Sunday, January 29, 2012

Heimatliche Klaenge - vol.96

Heimatliche Klaenge - Schweizer Beat 
Native Sounds - Swiss Beat

Five Dorados - Best Of The 5 Dorados (1966)
01 - But Most Of All
02 - What A Sky
03 - Hey Hey Baby
04 - Empty Chair
05 - The Dorado Hop
06 - I`ve Had Enough
07 - Three Words
08 - Cryin`
09 - Peter Gunn
10 - Only Say Yeah
11 - Ten To One
12 - No No No

Five Dorados :

Thanks a lot !

Friday, January 27, 2012

Beat Beat Beat - vol. 15 (movie)

this  not the end ...!!!

Beat Beat Beat - vol. 15 - Original Soundtrack

01 - Intro
02 - Info
03 - Sunshine / Joy Fleming & The Hit Kids
04 - Info
05 - What Can I Do Without You / Joy Fleming & The Hit Kids
06 - Cute Cherry Wainer & Don Storer
07 - Info
08 - Michael / Geno Washington & The Ram Jam Band
09 - You Don't Know (Like I Know)
10 - Info
11 - Granny / Cat Stevens
12 - Que Sera / Geno Washington & The Ram Jam Band
13 - The Cat / Cherry Wainer & Don Storer
14 - Info
15 - Get Away / Georgie Fame & The Blue Flames
16 - Knock On Wood
17 - Matthew & Son / Cat Stevens
18 - Info
19 - Because I Love You / Georgie Fame & The Blue Flames
20 - Sidewinder


Paul Ryan - Scorpio Rising (1976)

Thursday, January 26, 2012

Paul & Barry Ryan - Two of a Kind (1966)

Paul Ryan

English singer/songwriter and record producer Paul Ryan and his identical twin brother Barry were born in Leeds, West Yorkshire on October 24, 1948. The sons of '50s pop singer Marion Ryan, the duo was groomed for the spotlight, releasing their first single ("Don't Bring Me Your Heartaches") in 1965 for Decca Records. While Barry thrived in the limelight, Paul became more and more disenchanted with the constant touring and television appearances, resulting in the duo's dissolution in 1968. Barry eventually signed with MGM Records and Paul continued to write, providing his brother with a number of songs, including the track that would become his signature piece, the grandiose "Eloise" (British art-punkers the Damned scored a hit cover of the song in 1986). Paul Ryan died of cancer in 1992.

Barry Ryan 

The son of pop singer Marion Ryan, Ryan and his twin brother Paul began to perform at the age of 16. In 1965 they signed a recording contract with Decca and, under the name of "Paul & Barry Ryan", brought out singles such as "Don't Bring Me Your Heartaches" (1965), "Have Pity on the Boy" (1966) and "Missy Missy" (1966)
When it turned out that Barry's brother, allegedly on the verge of a nervous breakdown, was unable to cope any longer with all the stress connected with show business, the two brothers decided on a new division of labour: Paul would write the songs which Barry would then interpret as a solo artist. Their greatest success as a composer-singer duo, now for MGM Records, was "Eloise" (1968), melodramatic and heavily orchestrated. Later singles included "Love Is Love" (also 1968), "The Hunt" (1969), "Magical Spiel" (1970), and "Kitsch" (1970).

"Love Is Love", written by Barry himself, and released in the United Kingdom during February 1969 was not a great success in his own country. However combining sales from Germany, Austria and the Netherlands, "Love is Love" sold a million copies by August 1969, the second million-seller for Ryan.
Ryan was also very popular in Germany. Promoted by BRAVO, the German youth magazine, Ryan also recorded a number of songs in German, for example "Die Zeit macht nur vor dem Teufel halt" ("Time Only Stops at The Devil").
Ryan stopped performing in the early 1970s. There were rumours that Ryan had had an accident in the recording studio. Supposedly he suffered serious burn wounds in the face and could no longer appear in public. However, he made a comeback in the late 1990s when a two CD set with his, and his brother's, old songs was published. Ryan was also part of the 'Solid Silver 60s Tour' of the UK in 2003, singing "Eloise" backed by The Dakotas.

This Post from Pupok
is really gem
Thanks a lot Дружище !!!

Monday, January 23, 2012

Top Drawer - Solid Oak (1969)

When scanning collector magazines, you'll often come across listings for albums by obscure psychedelic bands such as Top Drawer, commanding ridiculously high prices merely because they're very rare. And in most cases, just because they're very rare doesn't mean you have to pay those prices, or even feel like you're missing much. Top Drawer, a young Kentucky band whose generic bluesy guitar riffing, naively overambitious lyrics, and reliance upon hard rock cliches screamed 1969-1970, made one of those rare  records. Which didn't stop it from getting reissued in the 1980s

Bringing fans the best of obscure psychedelia, Arkama finally put collectors out of their misery with the reissue of Top Drawer's Solid Oak. It doesn't get much rarer than this: the Kentucky band self-released Oak back in 1969, pressing only a measly 500 records, and hardcore psychedelic aficionados have been searching for copies ever since -- but now it's back in digipack form and boasting the original sleeve's artwork. From the epic opening track, "Song of a Sinner," it's evident why so many were so keen to get their hands on this album. This dreamy, atmospheric track boasts both sublime keyboard work from Ron Linn and stellar lead guitar from John Baker. "Sweet Memories," in contrast, delivers up a more delicate aura, with Linn's harpsichord now to the fore. But Top Drawer were capable of more than just sweeping soundscapes and lilting melodies, as the poppy "Middle Class America," awash in fazed guitars, symphonic organs, and splashy lead guitar, well proves. "Time Passes Much Too Quickly" and "What's in Store" are equally bright and breezy, but flecked with a British beat aura; "Baker's Boogie" delivers precisely that, while the guitarist showcases his best surf styling on "Messed Up" and the entire band struts into freakbeat on "Lies." The musicianship is superb and Baker is a virtuoso, surprisingly preferring a relatively understated approach compared to his more braggadocio guitar god contemporaries, thus leaving plenty of room for the rest of the band to equally impress. This may be a reflection of the group's songwriting, for Baker contributes only his "Boogie" and the bulk of the set is composed by singer Steve Geary or bassist Alan Berry -- in any case, the melodies reign supreme throughout. This superb album has been long sought after, and now everyone can experience its pleasures. ~ Jo-Ann Greene


