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Updated links

Posted: 27 Mar 2015 01:44 AM PDT

Colin Blunstone - Journey (1974) ===========Original post ===========FLAC
TRACKS+LOG+Covers | 307 mb+3% recovery===========♫♫♫♫♫♫♫♫ ===========
System - System (1974)===========Original post ===========HQ Vinyl rip |
FLAC TRACKS+LP Covers | 361 mb+3% recovery===========♫♫♫♫♫♫♫♫ ===========
Primevil - Smokin' Bats At Campton's (1974) ===========Original post
===========EAC | CD Image | FLAC+CUE+LOG+Covers | 230 mb+3%
recovery===========♫♫♫♫♫♫♫♫ ===========

Old Melodies ...

Old Melodies ...

The Love ... Exchange & Generation (1968) 2 in 1

Posted: 26 Mar 2015 01:51 PM PDT

The Love Exchange

The Love Exchange were a typical support-level Los Angeles band of the
psychedelic era, right down to their name. Their chief claim to fame is
their 1967 single "Swallow the Sun," a nice folk-rock-psychedelic tune
that's emblematic of the time with its trippily optimistic lyrics,
garage-like Mamas & the Papas female-male harmonies, and swirling organ.
The record was anthologized on the Los Angeles portion of the Highs in the
Mid Sixties series, and also on the folk-rock volume of the vinyl Nuggets
series on Rhino in the '80s. They also managed to put out an LP in 1968
that, in addition to featuring "Swallow the Sun," had an assortment of
psych-folk-pop crossover efforts; "Swallow the Sun," incidentally, is a
cover of song by the Peanut Butter Conspiracy, "Dark on You Now," with some
different lyrics.
The Love Exchange grew out of some teenage surf and garage bands in the Los
Angeles suburb of Westchester. It was teenage singer Bonnie Blunt who was
the group's strongest asset, giving them the competent vocals in the
soaring, folky Mamas & the Papas/early Jefferson Airplane style. (As an
interesting trivial note, the first woman singer in The Love Exchange was
Laura Hale, daughter of actor Alan Hale, famous as the skipper on
Gilligan's Island.) They weren't accomplished writers, though, and on their
sole album, much of the material was penned by producer Larry Goldberg.
These were garage-psych-folk-rock efforts with their utopian, rose-colored
lyrics and organ-modal-guitar combinations, like a minor league Peanut
Butter Conspiracy. The aura of psychsploitation was enhanced when Goldberg
took some of the LP's backing tracks and added vocals by non-group members
to create a Christian rock album credited to the Crusaders. Some of the
album's songs were also used on a soundtrack album for a musical titled How
Now, Dow Jones, credited there to the Floor Traders. And, finally, the
songs did come out in their original form on an LP actually billed as a
Love Exchange record, as it should have been all along.
None of this helped The Love Exchange gain much credibility, although they
played often in Los Angeles and at some festivals. In keeping with their
general lack of consistent packaging, their name was changed to Charity in
the late '60s for an album on Uni, although as it ended up, organist Walter
Flannery was the only member who performed on that LP. They were still
performing as The Love Exchange live at that point, but broke up after
appearing at the Newport '69 Pop Festival in Southern California.
Bass – Mike Joyce Drums – Jeff BarnettEngineer – Leo De Gar KulkaGuitar
[6-string] – Fred BarnettOrgan – Walter FlanneryProducer – Larry
GoldbergSupervised By [Production Supervision] – Albert E. Van Court
Jr.Twelve-String Guitar – Dan AltchulerVocals, Tambourine – Bonnie Blunt
The Love Exchange - The Love Exchange 1968

The Love Exchange's only album is an obscure also-ran psychedelic effort,
though it's not poor. "Swallow the Sun," their most familiar tune due to
its appearance on some '60s anthologies, is the standout on this assortment
of rudimentary trippy garage-psych explorations. The minor-key yet poppy
melodic progressions, leaning on snaky guitar lines and organ, are typical
of much 1966-1968 California hippie rock. The tunes, however (often written
by producer Larry Goldberg), are derivative and the lyrics self-conscious
in their incense-tuous air. The production sometimes verges on the hasty
and crude; Bonnie Blunt's voice, usually the focal point, is deserving of
better material and arrangements. The folk-rock quotient comes to the fore
on two of the better tunes, the appropriately melancholy and
ghostly "Ballad of a Sad Man" (written by bassist Mike Joyce) and "Nothing
at All," on which Blunt cedes the lead vocal position to one of the guys.
The latter song, in fact, has a garage folk-rock air (and unrefined
production) that leads one to suspect that it may have been cut earlier
than most or all of the other tracks on the record. The 2001 Sundazed
reissue has three previously unissued cuts (including a couple of awful
quasi-showtune ditties) and three alternate takes of songs from the
LP.****The Love Generation

