Sunday, August 29, 2010

YaroS - Ural (2008) Russia

Request


YaroS - on modern russian language translated, as "burning" or "solar".

Состав:

Владимир Вахрамеев - гитара, варган, yedakie-bone, флуер, вокал;
Дмитрий Злобин - виолончель, гитара;
Сергей Пьянков - кларнет, саксофон;
Илья Иванов - этнические и эстрадные барабаны;
Артём Подосёнов - бас, бэк-вокал
Любовь Зорина - бэк-вокал, флейта

А так же:

Арсений Плешаков - директор, менеджер коллектива
Михаил Белавин - звукорежиссёр
Ян Кунтур - автор ряда текстов

ЯроС - на современный русский язык название группы переводится, как "огненный" или "солнечный". Это оправдывают живые выступления коллектива, полные яркой подачей, искренними эмоциями, теплом, которым музыканты заряжают зал. Группа начала свой творческий путь в 2006 году, развиваясь в направлении фолк-рок. Сегодня "ЯроС" экспериментирует во многих стилях от этно импровизации, до арт-рока, прогрессивного фолка и этно-джаза. В арсенале коллектива более 15 классических, этно и рок инструментов. По отзывам портала Darkside: "Виолончель и деревянные духовые рождают удивительное звуковое полотно: мягкое, теплое, уютно-домашнее, но вместе с тем и величественное, эпичное и красочное – как сами древние Уральские горы!"


YaroS is a group of Ural musicians - experiment makers. The original look at folk music, bright performances, energetic and sincere songs – all of them are distinguishing features of YaroS. The group is in constant search of interesting combination of instruments, traditional and modern art forms. The group plays over 15 instruments of different epochs and territories.
The group is the laureate of numerous Russian and International festivals.

 
 
1. YaroS - Plyaski Leshego (5:32)

2. YaroS - Slavyanskiy Den' (6:15)

3. YaroS - Mesyats Nad Svetlym Borom (5:43)

4. YaroS - Pesn' Dozhdya I Zemli (3:51)

5. YaroS - Konnitsa (6:42)

6. YaroS - Torum (6:24)

7. YaroS - Bat'ka Ural (6:08)

8. YaroS - Matushka Zima (3:37)

9. YaroS - Ural'skiy Voin (4:45)

Saturday, August 28, 2010

The Sidetrack - Baby (1969)


Sidetrack's only known recorded effort is this 1969 demo album which originally appeared
 in a blank sleeve with the album's labels glued to the cover!
Very little information is known from this group. This seems to be a professionally recorded demonstration copy for an intended Elektra release, which never happened.

The Sidetrack consisted of Alan, Christopher and Peter Brown, Kenneth Gullmartin, Andrew Higgs and John Lewis.

This album is something pretty special: a recording that makes one regret Elektra¿s lack of foresight in not making it commercially available as well as the opportunity to develop Sidetrack¿s considerable potential which slipped through the label's fingers.



The album has is own special atmosphere, which is end of 60's styled, song driven with some colourful melodic clarity in expression-. It is well arranged, often with multilayered keyboards (piano's, harpsichord, organ), bass and drums but almost no guitars.

The songs fit well together as if there's a story line between them. The baroque elements are also very special which are worked out now and then, at first only a little bit on Baby, and well adapted into the composition on Sweet Substitute. Blues for Matthew has true Bach-like arrangements, a complex almost symphonic track with string-,band- and vocal arrangements. A blues element of harmonica is mixed greatly into this rather unique track. The first tracks on the second side are rather short. A separate song easily remembered into as a pop standard and to take out of the context of the album, might be Summershi. 2314-B is the second long track, with a jazzy/bluesy, half composed, half improvised evolution of organ, harpsichord, bass, harmonica, and some complex rhythms. Also this track has a rather baroque symphonic theme further on, which is equally successfull and in a catchy way mixed with the other styles. After such an impressive complex track, Knowing what you hold so dear is held much simpler, a short song accompanied by some acoustic guitar arrangement only.



A very enjoyable album which deserves this first reissue. Only a shame there isn¿t a real cover designed for it, we don¿t have real band info, not even a photograph.
But An unusual album that is highly recommended.
 
1. The Sidetrack - Rock & Roll (3:35)

2. The Sidetrack - Peace Of Mind (2:56)

3. The Sidetrack - Summership (2:10)

4. The Sidetrack - 2314 - B (3:02)

5. The Sidetrack - Knowing What You Hold So Dear (3:54)

6. The Sidetrack - Baby (6:25)

7. The Sidetrack - Colors (2:32)

8. The Sidetrack - Wild Eyes (3:23)

9. The Sidetrack - Monkey (2:49)

10. The Sidetrack - Sweet Substitute (11:07)

11. The Sidetrack - Blues For Matthew (1:50)
 
This album is something pretty special: a recording that makes one regret Elektra's lack of foresight in not making it commercially available as well as the opportunity to develop Sidetrack's considerable potential which slipped through the label's fingers. But it's here now!!!
 

Friday, August 27, 2010

Johnny Lion & The Jumping Jewels - The Complete Collection Vol. 1-2



In the pre-Beatles era (the Fab Four visited The Netherlands in early June 1964), Johnny Lion & The Jumping Jewels were one of the Dutch top bands comparable to England's Cliff Richard & the Shadows.


