The Four Pennies - The World Of The Four Pennies

http://artistwiki.com/the-four-pennies 

http://en.wikipedia.org/wiki/The_Four_Pennies 

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http://www.cottontown.org/page.cfm?LANGUAGE=eng&pageID=4995 

The Four Pennies started out as the Lionel Morton Four, taking their name from their singer, who had served as a choir boy in a cathedral in his hometown of Blackburn, Lancashire, England, during his youth. The band -- not to be confused with the stateside recording artists of the same name -- also included Stoke-on-Trent native Mike Wilsh on piano, Oldham's Fritz Fryer on lead guitar, and Alan Buck of Brierfield on drums. Morton, in addition to singing, played the rhythm guitar. Buck, before coming to the group, had belonged to groups led by Joe Brown and Johnny Kidd. The band found their greatest success with ballads like "Juliet," which knocked the Searchers from the top of the charts in the spring of 1964. The song was originally labeled as the B-side of the group's second single, but soon was given "A" status when it started attracting attention over its flip side, "Tell Me Girl." At this point, the band had already charted with their debut single, "Do You Want Me To," but failed to make any waves with their music until "Juliet" appeared on the scene. The band's third single, a three-hankie ballad called "I Found Out the Hard Way," wasn't as successful as "Juliet," but it did climb nicely into the Top 20 in Great Britain. The Four Pennies charted twice more with "Until It's Time for You to Go," a Buffy Sainte-Marie number, and "Black Girl" from the great bluesman Leadbelly. With their original lineup, the Four Pennies put out one more single, "No Sad Songs for Me." The group fell apart in the fall of 1966. Morton, whose wife was British actress Julia Foster, first tried to go solo before switching gears and moving into television. Buck continued to work in show business, holding a variety of jobs that included production work at Radio Luxembourg. Fryer subsequently established the group Fritz, Mike & Mo, then worked as a record producer for such groups as Clannad, Horslips, Motörhead, and Stackridge, among others. Wilsh still operates a band under the Four Pennies name.

http://anorakthing.blogspot.com/2011/11/four-pennies-66.html 

http://allmusic-wingsofdream.blogspot.com/2010/04/

four-pennies-2-sides-of-four-pennies.html 

http://dm-musicstations.blogspot.com/2009/02/

four-pennies-best-of.html 

The Four Pennie - Four Pennies Spin

Jimmy Duncombe and the Rackets - Jimmy and the Rackets

http://www.duncombe.ch/musician/ 

line-up:

 Jimmy Duncombe (g, voc), 

Lawrence "Curly" Spector (b), 

Barry Jeffers (p), 

Reginald "Buzz" Washington (dr)

http://dm-musicstations.blogspot.com/2009/08

/jimmy-rackets-complete-elite-special.html 

http://spurensicherung.blogspot.com/2012/01

/tommyknockers-beat-club-vol-7-if-you.html 

Johnny Rivers - At The Whisky Á Go Go & Here We Á Go Go Again!

Johnny Rivers - At The Whisky Á Go Go &  Here We Á Go Go Again!

Recorded live in Hollywood, California's Whisky a Go Go this 22 year old boy from Baton Rouge wows the crowd with a fun selection of material. His clean guitar sound and vocal style carried each song along and coaxed you to join the throng on the dance floor for a quick wiggle or two. And you can tell it's Hollywood by the celebrity endorsements gracing the back cover. These include blurbs from the likes of Steve Allen, Ann Margret, Yogi Bear ("Johnny is my BoBo"), Sammy Davis Jr. and Dean just to drop a few names. Sammy brands him a swinger and I have to agree. The sound was just made for swiveling hips and alcoholic sips. A few cover photos of Johnny, the club and the crowd try bring you a little closer to being there. 

Line Up:

Johnny Rivers: guitar and vocals

Joe Osborne: bass 

Eddie Rubin: drums

http://www.flickriver.com/photos/khiltscher/sets/72157623228462479/ 

http://flickrhivemind.net/Tags/johnnyrivers/Timeline 

Here We à Go Go Again! was Johnny Rivers's second official album, and like his first album, At the Whisky à Go Go, it was recorded live at the Whisky a Go Go in Los Angeles, California. The album reached #38 on the Billboard Charts and spawned two hit singles: "Maybelline" and "Midnight Special".

At The Whisky à Go Go

01. Memphis [0:02:44.40]

02. It Wonґt Happen With Me [0:03:25.48]

03. Oh Lonesome Me [0:02:42.37]

04. Lawdy Miss Clawdy [0:02:58.30]

05. Whisky A Go Go [0:04:00.70]

06. Walking The Dog [0:03:49.00]

07. Brown Eyed Handsome Man [0:02:38.63]

08. You Can Have Her (I Donґt Want Her) [0:03:19.50]

09. Multiplication [0:02:52.00]

10. Medley: La Bamba - Twist And Shout [0:06:27.10]

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.

Here We à Go Go Again!

