Monday, November 25, 2013

VA - FLANDERS 60's BEAT GENERATION VOLUME 10






Heimatliche Klaenge vol 5


Heimatliche Klänge - Deutsche Schallplatten-Kleinlabels
Native Sounds - Small German Record-Labels
vol.5

01 - So Goodbye my love / Karina May & The Divers CCA 5015
02 - Lüg' nie wie er
03 - Er stand vor meiner Tür / Margrit Imlau & The Loving Hearts CCA 5017
04 - Die Jugend von heute / Margrit Imlau & The Party Beats
05 - Meine Liebe spar ich / Witty Tender & The Shatters CCA 5018
06 - Sonnenschein-Baby
07 - Er sah mich im Regen / Monique & The Lions CCA 5022
08 - Wozu
09 - Begin of the party /     The Lions CCA 5023
10 - End of the party
11 - End of the party (stereo)
12 - Kary waits for me / Peter Steffen & The Equilis CCA 5024   
13 - Beim Auseinandergehn
14 - Come on chi-chi / Barbara Klein & The Party Beats CCA 5026   
15 - Gelegenheit macht Diebe
16 - She`s my Baby / The Original Surfers CCA 5027
17 - Hi-Hi-Hazel     


Heimatliche Klaenge vol4


Heimatliche Klänge - Deutsche Schallplatten-Kleinlabels
Native Sounds - Small German Record-Labels
vol.4

01 - Hm Baby / The Sovereigns CCA 5014
02 - You'll understand
03 - Es war ein Montagmorgen / Detlef Engel & the Loving Hearts CCA 5016
04 - Liebe mit Dir
05 - Girl Be Steadfast (Loving) / The Steadtfasts (unreleased)
06 - Set Of Teeth No.5 (It's Allright) / The Divers (unreleased)
07 - Talisman / The Spectacles  (unreleased)
08 - Party by Mary (Beat-Version  (unreleased)
09 - Party by Mary (Shake-Version)  (unreleased)
10 - Crazy, crazy / Lord Crazy & the Divers CCA 5020
11 - The Wichy-bitchy super-duper eyeball-high ball coctail party hell-based ghost-chased
12 - desahc-tsohg ... (It's Allright - return)
13 - Baby, run, run, run / The Petards CCA 5021 (stereo)
14 - Pretty Miss
15 - Baby, run, run, run / The Petards CCA 5021 (mono)
16 - Pretty Miss


Colin Anthony and His Beat Combo


http://www.colinanthony.co.uk/Biography/colin_biog.htm




Dickie Loader & The Blue Jeans - Shake shake shake & Hi-heel Sneakers


Sunday, November 24, 2013

Soup Greens - That's Too Bad (1965)



A very '65 Garage group hailing from New York City. Farfisa Organ driven sounds abound. Eight songs in all of their known recordings. Think The Castaways' 'Liar, Liar' mixed with some Frat-Rock for a good idea. 'Shed a tear' being a good example. Your typical 60's teenage ups & downs Boy/Girl song themes. The moody ballad, 'Please Don't Go' is pretty good and alternates its' slow/fast tempos back & forth well. The title track appears twice here, first as the band's only A-Side released single and secondly, as a similar sounding abet, a slightly slower early first version. Both are very typical but, very likeable 1965 Garage. It's B-side, Dylan's 'Like A Rolling Stone' (and featured on Pebbles Volume 1) is given the Farfisa driven treatment with upbeat harmony vocals working very well as a Garage tune. 'Satellite' is a pleasant sounding 'Telstar' like instrumental which, reminded me of music you would've heard played in a 60's roller rink. 'You can't have my woman' their first demo from late 1964 is an atypical mid-tempo Garage rocker yet, features more guitar than their later Farfisa lead stuff.


Saturday, November 23, 2013

Wojciech Skowroński - Gwiazdy polskiego big beatu (2013)


 Wojciech Skowronski - born July 11, 1941 (Warsaw), died January 17, 2002 (Poznań) - Polish pianist, vocalist, arranger and composer.
Collaborated with such groups as: Czerwono-Czarni, Grupa ABC, Polanie, Drumlersi.





