One of America's greatest, most influential, and legendary cult bands, Flamin' Groovies came out of the San Francisco area in 1965 playing greasy, bluesy, rock & roll dashed with a liberal sprinkling of British Invasion panache, in an era soon to be dominated by hippie culture and hyperextended raga-rock freakouts. Caught in a double bind of playing the wrong kind of music at the wrong time (as well as not looking the part), the Groovies were almost completely forgotten as the Fillmore/Avalon Ballroom scenes, dominated by the Dead, the Jefferson Airplane, et al., rendered them anachronistic. The plain truth, however, was that despite not being in tune with the zeitgeist, the Groovies made great music, and managed to sustain a career that lasted for over two decades.
What made the Groovies such a formidable band was the double dynamite supplied by guitarist Cyril Jordan and singer/wildman Roy A. Loney. Together they formed an uneasy partnership that guided the band through its most fertile period, from 1968-1971. In 1968, for next to nothing, the band recorded a seven-song EP entitled Sneakers. This little bit of DIY ingenuity resulted in a contract with Epic and the huge sum of 80,000 dollars (1968 dollars, mind you) to be spent on their debut recording, Supersnazz. It was a great album that didn't sell, but did get them dropped from Epic. Quickly signing with Kama Sutra, the Groovies closed the '60s and started the '70s with two terrific records (Flamingo and Teenage Head), but public apathy and the increasingly tempestuous relationship between Jordan and Loney led to the latter's departure for a solo career in 1971. Jordan, now free to run the band as a "benevolent" dictator and indulge his passion for a more folk-rock (read: Byrds) focus, hired guitarist/vocalist Chris Wilson, curiously added the apostrophe to their first name, and in 1972 moved the band to England.
Oddly enough, the Groovies had a larger, more enthusiastic following in Europe (especially in England and Germany) than they did in the States, and it seemed perfectly reasonable to assume that if great rewards were to be reaped, it would happen in Europe first. Hooking up with Dave Edmunds, who was keen to produce them, Jordan and company recorded a handful of songs as early as 1972. However, this seemingly natural collaboration yielded little until 1976, when the Groovies released their finest post-Loney effort, Shake Some Action. Loaded with ringing guitars, great covers, and Edmunds' spongy, bass-heavy production, Shake Some Action became a well-received album in punk-era Britain, as was the fine follow-up, Flamin' Groovies Now. This new notoriety brought renewed interest in the Groovies in America, but the string of good albums ended abruptly with the mostly covers and mostly forgettable Jumpin' in the Night, in 1979. Clearly, the band had run out of gas. That fact, however, did little to convince Cyril Jordan that Flamin' Groovies in any form were no longer viable.
So, after five or six years of no new music -- there were instead countless repackagings, anthologies, and lousy bootlegs -- the band ended up in Australia, now reduced to Jordan and a bunch of unknowns (with the exception of longtime bassist George Alexander), shamelessly covering '60s material and living off the band's legend. It should be noted that after his departure in 1971, Roy Loney, after a couple of music industry jobs, made some wonderful records with his band the Phantom Movers (with ex-Groovies drummer Danny Mihm). Loney occasionally worked behind the counter at Jack's Record Cellar in San Francisco, and recorded with the Young Fresh Fellows.
Miriam Linna once opined that the Roy Loney-era lineup of the Flamin' Groovies suggested what the Rolling Stones would have sounded like if they'd sworn their allegiance to the sound and style of Sun Records instead of Chess Records. If one wants to buy this theory (and it sounds reasonable to me), then Teenage Head was the Groovies' alternate-universe version of Sticky Fingers, an album that delivered their toughest rock & roll beside their most introspective blues workouts. (In his liner notes to Buddha's 1999 CD reissue of Teenage Head, Andy Kotowicz writes that Mick Jagger noticed the similarities between the two albums and thought the Groovies did the better job.) While the Flamin' Groovies didn't dip into the blues often, they always did right by 'em, and "City Lights" and "Yesterday's Numbers" find them embracing the mournful soul of the blues to superb effect, while their covers of "Doctor Boogie" and "32-20" honor the originals while adding a energy and attitude that was all their own. And the rockers are among the best stuff this band ever put to tape, especially "High Flying Baby," "Have You Seen My Baby?," and the brilliant title track. And unlike Flamingo, Teenage Head sounds just as good as it deserves to; Richard Robinson's production is clean, sharp, and gets the details onto tape with a clarity that never gets in the way of the band's sweaty raunch. While Flamingo rocks a bit harder, Teenage Head is ultimately the best album the Flamin' Groovies would ever make, and after Roy Loney left the band within a few months of its release, they'd never sound like this again. [Big Beat reissued the album in the United Kingdom in 1991, adding a couple bonus tracks in the process.
Very Rare album "Same" from the German Beat Group DIE MUSTANGS, edited in GERMANY by the label ARIOLA/No.72 251 IT -stereo- /in the "Liverpool Beat" Series...
