The Mystics - 16 Golden Hits

Beryl Marsden - Changes - The Story Of Beryl Marsden

Mersey Beats - Liverpool A Go Go (1965) and Canadian Beatles....

The Merseymen - A Visit to the Beatle Inn (1964)

Mike Cotton Sound - News From Liverpool

 

 

Dave Rowberry, John Beecham, Micky Moody, Mike Cotton

In more than decade of activity from 1960 until 1971, the Mike Cotton Sound transformed themselves and their sound several times, starting out playing trad jazz (i.e., Dixieland jazz), switching to rock & roll and blues, then remaking themselves in the vein of Stax/Volt type soul, and finally ending up as a progressive soul band backing R&B/jazz veteran Zoot Money. In all of that time, ironically, the group only enjoyed one hit, "Swing That Hammer," a minor chart entry in England during 1963. That small statistic, however, is deceptive as a measure of the Mike Cotton Sound's influence and success. They were, for much of the '60s, one of the busiest bands in England, playing club dates of their own and also backing such visiting American performers as Solomon Burke, Stevie Wonder, the Four Tops, and Gene Pitney, and playing sessions behind other popular performers -- and more than a decade after the group's one hit, they were playing sessions with the Kinks. Additionally, members of the Mike Cotton Sound went on to play key roles in such outfits as the Animals and Argent.

Mike Cotton had played trumpet in various trad jazz bands in the late '50s, and in 1960 he formed a group of his own with members of the Peter Ridge Band, who broke up that year. Their sound was pure Dixieland, with John Beecham playing trombone, Gerry Williams on the clarinet, Stu Morrison on banjo, Jeff King playing bass, Jimmy Garforth at the drums, and Maureen Parfitt (known as Little Mo) singing. Parfitt exited the Mike Cotton Jazzmen, as they were then known, after a one-month series of gigs at Germany's Storyville club and was succeeded by Jeanie Lambe, who lasted a year. The group lucked out by inheriting a recording contract originally signed by the Pete Ridge band with producer Dennis Preston and his Lansdowne studio which, in turn, had a licensing agreement with EMI-Columbia.

The group got an amazing amount of work, playing as many as 300 gigs a year, primarily in clubs in the north of England, where they were best known. They also became veritable fixtures in live appearances on the radio and did their share of television performances as well. And they were sufficiently respected and successful to rate a performance onscreen in the 1962 dramatic film The Wild and the Willing, shot in the spring of that year.

The group also saw the first of a dizzying series of lineup changes in 1962, so they were a very different band by the time the movie opened in October of that year. Gerry Williams exited in early 1962 to be replaced by Nottingham-born John Crocker, and Derek Tearle took over on bass soon after, although he was replaced by Conway Smith following a serious road accident. Dave Rowberry was added to the lineup on piano in the summer of 1962.

The group's sound evolved gradually during this period, as the audience for trad jazz gradually disappeared. By 1963, it was becoming plain that they needed something to boost their audience. The number 30 status of "Swing That Hammer" was a last gasp for trad jazz in a musical environment that was shifting radically. The arrival of the Beatles at the top of the charts with "Please Please Me" spearheaded an explosion of chart activity by rock & roll groups of all stripes, and heralded the end of the trad jazz boom. In response, the Mike Cotton Jazzmen shifted their sound and emphasis, adding more rock & roll and R&B in their repertory. They also changed their name, first to the Mike Cotton Band and then to the Mike Cotton Sound.

They got their first chance to show off their new sound in the wake of "Swing That Hammer" with their self-titled debut LP, which included covers of material by Bo Diddley and the Bill Black Combo. It was only a transitional work, being a little too jazzy for the rock audience that the group hoped might hear it, and didn't sell in serious numbers, but it opened up new musical territory and venues for the group. The result was a series of shows and tours backing the likes of Stevie Wonder, the Four Tops, Solomon Burke, Sugar Pie DeSanto, Sonny Boy Williamson II, and Gene Pitney, among others, and the group performed on bills alongside Tom Jones and Dusty Springfield, even participating in informal jams and performances with them.

