Friday, November 30, 2012

Heimatliche Klaenge vol.136

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

vol.136     The Jay Five

vol.5    Strictly Instrumental   Cornet 15014
01. Mame
02. Lara's Theme
03. Dein ist mein ganzes Herz
04. There's A Kind Of Hush
05. Days Of Wine And Roses
06. Simon Smith
07. Wizzball
08. I Got Rhythm
09. Detroit City
10. With A Little Help From My Friends
11. What Now My Love
12. Goin' Out Of My Head
13. Good Day Sunshine
14. No Milk Today

Heimatliche Klaenge vol.135

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

vol.135     The Jay Five

vol.4    A' One  A' Two  A' Three  Cornet 15007

01. Music To Watch Girls By
02. The More I See You
03. Daydream
04. You've Got Your Troubles
05. Don't Go Breaking My Heart 
06. Our Day Will Ccome
07. Black Is Black
08. 98.6
09. Winchester Cathedral
10. Un Homme Et Une Femme
11. Sunny
12. Bluesette
13. 31st Of June
14. Call Me

Wednesday, November 28, 2012

Heimatliche Klaenge vol.133

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

vol.133    The Jay Five  

vol.2  Big Beat Bombs   Cornet 15001

01 - Hold Tight
02 - With A Girl Like You
03 - Bus Stop
04 - Early Bird
05 - Keep On Running
06 - Keep An Eye On Summer
07 - Hideway
08 - Super Girl
09 - Wild Thing
10 - Paperback Writer
11 - Sunny Afternoon
12 - Taxman
13 - The Girls On The Beach
14 - God Only Knows

Monday, November 26, 2012

Indfødte lyde / Native Sounds - Denmark Record Labels Vol.7

Indfødte lyde / Native Sounds -
 Denmark Record Labels Vol.7

The Kids
01 - Ode To The Aged
02 - Can't Stop Now
03 - Plastic Phantastic
04 - Wonderland
05 - Du Og Jeg Vil Altid Vжre Venner
06 - Шnsk Mig Held
07 - I Feel Okay

The Lonely One
01 - Dancing All The Night
02 - Tra-La-La-La
03 - Let Me Go
04 - Whoґs Gonna Walk You Home
05 - One Monsieur Dupont
06 - Komm Allein
07 - Kidieo
08 - Inspiration
09 - On A Day
10 - Birds In The Sky
11 - Kidieo (early take)
12 - Baby Blue (early take)
13 - Det Er Mig
14 - Ode To Billy Joe
15 - I Got News
16 - Baby Blue
17 - Youґre Haning So Low
18 - What Keeps Us Together
19 - Some Morning

Saturday, November 17, 2012

Music For Relax- Soviet Easy Listening ( 1967)


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А кому-то (???) - БОЛЬШОЕ СПАСИБО !!!

Otis Redding - The Soul Albums ( 2 in 1) 1966

The Soul Album 1966

Otis Redding's talent began to surge, across songs and their stylesand absorbing them , with the recording of The Soul Album. In contrast to The Great Otis Redding Sings Soul Ballads, which was an advance over its predecessor but still a body of 12 songs of varying styles and textures, rising to peaks and never falling before an intense, soulful mid-range, The Soul Album shows him moving from strength to strength in a string of high-energy, sweaty soul performances, interspersing his own songs with work by Sam Cooke ("Chain Gang"), Roy Head ("Treat Her Right"), Eddie Floyd ("Everybody Makes A Mistake"), and Smokey Robinson ("It's Growing") and recasting them in his own style, so that they're not "covers" so much as reinterpretations; indeed, "Chain Gang" is almost a rewrite of the original, though one suspects not one that Cooke would have disapproved of. 

He still had a little way to go as a songwriter -- the jewel of this undervalued collection is "Cigarettes And Coffee, co-authored by Eddie Thomas and Jerry Butler -- but as an interpreter he was now without peer, and his albums were now showing this remarkable, stunningly high level of consistency. Also significant on this album was the contribution of Steve Cropper, not only on guitar but as co-author of three songs. Further, as revealed in the remastered Rhino CD, Stax Records was starting to put more into his LPs in thew recording, taking more time and delivering a better, fuller sound than on the two preceding albums, especially where Al Jackson's drums and the Mar-Keys' horns are concerned.


Otis Blue: Otis Redding Sings Soul 1966

Otis Redding's third album, and his first fully realized album, presents his talent unfettered, his direction clear, and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding's versions of songs by Sam Cooke, his idol, who had died the previous December, and all three are worth owning and hearing. Two of them, "A Change Is Gonna Come" and "Shake," are every bit as essential as any soul recordings ever made, and while they (and much of this album) have reappeared on several anthologies, it's useful to hear the songs from those sessions juxtaposed with each other, and with "Wonderful World," which is seldom compiled elsewhere. Also featured are Redding's spellbinding renditions of "(I Can't Get No) Satisfaction" (a song epitomizing the fully formed Stax/Volt sound and which Mick Jagger and Keith Richards originally wrote in tribute to and imitation of Redding's style), "My Girl," and "You Don't Miss Your Water." "Respect" and "I've Been Loving You Too Long," two originals that were to loom large in his career, are here as well; the former became vastly popular in the hands of Aretha Franklin and the latter was an instant soul classic.

 Among the seldom-cited jewels here is a rendition of B.B. King's "Rock Me Baby" that has the singer sharing the spotlight with Steve Cropper, his playing alternately elegant and fiery, with Wayne Jackson and Gene "Bowlegs" Miller's trumpets and Andrew Love's and Floyd Newman's saxes providing the backing. Redding's powerful, remarkable singing throughout makes Otis Blue gritty, rich, and achingly alive, and an essential listening experience.