"...Top Drawer is without a doubt one of those bands that has been long forgotten about. If it wasn’t for this wonderful compilation record, I don’t know if I ever would have stumbled upon these guys. This obscure band hailed from the rural center of the United States, coming right out of Kentucky. There aren’t many facts to be said about the band, considering they were around back in 1969-1970 and they only have one album that I am aware of. Their one and only album, titled “Solid Oak”, was recorded back in 1969 at Fultz Recording Studio . According to the record sleeve of the compilation the album was only repressed one time back in 1980 on Akarma Records from Italy, and has never been pressed since. On top of that, none of the band’s original members have ever surfaced to talk about the music, and it’s not looking like they’re about to show up anytime soon. This song was included on the compilation in hopes that the band members would take notice of the praise that their almost-perfect record “Solid Oak” has continually received over the years. Then perhaps the band members can give us their side of the story on what it was like to be twenty-something years old in the middle of America and release a psychedelic masterpiece, and then vanish back into normal life without a trace.."

Graffiti - Graffiti ( Lyrical Sound Device 1968)

(FRIDAY, MAY 29, 2009  Music Station)

George Stuntz (guitars),
Jon St.John (guitar),
Steve Benderoth (bass-keyboards),
Richie Blakan (drums-percussion),
Tony Taylor (vocals).

Graffiti released an obscure, self-titled LP on ABC in 1968 that was co-produced by Bob Thiele (more known for his work with many major jazz musicians), Eddie Kramer (most known for his engineering on Jimi Hendrix records), and Jay Senter. Though accomplished in its musicianship and versatile in its stylistic focus, Graffiti lacked much in the way of enduring musical interest, blending some jazz, classical, pop, and blues influences into a generic, West Coast rock-influenced psychedelic sound that often employed high multi-part vocal harmonies.

Graffiti's sole album was in some ways typical of numerous obscure psychedelic one-shots on fairly big labels in the late 1960s: over-ambitious lyrics, a kaleidoscope of styles that butted heads as often as it blended, emulation of several passing psychedelic trends pioneered by bigger groups, and an absence of really good songs. All that said, as such albums go, it's better than average, though hardly noteworthy. That's kind of faint praise, but at least Graffiti were less ponderous than many such bands, with a sort of gossamer lightness to much of their material. As for what kind of styles they mined, they're hard to pin down, though they're fairly influenced by West Coast psychedelia of the era, with some of the vocal harmonies so high that one can mistakenly think there was a woman in the group (there wasn't). Bits of jazz, classical guitar, blues-rock, psychedelic effects, and vocal harmonies both sunshine pop and Gregorian seep through from time to time as the band float through an ever-shifting melodies and styles. The songs and instrumental solos do tend to go on too long, however, and the songwriting isn't memorable

V.A. -Michigan Mayhem! Vol. 2

Michigan Mayhem Volume 2 (2005 US limited edition 29-track CD album, compiling rare and obscure 60s garage punk sounds from The Wolverine State, including gems originally released on such legendary labels as Fenton, Wheels 4 and Hideout!Killer cuts from The Plague, Pleasure Seekers [featuring a young Suzi Quatro], Aardvarks, Chentells, Chessmen, Grifs and many more, includes a neat booklet with a little info on each band!).

V.A. - Michigan Mayhem! Vol.1

For fans of riff-driven, raw garage rock, Michigan Mayhem Vol. 1 is a good place to start. Most of the tracks on this are good and it's a fairly eclectic compilation—from the acid rock of Black Rose to the psych-pop of the Pagens to the to the R&B-influenced garage rock of the Rationals to the countrified homage to beer by the Pleasure Seekers. Not all of the tracks on Michigan Mayhem Vol. 1 work but the range of styles represented here makes this compilation an interesting and essential documentation of the time period.
As indicated in the title, all of the bands on this compilation came from Michigan, which had thriving scenes of all sorts of music, particularly in Detroit. Perhaps what makes Michigan such a good source of garage rock of the sort on this compilation is that it incorporates eclectic influences while still retaining the inspired amateurism of garage rock. 

Sunday, January 22, 2012

The Pleasure Seekers - What A Way To Die (1964 - 1968)

The Pleasure Seekers - What A Way To Die (2011 Cradle Rocks Music)
Review by Rebecca Jansen
Following an entertaining intro (by DJ The Lord, of, the Quatro sisters original composition "Gotta Get Away" comes on heavy with a wall of organ and guitar likes a snarly Detroit version of an Avalon ballroom mainstay! This is the first taste of seven previously unreleased '60s recordings by Michigan's Pleasure Seekers. It was long rumored the girls had laid down more in the studio than the three singles well known to serious rock & roll fanatics, but now the wait is over.

