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Music 60-70


Mondo Rock - Mondo Rock Chemistry 1981 (Australia, New Wave, Pop-Rock)

Posted: 28 Jan 2020 07:21 AM PST

Исполнитель: Mondo Rock
Откуда: Australia
Альбом: Mondo Rock Chemistry
Год выхода: 1981
Жанр: New Wave, Pop-Rock
Длительность: 38:13
Формат: MP3 CBR 320
Размер архива: 90,6 МБ (с 3% на восстановление)

Old Melodies ...

Old Melodies ...


Posted: 31 May 2020 02:05 PM PDT

GO!! Records The Complete CollectionAztec Records / Aztec Music

Le Boom Boom ! Rock, Twist, Hully Gully, Jerk from France 1963-1968 Part 1

Posted: 27 Jan 2020 02:01 PM PST

01 Guy Christian et son orchestre - Drug store (Super Panorama 17.353)02
Les Star Twisters - Peppermint Twist (Gala Des Variétés (Vargal) G. 321)
03 Teddy Rush et son orchestre - Characteristic fiesta (SEP Variétés, SEP
2105)04 James Award et son orchestre – Capricorne (Grosjean Rama, super
succès n° 102)05 Les Star Twisters - Duck Twist (Gala Des Variétés
(Vargal) G. 321)06 Joe Doolittle & His Boys - Une fille comme toi
(Trianon, EP 4 437 ets)07 James Award - Ne te moque plus (Tiercé Panorama
(3.110))08 Christian Garros & les ''Rock Four'' - Girl Rock (Columbia,
Rock 'n Roll )09 James Award et son orchestre - If you please (Panorama,
Marie Joconde b side)10 James Award et son orchestre - Dix heures trente
(Super Panorama 17.340)11 Christian Garros & les ''Rock Four'' - Crazy
Rock (Columbia, Rock 'n Roll )12 Orchestre James Award - Twist du frère
Jacques (Super Panorama EP 17.338, For me, formidable)13 James Award et
son orchestre - Panthère noire (Super Panorama 17.340)14 Teddy Rush et
son orchestre - Imperial tempo (SEP Variétés, SEP 2106)15 James Award et
son orchestre - Dance on the Hully Gully (Grosjean Rama, super succès n°
102)16 James Award - 23h30 (Tiercé Panorama (3.110))17 Christian Garros &
les ''Rock Four'' - Organ Rock (Columbia, Rock 'n Roll )18 The Reels -
Twenty one Jerk (Panorama, Panorama succès n°13)19 Les Star Twisters -
Forgeron Twist (Gala Des Variétés (Vargal) G. 321)20 Orchestre Samy Cates
- Two drums (Grosjean Rama, super n°112)21 David Whitaker - Strip poker
at Caesar's palace (Jockey, Ce soir après diner)22 Orchestre de ''la
discothèque de Paris'' - Quand tu es là (Chansons et play-backs de
L'Alsacienne n°5)23 F. Amadeo - For ever (Dinamo 45 rpm n°1)24 Grand
Orchestre de ''la discothèque de Paris'' - Jack's time (Big "T" Scotch
Whisky (Carmona distribution) 45 rpm)25 Luc Pena - Little Carolina (Boum
Bomo (Bonneterie de Moreuil), Boum Bomo 45 rpm n°5)26 Les Pros - Drugstore
midnight (Boum Bomo (Bonneterie de Moreuil), Boum Bomo 45 rpm n°2)27
Jean-Paul Mengeon - The feel (Unidisc, Danses modernes n°1)28 Orchestre
Samy Cates - Rock on the beach (Grosjean Rama, super n°112)29 Luc Pena -
I love Kate (Boum Bomo (Bonneterie de Moreuil), Boum Bomo 45 rpm n°5)30
Raymond Guiot - Manolita (Boum Bomo (Bonneterie de Moreuil), Boum Bomo 45
rpm n°6)31 Jean-Paul Mengeon - Southern pacific (Hully-Gully) (Unidisc,
Danses modernes n°1)32 Roland Vincent et son orchestre - Laisse tomber les
filles (Trianon, super 45t)
"I hope for nothing, I fear nothing, I am free"

V.A. - Beat Party in Stereo Vol. 1

Posted: 27 Jan 2020 01:04 PM PST


Beat Party in Stereo Vol. 1

01 - Too Much Monkey Business / THE AD-LIES
02 - I`m Alive
03 - Hang On Sloopy / THE RAVES
04 - Jack The Ripper / THE SPOTLIGHTS
05 - In The Midnight Hour / THE RAVES
06 - I'm Free / THE SPOTLIGHTS
07 - We`ve Gotta Get Out Of This Place / THE AD-LIBS
08 - It's Not Unusual
09 - I`II Go Crazy / THE RAVES
10 - Ticket To Ride / THE AD-LIBS
11 - All I Really Want To Do / THE SPOTLIGHTS
12 - It`s My Life / THE AD-LIBS
13 - Everything's Alright / THE RAVES
14 - Louie Louie / THE AD-LIBS

The Ad-Libs = 1, 2, 7, 8, 10, 12, 14
The Raves = 3, 5, 9, 13
The Spotlights = 4, 6, 9, 11


V.A. - Beat Party in Stereo Vol. 2

Posted: 27 Jan 2020 01:03 PM PST

From Jancy

Beat Party in Stereo Vol. 2

01 - Route 66
02 - You've Got To Hide Your Love Away
03 - I Just Wanna Make Love To You
04 - Slow Down
05 - You've Got Your Troubles
06 - Oh Carol
07 - Sorrow
08 - Talkin' About You
09 - It's In Her Kiss
10 - Nighttime Is The Right Time
11 - I've Got That Feeling
12 - Walkin' The Dog
13 - Bring It On Home To Me
14 - Goodbye My Love

The Ad-Libs & Antonius = 1, 6, 7
The Ad-Lips = 2, 5, 8, 9, 11, 12, 14
The Richard Brothers = 3, 4
The Raves = 10, 13


V.A. - Beat Party in Stereo Vol. 3

Posted: 27 Jan 2020 01:02 PM PST


V.A. - Beat Party in Stereo Vol. 3
01 - Oh Pretty Woman
02 - My Love For You
03 - Honky Tonk
04 - Where Did Our Love Go
05 - Can't Buy Me Love
06 - In The Mood
07 - Zip-A-Dee-Doo-Dah
08 - Crossfire
09 - Ramrod
10 - Whole Lotta Shain' Goin' On
11 - Bring It On Home To Me
12 - My Prayer
13 - Buck Eye
14 - Memphis

The Cresents = 1, 2, 4, 6, 7, 10, 11, 12
The Taifuns = 3, 5, 8, 9, 13, 14


V.A. - Beat Party in Stereo Vol. 4

Posted: 27 Jan 2020 01:01 PM PST


V.A. - Beat Party in Stereo Vol. 4

01 - Yellow Submarine
02 - Land Of 1000 Dances / A Hard Days Night /
In The Midnight Hour / My Generation
03 - L.S.D.
04 - Out Of Sight
05 - I Saw The Lights
06 - With A Girl Like You
07 - Don't Forget It
08 - What To Do ?
09 - I Want You
10 - It's Too Late
11 - I'll Go Grazy
12 - She Belong To Me

The Skins = 1, 2, 3, 6, 8, 9, 10
The Black Points = 4, 5, 7, 11, 12


Michael Rabon & The Five Americans - Now and Then

Posted: 27 Jan 2020 10:34 AM PST
Now and Then - Michael Rabon & the Five Americans [1969] Personnel on the
Now disc included Mike Rabon (vocals/guitar), Bobby Rambo (background
vocals/guitar), Lenny Goldsmith (vocals/keyboard), Jim Grant (bass), and
Jimmy Wright (drums). Disc 1 (Now): I See The Light 69/A Taste Of
Livin'/Molly Black/Medusa/A Change On You/Jondel//Ignert Woman/Amavi/Big
Sur/Red Cape/8 To 5 Man; Disc 2 (Then): Virginia Girl/7:30 Guided Tour/Pink
Lemonade/Peace And Love/You're In Love//She's Too Good To Me/Generation
Gap/God Didn't Smile On Me/Disneyland/Scrooge.

The Five Americans - Now And Then (1969)(Michael Rabon & Five Americans)
01 I See the Light-'69 02 A Taste of Livin'03 Molly Black04 Medusa05 A
Change on You06 Jondel07 Ignert Woman08 Amavi09 Big Sur10 Red Cape11 8 to 5
Man12 Virginia Girl13 7:30 Guided Tour14 Pink Lemonade15 Peace and Love16
You're in Love17 She's Too Good to Me18 Generation Gap 19 God Didn't Smile
on Me 20 Disneyland 21 Scrooge (missing)
The Five Americans on Abnak yellow 45'Yellow Vinyl Promo 45 THE FIVE
AMERICANS Scrooge on Abnak (Promo)

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= "#cccccc";

V.A. - Echoes In Time Vol.1-2

Posted: 27 Jan 2020 10:11 AM PST

One of the best compilations of obscure '60s psychedelic music, itself now
a collector's item, as it was released in a limited edition of 500 copies.
It's worth picking up if you spot one, however, as the cuts by United
Travel Service, the Deep, the Human Expression, Fapardokly, and Mother
Tucker's Yellow Duck are among the best fusions of trippy experimentation
with walking-on-air melodicism. More than any other collector-oriented
anthology, this captures psychedelia in its foggiest, most mysterious
glory, with melodic harmonies and odd sound/guitar effects given equal
weight. A lot of the cuts haven't surfaced on other reissues, either.


VA - The Hamburg Sound (Beatles, Beat und Grosse Freiheit)

Posted: 27 Jan 2020 10:09 AM PST

The Hamburg Sound
Beatles, Beat and Great Freedom

From 1960 to 1970 a music developed on the stages of the Hamburg clubs,
which went around the world as Merseybeat, but was called 'The Hamburg
Sound' by many participants. Of course, this simple mixture of rock 'n'
roll and skiffle was originally created at the end of the 50s in the coffee
bars of Soho and in the Liverpool cellars and dosshouses, where young
amateur musicians disrespectfully mixed up the songs of their favourite
interpreters and beat them out of their instruments with almost indomitable
energy. But the young bands and their sound only got the necessary
professional polish during the endless Hamburg stage weeks and months.

In 1960 The Jets came from London with Tony Sheridan on the lead guitar to
the Kaiserkeller on Große Freiheit. In the following years Tony became a
role model for an entire generation of musicians. The jets enthused the
Hamburg youths so much with their new, wild music that the band was wooed
away for the bigger Top Ten Club on the Reeperbahn. Their successors in the
Kaiserkeller were the young Beatles from Liverpool, who soon moved to the
Top Ten to celebrate triumphs with Sheridan and make their first recordings
under the direction of Bert Kaempfert in the Friedrich-Ebert-Halle in
Harburg. The old folk song My Bonnie, sung by Tony Sheridan, was recorded
then, as was John Lennon's interpretation of the title Ain't She Sweet.

In the top ten, the Beatles had the most live appearances of their entire
career in 1961, and soon they were the absolute darlings of the audience.
Word got around on St. Pauli that there was money to be made with the new
music, a lot of money.

On 13 April 1962, the Star Club was opened in the former Stern cinema of
Große Freiheit 39. His owner Manfred Weissleder had succeeded in winning
the stars of St. Pauli for his business: Sheridan and the Beatles. The
Star-Club was also a huge success, especially since Weissleder always
engaged real US stars to his local heroes, so to speak the forefathers of
the new sound. The giants of Rock 'n' Roll gave each other the door handle
in his club. The real pillars of his business, however, were the everyday
bands that played there day in, day out to dance. Young bands from England,
mainly from Liverpool, who developed their own style in the Star Club.

Nowhere else in the world was there a better 'Show Academy' than in
Weissleder's 'Beatschuppen'. At least three chapels per night alternated
there and could learn from each other. In addition, there was always very
close contact to the US stars, who willingly revealed tricks to their
students. Gene Vincent was one of the first stars to appear in Great
Freedom. He performed there for weeks and fraternized with colleagues and
fans, whom he also visited at home. John Lennon had himself photographed
with his idol.

Some of these regular bands stayed on the Elbe for months, even years,
forming the basis for the 'Hamburg Sound'. The former 'Free and Barber
City' (after Chris Barber's Jazz Band, which was extremely popular in
Hamburg in the fifties) finally became the 'Beat City'. Dance clubs
modelled on Top Ten and the Star Club sprang up like mushrooms. Not only in
Hamburg, but, parallel to the success of the Beatles, soon everywhere in
Europe and around the globe.

Hamburg remained the musical centre of the world for a few years. British
groups came to the Hanseatic city on suspicion in order to get as much
involvement in the Star Club as possible. Only a few, however, were able to
enter the professionally managed holy halls as 'side entrants'. Most of
them ended up, if at all, in the many other clubs in Hamburg or in the
surrounding area, in Kiel, Eckernförde, Lüneburg: There were clubs
everywhere, and beat bands everywhere. Too many, now also German.

Most shops and bands were in Hamburg, and the control centre was the Star
Club, where current stars were hired again and again: such different
artists as Ray Charles and Jimi Hendrix, Chubby Checker and Vanilla Fudge
and so on - all excellent guest lecturers for the local bands, who either
soon became famous themselves or at least produced musicians again and
again (like the later Deep Purple guitarist Ritchie Blackmore), who would
themselves gain star fame.