Two of them looked like the accountants who would be handling the finances of any British band of the period and the other two looked like the dorkier members of Herman's Hermits or any number of other bands. But based on the recorded evidence, Die Mustangs were cool. A German beat band from the early to mid-'60s, their lineup consisted of Gerd Geerkin (guitar), Nico Kuhlkamp (guitar), Horst Heineberg (bass), and Jorn Schroder (drums) (later succeeded by Udo Lindenberg). The band initially emulated the sounds of the Shadows and the Ventures, but with the advent of the 1960s British beat boom (which arguably "previewed" on the road, as it were, in Germany), they added Beatles/Roulettes-style vocals to their sound. Their music was actually an engaging hybrid of early to mid-'60s British sounds: On the one hand, they could do a free-wheeling, hard-rocking cover of Ian Samwell's "Dynamite" (a late-'50s rock & roll hit for Cliff Richard & the Shadows) in that style, and then turn around and do a solid early Beatles or Searchers-style rendition of Carl Perkins' "Matchbox." In the instrumental department, Die Mustangs could hold their own -- their played Fender equipment at a time when that was relatively hard to come by in Germany -- and harmonized beautifully on originals like "Why Should I Cry." With a few breaks, these boys might've been Germany's answer to Gerry & the Pacemakers or the Roulettes. They broke up after 1966, leaving behind an amazingly enjoyable body of singles and a complete LP, cut for Germany's Ariola label.
Die erste Band in der Udo getrommelt hat waren die Mustangs aus Mьnster (ca.1965/66) u.a. mit dem Sperrmьll-Gitarristen Helmut Krieg. Auf 4 Vinyls (3 Singles, 1 Album) prдsentierten die Mustangs u.a. den Herman`s Hermits Hit Mrs. Brown You`ve Got A Lovely Daughter auf Deutsch. Kurios: Das Drumming von Udo war dem Produzenten zu wild und er wurde kurzerhand gegen einen Studiodrummer ausgetauscht.
Der Zeitungsartikel stammt aus der letzten Phase der Mustangs, als die Band mit Udo Lindenberg (drums) und Helmut Krieg (git.,spдter Sperrmьll) spielten. Helmut war bei den Plattenproduktionen der Mustangs noch nicht dabei. Allerdings gibt es wiederum eine 45er mit Helmut Krieg und Terry Schauer & the Batmen aus Aachen aus dem Jahre 1964, die auch von Krieg komponiert wurde.
The Mustangs spielten anfangs in der Besetzung Joern Schroeder (dr.), Nico Kuhlkamp (g.), Gerd Geerken (g.) und Horst Heineberg (bg). Ab 1965 wurde Udo Lindenberg als neuer Drummer engagiert. Bei der 45er Mrs. Brown hat einen Blumenladen, eine deutsch-gesungene Version des Herman`s Hermits Hits Mrs. Brown You`ve Got A Lovely Daughter wurde Udo auf Grund seines zu jazzigem Drumspiel durch einen Studiodrummer ersetzt. Auf der Rьckseite Das Glьck und die Liebe hat er dann aber gespielt. Ab 1966 war auch Helmut Krieg (spдter Sperrmьll) als Gitarrist Mitglied der Mustangs.
Die Mustangs - Same (1966) plus
Catalogue Nr.:S 72 251 IT
1966** / Germany
from the Ariola 'Liverpool Beat'-Series
Despite the fact that it's utterly unknown outside of Germany, this is one of the better British beat-style albums of its period, a faithful, fervent attempt to adapt the sounds of the British Invasion. The group could play and sing well and absorbed the details and nuances of the sound that they loved, and this is one of best records to be derived from the British Invasion sound to come out of Europe. ~ by Bruce Eder
"...There was a time (early to mid 60's) and a place (Frankfurt) where Fats and His Cats created themselves and we thought they were just groovy and far out. No matter if you spoke German or English because his tunes were a bit of both..."
Fats & His Cats
Otto Ortwein 'Fats' (Gitarre, Klavier, Sax) †
Herbert Zimmer (Sax)
Arthur Frohwein (Sax)
Arno Neumann (Schlagzeug)
Ferry Radics (Gitarre)
Horst Müller (Sax)
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. They first recorded for the small Carina and Linda Labels and until they were picked up by CBS.
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.
As opposed to most of the cover versions they played live “Hello” is a Fats and his Cats original. Like Fats says in the intro: ” Now Fans, we made a number… our own… and we like to play it today, first time… especially for you … and we call it: Hello.”
Fats got his nickname for his great impersonations of Fats Domino (it´s all over their second single on Linda “Mr. Domino”/”Tick Tack”). Here is Fats doing another impersonation of one of his favourites: Louis Prima.
b. 1944, Thurnscoe, Yorkshire, England. The daughter of a singing miner, the clean-cut pop singer moved to London at the age of 16, and, after appearing on the Joan Regan television show in 1961, was snapped up by HMV. Deene had four UK Top 50 entries in a 12-month period, all with cover versions, but none made the Top 20. The songs were ‘Sad Movies (Make Me Cry)’ and the irritating ‘Norman’ (which were both John D. Loudermilk songs that had been US hits for Sue Thompson), ‘Johnny Get Angry’ (a US hit for Joanie Sommers) and ‘Some People’, which was originally performed by UK act Valerie Mountain And The Eagles in the film of the same name. In 1962 she had her own series as a disc jockey on Radio Luxembourg and was seen in the Acker Bilk film Band Of Thieves. She later had unsuccessful releases on Columbia Records in 1966, CBS Records in 1968, Conquest in 1969, Pye Records in 1970; and reappeared in the late 70s on the Koala and Rim labels.
