Heimatliche Klaenge - Native Sounds vol.147 - The Blue Cats

 

 

Heimatliche Klaenge - Native Sounds vol.147 

The Blue Cats

01 - 19Th Nervous Breakdown
02 - Hey Girl
03 - Please Return
04 - Balla-Balla
05 - Wenn die schoenen Maedchen schlafen geh'n
06 - Satisfaction
07 - Nowhere Man
08 - Ju Ju Hand
09 - Suddenly
10 - Get Off Of My Cloud
11 - The Yerk
12 - Okay, Okay
13 - Michelle
14 - Kommando Pimperle
15 - All You Need Is Love
16 - Carrie Anne
17 - Okay
18 - Welcome Rock'n Roll
19 - Hello Goodbye
20 - World
21 - Judy In Disguise
22 - Tin Soldier
23 - Nun ist es vorbei
24 - A Whiter Shade Of Pale
25 - Alternate Title
26 - Lady Madonna - (Mike, Ronny & Phips)
27 - Jackson - (Petra & Peter)
28 - Hang On Sloopy
29 - Honey Bee (Johnny)
30 - Juanita Banana (Johnny
31 - Nowhere Man (Johnny)
32 - Help
33 - Mr. Tambourine Man
34 - San Francisco (Tommy Kent)
35 - Mendocino
36 - Let's Take A Trip To The Moon
37 - Sugar Sugar
38 - Something
39 - Proud Mary
40 - Dizzy
41 - In The Year 2525
42 - Venus
43 - Michael And The Slipper Tree
44 - The Ballad Of John And Yoko
45 - Catherine
46 - Suspicius Minds

Jancy said :text

VA - Star-Club Rock n' Twist Parade 1962

 

 VA - Sounds of the Star-Club (UNCUT 2012)

 

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VA- Surfin' Germany

 

 

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Status Quo - Aquostic (Stripped Bare) + Aquostic Stripped Bare-BBC

 

 Status Quo - Aquostic (Stripped Bare)  + Aquostic Stripped Bare-BBC (2014-10-22)

Quo Classic As You'Ve Never Heard 

 Them Before

01. Status Quo - Pictures Of Matchstick Men
02. Status Quo - Down The Dustpipe
03. Status Quo - Nanana
04. Status Quo - Paper Plane
05. Status Quo - All The Reasons
06. Status Quo - Reason For Living
07. Status Quo - And It's Better Now
08. Status Quo - Caroline
09. Status Quo - Softer Ride
10. Status Quo - Claudie
11. Status Quo - Break The Rules
12. Status Quo - Down Down
13. Status Quo - Rain
14. Status Quo - Rockin' All Over The World
15. Status Quo - Again And Again
16. Status Quo - Whatever You Want
17. Status Quo - What You're Proposing
18. Status Quo - Rock 'n' Roll
19. Status Quo - Don't Drive My Car
20. Status Quo - Marguerita Time
21. Status Quo - Burning Bridges
22. Status Quo - Rock 'Til You Drop
23. Status Quo - Rollin' Home (Bonus Track)

and

 

Jancy said : text

VA -Free Flight (Unreleased Dove Recording Studio Cuts 1964-69)

 

The Dowlands - All My Loving

 

During the late '50s, David Dowland and Gordon Dowland were a harmony vocal duo from Bournemouth who were basically known as Everly Brothers imitators, similar to the Brook Brothers. Their sound was toughened up by the presence of a backing group that included Roy Phillips on guitar and drummer Chris Warman, and they were good enough to get signed up in 1962 by producer Joe Meek -- their debut recording, "Little Sue" b/w "Julie," was issued by Oriole Records, which released a string of follow-ups, including "Big Big Fella," "Breakups," and "Lucky Johnny," none of which were successful. By the end of 1963, the Dowlands were in a difficult bind -- they'd been emulating the Everly Brothers' sound professionally for years and were falling short commercially, while the Beatles, who also owed a great deal to the Everlys, were reshaping the music landscape around them. However, in 1964 -- rather late in the game from a British perspective -- the group reluctantly jumped on the bandwagon, finally getting onto the British charts for nearly two months with their cover of the Lennon-McCartney song "All My Loving." Indeed, that record became the group's first and only U.S. single when it was picked up for release on the Tollie label. As a result, they enjoyed a year of better bookings, especially on package tours throughout England, and a follow-up single might've given them the boost they needed to continue, but none was forthcoming. Meek later also produced their versions of "I Walk the Line," "Wishin' and Hopin'," and "Don't Make Me Over," the latter two of which were eclipsed by rival recordings by the Merseybeats and the Swinging Blue Jeans. Roy Phillips co-founded the Peddlers in 1964, and by the second half of the 1960s Keith Dowland had ceased performing regularly, though David Dowland kept working intermittently for another 20 years.

