Sunday, October 31, 2010

Tony Sheridan - Rocks On! [Live in Deutschlandhalle, Berlin '73]




and

( ... The Deutschlandhalle has also been used for musical events: Ella Fitzgerald performed here in 1960; the concert was recorded as Ella in Berlin. Simple Minds, Cher, Whitney Houston, Take That, Red Hot Chili Peppers, Prince, a-ha, Aerosmith, Jerry Lee Lewis, George Michael, Phil Collins, Tina Turner, AC/DC, Metallica, Metal Church, Sting, The Police, KISS, Wings, The Rolling Stones, Tangerine Dream, Led Zeppelin, Pink Floyd, The Who and Queen held concerts. On 4 September 1970, it was the site of Jimi Hendrix's second-to-last performance .. )



Tony Sheridan Rocks On!
Live '73 Deutschlandhalle Berlin


01 - Hound Dog
02 - Whole Lotta Shakin' Going On
03 - Sweet Littel Sixteen
04 - Ya Ya / Keep On Knockin'
05 - Johnny B. Good
06 - My Bonnie
07 - Skinny Minnie
08 - Fever
09 - Skinny Minnie Reprise

Saturday, October 30, 2010

V.A. - Heimatliche Klaenge vol.41



Heimatliche Klдnge - Deutsche Schallplatten-Labels 
Native Sounds - German Record-Labels
vol.41

Beat-Parade 1967/1 - Hansa 75755

01 - Bend It / The German Outlaws
02 - I Can't Control Myself / The German Outlaws
03 - With A Girl Like You / The Beathovens
04 - Paint It Black / The German Outlaws
05 - In The Midnight Hour / The Dakotas
06 - Hard To Love You / Dave Gordon & His Rebel Guys
07 - Got A Feelin' / Mama Betty's Band
08 - Call Me / Dave Gordon & His Rebel Guys
09 - Hanky Panky / The German Outlaws
10 - Summer In The City / The Classix
11 - Barbara Ann / Giesela & The Spirits
12 - Don't Know The Reason / The Dakotas
13 - Love Of My Life / The German Outlaws
14 - Stop / Giorgio

Friday, October 29, 2010

V.A. - Heimatliche Klaenge vol.40


Heimatliche Klaenge - Deutsche Schallplatten-Kleinlabels 
Native Sounds - Small German Record-Labels
vol.40

It's Beat Time - Matt Collins & His Beat Band
Somerset 630

01 - Go, Johnny, Go
02 - Blueberry Hill
03 - Memphis Tennessee
04 - Bring It On Home To Me
05 - Non Posso Credere
06 - La Bamba
07 - Whole Lotta Shakin' Going On
08 - Amami
09 - Take A Chance
10 - Kansas City
11 - Little May

Matt Collins - vocal
Bulic Branko - Organ
Kink Slavko - Saxophone
Dmitrovic Nikola - Drums
Mlinaric Janko - Bass Guitar
Karlo Metikos - Piano

Kenny And The Kasuals - Things Getting Better & Nothing Better to do


This Dallas group -- too accomplished to be called a garage band in the usual sense of the term -- was pretty popular in their hometown in the mid-'60s, but never made any noise on the national level. It's ironic that much of their reputation rests on a live album of covers, Impact, that ranks among the most collectable LPs of the '60s, as the group actually wrote a lot of their own material. Starting in the mid-'60s as a sort of raucous Dave Clark Five-meets-the Stones combo, the Kasuals progressed to acid punk with their most popular local hit, "Journey to Tyme" (which would become one of the most valued singles by '60s garage collectors). They were a typical '60s group in that they also cut covers of popular R&B and British Invasion tunes, and sappy pop ballads that were most likely encouraged by the shortsighted local label owners for whom they recorded. The group tried their luck in New York City briefly and split in late 1967. A spin-off group (without leader Kenny Daniels) released a promising single with progressive and folk influences under the name Truth, and the group reunited very briefly before splitting again after several members were drafted. Their material was reissued in Europe in the '80s, along with a fair number of previously unreleased outtakes. 





Lynne Randell - Ciao Baby (1967)


During the mid-'60s, singer Lynne Randell reigned as Australia's first teen pop star. Dubbed "Little Miss Mod" for her trendy fashions and hair, her brief stay in the limelight was derailed by a lifelong addiction to diet pills. Born in Liverpool in 1950, Randell was five years old when her family emigrated to Murrumbeena, Australia. By 14, she was apprenticing in a local styling salon, and was often called upon to sing while on the job. In time client Carol West, who managed a number of Melbourne-area bands (most notably the Spinning Wheels), hired Randell to sing at a party. 



Radio personality Stan Rofe was sufficiently impressed to request a demo, and the resulting recording was enough to earn a contract with EMI. Randell issued her debut single, "I'll Come Running Over," in early 1965, soon after becoming a regular on the Australian television pop showcase The Go!! Show. The singles "A Love Like You" and "Be Sure" followed, and in early 1966 Randell signed to CBS Records to issue "That's What Love Is Made Of." During the singer's CBS tenure, her music adopted a Motown-inspired ebullience that would later make singles like "Going Out of My Head" and flip side "Take the Bitter with the Sweet" a favorite on Britiain's Northern soul club circuit. At home, 1967's "Ciao Baby" vaulted Randell to national superstardom, and she spent the summer on tour with the Monkees, sharing bills with the Jimi Hendrix Experience, the Who, and the Ike & Tina Turner Revue. However, the demands of life on the road played havoc with Randell's health, and prior to a television appearance, manager West criticized her weight. In response, she secured some diet pills from a friend, beginning a struggle with methamphetamine abuse that spanned decades. After scoring a minor Australian hit with "That's a Hoedown," Randell relocated to Los Angeles in 1969, issuing the Capitol single "I Love My Dog" before retiring from performing, marrying Atlantic Records executive Abe Hoch and writing for the Aussie music magazine Go-Set. With Hoch she moved to London in 1976, but her addiction spiraled further out of control and the marriage ultimately dissolved. In 1980, Randell returned to Melbourne, spending six years as the personal assistant for music journalist and TV presenter Molly Meldrum. During the mid-'80s, she also worked for a time under Sire Records head Seymour Stein. In 2004, Randell went public with her amphetamine addiction, but it was too late. The damage inflicted on her brain, nervous system, and adrenal glands was extensive, and she died May 8, 2007, at the age of 57.

