Michaj Burano - Gwiazdy polskiego big beatu (2013)

 

 Michaj Burano (born October 29, 1944 in Tashkent) - Gypsy origin musician, singer, composer, also a songwriter and actor.
He also appeared as John Mike Arlow, Michael Mihaj, Steve Luca

http://pl.wikipedia.org/wiki/Michaj_Burano 

 http://www.bibliotekapiosenki.pl/Michaj_Wasil_%28Michaj_Burano%29
 http://polskibigbitinietylko.blogspot.ru/2012/06/michaj-burano.html

Michaj Burano, właśc. Wasyl Michaj, pseud. także John Mike Arlow, Michael Michaj, Steve Luca (ur. 29 października 1944 w Taszkencie), polski wokalista, kompozytor, gwiazda big bitu, także autor tekstów piosenek i aktor.

Urodził się w rodzinie należącej do romskiej grupy Lowarów. Występować zaczął w wieku 6 lat (ok. 1950 r.) w kierowanym przez ojca zespole Cyganów mołdawskich (Zespół Pieśni i Tańca Cyganów Mołdawskich).

Podczas trasy koncertowej po Polsce w 1952 roku, rodzina postanowiła osiedlić się w okolicach Lublina.

Stamtąd Wasyl wyjechał do Gdańska, gdzie dostrzegł go Franciszek Walicki. Występy zaczął z grupą Rythm and Blues w roku 1959. Wtedy też przyjął pseudonim artystyczny Burano (po romsku „burza”).

Jego kariera zaczęła się od występów z zespołami Czerwono-Czarni, którego był solistą w latach 1960-1963, a później Niebiesko-Czarni (1963-1966).

W grudniu 1963 roku został zaproszony do paryskiej Olympii, gdzie występował ze swym zespołem jako pierwszy artysta zza żelaznej kurtyny. Razem z Niebiesko-Czarnymi odniósł spory sukces na kilku festiwalach muzycznych we Francji. Burano (pod pseudonimem Steve Luca) nagrywał płyty dla wytwórni RCA.

W marcu 1968 roku wrócił do Polski i zaczął eksperymentować z własną formacją Burano & leske Rom. Zespół okazał się wielkim sukcesem i zyskał sporą popularność.

VA - FLANDERS 60's BEAT GENERATION VOLUME 9

 

 

VA - Brum Beat

 

The Hot Jumpers - Very Best Of

 

The Hot Jumpers where one of the best Indo Rock bands from Holland in '57 and '65 that became famous due to the way they played American Rock 'n Roll with an Indonesian touch. This album is a great compilation with their best work and recommended to fans of good old rock & roll and Indo Rock. Lead singer Jim Pownall also made a solo album and 4 together with his wife Eve and their band Jim & Eve Selection

 

 http://www.temanteman.nl/biografieen/hotjumpers.htm

 http://indorock.home.xs4all.nl/hotjump.htm

 http://latitudes.nu/indo-rock-an-indo-european-hybrid/

The Mops - Psychedelic Sounds in Japan (1968)

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

The Mops - Psychedelic Sounds in Japan (1968)

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

The Animals - Animals Blues Years

 

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

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

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

********

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

RHYTHM-ROCKERS - Soul Surfin' 1963

 

RICKY & THE RHYTHM STRINGS 2CD's (Rarity Records)

Indo Rock formation "Ricky & The Rhythm Strings" was founded early 1960's. Their success covering American rock 'n roll songs was mostly in Belgium and Holland. The group is still performing at reunions from time tot time and made 2 great albums like this one named "Rock And Roll With" (a best of album with 22 original recordings). Recommended ! (see also their more recent country rock & roll album "Now And Forever").

Track info:

1. Almost Grown
2. My Girl Josephine
3. Invitation To The Blues
4. Cigarettes And Coffee Blues
5. Santa Claus Boogie (instr.)
6. Say Mama
7. Smokey Mountain Boogie
8. Hippy Hippy Shake
9. Ling Ting Tong
10. Yellow Jacket (instr.)
11. Please Release Me
12. My Babe
13. Little Queenie
14. C'est Si Bon
15. My Shadow (jnstr.)
16. Jeopardy
17. Cigarettes And Coffee Blues (alt.track)
18. My Darling I Love You
19. Smokey Mountain Boogie (alt.track)
20. Cigarettes And Coffee Blues
21. Quando Blues (instr.)
22. Once (instr.)

