Sunday, December 22, 2013

Marry Christmas and Happy New Year To All




 from the our heart... 

Tuhmanov -  On the wave of my memory


Doris Day - The Doris Day Christmas Album


Chet Atkins - Christmas With Chet Atkins

The Brian Setzer Orchestra - Boogie Woogie Christmas


 Lennon Sisters -Christmas with the Lennon Sisters

Perry Como Sings - Merry Christmas Music

 A Christmas Gift For You From Phil Spector

Andy Williams - Personal Christmas Collection 


The Hep Stars - Jul Med Hep Stars


Booker T. & The MG's - 1966 - In the Christmas Spirit


RubberBand - Xmas! The Beatmas



 VA - Cruising Christmas



THE BEATLES - On Air Live AT The BBC Vol 2

The Revels - Intoxica! The Best Of

Carelia Records Presenterar - 1961

Lennart Clerwall - Lenny In ABBA-Land

The Terribles - Super Brasa - Volume 2&Brasa Quatro

The Terribles – El sonido garage y sidodelico de Los Inocentes
Gabriel Passos, para el blog
Hace algun tiempo, un disco garage y sicodelico – un verdadero “nugget“ del rock nacional -, con guitarras sucias e algunas voces en unisono llamado “Genial! Universal Sound” del grupo The Terribles, intriga mucho a los coleccionadores de discos brasilenos. Editado en 1967 por el sello NCV – del productor Nilton Couto do Valle -, traia doce musicas, la mayoria de los Beatles, dos de los Shakers, una de los Monkees y una propia, de autoria de Hector Capobianco. Fue com el que charlamos para esta materia.
Hector llego com su grupo, Los Innocentes, de Uruguay. Formado por Nestor Vitti (segunda guitarra), Ruben (Lorenzo) Viera (primera solo y voz), Hector Capobianco (bajo y voz) y Raimundo Ibarra (bateria), habian grabado un compacto simple por el sello Sondor, com el nombre de Los Inocentes. En ese disco, ademas de la primera grabacion de “I Will Not Cry”, de Hector Capobianco
Сconl la participacion de Juan Roberto “Pelin” Capobianco, hermano de Hector y ex Shakers, habia tambien un tema de Ruben Viera llamado “Pienso en ti”, que despues volvieron a grabar en una otra version en el disco “In the Studio again” de los nuevos Shakers entonces formado por Caio, Pelinl Ruben Hector y el otro hermano de Pelin y mellizo de Hectror, Carlos Capobianco, eso por vuelta de 1970.. (*)
Uma vez en Brasil, se fueron primero a Porto Alegre, pero muy rapido vinieron a Sao Paulo. Con hambre, necesitando de dinero y tocando en una boate de baja calidad,
consiguieron com el amigo Miguel Cidras grabar un LP, con el cual ganaron un buen dinero.
Llegando a la grabadora, que quedaba en el centro de la ciudad, tuvieron que grabar rapido ya que se iban a Porto Alegre al otro dia. El disco fue grabado em uma sola sesion en um unico dia. Hector se acuerda que La Correa de sub ajo se rompio y tubo que grabar “Lucy In The Sky With Diamonds” – grabacion esa que fue hecha en menos de media hora – apoyado em uma silla. Editado – asi como otros
discos de la grabadora – com o seudonimo de The Terribles, les Dio um buen percentual de dinero a los integrantes del grupo uruguayo.
La mala suerte parecia Haber terminado. Empezaron a ganar fama y llamaron la atencion a Roberto Carlos, que los fue a ver en un show en la boate y se quedo sorpreso. Los termino llamando para acompanarlo en algunos shows y a presentarse en el programa Jovem Guarda. Mas tarde, Ruben Viera tubo uma hepatitis y el grupo tenia que volver a Montevideo. De la capital uruguaya, ya con Ruben recuperado volvieron directamente a Rio de Janeiro, donde se presentarom por un mes em la boate Drink, de Cauby Peixoto, y por una noche em el Canecao,
juntamente con Chris Montez y los Herman’s Hermit’s, entre otros grandes nombres de aquellos anos. Se fueron a Bahia y a la vuelta, grabaron un compacto con el nombre de “Os Inocentes”, compacto esse que contenia las musicas “Love-m Lola” y “Believe-Me”, por la brabadora Phillips, lanzado por el sello Polygram. Tambien acompanaron a Marcio Greyck em El disco “De Corpo E Alma”,
inclusive em El suceso “Impossivel Acreditar Que Perdi Voce”, donde Hector toca El piano. Fue em esa misma epoca que el grupo se separo.
Hector e Ruben Viera formaron, en Brasil, juntamente com Juan Roberto “Pelin”, una nueva formacion de los Shaker’s, y llegaron a grabar un disco y hicieron una gira por paises de la America del sur..
Ruben Viera se suicidou-se hace cerca de um ano, con un tiro en la cabeza. Los hermanos Capobianco viven, actualmente, en Rio de Janeiro.