 http://www.45cat.com/record/45cb1897

 http://www.joemeekpage.info/cd_60interprets1/cd_dowlands.htm

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Johnny Taylor&Les Strangers - French 60's EP Collections

Johnny Taylor - French 60's EP Collections 1997

 

 

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JOHNNY TAYLOR & STRANGERS - 1963 - Le cha cha cha 

(FR-VEGA 12 012) mono 

 

http://patsoulmusic.blogspot.ru/2015/01/johnny-taylor-strangers-1963-le-cha-cha.html

Enjoy...

United Travel Service - Wind And Stone

 

 1966 Pacific Northwest Garage, collection of all the band's rare 45's +five more, until now unreleased studio recordings, plus three home demos! All wrapped in a full color jacket w/4-page insert with detailed band history, rare photos, labels etc

Musicians:

John Reeves - 12-string rhythm, vocals

Dale Sweetland - drums, vocals

Ben Hoff - bass, lead guitar, vocals

Jim Richards - lead guitar 

 

 

http://www.utsrocks.com/page5.html

Jancy said: TEXT

VA - Beat Party

 

 

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Peter Reese And His Pages

 

Orange Colored Sky - Orange Colored Sky (1968)

 

ORANGE COLORED SKY’s roots go back to 1962, when Larry Younger formed The Fabulous Epics in Erie, PA. The Epics soon moved to New York City and became the house band at the world–famous Peppermint Lounge. Years later, Tom Hanks would call them The Wonders and tell their story in his film ‘That Thing You Do’.

The Younger Brothers (soon to become Orange Colored Sky) meet the Beatles at the Peppermint Lounge

Front row, L-R : George Harrison, John Lennon

Back row, L-R : Larry Younger, Walter Slivinski, Vinny Younger, Paul McCartney.

In 1968 the band moved to Southern California, was signed by Universal, and became ORANGE COLORED SKY. SKY hit big in Los Angeles, appearing in the movie "The Love God" with Don Knotts, in TV commercials with Petula Clark, on The Steve Allen Show, and in all the hot clubs. SKY soon became regulars at the Flamingo, Harrah's, and other major venues in Las Vegas, Reno, and Lake Tahoe.

In 1970 SKY replaced The Carpenters as Burt Bacharach's opening act. SKY also toured with Frank Sinatra and assisted Governor Ronald Reagan's re-election campaign.

SKY released the 45 RPM single "Help" in the early 1970's on the People label, but it was the B side, "Press A Rose", that placed on the national charts. Larry Younger and Tony Barry shared lead vocals; unfortunately, Larry's funky, soulful performance couldn't overcome People Records' business problems.

"Press A Rose" (PEOPLE 1007-B) was well on its way up the Billboard Hot 100 when the company declared bankruptcy.

Legendary producer Don Costa then brought SKY to MGM records, under the direction of future California Lieutenant Governor Mike Curb. At MGM, SKY recorded “Simon Zealotes” from the rock opera “Jesus Christ Superstar”, arranged by Don Costa and released to U.S. radio stations three months prior to the appearance of the "Superstar" national cast album. The first eight bars of SKY's version of “Simon Zealotes” are unlike any other pop recording.

Bassist/vocalist Larry Parker joined SKY in 1974. By the 1980's many showrooms had been replaced by discotheques and SKY slowly disbanded.

The band reunited in the early 1990’s, and now includes bandleader Michael Chanslor (Susan Anton's longtime keyboardist / vocalist / conductor / arranger), bassist / vocalist Larry Parker, drummer / vocalist Dennis Edwards (formerly with Eric Burdon and Eddie Money), and guitarist / vocalist Tom Bethke. SKY founding member Larry Younger still makes an occasional guest appearance.