The first thing that becomes clear is how Arlene Quatro's organ work is impeccable throughout, providing a solid foundation to the tracks she performed on. The second track "Never Thought You'd Leave Me" is of an earlier vintage however, when the Ball sisters, Nan and Mary Lou were in the group, and Arlene, the eldest Quatro had yet to join. Not yet out of their teens, Patti Quatro's lead guitar and Suzi's vocals are already solid on their 1966 debut on the Hideout record label, from the people who gave Detroit it's Hideout club. Suzi's bass is a real highlight here. On the title track from the same single you can hear how the Pleasure Seekers held their own on the same stages as The Rationals and Bob Seger & The Last Heard. In fact Suzi Q's vocals are pretty much as strong they would be later at the height of her solo '70s fame.

From the Mercury era the standout track here is "Light Of Love", an upbeat rocker that equals the best sides by labelmates The New Colony Six. There is a cool chant aspect to the chorus here making me wonder why some glam group didn't cover this in the ealry-mid '70s, it would've outshone much of the repertoire from the period! Stax/Booker T style organ with soul harmonies tend to dominate the remaining cuts, but Patti's guitar licks get elastic and really shine making possibly average material something more engaging. There is one great vocal performance, by drummer Darline Arnone apparently, on "Good Kind Of Hurt" also worth mentioning. The set closes with a slower experimental freak-out song called "Mr. Power" which comes over like Joe Meek, a great surprise and a cool note to end on definitely leaving me still wanting to hear more.

A pre-Hideout recording titled "White Line" for the Golden World label is missing or in that label's archives. The CD also doesn't include the song "Shame", the b-side of one Mercury single. With the addition of Nancy Quatro The Pleasure Seekers evolved into the group Cradle, and there is an album's worth of this material also available for the first time on CD.

The Pleasure seekers were an all girl garage band from Detroit, Michigan. In 1964, Patti Quatro started The Pleasure Seekers with friends Nancy Ball (drums), Arlene Quatro (keyboards), and a 16-year-old Suzi Quatro. They only released two singles: "What A Way To Die" / "Never Thought You'd Leave Me" (Hideout) 1966 "Light Of Love" / "Shame" (Mercury) 1967 "What a Way To Die" is an ode to teenage drinking and has been on many many garage compilation

VA - Best Of The Hideouts (1966)

Originally a vinyl issue (now on compact disc), this is one of the great original Detroit rock & roll collections from the mid-1960s. The Hideouts were a raft of teen clubs that featured all the local bands. As an incentive to make them bigger, the club owners started their own label and started recording singles on the local talent. Kicking off with the Underdogs' "The Man In the Glass" (utilizing a poem from Alcoholics Anonymous as its lyrical text!), the compilation also features stellar tracks from the 4 of Us ("I'll Feel a Whole Lot Better" and "I Can't Live Without Your Love"), the Henchmen ("Please Tell Me"), the Yorkshires ("I'll Go Crazy" and "Hey-Hey-Hey"), Doug Brown and the Omens ("First Girl") and the all-girl group the Pleasure Seekers, featuring a young Suzi Quatro on bass. Although none of the 12 songs aboard broke nationally, a better album of local garage band hits from any area would be hard to assemble. ~ Cub Koda, Rovi

V.A. - Baltimore's Teen Beat A Go Go (1967)

It's the mid 1960s and Baltimore is alive with a teen band on every corner. Enter local label Dome Records who sponsor a battle of the bands with a grand prize of a recording session leading a track on this compilation. With Joey Welz producing the groups--mostly direct to two track--the tracks have a Friday night in the gymnasium amateurish charm that's hard to resist. This lack of polish is, of course, what makes these sides so interesting and so indelibly of their time. Groups like the Night Walkers, the Fabulous Monarchs, the Amoebas, the Rysing Suns, the Road Runners, the Beggars, and the Executioners may be only small, small footnotes to the history of rock'n'roll, but if it's true blue American garage band DIY rock'n'roll you're looking for, this is one collection that's a must have. ~ Cub Koda, Rovi

The Outsiders - Strange Things Are Happening (The Complete Singles 1965-1969)

Not to be confused with the Cleveland pop/rock group that had a Top Ten hit in 1966 with "Time Won't Let Me," these Outsiders (from Amsterdam, Holland) could issue a serious claim for consideration as the finest rock band of the '60s to hail from a non-English-speaking nation. Led by singer/songwriter Wally Tax, the group was quite comparable to England's Pretty Things in their fine raw, punky R&B/pop with basic but riveting hooks. Like the Pretty Things, the Outsiders (who sang entirely in English) made similar psychedelic/progressive ventures in the late '60s that cut loose from their R&B roots without losing sight of them entirely. Recording several albums of material (consisting wholly of original compositions) between 1965 and 1969, the group tempered their punky, almost proto-hardcore ravers with melancholy, pensive folk-rockers and unpredictable production touches ranging from Baroque mandolins and harpsichords to found radio static. The Outsiders' music was fraught with tension, the punkish rhythms playing against the melodic tunes, the R&B sensibilities against the pop hooks, often within the same song. They were unknown on an international level to all but the most fervent '60s collectors. Wally Tax moved to the U.S. in the early '70s, where he recorded one album as the leader of the band Tax Free.

