Friday, July 31, 2009

The Deviants - Disposable (1968)

In the late '60s, the Deviants were something like the British equivalent to the Fugs, with touches of the Mothers of Invention and the British R&B-based rock of the Yardbirds and the Pretty Things. Their roots were not so much in the British Invasion as the psychedelic underground that began to take shape in London in 1966-1967. Not much more than amateurs when they began playing, they squeezed every last ounce of skill and imagination out of their limited instrumental and compositional resources on their debut, Ptooff!, which combined savage social commentary, overheated sexual lust, psychedelic jamming, blues riffs, and pretty acoustic ballads -- all in the space of seven songs. Their subsequent '60s albums had plenty of outrage, but not nearly as strong material as the debut. Lead singer Mick Farren recorded a solo album near the end of the decade, and went on to become a respected rock critic. He intermittently performed and recorded as a solo artist and with re-formed versions of the Deviants. 

  1 Somewhere to Go 7:23  
  2 Sparrows and Wires 0:54  
  3 Jamie's Song 3:34  
  4 You've Got to Hold On 3:56  
  5 Fire in the City 3:00  
  6 Let's Loot the Supermarket 2:34  
  7 Pappa Oo Mao Mao 2:33  
  8 Slum Lord 2:22  
  9 Blind Joe McTurk's Last Session 1:20  
  10 Normality Jam .. 4:23  
  11 Guaranteed to Bleed 3:47  
  12 Sidney B. Goode 0:54  
  13 Last Man 6:12  
Plenty of psychedelic groups of the late '60s embraced a sunny outlook of peace, flowers, and consciousness expansion, but some took a harder line on upending the straight society they sought to replace, and like their spiritual brethren the MC5, the Deviants (under the first-among-equals leadership of writer Mick Farren) saw their music as a vehicle for a Total Assault On The Culture. The only trouble with this was the Deviants' ideas were often a lot more exciting than their music, and while they created a sonic approximation of the rage and defiance behind the Freak Culture on their debut album, Ptooff!, their second LP, Disposable, lacks focus or direction and sounds like the work of addled would-be revolutionaries who aren't sure jut what they're fighting against this morning. Farren has claimed that he and his bandmates were flying on speed during most of the recording of Disposable, but there isn't much energy (artificial or otherwise) in these performances, and many of the tunes collapse into meandering jams performed by musicians who lack the chops or focus to make them into anything more. There are a few exceptions — a wacky mutation of "Surfing Bird" and "Wipe Out" called "Pappa-Oo-Mao-Mao," the defiant "Slum Lord," and "Somewhere to Go," the only extended jam on the LP that manages to actually find a groove and move. But "Normality Jam" feels at least twice as long as its 4:24 running time, "Let's Loot the Supermarket" appears to have been recorded by people who lack the ambition to put on their shoes, let alone liberate needed supplies, and short tracks like "Sparrows and Wires" and "Sidney B. Goode" play like comic sketches without punch lines. Disposable is fascinating as a document of the U.K.'s anarchist hippie scene and where it went both right and wrong, but as entertainment, you're a lot better off listening to Ptooff!. Or looting a supermarket. 

The Deviants - Ptooff! (1967)


The Pleasers - Thamesbeat (1996)

  Hailing from West London and Surrey, The Pleasers called their own music    Thamesbeat, but they definitely owed their haircuts ans suits, if not  
  their sound, to the 60s Merseybeat. it's worth mentioning that the band,  
  according to themselves, briefly pursued a glam direction in the mid-70s. 
  First PLEASERS line-up consisted of Steve McNerney (vocals, guitar), Bo  
  Benham (bass), Dave Rotshelle (ex-The Rockets - drums) and Nick Powell on  
  lead guitar in October of '77. According to McNerney, "We're going to be  
  the first new wave band [that] kids, who are interested in the music, but  
  put off by the bands, will like." The band must have considered that  
  target audience group rather large as Bo Benham told the NME "We're going  
  to be big." 

  Today, The Pleasers anno 1977 definitely fall into the new wave category  
  and one would never ever consider calling them punk. But back in the  
  chaotic days of 1977 with the music scene turned upside down and the  
  record companies desperately trying to grasp punk, The Pleasers, though  
  without a single ominous note, were considered new wave. coming across as  
  little more than new wave Beatles-wanna-bes, The Pleasers managed to ink a  
  deal with Arista Records in mid-1977 and the band found themselves  
  swallowed up in the new wave tide and got marketed as such. The Pleasers'  
  2nd 7" on Arista is thus much more new wavishly produced than their pure  
  pop debut platter on the small indie label Solid Gold, though the lyrics  
  are still about love love love... 

  Sounds, which often championed The Pleasers, said about their music: "You  
  can pogo, frug, jive or shake to 'em." The Pleasers encompassed everything  
  that the safer new wave would: Clean looks, bland lyrics, no rough edges,  
  no insults whatsoever and, last nut not least, their name. as archetypal a  
  new wave band as one can imagine, the later new wave tag itself could  
  easily have been molded straight after The Pleasers. 

  The Pleasers performed at the Hope & Anchor pub as part of the front Row  
  Festival, from which live material was later issued on a double album.  
  Steve McNerney and Nick Powell were involved in a car car accident at the  
  tail end of 1977, but both escaped with only bruises ans sprains, altought  
  their car was totalled. 

  Recorded live in 1977, "Billy" and "Rock 'n' Roll Radio" are the 2  
  Pleasers tunes punking down the 1978 "Hope & Anchor - front Row Festival"  
  double LP. The Pleasers released 3 more 7" records without ever reaching  
  any noteworthly level of sucess. this forced them into becoming little  
  more than a cabaret act. 

  Steve McNerney later performed solo and in Changing Man. In 1996, a  
  retrospective Pleasers CD entitled "Thamesbeat" appeared on the Lost  
  Moment label.  
  Biography by Henrick B. Poulsen

1. Billy Benham/Mcnerney  
2. Troublemaker  
3. You Dont Know Benham  
4. Lets Dance Jim Lee  
5. Stay With Me  
6. Kids Are Allright  
7. Precis Benham  
8. Rock 'n' Roll Radio  
9. Breaking My Heart  
10. My Girlfreind's Back  
11. Im Still In Love  
12. Change My Mind  
13. Lies  
14. Im In Love #2  
15. Who Are You  
16. You Know What Im Thinking Girl  
17. Hello Little Girl  

By Don Williams "

These four guys must have been inspired by Beatlemania (the stage show and the real thing) to an unnatural extent. However, they were actually able to pull off their faux Beatles act (Benham/McNerney, rather than Lennon/McCartney) far better than any reasonable person might expect. An idea like this hinges on the ability to write good songs--and this record shows The Pleasers were able to do that. In fact, Precis Of A Friend, does Rubber Soul-period Beatles as well as the originals, and that's saying a lot! Even a cover of The Who's classic "The Kids Are Alright" has the proper feel. Against all odds, this is really a cool record. Comment Comment | Permalink | Was this review helpful to you? Yes No (Report this)
In the present, the sound, while retro in orientation, is a timeless sound. As proud Londoners, the group described their sound as Thamesbeat but you might know it better by the name their music was given by press of the time: Powerpop.Yes The Pleasers were the group who gave birth to the title that defines strong melodic pop to this day. They were at the forefront of the new wave of guitar-based groups that swept through the Britain`s music industry in the late 70s.They wrote and performed great songs with superb harmonies, jangling guitars and pure sixties drum fills, and their live shows brought back the fashion for being surrounded by cool guy`s wearing thin ties and screaming mini skirted girls. Extremely Highly Recommended!

