Fred - Fred (1971)

The Fred album encapsulates the band's 1971-1973 period. Gathering together the 45 and seven unreleased tracks, Joe DeChristopher recounts the history of the band within the lavish heavy-duty gatefold.

JOE DeCHRISTOPHER gtr

BO FOX drms

KEN PRICE keyb'ds

MIKE ROBISON bs, gtr, vcls

DAVID ROSE keyb'ds, violin, gtr, vcls

GARY ROSENBERG lyrics, perc

PETER EGGERS drms, piano

DeChristopher had met Price in 1967 at Bucknell University in Lewisburg, Pa. and joined Price's band, Still At Large. Over the next three years the band picked up other students and evolved into Fred. Classmate Gary Rosenberg was the band's No. 1 fan, a college radio DJ and sometime poet - he occasionally performed with them on stage and became their lyricist. He was also their guide to other sounds around, introducing them to the likes of Procol Harum, Jethro Tull, Frank Zappa and The Mahavishnu Orchestra whose songs they would cover.
In 1970 the band graduated (or left) BU and moved into a couple of farms near Lewisburg. They continued to perform at local clubs and schools. The first recordings, which make up the bulk of the LP, were done the following year and their debut 45 was released. In 1973 occasional member Peter Eggers joined the band permanently and marked the end of their formative chapter, with the departure of Gary Rosenberg. The liners announce that later recordings are forthcoming.
There's some fine fuzz solos and acidic leads with occasional wah-wah but despite being tagged as psychedelia elsewhere, there's a strong aura of mellowed, slightly trippy, pastoral rock that's coming from folk roots and gently drifting off in a prog/hippie direction. The violin adds to the non-urban vibe but is more like Curved Air than Mahavishnu.

1 Four Evenings 6:40

2 Soft Fisherman 6:32

3 Salvation Lady 6:01

4 By the Way 6:46

5 I'll Go On 4:27

6 For Fearless Few 3:47

7 A Love Song 4:37

8 Booking Agant Blues 4:33

FROM BEAT 66 - Abbey Road Series

http://rapidshare.com/files/205280158/Hollies_-_The_Hollies_At_Abbey_Road_1966-1970.rar

http://rapidshare.com/files/147352414/1997_-_At_Abbey_Road_1963-1966.zip


http://rapidshare.com/files/148190200/1997_-_Gerry___the_Pacemakers_at_Abbey_Road.zip.html

This post from our friend Beat66. Thank you.

The Freeborn - Peak Impressions (1967)

REPOST

The Freeborne's sole album is, in common with the mildly better-known '60s Boston psychedelic bands who comprised the Bosstown Sound, something of a goulash of then-trendy underground rock crosscurrents. It's not quite a ghoulish goulash, but it's not too tasty either, though they come up with some nice minor-key vocal harmonies.

The record sounds like it was steeped in many listening sessions to the most popular psychedelic records of 1967, particularly the Doors' first album, Jefferson Airplane's Surrealistic Pillow, and the Beatles' Sgt. Pepper. Also at work are some jazz, classical, and raga influences, albeit of the sort by young musicians just getting to grips with those forms. The flaws of the album are that there aren't outstanding songs, and that the mood shifts seem more like an attempt to be as eclectic as possible than they do like genuinely well-thought-out compositional statements. The overall spacey, haunting feel of the record sometimes verges on self-conscious creepiness. It's embroidered by novel use of recorder, cello, harpsichord, and trumpet from time to time, though electric organ in the mold of the Doors or Country Joe & the Fish is more prominent, as is California psychedelia-influenced guitar. The CD reissue on Distortions adds bonus tracks of marginal worth: the mono 45 version of "Images," and a "stereo mix #2" of "Land of Diana."

01. Images

02. Land Of Diana

03. Visions Of My Own

04. Sadly Acknowledged

05. Peak Impressions & Thoughts

06. Yellow Sky

07. Hurtin' Kind Of Woman

08. Inside People

09. A New Song For Orestes

10. But I Must Return To Frenzy

11. Images (mono 45 version)

12. Land of Diana (stereo mix #2)

13. Incidental Music

Kaleidoscope - White Faced Lady (1971-90)

Line-up / Musicians

- Peter Daltrey / vocals, keyboards

- Eddie Pumer / guitar

- Steve Clark / bass, flute

- Dan Bridgeman / drums

Recorded in 1971 after band had become Fairfield Parlour, but not released until 1990.

This album was in fact made by the progressive encarnation of Kaleidoscope, whose name was Fairfield Parlour, though it was shelved and released only in 90's. In fact this one was recorded in 1971. The sound is different from psychedelic beginning, more folk and symphonic, though with some psychedelic influences still evident. The songs are mostly short. The album was made to be an opera-rock, with lyrics and a history of the concept in the booklet, about the life of the White-Faced Lady, a movie star that lived trying to achieve fame and love, but failing

1 Overture 2:48

2 Broken Mirrors 2:50

3 Angels Song: Dear Elvis Presley 2:39

4 Nursey, Nursey 3:47

5 Small Song - Heaven in the Back Row 3:22

6 Burning Bright 2:03

7 The Matchseller 3:50

8 The Coronation of the Fledgling 0:21

9 All Hail to the Hero 5:03

10 White Faced Lady 4:41

11 Freefall 5:13

12 Standing 6:12

13 Diary Song: The Indian Head 0:54

14 Song from Jon 6:56

15 Long Way Down 4:06

16 The Locket 2:58

17 Picture With Conversation 3:38

18 Epitaph: Angel 7:48

Kaleidoscope - The SideKicks Sessions 1964-1967

REPOST

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.

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 archiva

1. Kaleidoscope - And She's Mine (2:27)

2. Kaleidoscope - Reflections (2:24)

3. Kaleidoscope - Please Stay, Don't Go (2:28)

4. Kaleidoscope - What Can I Do? (1:58)

5. Kaleidoscope - He's Gonna Ba a Star (2:18)

6. Kaleidoscope - San Francisco (3:36)

7. Kaleidoscope - Walking in the Park (2:26)

8. Kaleidoscope - I Wants to Be Loved (2:33)

9. Kaleidoscope - San Francisco (3:47)

10. Kaleidoscope - He's Gonna Be a Star (2:24)

11. Kaleidoscope - I'm Looking for a Woman (2:15)

12. Kaleidoscope - The House of the Rising Sun (4:20)

13. Kaleidoscope - Roadrunner (3:14)

14. Kaleidoscope - Wee Wee Hours (2:52)

15. Kaleidoscope - You're Not Mine (2:19)

16. Kaleidoscope - Drivin' Around (2:12)

17. Kaleidoscope - Holiday Maker (2:04)

18. Kaleidoscope - And She's Mine (2:32)

19. Kaleidoscope - Please Stay, Don't Go (2:36)

20. Kaleidoscope - What Can I Do? (2:04)

21. High Heel Sneakers

V.A. - Pre Purple People

This anthology gathers 23 odds and ends that assorted one-time members of Deep Purple recorded before joining Deep Purple, sometimes as session musicians.

