Friday, June 10, 2011

Beat...Beat... Beat... movie


Beat Beat Beat - vol. 8



01 - Intro
02 - Info
03 - Black Is Black / The Rangers
04 - Lovers Of The World United
05 - Info
06 - Soul Organ Blues / Cherry Wainer & Don Storer
07 - Info
08 - One More Heartache / The Untamed
09 - I'll Go Crazy
10 - Info
11 - Shake It Some More / Tony Sheridan
12 - Info
13 - Daddy Longlegs / The Untamed
14 - Info
15 - What Now My Love / Cherry Wainer & Don Storer
16 - Info
17 - Hey Girl / The Small Faces
18 - All Or Nothing
19 - Just You And Me / Tony Sheridan
20 - Info
21 - What'cha Gonna Do About It
22 - Sha-La-La-La-Lee

Paul Revere & The Raiders - Hard N Heavy (With Marshmallow) 1969


By the time of Paul Revere & the Raiders recorded Hard 'N' Heavy late in 1968, Mark Lindsay and Paul Revere were the only remaining original members of the band -- yet, surprisingly, this album consisted entirely of band originals, which is a pretty daring move for the first long-player featuring a new lineup of any band; even more amazing is that it's all good music. ... 


... Bassist/guitarist Keith Allison, in particular, proved himself a special asset to the group throughout this album, not only with some very ballsy playing but three killer hard-rocking  songs (co-written with Mark Lindsay) -- the Stones-like "Time After Time" and "Out on That Road," and "Without You." These alternate with Lindsay's smoother, generally more pop-oriented solo originals, and some competent, even catchy songs written by guitarist Freddy Weller and drummer Joe Correro. Lindsay's "Cinderella Sunshine" is the highlight of the album, appearing on the 2000 Sundazed Records reissue in both its album incarnation and its shorter, punchier single version. There's also an uncredited 16th track, "Everybody Loves Swingy," written for a Mattel doll, that's one of the most infectious rock & roll numbers ever cut by the band. Its presence also spotlights a conundrum that the Raiders faced in 1969 -- it was a sign of just how much this band liked to make music that people could hum and dance to, and didn't care for the "counterculture," the soon-to-be Woodstock Nation, and other touchstones of late-'60s credibility; it might have been a sign that this band was never going to get with it, as far as rock credibility in the late '60s, but heard today, the "Swingy" jingle seems poignantly innocent and honest, as well as being a catchy little song. The sound is, as usual for Sundazed, impeccable.


The Swinging Blue Jeans - At Abbey Road (1963-1967)


Although they're only remembered today for their 1964 hit "Hippy Hippy Shake," which charted on both sides of the Atlantic -- the Swinging Blue Jeans were actually one of the strongest of the Liverpool bands from the '60s British Invasion; and, indeed, the Blue Jeans' earliest incarnation goes back about as far as the roots of the Beatles as the Quarry Men. "Hippy Hippy Shake" -- a cover of an obscure '50s rocker that was actually done much better by the Beatles on tapes of their BBC performances -- was their only Top 30 entry in the U.S.. But the band enjoyed some other major and minor hits in the U.K., including a top-notch Merseyization of Betty Everett's (and later Linda Ronstadt's) "You're No Good," which they took into the British Top Five in 1964.

The group's origins go back to 1957, when singer/guitarist Ray Ennis decided to form a band. The result was a skiffle sextet called "the Bluegenes" -- the latter a misspelling of "blue jeans" that remained unchanged for a couple of years. Surprisingly, Ennis had already played rock & roll, but -- in a manner the opposite of many other young musicians of the time -- he regarded skiffle as an advancement; equally surprisingly, given their later work, the Bluegenes were heavily jazz influenced, and stayed away from trying to cover songs associated with Elvis Presley and other American rock & rollers, preferring instead to try and emulate the horn and sax parts that they heard on their guitars. The skiffle group lineup also included Bruce McCaskill on guitar and vocals, Tommy Hughes on banjo, Norman Kuhlke on washboard, and Spud Ward on oil drum bass. Ralph Ellis later joined on guitar, and Ward subsequently moved over to Rory Storm's band, and eventually Les Braid took over the bassist spot. Hughes and McCaskill later left, the former for the army and the latter over personal disagreements, replaced by Johnny Carter and Paul Moss, respectively. By 1962, they were working full-time and playing the same venues in Liverpool as rival bands such as the Beatles, Gerry & the Pacemakers et al, and also performed for the first time at the Star Club in Hamburg late in the year. But amazingly, they were still playing jazz-based skiffle, and had even done some unsuccessful record company auditions working in that musical genre. They saw no reason to change until the German audiences, not as tolerant of skiffle music as Merseyside listeners at the Cavern had been, booed them off the stage. At that point, seemingly in the blink of an eye, they switched to rock & roll, trading in their acoustic instruments for their electric equivalents. And in that guise -- and a name change to the Swinging Blue Jeans, they not only won over German audiences but earned a coveted recording contract with EMI's HMV imprint, under producer Walter J. Ridley (who handled such diverse talents -- and not too well, by some accounts -- as Johnny Kidd & the Pirates and Alma Cogan). With the departure of banjo player Paul Moss soon after, they were left as a quartet comprised of Ray Ennis (rhythm guitar, vocals), Les Braid (bass, keyboards), Ralph Ellis (lead guitar), and Norman Kuhlke (drums). They made their recording debut -- still as a quintet -- with a Ray Ennis original, "It's Too Late Now," which made the British Top 30. Their second single, "Do You Know," released in the fall of 1963, failed to sell, but in December of that year they broke through to stardom in with their rendition of "Hippy Hippy Shake." They rode that record's success all the way to the number two chart spot in England, right behind the Dave Clark Five's "Glad All Over," and earned a place on the first-ever broadcast of Top of the Pops in the bargain. 