Skaldowie - Listy śpiewające (2012)

http://ru.wikipedia.org/wiki/Skaldowie 












Jack Nitzsche - The Lonely Surfer (1963)

 Jack Nitzsche had one brush with greatness early in his career, apart from his job as Phil Spector's arranger -- "The Lonely Surfer," a classic of the surf music genre. This album attempted to extend his solo career beyond that of a one-hit wonder, with mixed success. The best cuts are songs that are in the same surfer mold: "Puerto Vallarta," "Baja," and "Beyond the Surf." Nitzsche had a gift for melodramatic, ascending arrangements that rose to dramatic crescendos, underpinned by rumbling basslines and clanging percussion. Less successful are a super-slow take on "Da Doo Ron Ron" and remakes of easy listening and soundtrack hits such as "Ebb Tide" and "More," which are given a precious sheen of strings. The one exception is a rather rocking version of Elmer Bernstein's "Magnificent Seven," which sounds like it was made for dancing. This is a pleasant, if not exceptional, set of music for fans of surf instrumentals.


The Violents - The Violents 1961-1963

VA - THE SURF COASTERS (JAPAN) 2 CD




The band's became known due to their stint on the talent show television program, Ebisu-Onsen (which was very similar in concept to the American program, Star Search), on which the winning band would receive a recording contract.

The Surf Coasters had much success on the show, which lead to a loyal fan following. They succeeded to make it into the final round of the competition, where they finished in second place; however, they still received a record deal, which lead to the release of their debut CD, Surf Panic '95, which, despite being an instrumental album, sold well. The band also played that year with surf music legend and "King of the Surf Guitar", Dick Dale, who was on his first tour of Japan. Reportedly, after the tour Dale referred to Naka as the "Prince of the Surf Guitar."

Since then, the band has released upwards of twenty records, for the Columbia, Victor and BMG record labels, and have become number one, Japan-wide, for instrumental bands. Their sound has varied since 1995, including dancehall, acoustic arrangements, blues, ethereal, and heavy metal. Naka has also gone on to record, with and without the rest of the band, on other musical projects, including soundtracks for film and video games.

Though not officially broken up, the band played its last shows together in November 2005. Naka has been performing with an assortment of bands, including Ryouchi Endo and The Southern All Stars. Kurita has been playing bass with his band Chill.

01. Tsunami Struck
02. The Clash
03. Fly Up
04. Shark Attack
05. Intruder
06. Bike Men
07. Dolphins (Live On TV)
08. Chasing Shadows
09. Waste Land
10. Typhoon Swell
11. Rampage
12. Death Rage 2000
13. Sea Knows
14. Bitter Sweet Samba
15. Tally-Ho
16. Astral Circle
17. Free Fall
18. Start Inaction
19. Last Train
20. Satisfy
21. Linda
22. Wild Cherry
23. Guts (Live)
24. Beach Monster (Live)
25. Rock Dance (Live)
26. Misirlou (Live)

CD 2

01. Misirlou
02. Shark man
03. The clash
04. Ultra Q's theme
05. Beach monster
06. Wave weapon
07. Chasing shadows (Live)
08. Tsunami struck
09. Vamos por ahi
10. Intruder
11. Bombora
12. Black hole
13. Big tunder
14. Adventures in paradox
15. Hawaiian daylight
16. Cyclone
17. Baja
18. Jack the ripper
19. Riding high
20. Happy easter!
21. Black sand beach
22. Surf express
23. Jaws break
24. Fly up (Live)
25. Misirlou

Michaj Burano - Największe przeboje



 Michaj Burano (1992) Najwiкksze przeboje (PNCD 079)



Nazwisko, imie
Michaj, Wasil
(wlasciwie)

Michaj Burano
(pseudonim)
Steve Luca
(pseudonim)
Michael Michaj
(pseudonim)
John Mike Arlow
(pseudonim)

Data urodzenia
29 pazdziernika 1944

Miejsce urodzenia
Taszkient (ZSRR)

