Sunday, September 30, 2012

John Kay - Forgotten Songs & Unsung Heroes& My Sportin' Life


Steppenwolf leader/founder John Kay is perhaps the most overlooked early contributor to the musical style that would become heavy metal and hard rock. Kay was the first rocker to use the phrase heavy metal in a song, in one of metal's first great anthems: Steppenwolf's 1968 classic "Born to Be Wild." Born Joachim Fritz Krauledat on April 12, 1944, in the section of Germany that was once known as East Prussia, it was the American rock & roll that he heard on U.S. Armed Forces radio after his family moved to East Germany that fueled his interest in music. After relocating to Toronto, Canada, in 1958, Kay became even more transfixed by rock & roll -- leading to Kay picking up the guitar, writing songs, and playing in local bands.
In the '60s, Kay founded the Sparrow, a rock outfit who played both Canada and the U.S., but received little attention. The group had fallen apart by 1967, but with a new, harder-edged style of rock beginning to conquer the charts and airwaves (Cream, Jimi Hendrix, and the Yardbirds), Kay decided to pursue this direction with his next band, Steppenwolf (titled after Hermann Hesse's novel of the same name). After moving to Los Angeles, the fledgling band was signed to Dunhill and recorded their self-titled debut, issued in 1968. The album became a sizeable hit, as "Born to Be Wild" was unleashed on an unsuspecting record-buying public, becoming one of rock's most instantly identifiable and enduring hits of all time. After the track was used in the 1969 cult classic movie Easy Rider, it subsequently appeared in countless other movies and TV commercials over the years and was covered by numerous other bands (Blue Oyster Cult, Slade, Crowded House, and the Cult).

Steppenwolf continued to crank out hit albums (1968's The Second, 1969's At Your Birthday Party, and 1969's Monster), singles ("Magic Carpet Ride," "Rock Me"), and tours on a regular basis, with Kay being the only constant member among a revolving door of other musicians. By 1972, Kay decided to end the group, issuing his first solo albums around the same time: Forgotten Songs & Unsung Heroes and My Sportin' Life. Steppenwolf's retirement didn't last for long, however, as Kay alternated between the band and his solo career throughout the '70s, '80s, and '90s. He even took a few former members of the band to court when they, too, began touring behind the name Steppenwolf. In 1994, Kay penned an autobiography, Magic Carpet Ride, and four years later, Steppenwolf and Kay were the subject of an interesting Behind the Music episode for VH1.

John Kay - Forgotten Songs & Unsung Heroes& My Sportin' Life (72-73)

2008 digitally remastered two-fer containing the first two solo albums from the Steppenwolf frontman. Forgotten Songs & Unsung Heroes was originally released in 1972 followed by My Sportin' Life, released one year later. BGO.





John Kay's distinctive voice cut through radio with hits like "Magic Carpet Ride" and "Born to Be Wild." But on this LP there is none of the menacing growl found on his version of "The Pusher." What you will find here is Hank Williams' classic "You Win Again" with Kent Henry on simulated steel guitar, Hugh O'Sullivan on electric piano, George Biondo on bass, and the drummer from Lou Reed's Rock & Roll Animal band, Pentti "Whitey" Glan. The album was produced by the great Richard Podolor, who brought listeners Hoyt Axton and Three Dog Night's "Joy to the World." There is no Hoyt Axton here, but there are tunes by Richard Farina, Robert Johnson, Hank Snow, Patrick Sky, and the aforementioned Hank Williams, along with four Kay originals. To hear Kay droning "Christ will be our darling, and fear will be our name" on Farina's "Bold Marauder" is pretty chilling. Henry's acoustic guitar takes a back seat to Kay's dulcimer, and producer Podolor is on jaw bone and tambourine. This is a serious attempt by Kay to break away from the hard rock persona he established with Steppenwolf. That he pulls it off is impressive. Two years prior to this, John Phillips had a Top 40 hit with "Mississippi" on this same label, Dunhill, so it's not like the elements weren't in place for the lead vocalist from a superstar act to branch out. It's just that a six-minute composition like Kay's "Two of a Kind" was not going to get substantial AM radio airplay. Having Podolor perform on mandolin and organ with Kay providing vocals and guitar suggests that they were having fun more than looking for a hit single. If country radio had a tough time accepting Olivia Newton John, well, Steppenwolf's lead vocalist was not about to cross over as quickly as Brenda Lee. With just Biondo on bass and himself on harp and bottleneck guitar, Kay delivers a great version of Robert Johnson's "Walkin' Blues." This album is not what you'd expect, and that's part of what's so special about it. When Grace Slick does her own version of the Starship's No Protection on her Software album (and should be commended for such a bold move) and when Neil Young gives the world Trans, they shake things up. John Kay was not a star on the same level as Slick and Young, which makes his leap all the more admirable. The best track on this excellent album just may be Kay's own composition "Somebody," featuring the full band and gospel-style vocals from Marsha Jo Temmer, Joan Sliwin, and Alexandra Sliwin. Hank "Singing Ranger" Snow's "I'm Movin' On" comes as close to Steppenwolf as this album gets. Kay says that his version is closer to Ray Charles than Snow, but this track gives the artist and his fans that trademark snarl and a nice dark production. At three minutes and ten seconds, and with the nick of Three Dog Night's song "Liar" at the beginning, it's too bad radio didn't pick up on this fine work.


