VA - Flanders 60S Beat Generation Vol.4

VA - Flanders 60S Beat Generation Vol.3

http://users.telenet.be/Belgium-Rock/

http://discographypage.blogspot.com/

http://www.belgianoldiesradio.com/

The Fenmen - Sunstroke (1963)

Essentially the story of The Fenmen after the departure of frontman Bern Elliot, this collection could be a real odds n’ sods assortment appealing to the beat group fanatic, but this isn’t the case at all. Oh, there are all the trainspotter details of BBC recording dates, the unissued acetates and great liner notes on each track by members Wally Waller and Jon Povey, but there’s also some simply outstanding music here, old and new with a lot of replay appeal!

You haven’t really heard The Fenmen until you’ve heard these recordings. Taking on a California harmony sound late in 1964, the quartet impress in their ability to match the Beach Boys and Mamas & Papas on covers of those groups’ hits of the day. This alone would be accomplishment enough for an English act, but with originals in the same league composed by Waller it becomes a story of what might have been. As great as the Pretty Things with Waller and Povey were to be, with recordings as tight as b side “Is This Your Way” on the last Fenmen single, you have to regret that these four guys would never record together again. In a vocal harmony hall-of-fame The Fenmen would be right up there with The Hollies and The Tremeloes. Which isn’t to ignore the playing, as Alan Judge’s lead is totally sharp while in service to the whole, and the rhythm section as solid as any in the land.

Interwoven with the cuts from 1965-66 are new recordings by Waller and Povey (as The Bexley Brothers), and in returning to themes of sun and seasons make a great counterpoint to and conversation with the vintage tracks. Fittingly the title track blurs the lines as being the completion of a 1966 instrumental by Waller. “California Will” is a modern day jewel to stand alongside the previously mentioned “Is This Your Way”. With lead guitar by Dick Taylor and harmony vocals by the two Fenmen this could’ve been the best recording of 2009. Sounding a little like a sunbaked Chris Rhea, Waller is magnificent. To round out the package of seventeen tracks, both sides of the very first but unreleased Bern & Fenmen recording are included. Showing that among beat groups they had no better, “Mashed Potatoes” b/w “Do You Love Me” were recorded March 15, 1963! Again, what might have been … “Do You Love Me” would launch The Tremeloes later in the year. ~  Rebecca Jansen

http://www.garagehangover.com/fenme/

20 indfødte lyde - Native Sounds - Denmark Record-Labels

indfшdte lyde - Native Sounds - Denmark Record-Labels

vol. 20

Lennons - I Wonder Where My Baby Is Tonight

Lennons - I'm A Man Of Constant Sorrow

Lennons - Something Better Beginning

Lennons - You Better Stop

Lennons - You'll Be Mine

Les Candidates - Den Rшde Baron

Les Candidates - Iґll Go Now

Little Joe - Each Time You Leave

Little Joe - The Old Kalahari

Los Flamingos - Ride Your Pony

Los Flamingos - To Be With You

Maniacs - 300 Pounds Of Joy

Maniacs - Who's Been Talkin'

Master Joseph And His Disciples - Donna Donna

Master Joseph And His Disciples - Down The Road Apiece

Melvin & His Gentlemen - Hippy Hippy Shake

Melvin & His Gentlemen - Skinny Minnie

Mods - Get The Picture

Mods - Gloria

Mods - Where Have All The Good Times Gone

Moondogs - He's Gonna Step On You

Moondogs - They Call It Love

Moondogs - Trying To Make You See

Moondogs - With Her I Will Stay

Nice'n'Faithful - Rosie

Nice'n'Faithful - Walking Through My Dreams

VA - Beat & Psych In Belgium (1964-1973)

Gwiazdy polskiego big beatu - Dzikusy

Powstał w na przełomie 1963/1964 roku. Liderem zespołu był Wiktor Stroiński, a oprócz niego w grupie występowali m.in. Krzysztof Dłutowski, który przeszedł później do zespołu „KLAN” oraz Tadeusz Woźniak. Podobnie jak w przypadku Chochołów również The Shadows byli dla nich wzorem nr 1. Zadebiutowały na słynnej „Giełdzie piosenki u Ewy”, gdzie w połowie lat 60-tych rodziło się wiele muzycznych talentów, które potem występowały na festiwalu opolskim. Był więc występ na II festiwalu, był kryzys spowodowany licznymi zmianami personalnymi, poczym reaktywowanie się Dzikusów.

Od lewej: 

Bohdan Gorbaczyński, Tadeusz Woźniak (Daniel Dan), Wiktor Stroiński i Robert Świercz.

Amatorski zespół instrumentalny utworzony w 1963 r. w Warszawie w składzie: Jan Głowacki g., Jan Goethel g., lider, Adam Górka dr., Wiktor Stroiński bg. Debiutował w klubach studenckich stolicy. W latach 19641967 działał jako zespół wokalno-instrumentalny. W 1964 r. tworzyli go: Zbigniew Bieliński dr., Zbigniew Jaryczewski g., Wiktor Stroiński g., voc., lider, Robert Świercz bg., w 1965 r.: Zbigniew Bieliński dr. (wkrótce zastąpił go Andrzej Kowalski), Krzysztof Dłutowski org., Bogdan Gorbaczyński g., Wiktor Stroiński g., voc., lider, Robert Świercz bg. W 1966 r. dołączył do niego wokalista Tadeusz Woźniak, z którym zespół wziął udział w Wiosennym Festiwalu Muzyki Nastolatków i w Telewizyjnej Giełdzie Piosenki. Występował na koncertach w kraju z własnym repertuarem, towarzyszył także na estradzie Joannie Rawik i bułgarskiemu piosenkarzowi Emilowi Dymitrowowi. Dokonał nagrań dla archiwum Polskiego Radia oraz na małe płyty Veritonu, Muzy i Pronitu[1].

http://polskibigbitinietylko.blogspot.ru/2011/10/dzikusy.html

Zespół wokalno-instrumentalny Dzikusy powstał w Warszawie na przełomie 1963 i 1964 r. Zespół tworzyli: Jan Goethel - gitara, lider; Jan Głowacki - gitara; Wiktor Stroiński - gitara basowa; Adam Górka - perkusja.

