Sunday, October 31, 2010

Tony Sheridan - Rocks On! [Live in Deutschlandhalle, Berlin '73]


( ... The Deutschlandhalle has also been used for musical events: Ella Fitzgerald performed here in 1960; the concert was recorded as Ella in Berlin. Simple Minds, Cher, Whitney Houston, Take That, Red Hot Chili Peppers, Prince, a-ha, Aerosmith, Jerry Lee Lewis, George Michael, Phil Collins, Tina Turner, AC/DC, Metallica, Metal Church, Sting, The Police, KISS, Wings, The Rolling Stones, Tangerine Dream, Led Zeppelin, Pink Floyd, The Who and Queen held concerts. On 4 September 1970, it was the site of Jimi Hendrix's second-to-last performance .. )

Tony Sheridan Rocks On!
Live '73 Deutschlandhalle Berlin

01 - Hound Dog
02 - Whole Lotta Shakin' Going On
03 - Sweet Littel Sixteen
04 - Ya Ya / Keep On Knockin'
05 - Johnny B. Good
06 - My Bonnie
07 - Skinny Minnie
08 - Fever
09 - Skinny Minnie Reprise

Friday, October 29, 2010

V.A. - Heimatliche Klaenge vol.40

Heimatliche Klaenge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels

It's Beat Time - Matt Collins & His Beat Band
Somerset 630

01 - Go, Johnny, Go
02 - Blueberry Hill
03 - Memphis Tennessee
04 - Bring It On Home To Me
05 - Non Posso Credere
06 - La Bamba
07 - Whole Lotta Shakin' Going On
08 - Amami
09 - Take A Chance
10 - Kansas City
11 - Little May

Matt Collins - vocal
Bulic Branko - Organ
Kink Slavko - Saxophone
Dmitrovic Nikola - Drums
Mlinaric Janko - Bass Guitar
Karlo Metikos - Piano

Lynne Randell - Ciao Baby (1967)

During the mid-'60s, singer Lynne Randell reigned as Australia's first teen pop star. Dubbed "Little Miss Mod" for her trendy fashions and hair, her brief stay in the limelight was derailed by a lifelong addiction to diet pills. Born in Liverpool in 1950, Randell was five years old when her family emigrated to Murrumbeena, Australia. By 14, she was apprenticing in a local styling salon, and was often called upon to sing while on the job. In time client Carol West, who managed a number of Melbourne-area bands (most notably the Spinning Wheels), hired Randell to sing at a party. 

Radio personality Stan Rofe was sufficiently impressed to request a demo, and the resulting recording was enough to earn a contract with EMI. Randell issued her debut single, "I'll Come Running Over," in early 1965, soon after becoming a regular on the Australian television pop showcase The Go!! Show. The singles "A Love Like You" and "Be Sure" followed, and in early 1966 Randell signed to CBS Records to issue "That's What Love Is Made Of." During the singer's CBS tenure, her music adopted a Motown-inspired ebullience that would later make singles like "Going Out of My Head" and flip side "Take the Bitter with the Sweet" a favorite on Britiain's Northern soul club circuit. At home, 1967's "Ciao Baby" vaulted Randell to national superstardom, and she spent the summer on tour with the Monkees, sharing bills with the Jimi Hendrix Experience, the Who, and the Ike & Tina Turner Revue. However, the demands of life on the road played havoc with Randell's health, and prior to a television appearance, manager West criticized her weight. In response, she secured some diet pills from a friend, beginning a struggle with methamphetamine abuse that spanned decades. After scoring a minor Australian hit with "That's a Hoedown," Randell relocated to Los Angeles in 1969, issuing the Capitol single "I Love My Dog" before retiring from performing, marrying Atlantic Records executive Abe Hoch and writing for the Aussie music magazine Go-Set. With Hoch she moved to London in 1976, but her addiction spiraled further out of control and the marriage ultimately dissolved. In 1980, Randell returned to Melbourne, spending six years as the personal assistant for music journalist and TV presenter Molly Meldrum. During the mid-'80s, she also worked for a time under Sire Records head Seymour Stein. In 2004, Randell went public with her amphetamine addiction, but it was too late. The damage inflicted on her brain, nervous system, and adrenal glands was extensive, and she died May 8, 2007, at the age of 57.

Donovan- Beat Cafe (2004)

Beat Cafe is Donovan's first record in nine years. His last, the Rick Rubin-produced Sutras was issued in 1993 and was hopelessly misunderstood -- especially coming as it did on the heels of Rubin's first collaboration with Johnny Cash. This side, produced by the rootsy yet eclectic John Chelew who has worked with everyone from Richard Thompson to the Blind Boys of Alabama and John Hiatt goes right to the heart of Donovan's particular musical esthetic. 

The title on this set is significant. The instrumentation is spare, with drums by Jim Keltner, acoustic , upright bass by the legendary Danny Thompson, and keyboards by Chelew.Donovan handled the guitar chores. In other words, small combo, cafe style. . . Atmosphere is everything in these songs; they are intimate, rhythm-conscious, tuneful, and lyrically savvy. In addition, they're inspired by that eternally present, romantically eulogized generation of poets, dope fiends, midnight travelers, and coffeehouse sages, the Beats. The set features 12 new songs; ten of them are Donovan Leitch originals. The covers include a compelling read of the mysterious and traditional "The Cuckoo,"and a jazzy spoken word take on Dylan Thomas' "Do Not Go Gentle." There are some flashes of the hippy mystic of old here, but mostly, this is a fingerpopping set by Donovan the enigma as well as Donovan the songwriter. Chelew and band do a wonderful job of illustrating this juxtaposition. With this band tight, deeply in the groove at all times, the tunes open up and out as if the group were on the barroom stage, and extended the dancefloor jumping and jiving into the street on a delirious, humid moonlit night of uncontainable joy. "Poorman's Sunshine," with its skittering brushed snare drums and a B3 tracking the melody with Thompson's bass pushing the rhythm, jumps out at the listener, as does the title track with Thompson driving the whole engine. "Yin My Yang" may have a seemingly ridiculous title, but it's not in the context of what this album tries to achieve. Donovan is celebrating the self-referential, "anything-is-possible" revelation that fuelled the language and spirit of his heroes of yore, and propelled his own romantic, "everything-is-love" aesthetic. The shimmering, dark, Eastern minor-key psychedelic spoken word/sung ditty of "Two Lovers" is one of those poems that makes Donovan so unique (think, "Atlantis" here). The organic jazzed-up funk of "The Question" is one of those crazy moments that makes the whole world open and the body twitch in time. The album ends with the whispering "Shambala," a tender, blissful dirge that is utterly moving and hauntingly beautiful in its optimism and hope. If anything, if albums are "needed" anymore, the spirit in this one is. Donovan reminds listeners that possibility and hope are not passé, but as full of chance and wild grace as ever. Welcome back, Donovan; you've been missed. 

