Monday, November 29, 2010

Please - Please (1968-69)


Line-up
- Peter Dunton (drums, vocals)
- Bernard Jinks (bass)
- Nick Spenser (guitars)


Please were formed by Peter Dunton and Bernie Jinks in late 1967. They had just returned to Britain from Germany where they had played with Neon Pearl, which also included their third member Jurgen Ermisch. The fourth original member Adrian Gurvitz later co-founded Gun. Unfortunately this line-up left no vinyl legacy or unreleased recordings that have been located behind it. They disbanded in May 1968 when Peter Dunton joined The Flies for whom he wrote both sides of their Magic Train 45. When The Flies split up at the end of 1968, Dunton reformed the band (line-up 'B'). Rob Hunt had also been in The Flies. They recorded all the cuts compiled on this album. Please split again in April 1969 when Peter Dunton joined Gun. The remaining members recruited a new drummer and renamed themselves Bulldog Breed. They later cut the Made In England album. In the Autumn of 1969, Peter Dunton quit Gun to reform Please with Bernie Jinks and Nick Spenser (ex-Neon Pearl). This incarnation was relatively short-lived as they had difficulty recruiting a suitable keyboard player. In early 1970 Dunton, Jinks and a later Bulldog Breed member Keith Cross joined forces to form T2, who were responsible for the excellent It'll All Work Out In Boomland album. One of T2's tracks, No More White Horses also crops up in a radically different form on Please's 1968/69 retrospective.
(taken from "Tapestry Of Delights")

01. We Aim To Please (2:51)
02. No More White Horses (3:21)
03. Paper Anne (3:15)
04. Seaweed (5:10)
05. Break The Spell (3:17)
06. Strange Ways (3:21)
07. Man With No Name (3:27)
08. Watching (2:11)
09. You're Still Waiting (2:05)
10. Breakthrough (3:23)
11. The Story (2:24)
12. Folder Man (2:24)

The Scarlets - The Scarlets complete 1963-1971 (3 CD)


The Scarlets, one of Denmarks most famous and successful artists in the sixties.




The Scarlets were formed in Copenhagen in mid 1963 as a backing-group for Johnny Reimar, who had just left the Clifters. The members were: John Friis (el-b, vo) Kaj Christensen (p, org, vo) Steen Larsen (lead-g) Jan Pedersen (dm).
The Scarlets made their debut at Geels Kro, 20th July 1963. Scarlets quickly became more than just a backing-froup, and had two parallel carreers both on stage and on album: The Scarlets with or without Reimar. Scarlet played rocknroll inspired by Johnny & The Hurricans, which can be heard on their first recording “Bondeorgelet”, which served as the opening-vignette to the radioprogram “Musik for Teenagere”. The B-side “Prinsesse Toben” was a huge hit på “Ti Vi Ka Li” in September 1963. Johnny Reimar & The Scarlets were a popular liveband that toured extensively in Denmark and Sweden. On a lot of the recordings Reimar used Bertrand Bechs Orkester as his backing-group. Scarlets were the first band that played on Hit House, on 1.9.1964, and at the Star Club. In late 1965 The Scarlets and Reimar split, and Johnny Reimar began his solo-career. 

CD1. Bondeorglet 2. Prinsesse Toben 3. Winterset 4. If You Wanna Dance 5. Nevada 6. Pimpernel 7. Dytten-Batten 8. Let Us Dream 9. Let's Go 10. Tambourine Shake 11. The Girls Of Copenhagen 12. I Do Not Wanna Cry Anymore 13. Chattanooga Choo Choo - Shake 14. Scarlet Tune 15. Little Things Live 16. She Taught Me How Yodel 17. Bondeorglet 18. I Love The Way You Love 19. The House Of The Rising Sun 20. Scarlet Tune 21. Tambourine Shake 22. I Do Not Wanna Cry Anymore 23. Waiting On The Corner 24. Wishing To Kiss You 



CD-3: 1. She Taught Me How To Yodel 2. Kansas City Star 3. Michelle 4. Stop, Mens Legen Er God 5. Yesterday Man 6. These Boots Are Made For Walkin' 7. Stop The Music 8. You Were On My Mind 9. Barbara Ann 10. Blue Turns To Grey 11. Dedicated Follower Of Fashion 12. I Can't Let Go 13. A Little Lovin' Somethin' 14. Sweet Talkin' Guy 15. Remember When 16. Only You 17. Molak Molak Mak Mak Mak 18. Mens Manden Var Ud'Efter Ol 19. So Do I 20. I Want You Tell Me 21. Long Long Time 22. I Want You To Tell Me 23. Rhythm Of The Rain 24. Opus 17 25. Man Klarer Alting Med Et Smil 26. Hele Verden Snurrer Rundt 27. One Way Ticket 28. Wichita Lineman 29. Carpet Man 30. My Way Of Life 



CD-3: 1. Bama Lama Bama Loo 2. The World Through A Tear 3. De Larte Os At Jodle 4. Bedre Dag For Dag 5. Gimme Dat Ding 6. Teddy Boy 7. Que Sera Sera 8. Ta' En Lille Sang 9. Sommer Og Sol 10. Gor Det Sa Godt Du Kan 11. San Quentin 12. Sing A Traveling Song 13. Southwind 14. Jesus Was A Carpenter 15. This Town 16. Face Of Despair 17. Flesh And Blood 18. I'm Gonna Try To Be That Way 19. This Side Of The Law 20. See ruby Fall 21. Starkville City Jail 22. Hungry 23. 'cause I Love You 24. Route Nos. 1, Box 144 25. Come Along And Ride This Train 26. What Is Truth

Thanks for  remarkablewilly 



Sunday, November 28, 2010

Johnny Reimar - The Complete (1963 - 1965)


REQUEST
Johnny Reimar – The Complete 1963 – 1965 
This is volume 7 in the great series “Dansk Pigtrеd”. Johnny Reimar was, with or without his equally famous backing-group The Scarlets, one of Denmarks most famous and successful artists in the sixties. He originally started out in The Clifters before joining The Scarletts. Like most artists of that era he did mostly cover-songs along with some of his own tunes. He has also had a very successful solo-career as a perfomer and an actor. The biographies are taken from danskefilm.dk and tinpan.fortunecity.com/mccartney/95/dksca.htm. They have been (poorly) translated into English by me.

