Sunday, November 30, 2008

Neil Young and Crazy Horse - “Ragged Glory” (1990)

Mp3\77Mb
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After Neil Young left the Californian folk-rock band Buffalo Springfield in 1968, he slowly established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. Young's body of work ranks second only to Bob Dylan in terms of depth, and he was able to sustain his critical reputation, as well as record sales, for a longer period of time than Dylan, partially because of his willfully perverse work ethic. From the beginning of his solo career in the late '60s until the late '90s, he never stopped writing, recording, and performing; his official catalog only represented a portion of his work, since he kept countless tapes of unreleased songs in his vaults. Just as importantly, Young continually explored new musical ... Read More...
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01.Country Home 02.White Line 03.F*!#In' Up 04.Over and Over 05.Love to Burn 06.Farmer John 07.Mansion on the Hil l08.Days That Used to Be 09.Love and Only Love 10.Mother Earth (Natural Anthem)
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Having re-established his reputation with the musically varied, lyrically enraged Freedom, Neil Young returned to being the lead guitarist of Crazy Horse for the musically homogenous, lyrically hopeful Ragged Glory. The album's dominant sound was made by Young's noisy guitar, which bordered on and sometimes slipped over into distortion, while Crazy Horse kept up the songs' bright tempos. Despite the volume, the tunes were catchy, with strong melodies and good choruses, and they were given over to love, humor, and warm reminiscence. They were also platforms for often extended guitar excursions: "Love to Burn" and "Love and Only Love" ran over ten minutes each, and the album as a whole lasted nearly 63 minutes with only ten songs. Much about the record had a retrospective feel — the first two tracks, "Country Home" and "White Line," were newly recorded versions of songs Young had played with Crazy Horse but never released in the '70s; "Mansion on the Hill," the album's most accessible track, celebrated a place where "psychedelic music fills the air" and "peace and love live there still"; there was a cover of the Premiers' garage rock oldie "Farmer John"; and "Days That Used to Be," in addition to its backward-looking theme, borrowed the melody from Bob Dylan's "My Back Pages" (by way of the Byrds' arrangement), while "Mother Earth (Natural Anthem)" was the folk standard "The Water Is Wide" with new, environmentally aware lyrics. Young was not generally known as an artist who evoked the past this much, but if he could extend his creative rebirth with music this exhilarating, no one was likely to complain.
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The Fireballs-Torquay & Campusology (2001)

Mp3\78Mb
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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)
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Torquay & Campusology - albums 1963 and 1966 years.
1. Torquay 2. Alone 3. Joey's Song 4. Last Date 5. Chief Woopin' Koff 6. Ringo 7. Wheels 8. Honey 9. Rawhide 10. Tuff-A-Nugg 11. Dumbo 12. Quite a Party 13. Ahhh Soul 14. Campusology 15. Daytona Drag 16. Evermore 17. Pegleg 18. Sheezburger 19. In the Mood 20. Mr. Mean 21. Mrs. Mean 22. Gently, Gently 23. Mr. Reed 24. Find Me a Golden Street
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Saturday, November 29, 2008

The Great Scots - The Great Lost Great Scots Album !!!

Mp3\ 55Mb
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Rick McNeil (vocals)
Bill Schnare (guitar)
Wayne Forrest (guitar)
Gerry Archer (drums)
Dave Isner (bass)
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THE TYPHOONS AND THE JAYBIRDS 2 ON 1 CD (1964)

Mp3 \67 Mb
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1 JAYBIRDS- 5-4-3-2-12 JAYBIRDS- HIPPY SHAKE3 JAYBIRDS- EVERYTHING IS ALRIGHT4 TYPHOONS- CANDY MAN5 TYPHOONS- GLAD ALL OVER6 TYPHOONS- MONEY7 JAYBIRDS- DON'T THROW YOUR LOVE AWAY8 TYPHOONS- GOOD GOLLY MISS MOLLY9 TYPHOONS- OVER YOU 10 JAYBIRDS- HUBBLE BUBBLE11 JAYBIRDS- YOU CAN'T DO THAT12 TYPHOONS- YOU CAN'T DO THAT13 JAYBIRDS - LET ME TAKE YOU HOME14 - 22 TYPHOONS:14 NOT FADE AWAY15 NEEDLES AND PINS16 I THINK OF YOU 17 BITS AND PIECES18 ALL MY LOVING19 MOCKINGBIRD HILL20 DIANA21 STAY 22 TELL ME WHEN
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Dee Jay & The Runaways - Peter Rabbit (1966)

