Beat Beat Beat At The Beeb - The Rolling Stones (1963-1965)

The Rolling Stones' 1963-1965 BBC sessions 

have usually been scattered piecemeal over innumerable bootlegs. 

This two-CD, 51-track set does what should have been done a long time ago by a legitimate label, gathering every known recording they did for the radio network onto one package.

Contains all known BBC radio recordings

 in chronological order and best possible quality.

Mick Jagger - vocals, Brian Jones - guitar, Keith Richards - guitar,

Bill Wyman - bass, Charlie Watts - drums

There are things to be said against this anthology, namely the uneven sound quality, which ranges from excellent to marginal (though overall it's pretty good). But even at its worst it's listenable, and the compilers did seem to be working from the best available tapes that have escaped into circulation. Of more importance, this is the most complete picture yet of the most vital body of early Rolling Stones recordings that has yet to gain official release. As is usual for BBC compilations (authorized or otherwise) of British Invasion bands, much of it's given over to live (or at least live-in-the-studio) performances of songs also found on their official studio releases, though with a rougher and stripped-down edge. There are, however, a number of songs that never found their way onto those releases, including great covers of Chuck Berry's "Memphis, Tennessee" and "Roll Over Beethoven"; not as great, but still good, covers of Berry's "Beautiful Delilah"; and versions of Tommy Tucker's "Hi Heel Sneakers," Bo Diddley's "Cops and Robbers" and "Crackin' Up," Buster Brown's "Fannie Mae," and Howlin' Wolf's "Down in the Bottom." These alone would make this of significant importance, but there are also BBC versions of a lot of material from their early albums, EPs, and singles going back to their debut 45 "Come On," and including such standouts as "I Wanna Be Your Man," "You Better Move On," "I Just Want to Make Love to You," "Around and Around," "Carol," "It's All Over Now," "Route 66," "2120 South Michigan Avenue," "Walking the Dog," "The Last Time," and "(I Can't Get No) Satisfaction." Alas, there are very few Stones originals on the set; the only others besides "The Last Time" and "(I Can't Get No) Satisfaction" are "Little by Little" and "The Spider and the Fly." And as with some other bands who recorded prolifically for the BBC, there are multiple versions of many of the songs, though never more than two of any of the same tune, spaced far enough apart from each other that listener enjoyment isn't diminished. On the whole these are sparkling, if occasionally raw performances that testify to the group's brilliance as an R&B-rock band in their early days. There's no reason they shouldn't be officially released with the appropriately possible sonic cleanup, especially as there are several other far less worthy Stones rarities/live releases cluttering their official discography.

The Rolling Stones time capsule to young inspired musicians working hard to "break" in the wake of The Beatles play with heart and soul on the British Broadcasting Corporation (BBC). The best opportunity to study the music and musicianship in the early days in the most pristine of environments minus unbalanced instruments and screaming fans through these sensational live performances at the BBC studios and their affiliates. Here we will start with a cross reference of all the tracks on "Beat Beat Beat at the Beeb" (BBBATB) CD release matched against the least common denominator set of previously available recordings including The Swingin' Pig's "Get Satisfaction ...

BBC Stones: "Beat Beat Beat at the Beeb"


CD 1:

1. Come On

2. Memphis Tennesee

3. Roll Over Beethoven

4. Ain't That Loving You Baby

5. Don't Lie To Me

6. Mona

7. Walking The Dog

8. Bye Bye Johnny

9. I Wanna Be Your Man

10. You Better Move On

11. Roll Over Beethoven

12. Beautiful Delilah

13. Route 66

14. Cops And Robbers

15. You Better Move On

16. Mona

17. Hi-Heel Sneakers

18. Little By Little

19. I Just Wanna Make Love To You

20. I'm Moving On

21. Not Fade Away

22. Walking The Dog

23. I Just Wanna Make Love To You

24. Beautiful Delilah

25. Hi-Heel Sneakers

26. Carol

CD2:

1. Meet Me At The Bottom

2. You Can Make It If You Try

3. Route 66

4. Confessin' The Blues

5. Down The Road Apiece

6. It's All Over Now

7. If You Need Me

8. Confessin' The Blues

9. Carol

10. Mona

11. Around And Around

12. If You Need Me

13. I Can't Be Satsfied

14. Crackin' Up

15. 2120 South Michigan Avenue

16. Down The Road Apiece

17. interview

18. Everybody Needs Somebody To Love

19. The Last Time

20. Mercy Mercy

21. Oh Baby (We Got A Good Thing Goin')

22. The Spider And The Fly

23. Satisfaction

24. Cry To Me

25. Fanny Mae

http://www.bootlegzone.com/album.php?name=iu9428-2§ion=9

Sylvie Vartan - Twist et Chante (1963) + EP 1962 France

Although actor/pop singer Sylvie Vartan is Bulgarian, she would eventually receive recognition from the French, usually singing entirely in the language of her adopted homeland.

 Born August 15, 1944, in Iskretz, Bulgaria, Vartan showed great talent for both acting and singing at an early age, resulting in an appearance in the Bulgarian film Under the Yoke in 1950. Two years later (while only ten years old), Vartan and her family relocated to France. 1961 would prove to be an important year for Vartan's career, as she entered a recording studio for the first time, picked up some TV work, and appeared at the famed Olympia Theater. The early '60s saw the release of a steady stream of singles, EPs, and albums (such as 1962's Sylvie), in addition to further appearances in European movies -- including A Moonlight in Maubeuge and Just for Fun.
Other impressive accomplishments for Vartan in the early '60s included recording a pair of songs ("If I Sing" and "Most Beautiful to Go to Dance") with famed country artists Chet Atkins and Ray Stevens, and playing on the same bill as the Beatles at the Olympia in January of 1964. During the mid-'60s, Vartan concentrated on making inroads to the American music market, as she appeared on such TV shows as The Ed Sullivan Show, Hullaballooh, and Shindig, while one of her best singles, "2'35 de Bonheur," hit the charts in early 1967. Subsequently, Vartan kept on issuing albums and touring at a steady rate right up to the 21st century, as 2001 saw the release of the 14-track career overview L'Essential. ~by Greg Prato 

01 - Twiste et chante
02 - Les clous d'or
03 - Avec moi
04 - Ne t'en vas pas
05 - I'm watching you
06 - En ecoutant la pluie
07 - Comme tu es fou
08 - Deux enfants
09 - Il faut choisir
10 - Il revient
11 - Je ne vois que toi
12 - Mon ami

Vartan's second album was hardly an original statement, comprised mostly of French-language covers of then-recent American rock & roll songs like "Twist and Shout," Del Shannon's "So Long Baby," the Cascades' "Rhythm of the Rain," Rick Nelson's "It's Up to You," Gene Vincent's "Say Mama," and compositions by Paul Anka and Gerry Goffin-Carole King. Still, it's a fun relic of early-'60s French fluff, with kitschy early-'60s pseudo-rockin' backing (complete with dated choral backup vocals) and Vartan's spirited girlish singing. A couple of French-written songs, "Les Clous d'Or" and "Deux Enfants," depart from that strategy, and offer fine tuneful orchestrated sentimental period French girl pop in the style of recordings of the era by France Gall and Françoise Hardy (though Hardy's efforts in this mode weren't as lightweight). One number, "(I'm Watching) Every Little Move You Make," is sung in English, and here Vartan actually seems to reach down for a little more guts and fire than usual. Originally issued by RCA in France in 1963, it came out on CD on BMG Japan in the 1990s, though note that the sound quality on the CD suffers in a couple of passages that sound as if it's suddenly passing through damaged tape heads that muffle the clarity. ~ by Richie Unterberger

Sylvie Vartan - Moi je pense encore à toi (1962)

from  McLuhan's Garden blog
(THANKS)

1. Sylvie Vartan - Moi Je Pense Encore A Toi (2:13)

2. Sylvie Vartan - Dansons (2:03)

3. Sylvie Vartan - M'amuser (2:23)

4. Sylvie Vartan - Tous Mes Copains (2:36)

The Mark Four - Live

FROM JANCY

Before changing their name, the Creation laid the foundation for their Who-like distorted power chording as the Mark Four. The group released four singles in 1964 and 1965 before renaming themselves the Creation when they began to record for Shel Talmy in 1966. Their first two 45s were covers of R&B/rock standards, but the next couple featured fairly strong mod/power pop originals. "I'm Leaving" is particularly notable for having one of the first extended guitar feedback passages in a rock song.

