Tuesday, October 30, 2012
Saturday, October 20, 2012
Little Eva Narcissus Boyd was a babysitter for Carole King and Gerry Goffin when the songwriting team was inspired to write "The Loco-Motion," a song based on a dance that Eva would do around the house. Eva also got to sing on their demo, which impressed Don Kirshner enough to release it as it was. One of the greatest girl group hits, "The Loco-Motion" hit number one in 1962; the follow-up, "Keep Your Hands Off My Baby," was also written by Goffin-King. Almost as good as her debut, it reached the Top 20, and was even covered by the Beatles on-stage in their early days (though they never recorded it in the studio). Unfortunately, Eva was then pigeonholed as a dance-craze singer and given inferior material. She never again reached the soulful heights of her first two singles; "Let's Turkey Trot" (1963) was her only other Top 20 hit, although she continued working until October 2001. She succumbed to cervical cancer in April of 2003.
Little Eva - The Complete Dimension Recordings The Loco-motion! (1997)
Little Eva Boyd was Gerry Goffin and Carole King's babysitter and ace demo singer. Together, the three of them came up with the mega-million-seller "The Loco-motion" and its attendant album, one of the finest moments in Brill Building girl-group music history. Those 13 or so transcendent moments of glory are gathered together with 15 or so others culled from non-LP B-sides and later singles, making this the single best overview of her years at Dimension Records available. In addition to her biggest hit and her first album in its entirety, this also features her other chart hits "Let's Turkey Trot," "Keep Your Hands Off My Baby," "Old Smokey Locomotion" and her duets with Big Dee Irwin ("Swinging on a Star," "The Christmas Song," "I Wish You a Merry Christmas"). And just to perfectly bookend this collection -- which begins with "The Loco-motion" by Little Eva -- the closing track is a rare tribute track recorded and released in the early '60s: "Little Eva" by the Loco-Motions! A nice piece of rock & roll history, Brill Building style.
Thursday, October 18, 2012
Pierwszym rodzimym (polskim) przebojem rockandrollowym była wykonywana w 1957 roku
przez Zbigniewa Kurtycza piosenka 'W Arizonie" (słówa Janusz Odrowąż,
muzyka Wiesław Machan). Pierwszym polskim utworem, w tytule którego
pojawiła się nazwa rock and roll była piosenka 'Tańcz i śpiewaj rock and rolla'
wykonywana przez Chór Czejanda.
Miastem, które stało się kolebką polskiego rock and rolla,
była Gdynia. Tam pojawiły się pierwsze płyty gramofonowe
z muzyką rockandrollową przywożone przez marynarzy,
a w gdyńskich klubach Piccolo, Fregata czy Interclub można
było usłyszeć pierwsze rytmy rockandrollowe na żywo.
W 1958 roku Franciszek Walicki, redaktor Głosu Wybrzeża,
w klubie Rudy Kot w Gdańsku zorganizował pierwszy konkurs młodych talentów.
Celem było wyłonienie muzyków i wokalistów do pierwszego polskiego
zespołu rockandrollowego. Niestety, te poczynania nie przyniosły
oczekiwanego rezultatu. Z grona wokalistów najwyżej oceniony przez organizatorów
został gdyński licealista Wojciech Zieliński (na gitarze akompaniował mu Jerzy Kossela).
W strukturach Estradowego Zespołu Marynarki Wojennej Flotylla z siedzibę w Gdyni-Oksywiu,
funkcjonował zespół o egzotycznej nazwie Hawajana Combo, który grał
między innymi na dansingach w Klubie Oficerskim. Zespół tworzyli
uzdolnieni muzycznie marynarze, odbywający służbę zasadniczą.
Wśród nich był gitarzysta Leszek (Bogdanowicz) Grzyb, wyróżniający się tym,
że posiadał czechosłowacką „patelnię"-gitarę elektryczną Jolana Grazioso
(w wielu artykułach prasowych poświęconych muzykowi, jak również początkom rock and rolla
w Polsce, twierdzi się, że był on pierwszym polskim muzykiem,
który posiadał gitarę elektryczną. Jest to bardzo wątpliwe,
ponieważ wspomniana gitara była w sprzedaży od połowy roku 1957).