The group parted company with Preston in an effort to completely reinvent their sound, abandoning their jazz roots in favor of a headfirst plunge into R&B. By 1964, concerts by the group featured their versions of songs by Jimmy Reed, Muddy Waters, and Howlin' Wolf, a repertory at which they came to excell. More lineup changes accompanied this transformation, as Stu Morrison (who later joined Chris Barber's jazz band) gave up the banjo for the bass and, with Cotton, handled the vocals; Dave Rowberry switched from the piano to the Vox organ, and exited the group in 1965 to join the Animals as the successor to Alan Price; among the musicians who auditioned (and were rejected) for his spot were Reginald Dwight (aka Elton John) and Joe Cocker, before Eric Delaney, later of the progressive jazz/rock outfit Sky, became their keyboard player. Jimmy Garforth left the music business in 1966 and was succeeded by Bernie Byrnes, late of the Mindbenders, and Morrison was later succeeded by Jim Rodford.

the Mike Cotton Sound were signed to Polydor in 1965 and cut a very respectable single of "Harlem Shuffle," which was as clear a sign as any of the changes that had taken place. By then, they'd transformed their sound once more, away from Chicago-style blues and R&B into more of a Stax/Volt vein, facilitated in part by the arrival in the group's lineup of an American vocalist. Lucas (aka Bruce MacPherson Lucas), born in Cleveland, OH, was a former GI living in England. His presence helped boost the band's credibility as a soul-based performing unit.

They were also lucky enough to sign with Pye Records and find a producer in Mike Raven, who could help them come up with a commercial sound on their records. "Soul Serenade" b/w "We've Got a Thing Going, Baby" rose to the Top 30 on the British R&B charts, but they were never able to follow it up properly. Meanwhile, ex-Cheynes and future Camel leader Pete Bardens passed through the lineup, as did Derek Griffiths, formerly of the Artwoods, on guitar, and Rodford exited in 1969 to link up with Rod Argent, a relative, in the formation of Argent.

The group held together long enough, however, to be engaged by Apple Records as the backing band on Mary Hopkin's Postcard album. Music was continuing to change with the roster of musicians, and another name change seemed in order. the Mike Cotton Sound became Satisfaction, and got to record an album in a more progressive vein for England's Decca Records, which attracted little notice. By 1971, after a brief hookup with Zoot Money, the group finally split up, although Mike Cotton and his fellow brassmen from the band were recruited by the Kinks for some notable mid-'70s recording sessions.

In the years since, most of the members have remained active in music in some respect. Cotton has remained active as a session musician, and in the '90s played with the 100 Club All-Stars, while Rodford and Griffiths continued to play soul music, and Mick Moody, of one of the last lineups, moved into heavy metal and has been involved with the group Whitesnake. the Mike Cotton Sound's name periodically surfaces in more thorough histories of the British trad jazz and beat booms, and is often mentioned obliquely in histories of the Animals, thanks to Dave Rowberry's presence in both groups and his continued musical activity.

http://www.discogs.com/artist/1190357-Mike-Cotton-Sound-The

http://en.wikipedia.org/wiki/Mike_Cotton_%28musician%29

01. Mike Cotton Sound - I Don't Wanna Know
02. Mike Cotton Sound - Soul Serenade
03. The Mike Cotton Sound - Beau Dudley
04. The Mike Cotton Sound - Chinese Checkers
05. The Mike Cotton Sound - How Long Can This Go On
06. The Mike Cotton Sound - I Got My Eyes On You
07. The Mike Cotton Sound - Like That
08. The Mike Cotton Sound - Pills
09. The Mike Cotton Sound - Round And Round
10. The Mike Cotton Sound - Watermelon Man
11. Mike Cotton Sound  ( Feat Lucas) - Ain't Love Good ,ain't Love Proud
12. The Mike Cotton Sound ( Feat Lucas) - Jack And The Beanstalk
13. The Mike Cotton Sound ( Feat Lucas) - Step Out Of Line
14. The Mike Cotton Sound ( Feat Lucas) - Harlem Shuffle
15. The Mike Cotton Sound - This Little Pig

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Masters' Apprentices - From Mustangs To Masters / First Year Apprentices

The Master's Apprentices started out in the mid 60s as the Mustangs. ...