The Mark Four - Live At The Beat Scene Club

01 - That's How Strong My Love Is

02 - Hurt Me If You Will

03 - Got My Mojo Working

The Rubettes - The Singles Collection (1974-1979)

At last - a 70's cd that delivers what it promises. This album is full of all the classic hits from the Rubettes first five years and the sound quality and presentation of these original recordings is superb. It's a pity that the Rubettes are still not given the recognition and airplay they deserve - anyone who can produce an album of this quality should be up there with the greats of pop music but they are too often overlooked in 70's compilation albums. Songs like Baby I Know, Sugar Baby Love,I Can Do It and Juke Box Jive are classics that should live on forever.

1. The Rubettes - Sugar Baby Love (3:30)

2. The Rubettes - Tonight (3:42)

3. The Rubettes - Juke Box Jive (3:04)

4. The Rubettes - I Can Do It (3:22)

5. The Rubettes - Little Darling (3:19)

6. The Rubettes - Foe-Dee-O-Dee (3:02)

7. The Rubettes - Julia (2:53)

8. The Rubettes - You're The Reason Why (2:36)

9. The Rubettes - Under One Roof (4:31)

10. The Rubettes - Allez Oop (3:13)

11. The Rubettes - Ooh La La (3:38)

12. The Rubettes - Baby I Know (4:22)

13. The Rubettes - Cherie Amour (3:01)

14. The Rubettes - Come On Over (4:08)

15. The Rubettes - Ladies Of Laredo (5:08)

16. The Rubettes - Little 69 (2:50)

17. The Rubettes - Lola (2:55)

18. The Rubettes - Goodbye Dolly Grey (3:38)

19. The Rubettes - Movin' (3:50)

20. The Rubettes - Sometime In Oldchurch (4:18)

21. The Rubettes - Stay With Me (3:01)

22. The Rubettes - Kid Runaway (3:10)

The Rubettes - Juke Box Jive

Formed in 1973 in England, the Rubettes were originally organized as a session outfit by Wayne Bickerton of Polydor A&R. Inspired by the successes of Sha Na Na, Mud, and Showaddywaddy, they combined glam rock presentation (red and white suits with matching caps) with a rock & roll revival sound. Their first release, 1974's "Sugar Baby Love," was an instant smash, remaining at number one in England for five weeks while denting the U.S. charts at number 37 in August, and remains their best-known record. Subsequent releases would be less successful, but the band soldiered on and continued to tour on the nostalgia circuit well into the 2000s. 

The Rubettes' original lineup featured John Richardson on drums,Mick Clarke on bass, Bill Hurd and Peter Arnesen on keyboards, andTony Thorpe on guitar. Vocalist Paul DaVinci left the band just before "Sugar Baby Love," replaced by Alan Williams. Their name, like their music, was selected to consciously tap into '50s America iconography, and the revival sound bore fruit in the U.K. on several more singles: The "Sugar Baby Love" soundalike "Tonight" was a strong follow-up, and "Jukebox Jive" and "I Can Do It" went Top Ten there as well. None charted in the States, though, and the band, which had evolved from prefab status to full-fledged band, moved from glammy nostalgia into more serious territory. They turned many a head with 1976's "Under One Roof," a sensitive portrayal of a gay man disowned and later murdered by his father; along with Rod Stewart's "The Killing of Georgie," it was one of very few songs tackling the difficult topic of homophobia. At the time some speculated that the song had been designed to be so uncommercial as to get the band dropped from their label. If so, it worked all too well, as the Rubettes soon fell silent in the face of dwindling success.Arnesen left that year, followed soon after by Hurd, and by 1979 the group was history. In 1983, though, at the urging of a German promoter, Williams re-formed the band for festival shows. Redubbedthe Rubettes featuring Alan Williams to counteract other acts passing themselves off as the Rubettes, the reconstituted unit continued to tour Europe in oldies revival packages intermittently into the 2000s, with original members Richardson and Clarke back in the fold along with ex-Kinks keyboardist Mark Haley.