"John Kay the lead singer of Steppenwolf...or should I say the leader of the pack...Mr. Steppenwolf... This album is another great Steppenwolf album... I saw John Kay and Steppenwolf play at a chopper show/convention in Maryland during the summer of 2010 and they put on a great concert...they didn't need fancy lights or F/X to give you a magical carpet ride...!..."~ By Westy


"As one reviewer already noted, this is a nice variety of music with some good musicians also. 'Sing with the Children' is the harder rocking song. I tend to like the free wildness of 'Bold Marauder',a fair amount does lean toward country-rock-regardless, there is alot here to enjoy; I must state that another review claims that this ISN'T the John Kay of Speppenwolf-even if you check out his new DVD/CD you'll hear various songs off of these,(and on an old 'Midnight Special' he played 'Movin'On' and 'Moonshine' (Tennessee Wine), in a word-this IS definitely HIM, there is no other John Kay man-Get Real! That is ill-informed and ridiculous. After having these on LP 35 years ago it's GREAT to see this again. To the Wolf!...~ By truthreader





Steppenwolf - Early Steppenwolf


Early Steppenwolf is a collection of live recordings by Steppenwolf when they were still known as "The Sparrow" [nee: "The Sparrows"]. It was released in 1969 under the label ABC Dunhill Records. The material was recorded live at The Matrix in San Francisco on May 14, 1967

Line-up:
* John Kay – Guitar, Vocals
* Mars Bonfire – Guitar
* Jerry Edmonton – Drums
* Goldie McJohn – Organ, Keyboards
* Nick St. Nicholas – Bas





"Listen to this CD, and hear history in the making. While this CD has a rough, garage-band sound, it also has undeniable power. The talent behind the music is obvious. Here is a chance to listen to some early versions of later classics (Power Play, Tighten Up Your Wig, Corinna, Corinna and The Pusher). The CD starts out with a slower, blusier version of Power Play than the one on Monster. Howling Wolf's Howling for My Baby is guaranteed to make you want to move, or at least to tap your foot. Another standout is a beautiful version of Corinna, Corinna that I believe is far superior to the version on Steppenwolf Live. It starts with an amazing guitar riff and also has a nice guitar break. The CD winds up with an extremely extended version of The Pusher, which is mostly just improvisation..." ~ By Tom Griffin



The Best of John Kay & Sparrow: Tighten Up Your Wig




Formed in Toronto, Canada, in 1965, Sparrow evolved from an earlier incarnation, Jack London And The Sparrows. The original line-up - Jack London (vocals), Dennis Edmonton (b. Dennis McCrohan, Oshawa, Ontario, Canada; guitar), Jerry Edmonton (b. Jerry McCrohan, 24 October 1946, Canada; drums), Nick St. Nicholas (b. 28 September 1943, Hamburg, Germany; bass) and Art Ayre (organ) - enjoyed a number 1 hit in Canada with ‘If You Don’t Want My Love’, before London left to pursue a poppier direction. Former folk singer John Kay (b. Joachim F. Krauledat, 12 April 1944, Tilsit, Germany) took his place and with the arrival of Goldy McJohn (b. 2 May 1945) in favour of Ayre, the definitive Sparrow was established. The quintet quickly became a leading attraction in Toronto’s Yorkville district, playing a gruff-styled R&B, perfect for Kay’s growled vocals. By contrast, the Sparrow’s singles, ‘Tomorrow’s Ship’ and ‘Green Bottle Lover’, were, respectively, folk rock and garage punk. They moved to Los Angeles in 1967, but split up when neither band nor producer (David Rubinson) were happy with their final series of recordings. Kay, McJohn and Jerry Edmonton then formed Steppenwolf, whose best-known song, ‘Born To Be Wild’, was composed by Dennis Edmonton, under his newly-assumed name, Mars Bonfire. Nick St. Nicholas was a member of Steppenwolf between 1969 and 1970 and the success of this band inspired the release of John Kay And The Sparrow, which comprised of demo recordings made to secure their recording contract with CBS Records.

The Best of John Kay & Sparrow 1993

Before joining Steppenwolf, John Kay led The Sparrow, a Toronto band that traveled to New York, L.A., and San Francisco in search of success and a secure record contract. Some of their work has appeared on albums in the past, but this 18-track CD is the most thorough compilation of the tapes they cut for Columbia in 1966-67. This includes their lone official 45 and various audition/demo sessions, among them seven previously unreleased performances. The material is a mix of Kay originals, blues covers of stalwarts like John Lee Hooker and Jimmy Reed, and a previously unreleased version of Hoyt Axton's anti-drug "The Pusher." For all its rarity, this stuff is not terribly impressive; it's pedestrian blues-rock for the most part. Oddly enough, Kay was barely involved in the best -- and least typical -- tracks, the lovely psychedelic tune "Tomorrow's Ship" and the massively echoed freakout "Isn't It Strange." Written and sung by other band members, these songs reflect a trippy Californian ambience that was distinctly at odds with Kay's heavy rock leanings.




This CD would be complete if it wasn't missing "Down Goes Your Love Life" and "Chasin' Shadows" from the original LP. Although it has all of the bonus tracks. Go for the recent Repertoire reissue (...) In 1969, while "Born to Be Wild" was the next big thing, Columbia decided to issue these recordings from 1967. Featuring Dennis Edmonton (better known as Mars Bonfire) and Nick St. Nicholas (who did not join Steppenwolf right off, but came in for the "Birthday Party" LP). Columbia issued only one single off of these tapes in 1967 and did not show interest in issuing anything else. These recordings show the group working out of a blues mold (on Kay's material), a little jazz (Jerry Edmonton sings on "King Pin"), pop ("Down Goes Your Love Life" with, surprisingly,Nick and Goldy McJohn singing!) and even a theremin used on "Green Bottle Lover". Mars Bonfire sings a few tracks ("Isn't It Strange" "Tomorrow's Ship" "Chasing Shadows"), John sings most, and Jerry gets in there. Very interesting to say the least. Not just for collectors, but fans as well. This CD is missing the two tracks from the original LP

Saturday, September 29, 2012

Chubby Checker - Limbo Party (1962)


WANTED !!!
Dee Dee Sharp - It's Mashed Potato Time & Do The Bird


I'm looking for
Dee Dee Sharp - It's Mashed Potato Time & Do The Bird
2in1
(or separately...)

