HAL PETERS AND HIS TRIO - 6 LP / CD (FINLAND)

 

Ray Pilgrim - Pilgrim's Progress 1961

The Peanut Butter Conspiracy - Spreading From The Ashes

With 26 tracks from 1966 and 1967, this CD acts as a comprehensive supplement to the Peanut Butter Conspiracy's more widely circulated recordings for Columbia and Challenge. While seven of these recordings found official release in 1966 and 1967 on the Vault label, the rest were previously unissued.

Too, it has seven cuts (both released and unreleased) by the Ashes, the group from which the Peanut Butter Conspiracy evolved, though most of this material was done in the early days of the era in which they were going under the Peanut Butter Conspiracy billing. Because a lot of this was done in the group's formative days, much of it's a little (and sometimes a lot) more folk-rock-oriented than the more psychedelic output on their Columbia albums. That's particularly true of the sides done by the Ashes, with Spencer Dryden (just before his Jefferson Airplane days) on drums. Like the Peanut Butter Conspiracy's more widely known work, however, the music here is a second-division (though not downright second-rate) and sometimes derivative mixture of folk-rock, psychedelia, and California pop/rock, though often a bit rawer than their more familiar stuff. There are some nice tunes here, like the 1966 Ashes single "Is There Anything I Can Do," a lost folk-rock gem co-written by Jackie DeShannon; "Dark On You Now," another moody Ashes folk-rocker that the band would remake on the first Peanut Butter Conspiracy album; and "Free," which like some of their other more bittersweet tunes is a little reminiscent of the very early Jefferson Airplane with a heavier pop flavor. The 20-page booklet has Alec Palao's usual ace detective work on filling in the obscure history of the band, with lots of quotes from interviews with some of the members.

Los Angeles psychedelic band the Peanut Butter Conspiracy emerged in 1966 from the remains of the Ashes, formed the previous year by singer Pat Taylor, guitarist John Merrill, bassist Alan Brackett and drummer Spencer Dryden (who soon left the group to replace Skip Spence in the Jefferson Airplane).

Adding drummer Jim Voigt as Dryden's replacement, the Ashes recorded a self-titled LP for the Vault label before disbanding, with Merrill, Brackett and Voight recruiting singer Sandi Robison and harpist/guitarist Lance Fent to form the Peanut Butter Conspiracy; after debuting on Vault with the single "Time Is After You," the band signed to major label Columbia, where 1967's "It's a Happening Thing" heralded the spring release of their debut LP, the Gary Usher-produced The Peanut Butter Conspiracy Is Speading. Ex-Sound Machine guitarist Bill Woolf replaced Fent for the follow-up, The Great Conspiracy, which like its predecessor failed to make much of a commercial impact; only Robison, Merrill and Brackett remained for 1969's For Children of All Ages, which featured new keyboardist Ralph Shuckett and drummer Michael Stevens. The Peanut Butter Conspiracy disbanded soon after, with Brackett pursuing studio work, Fent later collaborating with Randy Meisner, and Woolf joining Fusion.

 

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Antoine Rencontre Les Problemes (1966 - 1967) + little bonus

Jean Sarrus (basse)

Gérard Rinaldi (chanteur)

Gérard Filippelli (guitare solo, accordéon)

Luis Régo (guitare rythmique)

Donald Rieudon (batterie)

Jean-Guy Fechner (remplace Donald Rieudon

http://fr.wikipedia.org/wiki/Antoine_(chanteur)

http://www.antoine.tv/index.php?act=antoine

http://fr.wikipedia.org/wiki/Les_Probl%C3%A8mes

В Штатах-Боб Дилан,в Британии-Донован,а во Франции-Antoine(Настоящее имя Pierre-Antoine Muracioli).