Friday, November 16, 2012

Indfødte lyde / Native Sounds - Denmark Record Labels Vol.6

Indfødte lyde / Native Sounds 
Denmark Record Labels Vol.6

Group Seven
01 - Johnny Guitar
02 - Trambone
03 - Seven
04 - Moonshot
05 - Big Boss Man
06 - Last Date
07 - Dr. Feelgood
08 - I Understand
09 - Fannie Mae
10 - Too Much Tequila
11 - Who Cares
12 - Great Balls Of Fire
13 - My Blue Heaven

The Jokers
01 - For You
02 - I Can Tell
03 - Orange Blossom Special
04 - Under The Boardwalk
05 - Stop Your Sobbing
06 - If You Need Me
07 - You've Got To Hide Your Love Away
08 - Can't You Hear My Heartbeat

The Crickets - 2 in 1

Bobby Vee & The Crickets - Bobby Vee Meets The Crickets (1962)

He launched his career as a fill-in for the recently deceased Buddy Holly, Bobby Vee scored several pop hits during the early '60s, that notorious period of popular music sandwiched between the birth of rock & roll and the rise of the British Invasion. Though a few of his singles -- "Rubber Ball," for one -- were as innocuous as anything else from the era, Vee had a knack for infectious Brill Building pop, thanks to his ebullient voice as well as the cadre of songwriters standing behind him.
Born in Fargo, ND in 1943, Robert Thomas Velline was still in his teens when he formed his first combo, the Shadows, with his brother Bill and their friend Bob Korum. The trio were playing around the area when their big break came, at the expense of one of Bobby's musical idols; the Winter Dance Party package tour, with Buddy Holly, Ritchie Valens, and the Big Bopper were on their way to Fargo when their plane went down in Iowa, killing all three. The Shadows were scheduled to play the date instead of Holly, and several months later, producer Tommy "Snuff" Garrett supervised their first recording session and the release of the single "Suzie Baby" on Soma Records. Liberty/RCA picked up the single later in the year, and though it just barely scraped the pop charts, the label kept plugging with Vee as a solo act, recording him on Adam Faith's "What Do You Want?," which also failed to move.
With the collective might of the Brill Building behind him, though, Vee was guaranteed to make it; his third single, "Devil or Angel," hit the Top Ten in mid-1960, followed by "Rubber Ball" later that year. One year later, Vee's biggest hit, "Take Good Care of My Baby," spent three weeks at number one, followed by the number two "Run to Him." His fame appeared to wane after the 1962 Top Ten single "The Night Has a Thousand Eyes," due in large part to the success of the Beatles and other English acts. Vee appeared in several movies (Just for Fun, Play It Cool) and briefly tried to cash in on the British phenomenon -- with the disappointing Bobby Vee Sings the New Sound from England! -- but also recorded songs by his early influences, including Buddy Holly and the Crickets. Bobby Vee continued to chart throughout the '60s, and even hit the Top Ten again in 1967 with "Come Back When You Grow Up," but after a brief attempt at more serious recordings, he hit the rock & roll oldies circuit.

The reissue of this enjoyable album includes ten bonus tracks, including alternate takes, unreleased songs, and the "Buddy Holly Medley," a recent recording by Vee And The Crickets.

Buddy Holly The Crickets - The Chirping Crickets (1957)

The debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime, The "Chirping" Crickets contains the group's number one single "That'll Be the Day" and its Top Ten hit "Oh, Boy!." Other Crickets classics include "Not Fade Away," "Maybe Baby," and "I'm Looking for Someone to Love." The rest of the 12 tracks are not up to the standard set by those five, but those five are among the best rock & roll songs of the 1950s or ever, making this one of the most significant album debuts in rock & roll history, ranking with Elvis Presley and Meet the Beatles.

The Crickets - Still In Style

The "Crickets" started out as pure fiction -- the name a ruse used by Buddy Holly, Jerry Allison, and Joe B. Mauldin to avoid the provisions of a 1956 contract that Holly had signed with Decca Records, that would have prevented the release of their then-new recording of "That'll Be the Day" on the Brunswick label. The name stuck, and for the next 15 months, there were records by the Crickets and records by Buddy Holly -- which were virtually interchangeable -- and they were billed as Buddy Holly & The Crickets. By the end of 1958, however, the references to "Buddy Holly and the Crickets" were becoming valid in the worst possible way -- Holly's shifting and expanding musical interests, coupled with his move to New York and marriage to Maria Elena Santiago, and the differing relationships that the three had with their manager, Norman Petty, led to a split between Holly and his bandmates in the months immediately prior to Holly's death in a plane crash on February 3, 1959.
The result of their split was a separate existence for the Crickets. Jerry Allison became de facto leader of the group, and they were soon a quartet again, with Sonny Curtis on guitar and Earl Sinks as lead singer. In 1959, still managed and produced by Norman Petty, they recorded "Love's Made a Fool of You" backed with "Someone, Someone," which failed to chart. Their next serious assault on the charts -- a version of Curtis' "I Fought the Law" cut for Coral Records -- vanished without a trace in 1959, and their rendition of "More Than I Can Say" also failed to find an audience for them, though it did wonders for Bobby Vee and, by extension, for Curtis as its composer. They recorded a handful of singles for Coral Records, and later signed to Liberty Records with Jerry Naylor in the lead singer spot (sometimes switching off with Sonny Curtis), in addition to recording with Buddy Holly soundalike Bobby Vee.
The group recorded for Liberty for four years, from 1961 through 1965, even doing their versions of several Beatles songs, but apart from a pair of minor hits, "My Little Girl" and "Please Don't Ever Change," were unable to generate any enthusiasm. One of Naylor's successors, David Box, died in a plane crash in 1964. They did find some lingering success in England, and the group even managed to appear in two jukebox movies on either side of the Atlantic, Just for Fun (1963) in England (doing "My Little Girl" and "Teardrops Feel Like Rain") and The Girls on the Beach (1965) in America (doing "La Bamba"), but by the end of the '60s, Mauldin had left music while Allison was singing lead; he and Curtis were also working as session musicians, and Curtis scored a huge success at the dawn of the '70s as the composer of the theme song for The Mary Tyler Moore Show.
Allison and Curtis were the core of the group in the early 1970's, mostly working as a touring act rather than a recording outfit, though new records did appear on various labels, including Mercury and MCA. In the wake of the revival of interest in Holly's music at the end of the '70s, the Crickets re-formed on a steady basis, with Joe B. Mauldin returning to the lineup after more than a decade out of music. In 1986, Curtis left the fold to re-establish himself as a solo performer, and was replaced by Gordon Payne on vocals. In 1988, they recorded the single "T-Shirt," produced by longtime fan Paul McCartney, which became a minor hit and led to the release of an LP of the same name from Epic Records -- their presence in record stores, however, is usually restricted to the Buddy Holly period and their early-'60s history.


