Mp3 256\71 Mb*********
Friday, October 17, 2008
Thursday, October 16, 2008
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The Gentrys - Gentry Time (1967)
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The Gentrys got their start in Memphis, TN, in 1963. The original group was made up of seven members: vocalist Bruce Bowles, saxophonist Bobby Fisher, vocalist Jimmy Hart, trumpet player Jimmy Johnson, bassist Pat Neal, vocalist Larry Raspberry, and drummer Larry Wall. Their debut album, Keep on Dancing, climbed into the Top 100 due to the success of the title track. The group enjoyed minor success until 1966, when the band broke up. Originally, member Jimmy Hart decided to resurrect the band in 1969, now featuring himself on lead vocals. The band still had some minor success, but did not last long. Raspberry would go on to start several more garage and soul groups, while Hart became a popular wrestling character, the "Mouth of the South," and would write music for both the WWF and WCW wrestling organizations.
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01 Gimmie_Love Now02 Sunshine Girl03 Ramblin Man04 Giving Love Never Hurt Anybody05 In06 I_Didnt Think You_Had It In You07 I m Gonna Look Straight Through_You08 Lets Dance09 Dont Let It Be Me This Time10 Everyday I Have To Cry11 I Feel Love Coming_On12 A Little Bit Of Love Can Work A Miracle
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KALEIDOSCOPE - THE SIDEKICKS SESSIONS (1964-1967)
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I know were several Kaleidoscopes - Mexican ,my loved US band and...
No relation to the far better known American Kaleidoscope, though this British group was also psychedelic, and was active at almost exactly the same time in the late '60s. Highly esteemed by some collectors, Kaleidoscope epitomized certain of the more precious traits of British psychedelia with their fairy-tale lyrics and gentle, swirling folky sound. At times they sound like a far more melodic and accessible Incredible String Band. Their folky ballads have aged best, and although there's some period charm to be found throughout their two albums, it's all a bit too cloying to rank among the finest unknown psychedelia. Although they had a solid underground reputation in Britain, they never found wide success, and evolved into a similar group, Fairfield Parlour, by the end of the '60s.
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1. And She's Mine2. Reflections3. Please Stay, Don't Go4. What Can I Do?5. He's Gonna Ba a Star6. San Francisco7. Walking in the Park8. I Wants to Be Loved9. San Francisco10. He's Gonna Be a Star11. I'm Looking for a Woman12. House of the Rising Sun13. Roadrunner14. Wee Wee Hours15. You're Not Mine16. Drivin' Around17. Holiday Maker18. And She's Mine19. Please Stay, Don't Go 20.What Can I Do 21.High Heel Sneakers
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Review by Bruce Eder
This archival release is a veritable treasure-trove for British beat fanatics, assembling 21 demos by the UK band Kaleidoscope, mostly cut when they were known as The Sidekicks or The Keys, between the years 1964 and 1967. The music itself isn't terribly distinguished, seldom rising above the level that one would expect from a moderately talented Brit-beat outfit who were still trying to work out a sound. Kaleidoscope was known for its psychedelic pop sound, but at the stage of their history represented here, the quartet were deciding on whether they wanted to draw more from the Beatles or the Rolling Stones, and wisely chose the latter — they were better, or at least more interesting, doing R&B and blues covers than they were at dressing up melodic ballads with high harmonies. Not that much of their work as represented here going in either of those directions was going to get them very far on their own terms, but there are flashes of potential — an easily forgettable version of "House Of The Rising Sun" is sandwiched between interesting (if, at times, disorganized) renditions of "I'm Looking For A Woman" and "Roadrunner," and the latter is followed by a cover of Chuck Berry's oft-overlooked blues tune "Wee Wee Hours." There are also a handful of originals represented here, written by members Eddie Pumer and Peter Daltrey — none too good or original — "And She's Mine" even sounds like a P.F. Sloan composition during the latter's Bob Dylan phase. The material on this CD was retrieved from a set of acetates that had long been believed lost, and there are some gaps in the sound as well as a certain crudity to the overall production, but the results are still passable as an archival issue.