The Scarlets were formed in Copenhagen in mid 1963 as a backing-group for Johnny Reimar, who had just left the Clifters. The members were: John Friis (el-b, vo) Kaj Christensen (p, org, vo) Steen Larsen (lead-g) Jan Pedersen (dm).

The Scarlets made their debut at Geels Kro, 20th July 1963. Scarlets quickly became more than just a backing-froup, and had two parallel carreers both on stage and on album: The Scarlets with or without Reimar. Scarlet played rocknroll inspired by Johnny & The Hurricans, which can be heard on their first recording “Bondeorgelet”, which served as the opening-vignette to the radioprogram “Musik for Teenagere”. The B-side “Prinsesse Toben” was a huge hit pе “Ti Vi Ka Li” in September 1963. Johnny Reimar & The Scarlets were a popular liveband that toured extensively in Denmark and Sweden. On a lot of the recordings Reimar used Bertrand Bechs Orkester as his backing-group. Scarlets were the first band that played on Hit House, on 1.9.1964, and at the Star Club. In late 1965 The Scarlets and Reimar split, and Johnny Reimar began his solo-career.

Johnny Reimar Kristensen played in the school orchestra at Korslшkkeskolen in his youth and later won an amateur-competetion at Fyns Tivoli. He made his debut as a “pigtrеdsinger” (beat/rocknroll-singer) in 1958 at Allesш Hallen in Fyn. In 1960 he moved to Copenhagen and graduated in art directing and drawing while joining the rocknroll band The Clifters in 1959. He had has breakthrough in 1961, when he made his recording debut with The Clifters and changed his name to Johnny Reimar at the same time. In October 1961 “How Wonderful To Know” was released. In 1963 Johnny Reimar left The Clifters and joined the equally popular The Scarlets, who reached the top of the charts in 1963. The Clifters disbanded in 1963, but re-united in 1987. In 1964 Reimar took the step away from english-singing rocknroller to a more mainstream danish solo artist when he recorded ”Lille Fregnede Lousie”. Lille Louise gave Johnny his first silver-album after selling more than 50.000 copies. In 1969 he performed at Vin & Шlgod with the song “ Du burde kшbe dig en tyrolerhat”. With the song he secured his second silver-album. The Tyrolerhat song has been Johnnys trademark song ever since. The next year Johnny released his popular “Party” series, which was a huge hit. He quickly became known for his popular, folksy, down to earth style, and for the next 25 years he played to sell-out crowds with his “Party” band. He had other hits in 1972 with “Sikken fest vi har haft I natt” og “Ole det var I Spanien”. He has also done a lot of work in the recording industry and television.
CD1:
01 - Down In Napoli
02 - Don't You Forget It
03 - I've Got That Sad And Lone
04 - The Boy's Night Out
05 - Early In The Morning
06 - Whatcha Gonna Do
07 - Too Young
08 - Kisses Sweeter Than Wine
09 - All Week Long
10 - Tell Laura I Love Her
11 - Plain Jane
12 - That's All
13 - Them There
14 - Are You Lovesome Tonight
15 - What Do Ya Say
16 - Make Me Forget
17 - Whatcha Gonna Do (Live).
18 - Lazy River (Live).
19 - Tell Laura I Love Her (Live)
20 - Down In Napoli (Live)

CD2:
01 - Det' Da Ligetil
02 - Kom Sе Gamle Dreng
03 - Lille Fregnede Louise
04 - Gid Det Gеr Dig Godt
05 - En Helt Ny Start
06 - Den Glade Vise
07 - I Lyst Og Nшd
08 - Jeg Gеr Hvorhen Jeg Vil
09 - Jeg Si'r Tillykke Til Mig
10 - Grib Mig Hvis Jeg Falder
11 - Tut Mir Leid
12 - Komm Und Geh Mit Mir
13 - Margit Und Johnny med Heinz Alisch Kor Og Orkester , Angelito
14 - Margit Und Johnny med Heinz Alisch Kor Og Orkester , Weisst Du Was
15 - Sei Wieder Gut
16 - Du Darfst Nicht So Vorьbergeh'n
17 - Rote Lippen Hat Luise
18 - Allein Mit Dir
19 - Tu Das Nie
20 - Michelle
21 - Ingela Brander Og Johnny Reimar , Hand In Hand

ONCE AGAIN 
THANKS FOR REMARKABLEWILLY

V.A. - Heimatliche Klaenge vol.47


Heimatliche Klaenge - Deutsche Schallplatten-Labels 
Native Sounds - German Record-Labels
vol.47   ALCORA

The Dukes

01 - I'm An Unskilled Worker
02 - On The Stage
03 - I Could Be A Sportsman
04 - Hang Him Up
05 - Helena
06 - You Are One Of Them
07 - Look Into The Mirror
08 - Dear Rosa
09 - People Cry
10 - Something's Going Wrong Today
11 - The Dentist
12 - I Need A Band
13 - Leave You, Goodbye
14 - The Rider
15 - Play A Fool
16 - Vera Petruschka
17 - I'll Be True 
18 - The Dentist
19 - That's My Life
20 - I Need A Band
21 - I'm An Unskilled Worker