Mp3 \106Mb
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1 LOVE BUG CRAWL2 THE PICK UP3 BONEY MARONIE4 JENNY JENNY5 PETER RABBIT6 THREE STEPS TO HEAVEN7 ARE YOU READY8 GORILLA SONG9 SHE'S A BIG GIRL10 NOT YOUR FRIEND11 KEEP ON RUNNING12 DON'T YOU EVER13 DOES NOT MATTER14 MY GIRL15 SMALL TOWN GIRL16 SUNSHINE MORNING17 AND I KNOW18 TAKE A LOOK19 TENDER LOVE20 WHILE YOU WERE SLEEPING21 PULL IT OFF22 DOWN IN THE DUMPS23 GOOD LOVING24 SATISFACTION25 LOUIE LOUIE26 LITTLE LATIN LUPE LU27 CANDY MEN28 THE GORILLA # 229 BLUE CHEVELLE30 MALU BOO31 DEAR SUE
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The Four Pennies - 2 Sides Of The Four Pennies (1964) - Mixed Bag (1966)


Mp3\175Mb

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

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Two Sides of the Four Pennies


This is an album that truly lives up to its title, in the most bizarre way possible. The Four Pennies' pleasant but lightweight sound makes for a reasonably upbeat album for the first nine songs, long on melodies and ballads — which is what the Four Pennies did best — and light on the amperage. They do a surprisingly good version of "Will You Love Me Tomorrow," with all of the elements — the elegant lead vocals and harmonies, the instruments turned up to about "two," and the dignified tone — coming together. And then a shock: at the end of Side Two of the original disc, "Pony Time" throws out most of the propriety and neatness of the rest of the record, and "Come to Me" and "Why Do You Cry" give them a sound that could pass for the Beatles, the Searchers, or Gerry & the Pacemakers, with solid electric guitars turned up and out in front of the group's sound. What's lacking on the first nine songs is excitement, however, as even the group's faster-paced tracks, such as "Do You Want Me To," resemble the Everly Brothers on a coffee jag more than typical British Invasion sounds. Not only wasn't the wattage there for anything heavier weight, but the quartet was simply too dignified to generate anything tougher — the resulting album, apart from the last three numbers, is like an entire LP with the texture of the Beatles' "Till There Was You."

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Label: Bgo - Beat Goes On
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

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Thanks Chel

The Robbs - The Robbs (1967)

Mp3 \50 Mb
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Biography
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...
David Donaldson (aka Dee Robb) guitar/vocalsRobert Donaldson (aka Bruce Robb) organGeorge Donaldson (aka Joe Robb) guitarCraig Krampf (aka Craig Robb) drums
bass duties was usually done by session players from Hollywood notably Larry Knetchel or Joe Osborn
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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
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Although the Robbs quartet was founded by three siblings, none of them was named Robb. They were actually David Donaldson, Robert Donaldson, and George Donaldson. Prior to garnering the attention of teen music mogul Dick Clark, the trio added percussionist Craig Krampf. Under Clark's supervision, the Robbs were featured in a few high-profile television appearances and secured a short-lived deal with Mercury Records.This initially yielded a handful of 45s in 1966, which were slightly augmented and issued as their self-titled (and only) long-player. The Robbs' sound centered around lighter affairs such as the nimble "Cynthia Loves" and tightly packed Hollies-esque vocal harmonies on "Next Time You See Me." Similarly, "Girls, Girls" is a slice of carefree sunshine pop, hinting at the Association and the Turtles, while the pensive "Rapid Transit" is reminiscent of the Left Banke and the Strawberry Alarm Clock's more Baroque approach. The Robbs also show off a penchant for folk-rock on a superior reading of Eric Andersen's "Violets of Dawn," the original composition "Race With the Wind," and an adaptation of "Jolly Miller," the latter adopting a garage feel thanks to the propulsive bassline and omnipresent timekeeping tambourine. The album's initial release barely made it into the Top 200, which may have had something to do with the fact that all but two of the selections had already been available as 7" singles. [In 2004, Collectors' Choice Music re-released The Robbs on CD after several decades relegated to cutout bins and online auctions.]
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Friday, November 28, 2008

THE ELECTRIC BANANA - " BLOW YOUR MIND" (1967-1968)