Billy Thorpe And The Aztecs - The Very Best Of


Location: Sydney, New South Wales 1964-1968; Melbourne, Victoria 1968-1975 
The Aztecs were formed from the combination of the Vibratones, an instrumental band from Sydney, and vocalist Billy Thorpe. This band didn't remain together for very long, but the entrepreneurial Thorpe quickly formed a new band under the same name. 
The second incarnation of Billy Thorpe and the Aztecs comprised some of the best session musicians of the time, and played mainly middle-of-the-road rock and ballads. 
After the break up of the second band, Thorpe spent some time mastering guitar, and thinking about the musical approach for his next band. In 1968, the Aztecs rose again, this time comprising well known musicians and with a blues/R&B sound. This band endured through numerous line-up changes until finally breaking up when Thorpe left to travel to the USA. 


Billy Thorpe and the Aztecs were an Australian pop and rock group dating from the mid-sixties. The group enjoyed huge success in the mid-1960s, but split in 1967. They re-emerged in the early seventies to become one of the most popular Australian hard-rock bands of the period. 
Originally a four-piece instrumental group who had put out one surfing instrumental, "Smoke & Stack", they formed in Sydney in 1963. With the advent of the Merseybeat sound, they added a lead singer, Billy Thorpe. His powerful voice and showmanship (which made him one of the most popular and respected rock performers in Australian music), completed the original line-up, which consisted of drummer Col Baigent, bassist John "Bluey" Watson and guitarists Valentine Jones and Vince Maloney (who later played with The Bee Gees).Valentine Jones left the band shortly after Billy Thorpe had joined and was later replaced by Tony Barber.

[edit] Chart success
The group broke through in mid-1964 with a massive nationwide hit, their cover of the Leiber and Stoller classic "Poison Ivy", which famously ousted The Beatles from the #1 spot on the Sydney charts at the very moment that the group was making its first and only tour of Australia -- a feat which resulted in Thorpe being invited to meet the Fab Four at their hotel. Over the next twelve months the band reigned supreme as the most popular 'beat' group in Australia, scoring further hits with the songs "Mashed Potato", "Sick And Tired" and "Somewhere Over the Rainbow", until they were eclipsed by the emergence of The Easybeats in 1965. The band's recording success confirmed Albert Productions, their recording company, with its worldwide distribution deals through EMI and Parlophone, as one of the most important in Australia's embryonic pop industry.
During 1965 the original Aztecs quit after a financial dispute, so Thorpe put together a new five-piece version consisting of drummer Johnny Dick, pianist Jimmy Taylor, guitarists Col Risby and Mike Downes and NZ-born bassist Teddy Toi. This group performed until 1966, scoring further hits with "Twilight Time", "Hallelujah I Love Her So", "Love Letters" and "Word For Today".
Thorpe went solo in 1967 and for a brief time he hosted his own TV pop show, It's All Happening, but personal problems and a widely publicised bankruptcy brought this phase of his career to an end in 1968. but then as he went solo he became more of an outcast




Billy Thorpe And The Aztecs - The Very Best Of

1. Billy Thorpe And The Aztecs - Rock 'n' Roll City (3:20)
2. Billy Thorpe And The Aztecs - Southern Comfort (4:28)
3. Billy Thorpe And The Aztecs - Let Love Show The Way (4:09)
4. Billy Thorpe And The Aztecs - Rock Me Baby (6:54)
5. Billy Thorpe And The Aztecs - Most People I Know (Think That I'm Crazy) (4:10)
6. Billy Thorpe And The Aztecs - Sick 'n' Tired (4:43)
7. Billy Thorpe And The Aztecs - Poison Ivy (3:06)
8. Billy Thorpe And The Aztecs - The Dawn Song (4:08)
9. Billy Thorpe And The Aztecs - Movie Queen (2:52)
10. Billy Thorpe And The Aztecs - Gangster Of Love (14:51)
11. Billy Thorpe And The Aztecs - It's Almost Summer (3:00)
12. Billy Thorpe And The Aztecs - CC Rider (4:05)
13. Billy Thorpe And The Aztecs - Be Bop A Lula (3:45)
14. Billy Thorpe And The Aztecs - Ooh Poo Pah Doo (11:21)
15. Billy Thorpe And The Aztecs - Somewhere Over The Rainbow (4:36)


By Stephen Chapman (victoria Australia)

if you were at sunbury or the myer music bowl back in the seventies then you will remember what a dominant force thorpy was.the insane volume and driving blues riffs and thorpy's unmatched vocal power(not forgetting the crowd chanting "suck more piss"). a concert i saw them underground on the corner of spring & flinders street(i think it was) is one of the best live shows ever.the surprise is the first 3 tracks which are all new and are the best on the album.of course over the rainbow, ooh pooh pah doo & and bee bop a luh lah and that massive wall of sound are great memories!


By Ray "fury" (perth west australia) 



This was a great band to see live I was lucky enough to see them in the early seventys and many times after that. These cds have most of their live rock and roll tracks so you get a good idea what the group was like on stage. It is the best of Billy Thorpe and the Aztecs. 