The Remains / Barry & the Remains - Movin' On (2002)

Posted: 27 Jan 2020 07:00 AM PST

Review by Joe Viglione As authentic a dozen tunes any fan of the Remains
could hope for find a niche in the digital grooves of Movin' On, Barry
Tashian's distinctive voice picking up where he left off on the group's
last full album, which was, ah...1966? Almost 40 years in between releases
sure beats the two years it took Sly Stone to get a new disc out during his
heyday! But it's worth the wait as Vern Miller, Bill Briggs, Chip Damiani,
and Tashian deliver the goods. "You Never Told Me" and "Over You" could
easily slip into the Eagles' repertoire, which is the dilemma for hardcore
Remains fans who always wanted their heroes to sustain that launch that
culminated in a tour with the Beatles and Bobby Hebb. And God knows the
Eagles needed some real competition. "A Man's Best Friend Is His
Automobile" showed up on Barry & Holly Tashian's 2002 release At Home and
gets the Remains treatment here. Holly Tashian contributes backing vocals
to the album, the group also augmented by Daniel Tashian on vocals,
percussion, and B-3 as well as Angelo on backing vocals, percussion, and a
co-write on "Don't Tell Me the Truth." Speaking of which, for those who
loved "Don't Look Back," the 45 rpm that ended up on the original Nuggets
before getting tagged onto the first Remains disc, opening track "Don't
Tell Me the Truth" will satisfy their needs. "Listen to Me" is lots of fun
as is the album closer, "Time Keeps Movin' On," resplendent in sounds
toward the end of the tune that would make Lothar & the Hand People proud,
but the standout and potential hit is "Hard to Find (So Easy to
Lose)." "The Power of Love" and "Ramona" both add to the legend, but
it's "Hard to Love" that could open up this band to a larger and
well-deserved audience. As the Zombies tour, sometimes with Pete Best's
collection of early Beatles music, the addition of Barry & the Remains
would make a potent trio of artists from an era whose popularity will
remain perpetual. is how to find this music if you can't
locate it in the usual places.

" The first album in 35 years for one of the finest overlooked American
bands of the mid-'60s, featuring the original line-up. The original band
members from 1964 came together to record an album of all new material. The
Remains reunited and rockin' again!! "

The Remains - Session With Remains

Posted: 27 Jan 2020 06:50 AM PST

Their legendary, "live-in-the-studio" audition tape for Capitol, with six
unreleased tracks joining pounding cover versions of Hang On Sloopy; I'm a
Man , and other garage band standards.

Ever wish you could travel back in time and be in the thick of the 1960s
rock explosion? Well, until an actual TARDIS is perfected, this album is
the next best thing. Recorded in the wee hours of May 26, 1966, A Session
with the Remains is a no-holds barred romp through their club set, captured
live-to-tape in Capitol Records' studios. Recorded as an audition for the
label, the albums seethes and snarls, twists and shouts, rocks and rolls
and generally embodies the force of nature that was the Remains. Performing
a mix of originals and current hits, the band is in command at every step,
rocking one minute and pausing to kibitz between songs the next. In
attempting to describe this album, reviewers have used words
like "blazing," "explosive," "delirious"--but honestly, none of these
descriptions comes close to what is contained in the grooves. It's like
trying to tell a stranger 'bout rock & roll, ya know? All you really need
to do is listen. After all, one guitar lick is worth a thousand words.

Barry & The Remains - Remains (1966)

Posted: 27 Jan 2020 06:33 AM PST

American garage rock band, sometimes credited as Barry & The Remains

The Remains formed in 1964 at Boston University, where all four members
were first-year students living in the same dorm in Kenmore Square.
Singer-guitarist Barry Tashian and keyboardist Bill Briggs were from
Westport, Connecticut, drummer Chip Damiani from Wolcott, Connecticut, and
bassist Vern Miller from Livingston, New Jersey. They began playing r&b and
rock'n'roll covers, as well as some Tashian originals, at The Rathskeller,
a tavern across the square from their dorm. Soon, fans were lining up from
Kenmore Square to Fenway Park to see them, and management had to clear out
a disused basement to accommodate the crowds

The band became a popular live act throughout New England, and, after
signing with Epic Records, enjoyed local hits with a catchy, swinging
Tashian original, "Why Do I Cry", and their hard-driving version of the Bo
Diddley/Willie Dixon classic "Diddy Wah Diddy". In 1965 the Remains
relocated to New York City - where they appeared on 'The Ed Sullivan Show'
- and then, after about a year, moved on to California. They recorded an
album, The Remains, appeared on NBC TV's 'Hullabaloo', and released the
soulful, hard-rocking single "Don't Look Back".[3]

In 1966 came the opportunity which might have broken the band nationally,
but proved instead to be their last hurrah: they were offered a three-week
stint as an opening act for the Beatles, on what would turn out to be the
fab four's final tour. Immediately before the tour, drummer Chip Damiani
quit the band, to be replaced by future Mountain drummer N.D. Smart. Said
Tashian in a 2012 interview: "We had always been the four of us and we’d
played hundreds and hundreds of gigs as the four of us and all of a sudden
this big tour comes up and boom! We have to play it with a new drummer who
didn’t have the same feel that Chip had. I mean he was a fine drummer but
it wasn’t the same band. I just felt like the flame was burning down
without our original drummer."[2]

The band broke up in late 1966, and Epic released their self-titled debut
album to little fanfare

Review by Mark Deming:
Most 1960s garage rock obsessives collect singles rather than albums for a
good reason: While plenty of snarling teenagers could come up with two
decent songs at a stretch, a precious few seemed able to brainstorm a dozen
tunes without reaching to the bottom of the barrel or resorting to covers
of other people's hits. But there were exceptions to this rule, among them
the Sonics, the Litter, and, especially, the Remains, who never enjoyed
much success on the national charts but were fabled heroes in their home
town of Boston. The Remains' 1966 album for Epic is a classic, packed with
great songs from singer/guitarist Barry Tashian, bassist Vern Miller, and
pianist Bill Briggs, and boasting exciting, fiery performances, and if the
full firepower of their legendary live shows didn't always come through on
tape, even the album's weakest moments made clear the Remains were tougher,
smarter, and tighter than the vast majority of their competition. The
Remains is mid-'60s American rock & roll at it's best, and you don't have
to own any paisley clothing to enjoy it. [When Epic/Legacy reissued the
album in 1991 (with the band's name augmented to Barry and the Remains),
they added a handful of non-LP singles and unreleased tracks and gave the
album a crisp digital remix, and against all odds, Epic actually improved a
masterpiece. If the old analog version sounds harder and dirtier (a good
thing for garage rock), the CD allows you to hear more of the details, and
nearly every one of the 21 cuts on board is killer stuff (their cover of
Don Covay's "Mercy, Mercy, Mercy" shows them beating the Rolling Stones at
their own game, and after you've heard "Don't Look Back," you'll always
wonder why it wasn't a Top Ten hit).]


Davie Allan And The Arrows - Skaterdater (OST) 1966

Posted: 27 Jan 2020 06:15 AM PST

Based in Los Angeles, USA, this quartet, Davie Allan (lead guitar), Paul
Johnson (rhythm guitar), Steve Pugh (bass) and Larry Brown (drums), arrived
in the wake of fellow instrumental stylists Dick Dale and the Ventures.
Allan’s distinctive, ‘heavy fuzz’ sound was already prominent on ‘Apache
’65’, a feature that remained constant despite a fluctuating Arrows
line-up. This exciting single was a regional hit, prompting a hurriedly
recorded album of the same name. The set was produced by Mike Curb, who was
well known for supplying soundtrack music for the numerous movies emerging
from the AIP film studio. Allan contributed to several subsequent
Curb-instigated albums, usually as a member of the many pseudo-groups Curb
organized around Hollywood-based session musicians. However, the guitarist
received full credit for ‘Blue’s Theme’ culled from the 1966 film The Wild
Angels. Allan and the Arrows were rewarded with their sole US Top 40 entry
when this track was issued as a single. The Cycle-delic Sounds Of Davie
Allan And The Arrows captured the group at a creative peak, blending hard
riffs and tight melodies with a dash of acid rock. By the end of the 60s
Allan’s sound had become passé, but he remains one of the decade’s finest
exponents of the guitar instrumental.
Soundtrack From The Motion Picture Skaterdater

Skaterdater is a 1965 film produced by Marshal Backlar, written / directed
by Noel Black and distributed by United Artists. It was the Palme d'Or
winner for Best Short Film at the 1966 Cannes Film Festival and was
nominated for an Academy Award in the Best Short Subject category. It also
won first prizes in international film festivals in Moscow and Venice and
was the first film on skateboarding.
Skaterdater has had lasting cultural relevance in the film industry. It has
been the subject of scholarly articles on cinematography and The Huffington
Post included it in a list of 15 films every entrepreneur must see. David
O'Russell, award-winning director of Silver Linings Playbook, American
Hustle and The Fighter, has credited Skaterdater as a reason for his
initial interest in Film. The Academy Film Archive preserved Skaterdater in
The film tells a story with no dialogue about a group of skaters who are
suddenly at a turning point after one of them sees a young girl and becomes
interested in her causing a rift within the group. The skaters were members
of the neighborhood Imperial Skateboard Club from Torrance, California and
included Gary Hill, Gregg Carroll, Mike Mel, Bill McKaig, Gary Jennings,
Bruce McKaig and Rick Anderson.
The surf rock-esque soundtrack was composed by Mike Curb and Nick Venet.

Mike Curb The Sidewalk Sounds
Davie Allan & The


Red Squares - The ultimate collection 2СD (1966-69)

Posted: 27 Jan 2020 05:42 AM PST

The Red Squares was formed in June 1964 by the group of young musicians
(fronted by the lead vocalist David "Geordie" Garriock) from Boston,
Lincolnshire, who went to France to play in American military bases. At
Summer of 1965 the guitarist/vocalist Dave Bell returned to England and he
was replaced by Mick Rothwell and another singer Howie Gee (Howard
Goldman), who temporarily resigned and moved to Denmark with his
girlfriend. However, Gee was soon to find out that Denmark would be an
excellent market place for the British rock group and persuaded the rest of
the band to join him in January 1966. During the first half a year in
Denmark and Sweden they caused actual fan hysteria everywhere they

In March 1966, the original drummer Andy Bell left the group to be a
journalist, and was replaced briefly by Howie Gee. Anyway, Gee didn’t have
a work permit in Denmark, so he couldn’t stay in country, and Bell was
asked to come back for a while before Mick Moloney joined in. By September,
Garriock remained as the only original member, when also Ronnie Martin and
Pete Mason quit, and were replaced by Stevie McGee (later him by Jahn
Teigen from Norway) and Dennis Hastings. In December 1969 The Red Squares
split up because of work permit problems which prevented them to locate in
In the early 1970s, Geordie Garriock moved to Sweden where he recorded four
45s and an album in his own name. In 1975 he returned to Denmark and ran
the group Squares with local musicians until 1978. In the late 1980s,
Garriock and Gee decided to reform the Red Squares, and since then, they
have been playing together.
During 1966-67, the Red Squares released two LP albums, had several chart
hit singles (including the biggest ones "People Get Ready" and "Sherry")
and in sum, enjoyed the largest idol worship than any other group in
Denmark. Noteworthly, they didn’t play just basic British beat music but
they were strongly inspired by black American r’n’b and even vocal harmony
groups such as The Beach Boys and The Four Seasons. They also influenced a
great number of Danish rock bands by themselves.

1964: David Garriock:vcl, Ronnie Martin:gtr/vcl, Dave Bell:gtr/vcl, Pete
Mason:bs/vcl, Andy Bell:dms
7/1965: David Garriock:vcl, Howie Gee (Howard Goldman):vcl, Ronnie
Martin:gtr/vcl, Mick Rothwell:gtr/vcl, Pete Mason:bs/vcl, Andy Bell:dms
12/1966: David Garriock:vcl,Ronnie Martin:gtr/vcl,Mick
Rothwell:gtr/vcl,Pete Mason:bs/vcl,Andy Bell:dms
3/1966: David Garriock:vcl, Ronnie Martin:gtr/vcl, Mick Rothwell:gtr/vcl,
Pete Mason:bs/vcl, Howie Gee (Howard Goldman):dms/vcl (briefly replaced by
Andy Bell)
10/1966: David Garriock:vcl, Ronnie Martin:gtr/vcl, Mick Rothwell:gtr/vcl,
Pete Mason:bs/vcl, Mick Moloney:dms
1968: David Garriock:vcl, Stevie McGhee:gtr/vcl, Mick Rothwell:gtr/vcl,
Dennis Hastings:bs/vcl, Mick Moloney:dms
1968-12/1969: David Garriock:vcl, Mick Rothwell:gtr/vcl, Dennis
Hastings:gtr/vcl, Jahn Teigen:bs/vcl, Mick Moloney:dms
1975-1978: The Squares: David Garriock:vcl, Michael Rasmussen:gtr/vcl,
Helge Solberg:bs/vcl (later replaced by Chris Poulsen), Mogens
Christensen:gtr/vcl, Gert Gunther:dms/vcl (later replaced by Ola Juul and
then Paul Callaby)
1989-2003: The Red Squares: David Garriock:vcl, Howie Gee:vcl/dms,
John "Farmer" Konrad:gtr/vcl (later replaced by Johan Gerup), Thyge
Driesler:keys/vcl (replaced by Leif Svorin in January 2003), Lars
Gyldenkжrne:bs/vcl (later replaced by Chris Poulsen, then Sшren Jшrgensen,
in 1996 by Marius Ignat, and in May 2004 by B.C. Svanholt)
2004-: David Garriock:vcl, Howie Gee:vcl/dms, Leif Svorin:keys/vcl, Johan
Gerup:gtr/vcl, Birger "B.C." Svanholt:bs/vcl ****


The Royal Teens - Let's Rock (Complete Recording)

Posted: 27 Jan 2020 05:36 AM PST

The Royal Teens were a New Jersey rock and roll band that formed in 1956,
consisting of Bob Gaudio on piano, Tom Austin on drums, Billy Dalton on
guitar, and Billy Crandall on saxophone. They are best known for their
single "Short Shorts", which was a #3 hit in the United States in 1958. The
follow-up single, 1959's "Believe Me", hit #26. They never recorded an
album, and broke up in 1965. The term "Short Shorts" was a description Bob
Gaudio and Tom Austin had given to the cutoff jeans teenage girls were
wearing during the summer of 1957. On that musically fateful afternoon,
Gaudio and Austin were driving up Washington Avenue in Bergenfield, New
Jersey in Tom Austin's red and white 1957 Ford Fairlane 500, trying to
figure out what to call the latest song they had written for their Rock and
Roll band then known as The Royals. ...