Tommy James & the Shondells -- the very mention of their name, even to someone who doesn't really know their music, evokes images of dances and the kind of fun that rock & roll represented before it redefined itself on more serious terms. And between 1966 and 1969, the group enjoyed 14 Top 40 hits, most of which remain among the most eminently listenable (if not always respected) examples of pop/rock. The group was almost as much of a Top 40 radio institution of the time as Creedence Clearwater Revival, but because they weren't completely self-contained (they wrote some, but not all, or their own hits) and were more rooted in pop/rock than basic rock & roll, it took decades for writers and pop historians to look with favor on Tommy James & the Shondells.
Tommy James was born Thomas Jackson on April 20, 1947, in Dayton, OH. He was introduced to music at age three, when he was given a ukulele by his grandfather. He was an attractive child and was working as a model at age four, which gave him something of a taste for performing. By age nine he'd moved to the next step in music, taking up the guitar, and by 1958, when he was 11, James began playing the electric guitar. In 1960, with his family now living in Niles, MI, 13-year-old James and a group of four friends from junior high school -- Larry Coverdale on guitar, Larry Wright on bass, Craig Villeneuve on piano, and Jim Payne on drums -- got together to play dances and parties. This was the original lineup of the Shondells, and they became good enough to earn decent money locally, and even got noticed by an outfit called Northway Sound Records, who recorded the quintet in a Tommy James original entitled "Judy" in 1962. That single didn't make much noise beyond their immediate locale, but in late 1963, the group came to the notice of a local disc jockey starting up a new label called Snap Records. They cut four sides, two of which were issued and disappeared without a trace on their first Snap single.
The second Snap label release, "Hanky Panky," was golden, at least in the area around Niles. A Jeff Barry/Ellie Greenwich song that the couple had already recorded under their nom de plume, the Raindrops, as a B-side that James and company had heard done by a rival band, "Hanky Panky," had become part of James' group's stage act. It was enormously popular on-stage, and the Snap single took off locally in Niles and the surrounding area, but it never got heard any further away. James and company picked up their marbles and went home, abandoning aspirations for a recording career in favor of pursuing music part time -- the singer/guitarist took a day job at a record store and confined his music efforts to the nighttime hours. The two years that ensued, from early 1964 until 1966, saw the original Shondells break up, as members left music or were drafted. This didn't seem to make much difference until a day came when James got an urgent request from a promoter to do a concert in Pittsburgh, PA.
Considering that the group had never even played there, he was puzzled. He soon found that the Snap Records single "Hanky Panky," recorded back in 1963 and overlooked in Chicago and Detroit at the time, had suddenly broken out in Pittsburgh. A promoter, having found a copy of the Snap single in a used-record bin, had liked what he heard and gotten the record played locally at dances. In one of those fluky instances that made the record business in those days a complete marvel, people suddenly started requesting "Hanky Panky," and in response to the demand, bootleggers began producing it, attributed to various labels -- some sources estimate that as many as 80,000 copies were sold in Pittsburgh before the smoke cleared.
James saw what he had to do, but he no longer had a band and was forced to recruit a new group of Shondells. The lucky winners were the Raconteurs, a local Pittsburgh quintet. They became the Shondells, with Joe Kessler on guitar, Ron Rosman on keyboards, George Magura on sax, Mike Vale on bass, and Vinnie Pietropaoli on drums; Peter Lucia and Eddie Gray, respectively, replaced Pietropaoli and Kessler, and Magura and his saxophone didn't last long in the lineup.
From near-total obscurity, this version of Tommy James & the Shondells went to playing to audiences numbering in the thousands, and were being courted by Columbia Records and RCA-Victor. It was Morris Levy and Roulette Records, however, who outbid everybody and won the group's contract, and got a number one national hit with "Hanky Panky," in the version cut by the original group nearly three years earlier.
Tommy James & the Shondells, revamped, revised, and reactivated, spent the next three and a half years trying to keep up with their own success. "Say Am I," their second Roulette single and the first by the extant group, only got to number 21, but it was accompanied by a pretty fair Hanky Panky LP, showing off the group's prowess at covering current soul hits by the likes of the Impressions, James Brown, and Junior Walker & the All-Stars. A third single, "It's Only Love," reached number 31, but the fourth, "I Think We're Alone Now," issued in early 1967, got to number four, and the fifth, "Mirage," was another Top Ten release. The latter record was truly a spin-off of the previous hit in the most bizarre way -- according to James, "Mirage" was initially devised by playing the master of "I Think We're Alone Now" backwards. Those recordings were the work of songwriter and producer Ritchie Cordell, who became a rich source of material for the group for the remainder of their history.
Tommy James & the Shondells were lucky enough to be making pop-oriented rock & roll in an era when most of the rest of the rock music world was trying to make more serious records and even create art (often even when the act in question had no capacity for that kind of activity). They were at a label who recognized the need to spend money in order to make money, and didn't mind the expense of issuing a new LP with each major single, despite the fact that Roulette was mostly a singles label where everything but jazz was concerned. The group members themselves were having the time of their lives playing concerts, making personal appearances, and experimenting with advancing their sound in the studio. Audiences loved their work and their records, and it only seemed to get better.
Their songs ran almost counter to the trend among serious rock artists. "Mony Mony," a number three hit coming out in the midst of Vietnam, the psychedelic boom, and just as rock music was supposed to be turning toward higher, more serious forms, was a result of the group looking for a perfect party record and dance tune; even the name was sheer, dumb luck, a result of James spotting the Mutual of New York (MONY) illuminated sign atop their building in mid-town Manhattan at a key moment in the creative process. The group did grab a piece of the prevailing style in late 1968 with "Crimson and Clover," an original by James and drummer Peter Lucia that utilized some creative sound distortion techniques. A number one hit that sold five million copies, it was the biggest single of the group's history and yielded a highly successful follow-up LP as well -- ironically, the latter album included liner notes by Vice President Hubert Humphrey, who had gotten to know the band in the course of their performing at some of his campaign events during his 1968 run for the presidency.