Of the many sunshine pop groups that proliferated in Southern California in
the late '60s, the Love Generation were one of the most wholesome and
downright sunniest. "Sunniest" is not necessarily synonymous with "best,"
even for a genre called "sunshine pop." the Love Generation's records were
about as over-the-top as their name in their smiley-face, see-no-evil,
upbeat, even anodyne harmonized pop/rock, commercial enough to often be
mistaken for commercial jingles. Taking the advances of sunshine pop
godfathers and godmothers the Mamas & the Papas to the most saccharine
extremes (with echoes of the Beach Boys and the Association as well), the
Love Generation released three albums in 1967 and 1968, getting small hit
singles with "Groovy Summertime" and "Montage From How Sweet It Is (I Knew
That You Knew)." the Love Generation were not quite as faceless as some
acts plundering this territory, though, as much of their material was
written by brothers John Bahler and Tom Bahler. The arrangements were
densely crafted blends of male-female vocal harmonies and orchestrated
pop/rock that put quite a bit of frosting on the incessantly chipper tunes.
At its outset, the group was a sextet of the Bahler Brothers, ex-New
Christy Minstrels member Ann White, Marilyn Miller (who had supplied Sally
Field's singing voice on the Gidget TV show), Mitch Gordon, and Jim Wasson.
John Bahler took the greatest share of the lead vocals, and session
musicians played the instruments. The lyrics often tapped into the most
optimistic and innocuous traits of the early hippie generation, with
references to love-ins, sunshine (naturally), summer, dreams, candy, and
magic peppering not just the words but the song titles: "Fluffy
Rain," "Meet Me at the Love-In," "Consciousness Expansion," "Love and
Sunshine," "Candy," "Magic Land," and "Love Is a Rainy Sunday" were just
some of them.
Montage The group really existed in name only by the third and last album,
Montage, on which only the Bahlers and producer/arranger Tommy Oliver were
listed in the liner notes. Gordon, White, and the Bahlers all sang as
studio backup vocalists in subsequent years, with Tom Bahler writing songs
for others including Cher ("Living in a House Divided") and Michael Jackson
("She's Out of My Life"), as well as co-writing "We Are the World." The
Bahlers might be most famous/notorious, though, for recording and supplying
several songs used in early episodes of The Partridge Family, several of
them appearing (with the Bahlers' lead vocals) on the Partridge Family's
first album.

The Love Generation - A Generation Of Love 1968


Nancy Sinatra - Country, My Way (1967)

Posted: 26 Mar 2015 12:58 PM PDT

Growing up as the child of one of the greatest icons in American music
can't be easy, but Nancy Sinatra managed to create a sound and style for
herself fully separate from that of her (very) famous father, and her sexy
but strong-willed persona has endured with nearly the same strength as the
image of the Chairman of the Board.

Nancy Sinatra was born in the Summer of 1940, while her father, Frank
Sinatra, was singing with the Tommy Dorsey Orchestra; as the daughter of
show business royalty, Nancy grew up in the spotlight, and made her first
appearance on television with her father in 1957. It wasn't long before
Nancy developed aspirations of her own as a performer -- she had studied
music, dancing, and voice through much of her youth -- and in 1960 she made
her debut as a professional performer on a television special hosted by her
father and featuring guest star Elvis Presley, then fresh out of the Army.
After appearing in a number of movies and guest starring on episodic
television, Nancy was eager to break into music, and she signed a deal with
her father's record label, Reprise. However, her first hit single,
1966's "These Boots Are Made for Walkin'," made it clear she had the talent
and moxie to make it without her father's help. Sounding both sexy and
defiant, and belting out a definitive tough-chick lyric over a brassy
arrangement by Bill Strange (and with the cream of L.A.'s session players
behind her), "These Boots Are Made for Walkin'" was an immediate and
unstoppable hit, and took the "tuff girl" posturing of the Shangri-Las and
the Ronettes to a whole new level.

A number of hits followed, including "How Does That Grab You," "Sugar
Town," and the theme song to the James Bond picture You Only Live Twice.
Nancy also teamed up with her father for the single "Somethin' Stupid,"
which raced to the top of the charts in 1967. Most of Nancy's hits were
produced by Lee Hazlewood, who went on to become a cult hero on his own and
recorded a number of memorable duets with her, including "Sand," "Summer
Wine," and the one-of-a-kind epic "Some Velvet Morning." Nancy reinforced
her "bad girl" persona in 1966 with co-starring role opposite Peter Fonda
in The Wild Angels, the Roger Corman film that helped kick off the biker
flick cycle of the 1960s and early '70s; she also teamed up with Elvis
Presley in the 1968 movie Speedway.

One More TimeNancy continued to record into the early '70s, but in 1970 she
married dancer Hugh Lambert (a brief marriage to British singer and actor
Tommy Sands ended in 1965), and she devoted most of her time to her new
life as a wife and mother, as well as working with a number of charitable
causes. In 1985, she published the book Frank Sinatra: My Father, and
became increasingly active in looking after her family's affairs; she
published a second book on Frank Sinatra in 1998 and currently oversees the
Sinatra Family website. In 1995, Nancy returned to the recording studio
with a country-flavored album called One More Time, and she helped
publicize it by posing for a photo spread in Playboy magazine. Nancy
launched a concert tour in support of the album, and in 2003 teamed up with
Hazlewood to record a new album together, Nancy & Lee 3, which sadly was
not released in the United States. However, Nancy soon returned to the
recording studio at the urging of longtime fan Morrissey, and in the fall
of 2004 she released a new disc simply entitled Nancy Sinatra, an ambitious
set which included contributions from members of U2, Pulp, Calexico, Sonic
Youth, Jon Spencer Blues Explosion, and other contemporary rock performers.
The album's release was followed by more live work from Nancy, including a
memorable appearance at Little Steven's International Underground Garage
Rock Festival 2004, in which she performed songs from her new album as well
as "These Boots Are Made for Walkin" backed by an all-star band (including
a horn section) and flanked by dozens of frugging go-go dancers.