1.The Rubettes - Stay With Me (3:00)
2. The Rubettes - Come On Over (4:07)
3. The Rubettes - Cherie Amour (2:59)
4. The Rubettes - Don't Come Crying (3:20)
5. The Rubettes - No No Cherie (3:17)
6. The Rubettes - I Can Do It (3:07)
7. The Rubettes - Tonight (3:33)
8. The Rubettes - Ooh La La (3:55)
9. The Rubettes - Sugar Baby Love (3:26)
10. The Rubettes - Juke Box Jive (2:57)
11. The Rubettes - Lend A Hand (4:39)
12. The Rubettes - Plenty Money (3:12)
13. The Rubettes - Little 69 (2:44)
14. The Rubettes - Julia (2:58)- Julia (2:58)

Rare Earth - Fill Your Head The Studio Albums 1969-1974

Rare Earth began as an R&B band called the Sunliners in Detroit in 1961. Of the musicians who would be part of the band dubbed Rare Earth, only sax player Gil Bridges and drummer Pete Rivera were present. John Parrish joined on bass in 1962. Rod Richards became a guitarist with the group in 1966. Keyboardist Kenny James came into the fold the same year. After years of doing the club circuit, the group changed their name to Rare Earth and released Dreams/Answers on Verve. The album received little reaction and the group was picked up by Motown Records as the first act on their yet-to-be-named new label. Rare Earth suggested to Motown that the label name their new subsidiary after the band and Rare Earth Records was born.




When they set out to record their first album, they essentially ran out of material and did a 21-minute rendition of the Temptation's "Get Ready" to fill out the space. The album was making no headway on the charts for a long period of time. So they took the first three minutes of "Get Ready," released it as a single and it made its way into the U.S. Top Ten list, peaking at number four. Pulled along by the success of the single, the album also began to sell, breaking the Top 20, and Rare Earth's career was officially on its way. The second album, Ecology, was released in June of 1970, a couple months short of a year after "Get Ready" had been put out. Interestingly enough, Ecology was not really the group's second album, but their third. An album entitled Generation was recorded as the soundtrack to the film of the same name. When the film stalled at the box office, the album was shelved. Still, Ecology would yield not one, but two hit singles. The first was "(I Know) I'm Losing You" (another Temptations cover), which also broke the Top Ten. The second single, "Born to Wander," did not fare quite so well, but did make the Top 20. The album was catapulted to number 15.
Not wanting to lose momentum, One World followed almost exactly a year after Ecology, and yielded another hit single in a longtime classic, "I Just Want to Celebrate." The song peaked on the pop charts at number seven and the album broke the Top 50. They released a live album in December of the same year. For the next album, Willie Remembers, the group insisted on doing all originals, a move that was not common around the Motown camp. Unfortunately, for a band trying to prove a point, the album never reached the type of sales of previous records. Indeed, it stalled out at number 90, and the single "Good Time Sally" didn't even break the Top 50.

Motown tightened the creative grip on the group and original producer Norman Whitfield, who had worked with the group on earlier albums, was brought in to save the day. The resulting album, Ma, was released in May of 1973 and fared just a little better than Willie Remembers, peaking at number 65. The label was not pleased and sent the group into the studio to record with Stevie Wonder. That pairing did not really gel, though, and only two tracks were recorded, neither of which were released. Instead, the label sought to release another live album, trying to regain the spark that Rare Earth had had. That project also fell by the wayside, though.

What followed was a series of lineup changes and legal battles, and the group stopped touring altogether in 1974. The following year Rare Earth, in a new lineup, released Back to Earth. The album did a bit better than the previous one, reaching number 59 on the charts. The single, appropriately entitled "It Makes You Happy (But It Ain't Gonna Last Too Long)" stalled just outside the Top 100. A disco-oriented excursion entitled Midnight Lady was released in 1976, but failed to really go anywhere. To make matters worse, Rare Earth Records was discontinued altogether. The band had broken up by this time.
As fate would have it, though, this was not the end of Rare Earth. Instead, Barney Ales, who had presided over Rare Earth Records, started his own label Prodigal Records. He talked the group into reuniting to record the label debut. The resulting album, Rare Earth, was released in 1977 and made no real waves in the music business. Rare Earth got things together again for a marathon recording session the following year. That session yielded not one, but two albums. The first was Band Together, released in April of 1978, with Grand Slam following in September. Neither of those albums every really took off, either. The group essentially broke up in 1978, although a version of the original lineup was touring all the way into 1983. A different incarnation of the group, with just two original members, still makes the circuits. ~  by Gary Hill