Earlier Thorpe Posts :


Donovan- Beat Cafe (2004)


Beat Cafe is Donovan's first record in nine years. His last, the Rick Rubin-produced Sutras was issued in 1993 and was hopelessly misunderstood -- especially coming as it did on the heels of Rubin's first collaboration with Johnny Cash. This side, produced by the rootsy yet eclectic John Chelew who has worked with everyone from Richard Thompson to the Blind Boys of Alabama and John Hiatt goes right to the heart of Donovan's particular musical esthetic. 


The title on this set is significant. The instrumentation is spare, with drums by Jim Keltner, acoustic , upright bass by the legendary Danny Thompson, and keyboards by Chelew.Donovan handled the guitar chores. In other words, small combo, cafe style. . . Atmosphere is everything in these songs; they are intimate, rhythm-conscious, tuneful, and lyrically savvy. In addition, they're inspired by that eternally present, romantically eulogized generation of poets, dope fiends, midnight travelers, and coffeehouse sages, the Beats. The set features 12 new songs; ten of them are Donovan Leitch originals. The covers include a compelling read of the mysterious and traditional "The Cuckoo,"and a jazzy spoken word take on Dylan Thomas' "Do Not Go Gentle." There are some flashes of the hippy mystic of old here, but mostly, this is a fingerpopping set by Donovan the enigma as well as Donovan the songwriter. Chelew and band do a wonderful job of illustrating this juxtaposition. With this band tight, deeply in the groove at all times, the tunes open up and out as if the group were on the barroom stage, and extended the dancefloor jumping and jiving into the street on a delirious, humid moonlit night of uncontainable joy. "Poorman's Sunshine," with its skittering brushed snare drums and a B3 tracking the melody with Thompson's bass pushing the rhythm, jumps out at the listener, as does the title track with Thompson driving the whole engine. "Yin My Yang" may have a seemingly ridiculous title, but it's not in the context of what this album tries to achieve. Donovan is celebrating the self-referential, "anything-is-possible" revelation that fuelled the language and spirit of his heroes of yore, and propelled his own romantic, "everything-is-love" aesthetic. The shimmering, dark, Eastern minor-key psychedelic spoken word/sung ditty of "Two Lovers" is one of those poems that makes Donovan so unique (think, "Atlantis" here). The organic jazzed-up funk of "The Question" is one of those crazy moments that makes the whole world open and the body twitch in time. The album ends with the whispering "Shambala," a tender, blissful dirge that is utterly moving and hauntingly beautiful in its optimism and hope. If anything, if albums are "needed" anymore, the spirit in this one is. Donovan reminds listeners that possibility and hope are not passé, but as full of chance and wild grace as ever. Welcome back, Donovan; you've been missed. 



1. Donovan - Love Floats (4:18)
2. Donovan - Poorman's Sunshine (4:02)
3. Donovan - Beat Cafe (4:14)
4. Donovan - Yin My Yang (3:35)
5. Donovan - Whirlwind (4:46)
6. Donovan - Two Lovers (3:42)
7. Donovan - Question (3:06)
8. Donovan - Lord of the Universe (4:47)
9. Donovan - Lover O Lover (4:56)
10. Donovan - Cuckoo (3:49)
11. Donovan - Do Not Go Gentle (4:27)
12. Donovan - Shambala (5:29)

Dave Davies - AFL1-3603 (1980)


For his first solo disc, Dave Davies came out swinging with the great AFL1-3603, titled after the record's catalog number and also as a slap at the bar coding that had begun to be put on nearly everything. This album rocks; from the opening "Where Did You Come From" right on through to "Run," there is a sense that Davies was out to prove that his brother Ray wasn't the only force in the Kinks. Chock-full of the best bits of the Kinks' guitar rockers, AFL1-3603 also holds lots of power pop treasures, such as the very lovely "Imaginations Real" and the nice change of pace "Visionary Dreamer." Doing all the guitars, vocals, keyboards, and most of the bass and drums, as well as producing and writing all the tunes, Dave Davies proves he can out-Kink brother Ray and do it with a refreshing style. AFL1-3603 is a winner. 
1. Dave Davies - Where Do You Come From (3:43)
2. Dave Davies - Doing The Best For You (4:45)
3. Dave Davies - Visionary Dreamer (4:28)
4. Dave Davies - Nothin` More To Lose (4:09)
5. Dave Davies - The World Is Changing Hands (2:55)
6. Dave Davies - Move Over (3:45)
7. Dave Davies - See The Beast (3:55)
8. Dave Davies - Imagenations Real (3:53)
9. Dave Davies - In You I Believe (3:17)
10. Dave Davies - Run (3:55)

DaveDavies - The Album That Never Was [UK Bonus Tracks]


Although he took a largely subordinate role to his brother Ray in the Kinks, Dave's fierce guitar work and hoarse but effective background (and occasional lead) vocals were key elements of the band's appeal. Dave also occasionally wrote songs for the Kinks that showed him to be a writer of considerable skill and wit, if not up to the same level as Ray. In the late '60s, Dave made some solo singles that met with critical success in Britain, although they were unknown in the U.S. "Death of a Clown" (also included on the Kinks' Something Else LP) made number three on the British charts in 1967, and the follow-up, "Susannah's Still Alive," also did fairly well. 


