Thursday, August 28, 2008

Ancient Grease - Woman And Children First (1970)

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Ancient Grease were actually a band named Strawberry Dust from Neath in South Wales. This album was a collaboration between a few people from the hippyer band Eyes of Blue and Stawberry Dust. The result features some fine dirty rock'n'roll alongside with a number of mellow songs, such as the dreamy, psychedelic-folk of 'Time To Die' and the rootsy 'Mystic Mountain'.
What's interesting about Ancient Grease is that the album was intended to be released on the famous Vertigo Swirl label You can still see the VO Price Code on the reverse of the album sleeve. For some reason, the record company changed it the last minute and released it on the black Mercury label in July 1970. The album was also curiously credited to Ancient Grease, not Strawberry Dust.
Unfortunately, Mercury Records did not give 'Women and Children First' the amount of push necessary to get a brand new act noticed by the record buying public. Insted they focused on Rod Stewart's 'An Old Raincoat Will Never Let You Down'.




01 - Freedom Train - 4.05 02 - Don't Want - 5.08 03 - Odd Song - 5.45 04 - Eagle Song - 5.01 05 - Where The Snow Lies Forever - 5.12 06 - Mother Grease The Cat - 5.16 07 - Time To Die - 4.07 08 - Prelude To A Blind Man - 5.06 09 - Mystic Mountain - 3.34 10 - Women And Children First - 6.39 11 - Freedom Train (Alt.Take) - 3.28




By HershonJones (Michigan)
This is one of the best psychedelic hard rock albums I've ever heard. Ancient Grease plays like there is no tomorrow and sounds like Led Zeppelin without inhibitions circa 1970. The lead guitarist, Graham Williams, sounds like Jimmy Page on overdrive. The lead singer, Graham Mortimer (Morty)is excellent and later was the main man in the group Racing Cars. On Freedom Train, Morty at the end of the song, does the best Paul McCartney imitation I ever heard.

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EYES OF BLUE – CROSSROADS OF TIME (1968)

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RITCHIE FRANCIS gtrGARY PICKFORD HOPKINS vclsPHIL RYAN keyb'ds A BWYNDHAM REES drmsRAY WILLIAMS bs
By rights, The Eyes of Blue should have an exalted place in the pantheon of art-rock and progressive rock bands. They were around before almost all of them, and doing film work and making music in a jazz-rock fusion idiom before the latter had been understood, and they were signed to two major labels in succession, Deram and Mercury. Instead, except for drummer John Weathers, who later joined Gentle Giant, The Eyes Of Blue are scarcely remembered at all. The Eyes of Blue started out as a jazz and rhythm-and-blues oriented outfit (Graham Bond wrote the notes for their first album), doing songs in that vein as well as less well suited material such as "Yesterday."... Read More...
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1 Crossroads of Time 5:002 Never Care 3:183 I'll Be Your Friend 3:484 7 + 7 Is 2:325 Prodigal Son 5:276 Largo 3:147 Love Is the Law 5:168 Yesterday 4:229 I Wonder Why 3:1310 World of Emotion 2:4811 Inspiration for a New Day 3:09
The Eyes of Blue's debut album is a rather typical bottom-drawer late-'60s psychedelic effort, going over much of the musical map without charting new territory or doing especially interesting songs. Chunks of British harmony pop, soul, trendy Eastern-tinged psychedelia, and early progressive classical-dipped melodies and arrangements all bump around in the mix, though they don't cohere too memorably. The Welsh group did have a more organ-based sound than many of their U.K. peers, and the band's keyboardist, Phil Ryan, has admitted that Graham Bond was a big influence on his style on this album. Bond's input wasn't limited to this; he also wrote two of the songs, "Crossroads of Time" and "Love Is the Law" (though they were credited to "D. Stewart," aka his girlfriend, Diane Stewart), both of which Bond himself would record slightly later on his 1969 album Love Is the Law. The Eyes of Blue's version of "Love Is the Law" sounds more like the early Bee Gees than Graham Bond, though it's actually one of the better songs on the record. "Crossroads of Time" is likewise one of the relative highlights, starting off with an atomic explosion and Phantom of the Opera organ, though its lyrics are pretty blatant hippie sloganeering. It's an indictment of the weakness of the group's original material (by guitarist Ritchie Francis) that the most notable other track is one of the most eccentric covers of the Beatles' "Yesterday" you'll hear, arranged to sound almost like a classical hymn
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Thanks error404 ( orexisofdeath)

THE ROCKETS (US) - 1981\1982

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ROCKETS HISTORY....
Donnie Backus- Keyboards, Vocals (bckgr) Johnny Badanjek- Drums, Vocals, Vocals (bckgr) Jack Douglas- Percussion, Producer David Gilbert- Vocals, Vocals (bckgr) Bobby Neil-Haralson- Bass Jim McCarty- Guitar, Vocals (bckgr) Dennis Robbins- Guitar, Vocals (bckgr) Z. Jimmy- Harmonica
The Rockets were formed in 1972 by former Mitch Ryder & The Detroit Wheels members Johnny "Bee" Bandajek and Jim McCarty. Vocals and drums were handled by Bandajek, McCarty was on lead guitar, John Fraga was on bass and Marc Marcano was on keyboards. Johnny Bee was the driving force and primary songwriter for the Rockets. In the early days, The Rockets paid their dues playing gigs at venues such as, The Rainbow Room and The Peoples Ballroom in Detroit, and The Rock 'N Roll Farm in Wayne Michigan. The band took on a new sound in 1976 when David Gilbert was brought in to take over vocals from Johnny Bee. Gilbert had fronted several garage bands and had a brief stint singing for Ted Nugent and The Amboy Dukes in 1971. His drinking and drug habits didn't set too well with the Motor City Madman. Gilbert's raw vocal power proved to be just the ticket to complete the Rockets sound. However, as Nugent had before them, Bandajek and McCarty quickly realized Gilbert would be trouble for the band with his frequent drug and booze binges. The friction between them would go on for seven years before it eventually tore the band apart.
Five studio albums produced several minor hits including a rocking rendition of Fleetwood Mac's "Oh Well". Always a popular group in Detroit, and Michigan, The Rockets had gotten some attention outside of the state, but never really got the big break to become a true national act. The first album, Love Transfusion, was released in 1977. It failed to produce any hits. The 1979 self-titled release featured the hits, "Oh Well" and "Turn Up The Radio". This record also featured on bass, David Hood, one of the "Swampers" from the famous Muscle Shoals Sound Studios in Alabama. Muscle Shoals was mentioned in Lynyrd Skynyrd's southern rock anthem "Sweet Home Alabama". Also, this Rockets album was dedicated to Skynyrd members Ronnie Van Zant, Steve Gaines and Cassie Gaines, who all perished in Skynyrds infamous 1977 plane crash. The third attempt came in 1980 with "No Ballads", "Desire" was a popular tune from this album. Next came the "Back Talk" album in '81 and then finally "Rocket Roll" in 1982. "Rollin' By The Record Machine" from this release was the last hit for the band. The final release, "Live Rockets" was recorded on New Years Eve 1982 at the Royal Oak Music Theatre near Detroit.
The Rockets performed for their last two shows at Pine Knob (now known as DTE Energy Music Theatre) near Detroit on August 28th & 29th, 1983. The band splintered and the members all went their separate ways. Bandajek, McCarty and the rest went on to other projects. Gilbert played in a couple of short-lived local bands and ended up taking a job hanging drywall. His lifelong abuse of drugs and alcohol along with divorces, death and suicide had taken its toll. Former rock star David Gilbert was 49 when he died of cirrhosis in 2001. R.I.P. David.
(http://dearbornflashback.com/rockets.asp)
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Back Talk/Rocket Roll
Back Talk
1. Back Talk - 3.52 2. Jealous - 4.09 3. Lift You Up - 3.43 4. Shanghaied - 3.59 5. Love For Hire - 3.59 6. I Can't Get Satisfied - 3.44 7. Tired Of Wearing Black - 4.15 8. I'll Be Your Lover - 3.20 9. American Dreams - 3.53 10. Lie To Me - 5.04
Rocket Roll
1. Rollin' By The Record Machine - 3.51 2. Rock 'N' Roll Girl - 3.15 3. Gonna Crash - 3.09 4. (I Wanna) Testify - 3.53 5. Gimme Your Love - 3.17 6. Born In Detroit - 3.13 7. All Night Love - 3.19 8. Kid With The Heart - 4.01 9. Rollin' And Tumblin' - 4.30 10. Mean Streets - 2.54
Review by Tim Sendra Detroit's Rockets are not one of the groups people might think of when considering that city's storied history of great bands — for a reason, since they weren't all that special. Still, they have a vital link to the Detroit sound as drummer Johnny "Bee" Badanjek was in Mitch Ryder & the Detroit Wheels and Detroit and guitarist Jim McCarty was also in the Detroit Wheels and went on to join the failed supergroup Cactus. Their 1979 record, Rockets (Turn Up the Radio), had two pretty solid AOR staples (in the Detroit area anyway) in their blistering cover of Fleetwood Mac's "Oh Well" and the rollicking "Turn Up the Radio." By the time of 1981's Back Talk, the band was still in the netherworld of being a perennial opening act and really struggling to survive. It shows in the music, as almost every song seems to be aping another act or trying a different sound. Mostly though, they sound like a good bar band of the early '80s, able to crank out good-time summer rock & roll ("Back Talk"), moody ballads ("Jealous"), blue-eyed soul ("Lift You Up," "Lie to Me"), lighter-waving ballads ("Tired of Wearing Black"), and tunes to get the girls out on the dancefloor ("I Can't Get Satisfied," "I'll Be Your Lover"). At times (especially when Badnajek takes over the vocals from somewhat shrill David Gilbert), they sound a lot like Huey Lewis & the News, a good-natured bunch of lifers with loads of talent and spunk. They just don't have the songs or the personality that Lewis had. Their 1982 album, Rocket Roll, represents a dramatic drop-off in quality. The warm Jack Douglas production of Back Talk is gone and is replaced by a glossy sound that pulls off the neat trick of sounding over-produced and under-played at once. The songs are forced and thin, and nearly every one is an uptempo rocker that attempts to sound exciting — but it just sounds like the band is desperate. Desperation rarely makes for good AOR records, only good art, and the Rockets were AOR to the core. The lyrical concerns of the songs are pretty flimsy, the main topics being rockin', testifyin', mean streets, rock & roll girls, and record machines. Great topics for a group that is making exciting music, but these guys were in the throes of their last gasp at making a record the "kids" might dig. They didn't dig it and the band called it a day soon after the record justifiably flopped. In 2005 Wounded Bird put the two records together on a two-fer CD. Too bad they didn't put out Turn Up the Radio instead.
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Wednesday, August 27, 2008