As such it's more of a useful compendium of missing bits and pieces for Deep Purple fans than it is an even, high-quality listen, but musically it's not bad, with the occasional above-average cut. Ritchie Blackmore's represented by two Joe Meek-produced instrumentals on a rare 1965 single, as well as session work on a couple of Bob Dylan Basement Tapes covers that ended up on a 1968 single by Boz (aka Boz Burrell, who eventually joined King Crimson and Bad Company). Blackmore's also heard on an unremarkable lightly psychedelicized 1968 pop single by Anan, and Blackmore, Ian Paice, and Jon Lord play on four 1968 songs by Sun Dragon, again in a jaunty psych-pop style that's heavier on the pop than the psych. More interesting are four rarities by Episode Six, the 1960s British Invasion band that included Ian Gillan. That band's catalog is well-represented by a couple of other CDs, but this quartet of tunes is not on those. "Have You Ever Been There" is a previously unreleased folk-pop ballad by Roger Glover; "Love Hate Revenge" is heard in its American single version, with a different psychedelic instrumental break of weird oscillating sounds; and "I Am a Cloud" and "I Am the Boss," taken from a March 1969 radio broadcast, are different from the versions that show up on the Episode Six compilation The Radio One Club Sessions. Santa Barbara Machine Head was an early supergroup of sorts featuring Ron Wood, Jon Lord, and drummer Twink, although their three tracks (previously on the compilation Blues Anytime, Vol. 3) are routine heavy blues-rockers. The Maze, with Paice on drums, made subpar harmony pop on the 1967 single included here. Finally, the Government included future Deep Purple singer David Coverdale; the four songs here were on a self-pressed 1971 EP, consisting of unremarkable heavy horn-rock covers of hits by Chicago, the Boxtops, Cher, and the Rolling Stones.

BLACKMORE'S ORCHESTRA

1. Getaway

2. Little Brown Jug

EPISODE SIX

3. Have You Ever Been There

4. Love, Hate, Revenge (US Single)

5. I Am A Cloud (Live)

6. I Am The Boss (Live)

SANTA BARBARA MACHINE HEAD

7. Porcupine Juice

8. Albert

9. Rubber Monkey

THE MAZE

10. Cateri Cateri

11. Easy Street

BOZ

12. I Shall Be Released

13. Down In The Flood

ANAN

14. Medina

15. Standing Still

SUNDRAGON

16. I Want To Be A Rock'n'Roll Star

17. Peacock Dress

18. Five White Horses

19. Love Minus Zero

THE GOVERNMENT

20. Does Anybody Know (I'm Here) (Demo)

21. The Letter (Demo)

22. Bang Bang (Demo)

23. It's All Over Now (Demo)

Johnny & The Hurricanes - "Rarities" Rock in Box

One of the most distinctive instrumental groups of the '50s and '60s, Johnny & the Hurricanes produced the Top Ten hit "Red River Rock" and scored several other instrumental hits that mixed rock & roll with traditional melodies. Originally known as the Orbits, the group formed in Toledo, OH, in 1958 and was led by saxophonist Johnny Paris; other members included organist Paul Tesluk, guitarist Dave Yorko, bassist Lionel "Butch" Mattice, and drummer Tony Kaye.

After a stint recording with rockabilly singer Mack Vickery, the group traveled to Detroit, hoping to become a backing band for up-and-coming singers. However, a pair of music promoters, Harry Balk and Irving Michanik, signed them as a group on their own, and they recorded their first single, "Crossfire," for the Twirl label in 1959. "Crossfire" went to number 23 and the group moved to the Warwick imprint for "Red River Rock," a rock & roll instrumental of the standard "Red River Valley" that peaked at number five. The Hurricanes responded to their success with more of the same, delivering "Reveille Rock," "Rockin' Goose," "Revival," and "Beatnik Fly" over the next year, touring extensively all the while. Eventually the pace -- and lack of further hit singles -- caught up with the group, and Johnny & the Hurricanes disbanded in 1965. Paris moved to Hamburg, started his own label, Atila, and in 1970 formed a new Hurricanes lineup that toured until November 2005, two weeks before Paris took ill and was hospitalized. He died on May 1, 2006, due to pneumonia and septic blood after a splenectomy.

1. Johnny & The Hurricanes - Time To Rock (2:10)

2. Johnny & The Hurricanes - Walkin' With Mr. Lee (2:12)

3. Johnny & The Hurricanes - You Are My Sunshine (Alternate Version) (2:13)

4. Johnny & The Hurricanes - Mule Rock (2:01)

5. Johnny & The Hurricanes - Tweedle Dee (2:21)

6. Johnny & The Hurricanes - The Huckle Buck (2:11)

7. Johnny & The Hurricanes - Cominґ Home Baby (1:43)

8. Johnny & The Hurricanes - Strawberries (2:17)

9. Johnny & The Hurricanes - Martyґs Party (2:30)

10. Johnny & The Hurricanes - Walkinґ On Down (2:20)

11. Johnny & The Hurricanes - Midnight (2:14)

12. Johnny & The Hurricanes - Hound Dog (1:45)

13. Johnny & The Hurricanes - After Midnight (2:10)

14. Johnny & The Hurricanes - Rock-A-Long (3:03)

15. Johnny & The Hurricanes - Tall Blonde (2:31)

16. Johnny & The Hurricanes - Priceless Possesion (2:24)

17. Johnny & The Hurricanes - Knock Out (1:47)

18. Johnny & The Hurricanes - Goofus (2:14)

19. Johnny & The Hurricanes - The Sheik Of Araby (Alternate Version) (2:11)

20. Johnny & The Hurricanes - Skip Tomy Lou (2:15)

21. Johnny & The Hurricanes - Youґre The Blame (2:10)

22. Johnny & The Hurricanes - Revived (2:27)

23. Johnny & The Hurricanes - Strange (2:26)

24. Johnny & The Hurricanes - Like Weird (2:10)

25. Johnny & The Hurricanes - Ooh Poo Pah Doo (1:56)

26. Johnny & The Hurricanes - Summer Holiday (2:18)

27. Johnny & The Hurricanes - Mr. Irving (2:04)

28. Johnny & The Hurricanes - Autumn Mood (2:18)

29. Johnny & The Hurricanes - Chuck-A-Luck (2:30)

30. Johnny & The Hurricanes - The Dribble Twist (2:45)

The Attack - About Time! (1966-68)

REPOST

The Attack (thanks to an ever growing legion of collectors dedicated to the vibrant sound of mid- to late-'60s Swinging London) have a far larger fan base now than they ever did during their existence. Indeed their unique brand of guitar-heavy, mod-rock qualifies them as one of the finest examples of (the over used term) freakbeat. Hence over the last 15 years there has been an abundance of vinyl bootlegs and inclusions on such psychedelic/freakbeat compilations as Rubble! The founders Richard Shirman (the only original member to stay with the group throughout all of the lineup changes) and Gerry Henderson were originally in a group called the Soul System, whom, for the best part of a year, had a very unstable lineup. In early 1966, the remnants of the crumbling group were joined by Bob Hodges on organ, David John (not David John of David John & the Mood, but Davy O'List under alter ego) on guitar, and Alan Whitehead (on loan from Marmalade) on drums. They soon came to the attention of entrepreneur (gangster?) Don Arden, who then signed them to Decca and changed their name to the Attack.