Peter Jay &The Jaywalkers - Jaywalkin'Singles 1962-1965

Originally based in East Anglia, England, the Jaywalkers, comprising Peter Miller (lead guitar), Tony Webster (rhythm guitar), Mac McIntyre (tenor saxophone/flute), Lloyd Baker (piano/baritone saxophone), Geoff Moss (acoustic bass), Johnny Larke (electric bass), and Peter Jay (drums), pre-dated the British beat boom. They scored a minor hit in 1962 with ‘Can Can 62’, but despite an unquestioned competence, their rather stilted act became increasingly anachronistic. The group attempted a more contemporary image with several R&B-based releases, and in 1966 a restructured line-up emerged under the name Peter Jay And The New Jaywalkers. Now reduced to a quintet, the unit featured vocalist Terry Reid, but despite an impressive appearance on the Rolling Stones’ UK tour, they disbanded by the end of that year.

The Boys Next Door -

 Although the Boys Next Door's craftily arranged and produced sound was extremely derivative of the Beach Boys and other mid-'60s Southern California acts like Jan & Dean and Gary Lewis, this is a solid and fun collection of their singles (the earliest of which were billed to the Four Wheels) and unreleased cuts. It's also more sonically diverse than many '60s groups with obvious influences are, from the straight-up hot rod sounds of "Cold 45" (a cop of the Beach Boys' "409") to "Mandy" (which crosses the BBs' "Little Deuce Coupe" with the production of more sophisticated tunes like "The Little Girl I Once Knew"). To hammer home the Beach Boys comparison even more, "I Could See Me Dancing with You" owes a lot to the BBs' cover of "Do You Wanna Dance?" "Why Be Proud"/"Suddenly She Was Gone" explores a moodier vein, and there's an obscure Al Kooper co-composition, "There Is No Greater Sin." No, this music is not deep or lost genius. But not every unearthed batch of sounds from the mid-'60s has to be to be worth hearing.

Spiral Starecase - More Today Than Yesterday

 The Spiral Starecase may be a one-hit wonder group, but if you're only going to be allotted one, then their "More Today Than Yesterday" is the type of solitary charter you want as your lasting legacy. A bouncy shuffle that has become a heavy rotation staple of oldies radio, the tune sports a simple but well-crafted lyric and a melody that sticks to the brain and refuses to leave. A further look into the group's scant discography reveals that musically, the group was capable of even more hits, had not poor management and sheer bad luck cut their career short.

The group formed in Sacramento, CA as the Fydallions, counting up in their ranks saxman Dick Lopes and bass player Bobby Raymond, Harvey Kaye on organ, Vinnie Parello on drums, and lead vocalist and guitarist Pat Upton, who hailed from Alabama. They auditioned for Columbia Records, who loved the group but hated their name. Lopes cribbed a title from a movie, and with a slight spelling change, the group's name and contract was secured. Assigned to producer Gary Usher, their first two singles were released to regional successes in markets like Phoenix. At this time, Sonny Knight (himself a one-hit wonder with "Confidential" on Dot) was brought in as producer. Upton, encouraged by Usher to write original material for the group, had brought in "More Today Than Yesterday," which became the next single and their breakthrough hit. Considering the long-lasting impact of the song on oldies radio, it seems inconceivable that the tune charted no higher than number 12 nationally. The Starecase released one album and a couple more singles before poor management and squabbles over finances caused the group to splinter by 1969. Harvey Kaye led an ersatz version of the group for a brief period, while Upton fled to session work, eventually joining up with Rick Nelson as a backup vocalist. In the mid-'80s, after Nelson's death, Upton became a staple on the oldies circuit, sounding as wonderful as ever.