THE WORLD OF OZ - ST - 1968 \1969

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Biography
by Bruce Eder
The World of Oz were a British psychedelic pop band that enjoyed a short string of successful singles in Europe. Between those major charting records in Holland and a lot of good press at home, the release of an album was planned — yet they managed to throw it all away with an unexplained split. All four original members — Tony Clarkson (bass, vocals), David "Kubie" Kubinec (organ), Christopher Robin (guitar, piano, vocals), and David Reay (drums) — hailed from Birmingham, and had been parts of that city's burgeoning pop/rock culture for varying amounts of time. Clarkson had several years' experience playing in various bands, and had also performed on the European continent. Kubinec... Read More...
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JASON CREST - COLLECTED WORKS OF JASON CREST(1968 - 1969)

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Tuesday, August 26, 2008

MIKE STUART SPAN - TIMESPAN (1968 )

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A band with a confusing name and a confusing history, the Mike Stuart Span did manage to record a classic British psychedelic single in 1967, "Children of Tomorrow." With its driving power chords, squealing guitar leads, and haunting harmonies, the song struck a classic midpoint between hard mod-pop and the early psychedelia of UK groups like the Pink Floyd and Tomorrow. The problem was that hardly anyone actually heard the record, as it was pressed in a run of 500 copies on a small independent label.The Brighton group had been around since the mid-'60s, and recorded a few other singles for Columbia and Fontana with a much more conventional pop approach. There was actually no one named Mike Stuart in the act, which began to rely much more upon self-penned ... Read More...

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01. Children of Tomorrow02. Second Production03. Remember the Times04. Time05. Concerto of Thoughts06. Flames07. Through the Looking Glass08. Rescue Me09. World In My Head10. Evil Woman11. Blue Day12. Through the Looking Glass (BBC Session)13. My White Bicycle (BBC Session)14. Time (BBC Session)15. Children of Tomorrow (BBC Session)


Review by Richie Unterberger :

Fifteen tracks from 1967-1969 (some from the very end of that span were recorded when the group were known as "Leviathan"). "Children of Tomorrow" and its B-side are the only two of these items that saw official (and very limited) release; the rest are taken from demos and a 1968 session for John Peel on the BBC. While "Children of Tomorrow" is the unquestioned highlight, much of this is pretty fair pop-psych. It takes a more raucous guitar-based approach than many of their psych contemporaries, only faltering when the band occasionally opts for a hard blues/soul approach. If you like British cult bands of the time such as Tomorrow, or are in the market for psychedelia that dips the usual spacy lyrics and full harmonies in guitars that owe a lot to late-'60s Who and Yardbirds, you'll be satisfied with much of what's on tap here.

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The Dimensions - From All Dimensions (1966)

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Biography by Richie Unterberger
There were many obscure garage bands in the mid-'60s who released limited editions of all-cover albums to be given away at gigs and school. Most of these albums were virtually worthless except as time capsules, but there were a few scattered exceptions that proved the rule — LPs of this kind by T.C. Atlantic and the Litter became valued collector's items. The Dimensions were another example. Nothing is known about this Chicago college group, whose derivative, but exciting, album achieved a much greater audience when it was reissued for the '60s collector audience in the '80s.
01. carol 02. gloria 03. little latin lupe 04. hi heel sneakers 05. route 66 06. around and around 07. do you love me 08. i need you 09. just like me 10. empty heart 11. mean woman blues 12. mary lou

Review by Richie Unterberger
Not an original bone in their body on this 1966 album of 12 covers, but The Dimensions did a good job as aspiring Rolling Stones. Killer versions of "Carol" and "Do You Love Me" highlight this timepiece, with the kind of crudely amplified raw guitars and frenetic drums that could not be reproduced by the most exacting current scientific methods
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Friday, August 22, 2008

The Fireballs - Firebeat! The Great Lost Vocal Album

Mp3\84Mb

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Ace Records’ long relationship with the Fireballs is common knowledge. Over the past fifteen years, we have had the good fortune to feature the bulk of their work across a dozen or more releases in the catalogue. The Fireballs are universally regarded for their ground-breaking and influential instrumentals Bulldog and Torquay, but their biggest chart item in their heyday was the enduring bubblegum of Jimmy Gilmer’s Sugar Shack, the biggest selling American single of 1963. Rock historians frequently nominate it as a paradigm of the kind of pop that the Beatles and their ilk booted off the US charts.
While they were temporarily broadsided by the Brits, the truth is, as players and singers, the Fireballs quickly proved themselves as adept at Beatle-style rock as any American band in that era. Granted, our two prior compilations of Fireballs vocal material (CDCHD 468 and 828), based on a chronological survey of their released material, don’t really reflect that aspect of the group; producer Norman Petty often chose to issue the overtly commercial or pop material that was more to his taste. Recent, exhaustive, investigations into the Petty vaults have uncovered a slew of fine, previously unknown material, the cream of which is gathered on FIREBEAT!, along with similar items from their mid-60s release schedule.
This new compilation focuses on the tougher side of the Fireballs, as they came to terms with the impact of the British Invasion, and made some fine beat group-styled recordings of their own. We feature here rockin’ covers of items by the Knickerbockers, Paul Revere & The Raiders, Beach Boys and others, as well as punchy, guitar-fuelled workouts on Kansas City and Summertime Blues, and strong British-flavoured original material such as Never You Mind and Come To Me. Fireballs vocalist Jimmy Gilmer is to the fore, indulging his love of folk rock on superb versions of Codine and Thunder N’ Lightnin’, not to mention an alternate version of the group’s swansong hit Bottle Of Wine. There’s also What Do You Do, the rare single Jimmy cut in London in 1965. Original Fireballs frontman Chuck Tharp also weighs in with Tough Times, a great 1964 session where he is backed by his former bandmates. Please note that the sound quality on “Firebeat!” is second-to-none. Most tracks make their debut on CD, and those cuts that have been out before are heard in powerful remixes from the original session tapes – all showcasing the masterful production skills of Norman Petty.
As well as having spent so much time methodically going through the Petty masters over the past few years, it has also been my great pleasure to spend quality time in the company of Messrs Tomsco, Gilmer and Lark, who all contributed generously to a lengthy liner note that reveals many hitherto unknown aspects of the Fireballs’ career and relationship with Norman Petty during the mid-to-late 1960s. It was also fun watching the guys’ initial reaction to the colour footage of themselves performing Bottle Of Wine on a 1968 Texas TV pop show, another discovery from the vault that is included as an added bonus. Video clips of the band in their heyday are few and far between. We’ve worked hard to make this latest installment to the Fireballs catalogue as exciting and essential as all our previous efforts. It’s the least this great American band deserves. By Alec Palao