  Początkowo formacja grała do tańca w klubach młodzieżowych stolicy. Wzorem dla grupy byli The Shadows, z przeboju których (The Savage) zaczerpnięto nazwę zespołu. Dzikusy zabebiutowały wiosną 1964 r. na V "Giełdzie u Ewy", cyklicznej imprezie muzycznej organizowanej w Warszawie. Szerszej publiczności zespół przedstawił się na jednym z koncertów II KFPP w Opolu. Zastąpienie na czas festiwalowego występu J. Goethla i A. Górki muzykami z konkurencyjnych Chochołów spowodowało kryzys, zakończony rozwiązaniem zespołu w sierpniu 1964 r.

  Nie zrażony tym faktem W. Stroiński, tym razem jako gitarzysta i wokalista, jeszcze w 1964 r. zorganizował grupę na nowo. W jej skład wchodzili: W. Stroiński - gitara, śpiew; Zbigniew Jaryczewski - gitara; Robert Świercz - gitara basowa i Zbigniew Bieliński - perkusja.

  W 1965 r. grupa przeszła kolejną reorganizację. Najpierw Z. Jaryczewskiego zastąpił Bogdan Gorbaczyński, zaś w grudniu dołączyli Krzysztof Dłutowski - organy, pianino i Andrzej Kowalski - perkusja. Zespół zainteresował się teraz rhythm and bluesem spod znaku The Rolling Stones, The Animals i The Kinks.

  Najlepszy okres w karierze Dzikusów datował się od chwili przyjścia do grupy Tadeusza Woźniaka, występującego pod pseudonimem Daniel Dan. Już z nim w lutym i czerwcu 1966 r. Dzikusy przeszły pomyślnie eliminacje oraz warszawski półfinał Wiosennego Festiwalu Muzyki Nastolatków. Grupa dokonała także nagrań dla Programu III PR (Kiedy mówisz coś; Na dobre i złe; Stale to samo; Piastelsi) i Młodzieżowego Studia "Rytm" (piosenki do wierszy J. Tuwima). Później Dzikusy akomapaniowali m.in. Joannie Rawik oraz wystąpili w Telewizyjnej Giełdzie Piosenki, prezentując utwór "Magdalena".

  Ówczesny repertuar grupy tworzyły kompozycje W. Stroińskiego do tekstów R. Świercza, Marka Gaszyńskiego i Krzysztofa Dzikowskiego, śpiewane przez T. Woźniaka i W. Stroińskiego. W czasie koncertów dominowały jednak nadal utwory brytyjskich zespołó rockowych i standardy rhythm and bluesowe.

  W 1966 r. Dzikusy otrzymały wyróżnienie w Wiosennym Festiwalu Muzyki Nastolatków. Przez niemal cały okres wakacji 1966 r. formacja występowała w "non stopowych" imprezach na Wybrzeżu, m. in. w Jastarni i Sopocie, gdzie grała do tańca obok Czerwonych Gitar. Wreszcie znalazła sięw warszawskiej hali "Gwardii" razem z Niebiesko-Czarnymi i grupą Phantoms.

  Pod koniec wakacji grupa przestała istnieć, na skutek rozbieżności co do repertuaru i stylu zespołu. Pierwszy po lipcowych występach w sopockim "Non Stopie" odszedł, zainteresowany balladą T. Woźniak, a w sierpniu K. Dłutowski. Choć Dzikusy oficjalnie zakończyły działalność, reaktywowały się pod koniec roku na nagranie płyty dla Polskich Nagrań i koncerty.

  W. Stroiński latem 1967 r. występował w zespole R. Poznakowskiego, a w latach 70-tych współtworzyłzespół Sezam m. in. z Romanem Pawelcem - gitara basowa i Janem Goethlem - gitara.

NAGRANIA PŁYTOWE:

EP V-286  Veriton (04.1964)

Ye-ye-ye / Świat dla ciebie / Bij komara Big Beat / Błękitne wspomnienie

Skład: J. Goethel - gitara; J. Głowacki - gitara, śpiew; W. Stroiński - gitara basowa; A. Górka - perkusja

EP V-287 Veriton (04.1964)

Hopa-Hop / Seulement cette nuit / Notre signale / Lidia

Skład: J. Goethel - gitara; J. Głowacki - gitara, śpiew; W. Stroiński - gitara basowa; A. Górka - perkusja i E. Dymitrow - śpiew

EP N-0428 Muza (07.1966)

Balladowe lilie

Skład: W. Stroiński - gitara; R. Świercz - gitara basowa; K. Dłutowski - organy; A. Kowalski - perkusja i Joanna Rawik - śpiew

EP N-0463 Pronit (01.1967)