The Crickets - Still In Style (1992)

The Shadows - The Shadows Vocals

The Shadows are usually thought of as the quintessential British instrumental group and, along with the American band the Ventures and the Swedish group the Spotnicks, one of the most popular instrumental groups in the world. But that barely tells the story of their true significance in the history of British rock & roll -- including the fact that they were the first home-grown British rock & roll band to dominate the U.K. charts; or that they weren't originally an instrumental group, either. The band's roots go back to Chesthunt, Hertfordshire, in early 1958, when a young Indian-born singer/guitarist named Harry Webb joined with drummer Terry Smart and guitarist Norman Mitham to form a group that they ended up calling the Drifters -- at the time, none of the records by the American R&B group of the same name, founded by Clyde McPhatter, had been released in England, so they had no inkling of the name's already being used.
The group played their first performance in March of 1958 at a dinner dance and, after a few weeks of local performances, they debuted at the 2I's coffee bar in London's Soho. The 2I's was renowned as the venue where Tommy Steele had been discovered, and was occasionally visited by producers, recording engineers, and managers in search of new talent -- it had, thus, become something of a rock & roll Mecca. the Drifters weren't signed overnight, but they did become immensely popular, playing some very convincingly American-style rock & roll, at least by the standards of the time in London. Indeed, at their shows, audiences were usually packed in too closely to dance, and the ten pounds they made each week between them in the beginning was serious money for three amateur musicians. In the course of their 2I's gigs over the next few weeks, they picked up one fan, John Foster, who became their first manager, and another, Ian Samwell, who joined them as a guitarist -- interestingly, they had no bassist in their lineup and didn't for quite a while, which set them apart from other bands but didn't seem to impede their progress.
The first of two name changes came up when they got an outside booking in Derbyshire -- at that point, Foster decided that "the Drifters" wasn't impressive enough as a name by itself, and wanted their vocalist to have lead billing. At that point, as the singer observed 40 years later, "[Harry Webb] didn't sound very rock & roll." And so, after some pondering of the possibilities, he picked up a stage name, Cliff Richards, with Samwell recommending that the "s" be left off. And Cliff Richard & the Drifters were born. A little more than 40 years later, he was Sir Cliff Richard.
By that time, the group was a quintet of Richard (who still played guitar as well as singing, in the early days), Mitham, Samwell, Ken Pavey (on third guitar), and Terry Smart -- and still no bassist. This five-man group recorded a demo in June of 1958, of "Breathless" b/w "Lawdy Miss Clawdy," which found its way to Norrie Paramor, a producer at EMI who, after seeing them in an audition, signed Richard to the company's Columbia label. And in July of 1958 the group, augmented by session guitarist Ernie Shaw playing lead and Frank Clarke on bass, backed Richard on his debut single, "Schoolboy Crush" b/w "Move It," credited to "Cliff Richard & the Drifters." The A-side was a pleasant, loping slow-tempo piece of teen pop/rock worthy of Fabian at his wimpiest; but "Move It" -- authored by Ian Samwell, no less -- was a pounding, driving rocker in the best Elvis Presley manner. And fortunately for all concerned, the record was "flipped" and "Move It" became the A-side. The record, released in late August, reached number two on the charts, and as it was climbing the listings, Cliff Richard began a series of appearances on the television show Oh Boy! in mid-September. All of these events -- the recording contract, the single, the chart placement -- ensured Richard's emergence to stardom, but the Drifters, at first, were another matter. Although he was willing to use the group on Richard's recordings, Paramor already felt compelled to use session musicians to enhance their sound in the studio; and as their audience grew along with the demand for shows in bigger and more competitive venues, it was clear that the group would have to adapt.
It was John Foster who, in the summer of 1958, went to the 2I's in search of a Liverpool guitarist-and-singer he'd heard about named Tony Sheridan -- he wasn't there, but Foster did find a pair of virtuoso guitarists named Hank Marvin and Bruce Welch; they were already members of a top skiffle group called the Chesternuts, and had made a couple of records. By September of 1958, Mitham and Pavey were gone from the group, replaced by Marvin and Welch. With a lineup of Richard, Marvin, Welch, Samwell, and Smart, they proceeded to play before crowds that were completely unprecedented for a home-grown British rock & roll band. Richard also abandoned his guitar, just as Elvis Presley had, and found the experience liberating, as his stage moves became all the more intense and downright provocative, so much so that they were regarded as highly controversial in the press. And the shows filled up and the bookings and the fees skyrocketed -- their sound was still a bit raw on-stage, but even that worked to their advantage at the time, giving the music still more authenticity than was typical for the time in England.