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Wednesday, October 15, 2008
Barracudas - A Plane View of the Barracudas (1967)
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Formed in 1964 in the Richmond, Virginia suburb of Highland Springs, the band started out as a six piece, but by early 1965 was down to a quintet consisting of keyboardist Butch Earnardt, rhythm guitarist Chris Layne, lead guitarist Mike Parker, bass player Sam Shaw and drummer Don Thurston. A steady stream of local dances and battle of the bands competitions began attracting a local audience and led Thurston's father to take an active role as band manager. By early 1966 the group had formed their own Cuda label, releasing the single 'I Can't Believe' b/w '20-75' (Cuda catalog number 1). While it did little in terms of sales, the single attracted the attention of producer/record label president Calvin Newton who wasted no time signing them to his Winston Salem based Justice Records.
1967 saw the release of their sole LP - "A Plane View of the Barracudas". In terms of content the set offered up a then-standard mixture of R&B oriented material (the frat band required 'Gloria') and more conventional pop-rock (a nifty cover of The Byrds' 'Feel a Whole Lot Better'). To his credit Newton generously allowed the band to include two original songs - 'I Can't Believe' and 'I'll Never Fall In Love Again' (two of the more impressive numbers). Musically most of the set was rather raw and rough, though enthusiastic performances such as 'I'm a Lover, not a Fighter', 'Not Fade Away' and an extended 'I'm a Man' (complete with some knock-your-socks-off fuzz leads), more than made up for other performance and production short comings. Among the few blatant missteps were a needless cover of Jr. Walker's 'Shot Gun' and a plodding take on The Beatles 'All My Lovin''. (In case you want to save some bucks, in 1995 the Collectables label reissued the collection in CD format under catalog number COL-606.)
1967 saw the release of their sole LP - "A Plane View of the Barracudas". In terms of content the set offered up a then-standard mixture of R&B oriented material (the frat band required 'Gloria') and more conventional pop-rock (a nifty cover of The Byrds' 'Feel a Whole Lot Better'). To his credit Newton generously allowed the band to include two original songs - 'I Can't Believe' and 'I'll Never Fall In Love Again' (two of the more impressive numbers). Musically most of the set was rather raw and rough, though enthusiastic performances such as 'I'm a Lover, not a Fighter', 'Not Fade Away' and an extended 'I'm a Man' (complete with some knock-your-socks-off fuzz leads), more than made up for other performance and production short comings. Among the few blatant missteps were a needless cover of Jr. Walker's 'Shot Gun' and a plodding take on The Beatles 'All My Lovin''. (In case you want to save some bucks, in 1995 the Collectables label reissued the collection in CD format under catalog number COL-606.)
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Side 1
1.) I Can't Believe - 2:582.) Not Fade Away - 2:133.) I Call Your Name (John Lennon - Paul McCartney) - 2:124.) Gloria - 2:455.) Blue Blue Feeling - 2:396.) I'm a Lover, not a Fighter - 2:02
Side 2
1.) I'll Never Fall Again - 1:562.) Feel A Whole Lot Better - 2:203.) All My Lovin' (John Lennon - Paul McCartney) - 2:004.) I'm a Man - 5:565.) Shot Gun - 2:52
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Tuesday, October 14, 2008
The Serpent Power - The Serpent Power (1967)
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Fronted by San Franciscan poet David Meltzer, the Serpent Power was a sunshiny folk-rock group, whose songs were musical translations of Meltzer's poetry. They were first noticed by Ed Denton, manager of Country Joe and the Fish, when he saw them perform at their first-ever gig, a benefit for the Telegraph Neighborhood Center. This was in November of 1966 — Denton recommended them to Vanguard Records (Country Joe's label) and by 1967 the band was signed and had released their first and only album.
The Serpent Power was formed by Meltzer and his wife Tina (who sang both lead and harmony vocals), and also included Denny Ellis and David Stenson on lead guitar and bass, respectively, both of whom had gotten their start with San Francisco folksters the Grass Roots. The band became a full rock outfit with the inclusion of John Payne on organ and Clark Coolidge on drums. The album, also entitled The Serpent Power, received a somewhat limited pressing and, despite featuring some excellent examples of folk-rock, the band never got that big, known mostly within the San Francisco area. The album's last track was a raga-rock epic which included electric banjo player JP Pickens, who stayed on as a permanent member as the band entered its second incarnation.