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

http://brella.org/sandpebbles/Masters.htm

Original Line Up (Adelaide)

• Mick Bower – rhythm guitar (1965–1967)

• Jim Keays – vocals, harmonica, guitar (1965–1972, 1987–1991, 1994–1995; 1997, 2001–2002)

• Rick Morrison – lead guitar (1965–1967)

• Brian Vaughton – drums (1965–1966)

• Gavin Webb – bass guitar (1965–1968)

2nd Line up (after move to Melbourne)

• Rick Harrison – rhythm guitar, replaced Bower (1967)

• Jim Keays – vocals, harmonica, guitar (1965–1972, 1987–1991, 1994–1995; 1997, 2001–2002)

• Tony Sommers – guitar, replaced Morrison (1967–1968)

• Steve Hopgood – drums, replaced Vaughton (1967–1968)

• Gavin Webb – bass guitar (1965–1968)

3rd Line up

• Peter Tilbrook – rhythm guitar, bass guitar, replaced Harrison (1967–1968)

• Jim Keays – vocals, harmonica, guitar (1965–1972, 1987–1991, 1994–1995; 1997, 2001–2002)

• Tony Sommers – guitar, (1967–1968)

• Steve Hopgood – drums, (1967–1968)

• Gavin Webb – bass guitar (1965–1968)

4th Line up

• Peter Tilbrook – rhythm guitar, bass guitar, (1967–1968)

• Jim Keays – vocals, harmonica, guitar (1965–1972, 1987–1991, 1994–1995; 1997, 2001–2002)

• Doug Ford – guitar, replaced Sommers (1968–1972 1987–1991, 1997, 2001–2002)

• Colin Burgess – drums, replaced Hopgood (1968–1972, 1987–1991, 2001–2002)

• Glenn Wheatley – rhythm guitar, bass guitar replaced Webb (1968–1971, 1987&1988, 2002)

5th Line up

• Peter Tilbrook – rhythm guitar, bass guitar, (1967–1968)

• Jim Keays – vocals, harmonica, guitar (1965–1972, 1987–1991, 1994–1995; 1997, 2001–2002)

• Doug Ford – guitar, (1968–1972 1987–1991, 1997, 2001–2002)

• Colin Burgess – drums, (1968–1972, 1987–1991, 2001–2002)

• Denny Burgess – bass guitar, replaced Wheatley (1972)

6th Line up

• Roger Faynes – guitar, keyboards (1988–1991)

• Jim Keays – vocals, harmonica, guitar (1965–1972, 1987–1991, 1994–1995; 1997, 2001–2002)

• Doug Ford – guitar, (1968–1972 1987–1991, 1997, 2001–2002)

• Colin Burgess – drums, (1968–1972, 1987–1991, 2001–2002)
• Wayne Mathews – bass guitar (1988–1991)

7th Line up

• Peter Farnan – keyboards, guitar (1997)

• Jim Keays – vocals, harmonica, guitar (1965–1972, 1987–1991, 1994–1995; 1997, 2001–2002)

• Doug Ford – guitar, (1968–1972 1987–1991, 1997, 2001–2002)

• Tony Day – drums (1997)

• John Favaro – bass guitar, backing vocals (1997)

8th Line up

• Jim Keays – vocals, harmonica, guitar (1965–1972, 1987–1991, 1994–1995; 1997, 2001–2002)

• Doug Ford – guitar, (1968–1972 1987–1991, 1997, 2001–2002)

• Colin Burgess – drums, (1968–1972, 1987–1991, 2001–2002)
• Tim Wheatley – bass guitar (2001–2002)

If the Easybeats were considered the Beatles of Down Under than the Master’s Apprentices were surely Australia’s answer to the Rolling Stones. They released 5 records during their 65-72 heyday, including their classic hard rock album, A Toast To Panama Red. In between this period the group released a few unfocused but interesting lps and several good singles. The Mick Bower era (65-68) is usually considered the group’s highwater mark, even though Panama Red is an excellent progressive hard rock album.