Max Merrit's Meteors & The Pleasers 2 in 1 Australia\NewZeland

(Very Rare Australian Beat) 
Max Merrit's Meteors - 1965
  Max Merritt (Guitar / Vocals)
1960 Line-Up:
  Pete Sowden (Drums)
  Maurice Cook (Lead Guitar)
  Billy Kristian (Bass Guitar)
1966 Line-Up:
  Peter Williams (Lead Guitar)
  Billy Kristian (Bass Guitar)
  Bruno Lawrence (Drums)

In November 1959, Harry M Miller flew Max to Auckland for a solo spot on the 'Summertime Spectacular'. On his return to Christchurch, and also because he was now a recording star, his popularity soared even higher. The group started doing lunchtime performances at record stores, with crowds spilling out onto the footpath, and audiences at the Teenage Club increased.

There were more personnel changes in 1960, with Bernie Jones, Rod Gibson and original member Ian Glass all leaving. Pete Sowden returned to the group on drums and Billy Kristian switched to his favourite instrument, the bass, and new-comer Maurice Cook joined on lead guitar.

This twin guitar, bass and drums combination was to be the standard Meteors format over the next few years. In 1961 they started playing a third venue to their schedule by also playing at the Hibernian Hall. This place had a reputation as being a rather rough joint and often fights would break out. When Maurice Cook left the band, Max replaced him with Geoff Cox, who was also a South Island boxing champion, and this came in handy when fights broke out. Cox didn't stay too long with the group and he was replaced by Peter Williams on rhythm guitar.

The group continued to cement their status as the most popular group in the South Island and in 1961 had another successful local hit with "Mr Loneliness"/"If You Want My Lovin' ", but outside their local area they remained relatively unknown. 1962 saw two more singles, "Weekend"/"Easy To Dream" and "Cossack"/"The Slow One".

By the end of 1962, Max came to the conclusion that if he was to be more successful, he would have to venture further afield, a view also shared by Ray Columbus and the Invaders. The two groups gave a farewell concert to Christchurch in November 1962 and headed north. Max and the boys gigged their way up the North Island during December and arrived in Auckland just before Christmas, to find that Ray and his group had gone straight there and had already taken the town by storm. Max Merritt and the Meteors started to find that they were always playing bridesmaid to Ray Columbus and the Invaders. Everything they decided to do, Ray was already there.

After a few gigs at the Oriental Ballroom, Max Merritt and the Meteors took up residence at a newly opened club called the Top 20. Word spread fast around Auckland and every rock musician in town was checking out these two new groups to hit town. With their Fender gear, fancy routines, matching outfits, Auckland audiences just stared in disbelief. They were way ahead of anything that was performing in Auckland at the time.

During 1963, Max retained the residency at the Top 20 club and also did some tours. When Max was offered a month long tour around the North Island, he needed a replacement band to mind his spot at the Top 20. He did not want to allow a local opposition Auckland group the opportunity, so he called another Christchurch group called the Playboys and offered them the gig. They jumped at the opportunity and headed north. The Playboys contained a female singer by the name of Diane Jacobs. She made the most of the groups time playing every night for the month. When Max finished the tour, the Playboys returned to Christchurch. Diane now had a taste for the big smoke and when the Playboys folded, she moved back to Auckland as Dinah Lee. Work as a singer was not easy to find, but she did manage to get a few spots with Max Merritt and Ray Columbus, and guest spots with a number of other established groups, before becoming famous as New Zealand's top female singer.

Meanwhile HMV released the last single they had from their earlier recording sessions, "Valley Of The Sioux"/"Laughing Girl" in 1963. There were also some more line-up changes, with Billy Kristian leaving to try his hand on the Pacific Islands Resort circuit, before soon joining up with Ray Columbus and the Invaders, and Pete Sowden deciding to head back to Christchurch. Their places were taken by two musicians from Hastings, John Dick on drums and Mike Angland on bass. Both John and Mike had been members of the Contacts.

Their only other release in 1963 was a one-off recording on the Zodiac label called "Soft Surfie"/"She's Everything I Want You To Be". This single was also released in Australia on Zodiac. On November 23rd 1963 Max took the group across the Tasman for the first time and visited Sydney. When he got there he found that the local scene was being dominated by Billy Thorpe and the Aztecs and Ray Brown and the Whispers, as well as a new group that had arrived from New Zealand, you guessed it, the Invaders. Max stayed there for six months playing in a lot of the Sydney dives and making absolutely no money. They had to beg for work and in the end decided it was no good and came back to Auckland.

A record deal was struck with Viking Records in 1964 and their first release on that label was an EP called "Giddy Up Max", containing "Giddy Up A Ding Dong", "Almost Grown", "Little Bitty Pretty One" and "Sweet and Tender Romance". A single with "Giddy Up A Ding Dong" and "Sweet and Tender Romance" also came out. The releases didn't sell very well, but the band's musicianship so impressed Viking, that the Meteors became the label's house band. They provided backing for the label's solo artists, Tommy Adderley, Dinah Lee and Peter Posa.


The Pleasers - 1964
  Roger Skinner (Lead Guitar / Vocals)
  Brian Layton (Rhythm Guitar / Vocals)
  Kevin Walsh (Bass Guitar / Vocals)
  Max Thompson (Drums)

Roger Skinner had served his apprenticeship well, by the time he formed the Pleasers in January 1964. Roger began his career back in 1957 with a skiffle group he formed, called the Kool Kats. With him in that group were Jimmy Elliot, later of the Premiers and the Dallas Four, Peter White on tea-chest bass and Lance Whittington on drums.

After the Kool Kats, Roger formed the Top Hats, who consisted of Graham Gibson, Geoff Land, Neville Findlay, Ian Goldwater, Neil Harvey and Roger. They used to play at RSA dances for several months until Goldwater and Harvey left. This was in 1960 and the remaining members renamed themselves the Versatones. Basing themselves as a Shadows type band, they secured regular paying gigs on the social circuits of Auckland City, playing regularly until disbanding at the end of 1963.

The Pleasers was his next outing, formed with Brian, Kevin and Max. They were inspired by the Beatles and managed to get a residency at the Beatle Inn, taking over from the Merseymen. Building their own group of fans, they were also giving a guest spot on television's "In The Groove", where they came to the attention of the producers of the Wellington based TV music show "Let's Go". They were offered a contract to be the shows resident band until the end of 1964.

This required a move to Wellington, and as soon as they got there they were also offered residencies at Teenarama and at the Petone Youth Club. The Pleasers replaced the Librettos at Teenarama and also as resident band on "Let's Go", after they had gone to Australia.

A recording contract was also secured with Red Rooster, a subsidiary of Viking Records. Their first single was "Ain't Gonna Kiss You"/"Move It". It was a cover of the Searchers song and when released in 1964, the Pleasers used the TV show to help promote it. The follow-up single is their best known one, "Yes My Darling"/"For Ever". It also came out in 1964 and was included on an EP called "The Pleasers" and an album called "Let's Go with Pete Sinclair and the Pleasers" that was released in early 1965. Their third single was "Lovely Lovely"/"Let's Go" and was actually cut with host Pete Sinclair.
 1. So Long Baby
  2. Little Queenie
  3. You Are Treating Me Bad
  4. Rocking Robin
  5. I Believe
  6. Heatwave
  7. Without You
  8. I Wish You Love
  9. I Am Not A Bad Guy
10. Sticks And Stones
11. You Do Not Know Baby
12. The Work Song
13. Let s Go
14. Forever
15. Mona
16. She Has Had It
17. Memphis
18. Silver Threads And Golden Needles
19. When Will It End
20. Bo Diddley
21. Ain t Gonna Kiss Ya
22. I Just Do Not Like To Be Alone
23. High Heel Sneakers
24. Yes My Darling

V.A. - The Best Of British (1962-68)