For that first year, the music was pure rock & roll on-stage and in the studio. The group's sound was toughened further in November when Ian Samwell dropped out of performing in favor of further cultivating his songwriting (which served him in good stead, along with producing, for the rest of his life); he was replaced by Jet Harris, who became the first stylistically important and notable rock & roll bassist in England, and almost single-handedly popularized the electric bass in British rock & roll. A second hit, "High Class Baby," made it to number seven in December of 1958, and a follow-up, "Livin' Lovin' Doll" b/w "Mean Streak," reached the Top 20 in January of 1959. And in early 1959, Tony Meehan, a drummer who was already making a good living in his mid-teens as a session musician, replaced Terry Smart, the last of the original Drifters. This was the version of the group that was finally signed in their own right to EMI. An album followed in February of 1959, cut live before an audience of extremely fervent fans at Abbey Road's Studio No. 1, which was issued under the title Cliff.
the Drifters name was changed to The Shadows in mid-1959 to avoid a conflict with the American R&B group, which had experienced a resurgence of popularity and whose records -- starting with "There Goes My Baby" -- were getting issued in England. The newly rechristened Cliff Richard & the Shadows dominated British rock & roll for the next four years. And beyond Richard's fame, Marvin, Welch, Harris, and Meehan all became stars in their own right, with Harris and Meehan regarded as one of the best rhythm sections in the business, with a huge fan following of their own, while Marvin and Welch were directly responsible for the sales of tens of thousands of electric guitars to teenagers. A story out of the early history of the Beatles illustrates their dominance -- John Lennon and Paul McCartney, both in their mid-teens at the time, knew that Richard and The Shadows were to appear on television one evening, and both were watching from their respective homes to look at Hank Marvin to see exactly how the intro to "Move It" was played. There was an effort early in 1959 to push Richard as a star in his own right, separate from the band, but it didn't come from the music side of the entertainment business -- rather, he was signed to play an important supporting role in the gritty juvenile delinquency drama Serious Charge. Later that same year, he and The Shadows were all seen in the comedy/drama Expresso Bongo, essentially playing dramatizations of themselves.
Practically overnight in the fall of 1958, the Drifters-cum-Shadows had become the top rock & roll band in England, a status they maintain even as Richard's singing career was gradually steered toward more mainstream pop and ballads. The band began to emerge as a recording act on their own while they were still known as the Drifters, in January of 1959, with the single "Feelin' Fine," a group vocal effort, the B-side of which, "Don't Be a Fool with Love," even featured them doing Belmonts-style harmony singing. A second single, "Jet Black" b/w "Driftin'" (still credited to the Drifters), was released in July of that year. And a third record, "Saturday Dance" b/w "Lonesome Fella," credited to The Shadows, and featuring vocals, was released in late 1959. All three were ignored by the public.
And then, in June of 1960, they recorded "Apache," an instrumental composed by Jerry Lordan that had previously been done by guitarist Bert Weedon -- and it topped the charts, riding the number one spot for five weeks. Over the next three years, they charted high with the singles "Man of Mystery," "F.B.I.," "The Frightened City," "Wonderful Land," and "Kon Tiki," the latter two reaching number one. All of these records showed phenomenal evolution in the group's sound from their rock & roll origins -- mixing electric and acoustic guitar sounds in a unique meld, they were catchy, memorable, hook-laden pop masterpieces, some with a hard rock edge but more often showing a unique level of precision for the work of a rock & roll outfit. And "Wonderful Land" also demonstrated a special command of orchestral timbres in juxtaposition with electric instruments (one must also ask how much credit producer Norrie Paramor, who had cut his share of instrumentals as a recording artist, deserves for some of these successes). The group's influence during this period can be measured not just by their chart success, but their obvious influence on other artists -- Sweden's Spotnicks, who became stars in their own right, emulated The Shadows' instrumental sound; and the Beatles, in their earliest official recording sessions (backing Tony Sheridan), in Hamburg, Germany during 1961, were allowed to cut a pair of songs of their own and gave one of those slots to a John Lennon/George Harrison-authored instrumental called "Cry for a Shadow," that was both a tribute and a gentle send-up of The Shadows' style.
The Shadows had also developed a stage presentation behind Richard in which they did little steps in unison. It seems incredibly hokey in retrospect, but one must remember that in the late '50s and early '60s, rock & roll in England was thought of as just another part of "show business" and entertainment, and the idea of dressing up the act with little contrivances wasn't so bizarre in that context. Other groups of the time, seeking success, emulated them -- and you can see the movie A Hard Day's Night poking fun at the band choreography, when the Beatles are clowning in the TV studio. On a more obscure but equally telling level, in the rock & roll/juvenile delinquency drama Some People (1962), directed by Clive Donner, one can see the members of the Bristol-based rock & roll band at the center of the movie running through the title song and suddenly start to do choreography that parodies The Shadows' stage moves.
In the fall of 1961, Tony Meehan left the band, owing to his unhappiness at the constant touring, and was replaced by Brian Bennett, another 2I's veteran, who had previously played with the house band on Oh Boy! and been a member of both Marty Wilde's and Tommy Steele backing bands. And six months later, Jet Harris left the band, to be succeeded by Brian Locking (aka Licorice Locking), another 2I's alumnus. These lineup changes were major events in the British music press at the time, and there was some question as to whether The Shadows could hold on to their audience -- especially when Harris and Meehan teamed together for a recording, "Diamonds," that bumped The Shadows' then current record from its chart position.