Thanks for the your help!

***************

Abandoning for a moment his obsession with "The Twist," Chubby Checker branches out into new territory on this 1962 epic entitled Limbo Party. The half-tacky/half-serious liner notes are unusual -- and uncredited -- in fact, the only credit is to singer Chubby Checker, with a rare mention of his birth name, Ernest Evans, and the statement that he was barely 20 when releasing this. He was actually four days away from turning 21 when the Sheldon/Strange composition shot to Number Two on the charts, the singer's third biggest hit behind "Pony Time" and "The Twist." Where other Checker albums beat the same formula into the ground, all songs sounding like the production of his double-Number One-hit, "The Twist," here the producers explore salsa, soft rock, and other styles. "The Bossa Nova" is not "Blame It on the Bossa Nova," and pre-dated Eydie Gorme's hit by a half-a-year or so. It also has that cabaret feel which would be embraced by contemporary Chris Montez four years later -- though Montez was rocking harder than this with "Let's Dance" the same month "Limbo Rock" hit. "When the Saints Go Limbo In," instead of 'marching in' is a bit of a stretch, while "Jamaica Farewell" is a chance for Chubby to sing an island tune. Sing it he does, taking advantage of the opportunity, though the powers that be do slip the word "limbo" into the tender reading, keeping in line with the formula which couldn't be argued with. Checker had a home on the Top 40 charts that eluded other artists, so when he has a "Banana Boat Limbo Song" concocted for him, it is an indulgence the singer is allowed -- and has earned. "Desafinado (Slightly Out of Tune)" is slightly out of tune music designed for playing on a cruise ship: truly a different arena for the twister. Ritchie Valens' "La Bamba" gets re-designed with obligatory nods to samba and limbo, and is a fun conclusion to this respectable disc whose hit is its highlight.




Tommy James - Tommy James (1970)


Tommy's first solo album titled simply "TOMMY JAMES",
 was released in the fall of 1970.


"It was a bit strange and a little scary making music without the Shondells... but it gave me a chance to experiment with a lot of new sounds and ideas". - TJ

"Neon", a group Tommy was producing for Paramount Records, became his new studio and touring band. Their hard, gutsy style was perfect for Tommy's new musical persona which now relied more heavily on rhythm and a grittier guitar sound.

From this album, Tommy scored his first two chart hits as a solo artist, "Ball and Chain" and "Come to Me"


A very cosmic/psychedelic album cover has seven black-and-white Tommy James heads coasting over what looks like an acid trip, rainbow behind him, colors dripping upwards. It's the opposite of the black-and-white psychedelic look of the Cellophane Symphony album and the first of James' three final albums for Roulette. If we are to take the discs as three chapters, this one is Tommy James and Bob King proving that Tommy James was the Shondells. "Ball and Chain" is poppy and intense, the Velvet Underground gone bubblegum. Clearly, drugs had some influence on Tommy James' work, and where his ex-bandmates took a stab at the third Velvet Underground album with their Hog Heaven track "Come Away," "Ball and Chain" from the first Tommy James solo album sounds like it is an outtake from the Velvet Underground's Loaded CD. "Meet the Comer" has bits of Neil Young's "Helpless," all gone pop, of course. Tommy James' reformulation of pop riffs he would create or nick kept the majority of his albums highly listenable. It's a real gift to tune in and grab melodies from the cosmos, and rest assured, memorable hooks and special sounds are all over these grooves. "Midnight Train" continues the party, making this a very underground pop album. No hit single emerged until Bob King and James put the Christian of the World album together. That effort was certainly more commercial and refined, but this Tommy James solo debut has merit, integrity, and inspired insanity. "Come to Me" leads off side two, and it is the lost sequel to "Sugar on Sunday," the big hit for the Clique which first appeared on the Crimson & Clover album. "Come to Me" has a choir of backing vocals and should've been a smash with its flavors of past glories enhanced with a new bridge. Wonderful stuff. As the first part in his solo trilogy, Tommy James pays tribute to Tommy Roe, Billy Joe Royal, and even Bobby Sherman, but shows them all how a pop album is crafted and how Tommy James is the genuine article. It's perhaps the most experimental of all his projects, more cohesive than Peter Lucia and Mike Vale's Hog Heaven, and sets the stage for the refined Christian of the World and the reverent and very satisfying Nashville recording My Head, My Bed and My Red Guitar. Where a song like "Quick Silver would be out of place on those aforementioned titles, it fits perfectly on this descent into a pop maestro's psyche. An enlightening project, and like many of Tommy James' other artistic endeavors, tragically overlooked..