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01 SAY I AM (WHAT I AM) 02 LIES 03 THUNDER & LIGHTNIN' 04 CODINE 05 LOUIE GO HOME 06 COME TO ME 07 (I DON'T WANT) YOUR KIND OF LOVE 08 NEVER YOU MIND 09 SOMEBODY STOLE MY WATERMELON 10 YOU'RE SO GOOD TO ME 11 TOUGH TIMES 12 DANCING BY MYSELF 13 HUNGRY HUNGRY HUNGRY 14 WILL YOU LOVE ME TOMORROW 15 MEDLEY: SUMMERTIME BLUES/LAND OF 1,000 DANCES/SHOTGUN: SHOTGUN 16 WHAT DO YOU DO 17 LONESOME TEARS 18 KANSAS CITY 19 APPRECIATE A GIRL 20 HERE IT COMES AGAIN 21 BOTTLE OF WINE 22 ONE FINE DAY 23 BABY, WHAT'S WRONG? 24 ATLANTA GEORGIA STRAY 25 BOTTLE OF WINE 26 GOIN' AWAY 27 THREE SQUARES

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Thanks a lot teddybear4

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Tomorrow - Tomorrow (1968)

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Biography by Richie Unterberger In the early days of British psychedelia, three bands were consistently cited as first-generation figureheads of the London-based underground sound: Pink Floyd, the Soft Machine, and Tomorrow. Pink Floyd became superstars and the Soft Machine influential cult legends, but Tomorrow is mostly remembered (if at all) for featuring Steve Howe as their lead guitarist in his pre-Yes days. Actually, Tomorrow was nearly the equal of the two more celebrated outfits. Along with the early Floyd and Soft Machine, they shared a propensity for flower-power whimsy. Though they were less recklessly innovative and imaginative, their songwriting was accomplished, with adroit harmonies, psychedelic guitar work, and adventurous structures and tempo changes. They never succumbed to mindless indulgence or jamming; indeed, their tracks were rather short and tightly woven in comparison with most psychedelic bands. A couple singles (especially "My White Bicycle") were underground favorites, but the group only managed to record one album before breaking up in 1968. Lead singer Keith West, even before the breakup, had a number two British hit with "Excerpt From a Teenage Opera," which helped inspire Pete Townshend's Tommy. Drummer Twink joined the Pretty Things and, later, the Pink Fairies.
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Personnel:
Steve Howe – guitarsJohn "Twink" Adler – drums Keith West – lead vocals John Wood "Junior" – bassandMark Wirtz – keyboards, percussion
The Aquarian Age:Twink & JuniorMark Wirtz – keyboards
Keith West featureRonnie Wood – bassAynsley Dunbar – drumsSteve Howe – guitars
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Tomorrow - Tomorrow featuring Keith West (1968)
1. My White Bicycle (Hopkins, Burgess) - 03:172. Colonel Brown (Hopkins, Burgess) - 02:513. Real Life Permanent Dream (Hopkins) - 03:154. Shy Boy (Hopkins, Burgess) - 02:265. Revolution (Hopkins, Howe) - 03:486. The Incredible Journey Of Timothy Chase (Hopkins) - 03:177. Auntie Mary's Dress Shop (Hopkins, Burgess) - 02:448. Strawberry Fields Forever (Lennon, McCartney) - 03:589. Three Jolly Little Dwarfs (Hopkins, Burgess) - 02:2610. Now Your Time Has Come (Hopkins) - 04:5111. Hallucinations (Hopkins, Burgess) - 02:37
bonus tracks:
12. Claramount Lake (B-side of "My White Bicycle") - 03:0213. Real Life Permanent Dream (studio demo recording) - 02:2414. Why (McGuinn/Crosby) (studio demo recording) - 03:5915. Revolution (phased mono version, studio demo recording) - 03:5016. Now Your Time Has Come - 03:05
The Aquarian Age
17. 10,000 Words In A Cardboard Box - 03:2718. Good Wizzard Meets Naughty Wizzard - 04:4219. Me - 03:12
Keith West
20. On A Saturday - 03:1321. The Kid Was A Killer - 02:3122. She - 02:3023. The Visit - 04:05
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Les Pingouins - Les Pingouins ( France)

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Group native to the suburbs is from Paris, just as the Black Socks and the Vultures. Formй of Lou Vincent of his true name Louis Locatelli (singer), Christian Prunier (guitar), Alain Legrand (rhythmic guitar), Dominique Blanc-Francard says " Mino " (bass guitar) and GйRARD RUGE, later Michel Santangeli (battery). In dйbut the training has the name of Hooligans and the group dйcide to change name to adopt that of Penguins. The group makes deuxiиme festival of the palace of Sports and a gala а the ABC with Wildcats. Quits Lou Vincent the Penguins to make its military service, then the group becomes an instrumental training. The group makes tournйe with the circus Pinder and accompanies Danny boy. The Penguins take out 45 turns some other, then later the training dissolves. Every member continues one carriиre in musical domain.

Groupe originaire de la banlieue est de Paris, tout comme les Chaussettes Noires et les Vautours. Formй de Lou Vincent de son vrai nom Louis Locatelli (chanteur), Christian Prunier (guitare), Alain Legrand (guitare rythmique), Dominique Blanc-Francard dit "Mino" (guitare basse) et Gйrard Ruge, par la suite Michel Santangeli (batterie). Au dйbut la formation porte le nom des Hooligans et le groupe dйcide de changer de nom pour adopter celui des Pingouins. Le groupe fait le deuxiиme festival du palais des Sports et un gala а l'ABC avec les Chats Sauvages.Lou Vincent quitte les Pingouins pour faire son service militaire, alors le groupe devient une formation instrumentale. Le groupe fait la tournйe avec le cirque Pinder et accompagne Danny Boy. Les Pingouins sortent quelques autres 45 tours, puis par la suite la formation se dissout. Chaque membre continue une carriиre dans le domaine musical.(Collaborateurs : Jean-Yves Dahyot / Francis Lefevre)
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1 regarde le ciel2 oh les filles ( sugaree)3 pour toi ( heartaches)4 le transistor5 cherche ( searchin)6 voo-doo-twist ( voo-doo-voo-doo)7 un coeur tout neuf ( brand new beat)8 la dee dah ( la dee dah)9 groenland10 sylvie11 iceberg12 alaska13 bach14 tamara delhi15 shuffle16 yeti17 je npeux l acheter ( cant buy me love)18 encore un jour sans toi ( i am the lonely boy)19 la vie sans toi20 l amour que jai pour toi ( my love)
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Thanks texan
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The Rokes - 'I grandi successi'

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The Rokes were one of the more unusual British Invasion-era groups to come out of England, if only for the pattern and locale of their success. They never sold many records in England, or any in America, but they were a major act in Italy and also managed to make an extraordinary, albeit indirect, impact on the 1960s with a song that they originally premiered in Italian. London-born Shel Shapiro (b. 1943) had broken into music as a guitarist and singer with Rob Storm & the Whispers (later the Rob Storme Group) and subsequently backed Gene Vincent during a tour of England. He played in Hamburg as a member of the Shel Carson Combo and then became a member of the band backing Colin Hicks, the brother of Tomy Steele, on an extended tour of Italy in 1963. This group, who later recorded with Hicks, took the name of the Cabin Boys -- their lineup consisted of Shel Shapiro on guitar and vocals, Johnny Charlton on guitar and vocals, Bobby Posner on bass and vocals, and Roger Shepstone on drums and vocals.The Cabin Boys came to the attention of a manager in Italy who got them to sever their ties to Hicks and rename themselves the Rokes. They started out playing on stage behind a female singer named Rita Pavone but were signed to Italian RCA on their own. Their debut release under their new name was a single of "Shake, Rattle and Roll" that failed to sell. Another recording effort, this time in Italian, failed, but their future releases would all be in Italian, with English-language versions issued overseas. The group cut a version of Clint Ballard's "I'm Alive" under the title "Grazie a Te" and Jackie DeShannon's "When You Walk in the Room" as "C'e Una Strana Espressione Nei Tuoi Occhi" in 1965 that reached numbers 12 and 11 in Italy, respectively. These two hits were followed by their debut album and they had further Top 20 successes in 1966 with "Che Colp Abbiamo Noi" and "E La Pioggia Che Va." That same year, the Rokes also won second place in a poll of the most popular beat groups in Italy. Their big success and their major impact on the world of rock & roll beyond Italy, however, came when Shapiro co-authored a song called "Piangi Con Me," a hit for the group in Italy and later released in England by the group as "Let's Live for Today." The Rokes' version was relatively subdued and reflective. It was first covered by a band called the Living Daylights, but it was when the song was picked up by the Grassroots in America and recorded in a more defiant and dramatic fashion than the Rokes' original, with P. F. Sloan and Steve Barri producing, that it made a permanent impact on music and American popular culture. That record not only sold more than two million copies, but became one of the most enduring hit singles of its period -- with a special meaning to Vietnam veterans -- and, stylistically, was a forerunner of a sound that Bruce Springsteen would become a star with nine years later. The Rokes never benefited from the song's success in America. Despite releasing several singles in English in England and evolving new sounds with the times, including moving into psychedelia with "When the Wind Arises," they never charted there. They remained an Italian phenomenon, scoring a number two hit in 1967. They remained in vogue in Italy, even crossing paths with The Cowsills at the San Remo Festival in 1968, and continued to chart records there into 1969. By then, the public taste for pop/rock in Italy was changing and the group broke up during the summer of 1970. In 1972, Italian RCA issued a retrospective album on the group. Shapiro continued to write songs and produce records, forming his own label in Milan in 1977, while the other members of the group eventually left the music business.
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1. Ce una strana espressione nei tuoi occhi2. Io vivro senza te3. Bisogna saper perdere4. Cercate di abbracciare tutto il mondo come noi5. Lascia l?ultimo ballo per me6. Piangi con me7. Ricordo quando ero bambino8. Non c?e pace per me (Baby, Come Back)9. Un?anima pura10. Eccola di nuovo11. E la pioggia che va12. Finche c?e musica mi tengo su13. Che colpa abbiamo noi14. Ascolta nel vento15. Quando eri con me16. Spegni questa luce
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Thanks rockarchives.ru