Na początku roku 1959 w Jazz-Clubie przy Klubie Studentów Wybrzeża ŻAK w Gdańsku
rozpoczęły się pod kierownictwem Franciszka Walickiego próby zespołu muzycznego w składzie:
Andrzej Sułocki - pianino, Leonard Szymański - kontrabas,
Leszek (Bogdanowicz) Grzyb - gitara elektryczna, Jan Kirsznik - saksofon tenorowy,
Edward Malicki - perkusja oraz wokaliści-gitarzyści: Marek Tarnowski (Wojciech Zieliński)
i Bogusław Wyrobek. Inauguracyjny koncert odbył się 24 marca 1959 roku w klubie Rudy Kot
w Gdańsku. Konferansjerem był Franciszek Walicki, który przedstawił zespół o imponującej nazwie:
Rozrywkowy Zespół Gdańskiego Jazz-Clubu Rhythm and Blues. Należy dodać,
że w zastępstwie Andrzeja Sułockiego wystąpił podczas tego koncertu Władysław Krześniak.
Lokalne gazety (Dziennik Bałtycki, Głos Wybrzeża i Wieczór Wybrzeża)
w dość lakoniczny sposób odnotowały to wydarzenie. Powodem zapewne było to,
że na terenie Gdańska i Gdyni w tym okresie istniało wiele zespołów,
które grały muzykę zarówno rhythmandbluesową, rockandrollową, jak i jazzową.
Dopiero po kilku miesiącach, gdy zmianie uległa nazwa zespołu R&B (przypuszczać można,
że w nowym brzmieniu miała silniej oddziaływać na emocje młodych ludzi),
popularność i ranga grupy znacznie wzrosły. Muzyka prezentowana przez zespół doskonale
wpisywała się w oczekiwania publiczności. Popularność formacji nabrała wymiaru
ogólnokrajowego - na koncerty gdańskiego zespołu ciągnęły tłumy.
Na sopockich kortach 14 sierpnia 1959 roku odbył się pojedynek muzyczny
pomiędzy zespołami Rhythm and Blues z Gdańska a New Orleans Stompers z Warszawy,
który grał jazz tradycyjny. Koncerty (odbyły się dwa) zgromadziły ponad
siedem tysięcy wielbicieli jazzu, rhythm and bluesa, a przede wszystkim rock and rolla.
Podczas występu Rhythm and Blues publiczność śpiewała, tańczyła,
a na koniec na estradę rzucono imponującą ilość kwiatów.
Wreszcie tłum wdarł się na scenę i wykonawcy poszybowali w górę.
Porządek udało się zaprowadzić po apelach organizatorów i, ostatecznie, interwencji milicji.
Zaczęła się więc seria wspaniałych ogólnopolskich sukcesów zespołu.
Sukcesom tym towarzyszyły jednak tu i ówdzie awantury.
Tuesday, October 16, 2012
Live in Europe (Otis Redding album) 1967
Live in Europe is a live album from soul singer Otis Redding. It was Redding's first live album as well as the only live album released during his lifetime, issued exactly five months before his death on December 10, 1967. The album was recorded during the Stax/Volt tour of Europe and Redding is backed by Booker T. & the MG's. Recorded at the Olympia Theatre, Paris; March 21, 1967.
The album is currently available on CD, digitally remastered by Bill Inglot and Dan Hersch as part of the Atlantic & Atco Remasters Series. In 2003, the album was ranked number 474 on Rolling Stone magazine's list of the 500 greatest albums of all time.