1. Donovan - Love Floats (4:18)
2. Donovan - Poorman's Sunshine (4:02)
3. Donovan - Beat Cafe (4:14)
4. Donovan - Yin My Yang (3:35)
5. Donovan - Whirlwind (4:46)
6. Donovan - Two Lovers (3:42)
7. Donovan - Question (3:06)
8. Donovan - Lord of the Universe (4:47)
9. Donovan - Lover O Lover (4:56)
10. Donovan - Cuckoo (3:49)
11. Donovan - Do Not Go Gentle (4:27)
12. Donovan - Shambala (5:29)

The Kinks - Face to face (1966)

The Kink Kontroversy was a considerable leap forward in terms of quality, but it pales next to Face to Face, one of the finest collections of pop songs released during the '60s. Conceived as a loose concept album, Face to Face sees Ray Davies' fascination with English class and social structures flourish, as he creates a number of vivid character portraits. Davies' growth as a lyricist has coincided with the Kinks' musical growth. Face to Face is filled with wonderful moments, whether it's the mocking Hawaiian guitars of the rocker "Holiday in Waikiki," the droning Eastern touches of "Fancy," the music hall shuffle of "Dandy," or the lazily rolling "Sunny Afternoon." And that only scratches the surface of the riches of Face to Face, which offers other classics like "Rosy Won't You Please Come Home," "Party Line," "Too Much on My Mind," "Rainy Day in June," and "Most Exclusive Residence for Sale," making the record one of the most distinctive and accomplished albums of its time.

1. The Kinks - Party Line (2:35)
2. The Kinks - Rosey Won't You Please Come Home (2:30)
3. The Kinks - Dandy (2:10)
4. The Kinks - Too Much On My Mind (2:27)
5. The Kinks - Session Man (2:08)
6. The Kinks - Rainy Day In June (3:13)
7. The Kinks - House In The Country (3:00)
8. The Kinks - Holiday In Waikiki (2:45)
9. The Kinks - Most Exclusive Residence For Sale (2:51)
10. The Kinks - Fancy (2:28)
11. The Kinks - Little Miss Queen Of Darkness (3:16)
12. The Kinks - You're Lookin' Fine (2:47)
13. The Kinks - Sunny Afternoon (3:35)
14. The Kinks - I'll Remember (2:26)

Adriano Celentano - Peppermint Twist (1962) PLUS

One of Italy's best-loved artists, Adriano Celentano has been equally successful in film and music. Whether singing Elvis Presley-inspired rock, as he did as a member of the Rock Boys in 1957, or romantic balladry, Celentano found a dedicated market for his music. Reaching the top of the Italian music charts with his debut single "Il Tuo Bacio e Come un Skirt" in 1959, he matched its success with the million-selling "24000 Baci (24,000 Kisses)" in 1961; "Il Ragazzo Della Via Gluck," which went on to be translated and re-recorded in 18 languages, in 1966; and Prisencolinensinainciusol in 1972. 

Celentano's albums have been similarly embraced. His debut album, Non Mi Dir, reached the top position of Italy's charts in 1965. His album Soli spent 58 weeks on the charts in 1978-1979. Although he left music for nearly two decades to focus on his career as an actor, Celentano later recaptured the momentum of his early career. His comeback album, Mina + Celentano, was a major hit in 1998 while his second album, Francamente Me Ne Infischio, based on the television-variety show that he agreed to host in 1999, spent several weeks at the top of Italy's album charts. Esco di Rado -- E Parlo Ancora Meno, the third album since Celentano returned to music, sold more than 600,000 copies before its release. 

Celentano continued to balance his music career with his work in Italian cinema. As an actor, he made his theatrical debut in such movies as Dai, Johnny, Dai!, I Ragazzi del Jukebox, I Frenetici in 1959, and Fellini's classic La Dolce Vita in 1960. His subsequent screen appearances included roles in such films as The Sin, Rugantino, Give Me Five, Il Bisbetico Domato, and Segni Parsticolari: Bellissimo. Having made his debut as a producer and director with the 1974 film Yuppi Du, Celentano wen on to direct such films as L'atra Meta Del Cielo and Geppo Il Folle. His first long-term experience with television came in late 1987 when he agreed to host the variety show Fantastico 8.