MP3 \ 81 Mb
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As a supplemental income source in the late '60s and even into the '70s, the Pretty Things members would record anonymously for the DeWolfe Music Library, who would file them for future use in (usually low budget) movies whenever a suitably "swinging" or "groovy" scene was called for...
01. Alexander02. It'll Never Be Me03. I Love You04. Grey Skies05. What's Good For The Goose06. If I Needed Somebody07. Street Girl08. Blow Your mind09. Eagle's Son10. I See You11. Love, Dance And Sing12. Danger Signs13. Walking Down The Street14. A Thousand Ages From The Sun15. Rave Up
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THE FIREBALLS - Firewater 1968

Mp3\60Mb
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01.- Your Turn To Cry (02:19)02.- Maybe Baby (02:03)03.- She Belong To Me (02:28)04.- Note Upon My Door (01:47)05.- Almost Eighteen (02:12)06.- Red Cadillac And A Black Moustache (02:31)07.- Won't Be Long (02:27)08.- Let The Good Times Roll (02:11)09.- Lucille (03:15)10.- Think It Over (02:16)11.- Daisy Petal Picking (02
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Thursday, November 27, 2008

THE FIREBALLS - Bottle Of Wine 1968

Mp3\68Mb
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Review
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.
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01.- 3 Minutes Time (02:12)02.- Ain't That Rain (03:41)03.- Where Can Tomorrow Be Found (02:19)04.- Bottle Of Wine (02:09)05.- Mason Street (02:22)06.- Barbara White (02:18)07.- Groovy Motions (02:44)08.- Going Away (02:25)09.- I Don't Have The Right (02:03)10.- A Girl As Perfect As You (02:14)11.- Baby, Listen To Me (02:48)12.- Chicken Little (02:05)
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THE FIREBALLS' - THE BEST OF FIREBALLS'VOCALS

Mp3\96Mb
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The Fireballs, although actually a vocal group had their early chart success with instrumentals only. When the original lead was replaced by Jimmy Gilmer, the group blasted onto the airwaves with the chart-topping infectious, quirky, coffee-house-fad-inspired "Sugar Shack" in 1963. Follow-up material was pretty much sound-alike imitations that failed to keep the chart successes coming. While "Daisy Petal Pickin'" was a considerable step-down from "...Shack", the third single, "Ain't Gonna Tell Anybody" was a solid, well-crafted pop tune that probably suffered due to its similarity in sound to "...Shack". The Fireballs, minus credit to Gilmer, moved to Atco records and reimerged in '67 with another top ten tune, the gritty, frathouse-aura "Bottle Of Wine". The follow-up, "Goin' Away" was a complete change of style, exhibiting a gently, swaying folk-like performance. Chart success was meager for this tune, it being probably just too soft for the noisy, pounding style demands of the late 60s music atmosphere. The Fireballs managed two more minor chart hits before finally fading from the spotlight of popular music. This collection from Varese Vintage gathers up the output of the Fireballs from the introduction of Jimmy Gilmer and the signature "Sugar Shack" through their final Fireballs's singles in the late 60s. All seven charted singles are included with a few noncharting singles and other album cuts (with two from Gilmer's "Buddy's Buddy" album) rounding out this collection. While slightly meager on the overall track count (14), it is a well-produced, high-quality piece with excellent sound quality overall. Tracks are in stereo with the exception of 3,5,9,10 and 14. The eight-page liner notes booklet contains a history of the group along with a few pictures. An excellent overview of their heyday recordings. By Zub "Zubenelgenubi"
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1. Do You Think 2. Wishing 3. True Love Ways 4. Call In The Sheriff 5. Don't Stop 6. Good Good Lovin' 7. It Won't Be Long 8. Sugar Shack 9. Ain't Gonna Tell Anybody 10. Daisy Petal Pickin' 11. When My Tears Have Dried 12. Look At Me 13. I'll Send For You 14. What Kinda Love 15. Cry Baby 16. Bullmoose 17. Lonesome Tears 18. Indian Giver 19. Red Cadillac And A Black Mustache 20. Almost Eighteen 21. Pretend 22. I Wonder Why 23. Maybe Baby 24. Everyday 25. Little Baby 26. It's So Easy 27. Bottle Of Wine 28. Come On React! 29. Goin' Away 30. Can't You See I'm Trying
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THE FIREBALLS - Vaquero1960

Mp3\66Mb
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01.- Vaquero (02:00)02.- La Raspa (02:02)03.- In A Little Spanish Town (02:36)04.- Cielito Lindo (02:03)05.- La Golondrina (02:06)06.- Tequila (02:46)07.- La Espuela (The Spur) (02:23)08.- Leyenda Espanola (02:15)09.- Jesusita En Chihuahua (02:07)10.- La Borrachita (03:17)11.- A Gay Ranchero (02:57)12.- El Rancho Grande (02:06)
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THE FIREBALLS - Here Are 1961