James and company were among the top pop/rock performers in the world during 1969, with two more major hits, "Sweet Cherry Wine" and "Crystal Blue Persuasion," to their credit. Indeed, their presence on the Crimson and Clover album, in addition to the title cut, helped loft that record to a 35-week run on the charts, an extraordinary achievement not only in the history of the band but also -- for a non-greatest hits album -- for Roulette Records, who weren't known as a strong album label. They also began experimenting more with new sounds during this period, most notably on their next album, Cellophane Symphony. The latter record, whose release was delayed for four months because of the extraordinary sales of Crimson and Clover, had its share of basic rock & roll sounds but also plunged into progressive/psychedelic music with a vengeance, most notably on "Cellophane Symphony," a Moog-dominated track that sounds closer to Pink Floyd than anyone ever imagined possible. Cellophane Symphony sold well without breaking any records by its predecessor, and proved in the process that Tommy James & the Shondells could compete in virtually any rock genre. The only miscalculation made by the band was their declining an invitation to perform at Woodstock; the mere credit, coupled with perhaps an appearance in the movie or on the album, might have enhanced their credibility with the counterculture audience.
The end of the Shondells' history came not from any real decision, but simply their desire to take a break in 1970, after four years of hard work and a lot of great times. The moment also seemed right -- James was getting involved in other projects and moving in other directions, including writing and producing records for acts like the Brooklyn-based band Alive and Kicking, whose "Tighter and Tighter" got to number seven, and his own solo recordings. the Shondells continued working together for a time as well, under the name Hog Heaven, cutting one album for Roulette before withdrawing back to the Pittsburgh area where they'd started.
James went through a lot of different sounds on his own records, including country (My Head, My Bed, & My Red Guitar) and Christian music (Christian of the World), and charted in the Top Ten one last time in 1971 with "Draggin' the Line," although he also saw more limited success for another two years with records such as "I'm Comin' Home" and "Celebration."
In the mid-'70s, he made a jump from Roulette Records, where he'd based his career for nearly a decade, to Fantasy Records, and he later recorded for Millennium Records. Following his 1980 Top 20 hit, "Three Times in Love," he resurfaced as a concert artist playing his old hits as well as new songs, although some of these shows were marred by reports of late arrivals and less-than-ideal performances; he has since reestablished a record as a serious crowd-pleasing act, cutting records anew with Cordell and even releasing a live hits collection in 1998.
Tommy James & the Shondells have even achieved something that they saw relatively little of in their own time -- respect. In the years 1966-1970, they were regarded as a bubblegum act and part of the scenery by the few discerning critical voices around, but in the '80s, their music revealed its staying power in fresh recordings (and hits) by Joan Jett, Billy Idol, and Tiffany, with "Crimson and Clover," "Mony Mony," and "I Think We're Alone Now," respectively; indeed, in one of those odd chart events that would have seemed more likely in the '60s, in 1987, Tiffany's version of "I Think We're Alone Now" was replaced at the number one spot after two weeks by Billy Idol's rendition of "Mony Mony." Rhino Records' reissue of the Crimson and Clover and Cellophane Symphony albums, in addition to greatest hits collections and a survey of James' solo recordings from the decade 1970-1980, also seemed to speak for the group's credibility, and a 1997 Westside Records double CD, It's a New Vibration, offering unreleased songs from the '60s as well as all of the key single tracks, confirmed the level of seriousness with which the group was perceived.
Tommy James was no Mick Jagger or Jim Morrison, to be sure, and his songwriting -- which was usually not solo, in any case -- lacked the downbeat, serious tone or the little mystical touches of John Fogerty. He's usually put more comfortably in the company of such figures as Paul Revere & the Raiders' Mark Lindsay, or with Johnny Rivers or Tommy Roe, in the middle or early part of the '60s. But from 1968 through 1970, when artists like Jagger, Fogerty, and Morrison were in their heyday, Tommy James & the Shondells sold more singles than any other pop act in the world, many of them written, co-written, or at least chosen by James. The mere fact that he released a concert DVD in the fall of 2000 is loud testament to the power and impact of his work four decades into his career.
Not the first but definitely the most popular rock instrumental combo, the Ventures scored several hit singles during the 1960s -- most notably "Walk-Don't Run" and "Hawaii Five-O" -- but made their name in the growing album market, covering hits of the day and organizing thematically linked LPs. Almost 40 Ventures' albums charted, and 17 hit the Top 40. And though the group's popularity in America virtually disappeared by the 1970s, their enormous contribution to pop culture was far from over; the Ventures soon became one of the most popular world-wide groups, with dozens of albums recorded especially for the Japanese and European markets. They toured continually throughout the 1970s and '80s -- influencing Japanese pop music of the time more than they had American music during the '60s.
the Ventures' origins lie in a Tacoma, Washington group called the Impacts. Around 1959, construction workers and hobby guitarists Bob Bogle and Don Wilson formed the group, gigging around Washington state and Idaho with various rhythm sections as backup. They recorded a demo tape, but after it was rejected by the Liberty Records subsidiary Dolton, the duo founded their own label, Blue Horizon. They released one vocal single ("Cookies and Coke"), then recruited bassist Nokie Edwards and drummer Skip Moore and decided to instead become an instrumental group.
the Ventures went into the studio in 1959 with an idea for a new single they had first heard on Chet Atkins' Hi Fi in Focus LP. Released on Blue Horizon in 1960, the single "Walk-Don't Run" became a big local hit after being aired as a news lead-in on a Seattle radio station (thanks to a friend with connections). In an ironic twist, Dolton Records came calling and licensed the single for national distribution; by summer 1960, it had risen to number two in the charts, behind only "It's Now or Never" by Elvis Presley. After Howie Johnson replaced Moore on drums, the Ventures began recording their debut album, unsurprisingly titled after their hit single.