After a short transition period, however, the band found their popularity just as great as ever, and a string of hits followed across 1962 and beyond: "The Savage," "Guitar Tango," "Dance On," "Foot Tapper," "Atlantis," "Shindig," and "Geronimo." All of those made the Top Ten, with four placing at number one, through the end of 1963, carrying their success into the midst of the rise of the Beatles and the Liverpool sound. The group's first two LPs, The Shadows (1961) and Out of the Shadows (1962), both topped the album charts as well, and their next three long-players, Greatest Hits (1963), Dance with the Shadows (1964), and Shadow Music, all made the Top Five (the first two at number two). They also continued to appear on stage with Cliff Richard and played on most of his biggest hit records of the period. Locking was gone by 1964, replaced by John Rostill, inaugurating the longest-lasting lineup in the group's history, Marvin, Welch, Rostill, and Bennett comprising The Shadows from 1964 until 1973, when Rostill's death eliminated the permanent bassist's spot. From then on, The Shadows would emulate Roxy Music by employing bassists rather than taking them on as ongoing members. Their success was the envy of a lot of musicians, though they were never able to successfully crack the American market as anything more than a cult act -- indeed, on that side of the Atlantic, they tended to be thought of in the same vein as the Ventures, who came along at roughly the same time in the late '50s and have endured at least as long.
The Shadows -- often referred to informally as "the Shads" by their fans -- officially disbanded in 1968, on the tenth anniversary of their signing to EMI. Bennett devoted himself to a second career as a producer and arranger, while Marvin and Welch formed a Crosby, Stills & Nash-type trio with John Farrar in the '70s, with harmony vocals to match. But in spite of some gorgeous recordings, they were never able to leave The Shadows legacy behind, and by 1973, the group had been officially reactivated with Farrar as a member. The group remained active throughout the '70s and '80s, switching to the Polydor label with the start of the latter decade and still selling large numbers of records and CDs, as well as concert tickets in England and around the world. Marvin embarked on a solo career in 1990 which left the Shadows inactive for the next decade or so. But they reunited in 2004 for a series of farewell concerts that ended up being extended into the following year, and yielded a live album and a concert DVD.

The Shadows Vocals  (1984)

Cliff Richard - 2 in 1

Cliff Richard - 21 Today (1961)

Not many albums are titled after their release date, but October 14, 1961, was a significant date whichever way you look at it, as Cliff Richard finally advanced into adulthood. He could drink alcohol. He could vote. He could drive a car. He could even have sex. And the fact that he was already the single most popular and successful solo pop star Britain had (or would) ever produced did not diminish the significance of the event. His fifth album even opens with a distinctly stylized Shadows version of "Happy Birthday To You," over which Cliff, the band and sundry friends revel in his new found freedom... "we should get the young ladies a drink," says someone and, perhaps, we should be grateful that the track fades out quickly after.

In fact, it would not necessarily be a bad thing if the entire album followed suit. While by no means the nadir of Cliff's recording career, 21 Today is very much a portrait of the artist on auto-pilot, a succession of pleasant mid-tempo ballads, with Shadows-lite backing, soaring strings a-go-go and - the curse of British MOR later in the decade - the utterly wholesome oohs, aahs and echoes of an army of clean-living backing youths.

A couple of tracks buck the trend - "Without You" and "Tough Enough" are gritty Shadows-led stompers, while Hank Marvin and Bruce Welch's "Y'Arriva" at least packs an intriguingly mock-Spanish backing, to match vocal stylings lifted straight from an old Speedy Gonzales cartoon. There is also a bizarre version of "Tea For Two," Cliff giving it his best well-mannered showband vocal, while the Shadows noodle away in best smokey jazzclub style.

Overall, however, 21 Today is the sound of a singer growing old before his time and hindsight insists that it is no coincidence that, within a year of its release, the arrival of the Beatles had already consigned Cliff to Boring Old Fartdom. How, the sniggering Fabs fans whispered each other, how would he ever escape from those clutches? And, more importantly, would he even want to?

1-Cliff Richard -Happy Birthday To You (01:33)
2-Cliff Richard -Forty Days (02:45)
3-Cliff Richard -Catch Me (02:27)
4-Cliff Richard -How Wonderful To Know (02:37)
5-Cliff Richard -Tough Enough (02:14)
6-Cliff Richard -50 Years For Every Kiss (02:29)
7-Cliff Richard -The Night Is So Lonely (02:42)
8-Cliff Richard -Poor Boy (02:57)
9-Cliff Richard -Y'arriva (03:35)
10-Cliff Richard -Outsider (02:41)
11-Cliff Richard -Tea For Two (02:15)
12-Cliff Richard -To Prove My Love For You (01:50)
13-Cliff Richard -Without You (02:05)
14-Cliff Richard -A Mighty Lonely Man (02:13)
15-Cliff Richard -My Blue Heaven (02:26)
16-Cliff Richard -Shame On You (02:08)


Cliff Richard - 32 Minutes & 17 Seconds (1962)