Bob Gaudio (Piano): The youngest member of The Royal Teens, Bob Gaudio,
began playing piano at age eight. Like most kids, Bob hated to practice,
but soon found that the piano presented enough of an interesting challenge
and he soon looked forward to his sessions with the keyboard. Throughout
his time performing with the group, Bob studied piano privately under the
tutelage of famed Sal Mosca. He co-wrote The Royal Teens’ Number Three hit
“Short Shorts” with bandmate Tom Austin. Following his success with The
Royal Teens, Bob became an original member of The Four Seasons.
Larry Qualiano (Saxophone): A gifted musician to the extreme, Larry
Qualiano held an important berth with the Royal Teens with his amazing
versatility: Larry played the tenor, alto and baritone saxophone(s),
“legitimate” clarinet and the flute.Bill Dalton (Guitar): Beginning formal
music studies in his early teens, Bill was attracted to the guitar from
watching countless cowboy movies. Discovering his grandfather’s old guitar
in the cellar of his home, Bill put the dilapidated instrument into playing
condition and found that he could strum away to his heart’s content.
Besides the guitar, Bill also performed on the bass whenever necessary.
Tom Austin (Drums): Tom’s entry into the music world began as a boy when
his uncle, a professional drummer, once left his traps and equipment at the
Austin house, and the Tom began playing. He was eventually offered a job to
play with a small combo at a local (New Jersey) Police Athletic League
(PAL) affair. That started his professional ball rolling, and Tom continued
to play with various groups throughout his high school career—while
studying under Irwin “Russ” Russo. As a member of The Royal Teens, Tom
co-wrote the group’s big hit “Short Shorts” with bandmate Bob Gaudio.

The Royal Teens are, by one definition, a hard-luck band. They could play
hard and loud, but they also sang well and knew how to harmonize. They were
one of the better rock & roll bands of their period, nicely self-contained
and with a great beat and hard attack on their instruments, which included
sax, electric guitar, and piano. But for all of that, they're virtually a
one-hit group, and that one hit, "Short Shorts," isn't too representative
of their sound. And, yet, without it, it's unlikely that a version of The
Royal Teens would still get gigs in the Northeast in the summer of 1999, 40
years after the group's last decent chart placement.Bill Crandle, Bill
Dalton, Tom Austin, and Bob Gaudio formed the original band, then known as
the Royal Tones, in Fort Lee, NJ in 1957. Crandall left the band and was
replaced on sax by Larry Qualiano, and in 1958, Joe Francovilla (aka Joey
Villa) joined the lineup as singer. A name change followed to The Royal
Teens, when they got a shot at recording on the tiny Power Records label.
Their first two singles, "Sitting with My Baby" and "Mad Gas," didn't
chart, and they were in the process of cutting a couple of new singles in
1958 when their producer, against the wishes of the band, decided to use
some leftover studio time to cut an instrumental jam that they'd done
on-stage, to which they'd improvised some words. So the story goes, a
couple of girls hanging around the studio were brought in and told to
repeat the same line at the designated spots in the song, as the band sang
and played.Out of that session, "Short Shorts" was born, which, after
initial success in New York City, Power quickly sold to the ABC-Paramount
label. With help from American Bandstand and lots of radio stations that
jumped on the song, "Short Shorts" spread quickly over the airwaves, and
the band suddenly had a number three national hit. The record, often
perceived as one of the dumbest of novelty tunes, is actually better than
most people remember it, and has everything a great rock & roll song needs
to transcend its simplicity -- the sax part is thick with places for the
soloist to have fun, there's a hot guitar break, and the beat is relentless
and intoxicating, especially as punctuated by the honking sax, a song you
can laugh at, dance to, and play variations on for five minutes or more.
(If Lenny & the Squigtones had really wanted to generate a hit in the
late '70s, they'd have cut "Short Shorts" with Penny Marshall and Cindy
Williams, or their soundalikes, backing Michael McKean and David
Lander).Unfortunately, The Royal Teens were never able to follow it up with
anything remotely as popular. "Harvey's Got a Girl Friend" charted very
low, and "My Kind of Dream" stiffed, after which the group left
ABC-Paramount. A short stay on the Mighty Records label, and a similar lack
of success, brought them to Capitol, where they made the Top 30 in 1959
with the romantic, doo wop style number "Believe Me." That was their last
chart record, however, and also the last record on which Bob Gaudio played
-- he exited The Royal Teens and soon hooked up with a singer named Frankie
Valli, together forming the Four Lovers, soon to become the Four
Seasons.The Royal Teens spent the next few years bouncing between labels,
including Jubilee, Blue Jay, and Swan, and still appeared on shows like
American Bandstand occasionally, even as their membership slowly shifted.
Al Kooper spent much of 1959 playing guitar with The Royal Teens before
moving on to much bigger things. They still cut good sides, and they were
even adaptable to the doo wop vocal sound; in fact, as "Believe Me" (which
sounds more like Dion & The Belmonts than Dion & The Belmonts did) proves,
they were better at it than a lot of bands, and they still came up with
great riffs and bracing solos (check out the guitar break on "All Right
Baby"). But not even follow-ups like "Little Trixie," patterned
after "Short Shorts," or pure exploitation like "Short Shorts Twist," could
crack the charts for them again.The group has continued in some form into
the '90s, however, partly with help from the use of "Short Shorts" in a
commercial for Nair, and the original record's continued popularity on
oldies radio and in compilations. Those who've heard their other records,
however, also know that this band had a lot more to offer, and may still.
The Royal Teens feat. Joe Villa - Let's Rock! Complete Recording


The Royal Flairs - Rare Recordings From 1965-66

Posted: 27 Jan 2020 05:35 AM PST

Originally from Council Bluffs, Iowa, the Royal Flairs began as the
backing band for singer Dick Hodge, cutting one single at Sears Sound
Studio in Omaha, Nebraska, “Dream Angel” / “Let’s Go”, in October of 1962
as Nelson Royal, Bobby Williams and the Royal Flairs*.
The Flairs became house band at the Milrose Ballroom outside of Omaha,
playing primarily surf instrumentals.

Three members stayed with the band through all of their changes: Bob
Everhart (Bob Williams’ actual name) on sax and vocals, Dave Krivolavek on
guitar and Dave Brubeck on bass. Other early members included Jerry
Fleetwood on trumpet, Daryl Hill on organ, Brian Sallozo on sax, Brad Starr
and Mike Nelson on lead guitar, and Rick Brown on drums.

Everhart, Brubeck and Krivolavek relocated to Chicago in early 1965, adding
Mike Donian on drums and Mel Matthews on lead guitar and organ. In 1966
they cut two 45s for the Marina label, one as the Royal Flairs, and another
as the Unlimited.

The first, “Suicide” has a sharp garage sound and a great solo. In the
lyrics the singer wants to join the girl who killed herself over him. It
was written by Everhart and Dave Krivolavek, with Everhart playing the
harmonica. The instrumental flip, “One Pine Box” (misprinted on the label
as “One Pink Box”) has an earlier surf style. It’s a gruesome number
featuring the sound of scraping and a hammer nailing a coffin lid shut.

The second Marina 45 as The Unlimited was another morbid number “Feelings.”
The flip was one I haven’t heard yet, “Gone Away”.

Bobby Williams remained a pseudonym for Bob Everhart as that name appears
as the promotional contact on their Marina 45. For the Flairs final 45,
they released the folky “Hat On Tie” as by Bobby and Dave on one side, and
the killer soul screamer “My Baby Cries” as by Bobby Williams on the other.
These were produced by D. Marrone for the Tonorous label.

According to the notes from Back from the Grave, the band broke up after
Bob Everhart was shot when he tried to protect a 350 pound go-go dancer
named Miss Temptation from a crazed patron. Bob survived the wound but
decided to get out of the nightclubs while he was still in one piece!

In the 1980’s an EP Surfin’ with the Royal Flairs featured five unreleased
versions of surf songs recorded in 1962. Another LP, The Royal Flairs, Rare
Recordings from 1965-66 contains their singles along with a side of
unreleased songs that reflect their change to r&b and British Invasion
sounds, recorded in Omaha.

*The Routers cut a version of “Let’s Go” in 1962. Bob Everhart filed a
complaint with BMI over the copyright of “Let’s Go”, which caused SAM owner
Leona Leivas to release the copyright. However, a 1973 European Warner
Brothers release of “Let’s Go” shows song writing credits to Lanny Duncan
and Robert Duncan.


The Royal Showband - Best Of

Posted: 27 Jan 2020 05:32 AM PST

Great Beat Show band 33 Tracks 1964-67

Lead Vocals: Brendan Bowyer / Lee Lynch / Barbara Dixon / Derrick Mehaffey

Lead Guitar: Jim Conlon / Fergus Burke

2nd Guitar:

Bass: Tom Dunphy / Billy HopkinsTrumpet: Eddie Sullivan / Mike Healy
Sax/Clarinet: Michael Coppinger
Trombone: Brendan Bowyer
Drums: Charlie Matthews
Organ/Piano: Gerry Cullen / Arthur Madden
Manager: T. J. Byrne
"... They played their first date outside their native county when on St
Patricks night 1958 the took the stage of the Olympia Ballroom, Parnell Sq,
Dublin.Carlow businessman T.J. Byrne took over in 1958 after he had heard
this young musical combination while on a business trip to Waterford and
decided to put his trust in the band . It was a wise decision and the Royal
went “ full time” on Easter Sunday 1959. By November of that year they were
playing to packed dancehalls across the Country 6 and 7 nights a week. They
never looked back and it was not long before they found themselves in the
recording studios where Tom Dunphy recorded “Katie Daly” the first Showband
recording issued on a singleThey were also the first Showband to use the
now famous “Binson” echo chamber, and they also made their TV debut at
Easter 1963 with a forty five minute show “The Royal Showband Show”.Their
recorded single “Kiss me Quick” spent 14 weeks in the Irish charts , seven
of them being at No. 1. They also made a film “The One Nighters” depicting
life in the Showband and issued their first LP of the same name. They also
won the coveted Carl Allan Award in England for being the most outstanding
modern Dance Band on the Mecca dance circuit and while playing a gig in
Liverpool ,the Beatles played as support band for them... "

Biographie: Von Homepage:
The Story Not much has been written, shown, or said about the Irish
Showband era without extensive reference to Brendan Bowyer and the Royal
Showband. The Royal followed followed the initial success of The Clipper
Carlton, the band that was credited with starting the whole music industry
upheaval in Ireland. The Clippers transformed the genre from a
conservative, static stage to an exciting display of talent, energy and
entertainment. However, where the Clippers left off, the Royal took it to a
whole new level, playing to a dancing public that had awakened from the
slumber and drabness of the 50's. The Royal came roaring out of Waterford
and took the entire country by storm, setting many of the records for
attendance which stand to this day. The band also made the first single by
a showband, had the first Irish showband number one hit on the Irish
charts, and captured the imagination of a generation in the 1960's and
beyond. The Royal Showband possibly stands alone as the most successful
showband in Irish history. However, the band's origins were the same as any
other band. Michael Coppinger and Jim Conlon started playing together
originally. Michael was the "guru" with his accordion and saxophone and Jim
played banjo and guitar. Together they joined up with the Harry Boland
Band, and soon they wanted to expand. "We wanted to play pop and rock
music," says Jim Conlon today, "and we roped in Charlie Matthews, Tom
Dunphy and Gerry Cullen." Charlie, Michael and Gerry all lived in Ferrybank
(Ard Mhuire) in the same area, while Jim lived on the Cork Road - all in
Waterford of course. Brendan Bowyer was the only boy of musical parents so
it was probably natural he would become a musician. He made his first
public appearance in the Redemptorist Church in Limerick where his Father
conducted the choir (Spotlight, July 31, 1971) After leaving school,
Brendan took a job as a clerk in Waterford and he was mates with Tom
Dunphy. When Harry Boland left Waterford, the final piece of the puzzle
came in the form of Brendan who had previously played with The Rhythm Kings
and the line up was set. Eddie Sullivan also joined the band a short time
later. Launched in the Fall of 1957, Jim came up with the name, Royal, from
a local theatre, "at the time, I felt that the band needed a name that
would command respect. So, I used the Royal (from the Theatre Royal)
because it suggested royalty (a stretch of course) and because Ireland had
its own royalty long before our neighbors across the Irish sea. It had no
connotation of the Empire. I reversed the words Band Show (the Clipper
Carlton used it at times) and joined the words into Showband. Tempo,
acknowledged it as a "brainwave". All I can say is that it looked great on
the Stardust Hotel sign on the Strip in Las Vegas later on. I had to clear
the name with the Theatre Royal in Dublin at the time. They had no
objections. Of course, we had our own one in Waterford as well." The
original lineup included: Brendan Bowyer (trombone), Michael Coppinger
(sax), Jim Conlon (guitar), Tom Dunphy (bass), Gerry Cullen (keyboards),
and Charlie Matthews (drums). Eddie Sullivan (trumpet) would join the band
in early 1958. However, so uncertain were the band about their future that
Jim Conlon took 18 months off in 1959 and 1960 to study accountancy. In the
meantime Mickey Gilligan (pictured below who would eventually join The Blue
Aces) stepped in on guitar. Other than this one change, the lineup would
remain the same for the next 13 years. Originally, the band had no front
man...several members sang different styles of songs as was the tradition
in the early showbands. However, it wasn't long before Brendan's talent
took center stage and he became the band's main attraction, even though
they would be the only showband to have number one singles recorded with
four different band members on lead vocals. Meanwhile, T.J. Byrne had been
working for Cotts of Kilcock (in Kildare) selling musical instruments among
other things. Jim bought his first guitar from them on hire-purchase (HP)
and T.J. became interested in Jim and his band. He heard Jim had a group in
Waterford and Jim I invited him to hear the band rehearse. T.J. eventually
offered himself up as their manager, but took no pay until they started to
get some dates in 1957. All the musicians had day jobs and could only play
at the weekends. It wasn't until Easter, 1959, that the band turned
professional, and never looked back. Over the next few years, the band's
talent and showmanship, augmented by Byrne's astute promotion, coincided
with the rise of popularity of the ballrooms across the country and by
1960, the band was playing for huge money almost every night of the week.
Eventually likened to Ireland's version of the Beatles, the Royal Showband
had arrived. The lack of dance dates during Lent in Ireland also helped the
band, who used the time to tour Britain and the United States, creating
even more excitement. The Royal made their first trip to the States in
1960, invited by Bill Fuller, who brought all the bands to the East Coast
in those days. In 1961, they won Britain's Carl-Alan Award for box office
achievements as "Most Outstanding Modern Dance Band" of the year. In 1962,
they released the first record ever by an Irish showband, Come Down the
Mountain Katy Daly, sung by the late Tom Dunphy. However, nothing was to
prepare the band for the magic that was 1963. That year, Brendan recorded
Kiss Me Quick, which was to become the first number one single by a
showband. They also starred in the film, The One Nighters, which was
produced by Peter Collinson and followed the band through their "wholesome"
private lives and onto the stage. By the time 1965 rolled around, the band
had achieved almost everything possible. That year, they released a single
called I Ran All The Way Home, the B-side was a little R&B number from the
late 1940's called The Hucklebuck which had been made into a minor U.S. hit
by Chubby Checker in 1960. Once the band realized the potential for the
song, it was made the A-side and reached Number 1 in the Irish charts,
staying on the charts for 12 weeks. It even charted in England as well. The
song would chart again in 1976 and has become the song most associated with
the showband era by many people, due to its enduring popularity even though
it came relatively late in the peak of the showband era. .........


