Wednesday, February 29, 2012

Fever Tree - San Francisco Girls (1968-1970)


This CD not only contains Fever Tree's 1968 self-titled debut long-player, but also an additional seven previously unreleased sides, including a live version of the group's sole charting effort (it reached number 94), "San Francisco Girls (Return of the Native)." The initial incarnation featured Rob Landes (keyboards/woodwind), Dennis Keller (vocals), John Tuttle (percussion), E.E. Wolfe (bass), and Michael Knust (guitar), as well as their patrons Scott Holtzman -- who was one of Houston's top pop DJs -- and his wife Vivian Holtzman. The pair were no strangers to music publishing, either, having worked with the likes of Tex Ritter and even Walt Disney during the 1930s and '40s. Not only did they provide promotional and presumably financial assistance, they also wrote several of the band's best tunes, including the aforementioned "hit" "San Francisco Girls (Return of the Native)." In addition to strong originals, Fever Tree also chose exemplary covers. Among them are Buffalo Springfield's "Nowadays, Clancy Can't Even Sing," Wilson Pickett's "Ninety-Nine and a Half (Won't Do)'," and an intriguing medley of the Beatles' "Day Tripper" and "We Can Work It Out." This particular coupling is worth mentioning as the songs in question were the respective "A" and "B" sides of the same 45 rpm single. Contrasting the psychedelic pop leanings are the introspective "The Sun Also Rises," as well as the brilliantly noir and surreptitious "Unlock My Door." Internal conflict began a history of perpetual personnel alterations for Fever Tree, with both Landes and Tuttle leaving prior to the second outing, Another Time, Another Place (1969). No specifics on the bonus material are given; however, the inclusion of Al Jarreau's "You Don't See Me" -- which wasn't issued by the jazz vocalist until the late '70s -- leads to the conclusion that the supplementary sides are from subsequent incarnations. Although the liner info could be considered skimpy at best, the sound quality is thoroughly excellent. Since the band's first two LPs are available on the two-fer title Fever Tree/Another Time Another Place (1997), San Francisco Girls (2003) is more for the hardcore collector and enthusiast rather than the casual listener.


The Ace Of Cups - It's Bad For You But Buy It






The Ace of Cups was an American rock band formed in San Francisco in 1967. It has been described as one of the first all-female rock bands.[1][2][3][4]
The members of the Ace of Cups were Mary Gannon (bass), Marla Hunt (organ, piano), Denise Kaufman (guitar, harmonica), Mary Ellen Simpson (lead guitar), and Diane Vitalich (drums). Lead vocals were sung by all members of the band except Vitalich, and all five sang backup. The songwriting, too, was divided among the band members


Past members
Mary Gannon
Marla Hunt
Mary Ellen Simpson
Diane Vitalich
Denise Kaufman
Joe Allegra
Jerry Granelli
Noel Jewkes
Lolly Lewis




The Ace of Cups were fairly well known on the late-'60s San Francisco rock scene, playing many shows in the area (and occasionally venturing beyond), and sometimes supporting big names such as Jefferson Airplane. They also attracted attention by virtue of being one of the few all-women self-contained rock bands of their time and place. They never released anything while they were active, however, dooming them to obscurity beyond the memories of those who managed to see them live. A CD of previously unreleased late-'60s recordings did see release in 2003, with an offbeat mixture of raw bluesy garage rock, wistful harmony-rich gospel-tinged songs, and quirky numbers that mixed in some period social commentary and satire. There's more promise than distinguished artistry in these recordings, however, which sound a little crude and derivative when compared to the better San Francisco groups of the time. 

The Ace of Cups came together in Haight-Ashbury right as psychedelic rock was taking off, and played a mostly original repertoire, with most of the band writing and all of them singing. Guitarist Denise Kaufman, who did more of the songwriting and lead vocals than any other member, had sung and played harmonica on an obscure 1966 garage rock single by Denise & Company; she was also the ex-girlfriend of future Rolling Stone co-founder Jann Wenner. Originally they were managed by Ambrose Hollingsworth, who'd managed Quicksilver Messenger Service in their early days before getting disabled by a car accident. Hollingsworth in turn eventually passed the reins over to Ron Polte, who'd succeeded Hollingsworth as Quicksilver's manager. 

Despite achieving a fair amount of recognition in the Bay Area (and a brief plug in a December 1967 issue of Melody Maker by Jimi Hendrix, with whom the band had played a free concert in the Golden Gate Park panhandle shortly after the Monterey Pop Festival), they never got a record deal. Why that didn't happen isn't entirely clear, as they had opportunities to sign with Warner Bros., Capitol, and Fantasy. Their management evidently felt the band wasn't ready or that the offers weren't suitable; keyboardist Marla Hunt has also said that Albert Grossman was interested in signing them, but had his offer turned down by Polte. Too, there was some reluctance in the group to tour behind records as some of them were starting families. They did appear on some records after a fashion when Kaufman's "Flute Song" was recorded on Quicksilver Messenger Service's Shady Grove album in 1969, and the group did some backing vocals on records by Quicksilver, Jefferson Airplane, Nick Gravenites, and Mike Bloomfield. 

In the early '70s, the band began to lose momentum as original members drifted away. The lineup changed so much that at one point three men were in the group, which came to an end around 1972. In 2003, late-'60s Ace of Cups rehearsals, demos, TV soundstages, and in-concert tapes were assembled together for the Big Beat CD compilation It's Bad for You But Buy It!, which also includes "Boy, What'll You Do Then," a song from Denise & Company's 1966 single.