Mp3\63Mb
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01.- Rik A Tik (02:15)02.- Yacki Doo (01:56)03.- Panic Button (02:10)04.- Nearly Sunrise (02:37)05.- Foot Patter (02:20)06.- Kissin (02:01)07.- Vaquero (02:00)08.- Cielito Lindo (02:03)09.- Tequila (02:44)10.- The Spur (02:23)11.- La Raspa (02:02)12.- In A Little Spanish Town
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The Fireballs moved on from the successes of "Torquay" and "Vaquero" for Top Rank and cut this gem of an album for Warwick in 1961. The leadoff single was "Rik-A-Tik," which they had already cut for Top Rank, followed by "Quite a Party," another Top 30 hit for the band. The resulting album was another collection of crisply played instrumentals, most with a Spanish theme, all expertly produced by Norman Petty. Another one to add to your Fireballs collection, and superior to many of their later Dot albums.
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THE FIREBALLS - The Fireballs 1960

Mp3\59Mb
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Biographyby Richie Unterberger
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...
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01.- Torquay (01:55)02.- Guess What (01:53)03.- Panic Button (02:01)04.- Let There Be Love (02:29)05.- Nearly Sunrise (02:25)06.- Long Long Ponytail (02:03)07.- Buldog (02:12)08.- I Wonder Why (02:28)09.- Foot Platter (02:09)10.- Blind Date (02:02)11.- Kissing (01:58)12.- Cry Baby (02:1
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For news about THE FIREBALLS thanks sdoradas

Wednesday, November 26, 2008

Ranetki - Ranetki 2005 Russia

Mp3 320\ 105 Mb
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01. My Ranetki02. Serdtse ne spit03. Ona odna04. Angely05. Eto vse o ney06. O tebe07. V Moskve vesna08. Naslazhdaysya09. Zima10. On vernetsya11. Tebya lyubila ya12. Ey ne do sna13. Alisa14. Ona odna (Glamurnaya Radioversiya)
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MARMALADE - The Very Best Of

Mp3\74Mb
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Marmalade were a successful Scottish pop/rock group, originally fronted by the vocalist Dean Ford, and later by Sandy Newman.Unusually, Marmalade had two bass players, and were originally called Dean Ford & The Gaylords; they released several unsuccessful singles between 1964 and 1966, before changing their name. Their next few singles also failed to chart in the UK, although one, "I See The Rain," was highly praised by Jimi Hendrix and became a Top 40 hit in the Netherlands in 1967.Marmalade's record label, CBS, threatened to drop them if they did not have a hit, and after the failure of another self-penned single later that year, "Man In A Shop", insisted they record more chart-oriented material. They rejected "Everlasting Love", which became a Number One for Love Affair, but later gave in to pressure and recorded a cover version of an American hit by The Grass Roots, "Lovin' Things", which reached number 6 in the UK Singles Chart in the summer of 1968. After a lesser hit with the follow-up "Wait For Me Mary-Anne", which only made number 30, they enjoyed their greatest success with their cover of The Beatles' "Ob-La-Di, Ob-La-Da", which topped the UK chart in January 1969. As the first Scottish group to ever top the UK chart, the week it went to the top spot, they celebrated by appearing on BBC1's music programme Top Of The Pops, dressed in kilts.This was followed by further successes with "Baby Make It Soon". After a change of record label to Decca Records, under a deal allowing them to write and produce their own songs, they recorded what would be their only American hit, the melancholy "Reflections Of My Life", with its distinctive backwards guitar break. Other UK hits included the mainly acoustic "Rainbow", and "My Little One". They toured extensively and gave rise to a cocktail — the Marmaladdie. They were managed by Peter Walsh, a 1960s and 1970s pop entrepreneur whose portfolio also included artists like the Bay City Rollers, Billy Ocean, The Troggs and Blue Mink.After Campbell, who co-wrote most of the group's original material with Ford, left the band in 1971 for a solo career, Marmalade suffered adverse publicity from the UK's newspaper, News of the World. They began a series of line-up changes including the loss of drummer Alan Whitehead, who was sacked in the middle of a self-promotion programme with his starlet girlfriend. A new guitarist Hugh Nicholson heralded an attempt to fit into the popular shift towards "progressive" music which met with limited success. However, Nicholson penned two of their last hits, "Cousin Norman" and "Radancer". He left in 1973 to form Blue (not to be confused with a much later boy band of the same name — Blue), and Dean Ford plus Graham Knight carried on with Marmalade. Nicholson was replaced by Mike Japp, a rock guitarist from the Welsh band 'Thank You'.Refusing to play most of the band's old hit records on stage, the group slowly came to a standstill. Graham Knight was sacked, but then linked up with the original drummer, Alan Whitehead, to form Vintage Marmalade. They were reunited with their old manager Peter Walsh to play all the hits on stage, and had a full date sheet.Dean's Marmalade soon died a natural death, leaving Knight and Whitehead to take over the name Marmalade again with a new line-up, fronted by vocalist and guitarist Sandy Newman. They signed a deal with Target Records, and had another Top 10 hit in 1976 with the ominously entitled Tony Macaulay-penned song, "Falling Apart At The Seams". Subsequent singles then failed to chart.Whitehead left the band in 1978 to manage other pop groups, which he does to this day. Knight is still touring on the nostalgia circuit with Marmalade — the only original left — alongside Newman, Glenn Taylor (drums), and Alan Holmes (guitar). Ford lives in New York having retired from the music industry, whilst Fairley has his own bar, called Scotland Yard, situated in Los Angeles.Whitehead married Louise and they had two children, born in 1988 and in 1992. Despite Knight and Ford's greater celebrity, Whitehead always contended that he was the 'face' of the Marmalade, although arguably few would recognise him.Campbell is a successful songwriter and arranger, now living in Sussex, England.
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1. I see the rain2. Lovin? things3. Wait for me Mary-Ann4. Ob-la-di Ob-la-da5. Baby make it soon6. Reflections of my life7. Rainbow8. My little one9. Cousin Norman10. Back on the road11. Radancer12. Falling apart at the seams13. Heavens above14. I gave up15. I listen to my heart16. What are you gonna do17. Best of my love18. Good luck to you
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Mortimer - Mortimer 1967