 

1   Little Queeny

2   Take Your Memory When

3   Lady

4   Mister Tschang Aus Chinatown

5   Josephine

6   So Long

7   Forgive Me

8   Teardrops

9   How's My Ex Treating You

10   Perdido

11   If Tommorrow Never Comes

12   I Love You A Thousand Ways

13   Linda Lu

14   Three Nights A Week

15   Mambo Jambo

16   Neon Moon

17   Tears On My Pillow

18   The Losing Side Of Me

19   Teluk Bayur

THE BOYS - In London

 

Het eerste solo album van de uit België afkomstige instrumentale gitaar groep "The Boys" is een heerlijk album met maar liefst 24 songs en in een geheel eigen stijl van spelen. Dit album mag absoluut niet ontbreken in de collectie van de instrumentaal gitaar muziek liefhebber. (zie ook het album "In London")

Het tweede solo album van de uit België afkomstige instrumentale gitaargroep "The Boys" is opnieuw weer een hoogtepunt. 3 eigen nummers + 2 nummers speciaal geschreven door Lennaert Clerwall. Natuurlijk ook enkele bekende covers maar geheel in eigen stijl. Dit album mag absoluut niet ontbreken in de collectie van de liefhebber. 

1. Shawschank Redemption (02:28)

2. Piccadilly (02:21)

3. The Lost City (02:07)

4. Johnny Guitar (02:58)

5. My Boots (02:57)

6. La Rosita (02:41)

7. Dance On (02:12)

8. Way Back Home (02:06)

9. The Frightened City (02:18)

10. Listen To My Heart (02:04)

11. Stampede (02:16)

12. Old Faithful (01:54)

13. In Your Blue Eyes (02:53)

14. Kon-Tiki (01:50)

15. Silver Beach (03:31)

16. Riders In The Sky (02:24)

17. Theme From Shane (02:19)

18. The Box (02:03)

19. The Old Time (02:33)

20. The Rise And Fall Of Flingel Bunt (02:49)

THE JOKERS (Rarity Records)

 

Ronny Sigo - guitar

Jos Clauwers - guitar

Jos Raes - bass

Dany Pepermans - drums

Ronny Sigo & Jos Clauwers formed young Belgian band 'The Jokers' (from Antwerp) in the late fifties and played mostly instrumentals in The Shadows' vein to the point where their guitarist Ronny Sigo is often described as the Belgian Hank Marvin. Their singles were formulaic in that the 'A' side was usually instrumental pop/rock coupled with a slower, perhaps smother flip.

Their success spread across much of mainland Europe and Japan, releasing records in Belgium, Holland, Japan, USA (where they were known as 'The Fabulous Jokers') Germany, France, Italy, New Zealand & Spain. They recorded an album in Spain, with stereo sound in 1962 which was still very novel at the time. Their worldwide album sales exceed 850,000 despite lack of recognition in the UK.

They softened the sound in 1967 and by 1969 they had called it a day though Sigo continues to use the name to release new recordings made with session musicians.

 

 