Their follow-up single, "Good Golly Miss Molly," released in March of that year, charted in England at number 11. And "You're No Good" followed two months later, and soared to number three in the U.K.. That string of successes led to a good debut album called Blue Jeans A' Swinging, issued in July of 1964. They were only to enjoy one more charting single, a rendition of the Burt Bacharach/Hal David-authored "Don't Make Me Over," which only reached number 31 in 1965. Ralph Ellis -- who, with Ray Ennis was one of the two songwriters in the group -- left early in the following year, and was succeeded by Terry Sylvester, who had previously played with the Escorts. The band carried on for a couple of more years, but, like most early-'60s Liverpool outfits, the Blue Jeans' career rapidly lost momentum as the '60s progressed. As with most other Liverpool bands of the period, they were masters of that particular brand of rhythm-heavy rock & roll known as Merseybeat, but like most of their compatriots -- and the Beatles were the notable exception -- they were unable or unwilling to let their music evolve into new forms and directions. 

By 1965 their string of hits was over, though their chart success in America (and elsewhere) with "Hippy Hippy Shake" did give them a higher international profile than all but a handful of Merseybeat bands. Ennis and Ellis had written some catchy and energetic, if slightly sappy, originals in the purest Merseybeat style. And while it doesn't add up to an enduring legacy, there's a lot to be said for the naive energy of the best of their early tunes, and they did hang on quite effectively until 1968, remaking themselves as more of a harmony group in the process. Terry Sylvester left that year to join the Hollies, succeeding Graham Nash in the latter group, but the Swinging Blue Jeans soldiered on, right into the early 1970s. Ennis and Braid stayed on in the core of the band, amid myriad personnel changes, and kept them going for years after that. The group essentially became an oldies act, their playing and recordings mostly consisting of remakes of their '60s hits. Braid passed away in 2005, but a version of the band featuring Ennis was still playing in the 21st 

Band members:

Ray Ennis - Vocalist / Guitarist - born Raymond Vincent Ennis, 26 May 1940, in Huyton, Liverpool.
Ralph Ellis - Guitarist - born 8 March 1942, in Liverpool.
Les Braid - Bassist / Keyboardist - born William Leslie Braid, 15 September 1937, in West Derby Road, West Derby, Liverpool — died 31 July 2005, at Fazackley Hospital, Fazackley, Liverpool.
Norman Kuhlke - Drummer - born 17 June 1942, in Liverpool.
Terry Sylvester - Singer, Guitarist - born 8 January 1946, in Liverpool. (ex-Escorts, pre-The Hollies)
Colin Manley - Guitarist - born 16 April 1942, in Liverpool — died 9 April 1999.
John Ryan - Drummer - born 5 April 1953, in Pinehurst Avenue, Liverpool.
Bruce McCaskill - Guitarist / Vocalist - born 15 January 1940.
Mike Gregory - bass guitarist born Michael Gregory, 7 November 1946, at Liverpool Maternity Hospital, Liverpool.
Jim Rodford - bassist - born James Rodford, 7 July 1941, in St Albans, Hertfordshire.


LP:
1. ''Hippy Hippy Shake'' USA IMPERIAL 04.64
2 ''Shaking Time'' GERMANY ELECTROLA 64
3. ''Blue Geanes A' Swinging'' UK HMV CLP 10.64
4. ''Live Auf Dem Cascade Club, In KOLN'' GERMANY ELECTROLA 64
5. ''Don't Make Me Over'' CANADA CAPITOL 06.66
6. ''Hippy Hippy Shake'' SWEDEN EMA/TELSTAR/ GERMANY TELEFUNKEN 73
7. ''Brand New And Faded'' GERMANY TELEFUNKEN /DART 74
8. ''Hippy Hippy Shake'' ALL NEW Recordings GERMANY CARUSSEL 87
9. ''Live Shakin' '' UK BBC 90
10. ''All Hits Plus More'' UK EMI 90
11. ''Hippy Hippy Shake - Greatest Hits'' reissued (#10) COLLECTOR'S CHOISE 91




The Swinging Blue Jeans - At Abbey Road (1963-1967)



Wednesday, June 08, 2011

V.A. - Beat At Abbey Road (1963-1965)


As a collection of mid-'60s EMI British beat tracks, this 28-song CD is above average, touching on several superb tracks that have been ignored by similar Rhino and See For Miles releases ... 