Певец и путешественник Антуан родился в 1944 году в Таматаве (Мадагаскар), где работал его отец, позже семья вернулась во Францию и на некоторое время осела в Марселе, где мальчик закончил начальную школу. Затем были 4 года в Камеруне и снова метрополия Тонон-ле-Бен, Аннеси, Гренобль. В 1965 году юноша записал дебютную сорокапятку для лейбла Vogue, затем и альбом «Les Elucubrations», а в мае следующего года уже выступал в столичной «Олимпии». Чуть позже приходит успех в соседней Италии, где песня «Pietre», исполненная на фестивале Сан-Ремо наделала много шума. В те годы музыкант много гастролирует, выступая с концертами по всему миру – от Греции до Бразилии, но уже тогда понимает, что одних лишь аэропортов, отелей и концертных площадок ему недостаточно и решает посвятить свою жизнь путешествиям. На борту шхуны «Ом» Антуан отправляется в кругосветное плавание, в 1977 году выходит его первая книга, а в 1980 году – пластинка традиционных полинезийских песен «La Motogodille» ( c 1978 по 1988 певец сотрудничал с фирмой грамзаписи Barclay).

В 80-е годы странствия продолжаются, на этот раз на паруснике Voyage, география их весьма обширна- Полинезия, Квебек, Бразилия, Антильские острова; выходят книги и альбомы. Сменив в конце десятилетия Voyage на катамаран Banana Split, Антуан предпринимает очередное плавание, работает над фотоальбомами и фильмами (практически ежегодно выпуская по одному - два ДВД).

Возвращение Антуана на сцену состоялось в 2002 году, когда он дал несколько концертов в Париже.

На концертах и при записи альбомов Антуан зачастую сотрудничал с бит-группой Les Problemes.Выступали они "то вместе,то поврозь,а то попеременно..."В конце 1966 года Les Problemes поменяли свое название и вошли в историю как Les Charlots (тот,кто старше 30-ти,наверное,не надо напоминать кто это...Остальным лишь скажу,что это легендарная комик-группа,снявшая 15 фильмов и записавшая несколько музыкальных альбомов,но это уже совсем другая история...)Здесь представлены как совместные их записи,так и сольные работы.Альбом 2000 года-переиздание одноименного диска 1966 года с добавленными к нему бонус-треками.

http://rutracker.org/forum/viewtopic.php?t=3692204

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Les Charlots - Chauffe Marcel....(1966)

 

 

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The Prety Tinghs - Emotions (1967)

 

Of all the original British Invasion groups, perhaps none were as underappreciated in the United States as the Pretty Things. Featuring the hoarse vocals of Mick Jagger-lookalike Phil May and the stinging leads of guitarist Dick Taylor (who actually played in early versions of the Rolling Stones with Jagger and Keith Richards), the Pretties recorded a clutch of raunchy R&B rockers in the mid-'60s that offered a punkier, rawer version of the early Stones sound.

The Pretty Things [UK] Their first two albums, 1965's The Pretty Things and the same year's Get the Picture, as well as a brace of fine major and minor British hits (of which "Don't Bring Me Down" and "Honey I Need" were the biggest), featured first-rate original material and covers, and remain the group's most exciting and influential recordings. Unfortunately, the band remained virtually unknown to American audiences, most of whom would first hear "Don't Bring Me Down" on David Bowie's Pin Ups album (which also included a version of the Pretties' "Rosalyn").

Emotions After their initial run of success, the group took a sharp left turn into psychedelia with the orchestrated album Emotions (1967), impressive singles that owed more to Pink Floyd than Bo Diddley, and, most significantly, S.F. Sorrow (1968). The first rock opera, S.F. Sorrow was a major influence on Pete Townshend, who released his much more successful opera, Tommy, with the Who the following year.

Parachute Founding member Taylor left shortly after S.F. Sorrow, and the group continued to record progressive rock and hard rock with less impressive results through the mid-'70s, although Parachute (1970) was named Album of the Year by Rolling Stone. The group reunited sporadically for occasional gigs and recordings in their early R&B vein before officially re-forming to release Rage...Before Beauty in 1999 and Balboa Island eight years later. 

In accordance with their label's (and not the band's) wishes, the Pretties were teamed with a middle-aged orchestra directed by Reg Tilsley on this album, which saw the Phil May-Dick Taylor songwriting team making an effort to move beyond R&B knockoffs into more sophisticated territory. Sometimes the arrangements (dubbed onto tracks without much involvement from the group) worked; more often, they were an unnecessary hindrance. An interesting failure, it contained some genuinely top-rank originals that saw the group expanding their vision into social observation and tentative psychedelia, including "My Time," "The Sun," and especially the moody, folk-rock-ish "Death of a Socialite."