11. Maybellene [0:02:16.70]

12. Dang Me [0:02:33.45]

13. Hello Josephine [0:02:31.02]

14. Hi Heel Sneakers [0:03:49.48]

15. Canґt Buy Me Love [0:02:41.52]

16. Iґve Got A Woman [0:06:21.23]

17. Baby What You Want Me To Do [0:05:53.67]

18. Midnight Special [0:02:29.40]

19. Roll Over Beethoven [0:02:58.40]

20. Walk Myself On Home [0:02:37.68]

21. Johnny B. Goode [0:02:56.22]

22. Whole Lotta Shakinґ Goinґ On [0:03:15.00]

http://music.yandex.ru/#!/artist/105680 

http://en.wikipedia.org/wiki/Johnny_Rivers 

http://www.johnnyrivers.com/ 

http://www.allmusic.com/artist/johnny-rivers-p118948 

http://www.answers.com/topic/johnny-rivers 

Booker T & the MG's - 2 in 1

Booker T. Jones -Organ, Piano (Electric), Keyboards, Bass (Electric), Guitar (Electric) 

Steve Cropper - Guitar (Electric), Percussion, Piano

Donald "Duck" Dunn  - Bass (Electric)

Al Jackson, Jr. - Drums

As the house band at Stax Records in Memphis, TN, Booker T. & the MG's may have been the single greatest factor in the lasting value of that label's soul music, not to mention Southern soul as a whole. Their tight, impeccable grooves could be heard on classic hits by Otis Redding, Wilson Pickett, Carla Thomas, Albert King, and Sam & Dave, and for that reason alone, they would deserve their subsequent induction into the Rock & Roll Hall of Fame. But in addition to their formidable skills as a house band, on their own they were one of the top instrumental outfits of the rock era, cutting classics like "Green Onions," "Time Is Tight," and "Hang 'em High." 

The anchors of the Booker T. sound were Steve Cropper, whose slicing, economic riffs influenced many other guitar players, and Booker T. Jones himself, who provided much of the groove with his floating organ lines. In 1960, Jones started working as a session man for Stax, where he met Cropper. Cropper had been in the Mar-Keys, famous for the 1961 instrumental hit "Last Night," which laid out the prototype for much of the MG's (and indeed Memphis soul's) sound with its organ-sax-guitar combo. With the addition of drummer Al Jackson and bassist Lewis Steinberg, they became Booker T. & the MG's. Within a couple years, Steinberg was replaced permanently by Donald "Duck" Dunn, who, like Cropper, had also played with the Mar-Keys. 

The band's first and biggest hit, "Green Onions" (a number three single in 1962), came about by accident. Jamming in the studio while fruitlessly waiting for Billy Lee Riley to show up for a session, they came up with a classic minor-key, bluesy soul instrumental, distinguished by its nervous organ bounce and ferocious bursts of guitar. For the next five years, they'd have trouble recapturing its commercial success, though the standard of their records remained fairly high, and Stax's dependence upon them as the house band ensured a decent living. 

In the late '60s, the MG's really hit their stride with "Hip Hug-Her," "Groovin'," "Soul-Limbo," "Hang 'em High," and "Time Is Tight," all of which were Top 40 charters between 1967 and 1969. Since the presence of black and white musicians made them a biracial band, the MG's set a somewhat under-appreciated example of both how integrated, self-contained bands could succeed, and how both black and white musicians could play funky soul music. As is the case with most instrumental rock bands, their singles contained their best material, and the band's music is now best appreciated via anthologies. But their albums were far from inconsequential, and occasionally veered into ambitious territory (they did an entire instrumental version of the Beatles' Abbey Road, which they titled McLemore Avenue in honor of the location of Stax's studios). 

Though they'd become established stars by the end of the decade, the group began finding it difficult to work together, not so much because of personnel problems, but because of logistical difficulties. Cropper was often playing sessions in Los Angeles, and Jones was often absent from Memphis while he finished his music studies at Indiana University. The band decided to break up in 1971, but were working on a reunion album in 1975 when Al Jackson was tragically shot and killed in his Memphis home by a burglar. The remaining members have been active as recording artists and session musicians since, with Cropper and Dunn joining the Blues Brothers for a stint in the late '70s. 

The MG's got back into the spotlight in early 1992, when they were the house band for an extravagant Bob Dylan tribute at Madison Square Garden. More significantly, in 1993 they served as the backup band for a Neil Young tour, one which brought both them (and Young) high critical marks. The following year, they released a comeback album, arranged in much the style of their vintage '60s sides, which proved that their instrumental skills were still intact. Like most such efforts, though, it ultimately failed to re-create the spark and spontaneity it so obviously wanted to achieve. Booker T. remained active through the following decades, often lending his instrumental skills to other artists and occasionally issuing his own albums, such as the 2009 solo effort Potato Hole.