The Sorrows - Take A Heart

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Biography
by Richie Unterberger
One of the most overlooked bands of the British Invasion, the Sorrows offered a tough brand of R&B-infused rock that recalled the Pretty Things (though not as R&B-oriented) and the Kinks (though not as pop-oriented). Their biggest British hit, "Take a Heart," stopped just outside the U.K. Top 20; several other fine mid-'60s singles met with either slim or a total lack of success. With the rich, gritty vocals of Don Fardon, taut raunchy guitars, and good material (both self-penned and from outside writers), they rank as one of the better British bands of their era, and certainly among the very best never to achieve success of any kind in the U.S. After their sole LP (also titled Take a Heart), they issued a couple of singles with psychedelic and Dylanesque overtones, and had somehow relocated to Italy in the late '60s, where they played out their string with material in a much more progressive (and less distinctive) vein. Don Fardon had a Top 20 hit in America with a pre-Raiders version of "Indian Reservation" in 1968
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01 - Baby - 2.24. 02 - No, No, No - 2.34. 03 - Take A Heart - 3.16.4. The Sorrows - Take A Heart 05 - How Love Used To Be - 3.20.06 - Teenage Letter - 2.35.07 - I Don't Wanna Be Free - 2.36. 08 - Don't Sing No Sad Song For Me - 2.19.09 - Cara-Lin - 2.39. 10 - We Should Get Along Fine - 2.27. 11 - Come With Me - 1.57. 12 - Let Me In - 2.44. 13 - You've Got What I Want - 1.58. 14 - Let The Live Live - 2.06.m 15 - Pink Purple Yellow And Red - 2.48.16 - My Gal - 2.29.mp317 - Nimm Mein Herz - 3.13.18 - Sei Mein Girl - 2.27.19 - Mi Ci Spezza Il Cuore - 3.12.20 - Vivi - 2.52.
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Hep Stars - Hep Stars On Stage

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Its fantastic great live sound and atmosphere sixties !!!

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The chances are that, had ABBA never come along making Benny Andersson (and his three partners in the group) into an international pop-rock star, no one outside of Sweden would ever have heard of the Hep Stars. They were the hottest rock band of the middle-to-late '60s in Sweden, however, considered by some to be that country's answer to the Beatles. The Hep Stars also charted 20 singles in their own country and had hits in the Netherlands, as well as building a following in Germany — and their CDs are exported around the world as a result of the ABBA connection. It also turns out that they were a pretty good band, too.Andersson's interest in the keyboard manifested itself at age six, when he got his first accordion, and ... Read More...

1. Cadillac 2. What'd I Say 3. Donna 4. What Do You Want To Make Those Eyes For? 5. So Mistifying 6. Only You 7. Wear My Ring Around Your Neck 8. Surfin Bird 9. Tallahasse Lassie 10. No Response 11. If You Need Me 12. Farmer John 13. Bald Headed Woman 14. Whole Lot-Ta Shk-In Goin On 15. Cadillac (Singleversion) 16. Mashed Potatoes 17. Lonesome Town 18. Rented Tuxedo 19. So Mystifying 20. Should I

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Highly
recommendations

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Thanks Elwood_Blues

THE JAVALINS - JAVALINS BEAT

Mp3\82Mb
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In 1960,the Dutch-Indonesian band "Hurricane Rollers" changed their name to "Strangers","Crazy Strangers" and then "Javalins".This name was chosen because most of the group were born in Java.The almost exclusively instrumental group recorded mostly in Germany.The Javalins only played 2 times in The Netherlands during the 60's.In Germany and Scandinavia they were much more famous.There records were recorded and they played to crowds of thousands.The Javalins consisted of Franky Franken (singer-guitar), Robby Latuperisa (drums), Hans Bax (guitar), Peter Theunissen (bass) and Gerard Buskop (piano-organ).Their "Al Capone" remains one of the finest examples of Dutch-Indonesian rock 'n' roll.The group had a reunion in 1981 with Frank Luyten instead of Franky Franken.Later The Javalins also did a few concerts with their original singer.Sadly Franky Franken died on 15 september 1998.Since then no plans for further concerts were made.
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1. Javalin's Beat (Instr.)2. Javalin's Beat (Instr.) (2:30)3. Al Capone (Instr.) (2:31)4. Caroline (2:10)5. Mr. Tschang Aus Chinatown (2:03)6. Jenny jenny (3:51)7. Monkey Walk (Instr.) (2:38)8. Be My Baby (3:18)9. The Loveliest Night Of The Year (Instr.) (4:35)10. Ya Ya Twist (4:04)11. Footpatter (Instr.) (5:13)12. Git It (Wello Wap) (3:40)13. Sweet Georgia Brown (Instr.) (2:18)14. Twist & Shout (4:08)15. Es Gibt Kein Bier Auf Hawaii (2:28)16. Scherben (2:03)17. Tanz Doch Mit Mir Swim (2:18)18. Twistin' Away (2:18)19. Sherry (2:10)20. Joe, Die Gitarren Man (Instr.) (2:34)21. Hey Hey, Ha Ha (2:29)
*****

The Kinks - The Great Lost Kinks Album ( 1963-70)

Mp3\167 Mb
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The Great Lost Kinks Album is a 1973 LP collection of unreleased material issued by Reprise Records after The Kinks had moved to RCA. The tracks were recorded between 1966 and 1970 and master tapes were shipped to the US Reprise Label in the early 1970's to fulfil contractual obligations with that label. Kinks leader and songwriter, Ray Davies, intended most of the songs to remain unreleased "collateral" tracks for Reprise. Several other songs from these "collateral" recordings had been released on the 1971 Reprise compilation The Kink Kronikles.
Davies and the Kinks management were not told about the album and they learned of its existence from the US Billboard record chart. Davies instituted legal action against Reprise, which resulted in Reprise discontinuing the album in 1975. It became an immediate collector's item and most of the songs remained officially unreleased until the 1998 reissue of Kinks albums with bonus tracks. Some are still available only on old LPs or unofficial bootleg albums. The name is a reference to an album that was set to be released by Reprise in 1969, but was held back, eventually morphing into The Village Green Preservation Society. So many rumours circulated about the unissued record that "great lost Kinks album" became a catch phrase.
The songs include a number of unused album tracks, a British single (Plastic Man), a Kinks b-side (I'm Not Like Everybody Else), a film theme (Till Death Do Us Part), songs written exclusively for British television (Where Did the Spring Go?, When I Turn Out the Living Room Light) and several Dave Davies recordings, released and unreleased.
An aptly titled collection; out of print for many years, there are even some Kinks cultists who have never been able to hear this ragtag but worthy collection of late-'60s and early-'70s outtakes and rarities. Most of these were recorded around the same time as the 1968 LP Village Green Preservation Society; these low-key, wry, bouncy tunes would have fit in well with that record. Lyrically, they're on the whole slighter than much of their late-'60s work, perhaps accounting for why the group did not deign to release them at the time. Still, songs like "Rosemary Rose," "Misty Water," and "Mr. Songbird" would have hardly embarrassed the group, and rank as the highlights of this anthology.
Besides 1969-era outtakes, it includes the single "Plastic Man," a couple of okay, way-obscure B-sides featuring Dave Davies, and some songs penned for long-forgotten film and television productions. It also has the dynamite 1966 B-side "I'm Not Like Everybody Else," though that's easily available on reissue these days. That's not the case for most of the rest of this album; Kinks fans will find it quite worthwhile, and should be on the lookout for it in the used bins.
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01. Intro - Ballad of the Virgin Soldiers 2:4902. I'm a Hog for You Baby 1:3903. I Believed You 1:5604. Revenge 1:2905. Got Love If You Want It 3:4606. Don't Ever Let Me Go 2:1507. This I Know 1:5908. A Little Bit of Sunlight 1:4709. Tell Me Now So I'll Know 1:5410. There's a New World Just Opening for Me 2:2311. All Night Stand 1:5012. Time Will Tell 2:3613. Spotty Grotty Anna 2:0714. And I Will Love You 2:1615. She's Got Everything 3:0916. Dedicated Follower of Fashion 3:0117. Mr. Reporter 3:5818. Sand on My Shoes 3:0519. Lavender Hill 2:5620. Rosemary Rose 1:4421. Misty Water 3:0122. Mr. Songbird 2:2723. Did You See His Name? 1:5724. Where Did My Spring Go? 2:1025. When I Turn Off the Living Room Light 2:1926. Til Death do Us Part 3:1827. Pictures in the Sand 2:4728. Berkeley Mews 2:40 1,87529. Easy Come, There You Went 0:5030. This Man He Weeps Tonight 2:40
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(Thank`s motto batzbatz.com)
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Monday, August 11, 2008