Friday, September 28, 2012

The Outsiders & Wally Tax




Cleveland, Ohio's The Outsiders enjoyed a few chart hits in the mid-'60s, but their Dutch namesakes (who never released a record in the United States during their years together, despite the fact they wrote and sang in English) managed something a bit more remarkable during their time together. The Amsterdam-based combo were one of the most popular homegrown bands in the Netherlands from 1965 to 1967, and have since become a favorite among historians of the beat music era; Richie Unterberger wrote that The Outsiders "could issue a serious claim for consideration as the finest rock band of the '60s to hail from a non-English-speaking nation," and Richard Mason penned an essay on the group calling them "the most underrated band ever." The Outsiders were formed in 1964 by Wally Tax (vocals and rhythm guitar), Ronald Splinter (lead guitar), Appie Rammers (bass), and Lendert "Buzz" Busch (drums); the band embraced an eclectic style that made room for R&B, folk-rock, pop, and beat influences, as well as psychedelic accents as the decade wore on. After earning a reputation as a powerful live act (and adding additional guitarist Tom Krabbendam), The Outsiders made their recoding debut in 1965 with "You Mistreat Me" b/w "Sun's Going Down," which was released by the Muziek Express label. Both songs were originals, and The Outsiders were unusual among beat groups of the era in that they never recorded cover tunes. As the band's reputation as a striking live act grew (their show was frantic enough to get them banned from several major venues), The Outsiders found themselves opening for many leading U.K. beat groups touring the Netherlands, including the Pretty Things and the Rolling Stones, and after releasing a second single for Muziek Express, they signed a deal with Relax Records. After a handful of singles and an EP, they released their first full-length album in 1967, simply called The Outsiders, which featured one side of studio recordings and another taken from live performances. That same year, the single "Summer Is Here" b/w "Teach Me to Forget You" went Top Ten in the Netherlands, and a second album that compiled the group's single sides was issued. In 1968, Tom Krabbendam and Appie Rammers left the group; Frank Beek was recruited to play bass and keyboards, and the band opted not to replace Krabbendam. The same year, Relax Records was absorbed by Polydor, who released the third Outsiders album, CQ. Named for an amateur radio term meaning "Is anyone listening?," CQ was an ambitious set that combined the band's beat music influences with outre psychedelia and avant-garde sounds that were far ahead of the curve for the era. However, Polydor failed to promote the album properly -- the initial pressing was reportedly a mere 500 copies -- and The Outsiders disbanded in 1969. Ronnie Splinter dropped out of the music business, while Wally Tax and Lendert Busch started a new band, Tax Free. The Outsiders staged a successful reunion tour in 1997, but the group's story came to a permanent close with the death of Wally Tax in 2005.

1. 01.The Outsiders-01 - Lying All The Time (03:15)
2. 02.The Outsiders-02 - Keep On Trying (02:58)
3. 03.The Outsiders-03 - Touch (03:13)
4. 04.The Outsiders-04 - Monkey On Your Bac (03:43)
5. 05.The Outsiders-05 - Summer Is Here (03:27)
6. 06.The Outsiders-06 - I've Been Loving You So Long (03:22)
7. 07.The Outsiders-07 - Don't You Worry About Me (03:26)
8. 08.The Outsiders-08 - Cup Of Hot Coffee (03:17)
9. 09.The Outsiders-09 - I Don't Care (02:46)
10. 10.The Outsiders-10 - Do You Feel Alright (03:27)
11. 11.Wally Tax-11 - I Sat And Thought And Wondered Why (02:57)
12. 12.Wally Tax-12 - Let's Forget What I Said (03:32)
13. 13.Wally Tax-13 - I Won't Feel Alone (02:41)
14. 14.Wally Tax-14 - Come Closer (02:28)
15. 15.Wally Tax-15 - Miss Wonderful (02:28)
16. 16.Wally Tax-16 - It Ain't No Use (03:17)
17. 17.Wally Tax-17 - Evidently (02:26)
18. 18.Wally Tax-18 - Bridges Are Burning (02:53)
19. 19.Wally Tax-19 - This Girl Is Mine (02:50)
20. 20.Wally Tax-20 - Let's Dance (03:22)



The Outsiders - Outsiders (1967)





Their super-raw debut album, a few songs of which were recorded live. Some of this is too melodically primitive and clumsy to survive the ages, but tracks like "Filthy Rich," "Won't You Listen," and "If You Don't Treat Me Right" are comparable to little else of the era with their savage, Pretty Things-on-speed mood and hyper-fast tempos. The CD reissue adds several bonus tracks.




Wednesday, September 26, 2012

The Milkshakes - Best Of


REPOST

The Milkshakes - Best Of

01 jaguar
02 bretty baby    
03 pipeline            
04 last night          
05 little girl         
06 cadillac            
07 love can lose       
08 general belgrano    
09 late at night       
10 don't love another  
11 the klansmen kometh  
12 thunderbird     
13 found my girl       
14 comanche           
15 the yorkshire ripper
16 seven days
17 i want you
18 jezebel
19 little bettina
20 ida honey          
21 dull knife
22 i wanna be your man
23 you did her wrong   
24 brand new cadillac
25 i can tell      
26 that's my revenge
27 i want you       
28 shimmy shake
29 soldier of love
30 el salvador         
31 tell me where's that girl
32 hide and scatter



Agnetha Fältskog - Agnetha Fältskog (1968)




Agnetha Faltskog was born in 1950 in the Swedish city Jonkoping. She is best known as a member of pop sensation ABBA.

Her singing career started as lead singer in a dance band (a typical swedish type of music that was very popular in the 60s-70s) named Bernt Enghardt band. In 1968 she signed a contract as a solo artist and became very popular with several hits. For several years she was a top selling artist in Sweden.

In 1969 she met a new man who would mean a lot also for her musical career, Bjorn Ulvaeus. Bjorn, having successes as well, teamed up with another popular Swedish artist, Benny Andersson. With Benny's girlfriend Annifrid Lyngstad, who also had been successful on her own, all four sometimes teamed up as a group called Festfolket, while they all still were working on their solo careers.

For Agnetha the solo career continued with a new successful album, Som Jag Ar, and also the role as Mary Magdalene in the Swedish stage version of Jesus Christ Super Star.

From around 1973 the focus was on the group Bjorn, Benny, Agnetha & Frida and around 1973-74, they changed their name to ABBA. Agnetha was a full time member of this Swedish super group ABBA in the 70s and early 80s. However it became increasingly difficult for Agnetha to combine the roles of a mother and successful pop artist and eventually this lead to a divorce from Bjorn and the breakup of ABBA in 1983.

Since then, Agnetha has released several albums with some success. During the 80s she had solo hits with the singles "The Heat Is On", "Can't Shake Loose", "The Way You Are", "The Last Time" and "I Won't Let You Go".

2004 became a very productive year. First the compilation The First Years 1967-1979 that sums up her own career and then the new album My Colouring Book that was successful in Sweden. The singles "If I Thought You'd Ever Change Your Mind" and "When You Walk In The Room" became big hits.

She has recorded duets with artists such as Peter Cetera, Tomas Ledin and Ola Hakansson.