Mp3 320\ 110 Mb
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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."
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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)
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Jimmy Gilmer & The Fireballs - Sugar Shack + Buddy's Buddy

Mp3 192\78 Mb
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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.
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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!
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and

Tuesday, November 11, 2008

The Ill Wind - Flashes (1967)

Mp3\95Mb
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The psychedelic group Ill Wind released just one album, and even though it was for a fairly big label (ABC), it was indeed ill-distributed and heard by few at the time. Like a number of late-'60s bands from Boston, Ill Wind suffered from the lack of a consistent musical direction and uneven material and production that didn't make the most of the bandmembers' assets, though there was some instrumental and vocal talent in the group. Their album, Flashes, was a tense, brooding stew of folk-rock and freaky psychedelia that didn't quite coalesce, with the stirring, assertive vocals of Conny Devaney the best ingredient. Although it was produced by one of the best producers in 1960s rock, Tom Wilson (who had worked with Bob Dylan, Simon & Garfunkel, the Mothers of Invention, and others), it didn't do much, and the Ill Wind disbanded at the end of 1968, though the group re-formed for a few months in 1970
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1 Walkin' and Singin' 2 Sleep 3 Little Man 4 Dark World 5 L.A.P.D. 6 High Flying Bird Wheeler 7 Hung-Up Chick 8 People of the Night 9 Full Cycle
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Flashes does indeed have more flashes of potential than many of the countless other one-shot psychedelic albums of the late '60s, but this Boston group's sole effort is quite erratic, and not graced with much good material. The best points in their favor are the bracing vocals of Connie DeVanney, whether she's singing alone or blending with male voices in a manner reminiscent of (and probably highly influenced by) early Jefferson Airplane. But despite the presence of Tom Wilson at the production reins, the production often sounds underdeveloped, and the songs frequently meander in a derivative twilight between folk-rock and psychedelia. There are some fair driving folk-rockers in the 1967 Airplane style here, like "People of the Night" (with a lengthy Eastern-style psychedelic guitar break), "Hung-Up Chick," and "High Flying Bird," the last of them a folk song covered by numerous rockers in the last half of the 1960s, not least Jefferson Airplane themselves. "Dark World" is haunting folk-rock-psychedelia, and the best solo showcase for DeVanney's voice, while "Sleep" has some almost gothic male-female vocal interaction. But the album also has some overlong blues-rock noodling and psychedelic droning, mediocre good-time jug band-influenced stuff, and self-consciously heavy social commentary.
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The Orient Express - The Orient Express- (1969)

Mp3\48Mb
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GUY DURIS sitar, electric oud, vocals BRUNO GIET electric minitar, vocals FARSHID GOLESORKHI electric melodica, dumbek, tympani, vcls