Accolade 2 - Accolade(1971)

Mp3\78Mb
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This is great! A flute and folk guitar together, similar to a well sung Jethro Tull. Don Partridge, the vocalist appears by himself later in his career. includes Brian Cresswell, Malcolm Poole, and Ian Hoyle. Wizz Jones plays acoustic guitar on four songs, and one of the songs is a Gordon Giltrap cover tune. My favorite song is 'transworld blues' on the first three listens, but I'm sure with repeated turns, this one will offer up many layers of beauty. The front cover artwork is an original painting by David Steele and attracted me to this UK prog/psych record immediately.
Maybe I'm just a sucker for flute - I don't know - but to me this is yet another excellent slice of early 70's UK psych folk. Originally released on the Regal Zonophone label in 1971. Crisp and clear male vocals, prominent flute, dreamy acoustic guitar, and occasional doses of piano, harmonica, vibraphone make for a truly enjoyable listening experience. The 11+ minute "Cross Continental Pandemonium Theatre Company" is one of the higlights of this gem. If you like flute-dominated acoustic progressive psych/folk, you can't go wrong with this.
Accolade were a light acoustic band, formed in 1969 who completely eschewed electric instruments, as they developed a folk / jazz fusion. Notable, perhaps only for the inclusion of Partridge and fellow singer Gordon Giltrap, although the latter remained for only one album. The group recorded two albums and one single, before going their separate ways in 1971.
As musical tastes changed, and the novelty value of a folk music singing, one man band, paled, Partridge retreated to his well-worn path of busking for a living. He had made a big impression in Scandinavia, and moved to live in Sweden in the early 1970s. He made two unsuccessful albums there, before ultimately returning to his homeland. 2nd album by UK band from early 70's. A well mix up of verious styles like folk, jazz, and rock, but psych folk dominated. Wizz Jones was featured on several tracks and the album also a cool return of Made In Sweden's 'Snakes In A Hole' Originally released in 1971 on Regal Zonophone. (Reviews from different sources)
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01. Transworld Blues02. The Spider to The Spy03. Baby, Take Your Rags Off04. Cross Continental...05. Snakes In a Hole06. The Time Iґve Wasted07. Sector Five Nine08. If Only Iґd Known09. William Taplin10. Long Way to Go
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This is my favorite
and thanks ChrisGoesRock
!!! *** !!!

Sunday, August 10, 2008

Alan Hull - Squire(1975)

Mp3\64Mb
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1. Squire2. Dan the Plan3. Picture (A Little Girl)4. Nothin' Shakin' (But the Leaves on the Trees)5. One More Bottle of Wine6. Golden Oldies7. I'm Dorry Squire8. Waiting9. Bad Side of Town10. Mr. Inbetween11. End12. Crazy woman13. Carousel
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Squire - Squire(1975)

Mp3\64Mb
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1. Squire2. Dan the Plan3. Picture (A Little Girl)4. Nothin' Shakin' (But the Leaves on the Trees)5. One More Bottle of Wine6. Golden Oldies7. I'm Dorry Squire8. Waiting9. Bad Side of Town10. Mr. Inbetween11. End12. Crazy woman13. Carousel
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Alan Hull – Pipedream (1973)

Mp3\65Mb
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Biography by Bruce Eder Best known as the co-founder, leader, and principal songwriter of the Newcastle folk-based rock band Lindisfarne, Alan Hull also pursued a successful career as a solo performer, specializing in original songs. At one time, amid Lindisfarne's early successes, Hull was being hailed as the most innovative songwriter since Bob Dylan, and although Lindisfarne's subsequent albums didn't remotely achieve this level of promise, his solo material was consistently strong. Hailing from Newcastle, where he was born in 1945, Hull took up the guitar as a boy, and became a member of the band the Chosen Few alongside keyboard player (and future Ian Dury alumnus) Mickey Gallagher, in 1962. That band, which specialized in Tamla-Motown covers, was signed to Pye Records for a time and Hull first emerged as a songwriter of considerable promise within their ranks, generating some very strong original numbers including the single "Today Tonight and Tomorrow." Hull exited the group in 1966 and gravitated toward a more folk-oriented sound in his playing, singing, and songwriting, which brought him into a band called Downtown Faction, who eventually evolved into Lindisfarne; he supported himself one year by working as a nurse at a mental hospital, before Lindisfarne came together. As author of many of their most popular songs as well as one of their principal singers, Hull came to be regarded as the de facto leader of the group, which may have contributed to its splintering in 1973. He recorded solo albums periodically beginning with 1973's Pipedream on the Charisma label, which included the services of second-generation Lindisfarne guitarist/keyboardman Ken Craddock as well as original members Ray Jackson and Ray Laidlaw. His second album, Squire, was released in 1975 by Warner Bros., while his third, Phantoms (1979), was done for Elton John's Rocket Records label.
At its best, Hull's songwriting featured fluid, deceptively catchy, and pleasing melodies, and rich, deeply evocative phrasing and imagery. His "Fog on the Tyne" remains a classic, a Dylanesque account of life in Newcastle in the late '60s, and he has also written in a more popular vein, with songs such as "Run for Home" (which, with its achingly beautiful chorus, ought to have been an international hit), which sounds almost more like Bruce Springsteen than Bruce Springsteen did. In 1994, he recorded Back to Basics, a live all-acoustic survey of the best of his songwriting from 1970 onward. On November 17, 1995, while working on a new album, Hull died suddenly of what was determined to be a heart thrombosis. Lindisfarne has continued to perform in the years since, and recordings of Hull's have continued to surface from various sources, including radio performances going back to the early '70s.
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01 – Breakfast02 – Just Another Sad Song03 – Money Game04 – Std 063205 – United States Of Mind06 – Country Gentleman's Wife07 – Numbers ( Travelling Band )08 – For The Bairns09 – Drug Song10 – Song For A Windmill11 – Blue Murder12 – I Hate To See You Cry
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The Missing Links - Driving You Insane

Mp3\105Mb

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The Missing Links - Driving You InsaneGenerally considered to be Australia's wildest group, The Missing Links played a raw R'n'B sound influenced by The Pretty Things. The second line-up was even more raucous than the first. They were one of the first Australian groups to grow long hair and destroy equipment on stage.They had a great reputation as a live band. Their first 45 was the rarest of the four. Line-up (B) was responsible for the following three. Their piece-de-resistance was You're Driving Me Insane. The flip-side Something Else and Nervous Breakdown on the reverse of their second Philips 45 were both Eddie Cochran covers. Their final 45 was a backward recording of Bo Diddley's Mama Keep Your Mouth Shut, which was long enough to cover both sides.Their EP featured four tracks, I'll Go Crazy, Don't Give Me No Friction, One More Time and Woolly Bully, but was not of a particularly high standard. Still it has been reissued on Raven as has their album. Guitarist Doug Ford, a key figure in their second line-up, was later in The Master's Apprentices, whilst Peter Anson went on to Jeff St. John and The Id.