Kiedy mówisz coś / Niefortunny podrywacz / Letnie wspomnienia / Na dobre i złe

Skład: D. Dan - śpiew; W. Stroiński - gitara; R. Świercz - gitara basowa; K. Dłutowski - organy; A. Kowalski - perkusja 

NAGRANIA RADIOWE:

1964:

Nie będę z tobą dłużej; El Paso; Szkodnik; Pratchaniec; Napełnia żagle wiatr; Święci; Ta dziewczyna kogoś przypomina mi

1966:

Piastelsi [Piast Kołodziej] (voc. zespół); Dawno wysłany list (voc. zespół); Stale to samo (voc. W. Stroiński); Magdalena; Letnie wspomnienia (voc. D. Dan); Na dobre i złe (voc. D. Dan)

Źródło: "Encyklopedia Polskiej Muzyki Rockowej - 

ROCN 'N' ROLL 1959-1973" - autorzy: Jan Kawecki, Janusz Sadłowski, 

Marek Ćwikła, Wojciech Zając

Hu And The Hilltops - I'll Follow You(1966)

Biografie Hu And The Hilltops

http://www.muziekencyclopedie.nl/action/entry/Hu+And+The+Hilltops

Haagse rhythm & bluesgroep die nooit op grote schaal doorbreekt en vooral van belang is als leverancier van meer en minder bekende muzikanten.

1965

Hu and The Hilltops spelen veel in de Haagse kroegen en discotheken. De band speelt voornamelijk rhythm & blues. Platenmaatschappij Polydor toont interesse en tekent de groep.

1966

In de Haagse GTB-studio, inmiddels verworden tot een hitfabriekje, neemt de band de eerste singles op. Cry Me A River, een cover van Julie London, behaalt nummer 27 in de Top 40. Na dit succes geven de bandleden hun reguliere banen op en storten ze zich op de muziek. De tweede single Can’t You Hear Me doet echter niets. De derde single Something You Got wordt in Londen opgenomen en haalt in september net aan de Top 40. Den Heyer wordt vervangen door toetsenist Roy van der Merwe (ook wel Roy Marley genoemd) om het geluid van de groep professioneler te doen klinken. Ondanks het belabberde geluid krijgt het eerste en enige album I’ll Follow You wat aandacht van pers en muziekwereld.

1967

Drummer Henk van Meerbeek vertrekt naar het buitenland en wordt vervangen door Cesar Zuiderwijk (ex-Ladybirds). Als de nieuwe single Touchin’ You Is Lovin’ You flopt houdt de groep het voor gezien. Zanger Fred de Wilde stapt over naar Shocking Blue nadat Barry Hay (ex-Haigs) heeft bedankt voor deze vacature. Hans van Toorn gaat verder als solo-artiest onder de naam Ralph Anderson. Cesar Zuiderwijk gaat drummen bij Livin’ Blues en vanaf 1970 bij Golden Earring.

1980

Op 13 juni vindt er in Den Haag een grootschalig reünieconcert plaats onder de noemer Haagse Beatnach. Voor deze gelegenheid staan Hu and The Hilltops voor één keer weer op het podium, naast bands als Q 65 en Shocking Blue.

2005

Hans van der Toorn en Fred de Wilde voeren Cry Me A River uit van Hu & The Hilltops tijdens de Haagse Beatnach op Parkpop.

Wild Cherries - That's Life (1965-68)

While the Wild Cherries made just four singles in the 1960s, those 45s (all issued in 1967 and 1968) were enough to cement a permanent cult reputation for the group among '60s collectors, as well as establish them as one of the most creative Australian '60s groups. Fusing soul and early psychedelia with intimations of hard rock and progressive rock, their singles "Krome Plated Yabby," "That's Life," and "Gotta Stop Lying" were unpredictably structured songs full of unusual instrumental effects and shifts in tempo and mood, though anchored by a sullen rebellious attitude. the Wild Cherries, of course, were not the only bands in the world venturing into such territory at the time, nor the best. Others were as well; some of the early work of the MC5 is roughly comparable, though not as pop-oriented. the Wild Cherries were the only outfit doing such things on record in Australia, however, and it's unfortunate that they dissolved before having a chance to record more, including an LP.

the Wild Cherries (briefly known at their outset as the Black Cherries) were formed in late 1964 and early 1965 by keyboardist Les Gilbert with friends from Melbourne University's architecture school. Initially they were, like many mid-'60s British bands, heavily influenced by the R&B/rock of Bo Diddley and Chuck Berry. The 16 tracks they recorded (almost all of them covers) in the mold of British groups like the Rolling Stones, Yardbirds, Who, and early Manfred Mann were issued for the first time in 2007, and show them to be a good if derivative act in that style.

After several personnel changes, however, the Wild Cherries developed a more original and soul-influenced sound. The key additions were soulful singer Danny Robinson and (in January 1967) lead guitarist Lobby Loyde, formerly in the Brisbane band the Purple Hearts, who had already cut some admirably tough British R&B/rock-styled singles. Loyde not only generally added ferocity to the arrangements, but also wrote or co-wrote all of the songs on their singles. Another key change was Gilbert's decision to buy a Hammond organ, which also added power to the band's attack.

the Wild Cherries got a deal with Australia's Festival label in 1967, but their singles (whose flips featured more standard soul-rock songs than the more innovative tracks picked for the A-sides) didn't do well commercially, though "That's Life" made number 38 in the Melbourne charts. Feeling like the group's spark was dimming, in late 1968 Gilbert left the band he'd founded. Most of the other members exited almost immediately afterward, with drummer Keith Barber joining top New Zealand band the La De Das and Robinson joining the vocal trio the Virgil Brothers. Loyde briefly tried to keep the Wild Cherries going with other members, but was gone by the end of 1968, joining Billy Thorpe & the Aztecs. the Wild Cherries, with an entirely new lineup from the previous year, struggled onward until breaking up in April 1969, though Loyde briefly formed a Wild Cherries with other musicians in 1971 for one single, "I Am the Sea." Both sides of all four 1967-1968 Wild Cherries singles, along with 16 previously unreleased 1965-1966 tracks, were compiled for the 2007 CD compilation That's Life.