01. More Today Than Yesterday   
02. Broken-Hearted Man   
03. For Once In My Life
04. This Guy's In Love With You
05. Sweet Little Thing   
06. Proud Mary       
07. The Thought Of Loving You
08. Our Day Will Come
09. No One For Me To Turn To   
10. Since I Don't Have You
11. Judas To The Love We Knew
12. Baby What I Mean (Mono Single Version)
13. Makin' My Mind Up (Mono Single Version)   
14. I'll Run (Stereo Single Version)
15. Inside, Outside, Upside Down (Stereo Single Version)
16. She's Ready (Stereo Single Version)    

Lulu - To Sir With Love! (The Complete Mickie Most Recordings)

 For the majority of American listeners, Lulu's career began and ended with "To Sir with Love," the theme song to the 1967 box office hit, though she enjoyed considerably greater success in the United Kingdom, and not without reason. Lulu had a solid, spirited voice that could handle an admirable range of material, and she tended to get good songs that she made the most of with the assistance of some very talented studio help (John Paul Jones arranged much of the material on her 1969 set Lulu's Album). To Sir with Love: The Complete Mickey Most Recordings features 39 tunes recorded during Lulu's tenure with famed British producer Most, and if this consistently leans to the more commercial side of British pop of the late '60s, it's great pop with heart, soul, and no shortage of enthusiasm. On tunes like "Love Loves to Love, Love" and her cover of the Beatles' "Day Tripper," Lulu sounds very convincing belting out tough rock & roll, and she's just as confident handling soulful material with real emotional weight, such as "Morning Dew" and "To Love Somebody." And while she also gets her share of MOR pop tunes here, she handles them flawlessly, and "The Best of Both Worlds" and "A House Is Not a Home" are marvelous, heart-tugging stuff. Lulu and Most had a great ear for material, tackling numbers from the songbook of Neil Diamond, Dan Penn, Harry Nilsson, and Elton John, and even the lesser tracks (we get three versions of the less-than-thrilling "Boom Bang a Bang" -- in English, French, and Italian!) are executed with superb craft and as much feeling as the singer could muster. Lulu continued to make fine records through the 1970s and still performs today, but her early material captured her at her peak, and this thoroughly enjoyable package offers the lion's share of her excellent 1967-1969 work, digitally remastered and sounding spectacular with intelligent liner notes. Fans will love it and those who only know Lulu as the "To Sir with Love" girl will be very pleasantly surprised.

The Collins Kids - The Rockine'est

By the time Lawrence (b. 1944) and Lawrencine Collins (b. 1942) were 11 and 13, respectively, they were already tearing it up on country package shows, recording for Columbia Records, and performing on national TV almost weekly. Older sister Lorrie held up the cowgirl fringe-rustling-against-nylons teenage sensuality department; kid brother Larry was a bundle of hyperkinetic energy, bopping all over the place while laying down exciting, twangy guitar breaks learned firsthand from the King of the Doublenecked Mosrite, Joe Maphis. As time went on, the Collins' recordings veered from mawkish brother/sister country-style duets to white-hot rockabilly, and they were just reaching their peak when Lorrie eloped, effectively breaking up the act. Revered by rockabilly collectors the world over, their filmed television appearances and recordings are testimony to the fact that the Collins Kids weren't just "good for their age," they were just plain good, period.

The Shanons - The Forgotten Pistolero

The Bells - Best Of (20th Century Masters Millennium Collection)