... Naturally, there are no Beatles cuts on here, but the disc opens conservatively enough with a Cilla Black version of an orphaned Lennon/McCartney song, "Love of the Loved," and then steps into slightly less familiar territory with the Fourmost's rendition of the pair's "I'm in Love." From there, it gets a lot more interesting. The Dakotas (sans Billy J. Kramer) show themselves to be a first-rate, hard-rocking instrumental outfit on "The Cruel Sea," which showcases original lead guitarist Mike Maxfield. Jimmy Page's lead guitar is the focal point of a killer cover of "Roll Over Beethoven" by Birmingham's Pat Wayne & the Beachcombers, who eventually evolved into Keith Powell & the Valets, who left behind the sweetly sung ballad "The Answer Is No" (also featured here). Among the other fair-to-middling finds here is the Toggery Five's "I'd Much Rather Be With the Boys," a surprisingly lyrical piece of pop fluff by Andrew Loog Oldham and Keith Richards. Manfred Mann's seldom-heard "Tired of Trying, Bored With Lying, Scared of Dying" is one of the fiercer rock & roll numbers left behind by this most musically articulate of British beat bands, with a raucous performance all around (especially by soon-to-depart guitarist Mike Vickers). Beryl Marsden represents the fairer sex on this compilation with a lung-searing performance of "Break-A-Way" that's one of the most exciting records of its period. Her future Shotgun Express stablemate Rod Stewart closes this jewel of a disc with "The Day Will Come," an oddball 1965 single whose majestic orchestral backing suggests that evidently someone was thinking of Stewart as a potential rival to Tom Jones. ~ Bruce Eder, Rovi 


01 - Cilla Black - Love Of The Loved 02:04 (27 september, 1963)
02 - Fourmost - I'm In Love 02:11 (15 november, 1963)
03 - Dakotas - The Cruel Sea 02:16 (5 july, 1963)
04 - Freddie & The Dreamers - If You Gotta Make A Fool Of Somebody 02:02 (26 april, 1963)
05 - Pat Wayne & The Beachcombers - Roll Over Beethoven 02:59 (6 december, 1963)
06 - Keith Powell & The Valets - The Answer Is No 02:29 (20 september, 1963)
07 - Mike Sheridan & The Nightriders - Please Mr. Postman 02:33 (6 december, 1963)
08 - Tony Rivers & The Castaways - Shake, Shake, Shake 01:55 (18 october, 1963)
09 - Manfred Mann - 5-4-3-2-1 01:59 (10 january, 1964)
10 - Roulettes - Bad Time 02:39 (6 march, 1964)
11 - Hollies - Come On Back 02:14 (11 september, 1964)
12 - Swinging Blue Jeans - You're No Good 02:18 (29 may, 1964)
13 - Naturals - I Should Have Known Better 02:12 (31 july, 1964)
14 - Bobby Shafto - She's My Girl 02:02 (24 april, 1964)
15 - Billy J. Kramer & The Dakotas - When You Walked In The Room 02:49 (21 september, 1964)
16 - Whirlwinds - Look At Me 01:56 (22 may, 1964)
17 - Paramounts - I'm The One Who Loves You 02:09 (10 july, 1964)
18 - Four Just Men (aka Just Four Men) - Things Will Never Be The Same 01:50 (27 november, 1964)
19 - Mike Sheridan & The Nightriders - What A Sweet Things That Was 02:31 (19 june, 1964)
20 - Gerry & The Pacemakers - I'll Wait For You 02:12 (5 march, 1965)
21 - Black Nights - I Gotta Woman 01:59 (1 january, 1965)
22 - Toggery Five - I'd Much Rather Be With The Boys 02:33 (26 february, 1965)
23 - Paramounts - Blue Ribbons 02:24 (23 april, 1965)
24 - Manfred Mann - Tired Of Trying, Bored With Lying, Scared Of Dying 02:53 (19 november, 1965)
25 - Dean Ford & The Gaylords - The Name Game 02:22 (18 june, 1965)
26 - Martin Raynor & The Secrets - Candy To Me 02:11 (7 may, 1965)
27 - Beryl Marsden - Break-A-Way 02:44 (10 december, 1965)
28 - Rod Stewart - The Day Will Come 02:46 (19 november, 1965)



Monday, June 06, 2011

Helen Shapiro - At Abbey Road 1961-1967 (1998)


Helen Shapiro began her singing career as a 14 year old in 1961. Hearing her voice on the first cut from Helen Shapiro at Abbey Road: 1961-1967, "Don't Treat Me Like a Child," one would never believe it. She sounds confident and as assured as someone who had been in the business for 20 years. 


Shapiro had some big hits in the early days of her career: "You Don't Know," "Tell Me What He Said," and the bouncy "Walkin' Back to Happiness." Her early style is very similar to artists like Timi Yuro or Gene Pitney: ultrapoppy musical backing, slightly fluffy songs, and very soulful vocals. She also sounds quite good in a brassy jazz vein; there are some good examples here such as her knockout rendition of "I Want to Be Happy" and her sultry take on "Basin St. Blues." As the decade progressed Shapiro (and everyone who wasn't from Liverpool) found herself shunted off to the fringe. She kept on making great records: a powerhouse version of "Fever," the Drifters-influenced "Look Over Your Shoulder," and the heartbreaking and soulful "I Wish I'd Never Loved You" to name a few. These tracks were all from 1964, the year she seems to have broken away from the formula pop of her first records and branched out into girl-group sounds and generally took a grittier approach. She started covering, quite credibly, Motown tracks like "Shop Around" and also began dipping into Brill Building songbooks, covering tunes like "Keep Your Hands off My Baby" by Gerry Goffin and Carole King. Unfortunately this collection gives this period less coverage than her early hitmaking years. The five or six songs they trot out just leave one wishing for more. The disc ends with the powerful one-two punch of two unreleased tracks: the pounding girl-group shout of "You're My Remedy" and the dramatic string-filled "I'm Going Out (The Same Way I Came In)." These songs give Dusty Springfield, Sandie Shaw, and Lulu a run for their money. It is too bad her career ran out of gas and she pretty much dropped out of sight. One can lament what might have been or curse the powers that were for mismanaging her so fully, but it is a waste of time. Better to just enjoy the music she was able to release. This disc does a fine job of summing up Shapiro's career and is an essential item for any fan of girl pop singers and girl groups.