01 Do Wah Diddy Diddy - MANFRED MANN 2:19
02 Mrs Brown You've Got A Lovely Daughter - HERMANS HERMITS 2:40
03 Really Got Me - THE KINKS 2:08
04 Needles And Pins - THE SEARCHES 2:08
05 Silence Is Golden - THE TREMELOES 3:05
06 Little Children - BILLY J KRAMER 2:39
07 Puppet On A String - SANDIE SHAW 2:15
08 Hold Me PJ PROBY 2:30
09 Have I The Right - HONEYCOMBS 2:52
11 Bus Stop - THE HOLLIES 2:48
12 With A Girl Like You - THE TROGGS 2:02
13 Those were The Days - MARY HOPKINS 4:50
14 World Without Love - PETER AND GORDON 2:34
15 Catch The Wind - DONOVAN 2:48
16 If You Gotta Make A Foll Of Somebody - FREDDIE AND THE DREAMERS 1:52
17 She's Not There - THE ZOMBIES 2:18
18 Sorrow - THE MERSEYBEATS 2:12
19 Gloria - THEM 2:31
20 Hippy Hippy Shake - SWINGING BLUE JEANS 2:00

Ladies W.C. - Ladies W.C (1969)

Steve Scott (vocals, bass)
Mario Seijas (drums)
Jaime Seijas (vocals, guitar)
Adid Casta (vocals, guitar)

Credit to the band this much — they actually went right ahead and started their album with a flushing toilet, living up to their name and album art (the latter provided by guitarist/organist Adib Casta, later to gain more fame for his paintings). That droll touch aside, Ladies WC's sole album, like that of many one-offs from the Latin American late-'60s rock scene, is caught somewhere between moments of individual flair and amiable imitation of obvious favorites. Reissued by the Shadoks label in 2004 as part of their continuing exhumation of various small-release rarities — the original album only received a pressing of 4,000 in 1969 — it's still one of the more enjoyable full-lengths to get a digital revival. In his liner notes, bassist Steve Scott, the one American member of the Venezuelan quartet and co-writer of most of the songs with Casta, speaks of their love of such acts as Paul Butterfield, early Steve Miller, Cream, and so forth. There's little question that if one has heard enough electric blues-rock of the period that there won't be many surprises with songs like "Heaven's Coming Up" and "Put That in Your Pipe and Smoke It." To their credit, though, the quartet created a slew of originals instead of simply energetically delivering covers, and that plus their own exuberance means an album that throws in a few curve balls along the way, making an enjoyable listen. The occasional ballads are particularly lovely in a soft, drifting psychedelic way — "To Walk On Water" blends low-key harmonica, chimes, and an echoed vocal to striking effect. The signature touch on the album is a series of sound effects rather than silence separating each of the songs — fire engines, applause, and so forth — and while it wasn't an innovation on their part, it's still amusing enough. 

1 People 2:41
2 I Can't See Straight 3:20
3 To Walk On Water 3:26
4 Heaven's Coming Up 4:22
5 And Everywhere I See the Shadow of That Life 3:25
6 Searching for a Meeting Place 2:49
7 Put That in Your Pipe and Smoke It 3:11
8 The Time of Hope Is Gone 2:35
9 W.E. Blues 2:53
10 I'm Gonna Be 5:48

The Id - The Inner Sounds Of The Id ( 1967)

The Id is a studio project between some musicians who all had their own busy life in music business of which most of them had some fame as arranger or studio artist in the past, and who would also continue like this after this project.

-Guitarist Jerry Cole appeared before on “Tequilla” from the Champs and worked with numerous famous artists, like Jerry Lee Lewis, The Righteous Brothers, Little Richard, Aretha Franklin, Steely Dan, James Taylor, Blood, Sweat And Tears, Chicago, the Byrds, Greg Allman, the Righteous Brothers, Henry Mancini, Kenny Rogers, Hank Williams Jr., and so on, working for Phil Spector as a steady studio musician. Around the time of working on the Id he was recording with the The Beach Boys on their "Pet Sounds" album, besides he was playing kind of surf guitar with his Spacemen. Later he became producer for Frank Sinatra and Dean Martin, and always showed a certain vivid guitar style, while drummer Don Dexter also worked with artists like Rick Nelson ; bass player Glenn Cass went later into country music while his younger brother Norm Cass, as a guitarist, later will do arranging for more than 15 years with country music star Gene Watson ; several of these artists participated in various TV shows).- More ...
01. The Rake - 2.01
02. Wild Times - 3.06
03. Don?t Think Twice - 2.46
04. Stone And Steel - 3.40
05. Baby Eyes - 2.51
06. Boil The Kettle, Mother - 3.01
07. Butterfly Kiss - 2.34
08. Short Circut - 3.01
09. Just Who - 2.44
10. The Inner Sounds Of The Id - 10.29
11. Kimega (Bonus) - 2.50
12. Uh Uh Uh (Bonus) - 3.16

Alex Harvey - Roman Wall Blues (1969)

Alex Harvey - Guitar
Leslie Harvey - Guitar
Mickey Keene - Guitar
Bud Parks - Trumpet
Derek Watkins - Trumpet
Derek Wadsworth - Trombone, brass arrangements
Frank Ricotti - Alto sax, percussion, brass arrangements
Ashton Tootle - Baritone sax, flute
Laurie Baker - Bass guitar, electronics
Maurice Cockerill - Keyboard
Pete Wolfe - Drums

Roman Wall Blues was an awkward though intermittently interesting effort that still found Harvey in the midst of his long, halting transition from soul-blues artist to a more original songwriter who fused satire and hard rock with R&B. Many of the arrangements have a dated horn-adorned soul-rock feel, and the trendy band-on-the-road hippie phraseology isn't as funny as it was probably intended to be. But there are some genuinely enjoyable tracks here and there, like the goofy minstrel folk-rock of "Broken Hearted Fairytale," the desultory lament "Maxine," and the uncommonly grim title track, where Harvey plays the part of an actual Roman soldier on patrol. And Harvey's vocals are never less than exuberant, in the manner of that hyperactive kid who's barely toned down even after reaching adulthood, particularly on the '50s rock & roll-style "Donna." Covering the Rolling Stones' "Jumpin' Jack Flash" was an utterly superfluous endeavor, however. It's among the rarest of Harvey's albums, and as a little-heard link in his evolution it deserves reissue, in spite of its inconsistency. 

1. Midnight Moses
2. Hello L.A. Bye Bye Birmingham
3. Broken Hearted Fairytale
4. Donna
5. Roman Wall Blues
6. Jumping Jack Flash
7. Hammer Song
8. Let my Bluebird Sing
9. Maxine
10. Down At Bart's Place
11. Candy

Fanny - Fanny (1970)

For woody
This disc features the self-titled debut from Fanny, the first all-female rock & roll band signed to a major record label. The self-contained quartet not only sports exceptional musicianship, but also some highly original pop and rock compositions. Under the tutelage of veteran record producer Richard Perry, Fanny challenged (and by all accounts won) the hearts and minds of the prevailing male-dominated recording industry of the early '70s. Fanny is a solid effort with original rockers such as "I Just Realized," "Changing Horses," and "Seven Roads" arguably outweighing the inspired covers of Cream's "Badge" and the obscure Billy Vera/Judy Clay tune "It Takes a Lot of Good Loving." Mixed in with those harder-edged tracks are the comparatively mellow -- yet decidedly hip -- "Bitter Wine," "Candlelighter Man," and "Conversation With a Cop." Prior to the U.S. release of Fanny and before Nickey Barclay officially joined the band, an alternate version of the album was issued in Canada. This adaptation -- christened "Fanny .50" by vinyl collectors and enthusiasts alike -- is different in several notable ways. Most apparent is the unique running order substituting the tracks "Changes," "One Step at a Time,""Nowhere to Run," "Ladies Choice," and "New Day" with "I Just Realised," "Candlelighter Man," "Changing Horses," "Bitter Wine," "It Takes a Lot of Good Lovin'," and "Shade Me." While no exact figures exist in regards to how many copies were pressed or subsequently sold, it has become one of if not the most collectible entry in the band's Reprise Records discography. The Internet-only sonic boutique Rhino HandMade -- online at -- has issued First Time in a Long Time: The Reprise Recordings, which contains both versions of this landmark album.
1. Come And Hold Me
2. I Just Realized
3. Candlelighter Man
4. Conversation With A Cop
5. Badge
6. Changing Horses
7. Bitter Wine
8. Take A Message To The Captain
9. It Takes A Lot Of Good Lovin
10. Shade Me
11. Seven Roads

Georgie Fame & The Blue Flames - 20 Beat Classics (1981)

Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Booker T. & the MG's, and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic.