The Master’s Apprentices started out in the mid 60s as the Mustangs. This group played raucous RnB, covers of 50s rock standards, a few originals and some instrumentals. Eventually the group would develop into something more original, under the leadership and guidance of guitarist/songwriter Mick Bower and vocalist Jim Keays. In 1966 the group released their debut Astor 45 Undecided/War or Hands of Time. The A-side was a powerful, raw RnB track that had cruching guitar riffs and a unique chord progression. As great as Undecided was, War or Hands of Time was even better. This unique anti-war track captured the original group at their peak with a powerful, reverberating guitar intro, hard hitting drum fills and a fractured acid solo. Even today most Aussie rock aficionados agree that this was one of the most exciting singles to ever come out of Australia. Their next Astor 45, released in 1967, was Buried and Dead. This was another classic single and one of the most explosive acid punk numbers ever recorded. Mid way thru there’s a strong punkoid psych solo although it should be noted that the flip side, featured on their debut album, is rather weak.

The debut, made up of Bower originals and a handful of covers was released in 1967. Admittedly there are five weak tracks - She’s My Girl, the feedback laden Beatles’ cover I Feel Fine, Chuck Berry’s Johnny B Goode, My GIrl, and Don’t Fight It. The rest of the album is rock solid and full of driving garage rockers and early psychedelia. Undecided, War or Hands of Time and Buried and Dead are all featured on the lp though Theme For A Social Climber and the raga influenced But One Day were strong psychedelic numbers too. Hot Gully Wind is a razor sharp bluesy garage rocker that recalled Ireland’s Them while Dancing Girl featured some slightly freaky guitar work that made it a worthy tune. The good tracks (7 of them) were great, so based on this, the Master’s Apprentice lp comes highly recommended. 

The Masters would release two other classic 45s during the Mick Bower era. In 1967 Astor released one of their biggest hits, Living In A Child’s Dream. This single hit the Aussie top ten and is often considered one of the greatest psych singles of all time. There are no guitar freakouts or wild solos (though Rick Morrison’s guitar solo is tasteful and imaginative), it’s a mellow, spacey pop tune with flower power lyrics and a radio friendly sound. The single’s B-side, Tired Of Just Wandering was another great Bower penned psych track. In 1968 the group released Elevator Driver. By then both guitarist Rick Morrison and Mick Bower had left the group. Bower leaving the group was equivalent to Syd Barrett exiting the Floyd: nobody thought the Masters would recover such a devastating blow. Against all odds they released their last great early 45 and to these ears it may edge out Child’s Dream as the better single. Elevator Driver was originally titled Silver People and is another ace psychedelic track with vocal distortion and a good guitar friendly arrangement. Ascension released a great cd back in 2000 that combines the Master’s first lp with all their early singles. True, there are a few weak tracks and the disc is rather hard to find but it’s a great buy from one of rock’s lost bands.~ http://www.facebook.com/group.php?gid=45723554129

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The Merced Blue Notes - Get Your Kicks On Route 99

 

The Merced Blue Notes' career lasted about a decade and a half, but it resulted in few recordings, though apparently it did supply a whole lot of fun for live crowds in central California who wanted to groove to basic, energetic blues, R&B, soul, and rock & roll. That's what the band played on its handful of rare singles, on an assortment of labels, between 1961 and 1966. The group's music was in the stock R&B/blues-influenced rock & roll style, on both vocal and instrumental material, often putting organ and bluesy guitar to the fore, sometimes punctuated with sax and harmonica. In their later days they got into funkier grooves, in the manner that big acts such as Booker T. & the MG's were updating their sound, though they didn't possess the originality to gain a national audience.