Adriano Celentano -  Peppermint Twist (1962

      1. Adriano Celentano - Peppermint Twist (2:21)

2. Adriano Celentano - La Gatta Sul Tetto Che Scotta (2:11)

3. Adriano Celentano - Blue Jeans Rock (2:23)
4. Adriano Celentano - Pitagora (1:46)
5. Adriano Celentano - Desidero te (3:36)
6. Adriano Celentano - Rock matto (1:47)
7. Adriano Celentano - Impazzivo Per Te (1:59)
8. Adriano Celentano - Cosi No (2:04)
9. Adriano Celentano - Il Ribelle (2:20)
10. Adriano Celentano - Che Dritta! (2:10)
11. Adriano Celentano - Teddy Girl (2:15)
12. Adriano Celentano - Movimento di Rock (1:48)
13. Adriano Celentano - Pronto Pronto (1:57)
14. Adriano Celentano - Nikita Rock (2:07)

    Il Ribelle 1959 (extented )
     Release Date: 1999
    Rockin Adriano
    1. Adriano Celentano - Buonasera Signorina (2:51)
    2. Adriano Celentano - Il Ribelle (2:24)
    3. Adriano Celentano - Teddy Girl (2:19)
    4. Adriano Celentano - Pronto Pronto (2:02)
    5. Adriano Celentano - Piccola (1:41)
    6. Adriano Celentano - Impazzivo Per Te (2:04)
    7. Adriano Celentano - Pitagora (1:49)
    8. Adriano Celentano - Che Dritta! (2:14)
    9. Adriano Celentano - Cosi No (2:09)
    10. Adriano Celentano - 24.000 Baci (2:20)
    11. Adriano Celentano - Furore (2:30)
    12. Adriano Celentano - Nikita Rock (2:11)
    13. Adriano Celentano - Blue Jeans Rock (2:27)
    14. Adriano Celentano - La Gatta Sul Tetto Che Scotta (2:13)

Tuesday, October 26, 2010

Dara Puspita

Dara Puspita (Flower Girls) was Indonesia’s most successful girl band of the 1960s. While there were many popular female vocalists in Indonesia at that time, they nearly all relied on the services of a backing band. Dara Puspita was one of the few girl groups who actually played all their own music as well.

Dara Puspita hailed from the city of Surabaya in East Java and first formed in 1964 with the line-up of sisters Titiek Adji Rachman (Titiek A.R.) on guitar and Lies Soetisnowati Adji Rachman (Lies A.R.) on bass, along with Susy Nander on drums and Ani Kusuma on rhythm guitar. In April 1965 Lies left the band for a month to finish school and was replaced on bass by Titiek Hamzah. When Lies returned she took the place of Ani on rhythm guitar and Titiek Hamzah stayed on as bass player. It was with this line-up that the band set out to conquer the world.~ more

Dara Puspita («Цветочные девушки») - были самой успешной Индонезийской женской группой 1960-х. В те годы множество известных певиц выступало сольно, и все, чего мог достигнуть самобытный начинающий женский коллектив - это войти частично или целиком к какой-нибудь из див-оркестр.
   «Dara Puspita» стали известными как первая команда Индонезии, провозгласившая свое право на авторское творчество. Группа была сформирована в 1964 году, в городе Сарабайя, что на Западной яве, сестрами Титиек Аджи Рахман (Titiek Adji Rachman) - гитара; Лайс Сотисновати Аджи Рахман (Soetisnowati Adji Rachman) - бас, и примкнувшими к ним: Суси Нандер (Susi Nander) - барабаны и Ани Кусума (Ani Kusuma) - ритм-гитара.
   В апреле 1965 г. Лайс покинула группу на период школьных экзаменов, и была заменена на Титиек Хамза (Titiek Hamzah). По возвращении Лайс вытеснила Ани, а Титиек Хамза так и осталась постоянной басисткой. Этому составу предстояло покорить мир.

Dara Puspita - The Garage Years


                                                       01-  MABUK LAUT  

010- PUSDI

01- A GO GO 

Monday, October 25, 2010

Captain Beefheart and His Magic Band - Trout Mask Replica (1969)

Trout Mask Replica is Captain Beefheart's masterpiece, a fascinating, stunningly imaginative work that still sounds like little else in the rock & roll canon. Given total creative control by producer and friend Frank Zappa, Beefheart and his Magic Band rehearsed the material for this 28-song double album for over a year, wedding minimalistic R&B, blues, and garage rock to free jazz and avant-garde experimentalism. Atonal, sometimes singsong melodies; jagged, intricately constructed dual-guitar parts; stuttering, complicated rhythmic interaction -- all of these elements float out seemingly at random, often without completely interlocking, while Beefheart groans his surrealist poetry in a throaty Howlin' Wolf growl. The disjointedness is perhaps partly unintentional -- reportedly, Beefheart's refusal to wear headphones while recording his vocals caused him to sing in time with studio reverberations, not the actual backing tracks -- but by all accounts, the music and arrangements were carefully scripted by the Captain (aided by John "Drumbo" French), which makes the results even more remarkable. As one might expect from music so complex and, to many ears, inaccessible, the influence of Trout Mask Replica was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point. However, its inspiring reimagining of what was possible in a rock context laid the groundwork for countless future experiments in rock surrealism, especially during the punk/new wave era.

Five Day Rain - Five Day Rain (1969)

South African Sharon Tandy had already paid her dues with Fleur De Lys that included future King Crimson bassist Gordon Haskell. Five Day Rain's first drizzle started with In Crowd keyboardist Graham Maitland who originated from Scots Of St. James, headed by ex Vikings Allen Gorrie. Graham's initial plan was to form a keyboard Prog band front lined by the sultry Sharon after watching her exhilarating live performances. Around 1966 Scots Of St. James evolved into Hopscotch and put out' two singles "Look At The Lights" and "Long Black Veil" resulting in a name change to Forever More.

Graham Maitland - keyboards
Rick Sharp - guitars
Clive Burges - bass
Kim - drums
Sharon Tandy – vocals

Five Day Rain - Five Day Rain (1969)

Only album, previously unreleased, by the obscure British group Five Day Rain, led by guitarist / singer Rick Sharpe and including keyboardist Graham Maitland. The short-lived group managed to record quite an excellent album, which unfortunately was never released, seeing the light of the day only 36 years later. Their music was a great mixture of Psychedelic Rock and Prog, somewhat similar to the early Deep Purple albums. Great tunes, splendid vocal harmonies and one 11+ minutes long instrumental track, which alone is worth the price of the album.  Definitely a lost gem, worth reviving and listening to after all these years.