White Lightning - Strikes Twice (1968-69)


White Lightning - Strikes Twice CD. Grinding with the axe of ex-Litter guitarist Zippy Caplan, White Lightning's current charged Minneapolis from 1968-1971. Proving that lightning does strike twice, the band electrified audiences first as trio and then struck again as they grew into a quintet. Both phases are documented on this hard rockin' 20-track CD .
Zippy Caplan's post-Litter power trio made music close enough to Cream to fool you if you weren't listening hard enough. They later expanded to a quartet and recut some of the earlier tunes, with less than stellar results. It's all here on this ...    Full Description20-track compilation. Caplan's playing sounds so much like period Clapton in spots (program "Bogged Down" first if you're really interested in getting to the nuts and bolts of the thing), it'll actually make you lose your place. But there are also a lot of other elements (country and folk acoustic romps, insane stacked riffing, funky period rhythms, and nice rah-rah liner notes by Doug Sheppard) that fire up the mix, making this a hidden treasure that deserves a wider listen. ~ Cub Koda

White Lightning: Tom "Zippy" Caplan, Ronn Roberts (guitar); Woody Woodrich (bass guitar); Mickey Stanhope, Bernie Pershey (drums).

Additional personnel: Barbara Hess (background vocals).


Phil Spector - Back To Mono (1958-1969)


Back to Mono (1958-1969) is a box set four-disc compilation of the recorded work of record producer Phil Spector, during the decade of the 1960s, released 1991, ABKCO 7118-2. The first track, "To Know Him Is To Love Him," presents the only exception as it was released in 1958, featuring Spector as performer as well, as part of the group The Teddy Bears. Initially a vinyl album-sized package, the box contained a booklet with photographs, complete song lyrics, discographical information, and a reproduction of the essay on Spector by Tom Wolfe, "The First Tycoon of Teen."

At the time Back to Mono was released in 1991, Phil Spector's reputation as one of pop's great visionaries was intact, but there was no way to hear his genius. It wasn't just that there were no collections spotlighting his productions, there weren't collections of artists he produced. It wasn't until Back to Mono that there was a thorough overview of Spector's greatest work, and while it's not without flaws, it still stands as one of the great box sets. Some may complain that there are no selections from his superstar '70s productions for John Lennon, George Harrison, Leonard Cohen, and the Ramones, but that's for the best, since their presence would have been incongruous, taking attention away from the music that forms the heart of Spector's legacy. All of that music is here, not just on the first three discs, all devoted to singles, but also on the fourth disc, his seminal 1963 holiday album, A Christmas Gift for You, which isn't just the greatest rock Christmas album, but a crystallization of his skills. It could be argued that the song selection overlooks some obscure fan favorites, such as "Do the Screw," but that's simply nitpicking, because what's here are all the great Spector records, which were hardly just great productions, they were great songs as well. As the set plays, it's hard not to be stunned by the depth of the material and clarity of Spector's vision for his famed Wall of Sound, whether you've heard these songs hundreds of times or not at all -- especially because they gain power when grouped together. Many producers have been credited as the true creative force behind many rock records, but usually that's hyperbole. In Spector's case, it wasn't, as this set gloriously proves.


Friday, November 26, 2010

WANTED !!!







I'm looking for  
 Johnny Reimar The Complete 1963 1965 2CDs Danish 60s
Can you help me ? Any ideas...

Thursday, November 25, 2010

The Everly Brothers - Two Yanks In England (1966)




At first glance, this seems like a cash-in on the British Invasion. Recorded in London in 1966, no less than eight of the 12 songs were written by the Hollies (who released their own versions of many of the tunes). There are also covers of hits by the Spencer Davis Group and Manfred Mann. With a harder rock guitar sound (though not overdone or inappropriate) than previous Everlys discs, the duo's interpretations are actually worth hearing in their own right. The harmonies are fabulous, and indeed, the Everlys improve a few of the Hollies' songs substantially. "So Lonely" and "Hard Hard Year," in particular, have a lot more force, transforming the tunes from decent Hollies album tracks to excellence. Because so much of the material is non-original, this couldn't be placed in the top rank of Everly Brothers recordings. But it is a good effort that shows them, almost ten years after "Bye Bye Love," still at the top of their game and still heavily committed to a rock & roll sound. This was a bold contrast to other '50s white rock & rollers with roots in country, most of who had retreated to tamer country-oriented sounds by the mid-'60s.

1. The Everly Brothers - Somebody Help Me (2:00)
2. The Everly Brothers - So Lonely (2:38)
3. The Everly Brothers - Kiss Your Man Goodbye (2:33)
4. The Everly Brothers - Signs That Will Never Change (3:04)
5. The Everly Brothers - Like Everytime Before (1:55)
6. The Everly Brothers - Pretty Flamingo (2:35)
7. The Everly Brothers - I've Been Wrong Before (2:12)
8. The Everly Brothers - Have You Ever Loved Somebody (2:47)
9. The Everly Brothers - The Collector (2:53)
10. The Everly Brothers - Don't Run And Hide (2:36)
11. The Everly Brothers - Fifi The Flea (2:39)
12. The Everly Brothers - Hard Hard Year (2:56)

LINER NOTES FOR THE EVERLY BROTHERS' TWO YANKS IN ENGLAND
By Richie Unterberger

Of all the American rock stars who began recording in the 1950s, the Everly Brothers were among the most influential on the British Invasion, from the Beatles on downward. And among the great 1950s rock stars, the Everly Brothers were among the ones most influenced by the British Invasion. Too, by the mid-1960s the Everly Brothers were far more popular in the UK than they were in the US, scoring two big hit singles ("The Price of Love" and "Love Is Strange") in Britain in 1965. It made sense, then, to arrange for the Everlys to record an album in London in mid-1966, with mucho help from one of the British Invasion bands most indebted to the Everly Brothers' harmonies, the Hollies. If the resulting album, Two Yanks in England, smacked of a gimmick concept, it wasn't of any great consequence. For the music it yielded was in fact quite good, enduring as one of the duo's betterWarner Brothers 1960s albums.