The Royal Guardsmen - Anthology

Posted: 27 Jan 2020 05:21 AM PST

The Royal Guardsmen from Ocala, FL -- Bill Balough (bass), John Burdette
(drums), Chris Nunley (vocals), Tom Richards (guitar), Billy Taylor
(organ), and Barry Winslow (vocals/guitar) -- enjoyed their brief reign of
pop fame in 1966-1968 by recording a series of songs taking off from the
Peanuts cartoon character Snoopy and his fantasy about aerial dog fighting
with German World War I flying ace Baron Von Richthofen. The
million-selling "Snoopy Vs. the Red Baron" was the first and most
successful of these novelty records in the fall of 1966, and its
follow-up, "The Return of the Red Baron," also made the Top 40.
"Snoopy's Christmas" topped the seasonal charts at the end of 1967. After a
few non-Snoopy singles were less successful, the Guardsmen released "Snoopy
for President" in the summer of 1968, but the fad was over. The group
scored a final Top 40 hit with its two-year-old, reissued debut
single, "Baby Let's Wait," in the winter of 1968-1969. The original group
split in 1969; a version with some replacement members continued for
another year.


Edwards Hand - Edwards Hand (1969)

Posted: 27 Jan 2020 05:11 AM PST

Because Edwards Hand were one of the few pop/rock acts other than the
Beatles who were produced by George Martin in the late 1960s, their obscure
self-titled debut album has generated some rough comparisons to the
Beatles' own work. It's true that the harmonies, melodies, and
orchestrations bear some similarity to those heard on the very most
pop-oriented of the Beatles' productions, though in truth there's a
stronger resemblance to the ornate pop-psychedelia of the late-'60s Bee
Gees. Throwing those names into the hat so quickly, though, is a little
misleading and might spark hopes for a buried treasure that's better than
it is. For the actual songs are certainly coyer and more saccharine than
the compositions of the Beatles, and even make the Bee Gees' late-'60s
stuff sound melancholy and a little hard-edged. It's more something of a
combination of Beatles/Bee Gees-lite with poppier, soaring, sometimes
fruity orchestral arrangements -- most likely Martin's strongest
contribution to the record -- and more of a middle of the road/sunshine
pop/toytown psychedelic influence than the Bee Gees (and certainly the
Beatles) admitted. Certainly some of the lyrics make one blanch a bit on
the printed page, with their fey references to picture books, kings and
queens, bringing flowers in the morning, walking down London's Charing
Cross Road, magic cars, and the like. If you like those elements, of
course, there are things to enjoy about this record. It has reasonably
catchy though not stunning melodies, good duo vocal harmonies, and an
ambience that captures something of the most innocuous side of the Swinging
London/flower power era. It does sound best, however, when it gets most
serious and Bee Gees-like, "If I Thought You'd Ever Change Your Mind"
and "Orange Peel" being two examples.


Deen,John & The Trakk - Beat 69 (1969)

Posted: 27 Jan 2020 05:08 AM PST


Elysian Field -Elysian Field (1968)

Posted: 27 Jan 2020 05:01 AM PST

When Louisville cult legends Soul, Inc. broke up, former members Jim
Settle, Marvin Maxwell, and Frank Bugbee went in a radically different
direction with their next band, Elysian Field. The change in musical course
is evident right from this collection's first track, "Mother Hate," which
is lean, taut hard rock that manages to be heavy without seeming
ponderous. "I Hate You" features a mind-numbing exorcism of a guitar solo
that could have given Jimi Hendrix a run for his money, as well as
bad-attitude lyrics that nicely summed up the psychological territory being
mined by this best-known version of the band. The collection is top-heavy
with Elysian Field's mid-period explorations into the heavier end of
intense rock, which is perhaps misleading, given the mainstream-worthy pop
of some of its initial efforts. Nevertheless, it was that more intense
attitude and music that the band members wanted to be known for, and it is
easy to see why, considering the driving quality of the songs -- from the
joyous straight rock of "Reservation," which melodically predicts Blue
Oyster Cult, to "I Think I Can't Live Without You," a song very reminiscent
of Steppenwolf, to snarling, more vitriolic tunes. Still, the band has
nothing to be ashamed of when it comes to the early, polished pop singles
required of them by their record company. Many of these songs are perfectly
lovely ballads that veer close to Classics IV/Johnny Rivers territory,
often backed by brass and strings, with touches of sophisticated Motown
soul. There is little evidence that the band felt constrained by pop song
structures: the songs, highlighted by the Classics IV soundalike "Stormy,"
are full of pretty harmonies and haunting melodies ("Alone on Your Roof").
The final recordings that fill out this CD reissue were put on tape after
the band had already separated; they are frequently scintillating
early-'70s hard rock that perhaps only lacked a distinguishing, intangible
characteristic, because in every other way, they are as good as, or
superior to, much of the mainstream rock of the time. The music has dated
to a certain degree, but the skill level and songwriting abilities
exhibited by the band have not. More than simply a sidelight to the legacy
of Soul, Inc., Elysian Field was a powerful entity in its own right, and
since this collection contains all of the band's recordings, it is their
definitive document.


Doc Thomas Group - Doc Thomas Group (1966)

Posted: 27 Jan 2020 04:53 AM PST

Members:Bob Hall, Dale Griffin, Dave Tedstone, Mick Ralphs, Overend Watts,
Stan Tippins
UK band from Herefordshire. Originally known as The Buddies . Spent much of
1966 and 1967 performing in Italy. After releasing an album they added Dale
Griffin and later merged with a second band called The Shakedown Sound and
eventually named the combined unit The Silence . This band began working
with Kingsley Ward and then with Guy Stevens. Stevens replaced singer Stan
Tippins with Ian Hunter and renamed the band Mott The Hoople


Dicky Loader And The Blue Jeans - Exclusively Yours (1963)

Posted: 27 Jan 2020 04:45 AM PST

One of best 60's groups from South Africa, blends beat, pop, mod, surf,
Liverpool sound, "Colette" and "Monkey Jump" are mod thumpers, then there's
killer "Surfin' South Coast" and great Beatles cover "Do you want to know a
secret" and others.


The Syndicate Of Sound - Little Girl (1966)

Posted: 27 Jan 2020 04:38 AM PST

Bob Gonzalez, Don Baskin, Jim Sawyers, John Duckworth, John Sharkey
Formed in San Jose, California in 1964, The Syndicate Of Sound are
considered to be one of the forerunners of Psychedelic Rock, establishing a
national following based on their hit "Little Girl". Comprised of vocalist
/ guitarist Don Baskin, guitarist / keyboardist John Sharkey, lead
guitarist Larry Ray, bassist Bob Gonzalez and drummer John Duckworth, the
group rose from the ashes of the high school bands The Pharaohs and Lenny
Lee And The Knightmen. The new group won a Battle Of The Bands contest,
beating out a hundred other groups to win a recording session with Del-Fi
Records. Their debut single, "Prepare For Love", received some local air
play, but ultimately failed to chart nationally. Undaunted, the band
continued working on new, original material and began shopping a tune
called "Little Girl" to anyone who would listen. Nearly everyone turned
them away before Hush Records, a predominantly Rhythm And Blues label in
Richmond, California, decided to take a chance and issued the record
locally in late 1965. The song became a regional hit, selling 5,000 copies
after San Jose radio stations picked up on it. Executives at Bell Records
were soon to take notice and took over distribution of the single as well
as offering the group the chance to record an album.As "Little Girl"
started to break nationally, first in Oklahoma City, original guitarist
Larry Ray was fired from the band and replaced by Jim Sawyers. With the
song climbing to the #8 spot in 1966, Bell Records sent the group on tour
to promote their record, only taking time off to tape TV shows like
American Bandstand and Where the Action Is. James Brown, who appeared with
them on one of the TV shows, was so impressed that he invited them to open
his theater show in San Francisco. The Beatles' manager, Brian Epstein
wanted them to open for the Fab Four on their 1966 tour, but would not
offer enough financial incentive to ink a deal. The Syndicate Of Sound
continued to play venues in the North-West United States, appearing in
concert with The Rascals, The Yardbirds, Neil Diamond, Sam The Sham And The
Pharaohs, Tommy James, The Animals and The Rolling Stones.
A follow-up to "Little Girl" was a song called "Rumors" that also reached
the Hot 100 and peaked at #55 in October, 1966. Still later, the band came
up with "Get Out Of My Life", which Bell Records refused to release, saying
the lyrics were too risque. Two more singles were issued, "Keep It Up"
and "Mary", but neither of them charted. Drummer John Duckworth was drafted
at the height of the Vietnam conflict and bassist Bob Gonzalez dropped out.
The Syndicate Of Sound recorded two more singles near the end of the '60s
for Buddha Records; "Brown Paper Bag", which reached #73, and "Mexico",
which failed to chart. The band split up in 1970. Don Baskin moved to Los
Angeles where he found work as a studio musician and later turned to
Country music during the height of the Disco era.
As the years wore on into the new century, Don Baskin, Bob Gonzalez and
John Duckworth reformed The Syndicate Of Sound with a couple of new members
and began performing once again. In 2005, guitarist Larry Ray rejoined the
band, and in 2006 The Syndicate Of Sound was in the first class of
inductees into the San Jose Rocks Hall of Fame.
As for the song "Little Girl", it was later recorded by Country singer
Dwight Yoakam, as well as the English pseudo-punk group The Banned, which
reached the UK charts with it in 1977. The Punk band The Dead Boys included
a live version of the song on their 1977 debut album, "Young, Loud and
Snotty". After being renamed "Hey Little Boy", the tune was also covered by
the Australian band Divinyls in 1988 on their "Temperamental" CD. R.E.M.
was known to play the song as part of their early live shows. The San
Francisco Bay Area band CHOC'D also performed the song during their concert
performances. "Little Girl" has also been recognized by the Rock And Roll
Hall Of Fame Museum in Cleveland, Ohio, where it has been on constant
rotation in the One-hit Wonder section.


The Candymen - The Candymen (1967)

Posted: 27 Jan 2020 04:29 AM PST

Members:Billy Gilmore, Bobbie Peterson, Dean Daughtry, John Rainey Adkins,
Robert Nix, Rodney Justo

The Candymen (or The Candy Men) were an American pop quintet active
1965-1972 which prefigured the Atlanta Rhythm Section. The group were
managed by Dothan, Alabama producer-songwriter Buddy Buie, and included
guitarists John Rainey Adkins, (who was the mainstay of the live band),
plus Barry Bailey and J.R. Cobb, singer Rodney Justo, drummer Robert Nix
and keyboard player Dean Daughtry. The band's chart singles
included "Georgia Pines" (1967) and "Ways" (1968). They often performed as
the backing band of Roy Orbison.
The Candymen were an Alabama-spawned band probably best remembered today as
the backing group for Roy Orbison. The group started life as the Webs,
co-founded by guitarist John Rainey and a young lead singer/guitarist named
Bobby Goldsboro, in Dothan, AL, in the mid-'60s. The group was heavily
influenced by Elvis Presley and Jerry Lee Lewis, but also by the slight
more pop-rock oriented sound of Ricky Nelson. They were good enough to
attract the attention of local producer and studio owner Ed Boutwells in
Birmingham, who made a few recordings of them. The band was making
something of a living locally, and even managed to survive the departure of
Goldsboro for what ultimately became an immensely successful solo career -
Rodney Justo, a drummer turned singer who had previously led a band called
Rodney & the Mystics, replaced him on vocals. And they even had a
songwriter-in-residence of sorts in the person of Buddy Buie, a friend of
Goldsboro.Their breakthrough came when they discovered that Roy Orbison was
going to be appearing locally and would be in need of a backing band. As
they were already conversant with his work, it wasn't stretch to pick up
all the finer nuances of his repertory, and the result was that the
legendary Texas-born singer asked them to become his regular touring band.
In the process, picking up the name from one of his biggest hits, the Webs
became the Candymen -- additionally, Buie was taken on as Orbison's tour
manager, and moved to Atlanta, where he became a top producer as well.
Meanwhile, the Candymen worked regularly behind Orbison on-stage, a gig
that, in other times, would have gotten them huge exposure. However, the
second half of the 1960s were not good times for Orbison, at least
commercially in the United States; signed to MGM since 1965, he released
some very good records and sold a lot of them in Europe, but in the United
States his career and his concerts passed little-noticed, despite the
quality of his music and the Candymen's playing. They resumed the name the
Webs for an MGM single, "People Sure Act Funny" b/w "You Pretty Fool,"
which didn't go anywhere for those involved.The Candymen, when they weren't
backing Orbison, developed a serious reputation as a great live band in
their own right. They became known for doing the Beatles' "Sgt. Pepper's
Lonely Hearts Club Band" live, amidst other repertory that was usually
considered beyond the reach of a lot of bands. And they cut a series of LPs
as the Candymen for ABC Records. Ultimately, their gig with Orbison ended,
and they were succeeded by a British outfit, the Art Movement, when the
singer toured England. Buie's career as a songwriter and producer brought
the members of the band, in conjunction with members of the Classics IV,
into what became the Atlanta Rhythm Section, and a decade or more of hit
records and healthy album sales.