The Bells were a Canadian rock band formed in 1965 in Montreal. The band had two hit singles in the early 1970s. Featuring South African natives Ann and Jackie Ralph as well as Cliff Edwards, Doug Gravelle and Gordie McLeod, the group started in 1965 as "The Five Bells". Cliff and Ann married in 1967 and when their first child was born Ann retired to raise their family on a hobby farm in Warkworth, Ontario.
The Five Bells first hit in 1969 with "Moody Manitoba Morning", followed in 1970 — after shortening their name and Ann leaving to raise their family — with "Fly Little White Dove Fly", which became a Top 10 hit in Canada. Piano player Frank Mills joined The Bells for a short period from 1970 to 1971, after which he pursued a successful solo career, the highlight of which was the #3 1979 U.S. hit single "Music Box Dancer". Mills was replaced by piano player Dennis Will who remained with the band through to the end. Charlie Clark also joined the band in 1970 as a guitarist and vocalist; he now lives in Saint John, New Brunswick.
"White Dove" was followed up in 1971 by "Stay Awhile", a duet featuring Ralph and Edwards. Written by Saint John native Ken Tobias, the song became a major hit worldwide, selling four million copies and going to #1 in Canada on the RPM 100 national Top Singles chart on April 10, 1971 and remaining there for two weeks[1][2] as well becoming their only Top 40 hit in the U.S., reaching #7 on the Billboard Hot 100 chart.[3] This disc sold over one million copies before the major U.S. radio stations played it, and received a gold disc awarded by the R.I.A.A. on 27 May 1971.[3] The song features a whispered vocal by Jackie Ralph. The success led to invitations to perform on The Tonight Show in June 1971[3] and The Merv Griffin Show. In Australia, "Stay Awhile" reached #9.
The band broke up as Edwards departed out on a solo career in 1973.[4] The Bells meanwhile had three Top Ten singles from their final album, Pisces Rising (Polydor, 1973): "The Singer", "Hey My Love" and "He Was Me, He Was You", featuring a new rhythm section with Skip Layton on drums and Will (Wayne) Cardinal on bass. Layton and Cardinal were also members of Ocean in 1976 and Faro in the early 1970s.
The group has continued to perform occasionally over the years. Edwards and Gravelle both now reside in Gananoque, Ontario, Jackie Ralph in Vancouver, British Columbia, and Will in Mississauga, Ontario.

2.Moody Manitoba Morning
3.Fly Little White Dove Fly
4.Stay Awhile
5.Maxwell's Silver Hammer
6.Kris's Collection
7.For Better, For Worse
8.Lady Dawn
9.Oh My Love
10.The Singer
11.Rich Man, Poor Man
12.He Was Me, He Was You

The Sunshine Company - Happy Is

Taking a more somber approach to their light, folkish pop, the Sunshine Company's second LP offers more harmony, more reflections, but less hooks and whimsy than their first record. An apparent result of the societal upheavals of the time, the album notes tell us that the record was made in "a world so wrought and chained with meaningless ideas that it's dreams are merely pastel coloured nightmares." This is basically adult pop music dressed up in the hipster garb of the psychedelic generation. How else can you explain hippie versions of Les Baxter songs? In step with the times, the album has a light, country-rock influence apparent on the slight twang of "Reflections of an Angel" and Steve Gillette's "Darcy Farron." "Love, That's Where It Is" takes the more buoyant, string-laden approach of the first album and combines some fine fuzz guitar work to appeal to the kids. "I Can't Help But Wonder" is a cheery, doe-eyed look at love, replete with underwater vocal effects, and "You Don't Know Her Like I Do" jumps into some subdued acid rock. "If You Only Knew" is worth noting, as it a cover of Curt Boettcher's pre-Millennium band, the Ballroom. The final track, "Without Really Thinking" is a melodic, Baroque tale that holds together well and exits the album on a high note. There are some slightly addictive moments on the record (especially the opening "Look, Here Comes the Sun"), but unfortunately there is quite a bit of filler in between those moments.

Mickie Most - Mickie Most

In addition to forming his own label in the '70s, RAK, British producer Mickie Most is credited with the discovery of the Animals and the Nashville Teens, while his production credits include Donovan, Lulu and Jeff Beck.

Born Michael Hayes in Aldershot, Most moved with his family to North London and, as a teenager, became entranced by the burgeoning British rock & roll scene. He became friends with Terry Dene and Wee Willie Harris and formed a band, the Most Brothers, along with Alex Murray (who later produced the Moody Blues). Yet, success eluded Most, and in 1959 he married a South African woman and emigrated there. While in South Africa Most had success as the frontman of a rock group who covered U.S. hits. Though this sort of arrangement would never make Most an international star, it did walk him through the process of recording, and he amassed 11 consecutive number ones on the South African charts.