    Pseudo-concept albums were in fact nothing new to the Everly Brothers. In 1961, Both Sides of an Evening and Instant Party had both posited themselves as accompaniments to an evening's entertainment, although those records leaned inordinately hard on popular music standards and tunes from musicals. In 1965, the more satisfying Rock'n Soul and Beat & Soul were devoted almost entirely to covers of rock'n'roll oldies and soul hits. In 1963 they'd interpreted country songs on Sing Country Hits, and way back in1958 they'd done something similar, with a more traditional and folk bearing, on Songs Our Daddy Taught Us. Two Yanks in England was a different sort of project, however, in that Don and Phil Everly would opt to record material that was new to both themselves and their public. The main suppliers of that material would be the Hollies, who wrote no less than eight of the twelve tracks, all credited to the collective "L. Ransford" pseudonym used by the Hollies' Allan Clarke, Tony Hicks, and Graham Nash. The Hollies, Phil Everly has recalled, also played on most of the album; it has also been reported that Jimmy Page contributed some guitar as a session musician.

    It was perhaps a bit odd that the Hollies played such a strong role in the album, when there were no doubt other worthy British rock musicians and songwriters who would have been interested in contributing as well. But Don Everly had already met Graham Nash previously in New York, and the Hollies had a bunch of songs already written to submit to the Everly Brothers. It should be noted that most of these tunes were not donated to the Everlys for exclusive use, and that over half of them had already been on Hollies vinyl. The Hollies had just released a couple of them, "Fifi the Flea" and "Hard, Hard Year,"on their US Beat Group! album (and on the nearly simultaneous UK WouldYou Believe LP). "Don't Run and Hide" had just been on the B-side of their classic hit "Bus Stop"; "So Lonely" had first appeared back in the summer of 1965 on the B-side of another classic Hollies hit, "Look ThroughAny Window"; and "Signs That Will Never Change" would come out later on yet another B-side, of 1967's "Carrie Anne." "I've Been Wrong Before" had been issued, with the slightly different title "I've Been Wrong," in late 1965 on the US Hear! Here! and the UK Hollies LPs. "HaveYou Ever Loved Somebody" would become the Searchers' final British chart single later in 1966, with the Hollies placing their own version on their1967 album Evolution. Even "Like Every Time Before" would come out as a Hollies 1968 B-side in Germany and Sweden.

    So no, the Hollies weren't exactly giving Don and Phil Everly the cream of their crop. But although the eight songs might have been a rather haphazard assortment of Hollies B-sides and LP tracks, it shouldn't be assumed that they were inferior for this reason. The Hollies wrote many more fine songs beyond their hit singles than many listeners realize, and the ones chosen by the Everlys were actually quite good. Too, as was par for the brothers when covering songs by others, the Everlys' versions were substantially different thanthe ones waxed by the Hollies. The arrangements, probably in keeping with what the Everlys were seeking by recording in London in the first place, were brasher and more British Invasion-sounding than the mid-1960s sides they'd cut over the past year or two in Nashville and Hollywood, using some fuzz guitar and organ. The dramatically melancholy "Hard, Hard Year"is a particular highlight, as is the longing "So Lonely." "I've Been Wrong Before," in contrast, is as close to Merseybeat as the Everly Brothers came, while the far more delicate "Like Everytime Before," like several Hollies songs of the period, dabbles in bossa nova rhythms. "Signs That Will Never Change" was indicative of the more tender, mature approach the Hollies would move into in the last years of the 1960s.

    Not everything on Two Yanks in England came from the repertoire of the Hollies, or even of Britishartists. Yes, there were two other British Invasion covers in "Somebody Help Me," which had recently topped the UK charts for the Spencer DavisGroup, and "Pretty Flamingo," which had done the same for Manfred Mann (in fact, "Pretty Flamingo" made #1 just two weeks after "Somebody HelpMe" had vacated that position). But there was also the haunting, mysterious"The Collector," credited to Sonny Curtis, who'd written a few tunes for the Everlys in the past, including their big 1961 hit "Walk Right Back." This unusual composition was based on the British novel of the same name(also made into a 1965 film) by John Fowles, which both Don Everly andSonny Curtis had read. (Curtis, incidentally, has said that "The Collector"is really Don Everly's song, despite what the songwriting credits say.) While Don and Phil Everly didn't write as much original material on their mid-1960s LPs as many fans would have liked, they did at least contribute one composition to Two Yanks in England, "Kiss Your Man Goodbye,"which they'd actually written (and previously attempted in the studio) some time earlier.