Ellis, Stenson, and Payne left shortly after The Serpent Power was recorded, replaced by Bob Cuff (who'd come over from folk-pop band the Mystery Trend), on lead guitar and Jim Mocoso on bass. Although they continued reaching in ever-more exploratory directions, the band didn't record another album, and disbanded in 1968. David and Tina Meltzer went on to record another album, Poet's Song, under their own names.
The Serpent Power was formed by Meltzer and his wife Tina (who sang both lead and harmony vocals), and also included Denny Ellis and David Stenson on lead guitar and bass, respectively, both of whom had gotten their start with San Francisco folksters the Grass Roots. The band became a full rock outfit with the inclusion of John Payne on organ and Clark Coolidge on drums. The album, also entitled The Serpent Power, received a somewhat limited pressing and, despite featuring some excellent examples of folk-rock, the band never got that big, known mostly within the San Francisco area. The album's last track was a raga-rock epic which included electric banjo player JP Pickens, who stayed on as a permanent member as the band entered its second incarnation.
Ellis, Stenson, and Payne left shortly after The Serpent Power was recorded, replaced by Bob Cuff (who'd come over from folk-pop band the Mystery Trend), on lead guitar and Jim Mocoso on bass. Although they continued reaching in ever-more exploratory directions, the band didn't record another album, and disbanded in 1968. David and Tina Meltzer went on to record another album, Poet's Song, under their own names.
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Personnel:
CLARK COOLIDGE drms DENNY ELLIS ld gtr DAVID MELTZER hrmnca, gtr, vcls TINA MELTZER vcls JOHN PAYNE organ JEAN-PAUL PICKENS banjo DAVID STENSON bs BOB CUFF gtr DAVID MOORE zhenei JIM MOSCOSO bs
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1 Don't You Listen to Her 2:20
2 Gently, Gently 2:36
3 Open House 3:31
4 Flying Away 4:26
5 Nobody Blues 3:50
6 Up and Down 3:37
7 Sky Baby 2:32
8 Forget 3:34
9 Dope Again :47
10 Endless Tunnel 13:14
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Review by Alex Stimmel The only album released by this San Francisco group, The Serpent Power is a good example of the ways in which the "San Francisco sound" had coalesced into a recognizable trend by 1967: music set to beat poetry, a combination of bluesier rockers and wispy, folk-influenced tunes with male and female harmonies, and meditations about drugs all date the album somewhat, but the songs themselves are quite good, with excellent band interplay and nice electric guitar work. The heavier songs pack a good punch, while the lighter songs set a very airy, flowing mood, the epitome of what was then becoming known as "flower power". The Serpent Power is most noteworthy, though, for the inclusion of the last track, "Endless Tunnel," which was one of the first successful fusions of eastern-style song structure and philosphy with western instruments and rock sensibilities. This sort of raga-rock had been tried earlier by San Francisco's Great Society, and, of course, the Beatles, but never had it been taken to such extremes on record, clocking in at over 13 minutes. The only other rock songs with similar ideas and effect were the Butterfield Blues Band's "East-West" and the Doors' "The End," both released a year earlier. The album's liner notes include excerpts from the poetry of the band's leader and songwriter, David Meltzer.
