JEAN PHILLIPPE - GUITAR HITS

 

Link

by Eddy

VA - Rockin' Daddy Vol.2

 

Link

by Eddy

VA - Rockin' Daddy Vol.1

 

Link

by Eddy

25 indfødte lyde - Native Sounds - Denmark Record-Labels

25 indfødte lyde - Native Sounds - Denmark Record-Labels

The Someones

01 - Louie, Louie

02 - Under The Boardwalk

03 - Don't Ever Change

04 - Heart Of Stone

05 - Hang On Sloopy

06 - Lost Little Girl

07 - Big Time Operator

08 - Hush

The Mat's

01 - You've Got To Hide Your Love Away

02 - I've Been Around

03 - Rescue Me

04 - It's Not True (live)

05 - Washed My Hands In Muddy Water (live)

06 - Midnight Special (live)

MAJOR LANCE - The Story Of Major Lance (2Cd) "Collection "Artist of The Week"

 

 Blessed with a warm, sweet voice, Major Lance was one of the leading figures of Chicago soul during the '60s and the top-selling artist for OKeh Records during the decade. Lance not only had a lovely voice, but his material was excellent. During the height of his success, the majority of his songs were written by Curtis Mayfield and produced by Carl Davis, and the pair developed a smooth, Latin-flavored sound that was punctuated by brass and layered with vocal harmonies, usually from the Impressions. It was urban, uptown soul and while it was considerably less gritty than its Southern counterpart, its breezy rhythms and joyous melodies made songs like "The Monkey Time" and "Um, Um, Um, Um, Um, Um" some of the most popular good-time R&B of its era. Major Lance's career declined significantly after he parted ways with Mayfield and Davis in the late '60s, but his classic OKeh recordings remain some of the best-loved soul music of the decade.

Born in Winterville, Mississippi, Major Lance moved to Chicago as a child, where he was initially raised on the west side of the city, before he moved near the north. While studying at Wells High School -- where Curtis Mayfield and Jerry Butler also attended -- Lance began boxing, but his attention soon turned to music and he formed the Floats with Otis Leavill. Although the Floats never released any records, his dancing earned him a spot on a local American Bandstand-styled program hosted by disc jockey Jim Lounsbury. The DJ helped Lance secure a one-shot single for Mercury Records in 1959, and the singer recorded "I Got a Girl," which was written and produced by Mayfield. The single disappeared and Lance spent the next three years working odd jobs.

In 1962, Lance was signed to the revived OKeh Records, based on his connections with Otis Leavill and, especially, Curtis Mayfield, who signed with the Impressions to ABC Records and had hits with his own group. Later that year, Lance recorded his first single, "Delilah," for the label. Like most of the Major's material, the song was written by Mayfield who, along with OKeh president Carl Davis and arranger Johnny Pate, developed a distinctive, Latin-tinged sound for the record, filled with sliding trombones and a light-stepping rhythms in order to distinguish Chicago soul from its counterparts in the South, New York, Detroit, and California. Though "Delilah" wasn't a hit, Lance's second single, "The Monkey Time," was a monster. Released in the summer of 1963, "The Monkey Time" reached number two on the R&B charts and number eight pop, establishing not only Lance as a singer but the revitalized OKeh Records as a pop music force. "Hey Little Girl" was a Top 15 pop and R&B hit later that year, followed by the Top Ten "Um, Um, Um, Um, Um, Um" early in 1964.

"The Monkey Time" and "Um, Um, Um, Um, Um, Um" proved to be the height of Lance's popularity. Over the next year-and-a-half, he continued to turn out a series of Mayfield-written and Davis-produced singles, nearly all of which reached the R&B Top 40, but only a handful -- "The Matador" (which Mayfield didn't write), "Rhythm," "Come See"-- were pop hits. Following the summer 1965 release of the Top 20 R&B hit "Ain't It a Shame," Pate departed for ABC Records and Mayfield began concentrating on his group, but Lance and Davis continued to mine the same Chicago sound, using guitarist Gerald Sim as a songwriter and co-producer. After releasing a few singles, including the R&B hit "Too Hot to Hold" and the Van McCoy-written "Everybody Loves a Good Time," Davis left OKeh Records due to arguments with his superiors at Epic Records and Lance was sent to work with Billy Sherrill in Nashville. Out of these sessions, "It's the Beat" became Lance's only Top 40 hit. Since the teaming with Sherrill wasn't working out, Lance worked with a number of producers during 1966 and 1967, with only "Without a Doubt" scraping the R&B charts in 1968. He left OKeh shortly after that single, moving to Daka Records the following year, where he had the Top 40 R&B hit "Follow the Leader." Within a year, he moved to Mayfield's Curtom label, which resulted in his last two Top 40 R&B hits -- the number 13 "Stay Away from Me (I Love You Too Much)" and "Must Be Love Coming Down."