They got together in 1960 when singer Jan van Leeuwarden sat in with The Real Rhythm Rockers, who comprised Hans van Eijk on "bass" (actually a guitar with thick strings) and Frits Tamminga on drums. They decided to start a band together called Johnny & the Jewels. Joop Oonk became their bass player. After some time, Tjibbe Veeloo joined as rhythm guitarist. They came under the guidance of Herman Batelaan, who got The Jewels a recording contract with the mighty Phonogram organization, and released "Wheels" in early 1961 on the Philips label under a new name, The Jumping Jewels. As it later turned out, only lead guitarist Hans van Eijk played on the records, the backing was done by older professional studio musicians like Kees Kranenburg Sr., drummer of the well-known ballroom orchestra The Ramblers. The band mainly released covers or arrangements of existing songs: "Wheels" was a cover of American band The String-A-Longs and the B-side, "Ghost Riders In The Sky", had been recorded by The Ramrods. Other hits were the theme for the motion picture "Exodus", "Mexico" (a US hit by Bob Moore), the tango "Olй Guapa" (first recorded in 1937 by Malando) and "Guitar Tango", a French song first recorded by Dario Moreno & Tino Rossi, which was later also covered by The Shadows (albeit in an acoustic version).

In 1962, Jan van Leeuwarden (renamed Johnny Lion) also started recording and touring with The Jumping Jewels as his backing band. Incidentally, his first single was "My Bonnie" (in Germany a hit by Tony Sheridan & The Beatles). In late '62, drummer Frits Tamminga suffered a nervous breakdown and was temporarily replaced by Kees Kranenburg Jr., son of their studio drummer. In 1963, The Jumping Jewels released their first album, "Jumping High", a sign that facilities and recordings started getting more and more professional. The combo had a string of hits including "Zuyderzee Blues" (originally by The Ramblers), a South-African song called "Africa" and Eddy Christiani's "Wild Geese". Thanks to the parallel success of Johnny Lion, they became one of the Dutch top acts by mid-1963. Around that time, Kees Kranenburg Jr. replaced Tamminga permanently; he would also play on the following Jumping Jewels records. More hits followed, including "Dakota" (which they'd heard on a Shadows album), Allen Toussaint's "Java" and "Irish Washerwoman", an arrangment of an 18th century Irish tune. In early 1964, they recorded a live album with Johnny Lion at Les Galeries in Scheveningen. It included an instrumental version of The Beatles' "I Saw Her Standing There", a sign the times were changing. The Jumping Jewels had a number 1 hit in Peru - of all places - with this track! And more international success followed when in the spring they did a tour of the Far East, covering Singapore, Malaysia and Pakistan. The domestic success continued with two more hits, "Zambesi" and "Jumping Can Can". They recorded a 10-inch album with background music for DeWolfe Music in England, which since then has become a much sought-after collector's item.
In 1965, manager Batelaan got them into show business by booking them for a season at Circus Boltini. Johnny Lion then completely changed style and recorded a song in Dutch without The Jewels, "Sophietje", which went to Number 1. In the fall of 1965, The Jumping Jewels announced they would start backing Lion's biggest rival, Rob de Nijs, whose backing band The Lords had switched to beat music. However, manager Batelaan went to court for breach of contract, preventing the band from using the name The Jumping Jewels. Meanwhile, Hans van Eijk got an offer for a PR job from Koekoek Musical Instruments (importer of Fender) and accepted. The other Jewels then decided to continue as a beat group called The JayJays. Hans van Eijk played on their first single, but by January 1966, he'd been replaced by Frank Nodelijk (ex-Crescents, to Peter Andrew & the Sapphires) and later Leo Bennink (ex-Mack).
In 1971, a "Best Of The Jumping Jewels" album was released, enabling listeners to hear the band in true stereo for the first time. This LP was so successful that Phonogram decided to release a second volume, and so a "Best Of Johnny Lion & The Jumping Jewels" came out in 1973. It led to Herman Batelaan approaching the former band members to record a new album. However, Joop Oonk was too busy with his management company, Tjibbe Veeloo was not interested and Kees Kranenburg Jr. was recovering from a serious road accident. The resulting album, "Forever Yours" from 1975, was done by Hans van Eijk with Paranova members Ernst van Thiel (d) and Hanno Gerritse (b). Fred Brekelmans played keyboards. The album - produced by Hans van Eijck of The Tee Set, not to be confused with Jewel Hans van Eijk! – was, however, not an album in the old Jumping Jewels style, but a set of modern instrumentals with wah-wah effects and synthesizer sounds. Van Eijk then decided to go on the road on the back of the album (with Brekelmans, Rob Houdt on drums and Johan Korringa on bass). Under his own name Van Eijk released some singles and albums over the years.
In 1985, Johnny Lion and Hans van Eijk did a one-off reunion for a radio show. This led to a full-fledged reunion in 1991 of a line-up of Hans van Eijk, Joop Oonk, Kees Kranenburg Jr. and Leo Bennink (who had never been an actual Jewel, but had been in The JayJays with Oonk and Kranenburg) doing a revival TV show with Johnny Lion. It was then announced The Jumping Jewels would tour and record again, but after one single the project slowly petered out. From the mid-1990s, Johnny Lion & The Jumping Jewels performed at special events with Hans van Eijk, Joop Oonk, Tom op 't Hof (d) and Roy Soeriorosero (g, ex-F.B.I.). They even returned to Singapore in December 2003 (with Kees Kranenburg Jr. on drums again) to revive old times.
Hans van Eijk still tours with a band called The New Jumping Jewels, whose bass player is "Hoss" van Hardeveld (formerly of Unit Gloria). The other members are Ruud Jansen (g) and Henk Doove (d). Of the original members, Joop Oonk is a showbiz manager, Kees Kranenburg Jr. is a jazz drummer and Leo Bennink is still very active, playing with his old band The Black Albinos and a project with former Redbone drummer Peter DePoe. Tjibbe Veeloo left the music business in 1967 and claims he hasn't touched an electric guitar since. - http://www.alexgitlin.com/jjewels.htm

