Seweryn Krajewski - Pogoda Na Szczescie

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The Kinks - Kinky Boots

The Secret Sessions (Phenomenal Cat PC 63/71)

Billy J. Kramer with The Dakotas - Little Children & I'll Keep You Satisfied (1964)

Billy J. Kramer with The Dakotas- Do You Want To Know A Secret \The EMI Years 1963-1983\ 4 CD Box

Knut Kiesewtter - That's Me Star-Club

The Kinks - To The Bones

 

Bill Kimber and The Couriers - Swinging Fashion&Shakin up a Storm (2 in1) 1964-1965

This group, formed in the 1960s, included two Sloane old boys, Bill Kimber on rhythm guitar and vocals and Alan Tiuner on drums. Others in the line-up were Richard Laws - vocals and lead guitar, Peter Fairweather - vocals and bass guitar and Barry Ashby who joined in 1965 as a vocalist. They didn't chart in this country with songs that included covers of the Swinging Blue Jeans' Hippy Hippy Shake and the Beatles' I Want To Hold Your Hand, but became massive in South Africa. Their South African recordings, Shakin' Up A Storm and Swinging Fashion, are very collectable and fetch ?100+ each in mint condition and their 1968 Parlophone recording, Kilburn Towers/Goodbye, whilst not as valuable is still a collector's item. Bill Kimber also recorded as a solo artist as William E Kimber and two of his albums, William Kimber and Art of William Kimber are also sought after by collectors. A South African website remembers them, in 1964, as one of the hottest "new wave" groups in the business and says they're a "talented group of London boys (they're all under twenty) who are being launched into the pop world of music in an unusual way- they're getting their big kick-off in South Africa."
Their promotion included, in the style of Beatles' films of the era, a 90 minute film, made in South Africa, that showed them touring the country. David Hemmings was also in this film as were Brian Poole and The Tremeloes whom the group were later to tour England with. This film, described at the time as 'a musical comedy in English' and the 'most unusual film ever made in South Africa', included over twenty songs, mainly standards like Long Tall Sally and I Got My Mojo Working, to make up for the lack of plot, no logical sequence of events and the fact that the screenply was written as they went along. The group were described as 'specialists in the Mersey beat, the contemporary folk music which was originally popularised by The Beatles. The music is characterised by an accented beat, vocals which are screamed rather than sung, and electric guitars tuned and amplified to an excruciating pitch."
As a group, The Couriers owed their existence to Johannesburg-born Frank Fenter and it was he who arranged for them to go to South Africa to make what was that country's first English language musical. They don't seem to have achieved the 'lucrative career' that was predicted for them.

http://www.rock.co.za/files/couriers_index.htm

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01 - Bill Kimber & The Couriers - I Want To Hold Your Hand02 - Bill Kimber & The Couriers - Johnny B. Goodel03 - Bill Kimber & The Couriers - Misery04 - Bill Kimber & The Couriers - Hold Me Tight05 - Bill Kimber & The Couriers - Talkin' Bout You06 - Bill Kimber & The Couriers - Twist And Shout07 - Bill Kimber & The Couriers - Hippy Hippy Shake08 - Bill Kimber & The Couriers - Farmer John09 - Bill Kimber & The Couriers - I'll Never Get Over You10 - Bill Kimber & The Couriers - That's What I Want11 - Bill Kimber & The Couriers - Alright12 - Bill Kimber & The Couriers - Road Runner13 - Bill Kimber & The Couriers - Money14 - Bill Kimber & The Couriers - I Wanna Be Your Man15 - Bill Kimber & The Couriers - Can't Get Used To Losing You16 - Bill Kimber & The Couriers - Be Mine17 - Bill Kimber & The Couriers - No Particular Place To Go18 - Bill Kimber & The Couriers - Come Home To Me 18 - Bill Kimber & The Couriers - Come Home To Me19 - Bill Kimber & The Couriers - Come On, Come On, Come On20 - Bill Kimber & The Couriers - Windy And Warm21 - Bill Kimber & The Couriers - Life Without You22 - Bill Kimber & The Couriers - I'm A Hog For You Baby23 - Bill Kimber & The Couriers - Something Else24 - Bill Kimber & The Couriers - When You Gonna Say25 - Bill Kimber & The Couriers - I Wanna Know26 - Bill Kimber & The Couriers - Carteen

Kenny And The Kasuals -Things Getting Better & Nothing Better to do

This Dallas group -- too accomplished to be called a garage band in the usual sense of the term -- was pretty popular in their hometown in the mid-'60s, but never made any noise on the national level. It's ironic that much of their reputation rests on a live album of covers, Impact, that ranks among the most collectable LPs of the '60s, as the group actually wrote a lot of their own material. Starting in the mid-'60s as a sort of raucous Dave Clark Five-meets-the Stones combo, the Kasuals progressed to acid punk with their most popular local hit, "Journey to Tyme" (which would become one of the most valued singles by '60s garage collectors). They were a typical '60s group in that they also cut covers of popular R&B and British Invasion tunes, and sappy pop ballads that were most likely encouraged by the shortsighted local label owners for whom they recorded. The group tried their luck in New York City briefly and split in late 1967. A spin-off group (without leader Kenny Daniels) released a promising single with progressive and folk influences under the name Truth, and the group reunited very briefly before splitting again after several members were drafted. Their material was reissued in Europe in the '80s, along with a fair number of previously unreleased outtakes.