Liverpool Five - Arrive - Out Of Sight (RB)


Band members               

  line up 1 (1963-68)
- Dave Burgess (aka Dave McCumiskey) -- bass  
- Ken Cox -- lead guitar  
- Ron Henley -- keyboards 
- Steve Laine -- vocals 
- Jimmy May -- drums, backing vocals  

  line up 2 (1968-69)
- Dave Burgess (aka Dave McCumiskey) -- bass  
- Ken Cox -- lead guitar  
NEW - Mark Gage -- keyboards (replaced Ron Henley) 
- Steve Laine -- vocals  
- Jimmy May -- drums, backing vocals  

  line up 3 (1969-70)
- Dave Burgess (aka Dave McCumiskey) -- bass 
- Ken Cox -- lead guitar 
- Steve Laine -- vocals 
- Jimmy May -- drums, backing vocals
NEW - Gary Milkie -- keyboards (replaced Mark Gage)





The Liverpool Five is one 1960s band that is ripe for rediscovery. The fact that they've slipped through a few cracks may have to do with their odd history -- after starting out in England, the quintet spent most of a year in Germany and touring the Far East and effectively became an American group just as their recording history began in a serious way. Formed in Liverpool, England, in 1963, the original Liverpool Five lineup was Steve Laine on vocals, Ken Cox on guitar, Ron Henley on keyboards, Dave Burgess on bass, and Jimmy May on drums and vocals. They cut one single of "Lum D' Lum D' High" b/w "Good Golly Miss Molly" for the Pye Records budget Piccadilly label that was released in England, but their main base of activity in 1964 and 1965 appears to have been Germany and Asia, where their German-based manager kept them touring. They managed to release a single of their own on German CBS in 1964 under the name of the 5 Liverpools, but otherwise were largely invisible as a recording act. After an extended tour of Asia, the group made their way to Los Angeles in 1965 and eventually ended up in Spokane, WA. Ironically, it was on the far coast of the United States, far from their home, that they were finally signed to a major label in 1965 and got a contract with RCA-Victor Records. The Liverpool Five released a half dozen singles over the next two years and a pair of LPs, all of which displayed an extraordinary degree of musical dexterity -- they could sound as American as the Remains or the Standells in their approach to playing, a solid garage punk sound with some unusual melodic touches and then turn around and cut cockney novelties like "What a Crazy World (We're Living In)" or romantic rock ballads like their version of Curtis Mayfield's "That's What Love Will Do," where they sound like the Roulettes, and follow that with a shouter like "Just a Little Bit." Dave Burgess exited the group to get married in 1967 and was replaced by future Kingsmen member Freddie Dennis; Ron Henley left and was replaced first by Mark Gage and then by Gary Milkie, but the group soldiered on, scarcely skipping a beat. The band never charted nationally, but left behind some superb white soul sides that managed to embrace both American punk and British beat elements, before they finally called it a day in 1970. The Liverpool Five Arrive is one of the best garage-punk albums of 1966, with a startlingly honest and vivid soulful edge (highlighted by a beautiful handful of Curtis Mayfield covers) amid the fuzz-tone guitars and pounding, roaring rhythm section. Its follow-up, Out of Sight, is even better, with harder playing and better singing, laced with some unexpected lyricism.

Out of Sight



Because the Liverpool Five were a British band based in America and never had any hits, many listeners expecting that they made cheap exploitation records are surprised to hear a fairly credible group whose members wrote some of their own material. Still, that enthusiasm should be tempered by the realistic observation that they were just an OK band, not a great one, and not a real original one (though not a wholly imitative one either). They play and sing consistently well on Out of Sight; the problem is the material, which is erratic in both quality and style. The three covers of British Invasion classics (the Troggs' "Anyway That You Want Me," the Who's "My Generation," and Them's "I Can Only Give You Everything") aren't bad -- live, they probably knocked out American kids who hadn't heard the originals, which weren't all that well known in the States -- but nor are they in the same league as those originals. The other tracks include some cuts ("Gotta Get a Move On," "Do You Believe," "Get Away") that both recall and stand up well to the snarling sides done by the likes of the Standells and the Chocolate Watchband, though with more of a soul influence (particularly in the vocals). There are also some forgettable songs that opt for a more lightweight mood, though the driving "Piccadilly Line" -- where the Liverpool Five sound their most British, in part owing to some fine bluesy organ and a coolly cocky lead vocal -- is a standout. So there's about half a decent, though not remarkable, LP here, and while the rest isn't lousy, it does drag the record down.


By 1965 the band had relocated to Spokane, Washington where they hired Paul Handler as their manager and subsequently signed with RCA Victor.  Working with producer Al Schmitt the band spent the next two years releasing a surprisingly impressive and diverse (if commercially disappointing) series of 45s:

- 1966's 'Heart' b/w 'I Just Can't Believe It' (RCA catalog number 47-8725) 
- 1966's 'Sister Love' b/w 'She's Mine' (RCA catalog number 47-8816) 

In spite of the lack of national success, 1966 saw RCA Victor release a Liverpool Five LP - the Al Schmitt produced "Liverpool Five Arrive".  While you could hardly be blamed for expecting to hear a lame set of Merseybeat exploitation numbers, the truth was anything but that ...  Compiling the group's earlier singles and new studio material, the album served to spotlight the band's considerable talent.  Laine was an excellent and adaptable lead singer, while the rest of the band could pound it out with the best of the competition.  Sure they wore the requisite mop top haircuts and narrow ties, while tracks like 'A Shot of Rhythm and Blues' could have easily been mistaken for the Fab Four, but the rest of the album offered up a mixture of popular pop and soul covers that were far more distinguished making it clear these guys were far more than mere Beatles imitators.  Tracks like the opening rocker 'She's Mine', 'Heart' and a fuzz guitar propelled 'I'm Not Your Stepping Stone' (far tougher than The Monkees version) showcased their garage rock credentials, while covers of Curtis Mayfield's 'Sister Love' and 'Let the Sun Shine In' offered up first-rate blue-eyed soul.  In fact the only real disappointment here was the lame Cockney-esque 'What a Crazy World (We're Living In)'.