Fame was born Clive Powell...
01. Yeh Yeh
02. Getaway
03. Do Re Mi
04. My Girl
05. Sweet Things
06. Point Of No Return
07. Get On The Right Track, Baby
08. Ride Your Pony
09. Moody's Mood For Love
10. Funny How Time Slips Away
11. Sunny
12. Sitting In The Park
13. Green Onions
14. In The Meantime
15. Papa's Got A Brand New Bag
16. Blue Monday
17. Pride And Joy
18. Pink Champagne
19. Let The Sunshine In
20. I Love The Life I Live


Thursday, July 30, 2009

The Renegades - Cadillac Part 3

The Renegades - Cadillac (ARTONE)
1 - And I Need You
2 - Things Will Turn Out Right
3 - Brocken Heart Collector
4 - If It Get's Lonesome
5 - Walking Down The Street
6 - When I Dream
7 - Right Now
8 - Take A Message
9 - Can't You See
10 - Sun Arise
11 - Cadillac (ital)
12 - Lola (ital)
13 - Se Morisse Il Sole
14 - Uomo Solo
15 - Era Settembre
16 - Hungarian Mod

The Renegades - Have Beat,Will Travel&Renegades Part 2

From Jancy
The Renegades - Have Beat,Will Travel &  Renegades (OXFORD)
1 - Thirteen Woman
2 - Hey Look Over Here
3 - That Kind Of Girl
4 - Blue Eyes
5 - Take A Heart
6 - Rockin Pneumonia & Boogie Woogie Flu
7 - Love Love Love
8 - Nobody's Child
9 - Every Minute Of The Day
10 - The Girl Can't Help It
11 - I Was There
12 - Far From It
13 - Don't Run To Me
14 - The Alamo
15 - Un Giorno Tu Mi Cercherai
16 - Stai Con Noi
17 - I Discorsi Che Mi Fai
18 - You're Gonna Lose Her Loving
19 - This Little Girl
20 - Big Star
21 - That Song Really Knocks Me
22 - Toys
23 - John Fitzgerald Kennedy
24 - Il Piu' Grande Amico
25 - Se Sarai La Ragazza Del Cuore
26 - Il Momento Giusto


The Renegades - Cadillac &Complete Part 1

Kim Brown vocal, guitar
Denny Gibson guitar
Graham Johnson drums
Ian Mallet bass guitar
Joe Dunnett guitar

The Renegades was formed in Birmingham, England in the early 1960s. In the beginning the group's primary influence was The Shadows, but they were soon to change their style into straightforward rock & roll and rhythm & blues. Around 1963, besides hardening their music, they also embraced themselves a harder look, when they started wearing cavalry uniforms of the time of American civil war as their stage outfit.
In February 1964, The Renegades' version of Liszt's 'Hungarian Rhapsody' appeared on a compilation titled 'Brum Beat', which introduced Birmingham's rock groups. Excepting that and an acetate single for Morden-based Oak Records and a budget priced album for Fidelio/Summit Records (produced by Delta Record Company of London), The Renegades did most of their 1964-66 recordings for the Finnish Scandia Records and after that for the Italian Ariston and Columbia Records (which leased the material forward to English, American and Middle-European labels). In Holland it was Artone records that released the records. They changed the track listing of 'Cadillac' a little to make it more attractive for the Dutch market.
Kim Brown, Denys Gibson, Ian Mallet and Graham Johnson conquered Finland in October 1964, when they did a one-off gig at a model show in Helsinki, and then started a constant seven weeks' tour, playing at multifarious dance floors around the Finnish country side (the originally planned three-week stint was extended because of a massive success and demand). The first visit also included two tv-appearances ('Nuorten Tanssihetki' & 'Uudet Tuulet' shows), and signing the record deal with Scandia Records. Since 1967, The Renegades had visited in Finland altogether seven times. Besides them, they also appeared in late 1965 in Germany, Holland, Switzerland and Italy, where they returned in 1966 to took part in song contest with 'Un Giorno Tu Mi Cercherai' at the San Remo music festival.
Although they were treated here as the '2nd Beatles', The Renegades wasn't actually a beat group in the literal sense of the word. Of course they sounded rougher than fifties or early sixties groups, but a notable part of their repertoire was still straight rock & roll, and they were obviously affected by black blues music as well. These influences were heard also in their own compositions, but ironically, their biggest Scandinavian hit 'Cadillac', which was credited to be written by themselves, was actually a simplified remake of rock & roll classic 'Brand New Cadillac', penned and recorded by Vince Taylor. In Sweden, The Renegades version was covered by The Hep Stars, while in Finland, Eero ja Jussi & The Boys remade it as a humorous Finnish translation 'Mosse' (which is a synonym for the popular Russian automobile brand... Hmm ????..., although the lyrics are talking about a horse of the same name).
The Renegades - Cadillac  (HANSA )  &  Complete
1 - Cadillac
2 - Do The Shake
3 - Seven Daffodils
4 - Hold Me Close
5 - What'd I Say
6 - I'm A Hog For You
7 - Lucille
8 - Bad Bad Baby
9 - If I Had Someone To Dream Of
10 - Talahassie Lassie
11 - More Than Peggy Sue
12 - Don't Make A Fool Out Of Me
13 - Look At Me
14 - Iv'e Been Unkind
15 - Everybody
16 - One Day
17 - Casting My Spell
18 - My Heart Must Do The Crying
19 - Walk Out On You
20 - Unchain My Heart
21 - You Love Me Too
22 - Will You Love Me Tomorrow
23 - White, Brown And Black
24 - Matelot
25 - Comin' Home Baby
26 - The World Is My Home

Rocking Vickers - The Complete Collection (1995)

A competently energetic but relatively faceless British mid-'60s band, the Rockin' Vickers are mostly remembered today because the guitarist for the bulk of their recording career was Ian Willis, who would eventually gain international fame as Lemmy with Hawkwind and Motцrhead. The Blackpool band were still Lemmy-less when they made their debut in 1964 with a supremely raunchy version of Neil Sedaka's "I Go Ape," which was anthologized in the '70s on Hard-Up Heroes, the British equivalent of Nuggets. They'd only record three other singles, all of which had Lemmy aboard on guitar. Although capable of generating respectably raunchy, modish heat, they had nothing ... Read More...

01 - I Go Ape
02 - Someone Like Me
03 - Zing! Went The Strings Of My Heart
04 - Stella
05 - It's Alright
06 - Stay By Me
07 - Dandy Davis
08 - I Don't Need Your Kind
09 - Baby Never Say Goodbye
10 - I Just Stand There
11 - Say Mama
12 - Shake Rattle & Roll
13 - What's The Matter Jane
14 - Little Rosy
A very competent group with mod, Merseybeat, and R&B leanings, the Rockin' Vickers never came close to carving a sound of their own. Combined with their lack of original material, that condemned them to trivia-question status in the very competitive days of the British Invasion. Complete: Its Alright! has both sides of all four of their 1964-1966 singles, plus six previously unreleased tracks; the crazed primitive guitar solo on "I Go Ape" is the undoubted highlight. 