Sharon Tandy - You Gotta Believe It's (1965-69)

Sharon Tandy (born Sharon Finkelstein; c. 1947) is a South African singer who achieved some success in the United Kingdom in the 1960s as part of the blue-eyed soul and freakbeat movements. In 1966, she recorded some songs at Stax studios, a rarity for a white singer. She also had several chart hits in South Africa in the 1970s.

Sharon Tandy - You Gotta Believe It's  (1965-69)

This 26-track compilation is a virtually complete collection of the 1965-1969 material this South African singer cut during her period as a British resident, including 17 songs from her 1966-1969 Atlantic singles (one of them cut as half of the duo of Tony & Tandy); her two 1965 Pye singles; and five previously unreleased tunes she cut at Stax in Memphis in 1966. (Unfortunately her sole Mercury single, from 1966, was unavailable for licensing.) Sharon Tandy was a blue-eyed soul singer rather in the mold of Dusty Springfield, both in terms of her voice and her versatility, blending various shades of soul, British pop, and even some tinges of mod-psychedelia. Her voice wasn't as exceptional as Springfield's, and she didn't record songs that were as memorable, though a couple would have been worthy hits. Nevertheless, this is an enjoyable anthology of a worthwhile if minor performer, hitting its peak on a couple of songs on which she's backed by British mod band Fleur de Lys, "Hold On" (galvanizing soul-freakbeat) and "Daughter of the Sun" (on which she plays the part of something like a psychedelic witch). That's an avenue that, arguably, Tandy should have pursued further, both because she was good at singing harder soul-rock, and because it might have distinguished her from the numerous sub-Springfield women '60s pop/rock-soul singers in the British market. There are some other standout tracks here, though, like the straight Stax-like soul of "I Can't Get Over It"; the gentler, fully produced mid-'60s dramatic orchestrated pop of "Perhaps Not Forever" and "Hurtin' Me"; the sexy dance soul of "Hurry Hurry Choo Choo"; the very Sandie Shaw-like "The Way She Looks at You"; her fine, graceful cover of Lorraine Ellison's soul classic "Stay With Me"; and her cover of the Bee Gees' "World." Stax Records collectors might want to note that Booker T. & the MG's, Isaac Hayes, and the Memphis Horns back Tandy on seven of these tracks (the five 1966 outtakes and the single "I Can't Get Over It"/"Toe Hold"), and that one of those outtakes, "One Way Street," is an Isaac Hayes-David Porter composition that doesn't seem to have been recorded by anyone else. The disc is accompanied by voluminous liner notes, including detailed reminiscing by Tandy herself.

V.A.- Girls With Guitars

In 1989, back in the days of vinyl, Ace Records issued their first collection of "Girls With Guitars". Some young folk out there worship that album, it seems. Now, after a mere 15-year wait, a second compilation is unleashed. Grey area releases abound in this bizarre musical genre, where the sounds of 1960s girl groups and garage bands collide in a mess of grunge and glamour. Ace give those pesky b**tl*gg*rs a lesson in how to do the job properly, natch. 

Pride of place, and half the space, is given to a clutch of gen-u-ine axe-toting all-girl bands. Goldie and the Gingerbreads hold the highest profile, their four tracks dating from a time when their fame had spread not much further than Greenwich Village. They would soon become fixtures on the British scene, touring with the Stones and the Kinks. Cover stars the Girls were a sister act from Los Angeles, so highly regarded in the biz that guitar manufacturers Fender sponsored them. Dylan liked them so much he hired them to play at his birthday bash. Back in the day, the Pandoras were constantly in demand on the college circuit of New England, as were the Daughters Of Eve in the environs of Chicago, yet parking lot gigs were the speciality of the Hairem, Sacramento's answer to the Shaggs. The Hairem would achieve greater notoriety as She, also included here. 

Philly-based Kathy Lynn and the Playboys were one and the same group as funky instrumentalists the Buena Vistas, it transpires. If you've read the book On The Bus you might be familiar with the name Denise Kaufman, aka Mary Microgram of the Merry Pranksters, Ken Kesey's infamous troop of hippie nomads. Previously, she had fleetingly led Denise and Company, purveyors of one of the most sought after of all garage girl 45s. On a different tack, offerings by the Percells and Al Casey with the K-C-Ettes are direct descendents of Duane Eddy's (Dance With The) Guitar Man, while Sugar and the Spices actually comprised Casey's wife and the former Mrs Eddy. The said Corky Casey is interviewed in the action-packed 20-page booklet, along with Darlene Love of the K-C-Ettes, drummer Debbie Pomeroy of the Daughters Of Eve and Patti Valentine of Cincinnati duo the 2 Of Clubs. Also from Cincy, soul trio the Charmaines lend their voices to a track by axe-god Lonnie Mack. They also backed up James Brown in their time - 'nuff said. 

Were Shadow Morton's Beattle-ettes (sic) and the Shangri-Las one and the same group? How do Memphis's own Shangs-clones the Goodees sound doing a Swingin' Medallions biggie? Is Pat Powdrill and the Powerdrills' cut the best slab of West Coast girl-psych around? And did the Angels and the Tomboys play their own instruments, or just sound as if they did? (He asked, patronisingly). Listen and decide for yourselves. ~ By Mick Patrick

1. Girls - My Baby (2:06)
2. Tomboys - I'd Rather Fight Than Switch (2:22)
3. Angels - Get Away From Me (1:54)
4. Denise & Company - Boy, What'll You Do Then (2:30)
5. Goldie & the Gingerbreads - Chew Chew Fee Fi Fum (2:11)
6. Beattle-Ettes - Only Seventeen (1:57)
7. Sugar & The Spices - Do the Dog (2:09)
8. Kathy Lynn & the Playboys - I Got a Guy (1:57)
9. The Goodees - Double Shot (Of My Baby's Love) (2:58)
10. The Pandoras - (I Could Write a Book) About My Baby (2:14)
11. Pat Powdrill/Powerdrills - They Are the Lonely (2:37)
12. 2 of Clubs - Heart (2:43)
13. The Daughters of Eve - Help Me Boy (2:32)
14. Goldie & the Gingerbreads - Skinny Vinnie (2:05)
15. The Percells - Hully Gully Guitar (2:50)
16. Kathy Lynn & the Playboys - Rock City (2:04)
17. Lonnie Mack/The Charmaines - Sticks and Stones (2:14)
18. Goldie & the Gingerbreads - Take My Hand (2:42)
19. Sugar & The Spices - Boys Can Be Mean (2:03)
20. Al Casey/K-C-Ettes - Guitars, Guitars, Guitars (2:03)
21. Goldie & the Gingerbreads - V.I.P. (1:58)
22. Hairem - Come on Along (2:18)
23. Girls - My Love (3:21)
24. She - Outta Reach (2:25)