Prior to the 2002 release of this compilation, everything done by the Outsiders was well-represented on CD except for the bulk of their singles. That was a shame, as their dozen 1965-1969 singles contained much of their best work. That gap is entirely rectified by this exemplary compilation, which includes both sides of all dozen of their 1965-1969 singles. Although some of these had appeared as bonus tracks on CD reissues of the albums The Outsiders, C.Q., and C.Q. Sessions, a bunch of these hadn't, including some of their very best songs. Among those songs would be the wistful continental folk-rock of "Summer Is Here"; "Monkey on Your Back," one of their most lyrically challenging pieces; the gentle folk-rock of "I've Been Loving You So Long," "Teach Me to Forget," and "Don't You Worry About Me"; and the downright berserk experimental punk of "I'm Only Trying to Prove to Myself That I'm Not Like Everybody Else." There's much more here to bolster their claim to the title of best '60s rock group to hail from a non-English-speaking territory, like the Pretty Things-style rave-up "You Mistreat Me"; the sexy pounder "Touch"; the Eastern European-influenced minor-keyed punk-folk-rock of "Sun's Going Down"; and the gloomy psych-punk of their final 45, "Do You Feel Allright"/"Daddy Died on Saturday." While the 1968 single "Cup of Hot Coffee" might be their poppiest and weakest effort, it's long been their hardest track to acquire, and its availability on CD is welcome. Die-hard collectors might want to note that the take of "Touch" here is the original single version, not the other take included on previous Outsiders compilations, while the mixes of "I Don't Care" and "You Remind Me" are the single versions, not the ones heard as bonus tracks to the C.Q. CD reissue. The extensive liner notes include many insightful quotes from Outsiders singer Wally Tax.

Barry Ryan - Love Is Love

Barry Ryan - Love Is Love


The son of pop singer Marion Ryan, Ryan and his twin brother Paul began to perform at the age of 16. In 1965 they signed a recording contract with Decca and, under the name of "Paul & Barry Ryan", brought out singles such as "Don't Bring Me Your Heartaches" (1965), "Have Pity on the Boy" (1966) and "Missy Missy" (1966)
When it turned out that Barry's brother, allegedly on the verge of a nervous breakdown, was unable to cope any longer with all the stress connected with show business, the two brothers decided on a new division of labour: Paul would write the songs which Barry would then interpret as a solo artist. Their greatest success as a composer-singer duo, now for MGM Records, was "Eloise" (1968), melodramatic and heavily orchestrated. Later singles included "Love Is Love" (also 1968), "The Hunt" (1969), "Magical Spiel" (1970), and "Kitsch" (1970).

"Love Is Love", written by Barry himself, and released in the United Kingdom during February 1969 was not a great success in his own country. However combining sales from Germany, Austria and the Netherlands, "Love is Love" sold a million copies by August 1969, the second million-seller for Ryan.
Ryan was also very popular in Germany. Promoted by BRAVO, the German youth magazine, Ryan also recorded a number of songs in German, for example "Die Zeit macht nur vor dem Teufel halt" ("Time Only Stops at The Devil").
Ryan stopped performing in the early 1970s. There were rumours that Ryan had had an accident in the recording studio. Supposedly he suffered serious burn wounds in the face and could no longer appear in public. However, he made a comeback in the late 1990s when a two CD set with his, and his brother's, old songs was published. Ryan was also part of the 'Solid Silver 60s Tour' of the UK in 2003, singing "Eloise" backed by The Dakotas.

V.A - Pirate Stations

We go back to the second half of the fifties of the last century. In the excitement after World War II, the foundation was made for European commercial offshore radio. The adventure started in Scandinavia. Like everywhere else in Europe, radio frequenties were ruled by the government. That's why some smart entrepeneurs decided to seek the international waters. From ships stations like Radio Mercur, Radio Syd, Dansk Commercielle Radio started their transmissions.

 The Dutch followed this idea and started Radio Veronica. For a few years not much was going on, but in 1964 British offshore-radiostations like Rado Caroline, Radio London, Radio Essex, Radio 390, Radio 270, Swing Radio England, Radio City boomed.

Even though their popularity was tremendous, British authorities wanted to stop their broadcastings. An 'anti-pirate station' bill passed and except for Radio Caroline all the great stations had to close down. In Sweden, Denmark and Norway the same had already happended in 1962. In the Netherlands, Radio Veronica survived. In 1970 this station had to compete with a new one, Radio Northsea International (RNI) and later with the Flemish-oriented Radio Mi Amigo and Radio Atlantis. Eventually the bill was also passed in the Netherlands in 1974. Again, many closed down, except Radio Caroline and Radio Mi Amigo.

Here I start a new series with music from the golden period of 'Offshore Radio,' the mid-sixties. For more information and a nice Dutch forum, click the offshore logo.

Вообще вся история пиратского радиовещания началась с 1958 года, когда у датского острова Вен начала работу станция Radio Mercur, смонтированная на рыболовецком судне. До этого безраздельной хозяйкой английского эфира была официозная, консервативная и совершенно игнорирующая молодёжную музыку Би-Би-Си. А спрос на эту музыку был, и ещё какой! Постепенно вещающие в лёгком, доступном формате и ориентированные на молодёжь плавучие оффшорные станции заполонили нейтральные воды. С дрейфующих судов вещали Radio Veronica, Radio Nord, Radio Caroline, множество других. Radio London, на котором оказался Пил, было основано группой техасских нефтепромышленников и также вело вещание с корабля. Многие его передачи, а в том числе и Perfumed Garden Джона Пила, приобрели статус культовых, тем более что руководство давало ему возможность включать в программу музыку по личному выбору. Это была одна из самых популярных радиостанций тогда - настоящий голос хиппи-андеграунда. К той давней поре относятся первые "открытия" Пила, и в эфире впервые прозвучали композиции The Doors, Pink Floyd и Jimi Hendrix... А такие динозавры рока, как T-Rex, могли бы навсегда исчезнуть с музыкальной сцены, не поддержи он их тогда! 