Biografia
Piosenkarz, gitarzysta, kompozytor, autor tekstow, aktor. Pochodzi z cyganskiego szczepu Lowari. W 1952 r. przyjechal do Polski i zamieszkal w Lublinie. Po raz pierwszy wystapil publicznie w 1952 r. z Zespolem Piesni i Tanca Cyganow Moldawskich. W maju 1959 r. – pod pseudonimem Michaj Burano, nadanym mu przez Walicki_Franciszek – zadebiutowal jako wokalista pierwszego polskiego zespolu rockandrollowego ZespolRhythm & Blues. W latach 1960–1963 byl solista zespolu ZespolCzerwono-Czarni, z ktorym zyskal ogolnopolska popularnosc. Miedzynarodowa kariere rozpoczal w 1963 r. z grupa ZespolNiebiesko-Czarni, z ktora wspolpracowal do 1966 r.
W 1964 r. nagral SP w Paryzu dla firmy Decca, a w listopadzie 1966 r. wzial udzial w Festival International des Varietes et Music-Halls w Rennes (Francja). Zdobyl tam Prix de l’Union de Commerce, L’Oscar du Festival i Prix d’Honneur du Festival. Otrzymal tez propozycje nagran radiowych i wystepow w TV. Wkrotce, jako Steve Luca, podpisal piecioletni kontrakt z wytwornia RCA. Koncertowal z gwiazdami francuskiej piosenki, m.in. z Mireille Mathieu i Gilbertem Becaud.
W 1968 r. powrocil do Polski. Zalozyl pierwszy wlasny zespol ZespolBurano and Leske Rom (Burano i Jego Cyganie), z ktorym dokonal nagran archiwalnych dla radiowego Studia Rytm i dal kilka koncertow w kraju. Po kilku miesiacach rozwiazal zespol i wyjechal z Polski. Od tamtej pory mieszka za granica.
Poczatkowo przebywal we Francji, potem w USA. Na poczatku 1969 r., pod pseudonimem John Mike Arlow, podbil francuska publicznosc piosenka pt. My Sweet Angel. Nastepne nagrania i wydawane plyty umocnily jego pozycje na miedzynarodowej scenie piosenki. W 1970 r. spiewal na MIDEM w Cannes. Dwa lata pozniej zdobyl II nagrode na Festiwalu Piosenki w Tokio, wyprzedzajac m.in. Julio Iglesiasa i Richarda Springfielda. W 1974 r. utworzyl we Wloszech zespol Burano and His Gypsy Caravan, z ktorym koncertowal w Europie.
W 1976 r. osiadl w Los Angeles, gdzie mieszka do dzis. Nawiazal wspolprace z tamtejszymi autorami tekstow, m.in. z Patrycja Forrest i Barrym Masonem. Komponowal piosenki, muzyke filmowa, koncertowal w krajach Bliskiego i Dalekiego Wschodu, Afryki i obu Ameryk.
W 1978 r. rozpoczal w Warszawie zdjecia do filmu biograficznego dla TVP, ktorego do dzis nie ukonczono. Jest bohaterem hasla w telewizyjnej wersji Leksykonu Polskiej Muzyki Rozrywkowej (odcinek 5 w rezyserii Ryszarda Wolanskiego). W 1986 r. wzial udzial w Old Rock Meeting w Sopocie, na ktorym wystapil ze swoim polsko-szwedzkim zespolem ZespolJohn Mike Arlow Group. Nagrania z tej imprezy ukazaly sie na LP Old Rock Meeting A.D. 1986, vol. 1-5 oraz LP Czy nas jeszcze pamietasz, vol. 1-2. W 1992 r. ukazal sie CD Michaj Burano: Najwieksze przeboje, przypominajacy jego repertuar spiewany z Czerwono-Czarnymi, Niebiesko-Czarnymi oraz zespolami Burano and Leske Rom i John Mike Arlow Group[1].


1.Lucille
2.Sorrento
3.Let's Twist Again
4.Wezmк w drogк zіoty ksiкїyc
5.Oczy czarne
6.Madame, Madame
7.Pieњс Orfeusza
8.Syg, Sygedyr
9.Patrina
10.Ja po tobie nie pіaczк
11.Sіuchajcie, dziewczкta
12.Jeden taniec dla mnie
13.Nie opuszczaj mnie
14.Dom Wschodz№cego Sіoсca
15.Zostaіy mi tylko twoje listy
16.Nuna
17.Smutny њwiat
18.Moje sny
19.Caіe niebo w ogniu
20.Lucille

VA - Rockin' Daddy Vol.3






The Black arrows - Solid Sound In Guitars

 In the early sixties – as all over the world – The Netherlands had many instrumental guitar groups. Almost every town had its own favorite band(s). But although many of this early guitar heroes were dreaming of big record sales, this was only reserved for a small number of groups, and even fewer reach some national fame. Usually the cause was a lack of technique and creativity, but often also a lack of technical capabilities of their amplifiers, echo units or electric guitars. The three brothers Anthonio plus drummer Laurens Müller however did not disconcert those handicaps. All born in Indonesia, and came to the Netherlands in 1949, they were accustomed to persevere in a country where the culture and the moral climate was much differently than in their homeland. Making music was, from their cultural background, therefore in the center of their attention.