Their debut single released in January 1967 was an extremely anglicized cover of "Try It," an American hit for both the Standells and Ohio Express, whose versions were exemplar of the sneering garage sound. However, the Attack's powerful vocals, pop art guitar, and the underbelly of a warm Hammond created a similar atmosphere to the Small Faces (also managed by Don Arden), the Birds, and the Creation. Shortly after the single was released, Davy O'List was handpicked by Andrew Loog Oldham to join the Nice (who were to act as the backup group for newly acquired American Soul singer P.P. Arnold) and quit the group in late February. Meanwhile, Shirman, a regular visitor to the London clubs had been keeping a watchful eye on a young guitarist he had seen jamming with Jimmy Page. Shortly thereafter John Du Cann (mainstay, and songwriter) was introduced into the group. As a follow-up to "Try It," a version of "Hi-Ho Silver Lining" was then released, but Jeff Beck got the hit first in Britain in 1967. The third 45, "Created By Clive"/"Colour of My Mind," backed a foppish sub-Kinks-style number with a fairly groovy mod-psych tune penned by DuCann. Kenny Harold (bass) and Geoff Richardson (guitar) left shortly after the disappointment of "Created By Clive," leaving John as the only guitarist. Jim Avery (who later went on to the revolutionary Third World War) was drafted in on bass, with Plug (whom later went on to Welsh acid rock outfit Man) still on drums. After yet even more disappointment surrounding the "Magic in the Air" single (Decca refused its release on the grounds of it being too heavy), Plug and Jim Avery left the ranks to be replaced by Roger Deane (bass) and Keith Hodge (drums). The final single, released in early 1968, was "Neville Thumbcatch," a fruity mod-pop tune with spoken narration, like a lesser counterpart to Cream's "Pressed Rat and Warthog." Decca's deal with the Attack expired after that single, with a projected fifth 45, "Freedom for You"/"Feel Like Flying," remaining unreleased. Both sides of that single, as well as seven Attack demos recorded around that time, are included on Angel Air's CD reissue of the rare 1968 album by the Five Day Week Straw People, a studio-only outfit that was led by DuCann. There is also a compilation of the Attack's post-Decca sides entitled Final Dayze, featuring these tracks and more unreleased material (also on Angel Air). Before Decca (who wanted to keep the Attack as a pop act) parted with the group over the continued heavy nature of their newer material, the group had already entered the studio and begun work on the Roman Gods of War album. Both the artwork and a number of songs were completed, but unfortunately the label recorded over the tapes and lost the photos after they dropped the group. DuCann became the dominant creative force in the group prior to their 1968 breakup, and the likes of the unreleased "Mr. Pinnodmy's Dilemma" and "Strange House" showed the group developing a heavier rock sound, although still maintaining a sense of British mod-psych whimsy. DuCann would continue to explore a heavier direction with his subsequent group Andromeda, and joined Atomic Rooster in the '70s.

***

1 Any More Than I Do O'iList, Shirman 2:06 2 Feel Like Flying (Making It) DuCann 2:37 3 Created by Clive [#] Pattison 2:45 4 Try It Ballack, Levine 2:07 5 Go Your Way DuCann 2:45 6 Too Old DuCann 3:05 7 Colour of My Mind Shirman 2:30 8 Lady Orange Peel Shirman 2:28 9 Sympathy for the Devil [#] Jagger, Richards 4:48 10 Neville Thumbcatch Bain, Smith 3:03 11 Strange House Du Cann 4:10 12 Created by Clive Pattison 2:40 13 Mr Pinnodmy's Dilemma Du Cann 4:27 14 Come on Up [#] Cavaliere 2:49 15 Freedom for You Du Cann 2:36 16 Hi-Ho Silver Lining English, Lancer, Weiss 2:30 17 Magic in the Air (Aka Watch w Du Cann 3:38 18 Anything [#] Shirman 2:08 19 We Don't Know O'iList, Shirman 2:44

***

They were an incredibly hot property at the time, especially in the local London clubs, yet even with two future Nice stars, an Atomic Rooster-to-be, and a member of Marmalade in their various ranks, the Attack failed to breach the British chart. Long gone but far from forgotten, the mods-cum-psychedelic rockers finally get their due with this sumptuous compilation. Amazingly, between the time the Attack first entered the studio in 1966 and their final recordings together in 1968, they shifted their lineup four times. Thankfully, the sleeve notes provide some assistance untangling their convulsive history, with the aid of an interview with frontman Richard Shirman, who also annotates all 16 of the tracks within. The Attack released only four singles during their all-too-brief lifespan, and both sides of all their 45s are included here, joined by a pair of numbers recorded during a BBC radio session and a clutch of unreleased studio recordings. As the songs are not presented chronologically, About Time! has a rather mishmash feel, bouncing willy-nilly around the years and lineups. It's worth pointing out then that the quirky story-song "Neville Thumbcatch" was recorded eight months before Cream's equally eccentric "Pressed Rat and Warthog" hit the shops! The Attack's assault on the scene came from a variety of musical directions that included splashy mod, shiny pop, hefty blues, assaultive rock, and aggressive psychedelia. And perhaps this was a small part of their problem — every time one turned around, the band had a new look and another sound. Still, the talent within their ranks was phenomenal, and with their keen ear for covers, a splendid sense of melody, and their own talents with a pen, the Attack should have won the day. They didn't back then, but the war's not quite over yet.

The Music Explosion - Anthology

REPOST

One-hit-wonder Ohio garage band that reached number two in 1967 with "Little Bit O'Soul," a great gutsy pop/rock number with a classic bass-organ riff. Whatever personality they may have had was coated in the studio by producers Jeffrey Katz and Jerry Kasenetz, who would soon help create bubblegum with acts like the 1910 Fruitgum Co. and the Ohio Express. The Music Explosion didn't have nearly as juvenile a sound as those groups, but they never latched onto another piece of material nearly as attention grabbing as "Little Bit O'Soul," entering the Top 100 only once more with the tiny hit "Sunshine Games."

Although it could have been packaged and sequenced with more care, One Way's 21-track Anthology provides all the material a hardcore fan could want from a Music Explosion collection, and far more than the average listener needs. While "Little Bit O' Soul" is an incredible single, the remainder of the group's songs are generally undistinguished, ranging between competent garage covers and pleasant, but unmemorable, '60s pop/rock, making Anthology unnecessary for anyone but dedicated '60s collectors.