1. Don't Treat Me Like A Child 2:33
2. You Don't Know  2:40
3. Walkin' Back To Happiness (Take 2 With Studio Conversation) 2:46
4. Walkin' Back To Happiness 2:31
5. Kiss 'N' Run  2:07
6. I Wanna To Be Happy 2:17
7. Let's Talk About Love  1:54
8. Tell Me What He Said  2:47
9. Little Miss Lonely  2:54
10. A Teenager Sings The Blues 3:13
11. I Can't Say No To Your Kiss (With Studio Conversation) 2:10
12. Sometime Yesterday  2:54
13. I Don't Care  2:31
14. Basin St. Blues 3:34
15. Every One But The Right One 2:35
16. Keep Away From Other Girls 2:24
17. A Dozen Other Boys (With Studio Conversation) 2:10
18. Queen For Tonight  2:09
19. Time And Time Again  2:16
20. Look Who It Is  2:13
21. Fever  2:24
22. Look Over Your Shoulder  2:45
23. It's In His Kiss 1:56
24. I Wish I'd Never Loved You 2:38
25. Shop Around 2:44
26. Keep Your Hands Off My Baby 2:20
27. You're My Remedy   2:57
28. I'm Going Out (The Same Way I Came In) 2:44


Wednesday, June 01, 2011

We The People - Declaration Of Independence


This 14-track compilation features some key sides from the Florida-based '60s garage rockers We the People. Their musical versatility works in tandem with the equally affective songwriting of Wayne Proctor (guitar/vocals) and Tommy Talton (guitar/vocals) -- the latter of whom would go on to work with the seminal Allman Brothers Band as well as his own Southern rock outfit, Cowboy. 
Although We the People never got an album deal, the band issued half a dozen or so 45s for a variety of regional as well as national labels. In addition to a few stray sides, Declaration of Independence (1983) includes a majority of those singles. 


The band began as a sort of Orlando-based supergroup in late 1965/early 1966 with members of three local teen combos -- the Trademarks, Offbeets, and Nonchalants. This cross-pollination of already developed styles was a key element in giving We the People such versatile strength. This set begins with the title track, "Declaration of Independence." This punkish waltz bops by with much of the lyrical and instrumental economy of Brit mod pop acts such as the Zombies. Inventive melodies such as this are typical of even the harder-edged R&B raver "Mirror of Your Mind" or the acid-tinged fuzz guitar on "You Burn Me Up and Down" -- both of which easily equate similar work from the Standells and the Sonics. That material is likewise contrasted by the languid and equally trippy and charming "St. John's Shop" or the balladry of "(You Are) The Color of Love." Personnel changes ultimately did the band in, and by 1970 We the People had all but disbanded. While this budget-priced collection offers a healthy sampling of the group's most notable contributions, the audio archaeologists at Sundazed Music more than double the selection and running time on their 40-song Mirror of Our Mind (1995) two-disc set, including demos and primordial wax from both the Trademarks and the Offbeets. ~ Lindsay Planer

We The People - Declaration Of Independence 1983

1. We The People - Declaration Of Independence (2:23)
2. We The People - He Doesn't Go About It Right (2:30)
3. We The People - St. Johns Shop (2:22)
4. We The People - You Burn Me Up And Down (2:24)
5. We The People - Mirror Of Your Mind (2:48)
6. We The People - Beginning of the end
7. We The People - (You are) the color of love
8. We The People - In the past
9. We The People - Free information
10.We The People - Alfred what kind of man are you
11.We The People - By the rule
12.We The People - Half of wednesday
13.We The People - My brother the man
14.We The People - Too much noise

The Moody Blues - Go Now (1965)


This album, which kicked around the American London Records catalog and record store browsers for decades, also fooled a couple of generations of the band's fans. This is the Moody Blues, to be sure, but it is the work of the original R&B-based lineup featuring Denny Laine on lead vocals and guitar, and Clint Warwick on bass, along with Mike Pinder (piano, organ), Ray Thomas (harmonica, vocals), and Graham Edge (drums), who enjoyed a monster international hit with the R&B-style single "Go Now" in 1964. A lot of what's here is very good in that vein, from James Brown-authored soul-shouters to blues by Willie Dixon and Sonny Boy Williamson II, to the smoother, more Motown-like work like the exquisite "I Had a Dream" (co-written by Ellie Greenwich). But with the exception of "From the Bottom of My Heart" -- arguably the best unsuccessful single of the whole British Invasion -- which was a much more advanced single, and achieved some interesting timbral and dramatic effects within a soul framework, nothing here remotely resembles even the most rudimentary psychedelic sounds for which the band was known after 1966. For most fans of the latter, this is more an interesting artifact than anything else, though listeners who love the sounds of the British Invasion circa 1964 and 1965, especially the work of the Animals, the Rolling Stones, and the Zombies, may find a lot to enjoy here. They should also be aware, however, that on LP this album was supplanted by the late-'70s English double-LP compilation A Dream, and on CD there are fuller collections of the group's work from this era, mostly built around the equivalent U.K. album title Magnificent Moodies (which, in its original LP version, is less desirable than this album, as it doesn't contain "From the Bottom of My Heart").




