The Fallouts - I'm Sick Of Living (1966-67) EP

 

Mike Furber & The Bowery Boys - Just A Poor Boy (1966)

Mike Furber and The Bowery Boys - Diddy Wah Diddy

 

Connie Francis - Artists Of The Week

 

 . Heartbeat (02:37)

. He's My Dreamboat (02:41)

. Jealous Heart (02:32)

. La Paloma (02:35)

. Mama He's Makng Eyes Of Me (02:14)

. Many Tears Ago (01:53)

. My Happiness (02:26)

. My Heart Has A Mind Of Its Own (02:30)

. No One (02:46)

. Oh Boy (02:36)

. Playin' Games (02:10)

. Quierema Mucho (02:51)

. Raining In My Heart (03:04)

. Second Hand Love (02:49)

. Spanish Nights And You (02:20)

. Vacation (02:19)

. When The Boy In Your Arms (02:41)

. Where The Boys Are (02:36)

. Who's Sorry Now (02:15)

. Whose Heart Are You Breaking Tonght (02:21)

. Your Other Love (02:04)

. Zingara Gypsy (03:00)

PLUS BONUS

http://www76.zippyshare.com/v/24116282/file.html

Annette Funicello & Connie Stevens (1959)

Annette Funicello

Annette Funicello was 13 years old when she was discovered by studio head Walt Disney dancing in an amateur production of Swan Lake in Fullerton, California. Much to the enmity of her Mickey Mouse Club co-stars, Funicello joined the cast late in the show's first season and was not required to audition. However, Disney's impulses proved correct, as she swiftly became the most popular performer on The Mickey Mouse Club and featured in her own storyline, Adventures in Dairyland. Soon it was obvious that Funicello needed to make records in order to exploit her potential as a teen star, and while Annette wasn't very enthusiastic about her ability to sing, Disney engaged established arranger Tutti Camerata to pilot her career as a recording artist. Funicello's first record, "Tall Paul," peaked at number seven on the Billboard pop charts and spent nine weeks there; it would prove the highest chart position she would enjoy. Nevertheless, Funicello's enormous audience base -- mostly teen girls -- was enough to support her through 12 albums released through 1965, all but the first appearing on the Buena Vista label, a record company begun by Walt Disney so that Funicello's records need not appear on the Disneyland imprint.

Funicello ultimately got accustomed to making records, and genuinely enjoyed working with Camerata, one of the few forty-something arrangers of the time who "got" the basic building blocks of early rock music. Her albums gradually improved starting with the third one, Annette Sings Anka, probably the first LP to treat the work of a rock songwriter as repertoire. In 1963, Funicello starred in Beach Party, the first of five immensely popular "beach party" films, usually co-starring Frankie Avalon; although produced by AIP, the scripts of every one of these films was personally read and approved by Walt Disney in order to protect Annette's squeaky-clean image. Funicello's film vehicles proved important grounds for breaking other artists; Stevie Wonder appeared in Muscle Beach Party (1964), James Brown in Ski Party (1965), and the Beach Boys backed her up in her final film for Disney, The Monkey's Uncle (1965). Funicello's own personal best in terms of LPs came with the soundtrack album to Muscle Beach Party.

In 1965, Funicello informed Disney about her intention to marry, and to retire from acting, and Disney gave his blessing. Although she did appear afterward in a few films, including the Monkees' Head (1968), made TV commercials, and appeared in Dick Clark specials in the 1970s, Funicello essentially remained a retired, full-time mom from 1965 forward. She made one more album in the 1970s, The Annette Funicello Country Album, and it proved the only record she made that reflects her personal interests in music. In 1993, Funicello disclosed that she was suffering from multiple sclerosis, and did not appear in public in the years that followed. Her work for Buena Vista remains an acquired taste, a little too saccharine for some listeners. However, some of Camerata's arrangements really did "rock" and Funicello's bright, straightforward, and always enthusiastic singing looked forward to female pop singers of a much later era, the new wave vocalists of the 1980s. In April 2013, Annette Funicello died from complications of the multiple sclerosis she had disclosed years earlier; she was 70 years old.

http://www.rocky-52.net/chanteurs/annette.htm

ANNETTE 

ANNETTE FUNICELLO DEBUT ALBUM 

1959 BUENA VISTA

******

Connie Stevens 

Actor/singer Connie Stevens was born Concetta Rosalie Ann Ingolia on August 8, 1938, in Brooklyn, NY. Coming from a highly musical family (both her parents were jazz musicians and her brother was a drummer), the up-and-coming singer changed her last name to Stevens after her father's stage name (Teddy Stevens). At the age of 16, she was singing in her first group, the Three Debs. By the late '50s, Stevens had co-launched a singing and acting career, signing with Warner Bros. and issuing her debut album, Conchetta, in 1958 and acting in several movies and TV series (Young and Dangerous, Rock-a-Bye Baby, etc.). Stevens continued on with her musical career throughout the '60s, landing two big hit singles -- a duet with actor Ed "Kookie" Burns on "Kookie Kookie (Lend Me Your Comb)" and the number one 1961 hit "Sixteen Reasons"; but it was her role as Cricket Blake in the popular TV series Hawaiian Eye that made Stevens famous. It was also during the '60s that Stevens married singer Eddie Fisher, and although the marriage would only last two years (from 1967 through 1969), Stevens and Fisher would have two daughters together, future actress Joely Fisher and future actress/singer Tricia Leigh Fisher.