V.A. - Lverpool' 65






Big thanks for Emil (RH)

VA - Rare & Raw Beat From the Sixties - Vol 8



1 - Twist & Shout - The Vampires
2 - For Your Love - The Vampires
3 - Hang On Sloopy - The Vampires
4 - Sha La La La Lee - The Vampires
5 - Mona - The Electric Frogs
6 - Tribute To Brian Jones - The Electric Frogs
7 - Dolly - Mike Rogers & His Machine Guns
8 - So Long, Goodbye - Mike Rogers & His Machine Guns
9 - No Use Crying - The Savages
10 - Sad Saturday - The Reacers
11 - Never Alone - The Reacers
12 - Open Your Heart - The Rascals
13 - St. James Infirmary - The Rascals
14 - I Make It Real - Funky Family
15 - Good Dancer - Funky Family
16 - Little Girl - Funky Family
17 - Rita - Funky Family
18 - Penitension - Little Steve & The Penitence
19 - Rudy Rumpus - Little Steve & The Penitence
20 - Facts - Tortilla Flat
21 - Life - Tortilla Flat
22 - If You Let Me Make Love To You,Then Why Can't I Touch You - The Toxic
23 - Waiter - The Toxic
24 - Proud Mary - Why Five
25 - Mendocino - Why Five


Saturday, February 25, 2012

Heimatliche Klaenge - vol.100 (!!!)


Heimatliche Klaenge - Schweizer Beat 
Native Sounds - Swiss Beat
vol.100

The Chaps

01 - The Rise And Fall Of Flingle Bunt
02 - Over And Over
03 - In The Mood
04 - Take This Hammer
05 - Bring It On Home To Me
06 - Shadoogie
07 - With A Little Help From My Friend
08 - I Want You To Know
09 - Nowhere Man
10 - You Better Move On
11 - Don't Ever Change
12 - Main Theme

On a clear night in spring 1965 a group of beatfreaks were crawling up the last hill to the "Rheinbundhaus". The musical core of this bunch were Marmo, Luus and Hamster. We were dedicated followers of The Shadows, and it didn't take long to get together with another friend and start rehearsing. We had a ukulele, two acoustic guitars and a bar sieve for a drum. Enough to produce some rattling noise that couldn't be ignored. After even our parents had given up trying to stop us, we formed a real band and never looked back. In December we were ready at last, and tried to get some gigs. After initial failures the owner of Restaurant "Glock" gave us a chance.
The following change of drummer couldn't discourage us, because actually this was the real start of THE CHAPS with Paul Stoob on drums.
Bookings at the "Casita" followed in February 1966. Our best boy Sammy Frank had a lot to do and we were working every Saturday night now. A performance at the "Kitsches-Kitsch Can"-event at the "Kunsthalle" (or was it "Kitsch As Kitsch Can"?) was followed by the first steps across our Canton's border. Zofingen was the place where we tried to bring the house down and survived an Egyptian plague of cockchafers. But hard times were around the corner, and we had our share of ups and downs again, when our manager started to do his bits on the side. His replacement was Urs Gnehm, who soon became a close friend. He perfectly fit in with the band, and with permanent dedication he mananged to get us fantastic engagements. Especially a two week residency at the "Atlantis-Scherz" brought us big success. (And some unexpected surprises which we rather keep to ourselves.) 
At last we had achieved our common purpose and owned a proper beatband equipment  without being indebted. Trying to prove that beat musicians not always play for their own profits alone, we organized an open-air concert for the charity action "Bread for Brothers", which was a great success. The hardness test for the band came in 1967. It all started fine with another highlight at the music hall of the city casino, where we were the first beatband booked for a "Fromm-Ball". Prominently featured in a wellknown Basle newspaper we could read what a kind journalist had to say about us. But the crisis came nevertheless. Paul the drummer left in mutual agreement, and we had to look for a fitting substitute. After a long hiatus, The Chaps were in full-blown line-up again by the end of summer 1967. Rico Candio on drums and organist Alain Veltin changed our style copletely, and new engagements soon were offered. It was a pleasure to play the "Atlantis" again, and the "IG-Fest" in the "Freie Strasse" will always stay in good memory. We're still keep talking about it these days.
At the "Technikums-Ball" in Lucerne, where we appeared as a proper ballroom orchestra, we showed that even a beatband is able to provide decent standard dancing music. Time is flying and with the new year in sight we have found yet another drummer. Mike Herbrich is number 11 since we started. Sadly we'll have to give up the band by the end of January 1968, as military service and final examinations inevitably come closer.
Even if our new record may lack some production and and a bit of polish, it's meant as a keepsake, and we dedicate it to all friends and followers who had fun listening to us.
Riehen, December 6th 1967.  THE CHAPS (liner notes translation the lolly pope - thanks!)

-------------------------------------------------------------------------------------

Man schrieb das Jahr 1965. In einer sternklaren Frьhlingsnacht stampfte eine Gruppe Rover den letzten Steilhang hinauf, den es vor dem Rheinbundhaus noch zu ьberwinden galt. Den musikali­schen Kern dieser Rotte bildeten Marmo, Luus und Hamster. Wir waren begeisterte Anhдnger der «Shadows», und es ging nicht lange, so fanden wir uns zusammen mit einem Kollegen zu den ersten Bandproben ein. An Instrumenten waren eine Ukulele, zwei Wandergitarren, ein Klavier und ein Salatsieb (lies Schlag­zeug) vorhanden, genug also, um einen weitherum hцrbaren Lдrm zu produzieren. Unaufhaltsam, auch die Elters hatten es aufgegeben, uns zurьckzuhalten, bauten wir unsere nun Wirklichkeit gewordene Band auf. Anfang Dezember war es endlich soweit, um gemeinsam auf die Suche nach Engagements zu gehen. Nach anfдnglichen Misserfolgen, gab uns der Wirt des Restaurants «Glock» eine Chance.