The Five Day Week Straw People - The Five Day Week Straw People (1968)

\\

The Five Day Week Straw People were a one-off, studio-only British psychedelic band that did one rare album in late 1967 (actually released in 1968) for the budget Saga label. Its ten songs were loosely centered around the concept of a typical weekend in the life of typical working British people. For a fee of 25 pounds per musician, the Five Day Week Straw People -- comprised of singer/guitarist John Du Cann (of the obscure psychedelic pop group the Attack, who did four singles for Decca), bassist Mick Hawksworth, and drummer Jack Collins -- were assembled. The album was recorded in about four hours in a London schoolroom, a remarkable achievement given that Collins had not heard any of the songs prior to the session. 


While the album (simply titled Five Day Week Straw People) has attracted some fanatical praise among collectors, it's average-period British psychedelia. It leans a little more toward heavy rock than toward mod, although there are some strong pop elements in the vocal harmonies and the British storytelling lyricism. At times, it's reminiscent of the most pop-oriented material that Cream recorded. The same could be said of some of the stuff done by Andromeda, the group that Du Cann, Hawksworth, and Collins decided to found after cutting the Five Day Week Straw People LP, although Andromeda was definitely in a heavier, hard rock vein. Five Day Week Straw People/The Attack was reissued on CD by Angel Air in 2000, with nine unreleased songs by the Attack added as bonus tracks.



This CD is actually a reissue of the self-titled 1968 album by the Five Day Week Straw People, who, like the Attack, featured guitarist John Du Cann. However, it's also about as much an Attack album as a Five Day Week Straw People album, since nine of the 19 songs are 1967-1968 era Attack demos, added to the CD as bonus tracks. It's fair, but no more than fair, British mod-psychedelia, catching the very beginning of the moment when U.K. psych started to head in a consciously heavy direction. Two of the cuts, "Freedom for You" and "Feel Like Flying," would have been the fifth Attack single had they not been dropped by Decca, and "Freedom for You" is certainly one of the best things they recorded, with a breathless, hard pop tempo and pretty good minor-key harmonies. For the most part it's pretty standard period British pop-psych, with some of the more serious and louder numbers indicating that the group might have been pretty intense Cream fans. Occasionally, as on "Magic in the Air," there's that fruity, childlike British whimsy characteristic of many pop-psychedelic hybrids from that short but intense period of British pop. This shouldn't be taken as a definitive representation of the Attack sound, though, as it has nothing from their four 1967-1968 Decca singles; most of the tracks from those have shown up on various artist compilations. Incidentally, the Five Day Week Straw People album that precedes the Attack material on this disc is likewise average period British psychedelia. It's pretty similar to the Attack demos, but a tad artier, as the songs fit into a loose concept of vignettes in the lives of average British people during a typical weekend.

The Flying Burrito Brothers - Farther Along (The Best Of The Flying Burrito Brothers)


Farther Along: The Best of the Flying Burrito Brothers is a nearly flawless compilation, containing a full 21 tracks of the pioneering group's best material. All but two of the songs from The Gilded Palace of Sin are included on the collection, as are all of the highlights from Burrito Deluxe and a handful of rarities and outtakes. In short, it's a definitive collection containing all of the Burrito Brothers' finest moments. It's indispensable to any rock or country collection.



The Flying Burrito Brothers helped forge the connection between rock and country, and with their 1969 debut album, The Gilded Palace of Sin, they virtually invented the blueprint for country-rock. Though the band's glory days were brief, they left behind a small body of work that proved vastly influential both in rock and country. The Flying Burrito Brothers reunited later in the '70s, albeit without their founding members Gram Parsons and Chris Hillman, and continued performing and recording in a variety of incarnations into the '80s. 

Originally, the Flying Burrito Brothers were a group of Los Angeles musicians who gathered together to jam. Gram Parsons and Chris Hillman took the band's name when they were forming their own band after leaving the Byrds. Parsons had helped steer the Byrds toward a country direction during his brief stint with the band, as captured on the 1968 album Sweetheart of the Rodeo. Following the release of Sweetheart, he left the Byrds, followed shortly afterward by Hillman. The duo added pedal steel guitarist "Sneaky" Pete Kleinow and bassist Chris Ethridge to the band and set about recording their debut album with a variety of session drummers. 

The Gilded Palace of Sin, the Flying Burrito Brothers' debut album, was released in the spring of 1969. Although the album only sold 40,000 copies, the band developed a devoted following, which happened to include many prominent musicians in Los Angeles, Bob Dylan, and the Rolling Stones. Around this time, Parsons and Stones guitarist Keith Richards became good friends, which led to Parsons losing interest in the Burritos. Before the band recorded their second album, Ethridge left the band and was replaced by Bernie Leadon, and the group hired ex-Byrd Michael Clarke as their permanent drummer. 