If you go just by the records they managed to release during the 1960s, there's not really enough to make a Wild Cherries album. This reissue, however, makes the most of out their slim recorded legacy, combining both sides of their four 1967-1968 singles with 16 previously unreleased 1965-1966 bonus tracks. It's the eight tracks (all written or co-written by guitarist Lobby Loyde) from the singles, though, that are the truly significant ones, since it was on these that the Wild Cherries laid down the music that was among the most innovative in '60s Australian rock. On the most notable of those 45s, the group fused psychedelia, early hard/progressive rock, and soul in a manner that no other Australian band of the time was doing on record, particularly on "Krome Plated Yabby," "That's Life," and "Gotta Stop Lying." These are somewhat similar to the rock being played by some Detroit outfits of the late '60s, and if they're certainly more pop-oriented than, say, the MC5, they do offer a pretty intriguing blend of creative ambition and muscular crunch. The other, far less well-known songs from the singles might surprise listeners who've heard the other tracks on compilations, as they're more straightforward soul-rock than you'd expect (adding some pop-oriented orchestration on "I Don't Care"), though they're fairly good as that style goes. The remaining 16 tracks -- taken from studio outtakes and home/live recordings -- capture the group at an earlier pre-Loyde stage at which they were much more an R&B/rock band along the lines of British bands like the Rolling Stones and Yardbirds. In fact, just one of these songs (the quite admirably mean'n'lean "Get Out of My Life") is a group original; not only are all of the others covers, but most of them are covers of tunes that major British Invasion bands like the Yardbirds, the Who, and Manfred Mann put on their early recordings. This section of the CD isn't nearly as original as the Loyde-led material, then, and it's not as well recorded either, though the fidelity's satisfactory. Still, the Wild Cherries do sound like a good, tough, mid-'60s British R&B band at this stage in their development, and without those tracks...well, there wouldn't be enough for a CD. As is standard for the Half a Cow label, the packaging is superb, featuring a 36-page liner booklet jammed with photos.

Wild Cherries - That's Life (1965-68)

Mortimer - Mortimer (1967)

Mortimer evolved out of a later incarnation of the Teddy Boys, from Hyde Park, NY, who recorded a handful of singles for MGM and Cameo Records in 1966 and 1967. They masqueraded under a somewhat psychedelic pseudonym, Pinocchio & Puppets, for an two-sided instrumental single (the B-side was an Eastern raga rock version of "Cowboys and Indians," but is probably not the Michael Lloyd song), which was released by Mercury in 1967. In May 1968, the future members of Mortimer were in the front row of the live TV audience at The Tonight Show and got the chance to meet John Lennon and Paul McCartney, who were in New York to launch their new Apple label and appear on the show. The band eventually ended up in London, where — under the supervision of Peter Asher — they recorded a few sessions for the label (an acetate of Mortimer's version of the Beatles' "Two of Us" is said to still exist in the vaults, although it apparently bears little resemblance to the Beatles' version). The group apparently came very close to signing with Apple, but ended up signing a production deal with U.K. record producer Daniel Secunda (brother of Procol Harum manager Tony Secunda) and his B.B.& D. Productions, Inc. The group cut a self-titled album, from which two singles were released, for Philips, but dissolved soon thereafter. 

Famous for almost releasing an album on The Beatles Apple label in '69 (before a certain Allen Klein stepped in), this is the New York quartets '67 LP. More acoustic and melodic than their live performances, this ten track album has been reissued for the first time in nearly forty years and now features six bonus tracks. A fine addition to anyone's folk or psyche collections, a highly promising band that should have been huge, criminally ignored by everyone apart from their native city. Features new liner notes and interview material by Stefan Granados, expert on Apple and Psychedelia. Includes alternate mono mixes of their two singles "Dedicated Music Man" and "To Understand Someone" as bonus tracks, as well as "Mortime's Theme" and "Life's Sweet Music."

Bad Seeds & Liberty Bell - Two Great Albums On One CD

The Bad Seeds were the first rock group of note to come out of Corpus Christi, Texas, itself a hotbed of garage-rock activity during the middle/late 1960s. They started when guitarist/singer Mike Taylor and bassist Herb Edgeington, then member of a local band called the Four Winds, met up with lead guitarist Rod Prince and drummer Robert Donahoe, who had been playing in a rival band called the Titans until its demise. Prince wanted to form a new group, and he, Taylor and Edgeington became the core of the Bad Seeds, who were signed to the local J-Beck label in 1966. They stayed together long enough to record three singles during 1966, of which two, "A Taste of the Same"/"I'm a King Bee" and "All Night Long"/"Sick and Tired," are unabashed classics of blues-based garage-punk, three of them originals by Taylor (who wrote most of their originals) or Prince. Even their normally maligned second single, "Zilch Part 1"/"Zilch Part 2," has some worth as a pretty hot pair of throwaway tracks. The band's sound was the raunchy Rolling Stones-influenced garage-punk typical of Texas rock groups in the mid-'60s.