****
Агнета Фельтског (швед. Agnetha F?ltskog) – шведская певица. Родилась 5 апреля 1950 года в городе Йенчепинг, Швеция). Наибольшую известность получила в составе поп-коллектива «ABBA». 

С 15 лет Агнета стала выступать вместе с оркестром Бенгта Энгхарста (Bengt Engharts) в качестве солистки. Через два года записанная ею песня на шведском языке «Jag var s? k?r (I Was So in Love)» возглавила национальный хит-парад. За ней последовали и другие хиты. Также Агнета Фельтског выпускала альбомы, большую часть материала на которых принадлежит ее авторству. Постепенно певица стала чрезвычайно популярной исполнительницей у себя на родине. Кроме того, в ее арсенале было несколько синглов на немецком языке. Над их созданием Агнета работала несколько месяцев в Западном Берлине, сотрудничая с немецким продюсером Дитером Циммерманном (Dieter Zimmermann).

В 1972 году певица приняла участие в шведской постановке знаменитой рок-оперы «Иисус Христос Суперзвезда», где исполнила партию Марии Магдалены.

В том же году Агнета Фельтског стала частью всемирно известного коллектива «ABBA». Основатель группы Бьерн Ульвеус (Bj?rn Ulvaeus) как-то увидел выступление Агнеты по телевидению, после чего решил познакомиться с ней для сотрудничества. Параллельно с деятельностью в «ABBA» Агнета выпустила сольный альбом на шведском языке «Elva kvinnor i ett hus». 

После распада группы «ABBA» в 1982 году певица выпустила несколько сольных дисков с песнями на шведском и английском языках. После выхода альбома «I Stand Alone» в 1987 году Агнета Фельтског объявила о том, что оставляет музыкальную карьеру.

В 1996 году в продаже появилась автобиография исполнительницы «Som jag ?r», выход которой был подкреплен сборником ее песен «My Love, My Life».

В 2004 году певица решила вернуться к творчеству, выпустив синглом кавер-версию на песню «If I Thought You'd Ever Change Your Mind» британской певицы Силлы Блек (Cilla Black). 17 лет молчания не позволили забыть об Агнете, и песня заняла второе место в шведском хит-параде и 11-ое в британском чарте. Вскоре вышел альбом «My Colouring Book», состоящий из каверов хитов 60-х. Он также пользовался популярностью, войдя в хит-парады европейских стран.

Agnetha Fältskog - Agnetha Fältskog (1968)
Agnetha [Cupol]
(Дебютный альбом )



 Also :

The Night Riders - The Night Riders (1967)


Based on the surviving evidence, the Night Riders were likely among of the most talented of all the overlooked southern garage bands of the middle-late 1960's. They were also one of the more unusual, a sextet with two lead instruments (guitar, organ) and a pair of good rhythm guitarists that gave their sound a thick, melodious texture. Monte Allison (organ, vocals), Jon (Twogun) Johnson (drums, vocals), Steve Rogers (bass, drums), Mac Lewis (rhythm guitar, vocals), Ray Atwater (rhythm guitar, vocals), and David Marlette (lead guitar, lead vocals) were in their mid-teens when they began playing together in the mid-1960's. Their repertory consisted of the usual rock 'n roll and r&b standards ("Louie Louie, " "Good Lovin', " "Twist And Shout, " "Money") spiced with some fair originals that were written in a similar vein. Monte Allison's keyboards were often the lead instrument and dominated the group's sound, sometimes even giving forth with Joe Meek-like arpeggios-sharing the spotlight on the breaks was David Marlette's lead guitar, and at least one of the other two guitarists could also solo when the need arose ("Night Train"). Their playing was unusually precise and articulate for a garage band, indicating that they'd either taken some music lessons somewhere along the line or spent a LOT of time practicing, but whatever the reason, it greatly helped the Night Riders when it was time to record. What happened to them is anyone's guess.

GROUP MEMBERS

Ray Atwater
Steve Rogers
Mac Lewis
Monte Allison
Jon (Twogun) Johnson
David Marlette






Made in Sweden - Made in Sweden (With Love) 1968






Made in Sweden was a Swedish  supergroup active from 1968 to 1977.
The founding members were Georg Wadenius (guitar), Bo Häggström (bass, piano and organ), and Tommy Borgudd (drums) previously members of the pioneering Swedish rock group Lea Riders Group, which broke up in mid-1968.
Their first album, Made In Sweden With Love (1968), was a hit in Sweden and was nominated for a Grammy. They won the Swedish Grammis for Best Band in 1969 and 1970.[1] The band was closely associated with the Stockholm music venue "Gyllene Cirkeln" and recorded a live album (Live! At the Golden Circle) there in 1970.
Singer Tommy Körberg joined the band in 1976, appearing on their last album Where do we begin. At that point even the Polish keyboard player Wlodek Gulgowski joined the band, as well as two Finns, bassist Pekka Pohjola and drummer Vesa Aaltonen, who had gained earlier reputation with Wigwam and Tasavallan Presidentti respectively.