Two singles, "Perfidia" and "Ram-Bunk-Shush," hit the Top 40 during 1960-61, but the Ventures soon began capitalizing on what became a trademark: releasing LPs which featured songs very loosely arranged around a theme implied in the title. The group's fourth LP, The Colorful Ventures, included "Yellow Jacket," "Red Top," "Orange Fire" and no less than three tracks featuring the word "blue" in the title. the Ventures put their indelible stamp on each style of '60s music they covered, and they covered many -- twist, country, pop, spy music, psychedelic, swamp, garage, TV themes. (In the '70s, the band moved on to funk, disco, reggae, soft rock and Latin music.) the Ventures' lineup changed slightly during 1962. Howie Johnson left the band, to be replaced by session man Mel Taylor; also, Nokie Edwards took over lead guitar with Bob Bogle switching to bass.
One of the few LPs not arranged around a theme became their best-selling; 1963's The Ventures Play Telstar, The Lonely Bull featured a cover of the number one instrumental hit by the British studio band the Tornadoes and produced by Joe Meek. Though their cover of "Telstar" didn't even chart, the album hit the Top Ten and became the group's first of three gold records. A re-write of their signature song -- entitled "Walk-Don't Run '64" -- reached number eight that year. By the mid-'60s however, the Ventures appeared to be losing their touch. Considering the volatility of popular music during the time, it was quite forgivable that the group would lose their heads-up knowledge of current trends in the music industry to forecast which songs should be covered. The television theme "Hawaii Five-O" hit number four in 1969, but the Ventures slipped off the American charts for good in 1972. Instead, the band began looking abroad for attention and -- in Japan especially -- they found it with gusto. After leaving Dolton/Liberty and founding their own Tridex Records label, the Ventures began recording albums specifically for the Japanese market. The group eventually sold over 40 million records in that country alone, becoming one of the biggest American influences on Japanese pop music ever.
Nokie Edwards left the Ventures in 1968 to pursue his interest in horse racing for a time, and was replaced by Gerry McGee; though he returned by 1972, Mel Taylor left the group that year for a solo career, to be replaced by Joe Barile. (Taylor returned also, in 1979.) By the early '80s, the Ventures' core quartet of Wilson, Bogle, Edwards and Taylor could boast of playing together for over 20 years. Though Edwards left the band for good in 1984 (replaced again by Gerry McGee) and Mel Taylor died mid-way through a Japanese tour in 1996 (replaced by his son Leon), the Ventures continued to pack venues around the world.
"...You'll either need to cry off for a few hours, or go on an extended road trip to listen to this compilation because I warn you, once you hit 'Play', you won't be stopping any time soon! I've got a full day tomorrow just plugging in and listening to this gorgeous collection of songs. I wonder if the professional compilers feel like we did when we used to make up our own mix tapes? Somehow, they have to convince us that these are 'the ones' that ought to be included. Well, nobody made any mistakes!
The compiled songs make 25 hits per CD from looking through what's offered and how the albums are made up. It's convenient to offer the downloads and for us to back them up on our own discs! Great idea. With the likes of Paul Jones; Edwin Hawkins Singers; Johnny Nash; Love Affair and Ken Dodd...
Hang on, did I just say...er, yup! He's there too. And, guess who else? Yes, Des O'Connor. I loved his singing when I was a kid and that hasn't changed.