Johnny Lion & The Jumping Jewels 1

01 - Bonnie Rock

02 - Ginny Come Lately

03 - Teenage Senorita

04 - Devil Woman

05 - Blame It On The Bossa Nova

06 - Count On Me

07 - Gipsy Woman

08 - Let's Make A Habit Of This

09 - Teeny

10 - Loddy-Lo

11 - On My Mind

12 - You've Done It Again

13 - I Wanna Dance With You

14 - Forget Him

15 - Valley Of Tears

16 - Somethin' Else

17 - A-me-ri-ca

18 - Come On Home

19 - Things That Can Remind Me Of Last Summer

20 - Shu-bi-du-bi Do The Slop (Duitse Versie)

21 - Teeny (Duitse Versie)

22 - On My Mind (Live)

23 - Ol Man Trouble (Live)

24 - A Gal In Calico (Live)


Johnny Lion & The Jumping Jewels 2



01 - C'mon Everybody

02 - Dear One

03 - Judy

04 - Send Me The Pillow (That You Dream On)

05 - I'll Never Go Away

06 - Break Up

07 - I Like It

08 - Sweets For My Sweet

09 - Shu-bi-du-bi Doe De Slop

10 - Tra La La La Suzy

11 - No Particular Place To Go

12 - Do Wah Diddy Diddy

13 - Everyday

14 - Don't Try To Fight It Baby

15 - There Is Something To Tell You

16 - C'mon Everybody

17 - A-me-ri-ca (1e Dub)

18 - What Am I Living For

19 - If It's Me That You Want

20 - I'm The One (Live)

21 - This Little Girl (Live)

22 - Tchin Tchin (Live)

23 - Svenska Flicka (Sophietje)

24 - Idaho (Live)

The Box Tops - The Letter/Neon Rainbow (1967)


During their brief lifespan, the Box Tops earned a reputation as one of the best blue-eyed soul groups of the '60s, even if their recorded legacy wasn't as large or consistent as, say, the Righteous Brothers or the Rascals. Today they're remembered not only for their smashes "The Letter" and "Cry Like a Baby," but as the launching pad for singer Alex Chilton, who went on to become one of rock's most revered cult figures thanks to his groundbreaking power pop unit Big Star.

In his teenage years, Chilton was an amazingly gritty Memphis soul belter akin to an American version of the Spencer Davis Group's Stevie Winwood. The Box Tops' music also encompassed touches of pop and psychedelia, although the group's own lack of control over it eventually led to their split-up.


The Box Tops began life as the Devilles, a white R&B group featuring guitarists Gary Talley and John Evans, bassist Bill Cunningham, and drummer Danny Smythe. After the band's local popularity blossomed, teenage singer Alex Chilton joined up, and the Devilles quickly caught the attention of songwriters/producers Chips Moman and Dan Penn, who were on the lookout for a Stevie Winwood-type white soul singer. Changing their name to the Box Tops to avoid confusion with a different group of the same name, they signed with Bell Records and began recording at Moman's Memphis-based American Studio. The first single the group cut, "The Letter," rocketed to the top of the charts in 1967, not only spending four weeks at number one but ending up as Billboard magazine's number one single of the year. (Chilton was all of 16 at the time.) With a hit on their hands, Penn began to exert more control over the group; in the wake of "The Letter," he frequently used session musicians on the Box Tops' recordings, sometimes replacing the whole band behind Chilton, sometimes just individual members. Frustrated, Evans and Smythe both left the band to return to school in early 1968, and were replaced by Rick Allen (ex-Gentrys) and Tom Boggs, respectively.

The follow-up to "The Letter," "Neon Rainbow," didn't do nearly as well, but the Box Tops managed another massive hit in 1968 with the Dan Penn/Spooner Oldham tune "Cry Like a Baby," which went to number two on the pop charts. Although a couple of minor hits followed in "I Met Her in Church" and "Choo Choo Train," Chilton was rapidly growing dissatisfied with the inconsistency of the material the Box Tops were handed (which was clear on the three LPs the group had released through 1968). As a result, Chilton was chafing at Penn's extreme reluctance to allow him to record his own original compositions. By the time of the Box Tops' fourth and final LP, 1969's Dimensions (an attempt to make a more cohesive album), Penn had bowed out and moved on to other projects. Several Chilton songs appeared on Dimensions, including "I Must Be the Devil," and the group had one last minor hit with "Soul Deep." Cunningham subsequently departed, also to go back to school, and the Box Tops began to disintegrate. When their contract expired in February 1970, they officially disbanded, and Chilton moved to Greenwich Village for a while. Not finding the creative hospitality he'd hoped for, Chilton soon returned to Memphis and joined an Anglo-pop outfit run by his friend Chris Bell; they morphed into Big Star, one of the most revered and mercurial bands in power pop (or, for that matter, underground rock & roll) history.