The Motions - Impressions Of Wonderful (1965 - 1967) Netherland

The Motions from The Hague were one of the bigger groups of the 1960s Dutch beat explosion. They were formed out of the remnants of Ritchie Clark and the Ricochets in 1964 and went on to become hitmakers for the next several years in the '60s. The Motions were much loved abroad, even in the USA. The Walker Brothers even recorded a song The Motions had written and helped in the production of the group's second LP; The Motions were also brought to the USA in 1968 and presented to the public as one of the world's top hit-making pop groups! The single, "Freedom", reached high in the American charts.

Although the group disbanded in 1971, the most imporant members have met each other again and again in new groups such as Crossroad, Greenhorn, Jupiter and Galaxy Lin.

From 1964 till 1967, the line-up remained the same: Rudy Bennett (i.r.l. Ruud van de Berg - vocals, earlier as Ritchie Clark and the Ricochets), Robbie van Leeuwen (guitar, ex-Atmospheres & Ricochets, later the founder of both Shocking Blue and Galaxy Lin), Henk Smitskamp (bass, ex-Willy & Giants, later to Livin' Blues) & Sieb Warner (drums, ex-Ricochets, later to Golden Earrings).

In 1967, Robbie left to form Shocking Blue and was replaced by Leo Bennink (ex-Mack); Henk was replaced by Gerard Romeyn (ex-Tee-Set, later with Nico Haak, Image), who, in turn, was replaced by Paul van Melzen (ex-Haigs, later in the Mailer McKenzie Band) after just six months. The last line-up of the group (up 'til 1971) was: Rudy, Leo, Jan Vennik (sax, flute & organ, ex-Jayjays, later to Rob Hoeke & Ekseption), Han Cooper (organ, bass & vocals, ex-Bobby Green Selection, later with Leo, to Fisher & Friends) and Bobby Green (drums, ex-Bobby Green Selection, also to Fisher & Friends).

After the breakup, Rudy Bennett, Bobby Green & Gerard Romeyn all released solo singles.

01. (For) Another Man (A Side Havoc SH 108) (5-1965)
02. I've Waited So Long (B Side Havoc SH 108) (5-1965)
03. You Bother Me (A Side Havoc SH 107) (5-1965)
04. Be The Woman I Need (from INTRODUCTION THE THE MOTIONS - Havoc HJH 2) (1965)
05. Love Won't Stop (A Side Havoc SH 110) (8-1965)
06. Who'll Save My Soul (from INTRODUCTION THE THE MOTIONS - Havoc HJH 2) (1965)
07. Take Your Time (from INTRODUCTION THE THE MOTIONS - Havoc HJH 2) (1965)
08. Everything That's Mine (A Side Havoc SH 114) (2-1966)
09. There's No Place To Hide (B Side Havoc SH 114) (2-1966)
10. Late Last Night (from THEIR OWN WAY - Havoc IHLP 2) (1966)
11. Too Late To Be Sorry (from THEIR OWN WAY - Havoc IHLP 2) (1966)
12. You Can't Fight It (from THEIR OWN WAY - Havoc IHLP 2) (1966)
13. You've Hurt Yourself (from THEIR OWN WAY - Havoc IHLP 2) (1966)
14. My Babe (from THEIR OWN WAY - Havoc IHLP 2) (1966)
15. Sittin' On The Top Of The Roof (from THEIR OWN WAY - Havoc IHLP 2) (1966)
16. Hard Time Blues (French EP Vogue INT 18097) (5-1966)
17. I'm Wondering (unreleased track) (11-1966)
18. Ain't That Nice (unreleased track) (11-1966)
19. Love Is Good, Love Is Real (from SONGBOOK - Teenbeat APLP 101) (1967)
20. Suzie Baby (B Side Havoc SH 130) (8-1967) [0:02:07.72]
21. Tonight Will Be Stoned (A Side Havoc SH 139) (5-1967)
22. Ramblin' Rose (from SONGBOOK - Teenbeat APLP 101) (1967)
23. Wonderful Impressions (A Side Havoc SH 137) (8-1967

Monday, July 27, 2009

Cliff Bennett And The Rebel Rousers - Cliff Bennett & Got To Get You Into Our Life (1965&1967)


Mp3 192\ 93 Mb


Cliff Bennett & The Rebel Rousers was the first London band to be signed by The Beatles manager, Brian Epstein. Their innovative brass sound introduced British youth to soul music. Within three months of Epstein's management, the band had their first UK hit single with “One Way Love” and a tour of Germany with The Beatles. They were the first British band to be signed to the Motown label.
Cliff crowned his success with The Rebel Rousers in 1966 with a song written exclusively for him by Lennon & McCartney - "Got To Get You Into My Life" which reached No. 3 in the UK charts, creating a unique British soul sound. Their other hits include: "Back In The USSR", "One Way Love" and "I'll Take You Home"
The Rebel Rousers, named after a Duane Eddy number, were initially born in the mid 50's by Cliff Bennett and various friends performing skiffle numbers and Rock & Roll covers wherever they could find space to rehearse. By the turn of the decade the band had stabilized to its first professional line up of Cliff Bennett, Mick King, Frank Allen, Sid Phillips and Ricky Winters. It was during this time that they were discovered by legendary producer Joe Meek who took them into his studio and recorded such great songs as "Poor Joe" amongst others.
Whilst the Joe Meek era produced no hits it did get the band noticed enough to secure tours of the Hamburg clubs in Germany and it was here that Cliff Bennett and The Rebel Rousers were spotted and signed up by The Beatles Manager Brian Epstein.
With the demise of the Rebel Rousers in 1969 Cliff formed 'Toe Fat' who recorded two albums before Ken Hensley and Lee Kerslake left to form Uriah Heep
Over recent years Cliff has found a new generation of fans enjoying his soulful music once again and has toured with The Manfreds, Alan Price, Georgie Fame, Chip Hawkes, The Animals, Zoot Money, Dave Dee and Colin Blunstone. He has also gained a new lease of life in Denmark where he is currently a regular on the tour circuit.
In 2007 we see Cliff teaming up with the official new Amen Corner where they have put together their The Best of Psychedelic and Rhythm ‘n’ Blues Tour featuring a two hour non-stop show with the very best in 60’s Psychedelic Pop & British 60’s R’n’B. (

The Official Website of Cliff Bennett

Cliff Bennett on

Cliff Bennett & Got To Get You Into Our Life
(ADA Sound Label)
Cliff Bennett And The Rebel Rousers (1965) - Review by Bruce Eder

If Cliff Bennett's debut album could've come out a year sooner than it did, it just might've pushed Bennett and his band the Rebel Rousers to the front rank of British Invasion acts, and maybe just a few steps from the top rank of British beat artists at home — it's that good. more

Got To Get You Into Our Life (1967) - Review by Bruce Eder

The third album by Cliff Bennett & The Rebel Rousers followed the tried-and-true formula of its two predecessors, with superior results. Bennett's cover of the Beatles' "Got To Get You Into My Life" was a popular single in its own right, and with that number as the jumo-off point for the long-player, the group produced a superb album around it, filled with nothing but highlights — Bennett was in top form covering Sam & Dave and Wilson Pickett numbers, as well as one fine original ("Baby Each Day"), and this record contained some of the best blue-eyed soul coming out of England at the time. Indeed, his renditions of "Barefootin'" and "Ain't Love Good Ain't Love Proud" hold up as well in 2007 as they did in 1967. Sad to say, Got To Get You Into Our Life was also the swan song for the Rebel Rousers, who subsequently parted company with Bennett


