Friday, December 31, 2010

Merry Christmas! С Новым Годом! Happy New Year!





OUR DEAR FRIENDS !!!

We wish you happiness, good luck and prosperity on New Year!
May all your dreams come true!
Happy days to you and your family! 
Good health
 and 
much happiness throughout the year.
Have a good holydays !
With Christmas Greetings and all 
Good Wishes for the New Year.


Jancy and Dmitrich













Excuse me for the long silence but I have urgent business in another city.
See you next year.
Dmitrich

Thursday, December 30, 2010

Connie Francis - Christmas in my Heart


Here's wishing you more happiness
Than all my words can tell,
Not just alone for New Years Eve
But for all the year as well.



JANCY and DMITRICH
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01 - White Christmas
02 - Winter Wonderland
03 - The Christmas Song
04 - I'll Be Home for Christmas
05 - The Twelve Days of Christmas
06 - Have Yourself A Merry Little Christmas
07 - Adeste Fideles
08 - The Lord's Prayer
09 - Silent Night
10 - O Little Town of Bethlehem
11 - The First Noel
12 - Ave Maria



Sunday, December 19, 2010

The Hollies - Carnival Show In Mainz feb 23rd 1982



Mainz is a city in Germany and the capital of the German federal state of Rhineland-Palatinat.The Hollies played a big carnival show in Mainz on Feb 23rd 1982. It was one of the very first Hollies shows with Alan Coates.



The Hollies 23.2.1982 Mainz SWF3 Fassnacht Festival

CD1
01 - I Can't Let Go
02 - Just One Look
03 - Another Night
04 - Sandie
05 - Bus Stop
06 - Draggin My Heels
07 - Write On
08 - Something Ain't Right
09 - Medley
10 - Take My Love And Run
11 - King Midas In Revers
12 - Too Young To Be Married
13 - On A Carousel
14 - Carrie Ann
15 - The Air That I Breathe

CD2
01 - Soldier Song
02 - He Ain't Heavy
03 - Blowin In The Wind
04 - Johnny B. Good
05 - Long Cool Woman



The Kinks - BBC Chronicles


"The Kinks' truly live performances for the BBC between 1964-77; although many more songs were aired, these were usually the studio records with maybe re-recorded vocals. The years covered span the peak of their career from an artistic point of view, and most of their big hits from the time "


The heart of the Kinks beats hardest in brothers Ray Davies and Dave Davies, founder members and creative drivers. They formed the band in 1963 with Peter Quaife and Mick Avory and it took only three single releases until they released the seminal “You Really Got Me”: a noisy, rousing anthem for a generation. Their fourth single “All Day and All of the Night”, proved that this band were a keeper. Their first album was The Kinks, released in 1965.
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They toured extensively and wildly, managing to get themselves banned from the US in 1965. This marked a change in Davies’ writing style, resulting in “Sunny Afternoon”, the landmark hit single in 1966 from The Kink Kontroversy album. Face to Face continued the progression of the band’s style, and Something Else by the Kinks (1967) was hugely acclaimed. They went one better with the concept album Village Green Preservation Society, a nostalgic look at the traditional values of the English countryside, which was loved by critics even though it didn't sell well.
In 1969 Peter Quaife was replaced by John Dalton, and the band released another classic album, the rock opera Arthur (Or the Decline and Fall of the British Empire). Also in this year, the US ban was lifted and they were finally able to tour in America.

http://pitchfork.com/reviews/albums/4459-bbc-sessions-1964-1977/

The album Lola Versus Powerman and the Money-Go-Round, Part One was their most commercially successful so far, and their popularity in the US soared. Although a new five-album deal with RCA failed to help them recapture their earlier glories, they were sufficiently successful to maintain their momentum in the US and the UK.
The early 70s saw the Kinks dabble in rock opera with Preservation Act 1 (1973),Preservation Act 2 (1974), Soap Opera (1975) and The Kinks Present Schoolboys in Disgrace (1976).
In 1976 the band returned to rock and released Sleepwalker and MisfitsLow Budget(1979) was their hardest rocking LP yet and led to their biggest US success to date.
By 1984 the bubble had burst and the band entered a period of decline, although they continued to release albums. A revival of interest was sparked in the mid 90s, though this was more to do with the influence that their early years had on new generations of musicians.
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01 - You Really Got Me
02 - All Day And All Of The Night
03 - Tired Of Waiting
04 - See My Friends
05 - This Strange Effect
06 - Well Respected Man
07 - Till The End Of The Day
08 - Where Have All The Good Times Gone
09 - Autumn Almanac
10 - Sunny Afternoon
11 - Mr. Pleasant
12 - Susannah's Still Alive
13 - David Watts
14 - Love Me Till The Sun Shines
15 - Death Of A Clown
16 - Good Luck Charm
17 - Got My Feet On The Ground
18 - All Aboard

Wednesday, December 15, 2010

Outer Limits & Jeff Christie - Outer Limits&Floored Masters - Past Imperfect


История группа Christie началась с того, что английский подросток Джефф Кристи, родившийся в городе Лидс 12 июля 1946 года, основал группу под названием Outer Limits. Группа эта, сколоченная из ближайших школьных друзей Джеффа, поначалу пыталась подражать группе The Beatles, но исполняла не только чужой, но и собственный материал, сочиненный ее лидером. В период с 1965 по 1968 гг. группа выпустила три сингла, один из которых - Just One More Chance/Help Me Please - выпущенный на Deram - даже засветился в британском хит-параде, однако музыкантам показалось, что все, что они делают - мизерно, и они распрощались с Джеффом. 

Джефф решил продолжать карьеру в качестве автора песен. Главными его творческими ориентирами было творчество групп Cream и Humple Pie; он предпочел работать в жанре прог-рок. Однако все его попытки наладить контакты со звукозаписывающими компаниями успехом не увенчались - никто не заинтересовался написанным им материалом. Джефф был готов опустить руки, как вдруг демо-записью его песни Yellow River заинтересовался Алан Блейкли, один из участников безумно популярной в то время группы Tremeloes. Последняя сделала несколько репетиционных записей Yellow River, но в результате отказалась от ее выпуска на пластинке. Тогда Джефф, чувствовавший, что с песней можно будет добиться успеха, быстро сформировал группу Christie. Позже он вспоминал: "Я был молод и немного подавлен неудачами, но знал, что поступаю очень правильно". Несколько других групп хотели исполнить Yellow River, но Джефф отказал всем и записал ее сам. Так и появилось на свет трио Christie: Джефф Кристи, Вик Эльмс и Майк Блейкли, родной брат Алана из группы Tremeloes. Группа подписала контракт с британским филиалом американской компании CBS и весной 1970 года выпустила свой первый сингл - Yellow River. Эта песня заняла первые места хит-парадов во многих странах по всему миру (в США она добралась только до 6-го). Это был феноменальный успех. Многие думают, что песня "Желтая река" каким-то образом связана с войной во Вьетнаме, но это не так. Как говорил сам Джефф Кристи, она связана с Гражданской войной в США 1861-65 гг. 