Stevens stopped issuing recordings in the mid-'60s (after issuing such further albums as From Me to You, The Hank Williams Song Book, and As Cricket), and focused primarily on acting, starring in such movies as Grease 2, Back to the Beach, and Tapeheads, among countless others. In addition, Stevens has developed her own cosmetic skin care product line, Forever Spring, and in the late '90s, she opened the Connie Stevens Garden Sanctuary Executive Day Spa in Los Angeles, CA. Stevens has also founded the Windfeather project, which awards scholarships to Native American Indians. In 1991, she was awarded the Lady of Humanities Award from the Shriners Hospital and Humanitarian of the Year by the Sons of Italy in Washington. In 1994, Stevens issued her first recording in quite a few years, Tradition: A Family at Christmas, along with both her daughters.

http://en.wikipedia.org/wiki/Connie_Stevens

Connie Stevens - Sixteen Reasons (1959)

Filet of Soul - Freedom (1969)

Band:

Mike Peace - vocals, guitar

Ben Wiesneiwski - guitar

Denny Lewan - bass 

Rich Legault - drums

http://en.wikipedia.org/wiki/Filet_of_Soul_(Wisconsin_band)

http://www.michael-peace.com/MichaelPeace-AttilaHuns-FiletofSoul.htm

https://www.facebook.com/pages/Attila-the-HUNS/289503647737502?v=info

Весьма редкий единственный опус от Чикагской группы Filet Of Soul, выпущенный мизерным тиражом!!! Смесь Чикагского блюза с Psychedelic Rock, преобладающим в конце 60-х, довольно жесткого гаражного саунда в некоторых композициях, плюс битловские нотки. 

Drummer Rich Legault, bassist Denny Lewan, singer/guitarist Mike Peace and rhythm guitarist Ben Wiesneiwski were all members of the Wisconsin-based Attila and the Huns. Formed in 1964, the band became quite popular on the local dance and club circuit, eventually releasing a self-financed 45 "CHERYL" and "THE LONELY HUNS" on the Sara label. In 1967 the band placed second in a local battle of the bands contest and caught the attention of businessman/manager/producer Lennie LaCour. 

Singer/guitarist Mike Peace picks up the narrative: "Lennie was a gimmick kind of guy, who had his success in show biz due to an Orange Crush commercial that he sang vocals on as an artist know as the "Big Rocker". He was always trying to catch a trend or some bandwagon to ride along with it. The Hula Hoop was enjoying a big come back around 1968 so... the first release he did with us while were were still working as Attila and the Huns was a song called 'Hula Shake' which he wrote about a "new dance sensation that was sweeping the nation called the Hula Shake". It was such a contrived concept that it didn't stand a chance in the marketplace. I wrote the flip side 'Hurry Back', but Lennie didn't give me any writer credit for it. The 45 only shows his name as writer. This was by far the better of the two songs but it wasn't the push side of the record. 

LaCour managed to get Chess Records interested in Attila and the Huns. Under his tutelage the company financed some recording sessions in the Chess Studio and even prepared cover art for a projected album, but nothing came of the deal. 

Chess wouldn't release the album so Lennie had to buy the license rights to his own production. This was the original cover that was designed for Chess, but since they did not want to release it at the time, Lennie bought the license rights from Chess. The cost of a color cover was above his budget and he convinced us to change our names to "The Filet of Soul" so the cover was made black and white and the new name tacked on top of the old picture. This photo won a photographers blue ribbon at the Indian Head Photographers Convention around 1971. I set up a camera and shot the photo on an auto time shutter release setting. 

Released by LaCour's Dynamic Records label 1969's blue-eyed soul single "Sweet Lovin'' b/w "Do Your Own Thing" (Dynamic catalog number 1002) was Lennie's next release for us and served as our debut under the new name 'Filet of Soul' - also Lennie's idea. This one was an immediate local Wisconsin hit. I remember driving to a gig and hearing "Sweet Lovin'' playing on my car radio. I had my radio buttons tuned for three local stations that I knew had our record. I was driving alone and out of curiosity I switched to WSTP Stevenspoint to discover they were playing it at the same time. WMRL Merril was the other station so I pushed that button to find it was also playing the song. I was bouncing up and down on my car seat and was so excited that I had to pull off the road, honk my horn and scream at the top of my lungs. I was sure that we would be appearing on the Ed Sullivan show next but it turned out that Lennie hadn't bothered to secure any kind of record distribution deals so record sales simply didn't happen. Turns out that Lennie believed that if a song was "hot" enough the distributors would contact him. But bigger stations were extremely reluctant to play records that didn't have distribution agreements since sales were what showed a song was hot. He had good intentions but not enough marketing savvy to help The Filet of Soul make it. 