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THE MOJO MEN - THERE GOES MY MIND (1968)
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Review
by Richie Unterberger
There Goes My Mind is essentially the album the Mojo Men would have liked Warner Brothers to put out in 1968, but which Warners, for whatever reason, declined to do. Although the liner notes make clear that the intention was for the band to eventually record the material with Warners with full orchestration, these 16 1967-1968 recordings — all original songs, and all but two previously unreleased — actually sound almost as fully produced as the typical late-'60s finished product. All but two of the tracks come from a June 30, 1968, session, and to be honest most of these aren't quite as good as the sweet early harmony-laden pop-folk-psych buzz the Mojo Men conjured on their best slightly earlier recordings, shortly after drummer-singer Jan Errico had joined. (Many of those recordings, incidentally, can be heard on another Mojo Men compilation on Sundazed, Sit Down...It's the Mojo Men( http://onwingsdream.blogspot.com/search?q=THE+MOJO+MEN). The 1968 material on There Goes My Mind is in a heavier vein, with piano far more upfront in the arrangements, but often sounds a little washed out and reserved in comparison with their best earlier moments. There are still some good early San Francisco rock-type bittersweet melodies, yearning melancholy lyrics, and accomplished male-female harmonies on songs like "I Wish Today Were Yesterday," "Unaware of Me," and the haunting harpsichord-laden "Watch You Walk Away," though occasionally the tunes lean toward a slightly bubblegummy sunshine pop vibe. Yet it's one of the 1967 demos, "Today" (no relation to the Jefferson Airplane classic of the same name), that emerges as the standout, qualifying as a lost near-classic of San Francisco rock with its enchanting never-neverland lyrics, startling tempo changes, and beguiling wistful melody. And the other 1967 demo, the jazzy and similarly reflective "But Now and Then," isn't too far behind.
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1. When You’re Down 2.Sure Of Your Love 3.Everyday Love 4.I Wish Today Were Yesterday 5.Take Me Away 6.Unaware Of Me 7.Candy 8.Ashamed Of Me 9.It’s Okay 10.Watch You Walk Away 11.There Goes My Mind 12.Today (demo) 13.But Now And Then (demo) 14.Summer Flowers (demo) 15.Not For Me (demo) 16.Take Me Away (demo)
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Monday, October 13, 2008
Saturday, October 11, 2008
Puff - Puff (1969)
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David Ryan: Bass, Vocals
Puff: Main Performer
Robert H. Henderson: Drums, Vocals
Jim Mandell: Flute, Vocals, Organ, Piano
Vin Campisi: Guitar
Alan Lorber: Producer
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1. Dead Thoughts of Alfred2. Rainy Day3. Vacuum4. Walk upon the Water5. Who Do You Think You Are6. Of Not Being Able to Go to Sleep7. When I Wake up in the Morning8. Trees9. It's My Way10. I Sure Need You11. Go With You 12. Changes
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The Immigrants - The Immigrants (1966)
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One of the more obscure local garage LPs, recorded in Kansas by a group of NY/NJ college boys. Has a cool sleeve like most albums in the genre and some pretty decent sounds inside; two cool beat-garage originals and some unusual covers (like the Beatles' "Run for your life") all fed through a whiney New England type sound. The recording is lo-fi and not exactly dynamic. It ain't the Sonics but it sure beats the Rolling Stones! The band also had a 45.
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1 I'm feelin' blue2 If you need me3 Reuben Rubin4 Keep a knockin'5 Sleepwalk6 She's not there7 2-25 blues8 Driving guitars9 House of the rising sun10 Run for your life11 Chains12 Kansas City 66
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Stud - Goodbye (1973)
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Specially for those who liked "September"....
GE !! , It is not worse
Tuesday, October 07, 2008
Stud - September (1972)
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and
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1 Good Things 3:592 God Knows 6:053 Corner 1:544 Life Without Music 8 7:195 Samurai 2:246 Five To Mid-Day 6:037 Prelude 2:158 Bad Handling 3:259 Ocean Boogie 3:2910 Red Wine 4:58
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Monday, October 06, 2008
Liverbirds - More Of The Liverbirds (1966)
Mp3\48Mb*******