Ein kurz darauf folgender Schlagzeugerwechsel liess uns nicht entmutigen, im Gegenteil, nun ging es erst recht los. Paul Stoob sollte als neuer Drummer unserer Band, der wir inzwischen den Namen

«THE CHAPS»

gegeben hatten, den nцtigen Schwung geben. Im Februar 1966 folgten die ersten Engagements im «Casita». Sammy Frank, un­ser Tдtschmeister, konnte sich ьber Arbeit nicht beklagen, denn es kam nun eine Zeit, wo fast jeder Samstag mit Musizieren voll ausgefьllt war. Dem «Kitsches-Kitsch-Can»-Fest in der Kunst­halle folgten die ersten Ausflьge ьber die Kantonsgrenze. Zofin­gen war der Schauplatz unserer Bemьhungen, das Volk zu be­geistern und der Maikдferscharen Herr zu werden. Doch harte Zeiten liessen nicht lange auf sich warten, und wir befanden uns wieder in einem neuen Wellental, da unser Manager zu «fremden» begann. Sein Nachfolger wurde Urs Gnehm, mit dem
wir bald Freundschaft schlossen. Er fьhrte sich mit grossem Einsatz von Anfang an gut in unsere Band ein, indem er uns in der folgenden Zeit wirklich tolle Engagements verschaffte. Be­sonders der zweiwцchige «Atlantis-Scherz» brachte unserer Band viel Erfolg und auch unerwartete Ьberraschungen, die nicht unbedingt notiert sein wollen!

Endlich hatten wir unser Ziel erreicht; wir durften eine komplette Verstдrkeranlage unser Eigentum nennen, ohne dadurch in Schulden geraten zu sein. Da wir auch beweisen wollten, dass Beat-Bands nicht nur wegen des eigenen Verdienstes spielen, hielten wir fьr die «Brot fьr Brьder»-Aktion auf der Klagemauer ein wahres Platzkonzert ab. Bereits folgte das Jahr 1967, in dem sich unsere Band einer harten Probe unterziehen musste. Zuerst schien alles den gewohnten Lauf zu nehmen. Mitte Januar folgte ein weiterer Hцhepunkt im Musiksaal des Stadtcasinos, wo wir als erste Beat-Band an einem Fromm-Ball auftraten. Durch einen grцsseren Bericht in einer bekannten Basler Zeitung, bekamen wir Gelegenheit zu lesen, was ein Journalist von uns hielt. Doch all das konnte die Band vor einer grossen Krise nicht bewahren. Drummer Paul verliess auf gegenseitigen Wunsch die Band, und wir versuchten noch einmal einen geeigneten Schlagzeuger zu finden. Nach einem lдngeren Unterbruch waren «THE CHAPS» gegen Ende Sommer 1967 wieder vollstдndig. Rico Candio als Schlagzeuger und Alain Veltin als Organist gaben der Band auch in musikalischer Hinsicht ein vцllig neues Gesicht, und neue Engagements liessen nicht lange auf sich warten. Wiederum hatten wir das Vergnьgen, im «Atlantis» aufspielen zu kцnnen, und das IG-Fest in der Freien Strasse wird noch lange Ge­sprдchsstoff unserer Erinnerungen sein. 

Dass eine Beat-Band auch Tanzmusik spielen kann, bewiesen wir als Ballorchester am Technikums-Ball in Luzern. Zu schnell verging die Zeit. und wir standen bereits wieder an der Schwelle eines neuen Jahres. Wiederum konnten wir mit viel Glьck einen Schlagzeugerwechsel ьberstehen (es war der elfte seit Bestehen der Band!), denn Mike Herberich nahm als neuer Drummer den verwaisten Platz ein. Ende Januar 1968 werden wir unsere Band fьr immer auflцsen mьssen, da Rekrutenschule und Abschluss­prьfungen fьr uns unumgehbar sind. 

Diese nun erschienene Platte wurde mit einfachsten Mitteln auf­genommen, doch sie soll eine Erinnerung sein fьr alle Kollegen, die an unserer Musik den Plausch gehabt haben. 
Riehen, 6. Dezember 1967 THE CHAPS  (original lp text)

Heimatliche Klaenge - vol.99


Heimatliche Klaenge - Schweizer Beat 
Native Sounds - Swiss Beat
vol.99

Dorados - 45'  1965 - 1967

01 - Uns're kleine feine Familie (Shame and scandal in the family)
02 - Oh oh oh Honey
03 - Illusionen
04 - Keine Klasse
05 - Der Tiger
06 - So wird's immer geh'n
07 - Wir wollen nach Haus (Peter &Alex)
08 - Ich mцchte immer wieder in deine schцnen Augen seh'n
09 - Super
10 - Drumboy
11 - Roll 'em Over 
12 - Cowboy Lady

VA - Rare & Raw Beat From the Sixties - Vol 7


 1 - Frankie and Johnny - The Silver Strings
 2 - So Glad Your Mine - The Silver Strings
 3 - Black Suede Shoes - The Silver Strings
 4 - Bye Bye Johnny - Peter Reese
 5 - Louie, Louie - Peter Reese
 6 - Alright - The Echoes
 7 - Hold Me - The Echoes
 8 - Sweet Soul Music - The Maniacs
 9 - Happy Together - The Lemons
10 - Nobody Can Rewach His Aim - Braians LTD.
11 - Purple Haze - The Cave-Men
12 - Memories - The Regents
13 - A Stitch In Time - The Eyes
14 - Daisy - The Loosers
15 - Barefootin' - The Maniacs
16 - Nothing Will Be Changed - The Regents
17 - Change Your Life - Braians LTD.
18 - With A Little Help from My Friends - The Roosters
19 - I Take What I Want - The Eyes
20 - I've Been Lonely Too Long - The Maniacs
21 - 6-3-4-5-7-8-9 - The Eyes
22 - It's All Over Now, Baby Blue - Steve Cannings & The Matadors
23 - Hate Everything Except of Hatter - Steve Cannings & The Matadors

Tages - 1 LPs (1965)


The Tages were without a doubt, the best Swedish band of the '60s and one of the best '60s rock acts of any sort from a non-English speaking country. Although the group's first recordings were pretty weak Merseybeat derivations, in the mid-'60s they developed a tough, mod-influenced sound that echoed the Who and the Kinks and recorded quite a few originals, making the Swedish Top Ten over a dozen times in all. More than any other continental group, the Tages could have passed for a genuine British band, following the U.K. acts that served as their obvious inspirations into hard rock, Baroque pop, and blue-eyed soul. Big throughout Scandinavia, the group actually made a determined effort to crack the English market in 1968, playing quite a few U.K. shows and releasing records there; they failed, and disbanded at the end of the year. The Tages evolved into Blond in the late '60s, a pop-oriented group who had an album released in the United States.