While the single did outside of the local area, LaCour signed the band to his own Magic Touch label, financing another release - 1969's 'Proud Mary' b/w (Get Out, Get Out) We Want Peace' (Magic Touch catalog number 2078). Like the debut their sophomore release did nothing commercially, but LaCour continued to support the band, financing an album on his small Chicago-based Moniquid Records.

Filet Of Soul - Freedom (1969/2011)

http://rutracker.org/forum/viewtopic.php?t=3994432

***

"... Filet Of Soul very quickly developed their own sort of orientation with self-penned songs from a simple love ballad typed garage and 60s style with a good feeling for rhythm, also with the guitars to a whole diversity of common styles of the 60s with influences ranging from the twist era over The Beatles and even James Brown in two songs, all with something of their roots of inspirations coming through intact. Their roots, love songs and light but slightly raw groove makes their sound attractive and accessible. We hear all what is needed to make them a very enjoyable band....

...Filet of Soul - Freedom CD. Reissue of very rare 1969 low-fi private press rock record from the Chicago area ex-Attila and the Huns group. Released by the band themselves after beging rejected by Chess records....

...The great Chicago blues/psychedelic band that mixed Chicago blues with the prevalent Psychedelic sounds of the late 60's on the rare and classic 1969 LP Freedom. Produced by Lenny LaCour, Co-owner of Chess Studios, this reissue brings forth the great talent of Mike Peace, formerly of The Huns. From the master tapes... "

The Freshmen

by Request

The Freshmen -  When Summer Comes: The Pye Anthology

This CD assembles the complete recordings from 1965 through 1969 by the Freshmen, their music freely mixing the sounds of (and often encompassing the songs of) the Beach Boys, Sam & Dave, Jay & the Americans, and the Beatles. The music is well played and sung, and a lot of fun, and some of it is given enough of a fresh twist to make it worth owning -- their versions of "The Little Girl I Once Knew" and "Cara Mia" are rather endearing, even if they don't quite soar to the same heights as the originals. The group had a prodigious reputation in Ireland and not only got to record a string of singles but also an LP, all of which are represented here. The sound is excellent and the annotation is extremely thorough, delving not only into the group's history but also into a 1960s Irish music scene that isn't too well known among Americans or even contemporary Britons.

Good Flac quality

but not separable ...

bug CUE , I think

source RuTracker

Fallenrock - Watch For Fallenrock (1974)

01 - She's A Mystery 

02 - Tie Me

03 - Marie Anne

04 - I'm Never Alone 

05 - Sayin' It's So Don't Make It So

06 - Lonely In Churchville 

07 - My World Begins And Ends With You

08 - We Got Love 

09 - Love's A Game 

10 - World On A String 

http://groovytunesday.com/descriptions/music/fallenrock.html

Fugitives-On The Run With Fugitives ( 1966)

Fugitives were from Richmond, Virginia and were formed by "Joe Russell" (organ, vocals), "Richard Donlavey" (lead singer, saxophone), "Mick Russell" (lead guitar, vocals), "Tommy Sickal" (rhythm guitar), "Jimmy Sickal" (bass guitar, vocals) and "Buster Byard" (drums).

They recorded one album "On The Run With The Fugitives" (JPL 141) in 1966 with the 'infamous' Carolina-based label "Justice Records" 

Fugitives paid "Justice Records" roughly $1,000 for four hours of studio time at "Justice Records"'s Winston-Salem Studios and the label pressed 500 or 1,000 copies of their "On The Run With The Fugitives".

In musical terms it isn't radically different from most of the "Justice Records" catalog. 

But Fugitives were in top 5 of "Justice Records" catalog in terms of talent and enthusiasm. 

First, overlooking a couple of the lame top-40 covers (a painfully out of tune "Until" and yet another needless cover of "Ebb Tide"), Fugitives plays with considerable enthusiasm which usually makes up for their limited technical skills.

Blown notes and off-key vocals abound, but on material such as "Turn On Your Love Light" and "Bo Diddley" it just sounds like these guys were having FUN. 

The other winning factor is the album's high self-penned content.

Four of "On The Run With The Fugitives"' twelve selections are originals, with the roaring Fuzz-propelled title track "On The Run" (which was apparently intended as a never-to-be-released single), and "Kidding Around" standing out among the most impressive performances. ~ info by Psychedelic-Rock'n'roll  

http://badcatrecords.com/BadCat/FUGITIVES.htm