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Pesymiści - Gwiazdy polskiego big beatu (2014)

 

 Pesymiści byli jednym z najpopularniejszych zespołów młodzieżowych drugiej połowy lat 60. Działali w Warszawie od 1963 roku.

Pierwszy skład zespołu tworzyli: Michał Krasicki – fortepian, Michał Morawski - gitara, Janusz Bolesławski - gitara basowa i Wiesław Pałyga - perkusja. Po niedługim czasie nowym perkusistą zespołu został Leszek Pieniążek. W 1964 roku dołączył do zespołu Michał Zawiła (gitara basowa) i w tym składzie grupa odniosła pierwszy sukces, zajmując drugie miejsce na Przeglądzie Zespołów Big Beatowych. Śpiewali wtedy w Pesymistach Michał Krasicki, Michał Zawiła i Andrzej Niemira. W połowie 1965 roku Michała Morawskiego zastąpił Janusz Kruk i zmienił się też patronat. Pesymiści zaczęli występować pod szyldem studenckiego klubu “Celton”, działającego przy Uniwersytecie Warszawskim. W tamtym okresie grali na wielu imprezach muzycznych. Jeździli również z koncertami po kraju. Gdy nowymi członkami zespołu zostali Marek Bliziński i Andrzej Turski grający na gitarach - zespół wystąpił w Radiowej Giełdzie Piosenki i dokonał pierwszych nagrań radiowych.

Rok 1966 to kolejne zmiany personalne: Hubert Rutkowski na krótko zastąpił Leszka Pieniążka, po czym nowym perkusistą został Andrzej Poniatowski, zaś na gitarze grał Marek Ałaszewski. W tym składzie grupa przetrwała do 1968 roku i nagrała swą debiutancką płytę, czwórkę dla Polskich Nagrań. W roku 1967 pojawili się nowi wokaliści - Andrzej Rosiewicz i Daniel Kłosek, i przyszła kolej na dalsze sukcesy: 2. miejsce podczas III Ogólnopolskiego Przeglądu Wokalistów i Zespołów Muzyki Rozrywkowej i 2. miejsce na Ogólnopolskim Festiwalu Muzyki Młodzieżowej. W tym też okresie z Pesymistami krótko nagrywał Stanisław Guzek (później znany jako Stan Borys) - również Dana Lerska i Anna German. W tym czasie Pesymiści występowali w barwach warszawskiej Stodoły. Dla potrzeb nagrań studyjnych została utworzona (z muzyków zespołu) grupa Aryston.

W 1970 roku zespół wzbogacił swoje brzmienie o sekcję instrumentów dętych: o trąbkę, puzon i saksofon. Pesymiści przetrwali do 1971 roku często zmieniając skład personalny. W tym czasie przez zespół przewinęło się wiele znanych nazwisk, m.in. Tomasz Szachowski, Andrzej Dec, Jerzy Szczęśniak, Piotr Miks, Paweł Brodowski, Andrzej Glazer.

 

Patti Page -The Singing Rage Rocks

 

 

 http://www.mijnbestand.nl/Bestand-BJVLNZUGGUHK.zip

Pat & Lolly Vegas - At The Haunted House (1966)

 

Pat &Lolly Vegas are best known as the leaders of Redbone, the pioneering Native American rock band that scored a major hit in 1974 with "Come and Get Your Love," but they had been playing music since the late '50s as members of Jimmy Clanton's road band. In the mid-'60s, they had a regular gig at a briefly popular Hollywood nightspot called the Haunted House, and this album was presumably cut with the hopes of turning the Vegas brothers into the Native Peoples' answer to Johnny Rivers. Produced by Leon Russell and Snuff Garrett, Pat & Lolly Vegas at the Haunted House sure doesn't sound like it was recorded live (there's no audible crowd noise or stage patter), but it does confirm that they were already a great, no-nonsense rock & roll band. The set is divided half and half between covers and originals, with Pat and Lolly delivering tough, soulful vocals throughout and putting enough of their own personality into "In the Midnight Hour," "High Blood Pressure," and "Baby, I Need Your Loving" that their versions can stand tall besides the originals. Even better are their own tunes, with Pat & Lolly rocking proud on "Keep Me Up Tight," "Walk On (Right Out of My Life)," and "Let's Get It On" (not the later Marvin Gaye tune), which merge a rocker's swing with a soul man's passion and deliver the goods on both counts. Pat & Lolly Vegas at the Haunted House is 30 minutes of solid fun with a killer dance groove, and suggests that a compilation of the brothers' early independent singles is in order.  