This 2008 compilation puts Rare Earth's early Motown catalog back into print in one fell swoop with a three-disc package featuring remastered sound, new liner notes with full credits, and exact reproductions of the album's original art. Unfortunately, that means you have to spring for the whole set to get access to any one of the five for a physical copy, but there is always selective downloading. While Rare Earth was never an A-list contender even during its salad days, the group, led by singing drummer Pete Rivera (nee Hoorelbeke) had many fine moments, not all of them collected on the various best-of sets already in print. As Motown's first foray into white rock, Rare Earth also became the name of the company's subsidiary label that they, along with a handful of mostly forgotten other acts (Toe Fat anyone?), recorded for. Notes writer Scott Schinder's five-page recap of the Earth's 1969-1974 run, which also includes an interview with Rivera, provides excellent background information along with anecdotes and reminiscences from its founding member and featured voice. Nine difficult-to-find bonus tracks (edited singles, non-album A- and B-sides) are somewhat incongruously tacked onto the end of disc one (which also includes the Get Ready debut) instead of being sequenced next to the album they are associated with. Otherwise, this set, with its rounded tombstone packaging that mimics the unique shape of many of the first Rare Earth label releases, is a straightforward presentation of the five records, along with liner notes and even inner record sleeve reproductions. These records established Rare Earth as rugged, working semi-stars. They persevered through hard touring, a few top-notch songs such as One World's "I Just Want to Celebrate" (written for them by Nick Zesses and Dino Fekaris), and imaginatively rearranged rock and R&B covers, to attain at least a footnote in pop music history. At its best, generally on the Norman Whitfield productions of his own compositions such as Ecology's "(I Know) I'm Losing You" and the Ma album, Rare Earth personified a style of blue-eyed, jammy psychedelic soul that, while dated, still holds up as unique enough to have resulted in more hits than the group actually achieved. Since its most recognizable music is well represented on Motown's impressive two-disc Anthology: The Best of Rare Earth and other discs, this is for collectors who need everything from Rare Earth's most commercially and artistically successful years. As such it is a classy presentation of a band whose finest moments remain impressive, even occasionally innovative, but just short of influential. ~ by Hal Horowitz

V.A.- Kicks : The Great Lost Australian 60s Pop Album

To generalize, when it comes to compilations of obscure '60s Australian rock, you're much better off if the collection has a garage-punk-oriented slant, rather than a pop bent. If, just for the heck of it, you want just one Australian '60s pop-rock anthology, this might be the one to look for. It's not that special, frankly, but it's pretty pleasant, with occasional highlights like the News' accomplished blue-eyed soul treatment of "S.O.S.," and the D-Coys' pounding beat rocker "You're Against," and the Playboys' tuneful pop-mod-psych on "Sad." Some of these are merely remakes of American records, though some of those U.S. releases were so little known that all but the most rabid collectors will be unfamiliar with the original versions. ~ Richie Unterberger

01 Kicks - The Librettos

02 Love Machine - Pastoral Symphony

03 Hide & Seek - Somebody's Image

04 Engagement Party - Nineteen 87

05 S.O.S. (Stop Her On Sight) - The News

06 Bad Reputation - The Executives

07 You're Against - The D-Coys

08 Everlasting Love - Town Criers

09 Western Union - The Strangers

10 One Day In Every Week - Procession

11 Temptation's 'Bout To Get Me - The Virgil Brothers

12 Katy Jane - Ronnie Charles

13 California My Way - The Iguana

14 Tweedelee Dee - The Avengers

15 Billy's Bikie Boys - Wickedy Wak

16 Sad - The Playboys

17 As A Boy - The Brigade

18 Not This Time - The Black Diamonds

19 Go Go Hula Hoop - The Familiars

Christie - For All Mankind (1971)

Leeds-born Jeff Christie (b. 1946) entered music by way of a skiffle band that eventually moved into rock & roll, taking the name the Outer Limits. They eventually cut a pair of singles, before breaking up, and Jeff Christie decided to try a career as a songwriter. His demo tape made its way to Tremeloes' guitarist Alan Blakely, and happened to be heard by his brother, drummer Mike Blakely, formerly of the Epics and the Acid Gallery. Both were impressed enough with Christie's songs to arrange a recording session in London where the Tremeloes participated as Christie's backing band — none of the sides from that session saw the light of day, but inspired by Blakely's faith in his songs, Jeff Christie decided to put together a group of his own. The latter included Christie on bass and lead vocals, Blakely on drums, and his ex-Epics/Acid Gallery bandmate Vic Elmes on guitar and vocals.