In 2005, ORANGE COLORED SKY is still rockin’, performing classic “feel-good” surf and rock music. SKY’s ‘Beach Boys Tribute’ continues to win new fans of all ages, and SKY is known to Southern California sports fans for their unique, a cappella performances of the “The Star–Spangled Banner” for the Los Angeles Lakers at Staples Center and for the Mighty Ducks at Arrowhead Pond.

ORANGE COLORED SKY appears with Jay Black (of Jay & the Americans) in Billy Crystal's “My Giant”, and can be seen and heard in the Academy Award-nominated film "Ghost World" starring Steve Buscemi and Thora Birch. 

http://orangecoloredsky.com/

http://orangecoloredsky.com/historybtmframe.html

http://orangecoloredsky.com/sky.html

https://www.facebook.com/video.php?v=735868726453456&permPage=1

 

1. The Sun And I
2. The Shadow Of Summer
3. Knowing How I Love You
4. Just Like Humpy Dumpy
5. I'm Taking Her Out To Dinner
6. Sometines
7. Every Day I Love You More
8. L.A. (Los Angeles)
9. Girl Of My Dream
10.Don't Do As I Do
11.Orange Colored Sky
12.Happiness
13.Another Sky
14.Mr.Peacock
15.Knowing How I Love You
16.The Sun And I
17.Sweet Potato

ezhevika said : TEXT

Jeff Beck & The Big Town Playboys - Crazy Legs

 

Jeff Beck has made many strange albums, but none were ever quite as strange as this. With the Big Town Playboys offering support, Beck rips through 18 Gene Vincent numbers (not "Be-Bop-a-Lula," however), paying tribute to Vincent's guitarist, Cliff Gallup. Beck sounds terrific as he reconstructs Gallup's parts, but he doesn't add anything to the originals. Still, Crazy Legs is a fun listen and offers many insights into Beck's playing, if not Gallup's. 

 

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Fresh Air - A Breath Of Fresh Air (1969)

 

Repost

"Fresh Air's A Breath Of Fresh Air, recorded in 1969 at Sunwest Studios in Hollywood, is the rarest album to appear on the Amaret label. A highly-sought after album by collectors, A Breath Of Fresh Air is a fine mix of pop and hard psych, featuring some driving, heavy guitar and lots of swirling organ.

Fresh Air, a tight quintet of superb musicians led by lead vocalist Marc Piscitelli's, performs 10 well recorded and beautifully delivered tracks. Piscitelli's haunting vocal style shines throughout this excellent album, and it is hardly surprising that the singer went on to enjoy a career as an engineer and a backing vocalist for such luminaries as Glen Campbell, Juice Newton, Spirit and John Travolta. A Breath Of Fresh Air is another undiscovered gem, reissued for the first time by Radioactive Records."

Recorded in 1969 in Hollywood and originally released on the Amaret label.The album is a fine mix of pop and hard psychedelic rock featuring some driving heavy guiitars and swirling keybords. Includes a fast paced cover of "For What It's Worth".

 

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The Troll - Animated Music (1968)

 

 Repost 

 The Trolls from Chicago are one of the many bands that we've had a long time interest in but, unfortunately, have had difficulty in tracking down.  We recently made contact, however, with bassist Max Jordan, Jr. (and his wife Bonnie), Rick (Richard) Gallagher and part-time drummer Gary Aull, and hope to be able to provide additional information on the group - as well as answer many of the questions raised in this feature - sometime in the near future.  In the meantime, and in lieu of our customary interview, we've decided to print this overview of the band's recordings to spark some discussion on a very talented and underrated band.