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.
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1 Fruit of the Desert Duris 2:54 2 Dance for Me Duris 2:47 3 Layla Duris, Golesorkhi 3:41 4 Birds of India Duris, Giet 3:49 5 Train to Bombay Duris, Geit 2:50 6 Caravan of Silk Golesorkhi 2:44 7 Azaar Golesorkhi 4:30 8 For a Moment Giet 2:06 9 Impulse (Forty-Two Drums) Golesorkhi 4:47 10 A Little Star Duris, Giet 2:25 11 Cobra Fever Giet, Golesorkhi
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The Devil's Anvil- Hard Rock from the Middle East

Mp3\51Mb
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Devil's Anvil were a New York-based psychedelic group of the mid 1960s that released only one album, Hard Rock From the Middle East (1967 - Collectables, 2001), reissued with a Freak Scene album (no relationship between the two bands, though). Their middle-eastern acid-rock was unique and bizarrely modern (it predates the British transglobal-dance bands by about 30 years). The fuzzed-out guitar mingled with oud, bouzouki, tamboura, durbeki. This record is very unusual! It has middle eastern vocal melodies and instramentation mixed with 60's heavy blues/psychedelia. The band features Felix Pappalardi on bass (of Cream & Mountain fame). One thing to note: The lyrics are evidently sung in arabic and sometimes in greek, but this fact does not have an effect to detract from the music's compelling sounds in the least bit. One noteworthy track is the interesting cover of "Miserlou", featuring lead vocals (in english) by Felix Pappalardi
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1. Wala Dai2. Nahna U Diab 3. Karkadon4. Selim Alai 5. Isme6. Besaha7. Shisheler8. Kley9. Hala Laya10. Treea Pethya11. Misirlou12. Teyul Leili
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Zartong - Zartong (1978) Armenia


This album in network possible find without difficulties.... So what ? One of my loved.... Let will !!!


Richard Tanelian: DrumsLorys Tildian: Kematcha – VocalsFranckTildian: Bass – VocalsStepan Akian: Santour – Synthesizers – Vocals


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)

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Sunday, November 9, 2008

Jan Lloyd & Stories - Traveling Underground (1973)

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Though originally helmed by onetime Left Banke mastermind Michael Brown, Stories ironically scored their lone hit, the 1973 chart-topper "Brother Louie," following Brown's exit from the lineup. After leaving Left Bankein 1967, Brown — the keyboardist who composed the group's classic "Walk Away, Renee" and "Pretty Ballerina" — cut a 1969 LP with the band Montage which closely recalled the pioneering baroque pop approach of his previous work; he then formed Stories with vocalist Ian Lloyd, guitarist Steve Love, and drummer Bryan Madey. Following the group's self-titled 1972 Kama Sutra label debut, the mercurial Bron abruptly resigned, at which point the remaining Stories recruited bassist Kenny Aaronson and pianist Ken Bichel to record 1973's About Us. "Brother Louie," a tale of interracial romance penned by Hot ChocolatesErrol Brown, hit number one that summer, but Stories never again returned to the Top 40. Brown, meanwhile, resurfaced in 1976, leading the short-lived Beckies before spending the following decades out of the limelight.
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Most main...------>
1 - Bridges2 - Soft Rain3 - Hard When You’re So Far Away4 - If It Feels Good, Do It 5 - Mammy Blue 6 - Stories Untold7 - I Can’t Understand It8 - Earthbound-Freefall9 - Traveling Underground
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Kvartet Akkord - Zolotaya kollektsiya (USSR)

Mp3\131Mb
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Влад,вот только что нашлось время....
НО
зато в 320 btr.
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Saturday, November 8, 2008

The Dave Clark Five - Instrumental Album

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This instrumental album of The Dave Clark Five .
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Biography
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...
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1. chaquita (1st version)2. pumping3. first love4. chaquita (2nd version)5. i walk the line6. time7. all night long8. rumble9. five by five10. theme without a name11. move on12. dum-dee-dee-dum13. no stopping14. blue monday15. when i'm alone16. sweet memories17. ol' sol18. on the move
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Five Man Electrical Band - Half Past Midnight - (Canada)