24 indfødte lyde - Native Sounds - Denmark Record-Labels

indfødte lyde  - Native Sounds - Denmark Record-Labels

vol. 24

The Bootjacks - I've Got My Mojo Working

The Bootjacks - My Babe

The Bootjacks - My Bass Guitar

The Bootjacks - Red Big Car

The Bootjacks - Route 66

The Bootjacks - Stoned

The Bootjacks - Summertime

The Bootjacks - Tell Me

The Bootjacks - The Circle

Weedons - Do wah diddy, diddy

Weedons - Eden Bar Twist

Weedons - Shimmy Shimmy

Weedons - Whole lotta shakin going on

X-Group - All The Time

X-Group - Another Saturday Night

X-Group - Have Mercy

X-Group - Temptation

Zorros - All My Sorrows

Zorros - Train Of Love

23 indfødte lyde - Native Sounds - Denmark Record-Labels

23 indfødte lyde - Native Sounds - 

Denmark Record-Labels

Swinging Stones - Empty Heart

Swinging Stones - Just Like A Stone

Teddy - The Way You Do

Telstars - As Tears Go By

Telstars - Come On Baby

Telstars - Hey Solo Negro

Telstars - Linin' Track

Telstars - Tell Me Why

Telstars - True Love Has Gone Forever

Telstars - Where-Where

Thunderbirds - Gooday Miss Susan

Thunderbirds - Greenback Dollar

Thunderbirds - Sy Kyssed Jeg Hende

Thunderbirds - That's The Reason

Thunderbirds - Way Up In The Sky

Thunderbirds - Wonderful Copenhagen

Tony And The Diamonds - Naggin' Woman

Tony And The Diamonds - No Reply

Torben - Blues

Torben - Jeg Klipper Mit H_r

Trendset - Don't Pass Me By

Trendset - Let The Good Times Roll

Trendset - So Sad About Us

Trendset - Why Don't We Do It On The Road

22 indfødte lyde - Native Sounds - Denmark Record-Labels

22 indfødte lyde - Native Sounds - Denmark Record-Labels

Some Kind - Canґt Explain
Some Kind - En Skillingsvise
Space-Makers The - Mama-Papa
Space-Makers The - Please Don't Feel To Bad
Spitfires The - Hi Lili Hi Lo
Spitfires The - Oh Yeah
Spitfires The - Out Of Sight
Spitfires The - See Saw
Spitfires The - Watermelon Man
Stamping Bricks - My Poor Marie
Stamping Bridge - I'll Stay By Your Side
Stoke Sect - Glasses
Stoke Sect - Just Like Me
Stoneagers - A Little Piece Of Leather
Stoneagers - A Whole Lot More
Stoneagers - I Dont Want Nobody
Swinging Five - Dang Me
Swinging Five - Little Zula

Heimatliche klaenge The Savages Vol.144

Heimatliche Klaenge - Native Sounds

vol.144  Deutsch - Englisches Amateur-Beat-Festival

Live-Aufnahme vom 20. November 1968

Ton-Studio-Dortmund-GMBH T.D.O. 22869

Mitwirkende Amateur Beat-Bands aus Dortmund und Umgebung

Seite1

The Magic Rainbows

The Faces

The Voices

The Nice

Seite 2

The Outlaws

The Stagnation

The Emetics

The Flash

01 - Land Of 1000 Dances

02 - In The City

03 - I Can't See Nobody

04 - Pretty Woman

05 - I Will Always Stay Your Friend

06 - Wipe Out

07 - Canґt You See Me

08 - Maria

09 - Darlin'

10 - Ride Your Pony

11 - I Wish You Would

12 - Why (Am I Treated So Bad)

13 - Midnight Hour

14 - My Babe

VA - Flanders 60S Beat Generation Vol.8

 

VA - Flanders 60S Beat Generation Vol.7

 

THE NEW INSPIRATION 2 Albums on 1 CD

 

The group was founded around the beginning of the 60s under the name The Black Fellows and did well in the Ghent club circuit as a dance band. Home Propagation of the band was theTF Club (later Arena Theatre ) and manager was the Ghent police sergeant Walter Hellbyck. After three years, the group changed in New Inspiration under the influence of the new manager of the group Jacques Verdonck .

The success was immediate and the debut single I Got a Feeling was a hit and one of the favorite records of Radio Caroline . Also later recordings as You Made a Fool of Me , I See No Reason Why, Mr. Moody and Happy Charly Madman were relative hits with an average sale of about 35,000 units. The group was allowed to make admissions in England and a few songs appeared on the prestigious Apple label of The Beatles. However, through many personnel changes the group falls apart around 1970. Band members have included Danny Sinclair , Daniel Prove and Gilbert Remue . Danny Sinclair decided to start a solo project.

Shortly afterwards founded manager Jacques Verdonck a "new" New Inspirations with key figures Guido Wolfaert and Eddy Vander Linden . The group recorded some new successes with songs like Rainbow I Love You and Judy Please , but once again the band has the same disease and do the many personnel changes the band fall apart 

VA - Flanders 60S Beat Generation Vol.6

 

VA - Recollecting Singapore 60's

VA - More ! Singapore 60's Treasures From The Vault (CD 1-2)

The Ventures - Super Psychedelics & $1000000 Weekend (1967)

 

 

Super Psychedelics

By the time Sgt. Pepper's Lonely Hearts Club Band came out, it seemed no pop act was immune to the paisley ways of the high '60s. Even Sinatra and the like were looking to stay hip with at least one or two Beatles covers. Informed by their own early surf and psychedelia sound, the Ventures' Super Psychedelics brings the West Coast instrumental style to bear on the Fab Four's "Strawberry Fields Forever" and the Turtles' "Happy Together." Without much in the way of overtly trippy sonic accents, the band especially impress with a slew of originals like "Endless Dream," "Vibrations," "Psychedelic Venture." Throughout, the Ventures' classic surf sound gets nicely augmented with the occasional sitar mimicking guitar line, some harpsichord phrases, and extra amounts of reverb and echo. Maybe not an essential Ventures release, Super Psychedelics will no doubt please kitsch-friendly fans of surf music.