Nancy Sinatra - Country, My Way (1967)

Nancy Sinatra trades her go-go boots for cowboy boots on Country, My Way, a
pop-country platter featuring Sinatra's interpretations of country
hits. "Jackson," a cover of the Johnny Cash and June Carter hit that she
performs as a duet with producer Lee Hazlewood, was released as a single
and made the pop Top 20. Every pop vocalist from Ed Ames to Margaret
Whiting cut an album of country songs, but Hazlewood had an ear for country
music and brought in real Nashville session players for authenticity.
Hazlewood's style was half country to begin with, so the album isn't much
of a stretch for Sinatra. Many of the songs come from the pop end of the
country field: Skeeter Davis' "End of the World" nearly topped the pop
chart, and it seems as though practically everyone recorded Don
Gibson's "Oh Lonesome Me" in the '60s. Hazlewood contributed only one
song, "By the Way (I Still Love You)," but his presence is felt strongly
throughout. The Sundazed reissue adds three country-flavored cuts from
Reprise singles as bonus tracks.

Kay Martin & Her Body Guards - 2 in 1 (1958;1970)

Posted: 26 Mar 2015 11:34 AM PDT

Kay Martin and Her Body Guards was a nightclub act consisting of Kay Martin
together with Jess Hotchkiss and Bill Elliot. From 1953 to 1963 their
popular, often risque material received top billing in Las Vegas and Reno
casinos and was in demand across the southern US.
Their six live recordings became popular adult party albums, often sold at
the door after the live show. Their best known recording was the 1962
Christmas album I Know What He Wants For Christmas... but I don't know how
to wrap it!. Sometimes the record sleeve graphic would feature ex-model
Martin but more often an anonymous model, and sometimes there was an
alternative R-rated party version of disenrobement.Albums:Kay Martin and
Her Body Guards - (1958) - Roulette Records I Know What He Wants For
Christmas... But I Don't Know How to Wrap It! - (1962) Laff Records At Las
Vegas (LP) - (1970)

By Lora

psw - D&J****

Jerry Cole - A Go Go Guitars (60s) (2008)

Posted: 26 Mar 2015 11:33 AM PDT

Jerry Cole - A Go Go Guitars (60s) (2008)
01 - Jerry Cole - Curfew02 - Jerry Cole - Teenage Fair03 - Jerry Cole -
Ventures Venture04 - Jerry Cole - 12 A Go Go05 - Jerry Cole - Hip Hugger06
- Jerry Cole - Really Got It Bad07 - Jerry Cole - The Tower Of London08 -
Jerry Cole - Boss Hair09 - Jerry Cole - George Played10 - Jerry Cole -
Lora said:text
Have fun!

Jerry Cole & The Stingers and The Hot Rodders - Guitars A Go-Go

Posted: 26 Mar 2015 08:56 AM PDT

Jerry Cole (born Jerald Kolbrak; September 23, 1939 – May 28, 2008) was an
American guitarist who recorded under his own name, under various budget
album pseudonyms and as an uncredited session musician.