Группа была собрана в 1962 году, в составе: Booker T. Jones — клавиши, и не только, Steve Cropper — гитара, Lewie Steinberg — бас, и Al Jackson Jr. — барабаны. Вскоре, в 1965 году на замену приходит басист Donald "Duck" Dunn. Помимо M.G., Стив Кроппер и Дональд Данн также принимали участие в другой "домашней группы" Stax Records — Mar-Keys, а также были участниками The Blues Brothers (в т.ч. в одноименном фильме). Помимо своего неповторимого на тот момент саунда, который в последствии пытались копировать многие рокеры Европы и США, Booker T. & the M.G.'s прославились своим расово разнообразным составом, что было неимоверно актуальным на тот момент для США, а тем более для южных штатов.

Популярность к группе пришла незамедлительно сразу после ее создания. В 1962 году M.G. выступала с известным на то время музыкантом, Billy Lee Riley. Однажды в перерыве концерта группа стала играть приятную блюзовую мелодию, мягкий звук органа в которой очень напоминал Ray Charles . Президент Stax Records увлекся мелодией и скомандовал своим подопечным срочно нажать клавишу "Record". Мелодия настолько зацепила людей, что ее решили выпускать синглом, на другуя сторону которого M.G. записали еще одну композицию. Так родились на свет их известнейшие хиты — Behave Yourself и Green Onions соответственно. Сингл незамедлительно занял первое место в ритм-енд-блюзовых чартах, и третье — в поп-чартах. Таким образом "Зеленые луковички" стали одним из популярнейших риффов в истории рок-музыки. На волне популярности группа записывает полноценный альбом, с аналогичным синглу названием. Именно так M.G. стали самыми востребоваными музыкантами в жанре соул. На протяжении нескольких лет группа буквально не вылазила из студии: они поучаствовали в более чем сотне сессий записи самых популярных исполнителей соул и ритм-енд-блюз.

Три года группа выпускала синглы, не пользующиеся особым успехом. В итоге 1965 году группа записывает очередной собственный альбом, Soul Dressing, на котором, в отличии от дебютника, был всего-лишь один кавер, а все остальное было собственными песнями. Но личные отношения у коллектива складывались не самым лучшим образом, в последствии чего на замену Штайнбергу приходит басист Дональд Данн, с которым популярность группы набирает новых оборотов. Один за другим группа выпускает все более популярные синглы и альбомы. К концу 60-х их популярность достигает таких высот, что их неимоверная любовь к The Beatles обращается к ним взаимностью. В 1967 году во время all-star тура "Hit the Road, Stax!" Битлы приезжают на лимузинах в аэропорт чтобы поцеловать кольцо на руке Стива Кроппера. Только в тот момент до группы дошло, какое влияние они имеют в музыкальном мире, ведь это не сильно-то и заметно, когда ты 24 часа в сутки проводишь в студии. А однажды, в 1969 году, Джон Леннон в одном интервью сообщил, что всегда мечтал написать песню для Мемфисской Группы.

Желание Леннона сбылось, когда M.G. в 1970 записали альбом каверов на The Beatles — "McLemore Avenue" (McLemore avenue — улица, на которой находится студия Stax, название дано по аналогии альбому Abbey Road). Очередной альбом группы, Melting Pot, вышел в 1971 году, но уже не на Stax Records. Сразу после записи альбома из группы уходит Стив Кроппер, а за ним распадается и вся группа. Они временно собираются в 73 и 75 годах, но под альтернативными названиями и не в своем привычном составе. В 1975 году барабанщик Эл Джексон становится жертвой убийства у себя дома.

В 1977 году группа собирается снова, но уже с Willie Hall на барабанах, и записывает альбом Universal Language, после чего снова распадается на неопределенный срок. В течении 17 лет с этого момента участники коллектива время от времени собираются в различных проэктах, но окончательное воссоединение происходит в 1994, при записи That's The Way It Should Be. С тех пор музыканты снова участвуют во множестве проэктов в качестве сессионных музыкантов, но студийная работа коллектива на этом заканчиваются, хотя группа существует и по сей день.

В 2004 году журнал "Rolling Stone" вносит Booker T. & the M.G.'s в список "100 величайший исполнителей всех времен", а в 2007 банда получает Grammy Lifetime Achievement Award — награда Гремми за вклад в развитие музыки на протяжении всей своей деятельности.

****

Booker T & the MG's - Green Onion - 1962

There's not a note or a nuance out of place anywhere on this record, which was 35 of the most exciting minutes of instrumental music in any category that one could purchase in 1962 (and it's no slouch four decades out, either). "I Got a Woman" is the single best indicator of how superb this record is and this band was -- listening to this track, it's easy to forget that the song ever had lyrics or ever needed them, Booker T. Jones' organ and Steve Cropper's guitar serving as more-than-adequate substitutes for any singer. Their version of "Twist and Shout" is every bit as satisfying. Even "Mo' Onions," an effort to repeat the success of "Green Onions," doesn't repeat anything from the earlier track except the tempo, and Jones and Cropper both come up with fresh sounds within the same framework. 

