Friday, February 28, 2014


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


Steve & Stevie - Steve & Stevie (1968)

Track 10 missed

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.

The Valiants - Indo Rock Vol 1

Johny Rivers- John Lee Hooker (Live)

Jornny Rivers - Anthology

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 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

Julie London - Our Fair Lady (1965)

 Julie London spent most of the 1960s recording middle-of-the-road vocal pop albums of varying degrees of worth before returning to West Coast jazz with a vengeance on 1965's All Through the Night. Recorded the same year as that excellent Cole Porter tribute, the bland Our Fair Lady comes off like corporate payback for a quick jazz rebellion. The arrangements on this release are lifeless, and though she projected a sexy, confident image on album covers, Julie London was always better at singing torch songs of unrequited love then whispering winking, come-hither tracks like "Never on Sunday" or kitsch songs such as "Theme From a Summer Place." While Our Fair Lady seems like a stopgap release, the balance between jazz and upscale pop was achieved on London's next release, the fine For the Night People.

Brenda Lee - By Request (1964)

By Request, a Top 100 album for Brenda Lee in 1964, is heavy on ubiquitous easy listening ballads like "Days of Wine and Roses," "Tammy," and "Blue Velvet," but don't pass it over just yet. It also contains four of Lee's hits from 1963: "My Whole World Is Falling Down," "I Wonder," "The Grass Is Greener," and "As Usual," all of which charted in the Top 25. They are also reissued on the two-disc set Anthology, Vols. 1 & 2 (1956-1980), which leaves half a dozen overly familiar adult contemporary songs for your consideration. By Request offers a useful roundup of hit singles for vinyl addicts, but no surprises for completists.

Dean Martin - Dream With Dean (1964)

A profile of a rugged Dean Martin by the fireplace with a cigarette adorns the jacket of this very interesting concept album. As Stan Cornyn's liner notes explain, "his longtime accompanist" on piano, Ken Lane, with "three of Hollywood's most thoughtful rhythm men" -- those being drummer Irv Cottler, bassist Red Mitchell, and guitarist Barney Kessel -- do create a mood, Dean Martin performing as if he were a lounge singer at 1:15 a.m. as the Saturday night crowd is dwindling. His signature tune, "Everybody Loves Somebody," is here in a laid-back style, produced by Jimmy Bowen, who would go on to produce Reba McEntire, Kenny Rogers & the First Edition, and so many others, also the same man who was behind the 1964 number one smash. This album with the original Martin recording was released after the hit single version and on the same day as the Everybody Loves Somebody LP, but how many times does the audience get a different studio reading of a seminal hit record? Not only that, but the version that preceded the hit. The backing is so sparse it is almost a cappella, with Kessel's guitar noodlings and Ken Lane's piano. The bass is mostly invisible, coming in only when needed. It's a slow and sultry version that caps off side one. There is a rendition of Rodgers & Hart's "Blue Moon" that strips away the doo wop of the Marcels' number one 1961 remake, and a run-through of the Bloom/Mercer hit for Glen Miller, "Fools Rush In," which Rick Nelson had launched into the Top 15 in 1963. Martin is just crooning away, and if the album has one drawback, it is that the 12 songs are incessant in their providing the same atmosphere. The backing quartet does not deviate from their job, nor does producer Jimmy Bowen add any technique, other than putting Martin's voice way out in the mix. But Dream With Dean was no doubt excellent research and development as Bowen landed 11 Top 40 hits with the singer from 1964's "Everybody Loves Somebody," which evolved out of this original idea to 1967's "Little Old Wine Drinker, Me." It sounds as if they tracked the album in one afternoon, and it is not only a very pleasant listening experience, it shows what a tremendous vocalist Dean Martin truly was.

 1. I'm Confessin' (That I Love You) (03:16)
2. Fools Rush In (03:04)
3. I'll Buy That Dream (03:16)
4. If You Were The Only Girl (03:03)
5. Blue Moon (03:07)
6. Everybody Loves Somebody (03:11)
7. I Don't Know Why (I Just Do) (02:36)
8. Gimmie A Little Kill Will Ya Huh? (02:17)
9. Hands Across The Table (02:18)
10. Smile (02:58)
11. My Melancholy Baby (02:45)
12. Baby Won't You Please Come Home (02:17)

VA - Cruisin Series A History Of Rock And Roll Radio ! (1956-1970)

 Time Machine 
for your nostalgy at home and in your car


A History Of Rock And Roll Radio ! 