 Super Psychedelics & $1000000 Weekend (1967)

One Way reissued two albums the Ventures cut in 1967, Super Psychedelics (Changing Times) and $1,000,000.00 Weekend, on a single disc in 1996. On both records, the Ventures try to keep pace with the "changing times," which means that Super Psychedelics finds the band tackling such psychedelic pop hits as "Strawberry Fields Forever," "Reflections," "Happy Together," "Western Union" and "A Little Bit Me, A Little Bit You." Some of those songs are only vaguely psychedelic, but they're more psychedelic than most of the songs the Ventures record, as are the originals and filler that are scattered throughout the record. Try as they may, the band can never really be a psychedelic band -- their Go to Space record is trippier than this -- but some may find it interesting to hear them try. $1,000,000.00 Weekend isn't as ambitious as Super Psychedelics, but it's ultimately more successful. They never quite get a groove going on "Respect" or "Uptight (Everything's Alright)," but they're professional, entertaining versions, as are the covers of "What Now My Love," "Georgy Girl," "Ode to Billie Joe," "Sunny," "To Sir, With Love," "Music to Watch Girls By," "Groovin'," "Windy," "Sealed with a Kiss" and "Yesterday." Ultimately, the album doesn't add up to much, but it will be appealing to anyone infatuated with the Ventures sound. One Way could have spent a little more time on the packaging and remastering on this set, but the end product remains worthwhile for the dedicated.

The Ventures - Mashed Potatoes and Gravy & Going to the Ventures Dance party (1962)

 

 

Mashed Potatoes and Gravy

For an album that yielded not a single hit (and which was one of five long-players released by the band in 1962), Mashed Potatoes and Gravy (later retitled The Ventures' Beach Party) is one hell of an enjoyable album and still a very solid and substantial album, over 40 years later. The group's sound was lean and mean all the way through, whether doing a respectful cover of George Gershwin's "Summertime" or raucous renditions of "Lucille," "Poison Ivy," and "Hully Gully." Even the seeming throwaway numbers, such as "Hot Summer (Asian Mashed)," with its faux-Eastern embellishments, and the soaring "Spudnik," are played with such virtuosity and spirit that they demand attention, and there are a surprising number of vocals on this album, albeit mostly of the nature of choruses on songs like "The Wah-Watusi" and "Hully Gully."

Going to the Ventures Dance party

This is a pleasant album, though some of it lacks the edge and focus of its direct predecessor. And, yet, Going to the Ventures' Dance Party! is notable on several levels, most especially the drumming, which, at this late date in 1962, was being provided by Mel Taylor; he's the most impressive part of this record, playing circles around the rest of the band on "Mr. Moto," "Ya Ya Wobble," and much of the rest, just throwing in these fills and rolls that weave in and out of the sound like he's in a whole different universe from the rest of the band, except that he keeps a beat like nobody's business. Even more astounding is that his virtuosity is presented as quietly and easily as it is, no mean feat on the drums. On "Venus" he is as much a part of the piece as Nokie Edwards' lead guitar, yet one never loses the melody, and similarly, on "The Intruder," he's out in front without overwhelming the group's sound or the song. On "Gandy Dancer," he almost goes a little too far with the high-hat, but holds back enough to prevent this from becoming the rock-era equivalent of some of those unfortunate, mismatched Gene Krupa showcases of the 1940s. Side two of the original LP (i.e., the last six cuts) was a killer, either as dance music or a virtuoso musical showcase, perfectly balanced even as pop music in the sweetly lyrical renditions of "Limbo Rock" and "Lolita Ya-Ya"; one sort of wishes they'd tried to pull off "Loco-Motion" without the female chorus, but the mix of an almost-breathless, soto voce female chorus and Edwards' guitar is fun and almost impossible to resist.