Dave began to consider making a solo album, but after a couple other solo singles flopped, he seemed to lose heart and abandoned his plans (some unreleased solo tracks from this period turned up on the obscure Kinks bootleg Good Luck Charm). In the 1980s, Dave finally began a solo career in earnest, releasing a series of mainstream rock albums and various collections of demos and outtakes that found little critical or commercial acclaim, before his work was neatly summarized on Unfinished Business: Dave Davies Kronikles 1963-1998. The hard-rocking Bug from 2002 was his first album of new material in nearly 20 years. Davies suffered a major stroke in 2004 and used composing and painting as therapy during the lengthy recovery period that followed. The new song "God in My Brain" was inspired by the stroke and appeared on the 2006 compilation Kinked. In 2007 Davies released his first full-length post-stroke studio album, Fractured Mindz, on the Koch label. 


DaveDavies - The Album That Never Was  [UK Bonus Tracks]
When Dave Davies racked up a couple British hits in 1967, rumors were rife that the Kinks' lead guitarist would cut a solo album of his own. He never did -- not in the '60s, anyway -- and The Album That Never Was is a facsimile of what might have been, packaging some ultrarare solo singles of the time with tracks that Davies wrote and sang on some of the Kinks' late-'60s records. They show him to be a fine, underappreciated singer and songwriter in a Dylanesque folk-rock mode. [The 1994 Castle re-release added eight bonus tracks, nearly doubling the length of the original.]

1. Dave Davies - Death Of A Clown (3:05)
2. Dave Davies - Love Me Till The Sun Shines (3:16)
3. Dave Davies - Susannah's Still Alive (2:25)
4. Dave Davies - Funny Face (2:18)
5. Dave Davies - Lincoln County (3:12)
6. Dave Davies - There Is No Life Without Love (2:04)
7. Dave Davies - Hold My Hand (3:22)
8. Dave Davies - Creepin' Jean (3:17)
9. Dave Davies - Mindless Child Of Motherhood (3:15)
10. Dave Davies - This Man He Weeps Tonight (2:43)
11. Dave Davies - Beautiful Delilah (2:09)
12. Dave Davies - You're Lookin' Fine (2:47)
13. Dave Davies - Party Line (2:36)
14. Dave Davies - Wait Till The Summer Comes Along (2:10)
15. Dave Davies - Strangers (3:20)
16. Dave Davies - I'm Not Like Everybody Else (3:29)


The Kinks - Face to face (1966)


The Kink Kontroversy was a considerable leap forward in terms of quality, but it pales next to Face to Face, one of the finest collections of pop songs released during the '60s. Conceived as a loose concept album, Face to Face sees Ray Davies' fascination with English class and social structures flourish, as he creates a number of vivid character portraits. Davies' growth as a lyricist has coincided with the Kinks' musical growth. Face to Face is filled with wonderful moments, whether it's the mocking Hawaiian guitars of the rocker "Holiday in Waikiki," the droning Eastern touches of "Fancy," the music hall shuffle of "Dandy," or the lazily rolling "Sunny Afternoon." And that only scratches the surface of the riches of Face to Face, which offers other classics like "Rosy Won't You Please Come Home," "Party Line," "Too Much on My Mind," "Rainy Day in June," and "Most Exclusive Residence for Sale," making the record one of the most distinctive and accomplished albums of its time.

1. The Kinks - Party Line (2:35)
2. The Kinks - Rosey Won't You Please Come Home (2:30)
3. The Kinks - Dandy (2:10)
4. The Kinks - Too Much On My Mind (2:27)
5. The Kinks - Session Man (2:08)
6. The Kinks - Rainy Day In June (3:13)
7. The Kinks - House In The Country (3:00)
8. The Kinks - Holiday In Waikiki (2:45)
9. The Kinks - Most Exclusive Residence For Sale (2:51)
10. The Kinks - Fancy (2:28)
11. The Kinks - Little Miss Queen Of Darkness (3:16)
12. The Kinks - You're Lookin' Fine (2:47)
13. The Kinks - Sunny Afternoon (3:35)
14. The Kinks - I'll Remember (2:26)

Adriano Celentano - Peppermint Twist (1962) PLUS


One of Italy's best-loved artists, Adriano Celentano has been equally successful in film and music. Whether singing Elvis Presley-inspired rock, as he did as a member of the Rock Boys in 1957, or romantic balladry, Celentano found a dedicated market for his music. Reaching the top of the Italian music charts with his debut single "Il Tuo Bacio e Come un Skirt" in 1959, he matched its success with the million-selling "24000 Baci (24,000 Kisses)" in 1961; "Il Ragazzo Della Via Gluck," which went on to be translated and re-recorded in 18 languages, in 1966; and Prisencolinensinainciusol in 1972. 


Celentano's albums have been similarly embraced. His debut album, Non Mi Dir, reached the top position of Italy's charts in 1965. His album Soli spent 58 weeks on the charts in 1978-1979. Although he left music for nearly two decades to focus on his career as an actor, Celentano later recaptured the momentum of his early career. His comeback album, Mina + Celentano, was a major hit in 1998 while his second album, Francamente Me Ne Infischio, based on the television-variety show that he agreed to host in 1999, spent several weeks at the top of Italy's album charts. Esco di Rado -- E Parlo Ancora Meno, the third album since Celentano returned to music, sold more than 600,000 copies before its release. 

Celentano continued to balance his music career with his work in Italian cinema. As an actor, he made his theatrical debut in such movies as Dai, Johnny, Dai!, I Ragazzi del Jukebox, I Frenetici in 1959, and Fellini's classic La Dolce Vita in 1960. His subsequent screen appearances included roles in such films as The Sin, Rugantino, Give Me Five, Il Bisbetico Domato, and Segni Parsticolari: Bellissimo. Having made his debut as a producer and director with the 1974 film Yuppi Du, Celentano wen on to direct such films as L'atra Meta Del Cielo and Geppo Il Folle. His first long-term experience with television came in late 1987 when he agreed to host the variety show Fantastico 8.