Tages – a short history



 In the early 60s, skiffle was not only a big craze in England, it hit Sweden pretty hard too. In a small town outside of Gothenburg, a 16-year old lad named Tommy Blom had just received a guitar from his parents. One day he met an old school chum, Anders Töpel, who also had a guitar, and who in turn knew a third guitar player, Danne Larsson. These three young boys started playing together, and soon a fourth member was added, Göran Lagerberg. On purpose they chose the "geeky" name Tages (from Danne's middle name) to make fun of all guitar based pop bands with their slick attitude and suits.

Soon, however, the four youths decided to change their style, after having been introduced to the new "Mersey" sound. A drummer, Freddie Skantze, was added, and within a short time a reshuffle of the instruments followed. Lagerberg took up the bass, while Danne and Anders were to play rhythm and lead guitar respectively. This left Tommy as lead singer and tambourine player.

Their first gig was held on 23 December 1963. Their name was becoming locally known and in August 1964, a Swedish newspaper held a contest called "The Beatles of the West Coast". Many different groups applied, but finally Tages were the victors, earning the right to make a record for the new company Platina. This first recording session took place on 20 September 1964. While the studio was pretty basic, Tages did bring two good songs to the sessions, Sleep little girl and Tell me you’re mine, which were released as a single about a month later. One day, not knowing that the single was going to be tested for the Swedish Top Ten, the boys heard themselves on the radio, and just one week later, the single had reached no. 1, replacing none other than the Beatles.

A couple of months later, the next single followed: I should be glad b/w I cry. This was not only a commercial success, but the critics liked it too, and now Tages were accepted by the large crowd. On 31 March 1965, Tages got to open for the Rolling Stones on their performance in Gothenburg. New singles followed, and the first eponymous LP was released in November. At about the same time, Göran and Freddie were allowed to play together with Chuck Berry in Stockholm.

The first single after the LP was a change of direction. Their music had previously been rather similar to that of the Beatles and other beat groups, but just like the Beatles, Tages felt the need for change. So for the next single, So many girls, a new instrument was added, the recorder. A more soft sound was the result, and the single was a great success. Therefore, Tages and their management decided that it was time to break the English market. Very thorough preparations followed, new clothes, new equipment, etc. Unfortunately, what the management had forgotten was that work permits would be necessary for Tages to be allowed to play in Britain. The boys had to turn back to Sweden, beginning work on their second LP, simply to be called "2".

Another setback was the resignation of original drummer, Freddie Skantze. A replacement was soon found in Tommy Tausis, who had been playing with another important Swedish pop group, the Strangers, until their break-up. Tausis is also present on some tracks on the second LP, which was released in July 1966.

Musical experiments became increasingly important to the boys, who were very eclectic in their choice of music, playing many original songs, as well as some carefully chosen covers. The next LP, "Extra Extra", was released towards the end of 1966, and, like its predecessor, consisted of 6 original songs and 6 covers. Covers were taken from many different styles of music: soul, pop, and Motown. On "Extra Extra", there were a number of interesting original songs, showing the band’s willingness to experiment. One song, Extra, featured a theremin, just like Good vibrations by the Beach Boys. Other songs had controversial lyrics, like Secret room. This was also their last release at Platina, since they had signed a contract with the Swedish branch of Parlophone.

Tommy Tausis had never really settled in the group and after the release of the third LP, he resigned. The next drummer in Tages was Lasse Svensson, and the first release he was featured on was a revelation: the single Every raindrop means a lot. Finally, psychedelia had reached Sweden. Nonsensical lyrics were combined with a strange musical arrangement, and hey presto, a new change in direction had been made. Together with their producer, Anders Henriksson, Tages now began producing incredibly clever and interesting music, as can be heard on the two 1967 LPs, "Contrast" and "Studio". Contrast only has four covers (plus one especially written for them by producer Henriksson and Thorstein Bergman). Criticism of society, love songs, psychedelia, everything can be found on this LP.

 The next single, She’s having a baby now, relating the story of an unwanted teen pregnancy, was maybe too critical for the public to accept it, and suddenly, the band lost many of its followers, in spite of the great music they made. A final attempt to break into England was made with the single Treat her like a lady, a cover of a Crewe/Knight song. The promo movie was made by Peter Goldmann, more famous for his work with the Beatles, but the song did not become a hit (allegedly because the wrong people were paid).

The England tour was not a total flop, however, since the band was allowed to record a few songs in the legendary studio, Abbey Road. Also, many celebrities, such as Cat Stevens and Roger Daltrey from the Who, really liked Tages music, and the Kinks’ Ray Davies said that Tages’ stage show was wonderful, and that the band really should have a future in Britain. But, unfortunately it was not to be.

 Having returned to Sweden, Tages recorded their next and last LP, "Studio". Probably the finest LP ever made in Sweden, it is heavily influenced by Swedish folk music. Rock songs featured unusual instrument, such as accordions and flutes, while the softer songs had even stranger instruments. But never did the band lose touch with their rock background, and the LP stands today as testimony to the talent of this Swedish band, who was never to make it big.

Tages soldiered on for a year or so, releasing three more singles, before Tommy Blom decided to leave the band. The band changed its name to Blond, but it was to no avail, and soon the rest of the boys decided to call it quits. A sad ending to one of the (if not THE) greatest bands outside the UK and the US.