To clear up some inevitable confusion right off the bat, this does not feature the same music as the 1989 LP compilation also titled Girls With Guitars, which came out on Impact, a subsidiary of Ace, the same label that put out the 2004 CD also titled Girls With Guitars [Ace]. The 1989 Impact LP bearing this title was devoted entirely to '60s female British acts, with the exception of Goldie & the Gingerbreads, an American band who were based in Britain in the mid-'60s. The 2004 Ace CD called Girls With Guitars [Ace] has 24 entirely different tracks, all of them by American-'60s girl groups, many (though not all) of whom played their own instruments. Goldie & the Gingerbreads appear on the 2004 Girls With Guitars [Ace] as well, but are represented by four mid-'60s tracks that don't appear on the 1989 Girls with Guitars LP. Got all that? Moving on to the music, it's okay and usually competent enough to avoid categorization as mere novelty. But it's not great -- it's mid-level period-'60s rock (actually from 1963-70), reflecting girl group, soul, British Invasion, and pop-rock trends of the day. Some of it has the raw guitar rock approach associated with garage rock, but not all of it does, by any means. Few will have heard of any of these acts, save perhaps Goldie & the Gingerbreads (whose tracks are only so-so); one-time Ikette Pat Powdrill, represented by an atypical (for her) piece of typical 1966 L.A. flower power pop/rock, "They Are the Lonely"; and, perhaps, She, who got some notoriety decades later after Ace issued a CD of that garage band's material. There's also Lonnie Mack, who's not a woman, of course, but whose "Sticks and Stones" featured vocals by women singers the Charmaines. Some of the standout tracks are the Beatlettes' "Only Seventeen," one of the most British Invasion-influenced songs on the disc (as if you couldn't tell from the group's name), though some of the melody borrows liberally from Lesley Gore's "She's a Fool"; "Help Me Boy," the Daughters of Eve's awkward, gender-adjusted cover of the Animals' hit "Help Me Girl"; the Girls' moody 1965 single "My Baby"/"My Love"; and the 2 of Clubs' version of Petula Clark's "Heart" (which actually charted in Billboard in the "bubbling under" section of the Hot Hundred in 1966), a song strong enough that it's hard to ruin, though both Clark and the Remains did better versions. This anthology will benefit from much stronger distribution than the many volumes in the Girls in the Garage series, the best-known anthologies of the small-'60s girl group/garage group genre. But to be honest, if you cherry-picked the best tracks from that series into one or two volumes, you'd have collections that would blow Girls With Guitars [Ace] out of the water.

The Rascals - The Ultimate Rascals (1986)

The Rascals, along with the Righteous Brothers, Mitch Ryder, and precious few others, were the pinnacle of '60s blue-eyed soul. The Rascals' talents, however, would have to rate above their rivals, if for nothing else than the simple fact that they, unlike many other blue-eyed soulsters, penned much of their own material. They also proved more adept at changing with the fast-moving times, drawing much of their inspiration from British Invasion bands, psychedelic rock, gospel, and even a bit of jazz and Latin music.

 They were at their best on classic singles like "Good Lovin'," "How Can I Be Sure," "Groovin'," and "People Got to Be Free." When they tried to stretch their talents beyond the impositions of the three-minute 45, …Read More

The Ultimate Rascals (1986)

A wonderful collection of songs, most of which were major hits for this quartet, The Ultimate Rascals was one of the early compilations released when compact discs were still fairly young. As such, the tapes from which this recording was mastered were obviously not first generation, with the resulting subpar sound the disc's only weakness. But, oh, the music: a cornucopia for any baby boomer weaned on AM radio in the mid- to late '60s. The Rascals' development is traced here from the early rock & roll sides, like "Good Lovin'" and "You Better Run," through the blue-eyed soul era of "Groovin'" and "A Girl Like You," to the band's social relevance period, exemplified by "People Got to Be Free" and "A Ray of Hope." During their peak period, from 1966-1969, the Rascals cranked out a batch of popular hit singles, and all are here, along with some of their better album cuts. This is the disc that many fans rushed out to buy when they first acquired CD players, and it's still a good place to start for the uninitiated. 
For the true fan, however, the two-disc Anthology (1965-1972),
 released in the early '90s, is much better. 

Track List:

01. I Ain't Gonna Eat Out My Heart Anymore
02. Good Lovin'
03. Mustang Sally
04. You Better Run
05. Come On Up
06. Love Is a Beautiful Thing
07. What Is the Reason
08. Lonely Too Long
09. Groovin'
10. A Girl Like You
11. How Can I Be Sure
12. It's Wonderful
13. A Beautiful Morning
14. People Got To Be Free
15. Heaven
16. See
17. Carry Me Back
18. Find Somebody
19. Easy Rollin'
20. A Ray of Hope

Captain Beefheart and His Magic Band- Safe as Milk (1967)

Born Don Vliet, Captain Beefheart was one of modern music's true innovators. The owner of a remarkable four-and-one-half octave vocal range, he employed idiosyncratic rhythms, absurdist lyrics and an unholy alliance of free jazz, Delta blues, latter-day classical music and rock & roll to create a singular body of work virtually unrivalled in its daring and fluid creativity. While he never came even remotely close to mainstream success, Beefheart's impact was incalculable, and his fingerprints were all over punk, new wave and post-rock. 

