Sunday, November 30, 2008
Review by Cub Koda
The Fireballs were part of producer Norman Petty's stable of talent, coming to prominence in the wake of Buddy Holly's untimely demise. Clean, crisp and spare, with a delightful Texas-Southwest flavor to their music, The Fireballs provided the only real competition to The Ventures in the early '60s. Combining two of the group's early albums onto one single disc (24 tracks in all), this provides a wonderful introduction to this largely unheralded instrumental group. (British import)
Saturday, November 29, 2008
Bill Schnare (guitar)
Wayne Forrest (guitar)
Gerry Archer (drums)
Dave Isner (bass)
Release Date: April 3, 1997
1. Da Doo Ron Ron (When He Walked Me Home) - The Four Pennies, Barry
2. Sweeter Than You - The Four Pennies, Knight, Baker
3. Claudette - The Four Pennies, Orbison
4. If You Love Me (I Won't Care) - The Four Pennies, Monnot
5. Do You Want Me To - The Four Pennies, Fryer
6. Love's Journey - The Four Pennies, Wilsh
7. You Went Away - The Four Pennies, Fryer
8. Will You Love Me Tomorrow - The Four Pennies, Goffin
9. Now We Are Through - The Four Pennies, Fryer
10. Pony Time - The Four Pennies, Berry
11. Come to Me - The Four Pennies, Deighan
12. Why Do You Cry - The Four Pennies, Fryer
13. Cryin' Inside - The Four Pennies, Morton
14. Look Down - The Four Pennies, Morton
15. I'm on My Own - The Four Pennies, Morton
16. She Didn't Say Yes - The Four Pennies, Deighan
17. It Is No Secret - The Four Pennies, Hamblen, Stuart
18. Iko-Iko - The Four Pennies, Hawkins
19. Without Love - The Four Pennies, Small
20. Try to Find Another Man - The Four Pennies, Medley, Bill
21. Maracabamba - The Four Pennies, Springfield
22. Stewball - The Four Pennies, Traditional
23. All My Sorrows - The Four Pennies, Traditional
24. Someday Soon - The Four Pennies, Wilsh
25. Wild Goose - The Four Pennies, Hemsworth
26. Let It Be Me (Je T'Appartiens) - The Four Pennies, Becaud
by Bryan Thomas
The Robbs — oldest brother Dee Robb (guitar, vocals), Joe Robb (guitar, vocals), and youngest brother Bruce Robb (keyboards, vocals) — began their lengthy careers in their hometown of Oconomowoc, WI (near Milwaukee) as a teen-center pop group calling themselves Dee Robb & the Robbins. As Robby & the Robins, they recorded "Surfer's Life" for the Todd label, which has since appeared on numerous surf compilations. During a summer tour, their guitarist was facing the draft board, so the band had to shuffle the lineup and bring in their cousin, Craig Robb (real name Craig Krampf as a replacement on drums. The band then changed names to the Robbs and soldiered on, playing soft rock ... Read More...
bass duties was usually done by session players from Hollywood notably Larry Knetchel or Joe Osborn
1. Violets of Dawn 2. Race With the Wind 3. Cynthia Loves 4. Next Time You See Me 5. Girls, Girls 6. Bittersweet 7. See Jane Run 8. In a Funny Sort of Way 9. Rapid Transit 10. Jolly Miller
Friday, November 28, 2008
Thursday, November 27, 2008
by Richie Unterberger
By the late 1960s, the Fireballs were trying to update their sound into the AM radio mainstream, as evidenced by the presence of beefy horns and full Grass Roots-type production on several tracks. Despite the presence of the hit "Bottle of Wine," it wasn't convincing, largely because the material was so run-of-the-mill. A few of the songs are decorated by an odd, Mellotron-ish keyboard sound (perhaps the Solovox, which had been employed back in 1963 on "Sugar Shack"), especially the ballad "Ain't That Rain" (the best track), but there's nothing too memorable. The liner notes, by the way, claim that Tom Paxton, noted folk singer and author of "Bottle of Wine," sent a demo of the song, which he "had just written," to Norman Petty in 1967, but in fact the tune could not have been penned in 1967: Judy Collins had recorded it in 1964. A CD reissue combines this and the 1969 album Come On, Reac! onto one disc.
This New Mexican group was the primary exponent of the Tex-Mex sound in the instrumental rock & roll of the late '50s and early '60s, landing three Top 40 hits, "Torquay," "Bulldog," and "Quite a Party." Paced by the clean, economic guitar lines of George Tomsco, their moody, laconic arrangements and dextrous picking was similar in essential respects to the Ventures. The Fireballs, who used the same Norman Petty-run studio in Clovis, NM, as Buddy Holly, had a much more prominent "border" music feel to their melodies than the Ventures. The Ventures, on the other hand, had a much more full-bodied and versatile attack, accounting to a large degree for the Fireballs' comparatively slight place in history.<... Read More...