In Person at the Whisky a Go Go 1968
This album, released posthumously, captured Otis Redding's show at the Whisky A Go Go from April of 1966 in Los Angeles. What is essential here was that it captured Otis Redding's sound in a small club with his own touring band, as opposed to his work on stage with Booker T. & the MG's -- an ideal band, to be sure, which is why they were sent over to Europe with him and why they were at Monterey with him a year later, but not the group that Redding normally worked on stage with. This album is closer to how Otis Redding sounded in the years coming up and working his way to the top, and the way that his original audience on the chitlin' circuit heard him. The singer and his band (including a pair of tenor saxes, a trombone, and four trumpets, with James Young, Ralph Stewart, and Elbert Woodson pounding out the rhythm on guitar, bass, and drums, respectively, go through roaring versions of "Respect," "I Can't Turn You Loose," "These Arms of Mine," "Pain in My Heart," "Satisfaction" and "Papa's Got a Brand New Bag" and four more, in Redding's only full-length recording in a small-scale setting. They may not have the musical elegance of Booker T. and company, but they create this intense, hypnotic sound that is spellbinding. The set itself lasts less than 40 minutes but the singer and his band are so energetic, that it doesn't feel short or lacking. This album was, in more ways than one, Redding's equivalent to Sam Cooke's Live At The Harlem Square Club, and just as essential.
One of the most influential soul singers of the 1960s, Otis Redding exemplified to many listeners the power of Southern "deep soul" -- hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. He was also the most consistent exponent of the Stax sound, cutting his records at the Memphis label/studios that did much to update R&B into modern soul. His death at the age of 26 was tragic not just because he seemed on the verge of breaking through to a wide pop audience (which he would indeed do with his posthumous number one single "[Sittin' On] The Dock of the Bay"). It was also unfortunate because, as "Dock of the Bay" demonstrated, he was also at a point of artistic breakthrough in terms of the expression and sophistication of his songwriting and singing.
Although Redding at his peak was viewed as a consummate, versatile showman, he began his recording career in the early '60s as a Little Richard-styled shouter. The Georgian was working in the band of guitarist Johnny Jenkins at the time, and in 1962 he took advantage of an opportunity to record the ballad "These Arms of Mine" at a Jenkins session. When it became an R&B hit, Redding's solo career was truly on its way, though the hits didn't really start to fly until 1965 and 1966, when "Mr. Pitiful," "I've Been Loving You Too Long," "I Can't Turn You Loose," a cover of the Rolling Stones' "Satisfaction," and "Respect" (later turned into a huge pop smash by Aretha Franklin) were all big sellers.
Redding wrote much of his own material, sometimes with the assistance of Booker T. & the MG's guitarist Steve Cropper. Yet at the time, Redding's success was primarily confined to the soul market; his singles charted only mildly on the pop listings. He was nonetheless tremendously respected by many white groups, particularly the Rolling Stones, who covered Redding's "That's How Strong My Love Is" and "Pain in My Heart." (Redding also returned the favor with "Satisfaction.")
One of Redding's biggest hits was a duet with fellow Stax star Carla Thomas, "Tramp," in 1967. That was the same year he began to show signs of making major inroads into the white audience, particularly with a well-received performance at the Monterey Pop Festival (also issued on record). Redding's biggest triumph, however, came just days before his death, when he recorded the wistful "(Sittin' On) The Dock of the Bay," which represented a significant leap as far as examination of more intensely personal emotions. Also highlighted by crisp Cropper guitar leads and dignified horns, it rose to the top of the pop charts in early 1968.
Redding, however, had perished in a plane crash in Wisconsin on December 10, 1967, in an accident that also took the lives of four members from his backup band, the Bar-Kays. A few other singles became posthumous hits, and a good amount of other unreleased material was issued in the wake of his death. These releases weren't purely exploitative in nature, in fact containing some pretty interesting music, and little that could be considered embarrassing. What Redding might have achieved, or what directions he might have explored, are among the countless tantalizing "what if" questions in rock & roll history. As it is, he did record a considerable wealth of music at Stax, which is now available on thoughtfully archived reissues.