The Pilgrims - Telling Youth... The Truth (1962-67)

 

Rock; Christianity; guitars; church... in the 21st century these words don't seem odd together. But, in 1961 rock meant "devil music" and church meant "boring". The Pilgrims changed all that. Raise among the world-war bombsites of southeast London, the five "Pilgrims" were part of the first generation to be called "teenagers". The swinging sixties had started and it was not cool to be Christian. These full-blooded teenagers with a love for rock music became christians but opted not to conform. They put faith and rock together and changed christian music for good. The Pilgrims were the first wholly electric Christian rock group and shocked the churches of their day. Later bands broke through into mainstream recording, radio and TV, but The Pilgrims were breaking traditions and taboos. After playing at a church service attended by Princess Margaret the group were condemned on national radio by a Countess (no less!). But The Pilgrims didn't want upper class approval; they spoke to their own generation in a language they understood. The group played in churches, to be sure, but their favourite audiences were in beat clubs and dives where nobody was pretending to be holy. When you listen to The Pilgrims you can sense the rawness and enthusiasm of a newfound faith; nut the music is polished and professional. They put heart and soul into their playing and wanted to be the best. At a 1966 concert in a 2,500-seat auditorium opposite Westminster Abbey they were feted as "not only the best, but also the LOUDEST Christian group". 

Here's a real curiosity of the British Invasion: a band who sound much like hundreds if not thousands of third-string groups in England from the mid-'60s, with one crucial difference -- all the lyrics are of a devout Christian religious nature. Christian-themed rock groups of subsequent eras would often be musically mild and mainstream in stance, but that's not the case with the Pilgrims, who play in a pretty raw, R&B-influenced style on most of these 21 tracks. Recorded between 1962 and 1967 (in fairly primitive circumstances judging from the demo nature of the fidelity), they hover somewhere between amateurism and professionalism, though they're closer to professionalism. Most often they favor the early Rolling Stones-Pretty Things-ish style of heavily blues-R&B-influenced British Invasion rock with a naive flavor, in the mold of countless obscure English bands of the time, though some of the material has a strong Merseybeat feel, and what sound like the very earliest recordings have a pre-Beatles Joe Meek-ish vibe. It's actually not at all bad -- and not as derivative (though it is pretty derivative) as some archival releases from U.K. bands with similar influences, as all the material's original. It's not all that great or remarkable either, and while the lyrics -- usually urging putting one's life in the hands of God and Jesus -- are certainly different for this particular thing, they're just as repetitive (and in some respects clumsy) as the basic love-centered lyrics by the standard struggling garage band of the era. Indeed, one's so much more accustomed to hearing lyrics about girls and young love by these kind of bands that the incessant use of words about the Christian faith is kind of jarrin

Normie Rowe & The Playboys - Shakin' All Over - 30 Of The Best 1965-1973

 

 

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

by Eddy

JEAN PHILLIPPE - GUITAR HITS

 

Link

by Eddy

Antoine &Les Problemes

Jean Sarrus (basse)

Gérard Rinaldi (chanteur)

Gérard Filippelli (guitare solo, accordéon)

Luis Régo (guitare rythmique)

Donald Rieudon (batterie)

Jean-Guy Fechner (remplace Donald Rieudon

http://fr.wikipedia.org/wiki/Antoine_(chanteur)

http://www.antoine.tv/index.php?act=antoine

http://fr.wikipedia.org/wiki/Les_Probl%C3%A8mes

В Штатах-Боб Дилан,в Британии-Донован,а во Франции-Antoine(Настоящее имя Pierre-Antoine Muracioli).