В октябре 1970 года на прилавках музыкальных магазинов появился второй сингл группы - San Bernadino. Он закрепил успех группы. В британском хит-параде он добрался до 5-го места, тогда как в США только до 92-го. Несмотря на это, многие европейские страны (особенно Германия) рукоплескали музыкантам и ставили песню на первые места. Дебютный же альбом группы стал более популярен именно в США, а не Англии. Вскоре Christie отправились в большое мировое турне. Вообще, следует заметить, что группу постоянно приглашали выступать - в начале семидесятых именно Christie были самыми востребованными музыкантами с точки зрения концертных представлений. Перед началом турне из группы был уволен Майк Блейкли (не просто так, а практически за "профнепригодность" - то, как он барабанил, совершенно не устраивало Джеффа Кристи). На его место взяли барабанщика Пола Фентона. 

В 1971 году, взяв отпуск от постоянных гастролей, музыканты приступили к записи второго студийного альбома. Им стал For All Mankind. Джефф, памятуя о своих пристрастиях, попытался вернуться к прог-року. Альбом получился неоднозначным. Он совершенно не был похож на дебютный - причем так непохож, словно его записала другая группа. Среди песен, представленных на нем, можно найти как удачные, так и неудачные. Кроме того, на мой взгляд, выпускать в 1971 году подобную музыкальную продукцию было рисковым мероприятием: она была бы хороша году в 1966 или 1967, но никак не в 1971. Песни, исполненные на гитаре, бас-гитаре и ударных (лишь в некоторых можно услышать партии клавишных и струнных инструментов), звучали для 1971 довольно несовременно. Кроме этого, музыканты Christie не были такими уж большими мастерами по части игры на своих инструментах. Нет, они не были дилетантами, но они и не владели хорошей техникой. Именно поэтому альбом For All Mankind неоднозначен. Пожалуй, лучшей песней альбома стала заключительная акустическая баллада If Only. Песня Picture Painter с этого альбома была выпущена отдельным синглом, но - странное дело! - только в азиатских странах. Это говорило только о плохой политике руководителей звукозаписывающей компании. 

В 1972 году, Джефф, осознав свои просчеты, решил вернуться к исполнению поп-рока, которое так хорошо ему далось на дебютном альбоме. Песня Iron Horse, вышедшая в этом году, оценивается критиками как одна из лучших работ Джеффа. К этому времени в группу пришел бас-гитарист Лем Любин, игравший до этого в Unit 4+2, чей сингл Concrete and Clay был весьма популярен в шестидесятых, а Джефф сменил бас-гитару, на которой играл прежде, на гитару. Во время записи третьего альбома отношения между всеми участниками группы были так напряжены (особенно между Кристи и Виком Эльмсом), что по окончании работы над ним группа распалась. Вик отошел от музыки, занявшись какой-то офисной работой; Лем Любин занялся продюсерской деятельностью; а барабанщик Фентон примкнул к группе Carmen. Видя такой расклад, Джефф Кристи поначалу собрался заняться сольной карьерой, но очень скоро передумал и решил продолжать дело Christie, набрав новых музыкантов. 

В 1974 году очередной альбом The Dealer поднялся на верхние строчки британского хит-парада. Отличительной чертой этой пластинки было то, что впервые Джефф стал исполнять песни других авторов. А ведь до этого весь материал писал он и его товарищи. За выходом альбома последовало большое турне, после которого в составе группы произошли очередные перестановки. Группа просуществовала недолго и развалилась в 1975 году. В 1976 году Джефф выпустил сингл Most Wanted Man in the USA, исполнителями которого значилась группа Christie. Он стал последней записью коллектива под названием Christie. 

До начала восьмидесятых Джефф Кристи занимался сольной карьерой. После переквалифицировался в автора-песенника, кем является и по сей день, получая заказы на песни от многих именитых исполнителей. Несколько лет назад он приезжал в Россию и дал здесь концерт. Вик Эльмс, бывший его товарищ по Christie, простившийся с музыкой в начале семидесятых и занявшийся было офисной деятельностью, вскоре вернулся, выпустил несколько синглов под именем Vic Elmes Again, некоторое время поиграл в Tremeloes, а в последнее время гастролирует по Европе с материалом группы Christie, окрестив свой коллектив Christie Again.
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OTHER INFO:



Monday, December 13, 2010

Beach Boys - Christmas Album (1964)



While it may seem rather incongruous for the definitive voices of summertime to tackle the music of the holiday season, The Beach Boys' Christmas Album succeeds brilliantly; Brian Wilson's pop genius is well suited to classic Yuletide fare, and the group delivers lush performances of standards ranging from "Frosty the Snowman" to "White Christmas" as well as more contemporary material like "The Man With All the Toys" and "Blue Christmas."  
The Musicians
Al Jardine - guitar, vocals
Mike Love - vocals
Brian Wilson - bass guitar, vocals
Carl Wilson - guitar, vocals
Dennis Wilson - drums, vocals 

The Beach Boys' Christmas Album is a Christmas album by The Beach Boys, released on November 16, 1964. Containing five original songs and seven standards, the album proved to be a long-running success during subsequent Christmas seasons, initially reaching #6 in the US Christmas album chart in its year of release and eventually going gold.
Of the original songs, "Little Saint Nick" was already famous, having been a hit single the year before. "The Man with All the Toys" was another hit during Christmastime 1964. "Christmas Day" is noteworthy for being the first Beach Boys song to feature a lead vocal from Al Jardine.
While leader Brian Wilson produced and arranged the "rock" songs, he left it to Dick Reynolds (an arranger of The Four Freshmen, a group Wilson idolized) to arrange the orchestral backings on the traditional songs to which The Beach Boys would apply their vocals.



VA - A Christmas Gift for You from Phil Spector


“A Christmas Gift for You From Phil Spector stands as inarguably the greatest Christmas record of all time. Spector believed he could produce a record for the holidays that would capture not only the essence of the Christmas spirit, but also be a pop masterpiece that would stand against any work these artists had already done. He succeeded on every level, with all four groups/singers recording some of their most memorable performances. This is the Christmas album by which all later holiday releases had to be judged, and it has inspired a host of imitators.” 



Featuring Phil Spector's "Wall of Sound" in its prime and his early stable of artists, the Ronettes, Crystals, Darlene Love, and Bob B. Soxx & the Blue Jeans, A Christmas Gift for You From Phil Spector stands as inarguably the greatest Christmas record of all time. Spector believed he could produce a record for the holidays that would capture not only the essence of the Christmas spirit, but also be a pop masterpiece that would stand against any work these artists had already done. He succeeded on every level, with all four groups/singers recording some of their most memorable performances. This is the Christmas album by which all later holiday releases had to be judged, and it has inspired a host of imitators.

1. Darlene Love - White Christmas (2:56)
2. The Ronettes - Frosty the Snowman (2:20)
3. Bob B. Soxx & The Blue Jeans - The Bells of St. Mary (2:59)
4. The Crystals - Santa Claus Is Comin' to Town (3:28)
5. The Ronettes - Sleigh Ride (3:06)
6. Darlene Love - Marshmallow World (2:27)
7. The Ronettes - I Saw Mommy Kissing Santa Claus (2:41)
8. The Crystals - Rudolph the Red-Nosed Reindeer (2:34)
9. Darlene Love - Winter Wonderland (2:30)
10. The Crystals - Parade of the Wooden Soldiers (2:58)
11. Darlene Love - Christmas (Baby Please Come Home) (2:50)
12. Bob B. Soxx & The Blue Jeans - Here Comes Santa Claus (2:07)
13. Phil Spector and Artists - Silent Night (2:10)

Brenda Lee - Rockin' Around the Christmas Tree


Brenda Lee's Rockin' Around the Christmas Tree includes the festive title track and a mix of classic holiday tunes, including "Winter Wonderland," "Silver Bells," "White Christmas," and "Santa Claus Is Coming to Town." Unique Christmas and winter tunes like "Christy Christmas," "A Marshmallow World," "Strawberry Snow," and "I'm Gonna Lasso Santa Claus" round out this happy holiday collection.