The Cruisin' Years
New Label: Increase,
New Concept: CRUISIN'

Cruisin' (krew'-zin) v. Teen-age custom of drivingaround, primarily to listento pop music stations on thecar radio, while observingother kids and cars doingthe same thing; popular allover the United States be-ginning in the mid-Fifties.
The word cruisin' doesn't appear in the dictionary, but it's a familiar word to millions of people who did it. The new seven-record series on Increase Records, CRUISIN' THE FIFTIES AND SIXTIES, is a year-by-year recreation of pop music radio during the years 1956 through 1962.
Each album is not just a collection of the top pop music of a particular year, but a total recreation by a top disk jockey (of that year) doing his original program over a major pop music station. That means actual commercials, promotional jingles, sound effects, newscast simulations and even record hop announcements in addition to the original records themselves.

The series was produced with unprecedented attention to detail. One disk jockey, Dick Biondi of Chicago, called his old home town, Buffalo, New York, just to get an accurate ten-year-old weather report. Another, Arnie "Woo Woo" Ginsburg of Boston, showed up in the studio carrying a suitcase full of chrome kazoos, cowbells, oogah horns and other noisemakers he'd used on the air in 1961. Then, after laying them out on a towel by the mike, much like a brain surgeon preparing to operate, "Woo Woo" wailed.

CRUISIN' producer Ron Jacobs monitored thousands of feet of tape, travelled over 10,000 miles and rooted through forgotten files and cluttered basements for old commercials, station promos and jingles. He also managed to get clearances for 84 different records, of which 42 are certified million-sellers, and all are from the Top 30 of their respective years.

The disk jockeys who appear on the series were picked after a month of carefully researching a decade's issues of BILLBOARD, including tabulating all disk jockey mentions. The names were then cross checked with audience rating services and longtime radio expert Bill Gavin--all this just to determine with jocks on which stations represented each year most accurately.

Once all the material had been collected, weeks were spent in the studio carefully integrating almost 1,000 seperate cues, and timing each year's "radio program" so it could be mastered for tape in four exactly equal parts. This was done to eliminate any dead space on CRUISIN' cassettes and cartridges, making each "rebroadcast" as realistic as possible and similar to the "tracking" effects of records. CRUISIN' was, in fact, originally conceived as a tape project: the first major one in the industry. After all, cruisin' meant cars, and listening to rock stations on the car radio; not until the enormous growth of in-car tape equipment was anyone able to recreate not only the sound of yesterday but the environment where the sound was first heard. Says Jacobs: "The full impact of such originally American social, technological, artistic and economic influences as rock and roll and Top 40 radio may not be fully realized in this century. But regardless of what time will ultimately be required to allow full historic perspective, there is the obligation to preserve the material so the media itself, not just written reviews and descriptions, will exist for future analysis.

"This isn't just nostalgia. It's history!"

Increase Records' CRUISIN' series is available on records and tape cassettes and cartridges, and is distributed by Chess Records (disc) and by the GRT Corporation (tape).

7 of The All-Time Top 20 Rock Jox

The seven disc jockeys in the CRUISIN' series were selected as the best living representatives of Fifties and Sixties radio from seven top American radio cities.

Recreating one of his old radio shows from 1956 is Robin Seymour, who then was with WKMH in Dearborn, Michigan. He had come to this suburban Detroit station from Armed Forces Radio and soon his warm, confidential tone had won him teenagers and housewives alike. His BOBBIN' WITH ROBIN show was the reason BILLBOARD named him Disk Jockey of the Year in 1953, and HIT PARADER magazine did the same in 1954. Today he's in television and concert promotion in Detroit.

In 1957 it was Joe Niagara, top jock in "Wibbageland," the greater Philadelphia area within range of "Radio 99." He had been raised in South Philly (birthplace of Mario Lanza and Joey Bishop) and had come to WIBG in 1947 from service in the Panama Canal Zone. In terms of style, he is generally regarded as one of the nation's most influential deejays, a title he continues to wear at WIBG today.

Jack Carney was one of radio's gypsies before he settled in St. Louis in 1958 at WIL. This is where he made his mark in Top 40, concocting bizarre stunts that appealed to so many (mainly teenagers) his station went from number seven in a seven-station city to number one in six weeks. Today he's in his eighth year at KSFO in San Francisco.

In 1959 it was Hunter Hancock, the excitable and often corny host of HUNTIN' WITH HUNTER on KGFJ in Los Angeles. The odd thing about his show, which was aimed at Southern California's Negro population, was Hancock wasn't black; he never said he was, but no one ever suspected he wasn't. He retired from radio a few years ago, and is presently associated with WESTERN OUTDOOR NEWS in public relations and field circulation work.