 The group decided to use Jeff Christie's family name as their own and were signed by British CBS. At the time, they bidded fair to become England's answer to Creedence Clearwater Revival.Their debut single, "Yellow River," however, was more a showcase for Jeff Christie and Vic Elmes as singers than for the band, as it featured their voices dubbed over the Tremeloes' backing track cut at Christie's first session. Whatever its origins, it did the job, riding the U.K. pop charts for 22 weeks and reaching the number one chart spot in several countries; even in the United States, where it faced the stiffest competition, the Epic Records-released single reached number 23, a very respectable showing for an act that was nowhere near ready to tour the U.S. Their follow-up, a group recording called "San Bernadino," reached number one in Germany and number seven in England, though it never climbed beyond the lowest reaches of the Top 100 in America. The resulting album, however, with "Yellow River" as the title track, reached the middle level of the charts and stayed in the Billboard listings for two and a half months, although it could and should have done a lot better. The LP had at least three additional potential singles on it, all in a similar catchy pop/rock vein, and then-Columbia president Clive Davis was a strong believer in using singles and albums to promote each other, but for some reason the label reached out to a song, "Man of Many Faces," that wasn't on the LP for the third single. The group went through numerous lineup changes heading into 1971, including the departure of Mike Blakely, who had tired of the constant touring, who was replaced by Paul Fenton, and a second LP wasn't forthcoming until well into that year. For All Mankind abandoned the commercial, pop-oriented sound of its predecessor in favor of a harder, higher-wattage, more blues-oriented sound, and neither it nor the single "Picture Painter" did as well as their earlier records. They re-grouped, with former Unit 4+2 alumnus Howard Lubin in the lineup on a new song, called "Iron Horse," that was as catchy as the early singles. This proved to be their last full-fledged effort, however, as Elmes and Christie began to clash personally and professionally, and the original quartet split up in 1972. Elmes went on to be a top session guitarist and made a name in film music, most notably in the scoring for the science fiction/fantasy series Space: 1999, while Paul Fenton became a member of T. Rex and has continued to work in the latter capacity, as part of Mickey Finn's T. Rex, into the 21st century, and Lem Lubin participated in the recording of Ian Hunter's 1977 album Overnight Angels. Jeff Christie kept the group's name alive well into 1973 with replacement members, and cut songs for Mercury Records in the mid- '70s — he kept using the group name as an alias on material recorded for the Epic and Wizard, and took back his full name for records on the RK label in the 1980s. There were disputes over the use of the group name in the 1980s, though Jeff Christie appears to be using it most recently, while Vic Elmes sometimes fronts a band called Christie Again in Europe. ~ by Bruce Eder

1. Christie - Magic Highway (5:39)

2. Christie - Man Of Many Faces (2:17)

3. Christie - Picture Painter (3:07)

4. Christie - Martian King (5:25)

5. Christie - For All Mankind (4:14)

6. Christie - Peace Lovin' Man (3:05)

7. Christie - My Baby's Gone (5:41)

8. Christie - Country B. Sam (3:11)

9. Christie - I Believe In You (4:51)

10. Christie - If Only (4:22)

11. Christie - The Dealer (Down & Losin') (2:56)

12. Christie - Pleasure And Pain (2:43)

13. Christie - Alabama (3:41)

14. Christie - I'm Alive (3:13)

15. Christie - Guantanamera (4:52)

16. Christie - Navajo (Wake Up Navajo) (4:01)

17. Christie - The Most Wanted Man In The USA (3:03)

18. Christie - Rockin' Suzanna (3:02)

 

The Master's Apprentices - Complete Recordings (1965-1968)

Compilation from act considered to be one of the best Australian Rock bands of the '60s. Their entire output for the Astor label plus earlier material. 17 tracks direct from the original master tapes. 3 previously unreleased tracks 'Dear Dad', 'Inside Loo