Old Melodies ...

Old Melodies ...

Cherry Roland 1963 - 1974

Posted: 26 Jan 2020 11:32 AM PST

Was active on the British scene in the sixties
Dartford, Kent, United KingdomCurrentlyComunitat Valenciana, SpainAlso
Known AsCherry Rowland

01 - Nobody But Me (Fontana 267304)

02 - Boys
03 - Handy Sandy (Decca F 11579)04 - Stay As I Am
05 - What A Guy (Decca F 11648)06 - Just For Fun
07 - Another Night Alone (Decca D 19 729)08 - Cry Baby Cry
09 - Wishin' And Hopin' (Telefunken SLE 14395-P)10 - Can I Get A Witness
11 - One, Two, Three (Telefunken SLE 14 411-P)12 - Twenty-Four Hours From
Tulsa13 - The Way You Do The Things You Do
14 - Schade fьr dich (Decca D 19 812)15 - Was ist Gold, was ist Geld
16 - Hey, Herr Kapitдn (Columbia 1C 006-29 838)17 - Pretty Old Lady
18 - Here Is Where The Love Is (Decca F 13491)19 - I Can Give You Back


The Five Tornados - Shake Beat

Posted: 26 Jan 2020 11:06 AM PST

The Five Tornados ‎(?) – Shake Beat (19??)

The Five Tornados (Elite Special SOLPS 274)unknown group from Germany,
Austria or Swiss...
This is a riddle from Jancy. I shoveled all Internet, but couldn't find the
answer ...


Dave Davies (Kinks) EP (Death of a Clown) 1967 (FRA)

Posted: 26 Jan 2020 04:12 AM PST

David Russell Gordon Davies (born 3 February 1947) is an English singer,
songwriter and guitarist. He is the lead guitarist and backing singer
(occasionally singing lead) for English rock band the Kinks, which also
features his elder brother Sir Ray Davies.
In 2003, Davies was ranked 91st in Rolling Stone Magazine's list of
the "100 Greatest Guitarists of All Time"
David Russell Gordon Davies was born at 6 Denmark Terrace, Muswell Hill,
North London. He was born the last of eight children, including six elder
sisters and an elder brother, later bandmate Ray. As children, the Davies
brothers were immersed in a world of different musical styles, from the
music hall of their parents' generation, to the jazz and early rock n' roll
that their older sisters listened to. The siblings developed a rivalry
early on, with both brothers competing for their parents' and sisters'
Davies grew up playing skiffle, but soon bought an electric guitar and
started experimenting with rock. The Davies brothers and friend Pete Quaife
jammed together in the front room of their house. Activities in the Davies
household centred around this front room, culminating in large parties,
where the parents would sing and play piano together. The front room and
these parties were musically nurturing to the Davies brothers, later
influencing the Kinks' interpretations of the traditional British music
hall style. Dave and his brother worked out the famous two-chord riff of
their 1964 hit "You Really Got Me" on the piano in the front room.
Davies founded the Kinks with Pete Quaife in 1963. His brother Ray, who
became the best-known member and de facto leader of the band, joined soon
after. The quartet was formed when drummer Mick Avory joined. Dave Davies
had a turbulent relationship with Avory, one of the reasons behind the
latter's departure from the band in the mid-1980s, although the two had
been housemates together in the mid-1960s.
Ray and Dave Davies remained the only two steady members of the band (with
the exception of Avory until his departure) throughout their run together.
They were accompanied by an oft-changing roster of bassists and
keyboardists. Davies played a largely subordinate role to his brother,
often staying behind the scenes. Davies would make occasional contributions
on Kinks records as lead vocalist and songwriter, with classics such
as "Party Line" (the lyrics were written by Ray Davies and the song has
been attributed to Ray on many editions of "Face to Face"), "Death of a
Clown" and "Strangers".
Early years (1963–1966)
Dave Davies & The Kinks (Dutch TV, 1967)Davies was solely responsible for
the signature distorted power chord sound on the Kinks' first hit, "You
Really Got Me". He achieved the sound by using a razor blade to slit the
speaker cone on his Elpico amplifier, which he then ran through a larger
Vox as a "pre-amp". This sound was one of the first mainstream appearances
of guitar distortion, which was to have a major influence on many later
musicians, especially in heavy metal and punk rock.
"You Really Got Me" was the band's third released single, after two
previous recordings that failed to chart. They had a three-single contract
with Pye Records, and needed a hit to get another. Pye didn't like the song
and refused to pay for studio time. The band arranged other financial
support to cut the single, which became a hit, topping the charts in the UK
and reaching number 7 in the US.
The Kinks released three albums and several EPs in the next two years. They
also performed and toured relentlessly, headlining package tours with the
likes of The Yardbirds and The Mickey Finn, which caused tension within the
band. Some legendary on-stage fights erupted during this time as well. The
most notorious incident was at the Capitol Theatre, Cardiff, Wales, in May
1965, involving drummer Mick Avory and Dave Davies. The fight broke out
during the second number of the set, "Beautiful Delilah". It culminated
with Davies insulting Avory and kicking over his drum set after finishing
the first song, "You Really Got Me". Avory responded by knocking down
Davies with his hi-hat stand, rendering him unconscious. He then fled from
the scene, and Davies was taken to Cardiff Royal Infirmary, where he
received 16 stitches to the head. Avory later claimed that it was part of a
new act in which the band members would hurl their instruments at each
During the late 1960s the group steadily evolved, as Ray's songwriting
skills developed and he began to lead the group in a whole new direction.
The group abandoned the traditional R&B/blues sound and adopted a more
nostalgic, reflective style of music, as showcased on songs like "Autumn
Almanac" and "Waterloo Sunset", as well as their albums, such as Something
Else by the Kinks and The Village Green Preservation Society.
Late 1960s and solo career
In July 1967, Davies released his first solo single, credited entirely
under his name, (although co-written by his brother) entitled ‘’Death of a
Clown’’. In the past, as a member of the Kinks, Dave Davies had only
released his own compositions on B-sides and as part of albums. The Kinks'
record label sensed potential sales in a solo release from the overlooked
Davies and issued "Death of a Clown" as his debut. Although credited to
Davies, it was technically a Kinks recording, as his backing band was the
"Death of a Clown" rose to number three on the UK Singles Chart. Wanting to
profit from the new buzz suddenly surrounding Davies, a solo LP was slated
for release sometime in 1968 or 1969. The follow-up single, "Susannah's
Still Alive", was released in November 1967; however, it only reached
number 20 on the Melody Maker chart. The release of the solo album was held
back, and it was decided to wait and see how another single would fare. As
anticipation grew for the release of the new LP, it was nicknamed A Hole in
the Sock Of. "Lincoln County" was chosen as Davies's next single, but
failed to chart. By the time a fourth single "Hold My Hand" met with the
same result, a combination of his own lack of interest in continuing and
Pye's decision to stop killed off any hopes of an album.
Eventually, the tracks intended for his first solo album were assembled for
a 2011 compilation by Andrew Sandoval entitled Hidden Treasures. It
combined the singles, B-sides that were released for various Kinks singles
and a handful of album tracks that Davies had recorded for Kinks albums.
Three tracks included on Hidden Treasures had never been released before
until this compilation "Do You Wish To Be a Man", "Crying" and "Are You
Ready". Many of these tracks had been assembled previously for The Album
That Never Was, released in 1987, but this album primarily consisted of the
released singles and B-sides that Davies recorded and released from 1967 to
The Kinks Are the Village Green Preservation Society and Arthur were
released in 1968 and 1969, respectively. Although they received unanimous
acclaim, Village Green failed to chart internationally, and Arthur was met
with a mediocre commercial reception. These records, although praised by
critics and the rock press, were commercial failures.
Ty To Original Sharer
"I hope for nothing, I fear nothing, I am free"

The Miracles (EP) 1964 (FRA) (Mono + Stereo Bonus)

Posted: 26 Jan 2020 03:53 AM PST

The Miracles
1955, Detroit, MI, United States
Ronald White (vocals, 1955-78, 1980-83, 1993-95), Warren Moore (vocals,
1955-78), Smokey Robinson (vocals, 1955-72), Clarence Dawson (vocals,
1955), James Grice (vocals, 1955), Robert Rogers (vocals, 1956-78, 1980-83,
1993-2011), Emerson "Sonny" Rogers (vocals, 1956), Claudette Robinson
(vocals, 1956-64), Marvin Tarplin (guitar, vocals, 1959-74), Billy Griffin
(vocals, 1972-78), Donald Griffin (guitar, vocals, 1977-78), Dave Finley
(vocals, 1980-83, 1993-2011), Carl Cotton (vocals, 1980-83), Sidney Justin
(vocals, 1993-2005), Tee Turner (vocals, 2001-11), Mark Scott (vocals,
2005-11)Related ArtistsRon & BillAlso Known AsFive Chimes, The Matadors
[1955-57], Smokey Robinson & The Miracles [1965-72], The New Miracles
GenresSoul, Pop Soul, Motown Sound, Rhythm & Blues, Doo-Wop, Smooth Soul
One of the earliest of all Motown groups The Miracles were formed at school
in Detroit in 1955 as The Five Chimes. In 1956 they changed their name to
The Matadors, adding Claudette Rogers to the line-up. They were spotted by
Berry Gordy at an audition in late 1957 and in February 1958 changed their
name to The Miracles. Their first release, 'Get A Job' b/w 'My Mama Done
Told Me', was issued via the End label that same month. Another single on
End followed, and then one on Chess and Motown, before the group finally
found a home on Tamla where they had a string of hits and Smokey
established himself as a key songwriter for the label throughout the 1960s.
In late 1965 Berry Gordy decided to adjust the group's name and they were
billed thereafter as Smokey Robinson & The Miracles although it was still
one group, until Smokey left the group in July 1972 (although the final
Smokey Robinson & The Miracles single was not released until November). He
was replaced by Billy Griffin, with the name being reverted back to The
Miracles for the new line-up.
The Miracles stayed with Motown until 1976, and had a number one US hit
with 'Love Machine' in 1975. In 1976 they moved to Columbia.

1910 Fruitgum Company - The Best Of

Posted: 26 Jan 2020 01:50 AM PST

The prototypical bubblegum group, the 1910 Fruitgum Company was the
brainchild of Buddah Records house producers Jerry Kasenetz and Jeff Katz,
also the masterminds behind such phenoms as the Ohio Express and the Music

The Kasenetz-Katz formula was a simple one: they enlisted anonymous studio
musicians (in this case, vocalists Mark Gutkowski and Joey Levine -- also
the singer in the Ohio Express -- along with guitarists Frank Jeckell, Pat
Karwan, and Chuck Travis, horn player Larry Ripley, and drummers Rusty
Oppenheimer and Floyd Marcus), and prolifically recorded lightweight,
fluffy pop songs which found an eager audience in fans looking for an
alternative to the edgier rock music of the late '60s. With the 1910
Fruitgum Company, the Kasenetz-Katz team scored their first major hit, the
1968 Top Five smash "Simon Says," launching the bubblegum craze; that same
year they also scored with the singles "1, 2, 3 Red Light" and "Goody Goody
Gumdrops," all three issued as title tracks from the group's first trio of
LPs. 1969's "Indian Giver," the title cut from the Fruitgum Company's
fourth album, was their last Top Five hit, and after one last LP, Hard
Ride, the group disbanded; some of its members later resurfaced in the
Kasenetz-Katz Singing Orchestral Circus.


The Bluestars and The A-Cads (1967)

Posted: 25 Jan 2020 11:51 PM PST


Line-Up: (Bluestars) New Zealand

Rick van Bokhoven (Rhythm Guitar / Vocals) John Harris (Lead Guitar /
Vocals) Murray Savidan (Bass Guitar / Vocals) Jim Crowley (Drums)
began life as the Nomads around 1961. Murray Savidan and Roger McClay were
school friends at Auckland Grammar, where they played at school concerts.
John Harris was recruited on drums and his friend Rick van Bokhoven joined
as a singer.
When Roger McClay left the group in early 1964, a reshuffle moved Savidan
to bass, Harris to lead guitar and van Bokhoven to rhythm guitar. A new
recruit was Jim Crowley, who took over the role of drummer. At this point
they changed their name to the Bluestars.
Modeling themselves on the Shadows style of music, they started playing at
church and youth group dance engagements, but after hearing the Beatles
first album, they made a major change to their style of music. This proved
successful and they started selling out venues around Auckland's eastern
While the majority of the music was covers, they did do some original stuff
and in 1964 they were invited to record a couple of these as demos for
Eldred Stebbing's Zodiac Records. Nothing seemed to come from this, so they
continued playing the suburban dance circuit, steering clear of the inner
city clubs.
Still wanting to release a record, they engaged Terry Hayman as their
recording manager. Terry claimed to have contacts at Decca Records in
London. He was right, and he got them signed to Decca, making the Bluestars
the first New Zealand group to score a debut record contract in Britain.
They still didn't actually have anything recorded, so Hayman arranged for
NZBC engineer Wahanui Wynyard to record some songs at the Radio Theatre in
Four songs were recorded during the session. They were "Please Be A Little
Kind", "I Can Take It", "Just Fell In Love With You" and "Baby Come Home".
Although a rushed session, a tape was still sent off to England. Decca
obviously liked what they heard, as they released a single of "Please Be A
Little Kind" backed with "I Can Take It" in December 1965.
The single was released in Britain and the Continent, as well as the US,
Japan and Australia. Whilst getting some favourable reviews, it was not a
hit. Early 1966 saw its release in New Zealand. Receiving valuable airplay,
it made it to number 12 on a local chart, but because they were only known
around Auckland, it never featured on the national chart. But because of
their new found fame, they started playing larger venues, to larger
The group went back to the studio to prepare a follow-up single. Three
songs were recorded, "It's The End", "S'pose We're Away" and "Don't Wanna
Be Lonely Anymore". Unfortunately Decca didn't like any of them and
rejected them all. That concluded their relationship with Decca.
As an answer to this rejection, John Harris wrote "Social End Product". It
was released on Allied International in September 1966 with "I'm Over Here"
on the flipside. With the release of this single, controversy was never far
from the group.
Towards the end of 1966, Rick van Bokhoven decided to leave the group. He
later joined a version of the Music Convention in 1969. Jim Crowley also
felt like a change and gave up the drums to play the organ. In 1967, a new
recruit was found to play drums. He was Eric Jackson, from the recently
disbanded Jamestown Union.
In order to be able to have a regular place to play, as well as their
suburban dance gigs, they decided to open their own club. A venue was found
in Remuera and was named the "Gallows". It was a short lived venture and
because of noise complaints by wealthy neighbours was forced to close down
hardly before it began.
One last single was recorded for Allied International in February 1967. It
was "I'm A Little Man" / "Sherlock Sweet". Almost immediately after that
the group broke up. Jim Crowley moved to Sydney, playing drums for Matchbox
in 1969, and the others drifted into other non music related
careers.( )****01 - The Bluestars -
I Can Take It02 - The Bluestars - Please Be A Little Kind 03 - The
Bluestars - I Just Feel In Love 04 - The Bluestars - Baby Come Home 05 -
The Bluestars - Social End Product 06 - The Bluestars - I'm Over Here 07 -
The Bluestars - Sherlock Sweet08 - The Bluestars - I'm A Little Mann 09 -
The Bluestars - Don't Wanna Be Lonely
THE A-CARDS (???) - HUNGRY FOR LOVE 1966 Line-Up: (The A-Cads) South Africa

Look at Family Tree

CD cover applies to become the big rarity because of mess in name of the
group . The present name of group - The A-Cads and were a great South
African rock and roll band formed in Johannesburg in 1965. They had a
Springbok #1 hit in January 1966 with a cover of the Johnny Kidd and the
Pirates' 'Hungry For Love'. ...The A-Cads were the brainchild of Peter
Rimmer, manager of the Rand Academy of Music in 1965. The name A-Cads was a
compromise combination of the names "The Academy" (management's preference)
and "The Cads" (preferred by the band)....