Don Vliet was born January 15, 1941 in Glendale, California (he changed his name to Van Vliet in the early '60s). At the ageRead More

Captain Beefheart -  Safe as Milk (1967)

Beefheart's first proper studio album is a much more accessible, pop-inflected brand of blues-rock than the efforts that followed in the late '60s -- which isn't to say that it's exactly normal and straightforward. Featuring Ry Cooder on guitar, this is blues-rock gone slightly askew, with jagged, fractured rhythms, soulful, twisting vocals from Van Vliet, and more doo wop, soul, straight blues, and folk-rock influences than he would employ on his more avant-garde outings. "Zig Zag Wanderer," "Call on Me," and "Yellow Brick Road" are some of his most enduring and riff-driven songs, although there's plenty of weirdness on tracks like "Electricity" and "Abba Zaba." [Buddha's 1999 reissue of Safe as Milk contained restored artwork and seven bonus tracks.]

Friday, October 22, 2010

V.A. - Lenivyj sheyk (Lonely Shake) 1964-1973 USSR


 Pure Music... Easy Listening...
01.  "Rokoko" - Rokoko (2:18)

02.  "Rokoko" - Dyuny (3:46)

03. "Akkord" - Eho (2:40)

04. "Rokoko" - Lesnoy ruchey (3:30)

05.  "Rokoko" - Galantnaya p'esa (3:30)

06.  "Rokoko" - Lenivyj sheyk (3:06)

07.  "Akkord" - Pingviny (2:04)

08. "Balalayka" - Zelenyj goroshek (2:41)

09. "Rokoko" - Veterok (3:39)

10.  "Balalayka" - Dyhanie yuga (3:19)

11. Anatoliy Gorohov & "Balalayka" - Dal'nih zvezd ogni (3:46)

12. "Rokoko" - Dolina tsvetov (2:27)

13.  "Rokoko" - Tanets vlyublennyh (3:01)

14.  "Balalayka" - Dedushkina svirel' (4:24)

15. "Balalayka" - Tul'skiy samovar (2:11)

Wednesday, October 20, 2010

V.A. - Heimatliche Klaenge vol.39

Heimatliche Klaenge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels

Toni Cavanaugh und die Liverpool Triumphs (aka The Bats / Hamburg)
Rock'n Twist Slop Hully Gully, Somerset 583 (mono)

01 - Long Tall Sally  (My Babe)
02 - Mashed Potatoes
03 - I'm Talking About You
04 - What Did I Say
05 - Hummel Twist
06 - Money
07 - Jezebel
08 - Hully Gully
09 - Slippin' And Slidin' (We Are Slopping)
10 - Twiullyop
11 - Tell Me Baby

Somerset 583 (stereo)
12 - Mashed Potatoes
13 - I'm Talking About You
14 - Money
15 - Hully Gully
16 - Slippin' And Slidin' (We Are Slopping)

Toni Cavana & The Beat Brothers
17 - Niemand ist ein Engel
18 - Dann sag nein
19 - Little Clementine
20 - Mein schoenster Tag

The Fabs - The Fabulous Fabs

British gal band The Fabs somehow ended up releasing an LP in Mexico in the late sixties! The story that must go behind that must be a hoot! But yes the group consisted of Sarah Johnstone on guitar and organ (plus writing duties on occasion!), Maria Kaye on guitar, Margaret Lewis on bass and Lynne Barry on drums. The record includes mostly covers of popular songs of the time, including Bread and Butter! Plus two originals, "Fabulous" being one of them.

01 - Fabulous
02 - Simon Says
03 - Dancing In The Streets
04 - Can't You Hear My Heartbeat
05 - Wipe Out
06 - Another Minute
07 - Bread And Butter
08 - Land Of 1000 Dances
09 - Whiter Shade Of Pale
10 - Shake / What'd I Say

V.A.- Destroy That Boy! More Girls With Guitars

A sequel to the 2004 Ace CD Girls with Guitars, this likewise focuses on guitar-oriented, girl-sung 1960s rock from the '60s, though to be technical one 1970 cut sneaks in. These aren't all self-contained female groups who played their own instruments (although a few of them are); in fact, a number of these artists didn't play their own music, and some of them were solo acts, not bands. The common factor, however, is that all of them did play rougher, more guitar-heavy rock than the norm for woman rockers of the era. There's a fairly narrow pool of discs to choose from when you're making an anthology like this (though not as narrow as many people realize), which makes it hard if not impossible to make an "all killer no filler" compilation. That's how it goes with Destroy That Boy! More Girls with Guitars, which is usually fun, and occasionally very good, but often more interesting for historical oddity and energy than for the quality of the songs or performers. Still, there are some genuinely stand-out tracks here, none more so than Beverley Jones' "Hear You Talking," which is average Merseybeat musically, but has a vocal that's incredibly vicious by 1964 standards, and a chorus ("I'll cut you dead...if I hear you talking about her") that's downright gangsta in this company. Also very good is Sharon Tandy's "Hold On," justly hailed as a first-rate mod rocker long before its appearance on this compilation, and Ann-Margret's unlikely (and mighty strange) psychedelic Lee Hazlewood-written and produced 1968 rarity "You Turned My Head Around." Nothing else on the CD galvanizes like these three items, but it does at least present a wide range, from Merseybeat (including Liverpool's self-contained Liverbirds) and Beatles novelties to She Trinity's "He Fought the Law" (reportedly the inspiration for the Clash's "I Fought the Law" cover, according to the liner notes); a folk-rocker co-written by Erik Darling of the Rooftop Singers (Project X's "Don't You Think It's Fine"); and a rocking Donovan song that Donovan himself never put on his records (Karen Verros' "You Just Gotta Know My Mind"). Also neat is the Girls' previously unreleased "Here I Am in Love Again," with backing by the Beau Brummels, which was written and produced by Sly Stone, even if the vocals are pretty shaky. 