Burrito Deluxe, the group's second album, was released in the spring of 1970. After its release, Gram Parsons left the group and was replaced by Rick Roberts, a local Californian songwriter. Roberts' first album with the band, The Flying Burrito Brothers, was released in 1971. After its release, Kleinow left the band to become a session musician and Leadon departed to join the Eagles. The Burritos hired pedal steel guitarist Al Perkins and bassist Roger Bush to replace them, as well as adding guitarist Kenny Wertz and fiddler Byron Berline to the lineup. This new version of the group recorded the live album The Last of the Red Hot Burritos, which was released in 1972. Before its release, the band splintered apart. Berline, Bush, and Wertz all left to form Country Gazette, while Hillman and Perkins joined Manassas. Roberts assembled a new band to tour Europe in 1973 and then dissolved the group, choosing to pursue a solo career. Roberts would later form Firefall with Michael Clarke. 

Close Up the Honky Tonks, a double-album Flying Burrito Brothers compilation, was released in 1974 because of the burgeoning interest in Gram Parsons. Capitalizing on the collection and the cult forming around Parsons, Kleinow and Ethridge formed a new version of the Flying Burrito Brothers in 1975. The duo recruited Floyd "Gib" Gilbeau (vocals, guitar, fiddle), bassist Joel Scott Hill, and drummer Gene Parsons and recorded Flying Again, which was released on Columbia Records in 1975. 

Ethridge left the band after the release of Flying Again; he was replaced by Skip Battin, who appeared on the 1976 album Airborne. Also in 1976, a collection of Gram Parsons-era outtakes entitled Sleepless Nights was released on A&M Records. 

For the two decades following their 1975 reunion, the Flying Burrito Brothers performed and recorded sporadically, undergoing the occasional lineup change. In 1979, the group released Live From Tokyo on Regency Records; the album spawned their first country hit, a cover of Merle Haggard's "White Line Fever," which hit the charts in 1980. Also in 1980, the group abbreviated its name to the Burrito Brothers when they signed a contract with Curb Records. The Burrito Brothers' Hearts on the Line spawned three minor country chart hits in 1981. Sunset Sundown, the Brothers second Curb album, appeared in 1982 and like its predecessor, it produced three minor hits. Following the release of Sunset Sundown, Kleinow left the band to become an animator and special-effects creator in Hollywood. The group carried on without him, led by Gib Gilbeau and John Beland. That incarnation of the band fell apart in 1985, the same year that Kleinow assembled yet another version of the band. For the next three years, this incarnation of the Flying Burrito Brothers toured America and Europe. In 1988, the group split apart again, although it did occasionally reunite for further tours and recordings in the '90s, including 1999's Sons of the Golden West.


The Flies - Collection (1965-1968)




Although the Flies are primarily remembered for their punkish rendition of "(I'm Not) Your Steppin' Stone" — covered from Paul Revere & the Raiders' version — the vast majority of the U.K. quartet's other material is much more pop-oriented and less aggressive. Complete Collection: 1965-1968 (2002) features 22 tracks from the virtually unknown Brit rockers. The East London band had evolved from The Rebs to the In-Sect and issued a long-player under the latter moniker in 1965. The following year saw two more name changes (the Decadent Streak and No Flies on Us BUT...) and a few personnel adjustments before being signed by Decca Records based upon their double-sided demo disc of "(I'm Not) Your Steppin' Stone" b/w "Just Won't Do." (Incidentally, both demos are included on this collection.) The label convinced the band to shorten their name to simply the Flies and, in October 1966, re-recorded "Steppin' Stone" as well as the mid-tempo love song "Talk to Me" for the respective A and B sides of their debut single. With a great industry buzz beginning to surround the Flies, they were picked up as a live support act, doing gigs with the Who, the Moody Blues, the Move, and Traffic; they even opened for the Jimi Hendrix Experience in February 1967 at the Roundhouse in London. The follow-up 45 also included two strong cuts. The backbeat heavy rocker "House of Love" as well as the lightweight take on the pop standard "It Had to Be You" — which made the band sound more like Sopwith Camel or the New Vaudeville Band than the acid-laced garage rockers associated with their earlier sides. The Flies eventually landed as the core lineup began to splinter by the end of 1967. John Hunt (drums/vocals) issued a solo single under the guise of Alexander Bell — which featured a session guitarist named Jimmy Page. Their "theme" (if you will), "Alexander Bell Believes," is an odd bit of Baroque pseudo-peacenik psychedelia, with a decidedly Kinks-influenced mod sound. In addition to the previously mentioned platters, this CD also includes a few pre-Flies pieces, such as the In-Sect covers of Chuck Berry's "Reelin' & Rockin'," the Beatles' "Ticket to Ride," and a demo of the Kinks' "Tired of Waiting for You," among others.


The Moody Blues -The Magnificent Moodies (1966) + Bonus


Although they're best known today for their lush, lyrically and musically profound (some would say bombastic) psychedelic-era albums, the Moody Blues started out as one of the better R&B-based combos of the British Invasion. The group's history began in Birmingham, England with Ray Thomas (harmonica, vocals) and Mike Pinder (keyboards, vocals), who had played together in El Riot & the Rebels and the Krew Cats. They began recruiting members of some of the best rival groups working in Birmingham, including Denny Laine (vocals, guitar), Graeme Edge (drums), and Clint Warwick (bass, vocals). 