Thanks Emil (RH) for this



The 004's - It's Alright (1966)





South African beat band formed in 1965. Pete Clifford had played with the Jesters and Georgie Fame and visited South Africa for the first time in 1964 while being a member of Dusty Springfield’s backing band. He also played with Tom Jones.
In 1965 he returned to South Africa and formed the 004’s. Brian Gibson and Jack Russell had been members of the Victors, who backed French artist Teddy Raye on tour. When the band broke up Gibson joined the Laurie Jay Combo and Russell got a job as production manager with Vox. Soon they joined the 004’s.
The band was signed by CBS and recorded some singles. They also backed Gene Vincent on his Durban performance.
Their only album was released in 1966.
Nick Doktor (ex-Leemen Limited)  replaced Peter Stember in 1966.
Gibson left the band in 1967 and was replaced by Barry Mitchell (ex-In Crowd). The band recorded with Johnny Kongos’ groups Floribunda Rose and Scrugg in 1967.
The band broke up and Clifford joined the Bats in 1968 while Gibson joined Abstract Truth.
*Members:
Pete Clifford (vocals, guitar), Brian Gibson vocals, guitar), Jack Russell (vocals, bass), Peter Stember (vocals, drums), Nick Doktor (drums), Barry Mitchell (guitar)


Beat In Germany - Mike Warner& The Lonelys


Mike Warner & The New Stars; The Lonelys: Smash...! Boom...! Bang...!

01 - Lonelys & Mike Warner - At The Hop (1965)
02 - Lonelys & Mike Warner - Oh Lonesome Me (1966)
03 - Lonelys & Mike Warner - Don't Ha Ha (1966)
04 - Lonelys & Mike Warner - Kansas City (1966)
05 - Lonelys & Mike Warner - Keep A Knockin (1966)
 06 - Lonelys & Mike Warner - Bring It On Home To Me (1966)
 07 - Lonelys & Mike Warner - The Queen (1966)
08 - Lonelys & Mike Warner - Fannie Mae (1965)
09 - Lonelys & Mike Warner - I Won't Forget You (1966)
10 - Lonelys & Mike Warner - Please Mr. Postman (1966)
11 - Lonelys & Mike Warner - Donna (1966)
12 - Lonelys & Mike Warner - Galakta City (Baja) (1966)
13 - Lonelys & Mike Warner - Hello (1966)
14 - Lonelys & Mike Warner - Oha-Aha-Oh-Yeah (1966)
15 - Lonelys & Mike Warner - Someday Baby (1965)
16 - Lonelys & Mike Warner - That's Old Fashioned (1965)
17 - Lonelys & Mike Warner - I Wonder If I Care As Much (1965)
18 - Lonelys & Mike Warner - Here I Go Again (1965)
 19 - Lonelys & Mike Warner - Since We Fell In Love (1965)
20 - Lonelys & Mike Warner - Claudette (1965)
 21 - Lonelys & Mike Warner - Where Did Our Love Go (1965)
 22 - Lonelys & Mike Warner - Don't Gimme No Lip Child (1965)
23 - Lonelys & Mike Warner - So Sad (1965)
 24 - Lonelys & Mike Warner - Do You Really Love Me Too (1965)
 25 - Lonelys & Mike Warner - I Walk The Line (1965)
26 - Lonelys & Mike Warner - Walking The Dog (1965)

This is part of Bear Family's Beat In Germany 1960 series.
The featured artists run the gamut from popular groups like the Rattles and the Lords to great unknowns like the Pages, the Poor Things, Pete Lancaster And The Upsetters, the Blizzards, the Sound Riders and many more. Despite the CD revolution, many of these songs are making their first appearance on CD, and some are making their very first appearance anywhere!

BIG Thanks Ok...  from Germany

       



Friday, February 24, 2012

Heimatliche Klaenge - vol.98


Heimatliche Klaenge - Schweizer Beat 
Native Sounds - Swiss Beat
vol.98

Dorados - So ist uns're Welt Polydor (1966 )

01 - Wir koennen niemals so werden
02 - Immer Kummer mit den Maedchen
03 - Ьber den hohen Haeusern der Stadt
04 - Zwei Gitarren mit gleicher Stimmung
05 - Eine schoene groЯe Liebe
06 - Wo ist der Loewe
07 - So ist uns're Welt
08 - Trauriger Abend
09 - Happy Girl
10 - Ronny der Spieler
11 - Sie hat so wunderbare Augen
12 - Provozieren





VA - Rare & Raw Beat From the Sixties - Vol 6




[02:50] 01. The Kentuckys - Uncle Willy
[01:53] 02. The Kentuckys - 5 Dollars And Saturday Night
[02:50] 03. The Sharks - Hu-Hu, Hully Gully
[03:02] 04. The Sharks - Times Are Getting Hard
[02:38] 05. Sonny Stewart - Come Along With Me
[02:42] 06. Sonny Stewart - Beggar In Town
[02:59] 07. The Rebbels - This Can't Go On
[02:22] 08. The Rebbels - Round The World
[02:21] 09. The Rebbels - Monkey, Monkey
[02:10] 10. The Rebbels - Come Back
[02:52] 11. The Krauts - I Can Understand
[02:00] 12. The Krauts - You Came Along
[01:58] 13. Jimmy Ward & The Rockers - Yes, Clementine
[02:04] 14. Jimmy Ward & The Rockers - Wo Ist My Baby
[02:40] 15. The Blue Rhythms - Kinky Minky
[02:33] 16. The Blue Rhythms - 1,2,3, Shake-Shake
[02:26] 17. The Hit Nuts - Land Of 1000 Dances
[03:03] 18. The Hit Nuts - Dead End Street
[02:11] 19. The Hit Nuts - Dear Mrs. Appleby
[03:13] 20. The Hit Nuts - Green, Green, Grass Of Home
[02:35] 21. Gitta & The Shouters - Die Sterne Leuchten
[02:11] 22. Gitta & The Shouters - Wann
[02:24] 23. The Rascals - Sweet Little Sixteen
[05:38] 24. The Rascals - What D' I Say
[02:22] 25. The Rascals - I Can Tell


Bobby Comstock - Two Sides Of Bobby Comstock






The Swinging Blue Jeans - Come On Everybody



The Swinging Blue Jeans - Come On Everybody (1996) Compilation

Although they're only remembered today for their 1964 hit "Hippy Hippy Shake," which charted on both sides of the Atlantic -- the Swinging Blue Jeans were actually one of the strongest of the Liverpool bands from the '60s British Invasion; and, indeed, the Blue Jeans' earliest incarnation goes back about as far as the roots of the Beatles as the Quarry Men. "Hippy Hippy Shake" -- a cover of an obscure '50s rocker that was actually done much better by the Beatles on tapes of their BBC performances -- was their only Top 30 entry in the U.S.. But the band enjoyed some other major and minor hits in the U.K., including a top-notch Merseyization of Betty Everett's (and later Linda Ronstadt's) "You're No Good," which they took into the British Top Five in 1964. 