    1. The What Four - I'm Gonna Destroy That Boy (2:06) 2. The Starlets - You Don't Love Me (2:17) 3. Raylene & The Blue Angels - Shakin' All Over (2:10) 4. She Trinity - He Fought The Law (2:22) 5. Toni McCann - No (1:56) 6. The Liverbirds - He's Something Else (2:17) 7. Beverley Jones & The Prestons - Hear Your Talking (2:46) 8. The Debutantes - Shake A Tail Feather (2:16) 9. The Fondettes - The Beatles Are In Town (2:04) 10. Project X - Don't You Think It's Fine (2:40) 11. Ann-Margaret - It's A Nice World To Visit (But Not To Live In) (2:28) 12. Sharon Tandy - Hold On (3:12) 13. Karen Verros - You Just Gotta Know My Mind (1:56) 14. Ann-Margaret - You Turned My Head Around (3:21) 15. The Feminine Complex - I've Been Workin' On You (2:49) 16. The Girls - Here I Am In Love Again (2:01) 17. The Termites - Tell Me (2:56) 18. The Liverbirds - Talking About You (3:06) 19. The What Four - Baby, I Dig Love (2:03) 20. The Pivots - (I'm Not Your) Stepping Stone (2:33) 21. The Liverbirds - He's About A Mover (2:40) 22. Cheryll & Pam - That's My Guy (2:07) 23. The Lady Bugs - Fraternity, USA (2:28) 24. She Trinity - Climb That Tree (3:32)

Monday, October 18, 2010

The Kinks — Fab Forty :The Singles Collection 1964-1970

CD 1
    1. Kinks - I Took My Baby Home (1:49) 2. Kinks - Long Tall Sally (2:13) 3. Kinks - You Still Want Me (2:00) 4. Kinks - You Do Something To Me (2:25) 5. Kinks - You Really Got Me (2:14) 6. Kinks - It's All Right (2:37) 7. Kinks - All Day And All Of The Night (2:23) 8. Kinks - I Gotta Move (2:24) 9. Kinks - Tired Of Waiting For You (2:32) 10. Kinks - Come On Now (1:47) 11. Kinks - Everybody's Gonna Be Happy (2:16) 12. Kinks - Wholl Be Next In Line (2:03) 13. Kinks - I Need You (2:26) 14. Kinks - Set Me Free (2:13) 15. Kinks - See My Friends (2:46) 16. Kinks - Never Met A Girl Like You Before (2:04) 17. Kinks - Till The End Of The Day (2:21) 18. Kinks - Where Have All The Good Times Gone (2:51) 19. Kinks - Sunny Afternoon (3:35) 20. Kinks - I'm Not Like Everybody Else (3:26)

CD 2

    1. The Kinks - Dead End Street (3:23) 2. The Kinks - Big Black Smoke (2:33) 3. The Kinks - Waterloo Sunset (3:16) 4. The Kinks - Act Nice and Gentle (2:40) 5. The Kinks - Autumn Almanac (3:12) 6. The Kinks - Mr. Pleasant (2:58) 7. The Kinks - Polly (2:52) 8. The Kinks - Wonderboy (2:49) 9. The Kinks - Days (2:54) 10. The Kinks - She's Got Everything (3:09) 11. The Kinks - King Kong (3:24) 12. The Kinks - Plastic Man (3:04) 13. The Kinks - This Man He Weeps Tonight (2:42) 14. The Kinks - Shangri La (5:21) 15. The Kinks - Victoria (3:39) 16. The Kinks - Mr Churchill Says (4:42) 17. The Kinks - Lola (4:03) 18. The Kinks - Berkeley Mews (2:40) 19. The Kinks - Rats (2:40) 20. The Kinks - Apeman (3:51)

"What makes this Kinks compilation such an essential addition to the group's catalogue," writes Patrick Humphries in his liner notes, "is that for the first time it contains in correct chronological sequence, virtually all the Kinks' singles they recorded for the old Pye label, 1964-1970." Humphries' statement is correct, right down to the key word "virtually," which needs to be explored in greater detail. As its title implies, the two-CD set, which runs over 114 minutes, contains 40 tracks drawn from Kinks singles released during their first seven years of existence, 20 A-sides and 20 B-sides. As such, it is half a greatest-hits album, containing well-known tracks like "You Really Got Me," "All Day and All of the Night," and "Lola," and a half a rarities album containing some of the group's most obscure recordings, and they alternate with each other through the collection. But back to the word "virtually." Given that this is a British compilation, it is not surprising (but still disappointing) that "A Well Respected Man," which reached the Top 20 of the U.S. singles charts, but which was not released as a single in the U.K., is missing. But there is no apparent explanation for the omission of "Dedicated Follower of Fashion," a Top Ten hit in the U.K. Of course, that single's B-side, "Sitting on My Sofa," is also missing, as is the wonderful non-chart 1969 single "Drivin'." And, as a singles collection, the album contains nothing from the album The Kinks Are the Village Green Preservation Society, from which no singles were issued. Only one of the first 33 of the 40 tracks is in stereo, and oddly enough it's the first one, "I Took My Baby Home," which actually was the B-side of the Kinks' debut single, a cover of the Little Richard hit "Long Tall Sally." Starting with "Shangri-La," the last seven tracks are in stereo. Since bandleader Ray Davies was such a good songwriter, there are many excellent compositions among the lesser known tracks here, notably several with lead vocals by guitarist Dave Davies. There are also hints of what was to come after 1970 -- "Act Nice and Gentle" (the B-side of "Waterloo Sunset") and "Plastic Man" (actually a Top 40 hit in Britain) both sound like they could have come from the Kinks' country-rock album Muswell Hillbillies of 1971. But the main joy of the set is hearing the group evolve from its hard rock days with "You Really Got Me" and its soundalikes to more idiosyncratic and sophisticated fare such as "Victoria," even if some key 
songs are missing, some for no obvious reason.