1. Music Explosion - Little Bit O' Soul (2:21)

2. Music Explosion - I See The Light (2:35)

3. Music Explosion - Everybody (2:29)

4. Music Explosion - Love, Love, Love, Love, Love (2:46)

5. Music Explosion - Good Time Feeling (2:35)

6. Music Explosion - 96 Tears (2:39)

7. Music Explosion - Can't Stop Now (2:50)

8. Music Explosion - Let Yourself Go (2:35)

9. Music Explosion - Patches Dawn (2:40)

10. Music Explosion - One Potato Two (3:08)

11. Music Explosion - What Did I Do To Deserve Such A Fate (2:25)

12. Music Explosion - (Hey) La,La,La (2:09)

13. Music Explosion - Little Black Egg (2:55)

14. Music Explosion - Stay By My Side (2:17)

15. Music Explosion - Sunshine Games (2:04)

16. Music Explosion - We Gotta Go Home (2:12)

17. Music Explosion - What's Your Name (2:22)

18. Music Explosion - Jack In The Box (2:05)

19. Music Explosion - What You Want(Baby I Want You) (2:11)

20. Music Explosion - Where Are We Going? (2:18)

21.  - Music Explosion - Yes Sir

The Merseybeats -The Very Best

The Merseybeats were one of the better quartets to come out of the British Invasion without ever making a dent on the charts in the United States -- along with the Roulettes, the Chants, and the Undertakers, they represent an undeservedly lost chapter in early-'60s British rock & roll. Although they enjoyed a little less than a year of serious chart success, the Merseybeats were unable to pull together the various facets of their sound into a cohesive, coherent whole in the manner of the Beatles or the Hollies, and into something lasting, in part because of a lack of original songwriting ability in their ranks. The group's roots go back to the early '60s in Liverpool, and a band originally known as "the Mavericks," comprised of Tony Crane (lead guitar, vocals), Billy Kinsley (bass, vocals), David Elias (rhythm guitar, vocals), and Frank Sloane (drums). They were doing well but soon found the name to be a drag on their success, making people think that they were a country & western band. They briefly used the name "the Pacifics," and then became the Merseybeats -- evidently their timing was such that they grabbed the name, previously a local music reference, ahead of anyone else in a city boiling over with musical activity.




By the end of 1962, the Merseybeats lineup had solidified around Crane and Kinsley, with Aaron Williams joining on rhythm guitar in place of Elias and John Banks succeeding Sloane. The group made their recording debut around this time as part of the Oriole label's Liverpool showcase, This Is Merseybeat. With the help of the manager of the Cavern Club, they were formally signed to Fontana Records in mid-1963, and made their debut in August of that year with a single of "It's Love That Really Counts" b/w "Fortune Teller" -- the A-side, a Bacharach/David tune, was a solid piece of British Invasion pop/rock in the best Beatles/Hollies/Searchers mode, with memorable guitar hooks and a memorable chorus, and it reached number 24 on the U.K. charts. They were later signed up by the Beatles' legendary manager, Brian Epstein, but the fit was an awkward one, owing to differences in musical sensibility -- the group was a fairly hard rock & roll outfit, but their singles tended much more to the pop side of rock & roll, and the A-sides never represented their real sound very well. In early 1964, the Merseybeats released a second single, "I Think of You" backed with the pop/rock standard "Mister Moonlight," which reached number five in England. In both of these instances, the B-side was closer to the band's sound than the A-side and, in both instances, the band had latched onto the material first -- but was eclipsed by rival versions by the Rolling Stones and the Beatles.



Though it had come along a little late, "It's Love That Really Counts" turned the group into a major pop/rock act, and the future looked good for them. But there were problems on the horizon, starting with the fact that neither of those singles had made even the slightest impact in the United States, which was where the real fortunes were to be made; and, much more seriously, the decision by Billy Kinsley to leave the band in 1964 in order to form his own group, the Kinsleys. In his place, they got John Gustafson on bass and vocals. formerly of Liverpool's Big Three trio, who also contributed some songwriting. In April of 1963, they released "Don't Turn Around" b/w "Really Mystified," which -- despite a beautifully catchy, harmony-and-hook-laden A-side that was heavily influenced by the work of Roy Orbison, and an original B-side co-authored by Crane and Gustafson -- didn't do quite as well, peaking at number 13. A third single in July, "Wishin' and Hopin'" b/w "Milkman" (the latter another Crane/Gustafson original), also reached number 13. The band released a pair of extended-play singles, including "I Think of You" and "Merseybeats on Stage," the latter capturing their real sound in concert and included "Long Tall Sally" and "You Can't Judge a Book by Its Cover" in early 1964. They also worked their way into two rock & roll featurettes, Swinging UK and UK Swings Again -- one of their clips, "Don't Turn Around," was nicely staged, the band miming to the single on a platform that, on the chorus of the title, starts to rotate.



The Merseybeats were successful enough to get an LP release, and the resulting self-titled album showcased their limitations as well as their virtues. Amid a few inspired moments, mostly on the single-sides (such as "Milkman") picked up for the LP, there were some "originals" that were highly derivative of Bo Diddley and Little Richard, interspersed with some decent Liverpool-style adaptations of American R&B ("Bring It on Home to Me," "He Will Break Your Heart,") and a strange choice of show tunes, one ("Hello Young Lovers") partly successful and the other not. Apart from a lack of originality in their sound, the album pointed to the group's very thin in-house songwriting -- they were almost wholly dependent on Peter Lee Stirling, who had written their three biggest, single A-sides, for success. And to judge from the weak diversity on their album, one couldn't tell if the Merseybeats wanted to sound like the Beatles, the Fortunes, or the Pretty Things, and as a consequence gained very few fans from the release.



Their fall 1964 single "Last Night I Made a Little Girl Cry" b/w "Send Me Back," barely made the British Top 40, peaking at number 40, and it wasn't long after this that Gustafson left the band and was replaced by Kinsley, whose return to the lineup coincided with their last round of success as the Merseybeats. By 1965, the Liverpool sound synonymous with the term "Merseybeat" was considered old-hat, and the name that had helped gain the group some vital recognition was now weighing them down. Following "I Love You, Yes I Do" b/w "Good, Good Lovin'," and "I Stand Accused" (later covered by Elvis Costello) backed with "All My Life," which peaked at numbers 22 and 38, respectively, the group seemed to have run its course for commercial success by early 1966. They were rescued by the interest of the members of the Who, whose members knew Crane and Kinsley, and got them under the management of Chris Stamp and Kit Lambert.



In mid-1966, Crane and Kinsley became the Merseys and scored a huge hit with "Sorrow" later that year, reaching number four in England. They'd still never charted a record in America, however, and their next single, a fine rendition of the Who song "So Sad About Us," never charted. The duo called it quits after the release of their single "Lovely" b/w "Loretta Drifting." Kinsley went on to form Rockin' Horse, while Crane later re-fomed the old band -- after a fashion -- as Tony Crane & the Merseybeats during the '70s and '80s, with Bob Packham on bass and vocals, Alan Cosgrove on drums and vocals, and Colin Drummond on keyboards and vocals. The original group was fondly remembered and the band did well embracing its own past; in the meantime, David Bowie covered "Sorrow" on Pin Ups in 1973, an acknowledgment of the lingering appeal of their best work. By the '90s, Kinsley was working with them again as the Merseybeats, built around that same core lineup except for Dave Goldberg on keyboards. In 2000, Crane's son Adrian joined on keyboards and guitar, and Lou Rosenthal took over on drums.

 

The Merseybeats -The Very Best

Spectrum's The Very Best of the Merseybeats is a good budget-line U.K. collection featuring all of the group's Top 30 hits, plus a selection of good lesser-known singles and album tracks that often equal the originals. If you can't find Beat & Ballads this is a good alternative.