Lance left Curtom later in 1971 and he moved through a variety of labels, including Volt and Columbia, over the next several years without much success. In 1972, he relocated to England, where Northern soul -- a phenomenon of dance clubs playing rare, underappreciated, and just plain obscure American soul and R&B records -- was in full force. For the next two years, Lance was a staple on the Northern soul circuit, eventually returning to Atlanta in 1974. He signed with Playboy and released a disco version of "Um, Um, Um, Um, Um, Um" that became a minor hit, which was followed by a pair of minor hits in 1975. Shortly afterward, his career entered a downward spiral, and in 1978, he hit rock bottom when he was convicted of selling cocaine. Lance spent the next four years in prison. Upon his release, he began playing the beach music circuit on the Carolina coast, but a 1987 heart attack prevented him from launching a full-scale comeback. In 1994, Lance gave a final, triumphant performance at the Chicago Blues Festival, which turned out to be his last. He died of heart failure on September 3, 1994 at the age of 55, leaving behind a recorded legacy that stands among the best Midwestern soul of the '60s

 1. Hey Little Girl (02:25)
2. The Matador (02:28)
3. Rhythm (02:23)
4. It Ain't No Use (02:47)
5. Gotta Get Away (02:15)
6. The Monkey Time (02:47)
7. Um Um Um Um Um Um (02:11)
8. Girls (02:09)
9. Come See (02:22)
10. Sometimes I Wonder (02:12)
11. Ain't It A Shame (02:05)
12. Sweet Music (02:05)
13. You Belong To My Heart (02:51)
14. Investigate (02:38)
15. What's Happening (02:23)
16. The Beat (02:31)
17. Everybody Loves A Good Time (02:18)
18. Keep On Loving You (02:08)

 

 1. Please Don't Say No More (02:16)

2. I just can't help it (02:11)
3. Gonna Get Married (02:12)
4. Think nothing about it (02:15)
5. It's all right (02:37)
6. Mama didn't know (02:44)
7. I'm the one (02:08)
8. Gipsy woman (02:22)
9. Gotta get right to cry (02:18)
10. Little young lover (02:17)
11. That's what mama say (02:37)
12. Crying in the rain (02:25)
13. Just one look (02:26)
14. Delilah (02:17)
15. Too hot to hold (02:46)
16. Ain't no soul (02:23)
17. Forever (02:05)
18. You don't want me no more (02:09)
19. Phyllis (bonus track) (01:59)

From Eddy

Link

VA - Girls On 45 (26 Girl Groups, Girlie Pop & Soulful Ladies From 1963-1967) - Vol 2 (2013)

 

From Beatman

Link

VA - Girls On 45 (26 Girl Groups, Girlie Pop & Soulful Ladies From 1963-1968) - Vol.1-2

 

 

As the era when girl groups reigned, roughly 1963-1965, recedes further into the past as the years go on, time has had a way of bronzing the era's standout smash hits. Anyone getting hipped to girl groups for the first time will most likely stumble onto the Ronettes or the Crystals first, delving deeper into the Phil Spector catalog after that, or will possibly grow an affinity for the eerie sweetness of the Shangri Las or the Dixie-Cups' detached naive romanticism before discovering other artists on the Red Bird label. Girls on 45 is a stellar collection of girl group and vocal pop sounds from the golden years of 1963 to 1968, spotlighting almost unheard-of artists from a plethora of obscure 45 releases. The collection is well curated and sequenced, varying enough from song to song to ensure a good flow and avoiding cookie-cutter girl group sounds or direct ripoffs of bigger artists. Standout tracks include the dreamily dramatic "Better Off Without You" by Beverly Noble, Rosalind Madison's Northern soul ballad "Neighborhood Girl," and the loungy lilt of Joanie Sommers' "Never Throw Your Dreams Away," a song that aimed for pop star status with a Sandie Shaw-like delivery and almost imperceptible bossa nova touches in the orchestration. Sharon Marie's contribution, "Thinkin' 'Bout You Baby," may sound familiar to Beach Boys fans, as the early Brian Wilson/Mike Love composition flopped for Marie but was reworked by the Boys themselves as "Darlin'" on the Wild Honey album, melody intact but with different lyrics and approach. Girls on 45 tips a little closer to the orchestrated pop vocal side of things as it goes on, meandering from the Spector-ian huge drums and mono horn sections of "He's My Guy" by Jackie Burns & the Bo-Bells to the far slicker Bacharach-modeled "If You Must Break a Heart" by Vi Velasco. The variety reveals some tracks as weaker or less interesting than others at first, with the bombast of a huge, heartbroken girl group stomper sometimes overshadowing the subtlety of the breezier numbers here, but the obscurity of these songs means they'll all be new to most listeners. Girls on 45 has enough in the "lost gems" department to satisfy the most studied girl group fan and engage even the novice. 

TEXT

The Cherokees - Oh Monah&Go!!

 

 

Named after a popular ice cream of the time, the Cherokees were formed in 1961 from the remnants of Johnny Chester's backing band the Chessmen and began playing Shadows-styled music around Melbourne, Australia.

Signing with W&G Records, the Cherokees released two singles and the rare Here Come the Cherokees album in 1965. They began playing pop reminiscent of the Beatles and moved to the short-lived Go! label. Several of their singles made the Top 40 in Melbourne. By 1967, the Cherokees were playing swing-styled music and several more singles again made the Melbourne Top 40. An album followed, Oh Monah!, but with the collapse of Go!, the band was left without a deal. Despite releasing one more single on Festival records and supporting the Monkees during their tour of Australia in October 1968, the Cherokees broke up at the end of the year.

 

Link

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