I've only given you six names out of seventy-five. I'll leave it to you to look through the rest for yourselves. As a radio jock, I highly recommend this triple album. It'll have you singing all the way through...." ~radiojock
01. The House Of The Ising Sun - The Animals
02. I'm Into Something Good - Herman's Hermits
03. Daydream - The Lovin' Spoonful
04. I Like It - Gerry & The Pacemakers
05. Walkin' Back To Happiness - Helen Shapiro
06. Dance To The Music - Sly & The Family Stone
07. 5-4-3-2-1 - Manfred Mann
08. California Girls - The Beach Boys
09. Do You Want To Know A Secret - Billy J Kramer & The Dakotas
10. I'm Alive - The Hollies
11. Poison Ivy - The Paramounts
12. Black Magic Woman - Fleetwood Mac
13. Tobacco Road - The Nashville Teens
14. The Frightened City - The Shadows
15. The Weight - The Band
16. Got To Get You Into My Life - Cliff Bennett & The Rebel Rousers
17. Ob-La-Di Ob-La-Da - Bedrocks
18. Seven Drunken Nights - The Dubliners
19. Hi Ho Silver Lining - Jeff Beck
20. The Cruel Sea - The Dakotas
21. I'm Telling You Now - Freddie & The Dreamers
22. Alfie - Cilla Black
23. Eorgy Girl - The Seekers
24. Hold Me - P. J. Proby
25. True Love Ways - Peter And Gordon
01. Return To Sender - Elvis Presley
02. She She Little Sheila - Gene Vincent & His Blue Caps
03. Happy Birthday Sweet Sixteen - Neil Sedaka
04. Walking To New Orleans - Fats Domino
05. Hang On Sloopy - The McCoys
06. Dance With The Guitar Man - Duane Eddy
07. Perfidia - The Ventures
08. The Lion Sleeps Tonight - The Tokens
09. Barbara Ann - The Beach Boys
10. You're No Good - The Swinging Blue Jeans
11. The Night Has A Thousand Eyes - Bobby Vee
12. Someone Else's Baby - Adam Faith
13. Hit And Miss - John Barry Seven Plus Four
14. I'm A Tiger - Lulu
15. Here I Go Again - The Hollies
16. Do Wah Diddy Diddy - Manfred Mann
17. Google Eye - The Nashville Teens
18. Bang Bang (My Baby Shot Me Down) - Cher
19. Aquarius - Paul Jones
20. Up Up And Away - The Johnny Mann Singers
21. Apache - The Shadows
22. Spooky - The Classics IV
23. Kites - Simon Dupree & The Big Sound
24. Green Tambourine - The Lemon Pipers
25. I'm The Urban Spaceman - Bonzo Dog Doo Dah Band
01. Oh Happy Day - Edwin Hawkins Singers
02. You Got Soul - Johnny Nash
03. Bringing On Back The Good Times - Love Affair
04. I'll Take You Home - Cliff Bennett & the Rebel Rousers
05. Promises - Ken Dodd
06. Boom Bang A Bang - Lulu
07. A Must to Avoid - Herman's Hermits
08. Hello Little Girl - Fourmost
09. With a Little Help from My Friends - The Young Idea
10. Bad To Me - Billy J Kramer & The Dakotas
11. Don't Let Me Be Misunderstood - The Animals
12. All I Really Want To Do - Cher
13. I've Been A Bad Bad Boy - Paul Jones
14. Anyone Who Had A Heart - Cilla Black
15. A World Without Love - Peter And Gordon
16. Morningtown Ride - The Seekers
17. I Understand - Freddie & The Dreamers
18. You'll Never Walk Alone - Gerry & The Pacemakers
19. Where Do You Go To (My Lovely) - Peter Sarstedt
С.Маккензи был сильно болен и последние две недели жизни провел в больнице Лос-Анджелеса.
С.Маккензи родился в 1939н. в Джэксонвилле (штат Флорида), его детство прошло в Вирджинии. Еще будучи подростком, он пел в группе, а позже познакомился с Джоном Филлипсом, сыном друзей родителей. Вскоре они собрали группу The Abstracts и в начале 1960-х переехали в Нью-Йорк, где, переименовавшись в Smoothies, записали несколько синглов. Продюсером этих записей выступил Мильт Габлер, позже удостоенный чести находиться в "Зале славы рок-н-ролла" за работы с Билли Холлидей, Луи Армстронгом и Биллом Хейли.
Позднее С.Маккензи вместе с Дж.Филлипсом и Диком Вейсманном создал фолк-трио The Journeyme. Группа заключила выгодный контракт и записала три альбома.
В 1964г. коллеги по группе пригласили С.Маккензи в проект The Mamas & The Papas, которые подражал манере исполнения популярных британцев из The Beatles, однако он занялся сольной карьерой. В этот период Дж.Филлипс пишет для С.Маккензи его главный хит - San Francisco.
Отметим, что Сан-Франциско в тот период являлся местом зарождения идей и движения хиппи. Он был не только городом "детей цветов", но и центром на западном побережье США, куда прибывали ветераны вьетнамской войны. Песня San Francisco стала своеобразным гимном надежды и свободы, который распевали американские солдаты, возвращаясь из Вьетнама домой. Во время каждого своего концертного выступления певец говорил, что эта композиция посвящается всем ветеранам вьетнамской войны.
В 1970г. С.Маккензи решил распрощаться с музыкой и переехал в сельскую местность неподалеку от Палм-Спрингс. Вернулся на сцену он лишь в 1986г. и поучаствовал в возрождении группы The Mamas & The Papas. В 1988г. он стал соавтором одного из последних хитов The Beach Boys, песни Kokomo.
За время своей музыкальной карьеры певец записал два сольных альбома. Последние годы жизни С.Маккензи жил в Лос-Анджелесе и продолжал концертную деятельность..
There was more to Scott McKenzie than "San Francisco," though this album came out so long after that single peaked on the charts that few people ever bothered to buy it. There's nothing here quite like the title song, and none of the rest captures a magical mood or moment the way that the single did, though there is some very pretty music. McKenzie's rendition of Donovan's "Celeste" has a languid beauty, while his version of John Sebastian and Zal Yanovsky's "It's Not Time Now" is a more standard, rhythmic folk-rock piece. For reasons perhaps best known to himself, however, McKenzie's voice doesn't have as much range or flexibility on those two numbers as it seemed to show on "San Francisco." But when he does one of his originals, his expressiveness blooms, and he stays fairly strong on all of the rest. That includes Tim Hardin's "Reason to Believe" (one of the better renditions that song has ever received) and "No, No, No, No, No," a hook-laden piece about sexual pursuit and frustration with an exquisite orchestral accompaniment behind a lean, punchy acoustic band sound; and Hardin's haunting, cautionary "Don't Make Promises." Still, the songs that McKenzie does best here are the John Phillips-authored works -- beyond the title cut, those include "Like an Old Time Movie" and "Twelve-Thirty." The latter has a poignancy here that the more familiar version by the Mamas & the Papas misses; one gets the illusion of a personal confessional, so closely does McKenzie seem to embrace the lyric. Some of his singing is still a bit too bland, but overall this would have been a promising first effort, had McKenzie been of more of a mind to follow it up quickly. The album was later repackaged in England as San Francisco, with a different song order, and has been reissued by Sony U.K. under that title.