It has since been revealed that most of the music on the Box Tops' records — with the exception of (ironically) "The Letter" — was done by session men. Even as early as the first album, this method cut both ways. It ensured a Southern soul professionalism that the young band likely couldn't have conjured on their own, but also worked against the development of a solid group identity, particularly as Alex Chilton was allowed to record very little of his own material. In fact, there are no Chilton songs on this debut, a spotty affair showing every indication of having been assembled very quickly in the wake of "The Letter" soaring to number one. Although "The Letter" author Wayne Carson Thompson and the Dan Penn-Spooner Oldham team wrote most of the songs, their blue-eyed soul compositions are surprisingly journeyman, with nothing nearly as outstanding as "The Letter," save maybe the follow-up hit "Neon Rainbow." Chilton's vocals are strong and, for the most part, as gritty as those on "The Letter." Has there every been another case in pop history when a teenager sounded like a wizened adult at the outset of his career, but his voice became higher and more youthful in subsequent years? The 2000 Sundazed reissue adds four bonus tracks: the mono single versions of "The Letter" and "Neon Rainbow," the routine non-LP 45 track "Turn on a Dream," and the previously unreleased "Georgia Farm Boy." The last of these, a plaintive country-soul tune, is credited to "Newbury," presumably Mickey Newbury (the liner notes don't give a first name or initial).

The Dave Clark Five - The Complete History ...



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...


L-R: Rick Huxley, Lenny Davidson,
Denis Payton, Mike Smith and Dave Clark

 
"...An awesome CD collection of great music from this group.
Listening to it is a blast to the past..."

The Dave Clark Five - The Complete History (7 CD)

The Dave Clark Five Complete History Volume 1:
Glad All Over/Return!/American Tour



The Dave Clark Five Complete History Volume 2:
 Coast To Coast/Weekend In London/ Having A Wild Weekend



The Dave Clark Five Complete History Vol.3:
I Like It Like That/Try Too Hard/Satisfied With You



The Dave Clark Five Complete History Vol.4:
5 By 5 /You Got What It Takes/Everybody Knows




The Dave Clark Five Complete History Vol.5:

Five By Five 1964-69  /If Somebody Loves You



The Dave Clark Five Complete History Vol.6:

Play Good Old Rock 'n' Roll /Dave Clark & Friends



 
The Dave Clark Five Complete History Volume 7:
Rarities - Hits - Single Tracks




Influenced by everyone from Elvis Presley to Little Richard to Ray Charles, the DC5 became rock royalty, part of “The British Invasion” that included the Beatles and the Rolling Stones. Unlike the latter two bands, however, the Dave Clark Five were endlessly passed over for induction into the Rock and Roll Hall of Fame, an oversight protested by music professionals and fans, particularly after they stalled in the 2006 and 2007 semifinals. Eligible since 1989 (25 years after their first US recording), the DC5 were finally inducted in a moving ceremony on March 10, 2008 at the Waldorf-Astoria Hotel in New York.
http://theprecis.com/blog/?p=68

