Golden Earring - Sgs 1965 - 1971

Le Group Five - En direct de Liverpool

 

 

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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 1.zip
http://www76.zippyshare.com/v/48600919/file.html
THE GOLDEN EARRING - The Complete Single Collection CD Vol 2.zip
http://www76.zippyshare.com/v/62180453/file.html

Soup Greens - That's Too Bad (1965)

 

A very '65 Garage group hailing from New York City. Farfisa Organ driven sounds abound. Eight songs in all of their known recordings. Think The Castaways' 'Liar, Liar' mixed with some Frat-Rock for a good idea. 'Shed a tear' being a good example. Your typical 60's teenage ups & downs Boy/Girl song themes. The moody ballad, 'Please Don't Go' is pretty good and alternates its' slow/fast tempos back & forth well. The title track appears twice here, first as the band's only A-Side released single and secondly, as a similar sounding abet, a slightly slower early first version. Both are very typical but, very likeable 1965 Garage. It's B-side, Dylan's 'Like A Rolling Stone' (and featured on Pebbles Volume 1) is given the Farfisa driven treatment with upbeat harmony vocals working very well as a Garage tune. 'Satellite' is a pleasant sounding 'Telstar' like instrumental which, reminded me of music you would've heard played in a 60's roller rink. 'You can't have my woman' their first demo from late 1964 is an atypical mid-tempo Garage rocker yet, features more guitar than their later Farfisa lead stuff.

Don &The Goodtimes - Big big knights

Don &the Goodtimes 

Portland, Oregon 

1964 - 1968 

Members 

Dave Child ~ Bass 

Charlie Coe ~ Guitar 

Jack Ely ~ Vocals 

Don Gallucci ~ Keyboards 

Jeff Hawks ~ Vocals 

Bob Holden ~ Drums 

Don McKinney ~ Saxophone, Vocals 

Joey Newmann ~ Guitar 

Pierre Ouellette ~ Guitar 

Ron Overman ~ Bass 

Jim Valley ~ Guitar 

The very first Don and The Goodtimes included Don Gallucci, Don McKinney, Bob Holden, Dave Childs, Pete Ouellet and me, Jack Ely formerly of The Kingsmen, as vocalist.

http://pnwbands.com/goodtimes.html

Don & the Goodtimes were a Pacific Northwest group formed in 1965 by Don Gallucci (keyboards) and Bobby Holden (drums), veterans of the band scene in Portland and the surrounding area. They cut records for Scepter Records' Wand label and for the Jerden label, and had some local success with the latter. The group didn't find a national audience, however, until Dick Clark chose them as the house band on his 1967 ABC afternoon program Where the Action Is. They made the move to Los Angeles and a contract with Epic Records followed that year, along with a single and an album. Their debut single, "I Could Be So Good to You," only got to number 56 nationally, although it did better in several key markets, ascending to number 15 in Los Angeles and reaching the Top 40 in New York, indicating that its impact was far greater on the two coasts than in the middle of the country. The group lasted for another year, issuing three more singles that didn't do nearly as well. Holden and bassist-singer Ron "Buzz" Overman quit in 1968, and Gallucci and the other members, Jeff Hawks (lead vocals) and Joey Newman (guitar), organized a new group called Touch, with Bruce Hauser (bass, vocals) and John Bordonaro (drums, vocals), a psychedelic band that got one self-titled LP out in 1969 before breaking up.

Grass Roots - All Time Greatest Hits

This low-priced disc is far and away the best single-CD compilation ever issued of the Grass Roots' work, 16 chart singles covering every phase of their history, from 1966's "Where Were You When I Needed You" (in its actual hit version) thru "Let's Live for Today" and "Midnight Confessions" to their last hit, 1972's "The Runway." Listening to this 44-minute compilation, one not only encounters a superb array of catchy songs (and even some of the lesser hits, like the number 61-charting "Come On and Say It" and the number 34-charting "Glory Bound," are compelling pieces of soul-based pop/rock) but also virtuoso production and playing. The material has been remastered in state-of-the-art sound, giving one a chance to appreciate the production and engineering as well as the playing, which (regardless of whether it was provided by L.A.'s best session musicians or members of the actual band) is extraordinarily polished and quite powerful -- the piano, drums, and bass on "Sooner or Later" sound like they're in the same room with the listener, and the singing seems even more up-close and personal. The annotation also explains the group's somewhat confusing formation, and their evolution from a folk-rock band to one of the most successful white pop-soul outfits of their era, closer in spirit to the Fifth Dimension than to Bob Dylan, Roger McGuinn, et al.