For news about THE FIREBALLS thanks sdoradas
Wednesday, November 26, 2008
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."
1.Dedicated Music Man2.Where Dragons Guard The Doors3.Would You Believe4.Singing To The Sunshine5.Mortimer's Theme6.Take Your Troubles7.To Understand Someone8.Waiting For Someone9.Life's Sweet Music10.Yes We Know11.Dedicated Music Man (Mono Single Mix)(bonus track)12.To Understand Someone (Mono Single Mix)(bonus track)13.Ingenue's Tune (bonus track)14.Slicker Beauty Hints (bonus track)15.People Who Are Different (Alternate Version)(bonus track)16.Yes We Know (Alternate Version)(bonus track)
The story of Jimmy Gilmer & the Fireballs is somewhat confusing, in that the Gilmer-fronted lineup was identical to the one that played on records simply credited to the Fireballs (see separate entry). The New Mexico band had several instrumental hits in the late '50s and early '60s in a slick Tex-Mex style, with staccato guitar lines that prefigured surf music. Using the same producer as Buddy Holly (Norman Petty), the group also performed controversial overdubs that were added to some of Holly's posthumously released material. Again following the lead of Holly and the Crickets, in the mid-'60s they recorded some singles credited to Jimmy Gilmer & the Fireballs... Read More...
Sugar Shack/Buddy's Buddy
Review by Greg Adams :
This import two-fer collects the Dot albums Sugar Shack (1963) and Buddy's Buddy (1965) on one CD. Sugar Shack includes the title track, a giant hit for Gilmer, and mostly covers of others' hits, rendered as slightly more rock-oriented teen idol pop. Buddy Holly's "Lonesome Tears" was recorded for both albums, but the earlier version on Sugar Shack is easily the better of the two. And speaking of Buddy Holly, Buddy's Buddy is Gilmer's tribute to his departed Norman Petty Studio mate and features 12 songs written and/or recorded by Holly. Gilmer stays close to the pop side of Holly, displaying none of the rockabilly fire that Holly sometimes exhibited. Most listeners will be more adequately served by a best-of collection, but for those whose interest in Gilmer (or Holly) runs deeper, there is much here to like.
01 Sugar Shack.02 Let's Talk.03 Linda Lu.04 Lonesome Tears.05 Let The Good Times Roll.06 Red Cadillac And A Black Moustache.07 Won't Be Long.08 Little Baby.09 I Wonder Why.10 Suzie Q.11 Pretend.12 Almost Eighteen.13 Look At Me.14 Wishing.15 I'm Gonna Love You Too.16 Think It Over.17 Lonesome Tears (2).18 Maybe Baby.19 Listen To Me.20 Everyday.21 Words Of Love.22 It's So Easy.23 Little Baby (2).24 Oh Boy!
Tuesday, November 11, 2008
The Orient Express' sole LP from 1969 stands today as an early experiment in world fusion — and a pretty successful one at that, at least artistically. Guitarist Guy Duris is a Frenchman who became enamored with the oud, a classical Arabian guitar. Belgian Bruno Giet is a bass player with a rock background. Iranian Farshid Golesorkhi is an award-winning percussionist in the Persian tradition. As a trio, they only left 35 minutes for posterity, but these minutes are filled with interesting ideas and kitschy songs, all originals. All three men sing in English, with an accent so thick most lyrics become undecipherable (and, from the bits you can make out, they don't seem worth deciphering), but the songs are quite good and very positive: "Dance with Me" features greatly ornamented vocals Arab-style, while "A Little Star" and "For a Moment" are straightforward pop songs of their time, albeit with dumbek battling the drum kit for percussive prominence, and sitar providing a background texture. Duris and Golesorkhi get solo features ("Layla" and "Impulse (Forty-Two Drums)" respectively), and "Azaar" is a canon song. The other tracks are instrumentals ranging from Indian-tinged psychedelic tunes to crosses between French pop and Middle-Eastern classical music. The Orient Express uses a lot of the clichйs associated with Middle-Eastern music, except that these were not clichй yet back in 1969 and they are being used here in good faith. It explains why this LP still sounds fresh and exciting today.
1. Dzamone (Part 1 & 2) (3.37) 2. Parhelie (2.22) 3. Prosopoeo (5.54) 4. Iverine part 1 (1.29) 5. Iverine part 2 (1.47) 6. Tpy Narguiz (2.00) 7. Kele Kele (4.43) 8. Armenian Hore (part 1) (1.32) 9. Dole Yaman (5.44) 10. Armenian Hore (part 2) (3.02)
Sunday, November 9, 2008
Saturday, November 8, 2008
This instrumental album of The Dave Clark Five .
by Rick Clark & Richie Unterberger
For a very brief time in 1964, it seemed that the biggest challenger to the Beatles' phenomenon was the Dave Clark Five. From the Tottenham area of London, the quintet had the fortune to knock "I Want to Hold Your Hand" off the top of the British charts with "Glad All Over," and were championed (for about 15 minutes) by the British press as the Beatles' most serious threat. They were the first British Invasion band to break in a big way in the States after the Beatles, though the Rolling Stones and others quickly supplanted the DC5 as the Fab Four's most serious rivals. The Dave Clark Five reached the Top 40 17 times between 1964 and 1967 with memorable hits like "Glad All Over," "Bits and Pieces," "Because," and a remake of ... Read More...