    Despite its quality, TwoYanks in England didn't sell well, and the Everly Brothers would soonmove in a country-pop direction. Along with many other recordings, however, it proved that the duo could play straightforward rock as well as anyone when the spirit moved them. -- Richie Unterberger





The Everly Brothers - The Everly Brothers & Fabulous Style Of Everly Brothers (1958;1960)






Although the Everlys hadn't quite fully matured as artists, their debut is a fine, consistent effort divided between original material and respectably energetic covers of early rockers by Little Richard, Gene Vincent, and Ray Charles. Besides their first few hits, it includes some superb, underappreciated tracks that are nearly as good, like "Should We Tell Him" and "I Wonder If I Cared as Much." ~ Richie Unterberger, Rovi


The best of their original Cadence albums, packed with hits ("Bird Dog," "All I Have To Do Is Dream," "When Will I Be Loved," "'Til I Kissed You") and other classic tracks ("Devoted to You," "Let It Be Me," "Since You Broke My Heart," "Like Strangers"). Almost all of the songs show up on their greatest hits collections, so it might be a superfluous purchase for all but serious fans, despite its top-drawer quality. ~ Richie Unterberger, All Music Guide


Chad & Jeremy - Distant Shores (1966)






Musical styles were changing and threatening to leave Chad & Jeremy's light, pleasant pop style behind. Distant Shores indicated that they were only beginning to come to grips with the situation: tracks like "The Way You Look Tonight," "Early Mornin' Rain," and "Homeward Bound" (done in an arrangement identical to Simon & Garfunkel's) suggested they were still content to cover pre-rock pop and folk music. But they did contribute three original songs, and manager James William Guercio brought in the title tune, which became their final Top 40 hit. As a result, Distant Shores had "transitional" written all over it, although it wasn't clear what Chad & Jeremy were making a transition to.


Fats & His Cats - Dance Party (1964-68 )








Fats & His Cats - At The Star-Club Hamburg




Fats and his Cats from Frankfurt were a very active live band, in fact they were one of the groups that played at the Star Club the most. By the mid-60´s  all of the “Cats” were in their 30´s.  Initially they had started as a conventional dance band but then they caught the rock´n´roll-bug in the late 50´s and began to play the G.I.-clubs around the south of Germany. 











Fats and his Cats from Frankfurt were a very active live band, in fact they were one of the groups that played at the Star Club the most. By the mid-60´s  all of the “Cats” were in their 30´s.  Initially they had started as a conventional dance band but then they caught the rock´n´roll-bug in the late 50´s and began to play the G.I.-clubs around the south of Germany. 






Fats and his Cats stayed together long enough to catch the second wave of the rock´n´roll revival in the 80´s. Their band leader Otto “Fats” Ortwein died in 1990. Bear Family records has re-issued the complete 60´s output of Fats and his Cats. ~ By mischalke04


THANKS A LOT  Cousin-Mike and "A"  FOR SHARE




Wednesday, November 24, 2010

Peter & Gordon - I Go To Pieces & True Love Ways (1965)


In June 1964, Peter & Gordon became the very first British Invasion act after the Beatles to take the number one spot on the American charts with "A World Without Love." That hit, and their subsequent successes, were due as much or more to their important connections as to their talent. Peter Asher was the older brother of Jane Asher, Paul McCartney's girlfriend for much of the 1960s. This no doubt gave Asher and Gordon Waller access to Lennon-McCartney compositions that were unrecorded by the Beatles, such as "A World Without Love" and three of their other biggest hits, "Nobody I Know," "I Don't Want to See You Again," and "Woman" (the last of which was written by McCartney under a pseudonym). But Peter & Gordon were significant talents in their own right, a sort of Everly Brothers-styled duo for the British Invasion that faintly prefigured the folk-rock of the mid-'60s. In fact, when Gene Clark first approached Jim McGuinn in 1964 about working together in a group that would eventually evolve into the Byrds, he suggested that they could form a Peter & Gordon-styled act. 


Asher and Waller had been singing together since their days at Westminster School for Boys, a private school in London. "A World Without Love" was their biggest and best hit, one that sounded very much like the Beatles' more pop-oriented originals. Their other two 1964 hits, "Nobody I Know" and "I Don't Want to See You Again," were pleasant but less distinguished. Sounding like McCartney-dominated Beatle rejects (which, in fact, they were), the production employed a softer, more acoustic feel than the hits by the Beatles and other early British Invasion guitar bands. "I Don't Want to See You Again" used strings, as would several of the duo's subsequent hits, which became increasingly middle-of-the-road in their pop orientation. 

Some scattered folky B-sides showed that Asher and Waller may have been capable of developing into decent songwriters, but like many of the less talented British Invaders, their lack of songwriting acumen and ability to move with the times would eventually work against them. They did continue to hit the charts for a couple of years, with updates of the oldies "True Love Ways" (Buddy Holly) and "To Know You Is to Love You" (a variation of the Teddy Bears' "To Know Her Is to Love Her"). There was also a Top Ten cover of Del Shannon's "I Go to Pieces," and the brassy, McCartney-penned "Woman." The overtly cute and British novelty "Lady Godiva," though, became their last big hit in late 1966. 

After Peter & Gordon broke up in 1968, Asher became an enormously successful producer, first as the director of A&R at the Beatles' Apple Records (where he worked on James Taylor's first album). Relocating to Los Angeles, in the 1970s he was one of the principal architects of mellow Californian rock, producing Taylor and Linda Ronstadt.

I Go To Pieces (1965)

The duo's third album was a versatile but patchy collection. And there was no getting around it: The best tracks, as was the case in many acts of the era, were the hits -- "I Go to Pieces" and the less well-remembered brassy, pounding "Don't Pity Me." They were at their best when they were at their folkiest, as on their nice cover of the Everly Brothers' "Sleepless Nights" and the decent original "Tears Don't Stop," which wouldn't have sounded out of place in the Searchers' repertoire. But they weren't well-equipped to tackle bluesy rock and folk oldies, as they tried to do with Elvis Presley's "All Shook Up" and "A Mess of Blues," Doris Troy's "Whatcha Gonna Do About It" (done better by the Hollies), and Leadbelly's "Good Morning Blues"). Still, it's a slightly above-average British Invasion pop/rock album. It's included in its entirety as half of the two-for-one package I Go to Pieces/True Love Ways on Collectables, which adds their fourth album, True Love Ways, and their 1967 hit "Sunday for Tea."