"Behave Yourself" is a beautifully wrought piece of organ-based blues that gives Jones a chance to show off some surprisingly nimble-fingered playing, while "Stranger on the Shore" is transformed into a piece of prime soul music in the group's hands. "Lonely Avenue" is another showcase for Jones' keyboard dexterity, and then there's the group's cover of Smokey Robinson's "One Who Really Loves You," with a ravishing lead performance by Jones on organ and Cropper's guitar handling the choruses. Just when it seems like the album has turned in all of the surprises in repertory that it could reasonably deliver, it ends with "Comin' Home Baby," a killer jazz piece on which Steve Cropper gets to shine, his guitar suddenly animated around Jones' playing, his quietly trilled notes at the crescendo some of the most elegant guitar heard on an R&B record up to that time.

Booker T. & The MG's - Hip Hug-Her 1967

Still riding high years after the success of "Green Onions," Hip Hug-Her is another 11-song solid session of Southern soul delivered by one of the best bands in the business. In an attempt to appeal to the up-and-coming mod movement, the cover features an alluring model flanked by fashionable faceless people. But not to judge the album by its cover, Hip Hug-Her finds the group diving deeper into soulful territories, no doubt aided by the addition of bassist Duck Dunn to the fold. The title track is clearly one of the stronger cuts on the album, but other tunes such as the midtempo Motown anthem "Get Ready" and the group's interpretation of "Groovin'" make this one of the strongest full-lengths in the Booker T. & the MG's catalog. ~ Rob Theakston, All Music Guide

Peter Berry & The Shake Set - Wildberry Shake!

Vinyl lim. of 300 only! Peter Berry & The Shake Set is something as unique as a Norwegian merseybeat group. They are one o f the few groups today that really put a lot of effort in creating an as authentic as possible early British beat feeling to their music, both live and on record. With acts like The Roulettes, The Cougars, The Snobs, Billy J. Kramer & The Dakotas and The Swinging Blue Jeans as some of their inspirations, it is only the actual date on the calendar that creates disappointment. Peter, Barry, Perry and Magnus have just recorded their very first LP in Toe Rag Studio in London, with the brilliant Liam Watson as their producer. The result is soon to be available on Teen Sound Records. The album consists of twelwe swinging tracks, mostly vocals. Ten out of the twelwe tracks are group originals.Peter Berry & The Shake Set have been playing together for nearly three years, and with their exciting live shoes filled with energy and raffined choreography, they have managed to create a massive Berrymania in their home town of Oslo, Norway. Line-Up includes ex-Members of THE INDIKATION!

http://www.rockmag.info/peterberry.html

[03:00] 01. Peter Berry And The Shake Set - Someone Like You

 [02:33] 02. Peter Berry And The Shake Set - I'll Set You Free

 [02:40] 03. Peter Berry And The Shake Set - Yellow Cavallery

 [02:35] 04. Peter Berry And The Shake Set - Sorrow Counts For Love

 [02:29] 05. Peter Berry And The Shake Set - Roll Over Beethoven

 [03:21] 06. Peter Berry And The Shake Set - Starnights Of Oslo

 [02:08] 07. Peter Berry And The Shake Set - It's Gonna Work Out

 [02:19] 08. Peter Berry And The Shake Set - Little Lover

 [03:00] 09. Peter Berry And The Shake Set - Skillingfors Evening Dance

 [02:53] 10. Peter Berry And The Shake Set - Please Step Aside

 [03:18] 11. Peter Berry And The Shake Set - Certain And Sure

 [02:30] 12. Peter Berry And The Shake Set - Shake It Out With Me

Also/Inf0 - http://allmusic-wingsofdream.blogspot.com

/2012/02/peter-berry-and-shake-set-for-goodness.html

Two Stars - Live At PJ's

Timi Yuro

"The little girl with the big voice," Timi Yuro was America's finest white soul singer of the 1960s. Her million-selling debut single, "Hurt," introduced a performer of such profound poignancy and depth that many listeners assumed she was a man, an African-American, or both, and while Yuro never again achieved the same commercial heights, her finest records deserve mention in the same breath as Aretha Franklin, Irma Thomas, and the other soul queens of the era. Born Rosemarie Timotea Aurro in Chicago on August 4, 1940, she was the product of an Italian-American family that owned a local restaurant; as a child she received voice lessons, and according to legend, her nanny also snuck her into the Windy City's legendary blues clubs, where Timi (a childhood nickname) witnessed life-altering live appearances by singers Dinah Washington and Mildred Bailey. After adopting the phonetic spelling of their surname, the Yuro family relocated to Los Angeles in 1952, where Timi studied under voice coach Dr. Lillian Goodman. By the middle of the decade, Yuro was performing in nightclubs, much to the chagrin of her parents. However, her subsequent performances at their Hollywood restaurant Alvoturnos would not only pull back the eatery from the brink of bankruptcy, but vault it into the ranks of Tinseltown's hottest destinations. 