1. Undecided (Bower/Morrison) - 2:29

2. Poor Boy (Bower) - 3:06

3. But One Day (Bower) - 2:39

4. Dancing Girl (Diddley) - 3:13

5. She's My Girl (Bower) - 2:25

6. Hot Gully Wind (Bower) - 2:51

7. Theme for a Social Climber (Bower) - 1:54

8. Buried and Dead (Bower) - 2:42

9. Johnny B Goode (Berry) - 2:47

10. Don't Fight It (Cropper/Picket) - 3:05

11. Four Years of Five (Keays/Tillbrook) - 2:34

12. I Feel Fine (Lennon/McCartney) - 3:23

13. My Girl (Robinson/White) - 3:23

14. Brigette (Ford/Keays) - 2:27

15. I Feel Fine [Alternate Version] (Lennon/McCartney) - 3:02

16. Dear Dad (Berry) - 1:41

17. Inside Looking Out (Burdon/Chandler/Lomax/Lomax) - 3:31

18. War or Hands of Time (Bower) - 2:50

19. Elevator Driver (Cadd/Ross) - 2:20

20. Tired of Just Wandering (Bower) - 2:20

21. Living in a Child's Dream (Bower) - 2:41

22. Bye Bye Johnny (Berry) - 2:07

23. Black Girl (In the Pines) (Ledbetter) - 3:54

V.A. - Heimatliche Klaenge vol.12

From Jancy

Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.12

Riverboat Party Pro Records KS1

01 - Mashed Potatoes

02 - Donna

03 - Shakinґ All Over

04 - Summertime Blues

05 - The End

06 - Night Train

07 - My Prayer

08 - Dark Eyes Twist

09 - Tell Him No

10 - Sweet Dream Baby

11 - From Me To You

12 - Where Have All The Flowers Gone

13 - Wake Up Little Susi

14 - All My Sorrows

15 - El Matador - singer Frank Zander

16 - Too Much

17 - Iґm Gonna Knock On Your Door

18 - Keep A Knockinґ

19 - Fever

20 - Endless Sleep

1 - 8 The Phantoms

9 - 15 Gloomy Moon Singers

16 - 20 The Firestone Band

V.A. - Heimatliche Klaenge vol.11

Continion from Jancy

TWO FACES with the groups

 " THE GENTS INC. and THE CAPRAS "

 made in Germany circa 1966. Label: Falcon.

Two Faces : The Gents Inc / The Capras (1969)

Two Faces : Gents Inc / Capras 

 

Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.11

Two Faces - The Gents Inc. / The Capras Falcon L-ST 7067

Side A, The Gents Inc: Sinking sun, Cool girl, In the Dark of the night, Swansea Morning, In my Dreams, Getting the Blues.

Side B, The Capras: Statues and pictures, The girl, Restless, Carolina, Beginning of Autum, My life.

01 - Sinking Sun

02 - Cool Girl

03 - In The Dark Of The Night

04 - Swansea Morning

05 - In My Dreams

06 - Getting The Blues

07 - Status And Pictures

08 - The Girl

09 - Restless

10 - Carolina

11 - Beginning Of Autum

12 - My Life

The End - Introspection (1969)

Although never achieving the success they deserved, the End are best remembered for their Bill Wyman-produced psychedelic-pop that was a masterful mixture of swirling, dream-like numbers, and flowery, but never twee, pop. Their Introspection album is now viewed as one of the finest examples of British psychedelia. Dave Brown and Colin Giffin formed the End in 1965 following the demise of beat group the Innocents. Nicky Graham and John Horton were drafted in from Dickie Pride's backing group, the Original Topics, and the line-up was completed with former Tuxedos drummer Roger Groom.

After recording at the now legendary R.G. Jones' Morden studio, successful friend Bill Wyman arranged a tour with the Rolling Stones. They also appeared with Spencer Davis on ITV television's Thank Your Lucky Stars playing "Hallelujah I Love Her So." At this time their music was very much in the club-soul/blue-eyed soul style that was sweeping England by storm. Following the tour, Roger Groom quit to be replaced by Hugh Atwooll, a former school friend of Nicky Graham. John Horton also quit, but the split was amicable as he continued to help out on their second single, "Shades of Orange." Cut by Bill Wyman, with the addition of Charlie Watts on tabla, the song was recorded during the sessions for the Rolling Stones' psychedelic foray, Their Satanic Majesties Request. "Shades of Orange" epitomizes British Psychedelia and is one of the genre's most sought after items.