 

1. The Merseybeats - 01-I Think Of You (2:32)

2. The Merseybeats - 02-Don't Let It Happen To Us (2:08)

3. The Merseybeats - 03-Wishin' And Hopin' (2:35)

4. The Merseybeats - 04-I Love You, Yes I Do (2:27)

5. The Merseybeats - 05-I Stand Accused (2:48)

6. The Merseybeats - 06-Last Night (2:10)

7. The Merseybeats - 07-Long Tall Sally (2:07)

8. The Merseybeats - 08-It Would Take A Long, Long Time (2:03)

9. The Merseybeats - 09-Milkman (1:57)

10. The Merseybeats - 10-It's Love That Really Counts (2:02)

11. The Merseybeats - 11-The Fortune Teller (2:04)

12. The Merseybeats - 12-Mister Moonlight (2:06)

13. The Merseybeats - 13-Hello Young Lovers (2:06)

14. The Merseybeats - 14-He Will Break Your Heart (3:05)

15. The Merseybeats - 15-Really Mystified (2:04)

16. The Merseybeats - 16-Good, Good Lovin' (2:14)

17. The Merseybeats - 17-Don't Turn Around (2:18)

18. The Merseybeats - 18-See Me Back (2:06)

19. The Merseybeats - 19-Jumpin' Jonah (2:14)

20. The Merseybeats - 20-All My Life (2:27)

Sam The Sham & The Pharaohs - 2 in 1 (Revue Nefertiti 1967;Ten Of Pentacles 1968)

Best known for their 1965 smash "Wooly Bully," which helped introduce Tex-Mex rhythms to mainstream rock & roll, Sam the Sham and the Pharaohs were formed in Dallas by lead singer Domingo Samudio, who took the name Sam the Sham from a joke about his inability as a vocalist. The Pharaohs consisted of guitarist Ray Stinnet, bassist David Martin, saxophonist Butch Gibson, and drummer Jerry Patterson. Before hitting it big with "Wooly Bully," a song about Samudio's cat, the band recorded the independent single "Haunted House," which helped them get a deal with MGM. Following "Wooly Bully," the group recorded a series of largely novelty singles, but only "Li'l Red Riding Hood" approached the success of its predecessor. Frustrated at being perceived as a talentless novelty act, Samudio broke up the Pharaohs in 1967 and recorded as the Sam the Sham Revue, and adopted the name Sam Domingo in 1970. His lone solo LP, Sam, Hard and Heavy, featured slide guitarist Duane Allman, but failed to establish him as a major talent. Samudio contributed two songs to the 1982 film The Border and later moved to Memphis and became a street preacher. "Wooly Bully," of course, remains a bar band staple.

***

SAM THE SHAM DISCOGRAPHY

Index - Black Album (1967-68)

Great rary from Jancy !

In 1984 the Voxx label reissued an album of Index. Upon hearing it many people wondered who was Index.

Index were formed in early 1966 in Grosse Point, Michigan. In ‘66 drummer Jim Valice (17 years old) met Gary Francis. Jim played in a garage band, and Gary played another band. One day they had a jam session with one more cool guitarist

John B. Ford. Their first jam was exciting, the sound was full and powerful with John’s technical guitar playing.

In early ’67 the band played “Johnny B. Good” and “Mustang Sally”. At the time Gary didn’t have his own bass. Jim and John bought a violin shaped bass for Gary as present. They became a party band, playing at a pool,and in the living room, in the summer. They covered Chuck Berry, Animals, and played their original songs. At the time the band was called “Chicken Every Sunday”. One afternoon after a session, they decided to change the name. John went over to a book shelf, and said taking a book” "Let’s make the name from what ever page falls open!"”. He tossed the book to the floor. The band changed their name to the INDEX.

The Underdogs, The Rationals, unique girl band Pleasure Seekers(including Hideout clerk girl, Suzi Quatro) Fugitives(SRC) and more garage bands played at teenage nightclubs like Hideout and The Undercroft.

Jim Valice said “When INDEX didn’t have a gig or practice session, we went to these clubs to hear what was going down. Mike Morgan, drummer with The Underdogs went to Austin High School with me. We became friends and exchanged riffs. I also got to know Arnie DeClark of The Wanted. The Wanted was an upscale rock quintet with original material. They wrote ‘Here To Stay’ and performed a Wilson Pickett favorite, ‘In The Midnight Hour’, better than anyone.”(Detroit Sound released these 2 songs as an 45 in ’67, ‘Here To Stay’ reissued on Eva’s Punk Ballad Sampler, ‘In The Midnight Hour ‘ on Michigan Nuggets )

In the summer of ’67 INDEX was attracked to a new record, with unique, innovative sound, it was The Jimi Hendrex Experience. Hearing it they tried to make their own “psychedelic” sound. John wrote “Fire Eyes”, ”Shock Wave” and “Feedback”.

In the fall Jim got into The University of Detroit, John went to Yale in Connecticut. He came Detroit every other weekend to play with the band. INDEX was playing around Detroit area. During the Christmas holidays in ’67, INDEX opened for The Rationals.

At the concert they noticed someone tried to record their music.

Next morning the band tried their own recording. The basement became recording studio. Throughout December they had gigs in evening and rehearsed for first album during the day. After 3 days recording, they spent a couple of days mixing and adding sound effects to make feedback.

The album cover was basic black and white. On the cover was a picture of “Orpheus and Bacus” founders of a singing club John had joined at Yale. On the back was their picture. The record pressing company in Detroit needed a label and logo to press on the record, they selected DC from their friend Dwight Conger (aka. DC) for his great help with the band.

In mid ’68 John made the sound a more acoustic, mellow style. He began to listen The Buffalo Springfield, The Byrds, and Bee Gees. Gary switched to rhythm guitar.They found new bass player, Tom Ballow who was only 16 years old. He played soul music like James Brown, Wilson Pickett in his former band Joe’s Soul Repair.

By the summer of ‘68, John met young girl called Jan and fell in love with her. She hated the feedback sound and encouraged John to play mellow and tone down his music.

This is one of the reasons why many people mixed up their first and second album.

The band’s sound changed. He wrote “Rainy Starless Nights” and “I Love You”. In the summer they made one more album called The Red Album which included John’s love songs along with wild “Breakout”, cover of Bee Gees “New York Mining Disaster”, Birds’ “Eight Miles High”. It was finished in the end of August, But the album was not pressed for a month because they didn’t have recent photo.

. John was busy on the East Coast. Gary went to college in upstate Michigan and lost interest with the band.

It was the beginning of the end .

After the recording they had their own house party at John’s home. His parents were traveling. It was early September. Detroit “punks” gathered there, The Underdogs, Scott Richard Case(SRC) ,Alice Cooper. Suzie Quatro arrived very late along with the drummer Nancy. About 10AM the next morning the house was trashed inside and out.pleasure seakers

At the time John’s parent came back! Beer bottles had leaked a trail across the hall rug and now onto Mr. Ford’s foot. Everyone was immediately expelled from the house.

To release red album, Jim sketched silhouettes of the band members for the sleeve using the photo for theback cover of Black album.

A local radio station WABX played the cuts from Black and the Red albums. But it was too late.