A late 1959 Alvoturnos performance convinced Liberty Records talent scout Sonny "Confidential" Knight to recommend Yuro to label head Al Bennett, who immediately offered the singer a recording contract. But Yuro found Liberty's choice of material so frustrating that after months of recording lightweight demos ill-matched to her resonant, commanding voice, she crashed a 1961 label board meeting, vowing to Bennett and his colleagues to tear up her contract if they did not let her cut more appropriate material. She then performed an a cappella reading of the 1954 Roy Hamilton R&B hit "Hurt," so impressing the Liberty brass that in June 1961 Yuro entered the studio with producer Clyde Otis to record the song for posterity. A remarkably mature and assured debut record, "Hurt" peaked at number four on the Billboard pop charts that autumn, in addition to reaching number 22 on the R&B charts. No doubt viewers on both sides of the color line were shocked when Yuro's accompanying television appearances revealed this deeply emotional ballad was the work of a 20-year-old white woman less than five feet tall. Her follow-up single, a cover of the Charlie Chaplin composition "Smile," climbed to the number 42 spot in late 1961, and Liberty wrapped up the year with the release of "I Believe," a one-off effort pairing the singer with pop heartthrob Johnnie Ray. 

Yuro spent early 1962 opening for Frank Sinatra on a brief tour of Australia. While the exposure no doubt boosted her profile, it was instrumental in crystallizing the growing public perception that she was more a cabaret performer than a soul singer, an image that was further established with her fourth single, a revival of "Let Me Call You Sweetheart" that went only as high as number 66 on the pop charts but cracked the easy listening Top 20. And despite its title, Yuro's sophomore LP, Soul!, proved to be a collection of standards, although she returned to her R&B roots with the superb Drifters homage "Count Everything." During sessions for her next effort, "What's a Matter Baby," producer Otis abruptly quit Liberty, and the masters were handed to his interim replacement, Phil Spector. The completed single bears all the hallmarks of the classic Spector sound, from its elegant string arrangement to its insistent rhythm to Yuro's righteously indignant vocal, and would prove her biggest hit since "Hurt," reaching number 12 on the pop charts and number 16 on its R&B counterpart. The team of Burt Bacharach and Hal David penned Yuro's next single, "The Love of a Boy," which climbed to number 44 in early 1963. Its follow-up, "Insult to Injury," went no higher than number 81 when it hit radio a few months later. 

Following Ray Charles' successful embrace of country & western material, Yuro next covered Hank Cochran's "Make the World Go Away," scoring her last significant U.S. chart hit when the single reached number 24 on the pop charts and number eight on the easy listening chart. An album of country covers, also titled Make the World Go Away, yielded two more minor hits -- "Gotta Travel On" and "Permanently Lonely" -- and in the wake of 1964's "Should I Ever Love Again," Yuro cut ties with Liberty, signing to Mercury to release "If," which stalled at number 120. Her third Mercury effort, a rendition of Roy Hamilton's "You Can Have Him," was her only release on the label to crack the Hot 100, limping to the number 96 slot in early 1965. Teddy Randazzo authored Yuro's next release, the sublime "Get Out of My Life," and while the record was a commercial stiff, its flip side, "Can't Stop Running Away," would later resurface as a favorite of Britain's Northern soul community. Yuro returned to her Italian origins with the 1965 release "Ti Credo," recorded for entry in Italy's annual San Remo Festival. Her profile back home in the U.S. was by now virtually nonexistent, however, and subsequent Mercury releases including 1966's "Don't Keep Me Lonely Too Long" and the next year's bluesy cover of Johnny "Guitar" Watson's "Cuttin' In" went nowhere. 

Yuro finally returned to Liberty in early 1968, traveling to Britain to cut her proposed comeback single, "Something Bad on My Mind." The finished product was her strongest release in some time, but went nowhere. Her breathtaking theme song to the Douglas Sirk film Interlude followed, and met a similarly grim fate (although Morrissey and Siouxie Sioux covered the tune a quarter century later); "It'll Never Be Over for Me" also stiffed, but also became a Northern soul perennial, with original copies changing hands for over 100 pounds a copy. A concert LP, Live at PJ's, was scheduled for release in the summer of 1969, but withdrawn just days prior to hitting retail. Yuro again left Liberty soon after, this time relocating to Las Vegas and starting a family. She performed only sporadically in the decade to follow, briefly resurfacing in 1975 on the short-lived Playboy label with "Southern Lady," which stalled at the number 108 spot. For Willie Mitchell's Frequency imprint, Yuro cut a stunning cover of Toussaint McCall's "Nothing Takes the Place of You" in 1979. A year later, she was diagnosed with throat cancer, but recovered to cut several LPs for the Dutch market as well as 1982's Timi Yuro Today, produced and financed by longtime friend Willie Nelson. Two years later she was forced to undergo a tracheotomy operation, effectively ending her singing career. She died March 30, 2004, at the age of 63.