Otis Blue: Otis Redding Sings Soul 1966
Otis Redding's third album, and his first fully realized album, presents his talent unfettered, his direction clear, and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding's versions of songs by Sam Cooke, his idol, who had died the previous December, and all three are worth owning and hearing. Two of them, "A Change Is Gonna Come" and "Shake," are every bit as essential as any soul recordings ever made, and while they (and much of this album) have reappeared on several anthologies, it's useful to hear the songs from those sessions juxtaposed with each other, and with "Wonderful World," which is seldom compiled elsewhere. Also featured are Redding's spellbinding renditions of "(I Can't Get No) Satisfaction" (a song epitomizing the fully formed Stax/Volt sound and which Mick Jagger and Keith Richards originally wrote in tribute to and imitation of Redding's style), "My Girl," and "You Don't Miss Your Water." "Respect" and "I've Been Loving You Too Long," two originals that were to loom large in his career, are here as well; the former became vastly popular in the hands of Aretha Franklin and the latter was an instant soul classic. Among the seldom-cited jewels here is a rendition of B.B. King's "Rock Me Baby" that has the singer sharing the spotlight with Steve Cropper, his playing alternately elegant and fiery, with Wayne Jackson and Gene "Bowlegs" Miller's trumpets and Andrew Love's and Floyd Newman's saxes providing the backing. Redding's powerful, remarkable singing throughout makes Otis Blue gritty, rich, and achingly alive, and an essential listening experience.
Carla Thomas / Otis Redding King & Queen 1967
Otis Redding never recorded a lighter, more purely entertaining record than King & Queen, a collection of duets with Stax labelmate Carla Thomas. In all likelihood inspired by a series of popular duets recorded by Marvin Gaye -- indeed, "It Takes Two," Gaye's sublime collaboration with Kim Weston, is covered here -- the record serves no greater purpose than to allow Redding the chance to run through some of the era's biggest soul hits, including "Knock on Wood," "Tell It Like It Is,"and "When Something Is Wrong with My Baby," and while clearly not a personal triumph on a par with either Otis Blue or The Dictionary of Soul, the set is still hugely successful on its own terms. Redding and Thomas enjoy an undeniable chemistry, and they play off each other wonderfully; while sparks fly furiously throughout King & Queen, the album's highlight is the classic "Tramp," where their battle of the sexes reaches its fever pitch in supremely witty fashion.
Monday, October 15, 2012
B E A T I N S T R U M E N T A L
D E N M A R K
THE CLIFFTERS story started way back in 1960, only a few years before the Mersey Sound took the rest of Europe by storm. At this time, Cliff Richard and The Shadows were the best group that one could listen or dance to. The Cliffters made their sound very close to Cliff & The Shads, indeed their name seems to have been inspired by Cliff !
Django started it all. It was a self-penned tune by lead guitarist Mogens Petersen, who later took 'Django' as a nickname and continued using it as his professional name when making solo records up until he passed away in 1991.
Before Django, they made two vocal records, but it was this third single which was to be issued in Holland, Sweden, Norway, England and even in Japan where it was very popular.
Mogens picked this title from a western film of the same name and not from Django Reinhardt as has been written previously.Home latest news instro jukebox legacy sounds uk brit instros euro instros american instros instro linksby Ole VinterThrough the years 1961-64, The Cliffters made 11 singles for Philips Records in Denmark and they toured the country several times where they just about had a monoply of this kind of music. They started everything in Denmark with their mixture of instrumentals and vocals.
It seems funny to say now but all their records were made in a cinema with no overdubs. The studio was the cellar of the Islev Bio Cinema where they recorded when people left after the last show. Philips had no recording studio of their own at that time.
Founder members of the group were vocalist Johnny Reimar, Mogens 'django' Petersen (lead), Lars Kofoed (bass), Ole Rasmussen (piano & keyboards) and Jan Petersen (drums). This was the lineup from 1960 to 1963 - and the best one !
Django was covered by many other groups all over the world e.g. The Quivers from Norway, Les Fantomes from France and Terry & The Bluejeans from Japan. The rest of their singles however, were not as successful although the vocal Twistin' Patricia did hit the charts for them.The original lineup disbanded in 1963 when Johnny Reimar and Jan Petersen left to form another vocal/instrumental group, The Scarlets who went on to make many fine records, but that's another story.
The two new members were Bjarne 'de la 'Motte on rhythm guitar and Torben Sardorf on drums and this was the lineup for the last chapter of the group.
They toured Finland for some weeks in 1964 with this formation but they broke up later in the year after two unsuccessful singles.
Mogens joined rock & roll band Melvis from 1964 - 66 and Motte and Sardorf formed The Hitmakers.