Following the single's release, Gordon Smith also left and was replaced by former Mode guitarist Terry Taylor. The band then decamped to Spain, where several singles were released domestically, including "Why," a Top Five hit in April 1967. By Christmas 1968, both Colin Giffin and Hugh Attwooll had left after recording the Introspection album, and although a new drummer, Paul Francis, was enlisted, the writing was on the wall. With the arrival of another Mode refugee, Jim Henderson, the End metamorphosed into the more progressive-sounding Tucky Buzzard. Introspection was delayed for over a year due to a fallout from the Rolling Stones' bust-up with Allen Klein and was musically the type of psychedelia that had gone out of fashion by the time of its December 1969 release. The band had changed name and style, leaving this glorious album to sink without a trace.

Joey Dee & The Starliters - Hey Let's Twist!: The Best of Joey Dee and the Starliters

Joey Dee led the house band at New York's Peppermint Lounge, immortalizing the joint in his 1961 chart-topper "Peppermint Twist." Born Joseph DiNicola in Passaic, NJ, Dee teamed with veteran producer Henry Glover to cut "Peppermint Twist" for Roulette Records, and the huge hit led to a starring role in the film Hey, Let's Twist. Most of Dee's hits, including a supercharged revival of the Isley Brothers hit "Shout" in 1962, were firmly in the Twist mode, although he took a successful stab at a softer sound that year with a Johnny Nash tune, "What Kind of Love Is This." Dee gave several future stars early breaks by welcoming them into the rotating lineup of the Starliters, including the Ronettes, three-quarters of the Young Rascals, and Jimi Hendrix. Dee continued releasing material into the mid-'70s, after which point he remained an active draw on the oldies circuit.

Hey Let's Twist!: The Best of Joey Dee and the Starliters

While Joey Dee is generally looked upon as the quaint bearer of the twist to a mass audience (clean covers of R&B tunes palatable to White audiences), the truth is that Dee had a racially integrated band (in 1961, no less) that not only delivered the goods, but put some high voltage energy into the tunes as well. Although this 18-track compilation brings together all the chart hits ("Peppermint Twist," "Shout," "Everytime," "What Kind Of Love Is This," "I Lost My Baby," "Dance, Dance, Dance") from Dee and the Starliters' brief run for the gold, it omits several barnburning covers from the second live album, and opts for the edited 'Part One' version of "Shout," as opposed to the six-minute-plus workout that's on the Doin' the Twist album. That said, it's still a wonderful introduction to the music of this seldom-lauded rock & roll pioneer.

1. Joey Dee & The Starliters - 01-Peppermint Twist (Part1) (2:01)



2. Joey Dee & The Starliters - 02-Peppermint Twist (Part 2) (1:55)


3. Joey Dee & The Starliters - 03-Hey, Let's Twist (2:02)


4. Joey Dee & The Starliters - 04-Roly Poly (2:07)


5. Joey Dee & The Starliters - 05-Joey's Blues (2:21)


6. Joey Dee & The Starliters - 06-Shout (Part 1) (2:36)


7. Joey Dee & The Starliters - 07-Irresistible You (2:18)


8. Joey Dee & The Starliters - 08-Crazy Love (1:59)


9. Joey Dee & The Starliters - 09-Everytime (Part 1) (3:55)


10. Joey Dee & The Starliters - 10-What Kind Of Love Is This (2:11)


11. Joey Dee & The Starliters - 11-I Lost My Baby (2:27)


12. Joey Dee & The Starliters - 12-Keep Your Mind On What You're Doing (2:00)


13. Joey Dee & The Starliters - 13-Help Me Pick Up The Pieces (2:24)


14. Joey Dee & The Starliters - 14-Baby, You're Driving Me Crazy (2:22)


15. Joey Dee & The Starliters - 15-Mashed Potatoes (4:49)


16. Joey Dee & The Starliters - 16-Dance, Dance, Dance (2:04)


17. Joey Dee & The Starliters - 17-Ya-Ya (3:50)


18. Joey Dee & The Starliters - 18-Fanny Mae (3:52)