Five Man Electrical Band - Five Man Electrical Band
2. Last Time I Saw Memphis - Five Man Electrical Band
3. Private Train - Five Man Electrical Band
4. Half Past Midnight - Five Man Electrical Band
5. You're Gonna Lose That Girl - Five Man Electrical Band
6. Maple Lane - Five Man Electrical Band
7. Black Sheep of the Family - Five Man Electrical Band
8. Fancy Dancin' Man - Five Man Electrical Band
9. We Go Together Well - Five Man Electrical Band
10. Didn't Know the Time - Five Man Electrical Band
11. Running Back - Five Man Electrical Band
12. Catch the Love Parade - The Staccatos
13. Whisper Words - The Staccatos
14. Let's Run Away - The Staccatos
15. Face to Face (With Love) - The Staccatos
16. Walker Street - The Staccatos
17. Super Girl - The Staccatos
18. She Fancies Herself a Lady - The Staccatos
19. Weather Man - The Staccatos
20. Half Past Midnight [Mono 45] - The Staccatos
Product Description2008 release.
Another great 2 lp's-on-one CD release brought to us by the Collectables label.Some of you may not remember much about the Blues Magoos.They were a Bronxe five piece that played some decent psychedelic garage rock that released six lp's from 1966-70,with the first three probably being their best work.This 2-on-1 includes two of those three albums.A total of 22 songs,starting off with their only hit,"We Ain't Got Nothin' Yet" along with many of their other decently penned tracks,like "Gotta Get Away","One By One","Pipe Dream",their outstanding six-minute cover of "Gloria"(one of the disc's best tracks) and "Let's Get Together".Aimed at fans and collectors of '60's psych/garage rock.Will appeal to fans of Shadows Of Knight,Strawberry Alarm Clock,The Creation,The Leaves and Count Five (review by Mike Reed )
1. (We Ain't Got) Nothin' Yet - Blues Magoos, Gilbert, Ronald 02. Love Seems Doomed - Blues Magoos, Gilbert, Ronald 03. Tobacco Road - Blues Magoos, Loudermilk, John D. 04. Queen of My Nights - Blues Magoos, Blue, David 05. I'll Go Crazy - Blues Magoos, Brown, James 06. Gotta Get Away - Blues Magoos, Gordon, Alan 07. Sometimes I Think About - Blues Magoos, Gilbert, Ronald 08. One by One - Blues Magoos, Gilbert, Ron 09. Worried Life Blues - Blues Magoos, Merriweather, Major 10. She's Coming Home - Blues Magoos, Atkins, Roger 11. Pipe Dream - Blues Magoos, Gilbert, Ron 12. There's a Chance We Can Make It - Blues Magoos, Gilbert, Ronald 13. Life Is Just a Cher O'Bowlies - Blues Magoos, Gilbert, Ronald 14. Gloria - Blues Magoos, Morrison, Van 15. Intermission - Blues Magoos, Esposito, Mike 16. Albert Common Is Dead - Blues Magoos, Gilbert, Ronald 17. Summer Is the Man - Blues Magoos, Esposito, Michael 18. Baby, I Want You - Blues Magoos, Gilbert, Ron 19. Let's Get Together - Blues Magoos, Reed, Jimmy 20. Take My Love - Blues Magoos, Gilbert, Ron
Monday, November 3, 2008
What this? The Next a mistake in name of group ?
Hardly.I think ,this group - more later time...
Also Known As - Los Canarios, Los idolos, Los Diablos del Rock
Teddy Bautista (lead vocals, harmonica, rythmic guitar), German Perez (lead guitar, 1964-69), Tato Luzardo (drums, 1964-69), Alvaro Yebenes (bass, 1966-69, 1972), Vicente Maiquez (saxophone, 1967-72), Feliciano "Nano" Munoz (trumpet, 1967-72), Alfredo Maiquez (trombone, 1967-72), Graham Bircumshaw (keyboards, 1967-72), Pedro Ruy-Blas (vocals, 1968), Alberto Gomez (drums, 1970-71), Chimo (lead guitar, 1970-71), Lennox Holness (bass, 1970-71), Alan Richard (drums, 1972-74), Salvador Dominguez (guitars, 1972), Christian Mellies (bass, 1974), Mathias Sanveillan (keyboards, violin, 1974), Antonio Garcia de Diego (lead guitar, vocals, 1974)