Following the breakup of the group after the summer of 1966, Mike Taylor became a writer and producer for the the Zakary Thaks, another Corpus Christi-based band (who were signed to J-Beck after being spotted playing on a bill with the Bad Seeds), and also recorded singles in a folk-like mode as The Fabulous Michael. Rod Prince went on to become a key member of the legendary band Bubble Puppy, who were signed to Leland Rogers' International Artists' label, and the post-psychedelic group Demian. ~ Bruce Eder & Richie Unterberger, All Music Guide

With a few breaks, the Liberty Bell might have been America's Yardbirds -- as it worked out, however, the group suffered the undeserved fate of being a footnote in the history of Corpus Christi rock bands. Formed in Corpus Christi, Texas in the mid-1960s, they were originally named the Zulus and played a mix of blues-rock drifting toward psychedelia, driven by some fairly ambitious guitar work by lead axeman Al Hunt. In 1967, they hooked up with Carl Becker, the co-owner of J-Beck Records, which, at the time, was recording the hottest local band, the Zakary Thaks. Becker signed them to his new Cee-Bee Records, and suggested a name change to the Liberty Bell.

The group's lineup at the time of their first single, a cover of the Yardbirds' "Nazz Are Blue" backed with a cover of Willie Dixon's "Big Boss Man," included Ronnie Tanner on lead vocals, Al Hunt on lead guitar, Richard Painter on rhythm guitar, and Wayne Harrison on bass. This record did well enough locally to justify further recording, and these sessions yielded the best songs of the group's entire history, "Something For Me," "For What You Lack," "I Can See," and "That's How It Will Be." Fast-tempo, fuzz-drenched pieces with catchy hooks, these numbers made the group sound like an American version of the Yardbirds with more of an angry punk edge, courtesy of lead singer Ronnie Tanner. But the real star of the group was lead guitarist Al Hunt, who wrote most of the material in those days and played like Jeff Beck on a good day.

Tanner exited the group in early 1968 and was replaced by Chris Gemiottis, formerly of the Zakary Thaks, who also brought a quartet of original songs with him, which were somewhat less punk-oriented and attempted to be more profound. The group switched to the Back Beat label, which specialized in R&B flavored material. The Liberty Bell continued in its psychedelic/garage direction before releasing a soul-style number, "Naw Naw Naw" (on which only Gemiottis participated, with a studio band backing him) for their final single, late in 1968. The Liberty Bell came to an end in 1969 when Gemiottis returned to his former band. In 1995, however, Collectables Records released a 14-song collection of their music. ~ Bruce Eder, All Music Guide

Sandy Coast - The Original Hit Recordings and More (1966-68) Holland

Repost

Formed in 1961 in Voorburg as the Sandy Coast Skiffle Group, they had the following names: the Sandy Coast Five, Sandy Coast Rockers and, finally, Sandy Coast. Thanks to the Hitwezen magazine-organised talent search, they were awarded a record contract with Negram in 1965. Featured members: Hans Vermeulen (vocals, guitar, keyboards), his brother Jan (bass and guitar), Jos de Jager (bass, 1964-67), Henk Smitskamp (bass, ex-Livin' Blues, from 1970 till 1971, to Shocking Blue), Onno Bevoort (drums, in 1970 temporarily replaced by Will Morkus, in 1974 to Water), Ron Westerbeek (vocals, guitar, keyboards, ex-Daddy's Act, to Water), Charles Kersbergen (guitar, until 1965) and Marianne Nobles (vocals, ex-solo, 1972). In 1974, Sandy Coast disbanded; Hans formed Rainbow Train together with his brother Jan.

http://www.alexgitlin.com/sandy.htm

19 indfødte lyde - Native Sounds - Denmark Record-Labels

19 indfødte lyde - Native Sounds - Denmark Record-Labels

Jesters - Norway Special

Jesters - Up In The Morning

Jockeys - Campfire Song

Jockeys - Jeanie

Jockeys - Something's Gotta Hold On Me

Jockeys - The Masquerade Is Over

Joe E. Carters Group - Bring Back Home

Joe E. Carters Group - Gloria

Joe E. Carters Group - Go On Home

Joe E. Carters Group - Mothers Little Helper

Joe E. Carters Group - Too Much Monkey Business

Joe E. Carters Group - Whatcha Gonna Do About It

Johan Lind & The Epics - Everyday

Johan Lind & The Epics - Yesterday Man

John Inglis & His Group - I'm Looking For

John Inglis & His Group - Tell Me

Johnnie Dee & Detroit Sound - I Had It And I Lost It

Keepers - Amen

Keepers - Rain In My Heart

Kenny & The Stringers - Neighbour Neighbour

Kenny & The Stringers - Rip It Up

King Beats - Road Runner

King Beats - She's Fine

18 indfødte lyde - Native Sounds - Denmark Record-Labels

indfødte lyde - Native Sounds - Denmark Record-Labels

vol. 18

Finn Tony & Them - Stupidity

Finn Tony & Them - Suzie Q

Fourways - Hawaii

Fourways - I Hear Trumpets Blow

Fourways - Rag Doll

Fourways - Silence Is Golden

Fourways - Time To Be Going

Fourways - Walk Away Renee

Gipsies - Ain't That A Shame

Gipsies - Loosers

Go-Getters - Beat-Babe

Go-Getters - Eleven O'cklock

Heaters - Just Can't Go To Sleep

Heaters - Walking Down The Street

Helge Nilsen & The Stringers - Do You Love Me Anymore

Helge, Rune & The Stringers - Tell Her

Hellions - Crazy Man Crazy

Hellions - Tell Me Girl

Henrik Burton & The Boozers - My Everlovin' Heart

Henrik Burton & The Boozers - Silver Dollar

Himler & The Comets - En Op Og To I Mente

Himler & The Comets - Tired Of Working

Hunters - I'm Coming Home

Hunters - Long Tall Texan

Jack Fridthjof - Protest

Jes & The Constrictors - Darlin'