True Love Ways (1965)

Peter & Gordon branched further from their initial pop-folky British Invasion harmony sound on their fourth album, with erratic results. There was an increased tilt toward heavy orchestrated ballads, which could work very well at times, as on the title track, a worthy updating of the old Buddy Holly song (and a big hit on both sides of the Atlantic). Their less impressive reworking of "To Know Him Is to Love Him" (retitled "To Know You Is to Love You") made the Top Five in Britain. However, they weren't well-suited to soul covers like "Cry to Me," and on their solo vocal showcases (Gordon Waller on Smokey Robinson's "Who's Lovin' You" and Peter Asher on "Any Day Now"), they overextend themselves without the support of a harmonizing partner. As for the better tracks, their cover of the Everly Brothers' "Crying in the Rain" was a natural choice, and the melodramatically arranged "Hurtin' Is Lovin'" and the folkier "I Told You So" are two of their better originals. Want some dig-deep trivia? The opening notes of their cover of Del Shannon's "Broken Promises" are identical to the opening notes of the subsequent Neil Young composition "Flying on the Ground Is Wrong," done by Buffalo Springfield on their first album. True Love Ways is included in its entirety as half of the two-for-one package I Go to Pieces/True Love Ways on Collectables, which adds their third album, I Go to Pieces, and their 1967 hit "Sunday for Tea."


          

The Everly Brothers - Beat And Soul & Rock And Soul (1965)




The Everly Brothers were not only among the most important and best early rock & roll stars, but also among the most influential rockers of any era. They set unmatched standards for close, two-part harmonies and infused early rock & roll with some of the best elements of country and pop music. Their legacy was and is felt enormously in all rock acts that employ harmonies as prime features, from the Beatles, Simon & Garfunkel, and legions of country-rockers to modern-day roots rockers like Dave Edmunds and Nick Lowe (who once recorded an EP of Everlys songs together). 


Don (born February 1, 1937) and Phil (born January 19, 1939) were professionals way before their teens, schooled by their accomplished guitarist father Ike, and singing with their family on radio broadcasts in Iowa. In the mid-'50s, they made a brief stab at conventional Nashville country with Columbia. When their single flopped, they were cast adrift for quite a while until they latched onto Cadence. Don invested their first single for the label, "Bye Bye Love," with a Bo Diddley beat that helped lift the song to number two in 1957. 

"Bye Bye Love" began a phenomenal three-year string of classic hit singles for Cadence, including "Wake Up Little Susie," "All I Have to Do Is Dream," "Bird Dog," "('Til) I Kissed You," and "When Will I Be Loved." The Everlys sang of young love with a heart-rending yearning and compelling melodies. The harmonies owed audible debts to Appalachian country music, but were imbued with a keen modern pop sensibility that made them more accessible without sacrificing any power or beauty. They were not as raw as the wild rockabilly men from Sun Records, but they could rock hard when they wanted. Even their midtempo numbers and ballads were executed with a force missing in the straight country and pop tunes of the era. The duo enjoyed a top-notch support team of producer Archie Bleyer, great Nashville session players like Chet Atkins, and the brilliant songwriting team of Boudleaux and Felice Bryant. Don, and occasionally Phil, wrote excellent songs of their own as well. 

In 1960, the Everlys left Cadence for a lucrative contract with the then-young Warner Bros. label (though it's not often noted, the Everlys would do a lot to establish Warners as a major force in the record business). It's sometimes been written that the duo never recaptured the magic of their Cadence recordings, but actually Phil and Don peaked both commercially and artistically with their first Warners releases. "Cathy's Clown," their first Warners single, was one of their greatest songs and a number one hit. Their first two Warners LPs, employing a fuller and brasher production than their Cadence work, were not just among their best work, but two of the best rock albums of the early '60s. The hits kept coming for a couple of years, some great ("Walk Right Back," "Temptation"), some displaying a distressing, increasing tendency toward soft pop and maudlin sentiments ("Ebony Eyes," "That's Old Fashioned"). 

Don and Phil's personal lives came under a lot of stress in the early '60s: they enlisted into the Marine Corps Reserves (together), and studied acting for six months but never made a motion picture. More seriously, Don developed an addiction to speed and almost died of an overdose in late 1962. By that time, their career as chart titans in the U.S. had ended; "That's Old Fashioned" (1962) was their last Top Ten hit. Their albums became careless, erratic affairs, which was all the more frustrating because many of their flop singles of the time were fine, even near-classic efforts that demonstrated they could still deliver the goods. 

Virtually alone among first-generation rock & roll superstars, the Everlys stuck with no-nonsense rock & roll and remained determined to keep their sound contemporary, rather than drifting toward soft pop or country like so many others. Although their mid-'60s recordings were largely ignored in America, they contained some of their finest work, including a ferocious Top 40 single in 1964 ("Gone, Gone, Gone"). They remained big stars overseas -- in 1965, "Price of Love" went to number two in the U.K. at the height of the British Invasion. They incorporated jangling Beatle/Byrdesque guitars into some of their songs and recorded a fine album with the Hollies (who were probably more blatantly influenced by the Everlys than any other British band of the time). In the late '60s, they helped pioneer country-rock with the 1968 album Roots, their most sophisticated and unified full-length statement. None of this revived their career as hitmakers, though they could always command huge audiences on international tours and hosted a network TV variety show in 1970. 