V.A. - Heimatliche Klaenge vol.28



Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.28


The Black Stars



01 Ich frag dich noch einmal (The Last Time)

02 My Poor Heart Cries

03 Shakin All Over

04 Remember

05 Scrivo Sui Muri

06 Ci-Fermiamo Due Muri

07 Lonely Girl

08 Don't Fight It

09 Il Volto Della Vita (Wiking Groth & Orchestra Ugo Marino)

10 Darlin (Wiking Groth & Orchestra Ugo Marino)

Thursday, August 26, 2010

V.A. - Heimatliche Klaenge vol.27




Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.27



german cover versions 2



01 Chris Andrews - Alles tu' ich fuer dich

02 Bob de Neys - Nicht mal fuer einen Dollar

03 Dany Mann - Hippy Hippy Shake

04 Monica - Bang Bang

05 Jacob Sisters - Was hab ich dir getan

06 Hans Juergen Wenger - Sie liebt mich

07 The Thunderbirds - Cadillac

08 The Beatchers - Shake Hands

09 Twen Boys - Komm gib mir deine Hand

10 Udo Arndt & The Safebreakers - Hey Girl

11 Robert Williams & The Strangers - Du you love me

12 The Lords - Tobacco Road

13 Vicky - Dreamboy

14 Mary Roos - Du

15 Rags - Ich lieb dich

16 Little Juergen & Wallflowers New Sound - Seit ich dich sah

17 Juergen Wenger - Lass doch den Boy von nebenan

18 Brain Diamond & The Cutters - Keine Angst Little Woman

19 Bernhard Frank - Ich lieb dich Baby

20 Malepartus II - Ich glaab die hole mich ab ha-haa

21 Gerry & His Comets - Ich bin froh

22 Five Tops - Dein Herz ist kalt wie Eis

V.A. - Heimatliche Klaenge vol.26



Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.26



german cover versions



01 The Yankees - Halbstark

02 Black Stars - Ich frag dich noch einmal

03 Crazy Combo - Hey Balla Balla

04 Five Tops - Heute ist Heut

05 Gerhard Dlugi - Gloria

06 Gella & die Gentries - Die Schand und das gered'

07 MIchael & The Firebirds - He little Blondie

07 Ronnie Peller - Skinny Minnie

08 Theo Schumann Combo - Wer War Gestern Bei Dir

09 Hannelore Cremer - Kuba Rock

10 Bernhard Frank - Es ist mir egal

11 Four Kinks - Broetchen und Milch

12 Berti - Immer nur die ander'n

13 Manfrd Krug - Es steht ein Haus in New Orleans

14 Hans-Juergen Wenger - Dir fehlt ein Boy

15 Henner Hoier (The Rattles) - The Witch

15 Sigi Hoppe - Der Major

16 Willie Nolte - Happy Jack

17 Die Five Tops - Rag Doll

18 Black Berries -Ich seh Black

19 Bambies - Jyok-a-mot-a-hucke-packe-ju-ju hand

19 Peter Beil - Weitergehn

20 Crazy Girls - Der Feuerstuhl

21 Five Tops - Glaube an das Leben

22 Peggy Peters - Aus

John Fred and his Playboy Band - Agnes English (1966) Vinil



Blue-eyed soul outfit John Fred & His Playboy Band were among the biggest one-hit wonders of the 1960s, topping the Billboard charts with their tongue-in-cheek Beatles homage "Judy in Disguise (With Glasses)." Born John Fred Gourrier on May 8, 1941, in Baton Rouge, LA, the singer was the son of professional baseball player Fred Gourrier and juggled music with his own sports pursuits, forming the first incarnation of the Playboys at the age of 15. A favorite at local sock hops and dances, the group's earliest live appearances often found them on the same bill as Fred's schoolmate John Ramistella, who would later enjoy significant chart success under the name Johnny Rivers. The Playboys cut their 1958 Montel label debut, "Shirley," at producer Cosimo Matassa's New Orleans studio with the aid of Fats Domino's backing band; the single soon entered the pop charts, ascending to the number 82 spot, and might have gone higher had Fred not turned down an opportunity to appear on American Bandstand in favor of playing for his high-school basketball team during its state championship drive. "Mirror Mirror" followed in the spring of 1959, and despite featuring the Jordanaires on backing vocals, was not a hit. The Playboys' next single, "Good Lovin'," also failed to chart, and when the subsequent "Down in New Orleans" met the same fate, Montel terminated the group's contract, and Fred went off to Southeastern Louisiana University to study and play basketball. 


After graduating in 1963, Fred contacted original Playboys tenor saxophonist Mickey Coerver to re-form the band, adding Andrew Bernard on baritone sax, Jimmy O'Rourke and Hal Ellis on guitar, Howard Cowart on bass, Tommy DeGeneres on organ, Ronald Goodson and Charlie Spinosa on trumpet, Lester Dodge on drums, and Joe Miceli on percussion. After signing to the tiny N-Joy label, the revived John Fred & His Playboy Band issued their cover of John Lee Hooker's "Boogie Chillun" in early 1965 -- the single missed the charts, but was a favorite of Elvis Presley. A move to the Jewel label preceded "Dial 101 (Because I Love You)," another chart miss. After "You're Mad at Me" also disappeared, Fred & the Playboys cut 1966's "How Can I Prove" with one of the singer's boyhood idols, Dale Hawkins, assuming production duties, but when this also tanked, Jewel dropped the group, necessitating a switch to the Paula label for the band's next effort, "Making Love to You." After the 1967 flops "Sun City" and "Leave Her Never," Fred & the Playboys regained their footing with "Up and Down," which topped the charts in several Louisiana markets but did not catch on nationally. For the follow-up, "Agnes English," the group shed the harder-edged R&B approach of its past efforts in favor of a sound inspired by the British beat boom, again scoring a massive regional hit but falling shy of the national charts.

The irresistible bassline that would become the cornerstone of "Judy in Disguise" lurked in Fred's head for months before he and saxophonist Bernard finally wrote a full-fledged song to complete it -- satirizing the Beatles' "Lucy in the Sky With Diamonds" and inspired by the enormous sunglasses then in vogue among the beach bunnies in Fort Lauderdale, the single appeared on Paula in late 1967 and in early January supplanted the Beatles' own "Hello Goodbye" atop the U.S. pop charts. After appearing on The Tonight Show and American Bandstand, Fred & His Playboy Band issued the follow-up, "Hey Hey Bunny," which went as high as number 57. There were four more singles in 1958 alone ("Lonely Are the Lonely," "Little Dum Dum," "Sometimes You Can't Win," and "Harlem Shuffle," respectively) but none of them charted, and by year's end Paula dropped the group altogether. Fred & the Playboys then signed to MCA to issue 1969's "Silly Sarah Carter (Eating on a Moonpie)," followed by a cover of the Beatles' "Back in the U.S.S.R." From there, they recorded a pair of 1970 singles for Uni, "Three Deep in a Feeling" and "Julia Julia," before dissolving in the wake of a European tour. 