Gary left the band in January ’69.Tom quit too. It was the end of their history.

In December ’69 Jim and John joined again , they recorded some songs to make one more album . It was released as JUST US, only 150 copies were pressed.

In ’84 Voxx reissued the Red Album, the echo fuzz sound enchanted the listener. In late of ‘80s unknown Sears label released the Black Album. (it seems bootleg)

and

http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:kbfexqegldhe~T1

01 - Eight Miles High

02 - Israeli Blues

03 - John Riley

04 - Turquoise Feline

05 - Rainy, Starless Night

06 - Fire Eyes

07 - Shock Wave

08 - You Keep Me Hanging On

09 - Feedback

10 The Wanted - Here To Stay

11 The Wanted - Midnight Hour

Arrows-First Hit (1976)

RePost by ReQuest

The Arrows were a mixed group of American and British musicians that made their biggest impact in Britain during the mid-'70s. The band worked with producer Phil Coulter on their one and only album, 1976's First Hit, which didn't really catch on in America but gave them a modicum of success in Europe. They also had several singles produced by Mickie Most during this era, the most important being "I Love Rock 'N Roll," which would go on to be a smash hit for Joan Jett a few years later. The band was made up of bassist/vocalist Alan Merrill, guitarist Jake Hooker, and drummer Paul Varley. The three also scored a television deal, leading to a regular series that played from 1976 to 1977. The group broke up in 1978, leading Merrill to pursue a solo career and record with artists as varied as Meat Loaf and Rick Derringer.

01. Once upon a Time

02. First Hit

03. Thanks

04. What's Come Between Us

05. Boogiest Band in Town

06. Don't Worry 'Bout Love

07. Let Me Love You

08. Feelin' This Way

09. Love Child

10. Love Is Easy

11. Gotta Be Near You

bonus tracks

12. Touch Too Much

13. We Can Make It Together

14. Toughen Up

15. Diesel Locomotive Dancer

16. My Last Night With You

17. Movin' Next Door With You

18. I Love Rock and Roll

19. Broken Down Heart

20. Hard Hearted

21. My World Is Turning on Love

Ray Charles - King Of Beat 2

NEWs from JANCY

Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.
Blind since the age of six (from glaucoma), Charles studied composition and learned many instruments at the St. Augustine School for the Deaf and the Blind. His parents had died by his early teens, and he worked as a musician in Florida for a while before using his savings to move to Seattle in 1947. By the late '40s, he was recording in a smooth pop/R&B style derivative of Nat "King" Cole and Charles Brown. He got his first Top Ten R&B hit with "Baby, Let Me Hold Your Hand" in 1951. Charles' first recordings came in for their fair share of criticism, as they were much milder and less original than the classics that would follow, although they're actually fairly enjoyable, showing strong hints of the skills that were to flower in a few years.

In the early '50s, Charles' sound started to toughen as he toured with Lowell Fulson, went to New Orleans to work with Guitar Slim (playing piano on and arranging Slim's huge R&B hit, "The Things That I Used to Do"), and got a band together for R&B star Ruth Brown. It was at Atlantic Records that Ray Charles truly found his voice, consolidating the gains of recent years and then some with "I Got a Woman," a number-two R&B hit in 1955. This is the song most frequently singled out as his pivotal performance, on which Charles first truly let go with his unmistakable gospel-ish moan, backed by a tight, bouncy horn-driven arrangement.

Throughout the '50s, Charles ran off a series of R&B hits that, although they weren't called "soul" at the time, did a lot to pave the way for soul by presenting a form of R&B that was sophisticated without sacrificing any emotional grit. "This Little Girl of Mine," "Drown in My Own Tears," "Hallelujah I Love Her So," "Lonely Avenue," and "The Right Time" were all big hits. But Charles didn't really capture the pop audience until "What'd I Say," which caught the fervor of the church with its pleading vocals, as well as the spirit of rock & roll with its classic electric piano line. It was his first Top Ten pop hit, and one of his final Atlantic singles, as he left the label at the end of the '50s for ABC.

One of the chief attractions of the ABC deal for Charles was a much greater degree of artistic control of his recordings. He put it to good use on early-'60s hits like "Unchain My Heart" and "Hit the Road Jack," which solidified his pop stardom with only a modicum of polish attached to the R&B he had perfected at Atlantic. In 1962, he surprised the pop world by turning his attention to country & western music, topping the charts with the "I Can't Stop Loving You" single, and making a hugely popular album (in an era in which R&B/soul LPs rarely scored high on the charts) with Modern Sounds in Country and Western Music. Perhaps it shouldn't have been so surprising; Charles had always been eclectic, recording quite a bit of straight jazz at Atlantic, with noted jazz musicians like David "Fathead" Newman and Milt Jackson.

Charles remained extremely popular through the mid-'60s, scoring big hits like "Busted," "You Are My Sunshine," "Take These Chains From My Heart," and "Crying Time," although his momentum was slowed by a 1965 bust for heroin. This led to a year-long absence from performing, but he picked up where he left off with "Let's Go Get Stoned" in 1966. Yet by this time Charles was focusing increasingly less on rock and soul, in favor of pop tunes, often with string arrangements, that seemed aimed more at the easy listening audience than anyone else. Charles' influence on the rock mainstream was as apparent as ever; Joe Cocker and Steve Winwood in particular owe a great deal of their style to him, and echoes of his phrasing can be heard more subtly in the work of greats like Van Morrison.
One approaches sweeping criticism of Charles with hesitation; he was an American institution, after all, and his vocal powers barely diminished over his half-century career. The fact remains, though, that his work after the late '60s on record was very disappointing. Millions of listeners yearned for a return to the all-out soul of his 1955-1965 classics, but Charles had actually never been committed to soul above all else. Like Aretha Franklin and Elvis Presley, his focus was more upon all-around pop than many realize; his love of jazz, country, and pop standards was evident, even if his more earthy offerings were the ones that truly broke ground and will stand the test of time. He dented the charts (sometimes the country ones) occasionally, and commanded devoted international concert audiences whenever he felt like it. For good or ill, he ensured his imprint upon the American mass consciousness in the 1990s by singing several ads for Diet Pepsi. He also recorded three albums during the '90s for Warner Bros., but remained most popular as a concert draw. In 2002, he released Thanks for Bringing Love Around Again on his own Crossover imprint, and the following year began recording an album of duets featuring B.B. King, Willie Nelson, Michael McDonald, and James Taylor. After hip replacement surgery in 2003, he scheduled a tour for the following summer, but was forced to cancel an appearance in March 2004. Three months later, on June 10, 2004, Ray Charles succumbed to liver disease at his home in Beverly Hills, CA.

Kings Of Beat 2: Live in Concert, Germany, Vinyl LP, Star-Club, 158 008. 1965

01 - Opening


02 - Band: Swing A Little Taste

03 - I Got A Woman

04 - Margie

05 - You Don't Know Me

06 - Hide Nor Hair

07 - Baby, Don't You Cry

08 - Makin' Whoopee

09 - Hallelujah I Love Her So

10 - Don't Set Me Free

11 - What'd I say

12 - Finale

Creedence Clearwater Revival -Unreleased Tracks from 40th Anniversary Edition 2008 plus ( 40th Anniversary Edition 2008 )

Review: Creedence Clearwater Revival 40th Anniversary Edition Reissues (October 16, 2008 Fantasy Records/Concord Music)

Concord/Fantasy Records recently reissued Creedence Clearwater Revival's six major albums made between 1968 and 1970. The classic gems that were produced over an amazing three-year period have all been digitally remastered, and contain added tracks of B-sides and previously unreleased live and studio material, including a couple of 1970 Fantasy studio recordings with Booker T and the MGs.