Первоначальный состав:

Georg Wadenius - guitar/piano/organ/vocal
Bo Haggstrom - bass/guitar/mellotron
Tommy Borgudd - drums

    Коллектив MADE IN SWDEN стоял у истоков шведского прогрессивного рока. Музыканты этого замечательного трио в дальнейшем стали широко известны за пределами своей Родины, а ряд альбомов составил "золотой фонд" музыкальной коллекции рубежа 60-70 гг. 
    Группу MADE IN SWEDEN собрали в 1968 году участники ритм секции легендарной шведской ритм энд блюзовой группы 


(Bo Haggstrom - bass, Tommy Borgudd - drums) 

и мульти инструменталист Georg Wadenius из малоизвестной команды




 Первоначально музыканты попытались совместить в своей музыке джазовую технику исполнения с психоделическим подходом сочинения. В дальнейшем коллектив перешел к симфо-прогу с сильным влиянием джаза и небольшим привкусом блюза. Но обо всем по порядку. 
    Первое, что бросается в глаза при прослушивании альбомов MADE IN SWEDEN, так это необычайная легкость подачи материала, независимо от того, что они играют. Манера гитариста отсылала слушателя к джазовым экскурсам Элвина Ли (Alvin Lee), хотя сам Georg Wadenius предпочитает говорить о влиянии Wes Montgomery, Jim Hall и Rune Gustaffson. Встав во главе этого трио, под его руководством в октябре 1968 года была записана дебютная пластинка, названная просто "Made in Sweden" (в ином варианте "With love"). 
    Редко когда можно доверять рекламным слоганам радиостанций, но это тот редкий случай, когда диск жокей определил суть ансамбля. "Они должны без труда добиться мирового успеха. Важность именно этой пластинки заключается в том, что несомненный талант участников делает ее лучшим музыкальным подарком, какой только можно себе представить." Убедиться в истинности этих слов можно прослушав все восемь композиций. Среди них хороши оригинальные творения, но настоящей привлекательности они добиваются на кавер версиях. В частности, обращает на себя внимание любопытная трактовка известной темы Генри Манчини (Henry Mancini) Peter Gunn и уникальная версия "битловской" A day in the life. 
    Спустя год в музыке трио произошли незначительные изменения. Элементы блюза все сильнее стали прорываться на поле MADE IN SWEDEN, что засвидетельствовал альбом "Snakes in a hole". Игра Wadenius'а стала более четкая и уверенная, а оригинальный материал вполне попадал в категорию прогрессивного рока. Поражает и разноплановая подборка композиций - вслед за симфо-роковой балладой Lay lady lay идет джаз-роковый джем с авангардными вкраплениями Discoteque people, а далее начинается блюз-роковый монстр Give me whisky. Отдельно стоит сказать о гостевом участии датского скрипача Svend Asmussen, чья игра придает психоделический оттенок, который был свойственен дебютному альбому. Кроме того, пластинка обладает невероятным чарующим свойством, и с каждым новым прослушиванием хочется ставить ее еще и еще. 
    В 1969 году музыканты отметились и концертным альбомом "Live at the golden circle", который представил иную грань таланта трио. Концертные импровизации доводили и без того сильный материал до полного совершенства, а в основе игры определялась джаз-роковая школа.


    Тем удивительнее выглядит 1970 год для MADE IN SWEDEN. Сохранив все лучшие черты своих предыдущих творений, музыканты представили на суд публики истинный шедевр мирового рока. Часто говорят, что это один из лучших шведских альбомов, но такая характеристика применима к альбому и без национальных ограничений. Хотя, справедливости ради, необходимо признать, что улучшения коснулись не столько музыкальной составляющей, сколько это сказалось на звуке и всем, что связано с обязанностями продюсера. Оно и понятно, ведь в этой роли выступил легендарный басист COLOSSEUM Тони Ривз (Tony Reeves). 
    "Хотя MADE IN SWEDEN и COLOSSEUM никогда не выступали вместе, мы встречались с их басистом Тони Ривзом. Это привело к дальнейшему сотрудничеству, что позволило расширить горизонты нашей аудитории за счет влияния музыкальных идей Тони. Но одновременно это был и последний этап развития группы. После этого я решил изменить направление, в котором работал, и заняться чем-то иным." 
    Так комментирует распад MADE IN SWEDEN Georg Wadenius на пике творческой активности. Но и в дальнейшем пути музыкантов не разошлись. Borgudd вместе с Wadenuis и еще несколькими музыкантами собрали джаз-роковый ансамбль SOLAR PLEXUS, который оказался еще более успешным чем "Сделано в Швеции". Совсем парадоксальным выглядела замена Wadenius'а (который, к слову, ушел не куда-нибудь, а в BLOOD, SWEAT & TEARS) на Haggsrtom'а. Таким образом, был завершен полный цикл круговорота под названием MADE IN SWEDEN. 
    В 1976 году Wadenius решил ненадолго вернуться к музыке своей молодости и назвал свою новую группу MADE IN SWEDEN. И хотя в составе кроме него оригинальных участников больше не было, музыканты подобрались на славу. Причем, двое оказались членами легендарных финских групп - Pekka Pohjola из WIGWAM и Vesa Aaltonen из TASAVALLAN PRESIDENTTI. Записанный тогда альбом - "Where do we begin" - оказался, по мнению "очевидцев" невразумительным и явил собой "безжизненный джаз-рок" (Д.Э. Асбъернсен). На этом история легендарного шведского трио закончилась, что нельзя сказать о карьере лидера коллектива - Georg Wadenius стал одним из самых востребованных музыкантов как у себя на Родине, так и за ее пределами.

ДИСКОГРАФИЯ

1968 Made in Sweden (with love) (Sonet) 8/10
1969 Snakes in a hole (Sonet) 9/10
1969 Live at the "Golden circle" (Sonet)
1970 Made in England (Sonet) 10/10
1976 Where do we begin (Polydor)









Monday, September 24, 2012

The Rugbys - Hot Cargo (1969)


The sole obscure album from this Louisville, KY, rock group was recorded between 1966 and 1969 and was originally released on the Amazon label. The group's sound touched on hard rhythm & blues, garage, and beat, with striking similarities to West Coast fuzz legends Blue Cheer, who were creating distortion-heavy rock during the same era. Similarly, Rugbys mix heavy, fuzzed rhythms with psychedelic pop to excellent effect -- a highly recommended obscurity from the '60s rock underground in the vein of garage kings the Litter, Sonics, and Blue Cheer.