( )*****10 - The A-Cards - Hungry For
Love11 - The A-Cards - Got My Mojo Working12 - The A-Cards - Pain In My
Heart13 - The A-Cards - Don't Fight It14 - The A-Cards - As Tears Go By15 -
The A-Cards - Watch Your Step16 - The A-Cards - In The Midnight Hour17 -
The A-Cards - Steal Your Heart18 - The A-Cards - Mister Pitful19 - The
A-Cards - Down The Road20 - The A-Cards - 4.30 Blues21 - The A-Cards -

Music 60-70


Ghost - Live at the Teatro Vorterix, Buenos Aires, Argentina on the 31th
August 2014 (Sweden, Doom Metal, Psychedelic Rock)

Posted: 26 Jan 2020 05:40 AM PST

Исполнитель: Ghost
Откуда: Sweden
Альбом: Live at the Teatro Vorterix, Buenos Aires, Argentina on the 31th
August 2014
Год выхода: 2019
Жанр: Doom Metal, Psychedelic Rock
Длительность: 89:07
Формат: MP3 CBR 320
Размер архива: 207 МБ (с 3% на восстановление)

44 Magnum - Street Rock'N Roller 1984 (Japan, Hard Rock, Heavy Metal)

Posted: 26 Jan 2020 03:54 AM PST

Исполнитель: 44 Magnum
Откуда: Japan
Альбом: Street Rock'N Roller
Год выхода: 1984
Жанр: Hard Rock, Heavy Metal
Длительность: 41:53
Формат: MP3 CBR 320
Размер архива: 98,7 МБ (с 3% на восстановление)

Celtic Frost - To Mega Therion 1985 (Switzerland, Thrash/Death Metal)

Posted: 26 Jan 2020 12:35 AM PST

Исполнитель: Celtic Frost
Откуда: Switzerland
Альбом: To Mega Therion
Год выхода: 1985
Жанр: Thrash/Death Metal
Длительность: 39:53
Формат: MP3 CBR 320
Размер архива: 94,7 МБ (с 3% на восстановление)

Old Melodies ...

Old Melodies ...

Gale Garnett And The Gentle Reign 1968/1969

Posted: 25 Jan 2020 12:59 PM PST

The daughter of a carnival worker father, Gale Garnett was born in New
Zealand but moved with her family to the United Kingdom, then to Canada at
the age of 11.Her father died when she was 12, and at 14 she ran away to
New York City to pursue an acting career. There she attended the High
School of Performing Arts and appeared in Broadway and Off-Broadway
productions. After moving to Los Angeles in the early 1960s, Garnett landed
guest roles on such popular TV shows as Bonanza and 77 Sunset Strip, as
well as a voiceover part in the hit film The Pink Panther (1963).Garnett
put her acting career on hold in 1963 after a singing engagement at a New
York nightclub resulted in a recording contract with RCA.

Shortly afterwards, she wrote and recorded the hit song We’ll Sing In The
Sunshine.In 1968 Garnett left her folk roots behind, embarking on a whole
new direction and recruiting The Gentle Reign to back her timely foray into
the world of psych-rock.Two offbeat and largely forgotten late 60s albums
for CBS resulted, which survive as bona fide collectors’ items from the
heyday of the Haight Ashbury era.Sporting a vocal style somewhere between
Bobbie Gentry and Grace Slick, Garnett and friends turned out an eclectic
mix of styles on both albums that effortlessly moved between trippy psych,
folk rock, pop and most points in-between.
An Audience With The King Of Wands 1968

Sausalito Heliport 1969

Both albums recorded in the late '60s by the sultry vocalist with backing
from the Gentle Reign, a mere smidgen of the woman's immense and unique
talent. Like a lot of Folk-Pop performers who began their careers in the
early- to-mid-'60s, by the end of the decade Gale Garnett seemed to have
drifted into the Rock and Psychedelic scene, hooking up with the band the
Gentle Reign to cut two bizarre albums for CBS: An Audience with the King
of Wands (1968) and Sausalito Heliport (1969). Singer, journalist, actress
(from cult '60s movie Mad Monster Party to My Big Fat Greek Wedding), star
of Scopitones (check Youtube for some delights!), Gale Zoe Garnett is a
marvel and a one-off.

Star Club Informationsplatte (Promo LP) November 1964

Posted: 25 Jan 2020 12:46 PM PST

01 - The Rattles - Do Wah Diddy Diddy.mp302 - The Rattles - Geh zu
ihm.mp303 - James Brown - Out Of Sight.mp304 - The Liverbirds - Shop
Around.mp305 - Lee Curtis & The All Stars - Exstacy.mp306 - The Searchers -
I Sure Know A Lot About Love.mp307 - Jerry Lee Lewis & The Nashville Teens
- High School Confidential.mp308 - Little Richard - Whole Lotta Shakin Goin
On.mp309 - Shorty & Them - House Of The Rising Sun.mp310 - The Roadrunners
- Have You Ever Had The Blues.mp311 - The Rattles - Shame Shame Shame.mp312
- The Liverbirds - Before You Accuse Me.mp313 - Davy Jones - The Night
Time.mp314 - The Blue Sounds Inc. - Twistin' Wihelm Tell.mp315 - Ray
Charles - Sticks And Stones -.mp316 - Millie - What Am I Living For.mp3
Ty to Original Sharer

"I hope for nothing, I fear nothing, I am free"


Caterina Caselli - Casco d'oro (1966)

Posted: 25 Jan 2020 11:08 AM PST



The Spots - Beat Gogo (1967)

Posted: 25 Jan 2020 09:39 AM PST

The Spots German beat band from the 1960s.- aka The Tonics,The Ravers ...
and "Little Joe" Rover And His Party-Riders, James Anderson Band, Lightning
Soul Players, Phil Morris & His Tigers, Ten O'Clock Bubble Gum Train, The
Happy Beat Boys, The Shot-Guns...

Manfred Oberdцrffer,Helmuth Franke ( > Wonderland, James Last),Joachim
Bendorff,Erich Gцtz
Biographie:Von BFX LP Rückseite:Manfred ("Tony") Oberdörffer wurde 1959 in
Hamburg-Horn im Freibad angesprochen, ob er nicht in einer Gruppe als
Sänger mitmachen wollte. Die Gruppe hieß Allround Men und war Hamburgs
erste Skiffle- und Rockband.Dazu gehörten Helmuth Franke, Horst Mewes,
Günther Golz und Joachim Hennings. Sie ware alle so um die 15 Jahre.
Polydor Produzent Jimmy Bowien hörte die Gruppe im Top Ten und lud sie zu
Plattenaufnahmen ein. Er schlug vor den Namen in Gin & Tonic zu ändern und
man einigte sich auf Tonics.Am 29. November 1961 wurde die erste
Plattenaufnahme gemacht: "You Are My Sunshine". Die Gruppe wurde vor allem
als Studio-Musiker eingesetzt, u.a. auf dem Tip-Label, dem Billig-Label von
Polydor. Sie spielten auch unter verschiedenen Pseudonymen Titel
ein.Gitarrist Helmuth Franke verließ die Tonics 1968 um bei der von Achim
Reichel und Frank Dostal frisch formierten Gruppe Wonderland einzusteigen.
Im Anschluß fand er bei James Last seinen Platz.Tony Oberdörffer betrieb
das Projekt Tonics noch bis Ende der 60er Jahre mit wechselnden Musikers
weiterAls Tony gelangen ihm zwei Plattenerfolge mit deutschen Aufnahmen von
Titeln des Sir Douglas Quartett (1969).....Davor erschienen zwei Titel von
ihm als Toni Silver (1967), bereits 1964 als Toni und die Blue Beats und
1965 als Manfred Gerold.Später zog sich Tony Oberdörffer, ein ausgebildeter
Tontechniker, hinter das Mischpult als Produzent zurück.


Rock Archeologia 60-70

Rock Archeologia 60 - 70

The Winkies - The Winkies 1975 (UK, Pub Rock)

Posted: 25 Jan 2020 09:26 AM PST

Исполнитель: The Winkies

Откуда: England

Альбом: The Winkies

Год выхода: 1975

Жанр: Pub Rock

Формат: MP3 CBR 320

Размер архива: 120 МB
Английская паб-рок группа, организованная канадским гитаристом Филипом
Рэмбоу, который переехал в Британию в 1973 году. Группа привлекла внимание
Брайана Ино в то время, когда он заканчивал свой дебютный сольный альбом
Here Come The Warm Jets. В феврале 1974 года группа аккомпанировала Брайану
Ино в его первом и единственном сольном туре. Затем The Winkies подписали
контракт с фирмой Chrysalis Records и записали альбом, продюсером которого
выступил знаменитый ди-джей Guy Stevens, который впоследствии продюсировал
эпохальный альбом London Calling группы Clash. После выхода альбома The
Winkies какое-то время погастролировали и распались. А жаль Обложку диска,
кстати, создали на студии Hipgnosis.


01. Trust In Dick 3:38

02. Mailman It Takes A Lot To Laugh, It Takes A Train To Cry 4:10

03. Put Out The Light 4:56

04. Twilight Masquerade 5:43

05. North To Alaska 2:57

06. Out On The Run 4:31

07. Wild Open Spaces 3:44

08. Long Song Comin 4:12

09. Daveys Blowtorch 3:24

10.Red Dog 5:02


Philip Rambow lead vocals, guitar

Guy Humphrys guitar, backing vocals

Brian Turrington bass, backing vocals, banjo (05), Moog synthesizer (07)

Michael Desmarais drums


Guy Stevens producer


Запись The Winkies The Winkies 1975 (UK, Pub Rock) впервые появилась Rock
Archeologia 60 - 70.

Fingletoad, Strange & Siho - Mazzola 2004 (USA, Psychedelic Rock)

Posted: 25 Jan 2020 03:45 AM PST

Исполнитель: Fingletoad, Strange & Siho

Откуда: USA

Альбом: Mazzola

Год выхода: 2004 (recorded in 1969-1970)

Жанр: Psychedelic Rock

Формат: MP3 CBR 320

Размер архива: 190 МB
Первый и второй альбомы американского трио Fingletoad, Strange & Siho.
Запись была сделана в Чикаго в период с октября 1969 по октябрь 1970 года.
Лирика альбома рассказывает о психоделическом трипе мечтателей с
подростковыми страхами. Саунд отвечает эпохе конца 60-х. В музыке
чувствуется влияние The Beatles, Нила Янга, Джими Хендрикса. Тираж
оригинального издания – 350 копий.


CD 1 (recorded at International Recording Corporation in Chicago in October

01. Marshlands 5:28

02. Forsaken 6:51

03. Salvation 4:39

04. Make You Mine 2:40

05. On The Morning Youre Gone 2:44

06. Screaming Spiders 7:10

07. Woman 5:28

08. Stormy Day 3:19

CD 2 (recorded at International Recording Corporation in Chicago on October
24, 1969)

01. Union Station 2:51

02. A Happy Song 2:19

03. Angela Lee 4:37

04. Babe, Dont Try To Tell Me 6:13

05. Having Been There And Back 2:51

06. City Woman 3:17

07. Twelfth Night Into Summer 4:12

08. It Came And It Went (Bobs Rag) 1:05


Nigel Fingletoad (Roger Glienke) bass, drums, guitars, harmonica,
percussion, piano, recorder, vocals

Neil Strange (Richard LaPointe) guitars, bongos, drums, vocals

Siho (Philip Novak) guitas, bass, vocals, piano


Marc Huseby acoustic guitar

Debbie Matson backing vocals

Susan Husbey harmony vocals

Bob Cabanban bass

Max Bunster Hammond organ

Dave Green drums, foot stomping, percussion


Запись Fingletoad, Strange Siho ‎– Mazzola 2004 (USA, Psychedelic Rock)
впервые появилась Rock Archeologia 60 - 70.

C.W. McCall - C.W. McCall & Co. 1979 (USA, Country)

Posted: 25 Jan 2020 02:10 AM PST

Исполнитель: C.W. McCall

Откуда: USA

Альбом: C.W. McCall & Co.

Год выхода: 1979

Жанр: Country

Формат: MP3 CBR 256

Размер архива: 56.6 МB
Продолжение темы. Шестой альбом в дискографии.