The group's origins go back to 1957, when singer/guitarist Ray Ennis decided to form a band. The result was a skiffle sextet called "the Bluegenes" -- the latter a misspelling of "blue jeans" that remained unchanged for a couple of years. Surprisingly, Ennis had already played rock & roll, but -- in a manner the opposite of many other young musicians of the time -- he regarded skiffle as an advancement; equally surprisingly, given their later work, the Bluegenes were heavily jazz influenced, and stayed away from trying to cover songs associated with Elvis Presley and other American rock & rollers, preferring instead to try and emulate the horn and sax parts that they heard on their guitars. The skiffle group lineup also included Bruce McCaskill on guitar and vocals, Tommy Hughes on banjo, Norman Kuhlke on washboard, and Spud Ward on oil drum bass. Ralph Ellis later joined on guitar, and Ward subsequently moved over to Rory Storm's band, and eventually Les Braid took over the bassist spot. Hughes and McCaskill later left, the former for the army and the latter over personal disagreements, replaced by Johnny Carter and Paul Moss, respectively. By 1962, they were working full-time and playing the same venues in Liverpool as rival bands such as the Beatles, Gerry & the Pacemakers et al, and also performed for the first time at the Star Club in Hamburg late in the year. But amazingly, they were still playing jazz-based skiffle, and had even done some unsuccessful record company auditions working in that musical genre. They saw no reason to change until the German audiences, not as tolerant of skiffle music as Merseyside listeners at the Cavern had been, booed them off the stage. At that point, seemingly in the blink of an eye, they switched to rock & roll, trading in their acoustic instruments for their electric equivalents. And in that guise -- and a name change to the Swinging Blue Jeans, they not only won over German audiences but earned a coveted recording contract with EMI's HMV imprint, under producer Walter J. Ridley (who handled such diverse talents -- and not too well, by some accounts -- as Johnny Kidd & the Pirates and Alma Cogan). With the departure of banjo player Paul Moss soon after, they were left as a quartet comprised of Ray Ennis (rhythm guitar, vocals), Les Braid (bass, keyboards), Ralph Ellis (lead guitar), and Norman Kuhlke (drums). They made their recording debut -- still as a quintet -- with a Ray Ennis original, "It's Too Late Now," which made the British Top 30. Their second single, "Do You Know," released in the fall of 1963, failed to sell, but in December of that year they broke through to stardom in with their rendition of "Hippy Hippy Shake." They rode that record's success all the way to the number two chart spot in England, right behind the Dave Clark Five's "Glad All Over," and earned a place on the first-ever broadcast of Top of the Pops in the bargain. 

Their follow-up single, "Good Golly Miss Molly," released in March of that year, charted in England at number 11. And "You're No Good" followed two months later, and soared to number three in the U.K.. That string of successes led to a good debut album called Blue Jeans A' Swinging, issued in July of 1964. They were only to enjoy one more charting single, a rendition of the Burt Bacharach/Hal David-authored "Don't Make Me Over," which only reached number 31 in 1965. Ralph Ellis -- who, with Ray Ennis was one of the two songwriters in the group -- left early in the following year, and was succeeded by Terry Sylvester, who had previously played with the Escorts. The band carried on for a couple of more years, but, like most early-'60s Liverpool outfits, the Blue Jeans' career rapidly lost momentum as the '60s progressed. As with most other Liverpool bands of the period, they were masters of that particular brand of rhythm-heavy rock & roll known as Merseybeat, but like most of their compatriots -- and the Beatles were the notable exception -- they were unable or unwilling to let their music evolve into new forms and directions. 

By 1965 their string of hits was over, though their chart success in America (and elsewhere) with "Hippy Hippy Shake" did give them a higher international profile than all but a handful of Merseybeat bands. Ennis and Ellis had written some catchy and energetic, if slightly sappy, originals in the purest Merseybeat style. And while it doesn't add up to an enduring legacy, there's a lot to be said for the naive energy of the best of their early tunes, and they did hang on quite effectively until 1968, remaking themselves as more of a harmony group in the process. Terry Sylvester left that year to join the Hollies, succeeding Graham Nash in the latter group, but the Swinging Blue Jeans soldiered on, right into the early 1970s. Ennis and Braid stayed on in the core of the band, amid myriad personnel changes, and kept them going for years after that. The group essentially became an oldies act, their playing and recordings mostly consisting of remakes of their '60s hits. Braid passed away in 2005, but a version of the band featuring Ennis was still playing in the 21st century.


You can dance every dance with the guy
Who gives you the eye and let him hold you tight
You can smile every smile for the man
Who held your hand 'neath the pale moonlight
But don't forget who's taking you home
And in whose arms you're gonna be
So darlin' save the last dance for me

Oh, I know that the music's fine like sparkling wine
Go and have your fun
Laugh and sing, but while we're apart
Don't give your heart to anyone
And don't forget who's taking you home
And in whose arms you're gonna be
So darlin' save the last dance for me

Baby, don't you know I love you so
Can't you feel it when we touch
I will never never let you go
I love you oh so much


You can dance (You can dance)
Go and carry on till the night is gone, and it's time to go
(You can dance, you can dance)
If he asks (You can dance)
If you're all alone (You can dance)
Can he take you home (You can dance)
You must tell him no (You can dance)
And don't forget who's taking you home
And in whose arms you're gonna be
So darlin' save the last dance for me

And don't forget who's taking you home
And in whose arms your gonna be
So darlin' save the last dance for me
Mmm, save the last dance for me
******

Спасибо Александру !
Thanks Aleksandr !!!