The Four Pennies - 2 Sides Of The Four Pennies & Mixed Bag (1964/1966)



REPOST




Four Pennies started out as the Lionel Morton Four, taking their name from their singer, who had served as a choir boy in a cathedral in his hometown of Blackburn, Lancashire, England, during his youth. The band -- not to be confused with the stateside recording artists of the same name -- also included Stoke-on-Trent native Mike Wilsh on piano, Oldham's Fritz Fryer on lead guitar, and Alan Buck of Brierfield on drums. Morton, in addition to singing, played the rhythm guitar. Buck, before coming to the group, had belonged to groups led by Joe Brown and Johnny Kidd. The band found their greatest success with ballads like "Juliet," which knocked the Searchers from the top of the charts in the spring of 1964. The song was originally labeled as the B-side of the group's second single, but soon was given "A" status when it started attracting attention over its flip side, "Tell Me Girl." At this point, the band had already charted with their debut single, "Do You Want Me To," but failed to make any waves with their music until "Juliet" appeared on the scene. The band's third single, a three-hankie ballad called "I Found Out the Hard Way," wasn't as successful as "Juliet," but it did climb nicely into the Top 20 in Great Britain. The Four Pennies charted twice more with "Until It's Time for You to Go," a Buffy Sainte-Marie number, and "Black Girl" from the great bluesman Leadbelly. With their original lineup, The Four Pennies put out one more single, "No Sad Songs for Me." The group fell apart in the fall of 1966. Morton, whose wife was British actress Julia Foster, first tried to go solo before switching gears and moving into television. Buck continued to work in show business, holding a variety of jobs that included production work at Radio Luxembourg. Fryer subsequently established the group Fritz, Mike & Mo, then worked as a record producer for such groups as Clannad, Horslips, Motörhead, and Stackridge, among others. Wilsh still operates a band under the Four Pennies name.



VA - Augustowskie Noce Poland



 
!!!!!!







No To Co - Single i Czworki (Comp.) Poland




"Но То Цо" образовался в Польской Народной Республике в конце 60-х годов. Его основатель Петр Янчерский (наст. имя Петр Яник, род. в 1938 г.), театральный работник. В 1967 г. ансамбль получил название "Но То Цо". Через год вышел дебютный альбом коллектива в стиле скиффл (в этом стиле работали большинство ВИА начала 70-х) - "Nikifor" (1968). Группа понравилась, состоялся ее показ на ТВ. В 1969 г. вышел второй диск, тоже весьма успешный - "W murowanej piwnicy" (1969), а еще через год ансамбль отправился на гастроли, за короткое время объехав Францию, Германию, Венгрию и Чехословакию. Итогом гастролей стал альбом на английском языке "So What" (1971), вышедший в Чехословакии. Еще через год ансамбль побывал в СССР, где вышло два альбома этого коллектива - в 1972 и 1973 г.г. Кроме уже перечисленных стран, ансамбль побывал в США, Канаде, Нидерландах, Великобритании, Бельгии. Вышло еще два альбома коллектива - "Cztery pory roku" (1971) и "Zielona laczka" (1973). К середине 70-х ансамбль распался.


No To Co  - Single i Czworki (Comp.2003) 







Czerwono Czarni- Z Archiwum Polskiego Beatu Vol.1 (1966) Poland




Czerwono-Czarni  was one of the most popular rock bands in the history of Polish popular music, and one of the pioneers of Polish rock and beat music. Czerwono-Czarni was the first Polish rock band to last long enough to cut a record It formed in 1960, and lasted until 1976.


The Polish rock scene dates from 1959, when the short-lived Rhythm and Blues band debuted. Rhythm and Blues soon disbanded, but most of its members on the same day formed the Czerwono-Czarni group. Czerwono-Czarni was founded by Franciszek Walicki on 22 June 1960 in Gdańsk, first performed on 23 July that year, and operated until 1976. They were the first band to record a rock-n-roll (at the time called "big beat" in Poland, which was more politically acceptable than the term "rock-n-roll", which was seen as subversive by the communist authorities)[9] record in Poland, in 1961, in Warsaw, in the concert hall of the National Polish Philharmonic, which at night served as a recording studio. The 1961 release was the group's first.
Original members included Zbigniew Garsen (Zbigniew Wilk), Marek Tarnowski, Andrzej Jordan and Michaj Burano. This changed shortly afterwards, and notable artists who performed in the group included W. Bernolak (Polanie), Seweryn Krajewski (Czerwone Gitary), Zbigniew Podgajny (Niebiesko-Czarni), Zbigniew Bizoń, Przemysław Gwoździowski, Piotr Puławski (Polanie), Ryszard Poznakowski, Henryk Zomerski, Tadeusz Mróz, Ryszard Gromek, Helena Majdaniec, Katarzyna Sobczyk, Karin Stanek, Wojciech Gąssowski, Toni Keczer, Maciej Kossowski.[8] Over 70 artists worked with the group during its 16-year history.
Their notable songs include: Trzynastego ("The Thirteenth"), O mnie się nie martw ("Don't Worry About Me"), Chłopiec z gitarą ("A Boy With A Guitar"), Jedziemy autostopem ("Hitchhiking") and Malowana lala ("Painted Doll").
The group received numerous awards in the National Festival of Polish Song in Opole and Sopot Festival.On 13 April 1967 they performed as an opening act for the Rolling Stones in Warsaw. Czerwono-Czarni performed at their 50th anniversary concert in 2010.