When 1962 dawned, Cliff Richard was the biggest pop star Britain had ever known. By the time it ended, he was all but washed up, trampled beneath the stamping feet of Beatlemania. But did he even raise an eyebrow in concern? Did he, hell. The generation gap may have built a bridge right over him, but Richard wasn't slowing down for anyone. His last album was titled for its release date. His latest was named for its running time. Such brevity would scarcely be considered a selling point today, but still Richard's final release before Brian Epstein rewrote the rock & roll rule book, offers considerable value for money. Excellent versions of skiffle king Chas McDevitt's "How Long Is Forever" and Sid Tepper's "I'm on My Way" rank among his strongest ballad performances in some time, while another Tepper effort, "I'm Walking the Blues," could easily be "Travellin' Light" revisited, so closely (and knowingly) do voice and instrumentation ape that earlier hit. He brings an excellent new voice to "Spanish Harlem" only months after Ben E. King scored his original hit version, while "Let's Make a Memory" steps out of the same kind of arrangements which stirred the soundtrack to The Young Ones, only without the mawkishness which marred that production. There's also a deliciously sultry and echo-drenched "You Don't Know," a song which so desperately wants to be "Fever" that you can almost hear its pulse racing. Covers of "Blueberry Hill" and the Rodgers & Hart showtune "Falling in Love with Love" are little more than an exercise in treading water -- both could have appeared on either of Richard's last couple of albums without any modification whatsoever. But lest they tempt us to write off even portions of 32 Minutes & 17 Seconds as Richard on cruise control, the album also sets its boundaries with deliberate precision and triumphant defiance, and nowhere so volubly as the moment needle hits vinyl for the first time. As if already mindful of the challenge developing in the nightclubs of northern England, 32 Minutes opens with Richard's liveliest 45 of the era, the furiously rock & rolling "It'll Be Me." Indeed, the unaccompanied bellowed opening lyric -- "if you hear somebody knocking"...the flourish of keyboard and the sudden thump of the full band coming in is almost primal, a massive red flag being waved at the bullish young beat merchants gathering to topple his throne. And though he'd never be so vulgar as to say the words out loud, you know what Richard is thinking...let them gather!

1. Cliff Richard-It'll Be Me (01:56)
2. Cliff Richard-So I've Been Told (02:27)
3. Cliff Richard-How Long Is Forever (02:22)
4. Cliff Richard-I'm Walkin' The Blues (02:03)
5. Cliff Richard-Turn Around (02:26)
6. Cliff Richard-Blueberry Hill (02:41)
7. Cliff Richard-Let's Make A Memory (02:04)
8. Cliff Richard-When My Dreamboat Comes Home (01:47)
9. Cliff Richard-I'm On My Way (02:56)
10. Cliff Richard-Spanish Harlem (02:56)
11. Cliff Richard-You Don't Know (02:48)
12. Cliff Richard-Falling In Love With Love (01:44)
13. Cliff Richard-Who Are We To Say (02:43)
14. Cliff Richard-I Wake Up Cryin' (02:09)

Wednesday, November 14, 2012

Indfødte lyde / Native Sounds - Denmark Record Labels Vol.5

Indfødte lyde - Native Sounds 
Denmark Record Labels Vol.5

The Flames

01 - Keep On Rolling
02 - How About
03 - Neighbour Neighbour
04 - The World Is Round
05 - Keep On Trucking
06 - Little Egypt
07 - Tutti Frutti
08 - Donna
09 - Cuttin' Out
10 - Now We're Through
11 - Is It Yes?
12 - Summertime
13 - See Saw
14 - Nobody Loves You When You're Down And Out
15 - When A Man Loves A Woman
16 - Someday After A While (You'll Be Sorry)
17 - Hallelujah I Love Her So

The Freedoms
01 - Never
02 - In My Room
03 - Till We Kissed
04 - Thatґs The Only Way
05 - Sherry
06 - Hanky Panky
07 - With A Girl Like You
08 - She Donґt Like Me

Arthur Conley - More Sweet Soul (1969)

Arthur Conley began his career as a protege of Otis Redding. After Redding’s tragic airplane crash death, Conley continued on with his career becoming a quite successful Soul singer. On More Sweet Soul Conley starts off with a light Pop-Soul sound with a cover of the Beatles Ob-La-Di, Ob-La-Da, followed by his own Shing-A-Ling. Both are too commercial sounding for me. The album doesn’t really get down until One Night Is All I Need with its great bass and drum intro that could be looped and some real Soul singing out of Conley. That seems to lead Conley back to his roots with I Got A Feeling, Aunt Dora’s Love Soul Shack, Stuff You Gotta Watch, and That Can’t Be My Baby all providing some sweet southern Soul sounds. Conley also tries to get a little Redding into his singing on Run On. After a slow start, More Sweet Soul turns into a very solid album. Half of the record was recorded at the Muscle Shoals studios in Alabama, while the other half was done at the American Recording Studios in Memphis.