The Liverbirds (sometimes spelled Liver Birds) were one of the more distinctive outfits in Liverpool (and anywhere else, for that matter) by virtue of the fact that they were a hard-rocking all-girl group, self-contained instrumentally and focused on rhythm-and-blues. They weren't too successful musically in Liverpool, but in 1963 they went to Hamburg, where they became one of the most popular acts ever to play the Star Club. Irene Green (vocals), Sheila McGlory (guitar, vocals), Mary McGlory (bass, vocals), Pamela Birch (guitar, vocals), Valerie Gell (guitar, vocals), and Sylvia Saunders (drums) got together in early 1962 under the name the Debutones, before changing it to the more city-specific Liverbirds. Irene Green left to join Tiffany's Dimensions, while Sheila McGlory jumped to the Demoiselles, and reduced to a quartet the Liverbirds became a major attraction at the Star Club, cutting two LPs for the label of that name and charting a No. 5 single in Germany with their cover of "Diddley Daddy." They were startling to look at in an era when girl singers were supposed to be pretty on stage, four tough-looking northern girls dressed in black and playing their instruments with attitude-they cut a savage version of Bo Diddley's "Mona," and could rip through most any rock 'n roll standard, but when their record company had them throw on a soft Everly Bros.-type ballad or two, it sounded more like a joke; these girls couldn't harmonize to save their lives, but they rocked their asses off. What's more, they lasted all the way to 1967, primarily playing in Germany, where several of the members settleThe Liverbirds (sometimes spelled Liver Birds) were one of the more distinctive outfits in Liverpool (and anywhere else, for that matter) by virtue of the fact that they were a hard-rocking all-girl group, self-contained instrumentally and focused on rhythm-and-blues. They weren't too successful musically in Liverpool, but in 1963 they went to Hamburg, where they became one of the most popular acts ever to play the Star Club. Irene Green (vocals), Sheila McGlory (guitar, vocals), Mary McGlory (bass, vocals), Pamela Birch (guitar, vocals), Valerie Gell (guitar, vocals), and Sylvia Saunders (drums) got together in early 1962 under the name the Debutones, before changing it to the more city-specific Liverbirds. Irene Green left to join Tiffany's Dimensions while Sheila McGlory jumped to the Demoiselles, and reduced to a quartet the Liverbirds became a major attraction at the Star Club, cutting two LPs for the label of that name and charting a No. 5 single in Germany with their cover of "Diddley Daddy." They were startling to look at in an era when girl singers were supposed to be pretty on stage, four tough-looking northern girls dressed in black and playing their instruments with attitude-they cut a savage version of Bo Diddley's "Mona," and could rip through most any rock 'n roll standard, but when their record company had them throw on a soft Everly Bros.-type ballad or two, it sounded more like a joke; these girls couldn't harmonize to save their lives, but they rocked their asses off. What's more, they lasted all the way to 1967, primarily playing in Germany, where several of the members settled permanently. d permanently.
01 Peanut Butter02 It's So Exciting03 He Hardly Ever Salls Me Honey Anymore04 For Your Love05 Oh No Not My Baby06 Around And Around07 Down Home Girl08 He's Something Else09 Heatwave10 Why Do You Hanging Around Me11 He's About A Mover12 Long Tall ShortyAdditional tracks:13 Loop De Loop14 Bo Diddley Is A Lover
SAUTERELLES “VIEW TO HEAVEN” (DECCA, 1968) Swiss
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A Swiss '60s band that have sometimes been mistakenly identified as a British group due to their 1968 single "Dream Machine," a quite catchy and enjoyable facsimile of British flower-pop with high harmonies, psychedelic lyrics, and driving guitars. The band had actually been recording since 1965, and established themselves as one of Switzerland's best and most popular groups. That's a status that doesn't confer all that much, Switzerland being a small country, and much of their first LP (1966) was filled with covers of popular rock hits. These were interpreted, however, with a brash energy that makes the record stand out above the scores of similar cover-oriented albums produced around the globe during the era. "Dream Machine" was a more original effort, and an album from 1968, View to Heaven, also had a more pronounced folk and psychedelic feel than their earliest outings. Les Sauterelles continued recording all the way into the early '70s, and several of their songs (notably "Dream Machine") surfaced on collector-oriented reissues in the 1980s.
1 Montgolfier 2:49 2 Big Old Sun 2:08 3 Hippie Soldier 2:32 4 Hello, One Kiss, Goodbye 2:00 5 Good New Times 2:21 6 Where Have All The Flowers Gone? 1:47 7 Silly Damsel 3:46 8 Heavenly Club 2:38 9 Homage 2:31 10 Hotel Continental 2:44 11 Dream Machine 2:33 12 It's All Over Now Baby Blue 3:14 13 Auf Wiedersehen 1:15
The Mojos - Everythings Alright (singles 1963-1967)
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Known mostly (if at all) in the States for doing the original version of "Everything's Alright" (covered by David Bowie on his Pin Ups album), the Mojos were one of the best Liverpool groups of the British Invasion. Besides "Everything's Alright" — a Top Ten raver in the U.K. — they never scored any other British hits of note, though a couple squeezed into the Top 30. Bob Conrad (drums), Keith Karlson (bass), Stu James (vocals, harmonica), and Adrian Wilkinson (guitar) had first gotten together in the early '60s as the Nomads — though based in Liverpool, they were a bit different from most of the other Merseyside bands in that their first love was American blues rather than R&B and rock & ... Read More...