The decades of enforced professional togetherness finally took their toll on the pair in the early '70s, which saw a few dispirited albums and, finally, an acrimonious breakup in 1973. They spent the next decade performing solo, which only proved -- as is so often the case in close-knit artistic partnerships -- how much each brother needed the other to sound his best. In 1983, enough water had flowed under the bridge for the two to resume performing and recording together. The tours, with a backup band led by guitarist Albert Lee, proved they could still sing well. The records (both live and studio) were fair efforts that, in the final estimation, were not in nearly the same league as their '50s and '60s classics, although Paul McCartney penned a small hit single for them ("On the Wings of a Nightingale"). One of the more successful and dignified reunions in the rock annals, the Everlys continued to perform live, although they didn't release albums together after the late '80s.

Beat And Soul 1965


For the second album in a row, the Everlys presented an entire LP of rock & roll covers (and one original), most of which had originally been hits in the 1950s -- "Love Is Strange," "Money," "Hi Heel Sneakers," "My Babe," "The Girl Can't Help It," "Lonely Avenue," and so on. While the performances are pretty good -- and the vocals perennially better than good -- it also seemed to be an indication that the pair were unwilling or unable to write or procure a decent supply of new material. Because of the overfamiliarity of most of the songs, it has to rate as one of the brothers' less interesting efforts, regardless of the high level of execution. Nevertheless, "Love Is Strange" almost made the Top Ten in the U.K., and the sole original, "Man With Money," was a quality effort that was covered by several British groups including, unexpectedly, the Who (though their version was not released until the 1990s).


1. The Everly Brothers - Love Is Strange (2:53)
2. The Everly Brothers - Money (2:32)
3. The Everly Brothers - What Am I Living For (3:05)
4. The Everly Brothers - High Heel Sneakers (3:16)
5. The Everly Brothers - C.C. Rider (2:12)
6. The Everly Brothers - Lonely Avenue (2:34)
7. The Everly Brothers - Man With Money (2:20)
8. The Everly Brothers - People Get Ready (2:05)
9. The Everly Brothers - My Babe (2:39)
10. The Everly Brothers - Walking The Dog (2:39)
11. The Everly Brothers - I Almost Lost My Mind (2:37)
12. The Everly Brothers - The Girl Can't Help It (2:13)


Rock 'N Soul 1965


Rock n' Soul features a whole LP of oldies covers with guitar-heavy '60s arrangements, including such standards as "That'll Be the Day," "Kansas City," "Hound Dog," "Lonely Weekends," "I Got a Woman," and the then-recent "Dancin' in the Streets." It's decently played and sung, but not among the Everlys' most creative work, or even among their most interesting material of the mid-'60s. It's also not quite as good as the similar album they would release later in 1965, Beat & Soul. The version of "Love Hurts," incidentally, is a different, more rock-oriented version than the ballad arrangement they had recorded a few years previously.



13. The Everly Brothers - That'll Be the Day (2:22)
14. The Everly Brothers - So Fine (1:59)
15. The Everly Brothers - Maybelline (1:52)
16. The Everly Brothers - Dancing In The Street (2:37)
17. The Everly Brothers - Kansas City (2:25)
18. The Everly Brothers - I Got A Woman (2:10)
19. The Everly Brothers - Love Hurts (1:59)
20. The Everly Brothers - Slippin' And Slidin' (1:57)
21. The Everly Brothers - Lonely Weekends (2:03)
22. The Everly Brothers - Hound Dog (1:57)
23. The Everly Brothers - I'm Gonna Move To The Outskirts Of Town (2:54)
24. Everly Brothers - Susie Q (2:08))

VA - Acid Drops, Spacedust and Flying Saucers



Four CD set covering UK psychedelia from 1965-1969, compiled by Mojo writer Pat Gilbert. Includes one-hit wonders & psychedelic obscurities alongside acts such as The Who, The Move, The Kinks, Donovan, Hollies, The Small Faces & many more. 72 tracks in all.


Mojo Presents - Acid Drops Spacedust and Flying Saucers: Psychedelic Confectionary from the UK Underground 1965-1969 [Box Set]




Lovingly compiled by those scholarly scribes at Mojo magazine (and with excellent sleeve notes from genre connoisseur Jon Savage), the 72-track, four-CD box set Acid Drops. Spacedust and Flying Saucers is a veritable encylopedia of British 60s psychedelic pop. Come, let us leave our monochrome 21st-century adult lives and climb the technicolour loft-ladder into an enchanted and forgotten childhood attic of benzedrine bedtime stories, liquorice allsorts, toy trains, rainbow trees and--in the case of Mandrake Paddle Steamer--strange men walking across the lawn. As Acid Drops correctly points out, American psychedelia was all about napalm guitars, carbon monoxide poisoning and "they're coming to take me away to Vietnam" psychosis. However, its cuddly, post-ration book British sibling was more concerned with sniffing the school chemistry set, eating sweets and something or other to do with gardening. Thus, beat-band blokes from such unlikely places as Scunthorpe, Hove and Hounslow set sail for new musical horizons--possibly on flying carpets made out of flutes and mellotrons--with the pioneering zeal of Victorian free-thinkers. Aside from cult cornerstone classics by The Poets, Timebox, Kaleidoscope, David McWilliams, Amazing Friendly Apple (whose "Magician" really does sound like the work of mysterious robed men with long white beards) and World Of Oz (although surely the pervy nursery rhyme "Muffin Man" would have been a better choice than "Peter's Birthday"), Acid Drops boasts plenty of familiar hit parade fare from The Move, Donovan, The Yardbirds. The Hollies et al, plus obscurities galore. Who, exactly, were proto-punk freak-beat exponents Allen Pound's Get Rich and how come they sounded like Adam and The Ants 11 years before the event? Bamboo Shoot? Nope, us neither--nor the compilers. With such notable absentees as Svensk and Dantalion's Chariot, a whole tangential area of weird-folk to explore and with EMI holding the magic key to the locked cupboard of early Floyd outtakes, here's hoping this essential, un-put-downable box set is the first in a very, very long series. --Kevin Maidment