Raised in Chicago, Cole first entered the pop music scene as one of The
Champs along with Glen Campbell. Campbell and Cole formed the Gee Cee's
after they left the Champs and released one single called "Buzzsaw Twist".
Cole increased his income and recordings by playing for various budget
albums with a variety of credits.In an interview with Psychotronic Video
issue , Cole explained his dealings with Crown Records. Crown would request
five surf albums, five country and western albums and five easy listening
albums. Cole would write nine different songs for each album to back one
cover version of a hit of the time, organize a band, arrange and record the
music for master tapes that he would deliver to Crown in about three weeks
time; doing an album or two in a day. Impressed by his playing as a session
musician, Bobby Darin recommended him to Capitol Records where he led an
instrumental surf guitar group called "Jerry Cole and his Spacemen".
Capitol tried Cole as a vocalist but found his voice wasn't strong enough.
Throughout the 1960s, Cole was a highly sought-after session player,
working with The Byrds ("Mr. Tambourine Man" / "I Knew I'd Want You"),
Nancy Sinatra ("These Boots Are Made for Walkin'"), The Beach Boys ("Pet
Sounds" LP) and Paul Revere & the Raiders ("Kicks") among others. He
recorded as one of "The Wrecking Crew" and as a writer, arranger and
conductor for numerous pop groups and performers and performed on many
American television shows of the time. He led the pit bands of the teenage
music shows Hullabaloo and Shindig![4] His bandleader abilities were also
tapped by Frank Sinatra, Dean Martin, Roger Miller, and Ricky Nelson and he
was a first-call guitarist on TV show bands for Andy Williams, Sonny &
Cher, The Smothers Brothers, Laugh In, and Dick Van Dyke.....
Jerry did it all and did it like no-one else could. He recorded a load of
high-octane, low-down, all-original exploitation projects and several great
records under his own name. There was nothing vanilla about Jerry’s music
and he had the unique ability to understand which way the trends were going
and to make them his own.
Jerry’s career as a “fictitious” band leader began with his work on the
Crown label. In 1963 he wrote the music, produced and played on several
hotrod/motorcycle-themed LPs for the label by fictitious artists including
the Hot Rodders, the Blasters, the Winners, the Scramblers and the
Strokers. While these LPs include some fun and sometimes dreadful vocals,
the instrumentals are raw, take-no-prisoners slabs of hot rod music at its
best. That same year he recorded the first of three Joe Saraceno-produced
themed LPs for Capitol, “Outer Limits” (exploiting the exploiter!) as Jerry
Cole & the Spacemen. Introduced to Capitol by Bobby Darin, Jerry went on to
record “Hot Rod Dance Party” and the seminal “Surf Age”, regarded as
probably the most sophisticated surf LP of the era. He also appeared on
several Gary Usher Capitol projects including “Hot Rod High” by the
Knights. At the same time, Jerry was recording loads of drag racing,
motorcycle and speed boat-themed instro albums for the Liberty label under
the the Hornets banner. While this is not a complete list of studio instro
LPs he appeared on, all of his efforts were fast-paced, balls-to-the walls
original LPs that hold up well today.
With the advent of the go-go craze, Jerry recorded three themed LPs for
Crown between 1965-66. Being situated in Hollywood, working the Sunset
Strip and band leader of television’s smash dance/music show Shindig, Cole
was smack dab in the middle of the swinging go-go scene. The first LP,
“Guitars A Go Go” by the Stingers, included a few of the same tracks from
the hotrod LPs, sans the hotrod sound effects with alternate titles. ‘Dang
Thing’ appears as ‘Bad Rubber’ from the Blasters’ “Sounds Of The Drags”,
‘Coming On’ as “Pealin’ Out’ from the Strokers’ “Hot Rod Alley” and
‘Unchained Soul’ is an alternate version of ‘The Green Monster’ from the
same LP. Also compare ‘Great Scott’ with the Champs’ ‘Red Eye’ – Jerry
worked this riff on several tracks during the 60s. The next LP, “A Go Go
Guitars” was credited to him and is somewhat more polished. All 10 tracks
are standouts and ‘Curfew’, ‘Really Got it Bad’, ‘Sloppin’’, ‘Tower Of
London’ and ‘Teen Age Fair’ are featured here. “Guitars A Go Go Vol 2”,
this time by Jerry Cole and the Stingers, features Jerry playing a
ferocious, twangy, rubber band-sounding Telecaster backed by Leon Russell’s
signature piano and long-time band mates/brothers Glen and Norm Cass with
Don Dexter on drums. This was one hell of a tightly-wound rhythm section
and deserve much credit for Jerry’s overall sound on most of his
instrumental recordings. This just might be some of the fastest and
rockin’-est guitar playing ever recorded.
Wanted :

The Guess Who - Let's Go (1967-68)

Posted: 26 Mar 2015 08:34 AM PDT

While the Guess Who did have several hits in America, they were superstars
in their home country of Canada during the 1960s and early '70s. The band
grew out of vocalist/guitarist Chad Allan (born Allan Kobel) and guitarist
Randy Bachman's Winnipeg-based group Chad Allan and the Expressions,
originally known as first the Silvertones and then the Reflections. The
remainder of the lineup featured bassist Jim Kale, pianist Bob Ashley, and
drummer Garry Peterson. The Expressions recorded a cover of Johnny Kidd and
the Pirates' "Shakin' All Over" in 1965, which became a surprise hit in
Canada and reached the U.S. Top 40. When the Expressions recorded an entire
album of the same name, its record company, Quality, listed their name
as "Guess Who?" on the jacket, hoping to fool record buyers into thinking
that the British Invasion-influenced music was actually by a more famous
group in disguise. Ashley had been replaced by keyboardist/vocalist Burton
Cummings, who became lead vocalist when Allan departed in 1966. the Guess
Who embarked on an unsuccessful tour of England and returned home to record
commercials and appear on the television program Let's Go, hosted by Chad
Allan. However, further American success eluded the Guess Who until the
1969 Top Ten hit "These Eyes"; the recording session for the accompanying
album, Wheatfield Soul, was paid for by producer Jack Richardson, who
mortgaged his house to do so. Canned Wheat Packed by the Guess Who produced
three Top 40 singles later that year. In 1970, the Guess Who released the
cuttingly sarcastic riff-rocker "American Woman," which, given its
anti-American putdowns, ironically became their only U.S. chart-topper. The
album of the same name became their first U.S. Top Ten and first gold
album, and the group performed for President and Mrs. Nixon and Prince
Charles at the White House. (Pat Nixon requested that "American Woman" be
dropped from the set list.)Trouble was brewing on the horizon, though.
Guitarist Bachman, having recently converted to Mormonism, took issue with
the band's typical rock & roll lifestyle, leading to clashes with Cummings.
Finding the atmosphere unbearable, Bachman left the group in July 1970 and
formed Brave Belt with Chad Allan, which later evolved into Bachman-Turner
Overdrive. His place in the Guess Who was taken by Kurt Winter and Greg
Leskiw, and the title track from their next album, "Share the Land,"
climbed into the Top Ten later that year, and several more singles charted
afterwards. The group returned to the Top Ten one last time in 1974 with
the novelty single "Clap for the Wolfman," featuring dialogue by deejay
Wolfman Jack. Burdened by shifting personnel and loss of direction,
Cummings broke up the band in 1975 and tried a solo career. The lineup from
the Guess Who's glory years reunited in 1983, and a version of the group
with constantly shifting musicians (occasionally original members)
continues to tour.