The Merced Blue Notes formed in high school in Merced, CA, in January 1957, and would undergo numerous lineup changes over the course of their career, the constant element being singer/songwriter/guitarist Kenny Craig. They actually made their first contacts with the record industry back around 1958, when they auditioned for Specialty Records, with a young Sonny Bono in the control booth. Specialty only wanted to record their singer Roddy Jackson, however, Jackson making three flop 45s for the label in the late '50s. A couple of obscure singles came out on the Merced label in 1960, and they'd intermittently record over the next half dozen years for other companies, including Accent, Tri-Phi, Mammoth, and the Fantasy R&B subsidiary Galaxy. None of the singles caught on in a big way, though their 1961 Accent 45 "Rufus" got enough airplay in Detroit to get them some concert and recording work (the latter for Harvey Fuqua's Tri-Phi label) there in 1962.

With little success on record and a sound that was getting outdated by changing trends in rock and soul music, the lineup that recorded for Galaxy in the mid-'60s broke up in early 1966. Kenny Craig kept the group going with other musicians and continued playing live under the band name for several more years. The member of The Merced Blue Notes with the highest profile in subsequent years was Bobby Hunt, who recorded with the Seven Souls and also formed the trio Head West with fellow Seven Souls musicians Henry Moore and Bob Welch, playing keyboards with the group on several tours while Welch was in Fleetwood Mac in the early '70s.

 With ten tracks from rare 1961-1966 singles, three cuts that only appeared on a compilation, and 13 previously unreleased recordings (one of them a previously unissued alternate take of their single "Bad, Bad Whiskey"), this is a more comprehensive anthology of this obscure group than anyone could have envisioned. As exhaustive as the archivism might be, it's fairly routine early-'60s-styled R&B-rock (even on the mid-'60s recordings), anchored by bluesy riffs and a small combo organ-grounded sound on both vocal and instrumental numbers. In some ways it's similar to the energetic (if oft-unimaginative) grinds churned out by numerous Northwest bands in the same era, though the Merced Blue Notes leaned perhaps a bit more to the more modern, funkier grooves being opened up by groups like Booker T. & the MG's. Were these guys funky? Sure -- they spin out tough bluesy guitar licks, penetrating organ, occasional blues harmonica, and (on the non-instrumentals) raw vocals. Did they have interesting material? Not so much -- the tunes were often elementary and derivative. They shine brightest when the organ gets most assertive and the singing lets loose in a fashion that many rock and soul labels would have toned down, as heard on the unissued fast shuffle "Greyhound" or the 1966 instrumental "Rufus," where the Booker T resemblance grows. Booker T. & the MG's, however, to take one point of reference, had far better riffs and arrangements, and to be harsh it's not too much of a surprise that these cats didn't break out of their region, as much entertainment as they must have provided at local shows and dances.

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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)

 http://www51.zippyshare.com/v/74623060/file.html

Moral Code - Slavonic Dances

 

http://www29.zippyshare.com/v/95252766/file.html

Mickie Most - Mickie Most

In addition to forming his own label in the '70s, RAK, British producer Mickie Most is credited with the discovery of the Animals and the Nashville Teens, while his production credits include Donovan, Lulu and Jeff Beck.

Born Michael Hayes in Aldershot, Most moved with his family to North London and, as a teenager, became entranced by the burgeoning British rock & roll scene. He became friends with Terry Dene and Wee Willie Harris and formed a band, the Most Brothers, along with Alex Murray (who later produced the Moody Blues). Yet, success eluded Most, and in 1959 he married a South African woman and emigrated there. While in South Africa Most had success as the frontman of a rock group who covered U.S. hits. Though this sort of arrangement would never make Most an international star, it did walk him through the process of recording, and he amassed 11 consecutive number ones on the South African charts.