1. I Can't Stand It 2. Sweet And Lovely 3. Make Yourself At Home 4. You've Really Got A Hold On Me 5. Ain't That Lovin' You Baby 6. Sha La La 7. One Way Love 8. Steal Your Heart Away 9. It's All Right 10. Beautiful Dreamer 11. Mercy Mercy 12. Talking About My Baby 13. The Pick-Up 14. It's A Wonder 15. Ain't Love Good Ain't Love Proud 16. 634-5789 17. Roadrunner 18. Baby Each Day 19. Got To Get You Into My Life 20. Barefootin' 21. See Saw 22. I'm Not Tired 23. Stop Her On Sight 24. You Don't Know Like I Know 25. C C Rider Blues


Heinz -The Complete Heinz

Mp3\115;121 Mb
News by Andrzej 
Great present from Poland
This double-CD set, with 44 songs recorded by the early- to mid- '60s British pop/rock star Heinz, may seem like overkill, but as it turns out, it's not. Heinz, or Heinz Burt as he was known in The Tornados, was not only a prodigious talent, but a highly consistent recording artist. From the first two tracks here, dating from 1962, to the last one -- a live recording of "I Got a Woman" done in 1965 from the Cavern Club -- the recordings are exciting and interesting, and memorable. Heinz' producer on these sides was the legendary Joe Meek, and his signature attributes -- flashy keyboards and guitar, all very compressed -- can be found on much of it, but unlike a lot of other extended bodies of Meek's recordings, this body of music is highly listenable, track after track. Heinz was a better singer than he usually got credit for being, and he cut superb versions of "Summertime Blues" and "Twenty Flight Rock," and was just as good doing songs that came out of Meek's stable of composers, including Geoff Goddard's "Hush-a-Bye," and his singing makes even lackluster songs such as "(Sorry) I Ran All the Way Home" more interesting than they should be. The annotation is also extremely thorough, not just concerning the songs but also Heinz's career, which was, sadly, cut short by illness in the 1990s. ~ Bruce Eder, All Music Guide
Disc: 1 
1. Dreams Do Come True 
2. Been Invited to a Party 
3. Just Like Eddie 
4. Don't You Knock at My Door 
5. Country Boy 
6. Long Tall Jack 
7. You Were There 
8. No Matter What They Say 
9. Please Little Girl 
10. For Loving Me This Way 
11. Questions I Can't Answer - Heinz & The Wild Boys 
12. Beating of My Heart - Heinz & The Wild Boys 
13. Diggin' My Potatoes - Heinz & The Wild Boys 
14. She Ain't Coming Back - Heinz & The Wild Boys 
15. Don't Think Twice It's Alright - Heinz & The Wild Boys 
16. Big Fat Spider - Heinz & The Wild Boys 
17. End of the World 
18. You Make Me Feel So Good 
19. Heart Full of Sorrow 
20. Don't Worry Baby 
21. Movin' In 
22. I'm Not a Bad Guy 
Disc: 2 
1. I Get Up in the Morning 
2. Talkin' Like a Man 
3. That Lucky Old Sun 
4. Lonely River 
5. Live It Up 
6. Don't You Understand 
7. When Your Loving Goes Wrong 
8. Tribute to Eddie 
9. Hush-A-Bye 
10. (Sorry) I Ran All the Way Home 
11. Summertime Blues 
12. Don't Keep Pickin' at Me 
13. Cut Across Shorty 
14. Three Steps to Heaven 
15. Come on and Dance 
16. Twenty Flight Rock 
17. Look for a Star 
18. My Dreams 
19. I Remember 
20. Rumble in the Night 
21. Somebody to Love [Live] 
22. I Got a Woman [Live]

Here is a great compilation of early '60s rock 'n' roll from Heinz & Joe Meek that clearly shows that the Brits were superior to the Americans when it came to music. No syrupy ballads or watered down remakes (like Pat Boone did) here. Good rocking songs with great guitar solos courtesy of one young Ritchie Blackmore (on most of them). 
Buy it!!!

Sunday, July 26, 2009

The Shadows Of Knight - 4 albums



News from Jancy

"The Stones, Animals and Yardbirds took the Chicago Blues and gave it an English interpretation. We've taken the English version of the Blues and re-added a Chicago touch." The Shadows of Knight's self-description was fairly accurate. Although this mid-'60s garage band from the Windy City did not match the excellence of either their British or African-American idols, the teen energy of their recordings remains enjoyable, if not overwhelmingly original. The group took a tamer version of Them's classic "Gloria" into the American Top Ten in 1966, and also took a Yardbirdized version of Bo Diddley's "Oh Yeah" into the Top 40 the same year. Their patchy albums contained a few exciting R&B covers in the Yardbirds/Stones... Read More...


All Reviews from for CD release

Gloria - 1966

Although revisionist historians will claim that any Shadows of Knight best-of that includes "Gloria" will cover just about everything you'll ever need on this Chicago punk band (and usually acting as if Van Morrison's and Them's original was the actual hit — wrong), true believers have long championed their two original albums for the Dunwich label, especially their debut long-player named after their big hit. Why? Simply because it positively rocks with a raw energy of a band straight out of the teen clubs, playing with a total abandon and an energy level that seems to explode out of the speakers. Equal parts Rolling Stones, Yardbirds, Who, and snotty little Chicago-suburb bad boys, the Shadows of Knight could easily put the torch to Chess blues classics, which make up the majority of the songs included here. Their wild takes on "I Just Want to Make Love to You," "Oh Yeah," and "I Got My Mojo Working" rank right up there with any British Invasion band's version from the same time period. Original material was never plentiful on either SOK long-player, but worth checking out are "Light Bulb Blues," the blues ballad "Dark Side," and the why-me? rocker "It Always Happens That Way." Completing the package is the inclusion of three bonus tracks, the single-only "Someone Like Me" and an alternate version, and "I Got My Mojo Working," which is vastly superior to the take on the original album. A not-too-vastly-different alternate mix of "Oh Yeah" completes the bonus tracks, although the original album version is curiously missing from this otherwise excellent package. Nonetheless, a reissue well worth adding to the collection. If you're only going to own one Shadows of Knight package, you could, and should, start right here.


01 - Gloria
02 - Light Bulb Blues
03 - I Got My Mojo Working
04 - Dark Side
05 - Boom Boom
06 - Let It Rock
07 - Oh Yeah
08 - It Always Happens That Way
09 - You Can't Judge A Book
10 - Hoochie Coochie Man
11 - I Just Want To Make Love To You



Back Door Men - 1967

The original LP version of this album, the second by the legendary white Chicago garage punk/blues outfit, was one of the most sought-after artifacts of mid-'60s punk rock. Back Door Men was a loud, feedback-laden, sneering piece of rock & roll defiance, mixing raunchy anthems to teenage lust ("Gospel Zone," "Bad Little Woman"), covers of Chicago blues classics (Willie Dixon's "Spoonful," Jimmy Reed's "Peepin' and Hidin'"), raga rock ("The Behemoth"), folk-rock ("Hey Joe," "Three for Love," "I'll Make You Sorry"), and a blues-punk grab off of commercial Top 40 ("Tomorrow's Gonna Be Another Day") all on one 12" platter. What makes the record even more startling is that every one of these tracks, however far afield they go from one another, works. The band strides across the music spectrum with a reach and boldness that most listeners usually only associate with the likes of the Beatles or the Rolling Stones, and a grasp that, for a moment here, may have exceeded either of those groups, as they slide from electric guitar into extended Chess-style blues instrumentals ("New York Bullseye").