The Moody Blues, as they came to be known, made their debut in Birmingham in May of 1964, and quickly earned the notice and later the services of manager Tony Secunda. A major tour was quickly booked, and the band landed an engagement at the Marquee Club, which resulted in a contract with England's Decca Records less than six months after their formation. The group's first single, "Steal Your Heart Away," released in September of 1964, didn't touch the British charts. But their second single, "Go Now," released in November of 1964 -- a cover of a nearly identical American single by R&B singer Bessie Banks, heavily featuring Laine's mournful lead vocal -- fulfilled every expectation and more, reaching number one in England and earning them a berth in some of the nation's top performing venues (including the New Musical Express Poll Winners Concert, appearing with some of the top acts of the period); its number ten chart placement in America also earned them a place as a support act for the Beatles on one tour, and the release of a follow-up LP (Magnificent Moodies in England, Go Now in America) on both sides of the Atlantic. 


The pre-psychedelic Moody Blues were represented in England by this album, which is steeped in American soul. The covers include songs by James Brown, Willie Dixon, and Chris Kenner, plus the chart-busting "Go Now" (originally recorded by Bessie Banks), interspersed with a brace of originals by lead singer/guitarist Denny Laine and keyboardist Mike Pinder, and one Jeff Barry/Ellie Greenwich number, "I've Got a Dream." The shouters, like "I'll Go Crazy" and "Bye Bye Bird," will be the big surprises, showcasing the rawest sound by the group, but "I've Got a Dream" shows a lyrical, harmony-based sound that is vaguely reminiscent of the Four Tops (which is ironic, as that group later cut a single of the latter-day Moody Blues original "So Deep Within You"), while "Thank You Baby," a Laine/Pinder original, offers them doing a smooth, dance-oriented number with some catchy hooks. The group's sound is good and loud, and Laine was a phenomenal singer, though the band lacked the charisma and built-in excitement of such rivals as the Rolling Stones and the Animals. This album is more interesting than its American equivalent, but also not as good, since it leaves off such single sides as "Steal Your Heart Away" and the Pinder/Laine "From the Bottom of My Heart," the latter being the best side this version of the group ever recorded.

EP 65's - GO NOW


1. The Moody Blues - Go Now (3:14)
2. The Moody Blues - Is Easy Child (3:16)
3. The Moody Blues - Steal Your Heart Away (2:17)
4. The Moody Blues - Lose Your Money (But Don't Lose Your Mind) (2:01)



Beat...Beat... Beat... movie



Beat Beat Beat - vol. 7


01 - Intro
02 - Info
03 - Where Have All The Good Times Gone / The Shapes
04 - Pretty Flamingo
05 - Info
06 - Adam & Eve / Adam & Eve
07 - Info
08 - I'm A Man / The Creation
09 - That's How Strong My Love Is
10 - Info
11 - They Can Look At Us (And Laugh) / Adam & Eve
12 - Info
13 - Making Time / The Creation
14 - Info
15 - Baby, Think Before You Act / Barry Monroe
16 - Info
17 - Shake / The Koobas
18 - Take Me for a Little While
19 - Info
20 - To Show I Love You / Peter & Gordon
21 - Info
22 - You'd Better Make Up Your Mind / The Koobas
23 - You Don't Love Me
24 - Info
25 - Homeward Bound / Peter & Gordon
26 - Woman

V.A.- Heimatliche Klaenge vol.77 - Native Sounds





Heimatliche Klaenge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.77

Bellaphon 45' BL 10xx vol4

BL 1103a Whole World / The Box
BL 1103b Dreams Second Hand
BL 1104a Heya / Jeronimo
BL 1104b          So Nice To Know
BL 1110a Na-Na-Hey-Hey / Jeronimo
BL 1110b The Light Life Needs
BL 1111a Grindy Grind / The Interstate Road Show
BL 1111b All I Wanna Do Is Love You
BL 1112a Oh! Darling / The Hush 
BL 1112b Schau mir in die Augen
BL 1118a Wet Dream / The Gents
BL 1118b Summertime
BL 1119a Sugar Baby / The Hammers
BL 1119b Power of Love
BL 1120a Step by Step / Winy
BL 1120b My Son John
BL 1133a Never Goin' Back / Jeronimo
BL 1133b The Key
BL 1136a I Got No Time / Orange Peel
BL 1136b Searching for a Place to Hide
BL 1152a Hey Mr. Holy Man / Kiss Inc.
BL 1152b Kids Are Cryin'

V.A.- Heimatliche Klaenge vol.76 - Native Sounds


Heimatliche Klaenge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.76

Bellaphon 45' BL 10xx vol3

BL 1057a Zahnweh Shake / Lucky Tucky
BL 1057b          Dann irrst du dich, my dear
BL 1071a Grazing In The Grass / Charly & the Diamonds
BL 1071b          The Horse
BL 1072a Inside My Love / The Savages
BL 1072b          Why Don`t You Stay
BL 1073a Wer hat die Schuld / The Diamonds
BL 1073b Versprich nichts
BL 1075a Hey You See Me / Buzz Bennett
BL 1075b Chimneysweeper
BL 1080a Explosion Pt.1 / The Untouchables
BL 1080b Explosion Pt.2
BL 1082a Crazy Love / The Modern Sounds
BL 1082b Gimme Your Love
BL 1084a I Know / The Savages
BL 1084b Promise You
BL 1088a The Ghost / The Ghostmen
BL 1088b A Kiss Away
BL 1094a Baby And Me / The Hammers
BL 1094b Little Butterfly
BL 1095a Fairground / Pure Gold
BL 1095b You've Gotta Give It Time