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1. Wild About You2. Hobo Man3. Bald-headed Woman4. Not To Bother Me5. Mama Keep Your Big Mouth Shut6. Some Kinda Fun7. You're Drivin' Me Insane8. Nervous Breakdown9. Speak No Evil10. On The Road Again11. All I Want12. H'Tuom Tuhs13. Somethin' Else14. I'll Go Crazy15. Don't Give Me No Friction16. One More Time17. Wooly Bully18. We 2 Should Live19. Untrue20. All I Want21. Shakin' All Over22. Kansas City23. Come My Way24. Go Back25. So Far Away26. Don't Deceive27. Naughty Girl28. Diddy Wah Diddy

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Pulse - Pulse (1969)

Mp3\74Mb
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01 - Too Much Lovin'02 - Another Woman03 - Hypnotized04 - Thanks For Thinking Of Me05 - Lo-Down06 - She's Killin' Me07 - Garden Of Love08 - Amassilation09 - My Old Boy
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Brian Poole and The Tremeloes - Big Big Hits of '62

Mp3\82Mb
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Brian Poole - vocals Alan Blakely - guitar Alan Howard - bass Dave Munden - drums Richard Westwood (aka, Rick West) - guitar - b. May 7, 1943, Dagenham, Essex, England - formerly with Joe and The Teens, and Tony Rivers and The Castaways. Albums: "Big Hits of 1962" (1963) "Twist and Shout" (1963) "It's About Time" (1965)

Biography by Bruce Eder It's difficult for anyone who has heard them not to like — or even love — the Tremeloes. They were one of the more prodigiously talented British pop/rock bands of the 1960s, and they threw that talent into the making of amazingly catchy and well-crafted singles that lit up the charts and radio on both sides of the Atlantic for four years running, from 1966 through 1970.
Yet, the Tremeloes are also one of the least-known and least-respected of 1960s English bands. The precise reason for the lack of respect is difficult to pin down, except perhaps that their timing was out, as far as making the most of their success. They generally didn't write their own material, and they cut their best singles long after the British Invasion (and the mystique surrounding the bands that were part of it) had ended. And, yet, ironically, the Tremeloes are also one of the longest surviving English rock & roll bands, playing regularly more than 40 years after the group's founding.
The band first got together in 1958, when the original members were all in their teens. They were closer in years and background to early British beat bands like the Shadows than to the British Invasion bands with which they subsequently became associated. The original lineup of Brian Poole (vocals, guitar), Alan Blakley (drums), Alan Howard (sax), and Graham Scott (guitar) had Buddy Holly's Crickets as their inspiration. This version of the band didn't stay together long, however, and Blakley quickly switched to guitar (which Poole relinquished) after Dave Munden joined on the drums. Munden proved not only to be a very talented percussionist but also a good singer. This gave the group a third vocalist, which would prove essential to their success further on in their history. Alan Howard also switched to bass soon after Munden joined.
The band — then known as "the Tremilos" thanks to a misspelling — built up a following at local dances and clubs, and then broke into the U.S. air-base circuit, where the length of the sets that they were forced to play required them to learn a massive number of new songs. By 1961, they had turned professional. The group's lineup changed again around that time when Graham Scott left and was replaced by Rick West (born Rick Westwood), who had previously played with Tony Rivers & the Castaways.
West's arrival was key to the group's long-term success, providing the band with a top-flight (indeed, classically trained) guitarist. They also got a professional manager in the guise of Peter Walsh, who already represented such acts as the Brook Brothers (England's answer to the Everly Brothers) and the vocal group the Kestrels. The band's first break happened soon after when they were spotted by Jimmy Grant, the producer of the BBC's Saturday Club music showcase, who got them an audition for the BBC. This led to the group becoming regulars on radio, and, in turn, resulted in an audition for Decca Records on New Year's Day, 1962. At the time, Decca was looking for a new rock & roll act, and the Tremeloes were up against a relatively obscure Liverpool quartet called the Beatles. Decca executives Dick Rowe and Mike Smith were in charge of the auditions, with Rowe reportedly leaving the choice up to Smith. The latter chose the Tremeloes, reportedly based on the fact that they were based in London and, thus, would be more accessible than the Beatles.
The signing had a range of consequences for the band and its future. At the time, it was routine for groups to have a featured member, Cliff Richard & the Shadows being the prime example; thus, the label insisted that the band be signed as Brian Poole & the Tremeloes.
The band accepted this as one price of pursuing success, and Poole became the perceived star of the band. They cut a series of records backing other artists — including the Vernons Girls ("The Locomotion") and DJ Jimmy Savile, on the latter's version of "Ahab the Arab," as well as some failed singles of their own — got into the lineup of artists in the juke-box comedy film Just for Fun, and generally missed even modest chart action by the length of their fingertips; their singles of "Twist Little Sister" and "Keep on Dancing" failed to find audiences, despite some valiant efforts at promotion. Success seemed to become less likely as 1963 wore on and a new wave of English rock & roll acts, spearheaded, ironically enough, by the Beatles, began dominating the radio and the charts.
Rather than wilting in this new environment, Brian Poole & the Tremeloes rose to the challenge. They changed their look and pumped up the rhythm-guitar parts in their songs, and began looking at R&B, rather than white rock & roll, as a source of material and inspiration.
The result was their version of "Twist and Shout," which managed to rise to number four on the English charts, despite running up head-to-head with the Beatles' recording, issued on an EP that summer. Their next record, a cover of the Contours' hit "Do You Love Me," was a classic of the era, an honest, authentic-sounding screamer of a single that hit number one in England once the Beatles' "She Loves You" vacated the spot, and managed to eclipse a rival version by the Dave Clark Five. In its wake, Brian Poole & the Tremeloes managed a series of respectable, even occasionally inspired hits over the next two years, including a U.K. Top Ten cover of Roy Orbison's "Candy Man" and a convincingly raucous rendition of the Strangeloves' Bo Diddley-beat-driven anthem "I Want Candy."
They appeared on film, most notably a pair of performance clips in the feature film Go Go, Big Beat, and a featured spot in A Touch of Blarney, and made the rounds of the television-music showcases, charting moderately well until the end of 1965. The band ran into hard times just about then, owing to issues of music and style.
Possibly it was a result of the fact that they'd never really been part of the British Invasion, but the Tremeloes had never seen fit to update their image, which had been something of a pose to start with. They still dressed in matching suits on stage, and performed the same brand of stomping covers of American R&B and rock & roll. It was no longer possible to expect those to chart, however. Their competition wasn't the Dave Clark Five or Gerry & the Pacemakers, but the likes of much heavier and musically higher-powered bands such as the Yardbirds and the Kinks, not to mention the rapidly evolving Beatles and Rolling Stones; all of whom seemed to up the musical ante, in terms of what sounds and instruments they brought to the table, with each new release. Additionally, Poole had emerged as the star of the group and developed a star mentality, and became convinced that his future lay in a career as a pop-oriented vocalist, in the manner of such up-and-coming figures as Tom Jones. The chart failure of their cover of the Olympics' "Good Lovin'" brought a halt to the success the quintet had been enjoying, and started Poole looking out for his own interests and future.
By the end of 1965, the split was in the works. The band was inactive in the studio for almost six months while the mechanics of Poole's exit worked themselves out. The consensus in the music press was that Poole was poised for stardom, while the Tremeloes were believed to be headed for oblivion. His singing had been the focus of their singles, he was the "name," and little that the group had done on record had distinguished the other members.
Instead, Poole ended up disappeared from view after a series failed singles, and ultimately left music. The Tremeloes had their own problems, including the exit of bassist Alan Howard, who was replaced by Mike Clark, a former bandmate of West's, and then by Len "Chip" Hawkes. In the meantime, they'd released a single covering the Paul Simon song "Blessed," a rather improbably dissonant song which failed to chart and got the band dropped by Decca. The members' own best musical instincts, coupled with changes in the British record industry, helped rescue them.
Although they'd been written off in the press, the Tremeloes themselves knew better what they were capable of. They had three competent singers, including a lead vocalist in the form of Hawkes, and an excellent if somewhat underrated guitarist in Rick West; and they had eight years of experience as a band, and had retooled their sound before.
Additionally, they had a good and dedicated friend in the guise of Mike Smith, who'd exited Decca in 1966. Smith was now in the employ of the newly created CBS Records label, the British outlet for America's Columbia Records. The new label was hungry for homegrown talent to augment the label's roster of American stars, and Smith convinced CBS to sign the Tremeloes.
The band updated its look and image, and then they returned to the same source whence they had got their first chart single, "Twist and Shout," back in 1963: the Beatles. The band by now was beyond peer, and each of their albums had songs that could have charted.
The Tremeloes grabbed onto one of them, "Good Day Sunshine." It never charted, but it did re-establish the Tremeloes' name as a credible force in their own right, getting played heavily, receiving good reviews in the music press, and helping the band get onto television. More important, it allowed the group to transform its image into a more contemporary one.
It was the band's next single that put them back on track. "Here Comes My Baby," written by Cat Stevens, became an infectiously tuneful, upbeat song, with very pleasing harmony vocals and solid playing in the hands of the Tremeloes. It became a number-four hit in England for the group and even made it to number 13 in America, pleasing the group, CBS/Columbia, and Mike Smith to no end. (Smith also brought a similar Scottish group, the Marmalade, also managed by Walsh, to British CBS with successful results).
This was the break they needed. The Tremeloes were suddenly booked alongside the Hollies, Paul Jones, and the Spencer Davis Group, where they proceeded to roll over the rest of the show with their sound and style. The group was suddenly poised for greater things than they'd ever seemed capable of during their days at Decca. "Silence Is Golden," a popular concert number, became their next single and their first chart-topper in England since "Do You Love Me," ascending to number 11 in America during the spring of 1967, and becoming their second U.S. gold record.
For all of their reputation as a pop/rock band, the Tremeloes had a surprisingly progressive and musically sophisticated edge. Rick West's fuzz-tone guitar on "Let Your Hair Hang Down," "What a State I'm In," and "Suddenly Winter" (B-sides all) were a match for anything that Jeff Beck, Davy O'List, or any of the other progressive axemen of the era were doing; and according to historian Roger Dopson, West had it one up on all of them, because he was the first guitarist in England to perfect the use of the fuzz-tone on-stage. They also harmonized nearly as beautifully as the Beatles, and if Chip Hawkes wasn't a match for Paul McCartney in his bass playing, he was still a strong, melodic player. "Even the Bad Times Are Good," "Be Mine," "Silence Is Golden" (a number-one hit), "Suddenly You Love Me," "Helule Helule," "My Little Lady," "All the World to Me," and "I'm Gonna Try" — songs whose respective beats, harmonies, and hooks half the groups in England or America would have killed to put together — were all achingly catchy, rousing, perfect pop/rock creations; and even those experimental B-sides were tuneful in ways that many progressive rock tracks by the Nice and the Yardbirds weren't.
he Tremeloes toured America just as the Summer of Love was blossoming and managed to chart their album Here Comes the Tremeloes on that side of the Atlantic, while its U.K. version got to number 15. The next three years saw them move from success to success in England and around the world, with another three singles in the U.K. Top Ten and two more in the British Top 40; tours of three continents only confirmed that they could reach audiences well beyond the Sceptered Isle.
In a sense, the Tremeloes' music filled a gap that was left when bands like the Beatles and the Hollies started getting serious and intense in their writing and messages, and groups like Gerry & the Pacemakers disappeared. There was still an audience out there for well-sung and inventively played pop/rock, songs that were fun to hear on the radio and to hum or sing to. In America, outfits like the Monkees, Paul Revere & the Raiders, and bubblegum rockers such as the Ohio Express and the 1910 Fruitgum Company on Buddha Records were filling this same gap in slightly different variations.
The Tremeloes, as it happened, were musically very strong, which was one of the reasons that they survived and thrived across an entire decade of stylistic changes in popular music. Rick West, in particular, was a virtuoso guitarist who was respected by his peers, and deserves a place in the annals of British rock music not too far behind George Harrison. Hawkes and Munden shared the lead vocal responsibilities (with West doing harmonies), while Hawkes — somewhat younger and more conventionally attractive than the rest of the band — became the resident heartthrob for the band's teenybopper fans, sort of the Tremeloes' answer to the Raiders' Mark Lindsay.
They went along well for three years, their one seeming error a popish, elegantly harmonized cover (accompanied by the Keith Mansfield Strings) of Bob Dylan's then-new song "I Shall Be Released," that barely made the U.K. Top 30 (although to listen to it today, it seems like a perfectly good interpretation, and more tasteful and valid than the Hollies' attempts at doing Dylan songs). Then, in 1970, the band committed a series of grave errors that started innocently enough. The members, apparently weary of being treated as a soft pop band, decided to change their sound and image, but they couldn't have chosen a worse way in which to do it.
Rather than go along making the kind of exquisitely crafted pop/rock that had served them well since late 1966, the Tremeloes decided it was time to be taken seriously. Just what they were thinking at the time was anyone's guess. After three years of tapping into the same market that Paul McCartney had cultivated through the Beatles and his early solo career, they felt the need to emulate John Lennon, Bob Dylan, et al. (Author's Note: They might better have taken a look at Preston Sturges' movie Sullivan's Travels, about a movie director with the same impulse; he learns that making people laugh and making them feel happy is the most serious and important business that there is, and something not everyone can do).
They spent a year writing and preparing an album of music that was intended to prove they could do serious songs, and that was not, in and of itself, a mistake. The error came when the group announced their intention and, in the process, disparaged all of their past hits and dismissed the listeners whom they had attracted as "morons." When the smoke cleared, the group had managed to alienate most of their listeners and any representative of the music press who had previously been in their corner, while the new music, the album Master, was ignored by the very people they'd sought to attract. Even in the midst of this debacle, the band showed that it still had the golden touch. "Me and My Life," which was a tuneful number off the album, reached number four in England, while its B-side, "Try Me," was a first-rate rock & roll number.
Beyond that point, the group seemed to lose its rudder. They tried sounding heavy ("Right Wheel, Left Hammer, Sham") and country ("Hello Buddy"), spoofing glam rock with "Blue Suede Tie," and even changed their name (the Trems). By the mid-'70s, the Tremeloes were playing in cabaret, a strategy similar to that of the Searchers and a few other surviving '60s bands. They never stopped working, or were without work, however; Dave Munden was there on drums and Rick West stayed on guitar, and the group cut music for DJM, Pye, and Polydor intermittently, before briefly returning to CBS in the early '80s.
In the late '90s, Munden and West were still there, with keyboardist/singer/engineer Joe Gillingham and bassist/guitarist/singer Davey Freyer, playing regular gigs in England and Europe. The group's Decca sides with Poole (who since re-emerged as a singer, sometimes billed on CDs as "Brian Poole OF the Tremeloes") have been reissued on CD by Decca Records, but are rather difficult to find; by contrast, Rhino, Sequel, and Repertoire Records each has out a collection of the Tremeloes' post-1965 hits. The band keeps an active website up and bids fair, at this rate, to be busy for their golden anniversary in rock & roll before the end of the first decade of the 21st century.
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ZAKARRIAS – ZAKARRIAS (1971)