Dick Biondi, the "wild Eye-Tralian," "the supersonic spaghetti slurper" (his descriptions), is the jock for 1960. He was screaming over seventeen states that year from WKBW in Buffalo, New York, and following top-rated runs at KRLA, Los Angeles and on the Mutual Network, his powerful lungs have since become an institution at WCFL in Chicago.

In 1961, Arnie "Woo Woo" Ginsburg was engineering the NIGHT TRAIN show on Boston's WMEX. (It was trains going "woo woo" in the night which gave him his nickname.) For twelve years, from 1956 to 1967, he was Boston's top disk jockey. Today he's in sales at WRKO in the same city and also is active in commercial production and voicing.

Production techniques had reached some sort of zenith in kitsch artistry by 1962 and Russ "Weird Beard" Knight, then at KLIF in Dallas, was perfectly suited. He had a graduate degree in journalism, but it was buried during this period--buried in sound effects, echo and rhyme. Knight is now Program Consultant for WCUE in Akron, Ohio.

The Man and The Company

The man, Ron Jacobs, and Increase Records' parent company, Watermark, are uniquely suited for the recorded pop music radio series called CRUISIN'.

CRUISIN' is a year-by-year recreation of Top 40 radio from 1956 to 1962; not only was Jacobs active in pop radio during this period, he was also the producer of the highly acclaimed THE HISTORY OF ROCK AND ROLL. Watermark, a corporation he serves as an officer, is an entertainment and media organization that has no equal or precedent.

Jacobs recently concluded a four-year career as program director of KHJ in Los Angeles, a station he brought from its near-the-basement position to the top in just five months, where it remained so long as he was in charge. It was while in this position he produced the 48-hour long "rockumentary," a program which has been syndicated over much of the world and has been included in many museums and libraries, including the Library of Congress, the Lincoln Center for the Performing Arts and Julliard School of Music.

Jacobs was a 12-year veteran of radio when he came to KHJ in 1965. In Hawaii he had been the island's top disk jockey and later was a programming and production executive responsible for launching a number of top-rated stations in Hawaii and on "the mainland."

Then, believing there should be a healthy environment for people who'd been successful on traditional terms, an organization where such people could create freely, Jacobs left radio in 1969 to help found one--Watermark. Today this company has interests in concert and festival promotion (Arena Associates), radio programming (AMERICAN TOP 40), records (Increase), tape production (THE CASETTE GAZETTE), audio commercials (such as EASY RIDER) and program consultation (National General).

Peg & Eddie

To have a cover concept as unique as the content of the CRUISIN' series, it was decided to take a young couple and age them (in comic strip frames) through each year, noting carefully the changes in dress and hair styles, as well as social attitudes.

Thus, Peg graduates from a Fifties pony tail to a Sixties Jackie Kennedy bouffant/flip... while Eddie lets his flat top grow out. There's an Edsel on one cover (1957) and Alfred Hitchcock's PSYCHO is on a marquee of the drive-in on another (1960). On a third cover, regular gasoline is priced at under twenty cents (Eddie was pumping gas that year, 1958) and Eddie's friend is wearing a WE SHALL OVERCOME button on a fourth (1962).

Peg and Eddie and their world--our world-- were created by Jere Alan Brian, Increase Records vice president, and Paul Gruwell, Increase art director.

"Peg and Eddie became real characters to us," says Gruwell. "We know even more about them than the artwork indicates."

Gruwell was an animation layout man at Hanna-Barbera working on the HUCK FINN, SCOOBY DOO, THE THREE MUSKETEERS and FANTASTIC FOUR TV shows before joining Increase. Mike Royer, who did the cover art, is one of the men behind the TARZAN comic strip.


1. CRUISIN' 1956 (INCM-2001) Robin Seymour, WKMH, Detroit (3:29)
Theme & Show open; ROLL OVER BEETHOVEN-- CHUCK BERRY; Recommended record store plug.

2. CRUISIN' 1957 (INCM-2002) Joe Niagara, WIBG, Philadelphia (7:01)
Theme & Show open; SUZIE Q--DALE HAWKINS; Live Muntz T.V. Spot; HAPPY, HAPPY BIRTHDAY BABY--THE TUNEWEAVERS; Gelatin Plus Spot; WIBG Jingle; Rayco Spot,

3. CRUISIN' 1958 (INCM-2003) Jack Carney, WIL, St. Louis (7:29)
Theme & Show open; AT THE HOP--DANNY & THE JUNIORS; WIL Back To School Contest; #1 Song Jingle; TEQUILA--THE CHAMPS; 1958 Mercury Spot.