The Mojos
Stu James - vocals (born Stuart Slater)
Nicky Crouch - guitar/vocals
Terry O'Toole - piano
Keith Karlson - bass guitar
Bob Conrad - drums
The Fourmost- The Best Of REUPLOAD
Mp3 224\121 Mb*********************
The Fourmost were one of the best Merseyside groups of the early 60s and might have had an even better chart record than they had if they hadn't suffered more than their share of bad luck. This splendid set reminds us just how outstanding they were. There are 33 tracks here and, considering that they had only 6 chart entries (which are all included here, with the respective B sides), one might have expected to have to make allowance for some makeweight items. But this isn't the case at all--virtually everything of every style is of high quality in all departments. Almost all the tracks are the originals but one or two later ones sound like re-recordings. This is a fine memento of the group's varied repertoire and acts as a worthy memorial to two of the group who are no longer with us, Mike Millward and Brian O'Hara.
In the words of the overworked title, all the hits and more.This is the definitive collection, if you like the Fourmost you are bound to enjoy this album.. All the regulars are there,Hello Little girl,Alittle lovin,I'm in love,baby I need your lovin and the rest. Also the slightly bizarre,Aunty Maggies remedy, Girls, girls, girls. But this is the Fourmost, their original stage routine consisted of a number of comedy songs. A Fourmost fan? Then this is for you, and its long overdue
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1. Hello Little Girl
2. Just In Case
3. I'm In Love
4. Respectable
5. I Love You Too
6. Little Loving
7. Waiting For You
8. How Can I Tell Her
9. You Got That Way
10. Baby I Need Your Loving
11. That's Only What They Say
12. He Could Never
13. My How The Time Goes By
14. Girls Girls Girls
15. Why Do Fools Fall In Love
16. Till You Say You'll Be Mine
17. Yakety Yak
18. My Block
19. So Fine
20. Some Kind Of Wonderful
21. Girl Can't Help It
22. Today I'm In Love
23. In Crowd
24. Baby Sittin' Boogie
25. Heebie Jeebies
26. Sure To Fall (In Love With You)
27. Everything In The Garden
28. Stop
29. Here There And Everywhere
30. You've Changed
31. Dawn
32. Turn The Lights Down
33. Auntie Maggie's Remedy
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The Basement Wall - Incredible Sound Of...(1966)
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Baton Rouge, LA-based garage band the Basement Wall were formed in 1963 by singer/bassist Terry Bourdier, guitarist Richard Lipscomb, and drummer Barrie Edgar. Drawing inspiration from the British Invasion, the group started its career playing Beatles and Rolling Stones covers. With the subsequent addition of lead vocalist and guitarist George Ratzlaff, the Basement Wall graduated from local frat gigs to nightclub dates as far away as Los Angeles, along the way becoming the highest-paid cover band in the southern U.S., according to the Louisiana Entertainment Association. In due time, the Basement Wall also began writing original material, in 1968 signing to the Senate label to issue their lone official ... Read More...
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Review
by Keith Pettipas
The Basement Wall hailed from Louisiana and was formed in 1966. The band recorded one album in 1966 for a small regional U.S. label , that despite limited distribution, won over a large following across the nation. The band combined the sounds of the Beatles, Zombies, and Association to form a unique psychedelic pop sound that was becoming popular with the underground music fans. The New Breed hailed from California and despite the surf movement of the area, decided to explore a psychedelic and garage sound. The band recorded a number of singles for various labels before recording an album entitled Want Ad Reader. The album contained and was named after the band's biggest hit, the title track. With no label support for the album it was never released and The New Breed evolved into Glad and recorded one album for ABC records before breaking up in 1969. Band members went on to become part of such notable '70s acts as Redwing ,Poco and the Eagles. This single CD release compiles all of the two band's recorded output including rare singles and the unreleased album
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Ian & The Zodiacs - Just Listen To Ian & The Zodiacs (1965) REUPLOAD
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Sometimes it is very useful cleaning dark corners the your hard drive...