Creedence must be at or near the top of classic rock bands with almost as many greatest hits compilations as greatest hit songs. However, if you haven’t already picked up their 2001 box set, it’s good to have copies of all the major albums inside their particular sleeves, cover art and all, especially since all six contain remastered music and unreleased songs. For CCR fanatics, this is an excellent batch of reissues.

CD Review: Creedence Clearwater Revival - The 40th Anniversary Editions

 

http://www.pastemagazine.com

 

FROM  JANCY

I bought from 1968 - 170 the vinyl, ~ 1982 the original CD issues, in the 90' some remastered CDs, and then 2001 the complete box set. Now yet another version with bonus tracks ...

 

Bonus Tracks from - Creedence Clearwater Revival 1968

101 - Before You Accuse Me (Alternate version) 3:24

102 - Ninety-Nine And A Half (Live at The Fillmore) 3:47

103 - Susie Q (Live At The Fillmore)) 11:45

Bonus Tracks from - Bayou Country 1968

201 - Bootleg (Alternate Take) 5:48

202 - Crazy Otto (Live at The Fillmore) 8:48

Bonus Tracks from - Green River 1969

301 - Broken Spoke Shuffle 2:39

302 - Glory Be 2:47

Bonus Tracks from - Willy And The Poor Boys 1969

401 - Down On The Corner (with Booker T & The MG's 1970) 02:48

Bonus Tracks from - Cosmo's Factory 1970

501 - Travelin' Band (Remake Take) 2:15

502 - Born On The Bayou (with Booker T & The MG's 1970) 5:58

Bonus - not include 2008 Edition

Tom Fogerty 45'

Beauty Is Under The Skin

Goodbye media man (Part 1 & 2)

The Ravers - Tony Tornado - The Tonics tip-Ep

FROM JANCY

Tip 1136 - The Tonics
01 - What Did I Say
02 - It'll Be Me
03 - Twilight Time
04 - It Keeps Right On A Hurting

Tip 1137 - The Tonics
05 - Just Because
06 - I Remember You
07 - Walk Right In
08 - Multiplication

Tip 1143 - Tony Tornado
09 - Shu-Bi-Du-Bi-Do The Slop
10 - Rote Lippen soll man küssen

Tip 1147 - The Ravers
11 - If I Had A Hammer
12 - America
13 - Loddy-Lo
14 - Bossa Nova Baby

Tip 1148 - The Ravers
15 - Sie liebt Dich
16 - Komm gib mir deine Hand
17 - From Me To You
18 - Twist And Shout

Tip 1152 - Tony Tornado
19 - Shake Hands

Tip 1160 - Tony Tornado
20 - Memphis Tennessee
21 - Keep Smiling

Tip 1162 - Tony Tornado
22 - Cinderella Baby

Tip 1168 - Tony Tornado
23 - Hast du alles vergessen
24 - Alle Wünsche kann man nicht erfüllen

Tip 1171 - The Ravers
25 - Cadillac
26 - Let's Go
27 - Woolly Bully
28 - Don't Ha Ha

Peter & Gordon - The Best Of Peter & Gordon (1991)

                                   Biography                                 by Richie Unterberger
In June 1964, Peter & Gordon became the very first British Invasion act after the Beatles to take the number one spot on the American charts with "A World Without Love." That hit, and their subsequent successes, were due as much or more to their important connections as to their talent. Peter Asher was the older brother of Jane Asher, Paul McCartney's girlfriend for much of the 1960s. This no doubt gave Asher and Gordon Waller access to Lennon-McCartney compositions that were unrecorded by the Beatles, such as "A World Without Love" and three of their other biggest hits, "Nobody I Know," "I Don't Want to See You Again," and ... Read More...

***

01. A World Without Love (Lennon/McCartney, 1964) - 2:38
02. If I Were You (Asher/Waller, 1964) - 2:28
03. Nobody I Know (Lennon/McCartney, 1964) - 2:27
04. I Don't Want to See You Again (Lennon/McCartney, 1964) - 1:58
05. Love Me, Baby (Asher/Waller, 1964) - 2:13
06. I Go To Pieces (Shannon, 1964) - 2:20
07. True Love Ways (Holly/Petty, 1965) - 2:36
08. To Know You Is To Love You (Spector, 1965) - 2:34
09. Baby I'm Yours (McCoy, 1965) - 2:44
10. Don't Pity Me (Asher/Waller, 1965) - 2:47
11. Woman (McCartney, 1966) - 2:24
12. There's No Living Without Your Loving (Kaufman/Harris, 1966) - 2:58
13. Lady Godiva (Leander/Mills, 1966) - 2:23
14. Knight In Rusty Armour (Leander/Mills, 1966) - 2:35
15. The Flower Lady (Ochs, 1966) - 3:55
16. Hurtin' Is Lovin' (Asher/Waller, 1967) - 2:28
17. Sunday For Tea (Carter/Lewis, 1967) - 2:18
18. The Jokers (Leander/Mills, 1967) - 2:10
19. I Feel Like Going Out (Asher, 1968) - 2:39
20. You've Had Better Times (Waller, 1968) - 2:59

***

Though it's been outclassed by 2001's The Ultimate Peter & Gordon, Rhino's The Best of Peter & Gordon from a decade earlier is still one of the best collections of the British Invasion group's work. Along with their Lennon/McCartney-penned hits "A World Without Love," "Nobody I Know," and "I Don't Want to See You Again," it also features their other big singles "Go to Pieces," "Woman," and "Lady Godiva," as well as smaller hits like "The Jokers" and some album tracks and B-sides. While some of their more orchestrated songs, like their versions of "True Love Ways," "To Know You Is to Love You," and "Baby I'm Yours," sound a little stiff and dated, all of their early hits and many of their later songs still sound pretty fresh. In particular, "Knight in Rusty Armour" and the pretty folk of "The Flower Lady" have held up well, as has the mod psychedelia of "I Feel Like Going" and the brash "You've Had Better Times." While it's no longer the definitive single-disc Peter & Gordon collection, The Best of Peter & Gordon is still quite good, and its best songs are a welcome reminder of how the duo helped define the poppier side of the British Invasion.