12 - Bad Little Woman
13 - Gospel Zone
14 - The Behemoth
15 - Three For Love
16 - Mystery Track - I'm Not Talking
17 - Hey Joe
18 - I'll Make You Sorry
19 - Peepin' And Hidin'
20 - Tomorrow's Going To Be Another Day
21 - New York Bullseye
22 - High Blood Pressure
23 - Spoonful

24 - I'm Gonna Make You Mine
25 - Willie Jean
26 - Someone Like Me
27 - I Am The Hunter



Raw 'N Alive at the Cellar, Chicago - 1966

This is one of the very few live garage band tapes from the mid-'60s of relatively decent sound quality (considering the standards of the era). The song selection of this set should also please fans of one of the most famed '60s garage bands, captured here at a club in their home turf of Chicago in December 1966. The 13 songs include live versions of many of the tunes from their first (and best) album, as well as a six-minute workout of their lone national hit "Gloria" and a couple of Solomon Burke covers. However, it's not essential if you already have the original albums, or the fine best-of compilation released in the U.K. on Edsel, Gee-El-O-Are-I-Ay. These versions are very close in arrangement to the officially released ones, but the performance is less accomplished, as it were, and the sound quality worse. An interesting artifact that nevertheless has little appeal beyond '60s garage collector circles, although the very brief quotes from the Mothers of Invention's "Help I'm A Rock" are most curious and unexpected.


01 - i got my mojo working
02 - oh yeah
03 - tomorrow's gonna be another day
04 - it takes a long time comin'
05 - let it rock
06 - hey joe
07 - gospel zone
08 - got to get you off my mind
09 - everybody needs somebody to love
10 - don't fight it
11 - spoonful
12 - dark side
13 - gloria



Shake(aka Shadows Of Knight ) - 1969

In 1966, the Shadows of Knight were the biggest band on the Chicago garage rock scene, having hit the charts with the massive hit single "Gloria" and a solid follow-up, "Oh Yeah." However, three years later things didn't look so rosy for the group — after a multitude of lineup changes, lead singer Jim Sohns was the only original member left in the Shadows of Knight, and the record company that had put them on the charts, Dunwich, had effectively gone out of business. Determined to stay in the game, Sohns and bassist Lee Brovitz put together a new version of the band and signed a recording deal with Super K Productions, the masterminds behind such bubblegum acts as the Ohio Express and the 1910 Fruitgum Company. While Super K producers Jerry Kasenetz and Jeff Katz scored a final hit for the Shadows of Knight with "Shake," the self-titled album that followed is a bit of a mess. Kasenetz and Katz were more interested in hits than the concept of group identity (no great shock there), and with the Shadows of Knight going through a bit of a personality crisis after so much personnel turnover, the result was an album that wanders all over the stylistic map — along with the sort of sneering garage rock that was their stock in trade ("I Wanna Make You All Mine" and a different version of "Shake") and a lascivious blues workout on "Back Door Man," SoK wade though some clumsy psychedelia ("Uncle Wiggley's Airship"), attitudinal proto-punk ("I Am What I Am"), hard rock with lots of guitar soloing ("I'll Set You Free" and "Bluebird"), and moody pop ("Alone" and "Times & Places"). Without much in the way of a musical focus (and with Kasenetz and Katz reportedly loading down the songs with instrumental overdubs without the group's OK), Shadows of Knight sounds more like a multi-artist compilation than an album by one of the great acts of the garage rock era, and in this case that's not a compliment, though there are enough great moments to make this an interesting curio if not an especially effective album.


By mid-1967, the only original member of the Shadows of Knight remaining was vocalist Jim Sohns, who, through simple default, inherited the band's name and legacy.In 1968, Dunwich sold the master tapes to its Shadow of Knight recordings to Atlantic Records for one dollar. Sohns then moved the band from Chicago to New York, where they signed with Buddah Records.[2] Sohns had hoped to take the band in a British power-rock direction, but the Super K record label pulled them into a more commercial orientation, pairing the band with bubblegum groups such as the 1910 Fruitgum Company and the Ohio Express on tour. In 1969, the second generation Shadows of Knight released "Shake" on Buddah's short-lived subsidiary Team Records; the track eventually climbed to #46. That same year, without the band's knowledge or consent, the unsuccessful update "Gloria '69" was released by Dunwich. It consisted of new bass and guitar tracks overdubbed by Peter Cetera (later of Chicago) and Jim Donlinger, both Chicago rock veterans... Read more...

Lossless (FLAC +CUE+SCANS)

01 - Follow
02 - Alone
03 - Times & Places
04 - I Am What I Am
05 - Uncle Wiggley's Airship
06 - I Wanna Make You All Mine
07 - Shake Revisited '69
08 - I'll Set You Free
09 - Under Accustic Control
10 - Bluebird
11 - Back Door Man
12 - From Way Out To Way Under
13 - My Fire Department Needs A Fireman

14 - Shake 45' version
15 - Run Run Billy Porter


The Pretty Things - ON FILM + 2 Albums

MOV-180 Mb and Mp3 -32;102Mb
"The Pretty Things On Film"
(Promo Film 1966 )
The video is called "The Pretty Things On Film", and it could be a promotional film for their 1966 U.K. EP of the same title.
It features the same four songs as on the EP (Fontana TE 17472) - "Midnight To Six Man", "Can't Stand The Pain", "Me Needing You" and "J.S.D.". 
Phil May: vocals
Dick Taylor: lead guitar
Birian Pendleton: rhythm guitar
John Stax: bass
Skip Alan: drums
1. Me needing you
2. Midnight to six man (studio recording)
3. Can't stand the pain
4. Me needing you (live from a night club)
5. L.S.D (live from a night club)

Pretty Things - Fontana Years 45'
01 - Rosalyn
02 - Big Boss Man
03 - Don't Bring Me Down
04 - We'll Together
05 - I Can Never Say
06 - Get Yourself Home (unreleased)
The Pretty Things - Electric Banana (1968)
Phil May, Dick Taylor, John Povey & Wally Allen
This nor that other, as row song for film, subsequently published on serieses bootlegs under pseudonym "Electric Banana"
To supplement their income, 60s UK psych group The Pretty Things (Phil May - vocals, Dick Taylor - guitars, John Povey - drums and keyboards and Wally Allen - bass) recorded material for the De Wolfe sound library under the name The Electric Banana
The Electric Banana was an alias used by British rockers the Pretty Things beginning in the '60s and throughout the '70s, comprised of members Phil May (vocals), Dick Taylor (lead guitar), Wally Waller (bass), and John Povey (drums). In an effort to make some quick money, the group contributed music to a variety of low-budget films, one such title being The Haunted House of Horror. The Electric Banana issued several obscure albums (all long out-of-print and extremely hard to find) -- 1967's self-titled debut, 1968's More Electric Banana, 1969's Even More Electric Banana, and 1970's Hot Licks. ~ Greg Prato, All Music Guide
Electric Banana — 1968 (1967)
More Electric Banana — 1968
Even More Electric Banana — 1969
Hot Licks — 1970
The Return Of The Electric Banana — 1978
01. Walking Down The Street (2:53)
02. If I Needed Somebody (3:08)
03. Free Love (2:14)
04. Cause I'm A Man (2:52)
05. Danger Signs (2:42)
06. I See You (3:48)
07. Street Girl (2:46)
08. Grey Skies (2:37)
09. I Love You (2:21)
10. Love, Dance And Sing (2:51)
11. Thousand Ages From The Sun (2:29)
12. Do My Stuff (4:53)
13. Take Me Home (5:10)
14. James Marshall (3:36)

Saturday, July 18, 2009

Casey Jones & The (New) Governors

01 - Don't Ha ha
02 - Bend Me Shape Me
03 - Bits ANd Pieces
04 - Loop De Love
05 - Fire
06 - Glad All Over
07 - Candy Man
08 - Come On And Dance
09 - Jack The Ripper
10 - I Hear You Knocking
11 - Little Girl
12 - Yockomo
13 - Dizzy Miss Lizzy
14 - Slow Down
15 - Long Gone Train
16 - Meddley
Glad All Over - Bits And Pieces
Bend Me Shape Me - Don't Ha Ha

