Friday, February 28, 2014

28 indfødte lyde - Native Sounds - Denmark Record-Labels

indfшdte lyde - Native Sounds - Denmark Record-Labels
vol. 28

Danny & The Royal Strings

01 - Blue Moon
02 - Lady of Spain
03 - Nonnesen
04 - Moon-shot
05 - Come right back
06 - Promise you`ll do
07 - All my love
08 - Why should I fall in love
09 - Get away
10 - My generation
11 - Don`t you lie to me
12 - La paloma
13 - Dandy
14 - Poul sine hшns
15 - Wish me luck
16 - She`ll neverbe true
17 - This explosion love
18 - Oh mama-Oh child
19 - Get out of my life woman
20 - The citty cat song
21 - I ain`t got you
22 - Can you hear me
23 - hooked on you
24 - Moments
25 - Shake you moneymaker
26 - White christmas
27 - Jingle bells


Tin Tin - Tin Tin (1970) Astral Taxi (1971)


Steve & Stevie - Steve & Stevie (1968)

Track 10 missed

Every Mothers' Son's & Son's Back (1967)

A pop group from New York City, Every Mother's Son enjoyed a brief fling with fame thanks to their 1967 hit "Come On Down to My Boat." Every Mother's Son was formed by lead singer and guitarist Larry Larden, a veteran of New York's folk music scene, and his younger brother Dennis Larden, who played the coffeehouse circuit with Larry before joining Every Mother's Son as lead guitarist. The Larden Brothers teamed up with Bruce Milner on keyboards, Schuyler Larsen on bass, and Christopher Augustine on drums, and the band's lineup was complete. Every Mother's Son was signed to MGM Records, who made the most of the band's clean-cut image and friendly sound in their publicity for the group; they also gave the band a tune written by Wes Farrell and Jerry Goldstein that had been a flop for the Rare Breed, but "Come On Down to My Boat" (originally titled "Come and Take a Ride in My Boat") was a hit after Every Mother's 

Son got their hands on it, becoming a favorite on radio and rising to number six on the Billboard singles charts. The group made the rounds of television variety shows and even filmed a guest appearance for the popular espionage series The Man from U.N.C.L.E. (it was probably a coincidence that the show was produced by MGM's television branch). A full-length album, simply titled Every Mother's Son, was released in the summer of 1967, featuring "Come On Down to My Boat," along with ten original tunes from Dennis Larden (one of which was co-written with Bruce Milner). Later the same year, a second LP, Every Mother's Son's Back, had arrived in stores; by this time, Schuyler Larsen had left the band, and Don Kerr became their new bassist. Three singles were released from the sophomore album, but none broke the Top 40, and in 1968, Every Mother's Son called it a day. Dennis Larden went on to join Rick Nelson's Stone Canyon Band, and Christopher Augustine later recorded with Rick Derringer. Every Mother's Son's MGM catalog was reissued in 2012 by Now Sounds Records on the compilation Come On Down: The Complete MGM Recordings.

Love Afair - Everlasting Love

 Originally formed in 1966, this London, England-based quintet comprised Steve Ellis (vocals), Morgan Fisher (b. 1 January 1950, London, England; keyboards), Rex Brayley (guitar), Mick Jackson (bass) and Maurice Bacon (drums). Although Ellis was barely 16 years old, the band performed frequently in clubs on a semi-professional basis. Fisher was briefly replaced by Lynton Guest and the following year Ellis, backed by session musicians, recorded a sparkling cover version of Robert Knight’s ‘Everlasting Love’ for CBS Records. By January 1968, the single unexpectedly hit number 1 in the UK and Love Affair became instant pop stars with Ellis’ cherubic looks gracing teen magazines throughout the nation. With Bacon’s father Sid overseeing the management, the band resisted the solicitations of more powerful entrepreneurs, yet failed to exploit their potential. Four more Top 20 hits followed, ‘Rainbow Valley’, ‘A Day Without Love’, ‘One Road’ and ‘Bringing On Back The Good Times’, but by 1969 Ellis had left to start a solo career. He recorded a few singles and the soundtrack to Loot before collaborating with Zoot Money in Ellis, who released two albums for Epic Records (1972’s Riding On The Crest Of A Slump and 1973’s ... Why Not?). Ellis later sang with Widowmaker, and in 1978 recorded a solo album (The Last Angry Man) which was briefly made available on cassette before finally being given a full release in 2000.

The remaining quartet recruited new vocalist Gus Eadon (b. Auguste Eadon; ex-Elastic Band) and began to steer the band in a more progressive direction. The second Love Affair album, released at the beginning of 1971, was credited simply to LA in an attempt to attract a more mature audience. The record was a commercial failure and six months later the band was dropped by CBS. They resigned to Parlophone Records as Love Affair but were unable to revive their fortunes. Bacon and Fisher left to form Morgan, recording 1973’s Nova Solis for RCA Records. Fisher later reappeared in Mott The Hoople and the Third Ear Band before releasing some bizarre solo material for Cherry Red Records during the 80s and launching a career in Japan. Bacon moved into music publishing and management, while Jackson worked his way up to become an important figure in the Alfa Romeo car group. A line-up of the Love Affair featuring no original members went on to issue obscure singles for Pye Records and Creole, before successively plundering the band’s name for cabaret/revivalist bookings.