The original band did however get together for some rock gigs in the late '60s and they were the support band for Bill Haley in 1968 at his concert in Copenhagen.
Mogens became a producer and studio musician, Jan Petersen a photographer and Johnny Reimer is the owner of Starbox Records in Copenhagen although he does still sing as a soloist.
Sunday, October 14, 2012
This bizarre, Alan Lorber-produced psychedelic album appeared originally in 1969 on Boston Sound. Bobby Callendar was an incredibly gifted poet and lyricist whose complex texts could only be compared to Scott Walker; the concepts of a U.K. artist of Indian heritage post-psychedelia were augmented by the lush arrangements of Paul Harris and Bob Gallo. The cast of musicians on this album included some of the highest-caliber sidemen of the time, most notably Richard Davis, the master bassist of Van Morrison's Astral weeks fame (not to mention a jazz musician in his own right), the guitars of Eric Gale and Hugh McCracken, and the astonishingly subtle Burnard Purdie on drums. The album is a rich and complex exploration of Eastern-inspired psychedelic rock and folk centered on the incredibly complex texts and vocals of Bobby Callendar. When reading the lyric sheet, it is most astonishing how such elaborate poetic evocations were somehow made to fit popular song forms. Sure, at these highly conscious times of the late '60s it was not uncommon for deeply poetic, socially conscious, or hallucinogenic themes to appear in the lyrics of pop music, yet this is album is absolutely brilliant for being one of the most ostentatious animations of the written word, yet absolutely vital and musical throughout. Fans of Scott Walker's solo material, Colin Blundstone, and Duncan Browne should give this album a few hours -- if not a week -- of their attention. This excellent Italian reissue from Akarma is packaged and remastered exquisitely.
Musee de l'Impressionisme - 1971
Saying Robert Callender's reputation was obscure even in the world of psychedelic collectors was understating the case, but even so his first two albums and occasional singles had been circulating around well enough. Turns out that he had a third and final one that had only been released in the Netherlands in 1971, and as a prime example of how the vinyl album format became the repository of all sorts of insane ideas during that decade, Le Musee de l'Impressionisme not only takes the cake, but probably spikes it. Fallout's liner notes for the 2006 reissue (which has some inaccurate track divisions on the CD, it should be noted) use the words "grandiose folly" and there's not much more to immediately add to that -- it's ridiculous, but in a compellingly bizarre way. When you hear Callender begin the album with "Nadars (The Baptism of Impressionism)" -- a five-minute history lesson on the birth of the artistic school in question, with brassy backing singers, horns, and a general arrangement of post-Otis Redding Southern soul/funk of sorts as redone by '70s Elvis -- then it's unclear whether the nearest point of comparison is Schoolhouse Rock or Monty Python. If it was just that, maybe the album would have recovered, but Callender -- writing all the music as well as the words, producing everything, co-writing the arrangements -- was out to live his dream. Dancing rapidly between fragmentary short pieces and "interludes" and a variety of French language performances, Callender creates something which feels, in retrospect, like a Euro-porn film scored by mid-period Stereolab jamming with Santana's rhythm section with a Quaalude-laden Tom Jones on vocals. There's all kinds of funky jamming and gasps and Sly Stone moves, even while Callender is painstakingly trying to sing the stories of Van Gogh, Gauguin and, to quote one memorable title, "Claude Monet (A Visionary of Time and Space and the Light)." It is, if nothing else, unique -- but not worth hearing more than once.
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.
Fairyland has long been a favorite among fans of Larry Coryell's jazz-rock days. The stripped-down trio format allows Coryell plenty of solo space. He actually sings quite effectively on the first two tracks, but more effective are the torrents of 18th notes, mutated blues licks, and avant-garde sound textures that emanate from his guitar. "Further Explorations for Albert Stinson" is a later incarnation of "The Jam With Albert," which is a staple of Coryell jazz-rock compilations. A rewarding listen.