When describing this dozen-song odds-and-ends package, the term "scraping the bottom of the barrel" certainly isn't too far off the mark. Not surprisingly, More Sweet Soul (1969) was R&B vocalist Arthur Conley's final solo entry on Atlantic Records' subsidiary imprint Atco. As noted on the rear LP jacket, the material is split between sessions that were held at Fame Studios in Muscle Shoals, AL, and the American Recording facility in Memphis, TN. In both instances, legendary producer Tom Dowd was behind the scenes. Likewise, it was probably Dowd who -- having worked with the burgeoning fretmeister extensively at Fame during the era -- suggested the addition of guitarist Duane Allman to their already formidable hitmaking house band consisting of guitarist Jimmy Johnson, bassist David Hood, keyboardist Barry Beckett, and drummer Roger Hawkins. With a lilt that insinuates a reggae influence, the disc kicks off with an affable update of the Beatles' White Album deep cut "Ob-La-Di, Ob-La-Da." Another subtle (but telltale) sign that More Sweet Soul was an afterthought rather than career-defining project for Conley is the lack of his own considerable and strong original material. In the instance of his previous outing, Soul Directions(1968), the artist provided a number of the better titles. Although not the rule to the same degree, his co-writing credits here are indicative of the stronger selections. The irresistible groove pulsating through "Aunt Dora's Love Soul Shack" -- which made it into the R&B Top 20 singles survey several months prior to the LP's release -- is one prime example. Similarly, "Run On" bears a syncopated strut rhythm that was an earmark of the funky sounds coming out of Memphis in the mid- to late '60s. The cut also demonstrates Conley's ability to interject himself in the arrangement, bouncing his energetic lead vocals between the horn lines à la James Brown or Conley's mentor, Otis Redding. Far from throwaways, the comparably uninspired ballad "Is That You Love" seems to retain none of Redding's trademark gut-wrenching "begging" delivery. 

The Caravelles - Complete 1963-1968

A female duo consisting of Lois Wilkinson and Andrea Simpson from London, England, whose peak recording period was from 1963 to 1968. They were co-workers who entertained at office parties and amateur shows. Encouraged by co-workers to cut a record, they did a demo of "You Don't Have to Be a Baby to Cry," a tune they discovered on the back of Tennessee Ernie Ford's "Sixteen Tons." They named themselves the Caravelles after the French airliner. A local company, BPR Records, liked the demo and redid the song in a professional studio. It became a big hit in the United Kingdom and was picked up by Smash Records for North American distribution, and nearly aced Billboard before nesting at number three on December 21, 1963.

Smash released a succession of clones but found few takers. On "Lovin' Just My Style," the Caravelles developed a tougher sound; it sounds like a tune from a D-rated movie, tough biker girls yelling over a noisy rhythm section with an exaggerated rock guitarist imploding all over the place. Then came "Don't Blow Your Cool," sung in their traditional breathy harmony style. The sales were still disappointing, thus another style switch to rock/folk on "Hey Mama, You've Been on My Mind." A nice approach but there still was no demand for the Caravelles' product. Lois Wilkinson left to go solo, recorded as Lois Lane, married, and appeared on BBC's programs singing pop hits. Andrea Simpson carried on with the Caravelles until the '80s, recording but not hitting; with replacements, Simpson still does the occasional gig.

The Caravelles - You Don't Have To Be A Baby To Cry 
Complete Caravelis 1963-1968

Everything from the nine 45s and sole LP the Caravelles issued in the U.K. from 1963-1968 is on this 31-track compilation, which also includes two tracks that only surfaced on a French EP, and even four German-language recordings. As the first official anthology of their work, it does a marvelous job, including a 16-page booklet with plenty of illustrations and first-hand quotes from the group's Lois Wilkinson. Known almost exclusively for their 1963 hit "You Don't Have to Be a Baby to Cry," it proves they were a little more interesting than the one-shot novelty act they're sometimes tagged as, though their relationship to pop/rock was usually only casual. In truth, their most widely heard songs were more throwbacks to the pre-rock era in their obviously Patience & Prudence-inspired harmonies (that duo's two hits were both covered on the Caravelles' LP). Yet the spare, almost ghostly arrangements did have a hint of pre-Beatles U.K. rock, and their close, almost whispery harmonies both carry some charm and testify to a definite and somewhat offbeat talent. The material, often drawn from or influenced by pop standards, lets the duo down as much as it benefits them. They would have been well-advised to record more of their own songs, since some of their infrequent attempts at songwriting -- relegated to LP filler and B-sides -- were actually pretty good, especially the haunting "Forever." Some of their post-1963 singles found them moving closer, if usually not that close, to pop/rock in both content and production, with "You Are Here" and "I Depend on You" making for fair Phil Spector-girl group-influenced tunes; the originals "How Can I Be Sure?" and "I Like a Man" sounding quite close to Merseybeat. They weren't quite part of the girl group scene, also veering into jazz-pop with another original, "Georgia Boy," and even rather lushly produced folk-rock on the 1967 45 "Hey Mama You've Been on My Mind." All this versatility didn't help get them another hit, of course. But taken together, they add up to a legacy that's more interesting than many historians, and even British Invasion collectors, realize, though there's some mediocrity to be waded through on an anthology this size.

Sunday, November 11, 2012

The Caravelles - Lovin' Just My Style (1966)

The Caravelles are a legendary Garage Rock band from Arizona who somehow got lost in the flood of music from the era. This release is was pulled   in 2000.

The Caravelles - Lovin' Just My Style (1966)  EP

Label:Bacchus Archives – BA 1146
Released: 2000

         A1    Lovin' Just My Style
 B1  Self Service
B2* Lovin' Just My Style
 (Instrumental Version)

*Track B2 Digitally Remastered

The furious opening chords and drum rolls, the casual vocal delivery. Sharp guitar and Yardbirds style rave up - "Lovin' Just My Style" is one of the signature songs from the garage era.
The Caravelles established themselves as a live act in Phoenix and somehow got the attention of Hadley Murrell, a DJ at the AM soul station KCAC. Murrell produced many of Phoenix's soul acts in the mid-60's, including Eddie and Ernie (45s "Time Waits for No One", "I'm Goin' for Myself", etc), the New Bloods, and the Soul Setters, whose 45 "Out of Sight" was also released on Onacrest.
When the Caravelles recorded their single in 1966, the lineup included John Fitzgerald on vocals and harmonica, Mike Lipman lead guitar, Jerry Breci rhythm guitar, Danny Reed keyboards and Doug Steiner on drums.
"Lovin' Just My Style" is an original by Fitzgerald, Lipman and Breci. For the flip, they covered a song by the New Bloods, "Self-Service", with the memorable lines: "I don't have no one to love me, I don't have no one to kiss me ... so I'll have to serve myself ... Self-service!"
Rick Anderson may have been bassist at the time of the record; he later joined the Superfine Dandelion. The band's first keyboardist was Brooks Keenan, and Neal Smith was their last drummer, before he joined Alice Cooper.