Fred spent much of the decade touring small clubs before reinventing himself as a producer during the late '70s, most notably helming several sessions for New Orleans soul queen Irma Thomas. In 1982, he was named vice president of Baton Rouge-based RCS Records. Inducted into the Louisiana Music Hall of Fame in 1991 and given the Louisiana Music Living Legend Award in 1999, in later years Fred wrote jingles for brands including Greyhound Bus Lines, Ban Deodorant, and the NBA's Dallas Mavericks, and even wrote and recorded the single "Baseball at the Box" in honor of the Louisiana State University baseball squad. With Joe Stampley and Gee Gee Shinn he founded the Louisiana Boys, releasing a self-titled 1997 LP on the Bayou Music label. In 2000 he issued his first proper solo LP, I Miss Y'All, followed two years later by Somebody's Knockin'. In addition to touring clubs, festivals, and casinos, Fred coached high-school baseball and for Baton Rouge station WBRH hosted a weekly radio broadcast The Roots of Rock & Roll until his death on April 15, 2005, of complications from a kidney transplant several months prior.

Side A
01. Up and down.
02. Judy in disguise.
03. Off the wall.
04. Out of left field.
05. She shot a hole in my soul.
06. Most unlikely to succeed.

Side B
01. Agnes english.
02. When the lights go out.
03. No good to cry.
04. Sometimes you just can't win.
05. Sad story.
06. Achenall riot.

Human Instinct - Singles 1966-1971

REPOST



One of New Zealand's most popular hard rock/psychedelic bands of the late 1960s and early 1970s, the Human Instinct never broke into the international market, despite a couple of concerted attempts to do so in England.
The group evolved from the Four Fours, which had some hits in New Zealand in the mid-1960s, including "Moon Blues," the instrumental "Theme from an Empty Coffee Lounge," and "Go Go." The last of these was a fair beat number that made #12 in New Zealand in September 1966, the same year the Four Fours supported the Rolling Stones on the visiting superstars' second New Zealand tour. In August of that year, the Four Fours sailed to England to try and make an entree into the British pop scene, changing their name to the Human Instinct on the way. In London, the Human Instinct got to play under numerous star groups as a support act. After three Mercury singles stiffed in 1967, they recorded for Deram under producer Mike Hurst and made a couple more unsuccessful 45s. Some of these—the most renowned is "Day in My Mind's Mind"—have surfaced on specialist British sixties rock reissues, and show a competent but rather colorless psychedelic-sprinkled pop band with accomplished vocal harmonies. Drummer Maurice Greer, it has been written, declined a chance to play in Jeff Beck's group before the Human Instinct returned to New Zealand. Upon the band's return their personnel and sound were radically reorganized, with only Greer left from the UK lineup. The most significant addition was guitarist Billy Tekahika, who played under the name Billy TK. Partly because of Tekahika, the Human Instinct embarked on a far heavier psychedelic direction, influenced heavily by the wah-wah and distortion of Jimi Hendrix. Some of the material on their early 1970s albums on Pye was supplied by non-member Jesse Harper, a tape of whom allegedly impressed Hendrix himself. The later incarnation of the Human Instinct did go to England again to try and widen their audience, and again failed. The Human Instinct's cult reputation rests largely upon their first three albums in the 1970s, which have been reissued on CD by Ascension in Australia. Without denying the band's importance in New Zealand, where talented hard rock guitarists were rarer than they were in bigger countries, the records are so-so, or worse, blues-rock-psychedelia that offer little appeal or charm for the collector, despite Billy TK's abilities on guitar. Maurice Greer was still keeping a lineup of the Human Instinct going and recording in the late 1990s.

01 - Cant Stop Around 2:3302 - I Want To Be Loved By You My F 2:2603 - The Rich Man 2:3804 - Illusions 2:2205 - Go Go 2:0006 - I Cant Live Without You 2:2307 - A Day In My Minds MInd 2:1108 - Death Of The Seaside 2:3009 - Renaissance Fair 2:2210 - Pink Dawn 1:5711 - I Think Ill Go Home 3:1712 - You Really Got Me 3:2713 - Midnight Sun 4:1614 - Idea 4:3515 - Black Sally 4:2916 - Tomorrow 4:2117 - Rainbow World 4:1718 - Highway 2:1919 - Texas Sparrow 2:4020 - Children Of The World 2:31

VA - 1960's Rock 'N' Roll Collection/Original Artists (8CD)



1960's Rock 'N' Roll Collection


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Tuesday, August 24, 2010

V.A. - Heimatliche Klaenge vol.25


Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.25



arOnda (2)