Mp3\76Mb
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Zakarrias - Vocals, guitar, bass, kazooGeoff Leigh - Flute, saxPete Robinson - KeyboardsDon Gould - Keyboards, string arrangementsMartin Harrison - Drums
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The only album by the British band Zakarrias is an overlooked treasure of the early 70s UK rock scene. Almost no information about the bands history is available, but their lone LP is now considered one of the rarest releases on the Deram label (along with Mellow Candle's Swaddling Songs album.) Released in 1971, the eponymous LP by Zakarrias presented their highly unusual blend of psych, folk, hard rock and blues, which benefited from diverse arrangements and clever, romantic lyrics. Zakarrias himself was an exceptionally talented songwriter and arranger, and with the quick demise of his band, the UK rock scene lost a representative of utmost potential. As for the other members once and future activities: Pete Robinson played with Quatermass and Chris Farlowe, whilst Geoff Leigh joined Henry Cow for their 1973 debut Leg-end, before embarking on a career as an avant garde journeyman, which included fronting his own ensemble the Black Sheep.
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Mephistopheles - In Frustration I Hear Singing (1969)

Mp3\68Mb
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Personnel:DARYL BURCH drms GORDON GRANT piano, organ SKIP MOSHER bs, flte BOB SILLER gtr, vcls STEVEN SIMONE gtr, vcls FRED TACKETT gtr, piano, tpt, vcls
This Psychedelic rock album is good background listening but lacks anything to differentiate it from the 'also rans'. Many of the tracks, including the two which were selected for the 45, have quite an immediate appeal. Recorded at The Sound Factory, Hollywood and produced by Dave Hassinger it is pleasant but not essential. Fred Tackett will become a renowned session musician and play with the second formation of Little Feat.
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01. Take A Jet02. Collections03. Dead Ringer04. Vagabond Queen05. Do Not Expect A Garden06. In Frustration I Hear Singing07. Make Up Your Mind 08. Searching In The Night09. Cricket Song10. Sleeping Deeply11. Girl Who Self-Destroyed12. Elizabeth
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DARIUS-DARIUS (1968)

Mp3\85Mb
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A mysterious figure of the late '60s who put out an interesting eponymous album on the names-can-be-deceptive Chartmaker label. With his funky, keyboard-based rock and full, soulful vocals, Darius sounded like a more eccentric and far moodier, doomier counterpart to Lee Michaels. The record was imaginatively arranged and produced, with flourishes of flamenco guitar, odd echo-tinkles, and some dynamic organ and bass hooks adding to its overall air of idiosyncrasy. It's little known, even among psychedelic collectors, and worthy of exhumation on CD reissue
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01 - Shades Of Blue02 - Dawn03 - Mist-Veiled Garden04 - I?m The Man05 - I Feel The Need To Carry On06 - Dirty Funky Situation07 - Blow My Mind 08 - Sweet Mama 09 - Ancient Path10 - Hear What I Say11 - Don?t You Get The Feeling (Bonus) 12 - A Woman Like You (Bonus)13 - Peace & Love (Bonus)
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Wednesday, August 6, 2008

Movin' Morfomen - Flashbacks! (1969)