В то же время развернулась знаменитая история с «Радио Эссекс». Один отставной майор разместил своё оборудование на стальной морской платформе, служившей ранее базой британских ВВС, поставил там генератор, дом, и не только вёл широкомасштабное вещание на Англию, но и провозгласил свой "остров" суверенным Княжеством Силэнд. Дело дошло до собственной конституции, паспортов и марок; а впоследствии до перестрелок и прочих военных действий... Таким образом, раздолбайские масс-медиа встали поперёк горла властям всей Европы - в итоге к 1966 году был срочно составлен и подписан межправительственный договор, а пиратские лодочки стали "топить" всеми способами. По английскому законодательству теперь за подобную деятельность полагалось до двух лет тюрьмы! 

Другой важной причиной закрытия этих станций стало то, что руководство Би-Би-Си изменило свою политику, появилось несколько каналов, ориентированных на разные темы и аудитории, и в том числе - канал Radio 1, посвященный поп-музыке. 14 августа 1967 года пираты капитулировали и Джон Пил попрощался со своими слушателями. Он сошёл на берег, немного поработал в клубе "Средиземье", и вскоре появился на новоиспечённом канале Radio 1 - с музыкальной программой Top Gear. И за следующие 37 лет обыкновенный ди-джей вырос в фигуру поистине национального значения! 

We love the Pirate Stations Vol.1;Vol 2
from Bernardo (Yesterdays Gold)

40 Radio Hits of the Mid-Sixties (+Original Jingles)

Roaring Sixties-We Love The Pirate Stations
Keith West-Excerpt From 'A Teanage Opera' 
(+Radio Caroline Jingle)
Animals-It's My Life (+Radio London Jingle)
Amen Corner-World Of Broken Hearts
P.J. Proby-Somewhere (+Radio London Jingle)
Applejacks-Tell Me When
Beach Boys-You're So Good To Me (+Radio Caroline Jingle)
Association-Along Comes Mary
Simon Dupree & The Big Sound-Reservations 
(+Radio London Jingle)
Beatles-Dizzy Miss Lizzie
Jay & The Americans-Livin' Above Your Head 
(+Radio Caroline Jingle)
Bee Gees-Spicks And Specks
Cliff Bennett & The Rebel Rousers-Got To Get You Into My Life
(+Radio London Jingle)
Norman Petty Trio-Litle Black Samba (Radio Veronica Tune)
New York Public Library-I Ain't Gonna Eat Out My Heart Anymore
(+Radio London Jingle)
Four Tops-Standing In The Shadows Of Love
Mood Mosaic-A Touch Of Velvet-A Sting Of Brass 
(Radio London Tune/+Jingle)
Gene Pitney-The Boss's Daughter
Bob Lind-Elusive Butterfly (+Radio Caroline Jingle)
Cliff Richard-Blue Turns To Grey
Roulettes-The Long Cigarette (+Radio London Jingle)
Dave Berry-So Goes Love
Bobby Goldsboro-Little Things (+Radio London Jingle)
Box Tops-Cry Like A Baby
Jackie De Shannon-Don't Turn Your Back (+Radio London Jingle)
Cat Stevens-Matthew & Son
Cher-Bang Bang (My Baby Shot Me Down) (+Radio Caroline Jingle)
Dusty Springfield-In The Middle Of Nowhere
Herman's Hermits-I'm Into Something Good (+Radio London Jingle)
Everly Brothers-The Price Of Love
Cilla Black-Baby It's You (+Radio London Jingle)
Cliff Nobles & Co.-The Horse (Radio Veronica Tune)
Dave Clark Five-Over And Over
David McWilliams-The Days Of Pearly Spencer 
(+Radio Caroline Jingle)
Gerry & The Pacemakers-I'll Be There
Hollies-I Can't Let Go (+Radio London Jingle)
Ivy League-Our Love Is Slipping Away
Jan & Dean-Dead Man's Curve (+Radio London Jingle)
Swinging Blue Jeans-Don't Make Me Over

Animals-Don't Let Me Be Misunderstood
Arthur Conley-Sweet Soul Music
Walker Brothers-Stay With Me Baby
Barry McGuire-Eve Of Destruction
Beatles-Yes It Is
Dusty Springfield-Little By Little
Beau Brummels-Laugh Laugh
Betty Everett-The Shoop Shoop Song
Billy J. Kramer & The Dakotas-Trains And Boats And Planes
Bobbie Gentry-Ode To Billie Joe
Bobby Goldsboro-Honey
Casey Jones & The Governors-Don't Ha Ha
Castaways-Liar, Liar
Cat Stevens-I Love My Dog
Chad & Jeremy-Willow Weep For Me
Swinging Blue Jeans-You're No Good
Chris Farlowe-Out Of Time
Chubby Checker (with The Maskers)-Baby, Baby, Balla, Balla!!!

Cilla Black-It's For You
Dave Clark Five-Catch Us If You Can
Manfred Mann-One In The Middle
Aretha Franklin-I Never Loved A Man (The Way That I Love You)
Move-Blackberry Way
Otis Redding-Fa-Fa-Fa-Fa-Fa (Sad Song)
Who-Pictures Of Lily
P.J. Proby-Together
Scott Walker-Jackie
Beach Boys-Dance, Dance, Dance
Searchers-Bumble Bee
Billy Stewart-Summertime
Temptations-(I Know) I'm Losing You
Billy Joe Royal-Hush
Tim Hardin-How Can We Hang On To A Dream
Twice As Much-Sitting On A Fence
Unit Four Plus Two-(You've) Never Been In Love Like This Before
Velvelettes-Lonely, Lonely Girl Am I
Dave Berry-If You Wait For Love
Wayne Fontana & The Mindbenders-Game Of Love
VA- 101 Pirate Radio Hits Vols 1-4

Virgin's 101 Pirate Radio Hits' release date was conspicuously close to the release of director Richard Curtis' The Boat That Rocked, a comedy about an illegal British radio station in the North Sea in the '60s. That said, it's hard to argue with the 101 songs that make up the budget-priced behemoth. The Eurocentric nature of the collection keeps it from morphing into an extended, four-disc version of the Forrest Gump soundtrack, as it boasts great material from Keith West ("Excerpt from a Teenage Opera,"), Small Faces ("Hey Girl"), and Easybeats ("Friday on My Mind"), but that doesn't make it any less deserving of a late-night television infomercial hosted by some long-in-the-tooth counterculture sub-icon or ex-MTV VJ.