Певец и путешественник Антуан родился в 1944 году в Таматаве (Мадагаскар), где работал его отец, позже семья вернулась во Францию и на некоторое время осела в Марселе, где мальчик закончил начальную школу. Затем были 4 года в Камеруне и снова метрополия Тонон-ле-Бен, Аннеси, Гренобль. В 1965 году юноша записал дебютную сорокапятку для лейбла Vogue, затем и альбом «Les Elucubrations», а в мае следующего года уже выступал в столичной «Олимпии». Чуть позже приходит успех в соседней Италии, где песня «Pietre», исполненная на фестивале Сан-Ремо наделала много шума. В те годы музыкант много гастролирует, выступая с концертами по всему миру – от Греции до Бразилии, но уже тогда понимает, что одних лишь аэропортов, отелей и концертных площадок ему недостаточно и решает посвятить свою жизнь путешествиям. На борту шхуны «Ом» Антуан отправляется в кругосветное плавание, в 1977 году выходит его первая книга, а в 1980 году – пластинка традиционных полинезийских песен «La Motogodille» ( c 1978 по 1988 певец сотрудничал с фирмой грамзаписи Barclay).

В 80-е годы странствия продолжаются, на этот раз на паруснике Voyage, география их весьма обширна- Полинезия, Квебек, Бразилия, Антильские острова; выходят книги и альбомы. Сменив в конце десятилетия Voyage на катамаран Banana Split, Антуан предпринимает очередное плавание, работает над фотоальбомами и фильмами (практически ежегодно выпуская по одному - два ДВД).

Возвращение Антуана на сцену состоялось в 2002 году, когда он дал несколько концертов в Париже.

На концертах и при записи альбомов Антуан зачастую сотрудничал с бит-группой Les Problemes.Выступали они "то вместе,то поврозь,а то попеременно..."В конце 1966 года Les Problemes поменяли свое название и вошли в историю как Les Charlots (тот,кто старше 30-ти,наверное,не надо напоминать кто это...Остальным лишь скажу,что это легендарная комик-группа,снявшая 15 фильмов и записавшая несколько музыкальных альбомов,но это уже совсем другая история...)Здесь представлены как совместные их записи,так и сольные работы.Альбом 2000 года-переиздание одноименного диска 1966 года с добавленными к нему бонус-треками.

http://rutracker.org/forum/viewtopic.php?t=3692204

Picadilly Line - The Huge World Of Emily Small (1967)

Originally formed in 1967 as Picadilly Line by Rod Edwards and Roger Hand, English psychedelic pop group Edwards Hand released three albums before disbanding in the mid-'70s (1968's The Huge World of Emily Small [as Picadilly Line] featured the talents of Danny Thompson, Alan Hawkshaw, Jan Barber, Herbie Flowers, and Harold McNair). The group's highly collectible eponymous debut was produced by George Martin, who worked with very few pop acts outside of the Beatles. The record received its share of critical acclaim, earning comparisons to the Bee Gees, as well as the aforementioned Fab Four. Stranded (1970) and Rainshine (1973) were also produced by Martin.

"Picadilly Line's The Huge World Of Emily Small is one of those albums that just seems to have slipped under the radar of most UK pop psych collectors. As such, it has never been re-issued in any form! The band (essentially a duo led by Rod Edwards and Roger Hand, who would later record as Edwards Hand) flourished briefly in the late '60s releasing this one album. With them is the cream of UK session men including Danny Thompson (bass), Alan Hawkshaw (keys), Herbie Flowers (bass) and Harold McNair (flute). The Picadilly Line even managed an appearance at The Middle Earth club in London, the then hallowed centre of the UK psychedelic scene.

The album is breezy post-Sgt. Pepper psychedelic pop with plenty of swinging London vibes, orchestration and evocative whimsical lyrics. Reference points are a psychedelic The Hollies, Chad and Jeremy (circa Of Cabbages and Kings) Nirvana, Kaleidoscope (UK), World Of Oz, Donovan and The Bee Gees. Filled with beautiful dreamy vocal harmonies and elaborate electric and acoustic arrangements, this is a real trip back to the height of UK Flower Power. All material is original except for a great version of Dylan's 'Visions of Johanna' and The Everly Brothers' 'Gone, Gone Gone.'