Back in the days before Sundazed Records and Norton Records had cornered the market in reissues of garage band recordings, Eva Records from France was a major player in the field. One of the highlights of their catalog that still hasn't been supplanted by a better version from someone else, Things Gettin' Better/Nothing Better to Do is a compilation of two Kenny & the Kasuals LPs on a single CD, in surprisingly decent sound -- with the major flaw that the two albums' tracks were reversed in order from what is listed on the tray card or the insert. Essentially, Kenny & the Kasuals were a highly talented Texas-based garage band; at times, they push the envelope of the latter category with their virtuosity, which extended to a considerable amount of songwriting on both of these albums. Jerry Smith's fuzztone guitar has a nice crunchy texture on "Journey to Time" and "Come Tomorrow," and Smith's and Kenny Daniels' guitars have a nice ringing texture that's right in your face on "Don't Let Your Baby Go." The group's material all has a defiant punk edge, sometimes with a comic edge, as on the brilliant "Who Stole My House," until they evolved into the decidedly spacier Truth, two of whose tracks are represented here, one the surreal, psychedelic "Chimes on 42nd Street," and the more languid, folk-like "When Was Then."

The Kreeg - Impressin' (1966)

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Members: 

HAP BLACKSTOCK

LARRY INKS 

ROBERT STURTCMAN

RUSS STURTCMAN

RAY TRUJILLO

The Kreeg were an extremely talented garage rock outfit formed in Albuquerque, NM, in 1966, out of another local band called the Prophets. Their lineup consisted of Bob Sturtcman (rhythm guitar, vocals), who'd previously played with another band, the Goldenaires, Hap Blackstock (bass, vocals) (later succeeded by Ray Trujillo), Larry Inks (lead guitar), and Russ Sturtcman (drums). When the Prophets elected to change their name, it had been Bob Sturtcman's idea to call the band Blitzkrieg, but after kicking it around a bit, that was shortened to the Krieg and, finally, the Kreeg, which everyone liked. 

Although all of them would admit to being heavily influenced by the Beatles at some point, by the time they'd turned into the Kreeg, the members were listening a lot harder to Them, the Yardbirds, the Rolling Stones, the Kinks, and the Animals, as well as absorbing the more sophisticated sounds that acts such as the Beau Brummels and the Leaves were bringing to the table. The resulting sound, in their hands, freely crossed between blues-influenced garage punk and folk-rock, with pleasing elements of both evident on their records. 

Bob Sturtcman wrote some songs, and they recorded a few demos and had the honor of being the first band signed to Dick Stewart's newly founded Albuquerque-based Lance Records, and their debut record, "Impressin'" b/w "How Can I," did well enough locally that Lance soon became the home to most of the best rock music talent in the area. For their part, the Kreeg were successful enough to make something of a steady part-time living playing frat parties and high school homecoming dances, but weren't able to make the leap to the next level, at least not before lead guitarist Larry Inks decided to move to California, which began the disintegration of the group. The additional influence of the military draft, which was breathing down the necks of Bob Sturtcman and a couple of the others, didn't help, and by the end of 1968 the Kreeg were history. 

Bob and Russ Sturtcman worked together in Mother Sturtcman's Jam and Jellies in 1968 and 1969, and then in an outfit called Albatross, based in Taos, NM, during the early '70s, and in the 1990s, a collection of Kreeg recordings, demos, and live tracks entitled Impressin' was assembled on CD by Bob Sturtcman and Dick Stewart and released by Collectables. The latter, which included good annotation and extensive discography and personnel information, was notable as one of the few garage band discoveries of the era to live up to the reputation surrounding the band. 

Keith... Wirtz ...

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- а кто же такой Марк Вирц?

- он написал "Teenage opera"...

- хм...

- ну, там ещё пел Кейт Вест...

- хм...

- ну, он ещё пел в "Туморроу"...

- ага... хм...

- ну, там ещё играл на гитаре Стив Хоу...

- да-да-да...

- ну, который играл в "Йес"...

- а!!!

- вот, кто такой Марк Вирц... ))

Марк Филипп Вирц (впоследствие - также Мишель Синклер) родился в Страсбурге (Эльзас/Лотарингия). Детство своё он провёл в Кёльне, в начале 60-ых он приезжает в Лондон, где учится в Лондонском Фэрфильд колледже искусств и наук и Королевском Колледже Драмматических Искуств.

с 1964 года Марк Вирц - сотрудник EMI Records, сперва - сессионный музыкант (пианист), затем - аранжировщик и продюсер. Он работает бок о бок с Битлз, выпускает записи множества групп, в том числе Пинк Флойд, Ин Кроуд и т.п.

в 1967 году - он сотрудничает с группой Туморроу (продюсер и клавишник), тогда же он задумывает проект "Teenage Opera", первые синглы которого (вокал - Кейт Вест) выходят в 1967 году ("Excerpt from A Teenage Opera" и "Shy Boy").

в том же году он получает премию "Ivor Novello" как автор и продюсер первой в мире рок-оперы.

в 1968г. Марк Вирц женится на Розе Хэннаман (певица, её голос можно услышать в композиции "Barefoot & Tiptoe" - "Teenage Opera").

в конце 60-ых он пишет песни и продюсирует множество исполнителей, создаёт совмество с Шэз Милз Chas-Mark Productions, а в 1969 году уходит из EMI Records. в 1970 в соавторстве с Марией Фэлтам записывает диск "Philwit & Pegasus".