Adriano Celentano -  Peppermint Twist (1962

      1. Adriano Celentano - Peppermint Twist (2:21)

2. Adriano Celentano - La Gatta Sul Tetto Che Scotta (2:11)


3. Adriano Celentano - Blue Jeans Rock (2:23)
4. Adriano Celentano - Pitagora (1:46)
5. Adriano Celentano - Desidero te (3:36)
6. Adriano Celentano - Rock matto (1:47)
7. Adriano Celentano - Impazzivo Per Te (1:59)
8. Adriano Celentano - Cosi No (2:04)
9. Adriano Celentano - Il Ribelle (2:20)
10. Adriano Celentano - Che Dritta! (2:10)
11. Adriano Celentano - Teddy Girl (2:15)
12. Adriano Celentano - Movimento di Rock (1:48)
13. Adriano Celentano - Pronto Pronto (1:57)
14. Adriano Celentano - Nikita Rock (2:07)

    Il Ribelle 1959 (extented )
     Release Date: 1999
    Rockin Adriano
    1. Adriano Celentano - Buonasera Signorina (2:51)
    2. Adriano Celentano - Il Ribelle (2:24)
    3. Adriano Celentano - Teddy Girl (2:19)
    4. Adriano Celentano - Pronto Pronto (2:02)
    5. Adriano Celentano - Piccola (1:41)
    6. Adriano Celentano - Impazzivo Per Te (2:04)
    7. Adriano Celentano - Pitagora (1:49)
    8. Adriano Celentano - Che Dritta! (2:14)
    9. Adriano Celentano - Cosi No (2:09)
    10. Adriano Celentano - 24.000 Baci (2:20)
    11. Adriano Celentano - Furore (2:30)
    12. Adriano Celentano - Nikita Rock (2:11)
    13. Adriano Celentano - Blue Jeans Rock (2:27)
    14. Adriano Celentano - La Gatta Sul Tetto Che Scotta (2:13)

Tuesday, October 26, 2010

Dara Puspita


Dara Puspita (Flower Girls) was Indonesia’s most successful girl band of the 1960s. While there were many popular female vocalists in Indonesia at that time, they nearly all relied on the services of a backing band. Dara Puspita was one of the few girl groups who actually played all their own music as well.


Dara Puspita hailed from the city of Surabaya in East Java and first formed in 1964 with the line-up of sisters Titiek Adji Rachman (Titiek A.R.) on guitar and Lies Soetisnowati Adji Rachman (Lies A.R.) on bass, along with Susy Nander on drums and Ani Kusuma on rhythm guitar. In April 1965 Lies left the band for a month to finish school and was replaced on bass by Titiek Hamzah. When Lies returned she took the place of Ani on rhythm guitar and Titiek Hamzah stayed on as bass player. It was with this line-up that the band set out to conquer the world.~ more http://www.garagehangover.com/?q=DaraPuspita





Dara Puspita («Цветочные девушки») - были самой успешной Индонезийской женской группой 1960-х. В те годы множество известных певиц выступало сольно, и все, чего мог достигнуть самобытный начинающий женский коллектив - это войти частично или целиком к какой-нибудь из див-оркестр.
   «Dara Puspita» стали известными как первая команда Индонезии, провозгласившая свое право на авторское творчество. Группа была сформирована в 1964 году, в городе Сарабайя, что на Западной яве, сестрами Титиек Аджи Рахман (Titiek Adji Rachman) - гитара; Лайс Сотисновати Аджи Рахман (Soetisnowati Adji Rachman) - бас, и примкнувшими к ним: Суси Нандер (Susi Nander) - барабаны и Ани Кусума (Ani Kusuma) - ритм-гитара.
   В апреле 1965 г. Лайс покинула группу на период школьных экзаменов, и была заменена на Титиек Хамза (Titiek Hamzah). По возвращении Лайс вытеснила Ани, а Титиек Хамза так и осталась постоянной басисткой. Этому составу предстояло покорить мир.


Dara Puspita - The Garage Years



SIDE A

                                                       01-  MABUK LAUT  

02- BERTAMASJA 
03- PIP PIP  YEAH 
04- PEST PAK LURAH 
05- PUYAILI 
06- RANTIKU
07- MUSAFIR CINTA
08- SEMUA GEMBIRA
09- HAI KASIH 
010- PUSDI

SIDE B 
01- A GO GO 
02- BELIEVE ME
03- HALLO, KAWAN 
04- PANTAI PATAYA
05- SOAL ASMARA
06- MENGAPA 
07- PINOKIO
08- LIHAT ADIKKU
09- TANAH AIRKU


Monday, October 25, 2010

Captain Beefheart and His Magic Band - Trout Mask Replica (1969)



Trout Mask Replica is Captain Beefheart's masterpiece, a fascinating, stunningly imaginative work that still sounds like little else in the rock & roll canon. Given total creative control by producer and friend Frank Zappa, Beefheart and his Magic Band rehearsed the material for this 28-song double album for over a year, wedding minimalistic R&B, blues, and garage rock to free jazz and avant-garde experimentalism. Atonal, sometimes singsong melodies; jagged, intricately constructed dual-guitar parts; stuttering, complicated rhythmic interaction -- all of these elements float out seemingly at random, often without completely interlocking, while Beefheart groans his surrealist poetry in a throaty Howlin' Wolf growl. The disjointedness is perhaps partly unintentional -- reportedly, Beefheart's refusal to wear headphones while recording his vocals caused him to sing in time with studio reverberations, not the actual backing tracks -- but by all accounts, the music and arrangements were carefully scripted by the Captain (aided by John "Drumbo" French), which makes the results even more remarkable. As one might expect from music so complex and, to many ears, inaccessible, the influence of Trout Mask Replica was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point. However, its inspiring reimagining of what was possible in a rock context laid the groundwork for countless future experiments in rock surrealism, especially during the punk/new wave era.