Features ten unreleased bonus tracks exclusive to this CD, including their non-album singles 'Yellow Rainbow'/'Evenings with Corinna' and 'Evening with Corinna'/'My Best Friend,' both from 1968. Digitally re-mastered from the original master tapes and re-released with full consent of the producer and band. Booklet includes unseen photos from the period and band biography and the CD features ten bonus tracks."

The Picadilly Line's sole album is one of the recordings that most epitomizes what has been retrospectively dubbed the "toytown" school of British psychedelia by collectors. That is, the songs bounce along daintily; the vocal emphasis is on high harmonies; the lyrics are sometimes populated with observations of British everyday life and characters, sprinkled with a coat of whimsy; and the arrangements benefit from touches of baroque orchestration. It's executed here, however, with a fey, twee touch that makes the Zombies' Odessey and Oracle, for instance, sound rough 'n' ready by comparison. It's thus going to be too light even for some British psychedelic pop enthusiasts, but it's not quite the most saccharine entry in the genre, though it's undeniably precious. There's a folky lightness that keeps this from being too wide-eyed and childish, sometimes sounding a bit like Simon & Garfunkel gone toytown, though with some similarities to both the 1967-era Beatles and '60s California pop in the vocals and arrangements. The covers of Bob Dylan's "Visions of Johanna" and the Everly Brothers' "Gone, Gone, Gone," however, seem misplaced in these surroundings. The CD reissue adds ten bonus cuts of a similar nature (though they're sometimes marginally gutsier) and the same level of professionalism, including all three of their non-LP cuts that appeared on singles in 1968. Of these, the one of most interest is "Yellow Rainbow," as it was written by Graham Nash, then of the Hollies. Unsurprisingly, it sounds much like a Hollies song given a lighter treatment than the Hollies themselves would have; also unsurprisingly, to be a little uncharitable, it's by far the best track on the CD.

Philwit & Pegasus - Philwit and Pegasus( A Mark Wirtz Production) 1970

Philwit & Pegasus were not an actual group, but an odd one-off studio project by producer Mark Wirtz. In the late '60s, Wirtz was known primarily as the creator of rock-influenced easy listening mood music albums, and also as the producer of the fine British psychedelic pop band Tomorrow. Wirtz was co-writer and producer of Tomorrow's huge British 1967 hit, "Excerpt from a Teenage Opera," and at the time there was speculation that it was indeed a prelude to an entire concept album/rock opera. That opera was never completed. But Wirtz did get a chance to devise a concept album of sorts in 1970 with Philwit & Pegasus' self-titled album for Chapter One Records.

Wirtz's idea was to make a sort of movie-on-record LP, and he wrote a song cycle of sorts with his girlfriend of the time, Maria Feltham. There really wasn't a plot or narrative to the album, though Wirtz has said (in the liner notes to the CD reissue) that the theme was "struggle, fear, and fantasized happiness." It would not be quite accurate to say that Wirtz and Feltham were the two members of Philwit & Pegasus, for neither of them actually played or sang on the album. The vocal parts were taken by John Carter (himself a noted hit songwriter of the era), Peter Lee Stirling, Chas Mills, Guy Fletcher, and Roger Greenaway (another songwriter involved in the writing of numerous British pop hits). Among the session musicians were noted players such as guitarists Chris Spedding (listed in the credits as Chris Bedding) and Joe Moretti, and drummers Clem Cattini and Terry Cox (the latter of the folk-rock group Pentangle).

The conception and ambition behind Philwit & Pegasus were more interesting than its reality. It in fact consisted of mediocre pop songs that drew from both easy listening and rock, though the arrangements were lush and varied, at times influenced by folk-rock harmonies, at others by histrionic Tom Jones-styled crooning, theatrical musicals, and the Beach Boys. The album flopped, and Wirtz moved to Hollywood the following year. Philwit & Pegasus was reissued on CD in 2003, with a non-LP single and a couple of previously unreleased demos added as bonus tracks.