The Wailers - The Rest Of The Boys From Tacoma (1961-1969)


Группа была основана в августе 1958 г. гитаристом и басистом, будущим лидером коллектива Джоном Гриком (англ. John Greek). Пять синглов и один альбом, выпущенные в 1959—1960 гг., сделали The Wailers популярными артистами местной сцены. Их музыка была основана на рок-н-ролле и сёрф-роке, помимо стандартного состава в группе важную роль играли саксофон и орган. В конечном итоге они одними из первых стали играть напористую, грязную, утяжелённую, нарочито «любительскую» форму рок-н-ролла, из-за которой их (в частности, благодаря синглу «Dirty Robber») считают одной из первых гаражных групп, оказавших немалое влияние на последующее развитие стиля в 60-х гг. В середине-конце 60-х группа испытала влияние фолк-рока и психоделического рока (что заметно, например, по синглу «Hang Up» 1965 г.).


В 1961 г. The Wailers записали кавер-версию рок-н-ролла Ричарда Берри 1955 г. «Louie Louie», вдохновив на запись этой забытой песни других музыкантов; благодаря записанной в 1963 г. кавер-версии The Kingsmen песня стала необычайно популярной у гаражных групп и стала в итоге одной из наиболее часто исполняемых песен в рок-музыке.

В 1965 г. The Wailers участвовали в записи дебютного альбома «Here Are The Sonics» группы The Sonics — одной из самых значительных групп гаражного рока. На альбоме была записана кавер-версия «Dirty Robber». Ранее The Wailers помогли The Sonics подписать контракт с лейблом Etiquette, на котором в 1965 г. вышел их совместный сингл «Don’t Believe In Christmas / Christmas Spirit». В 1998 г. был выпущен сингл двумя с версиями «Louie Louie», записанными The Sonics и The Wailers.

Гитарист The Wailers Нил Андерсон сейчас играет в джаз-группе Pearl Django.

СОСТАВ

 Оригинальный состав (с августа 1958 г.)
Джон Грик (англ. John Greek) — ритм-гитара, бас-гитара, корнет, труба
Ричард Денжел (англ. Richard Dangel) — гитара
Майк Барк (англ. Mike Burk) — ударные
Марк Маруш (англ. Mark Marush) — саксофон
Кент Моррилл (англ. Kent Morrill) — клавишные
 Другие участники
Гэйл Харрисон (англ. Gail (Gayle) Harris) — вокал (приглашённый музыкант, начало августа 1959 г.)
Рокин' Роббин Робертс (англ. Rockin' Robbin Roberts) — вокал (приглашённый музыкант, конец августа 1959 г.)
Гэри Фэвьер (англ. Gary Favier) — вокал (октябрь 1958-июнь 1959)
Джон «Бак» Ормсби (англ. John "Buck" Orsmby) — бас-гитара (с апреля 1960)
Рон Гарднер (англ. Ron Gardner) — вокал, клавишные, саксофон (1960-е)
Нил Андерсон (англ. Neil Anderson)- гитара
Джон Хэнфорд (англ. John Hanford) — гитара
Дэйв Роланд (англ. Dave Roland) — ударные
Дэнни Уивер (англ. Denny Weaver) — гитара
ДИСКОГРАФИЯ

 LP
The Fabulous Wailers (1959)
The Fabouls Wailers At The Castle (концертный, 1962)
Wailers & Company (1963)
Wailers!!! Wailers Everywhere! (1965)
Outburst! (1966)
Out Of Out Tree (1966)
Walk Thru This People (1968)
 Сборники
Tall Cool One (1964)
Fabulous Wailers, The Boys From Tacoma: Anthology 1961—1969 (1993)
Livewire!!! (1998)
Original Golden Crest Masters (1998)
 Синглы (избранное)
Dirty Robber (1959)
Louie Louie / Mary Ann (1961)
Seattle / Partytime U.S.A. (1963)
Back to You / You Weren’t Using Your Head (1965)
Dirty Robber / Hang Up (1965)
Out of Our Tree / I Got Me (1965)
Don’t Believe In Christmas (The Sonics) / Christmas Spirit (The Wailers) (1965)
It’s You Alone / Tears (1966)
Think Kindly Baby / End of the Summer (1966)
You Won’t Lead Me On / Tears (Don’t Have to Fall) (1966)
I’m Determined / I Don’t Want to Follow You (1967)
You Can’t Fly / Thinking Out Loud (1968)
Louie Louie (The Sonics) / Louie Louie (The Wailers) (1998)

The Rest Of The Boys From Tacoma

01a - Mau-Mau
02a - Lucille
03b - Scratchin'
04b - Mary Ann
05a - Beat Guitar(version)
06a - Back To You
07b - You Weren't Using Your Head
08a - Dirty Robber(version)
09b - Hang Up(version)
10a - Christmas Spirit
11lp - Maybe This Year
12lp - She's Comin' Home
13lp - The Christmas Song
14a - It's You Alone
15b - Tears
16a - I'm Determined
17b - I Don't Want To Follow You
18a - Livewire
19 - All My Nights, All My Days
20 - Why did it happen to me
21 - Snake Pit
22 - Walk Thru The People (version)
23 - Smokestack Lightinin' (version)