Jes & The Constrictors - Green Door

Jes & The Constrictors - The Sound Of The Constrictors

17 indfødte lyde - Native Sounds - Denmark Record-Labels

 indfødte lyde - Native Sounds - Denmark Record-Labels

vol. 17

Coke - Box Office Draw

Coke - The Love Revolution

Constrictors - Darlin'

Constrictors - The Sound Of The Constrictors

Crowd - Lovin' You

Crowd - Then The Heartaches Begin

Daniella & Ole Erling Gruppen - Johnny Guitar

Daniella & Ole Erling Gruppen - More

Danish Sharks - Cin Cin

Danish Sharks - Let`s Go Hully Gully

Danish Spices - Ah Bah Buh

Danish Spices - Aprilis

Danny & The Royal Strings - Come Right Back

Dave Keene - First Time I Saw The Sunshine

Dave Keene - Venomous

Donkeys - Gone For Good

Eagles - Sandy

Eagles - You Better Move On

East West - Crossroads

East West - I Do - I Do

Electro Swingers - Once More With Feeling

Electro Swingers - See The Crocodile

Electro Swingers - See The Spider

Electro Swingers - Thunder And Lightning

Emotions - My Heart Seems

Emotions - Night Train

Ex-Checkers - Long Long Time 

Ex-Checkers - Wooly Bully

Beat & Psych in Austria (1966-1972)

source European Discography Page

Flanders 60's Beat Generation Vol.1;2

It was the remarkable project. 

European Discography Page

This blog could to us of many pleasure from musical opening. But... I don't know why it so not for long existed. So short  that I could take only it.  It is a pity.

I'll be glad if someone has the archives of this blog ...

Nevertheless thanks a lot to BUFFALO BILLYCAN !

P.S

Werner Voran ( Lolly Pope) . RIP Friend... 

16 indfødte lyde - Native Sounds - Denmark Record-Labels

16 indfødte lyde - Native Sounds - Denmark Record-Labels

lue Birds - Littie Bird Fly

Bodies - I Say Goodbye

Bodies - Spirit Of Mine

Bristols - A Rolling Stone

Bristols - Little Miss Jeannie

Bulwers & Jack - The Way It Feels

Bulwers - How Is The Weather

Bulwers - I'm Only Dead

Bulwers - Then I Will Leave

Bulwers - Two Hearts And A Coward

Burglars - Cold Turkey

Burglars - I'm Gonna Knock On Your Door

Burglars - Jumbo

Burglars - Sittin' On A Ceiling

Burtons - Criss Craft No.9

Burtons - Walk Like A Man

Butterfly - Am I To Blame

Capstones - Love In The Night

Capstones - Think Itґs Gonna Work Out Fine

Capstones - Tonight

Capstones - You Will Come Around

Carols - New Girl In School

Carols - Surfin' Safari

Clidows - No Sugar In My Coffee

Clidows - Our Little Rendezvous

15 indfødte lyde - Native Sounds - Denmark Record-Labels

indfшdte lyde - Native Sounds - Denmark Record-Labels

vol. 15

Angelo - Marianne

Angelo - Tell Me How

B.B. Brothers - Balla Balla

B.B. Brothers - Don't Reply

Baronen - Hey Joe

Baronen - Like Everytime Before

Baronets - Hold On I'm Coming

Beachwalkers - Got My Feet On The Ground

Beachwalkers - You'll Be Mine

Black Batmen - Sitting All Alone

Black Batmen - Sweet Little Sixteen

Black Beats - Beautiful Delilah

Black Beats - Please Don't Feel Too Bad

Black Beats - Put Yourself In My Place

Black Beats - That's Wrong

Black Devils - Cherry Stone

Black Four - Black Devil

Blackpools - All-Right

Blackpools - Endless Hoping

Blackpools - I'll Go Crazy

Blackpools - I'm Wild About You

Blue Beats - Mourir Ou Vivre

Blue Beats - Run, Run, Run

Blue Beats - Sorry She's Mine 

Blue Beats - That's How Strong My Love Is

text

Heimatliche Klaenge - Native Sounds vol.141 The Hit Nuts (Austria)

Heimatliche Klaenge - Native Sounds

vol.141  The Hit Nuts (Austria)

01 - Reach Out I'll Be There

02 - Prie

03 - Dead End Street 

04 - Bittersweet Samba

05 - Green Green Grass Of Home 

06 - Early Bird

07 - Bang, Bang

08 - Land Of 1000 Dances 

09 - Guantanamera 

10 - Sunshine Superman 

11 - Mellow Yellow 

12 - Basin Street Blues 

13 - Sorrow

14 - Dear Mrs. Applebee

text

Sons of bitches....