5.014a - The ghost / The Ghostmen

5.014b - A kiss away

5.015a - My Molly / The Savages

5.015b - No use crying

5.019a - Little girl / The Funky Family

5.019b - Rita

5.023a - The boy / Sunny Appleday

5.023b - My crazy world

5.024a - If you let me make love to you .../ The Toxic

5.024b - Waiter

5.026a - Make it real / The Funky Family

5.026b - Good dancer

5.027a - Life / Tortilla Flat 5.027

5.027b - Facts

5.046a - Bella Maria / The Young People

5.046b - Che sara

V.A. - Heimatliche Klaenge vol.24


Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels

Native Sounds - Small German Record-Labels

vol.24



arOnda



5.001a - Dolly / Mike Roger & his Machine-Guns

5.001b - So long, Goodbye

5.004a - Pentension / Little Steve & the Penitence

5.004b - Ruddy Rumpus

5.006a - City sun / The Savages

5.006b - She`s very young

5.008a - Open your heart / The Rascals

5.008b - St. James Infirmary

5.009a - Why don`t you stay / The Savages

5.009b - Inside my love

5.010a - Wer hat die Schuld / The Diamonds

5.010b - Versprich nichts

5.012a - I know / The Savages

5.012b - Promise you

5.013a - Sad Saturday / The Reacers

5.013b - Never alone

Saturday, August 21, 2010

Marcie Blane - Bobby's Girl :The Complete Seville Recordings


One minute she was schoolgirl Marcia Blank, 
the next she was Seville recording artist MARCIE BLANE,
 about to embark on a showbiz career.... 

















Oldies collectors can finally quit shelling out big bucks for bootleg CDs and get the real deal with Bobby's Girl: Complete Seville Recordings, a legitimate anthology of Marcie Blane's early-'60s recordings for the Seville label. The 22 cuts comprise all of her Seville singles, five long-lost demo tracks from her audition tape, and mono and stereo versions of her Top Three hit, "Bobby's Girl." "Bobby's Girl" is a classic of the teen idol era -- a teen-oriented expression of female devotion with a prominent melody and an abundance of earnest, girlish charm. Blane was practically a one-hit wonder, although she managed to score a minor hit with a follow-up release, "What's Does a Girl Do?" As that title suggests, Blane recorded a number of songs similar in theme to "Bobby's Girl" -- boy crazy, girls-are-made-for-love confections that appealed, in different ways, to male and female fantasies. In "Who's Going to Take My Daddy's Place," Blane is on the prowl for a surrogate father to scold her and take care of her, and in "Why Can't I Get a Guy" she laments being gifted with a brain but not a boy. The music is pure teen pop, similar toShelley Fabares and Annette Funicello, but Blane has more conventional singing talent than either of them. The one departure from the teen pop formula is "Ragtime Sound," a jaunty throwback to earlier musical forms similar to Annett's "Mister Piano Man." The package also includes German-language renditions of "What Does a Girl Do?" and "How Can I Tell Him" that Blane handles with confidence. The five demo tracks consist of Blane performing obviously unfamiliar (to her) songs as an electric guitar strums in the background; the performances are rough, but she shows clear promise as a singer and foreshadows the direction of her recording career with the delightfully precious song "I'm Just a Cute Little Girl." The "popcorn oldies" crowd and pop music lovers on a sugar diet are sure to enjoy this carefully compiled program of teen idol hits and rarities. ~ Greg Adams, All Music Guide

The Square Set - Silence is golden & Loving You


Two originals albums from this legendary South African band. 




Friday, August 20, 2010

V.A. - Heimatliche Klaenge vol.23


Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.23

Casey Jones And The Governors und andere - Bellaphon World Beat Hits Vol.2

01  -  Don't Ha Ha / Casey Jones And The Governors
02  -  Shame And Scandal / The Vanguards
03  -  Gloria / The Vanguards 
04  -  Eve Of Destruction / The Vanguards
05  -  Rolling Like A Stone / Roland Schneider
06  -  My Generation / The Vanguards
07  -  Long Gone Train / Casey Jones And The Governors
08  -  Tall Girl / Casey Jones And The Governors
09  -  Treat Her Right / The Vanguards
10  -  Weґve Gotta Get Out Of This Place / The Vanguards
11  -  Come Along With Me / Sonny Stewart
12  -  Beat March / Roland Schneider
13  -  Beggar In Town / Sonny Stewart
14  -  Blue Tars / Casey Jones And The Governors

V.A. - Heimatliche Klaenge vol.22


Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.22

The Beatchers - Bellaphon World Beat Hits Vol.1  

01  -  Long Tall Sally
02  -  Memphis Tennessee
03  -  Please Mr. Postman
04  -  The House Of The Rising Sun
05  -  Farmer John
06  -  Amerika
07  -  And I Love Her
08  -  Itґs All Ove Now
09  -  Louie Louie
10  -  Then She Kissed Her
11  -  Pretty Woman
12  -  If I Had A Hammer
13  -  Shake Hands
14  -  Do Wah Diddy Diddy

V.A. - Heimatliche Klaenge vol.21


Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.21

Yeah Yeah - Elite SOLP-S33-251

01 - Mean Woman Blues - The Golfs
02 - Listen To My Words - The Leanjeans
03 - Love Is A Swinging Thing - The Eyes
04 - It's No Good Baby - The Golfs
05 - Let's Get Together - The Liverpool Beats
06 - Twenty Flight Rock - The Eyes
07 - Mona - The Walkers
08 - I'll Never Get Over You - The Rollicks
09 - Things We Said Today - The Golfs
10 - Louie Louie - The Rollicks
11 - Stupidity - The Golfs
12 - It Is True - The Pounds
13 - There Is Always Me - The Golfs
14 - Little Queenie - The Pounds