Father Anthonio played violin, guitar, piano and drums and mother played piano. It soon became clear that this musical sensation, supplemented with good equipment, could form the basis of three outstanding musicians. In 1960 they decided to form a band with their good friend Lauren. From that moment it was practicing, and to spent every earned penny in new instruments. In the first month a significant repertoire was built and soon they had a good reputation. Besides the many performances at community centres, The Black Arrows had their own 'base' in Amsterdam, where a very active fan club organized dance parties every Saturday and Sunday night. There they also drawn the attention of some record companies, which resulted in their first record (January 1962). Eddy Denver – their vocalist at the time – and The Black Arrows with “Forty Days” b/w “Tough Enough”.

More records followed, instrumental and vocal, with different vocalists. More and more The Black Arrows developed themselves as one of the leading Dutch guitar groups. It was during this period that the LP “Solid Sound In Guitars” found its release. With this record they wanted to prove that they had managed to rise above the mediocrity of many local groups. And I think (like the writer of the original liner notes) they succeeded. “Solid Sound In Guitars” is one of a few LP's of Dutch guitar groups from the early sixties, and as an original it’s an absolute collector's item.


1.        Rococo
2.        Tulip Fields
3.        Little Lonely Train
4.        World Of Fire
5.        Wonderland By Night
6.        Johnny Guitar
7.        Midnight Blues
8.        Hernando's Hideaway
9.        Jumbo
10.        Slave Girl
11.        September Song
12.        Lady Of Spain


Thursday, November 14, 2013

HELEN SHAPIRO - Collection "Artist of The Week"


The Ready Men - Get Ready!! (1964)


 Kirk Ready (lead guitar), Pence Potter (rhythm guitar), Bruce Benson (bass), John Briggs (drums)


Like many other early-'60s Minneapolis teenaged combos, including Gregory Dee & the Avanties and the Underbeats, who were armed with the knowledge that the bird was the word, the Ready Men plied their trade at the local Kay Bank studio and emerged with their lone 45, a go-for-broke demented version of "Shortnin' Bread" and the cool instrumental "Surfer's Blues." Now, with the release of this decidedly lo-fi CD, we get the rest of the story on this largely unsung Twin Cities rock & roll band. And great stuff it is, largely taken from home-taped rehearsals, radio broadcasts, and a couple of extra tracks from their only excursion into a real studio. Plenty of wildly reverbed takes of "Jack the Ripper," "Pipeline," "Miserlou" and "Kuk," making this a small slice of teen band history well worth owning. 

 1. Shortnin' Bread (02:42)
. Disintegration (02:26)
3. Surfer Blues (02:31)
4. Wine Wine Wine (02:55)
5. Baja (02:24)
6. Wipe Out (02:26)
7. My Woodie (01:49)
8. Miserlou (02:03)
9. Bull Session With -Big Daddy- (02:26)
10. Pipeline (02:20)
11. Lucille (02:55)
12. Jack The Ripper (03:14)
13. Kuk (01:48)
14. Moon Dawg (02:07)
15. Walk, Don't Run (02:08)
16. What'd I Surf (02:24)
17. Baby What You Want Me To Do (02:16)
18. Disintigration # 2 (02:38)
19. Big Daddy Outro (00:20)

Bonney & Buzz - Rock-Ola


Two UK guitar legends from the 60's are together for the first time on this fabulous new CD. Rock-Ola features Bill Bonney of The Fentones ("The Mexican" and "The Breeze & I") and Pete "Buzz" Miller ("Can Can 62" and "Totem Pole"). Buzz was also half of the Shig & Buzz project that released the CD Double Diamonds on Shag's Mai Tai Records label in the mid-90's. Rock-Ola contains twelve more "diamonds", with a smooth, deep Euro-instro sound not too removed from The Shadows, but dense with mystery and intrigue.





by Eddy

JEAN PHILLIPPE - GUITAR HITS






by Eddy

VA - Rockin' Daddy Vol.2




by Eddy

VA - Rockin' Daddy Vol.1





by Eddy

Sunday, November 10, 2013

25 indfødte lyde - Native Sounds - Denmark Record-Labels


25 indfødte lyde - Native Sounds - Denmark Record-Labels

The Someones
01 - Louie, Louie
02 - Under The Boardwalk
03 - Don't Ever Change
04 - Heart Of Stone
05 - Hang On Sloopy
06 - Lost Little Girl
07 - Big Time Operator
08 - Hush