If Brenda Lee had not recorded "Rockin' Around the Christmas Tree" in 1958, the holidays would not quite be the same. But for those who think that Lee's Christmas repertoire begins and ends with that beloved tune, they need to put this disc on their wish list. The Decca Christmas Recordings is a charming collection of Lee's holiday work, both known and obscure. And the range is fairly compelling. Moving from the lovably offbeat sentiments of the bayou-influenced "Papa Noel" and the angry child's take on the fat man "I'm Gonna Lasso Santa Claus" to more somber fare such as "Christmas Will Be Just Another Lonely Day," and the peculiar "Strawberry Snow," Lee's unforgettable vocal style leaves a perfect imprint. Her little hiccup-tinged singing voice is a hallmark of the season, making this 18-track set a true gift. --Martin Keller



The Librettos - Let's Go With The Librettos (1964/65 ) New Zealand;Australia



 

The Librettos were, at one point in the mid-'60s, the top rock & roll group in New Zealand -- a status they deserved based on their recordings, which were among the hardest-rocking sides of this era to come out of New Zealand or their transplanted home, Australia. And at least one of their members, Brian Peacock, went on to an international career that took him all the way to England. The band was formed in 1962 at Rongotai College in Wellington, where all five of the original members -- Roger Simpson (vocals, piano), Rod Stone (lead guitar), Paul Griffin (bass), Johnny England (guitar), and Gordon Jenkins (drums) -- attended school. They built a reputation locally in Wellington, at dances and the like, before their first breakthrough, a residency at a club called Teenarama -- the latter became to Wellington's (and New Zealand's) rock & roll community something akin to what the Cavern was in Liverpool and the 2I's was in London, a mecca for audiences seeking good music and managers and producers seeking worthwhile talent. The band gained a huge fandom in 1963, though they did lose their original drummer, Gordon Jenkins, who was replaced by Dave Diver late that year. And they were soon spotted by Kevan Moore, a television producer who installed them as the house band on his weekly program, Let's Go, a kind of pop/rock showcase aimed at younger viewers.

They lost rhythm guitarist Johnny England a little later, and he was succeeded by Lou Parun, who had already recorded four singles under his own name. And Paul Griffin left and was succeeded by Brian Peacock on bass, formerly with a band called the Downbeats. And with the departure of Roger Simpson later in 1964, this left the Librettos as a quartet, of which lead guitarist Rod Stone was the only original member. This configuration was leaner and punchier, mixing the British beat sound that they were hearing on records coming in from England and Australia with American R&B. The group got a recording contract in 1964 with the EMI label imprint HMV and debuted with "Funny Things" b/w "I'll Send It Your Way," followed by "Young Blood" b/w "That's Alright with Me" a few months later. "Baby It's Love" b/w "Great Balls of Fire" was released in late 1964, and "It's Alright" b/w "Walkin' the Dog" appeared in 1965. And amid that string of four singles, they also issued their first and only LP in 1964, Let's Go with the Librettos. That record has a pleasingly raw, crunchy garage band sound to it, reminiscent of the early Kinks. They also got to appear with Roy Orbison and the Rolling Stones when they toured New Zealand, and shared a bill with Billy Thorpe & the Aztecs, one of the top rock & roll bands in Australia. 

The Librettos realized by the start of 1965 that they'd gone as far as they could in New Zealand and turned their sights toward Australia. They turned down another season of Let's Go and headed to Sydney, where they found a thriving -- and also almost impossibly competitive -- band scene. Dave Diver went back to New Zealand, to be replaced by Craig Collinge, and the band soldiered on, releasing a single of "Great Balls of Fire" b/w "Twilight Time" in the spring of 1965. Another single, "Ella Speed" b/w "I Want Your Love," followed in the fall of that year, which was only issued in New Zealand. Gradually, they broke through to a serious fandom and began separating themselves from the competition, and even managed to return home to New Zealand every so often to huge audiences. Meanwhile, back in Australia, they left HMV for the Sunshine label, through which they released "I Cry" b/w "She's a Go-Go." Both that record and a follow-up, "Rescue Me" b/w "What Do You Want to Make Those Eyes at Me For," failed to chart. 

By 1966, Parun had returned to New Zealand, and the Librettos decided to continue as a trio. They also relocated to Melbourne and recorded the single "Kicks" b/w "Whatcha Gonna Do About It," which proved to be their swan song. Peacock and Stone were offered spots in the Playboys, the backing band for Normie Rowe, who was getting ready for a British tour, and that was it for the Librettos. Their final recording, "It's Loving Time," cut in the summer of 1966, wasn't even issued, and remained in the vaults until 1997. Brian Peacock later formed Procession, while Rod Stone became part of a late-'60s band called the Groove, and was still active in music at the start of the 21st century. Meanwhile, the Librettos' music was unearthed in a CD compilation, which included most of their recorded output, released by EMI in 1997. ~ Bruce Eder, Rovi




It was rough, raw and alive and oh so electric and chances are if you were a New Zealand teenager in late 1964 and it was Tuesday night your television would likely be tuned to it. There in front of your eyes would be a tall blond compere in impeccable suit saying: “Hi there, this is Pete Sinclair, once again, Let’s Go with the Librettos...” followed by an brisk attack of handclaps and insistent Brian Peacock bass then a surge of Rod Stone surf guitar as the sharp suited Librettos paced out The Ventures’ song and theme music of the hot Wellington-based TV music show. 

Like the show, Let’s Go, The Librettos were young, raw and oh so electric peddling a hot new sound in a hot new medium.

The Librettos - master guitarist Rod Stone, singer and guitarist Lou Parun, bassist Brian Peacock and drummer Dave Diver - were already Wellington’s top groupfast taking off to national fame after a spot on a well-received national tour with Billy J Kramer and The Dakotas and Cilla Black in 1964 and a string of consistently well attended shows around Wellington, and at Teenarama, the hot teenage dancehall of the era.    

The years of struggle around Wellington were paying off. The rock n roll band with the operatic name had been there at the beginnings of the group sound in New Zealand having been formed in 1962 by singer Roger Simpson, pianist Dave Clark, guitarists Rod Stone and Johnny England, Paul Griffin (bass) and Gordon Jenkins (drums). When Jenkins departed he was replaced in December 1963 by a young opportunistic Christchurch drummer, Dave Diver, late of The Tempest and The Secrets who’d approached Rod Stone and Ian Dawson to offer his services during a brief stint in Wellington.    

Johnny England, reluctant to go fulltime, left next eventually releasing Jezebel/ Linda Lu as Johnny England and The Titans (The Premiers incognito) and joining The Verse 5 in the late 1960s. He was replaced by solo singer Lou Parun, a veteran of four solo singles for Lexian Records (some backed by The Librettos). Rod Stone also released a solo single on Lexian (although Stone says it was effectively an early lineup Librettos release) - Skye Boat Song/ Friendly Persuasion.      