Richard Clark - organ, vocals

Richard Gallagher - guitar, vocals

Max Jordan, Jr. - bass, vocals

Ken Cortese (aka Ken Apples) - drums

http://www.60sgaragebands.com/biosessays/trolls.html

The Troll - Animated Music (1968) LP Smash

01 Satin City News

02 Mr Abernathy. The Troll - Frits Und Sweeney

03 Everybodys Child

04 Solitude

05 Only Myself To Blame

06 Professor Potts Pornographic Projector

07 Have You Seen The Queen

08 Mourning Of The Day

09 Winter's Song

10 Spirit Of The Deep

"The Troll's sole album is extremely diverse late-'60s psychedelia. It's one of those records you can play over and over again without getting a grip on what exactly the group identity is. For many bands, such a description might be interpreted as a major compliment. The thing is, though, it's not a record you want to play over and over again, because the material isn't that good, and the eclecticism is not so much admirable versatility as contrived freakiness. At various times they sniff around hard rock, fruity pop-psychedelia, arch vaudevillian good-time music ("Professor Pott's Pornographic Projector" and "Have You Seen the Queen?"), and slightly bittersweet folk-rock-flavored pop-psych. The influences of Beatlesque melody and vocal harmonies are strongly felt at times, and there are some periodic interjections of the kind of varispeed vocals and odd effects that major labels only tolerated for a few years or so around the late '60s. There are glints of appealing fairytale aura pop-psychedelia here and there, as on "A Winter's Song," with its pseudo-British orchestration. Overall, it's an unmemorable mish-mash, however, and the far-out jollity and menace it seems to often aim for is more forced than inspired. "

"An odd and disjointed psychedelic album and a product of the famous Dunwich  from a Chicago area band that had formerly had some very minor success with garage rock and British Invasion – like stuff as The Trolls. Some of the tracks are pedestrian, but there is also some very good stuff on this. It doesn’t gell all that well- it sounds like it was put together rather haphazardly, and the music also seems like it comes from different eras.

Some of the tracks have a Beatles/ early Bee Gees flavor, others are in a hard rock vein. The best song is a cut named” Werewolf and Witchbreath, almost a cross between The Stooges, Black Sabbath around the time of their debut record, and early Fleetwood Mac at their loudest- indeed, almost like the three bands had got together and recorded a hard blues/ psychedelic/ heavy metal/ proto- punk theme for a horror flick. ” Professor Potts’ Pornographic Projector” is an amusing vaudeville sort of thing- a kind of satire on sexual mores done in a turn of the century atmosphere- kazoos, vari-speed vocals, and an 1890’s melody.” I’ve Only Myself To Blame” features some really nice Hollies like harmonies and whirling, Sgt. Pepper’s style arrangements.

It’s basically an anti-war song. Some of the rest of this album is dross, and it was one of many such albums- The Troll were popular in their immediate area, but failed to make much of an impression elsewhere. It’s an average album, the high points are high, the low points are dull instead of awful, though some of this hasn’t aged well. The drummer later became Jim Croce’s business manager, and also died in the 1973 plane crash that killed Croce."

 (Max Collodie)

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Heimatliche Klaenge - Native Sounds vol.146 - The Skin - 1969-1975 Graz (Austria)

 

 Heimatliche Klaenge - Native Sounds

vol.146 - The Skin  1969-1975  Graz (Austria)

Peter Raab: Gesang, Gitarre

Ralph Jaritz: Percussion

Gьnther Schwarzbauer: Bass, Keyboard

Willi Emms: Bassgitarre

01 - Stop The Light

02 - Like A Hobo On The Train

03 - Hupf In Gatsch

04 - Til I'm Dead

05 - Lonely Way

06 - Hello Honey

07 - The End Of The Golden Dream

08 - Til I'm Dead

09 - You're Mine

10 - Western Melody

11 - The End Of The Golden Dream

12 - Iron Love

13 - Hupf In Gatsch

01 - 02 Sg Alpenton 74-5-45

03 - 13 demo

„The Skin" wurden 1969 als Quartett in Graz gegrьndet, 1971 verlieЯ jedoch Willi Emms die Gruppe.

Ihr Programm stьtzte sich schon sehr frьh auf Eigenkompositionen,

1970 wurde die Single "Stop the Light" (Alpenton 74-5-45) aufgenommen.

Bei der Vorausscheidung zum Bandwettbewerb der NEUEN ZEIT wurde 1970 in Mьrzzuschlag der 2. Platz erspielt.

Eine Nummer im Dialekt mit dem Titel "Hupf in Gatsch" wurde an den ORF geschickt, das Band ging jedoch verloren.

The Skin lцste sich 1975 auf.