4. CRUISIN' 1959 (INCM-2004) Hunter Hancock, KGFJ, Los Angeles (5:46)
Theme & Show Open; (BABY) HULLY GULLY--THE OLYMPICS; Jordan High Record Hop Plug.

5. CRUISIN' 1960 (INCM-2005) Dick Biondi, WKBW, Buffalo (7:27)
Theme & Show Open; YOU TALK TOO MUCH--JOE JONES; 1960 Studebaker Lark Spot; St. Mary's Record Hop Plug; TEARS ON MY PILLOW--LITTLE ANTHONY; WKBW Weather Promo.

6. CRUISIN' 1961 (INCM-2006) Arnie "Woo Woo" Ginsburg, WMEX, Boston (7:40)
Theme & Show open; BLUE MOON--THE MARCELS; WMEX Tower of Talent Promo; MY TRUE STORY--THE JIVE FIVE; Adventure Car Hop Spot.

7. CRUISIN' 1962 (INCM-2007) Russ "Weird Beard" Knight, KLIF, Dallas (7:30)
KLIF News Headlines; Theme & Show Open; PEPPERMINT TWIST--JOEY DEE; Live Record Intro; SOLDIER BOY--THE SHIRELLES; KLIF Summer Spectacular Promo.

1962 ------> 1970

©1970 Increase Records.


VA - Pan American Series Vol.1-7

VA - PYE RECORD STORY Vol.1-37 (1955-1966)

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Thursday, February 27, 2014

Pesymiści - Gwiazdy polskiego big beatu (2014)

 Pesymiści byli jednym z najpopularniejszych zespołów młodzieżowych drugiej połowy lat 60. Działali w Warszawie od 1963 roku.

Pierwszy skład zespołu tworzyli: Michał Krasicki – fortepian, Michał Morawski - gitara, Janusz Bolesławski - gitara basowa i Wiesław Pałyga - perkusja. Po niedługim czasie nowym perkusistą zespołu został Leszek Pieniążek. W 1964 roku dołączył do zespołu Michał Zawiła (gitara basowa) i w tym składzie grupa odniosła pierwszy sukces, zajmując drugie miejsce na Przeglądzie Zespołów Big Beatowych. Śpiewali wtedy w Pesymistach Michał Krasicki, Michał Zawiła i Andrzej Niemira. W połowie 1965 roku Michała Morawskiego zastąpił Janusz Kruk i zmienił się też patronat. Pesymiści zaczęli występować pod szyldem studenckiego klubu “Celton”, działającego przy Uniwersytecie Warszawskim. W tamtym okresie grali na wielu imprezach muzycznych. Jeździli również z koncertami po kraju. Gdy nowymi członkami zespołu zostali Marek Bliziński i Andrzej Turski grający na gitarach - zespół wystąpił w Radiowej Giełdzie Piosenki i dokonał pierwszych nagrań radiowych.

Rok 1966 to kolejne zmiany personalne: Hubert Rutkowski na krótko zastąpił Leszka Pieniążka, po czym nowym perkusistą został Andrzej Poniatowski, zaś na gitarze grał Marek Ałaszewski. W tym składzie grupa przetrwała do 1968 roku i nagrała swą debiutancką płytę, czwórkę dla Polskich Nagrań. W roku 1967 pojawili się nowi wokaliści - Andrzej Rosiewicz i Daniel Kłosek, i przyszła kolej na dalsze sukcesy: 2. miejsce podczas III Ogólnopolskiego Przeglądu Wokalistów i Zespołów Muzyki Rozrywkowej i 2. miejsce na Ogólnopolskim Festiwalu Muzyki Młodzieżowej. W tym też okresie z Pesymistami krótko nagrywał Stanisław Guzek (później znany jako Stan Borys) - również Dana Lerska i Anna German. W tym czasie Pesymiści występowali w barwach warszawskiej Stodoły. Dla potrzeb nagrań studyjnych została utworzona (z muzyków zespołu) grupa Aryston.

W 1970 roku zespół wzbogacił swoje brzmienie o sekcję instrumentów dętych: o trąbkę, puzon i saksofon. Pesymiści przetrwali do 1971 roku często zmieniając skład personalny. W tym czasie przez zespół przewinęło się wiele znanych nazwisk, Tomasz Szachowski, Andrzej Dec, Jerzy Szczęśniak, Piotr Miks, Paweł Brodowski, Andrzej Glazer.