I have some news ... and not so good ... Soon all the files on the Rapidshare  will be deleted. To save them, and I have to pay a lot ... It's beyond chutzpah ...
Fuck them in the ass !
In general, on the basis of the above, try  to download what has been saved ...http://musicofsixties.blogspot.ru/

Thee Midniters - Greatest

Indisputably the greatest Latino rock band of the '60s, Thee Midniters took their inspiration from both the British Invasion sound of the Rolling Stones and the more traditional R&B that they were weaned on in their native Los Angeles. Hugely popular in East Los Angeles, the group, featuring both guitars and horns, had a local hit (and a small national one) with their storming version of "Land of a Thousand Dances" in 1965. Much of their repertoire featured driving, slightly punkish rock/R&B, yet lead singer Willie Garcia also had a heartbreaking delivery on slow and steamy ballads. In the manner of other local phenomenon's like the Rationals (from Detroit), they were equally talented at whipping up a storm with up-tempo numbers and offering smoldering romantic soul tunes. After a few albums and an interesting detour into social consciousness with the single "Chicano Power," the group split in the early '70s, though their legacy is felt in later popular L.A. Latino rock acts like Los Lobos.

http://www.lunch.com/Reviews/song/Thee_Midniters_Greatest_Hits-wiki-1334460.html

Before the release of this 2003 compilation, the absence of a Thee Midniters CD collection was one of the most egregious omissions in the catalog of 1960s rock on compact disc. This 20-track anthology happily rectifies that situation, including everything from the fine 14-song 1983 Rhino LP Best of Thee Midniters, and adding half a dozen other worthy selections. All of the band's very best cuts are here, whether it's the soul covers ("Land of a Thousand Dances," "Sad Girl," "Giving Up on Love," "The Town I Live In," "It'll Never Be Over for Me"); raucous bluesy garage rock ("Whittier Blvd.," "Jump, Jive and Harmonize," "Love Special Delivery," "Empty Heart"); or tasty romantic soul-pop originals ("Dreaming Casually," "Making Ends Meet"). There are, too, a few songs that sample the unpredictable directions into which the group occasionally flew, like the ghostly cover of jazz singer Oscar Brown, Jr.'s "Brother Where Are You?" and the Latin jazz-rock fusion of "Chicano Power." Audio purists might regret that some surface noise can be heard as the music was mastered from the best vinyl sources possible, rather than the original tapes, but really the vinyl noise is very faint and not a significant hindrance. It's also too bad that enjoyable oddities-rarities from the Thee Midniters discography like the psychedelic "Breakfast on the Grass," the Spanish ballad "Tu Despedida," and the searing instrumental "Thee Midnite Feeling" didn't make the cut. But given a 20-track cutoff point, it's hard to argue with the selection on this worthy summary of one of the finest 1960s American rock bands never to have a big national hit.

Bob Kuban & The In-Men - Look Out For The Cheater (1966) +

http://www.stlmusicyesterdays.com/Bob%20Kuban.htm

This artist hit it big exactly once, with the Top Ten hit "The Cheater," released in 1966 under the name of Bob Kuban & the In-Men. His music was influenced by his sideman association with Ike and Tina Turner, including several stints with Ike's Kings of Rhythm band. In 1976, he opened his own booking agency and his venture payed off, even leading to public recognition such as the St. Louis Businessman of the Year award. One of his innovations was the so-called Singles Night Out series of singles dances. He also started his own publishing company, Q-Man Music. His success in these music business endeavors have left him in a different position than many other '60s hit artists who never recovered from getting "ripped off" for their royalties. He always left some time for music, continuing to book his own combo as well as fronting the Bob Kuban Brass Band. Thirty years after his one Top Ten hit, he was honored at the Rock & Roll Hall of Fame's tribute to "One Hit Wonders," because without him it could never have been complete.

http://muslib.ru/Bob+Kuban+%26+the+In-Men_b171418/clips/

Unfortunately, Kuban's singer on this hit single, Walter Scott, was not around to enjoy the award. He was the victim of a grisly murder in 1983, the details of which were apparently fascinating enough to inspire a book, The Cheaters: The Walter Scott Murder by Scottie Priesmeyer. Although he vanished in 1983, the singer's body was not found until 1987, floating in a cistern with a gunshot wound to the back. His widow and her new husband were charged with the murder, and that is quite ironic considering the words of the biggest hit Scott had ever sung: "Look out for the cheater..." Scott and Kuban's relationship went back to 1963, when the latter was a high school teacher who played drums on weekend wedding gigs, with Scott singing for a group called the Pacemakers. The two men formed a new band that almost immediately began cutting sides for the Norman label, but not with any great success, although the song "Jerkin' Time" would make a great theme song for a Jamaican jerked chicken chain. "The Cheater" was originally released by the Musicland label, for whom Kuban cut two further singles, "Harlem Shuffle" and "The Batman Theme." In 1970, Kuban cut a single for Reprise and re-did his one-hit for other labels in both 1974 and 1975. In 1975, the Bob Kuban Brass Band recorded Get Ready for Some Rock and Soul, once again for Norman. The same label was still around in the late '80s to issue two more singles with predictable partying themes, "Everybody's Gonna Have a Party" and "Triple Shot of Rhythm and Blues." In 2000, Kuban began playing drums in the band of another St. Louis rock & roll legend, but one with decidely more than one hit to his credit: guitarist Chuck Berry. Kuban has also worked in radio and was the musical director of KXOK from 1985 through 1987. ~ Eugene Chadbourne, Rovi

Bob Kuban & The In-Men - Look Out For The Cheater 

-A Golden Classics Edition (Collectables Records, 1996)