The Shake Spears - Summertime (1966 ) Southern Rhodesia/Belgium

This Rhodesian outfit - who were living in Belgium in the early sixties - recorded some amazing beat & rock singles. Both Belgian rock archives ' Rock over Belgium' and ' Witlof from Belgium' have rather good discographies on the band's recordings, including solo recordings of Brian and Gene Latter. Apart from the discographies the Shake Spears only earn a brief mention once or twice in both publications. On top of that, their one and only LP was originally released in...The Netherlands ! Other Dutch connections were a couple of TV shows in Belgium where the 'Spears' were playing together with Cuby & the Blizzards of which they were much impressed by the guitar sound. In 1968, when the band was playing the most popular club in Brussels, 'Les Cousins', the singer from another Dutch beat group, The Shoes, joined them on stage for a few numbers. Well, reason enough to take a look in to the band's "live" line-up:

•Chris Kritzinger - Keyboard, guitar & vocals

•Perry Jordaan - Guitar & vocals

•Johnny Kreuger - Drums & vocals

•Calvin Coleman - Bass

•Alan Escombe-Wolhuter - Bass

•Gene Latter - Vocals

•Ron Patton - Saxophone

Some of the members of this line-up originated from the ranks of the Bulawayo band, the PHANTOMS.

The Shake Spears arrived in Belgium in December 1964 from Northern Rhodesia (now Zambia). Before that happened they were successful in their own country, playing as the Dynamics. In 1963 they established their own night club 'The Club Dynamique", which quickly became the favourite haunt of television and theatrical personalities. At this time fans, friends and well-wishers advised the group that the rest of the world was entitled to an opportunity to enjoy their musical skills, too.

MORE : http://www.rhodiemusic.com/bands/bands-s.htm

****

THE SHAKESPEARES

BIOGRAPHIE COMPLETE ET OFFICIELLE

01 - Summertime

02 - i'll go crazy

03 - Give it to me

04 - Stop playing that Song

05 - Summertime Blues

06 - Lucifer

07 - The Shake Spears

08 - Do that again

09 - Don't play funny Games

10 - What happened

11 - Shake it over

12 - Main Theme from 'the Saint'

The Monkees - Kirshner's Revenge 2CD

NEWS FROM JANCY

Formed primarily for the purpose of starring in a television series, the Monkees were on one hand a cynically manufactured group, devised to cash in on the early Beatles' success by applying the most superficial aspects of the British Invasion formula to capture a preteen audience. On the other hand, they weren't devoid of musical talent, and at their best managed to craft some enduring pop/rock hits. "I'm a Believer," "Last Train to Clarksville," "A Little Bit Me, a Little Bit You," "Pleasant Valley Sunday," "Stepping Stone," "Take a Giant Step," "Valleri," "Words" -- all were pleasantly jangling, harmony rock numbers with hooks big enough for a meat locker, and all were huge hits in 1966-1968. Scorned at their peak by hipsters for not playing on many of their own records, ... Read More...

DISC 1:

01. Monkees - (Theme From) The Monkees (TV version, backing track) (0:58)

02. Monkees - I'm A Believer (takes 17 & 18) (3:05)

03. Monkees - (I'm Not Your) Steppin' Stone (alternate stereo mix, no backing vocals) (2:22)

04. Monkees - Take A Giant Step (alternate stereo mix) (2:30)

05. Monkees - She (no backing vocals, stereo) (2:39)

06. Monkees - Hold On Girl (no backing vocals, mono) (2:28)

07. Monkees - A Little Bit Me, A Little Bit You (original stereo mix) (2:48)

08. Monkees - Tear Drop City (alternate stereo mix) (1:59)

09. Monkees - All Of Your Toys (alternate stereo mix) (3:04)

10. Monkees - Auntie's Municipal Court (alternate stereo mix) (4:02)

11. Monkees - Love Is Only Sleeping (alternate stereo mix) (2:31)

12. Monkees - Cuddly Toy (alternate stereo mix, no piano) (2:40)

13. Monkees - Star Collector (Gerry Goffin demo) (2:52)

14. Monkees - P.O. Box 9847 (backing track) (3:16)

15. Monkees - Pleasant Valley Sunday (backing track) (3:28)

16. Monkees - Tapioca Tundra (alternate vocal) (2:54)

17. Monkees - Valleri (version 2, alternate stereo mix, no horns) (2:23)

18. Monkees - Daydream Believer (backing track) (2:59)

19. Monkees - Magnolia Simms (undubbed stereo mix) (3:30)

20. Monkees - Tentatively (Peter Tork demo, take 2, edit) (0:54)

21. Monkees - Porpoise Song (alternate stereo mix 1) (2:38)

22. Monkees - As We Go Along (mono remix, edit) (2:53)

23. Monkees - If I Knew (Davy Jones demo, mono remix, edit) (1:01)

24. Monkees - The Girl I Left Behind Me (instrumental backing track, mono remix, edit) (1:50)

25. Monkees - Someday Man (alternate stereo mix) (2:37)

26. Monkees - A Man Without A Dream (alternate stereo mix, no horns) (3:02)

27. Monkees - That's What It's Like Loving You (backing track, mono remix, edit) (2:11)

28. Monkees - If I Ever Get To Saginaw Again (alternate stereo mix) (2:40)

29. Monkees - The Boy From Chelsea (Truly Smith version) (2:28)

30. Monkees - For Pete's Sake (closing theme) (0:50)

DISC 2:

01. Monkees - (Theme From) The Monkees (version 3, backing track, mono) (0:52)

02. Monkees - Steam Engine (backing track & backing vocal) (2:21)

03. Monkees - P.O. Box 9847 (alternate stereo mix) (3:14)

04. Monkees - Star Collector (backing track) (2:37)

05. Monkees - Opening Night (Davy Jones demo, mono remix, edit) (3:08)

06. Monkees - Daydream Believer (unedited master, no orchestra) (3:10)

07. Monkees - Apples, Peaches, Bananas and Pears (backing track) (2:18)

08. Monkees - Can You Dig It (alternate stereo mix) (3:23)

09. Monkees - I Didn't Know You Had It In You Sally, You're A Real Ball of Fire (2:01)

10. Monkees - Porpoise Song (alternate stereo mix 2) (3:07)

11. Monkees - If I Knew (mono remix) (1:55)

12. Monkees - Ladies Aid Society (alternate stereo mix) (2:32)

13. Monkees - French Song (alternate mix) (2:24)

14. Monkees - A Man Without A Dream (version 2, backing track, mono remix, take 11) (1:28)

15. Monkees - It's Nice To Be With You (alternate stereo mix) (2:53)

16. Monkees - Looking For The Good Times (alternate stereo mix) (2:02)

17. Monkees - Oklahoma Backroom Dancer (alternate stereo mix) (2:35)

18. Monkees - Shorty Blackwell (backing track) (5:14)

19. Monkees - The Girl I Left Behind Me (first version, backing track) (2:39)

20. Monkees - Through The Looking Glass (alternate stereo mix) (2:43)

21. Monkees - How Can I Tell You (Davy Jones demo, mono remix, edit) (1:55)

22. Monkees - Time And Time Again (backing track) (2:40)

23. Monkees - We Were Made For Each Other (alternate stereo mix) (2:23)

24. Monkees - Listen To The Band (alternate stereo mix, edit) (2:30)

25. Monkees - While I Cry (backing track with overdubs) (3:00)

26. Monkees - Acapulco Sun (backing track) (2:48)

27. Monkees - My Share of the Sidewalk (backing track) (3:02)

28. Monkees - You And I (alternate stereo mix) (2:13)

29. Monkees - For Pete's Sake (closing theme, backing track) (0:47)