The Boots

The Boots - Beat With The Boots & The Sanford Alexander Beat (1967)

1. Gaby (02:34)
2. Another Tear Falls (02:51)
3. Get Out Of My Life Women (03:21)
4. Searching Days (02:30)
5. It's A Man's, Man's, Man's World (02:47)
6. I Feel Good (02:55)
7. It Was A Private Affair (02:35)
8. I Can Not Believe (02:43)
9. Barefootin (02:25)
10. Green Onions (02:15)
11. Alexander (02:12)
12. Do You Really Know (02:47)
13. Don't Fight It (02:46)
14. I Don't Want To Go On Without You (02:57)
15. Comin' Home (03:08)
16. Out Of Sight (03:13)
17. You're Gonna Wreck My Life (02:48)
18. Spoonful (02:52)
19. Hey Hey Hey-Hey (Der Sinn des Lebens) (03:21)
20. Aber ich blieb kьhl (02:05)

The Boots -  Vol 3 (The Singles&Rest stuff)


1. In The Midnight Hour (02:27)
2. Watch Your Step (02:55)
3.  Gaby (02:31)
4. Another Tear Falls (02:49)

VA Liverpool Hoop 1

5.  Wreck My Life (02:50)
6. Crazy Enough For Me (02:51)

VA Liverpool Hoop 2

7. In The Midnight Hour (02:35)
8. I Wish You Would (02:50)
9.  Watch Your Step (02:55)
10.  One More Time (02:42)

VA Beat bis zum Wecken

11.  Aber Ich Blieb Kьhl (02:05)


12. Hey Hey Hey (Der Sinn Des Lebens) (03:19)
13.  Gaby  (Demo) (02:08)


14.  No Part Of It (02:22)

Live TV Beat-Club

15. In The Midnight Hour (02:05)
16.  Gloria (02:48)

Saturday, November 10, 2012

The Lively Ones - Hang Five!!! The Best of the Lively Ones

The Lively Ones - Hang Five!!! 
The Best of the Lively Ones

A well-chosen 24-song retrospective, with six pages of informative liner notes by surf authority Domenic Priore. Includes "Goofy Foot," "Surf Rider," "Rik-A-Tik," and lots of other highlights from their Del-Fi releases, as well as a rare single they did for Smash.

The Boots - Here Are The Boots (1966) + bonus

Repost by Request
The Boots were a German outfit formed on the model of such British Invasion blues-based outfits as the Yardbirds, the Pretty Things, and Them. Lead singer Werner Krabbe had most definitely heard at least a couple of Van Morrison singles, while lead guitarist Jurg "Jockel" Schulte-Eckel utilized fuzz-tone effects for all they were worth, and also may have had a passing awareness of the Who; at least, he was known — before Jimi Hendrix ever started showing up with lighter fluid on stage — for playing his instrument with screwdrivers and other metal tools as well as the occasional beer bottle. The rest — Uli Grun on rhythm guitar, organ, and harmonica; Bob Bresser on bass; and Heinz Hoff on drums — variously pulsed, thumped, and pounded away behind these two lead punk maniacs, making some very busy as well as very bluesy records in the bargain, which were also characterized by fairly nimble vocal work. Somewhere midway between the Yardbirds and Them, with hints of the pyrotechnics that the Who and the Creation would perfect each in their own way, the Boots were popular in Germany and were also good enough to rate a recording contract with Germany's Telefunken Records, which yielded a pair of LPs as well as several singles. Krabbe exited in early 1966, following the release of their garage-punk single "Gaby," though the band hung on for another year. The latter single was featured on Rhino's summer 2001 release of Nuggets II.

The Boots' first album consisted almost entirely of covers of recent British and American hits, and/or R&B-rock oldies done the British Invasion way. No record by a 1960s record so dependent on cover versions is going to be great unless your name is the Rolling Stones or the Yardbirds, but The Boots do bring enough of a weird spin to the material to make it more worthwhile than the average such LP. Their obvious inspiration is from bands such as the Rolling Stones and Yardbirds, though Them and the Pretty Things weigh in as perhaps their biggest influences. The awkward accent (all songs are in English) and the fractured, almost zany arrangements they bring to the songs make them over into something odder, as well as making them invariably gloomier than their prototypes. Though R&B-based tunes are the main diet here, some of the more memorable tracks are stylistic departures, like their spooky cover of the neglected Zombies 45 "Remember When I Loved Her" -- one would guess, the only cover of the song from the time -- and the eerie instrumental "Enchanted Sea," which strongly recalls the Tornados (of "Telstar" fame). The 1998 CD reissue adds four bonus tracks, including the 45 cuts "In the Midnight Hour" and "Watch Your Step," along with live covers of Them's "One More Time" and Billy Boy Arnold's "I Wish You Would" (obviously based on the Yardbirds' version). All but one of the tracks ("Baby Please Don't Go"), however, is available on the best single-CD Boots compilation, Smash...! Boom...! Bang...!.