01. Outlaws And Lone Star Beer 1:55

02. Wheels Of Fortune 2:30

03. City Of New Orleans 4:04

04. The Little Things In Life 2:41

05. The Cowboy 2:51

06. Milton 4:04

07. Flowers On The Wall 2:22

08. Silver Cloud Breakdown 2:37

09. I Wish There Was More That I Could Give 3:32

10. Hobos Lullaby 2:59


C.W. McCall vocals

Ron Agnew 6-string guitar, vocals

Walt Meskell 6-string guitar, national guitar, banjo, vocals

Steve Hanson banjo

Ron Cooley 6-string guitar, 12-string guitar, electric guitar

Steve Basore steel guitar

Eric Hansen bass

Jackson Berkey keyboards, vocals

Gary Morris, Sarah Westphalen, Ruth Horn, Milton E. Bailey III Esq.
backing vocals

Steve Shipps, Sue Robinson, David Lowe, Dorothy Brown, Hugh Brown, Miriam
Dufflemeyer, Lucinda Gladics, James Hammond, Joe Landes, Beth McCollum,
Merton Shatzkin, Alex Sokol strings

Chip Davis vocals, drums, percussion, producer, arranger

Don Sears producer, engineer


Запись C.W. McCall ‎– C.W. McCall Co. 1979 (USA, Country) впервые
появилась Rock Archeologia 60 - 70.

Nemo - Nemo 1973 (France, Progressive/Jazz Rock/Funk/Fusion)

Posted: 24 Jan 2020 01:40 PM PST

Исполнитель: Nemo

Откуда: France

Альбом: Nemo

Год выхода: 1973

Жанр: Progressive/Jazz Rock/Funk/Fusion

Формат: MP3 CBR 320

Размер архива: 114 МB
Дебютный альбом оригинальной французской супер-группы, образованной в 1972
году, в составе которой были музыканты из Ergo Sum и Cruciferius, а также
клавишник и художник François Bréant. Группа исполняла интересную смесь из
прог-рока, джаз-рока и фанка, и выпустила два альбома, одноименный
Nemo(1973) и Doin Nuthin”(1974), после чего в 1975 году распалась.


01. Kick A Tin Can 3:21

02. Obra Del Arroyo 4:15

03. Little Nemo 3:03

04. Jungle Jim 4:32

05. Call Me Friend Of Brain 4:19

06. Straight Man 3:31

07. With Duane Again 4:16

08. Attilah 2:17

09. Grandeur Et Misère Du Pérou 7:57


Marc Perru guitar, vocals

Pascal Arroyo bass guitar, piano

Emmanuel Lacordaire percussion, guitar

François Bréant electric piano, organ, vocals

Clément Bailly drums


José Bartel producer


Запись Nemo Nemo 1973 (France, Progressive/Jazz Rock/Funk/Fusion) впервые
появилась Rock Archeologia 60 - 70.

Nemo - Doin Nuthin 1974 (France, Progressive/Jazz Rock/Funk/Fusion)

Posted: 24 Jan 2020 01:35 PM PST

Исполнитель: Nemo

Откуда: France

Альбом: Doin Nuthin

Год выхода: 1974

Жанр: Progressive/Jazz Rock/Funk/Fusion

Формат: MP3 CBR 320

Размер архива: 114 МB


01. Black Art 2:50

02. Doin Nuthin 3:04

03. Manutension 6:28

04. Bouleau Bleu 3:35

05. Suzy Chong Song 3:04

06. Baron Samedi 5:08

07. Try And Be Yourself 5:09

08. The Waving Theme 2:04


Marc Perru guitar, vocals, vibraphone, drums, percussion

Pascal Arroyo bass guitar, piano, organ, vocals

Emmanuel Lacordaire percussion, guitar, drums

François Bréant electric piano, organ, vocals

Clément Bailly drums, cabasa


Albert Marcœur alto saxophone, clarinet, bass clarinet

Claude Samard dobro (03)

Arthur Young, Ronnie James trumpet (01, 08)

José Bartel producer, gong, vocals


Запись Nemo Doin Nuthin 1974 (France, Progressive/Jazz Rock/Funk/Fusion)
впервые появилась Rock Archeologia 60 - 70.

Drops - Drops 1976 (Denmark, Jazz Rock/Funk/Fusion)

Posted: 23 Jan 2020 03:32 PM PST

Исполнитель: Drops

Откуда: Denmark

Альбом: Drops

Год выхода: 1976

Жанр: Jazz Rock/Funk/Fusion

Формат: MP3 CBR 320

Размер архива: 93.8 МB
Единственный альбом датской джаз-рок группы, записанный в начале декабря
1975 года на Werner Studios в Копенгагене.


01. Minitransport 8:27

02. Sambad 2:55

03. Omkring Et Trommeslag 7:53

04. Alle Gode Gange Tre 9:15

05. Koernes Sang 5:23

06. Alene I Mængden 7:04


Poul Freiber guitar

Peter Ingemann bass, voice

Jesper Nehammer soprano saxophone, tenor saxophone, flute

Henrik Langkilde electric piano, synthesizer

Jesper Thorup drums


Запись Drops Drops 1976 (Denmark, Jazz Rock/Funk/Fusion) впервые появилась
Rock Archeologia 60 - 70.

Music 60-70


Death - Symbolic 1995 (USA, Technical Death Metal)

Posted: 25 Jan 2020 08:17 AM PST

Исполнитель: Death
Откуда: USA
Альбом: Symbolic
Год выхода: 1995
Жанр: Technical Death Metal
Длительность: 50:30
Формат: MP3 CBR 320
Размер архива: 121 МБ (с 3% на восстановление)

Inker & Hamilton - Person To Person 1981 (Germany, Pop-Rock, Folk-Rock)

Posted: 25 Jan 2020 07:32 AM PST

Исполнитель: Inker & Hamilton
Откуда: Germany
Альбом: Person To Person
Год выхода: 1981
Жанр: Pop-Rock, Folk-Rock
Длительность: 40:12
Формат: MP3 CBR 320
Размер архива: 96,6 МБ (с 3% на восстановление)

Old Melodies ...

Old Melodies ...

The Standells - Live and out of Sight (1964)

Posted: 24 Jan 2020 01:53 PM PST

Larry Tamblyn (keyboards, vocals)Tony Valentino (lead guitar)Gary Lane
(bass)Gary Leeds (drums)

This is an early concert performance (apparently in 1964) by the Standells;
the band later reinvented itself under the direction of songwriter and
producer Ed Cobb as proto-punk heroes with songs like their #11 1966
hit "Dirty Water". While the band is proficient enough in their
performances, there is little on this album to suggest that the band would
head in this direction; the songs are mostly established rock and roll
standards even at that time: "Ooh Poo Pah Doo", "Bony
Maronie", "Money", "So Fine", etc. The album opens with "Louie Louie";
unlike the 1963 hit version by the Kingsmen, all of the lyrics are clearly
audible and are faithful to Richard Berry's original song. Side 2 opens
with two Larry Tamblyn originals that fit right into the playlist, "Shake"
and "Peppermint Beatle", with the latter being a purported dance craze (a
combination of the Peppermint Twist and the Beatles I suppose). Though of
mostly historical interest now, the album provides an innocent and
nostalgic trip back to a long-gone era.


The Standells - Riot On Sunset Strip & Rarities- 1967

Posted: 24 Jan 2020 01:27 PM PST

For this volume in their series of Standells two-fers, label of reissue Big
Beat wisely paired two subsidiary releases, the soundtrack of the 1967 film
Riot on Sunset Strip (to which the band contributed two songs) and a brief
rarities compilation. The first leads off with the title track, one of the
Standells' brightest moments, then proceeds through nine tracks of
low-grade yet occasionally intriguing teen-exploitation fare from a cast
including the the Chocolate Watchband and the Sidewalk Sounds, plus a band
named the Mugwumps that has nothing to do with the Cass Elliot-affiliated
conglomeration. The rarities disc has a few interesting moments from the
Standells, including the time-signature shifts of "Love Me" and the
Dylanesque ambiguities of "Our Candidate," but as expected, doesn't
contribute much to their discography. Definitely a collector's release, but
general garage fans will want to hear it simply for the period sound and


The Spencer Davis Group / Traffic /Andy Ellison - Here We Go 'Round The
Mulberry Bush (OST) 1968

Posted: 24 Jan 2020 12:53 PM PST

Review by Richie UnterbergerAlthough not a proper Spencer Davis Group
album, eight of the fourteen songs on the soundtrack to this silly
late-'60s British flick were by the group (most done, alas, just after the
departure of Stevie Winwood). There were also three tunes from Traffic, and
a nice orchestral-psychedelic oddity from Andy Ellison (lead singer of
John's Children). Heard in isolation from the movie, the album tends to
highlight just how important Winwood was to the Spencer Davis Group, whose
numbers are pleasant, almost stereotypically late-'60s London pop
throwaways. "Waltz for Caroline," which does feature Winwood, is an
organ-dominated instrumental that is identical to the cut titled "Waltz for
Lumumba" on other SDG releases; "Picture of Her" is a ringer for the kind
of songs Jack Bruce and Peter Brown wrote for Cream. Better are Traffic's
more soulful contributions, especially the title track. The CD reissue has
liner notes by scriptwriter (and authorized Beatles biographer) Hunter

LP cover 1968

CD PRM 1997

VA - What's the Rush, Time Machine Man?: Psychedelic Jumble, Vol. 1

Posted: 24 Jan 2020 12:00 PM PST

Album, featuring 20 slices of impossibly rare British pop-psych, all
previously unreleased at the time! A fantastic collection of beautifully
restored gems, rescued from acetates, tapes and wax discs, including
material from Tintern Abbey [the proposed follow up to their
Ł1000-rated 'Beeside' single], Opal Butterfly [featuring a pre-Hawkwind
Lemmy & Simon King], Penny Peeps [featuring a pre-Jethro Tull Martin
Barre], Honeybus, Rupert's People and many more, dazzlingly packaged in the
tried & tested Rev-Ola Fashion


The Applejacks - Tell Me When (1965)

Posted: 24 Jan 2020 10:34 AM PST

Al Jackson (Vocals), Martin Baggott (Lead Guitar), Phil Cash (Rhythm
Guitar), Don Gould (Organ), Megan Davies (Bass), Gerry Freeman (drums).

A minor British Invasion group that had three hits in the U.K. (but none in
the U.S.), the Applejacks are principally known -- if anyone remembers them
at all -- for covering a John Lennon-Paul McCartney composition that the
Beatles never released in the '60s, "Like Dreamers Do." Their jaunty,
lightweight pop/rock could have easily been mistaken for that of a
Merseybeat combo, though they actually hailed from the town of Solihull,
near Birmingham. The sextet also attracted more attention than the average
generic 1964 British pop group due to the presence of one female member,
Megan Davies, on bass. The overwhelming bulk of their material, however,
was pleasantly bland or downright boring, and they issued just one single
after 1965. Forming in 1961 as the skiffle trio the Crestas, the band soon
expanded their personnel, moved into electric rock, and changed their name
to the Applejacks the following year. Decca issued their first
single, "Tell Me When," in early 1964, and while this was among the more
unmemorable British beat pop/rock hits from the time, it made it to number
seven in the U.K. They were fortunate enough to procure "Like Dreamers Do"
from Lennon and McCartney when they met the pair at a television rehearsal.
The tune had been recorded by the Beatles in January, 1962, at their
unsuccessful audition for Decca (this version is now available on the
Beatles' Anthology 1), and like much of the Beatles' early rejects, was in
a more lightweight mode than the Lennon-McCartney tunes they chose to
enshrine on record. the Applejacks' version, featuring (as many of their
tracks did) a rinky-dink piano, was nonetheless inferior to the Beatles'
old demo, but did make it to number 20 in the British charts. Oddly,
considering the American hunger for almost anything by the Lennon-McCartney
songwriting team in mid-1964, it did nothing in the States. the Applejacks
wrote very little of their own material, filling their recorded repertoire
with tunes supplied by British popsmiths such as Geoff Stephens and Peter
Dello (later in Honeybus), as well as hackneyed covers of American '50s
rock standards. While their discs had peppy harmonies, they were on the
whole among the wimpier fare of the British Invasion fare, with a shortage
of outstanding melodies. "Three Little Words (I Love You)" provided them
with their final British Top 30 entry in late 1964. After a now-rare 1964
album and seven British 1964-1965 singles (including the first version of
the Ray Davies composition "I Go to Sleep," which was not released by the
Kinks at the time), they made just one more recording, a 1967 single for

This 20-track compilation contains everything from their 1964 self-titled
LP, as well as both sides of their three 1964 singles and a cover of Ray
Davies' "I Go to Sleep" (found on a 1965 single). Its quaintness and lack
of strong tunes (only one of which was a group original) limit its worth to
British Invasion obsessives for the most part, with some value for Beatles
completists due to the hit cover of "Like Dreamers Do." "No Time," one of
several songs co-written by future Honeybus main man Pete Dello, is about
the best song, with its moody melody; at their most energetic (as on "See
If She Cares") they sound a bit like Gerry & the Pacemakers. The covers
of '50s rock classics are dire, but the reading of Davies' "I Go to Sleep,"
with its eerie organ and high yelping backup vocals, has some curiosity
value as the first cover of this song, which the Kinks did not release in
the 1960s. Even with 20 tracks, this adds up to just under 50 minutes.
Since anyone who bothers to find an Applejacks compilation would probably
want anything the group did, it's too bad Deram didn't also include the
other non-LP tracks from their 1965 singles (as well as the cover of the
Beatles' "Baby's in Black" that turned up on a mid-'60s various-artists
compilation), for which there was certainly room.

Ashtrays - Album, Singletracks & Demos (1965-69)

Posted: 24 Jan 2020 06:24 AM PST

The Ashtrays were a danish band from Humlebæk. Their only album "Ga Go Gu"
from 1968 was one of the few psychedelic releases that came out of Denmark.
In 2002 the album was re-issued on CD (Frost Records 0706) together with
their lone single and some demo and live tracks. Dag Erik AsbjГёrnsen
described it in his book "Scented Gardens Of The Mind" as a "very obscure
Danish flower-power with a swingin' London feel comparable to Skip Bifferty
and Rainbow Ffolly". While I wouldn't go thus far I must admit that they
had some fine songs. A bit of a turn-off is the weak production but the
patient listener will go along with "Simon Smorney", "In My Life" (NOT the
Beatles song), "Come And Stay" and "You Bring Me The Sunshine".