Jancy said : TEXT 

Sam The Sham &The Pharaohs - Li'l Red Riding Hood & Wooly Bully (1966;1965)

 

Repost

Best known for their 1965 smash "Wooly Bully," which helped introduce Tex-Mex rhythms to mainstream rock & roll, Sam the Sham & the Pharaohs were formed in Dallas by lead singer Domingo Samudio, who took the name Sam the Sham from a joke about his inability as a vocalist. The Pharaohs consisted of guitarist Ray Stinnet, bassist David Martin, saxophonist Butch Gibson, and drummer Jerry Patterson. Before hitting it big with "Wooly Bully," a song about Samudio's cat, they recorded the independent single "Haunted House," which helped the band get a deal with MGM. Following "Wooly Bully," the group recorded a series of largely novelty singles, but only "Li'l Red Riding Hood" approached the success of its predecessor. Frustrated at being perceived as a talentless novelty act, Samudio broke up the Pharaohs in 1967 and recorded as the Sam the Sham Revue, and adopted the name Sam Domingo in 1970. His lone solo LP, Sam, Hard & Heavy, featured slide guitarist Duane Allman, but failed to establish him as a major talent. Samudio contributed two songs to the 1982 film The Border and later moved to Memphis and became a street preacher. "Wooly Bully," of course, remains a bar band staple.

On this 2004 two-fer, Collectables for some unknown reason switched the order of release, putting Sam the Sham & the Pharaohs' second album, 1966's Li'l Red Riding Hood, before their first album, 1965's Wooly Bully. Apart from that head scratcher, this is a great re-release by a band that is too often written off as a mere one-hit wonder (as if having one hit is a bad thing; think of how many bands never even pull that off). Fun, funny, and funky, Sam the Sham & the Pharaohs were just about the coolest garage/frat rock/whacked-out novelty band of the '60s. Everybody knows "Wooly Bully," their signature hit. Their other big hit was "Li'l Red Riding Hood." The songs on their first two (and only) records follow the blueprint of one or the other. On the one hand, there are tough rockers like "Sweet Talk," "The Memphis Beat," the rollicking stomper "Haunted House," "Hanky Panky," and the "Wooly Bully" clone "Sorry 'Bout That" -- all perfect for toga parties, keggers, and good old-fashioned blowouts. On the other hand, there are silly novelty tracks like "Deputy Dog," the goofy "Grasshopper," "El Toro de Goro (The Peace Loving Bull"), and the truly weird Tex-Mex "Juimonos (Let's Went") -- songs that never lose their infectious funk despite the often ridiculous nature of the lyrics. Some, like "Little Miss Muffet," even manage to turn these silly lyrics into tough and emotion-packed tunes. They also turn in a pretty darn credible version of Wilson Pickett's devastating ballad "I Found a Love." The band is always razor sharp, the recording is live and exciting on both records, and Sam, while he will never be mistaken for Bobby Darin, gets the most out of his limited vocal range through his nonsensical exhortations, witty asides, and general grooviness. Even if you already have a greatest-hits collection, you need more Sam the Sham in your life. These two albums are nonstop fun and frolic, and have not lost any of their charm some 40 years later. ~ Tim Sendra, Rovi

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Gonn - Frenzology (1966-1967 )

 

Repost

 

Like many garage bands of the '60s, the Gonn achieved (slight) international fame beyond anything they attained in their lifetime when their single "Blackout of Gretely" was rediscovered by collectors and reissued in the '80s. From Keokuk, IA, the Gonn released only a couple singles on tiny local labels in 1966 and 1967. Probably the toughest garage band in Iowa (not that there was an enormous amount of competition), the Gonn took their inspiration from the raunchiest aspects of the early Rolling Stones, adding the raw, throat-shredding screams that American groups of the kind were wont to use during this period.

One of the most collectible singles from the 60s garage band era is "Blackout Of Gretely," a rare as hen's teeth fuzz raver of epic proportions by the best and loudest band that ever came out of Keokuk, Iowa, the fabulous Gonn. With the belated interest of the collecting community, the band reissued the 45 and got back together for a reunion gig in 1990. Since that time, more tapes have surfaced, and the result is this exhaustive compilation. This rounds up all the tracks from the Bomp-Voxx vinyl collection, plus six more previously unissued things plus the live stuff (great version of "Oh Yeah"!!) plus two-count 'em-two booklets loaded with vintage photos and the complete history of the band. If true American bred fuzz garage band mayhem is your thing, you find much to love on this collection. 