VA - Radio Caroline Calling - 60's Flashback

This 55-track, three-disc collection features hits from the 1960s, including The Animals' "House of the Rising Sun," The Beach Boys' "Fun Fun Fun," and The Turtles' "Happy Together."

Full Title - Radio Caroline Calling 60's Flashback. 55 classic hits from The Animals, The Beach Boys, The Small Faces, Canned Heat, The Hollies, The Turtles and many more! Slipcase. Disky. 2003.

Wednesday, January 18, 2012

Bobby Rydell - The Best of Bobby Rydell Cameo Parkway (1959-1964)

Bobby Rydell & Chubby Checker - Same(1960)

One of the most sought-after nightclub and concert acts in the country, Bobby Rydell's interest in show business began at the ripe age of four. His performance in Bye Bye Birdie and his recordings "Wild One" and "Volare" made him a famous show business performer of the '60s. Rydell used his talents as an impersonator and drummer mostly in pursuing a musical career rather than an acting career. 

Bobby Rydell was born Robert Ridarelli in Philadelphia. It was his father who encouraged him to pursue a career in show business. At the age of four, Rydell would sit in front of the TV and impersonate such performers as Milton Berle, Louis Prima and Johnny Ray. He also admired drummer Gene Krupa and began playing the drums at the age of six. At the age of seven and with his father's encouragement, Rydell began performing in nightclubs in Philadelphia. 

In 1950, Bobby Rydell entered the amateur show of Paul Whiteman; his first-place win gained him a regular part on the show. He stayed with the Whiteman show for three years and then went to join several local bands in Philadelphia. It was here too that Bobby Ridarelli became the easier-to-pronounce Bobby Rydell. At 16 he began playing with local groups, landing a spot as a drummer for Rocco and the Saints. (Frankie Avalon, another Philadelphia-born musician, played trumpet for the group.) While with the band, Rydell signed a recording contract with Cameo/Parkway Records in Philadelphia. His hit "Kissin' Time," recorded in the summer of 1959, launched his musical career and made him a teen idol at the age of 17. 

After making his first hit recording, he pursued a solo career, performing at the Copacabana in New York in 1961, where he was an instant hit. Rydell made his acting debut in 1962 on the television show Combat! One year later, he starred as Hugh Peabody in the famous musical Bye Bye Birdie. It was only after his acting debut that he fervently began playing the nightclub circuit. 

With records like We Got Love, Wildwood Days and Sway, Rydell made himself a hit. Along with Frankie Avalon and Fabian, Bobby Rydell is known as a Philadelphia-born teen idol, known not only for his musical genius but also his handsome looks.

Chubby Checker was the unrivaled king of the rock & roll dance craze; although most of the dances his records promoted -- the Pony, "the Fly," and the Hucklebuck, to cite just three -- have long since faded into obscurity, his most famous hit, "The Twist," remains the yardstick against which all subsequent dancefloor phenomena are measured. Born Ernest Evans on October 3, 1941, in Spring Gulley, South Carolina, he worked in a local poultry shop while in high school, and while on the job often entertained customers by singing and cracking jokes. His workplace antics helped win an audition with the local Cameo-Parkway label, who signed the fledgling singer in 1959; at the suggestion of no less than Dick Clark's wife, the portly youth was re-christened Chubby Checker, the name a sly reference to Fats Domino. 

Checker's first single, "The Class," showcased his skills as an impressionist; while the record became a minor novelty hit, none of its immediate follow-ups were successful. In 1960, however, he recorded "The Twist," a cover of a 1958 Hank Ballard & the Midnighters B-side; Checker's rendition de-emphasized the original's overtly sexual overtones, focusing instead on the song's happy-go-lucky charms. The single rocketed to number one during the autumn of 1960, remaining on the charts for four months; some time after it dropped off, it slowly returned to prominence, and in late 1961 it hit number one again; the only record ever to enjoy two stays at the top more than a year apart. After "The Twist" first made Checker a superstar, he returned to the top in 1961 with "Do the Pony"; that same year, he also reached the Top Ten with "Let's Twist Again," which assured the dance's passage from novelty to institution. 

In addition to 1961's "The Fly," Checker's other Top Ten hits included three 1962 smashes: "Slow Twistin'," "Limbo Rock," and "Popeye the Hitchhiker." He even starred in a pair of feature films, Twist Around the Clock and Don't Knock the Twist. In total, Checker notched 32 chart hits before the bubble burst in 1966; as interest in dance novelties dwindled, he briefly turned to folk music, and became a regular on the nightclub circuit. From the 1970s onward, he was a staple of oldies revival tours; in 1982, more than a decade after his last studio LP, he signed with MCA and issued the disco-inspired The Change Has Come, scoring a pair of minor hits with the singles "Running" and "Harder Than Diamond." In 1988, Checker returned to the Top 40 for the first time in a quarter century when he appeared on the Fat Boys' rap rendition of "The Twist," and he continued touring regularly throughout the decade to follow.