Much to the concern of Dave Diver (who could see the band he’d moved to Wellington for disbanding) The Librettos lost a talented bass player in Paul Griffin. In came Brian Peacock, late of Nelson’s Downbeats, and they gained a strong stage presence and eventually a songwriter. With Peacock came a change in sound with more beat and R & B songs finding their way into The Librettos’ sets.       

The classic Librettos line-up was now complete - their sound plugged in the fast flowing current of pop. They edged past rivals, The Premiers, as the top Wellington group, confidence brimming,  and manager Ian Dawson (of  Dawson-Cooper Associates) arranged an audition at EMI Records. The Librettos were quickly signed to HMV Records and Castle Publishing. A boon for the band as the previous line-up had been turned down. Through 1964 into 1965, The Librettos, cut four singles at EMI studios with engineer Frank Douglas - Funny Things, Young Blood, the minor hit Baby, It’s Love, a much requested live favourite, and one of Peacock and Stone’s best compositions, and It’s Alright.  An album, Let’s Go With The Librettos, chock full of six Stone and Peacock originals (notably I’m Gonna Say Yeah and I’m A Dog)  appeared in February 1965.      

Overexposed in New Zealand, The Librettos with manager Ian Dawson, moved to Sydney in March 1965 after turning down a second series of Let’s Go. With no contacts outside the EMI/ HMV link, The Librettos started the graft again. They were sacked from the Sylvania Hotel after three nights for playing too much Beatles/ mod style music and after that scrambled for work taking part-time jobs as they searched for a break in the developing Sydney teen scene where they were competing with hundreds of simarly hungry groups.   

Dawson’s dubious managerial doings and the hard times got to Dave Diver who headed home in September 1965 to briefly join The Countdowns and the embryonic Avengers before settling back home in Christchurch’s Five Degrees. His replacement was young Aussie Craig Collinge who was studying at the Sydney Conservatorium of Music.     

The Librettos eventually landed a spot at a dive called the Sound Lounge in Kings Cross followed by a spell at the notorious Suzie Wong’s where they replaced theequally notorious Missing Links.    

In September 1965, The Librettos entered EMI’s Sydney studio to record Ella Speed, a Leadbelly blues, backed with the Stone and Peacock original, I Want Your Love, for October release in New Zealand and Australia. Their only previous Australian release being a coupling of their New Zealand-recorded Great Balls of Fire and Twilight Time.     

By November, The Librettos were starting to make some impact in Sydney picking up work at The Bowl, one of promoter Ivan Dayman’s chain of teen clubs - playing there three shows a day - and on one of Dayman’s package tours of Sunshine artists (from his booking company and record label) backing fellow Kiwi Jim McNaught, Marcie Jones, Peter Doyle and Graeme Chapman and playing their own set on athe one night stand tour around country New South Wales and Victoria that seemed to run for months.        

Back home to refresh their coffers and visit loved ones over the 1965 to 1966 holiday break ,The Librettos, with newcomer Craig Collinge in tow returned to a high profile New Zealand welcome playing the holiday season at the YMCA in Nelson before venturing as far south as Christchurch. They paused long enough to play packed home town shows in Wellington and be acknowledged New Zealand’s Best Group of 1965 then turned their attention to Australia again.    

Going back to Australia after two failed singles and a low profile previous visit, albiet, one which included appearances on the national Sing Sing Sing show presented by Johnny O’Keefe, Saturday Date, Ten on the Town and TV Tonight took guts but it was a punt that would pay.    

Dayman had offered them the chance to record for his Sunshine label (home of stable mate Normie Rowe) with accomplished producer Pat Aulton. Ian Dawson had an idea for their first Sunshine single - go go girls - they were hip - write a song about them. Stone and Peacock came up with She’s A Go Go for  the flipside to the unimpressive I Cried. The single flopped as did the follow-up; a version of Fontella Bass’s Rescue Me.   

Lou Parun had had enough. He quit in April 1966, leaving the music industry for good. Peacock took over lead vocals as The Librettos looked for a keyboard player to replace Parun. None could be found. By then the group were enjoying the three piece line-up and honing a more progressive/ experimental sound and gathering a small following, especially among musicians, in their new base Melbourne. 

Stone: “By the time we ended up in Melbourne as a three piece, we played old blues stuff and R & B things. It was very enjoyable but it didn’t make us a lot of money.”   

They’d drifted to Melbourne, Australia’s rock capital, for its plentiful venues and active band scene. It was there they had their greatest recording success. The Librettos’ final Australian single was a hot take of Paul Revere and The Raiders’ US hit, Kicks, backed with R & B raver What Cha Gonna Do...”  which garnered some good airplay in Melbourne but again failed to sell.   

When mate Normie Rowe asked Brian Peacock then Rod Stone if they wanted to join his ace backing band The Playboys for an assault on the British pop scene; The Librettos ceased to be. They played their last show at weekly gig, Pinnochios, in August 1966. A final recording, taped at Festival in Sydney, It’s Loving Time - a stab at a Righteous Brothers-style epic ballad - remained unreleased.  

Normie Rowe bombed in Britain despite six singles and a massive PR push. Rod Stone left early after falling out with the other Playboys, returning to Australia and forming The Groove with Peter Williams from Max’s Meteors. He is now a guitar teacher in Melbourne and still plays regularly.   

Brian Peacock returned to Australia with Normie in 1967 and joined Procession. He became the road manager for the New Seekers briefly glimpsed the big-time of hit songwriting when his composition was recorded for the flipside of The New Seekers’ biggest hit, I’d Like To Teach The World To Sing. Another Peacock composition was slated for the New Seekers’ next single until Electra Records got cold feet and bumped it back to the flipside. Peacock, like Stone, and indeed, The Librettos, was destined to stay just to the side of real sixties fame



This is an amazing CD from EMI, encompassing the original 1965 New Zealand HMV LP, and more than doubling its length, adding on all but one of the single sides recorded by the Librettos, New Zealand's hottest mid-'60s rock & roll band. The sound is pure British Invasion with a lean garage band edge on the best songs, all a little reminiscent of the Kinks in their early days -- that may make them seem a bit like the Easybeats of the same era (but hey, is that a bad thing to be?). The singles are a pretty strong body of work, but this quartet, given the then-rare opportunity of recording an entire LP, ran with that as well -- and a couple of previously unreleased tracks defy any logic justifying their obscurity. And while it all might not sound too special to a lot of people in 2009, it's also not surprising that these guys were able to blow away all of the competition in their homeland and also compete effectively in Australia as well, until 1966; these guys seem to have understood rock & roll and had the talent to make it work for them, better than most of their rivals. The covers range from Leadbelly and Jerry Lee Lewis to the early Small Faces, and their originals -- the work of founder/lead guitarist Rod Stone and bassist Brian Peacock -- weren't bad, either

Helen Shapiro - Tops with me(1962)



In 2000, BGO released 'Tops' With Me/Helen Hits Out, which contained two complete albums -- 'Tops' With Me (1962, originally released on EMI) and Helen Hits Out -- by Helen Shapiro on one compact disc.


Helen Shapiro is remembered today by younger pop culture buffs as the slightly awkward actress/singer in Richard Lester's 1962 debut feature film, It's Trad, Dad. From 1961 until 1963, however, Shapiro was England's teenage pop music queen, at one point selling 40,000 copies daily of her biggest single, "Walking Back to Happiness," during a 19-week chart run. A deceptively young 14 when she was discovered, Shapiro had a rich, expressive voice properly sounding like the property of someone twice as old, and she matured into a seasoned professional very quickly. 