Long before the Winnipegian group the Guess Who conquered the world with
hits like "American Woman" and "These Eyes," they were the house band for a
kids' dance show called LET'S GO, which aired after school on Canadian TV.
In this role, they had to learn new cover songs every week, and this live
collection--a stunning piece of pop music history--contains 18 of them,
including "Hey Jude," "Along Comes Mary," and "Time of the Season,"
featuring Burton Cummings's smooth teenage voice and Randy Bachman's
sparkling guitar work.


VA - Mersey Beats Of Liverpool 2

Posted: 26 Mar 2015 08:26 AM PDT



VA - Mersey Beats Of Liverpool 1

Posted: 26 Mar 2015 08:21 AM PDT

Here are a couple of CD's I made of "The Mersey Beats of Liverpool" on the
ARC Record label from Canada. In the sixties, ARC of Canada were involved
with Oriole Records of England. As you know Oriole had all of the Embassy
tracks at that time. ARC released four albums of Embassy "sound-a-likes".
They were ARC International 830, 834, 837 and 850. They used the group
name "Mersey Beats" for all the "Typhoons, Jaybirds, and Starlings" tracks,
they did give some credit on the albums to some of the individual artists,
(Les Carle, Mike Redway, Paul Rich, and Joan Baxter).



VA - Embassy Instrumental CD's Compilation Vol.1-2

Posted: 26 Mar 2015 08:14 AM PDT



Mike Redway - Moonlight And Love Songs

Posted: 26 Mar 2015 03:51 AM PDT

Mike Redway - Moonlight And Love Songs 2010

Mike Redway has been busy in the music business for over 50 years. He was
born in Leeds in 1939, and with the help of his singer brother, alias
Johnnie Leeds, in 1956 he joined the John Fearnley singers. This led to
some happy times performing in local working men’s clubs and some not so
happy times traveling around Yorkshire in the back of an ancient converted
ambulance. But it was all good experience!

Together with Dick Jordan and Jean Phillies, they formed The Demijeans and
appeared on BBC radio’s What Makes A Star ... which led to further
appearances on shows with such greats as Al Read, Jimmy Clitheroe, Jimmy
James and Albert Modley.
In 1962, Mike went to London and joined the Oscar Rabin Orchestra and their
singers Barbara Kay and Ray Pilgrim. And Ray introduced him to Embassy ...
and over 80 recordings as Redd Wayne, Mike Redway and The Typhoons.
This in turn led to him becoming one of the Mike Sammes Singers, singing on
many of the films, hit records and TV shows of the 60’s and 70’s backing
stars such Tom Jones, Englebert Humperdink. Andy Williams, Barbra Streisand
and Johnny Mathis ... and of course, The Beatles themselves.
He left the session world to concentrate on his career as
singer/songwriter. He had several successful radio series and made several
albums singing the ballads he loved. The lovely lady in the cover picture
of the CD on the right is Marjorie, who recently celebrated her golden
wedding anniversa .... that’s 50 years happily married to Mike Redway!.
Mike is still active today as composer and producer. In fact he recently
persuaded Ray Pilgrim to go back into the studio and record a couple of
new tracks - after a 45-year break from singing - on which Mike sang ALL
the backing voices.

"Windmills Of Your Mind" on the BBC TV show 'One More Time'.

Back In Purple - Prog & Psych Hard Rock 70's

--> Back In Purple

Keef Hartley Band - [1970] - The Time Is Near (UK Funky Jazz Rock)

Posted: 26 Mar 2015 03:52 AM PDT

***< Enjoy! >***

Old Melodies ...

Old Melodies ...

The Bachelors - The Decca Years 1962-1972

Posted: 25 Mar 2015 02:19 PM PDT

The Bachelors were an Irish pop band of the 1960s consisting of brothers Conleth (b.March 3, 1941) and Declan Clusky (b. December 12, 1942) and John Stokes (b. August 13, 1940). They began as an instrumental act playing harmonicas and called the Harmonichords or Harmony Chords in 1958, but turned to singing after a tour of England in 1959.

They signed to Decca Records in the U.K. and changed their name in 1962, then scored their first hit, "Charmaine" (number six, 1963). Their biggest hit was "Diane" which went to number one in England and number ten in America in 1964; they continued to chart with new records through 1967 and maintained the original group on the cabaret circuit until a messy split between Stokes and the Cluskys in 1984.