Saturday, October 13, 2012
As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some -- Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, phrasing and note-bending that owed as much to blues, rock and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he is comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar. Unfortunately, a lot of his most crucial electric work from the '60s and '70s is missing on CD, tied up by the erratic reissue schemes of Vanguard, RCA and other labels, and by jazz-rock's myopically low level of status in the CD era (although that mindset is slowly changing).
According to Coryell, his interest in jazz took hold at the age of four, and after his family moved from Galveston to the state of Washington three years later, he began to learn the guitar, studying records by Tal Farlow, Barney Kessel and Johnny Smith. As a teenager, he played in a band led by pianist Mike Mandel, and by 1965, he gave up his journalism studies at the University of Washington in order to try his luck in New York as a musician. Before the year was out, he attracted much attention jamming in Greenwich Village and replaced Gabor Szabo in Chico Hamilton's band. In 1966, he made a startling recorded debut on Hamilton's The Dealer album, where his blues and rock ideas came to the fore, and that year, he also played with a proto-jazz-rock band, the Free Spirits. Coryell's name spread even further in 1967-68 when he played with Gary Burton's combo, and he was one of the most prominent solo voices on Herbie Mann's popular Memphis Underground album (recorded in 1968). He, Mandel and Steve Marcus formed a group called Foreplay in 1969 (no relation to today's Fourplay), and by 1973, this became the core of the jazz-rock band Eleventh House, which after a promising start ran aground with a string of albums of variable quality.
In 1975, Coryell pulled the plug, concentrating on acoustic guitar and turning in a prolific series of duo and trio sessions with the likes of Philip Catherine, Emily Remler, John Scofield, Joe Beck, Steve Khan and John McLaughlin. In the mid-'80s, Coryell toured with McLaughlin and Paco DeLucia, and in 1986 participated in a five-way guitar session with his old idol Farlow, Scofield, Larry Carlton and John Abercrombie for the Jazzvisions series. Coryell has also recorded with Stephane Grappelli, Charles Mingus, Sonny Rollins and Kenny Barron, and has taped Brazilian music with Dori Caymmi for CTI, mainstream jazz for Muse, solo guitar for Shanachie and Acoustic Music, and (for Nippon Phonogram in Japan) an album of classical transcriptions of music by Stravinsky and Rimsky-Korsakov. In other words, Coryell will probably remain as eclectic as ever throughout his career, which will no doubt make life difficult for musicologists with a yen for pigeonholing. Coryell's career in the 21st century has been just as active. 2004 saw the release of Tricycles, an excellent trio date with drummer Paul Wertico and bassist Mark Egan. Electric from 2005 found Coryell playing jazz standards and rock anthems with Lenny White on drums and Victor Bailey on electric bass. In 2006, he released the performance album Laid Back & Blues: Live at the Sky Church in Seattle.
1. Sex (03:52)
2. Beautiful Woman (04:33)
3. The Jam With Albert (09:11)
4. Elementary Guitar Solo #5 (06:48)
5. No One Really Knows (05:08)
6. Morning Sickness (05:19)
7. Ah Wuv Ohh (04:17)
Among the many unmemorable late '60s psychedelic bands that put out a record or two, Colours do stand out from the pack a bit for a couple of reasons. One is that they were among the relatively few American bands to adopt a very British orchestrated pop-psychedelic style, which must have been honed by incessant listening to every track the Beatles did in 1967. The other is that their bassist was Carl Radle, who soon went on to play in Delaney & Bonnie and, shortly afterward, Derek & the Dominoes, as well as with J.J. Cale and Eric Clapton the solo artist. Colours drummer Chuck Blackwell also achieved some renown in the early '70s by playing with Leon Russell, Joe Cocker, Taj Mahal, Freddie King, and other artists.
However, the prime architects of Colours' sound were songwriters Jack Dalton and Gary Montgomery. They wrote all of the material on Colours' 1968 self-titled debut album on Dot, a competent if unexciting derivation of the sort of florid, bouncy, multi-textured songs the Beatles did on their 1967 LPs and singles. The problems? The songs weren't one-tenth as memorable, and the arrangements not nearly as clever or intricate, even if there was obvious attention paid to detail, with full harmonies and varying overlays of horns, strings, and even a sitar. Colours did make one further album, 1969's Atmosphere, on which no musicians other than Dalton and Montgomery are credited.