Mike Sarne - Come Outside with Mike Sarne: The Definitive Singles Collection (1962-64)

 Actor/singer/director Mike Sarne carved a peculiar niche for himself in the British rock & roll of the pre-Beatles era. Born Michael Scheur, and of part-German descent, he acted in a few movies at the dawn of the '60s. His multilingual skills not only served him as an actor but brought him into the music industry -- Sarne was responsible for providing the phonetic transcriptions that were used to guide such singers as John Leyton and Billy Fury in cutting German versions of their hits for that market. Sarne, who also played guitar and sang, was signed by Leyton's manager, Robert Stigwood. In 1962 he enjoyed a novelty hit, "Tell Me What," recorded in tandem with Billie Davis (another Stigwood discovery). His subsequent singles included "Come Outside," "Just for Kicks," and "Code of Love." Since the early '60s, Sarne has concentrated largely on his screen career.

It's not certain from the liner notes (which are actually quite good and lengthy) whether this has everything Sarne recorded from 1962-1964. But if it doesn't, this grouping of 27 tracks -- including material from his singles, his only album (from 1962, also titled Come Outside With Mike Sarne), film soundtracks, and an export-only cover of Heinz's "Just Like Eddie" -- must come damn close. However, even those willing to cut some slack for compilations of British rock & roll from just before the Beatles might find this way too corny and lightweight. Well, let's not pull punches: If you're looking for an exhibit of just how necessary the Beatles were to inject life and personality into an insufferably tepid British rock scene, this CD will do nicely. Sarne's voice was far better suited for vaudevillian theater than rock & roll, and in fact the material is basically pre-rock British music hall (complete with prominent British accent) with some pop/rock influence in the backing. Even though the songs were arranged and largely written by Charles Blackwell, who would go on to create some U.K. pop of notable quality later in the '60s, they're neither too tuneful nor too witty in their gentle satirical humor. "Come Outside," Sarne's 1962 number one hit, is here, as are his other British charters, "Will I What," "Just for Kicks," and "Code of Love." Half a dozen songs were written by Joe Meek sidekick Geoff Goddard, a few by Sarne himself. Yet none are very good, and are sometimes suffocated by a comic touch that was perhaps a bit racy at the time but terribly dated several decades later. And Sarne's wobbly voice isn't that good even considering the inherent limitations of the genre, even if it has a moderately engaging good cheer. So what does that leave to say in favor of this collection? Not much, though the 1963 single "Hello, Lover Boy!" actually is a not half-bad Merseybeat takeoff, bolstered by session guitar from a young Jimmy Page. The disc also includes an enhanced CD track with a promo film for his atypically Rolling Stones R&B-influenced "Love Me Please," the studio recording of which is contained elsewhere on the disc.

The Valiants - Indo Rock Vol 1

Johny Rivers- John Lee Hooker (Live)

Jornny Rivers - Anthology

VA - Savage Rockin' Girls (1988)

VA - Good Girls Gone Bad Wild, Weird And Wanted

VA - The Girls Of Rare Rockin' Records vol.1

VA - Rockin' & Rollin' 50's & 60's - Dble LP Polydor

The Mustangs - Rautalanka Collection

 Rock instrumental music faded from mainstream pop consciousness after its peak during the late 1950s and early 1960s. However, whilst the hits may have dried up, the impact of this dynamic musical style was so great that interest in the genre never completely died away and in these days it continues to flourish. Its influence on musicians was such that the occasional rock instrumental would pop up as an album track or B-side of a single throughout the rest of the 1960s and into the 1970s. A healthy collectors market had developed over this perioid and these occasional new releases were rare but welcome additions to the standard collection of records by The Shadows, Ventures, Spotnicks etc. The Shadows enjoyed a revival in the later part of the 1970s and this paved a way for a rock instrumental revival in Europe. Groups comprising just two guitars, bass and drums and playing instrumentals in the old style began to emerge, although the focus at this stage was very much on recreating the sounds, and recordings, of their heroes. The Mustangs came onto this scene like a breath of fresh air. Everything they did simply oozed with class. They were the star act on the Rautalanka Records label set up in Finland by two instrumental devotees, Olle Salo and Seppo Salminen , and released a series of very fine EPs over the period 1982-84. What struck home immediately was their sound and their playing. Totally at home with their instruments, the rhythm section of Jari Aaltonen (guitar), Markku Tuominen (bass) and Jarmo Tuominen (drums) provided the perfect foundation for Matti Luhtala..s fluent lead guitar playing which was sweet in tone and lusciously echoed. And they had no need to resort to copies of Apache or Dance on, for the group..s own instrumental interpretations of material from a range of different sources provided them with a richly original repertoire. Three EPs provided the backbone for their 1983 LP on Le Baron, but it was with those original Rautalanka Records EPs that they made a lasting impact on UK instrumental fans. Housed in a glossy colour card sleeves, the pressings were in high quality vinyl, a rarity in UK for anything except classical music, and were even protected by an inner polythene sleeve. These EPs were gems that found their place alongside the favourites of everyone..s original 1960s collection . Many releases have followed from The Mustangs, and many from the numerous other Finnish guitar bands .