VA - Beg, Scream & Shout! - Best Of 60's Soul - Vol 3 (2004)

Posted: 25 Mar 2015 12:30 PM PDT

VA - Beg, Scream & Shout! - Best Of 60's Soul - Vol 3 (2004)
01 - King Curtis - Memphis Soul Stew02 - Sam & Dave - Hold On I'm Coming03 - The Ikettes - I'm Blue04 - Booker T. & The MG's - Hip Hug Her05 - Aretha Franklin - (Sweet Sweet Baby) Since You've Been Gone06 - Solomon Burke - Got To Get You Off My Mind07 - The Bar-Kays - Soul Finger08 - Solomon Burke - Everybody Needs Somebody To Love09 - Otis Redding - I Can't Turn You Loose10 - Clarence Carter - Snatching It Back
beatman said:text3

VA - Beg, Scream & Shout! - Best Of 60's Soul - Vol 2 (2004)

Posted: 25 Mar 2015 12:28 PM PDT

VA - Beg, Scream & Shout! - Best Of 60's Soul - Vol 2 (2004)
01 - The Dynamics - Ice Cream Song02 - Otis Redding - I've Been Loving You Too Long03 - Don Covay - I Never Get Enough Of Your Love04 - William Bell - Every Day Will Be Like A Holiday05 - Esther Phillips - Release Me06 - Carla Thomas - I'll Always Have Faith In You07 - Lorraine Ellison - Stay With Me08 - Solomon Burke - Cry To Me09 - Wilson Pickett - Ninety-Nine And One-Half
beatman said:text2

VA - Beg, Scream & Shout! - Best Of 60's Soul - Vol 1 (2004)

Posted: 25 Mar 2015 12:26 PM PDT

VA - Beg, Scream & Shout! - Best Of 60's Soul - Vol 1 (2004)
01 - Soul Clan - That's How It Feels02 - Ben E. King - Stand By Me03 - The Precisions - You're The Best (That Ever Did It)04 - Judy Clay & William Bell - Private Number05 - Willie Tee - Teasin' You06 - The Mad Lads - I Don't Want To Lose Your Love07 - Sam & Dave - When Something Is Wrong With My Baby08 - The Sweet Inspirations - Sweet Inspiration09 - Barbara Lewis - Baby, I'm Yours10 - Otis Redding - These Arms Of Mine
beatman said:text1



Tranquility - Two albums [Re-post by request]

Posted: 25 Mar 2015 12:38 AM PDT

Tranquility - Tranquility (1972)
=========== Original post=========== EAC | CD Image | FLAC+CUE+LOG+Covers
| 292 mb+3% recovery===========♫♫♫♫♫♫♫♫ ===========
Tranquility - Silver (1972)
===========Original post===========HQ Vinyl Rip | FLAC+CUE+LOG+Covers | 250
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Old Melodies ...

Old Melodies ...

Heimatliche Klaenge - Native Sounds vol.155 - Hannes Patek (Austria)

Posted: 24 Mar 2015 05:14 PM PDT

"In the years 1961 to 1967, Vienna-born Rock-n-Roll legend Hannes Patek
paved the way for many local teenage groups by promoting their shows on the
stage of his weekly party series Star Club Wien. The accomplished
typographer entered the show business at the very early age of 15 doing
impersonations of popular actors and comedians before he realized his
natural talent as a boisterous Rock-n-Roll singer. After performing a wild
Little Richard cover version in the talent TV show “Teenagerparty”, Patek
became a local celebrity, and took employment as regular host and
conferencier at the above-mentioned youth club (which was sponsored by the
Austrian Social Democratic Party). In addition, he acted as the booker of
that venue, and invited local groups to play – the very first in-house
bands being The Seven Ramblers, The Blue Gamblers (featuring a very young
Horst Chmela as lead singer) and The Austrian Evergreens (1962–1965).
Later, Star Club Wien eventually became a fixture of the Viennese
Beat-circuit, staging three live-shows every week, and featuring legendary
groups like The Counts, The Hubbubs, The V-Rangers or The Slaves among
many, many others. Patek's own signature until the late 1960s were raw,
hoarsely chanted Rock-n-Roll songs, preferably by Bill Haley, Eddie Cochran
or Gene Vincent, some of which he also managed to wax for eternity. Widely
classified as unsellable by the Austrian music industry back in the day,
his performances as recording artist are unchallenged acts of pioneering,
that remain among the rawest and hardest-to-find releases of the early
Schnitzelbeat movement. Hannes Patek was a one hundred percent self-taught
self-starter who didn't wait for a record company to knock on his door just
in order to tame him into a soft, commercially-produced Schlager singer. On
the contrary, he took care about these things all by himself, and made sure
that all his recordings were as intoxicating and vibrant as the music he
loved the most: Rebellious Rock-n-Roll. In late 1965, he invited the
demented Vienna Beatles, to join him as backing band for his fifth 45, and
literally tore down the wretched Symphonia recording studio: “Jeanny,
Jeanny, Jeanny” is an incredibly tough rocker, and probably the most
aggressive Austrian Rock-n-Roll-track in existence… Pure punk pioneering!
We, the Trash Rock Archives, would like to express our gratitude for the
unfaltering dedication to visionary underground music and take our hat off
to the legacy of Hannes Patek... " (c)***Heimatliche
- Native Sounds vol.155 Hannes Patek
01 - Susi Twist - Hannes Patek
02 - Tabu - The Austrian Evergreens03 - Skinny Minny - Hannes Patek04 -
Olymp - The Austrian Evergreens05 - Lean Jean - Hannes Patek06 - It's Gonne
Be Al Right - The (V) Rangers07 - Skinny Minny - Hannes Patek08 - Ausschnit
aus der One-Man-Show (Comedy)09 - Rock'n Roll Medley: Rock Around The Clock
Tutti Frutti Shake Rattle And Roll10 - Rip It Up11 - Can't Help Falling In
Love12 - Skinny Minny13 - Jeannie Jeannie Jeannie - Hannes Patek And The
Vienna Beatles14 - Sick And Tired - Errol Ribeiro And The Vienna Beatles15
- Bob A Lena - Hannes Patek And The Vienna Beatles16 - Loving - Hannes
Patek And The Vienna Beatles