Returning to Britain in 1962, Most found himself in the middle of an R&B revolution and, looking for a group to produce, discovered the Animals in a Newcastle club. He had them record "Baby, Let Me Take You Home" and "House of the Rising Sun," the latter becoming a worldwide smash that catapulted the group to stardom and Most to credibility. He produced "I'm Into Something Good" for Herman's Hermits and "Tobacco Road" for the Nashville Teens and, in 1966, Most produced Donovan's widely acclaimed Sunshine Superman album. After producing Jeff Beck in the late '60s, Most decided to form his own label, RAK, in 1969. Though its roster never held any critically acclaimed acts, the RAK label was quite successful at releasing chart hits. Staff writers Nicky Chinn and Mike Chapman made acts such as Suzi Quatro and Mud successful for a short time. In the '70s Most worked with the English funk group Hot Chocolate, helping them score their only two Top Ten hits. Most's profile lessened considerably in the '80s. He sold his RAK label and concentrated on managing the publishing catalog he had amassed from the numerous productions he helmed over the years. On June 30, 2003, Mickey Most succumbed to cancer, passing away quietly in his London home at the age of 64.

26 indfødte lyde - Native Sounds - Denmark Record-Labels

 

 26 indfødte lyde - Native Sounds - Denmark Record-Labels

The Mat's - Live

01 - Squeeze Her - Tease Her

02 - Please Do Something

03 - This Hammer

04 - The Good's Gone

05 - Much Too Much

06 - Heart Full Of Soul

07 - Keep On Running

08 - When I Come Home

09 - Watch Your Step

10 - What Am I Living For

11 - I Only Want To Be With You

12 - I'll Cry Instead

13 - I Can't Believe It

14 - I Don't Mind

15 - High Time Baby

16 - Somebody Help Me

17 - It's Not True

18 - Baby I Don't Care

19 - Foot Tapper

20 - See You In My Drums

21 - From Me To You

22 - Move It

23 - Long Tall Sally

24 - In The Mood

25 - My Bonnie

26 - Blue Shadow

27 - Baby It's You

28 - Don't Bother Me

29 - South Of The Border

30 - That's All Right

31 - Shindig

http://www27.zippyshare.com/v/83811020/file.html

By Jancy

Peter Moessers Music - Happy Time

 

 

 http://www.mijnbestand.nl/Bestand-CI3LAGTOTPSN.rar

by Eddy

The Mops - Psychedelic Sounds in Japan (1968)

Among hardcore 1960s rock collectors who have an interested in Japanese bands of the period, the Mops are one of the biggest acts in the genre, even if that genre is barely known to English-speaking listeners due to some linguistic barriers, and its general obscurity outside of Japan. Their 1968 album Psychedelic Sounds in Japan is certainly the Mops LP that's gained the widest international exposure, as it's the one with the most garage-psychedelic style and has rewarded the efforts of avid collectors around the world. In fact, the Mops were even marketed as "the first psychedelic band in Japan" in their homeland, though as psychedelia goes, it's pretty raw, verging on garage-punk at times. In truth, it's more attractive for the crazed energy of the performances -- and the odd juxtaposition of the earnestness of the singing and playing with the unhinged bent of the arrangements -- than for the originality of the music. It's distinguished from other sounds of its sort, perhaps, by the manic fervor of youngsters discovering British and American psychedelia without quite having the vocabulary (musical and otherwise) to execute it with nearly as much polish as their inspirations. On the Japanese-language songs in particular, this leads to some melodic angles, anguished vocals, and rudimentary fuzz guitar blasts that can sound fairly exotic to Western ears, though they're not exactly catchy. The English-sung tunes comprising more than half the album are mostly covers of foreign hits (the zany self-identifying anthem "I Am Just a Mops" being an exception), and while there's a charge to be gotten by hearing them tackle classics by the Animals and Jefferson Airplane with naive zeal, they're not exactly stunning interpretations, let alone close to being on the level of the originals. They also make an ambitious foray into raga-rock with "Kienai Omoi," complete with sitar. As a whole, the record's an interesting if flawed relic of a time when Japanese rock was just finding its feet, with a clumsy yet endearingly passionate force. [The 2010 British CD reissue on RPM (with English-language historical liner notes) marks the first time it's been licensed outside Japan, and includes two bonus tracks from their 1968 non-LP single "Omae No Subete O"/"Atsuku Narenai," both of which find them getting into dissociative distorted-guitar-fueled sounds far freakier than anything on the album. Note that this reissue does not include one of the tracks from the original LP, "Blind Bird," which has never been made available for any reissue of the album due to its controversial lyrics.]