Timi Yuro Live at PJ's 1969

http://www.flickr.com/photos/timiyuro/6124449334/sizes/z/in/photostream/

http://www.flickr.com/people/timiyuro/

[04:45] 01. Timi Yuro - Comin' Home Baby (Instrumental)

[03:20] 02. Timi Yuro - 02-A Place In The Sun

[05:46] 03. Timi Yuro - 03-Medley: For Once In My Life / Stand By Your Man

[03:51] 04. Timi Yuro - 04-Make The World Go Away

[07:04] 05. Timi Yuro - 05-Medley: I've Been Loving You Too Long / 

When Something Is Wrong With My Baby

[02:21] 06. Timi Yuro - 06-Timi Talks

[04:57] 07. Timi Yuro - 07-Bang Bang (My Baby Shot Me Down)

[03:14] 08. Timi Yuro - 08-Hurt

[06:06] 09. Timi Yuro - 09-Medley: What's A Matter Baby / Why (Am I Treated So Bad)

[01:07] 10. Timi Yuro - 10-Timi Talks

[03:20] 11. Timi Yuro - 11-A Place In The Sun (Reprise)

[05:24] 12. Timi Yuro - 12-Medley: Yesterday / I Believe

[04:14] 13. Timi Yuro - 13-A Place In The Sun (Alternate Take)

[05:39] 14. Timi Yuro - 14-Medley: For Once In My Life / Stand By Your Man (Alternate Take)

[03:50] 15. Timi Yuro - 15-I've Been Loving You Too Long (Alternate Take)

The April 1969 performance at PJ's club in Los Angeles was recorded for an album that almost saw release in August of that same year, but was withdrawn just before issue. Five of the eight tracks that would have comprised that set did show up on the 1976 LP The Timi Yuro Album, but the 2000 Live at PJ's release on RPM marks the first time the entire canceled album has been officially available. What's more, it adds three alternate takes recorded on different nights, as well as an instrumental version of "Comin' Home Baby" by the backup band. Yuro herself has said that she was not unhappy with the LP's failure to hit the marketplace, as she was not pleased with the recording equipment and resulting sound. Nevertheless, it's not a bad show, though one can hear why a perfectionist singer might have felt that it wasn't up to the optimum standards of a live recording. One cannot, certainly, fault Yuro's vocals, which are characteristically strong, beefy, and for the most part inspired. The material comprising the set is not as imaginative as one might hope for, built around her two big hits, "Hurt" and "What's a Matter Baby," the latter given a peppy soul arrangement. Other than that, it has covers of contemporary hits seemingly designed to cover the entire variety spectrum, from soul ("I've Been Loving You Too Long" and Stevie Wonder's "A Place in the Sun") and country ("Make the World Go Away" and "Stand By Your Man") to pop ("Bang Bang," "Yesterday"). It's supper-club soul, true, complete with between-song patter and medleys on half the tracks, though it's supper-club soul of the first order. You can't shake the feeling, though, that Yuro was deserving of more inspired material and production, as she indeed was on some of her studio sides of the '60s

Тими Юро (Розмари Тимоти Аурро Юро) родилась в Чикаго в 1941 году. Переехала со своей семьёй в Лос-Анджелес в 1952, где пела в итальянском ресторане. У неё были средиземноморские корни, хотя многие послушав её песни считали что она негритянка, настолько необычным казался её голос. Первый альбом она записала с Liberty Records в 1959 году в 18 лет! И первая же песня Hurt сходу попадает в Национальную Топ 10. После были и другие альбомы с известными синглами What's A Matter Baby [Is It Hurting You], Gotta Travel On и Make The World Go Away. В 80-х после большого перерыва она возвращается на сцену, но тут же у неё начинаются проблемы с горлом. В течение 6 месяцев после операции на гортани  она не могла не то что петь, но и разговаривать. В 1981 году, восстановив свой голос, она записав новый альбом All Alone Am I, с успехом выступала по европе, собирая полные залы. Но в конце 80х у Тими опять начались проблемы с горлом - она стала петь всё меньше именьше. В конце 90х у неё обнаружили рак горла, чтобы спасти ее жизнь в 2002 году была проведена операция по удалению гортани. Это лишь отсрочило неумолимое - она умерла в своем доме в Лас-Вегасе 30 марта 2004 года.