Chad & Jeremy - Sing For You& Second Album (1964;1965) 2 in 1

Sing For Yo 1964

Chad & Jeremy's first British LP, Sing for You, was -- confusingly -- an entirely different release than the American LP bearing the same title, which was the second of the duo's U.S. long-players, and featured different tracks for the most part. The U.K. Sing for You was pretty similar to Chad & Jeremy's first American LP (Yesterday's Gone), with the exception of a different running order and a few different tracks. Three songs from the British Sing for You don't appear on Yesterday's Gone: "If I Loved You" (their third British single), the traditional folk song "Donna Donna," and the John Lennon-Paul McCartney composition "From a Window" (never done by the Beatles, but a hit for Billy J. Kramer). Conversely, three songs from Yesterday's Gone -- "Now and Forever," "Too Soon My Love," and the instrumental "Only for the Young" -- don't appear on the British version of Sing for You. It's a pain to keep straight, but luckily it doesn't really matter. Since everything from the British Sing for You (including the aforementioned three songs that don't appear on Yesterday's Gone) all found release in the United States, there's no reason to hunt down an original copy of the U.K. album; if you want to hear the songs in their original order, they're the first dozen tracks on the reissue compilation Sing for You/Second Album, which combines the first two albums and five additional tracks on a single-CD release. As for the music, it was pleasant fare that epitomized the lightest aspects of the early British Invasion, highlighted by their pop-folk hits "Yesterday's Gone," "A Summer Song," and "Willow Weep for Me." Elsewhere the song list is more varied and less rock-oriented than that of the usual British Invasion act, including a few originals, popular standards ("September in the Rain" and Rodgers-Hammerstein's "If I Loved You"), and folk music.

Second Album 1965

Although Chad & Jeremy's Second Album was not released in the U.S., there's not much reason for collectors to sweat out trying to find the LP, as all of its tracks did come out in some form stateside. In fact, Second Album had nearly the same contents as the duo's second American LP (titled Sing for You, and, confusingly, not at all the same as the British LP called Sing for You, which was their first U.K. long-player). The only differences between Second Album and the U.S. Sing for You are that Second Album has a few songs not on the American counterpart, two of which ("Now and Forever" and "Too Soon My Love") had already appeared in the U.S. on the Yesterday's Gone album, the other of which ("It Was a Very Good Year") would soon appear on an American B-side, and subsequently on U.S. album compilations. And naturally, in this transatlantic mishmash, the American Sing for You has two songs which don't appear on Second Album, "Donna Donna" and "From a Window," though they'd already appeared on the British version of Sing for You. The musical merits of Second Album were, naturally, similar to those of the American Sing for You: no big hits, but generally likeable lightweight British Invasion music, though the songs that actually verge on cheery British Invasion rock ("My How the Time Goes By," "Now and Forever," "Too Soon My Love," "Only Those in Love") are far better than the covers of popular standards ("The Girl From Ipanema," "It Was a Very Good Year") and the bossa nova-cum-folk on their cover of Ian & Sylvia's "Four Strong Winds." If you do want to hear everything from Second Album in the original order, try to find the reissue compilation Sing for You/Second Album, which combines the first two albums and five additional tracks on a single-CD release.

Sunday, October 17, 2010

The Turtles - The Turtles Present The Battle Of The Bands

Though the Turtles were rightfully known as an excellent pop/rock singles band, on this recording they let loose their humor, which was part of their act from the beginning. On the outside cover the group is dressed in conservative suits and bow ties, yet on the inside the group is clad in, shall it be tastefully said, less traditional attire. The Turtles (who wrote nine of the 12 songs on the original LP, two songs being added to the CD) basically mock the entire spectrum of music on this album, though elements of their pop/rock sound are contained even in the most country, psychedelic, and R&B elements of the music presented here. Two Top Ten hits are contained in this collection, Roger McGuinn's "You Showed Me" and the Turtles own subtly mocking "Elenore." Light psychedelia meets Booker T. & the MG's in the instrumental "Buzzsaw." The Beach Boys sound shows up in "Surfer Dan," and the original album closer "Earth Anthem" is a hippie ecology, folk-pop anthem that is both very pretty and quite satirical -- a listener could easily lose himself in the fine melody and atmospheric production, while laughing at the same time. The only potential problem with this album is that it is caught in the middle between two extremes: On the one hand, non-mainstream listeners will criticize the album for sounding too commercial, and, on the other, typical Turtles fans will find the album too sophisticated, especially if they are looking for another album like Happy Together. Between these two points of view falls an excellent album that is both commercial and comical, as if both of these elements couldn't coincide in one album.

1. The Turtles - The Battle Of The Bands (2:14)

2. The Turtles - The Battle Of The Bands (2:14)

3. The Turtles - The Last Thing I Remember (2:54)

4. The Turtles - The Last Thing I Remember (2:54)

5. The Turtles - Elenore (2:30)

6. The Turtles - Elenore (2:30)

7. The Turtles - Too Much Heartsick Felling (2:42)

8. The Turtles - Too Much Heartsick Felling (2:42)

9. The Turtles - Oh, Daddy (2:45)

10. The Turtles - Oh, Daddy (2:45)

11. The Turtles - Buzzsaw (1:56)

12. The Turtles - Buzzsaw (1:56)

13. The Turtles - Surfer Dan (2:41)

14. The Turtles - I'm Chief Kamanawanalea (We're The Royal Macadamia Nuts) (1:33)

15. The Turtles - You Showed Me (3:14)

16. The Turtles - You Showed Me (3:14)

17. The Turtles - Food (2:39)

18. The Turtles - Food (2:39)

19. The Turtles - Chicken Little Was Right (2:46)

20. The Turtles - Chicken Little Was Right (2:46)

21. The Turtles - Earth Anthem (3:52)

22. The Turtles - Earth Anthem (3:52)

23. The Turtles - Sound Asleep (2:27)

24. The Turtles - Sound Asleep (2:27)

25. 14.The Story Of Rock And Roll (2)

26. 14.The Story Of Rock And Roll