Les Miserables - L'Integrale (1964-1968)

I have a deep affection for mid 1960s French Canadian garage rock, but will readily admit that lots of it tends to get kind of sappy. Montreal's les Miserables are one of the notable exceptions. Their rare 1966 LP is one of the crown jewels of the genre ...

~  beatman

source - http://rutracker.org

01. Chemises a pois, cravates a fleurs

02. Miserablement votre

03. Trop fort

04. Rhythm & Blues

05. Le chameau

06. Elle me dit

07. Vivre avec toi

08. Toi qui est jeune

09. Ecoute-moi

10. Tu peux partir

11. A quoi ca sert

12. Delaisse

13. Le chemin

14. Cette chanson

15. Je vous salue madame

16. Pourquoi

17. Si jamais

18. Une lettre

19. Western Union

20. Ooh Poo Pah Doo

21. Il s'appelle Antoine

22. C'est l'ete

23. Je ne peux plus rien lui dire

Thee Midniters - In Thee Midnite Hour !!!!

Thee Midniters are generally acknowledged to be the most fearsomely rockin' Chicano band to come out of the fabled East L.A. scene of the mid-'60s. Although their chart success was limited to their version of "Land of a Thousand Dances" (an extended live take of which is among the tracks included here) and they were beaten to the punch on that one by fellow scenesters Cannibal & the Headhunters -- the latter's version charted a month earlier and rose higher -- the rest of Thee Midniters' output leaves no doubt that they were the more ferocious band. A few fine collections of the group's limited output on such labels as Whittier and Chattahoochee have previously found their way to market, but Norton typically ups the ante with the most comprehensive set yet, accompanied by exhaustive liner notes by Domenic Priore and a slew of great vintage photos. Although Thee Midniters were known primarily for their sizzling covers of then-current rock & roll and R&B hits, the majority of the tracks here are originals, written by various combinations of bandmembers. The originals (especially "Whittier Blvd." and its cousin, "Down Whittier Blvd.") and covers both show a heavy allegiance to funky soul of the Stax and Motown varieties (great covers of the Contours' "Do You Love Me" and Barrett Strong's "Money"), as well as happening bands like the Rolling Stones ("Empty Heart") and Them ("Gloria"). On both "Everybody Needs Somebody to Love" (Stones via Solomon Burke) and their insane blast-out on the Mitch Ryder medley of "Devil with a Blue Dress/Good Golly Miss Molly," Thee Midniters are simply on fire. On occasion, the group showed a tendency to veer off into what would soon morph into psychedelia, but most of these 19 tracks, cranked to the max with blessed distortion, are unscathed, gritty rock & roll.

Mark Wirtz Orchestra & Chorus - Latin a Go Go (1966)

The Matchmakers - Bubble Gum A Go Go (1970) + unknown album

PLUS UNKNOWN ALBUM

Titled as :

MARK WIRTZ AND THE MATCHMAKERS (POPWORKS VOL.2 )

Without covers and tracklist...

Source WEB

Thanks for any information on this riddle

Keith... Wirtz ...

REPOST

 

- 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".

Indfødte lyde / Native Sounds - Denmark Record Labels Vol.8

Indfødte lyde / Native Sounds - Denmark Record Labels Vol.8

Meteors

01 - Irene-Hully Gully

02 - I'm Sitting On Top Of The World

03 - Love Me If You Love Me Do

04 - Your Mama Says

05 - Make Me Happy

06 - Anytime

07 - Tobacco

08 - A Girl In Blue

09 - Tornerose

10 - Ud Paa Flisen Karoline

11 - De'r Altid Velkom'n I Vores Hus

12 - Et Fredeligt, Kedeligt, Dumt Lille Loeg

13 - Miss Sunshine

14 - One-Way Ticket

15 - She Went Away

16 - Lucille

17 - Things We Said Today