1. Bobby Rydell & Chubby Checker - Swingin' Together (2:24)
2. Bobby Rydell & Chubby Checker - Your Hits And Mine (7:31)
3. Bobby Rydell & Chubby Checker - Jingle Bell Rock (2:32)
4. Bobby Rydell & Chubby Checker - Teach me to the twist (2:26)
5. Bobby Rydell & Chubby Checker - Side By Side (2:30)
6. Bobby Rydell & Chubby Checker - Jingle Bells Imitations (2:44)
7. Bobby Rydell & Chubby Checker - What Are You Doing New Year's Eve? (2:28)
8. Bobby Rydell & Chubby Checker - My Baby Cares For Me (1:56)
9. Bobby Rydell & Chubby Checker - Voodoo (2:32)
10. Bobby Rydell & Chubby Checker - Walkin' my baby back home (2:07)

Lulu - To Sir With Love (The Best Of 1967-1968 )

This compilation collects 19 sides from Lulu during her burgeoning ascent as a British pop diva. The tracks include the contents of the long-players To Sir With Love (1967) and Love Loves to Love Lulu (1967) -- which share pretty much the same 11-song tune stack. The remainder were issued on a variety of singles in the U.K. as well as stateside. Although the vast majority failed to make much of an impact, she did top the pop singles chart with the title song of this package as well as from the film To Sir With Love (1967), where she likewise debuted as an actress. She played the smarmy lower-middle-class student "Miss" Barbara Pegg alongside Sidney Poitier's brilliant portrayal of high-school educator "Sir" Mark Thackeray. Her only other platter to hit the Top 40 in the U.S. was "Best of Both Worlds" -- which features an opulent score from Peter Knight. Keen-eared listeners may well hear several striking similarities between the introductory orchestration, which is a variation on a theme that Knight was concurrently incorporating into his work with the Moody Blues on their groundbreaking Days of Future Passed (1967). Specifically, musical quotes that surround the recitation (read: "Breath deep/The gather gloom...") at the end of "Nights in White Satin" are used here for a similar sonic flare. Lulu remained at the center of the mod scene in the U.K., rivaling other top British vocalists such as Dusty Springfield and Cilla Black for airplay and record sales, under the direction of Mickie Most (producer/arranger) and his crew -- which often included the distinct work of John Paul Jones (string arrangement/bass/guitar/brass) several years prior to his commitment to Led Zeppelin. In addition to co-arranging with Knight, Jones' multi-instrumental prowess can be heard on practically every track. His contributions include the Burt Bacharach/Hal David feel on the poppy "Let's Pretend" as well as the Brian Auger-like electric organ runs on the syncopated R&B-influenced "Take Me in Your Arms (And Love Me)." 

Also included in her repertoire are a few interesting cover tunes -- including a soulful reading of "Morning Dew" and Neil Diamond's spunky and freewheelin' "The Boat That I Row." The same results are not quite achieved on the decidedly produced and over the top version of "Day Tripper." Her marriage to Bee Gees co-founder Maurice Gibb may have had some bearing on the affective remake of "To Love Somebody." Without a doubt, the tastefully arranged and implemented small string section on Harry Nilsson's "Without Him" is quite different from Al Kooper's swinging bossa nova reading of "Without Her" from Child Is Father to the Man. In fact, this version rivals the equally infectious reading from Astrud Gilberto from her underrated I Haven't Got Anything Better to Do (1969) LP. Lulu's influence has reached through the generations with the sampling and looping of the electric guitar intro to the upbeat and ultra mod "Love Loves to Love Love," which was featured on the 1996 Fatboy Slim (aka Norman Cook) track "Santa Cruz." The sound quality on this collection is, quite frankly, immaculate. The entire contents were remastered -- if not perhaps remixed -- from the one and only multi-track master tapes, which yielded seven previously unissued stereo mixes. Unlike the songs gleaned from the To Sir With Love or Love Loves to Love Lulu albums, the remainder of the sides were not released in anything other than traditional mono. To Sir With Love: The Very Best of 1967-1968 is arguably the best Lulu primer available.

West Coast Consortium - Looking Back - The PYE Anthology

For Fifo

Bass, Trombone, Vocals – John Barker (3)
Compiled By – John Reed
Drums – John Podbury
Guitar [Additional] – Billy Mangham (tracks: 13 to 16)
Guitar [Lead], Organ, Mellotron, Vocals – Geoff Simpson
Guitar [Rhythm], Vocals – Brian Bronson
Lead Vocals – Robbie Fair

West Coast Consortium (later just known as Consortium) was a British pop/rock group that evolved through several incarnations in the mid-'60s, before finally achieving some chart success at the tail end of the decade. The band initially coalesced under the name Group 66, with Robbie Fair on lead vocals, Geoff Simpson on lead guitar and backing vocals, Brian Bronson playing rhythm guitar, John Barker on the bass, and John Podbury playing drums. They were a fairly nondescript band, doing nothing but covers of current rock & roll hits -- by sheer luck, they were trying to do their own rendition of the new Four Seasons hit "Rag Doll" and discovered that they could harmonize better than they could play. A similarly successful attempt at performing the Beach Boys' "I Get Around" proved to the quintet that vocals were their strong point and could set them apart from most of their rivals, especially as they had their instrumental skills nailed. By 1967, Simpson had started writing songs and the group was actively seeking a recording contract. They were signed by Pye Records, who put them together with Tony Macaulay, who had just joined the company and was not yet a name in the business -- he, in turn, brought them into the orbit of his writing/producing partnership with John MacLeod. It was also Macaulay who insisted that the group -- which had changed its name to the gimmicky monosyllabic Xit -- had to get another name. In the interest of emphasizing an American cultural connection (still a mark of quality in England in those days), they arrived at West Coast Consortium. 