HIPPY SHAKE !!!! YeHHHhhhh !!!!

Tuesday, February 21, 2012

VA - I Love 60s












VA - Swinging 60s






VA - Pure 60s


Pure: 60s is a decent three-disc set highlighting 57 pop singles released in that decade. Along with the original versions of tried and true radio classics by the Animals, the Beach Boys, Little Eva, Glen Campbell, and Ricky Nelson are less than obvious inclusions by Rolf Harris, Solomon King, the Fourmost, and the Bonzo Dog Doo Dah Band.


Peter & Gordon - The EP Collection


In June 1964, Peter & Gordon became the very first British Invasion act after the Beatles to take the number one spot on the American charts with "A World Without Love." That hit, and their subsequent successes, were due as much or more to their important connections as to their talent. Peter Asher was the older brother of Jane Asher, Paul McCartney's girlfriend for much of the 1960s. This no doubt gave Asher and Gordon Waller access to Lennon-McCartney compositions that were unrecorded by the Beatles, such as "A World Without Love" and three of their other biggest hits, "Nobody I Know," "I Don't Want to See You Again," and "Woman" (the last of which was written by McCartney under a pseudonym). But Peter & Gordon were significant talents in their own right, a sort of Everly Brothers-styled duo for the British Invasion that faintly prefigured the folk-rock of the mid-'60s. In fact, when Gene Clark first approached Jim McGuinn in 1964 about working together in a group that would eventually evolve into the Byrds, he suggested that they could form a Peter & Gordon-styled act. 

Asher and Waller had been singing together since their days at Westminster School for Boys, a private school in London. "A World Without Love" was their biggest and best hit, one that sounded very much like the Beatles' more pop-oriented originals. Their other two 1964 hits, "Nobody I Know" and "I Don't Want to See You Again," were pleasant but less distinguished. Sounding like McCartney-dominated Beatle rejects (which, in fact, they were), the production employed a softer, more acoustic feel than the hits by the Beatles and other early British Invasion guitar bands. "I Don't Want to See You Again" used strings, as would several of the duo's subsequent hits, which became increasingly middle-of-the-road in their pop orientation. 

Some scattered folky B-sides showed that Asher and Waller may have been capable of developing into decent songwriters, but like many of the less talented British Invaders, their lack of songwriting acumen and ability to move with the times would eventually work against them. They did continue to hit the charts for a couple of years, with updates of the oldies "True Love Ways" (Buddy Holly) and "To Know You Is to Love You" (a variation of the Teddy Bears' "To Know Her Is to Love Her"). There was also a Top Ten cover of Del Shannon's "I Go to Pieces," and the brassy, McCartney-penned "Woman." The overtly cute and British novelty "Lady Godiva," though, became their last big hit in late 1966. 

After Peter & Gordon broke up in 1968, Asher became an enormously successful producer, first as the director of A&R at the Beatles' Apple Records (where he worked on James Taylor's first album). Relocating to Los Angeles, in the 1970s he was one of the principal architects of mellow Californian rock, producing Taylor and Linda Ronstadt.


Johnny Kidd & The Pirates - Rarities




One of England's top rock & roll outfits before the Beatles led the early-'60s Beat Boom, Johnny Kidd & the Pirates are best remembered today for one international rock classic ("Shakin' All Over") and as a seminal influence on several more famous groups, most notably the Who.

Johnny Kidd (born Frederick Heath) had formed his first band, a skiffle group called the Five Nutters, in 1957. They quickly outgrew their skiffle roots and, after a short period fronting the Fred Heath Combo, he joined Alan Caddy (guitar), Tony Docherty (rhythm guitar), and Ken McKay (drums), in early 1958 in an outfit that was dubbed Johnny Kidd & the Pirates, who were spotted by an EMI Records representative and signed to the label.

The group cut their first record, the outstanding Please Don't Touch, in April 1959, highlighted by Heath's menacing vocals, which reached number 26 on the British charts. The group's subsequent records were an uneven mix of solid R&B-based rock juxtaposed with awkwardly covered standards.

In May of 1960, however, the band was in the studio to record one of those standards, "Yes Sir, That's My Baby," with an original B-side that they hadn't fully worked out. That B-side, a Heath original called "Shakin' All Over," became the A-side of a number one single that became the first original rock song in England to achieve the status of an international rock standard. Driven by Caddy's guitar and a mournful, ominous lead vocal by Heath, the song topped the charts and completely astonished everybody who heard it that such a track could have come from an English rock & roll band.

Unfortunately, like every other British label of the era, EMI was never sure how best to deal with rock & roll success, and the group was made to record any amount of dross in the wake of this success, amid some superb follow-up numbers. Several membership changes followed, most notably the addition of Mick Green on lead guitar. The group was among the finest rock combos of the early '60s, with a wild stage act that had them playing in pirate regalia, but it never had enough consistent chart success to put it back in the top ranks of Britain's rock hierarchy, though they received a great deal of respect from the younger generation of rock & rollers.

Early in their career, the Who played on the same bill as Johnny Kidd & the Pirates, and it was through watching the Pirates at work that they arrived at their own sound of a solo singer backed by a guitar, bass, and drums; the band also added "Shakin' All Over" to their repertory. Heath and his band struggled onward into the mid-'60s, even remaking "Shakin' All Over." Green left in 1964 (replaced by John Weider) to take over as a member of the Dakotas, Billy J. Kramer's backup band, and Heath put together a new combo during this period.

The mid-'60s seemed to be a more favorable period for Heath's brand of R&B-based rock & roll. He put together a group called the New Pirates, and was about to embark on a new phase of his career, when he was killed in a car crash on October 7, 1966. The New Pirates continued on for a time, with Johnny Carroll fronting the group until mid-1967, when they called it quits.

During the 1970s, however, the Pirates, with Mick Green back in the lineup, began playing together again, and they have continued to perform to this day in England, and recorded a handful of albums during the 1970s and '80s, featuring Johnny Kidd-era material as well as new songs in their stage show. Among the New Pirates, bassist Nicky Simper went on to become a founding member of Deep Purple.

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