Look out for the Cheater album by Bob Kuban & the In-Men was released Feb 27, 1996 on the Collectables label. Includes original release liner notes by Harry Young. Look out for the Cheater songs Bob Kuban & The In Men: Bob Kuban (drums); "Sir" Walter Scott (vocals); Emi Ray Schulte (guitar); Patrick Hixon (tenor saxophone, trumpet); Harry Simon (saxophone); Paul "Skip" Weisser (trombone); Greg Roland (vox organ); Mike Evans (bass). Look out for the Cheater album Personnel: Bob Kuban (drums); Harry Simon (saxophone). Look out for the Cheater CD music Liner Note Author: Harry Young. Recording information: Technisonic Studios. Look out for the Cheater CD music contains a single disc with 25 songs

1. The Cheater

2. In The Midnight Hour

3. Batman Theme

4. You've Got Your Troubles (I've Got Mine)

5. All I Want

6. Harlem Shuffle

7. These Boots Were Made For Walking

8. Theme From Virginia Wolfe

9. Get Out

10. Try Me Baby

11. Stop Her On Sight (S.O.S.)

12. You Better Run

13. Drive My Car

14. Little Girl

15. Pretzel Party

16. Turn On Your Love Light

17. Jerkin' Time

18. Teaser

19. I Don't Want To Know

20. Dance With Me

21. Wait Until Tomorrow

22. My Shadow Is Gone

23. Watch Out

24. It's Been A Long Long Time

25. Proud

 Originals cover of 1966 album

This eight-piece rock ‘n’ roll band came from St. Louis, Missouri, USA. The members were Bob Kuban (b. August 1940, St. Louis, Missouri, USA; drums), Walter Scott (b. Walter S. Notheis, Jnr., 7 February 1943; lead vocals), John Michael Krenski (bass), Greg Hoeltzel, (keyboards), Roy Schult (guitar), Skip Weisser (trombone), Harry Simon (saxophone), and Pat Hixon (trumpet). Bob Kuban And The In-Man were a classic one-hit-wonder Top 40 group, with ‘The Cheater’, which reached number 12 in the US pop charts in 1966. Also in 1966, the group scraped the bottom of the charts with two follow-ups, ‘The Teaser’ (number 70) and a cover of the Beatles’ ‘Drive My Car’ (number 93). ‘The Cheater’ had something of a blue-eyed soul flavour with the vibrant horn arrangements and Scott’s almost black vocal approach. The In-Men were formed in 1964 and made their first record in 1965. Scott left the group in 1967. He had planned to rejoin the In-Men in 1983, but he was murdered by his wife and her lover, which rendered ironical his success with ‘The Cheater’ and its hook-line ‘look out for the cheater’. Kuban continued to perform in St. Louis for weddings and other social affairs with his band, the Bob Kuban Brass.

TEXT

.

The Guise - Complete Singles (1966-1969)

The Guise were made up of members from Bob Kuban & The In-Men. 

After Bob Kuban (band leader and drummer for the In-Men) refused to lose the horns and go with a more "British" sound, Musicland USA producer Mel Friedman convinced lead singer Walter Scott, keyboardist Greg Hoeltzel, and base player John Krenski to leave Bob Kuban & The In-Men and form a new group called The Guise. "Long Haired Music" was their first and biggest local success, charting #5 on the KXOK sing-a-long survey. They had a few local hits altogether, but nothing charting nationally.

Walter Scott left the group and returned to Bob Kuban's group for a short time before beginning a solo career. 

This information can be found in Bob Kuban's book "My Side Of The Bandstand" by Nancy Wenger.

Greg Hoeltzel /Keys, Vocals

Mike Krenski /Bass, Vocals

Ray Schulte /Guitars, Vocals

John Goodwin /Drums

Walter Scott /Vocals RIP

The Guise  (And Their Mod Sound)

Complete Singles (1966-1969)

Ripped from 45's  unknows autor

Hailing from St. Louis, the Guise (originally the Guise & Their Mod Sound) were a successor band to Bob Kuban & the In-Men that highlighted not only the excellent songwriting of John Krenski and Greg Hoeltzel, but their solid chops. They recorded six singles between 1966 and 1969, most of them for Mel Friedman's Musicland U.S.A. label, and a couple for ATCO. For somewhat quixotic reasons, my gal and I took it upon ourselves to collect them all, finally tracking down the elusive "Looking Glass"/"Biographical Excerpt File 6319Q" a couple of months ago. (Yeah, that really is the name of the B-side.) 

Anyway, I think all these singles are pretty darn great, and quite underrated. As far as I know, the Guise has never been on an official comp, and until I saw a few of their tracks surface here at I.P. thanks to Buis and Levittownbob, I wasn't sure if anyone else gave a hoot about them. In terms of musical styles, these run the gamut, from Pac Northwest frat ("Chumpy McGee") to lush bah-bah Turtles harmonies ("Time") to a Kinks-style raver ("Bio Excerpt") to gumdy-chewy bubblegum ("Waitin Round the Corner"), it's all good, with the unifying component being Hoeltzel's perfectly shrill organ. Only band I can really compare them to is the Rascals, just in terms of chops (doo-wop harmony skills, tight drums, killer guitar, wild keys) who were also able to break out of the late-50s/early-60s milieu and as the decade progressed play some long hair music with the best of them. Ripped from 45's 

Source WEB

Thanks to autors

*****

I'm looking for

BOB KUBAN and the In-Men - THE CHEATER 1966.

Anyone have it ?