The Mustangs Guitars: Matti Luhtala, Marko Rahikainen,
bass guitar: Markku Tuominen,
drums: Jarmo Tuominen.
Members on past line-ups: Guitar: Jari Aaltonen, Janne Orava, Sakari Korhonen (Voc.), bass guitar: Jari Vironen (Voc.), drums: Petri Suni, Timo Leinonen, Jarmo Peippo.

The Sprague Brothers - Best Of The Sprague Brothers

Hailing from Wichita Falls, Texas, siblings Frank and Chris Sprague are a two-man roots music powerhouse, playing classic rock & roll, rockabilly, and hillbilly bop with an old-school sound and a fresh energy and enthusiasm. Guitarist Frank and drummer Chris were the sons of a musician who spent years playing the trumpet, and both boys picked up their respective instruments at the age of five. Inspired by the guitar and songwriting skills of fellow Texan Buddy Holly and the ethereal harmonies of the Everly Brothers, Frank and Chris began making music together, and in 1990 they booked time at Nesman Recording Studio (a local facility where Holly recorded some of his earliest material) and self-released their debut EP Real Gone Rock ‘n' Roll. The duo's first album, Live at Frank's Place, was issued in 1992, and a number of other self-distributed LPs and singles followed as the Sprague Brothers frequently toured the Southwest. After relocating to California, Frank became a member of Deke Dickerson's band, and the Sprague Brothers struck a deal with Hightone Records, the noted roots music label that had also released several albums on Dickerson; 1999's Let the Chicks Fall Where They May was their first album for their new label. The Spragues continued to tour extensively, crossing the country as well as visiting Europe and Japan, and they even made an appearance on CBS' breakfast-hour program The Early Show. Following a second album for Hightone, 2000's Forever and a Day, the brothers became disenchanted with Hightone, and their next LP, Three, found them back on their own EssBee label. the Sprague Brothers recorded at a prolific pace for EssBee (later changing the label's handle to Wichita Falls Records), and their 2006 album Changing the World, 1 Chick at a Time included guest appearances by Randy Fuller (of the Bobby Fuller Four) and Edan Everly (son of Don Everly). When not busy writing and recording rock & roll, Frank Sprague also plays violin and has written and recorded several contemporary classical pieces.

Best Of The Sprague Brothers CD 1

Best Of The Sprague Brothers Cd 2

THE GOLDEN EARRING - The Complete Single Collection

 Best known in the U.S. for their hard rock material, Golden Earring have been the most popular homegrown band in the Netherlands since the mid-'60s, when they were primarily a pop group. The group was founded by guitarist/vocalist George Kooymans and bassist/vocalist Rinus Gerritsen, then schoolboys, in 1961; several years and personnel shifts later, they had their first Dutch hit, "Please Go," and in 1968 hit the top of the Dutch charts for the first of many times with "Dong-Dong-Di-Ki-Di-Gi-Dong," a song that broadened their European appeal. By 1969, the rest of the lineup had stabilized, with lead vocalist and multi-instrumentalist Barry Hay and drummer Cesar Zuiderwijk. They experimented with their style for several years before settling on straightforward hard rock initially much like that of the Who, who invited them to open their 1972 European tour. Golden Earring signed to the Who's Track label, which released a compilation of Dutch singles, Hearing Earring, helping the group break through in England. Released in 1974, the Moontan LP spawned the single "Radar Love," a Dutch number one, U.K. Top Ten, and U.S. number 13 hit.
Cut They toured America opening for the Doobie Brothers and Santana, but the lack of a follow-up ensured that their popularity remained short-lived in America, even though they remained a top draw in Europe over the rest of the 1970s. The band experienced a brief American comeback in 1982 with the album Cut and the Top Ten single "Twilight Zone," but as before, Golden Earring could not sustain their momentum and faded away in the U.S. marketplace. ("Radar Love" did enjoy a second round of popularity in the U.S. when pop-metal band White Lion covered the song in 1989.) Nevertheless, the band persisted over the ensuing decades, recording and performing well into the new millennium and remaining a concert draw in the Netherlands and elsewhere in Europe. Although they have not toured North America since the mid-'80s, Golden Earring did record their 2003 album, Millbrook USA, in Millbrook, NY at the studio of Frank Carillo (whose duo album with George Kooymans, On Location, saw release in April 2010). The bandmembers have also recorded as solo artists in Europe.

THE GOLDEN EARRING - The Complete Single Collection CD Vol
THE GOLDEN EARRING - The Complete Single Collection CD Vol
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