Mp3\121Mb
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Best-known for their 1971 anti-establishment hit "Signs," Ottawa, Canada's Five Man Electrical Band featured guitarist/vocalist Les Emmerson, bassist Brian Rading, keyboardist Ted Gerow, and drummers Rick "Bell" Belanger and Mike "Bell" Belanger. Originally known as the Staccatos, the group formed in the mid-'60s and earned their first big break with the 1967 hit "Half Past Midnight"; their first attempt at stateside success came that year when they recorded A Wild Pair with the Guess Who. The album sold well and "Half Past Midnight" was released as a single in the U.S., but the group was dismissed as sounding too much like the Beach Boys. The Staccatos released their second album, Five Man Electrical Band, in 1968, and renamed themselves after it the following year. They continued to record for Capitol Records, traveling to L.A. to record singles such as "It Never Rains on Maple Lane." After switching to MGM and relocating permanently to L.A., the group released several other singles that received very little chart action. One of those singles, "Hello Melinda Goodbye," featured "Signs" as its B-side, which was inspired by the proliferation of billboards on America's freeways; though it garnered some airplay in L.A., it failed to do much when it was reissued on its own. By 1971, the group was close to splitting when their new label, Jimmy Webb and Dallas Smith's Lion Records, reissued "Signs" as a teaser for the Five Man Electrical Band's full-length debut, Goodbyes & Butterflies. This time, "Signs" reached number three in the U.S., number four in Canada, and sold more than two million copies internationally. The follow-up single, "Absolutely Right," also did well, reaching number three in Canada and the Top 20 in the U.S. However, their later albums didn't receive much attention, and in 1973 after so many ups and downs, the original Five Man Electrical Band finally packed it in; Emmerson recorded using the group's name for another two years. Subsequently, he tried his hand at running a label, Perfect Records, played with the Cooper Brothers, and began a solo career upon his return to Ottawa. The original lineup re-formed in 1986 for a benefit concert and for occasional tours of eastern Canada. Emmerson bought the rights to the group's material and released the best-of, Absolutely Right, in 1996.
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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
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Editorial Reviews
Product Description2008 release.
Having issued two LPs as The Staccatos, Ottawa, Canada's Five Man Electrical Band launched onto the scene in 1968 with this criminally underrated, psychedelically tinged Pop gem. Reminiscent of The Beatles, The Beach Boys, Buffalo Springfield and other like-minded bands, Five Man Electrical Band developed into one of Canada's best-known groups, and their Capitol 45 of 'Half Past Midnight' sold over 25,000 copies in Canada alone! This first-ever CD issue of their long-out-of-print Capitol LP is supplemented by rare Staccatos 45s, none of which have ever been issued on CD. The 16-page colour booklet also includes rare, unpublished photos and comprehensive liner notes that feature the participation of original band members. 20 tracks. Now Sounds.
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THE LA-DE-DA'S ---- How is the air up There ? (1966-1967) New Zealand

Mp3\142Mb
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Aside from Ray Columbus & the Invaders (Ray Columbus and the Invaders " Till we kissed "), (http://cuatropesetas.blogspot.com/2008/05/ray-columbus-and-invaders.html ) , the La De Das were New Zealand's most popular rock group of the '60s. As big fish in a very small pond, their work doesn't hold up to scrutiny in the company of the era's top American and English acts. But they did record some fine garage/pop numbers in the spirit of the Rolling Stones in the mid-'60s. A few of these ("How Is the Air Up There?" and "All Purpose Low") were big N.Z. hits, and they reached the Top Ten with covers of John May ls "On Top of the World" and a version of Bruce Channels "Hey Baby." In 1968, they recorded a psychedelic-tinged children's concept LP, The Happy Prince; which bears resemblance to modern twee. After a failed attempt to crack the British market, the group soldiered on for quite some time with pedestrian hard rock that — like even the best of their early work — was very derivative of overseas trends
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"...I've been wanting to lay me mits on a copy of this somewhat out-standing New Zealand band's compilation for sometime now. It was worth the wait. Total of 29 tracks that cover all, if not most every track this garage / psych band has ever recorded. Believe they put out maybe two actual / proper albums. Either way, what drew me to this Stones-like five piece in the first place was their cut they have on that 'Nuggets II' 4-CD box set. Cuts that make this import more than worthy of repeated plays are "On Top Of The World", their true gem "How Is The Air Up There?" (cannot believe this wasn't a international hit-it's THAT good), "Bright Lights, Big City", "I Take What I Want", "Ride Your Pony", Spencer Davis Group's "Gimme Some Loving", "Hey Girl", their Rascal's cover "Ain't Gonna Eat Out My Heart Anymore" and their R&B covers like "Land Of A Thousand Dances" and "I've Got My Mojo Working". Truly an over-looked piece of work for fans of this genre. Line-up: Kevin Borich (still in the business)-guitar&vocals, Trevor Wilson-bass, Phil Key-rhythm guitar&vocals, Bruce Howard-organ and Keith Barber-drums. Should appeal to fans of Chesterfield Kings, the Seeds, Standells, Remains, Q 65 and the Barbarians. Highly recommended. ..." ( http://www.amazon.com/How-Air-There-1966-1967-Das/dp/B00092E8AC/ref=sr_1_2?ie=UTF8&s=music&qid=1226131116&sr=8-2 )
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Blues Magoos - Psychedelic Lollipop & Electric Comic Book (1966-1967 )