Trini Lopez

Trini Lopez recorded a series of upbeat tunes for Reprise during the mid-'60s, including a smash rendering of the folk standard "If I Had a Hammer" in 1963. The Dallas native cut some Ritchie Valens-influenced rockers for the King label prior to his discovery by producer Don Costa. Lopez's hits capture the excitement of his live performances, and his driving renditions of "Kansas City" (1963), "Lemon Tree" (1965), and "I'm Comin' Home, Cindy" (1966) were substantial sellers. Reportedly one of Dean Martin's favorite performers, Lopez hosted his own network TV variety program and co-starred as one of The Dirty Dozen in the popular 1967 movie.

http://bettylou.zzruss.com/trinilopezbiography.htm

http://en.wikipedia.org/wiki/Trini_Lopez_at_PJ's

http://www.trinilopez.com/

http://en.wikipedia.org/wiki/Trini_Lopez

ЛОПЕС ТРИНИ (Lopez Trini) (Trinidad Lopez III) (р. 15 мая 1937, Даллас, Техас), американский фолк-певец. В начале 1960-х годов успешно конкурировал в американских чартах с PETER, PAUL AND MARY и нередко переигрывал трио на его собственной территории.

В конце 1950-х годов он собрал группу и отправился на Юго-Запад, где играл в калифорнийских клубах. К началу 60-х годов группа распалась, а Трини зарабатывал на жизнь в Лос-Анжелесе, исполняя модные песни в клубах Голливуда и Сансет-стрип. Для шоу-бизнеса его открыл штатный продюсер Reprise Дон Коста, когда Трини пел под аккомпанемент ритм-гитары на сцене известного клуба PJ"s. Коста в точности воспроизвел эту непринужденную атмосферу домашней вечеринки, записав в исполнении Трини песню Пита Сигера If I Had A Hammer. В октябре 1962 «каноническая» версия PETER PAUL AND MARY поднялась до 10-го места, а в сентябре 1963 более живой и веселый вариант Трини достиг второй строки.

На протяжении следующего года с неизменным успехом в Топ 40 попадали Kansas City, America, La Bamba Ритчи Вэйленса, I"m Comin" Home, Cindy и Lemon Tree (из репертуара PETER PAUL AND MARY). Вышедший в конце 1963 альбом «Trini Lopez At PJ"s» стал «золотым» и был включен в список лучших работ года журналом Cash Box.

С 1963 по 1967 четырнадцать альбомов Лопеса побывали в чартах, причем девять из них — в Топ 50! Некоторые из них (например, «Transformed By Time») и поныне продолжают выпускаться, пользуясь спросом, в качестве идеальной музыки для вечеринок.

В середине 60-х годов Лопес был популярен в Латинской Америке и в Европе, особенно во Франции. Позднее он стал поющим киноактером, сыграл роль Педро Хименеса в ленте The Dirty Dozen (1967).

http://www.km.ru/muzyka/encyclopedia/lopes-trinilopez-trini

Trini Lopez - Trini Lopez At PJ's 1963

[04:01] 01. Trini Lopez - A-me-ri-ca

 [02:59] 02. Trini Lopez - If I Had A Hammer

 [02:18] 03. Trini Lopez - Bye Bye Blackbird

 [02:03] 04. Trini Lopez - Cielito Lindo

 [03:50] 05. Trini Lopez - This Lands Is Your Land

 [03:12] 06. Trini Lopez - What'd I Say

 [04:36] 07. Trini Lopez - La Bamba

 [03:20] 08. Trini Lopez - Granada

 [02:06] 09. Trini Lopez - Medley: Gotta Travel On

 [01:30] 10. Trini Lopez - Down Byt The Riverside

 [01:04] 11. Trini Lopez - Marianne

 [00:46] 12. Trini Lopez - When The Saints Go Marching In

 [01:08] 13. Trini Lopez - Volare

 [03:07] 14. Trini Lopez - Unchain My Heart

This was the album that made Lopez explode nationally, reaching number two, staying in the Top 40 LP charts for about a year, and yielding the hit "If I Had a Hammer." All of this seems to have been largely forgotten today, but at the time Lopez was ubiquitous indeed. What he did, at the head of a trio with Mickey Jones (later to play briefly with Bob Dylan) on drums and Dick Brant on bass, was to make folk-pop swing. There is certainly some folk music on here, including "If I Had a Hammer," "This Land Is Your Land," and "Gotta Travel On." It could be surmised that by treating such material in this fashion, Lopez had a tiny influence upon the subsequent folk-rock movement; Marty Balin of the Jefferson Airplane has said as much. In truth, however, Lopez was more the all-around entertainer with a Latin lilt than he was a folk singer, so you also get "America" (from West Side Story), "La Bamba," Ray Charles' "What'd I Say," "Volare," and "When the Saints Go Marching In." The live party-a-go-go atmosphere did much to put Lopez's likable energy over, and likely influenced the similar live-in-a-small-club ambience on Johnny Rivers' early hits, especially as Jones played with Rivers as well.