Although perhaps a little too similar to volume two of the highly regarded Nuggets series, Acid Drops, Spacedust, & Flying Saucers, compiled by the fine folks at Britain's (in fact, the world's) finest music magazine, Mojo, is the perfect introduction to the rise and fall of British psychedelia. Rather than chart the influence of British music on its surroundings and colonies (as done by Nuggets) Acid Drops takes an easier route. The Nuggets collection focused on all manner and strains of the old empire's R&B, freakbeat, mod, and psychedelic scenes, whilst Acid Drops dissects and inspects the solely British mutation from beat/pop (signified by the Kinks' quasi-raga "See My Friends") into full-blown psychedelia (from the most commercial to most underground of guises). For the hardened collector and avid fanatic, Space Dust will bring few surprises. There's a hefty weight of British hits and a delve through the type of major-label material that missed the mark at the time but has since become legendary through contributor Phil Smee's '80s psychedelic compilation series, Rubbles, that anyone bitten by the bug will be familiar with. What will make purchase of this -- it must be said, rather cheaply packaged box -- essential is the superior sound quality (all tracks have been remastered at Abbey Road) and the interesting liner booklet, which if not a little skimpy, features a superb essay in which Jon Savage chronicles the evolution and devolution of British music's most quirky, imaginative, and brief of genres. 

Alongside the short running time (why the hell have EMI held back to only 18 tracks per CD, whilst Rhino made the effort to fill their Nuggets set to spilling point?) and minor quips, like the edited beginning of the Smoke's tremolo-infused classic "My Friend Jack" and the inclusion of the pretty much non-psychedelic "Granny Takes a Trip" by jug band the Purple Gang, this is still a very decent set which takes into account the different sides of U.K. psych. And as said, although rather preliminary for those seeking new thrills, this holds the very essence of the cause and effect the genre had on the changing face of the British music scene from 1965-1969. Practically none of this music has aged badly, and for some reason, however pompous and ridiculous a lot is, it still sounds as invigorating as the day it was recorded. Timeless. ~ Jon "Mojo" Mills, Rovi


CD1 - Down To Midlle Earth
1. So Much In Love - McGough & McGear
2. 10000 Words In A Cardboard Box - Aquarian Age
3. Flower King Of Flies - Nice (1)
4. Dream On My Mind - Rupert's People
5. Reputation - Shy Limbs
6. Vacuum Cleaner - Tintern Abbey
7. Light Of Your Mind - David (2)
8. I Can Take You To The Sun - Misunderstood
9. Dear Delilah - Grapefruit
10. Shine On Brightly - Procol Harum
11. Fox Has Gone To Ground - Bamboo Shoot
12. Armenia City In The Sky - Who
13. 10000 Years Behind My Mind - Focus Three
14. Gone Is The Sad Man - Timebox
15. Peter's Birthday (Black And White Rainbows) - World Of Oz
16. Subway's Smoky Pokey World - Tickle (2)
17. Meditations - Felius Andromeda
18. Nite Is A Comin' - Warm Sounds



CD2 - Gandalf's Garden
1. Flight From Ashiya - Kaleidoscope (2)
2. Way - July (1)
3. Witches Hat - Incredible String Band
4. Celeste - Donovan (1)
5. Mind's Eye - Ramases & Selket
6. Shades Of Orange - End (1)
7. Love - Virgin Sleep
8. Pools Of Blue - Barclay James Harvest
9. Monday Morning - Tales Of Justine
10. Girl From New York - Nicholls, Billy
11. Red Sky At Night - Accent (1)
12. Am I The Red One - Softley, Mick
13. Laura's Garden - Orange Bicycle
14. Baby Your Phrasing Is Bad - Caleb
15. Magician - Amazingly Friendly Apple
16. We Are The Moles - Moles (1)
17. Michaelangelo - 23rd Turnoff
18. Screams In My Ears - Fay, Bill



CD3 - Mushroom Soup
1. Granny Takes A Trip - Purple Gang (1)
2. My Friend Jack - Smoke (1)
3. Imposters In Life's Magazine - Idle Race
4. Talkin' About The Good Times - Pretty Things
5. Hurdy Gurdy Man - Donovan (1)
6. Time Seller - Davis, Spencer Group
7. Say You Don't Mind - Laine, Denny
8. I Can Hear The Grass Grow - Move (1)
9. See My Friends - Kinks
10. LS Bumble Bee - Cook, Peter & Dudley Moore
11. Happenings Ten Years Time Ago - Yardbirds
12. Green Circles - Small Faces
13. King Midas In Reverse - Hollies
14. Days Of Pearly Spencer - McWilliams, David
15. From The Underworld - Herd
16. Sky Pilot - Burdon, Eric & The Animals
17. Paper Sun - Traffic
18. Kites - Dupree, Simon & The Big Sound



CD4 - Roundhouse Ghosts
1. Colours Of My Mind - Attack (2)
2. Searchin' In The Wilderness - Pound, Allen Get Rich
3. Father's Name Is Dad - Fire (1)
4. Dr Crippin's Waiting Room - Orange Machine
5. Model Village - Penny Peeps
6. Run And Hide - Fairytale
7. Strange Walking Man - Mandrake Paddle Steamer
8. When My Mind Is Not Live - Status Quo
9. In Your Tower - Poets (2)
10. Listen To The Sky - Sands (1)
11. Octopus - Barrett, Syd
12. Other Side - Apple (2)
13. I'm Not Your Steppin' Stone - Flies (1)
14. Machines - Herbal Mixture
15. Revolution - Tomorrow
16. You've Got What I Want - Sorrows (1)
17. Royston Rose - Koobas
18. Escalator - Gopal, Sam Dream



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