By far the most wide-ranging retrospective of a singer who never found the consistently good material that her considerable talents deserved. Starting with her 1964 British hit cover of "Shout," From Crayons to Perfume also includes the number one single "To Sir with Love" and a few of her other British Top Ten hits from the '60s, including the nice 1965 soul ballad "Leave a Little Love" and the chirpy 1967 Neil Diamond tune "The Boat That I Row" (the flipside of "To Sir with Love," which wasn't a hit at all in the U.K.). Unfortunately, it gives short shift to the raunchy R&B she recorded in the mid-'60s, but it does include the sadly neglected, moody "Dreary Nights and Rows" (penned by "To Sir with Love" author Mark London) and the Top 40 orchestrated ballad "Best of Both Worlds," co-arranged by future Led Zep member John Paul Jones. You also get nifty covers of Tim Rose's "Morning Dew" and Harry Nilsson's "Without Him," along with a few songs she recorded with Atlantic (some with the Dixie Flyers) that gave her more sympathetic soul material than she was accustomed to, including the hit "Oh Me Oh My." There's also her semi-legendary 1974 single "Watch That Man"/"The Man Who Sold the World," a double-sided 45 of David Bowie covers produced by Bowie himself, and the theme song to the James Bond film The Man with the Golden Gun. This 20-song compilation doesn't gather together all her fine material by any means, but it's the only one to cover most of her career.
Great german compilation ( Sunset Catalogue Nr.: SLS 50 162 Z 1972 ) of songs by the Australian rock'n'roll sensation. Includes their biggest hit 'Friday On My Mind' and a phenomenal cover version of 'Can't Take My Eyes Off Of You'.
Design [Cover] – Hans Rosema
Photography By [Cover] – Will McBride
Producer – Easybeats, The (tracks: A2, A4, A5, B1, B3 to B6), Mike Vaughan (2) (tracks: A2, A4, A5, B1, B3 to B6), Shel Talmy (tracks: A1, A3, A6, B2)
The Easybeats occupy a unique place in the pantheon of 1960s British rock acts. For starters, they were Australian, except that they really weren't -- they met in Sydney alright, and being based in Australia with the talent they had gave them a leg-up over any of the local competition. But lead singer Stevie Wright originally came from England (although he'd been in Australia for some years), and bassist Dick Diamonde hailed from the Netherlands, as did guitarist Harry Vanda, while the others, guitarists George Young and drummer Gordon "Snowy" Fleet, were recent arrivals from Scotland and England -- most significantly, Fleet was Liverpool born and raised, and had been a member of the Mojos, one of that city's more promising bands of 1963 and 1964. They all had talent, but he had a sense of style and an idea of what worked in rock & roll; it was Snowy Fleet who came up with the name "The Easybeats," and the sharp image for the early group, which made them a piece of authentic Brit-beat right in the heart of Sydney, 13,000 miles from Liverpool and as precious there as water on a desert.
After honing their sound and building a name locally around Sydney in late 1964, the group was signed to Albert Productions who, in turn, licensed their releases to Australian EMI's Parlophone label. Ted Albert, their producer, seemed to recognize what he had in a group of talented, newly-transplanted Englishmen and Europeans -- the real article, and a rare musical commodity in Australia. The band was signed up with 20 original songs already written, and as they sounded fresh, he simply let the band cut them, merely making sure the music came out right on vinyl. Working from originals primarily written by Stevie Wright, by himself or in collaboration with George Young, the group's early records (especially the albums) were highly derivative of the Liverpool sound, which was fine by all concerned. What made it special was the sheer energy that the quintet brought to the equation -- they were highly animated in the studio and on stage, they looked cool and rebellious, and they sang and played superbly.
"For My Woman," their debut single, issued in March of 1965, was an ominous garage punk bolero, featuring Stevie Wright in an agonized lament, accompanied by brittle, bluesy rhythm and lead guitar parts that called to mind the early Kinks. "She's So Fine," their second single, brought out two months later, shot to number one in Australia and was one of the great records of its era -- musically, it flew out of the gate like a rocket, a frantic, hook-laden celebration of female pulchritude from the point of view of an unrequited male admirer that grabbed the listener and wouldn't let go, across two minutes of raw excitement. Their debut album Easy, issued the following September, was a bit more influenced by the Hollies (and especially by Tony Hicks' playing) and, to a lesser degree, the Beatles and any number of lesser known Merseybeat acts, but whatever it lacked in originality, they made up for with an attack on their instruments that, coupled with Wright's searing, powerful lead vocals, made them one of the best British rock & roll acts of the period and Easy one of the best of all British Invasion albums (though it took more than 30 years for it to be released officially outside of Australia).