PLUS :
Timi Yuro -  The Amazing Timi Yuro 1964 
Trini Lopez - Hits And Rarities  1995




http://martinostimemachine.blogspot.com/2011/02/pjs-night-club.html
http://en.wikipedia.org/wiki/Starwood_Club

WAYNE FONTANA AND THE MINDBENDERS - Game Of Love (1965)

Repost by Request

JERRY LEE LEWIS - Live At The "Star Club" Hamburg

Repost by Request

01 - Mean Woman Blues

02 - High School Confidential

03 - Money

04 - Matchbox

05 - What'd I Say, Part 1

06 - What'd I Say, Part 2

07 - Great Balls of Fire

08 - Good Golly Miss Molly

09 - Lewis Boog

10 - Your Cheatin' Heart

11 - Hound Dog

12 - Long Tall Sally

13 - Whole Lotta Shakin' Goin' On

THE COUNTRY STARS -Star Club Show 8

Repost by Request

Ray Charles - King Of Beat 2

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

http://allmusic-wingsofdream.blogspot.com/2010/03/ray-charles-king-of-beat-2.html

Jack Shark And His Playboys - Rock Around The Clock

Jack Shark And His Playboys - Rock Around The Clock

 (18 Golden Rock'n'Roll Oldies)

BIG THANK ALEKSANDR

Agnetha Faltskog - The German Singles A's And B's (1968-1972)

http://goo.gl/rHDDg

Agnetha (known as Anna in some countries[ Fältskog was born on 5 April 1950 in Jönköping, Småland, Sweden. She was the first of two daughters of department store manager Knut Ingvar Fältskog (1922—1995) and his wife Birgit Margareta Johansson (1923—1994).Ingvar Fältskog showed much interest in music and showbusiness, whereas Birgit Fältskog was a very calm and careful woman who devoted herself to her children and household. Fältskog cites Connie Francis, Marianne Faithfull, Aretha Franklin and Lesley Gore as her strongest musical influences.

Fältskog wrote her first song at the age of six, entitled "Två små troll" ("Two Little Trolls"). In 1958, she began taking piano lessons, and also sang in a local church choir. In early 1960, Fältskog formed a musical trio, The Cambers, with her friends Lena Johansson and Elisabeth Strub. They performed locally in minor venues and soon dissolved due to a lack of engagements.[6] At age 15, Fältskog decided to leave school and pursue a career

http://en.wikipedia.org/wiki/Agnetha_F%C3%A4ltskog

http://goo.gl/MAaKo

http://muslib.ru/b70/Agnetha+Faltskog/

Before ABBA (1960s)

Agnetha Faltskog (born 5 April 1950 in Jonkoping, Sweden) had a #1 record in Sweden when she was only 17, and was soon noted by the critics and songwriters as a talented singer/songwriter of schlager style songs. Faltskog's main inspiration in her early years were singers like Connie Francis. Along with her own compositions, she recorded covers of foreign hits and performed them on tours in Swedish folkparks. In 1967 she submitted an original song (Forsonade ("Redeemed")) for Melodifestivalen, but it was rejected. She briefly met Anni-Frid Lyngstad for the first time during a TV show in January 1968, and met Bjorn Ulvaeus at a concert venue a few months later.

During filming of a Swedish TV special in May 1969, Faltskog met Ulvaeus again, and they were married in 1971. Faltskog and Ulvaeus eventually got involved in each other's recording sessions, and soon even Andersson and Lyngstad added backing vocals to her 1970 album "Som jag ar" ("As I Am"). In 1973, Faltskog starred as Mary Magdalene in the original Swedish production of Jesus Christ Superstar and attracted favourable reviews. Between 1967 and 1975, Faltskog released five studio albums.

http://www.lyricsfreak.com/a/abba/biography.html

http://www.freewebs.com/morsayo/Agnetha.htm

Agnetha's Best German Single

German Sing A Long!

http://www.iphpbb.com/board/ftopic-30652567nx61610-9000.html

German singles (A \ B):

1968 - Robinson Crusoe \ Sonny Boy
1968 - Senor Gonzales \ Mein schonster Tag
1969 - Concerto d'amore \ Wie der Wind
(German versions of - Det handlar om karlek \ Som en vind kom du till mig)
1969 - Wer schreibt heut' noch Liebesbriefe \ Das Fest der Pompadour
1970 - Fragezeichen mag ich nicht \ Wie der nachste Autobus
1970 - Ein kleiner Mann in einer Flasche \ Ich suchte Liebe bei dir
1972 - Geh' mit Gott \ Tausend Wunder
(German version of - Jag skall gora allt)
1972 - Komm' doch zu mir \ Ich denk' an dich
(German version of - Han lamnar mig for att komma till dig)


Tracklist:

01 - Robinson Crusoe
02 - Sonny Boy
03 - Senor Gonzales
04 - Mein Schonster Tag
05 - Concerto D'amore
06 - Wie Der Wind
07 - Wer Schreibt Heut Noch Liebesbriefe
08 - Das Fest Der Pompadur
09 - Fragezeichen Mag Ich Nicht
10 - Wie Der Nachste Autobus
11 - Ein Kleiner Mann In Einer Flasche
12 - Ich Suchte Liebe Bei Dir
13 - Geh' Mit Gott
14 - Tausend Wunder
15 - Komm Doch Zu Mir
16 - Ich Denk' An Dich

BIG THANKS BEATMAN