****

Группа была образована в 1960 в Гданьске. Она был основана Franciszek Walicki в составе - Wieslaw Bernolak, Jerzy Wilk, Wieslaw Damiecki, Przemyslaw Gwozdziowski и вокалисты - Janusz Godlewski, Andrzej Jordan i Marek Tarnowski. Свои первые шаги на музыкальной сцене с Czerwono-Czarni сделали такие артисты, которые потом стали звездами польской эстрады, такие, как - Kasia Sobczyk, Seweryn Krajewski, Jacek Lech, Ryszard Poznakowski, Wojciech Gassowski, Karin Stanek, Helena Majdaniec и другие. В 1961 году появился первый альбом группы, в котором также приняли участие артисты участвующие в различных конкурсах молодых талантов. Наградами были награждены песни на фестивалях в Ополе и Сопоте такие как - „Pod papugami”, „Badz dziewczyna moich marzen”, „Nie badz taki szybki Bill”, „Napisze do Ciebie z dalekiej podrozy”, „Trzynastego”, „Agatko pocaluj”. В 1967 году они выступали вместе с Rolling Stones во время их концерта, а год спустя состоялась премьера "Msze Beatowa", в котором авторы были Katarzyna Gertner и Kazimierz Grzeskowiak. Премьера "Msze Beatowa" произошла в Podkowie Lesnej в церкви Св. Кристофера. В следующем году началось падение популярности группы и она распалась в 1976 году. Czerwono-Czarni остались в памяти слушателей как первая группа играющая рок-н-ролл в западном стиле, а также как кузница биг-битовых музыкальных талантов.
***




Czerwone Gitary - Debiut (Comp.) Poland


Czerwone gitary  — известная польская рок-группа. Основана в 1965 году в Гданьске (Польша). Во второй половине 60-х группа была одной из самых известных в Европе.
Czerwone gitary были основаны 3 января 1965 года в городе Гданьске Ежи Косселей (Jerzy Kossela) и Хенриком Зомерским (Henryk Zomerski), позже к ним присоединились Бернард Дорновский (Bernard Dornowski), Кшиштоф Кленчон (Krzysztof Klenczon) и Ежи Скшипчик (Jerzy Skrzypczyk). В этом составе они записали свою первую пластинку. На ней были записаны 4 песни: «Bo ty się boisz myszy» («Ведь ты боишься мыши»), «Такая, как ты», «Считай до ста» и «Плюшевые мишки». Они назвали себя «Czerwone gitary» («Красные гитары») — потому что играли они на гитарах именно такого цвета. С ними вместе выступал, с так называемым «своим окошком» в их программе Северин Краевский (Seweryn Krajewski). В апреле 1965 года они впервые делают запись для Польского радио, а осенью отправляются в свое первое концертное турне под лозунгом: «Мы играем и поем громче всех в Польше». В декабре из группы уходит Зомерский и его место занимает Северин Краевский. Таким составом в конце 1966 года музыканты записывают свой первый альбом «To właśnie my» («Это именно мы»). Первый тираж пластинки достигает 160 тыс. экземпляров. Однако в марте 1967-го группу покидает её музыкальный руководитель — Ежи Косселя. Его место занимает Кленчон.
В мае группа записывает свой новый альбом, названный Czerwone gitary 2. Альбом расходится огромным для Польши тиражом в 240 тысяч экземпляров.
В 1968 группа выпускает альбом Czerwone gitary 3, разошедшийся тоже немалым тиражом в 220 тысяч.
В январе 1969 года во Франции, в Каннах им вручают награду Мидем в виде мраморной пластинки, как приз за самое большое количество проданных в их собственной стране пластинок. Такой же приз получила на этом фестивале и группа The Beatles.
Однако вскоре группу из-за творческих разногласий покидает Кшиштоф Кленчон. Краевский, Дорновский и Скшипчик продолжают выступления втроём. В 1970 году к ним присоединяется Доминик Конрад. В том же году выходит альбом Na fujarce(На флейте), который некоторые музыкальные критики считают самым лучшим за всю историю группы. В 1971 году вышел альбом Spokój serca(Спокойствие сердца). На музыкальном фестивале в Ополе, песня Płoną góry, płoną lasy(Пламенеют горы, пламенеют леса)завоёвывает зрительские симпатии. Червоне Гитары успешно гастролировали в СССР и ГДР. В 1974 году вышел альбом Rytm Ziemi(Ритм Земли). В 1976 году вышли два альбома Dzień jeden w roku(Единственный день в году)и Port piratów(Порт пиратов). В 1977 году группа с огромным успехом выступила на музыкальном фестивале Sopot Interwizja '77, с песнями Niebo z moich stron(Небо в моих краях) и Nie spoczniemy(Не отдохнём), которые стали мега-популярными во всём мире. В 1978 году в ГДР вышел немецко язычный альбом Rote Gitarren, группа с успехом выступила на немецком телевидении.
В 80-е группа распалась. Северин Краевский занялся сольной карьерой, а также начал сотрудничать с другими исполнителями. 7 апреля 1981 года в Чикаго в авто-катастрофе погиб Кшиштоф Кленчон.
В 1991 году в связи с 25-и летним юбилеем группа, в составе которой :Северин Краевский, Бернард Дорновский, Ежи Скшипчик и Ежи Косселя, воссоединяется и гастролирует с юбилейными концертами по всей Польше. В 1995 году выпущен альбом Koniec(Конец), Северин Краевский хотел распустить группу, но остальные участники были против, и в 1997 году Краевский покинул группу.
****





01. Pieciu nas jest [3:28.64]
02. Co z nas wyrosnie [3:16.10]
03. Historia jednej znajomosci [3:01.92]
04. Matura [2:25.32]
05. Mowisz, ze mnie kochasz [3:29.62]
06. Nie mow nic [2:30.33]
07. To wlasnie my [2:45.45]
08. Nie zadzieraj nosa [2:46.84]
09. Hosa-dyna [2:14.14]
10. Bo ty sie boisz myszy [2:02.82]
11. Florentyna [2:55.66]
12. Kto winien jest [4:10.85]
13. Nikt nam nie wezmie mlodosci [2:44.72]
14. Pluszowe niedzwiadki [2:33.06]
15. Przed pierwszym balem [2:33.36]
16. Randka z deszczem [2:24.93]
17. Sledztwo zakochanego [2:47.81]
18. Wedrowne gitary [2:26.24]




Related Posts Plugin for WordPress, Blogger...