Also :

Mike Redway - The Embassy Years - Vol 2 (2012)

Posted: 24 Mar 2015 04:52 PM PDT

He sang with the Oscar Rabin Band, recorded for Embassy under the pseudonym
Redd Wayne, in addition to appearing on many of the Typhoons, Jaybirds and
Starlings recordings for the label between 1962 and 1965. He later sang the
vocal version of the "Casino Royale Theme" over the closing credits of the
1967 film, Casino Royale.


The Crusaders - Make A Joyful Noise With Drums And Guitars (1966)

Posted: 24 Mar 2015 03:27 PM PDT

Not only were these Southern Californians one of the first on the scene
with a “contemporary musical expression: The Beat”, they had one big
advantage over other Christian beat outfits of the time (mostly UK bands),
and that’s the support of a mainstream label. And boy does it ever show.
This one’s got the heaviest garage sound for the era, ‘Praise We The Lord’
probably being the closest Christian music ever got to the raw punk energy
of early Who (it’s actually a rip-off of The Yardbird’s tune ‘You’re A
Better Man Than I’). The irresistibly catchy twangy pop of ‘With The Lord
At Our Side’ coupled with the Association-like title cut prove the band’s
own compositions to be the best. Solidly electric sound throughout, plenty
of riffs, solid drumming, some Duane Eddy-derived leads on beat
interpretations of ‘Battle Hymn’ and ‘Onward Christian Soldiers’ that
probably caused a few stirs among the ecclesia. For beat sounds this side
of the Big Pond, this one’s the top banana. Too bad they never achieved the
status of labelmates The Standells and Chocolate Watch Band, but such is
life. Both stereo and mono versions exist with subtle differences (note the
two entirely different guitar solos on ‘With The Lord At Our Side’). (Ken
Scott – The Archivist).

Members: - Danny Altcholer -- lead guitar - Fred Barnett -- guitar - Jeff
Barnett -- drums, percussion - Walt Flannery -- keyboards - Mike Joyce --
The Crusaders - Make A Joyful Noise With Drums And Guitars (1966) [Tower –
T 5048 - LP]
Their debut album The Crusaders Make a Joyful Noise with Drums and Guitar,
which was also recorded in 1966, and produced by Levine and Goldberg,[13]
was released by the middle of November 1966.[25] The album's liner notes
claim: "For the first time, God is praised in song through the most
contemporary musical expression: The Beat!".Jesus music historian David Di
Sabatino indicates that "this album is important in establishing that there
were a handful of artists performing 'gospel rock' music well before Larry
Norman or any other of the Jesus music artists emerged in the early 1970s".
Kelly Lawler argues that "One of the very first releases that could clearly
be considered a Christian Rock release, the Crusaders' Make a Joyful Noise
with Drums and Guitars, stands as a landmark LP".


The Surfaris - 2 in 1 (Hit City'65 & It Ain't Me Babe)

Posted: 24 Mar 2015 01:59 PM PDT

A Glendora, CA, surf group remembered for "Wipe Out," the number two 1963
hit that ranks as one of the great rock instrumentals, featuring a classic
up-and-down guitar riff and a classic solo drum roll break, both of which
were emulated by millions (the number is no exaggeration) of beginning rock
& rollers. They recorded an astonishing number of albums (about half a
dozen) and singles in the mid-'60s; the "Wipe Out" follow-up, "Point
Panic," was the only one to struggle up to the middle of the charts. The
Surfaris were not extraordinary, but they were more talented than the
typical one-shot surf group; drummer Ron Wilson was praised by session
stickman extraordinaire Hal Blaine, and his uninhibited splashing style
sounds like a direct ancestor to Keith Moon. He also took the lead vocals
on the group's occasional Beach Boys imitations.


Heimatliche Klaenge vol.41-48

Posted: 24 Mar 2015 01:37 PM PDT

Vol. 49;Vol.50 in othrer series - "Prae-Kraut Pandaemonium"Coming soon...




FUSION ORCHESTRA - Skeleton In Armour (1973 UK Progressive Rock)

Posted: 23 Mar 2015 06:46 PM PDT

Tapestry of Delights:
A short-lived progressive/hard-rock outfit. The album is now quite
sought-after. Except When My Momma's Not At Home, which is essentially a
mainstream rock 'n' rollin' piece with a brass arrangement, the remaining
tracks, Sonata In Z, Have I Left The Gas On?, A Skeleton In Armour and Talk
To The Man In The Sky are superb, especially the first two. Sophisticated
compositions with astonishing and strong female vocals, superb manic guitar
leads, powerful drumming, electric piano, flute and harmonica solos make
this recommended listening. (CA).