The Mat's
01 - You've Got To Hide Your Love Away
02 - I've Been Around
03 - Rescue Me
04 - It's Not True (live)
05 - Washed My Hands In Muddy Water (live)
06 - Midnight Special (live)

Monday, November 04, 2013

MAJOR LANCE - The Story Of Major Lance (2Cd) "Collection "Artist of The Week"


 Blessed with a warm, sweet voice, Major Lance was one of the leading figures of Chicago soul during the '60s and the top-selling artist for OKeh Records during the decade. Lance not only had a lovely voice, but his material was excellent. During the height of his success, the majority of his songs were written by Curtis Mayfield and produced by Carl Davis, and the pair developed a smooth, Latin-flavored sound that was punctuated by brass and layered with vocal harmonies, usually from the Impressions. It was urban, uptown soul and while it was considerably less gritty than its Southern counterpart, its breezy rhythms and joyous melodies made songs like "The Monkey Time" and "Um, Um, Um, Um, Um, Um" some of the most popular good-time R&B of its era. Major Lance's career declined significantly after he parted ways with Mayfield and Davis in the late '60s, but his classic OKeh recordings remain some of the best-loved soul music of the decade.

Born in Winterville, Mississippi, Major Lance moved to Chicago as a child, where he was initially raised on the west side of the city, before he moved near the north. While studying at Wells High School -- where Curtis Mayfield and Jerry Butler also attended -- Lance began boxing, but his attention soon turned to music and he formed the Floats with Otis Leavill. Although the Floats never released any records, his dancing earned him a spot on a local American Bandstand-styled program hosted by disc jockey Jim Lounsbury. The DJ helped Lance secure a one-shot single for Mercury Records in 1959, and the singer recorded "I Got a Girl," which was written and produced by Mayfield. The single disappeared and Lance spent the next three years working odd jobs.

In 1962, Lance was signed to the revived OKeh Records, based on his connections with Otis Leavill and, especially, Curtis Mayfield, who signed with the Impressions to ABC Records and had hits with his own group. Later that year, Lance recorded his first single, "Delilah," for the label. Like most of the Major's material, the song was written by Mayfield who, along with OKeh president Carl Davis and arranger Johnny Pate, developed a distinctive, Latin-tinged sound for the record, filled with sliding trombones and a light-stepping rhythms in order to distinguish Chicago soul from its counterparts in the South, New York, Detroit, and California. Though "Delilah" wasn't a hit, Lance's second single, "The Monkey Time," was a monster. Released in the summer of 1963, "The Monkey Time" reached number two on the R&B charts and number eight pop, establishing not only Lance as a singer but the revitalized OKeh Records as a pop music force. "Hey Little Girl" was a Top 15 pop and R&B hit later that year, followed by the Top Ten "Um, Um, Um, Um, Um, Um" early in 1964.

"The Monkey Time" and "Um, Um, Um, Um, Um, Um" proved to be the height of Lance's popularity. Over the next year-and-a-half, he continued to turn out a series of Mayfield-written and Davis-produced singles, nearly all of which reached the R&B Top 40, but only a handful -- "The Matador" (which Mayfield didn't write), "Rhythm," "Come See"-- were pop hits. Following the summer 1965 release of the Top 20 R&B hit "Ain't It a Shame," Pate departed for ABC Records and Mayfield began concentrating on his group, but Lance and Davis continued to mine the same Chicago sound, using guitarist Gerald Sim as a songwriter and co-producer. After releasing a few singles, including the R&B hit "Too Hot to Hold" and the Van McCoy-written "Everybody Loves a Good Time," Davis left OKeh Records due to arguments with his superiors at Epic Records and Lance was sent to work with Billy Sherrill in Nashville. Out of these sessions, "It's the Beat" became Lance's only Top 40 hit. Since the teaming with Sherrill wasn't working out, Lance worked with a number of producers during 1966 and 1967, with only "Without a Doubt" scraping the R&B charts in 1968. He left OKeh shortly after that single, moving to Daka Records the following year, where he had the Top 40 R&B hit "Follow the Leader." Within a year, he moved to Mayfield's Curtom label, which resulted in his last two Top 40 R&B hits -- the number 13 "Stay Away from Me (I Love You Too Much)" and "Must Be Love Coming Down."