She grew up in London's East End and was performing with a ukulele at age nine as part of a school group -- supposedly called Susie & the Hula Hoops, whose members included a young Mark Feld (aka Marc Bolan) -- that used to sing their own versions of Elvis Presley and Buddy Holly songs. She subsequently sang with her brother Ron Shapiro's trad jazz turned skiffle outfit at local clubs before enrolling in classes at Maurice Burman's music school in London. Burman was so taken with Helen Shapiro's voice that he waived the tuition to keep her as a student. He later brought her to the attention of Norrie Paramor, then one of EMI's top pop producers (responsible for signing Cliff Richard & the Shadows). Shapiro's voice was so mature that Paramor refused to believe from the evidence on a tape that it belonged to a 14-year-old until she came to his office and belted out "St. Louis Blues." She cut her first single, "Please Don't Treat Me Like a Child," a few weeks later and broke onto the British charts in 1961. 

That record was an extraordinary effort for a 14-year-old. Shapiro's voice showed the maturity and sensibilities of someone far beyond their teen years; her depth of emotion, coupled with the richness of her singing, made her an extraordinary new phenomenon on the British pop scene. She surprised everyone once again with her second single, a slow ballad called "You Don't Know," which managed to appeal to listeners across several age groups and hit number one in England. This was followed by the greatest recording of her career, "Walking Back to Happiness," which scaled the top of the charts with far greater total sales. Ironically, she'd never wanted to cut it; she felt it sounded hopelessly corny and old-fashioned, but her singing invested the song with such depth that it transcended any limitations in the writing. 

This was to be the last time Shapiro would top the charts. Her next record, "Tell Me What He Said" (written by Jeff Barry) was held out of the top spot by the Shadows' "Wonderful Land." In April of 1962, Shapiro made her movie debut in Lester's It's Trad, Dad, but her single of "Let's Talk About Love" (featured in the movie) never broke the Top 20. Shapiro next turned back to the songwriting team of John Schroeder and Mike Hawker, who had written "Walking Back to Happiness" and "You Don't Know," for what proved to be her last Top Ten record, "Little Miss Lonely." She made the charts once more with "Keep Away From Other Girls," the first song by Burt Bacharach to make the British Top 40. During this period, Shapiro also got the opportunity to record Neil Sedaka's "Little Devil," and the two later became friends when Sedaka toured England. 

Listening to Shapiro's records nearly 40 years later, it's amazing to think that her hit-making career lasted only two years. She was equally at home belting out "The Birth of the Blues," imparting a surprisingly blues-influenced feeling to "A Teenager in Love," or oozing pre-feminist defiance in "Walking Back to Happiness," and by rights should have been able to find a niche on the charts well into the middle and late '60s. The incongruity of a 15-year-old who might usually be spending her time in high school doing a song like "Walking Back to Happiness" was lost in the more innocent era in which she worked.



Shapiro wasn't remotely as soul-influenced as Dusty Springfield (though Shapiro's Helen in Nashville album from 1963 does sort of anticipate Dusty in Memphis), or a raspy shouter like Lulu, and there wasn't much of the cool teenager in her in the style of Sandie Shaw or the wounded teen softness of Lesley Gore. Rather, Shapiro was much more of a female pop/rock crooner, almost a distaff Bobby Darin with a style all her own, and should have been able to cut a path for herself well into the '60s in the music marketplace. 

It wasn't to be, however. After appearing in her second movie, Play It Cool, which starred Billy Fury, Shapiro faded from the charts, although she didn't disappear from the British musical consciousness. She still headlined tours in the United Kingdom and in early 1963, she made the acquaintance of a support act that had been newly signed to EMI: the Beatles. She headlined the Beatles' first national tour of England and Shapiro and the group enjoyed each other's company. At 16, she was much more the seasoned professional than the older Liverpool quartet, who loved her voice and her unassuming manner. She sang with them on the bus, advised them to make "From Me to You" their next record after "Please Please Me," and they, in turn, wrote "Misery" for her. Astonishingly, EMI -- not yet sensing the golden touch that the Beatles (who had yet to cut their first LP) would soon reveal -- declined to give Shapiro the chance to record a Lennon-McCartney tune, costing her the chance to become the first artist to cover a Lennon-McCartney song just at the point when the Beatles were about to sweep all before them in the pop charts. 


There's no telling what Shapiro, with her rich intonation, could have done with that downbeat little diamond in the rough in the early Lennon-McCartney song bag. Shapiro had another chance at an even more promising song later in 1963 when she went to cut an album in Nashville. In a session backed by the likes of Grady Martin and Boots Randolph, she cut the very first recording of "It's My Party." And again, EMI failed to get behind the single, sitting on its release until a virtual unknown named Lesley Gore got her rendition out first on Mercury and topped the U.S. charts. Shapiro's career at EMI ended in 1963 and her periodic attempts to resume recording at Pye, DJM, and Arista over the next decade failed to generate any chart action. 

Shapiro has busied herself over the years very successfully as an actress, appearing as Nancy in Lionel Bart's musical Oliver and appearing on British soap operas as well. She has remained an attraction on the cabaret circuit over the decades and was well-known enough as a pop culture figure to justify the release of a best-of CD in Japan in the early '90s. She also cut albums devoted to the music of Duke Ellington and Johnny Mercer.
1. 01 Little Devil (2:32)
2. 02 Will You Love Me Tomorrow (3:25)
3. 03 Because They're Young (3:36)
4. 04 Day The Rains Came (2:38)
5. 05 Are You Lonesome Tonight (2:51)
6. 06 Teenager In Love (2:24)
7. 07 Lipstick On Your Collar (2:21)
8. 08 Beyond The Sea (3:32)
9. 09 Sweet Nothin's (2:40)
10. 10 You Mean Everything To Me (2:37)
11. 11 I Love You (2:21)
12. 12 You Got What It Takes (2:45)

Various Artists: The Scene Series - Decca Originals




VA Decca Originals -  The UK Blues Scene


From the archives of Decca Records U.K. comes the Blues Scene (1999). This 25-track anthology covers the label's copious contributions to the 1960s renaissance of rhythm & blues-influenced rock. The movement would ultimately seed heavy metal supergroups such as Cream, Led Zeppelin and the seminal incarnation of Fleetwood Mac. Fittingly, the revolving-door personnel of John Mayall's assorted Bluesbreakers are particularly worthy of note. They not only commence and conclude this compilation, but more importantly, Mayall also provided an entrée for a host of promising young talent such as Peter Green, John McVie, Mick Fleetwood, Eric Clapton, and Aynsley Dunbar all of whom would eventually become internationally recognized icons. Among the Bluesbreaker's offerings presented here are the powerful instrumental "Curly," as well as "The Supernatural," which boasts the distinctive fretwork of Peter Green, "Steppin' Out" featuring Eric Clapton, and an incendiary early live take of "I Need Your Love." Another interesting facet is the wide spectrum of American legends whose association with Deccabrought their music to new generations and audiences. Selections from Eddie Boyd ("Key to the Highway," "Blue Coat Man," and "Dust My Broom"), Otis Spann ("Pretty Girls Everywhere"), as well as Champion Jack Dupree ("24 Hours," "Barrel House Women," and "Third Degree") are among the highlights. In the case of the latter title, Dupree had a little help from both Mayall and Clapton on this 1966 recording. The label also heralded artists such as Alexis Korner ("Early in the Morning" and "Night Time Is the Right Time") and Savoy Brown ("Taste & Try Before You Buy," "Train to Nowhere," and "Train to Nowhere") who would have a much stronger impact in Europe than in the States. As such, Blues Scene (1999) is a worthwhile assessment of Decca's vaults, and a valuable primer for the novice. Interested parties should also note the other entries in this series -- including the R&B Scene (1999) and the Northern Soul Scene (1999).