Five Day Rain - Five Day Rain (1969)



South African Sharon Tandy had already paid her dues with Fleur De Lys that included future King Crimson bassist Gordon Haskell. Five Day Rain's first drizzle started with In Crowd keyboardist Graham Maitland who originated from Scots Of St. James, headed by ex Vikings Allen Gorrie. Graham's initial plan was to form a keyboard Prog band front lined by the sultry Sharon after watching her exhilarating live performances. Around 1966 Scots Of St. James evolved into Hopscotch and put out' two singles "Look At The Lights" and "Long Black Veil" resulting in a name change to Forever More.

Line
-up:
Graham Maitland - keyboards
Rick Sharp - guitars
Clive Burges - bass
Kim - drums
Sharon Tandy – vocals

Five Day Rain - Five Day Rain (1969)



Only album, previously unreleased, by the obscure British group Five Day Rain, led by guitarist / singer Rick Sharpe and including keyboardist Graham Maitland. The short-lived group managed to record quite an excellent album, which unfortunately was never released, seeing the light of the day only 36 years later. Their music was a great mixture of Psychedelic Rock and Prog, somewhat similar to the early Deep Purple albums. Great tunes, splendid vocal harmonies and one 11+ minutes long instrumental track, which alone is worth the price of the album.  Definitely a lost gem, worth reviving and listening to after all these years.

Sharon Tandy - You Gotta Believe It's (1965-69)


Sharon Tandy (born Sharon Finkelstein; c. 1947) is a South African singer who achieved some success in the United Kingdom in the 1960s as part of the blue-eyed soul and freakbeat movements. In 1966, she recorded some songs at Stax studios, a rarity for a white singer. She also had several chart hits in South Africa in the 1970s.





Sharon Tandy - You Gotta Believe It's  (1965-69)



This 26-track compilation is a virtually complete collection of the 1965-1969 material this South African singer cut during her period as a British resident, including 17 songs from her 1966-1969 Atlantic singles (one of them cut as half of the duo of Tony & Tandy); her two 1965 Pye singles; and five previously unreleased tunes she cut at Stax in Memphis in 1966. (Unfortunately her sole Mercury single, from 1966, was unavailable for licensing.) Sharon Tandy was a blue-eyed soul singer rather in the mold of Dusty Springfield, both in terms of her voice and her versatility, blending various shades of soul, British pop, and even some tinges of mod-psychedelia. Her voice wasn't as exceptional as Springfield's, and she didn't record songs that were as memorable, though a couple would have been worthy hits. Nevertheless, this is an enjoyable anthology of a worthwhile if minor performer, hitting its peak on a couple of songs on which she's backed by British mod band Fleur de Lys, "Hold On" (galvanizing soul-freakbeat) and "Daughter of the Sun" (on which she plays the part of something like a psychedelic witch). That's an avenue that, arguably, Tandy should have pursued further, both because she was good at singing harder soul-rock, and because it might have distinguished her from the numerous sub-Springfield women '60s pop/rock-soul singers in the British market. There are some other standout tracks here, though, like the straight Stax-like soul of "I Can't Get Over It"; the gentler, fully produced mid-'60s dramatic orchestrated pop of "Perhaps Not Forever" and "Hurtin' Me"; the sexy dance soul of "Hurry Hurry Choo Choo"; the very Sandie Shaw-like "The Way She Looks at You"; her fine, graceful cover of Lorraine Ellison's soul classic "Stay With Me"; and her cover of the Bee Gees' "World." Stax Records collectors might want to note that Booker T. & the MG's, Isaac Hayes, and the Memphis Horns back Tandy on seven of these tracks (the five 1966 outtakes and the single "I Can't Get Over It"/"Toe Hold"), and that one of those outtakes, "One Way Street," is an Isaac Hayes-David Porter composition that doesn't seem to have been recorded by anyone else. The disc is accompanied by voluminous liner notes, including detailed reminiscing by Tandy herself.

V.A.- Girls With Guitars


In 1989, back in the days of vinyl, Ace Records issued their first collection of "Girls With Guitars". Some young folk out there worship that album, it seems. Now, after a mere 15-year wait, a second compilation is unleashed. Grey area releases abound in this bizarre musical genre, where the sounds of 1960s girl groups and garage bands collide in a mess of grunge and glamour. Ace give those pesky b**tl*gg*rs a lesson in how to do the job properly, natch. 


Pride of place, and half the space, is given to a clutch of gen-u-ine axe-toting all-girl bands. Goldie and the Gingerbreads hold the highest profile, their four tracks dating from a time when their fame had spread not much further than Greenwich Village. They would soon become fixtures on the British scene, touring with the Stones and the Kinks. Cover stars the Girls were a sister act from Los Angeles, so highly regarded in the biz that guitar manufacturers Fender sponsored them. Dylan liked them so much he hired them to play at his birthday bash. Back in the day, the Pandoras were constantly in demand on the college circuit of New England, as were the Daughters Of Eve in the environs of Chicago, yet parking lot gigs were the speciality of the Hairem, Sacramento's answer to the Shaggs. The Hairem would achieve greater notoriety as She, also included here. 