Because you find here such interesting (and for some reason forgotten) things.
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Biography
Ian and the Zodiacs had one of the longest histories of any band working in Liverpool, which makes their utter obscurity in that city even more of a puzzle, considering that they had a cool name and played r&b well enough to become stars in Germany. The band's roots go back to the Zodiacs, a trad-jazz (i.e. Dixieland) outfit formed in 1958 as a sextet that included future Fourmost drummer Dave Lovelady-they switched to rock 'n roll soon after.The original Zodiacs stayed intact thru the spring of 1960, when lead guitarist Pete Pimlett exited and Ian Edwards, late of the Deltones (who attended the same school as the Zodiacs) came aboard, along with Charlie Flynn, from Kingsize Taylor and the Dominoes. The core line-up of Ian and the Zodiacs, as they were named in 1960, was Edwards on guitar and vocals, Pete Wallace on lead guitar, Charlie Flynn on bass and vocals, Cliff Roberts on drums, and Geoff Bethell at the piano. This was the line-up that held for much of the early 1960's, thru 1964, when Bethell and Roberts left.It was in 1964 that, after years of languishing in obscurity in Liverpool, the band went to Germany and became major stars-they were supposed to stay for a few weeks and didn't really leave for three years. Their line-up was still a bit fluid, with ex-Lee Curtis All-Stars drummer Joe Walsh eventually settling in, until he left, and Wallace and Flynn exited for the Connoiseurs, to be replaced by Arthur Ashton (lead guitar), Freddie Smith (drums), and Tony Coates (bass). By that time, the group had cut three LPs (that's one more than Gerry & the Pacemakers, who'd topped the charts in England, got to do) that were released exclusively in Germany on the Star Club label, which was part of Polygram, and two albums of Beatles covers issued under the name the Koppykats.The group had several label relationships during their three major years, initially with Oriole and then with Mercury, Philips, and Fontana. Their audience was centered in the German-speaking world, despite some attempts at releasing their work in England and America. In addition to their three German LPs and the Beatles cover albums, they cut an album, Gear Again, that turned up on Mercury Records' budget Wing label in 1965. The group's three Star Club albums, Star Club 7, Just Listen To Ian and the Zodiacs, and Locomotive! (of which the last was heavily soul-oriented) have turned up on CD in the 1990's from the Repertoire label.The group's sound on records was centered on covers of Motown songs ("Beechwood 4-5789"), current US hits ("Message To Martha," an adaptation of the Dionne Warwick hit "Message To Michael"), UK hits ("The Crying Game," which actually managed to chart in Texas during 1965), blues ("Good Morning Little Schoolgirl"), plus some forays into pop-jazz ("Wade In The Water"), some of which were released in America, once the possibility of finding an audience in the U.S. was understood. Until the reissue of the three German albums, they were represented best on Oriole's two-volume LP series This Is Merseybeat, doing a cover of Little Eva's "Locomotion" follow-up, "Let's Turkey Trot," on the first volume, and, on the second, George Gershwin's "It Ain't Necessarily So." Apart from the excellent "Wade In The Water," which stood on its own terms. They broke up in 1967 when Edwards shut down the group to return to England when his wife became ill. ~ Bruce Eder, All Music Guide
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Just Listen To Ian & The Zodiacs01 The In Crowd02 Make It Easy On Yourself03 I Need You04 Face In The Crowd05 It's A Crying Shame06 Nature Boy07 Can't Stop Running Away08 Headin' Back To You09 Donna Donna10 Believe Me11 Strong Love12 As You Used To Do13 What Kind Of Fool14 No, Not Another Night15 All Of Me16 Leave It To Me17 Why Can't It Be Me18 Any Day Now19 Na-Na-Na-Na-Na20 I'll Take You Home21 Little Child22 Take A Message to Martha
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LES VARIATIONS - 4 albums ! ! ! France ! ! !