01 - bluesbreakers - curly
02 - eddie boyd - key to the highway
03 - john mayall & peter green - the super-natural
04 - otis spann - pretty girls everywhere
05 - eddie boyd - blue coat man
06 - champion jack dupree - third degree
07 - john mayall & eric clapton - steppin' out
08 - savoy brown - train to nowhere
09 - curtis jones - roll me over
10 - zoot money - get on the right track baby
11 - alexis korner - night time is the right time
12 - mae mercer - sweet little angel
13 - graham bond organization - strut around
14 - steve anglo & john mayall - long night
15 - davy graham - goin' down slow
16 - savoy brown - taste & try before you buy
17 - keef hartley - me and my woman
18 - eddie boyd - dust my broom
19 - champion jack dupree - barrel house woman
20 - rod stewart - i'm gonna move
21 - john mayall & peter green - double trouble
22 - champion jack dupree - 24 hours
23 - alexis korner blues inc. - early in the morning
24 - savoy brown blues band - early in the morning
25 - john mayall - i need your love [live]


VA Decca Originals - The Northern Soul Scene



The Northern Soul off-shoot of the British mod movement became the U.K. equivalent of the stateside Motor City- and Memphis-based R&B factions, thriving in clubs and discotheques across England. Over two dozen representative selections are gathered here, demonstrating the scene's unmistakable fusion of beat-based rock & roll with rhythm and blues. The vast majority of these musicians didn't garner significant international recognition, however, thanks to Decca Records' assorted sub-genre defining 'Scene' related titles, selections including Frankie & Johnny's optimistic affirmation "I'll Hold You" or the sexy proto-Philly score heard on Sonny Childe's "Giving Up on Love" are finally getting their due. The Motown sound was an obvious influence on Elkie Brooks' reading of "The Way You Do the Things You Do," "My Smile Is Just a Frown (Turned Upside Down)" from Truly Smith and "Ask the Lonely" by the Fantastics. Interestingly, the latter combo originated in the United States as the Velours prior to touring Europe as the Drifters. Clyde McPhatter -- another musical ex-patriot and ironically the co-founder of the real Drifters -- became a sizable solo artist in England during the mid- to late-'60s, recording right up until his untimely passing in 1972. The workout "Baby You Got It" is a perfect example of the funky style he ultimately became associated with. Similarly, Tom Jones ("Stop Breaking My Heart") and David Essex' ("So-Called Loving") would gain similar notoriety for their occasional blue-eyed soul leanings, such as those on this package. Mickey Moonshine's aggressive and slightly trippy "Name It, You Got It," Jon Gunn's darkly baroque "I Just Made Up My Mind," as well as Tony Newman's propulsive "Let the Good Times Roll" are among the adventurous excursions, allowing for a much more comprehensive summation of the Northern Soul Scene.

01 - frankie & johnny - i'll hold you
02 - david essex - so called loving
03 - flirtations - nothing but a heartache
04 - fearn brassy foundry - don't change it
05 - clyde mcphatter - baby you got it
06 - micky moonshine - name it you got it
07 - ronnie jones - my love
08 - fantastics - ask the lonely
09 - tom jones - stop breaking my heart
10 - billie davis - billy sunshine
11 - amen corner - our love (is in the pocket)
12 - danny williams - whose little girl are you
13 - eyes of blue - heart trouble
14 - bobby hanna - everybody needs love
15 - dave berry - picture me gone
16 - john e. paul - i wanna know
17 - elkie brooks - the way you do the things you do
18 - jon gunn - i just made up my mind
19 - adrienne poster - something beautiful
20 - brotherhood of man - reach out your hand
21 - sonny clide - giving up on love
22 - truly smith - my smile is just a frown
23 - stevie kimble - all the time in the world
24 - tony newman - let the good times roll
25 - bats - listen to my heart

VA- The Mod Scene Vol.2



This single-CD anthology contains 25 mid-'60s mod nuggets from the Decca Records vaults. It is a follow-up to the Mod Scene (1998) and is one of several installments in the U.K.-based label's Scene-related titles. The entire series is chock full of difficult-to-locate hits, misses, and sleeper classics, many making their respective digital debut. The ultra-hip and so-called swinging London scene was the unquestionable mod epicenter in terms of what was being played in some of the more adventurous discotheques and by DJs on Radio Caroline and BBC Radio One. Rather than being embraced by simply one genre or musical style, as the tunes on Mod Scene, Vol. 2 (1999), suggest, the slight angst that defined the mod spirit permeated pop, blues, jazz, R&B, and even folk. As is the case of "Liza Jane" by a pre-Bowie Davie Jones & the King Bees. Their take on the traditional refrain is nothing short of attitude-infused rebel rock. John Mayall's reading of Larry Williams' hit "Looking Back" is likewise laced with the same edgy groove that would translate onto the dancefloor. Among the better known names -- such as Them ("I Can Only Give You Everything"), Lulu ("Lies"), and the Small Faces ("Own Up Time") are some equally brilliant sides that all like-minded parties are encouraged to wrap their lobes around. In fact, it is these second-tier acts that are the primary focus. While the considerations of space prevent a truly detailed assessment, among the many zeniths are the Societie's upbeat rhythm and blues vibe on "Breaking Down," the countrified-lilt of "Can You Hear Me" from Powerhouse, and Zoot Money's boppin' instrumental and unofficial theme song, "Zoot's Suit." The fluidity of mod music spills over into the Questions' rave up "We Got Love," which is something akin to a slightly psychedelic Neil Diamond cut. There is also "Breakdown Blues," the A-side from the one-off Bread & Beer Band that featured contributions from one Reg Dwight, who was merely months away from reinventing himself as Elton John. Mod Scene, Vol. 2, is recommended without reservation for inclined ears. Enthusiasts should note the other Scene entries, including the first Mod Scene (1998), Psychedelic Scene (1998), Rock N' Roll Scene (1998), and Blues Scene (1999). ~ Lindsay Planer, All Music Guide


1. Small Faces - Own Up Time
2. The Birds - Leaving Here
3. Timebox - Beggin'
4. Davie Jones & The King Bees - Liza Jane
5. Alan Dean & His Problems - The Time It Takes
6. John Mayall - Looking Back
7. Zoot Money - Zoot's Suit
8. Graham Bond Organisation - Long Legged Baby
9. Bread & Beer Band - Breakdown Blues
10. Them - I Can Only Give You Everything
11. Jimmy Powell - Sugar Baby Part1-Part2
12. The Questions - We Got Love
13. The Cryin' Shames - What's News [Sic] Pussycat
14. The Presidents - Candy Man
15. The Quik - I Can't Sleep
16. Powerhouse - Can You Here Me
17. The Knack - She Ain't No Good
18. Pete Kelly's Soulution - Midnight Confessions
19. Unit 4+2 - Baby Never Say Goodbye
20. Lulu - Lies
21. Robb & Dean Douglas - Phone Me
22. Societie - Breaking Down
23. Double Feature - Baby Get Your Head Screwed On
24. Toby Twirl - Movin' In
25. The Attack - Try It