1. Bad Day At Black Rock, Baby (03:26)
2. Love Heals (02:36)
3. Helping You Out (03:00)
4. Where Is She (02:25)
5. Rather Be Me (03:37)
6. I'm Leaving (02:47)
7. Brother Lou's Love Colony (04:29)
8. I Think Of Her (She's On My Mind) (02:12)
9. Lovin' (01:39)
10. Cataleptic (02:08)
11. Don't You Realize (01:56)
12. Tomorrows Women (02:06)
13. All At Once (01:42)
14. Right Or Wrong (01:51)
15. She'll Be The One (02:36)
16. She Just Wanted Kisses (02:07)
17. Angie (03:17)
18. God Please Take My Life (06:05)
19. When Will You Be Coming Home (02:28)
20. I Tried To Make You Love Me Last Night (03:31)
21. Grey Day (03:55)
22. Smilin' In Toronto (04:09)
23. Hyannis Port Soul (Lost You To The Wind) (02:18)
24. Run Away From Here (01:59)
25. It's Time To Tell You (04:04)
26. Announcement (01:56)
27. I'll Be Your Friend (02:17)
28. You're High (02:37)
45' rarities Billy Sandlin & The King-Beats
Hans-Jьrgen Klitsch in "Shakin' All Over" on The King-Beats:
Early on, when they accompanied Dutchman Robert Williams on his German Philips-single, the band sported some studio-experience since in spring ’63 the boys had recorded some tracks with Billy Sandlin from the US. “Billy Sandlin was a GI….One evening, this colossus with his natural blond short crop climbed te stage urging us to let him sing what we graciously allowed him. Later on, he asked us if we’d like to be his backing band in the recording-studio – everything would be paid by him. So we recorded a few songs, he sent the tapes to some American record company, and the next – and last – thing we would hear from this session was in a box full of single-plays."
Now, after a long research in the USA, these singles have finally turned up.
01 - My Little Twisting Baby / Billy Sandlin, The Strangers & The Bluetones (aka The King-Beats - Germany)
02 - My Little Star / Billy Sandlin & The Strangers (aka The King-Beats - Germany)
03 - Poor Rich Girl / Billy Sandlin & The Interns (aka ???)
Thursday, October 11, 2012
Little Tony (b. Antonio Ciacci, 1940, San Marino, Italy) and his two brothers formed a vocal group and were ‘discovered’ by Jack Good in 1959. Despite profound language difficulties, the trio - as Little Tony And His Brothers - won female hearts with their Latinate charm on UK television; toured with Cliff Richard, and recorded ‘Foxy Little Mama’, Chan Romero’s ‘Hippy Hippy Shake’ and other singles under Good’s supervision in London. However, it was without his siblings that Ciacci grazed the UK Top 20 with 1960’s ‘So Good’. With the withdrawal of Good’s support, he returned to Italy where he was runner-up in 1961’s San Remo Song Festival with a song translated as ‘42, 000 Kisses’ when covered by Liverpulian vocalist Paul Rogers. Little Tony became a regular performer at this event - even after 1967 brought a million-seller in ‘Cuore Matto’ (composed by Ambrosino and Tito Savio). Nevertheless, this was covered in the English-speaking market, where the song appeared as Tony Hatch and Jackie Trent’s ‘Long Is The Lonely Night’.
Rock Parade : Rarity Music Pop, Vol. 29
Label: Rarity Music UPC: 3661585699781
1. The Hippy Hippy Shake (02:00)
2. Johnny B Goode (02:10)
3. Who's That Knocking (02:19)
4. Arrivederci Baby (02:28)
5. Splish Splash (01:54)
6. You Send Me (02:24)
7. Lucille (02:24)
8. Shake Rattle And Roll (02:16)
9. Hey Little Girl (02:32)
10. Lotta Lovin' (01:59)
11. Jumpin' Jack (01:48)
12. I Dont' Care If The Sun Don't Shine (01:45)
13. Pity Pity (02:01)
14. I Can't Help It (02:04)
15. The Beat (02:02)
16. She's Got It (02:11)