The Pretty Things 'n Mates - A Whiter Shade of Dirty Water (1992)

Mp3 256\ 64 Mb

****************

In December 1992 Phil May and Dick Taylor of The Pretty Things, London's raunchiest 60s R&B band, joined forces with members of The Inmates, one of London's and indeed Europe's finest R&B bands, together with Procol Harum's legendary Matthew Fisher, to pay a unique tribute to America's Garage Rock: the result is the ultimate party album! (From the booklet)

featuring Matthew Fisher

Albums recorded by The Pretty Things

Inmates_releases

Hard and heavy garage rock*****************

Musicians :

From The Pretty Things : Phil May - lead vocals

Dick Taylor - lead & rhythm guitars

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From Procol Harum :Matthew Fisher - keyboards

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From The Inmates :Tony Oliver - lead, rhythm & 12-string guitar

Ben Donnelly - bass

Eddie Edwards - drums, percussion

****
Additional musicians :Barclay MacKay - additional guitar (3,4,12)

Steve Hooker - additional guitar (3)

Garrie Lammin - b.vocals and guitar (9)

*****
Additional musicians on the bonus track (*) :

Eddie Phillips - lead guitar

Don Craine - guitar

Keith Grant - bass

Jim McCarty - drums

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! ! ! ! ! ! ! ! ! ! ! ! ! !

LINK 

The Paramounts – pre Procol Harum

Artist: The Paramounts

Album: Whiter Shades Of R’N’B

Release Date: 1983

Label: Edsel, Demon

Time: 36:59

Genre: Rock

Styles: R&B, Brit Beat

Format: mp3 320 FLAC + CUE + LOG (cover in)

Size: 81,7 Mb 95,7 + 67,3 Mb (RAR, 3% recovery)

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Thank`s - kandykorn

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"I first saw The Paramounts in 1962 in a low-key hop in a Leigh-on-Sea community hall. At this time, most groups in the Southend area were playing the songs from the current hit parade as required in the local dance halls. However, this group was not churning out Bobby Vee or Shadows tunes; I was to hear strange songs about 'Peanut Butter' and about 'Three Cool Cats' intermingled with familiar, but unfashionable rockers gleaned from records by Jerry Lee Lewis and Little Richard. The group's line-up comprised the regular lead guitar, bass, and drums; but instead of the usual rhythm guitar, the vocalist was utilising the hall's old piano, a mike thrust into the top. Even more unusual was the small gathering of unofficial 'backing vocalists' clustered around the stage. Their chants were lending response to those opening shouts of the US Bonds song 'New Orleans'; their unison of wails constituted the chorus of that incredible song about 'Peanut Butter'. On asking one of the choristers about the band, I was informed that The Paramounts were resident at The Shades Cellar Club on Sunday nights." MORE:

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Gary Brooker – piano, vocals (1-2-3-4)

Robin Trower – guitar (1-2-3-4)

Chris Copping – bass (1-2-3)

Mick Brownlee – drums (1-2)

Bob Scott – vocals (1

)Barry J. Wilson – drums (3-4)

Diz Derrick – bass (4)

Tracks:

1. Poison Ivy (Leiber, Stoller) - 2:09

2. I Feel Good All Over (Blackwell, Scott) - 2:11

3. Little Bitty Pretty One (Byrd) - 2:15

4. A Certain Girl (Neville) - 2:11

5. I'm the One Who Loves You (Mayfield) - 2:07

6. It Won't Be Long (Brooker, Trower) - 2:02

7. Bad Blood (Leiber, Stoller) - 2:03

8. Do I (Williams) - 2:04

9. Blue Ribbons (DeShannon, Sheeley) - 2:22

10. Cuttin' In (Watson) - 2:43

11. You Never Had It So Good (Sloan) - 2:53

12. Doncha Like My Love (Brooker, Trower) - 2:15

13. Draw Me Closer (Carroll, Payne) - 1:56

14. Turn on Your Love Light (Malone, Scott) - 2:21

15. You've Got What I Want (Dallon) - 1:56

16. Freedom (Mingus) - 3:22

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LINK :

!!!! Pass: first – ship; second – kandykorn !!!!!

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