Returning to Britain in 1962, Most found himself in the middle of an R&B revolution and, looking for a group to produce, discovered the Animals in a Newcastle club. He had them record "Baby, Let Me Take You Home" and "House of the Rising Sun," the latter becoming a worldwide smash that catapulted the group to stardom and Most to credibility. He produced "I'm Into Something Good" for Herman's Hermits and "Tobacco Road" for the Nashville Teens and, in 1966, Most produced Donovan's widely acclaimed Sunshine Superman album. After producing Jeff Beck in the late '60s, Most decided to form his own label, RAK, in 1969. Though its roster never held any critically acclaimed acts, the RAK label was quite successful at releasing chart hits. Staff writers Nicky Chinn and Mike Chapman made acts such as Suzi Quatro and Mud successful for a short time. In the '70s Most worked with the English funk group Hot Chocolate, helping them score their only two Top Ten hits. Most's profile lessened considerably in the '80s. He sold his RAK label and concentrated on managing the publishing catalog he had amassed from the numerous productions he helmed over the years. On June 30, 2003, Mickey Most succumbed to cancer, passing away quietly in his London home at the age of 64.

Sunday, December 15, 2013

Dinah Lee – The Sound Of Dinah Lee (1965)

 Dinah Lee is the stage name of New Zealand-born singer, Diane Marie Jacobs (born 19 August 1946), who performed 1960s pop and then adult contemporary music. Her debut single from early 1964, "Don't You Know Yockomo?", achieved No. 1 chart success in New Zealand and, across the Tasman Sea, in Brisbane and Melbourne. It was followed in September by her cover of Jackie Wilson's, "Reet Petite", which also reached No. 1 in New Zealand and peaked at No. 6 in Melbourne. The Australian release was a double A-sided single with "Do the Blue Beat". On her early singles she was backed by fellow New Zealanders, Max Merrit & His Meteors. Lee appeared regularly on both New Zealand and Australian television variety programs, including Sing, Sing, Sing and Bandstand. She toured supporting Johnny O'Keefe, Ray Columbus & the Invaders and P.J. Proby. According to Australian rock music journalist, Ed Nimmervoll, in the 1960s, "Lee was the most successful female singer of in [sic] both her New Zealand homeland and Australia ... on stage and on record Dinah had all the adventure and exuberance for the time the boys had"

01 what kind of love is this (2:03)
02 what did he say (2:16)
03 twist and shout (1:53)
 04 It's for you (2:10)
 05 oh boy (1:41)
 06 hey chickie baby (1:53)
07 i'll forgive you then forget you (2:16)
08 he can't do the blue beat (1:45)
09 long way from st louis (2:17)
10 shout (2:35)
11 hot spot (2:12)
12 is it true (2:13)

1965 album for kiwi songstress Dinah Lee, good beat, pop and even ska from this talented vocalist
Songs: What Kind of Love Is This, What Did He Say, Twist and Shout, It's For You, Oh Boy, Hey Chickie Baby, I'll Forgive You, Then Forget You, He Can't Do the Blue Beat, Long Way From St Louis, Shout, Hot Spot

Pat & Lolly Vegas - At The Haunted House (1966)

Pat &Lolly Vegas are best known as the leaders of Redbone, the pioneering Native American rock band that scored a major hit in 1974 with "Come and Get Your Love," but they had been playing music since the late '50s as members of Jimmy Clanton's road band. In the mid-'60s, they had a regular gig at a briefly popular Hollywood nightspot called the Haunted House, and this album was presumably cut with the hopes of turning the Vegas brothers into the Native Peoples' answer to Johnny Rivers. Produced by Leon Russell and Snuff Garrett, Pat & Lolly Vegas at the Haunted House sure doesn't sound like it was recorded live (there's no audible crowd noise or stage patter), but it does confirm that they were already a great, no-nonsense rock & roll band. The set is divided half and half between covers and originals, with Pat and Lolly delivering tough, soulful vocals throughout and putting enough of their own personality into "In the Midnight Hour," "High Blood Pressure," and "Baby, I Need Your Loving" that their versions can stand tall besides the originals. Even better are their own tunes, with Pat & Lolly rocking proud on "Keep Me Up Tight," "Walk On (Right Out of My Life)," and "Let's Get It On" (not the later Marvin Gaye tune), which merge a rocker's swing with a soul man's passion and deliver the goods on both counts. Pat & Lolly Vegas at the Haunted House is 30 minutes of solid fun with a killer dance groove, and suggests that a compilation of the brothers' early independent singles is in order.  

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