The group's original sound was on the lightweight side, rooted in high harmonies and midtempo songs, much closer to the Ivy League than to, say, the Hollies. Their first two singles failed to chart, as did a 45 released under the name "Robbie," focusing on Fair's persona. They subsequently lost the services of Macaulay, who turned his attentions increasingly to the Foundations, and picked up Jack Dorsey as producer. The band generated one poppish freakbeat single, "Colour Sergeant Lilywhite," filled with phased guitars and drumming and an outsized vocal performance from Fair, which didn't chart but went on to become a minor classic of British psychedelia. Amazingly, during this period, the group was given the chance to record an entire LP, despite not having had a hit, and rehearsed for a time but then decided to abandon the project. According to Simpson in David Wells' excellent annotation to the anthology CD Looking Back, the bandmembers thought albums weren't that important at the time, especially as there wasn't an obligation to do one based on any chart hit that had to be exploited. It also seemed like a lot of work would go toward creating a 12" disc that, without a single to exploit, had little chance of selling or being widely heard. Ironically, the surviving song demos -- released in 2003 -- show the beginnings of what could have been a magnificent album and, even as is, makes for delightful listening, recalling elements of Beach Boys-style psychedelia.

Fate next took a hand in a very unexpected way, as the group suddenly found a new fan in the form of the head of Pye Records, the legendary producer/bandleader Cyril Stapleton. A revered figure on the British music scene, Stapleton was like a cross between Norrie Paramor and George Martin, with the recognition of the former and the open-mindedness and some ability akin to the latter -- he chanced to attend a performance by the band and was so taken with them that he decided to give them his personal attention on their next record. At the time, they'd cut a version of Simpson's "All the Love in the World" that wasn't coming out right with Dorsey, and, astonishingly, the label chief violated all corporate protocol by agreeing. Dorsey was taken off producing the band and, at his behest, the existing recording was junked. They started over with Stapleton himself producing; they also shortened their name to the simpler and more mysterious Consortium. The result was their strongest record to date, a glowing piece of sunshine pop with an unpretentious orchestral accompaniment and the best vocal performance by Fair or the rest of the group on record to date; what's more, the B-side, another Simpson song, "Spending My Life Saying Goodbye," was every bit as good, a stripped-down, peculiarly soulful pop number that sounded as though it had come out of the Motown orbit. "All the Love in the World" was also their first hit, reaching number 22 on the U.K. charts in the course of a surprising nine-week run. 

The chart hit, the name change, and the interest of Stapleton did get the group a fresh round of music press coverage, along with better gigs and more time and money for their sessions. As it was, their credibility on-stage was daunting, as the group was able to re-create their harmonies and the full Mellotron and organ-based sound in concert without slighting the guitar and rhythm section's contributions. And from this point on, their records were amazing -- "When the Day Breaks" was a glorious piece of West Coast-style pop, with a an understated yet powerful performance by the band around a memorable melody, with beautifully tasteful accompaniment (especially the reeds) to their superb work. Its B-side, "The Day the Train Never Came," became a major work on-stage and was a stunning record, high harmonies over shimmering, reverb-laden guitars and a larger-than-life rhythm section, and "Cynthia Serenity," with its haunting melody, compelling beat, and falsetto harmonies, was virtually a late-'60s follow-up to the Beach Boys' "Girl Don't Tell Me." Everything worked on those and the singles that followed, including the gorgeous "I Don't Want Her Anymore" -- featuring the debut of sixth member Billy Mangham (guitar) -- yet there was no chart action from them. It was around this time that they were shifted over to a custom label, Trend, set up by MacLeod and Macaulay.

The new label didn't help their sales, and in 1970 the original group's history effectively ended as Simpson quit, unwilling to leave his wife or their recently born twins for a six-week tour of Italy. He went into the less travel-demanding field of songwriting, enjoying success in the 1970s, while the rest of the band soldiered on, in one form or another, for the rest of the decade, and even existed for a time in the 1980s. By that time, the Consortium had a much louder sound, very far removed from their Four Seasons/Beach Boys-inspired roots.

Re-mastered at The Town House.
Tracks 17 to 27 previously unissued studio demo.

West Coast Consortium can be lumped in with bands like the Ivy League, the Bystanders, and the groups that pop up on soft British psychedelic pop collections. They combine lush Beach Boys/Four Seasons vocal harmonies with lush, string-filled backing to create a uniquely English style of '60s pop. Looking Back is a 27-track collection of the band's output for Pye between 1967 and 1970. Actually, only a little more than half of the record was released; the last 11 tracks are demos. And to make things confusing, the band had several different names. One single was released under the name Robbie (after the lead singer Robbie Fair), two singles were released as West Coast Consortium, and the rest were released as Consortium. They finally settled on Consortium because their one semi-hit, the incredible rich and Baroque almost to the point of a joke "All the Love in the World," came under that name. The rest of their songs never came close to breaking but they had quite a few goodies hidden away, like "Indigo Spring," the pounding "The Day the Train Never Came," the bubblegum soul-sounding "I Don't Want Her Anymore," and the pastoral "Copper Coloured Years." The demos, unlike many that are tacked onto sets like this, actually measure up quite well against the officially released tracks. The studio sheen that is sacrificed is made up by the energy that band brings to the tracks. Best of the lot are the tough "Willow Wood," the Kink-y "Live and Let Live," and the funky "What Are They Singing About Today." It's a shame the band didn't get a chance to take these songs into a studio and polish them up, but it's nice that they are here for fans of British psych-pop to enjoy. The whole set is quite enjoyable and serves to firmly install Consortium at the summit of the style.