Lance left Curtom later in 1971 and he moved through a variety of labels, including Volt and Columbia, over the next several years without much success. In 1972, he relocated to England, where Northern soul -- a phenomenon of dance clubs playing rare, underappreciated, and just plain obscure American soul and R&B records -- was in full force. For the next two years, Lance was a staple on the Northern soul circuit, eventually returning to Atlanta in 1974. He signed with Playboy and released a disco version of "Um, Um, Um, Um, Um, Um" that became a minor hit, which was followed by a pair of minor hits in 1975. Shortly afterward, his career entered a downward spiral, and in 1978, he hit rock bottom when he was convicted of selling cocaine. Lance spent the next four years in prison. Upon his release, he began playing the beach music circuit on the Carolina coast, but a 1987 heart attack prevented him from launching a full-scale comeback. In 1994, Lance gave a final, triumphant performance at the Chicago Blues Festival, which turned out to be his last. He died of heart failure on September 3, 1994 at the age of 55, leaving behind a recorded legacy that stands among the best Midwestern soul of the '60s


 1. Hey Little Girl (02:25)
2. The Matador (02:28)
3. Rhythm (02:23)
4. It Ain't No Use (02:47)
5. Gotta Get Away (02:15)
6. The Monkey Time (02:47)
7. Um Um Um Um Um Um (02:11)
8. Girls (02:09)
9. Come See (02:22)
10. Sometimes I Wonder (02:12)
11. Ain't It A Shame (02:05)
12. Sweet Music (02:05)
13. You Belong To My Heart (02:51)
14. Investigate (02:38)
15. What's Happening (02:23)
16. The Beat (02:31)
17. Everybody Loves A Good Time (02:18)
18. Keep On Loving You (02:08)


 1. Please Don't Say No More (02:16)
2. I just can't help it (02:11)
3. Gonna Get Married (02:12)
4. Think nothing about it (02:15)
5. It's all right (02:37)
6. Mama didn't know (02:44)
7. I'm the one (02:08)
8. Gipsy woman (02:22)
9. Gotta get right to cry (02:18)
10. Little young lover (02:17)
11. That's what mama say (02:37)
12. Crying in the rain (02:25)
13. Just one look (02:26)
14. Delilah (02:17)
15. Too hot to hold (02:46)
16. Ain't no soul (02:23)
17. Forever (02:05)
18. You don't want me no more (02:09)
19. Phyllis (bonus track) (01:59)

From Eddy




VA - Girls On 45 (26 Girl Groups, Girlie Pop & Soulful Ladies From 1963-1967) - Vol 2 (2013)




From Beatman

VA - Girls On 45 (26 Girl Groups, Girlie Pop & Soulful Ladies From 1963-1968) - Vol.1-2





As the era when girl groups reigned, roughly 1963-1965, recedes further into the past as the years go on, time has had a way of bronzing the era's standout smash hits. Anyone getting hipped to girl groups for the first time will most likely stumble onto the Ronettes or the Crystals first, delving deeper into the Phil Spector catalog after that, or will possibly grow an affinity for the eerie sweetness of the Shangri Las or the Dixie-Cups' detached naive romanticism before discovering other artists on the Red Bird label. Girls on 45 is a stellar collection of girl group and vocal pop sounds from the golden years of 1963 to 1968, spotlighting almost unheard-of artists from a plethora of obscure 45 releases. The collection is well curated and sequenced, varying enough from song to song to ensure a good flow and avoiding cookie-cutter girl group sounds or direct ripoffs of bigger artists. Standout tracks include the dreamily dramatic "Better Off Without You" by Beverly Noble, Rosalind Madison's Northern soul ballad "Neighborhood Girl," and the loungy lilt of Joanie Sommers' "Never Throw Your Dreams Away," a song that aimed for pop star status with a Sandie Shaw-like delivery and almost imperceptible bossa nova touches in the orchestration. Sharon Marie's contribution, "Thinkin' 'Bout You Baby," may sound familiar to Beach Boys fans, as the early Brian Wilson/Mike Love composition flopped for Marie but was reworked by the Boys themselves as "Darlin'" on the Wild Honey album, melody intact but with different lyrics and approach. Girls on 45 tips a little closer to the orchestrated pop vocal side of things as it goes on, meandering from the Spector-ian huge drums and mono horn sections of "He's My Guy" by Jackie Burns & the Bo-Bells to the far slicker Bacharach-modeled "If You Must Break a Heart" by Vi Velasco. The variety reveals some tracks as weaker or less interesting than others at first, with the bombast of a huge, heartbroken girl group stomper sometimes overshadowing the subtlety of the breezier numbers here, but the obscurity of these songs means they'll all be new to most listeners. Girls on 45 has enough in the "lost gems" department to satisfy the most studied girl group fan and engage even the novice.