V.A. - Heimatliche Klaenge vol.20




Heimatliche Klдnge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.20

Beat - Elite SOLP-S33-250

01 - Baby Baby - The Eyes
02 - Another Saturda Night - The Eyes
03 - Bread And Butter - The Golfs
04 - Walkin' The Dog - The Liverpool Beats
05 - She Said Yeah - The Progressives
06 - Matchbox - The Progressives
07 - Hurtin' Inside - The Progressives
08 - Rosalie Come Back To Me - The Rollicks
09 - A Hard Days Night - The Leanjeans
10 - Jack The Ripper - The Rollers
11 - You Better Move On - The Rollicks
12 - Run Away - The Leanjeans
13 - Sweet Little Rock And Roller - The Rollicks
14 - Ain't Got You - The Progressive

Wednesday, August 18, 2010

Billie Davis - Watcha Gonna Do? Singles,Rarities and Unreleased 1963-66





Carol Hedges was a 16-year-old aspiring singer when she was discovered as the result of a talent contest in 1962. Backed up in the competition by Cliff Bennett's support group, the Rebel Rousers, she won the contest and Bennett got her together with producer Joe Meek.

Hedges was recorded by Meek with his resident group, the Tornados, without achieving success. Luckily, a neophyte music talent manager named Robert Stigwood had also seen her and liked what he heard, and he ultimately took her away from Meek. He was impressed with Hedges' singing, a white soul sound similar to (though not as powerful as) Beryl Marsden's work, and also with the fact that her two musical inspirations were Billie Holiday and Sammy Davis Jr.. Stigwood renamed her Billie Davis and teamed her with Mike Sarne, another singer he had under contract, and the two scored a novelty hit in 1962 with "Will I What." For her solo debut, he gave her a song that he had heard on a visit to America. "Tell Him" had been recorded by the Exciters, but Davis' cover, released on English Decca, made the Top Ten in England in early 1963 despite the fact that the American original actually topped the U.K. charts at the same time. Davis recorded for both English Decca and Pye Records during the early and mid-'60s without ever duplicating "Tell Him"'s success — the closest she came to another hit was in 1968, with "I Want You to Be My Baby." Some of her work was reissued on compilation CDs, including her cover of Burt Bacharach's "The Last One to Be Loved," which appears on Sequel Records' Trains & Boats & Covers. Billie Davis is fondly remembered in England by her early pop/rock success in the pre-Beatles era.



01. Will I What (Intro)
02. Sweet Nothin's
03. Will You Love Me Tomorrow
04. Tell Him
05. It's So Funny I Could Cry
06. You Don't Have To Be A Baby To Cry
07. Bedtime Stories
08. You And I
09. That Boy John
10. Say Nothin' Don't Tell
11. School Is Over
12. Give Me Love
13. Whatcha Gonna Do
14. Everybody Knows
15. The Last One to Be Loved
16. You Don't Know
17. No Other Baby
18.Hands Off
19.When You Move You Lose
20.Tastes Sour Don't It
21.Heart and Soul
22. Don't Take All Night
23.You Don't Know Like I Know
24.Two Little People
25.That's Really Some Good
26.Swingin' Tight
27.Just Walk in My Shoes
28.Ev'ry Day

The split of Billie Davis' 1960s recordings between three different labels seems to have made it impossible to compile a truly definitive retrospective of her work, which would take two CDs if it were to be complete. Should you want everything she recorded between her two separate stints with Decca Records, however, this compilation is exemplary, even if its omission of that Decca material (which included all three of her British chart hits) means that this shouldn't be mistaken for a best-of. All of her 1963-1966 singles for Columbia and Piccadilly (including her duets as half of Keith & Billie) are on this 28-track anthology, along with five previously unreleased 1963 cuts (two studio outtakes and three live performances). These show Davis to be a singer worthy of attention by serious British Invasion fans, yet not one who was quite good enough to demand re-investigation by less intense specialists. Influenced by both girl group and soul, she had a perky, girlish, vibrato-heavy sound that wasn't far off the standards of, say, Lulu. Yet she was clearly not in the same league as Lulu either vocally or in terms of the quality of the material she recorded. Some of the tracks are dull or hindered with cheaper, more dated early-'60s British pop production than the likes of Dusty Springfield or Lulu ever had to overcome. Still, there are some very good songs here, like the sassy, swaggering "Whatcha Gonna Do" — the one track here you could peg as a should-have-been hit that never was — and its swinging, infectiously catchy girl group-ish B-side, "Everybody Knows." Other singles (like 1966's "Just Walk in My Shoes"/"Ev'ry Day") showed her gravitating toward credible blue-eyed soul, and "The Last One to Be Loved" is a good and sumptuously orchestrated cover of a Bacharach/David song that's highly reminiscent of Dionne Warwick's mid-'60s recordings — no real surprise, since Warwick herself recorded it too. The duets with Keith Powell (billed to Keith & Billie), however, were tame soul-pop tunes that undermined her strengths. The liner notes give a good account of Davis' career during this hitless period, and if you pick this up in conjunction with the compilation Tell Him: The Decca Years, you'll have everything you need to hear by the singer. ~  by Richie Unterberger
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