind Me Of Last Summer

20 - Shu-bi-du-bi Do The Slop (Duitse Versie)

21 - Teeny (Duitse Versie)

22 - On My Mind (Live)

23 - Ol Man Trouble (Live)

24 - A Gal In Calico (Live)

Johnny Lion & The Jumping Jewels 2

01 - C'mon Everybody

02 - Dear One

03 - Judy

04 - Send Me The Pillow (That You Dream On)

05 - I'll Never Go Away

06 - Break Up

07 - I Like It

08 - Sweets For My Sweet

09 - Shu-bi-du-bi Doe De Slop

10 - Tra La La La Suzy

11 - No Particular Place To Go

12 - Do Wah Diddy Diddy

13 - Everyday

14 - Don't Try To Fight It Baby

15 - There Is Something To Tell You

16 - C'mon Everybody

17 - A-me-ri-ca (1e Dub)

18 - What Am I Living For

19 - If It's Me That You Want

20 - I'm The One (Live)

21 - This Little Girl (Live)

22 - Tchin Tchin (Live)

23 - Svenska Flicka (Sophietje)

24 - Idaho (Live)

The Box Tops - The Letter/Neon Rainbow (1967)

During their brief lifespan, the Box Tops earned a reputation as one of the best blue-eyed soul groups of the '60s, even if their recorded legacy wasn't as large or consistent as, say, the Righteous Brothers or the Rascals. Today they're remembered not only for their smashes "The Letter" and "Cry Like a Baby," but as the launching pad for singer Alex Chilton, who went on to become one of rock's most revered cult figures thanks to his groundbreaking power pop unit Big Star.

In his teenage years, Chilton was an amazingly gritty Memphis soul belter akin to an American version of the Spencer Davis Group's Stevie Winwood. The Box Tops' music also encompassed touches of pop and psychedelia, although the group's own lack of control over it eventually led to their split-up.

The Box Tops began life as the Devilles, a white R&B group featuring guitarists Gary Talley and John Evans, bassist Bill Cunningham, and drummer Danny Smythe. After the band's local popularity blossomed, teenage singer Alex Chilton joined up, and the Devilles quickly caught the attention of songwriters/producers Chips Moman and Dan Penn, who were on the lookout for a Stevie Winwood-type white soul singer. Changing their name to the Box Tops to avoid confusion with a different group of the same name, they signed with Bell Records and began recording at Moman's Memphis-based American Studio. The first single the group cut, "The Letter," rocketed to the top of the charts in 1967, not only spending four weeks at number one but ending up as Billboard magazine's number one single of the year. (Chilton was all of 16 at the time.) With a hit on their hands, Penn began to exert more control over the group; in the wake of "The Letter," he frequently used session musicians on the Box Tops' recordings, sometimes replacing the whole band behind Chilton, sometimes just individual members. Frustrated, Evans and Smythe both left the band to return to school in early 1968, and were replaced by Rick Allen (ex-Gentrys) and Tom Boggs, respectively.

The follow-up to "The Letter," "Neon Rainbow," didn't do nearly as well, but the Box Tops managed another massive hit in 1968 with the Dan Penn/Spooner Oldham tune "Cry Like a Baby," which went to number two on the pop charts. Although a couple of minor hits followed in "I Met Her in Church" and "Choo Choo Train," Chilton was rapidly growing dissatisfied with the inconsistency of the material the Box Tops were handed (which was clear on the three LPs the group had released through 1968). As a result, Chilton was chafing at Penn's extreme reluctance to allow him to record his own original compositions. By the time of the Box Tops' fourth and final LP, 1969's Dimensions (an attempt to make a more cohesive album), Penn had bowed out and moved on to other projects. Several Chilton songs appeared on Dimensions, including "I Must Be the Devil," and the group had one last minor hit with "Soul Deep." Cunningham subsequently departed, also to go back to school, and the Box Tops began to disintegrate. When their contract expired in February 1970, they officially disbanded, and Chilton moved to Greenwich Village for a while. Not finding the creative hospitality he'd hoped for, Chilton soon returned to Memphis and joined an Anglo-pop outfit run by his friend Chris Bell; they morphed into Big Star, one of the most revered and mercurial bands in power pop (or, for that matter, underground rock & roll) history.

It has since been revealed that most of the music on the Box Tops' records — with the exception of (ironically) "The Letter" — was done by session men. Even as early as the first album, this method cut both ways. It ensured a Southern soul professionalism that the young band likely couldn't have conjured on their own, but also worked against the development of a solid group identity, particularly as Alex Chilton was allowed to record very little of his own material. In fact, there are no Chilton songs on this debut, a spotty affair showing every indication of having been assembled very quickly in the wake of "The Letter" soaring to number one. Although "The Letter" author Wayne Carson Thompson and the Dan Penn-Spooner Oldham team wrote most of the songs, their blue-eyed soul compositions are surprisingly journeyman, with nothing nearly as outstanding as "The Letter," save maybe the follow-up hit "Neon Rainbow." Chilton's vocals are strong and, for the most part, as gritty as those on "The Letter." Has there every been another case in pop history when a teenager sounded like a wizened adult at the outset of his career, but his voice became higher and more youthful in subsequent years? The 2000 Sundazed reissue adds four bonus tracks: the mono single versions of "The Letter" and "Neon Rainbow," the routine non-LP 45 track "Turn on a Dream," and the previously unreleased "Georgia Farm Boy." The last of these, a plaintive country-soul tune, is credited to "Newbury," presumably Mickey Newbury (the liner notes don't give a first name or initial).

V.A. - Heimatliche Klaenge vol.28

Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels


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


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


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


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


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



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

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

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

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

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

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.
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