Dave Bell (drums)
Colin Dawson (guitar)
Sten Land (guitar, synthesizer, percussion, horns)
Jill Saward (guitar, synth, flute, vocals)
Paul Jennings (bass) 01. Fanfairy Suite For 1000 Trampits (Part One) 0:16
02. Sonata In Z 11:49
03. Have I Left The Gas On? 8:42
04. Ok Boys, Now's Our Big Chance 0:47
05. Skeleton In Armour 5:13
06. When My Mamma's Not At Home 3:27
07. Don't Be Silly, Jilly 0:09
08. Talk To The Man In The Sky 11:55
09. Fanfairy Suite For 1000 Trampits (Part Two) 0:15



The Asylum Choir - Look Inside (1968)

Posted: 23 Mar 2015 04:10 AM PDT

1. Welcome to Hollywood
2. Soul Food
3. Icicle Star Tree
4. Death Of The Flowers
5. Indian Style
6. Episode Containing 3 Songs:
N.Y. Op, Land Of Dog, Mr. Henri The Clown
7. Thieves In The Choir
8. Black Sheep Boogaloo
Bonus mono single versions:
9. Soul Food
10. Welcome To Hollywood
11. Icicle Star Tree
12. Indian Style

EAC | CD Image | FLAC+CUE+LOG+Covers | 277 mb incl. 3% recovery

Tea - The Ship (1975) [Re-post by request]

Posted: 23 Mar 2015 04:00 AM PDT

Tracklist:1. Breakdown2. Through Scarlet3. The Ship4. See You Again5. I'd
Never Had Bothered6. A Dog Called Joe7. Cristal Rivers8. Summer In The City
Band:Marc Storace - lead vocalsArmand Volker - guitarsTuro Paschayan -
bass, co-lead vocals on "See You Again"Tato Gomez - bass on "See You
Again"Philippe Kienholz - keyboardsRoli Eggli - drums

EAC | FLAC TRACKS+CUE+LOG+Covers | 271 mb+3% recovery

Old Melodies ...

Old Melodies ...

VA - 100 Anos De Musica - Explotan Los 60' (2010)

Posted: 23 Mar 2015 01:11 PM PDT

VA - 100 Anos De Musica - Explotan Los 60' (2010)
01 - Karina - Las Flechas del Amor02 - Sandie Shaw - Puppet On String03 -
Les Surfs - Tu Seras Mi Baby04 - The Archies - Sugar Sugar05 - Marmalade -
Ob-la-di Ob-la-da06 - Los Brincos - Mejor07 - Nancy Sinatra - These Boots
Are Made for Walkin'08 - Jimmy Fontana - Il mondo09 - Christophe - Aline10
- The Bachelors - Sound of Silence11 - Jeanette - Soy Rebelde12 - Paul Anka
- Put Your Head On My Shoulder13 - Tom Jones - Delilah
beatman said:
!!! WANTED !!! :
The Crusaders - Make A Joyful Noise With Drums And Guitars (1966 USA)[Tower
– T 5048 - LP]

[ Little Drummer Boy \ Battle Hymn Of The Republic \ God Lives \ You'll
Never Walk Alone \ With The Lord On Our Side \ Praise We The Lord \ What Is
Man \ He's Got The Whole World In His Hand \ Onward Christian Soldiers \
Make A Joyful Noise ]
Please, give download link in comments...

You Ain't Gonna Bring Me Down On My Knees: The Strafford / Right! Records
Story (1965-1969)

Posted: 22 Mar 2015 11:17 PM PDT

Super rare and great long gone New England 60s garage compilation

"What we have here is a neat little 1996 overview of New England based
bands whose efforts were handled by two local labels, Strafford and Right,
during the greatest period of rock and roll.

Sounding like a bodacious blend of the Big Three and the Swinging Blue
Jeans, the Tidal Waves nail pumping rhythms to monster pop hooks on “Laugh”
and “You Name It,” while the sassy frat boy strut of “So I Guess” features
a cool and sexy six-string solo.

Then there’s the Outside In’s “You Ain’t Gonna Bring Me Down To My Knees,”
which surpasses the Animals at their own game. Combative vocals growling
with intent crash headlong into militant riffs, screaming choruses, jittery
breaks and creaking keyboards, resulting in a bona fide garage punk
classic. The Outside In additionally check in with “Sometimes I Don’t Like
Myself,” a smooth and classy soul ballad.
Stuffed with stabbing horns, “Operation Blue Light” by Skid Mark and the
Victims jiggles and jives to a funky feel, and the heavily orchestrated
“When Mother Nature Was A Girl” from the Falcons yields progressive rock

Echoes of the Buckinghams and the American Breed can be heard on the big
band pop arrangements of “You Make Me Shake The Blues” by the 90th
Congress. A multifaceted group, they further toyed with psychedelic
experimentation, as revealed on “The Sun Also Rises,” which contains
flickerings of shivery raga rock runs complemented by summer breeze
harmonies." ~Beverly Paterson (c)