Philly-based Kathy Lynn and the Playboys were one and the same group as funky instrumentalists the Buena Vistas, it transpires. If you've read the book On The Bus you might be familiar with the name Denise Kaufman, aka Mary Microgram of the Merry Pranksters, Ken Kesey's infamous troop of hippie nomads. Previously, she had fleetingly led Denise and Company, purveyors of one of the most sought after of all garage girl 45s. On a different tack, offerings by the Percells and Al Casey with the K-C-Ettes are direct descendents of Duane Eddy's (Dance With The) Guitar Man, while Sugar and the Spices actually comprised Casey's wife and the former Mrs Eddy. The said Corky Casey is interviewed in the action-packed 20-page booklet, along with Darlene Love of the K-C-Ettes, drummer Debbie Pomeroy of the Daughters Of Eve and Patti Valentine of Cincinnati duo the 2 Of Clubs. Also from Cincy, soul trio the Charmaines lend their voices to a track by axe-god Lonnie Mack. They also backed up James Brown in their time - 'nuff said. 

Were Shadow Morton's Beattle-ettes (sic) and the Shangri-Las one and the same group? How do Memphis's own Shangs-clones the Goodees sound doing a Swingin' Medallions biggie? Is Pat Powdrill and the Powerdrills' cut the best slab of West Coast girl-psych around? And did the Angels and the Tomboys play their own instruments, or just sound as if they did? (He asked, patronisingly). Listen and decide for yourselves. ~ By Mick Patrick

1. Girls - My Baby (2:06)
2. Tomboys - I'd Rather Fight Than Switch (2:22)
3. Angels - Get Away From Me (1:54)
4. Denise & Company - Boy, What'll You Do Then (2:30)
5. Goldie & the Gingerbreads - Chew Chew Fee Fi Fum (2:11)
6. Beattle-Ettes - Only Seventeen (1:57)
7. Sugar & The Spices - Do the Dog (2:09)
8. Kathy Lynn & the Playboys - I Got a Guy (1:57)
9. The Goodees - Double Shot (Of My Baby's Love) (2:58)
10. The Pandoras - (I Could Write a Book) About My Baby (2:14)
11. Pat Powdrill/Powerdrills - They Are the Lonely (2:37)
12. 2 of Clubs - Heart (2:43)
13. The Daughters of Eve - Help Me Boy (2:32)
14. Goldie & the Gingerbreads - Skinny Vinnie (2:05)
15. The Percells - Hully Gully Guitar (2:50)
16. Kathy Lynn & the Playboys - Rock City (2:04)
17. Lonnie Mack/The Charmaines - Sticks and Stones (2:14)
18. Goldie & the Gingerbreads - Take My Hand (2:42)
19. Sugar & The Spices - Boys Can Be Mean (2:03)
20. Al Casey/K-C-Ettes - Guitars, Guitars, Guitars (2:03)
21. Goldie & the Gingerbreads - V.I.P. (1:58)
22. Hairem - Come on Along (2:18)
23. Girls - My Love (3:21)
24. She - Outta Reach (2:25)



To clear up some inevitable confusion right off the bat, this does not feature the same music as the 1989 LP compilation also titled Girls With Guitars, which came out on Impact, a subsidiary of Ace, the same label that put out the 2004 CD also titled Girls With Guitars [Ace]. The 1989 Impact LP bearing this title was devoted entirely to '60s female British acts, with the exception of Goldie & the Gingerbreads, an American band who were based in Britain in the mid-'60s. The 2004 Ace CD called Girls With Guitars [Ace] has 24 entirely different tracks, all of them by American-'60s girl groups, many (though not all) of whom played their own instruments. Goldie & the Gingerbreads appear on the 2004 Girls With Guitars [Ace] as well, but are represented by four mid-'60s tracks that don't appear on the 1989 Girls with Guitars LP. Got all that? Moving on to the music, it's okay and usually competent enough to avoid categorization as mere novelty. But it's not great -- it's mid-level period-'60s rock (actually from 1963-70), reflecting girl group, soul, British Invasion, and pop-rock trends of the day. Some of it has the raw guitar rock approach associated with garage rock, but not all of it does, by any means. Few will have heard of any of these acts, save perhaps Goldie & the Gingerbreads (whose tracks are only so-so); one-time Ikette Pat Powdrill, represented by an atypical (for her) piece of typical 1966 L.A. flower power pop/rock, "They Are the Lonely"; and, perhaps, She, who got some notoriety decades later after Ace issued a CD of that garage band's material. There's also Lonnie Mack, who's not a woman, of course, but whose "Sticks and Stones" featured vocals by women singers the Charmaines. Some of the standout tracks are the Beatlettes' "Only Seventeen," one of the most British Invasion-influenced songs on the disc (as if you couldn't tell from the group's name), though some of the melody borrows liberally from Lesley Gore's "She's a Fool"; "Help Me Boy," the Daughters of Eve's awkward, gender-adjusted cover of the Animals' hit "Help Me Girl"; the Girls' moody 1965 single "My Baby"/"My Love"; and the 2 of Clubs' version of Petula Clark's "Heart" (which actually charted in Billboard in the "bubbling under" section of the Hot Hundred in 1966), a song strong enough that it's hard to ruin, though both Clark and the Remains did better versions. This anthology will benefit from much stronger distribution than the many volumes in the Girls in the Garage series, the best-known anthologies of the small-'60s girl group/garage group genre. But to be honest, if you cherry-picked the best tracks from that series into one or two volumes, you'd have collections that would blow Girls With Guitars [Ace] out of the water.



She - Wants A Piece Of You


She were one of the few all-female garage psychedelic American bands of the 1960s that played their own instruments and wrote their own material, although their official output was limited to one obscure 1970 independent single. She nonetheless had a lengthy and somewhat complicated history, beginning in the mid-1960s when guitarist and primary songwriter Nancy Ross formed a teen band (with her younger sister Sally on organ) in Sacramento, California. Originally known as the Id, they changed their name to the Hairem and did attract some label interest. The Hairem did not officially release any material in the 1960s, but five songs that they recorded did come out on the She CD compilation Wants a Piece of You in 1999. These cuts, though not as crude as the Shaggs, were nonetheless quite raw and basic, in the manner of many US garage bands of the period. Indeed they're pretty generic, or sub-generic, the chief distinction being that there were extremely few all-female groups playing such music circa 1966, especially with the raunchy attitude evident on cuts such as "Like a Snake." 