Sunday, December 5, 2010

Various Artists: The Scene Series - Decca Originals


VA Decca Originals -  The Girls' Scene


This installment in Decca Records archival Scene-related CDs explores the sizable contributions of the fairer sex to pop music during the 1960s. While these ladies may have made a significant impact in their native U.K., the vast majority remained virtual unknowns on other shores. The Girls' Scene (2000) contains over two-dozen cuts, representing some of the best female vocal groups of the era. Much like their Stateside colleagues, songs were often derived from veteran contemporary composers. This collection offers up digitally remastered distinguished reworkings from performers whose names might not be instantly recognizable, although the melodies should be. The Motown-sound is represented by "Two Lovers" from Louise Cordet, as well as Beryl Marsden's spot-on reading of "When the Lovelight Starts Shining Thru' His Eyes." Decca. 20





1 - the orchids - oo-chang-a-lang
2 - antoinette - jenny let him go
3 - the vernons girls - only you can do it
4 - louise cordet - two lovers
5 - truly smith - the boy from chelsea
6 - dana gillespie - you just gotta know my mind
7 - barry st. john - hey boy
8 - susan hampshire - when love is true
9 - jean marrin - save the last dance for me
10 - beryl marsden - when the lovelight starts shining thru
11 - pamela blue - my friend bobby
12 - jackie frisco - sugar baby
13 - janice nichols - i'll give it five
14 - bobbie miller - what a guy
15 - the mysteries - give me rhythm and blues
16 - olivia newton john - till you say you'll be mine
17 - vashti - some things just stick in your mind
18 - marianne faithfull - is this what i get for loving you
19 - billie davis - nobody's home to go home to
20 - shape & sizes - rain on my face
21 - lorraine child - you
22 - linda flavell - the trouble with me is you
23 - adrienne poster - shang-a-doo-lang
24 - lulu - try to understand
25 - exceptions - solide


VA Decca Originals - The Mod Scene 


During the original UK 'mod' movement of the mid '60s, no label released more slices of classic 'mod' than Decca Records. This compilation features 25 rare and influential recordings straight from the Decca vaults and features many vital tracks that helped shape the scene. Mixing rock, blues and soul with electrifying energy, the 'mods' were sharply dressed and ready to take their sounds to the streets and were warmly embraced by the music-obsessed 'mod' fans. Although many of these artists are long forgotten, their powerful sounds have survived for four decades. Includes tracks from Tom Jones, Paul & Barry Ryan, The Poets, Amen Corner, Small Faces, Chris Farlow, Graham "10cc" Gouldman, Zoot Money's Big Roll Band, Graham Bond Orchestra and many more.

1 The Quik - Bert's Apple Crumble 2:14
2 Hipster Image - Make Her Mine 2:19
3 The Poets - That's the Way It's Gotta Be 2:36
4 The Wards of Court - How Could You Say One Thing 1:56
5 Graham Gouldman - Stop! Stop! Stop! 2:59
6 Pete Kelly's Soulution - If You Love Don't Swing 2:26
7 Timebox - Girl Don't Let Me Wait 2:34
8 The Mockingbirds - Lovingly Yours 2:15
9 Amen Corner - Expressway to Your Heart 2:42
10 The Attack - We Don't Know 2:41
11 Chris Farlowe - Air Travel 2:12
12 The Graham Bond Organisation - Little Girl 2:40
13 The Outer Limits [GBR] - Just One More Chance 3:03
14 Ronnie Jones with the Nightimers - I Need Your Loving 2:46
15 Small Faces - Grow Your Own 2:19
16 Zoot Money - Walking the Dog 2:27
17 Steve Aldo - Baby What You Want Me To Do 3:46
18 Tom Jones - Dr. Love 1:53
19 Jimmy Winston and His Reflections - It's Not What You Do 3:01
20 The Habits - Elbow Baby 2:35
21 The Score - Beg Me 2:46
22 The Loose Ends [60s] - That's It 2:11
23 St. Louis Union - East Side Story 2:25
24 Paul & Barry Ryan - There You Go 2:14
25 Eyes of Blue - Supermarket Full of Cans 2:41



VA Decca Originals - R&B Scene



From the archives of Decca Records comes a compilation with 25 Rhythm & Blues-driven tracks, many of which are on CD for the first time. Includes early recordings featuring David Bowie, Jack Bruce, Ginger Baker, Jimmy Page, Rod Stewart and Ron Wood. 

1 - the birds - you´re on my mind (1963)
2 - the fairies - anytime at all (1963)
3 - blues by five - boom boom (1964)
4 - cops´n robbers - gotta be a reason (1964)
5 - dave berry - don't gimme no lip (1964)
6 - lulu & the luvers - i'll come running over (1965)
7 - graham bond - long tall shorty (1964)
8 - the frays - keep me covered (1965)
9 - david jones louie louie go home
10 - john mayall - crawling up a hill (1964)
11 - the chasers - hey little girl (1965)
12 - zoot money - the uncle willie (1964)
13 - the hipster image - can't let her go (1965)
14 - david john & the mood - to catch that man (1966)
15 - the beazers - blue beat (1964)
16 - the exotics - cross my heart (1964)
17 - rod stewart - good morning little schoolgirl (1964)
18 - alexis korner - i got my mojo working (1962)
19 - the emeralds - king lonely the blue (1965)
20 - the big three - you've gotta keep her (1964)
21 - the plebs - babe i'm gonna leave you (1964)
22 - steve aldo - can i get witness (1964)
23 - the redcaps - talkin' bout you (1963)
24 - paul's disciples - see that my grave (1965)
25 - the birds - you don't love me (1965)

VA Decca Originals - Psychedelic Scene



Import only collection of bands signed to the Decca/Deram label. Those of you who draw inspiration from that transitional era 1965 to 1971 will no doubt be familiar with the "Circus Days" & the "Rubble" series. This CD focuses much more tightly on the years 67-68. Lyrically, the usual naive early psychedelia subject matter are present and correct:dreams/mind/colours/night/sadness and general surrealness crop up regularly. Musically,'Strawberry Fields' and 'I Am The Walrus' influences are sprayed all over this record like a day-glo rash, but unfortunately most of the time it's carried off with less panache than the Fabs. Included is the The End's Traffic-influenced 'Shades of Orange' (with Charlie Watts guesting on tabla, Stones' completists!!) Similarly the tracks by Curiosity Shoppe, The Attack, The Accent and Human Instinct all start off with a good idea that doesn't quite gel, but again, are very listenable. 