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Jerry Lee Lewis - Live At The Star Club Hamburg (1964 )

 

Words cannot describe -- cannot contain -- the performance captured on Live at the Star Club, Hamburg, an album that contains the very essence of rock & roll. When Jerry Lee Lewis performed the concert that became this album in the spring of 1964, his career was at its lowest point. Following his scandalous marriage to his teenage cousin, he was virtually blacklisted in the U.S., and by 1964 it had been six years since he had a real hit single, he was starting his recording career again with a new label, and, to make matters worse, America had fallen in love with the Beatles and the bands that followed in the British Invasion, leaving him exiled from the charts. Ironically, he wound up in the Beatles' old haunt of the Star Club in Hamburg, Germany, in the spring of 1964, backed by the Nashville Teens, who still had yet to have a hit with "Tobacco Road" (which would scale the charts later that year). Lewis and the Nashville Teens had been touring throughout the group's native England for about a month, capped off by a stint at the Star Club, where the band played for two weeks, but was only joined by the Killer for one night, which was what was captured on this incendiary recording. Who knows why this was a night where everything exploded for Jerry Lee Lewis? It sounds like all of his rage at not being the accepted king of rock & roll surfaced that night, but that probably wasn't a conscious decision on his part -- maybe the stars were aligned right, or perhaps he just was in a particularly nasty mood. Or maybe this is the way he sounded on an average night in 1964.

In any case, Live at the Star Club is extraordinary -- the purest, hardest rock & roll ever committed to record. It starts with the Killer launching into "Mean Woman Blues" at a tempo far faster than the band is prepared for, and he never, ever lets go from that moment forward. He pounds the piano into submission, sings himself hoarse, berates the band ("What'd I Say, Pt. 2" has him yelling at a Nashville Teen to "play that thing right, boy!"), increases the tempo on each song, and joins in with the audience chanting his name. It's a crazed, unhinged performance, with the Nashville Teens running wild to follow his lead, and it's a great testament to the bandmembers that they nearly manage to keep up with him. One of the profound pleasures of this record is hearing the band try to run with Jerry Lee, which is exceeded only by the sheer dementia of the Killer's performance; he sounds possessed, hitting the keys so hard it sounds like they'll break, and rocking harder than anybody had before or since. Compared to this, thrash metal sounds tame, the Stooges sound constrained, hardcore punk seems neutered, and the Sex Pistols sound like wimps. Rock & roll is about the fire in the performance, and nothing sounds as fiery as this; nothing hits as hard or sounds as loud, either. It is no stretch to call this the greatest live album ever, nor is it a stretch to call it the greatest rock & roll album ever recorded. Even so, words can't describe the music here -- it truly has to be heard to be believed. (Review by Stephen Thomas Erlewine)

 

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Tony Sheridan - Live In B2 Club Moscow (27.03.2011)

 

 

"Тони Шеридан (англ. Tony Sheridan, полное имя Энтони Эсмонд Шеридан Макгиннити англ. Anthony Esmond Sheridan McGinnity; 21 мая 1940, Норидж — 16 февраля 2013, Гамбург[1]) — английский певец и гитарист, исполнитель раннего рок-н-ролла, вошедший в историю благодаря синглу My Bonnie (1961), в записи которого приняли участие тогда ещё практически никому не известные The Beatles.

 27 марта 2011 он выступал в московском клубе Б2, на 11-летии ресурса Beatles.ru. Присутствовал там и ваш покорный слуга. И, чтобы унести как можно больше впечатлений, (включая автограф и совместные снимки) я записал почти весь концерт на плеер-диктофон Ritmix RF-9700. Просто, на память. Звук получился как на Beatles in Star Club. Как по качеству, так и по духу. И вот решил выложить, в память о Тони. ..."

eggmann (rutracker.org)

"March 27, 2011 he performed in Moscow B2 club on the 11th anniversary of the Beatles.ru. Was there, and yours truly. And to carry as many impressions (including autograph and joint pictures) I wrote almost the entire concert on the player-recorder Ritmix RF-9700. Just as a keepsake. The sound was as Beatles in Star Club. Both in quality and spirit. And so I decided to post in memory of Tony."

  

eggmann (rutracker.org)

01 Introducing
02 Bright Lights Moscow City
03 What'd I Say
04 Whole Lotta Shakin' Goin On
05 Yesterday (parody)
06 Skinny Minny
07 Fever
08 All Right Now
09 High School Confidential (vocal Денис Мажуков)
10 My Bonnie
 

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The Shadows - Live At Abbey Road, Live At The Liverpool Empire (2CD Set)

 

 In 2001, See for Miles released Live at Abbey Road/Live at the Liverpool Empire, which combined a pair of albums by the Shadows on one compact disc -- Live at Abbey Road (originally recorded in 1982) and Live at the Liverpool Empire (originally recorded in 1989).

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