The Hairem played in San Francisco and Sacramento, at both clubs and air force bases, and after several personnel changes, had changed their name to She by the late 1960s. By this point their music, still not terribly sophisticated, had nonetheless grown more sophisticated, with a greater weight on harmonies and minor-keyed, psychedelic-influenced melodies. They did record an obscure single for Kent in 1970, "Boy Little Boy"/"Outta Reach, " the A-side of which was uncharacteristically soft and poppy, almost to a bubblegumish degree. Other original material written and demoed at this time is on the Wants a Piece of You CD and shows the influence of bands like the Doors and the Jefferson Airplane, although the unschooled raunch is still present. Fact is, though, that while the performances are energetic and the vocals often salacious, the songs aren't that clever or memorable. She disbanded in 1971, Nancy Ross and her sister Sally Ross-Moore being the only members to have stayed the course throughout the entire Hairem-She saga. 


She - Wants A Piece Of You

1. She - Outta Reach (2:27)
2. The Hairem - Like A Snake (2:20)
3. She - Piece Of You (2:24)
4. She - Roll On (3:04)
5. She - Bad Girl (2:28)
6. The Hairem - Hey You (2:38)
7. She - Don't Leave Me Baby (3:16)
8. She - Braids Of Hair (2:13)
9. She - Don't Go Home Tonight (3:39)
10. The Hairem - Not For Me (4:15)
11. She - When I Was A Little Girl (6:01)
12. The Hairem - Come On Along (2:19)
13. The Hairem - Bus Stop (2:08)
14. She - Lonely Boy Of Laughter (2:23)
15. She - Feel Like Giving Up (1:59)
16. She - You Came To Me (Home Demo) (2:37)
17. She - Outta Reach (Demo) (2:46)
18. She - Satan's Angel (Home Demo) (3:06)
19. She - Boy Little Boy (2:35)

Along with both sides of their 1970 single "Boy Little Boy" and "Outta Reach," this 19-track disc has five circa-1966 recordings by the Hairem, and a dozen unreleased tracks from the late sixties by She themselves. The only reason this might achieve greater notoriety than the usual generic garage/psych release is via the novelty of hearing this raunchy style--an almost totally all-male domain--performed, written, and sung by women. The Hairem cuts are primitive in the extreme, with ominous and minimal melodic content. "The Snake" succeeds via its middle-eastern ambience and outrageously provocative (for the era) vocal and lyrics, but otherwise the songwriting is no great shakes and the performances, particularly the drumming, amateurish (which is not a compliment). The She material is more accomplished, but pretty derivative of late-sixties psychedelic and hard rock trends, though delivered with some admirable aggression. Sometimes the Doors influence is evident in the organ and the Jefferson Airplane influence felt in the harmonies and tunes; "When I Was a Little Girl" has that forlorn early San Francisco psych ballad feel, while the demo version of "Outta Reach" ends with phrasing ripped straight off the end of "White Rabbit." Sure this CD is interesting as a rare example of women performing in this style during this era, but on its own terms the music just isn't special. 

The Rascals - The Ultimate Rascals (1986)




The Rascals, along with the Righteous Brothers, Mitch Ryder, and precious few others, were the pinnacle of '60s blue-eyed soul. The Rascals' talents, however, would have to rate above their rivals, if for nothing else than the simple fact that they, unlike many other blue-eyed soulsters, penned much of their own material. They also proved more adept at changing with the fast-moving times, drawing much of their inspiration from British Invasion bands, psychedelic rock, gospel, and even a bit of jazz and Latin music.



 They were at their best on classic singles like "Good Lovin'," "How Can I Be Sure," "Groovin'," and "People Got to Be Free." When they tried to stretch their talents beyond the impositions of the three-minute 45, …Read More

The Ultimate Rascals (1986)



A wonderful collection of songs, most of which were major hits for this quartet, The Ultimate Rascals was one of the early compilations released when compact discs were still fairly young. As such, the tapes from which this recording was mastered were obviously not first generation, with the resulting subpar sound the disc's only weakness. But, oh, the music: a cornucopia for any baby boomer weaned on AM radio in the mid- to late '60s. The Rascals' development is traced here from the early rock & roll sides, like "Good Lovin'" and "You Better Run," through the blue-eyed soul era of "Groovin'" and "A Girl Like You," to the band's social relevance period, exemplified by "People Got to Be Free" and "A Ray of Hope." During their peak period, from 1966-1969, the Rascals cranked out a batch of popular hit singles, and all are here, along with some of their better album cuts. This is the disc that many fans rushed out to buy when they first acquired CD players, and it's still a good place to start for the uninitiated. 
For the true fan, however, the two-disc Anthology (1965-1972),
 released in the early '90s, is much better. 

Track List:

01. I Ain't Gonna Eat Out My Heart Anymore
02. Good Lovin'
03. Mustang Sally
04. You Better Run
05. Come On Up
06. Love Is a Beautiful Thing
07. What Is the Reason
08. Lonely Too Long
09. Groovin'
10. A Girl Like You
11. How Can I Be Sure
12. It's Wonderful
13. A Beautiful Morning
14. People Got To Be Free
15. Heaven
16. See
17. Carry Me Back
18. Find Somebody
19. Easy Rollin'
20. A Ray of Hope


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