1 - tintern abbey - vacuum cleaner
2 - the end - shades of orange
3 - the accent - red sky at night
4 - curiosity shoppe - baby i need you
5 - the syn - 14 hour technicolour dream
6 - the poets - in your tower
7 - the attack - colour of my mind
8 - small faces - that man
9 - the fairytale - guess i was dreaming
10 - turquoise - woodstock
11 - al stewart - turn into earth
12 - virgin sleep - secret
13 - felius andromeda - meditations
14 - human instinct - a day in my mind's mind
15 - the ice - ice man
16 - the moody blues - love & beauty
17 - 23rd turnoff - michaelangelo
18 - the societie - bird has flown
19 - world of oz - like a tear
20 - garden odyssey enterprise - sad & lonely
21 - keith shields - deep inside your mind
22 - timebox - gone is the sad man
23 - the plague - here today, gone tomorrow
24 - andy forray - dream with me
25 - warm sounds - nite is a comin'

VA Decca Originals - The FreakBeat Scene


The Freakbeat Scene is another thrilling 25 track installment in the much lauded Decca Records archival Scene series. Includes early recordings from The Attack, The Birds, Marc Bolan and The Small Faces. 

1 - the score - please please me (1966)
2 - paul ritchie - come on back (1966)
3 - the attack - anymore than i do (1967)
4 - the majority - one third (1966)
5 - shel naylor - one fine day (1964)
6 - the new breed - unto us (1965)
7 - the syn - grounded (1967)
8 - fire - fathers name is dad (1968)
9 - small faces - understanding (1966)
10 - the birds - no good without you baby (1965)
11 - mark bolan - the third degree (1966)
12 - the flies - im not your stepping stone (1966)
13 - keith - shields - hey gyp (1967)
14 - mark four - im leaving (1965)
15 - jimmy winston - sorry shes mine (1966)
16 - the poets - wooden spoon (1967)
17 - outer limits - just help me please (1967)
18 - denis couldry & the next collection - i am nearly there (1968)
019 - blue stars - i can take it (1965)
20 - timebox - poor little heartbreaker (1969)
21 - the fairytale - run & hide (1967)
22 - loose ends - taxman (1966)
23 - sea-ders - thanks a lot (1967)
24 - the human instinct - pink dawn (1968)
25 - beatstalkers - you better get a better
26 - the quick - berts apple crumble (1967)
27 - hipster image - make her mine (1965)
28 - the poets - thats the way its gotta be (1967)
29 - the wards of court - how could you say (1968)

VA Decca Originals - The Rock 'n'Roll Scene


This is a fascinating and delightful CD, but it takes a little listening time and patience to get at why. For 14 years, from 1956 through 1970, England's Decca Records was one of the big two British record labels, in competition with giant conglomerate EMI (and smaller rival Pye Records bringing up the rear). This 25-song compilation celebrates the early years of the label's involvement in rock & roll from the May 1956 recording of "Downbound Train" by Ken Colyer's Skiffle Group through such uniquely British phenomenons as Screaming Lord Sutch (the best thing here) and Wee Willie Harris to genuine stars like Billy Fury and early-'60s also-rans like Russ Saintly and Danny Rivers to such lost figures as Freddie Starr from the spring of 1963. There are about a dozen tracks that are going to surprise any American (and even a lot of Brits) who buy this disc, in terms of how hard they rock and how well the singers and the bands understand what they're doing. On the other hand, about half of what's here wouldn't rate alongside the American article, and the majority of U.S. listeners will find most of this material rather tame and predictable -- but the exceptions are worth the price of admission, once one gets to them. The compilers decided to make this disc representative of the label's output, rather than uniformly good, so there's some adenoidal teen pop next to the good stuff. The CD is entertaining and informative, and contains a revelation or two, but it's also funny to realize that within a few weeks of the latest recordings featured here, Decca Records signed the Rolling Stones, followed in short order by the original (that is, R&B-era) Moody Blues and the Small Faces, all making sounds that would sweep this relatively innocent, freewheeling early era aside. 

1 billy boyle - my baby's just crazy about elvis
2 joe brown - comes the day
3 joey castell - tryin' to get to you
4 ken colyer's skiffle group - downbound train
5 bob corr skiffle - school day
6 michael cox - too hot to handle
7 terry dene - pretty little pearly
8 jackie dennis - la dee dah
9 lonnie donegan skiffle group - rock island line
10 vince eager and the vagabonds - yea yea
11 billy fury - collette
12 wee willie harris - rockin at the two i's
13 eddie hickey - plain jane
14 sally kelly - little cutie
15 little tony & his brothers - foxy little mama
16 the most brothers - whole lotta woman
17 danny rivers & alexander combo - my baby's gone away
18 russ sainty with the new notes - race with the devil
19 mort shuman - turn me loose
20 freddie starr and the midnighters - it's shaking time
21 tommy steele & the steelmen - elevator rock
22 rob storme - transister sister
23 screaming lord sutch - i'm a hog for you baby
24 bobby tempest - don't leave me
25 terry white and the terriers - rock around the mailbag
25 terry white and the terriers - rock around the mailbag






VA Decca Originals - The Beat Scene - 1998






The Beat Scene (1998) concentrates on groups stylistically akin to the early- to mid- '60s British Invasion beat bands. However, unlike the Beatles, the Dave Clark Five, or any of their other internationally renowned contemporaries, many of the acts featured here had comparatively nominal, if any, success outside of Europe. In the case of the Poets — whose longing rocker "I Love Her Still" is found on this volume — they created music broad enough in scope to have covered the freakbeat and psychedelic subgenres as well. Almost by definition, one of the more obvious components of the Beat Scene is the hearty backbeat that drives the Game's "Gonna Get Me Someone," the Mockingbirds' "One by One," and Joe Cocker's seminal remake of the Fab Four's "I'll Cry Instead." The latter is a fascinating glimpse into Cocker's primordial sound, blending the essence of American rockabilly with a hint of skiffle tucked into the rhythm. Another notable name is Lulu, who takes the Luvvers through the Mick Jagger/Keith Richard composition "Surprise Surprise." Although pop music fans might remember the name Pete Best as the pre-Ringo Starr percussionist for the Beatles, he lends his name to a combo covering Eddie Hodges' "I'm Gonna Knock on Your Door," a one-off single circa 1964. Other Beat-era trademarks include compact arrangements, as displayed by the tight syncopation heard on Rick & Sandy's "Lost My Girl," the Warriors' "Don't Make Me Blue," and the Beat Chics' lively "Now I Know." A direct contrast is the Andrew Oldham Orchestra's faux Wall of Sound rendition of "Da Doo Run Run," with uncredited vocals from Mick Jagger. Parties interested in this edition should check out the other erstwhile installments: Mod Scene (1998) and Mod Scene, Vol. 2, Psychedelic Scene (1998), Rock N' Roll Scene (1998), and Blues Scene (1999).

01 - the poets - i love her still
02 - the game - gonna get me someone
03 - thee - each & every day
04 - the mighty avengers - (walking thru' t
05 - shel naylor - it's gonna happen soon
06 - joe cocker - i'll cry instead
07 - beat boys - third time lucky
08 - the mark four - hurt me if you will
09 - sandra barry & the boys - really gonna
10 - lulu & the luvvers - surprise surprise
11 - the mojos - everything's alright
12 - the beat chics - now i know
13 - pete best four - i'm gonna knock on yo
14 - the warriors - don't make me blue
15 - the marauders - that's what i want
16 - the brooks - once in a while
17 - rick & sandy - lost my girl
18 - unit 4+2 - i was only playing games
19 - tierneys fugitives - did you want to r
20 - the mockingbirds - one by one
21 - the rockin' berries - itty bitty piece
22 - the knack - who'll be the next in line
23 - brian poole & the tremeloes - keep on
24 - the hi numbers - heart of stone
25 - the andrew oldham orchestra - da doo r0n ron
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