Thursday, July 16, 2009

Neal Ford & The Fanatics - Neal Ford & The Fanatics (1968)

NEAL FORD & THE FANATICS were a 1960's rock band from Houston, Texas. They released one LP on the Hickory label, along with a number of singles on Hickory and other labels. Their songs were strong and the band was tight, playing regularly at skating rinks, shopping malls and night clubs like The Catacombs and The Living Eye.
PERSONNEL (in 1968; left to right in photo)
NEAL FORD - vocals
LANIER GREIG - keyboards
W.T. JOHNSON - bass guitar 
JON PERELES - guitar and vocals 
The Fanatics is a happening all its own. It all started when Neal - alias "Daddy Frog" - left a group he had been playing with in favor of starting his own. W.T. "Dub" Johnson was drafted into the movement when he went guitar-shopping at a Houston department store where Neal was working. "Big Jon" Pereles came abroad in much the same manner a few days later.
Drawing in a couple of old friends, "Baby John" Cravey and Johnny "String" Stringfellow, the boys were off and rolling in February 1965. Lanier "Idiot" Greig, organ impresario extraordinarius and clown prince to end all princes, joined the group later. After endless name calling sessions, "Big Jon" is more or less credited with pinning the Fanatics name on the group. The name stuck - and so Houston and the nation are swinging with a way out group that's really "IN". (from the Fanatics Fan Club booklet)
With the above promo text, I thing we get an idea of the years (and language) when the Fanatics created their music.

Neal Ford & the Fanatics are a common name in countless 60s compilations, from Psychedelic Archaeology to Garage Beat and everything in between. Their singles are compiled in numerous 60s series, and they sure deserve it: catchy tunes, classic cases of unknown garage gems. But Neal Ford & the Fanatics, after this series of singles, released an LP in 1968, which remains a well kept secret until today.
While the singles are the wylde-beat garage we all know, the LP goes closer to the psychedelic/pop side. A look at the credits is enlightening: none of the songs is credited to Neal Ford (or to be presise we meet Ford's name twice - as a co-writer along with Pereles and Greig). Jon Pereles has the lion's share, a couple of tracks are credited to Lanier Greig and there's a cover of Mickey Newbury's "One Times One Ain't Two"
Don't expect 13 Floor Elevators type psychedelia, though - the band indeed moved from the three chord garage of their singles and seems more mellow (especially in the B-side) compared with their earlier raw sound. This doesn't mean that "Neal Ford & the Fanatics" is a bad record: it continues the finest 60s 3-chord tradition. It's just impossible to make an LP with 12 tracks that could stand as singles - only Moby Grape did that in the last 45 years with their first album.
After 4 years together as a band, the Fanatics had matured as musicians, and they could play something more complex songs than their garage numbers. It was not 1966 anymore and they had to move on. They don't try to find new ways in music, they just make nice songs for the teens that were dancing at the Catacombs Club, in 1968.
After the Fanatics, Neal Ford released an LP as "The Neal Ford Foundation" (1971) and then became a preacher  and Lanier Greig formed a band called ZZ-Top with Billy Gibbons.
Thanks  Lost -in -Time
A Side:
 Gonna Be My Girl
Nothing Left To Do
Bitter Bells
That Girl Of Mine
Get Together With Me
Get In The Rhythm

B Side:

 One Times One Ain't Two
Contrary Mary
(I've Got A) Brand New Girl
Wait For Me
I Have Thoughts Of You

The Rokes - Let's Live for Today :The Rokes in English 1966-1968

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 ... Read More...

The Rokes - Discografia
Let's Live for Today
Formed in 1962, the Rokes were a better than average English pop group who found the competition for gigs was rather tough at home, so in 1963 they set their sights on Hamburg, where the Beatles had gotten their first break a few years earlier. While the German gigs didn't do much for their career, they did lead to an offer to tour Italy backing up U.K. vocalist Colin Hicks, and the Rokes became a major draw in Italy, scoring a number of hits with both original material and covers of popular American and British rock tunes translated into the native tongue. Rokes leader Norm Shapiro also wrote a number called "Passing Thru Grey" that became a major hit for the Grass Roots when the lyrics were changed to "Let's Live for Today." However, the Rokes' European success and Shapiro's talent as a songwriter didn't translate into any chart success in America or Great Britain, even though the band recorded plenty of English-language material during their long stay in Italy. Let's Live for Today: The Rokes in English 1966-1968 collects 16 rare sides from the group, and the happy irony is how veddy British this stuff sounds, even though it was recorded in Rome and was barely heard outside of Italy. "No No No," "Put the Pen Down," and "Ride On" are classic British Invasion-era pop, "Regency Sue" and "The Works of Bartholomew" suggest the characteristically English whimsy of the Kinks (though Shapiro's melodic sense recalls Dave Davies rather than his brother Ray), "I Would Give the World" and "When You Are Gone" are fine exercises in Baroque pop, and "When the Wind Arises" is a splendid example of early psychedelic pop. The set also includes the Rokes' recording of "Let's Live for Today" as well as the unreleased original version, "Passing Thru Grey"; overall, this disc might seem like barrel-scraping to less educated fans of British beat-era stuff, but despite their obscurity, this collection shows the Rokes earned their success in Italy on their very real merits as musicians and songwriters, even if they didn't get the same respect at home. ~ Mark Deming, All Music Guide

1. Let's Live For Today 
2. No No No 
3. Telegram For Miss Marigold 
4. Ride On 
5. Put The Pen Down 
6. The Works Of Bartholomew 
7. Regency Sue 
8. I Would Give The World 
9. When The Wind Arises 
10. Hold My Hand 
11. A Thing Like That 
12. Ripe Apples 
13. Stop And Watch The Children Play 
14. When You Are Gone 
15. Somewhere 
16. Passing Through Grey 

Product Description
The Rokes were Brits who went to Italy in 1963 and became one of the biggest bands in the land for the rest of the decade. They chalked up numerous Italian language hits and recorded four albums as well as becoming an enormous live draw and TV favorites. However, scattered across those albums were a number of English language songs that somehow came off sounding like a Euro-tinged blend of The Beatles, Hollies, Kinks and Pretty Things. In '67, The Rokes released the first English language version of 'Let's Live For Today', a song they'd already cut in Italian. It went on to become a huge US hit in the hands of The Grass Roots and was covered by scores of bands. Here, for the first time on CD, are virtually all of The Rokes' English language recordings from 1966 to 1968. 16 tracks. Rev-Ola.

Wednesday, July 15, 2009

Casey Jones & The Governors - Same plus

Lp Casey Jones And The Governors ( Golden 12)
 1 - Yockomo
  2 - Casey's New Hand Jive
  3 - Smoking The Blues
  4 - My Baby
  5 - Lucille
  6 - All You Wanna Do
  7 - Hall Of The Mountain King
  8 - Come On Everybody
  9 - Baby Why Did You Say Goodbye
10 - Doctor Feelgood
11 - All My Sorrows
12 - You Got What It Takes
13 - Beautiful Delilah
14 - Guitar Boogie

45'  (Golden 12)
15 - Come On And Dance
16 - It's Alright
17 - Down In The Valley
18 - It Seems I've Waited Too Long
19 - Dream A Girl
20 - Pretty Pretty Girl

live german tv
21 - Come On And Dance - live
22 - It's Alright - live
23 - Mercy Mercy - live
24 - Hold On I'm Coming - live
25 - Dizzy Miss Lizzy - live
26 - Don't Ha Ha - live

45' vogue
27 - Casey's Blue Train
28 - Zebedy Zak
29 - Beechwood Park
30 - Keep On Knocking
31 - Mervyn Guy
32 - Sands
Thanks Jancy
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