Mp3\64Mb
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Members:
Ed Valdez,
Danny Gavurnick,
Anthony Martinez,
Rudy Maestas,
Dave Rarick
The Movin' Morfomen were a New Mexico-based garage band formed by five Espanola High School classmates, Dave Rarick (guitar, keyboards, vocals), Rudy Maestas (guitar, vocals), Anthony Martinez (bass), Danny Gavurnick (trumpet, guitar, vocals), and Ed Valdez (drums), in the mid-1960's. Their influences ranged from the Beatles to garage bands like the Standells, although one can also feel the shaping hand of Buddy Holly and Bobby Fuller in some of their music. Their sound was alternately romantic and punk, depending on the song-Dave Rarick wrote a lot of their songs-and they were as good at singing the three-part harmonies as they were at playing the crunchy guitar parts.
The band's name, incidentally, came about through a roadie nicknamed "Morfo, " because he liked monster movies and enjoyed imitating their title creatures-signed to a gig and lacking a name, they hastily declared themselves the Movin' Morfomen. The name didn't stop them from cutting and releasing five singles, some of which did extremely well locally on radio and got them a regional following, bringing them gigs throughout New Mexico and the surrounding region. All of those records showed significant musical attributes and serious musical development, embracing even pychedelia with relative ease and success. Near the end of 1967, the band became less of a cohesive unit and ceased being a full-time activity, as several of the members began drifting into other activities. Ironically, the group held its sound together amazingly well across several changes in musical taste and style, only to see its membership dissolve. By July of 1969, it was over for the group, except as an occasional venture in the studio with a few of the core members, and after 1971 even that ceased. In the 1990's, however, Dave Rarick, Dan Gavurnik, and Ed Valdez continue to perform in New Mexico as the Flashbacks. ~ Bruce Eder, All Music Guide
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1. Run Girl Run 2. When You Were Mine 3. Don't Go Baby 4. Only The Young 5. We Tried, Try It 6. Write Me A Letter 7. What I'm Going Through 8. What's Happened To Me 9. Its Not The Same 10. Think For Yourself 11. Thinking Of You 12. People Gotta Love One Another 13. Who Do You Think Of? 14. You, Me, And KBOM Radio 15. A Santa Fe Song 16. Back When You Were Mine 17. Leaving Love Behind
Review
A dozen songs by the Movin' Morfomen that would've made a great album then, and comes off extremely well even today. Dave Rarick's songwriting crossed styles and songs with Lennon & McCartney ("When You Were Mine") and the Standells ("Run Girl Run"), and even the Searchers ("Don't Go Baby") with equal (and considerable) success. The playing was all about as good as anything this side of the best Ed Cobb productions of the period, and the drumming better than that (Eddie Valdez will wear you out listening to his patterns and fills. As a bonus, beyond those dozen, are a quartet of decent songs by the Flashbacks, the modern incarnation of the Morfomen's core membership. The notes are a little fragmentary in their editing, but otherwise reasonably thorough, and some of the reproduced period artwork is a treat as well. ~ Bruce Eder, All Music Guide
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THE LORDS - Singles, Hits & Raritäten(Smash! Boom! Bang!)

Mp3 \150Mb
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Although Germany had its place in rock & roll's evolution in the 1960s, it was primarily as an incubator for British bands playing grueling stints in Hamburg, not for homegrown talent. The Lords were about the best of a weak scene, populated by bands that could never seem to shake themselves free of stodgy Central European oom-pah folk traditions. Quite popular in their own country, the Lords made no impression in the English-speaking world until a couple of decades later, when reappreciation of '60s beat and garage music became so intense that collectors began to investigate the strange and wonderful world of Continental '60s rock.The Lords are one of those groups that have to be heard to be believed. Although they had the requisite moptop haircuts, their repertoire was surprisingly ... Read More...

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1. Hey Baby, Lass Den Andern 2. Tobacco Road 3. Shakin' All Over 4. Seven Daffodils 5. Poor Boy 6. Poison Ivy 7. Que Sera, Sera (Whatever Will Be, Will Be) 8. Boom Boom 9. Greensleeves 10. Sing Hallelujah 11. What They Gonna Do 12. Don't Mince Matter 13. Have a Drink on Me 14. Good Side of June 15. Gypsy Boy 16. John Brown's Body 17. Gloryland 18. Rain Dreams 19. And at Night 20. Fire 21. Good Time Music 22. Greensleeves [Italienisch] 23. Gloryland [Italienisch] 24. People World 25. Four O'Clock in New York 26. Three-Five-Zero-Zero 27. England 28. World Is Falling Down 29. Five or Six [Pepsi Commercial]
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The Boots - 60's Anthology (Smash! Boom! Bang!)

Mp3\106Mb
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This is part of Bear Family's Beat In Germany 1960 series.These CDs are part of a comprehensive Bear Family series, 'Smash...!Boom...!Bang...!', dedicated to the mid-Sixties German Beat boom. At least 30 installments are planned, and each CD will contain between 20 and 30 titles, all re-mastered for the best possible sound quality. All 30 CDs together placed side by side will show the above motive.
The featured artists run the gamut from popular groups like the Rattles and the Lords to great unknowns like the Pages, the Poor Things, Pete Lancaster And The Upsetters, the Blizzards, the Sound Riders and many more. Despite the CD revolution, many of these songs are making their first appearance on CD, and some are making their very first appearance anywhere!
There's a book, 'Shakin' All Over' (published by High Castle), designed to accompany this series. It's obtainable in bookstores and from Bear Family Records. The author, Hans Jьrgen Klitsch, has written the hugely informative booklets for our CDs. It has been thirty-five years since the dawn of the Beat Boom in Germany. Relive that era in words and music!Another Bear Family exclusive!
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. Gloria 2. Dimples 3. But You'll Never Do It Babe 4. Walkin' In The Sand (Remember) 5. In The Midnight Hour 6. Watch Your Step 7. Another Tear Falls 8. Gaby 9. Jump, Back Baby 10. Mama Keep Your Big Mouth Shut 11. She's About A Mover 12. It Ain't Necessarely So 13. What You Gonna Do About It 14. Got Love If You Want It 15. Boogie Children 16. Enchanted Sea 17. Comin' Home 18. When I Loved Her 19. No Part Of It 20. It's A Man's Man's World 21. I Don't Want To Go On Without You 22. Alexander 23. Aber ich blieb kuhl 24. One More Time 25. I Wish You Would 26. Spoonful (Crazy Enough For Me) 27. Wreck My Life 28. Gaby (demo-Karaoke version)
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The Rock Shop - Mr. Lee's Swingin(1968)

Mp3\53Mb
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ALAN CLARK vcls, ld gtr, bs,organ
JOHN DALBECK gtr
PAT EDWARDS bs
PETE STEVENS drms
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Oddball release from moderately successful LA hairdresser/beauty parlor manager, giving the term "vanity project" a new dimension. Actually, the remarkable Mr Lee doesn't perform on the LP, relegating that task to a group of teen-club stalwarts he'd found somewhere. The LP could be viewed as a "1-killer-track" type deal, this being the opening fuzz-psycher "Soap suds & creme" (!) which is a quite successful take on the Butterfly/Steppenwolf bag, with a long killer guitar break. The rest of the LP (all originals) is more teenbeat-sounding and what you might expect from a 3rd tier Sunset Strip band. Although light fare I must admit a couple of them have good, memorable hooks, and excellent fuzz leads keep recurring. For some reason I'm reminded a bit of Brain Police, although this is a more modest outing. Apart from the opener this is ultimately a completist artefact a la the Tormentors, albeit with some unusual angles. Sleeve notes have an enthusiastic endorsement from Mr Lee's wife, Monique. [PL]---The band played mainly at Mr Lee's Covina nightclub, where the bulk of the LP pressing was sold. There were also some lounge gigs in Santa Cruz. The band existed roughly a year. Ex-member Alan Clark has a website with more info and images, such as the ad above.
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1. Soap Suds And Cream2. Stop3. Leaving Just Isn't Fair4. Yes, I Love You5. Bad Case Of Booze (Pete's Theme)6. Goodbye Sunshine7. Why Not Three Or Four8. Lay It On The Line9. Mediocre Blues10. It's Hurting Me11. Looky, Looky, Look12. I Can't Go On
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Powder - Biff! Bang!

NEW

Butch Engle & The Styx - No Matter What You Say (Best Of) 1967

Mp3\ 47Mb
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Featuring the angst-ridden vocals of Butch Engle and scintillating original material from the pen of the Beau Brummels' Ron Elliott, Butch Engle And The Styx knocked 'em dead wherever they played on the SF Bay Area teen music circuit. Whether headlining the Santa Benecia Armory in their Marin county backyard, slaying the crowd at Bill Quarry's Teens 'N' Twenties in the East Bay or copping first place at Band Bash '66 in San Francisco's Cow Palace, Butch Engle And The Styx possessed the perfect sound for 1966-'67.

Garage rock and some nice flower psychedelia (with the usual ingredients of farfisa organ and loads of fuzz guitar) from the very early hippiedays by this widely unknown Californian band....

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1 Hey, I`m Lost 2:322 Left Hand Girl 2:273 No Matter What You Say 2:464 Smile Smile Smile 1:525 I`m A Fool 2:356 I Call Her Name 2:457 She Is Love 2:148 Going Home 2:079 I Like Her 1:5610 Hey, I`m Lost (different version) 2:3111 Puppetmaster 3:4812 If You Believe 2:2713 Tell Me Please 2:0714 You Know All I Want 1:56
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