Mp3\172Mb
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Biography by John Dougan
A Bronx-based quintet, denizens of the Greenwich Village club scene, and originally known by the tres psychedelic moniker the Bloos Magoos, the Blues Magoos made their mark in 1967 with a rousing, full-throttle, sub-literate, psychedelic garage rock single, "(We Ain't Got) Nothin' Yet." It wasn't a spacy, pretentious song, nor did it contain vague attempts at hippie-era mysticism, but was rather the kind of simple, direct, infectious rock & roll you could imagine five guys from the Bronx making. With a snotty lead vocal from keyboardist Ralph Scala and some wild-eyed guitar playing courtesy of then-16-year-old Emil "Peppy" Thielheim, America made the Magoos' debut single a Top Ten hit, sending it to number five in January 1967. With this impetus, the band used all the trappings of marketable psychedelia to promote their second album, Psychedelic Lollipop, which, despite the title's obvious pandering, was a fairly cool chunk of psych-garage rock. The album featured trebly, crappy-sounding guitars, a whiny Farfisa organ, yelled vocals, and a rhythm section that shelved nuance for thudding simplicity. But as the psychedelic era gave way to the hippie era's extended raga-rock proclivities, by 1969, the Magoos seemed anachronistic. Amazingly, they released a third album, with an equally absurd title, Electric Comic Book, that wasn't nearly as bad as it sounds. The original Magoos split up in 1969, but Thielheim couldn't resist beating a dead horse and led a mediocre blues-rock version of the band into 1972.
Blues Magoos:
Ralph Scala - Keyboards, Vocals
Emil “Peppy” Theilhelm – Guitar, Vocals
Ron Gilbert – Bass, Vocals
Mike Esposito – Guitar
Geoff Daking – Drums, Percussion
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Blues Magoos - Psychedelic Lollipop & Electric Comic Book

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 )

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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

*****

Part 1 Part 2

Thanks a lot PHROCK BLOG - super-blog!!!

Monday, November 3, 2008

THE BEATS & THE CANARIES (2in 1)


Mp3\85Mb
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Information of THE BEATS I can not find
I,truth know spanish group THE SILVER BEATS - a great tribute of the Beatles by The Silver Beats from Spain
What this? The Next a mistake in name of group ?
Hardly.I think ,this group - more later time...
However music simply VERY remarkable and I`m recommend this records
And terrific sounds beatles songs on spanish!!!

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With THE CANARIES all much more simply : Flying High - this is first LP great spanish prog group Los Canarios (es.wikipedia.org/wiki/Los_Canarios)


Los Canarios, uno de los grandes grupos del pop espaсol de la dйcada de 1960.Formados en las islas Canarias alrededor de su cantante Teddy Bautista (http://www.teacuerdas.com/nostalgia-musica-loscanarios.htm )

LOS CANARIOS was a Spanish band that started playing back in the late 60's. At the beginning, they played Soul and R&B influenced music, singing mostly in English. Recorded in the Seventies, "Circlos" shows an adaptation of VIVALDI’s "Four Seasons" with a rock and Hispanic flavour.... (http://www.progarchives.com/artist.asp?id=567 )

The Canaries
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)

AND


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THE BEATS & THE CANARIES
Rare Spanish Beat
01 - the beats - cosas que decimos hoy02 - the beats - uno y una, dos03 - the beats - ten cuidado con mi chica04 - the beats - no te quiero ver otra vez05 - the beats - vamos esta noche a bailar06 - the beats - lloro por una sombra07 - the beats - soldier of love08 - the beats - i'll keep you satisfied09 - the beats - please don't ever change10 - the beats - bad to me11 - the beats - one after 90912 - the beats - cry for a shadow
13 - the canaries - baby don't suprise me14 - the canaries - and i'll cry again15 - the canaries - little snow ball16 - the canaries - mama's crying17 - the canaries - feeling all upset18 - the canaries - thursday19 - the canaries - you be20 - the canaries - i lost you21 - the canaries - don't stay in the wrong way22 - the canaries - only my fried23 - the canaries - i feel in love with an angel24 - the canaries - so i'll tell you goodbye

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