In Australia, they were the reigning kings of rock & roll from the summer of 1965 onward, assembling a string of eight Top Ten chart hits in a year and a half, including an EP that managed the unusual feat of making the singles chart. Their second album, It's 2 Easy, was a match for their first, a genuinely exciting collection of British Invasion-style rock & roll whose only fault -- assuming that this was a fault -- was that it seemed a year out-of-date in style when it was released in 1966. That, however, pointed to the fundamental bind that the band faced; they'd conquered Australia and could do no wrong by keeping their sound the same, as the changes taking place in rock music filtered only very slowly across the Pacific. By George Young's own account, the band could have gone on writing and playing the same kind of songs for years in Australia and nobody would have minded, but he had ideas for more complex and daring music. By mid-1966, the Wright/Young songwriting team had become history, but in its place Vanda and Young began writing songs together. Additionally, the group had become so successful, that it was inevitable that they'd try to expand their audience, and that didn't mean side trips to New Zealand. In the fall of 1966, The Easybeats were ready to make the jump that no Australian rock & roll act had yet done successfully, and headed for England.
In November of 1966, with legendary producer Shel Talmy (of Who and Kinks fame) managing their recordings, the group scored its first U.K. hit with "Friday on My Mind." A product of Vanda and Young's songwriting, the song embodied all of the fierce kinetic energy of their Australian hits but was written at a new level of sophistication, with an amazing number of musical "events" taking place in its three minutes: An opening two-note staccato figure (backed by a cymbal crash) blooms into a pseudo-Arabesque quotation on the guitar, rising higher while the singer intones a frantic tale of work, fun, and escape, covering the days of the work week (in a manner vaguely reminiscent of "Rock Around the Clock"'s trip around an idealized 24 hours in a teenager's life, and also declaring working class defiance in the manner of "Summertime Blues"); a chorus chimed in at an even higher register, notching up the tension even as the tempo quickens and also broadening the tonal palette, in a manner akin to the early psychedelia of the period. With all of that activity and excitement within the context of a three-minute pop song, and two catchy hooks, it was impossible to get tired of "Friday on My Mind," in any language. It rose to the Top Ten not only in England but across Europe and much of the rest of the world, and reached the Top 20 in the United States as well where, for the first time, Americans became aware of The Easybeats.
The group spent seven months in England, writing new, more ambitious songs and also performing before new audiences, most notably in Germany, where they were greeted with an enthusiasm rivaling their appearances in Australia, and left behind a notable series of live television appearances. The band's return to Australia in May of 1967 for a national tour marked the high point of their history. Unfortunately, it would be the last unbridled success that they would know -- the group moved their base of operations to London, where the Vanda/Young songwriting team began composing ever more complex songs, in keeping with the flourishing psychedelic era. Some of the songs were superb, but the same charmed existence that the group had led up to that point seemed to desert them in 1967-1968 -- their single "Heaven and Hell" was banned from the radio in England for one suggestive line, and a six-month lag for a follow-up cost them momentum that they never reclaimed. Additionally, they lost some cohesiveness in their sound as the members began indulging in the chemical and other diversions at hand in still swinging London -- they worked in the studio, making some extremely complex recordings during late 1967 and early 1968, and the songs, including "Falling Off the Edge of the World" and "Come in You'll Get Pneumonia," were as good as anything being written in rock at the time. The Easybeats, however, were no longer as exciting a group to listen to or see, when they actually did perform. By mid-1969, the band had receded to a mere shadow of itself, and their music had regressed to a form of good-time singalong music, similar to the work of the Tremeloes, pleasant enough but nothing like the kind of work they'd been generation just two years before. Their final grasp at international success came with the single "St. Louis," which managed to scrape the very bottom of the American Hot 100.
The band decided to call it quits following a return to Australia for one final tour, after which Harry Vanda and George Young became full-time songwriter/producers, helped organize AC/DC (featuring Young's siblings Angus Young and Malcolm Young), and generated the 1973 hit "Evie" for Stevie Wright. Their string of successes has stretched into the new century -- "Friday on My Mind" remains in print in dozens of editions throughout the world, as recorded by The Easybeats and others; and in 2001, their late '70s disco hit "Love Is in the Air" (primarily associated with John Paul Young), was licensed for use in two different commercials for two separate products (a car and a credit card) running simultaneously on American television. Meanwhile, The Easybeats' complete output has been issued on CD through the Repertoire label (making their 1965-1966 Australian sides widely available around the world for the first time), and anthologies of their work are in print in England and America. Such was the demand for their music in the late 1990s, that Australia's Raven Records has also issued Live, Studio and Stage, the first full-length collection of live recordings by the group, assembled from across their history.
Australian quintet the Easybeats (all of the group's members were actually from Europe and met while living in Sydney) had a knack for writing memorable, melodic songs with a bright, British Invasion-like sound, climaxing in the Shel Talmy-produced "Friday on My Mind," which was an international hit in 1967. In all, the Easybeats released seven studio albums, all of which were reissued on CD by Germany's Repertoire Records in the 1990s, and the label has repackaged the material in various ways since, including as this two-disc, 40-track set that combines the group's various singles (both A- and B-sides) with other odds and ends. There are some great songs here, starting with the early singles "For My Woman" and "She's So Fine," the classic "Friday on My Mind," and later, slightly more experimental tracks like "Heaven and Hell" and "Come In, You'll Get Pneumonia," but there is also a lot of stuff that unfortunately now sounds a bit dated and ordinary. Casual listeners may want to try one of the various single-disc best-of sets on the market instead, and truthfully, Repertoire's own double-disc, 56-track Definitive Collection from 1996 does a much better job of presenting the group's history in depth.