Mp3\256 Mb***********
Les Variations was a French rock band from the 1960s and 1970s that sang in English and was known for its rock guitar based music. Often, their songs and compositions contained hints of North African and Jewish Sephardic melodies as well as the Hebrew songs of the band members’ youth.
Also known as Variations
Origin France
Genre(s) Rock and roll Rhythm and blues Blues Middle Eastern
Years active 1968 — 1975
Label(s) Magic, EMI/Pathé Records
Website Les Variations
Members:
Robert Fitoussi ; Marc Tobaly ; “Petit Pois” Grande ; Isaac “Jacky” Bitton
Former members:
Joe Leb
Robert Fitoussi ; Marc Tobaly ; “Petit Pois” Grande ; Isaac “Jacky” Bitton
Former members:
Joe Leb
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History
All three members were Moroccan Jews. Joe Leb was on vocals, Marc Tobaly played guitar, Jacques “Petit Pois” Grande played bass, and Isaac “Jacky” Bitton was on drums. Leb was later replaced by Tunisian born Robert Fitoussi.
Les Variations signed with EMI/Pathé Records in 1969. Some argue that Les Variations is one of the best known rock groups from France, largely in part to commercial successes during their decade-long span. Between 1969 and 1973, they released the bulk of their albums. They often mimicked traits of the Rolling Stones, The Who and Led Zeppelin.
By 1974 they adopted a more popular style and signed with an American label. It was then that they introduced sounds and styles taken from their Moroccan heritages, exemplified in the album Moroccan Roll. The band broke up in 1975.
Over the course of their career, Les Variations opened for Bachman Turner Overdrive, Kiss, The Jimi Hendri Experience, Cream, Taste, and Aerosmith, among other well-known bands of their era.
All three members were Moroccan Jews. Joe Leb was on vocals, Marc Tobaly played guitar, Jacques “Petit Pois” Grande played bass, and Isaac “Jacky” Bitton was on drums. Leb was later replaced by Tunisian born Robert Fitoussi.
Les Variations signed with EMI/Pathé Records in 1969. Some argue that Les Variations is one of the best known rock groups from France, largely in part to commercial successes during their decade-long span. Between 1969 and 1973, they released the bulk of their albums. They often mimicked traits of the Rolling Stones, The Who and Led Zeppelin.
By 1974 they adopted a more popular style and signed with an American label. It was then that they introduced sounds and styles taken from their Moroccan heritages, exemplified in the album Moroccan Roll. The band broke up in 1975.
Over the course of their career, Les Variations opened for Bachman Turner Overdrive, Kiss, The Jimi Hendri Experience, Cream, Taste, and Aerosmith, among other well-known bands of their era.
Albums:
Nador (1969)
Take It Or Leave It (1971)
Moroccan Roll (1973)
Cafe de Paris (1974)
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Les Variations - Nador (1969)
Tracklist:1. What a mess again2. Waiting for the Pope3. Nador4. We gonna find the way5. Generations6. Free me7. Completely free8. Mississipi woman9. But it's allright
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Les Variations - Take It Or Leave It (1971)
Tracklist:01. Help Me Marianne02. Silver Girl03. Make You Mine04. All I Want To Know05. Take The Time To Live06. Walk Right Down07. Rock 'n' Roll Jet08. I Need Somebody09. If I Can Do It10. C'mon Joe
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LES VARIATIONS - MOROCCAN ROLL (1973)
Tracklist:
1. Moroccan Roll2. I Don't Know Why3. Did it4. KasbahTadla5. Growing Stronger6. Lord(Give me Money)7. Leslie Lust8. Sanglots(Tears)
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LES VARIATIONS - CAFé DE PARIS (1974)
Tracklisting:1- I Don'T Know Where She'Ll Go2 - Sit Back Home Again3- Superman Superman4 - Maybe Forever5 - Come Now6 - Berberian Wood7 - It'S All Right8 - Everybody Got The Blues9 - Shemoot (The Prayer)
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I satisfy the request of variety of comrades,and... first of all my fellow countryman and Igor's namesake.
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