Bari & The Breakaways - Let's Take A Sea Cruise! (1966)

Posted: 24 Jan 2020 06:16 AM PST

Bari and The Breakaways Personel:Bari Gordon (Lead Guitar) Dave Orams
(Bass) Keith "Midge" Marsden (Rhythm Guitar) Bryan Beauchamp (Lead Vocalist
/ Drums)

Teenage R & B groups were thin on the ground in New Zealand in early 1965.
Auckland had The Dark Ages, Christchurch had Chants R & B, and Wellington
had Bari and The Breakaways, the most successful of this early bunch of
teenagers inspired by The Rolling Stones, The Kinks, The Pretty Things, and
the raucous side of The Beatles who all toured New Zealand in 1964 and 1965.
Since emerging from the Taranaki province onto the Wellington pop scene in
late 1964 Bari and The Breakaways - Bari Gordon (lead guitar),
Keith 'Midge' Marsden (rhythm guitar), Dave Orams (bass), and Bryan
Beauchamp (vocals and drums) - had steered clear of obvious chart fodder.
Midge Marsden: "We were picking up alot of songs from the American sailors
that came in to port. We were the playing the Mexicali and all the United
States navy icebreakers would come in, and they'd be in port for weeks at a
time (they came to break up ice at Antarctica). They'd all club out. It was
the first time I'd seen alot of black people in one hit.
"They invited us down to the ship. It'd be early in the morning, and they'd
have these juke boxes of stuff we never heard - Chuck Berry and Bo Diddley,
John Lee Hooker, soul stuff - we'd get these records and take them home,
and tape them, and learn them the next day. We'd be playing them that night
- the hottest sounds from America. The other bands would be asking were we
got them. It was very competitive as to who got the new songs first."
The Breakaways' sets were further fortified by their signing to HMV Records
in early 1965. Bryan Beauchamp: "HMV would arrive at our flat with a box of
records. They weren't going to released in New Zealand until we'd had a
listen to it. We'd pick out a dozen or more to have a crack at live.
Announce them as "The latest release from England.
"If it wasn't their tough new sounds that were getting them noticed, it was
their ever lengthening hair and stylish mod gear. When they returned home
to New Plymouth in early 1965 "for a short rest from amplified chords,
buzzing microphones and cold coffee," they were undoubtedly on the rise.
John McBeth in the Taranaki Sports Post noted that the group who'd
left "un-noticed, had climbed to success in New Zealand's land of shaggy
hair and the big beat."
Bari and The Breakaways had appeared on the hot Let's Go TV show performing
the Kinks' All Day and All of the Night, picked up a rising pop manager in
Tom McDonald and opened the Lower Hutt Teenarama, also playing around
Wellington at the Hideaway, the Wellington Teenarama and the Sorrento, and
out in the surrounding provinces at Palmerston North, Foxton, Otaki, and
Shannon as a featured act on Tommy Cooper's popular Talent Shows.
The welcomes were raucous. At Levin, Bari got attacked by a fan who cut off
some of his hair and normally reserved Foxton swarmed over the stage.In
January 1965, they were off to Christchurch for a two week stint at the
Safari in Christchurch, where The Breakaways struck up a strong friendship
with kindred spirits, Chants R & B.
Midge Marsden: "We lived in Christchurch for a few months. Did a residency
there and we'd hang out with the Chants as much as possible. We were group
brothers. They dug what we were doing too, as an R & B band." R & B fans at
the Chants' cellar club hangout, The Stage Door, were treated to several
impromptu Breakaways shows.
The next month, they were booked to play the Taranaki section of the Let's
Go tour with fellow Taranaki boy Lew Pryme, and the Pleasers. Better still,
they'd signed to HMV Records and their first disc (recorded only as a demo
and released in March 1965), a clean clipped version of The Who's first
single I Can't Explain, and a version of The Kinks' first single, Long Tall
Shorty, was out. They promoted Long Tall Shorty on Wellington Television's
Teen Scene show shortly after.
The embryonic beat group "with a weakness for slow chugging blues and
wistful ballads" who left Taranaki in late 1964, without a bass player,
were now on the cusp of local pop stardom. Lead guitarist Bari Gordon and
bassist Dave Orams were a long way from New Plymouth dance band, the Nite
Lites, the band they'd both cut their musical teeth in. The distance to the
Blue Diamonds, the beat band, Bari formed in 1964 to rev up the audience
and play behind the featured artists such as Dinah Lee, Tommy Adderley and
John Hore on Johnny Cooper's Talent Shows, was less.
When the line-up settled on Bari (lead guitar), his sister's boyfriend,
guitar novice, Midge Marsden, and Auckland drummer Bryan Beauchamp, they
were only a steady bass player away from a solid unit. Tim Nuku and Colin
Lambert had been tried and dropped by the time Bari secured a December 1964
opening at a Phil Warren dance in Wellington. Dave Orams was up for it.
Time for a name change to Bari and The Breakaways as suggested by popular
soloist Tommy Adderley.
With R & B breaking bigtime in the charts in 1965, Bari and The Breakaways,
secured more work and the kudos of being on top of a trend before it
broke. "Better than ever - wild and unpredictable", said their ad for the
Hide-A-Way in Victoria Street.
Out in the suburbs, particularly R & B strongholds, Wainuiomata and the
Hutt Valley, The Breakaways were packing them in. Further out in provincial
Waiarapa and Manawatu, they were experiencing a localised form of pop
Beauchamp: "In Waiarapa we became an overnight sensation. Every night it
was packed. They went totally berserk in Masterton. Our records went
straight to top of the hit parade there. We were huge in Hawera and
"They found time to back a number of HMV solo artists on disc, including
Lew Pryme. A new single of their own appeared in October 1965; a sharp
version of Frankie Ford's Sea Cruise backed with a hard R & B tune, Tough
Enough. It was the band's biggest hit, described by Marsden as "our finest
In December 1965, Midge Marsden was called up for three months of
compulsory military training, making the news pages of The Dominion in the
process. The bad news kept coming. Bari decided to leave to get married.
They'd also been tensions in the group over money, musical direction and
the desire of Beauchamp and Orams, and to a lesser extent Marsden, to
further mine the earthier sounds of R & B. Bari had always a pop man. He
bowed out with Old Man Mose, a Swinging Blue Jeans album track and tribute
to jazz pianist Mose Allison.
With Midge out of action for three months, The Breakaways shortened their
name, and recruited 17 year old Palmerston North guitarist Dave Hurley,
late of Palmerston North's Saints.Beauchamp: "We were starting to develop a
heavier R & B sound style. Bari didn't have the feel for it. We'd heard
Dave Hurley with The Saints in Palmerston North. He had the real feel, the
Chuck Berry riffs."
With their first album half-completed, and Beauchamp handling lead vocals
from behind the drums, the three-piece Breakaways headed for Nelson, and a
resident season in the popular South Island city and resort playing the Top
Twenty Coffee Lounge, Wednesdays six - 12 p.m. It wasn't a good time for
long-haired musicians to be playing the provinces.
Dave Orams: "We got a hard time from police, truckies. We were asked to
leave our rental house. The neighbours didn't like having long-haired
musicians next door. So we were sleeping on the floor in the coffee bar.
The police saw us climbing up the back stairs one day, said: "If you're
staying here, you're in big trouble."
"We were sleeping in the car. Broke in a sports hall one night and slept
under gym mats. Then we were walking down the street one day and these big
burly truckies with spanners and black woolly singlets, jumped out,
saying; "If you don't get your hair cut in a week, we'll cut it for you."
They moved South to Christchurch, playing a return date at The Safari Room,
followed by shows in Timaru, Oamaru and Dunedin. In May 1966, they started
recording the rest of their first album Let's Take a Sea Cruise with Bari
and the Breakaways, which would include Bari-era recordings. It was an
interesting mix of tracks reflecting the group's R & B passions, Beauchamp
and Orams offbeat taste for the Everley Brothers and a Dave Orams original,
All For One, which he also sang.
The next month, they were back in HMV studios recording the backing for
Murray Marsden (ex-Countdown) on It's A Crying Shame/ Lipstick Traces, a
service the Breakaways also provided for female vocalist Gwynn Owen.
On the live front, they continued impressing and progressing, stalled just
before the big-time. They were one of the biggest bands in the biggest
scene in New Zealand, but still Auckland remained elusive. Even with their
records in the Auckland hit parades and Harbour City radio, The Breakaways
were still unable to break through the Auckland-Wellington pop divide.
They played as far up the island as Te Awamutu with "singing compere Bari
Gordon" and at the Starlight Ballroom in nearby Hamilton in September,
promoting their latest single, A Travelled Man, backed with Perhaps I'll
Settle Down.
Back in Wellington, Lew Pryme, then working as a journalist for the Truth
checked out The Breakaways current attire and was impressed: "Their stage
makeup is as mod as Carnaby Street. They have stage suits made from
outlandish tartan checks and bell bottomed trousers tailored from Union
Jack patterns."
The Breakaways second HMV Studio recorded album was near complete. In
December, they released their first original as the topside of a single
Despair, written by Dave Orams and Bryan Beauchamp on Orams' parents'
piano, and backed Dene Hunter on his version (of Them's version) of Paul
Simon's Richard Corey.
Bryan Beauchamp, who sung lead on most of the band's records, was eyeing a
solo career. He'd already had his first outing as a soloist at The Place
(in inner-city Wellington) in November. He stuck around for three shows as
lead vocalist while new drummer Doug Thomas of New Plymouth's Rex and The
Roadrunners fitted in (Thomas also played on two second album tracks), then
the "little guy with the big sound" as he'd be billed, finally departed.
He'd be missed, but he'd done everything he thought he could with the band.
They'd stopped moving forward. They should really have gone to Australia,
says Beauchamp now, but it never happened. Midge (long since honking away
on harp) and Dave took over the vocals.
The Breakaways spent the Christmas season at Timaru in the South Island
ladding about with The Echophonics and The Boys.
When they returned to Wellington, they finally inquired about the money
they'd been making over the frantic previous two years. When it wasn't
accounted for to Dave Hurley's satisfaction, he quit the band.
In February, the Breakaways released their last single Walk Right Back,
backed with Baby, Please Don't Go. After a brief break-up, they reformed in
March 1967, with Tim Piper, late of Christchurch's Chants R & B on guitar.
Dave Hurley soon returned, but The Breakaways were all but spent. They
played a big Lower Hutt Town Hall Jamboree in April with Wellington's top
pop acts (and a solo Bryan Beauchamp) and in May, the same year, finally
lined up Auckland.
The group knew that they had to break Auckland to survive, but after a show
at the Galaxie, and an appearance on TV pop show C'mon, they broke up
instead. Their second album, The Breakaways, was released posthumously.
Bari Gordon, who'd been working as a promoter, died suddenly under
mysterious circumstances in a New Plymouth hotel room in January 1969 aged
just 22.
Midge: "I guess we'll never know why. He was depressed. His marriage had
fallen apart. He'd lost a lot of money on a La De Das tour. He booked
himself into the Criterion hotel in New Plymouth for the weekend. By Sunday
morning, he was dead.
"Death by OD was a pretty rare occurrence then. We were beside ourselves
with guilt. He was a good mate - got me my start. He was quite innovative
for his time. Good at getting contacts. He was focused for a farmer's son
from Stratford."
Midge Marsden continued on in music, never really losing his passion for R
& B. He still performs today. Dave Orams went on to The Bitter End and The
Underdogs. He now lives in Australia. Bryan Beauchamp is back in Taranaki.
Dave Hurley played in a number of bands before founding Mandrill Studios in
Auckland.© 2000 - Andrew Schmidt

1966 debut album from the Beatles inspired Rhythm and Blues outfit,
originally from New Zealand. Includes their UK hit "Sea Cruise." Originally
credited only as The Breakaways, this album includes tracks written by
original singer Bari Gordon who left the group earlier that year. One of
the many bands of the time who's lead singer was also their drummer, in
this case Bryan Beauchamp, the Breakaways went through numerous line up
changes recording only two albums. Twenty nine track album includes "I
Can't Explain", "Dancing In The Street" and "As Tears Go By"more
information this site:

Pete Miller (Big Boy Pete) - Summerland (1966-68)

Posted: 24 Jan 2020 06:02 AM PST

This mysterious British guitarist Pete Miller cut some oddball non-hits in
the '60s that have amassed quite a reputation among psychedelic collectors.
Starting out as a member of minor British group Peter Jay & the Jaywalkers,
he went solo in late 1965 with "Baby I Got News for You," a Troggsish
number with wads of fuzzy guitar. Billed simply as "Miller," Pete was
backed on the recording by Peter Frampton and members of the Herd.

For the next few years he concentrated on writing for British music
publishers, and recording demos for himself. A second single, "Cold
Turkey," this time billed to Big Boy Pete, was issued in early 1968. With
its eerie blasts of spaceship-elevator psychedelic guitars and biting
mod-psych vocals, "Cold Turkey" fully deserves its classic status, though
few heard it at the time. In a further twist to the already odd Big Boy
Pete story, Miller refused to tour; a different singer was sent out in his
place, leading to a good deal of "who really was Big Boy Pete" speculation
among serious '60s historians before the confusion was cleared up.

Miller/Big Boy Pete eventually relocated to San Francisco to work as a
producer and engineer, occasionally releasing albums on tiny labels. "Cold
Turkey" and (to a lesser extent) "Baby I Got News for You" were reissued on
compilations of '60s British psych/mod rarities, and the Damned (under the
guise of Naz Nomad & the Nightmares) covered "Cold Turkey." Several albums
of unreleased late-'60s Big Boy Pete demos have been issued.

Summerland has the same eerily compressed production values featured on the
brilliant psychedelic work of Pete Miller, his vocals slathered in echo and
almost crawling out from beneath the music. But whereas that vocal effect
worked to perfection on his trippiest work, in the more conventional
pop-demo setting of Summerland, it instead exposes his limitations as a
singer, perhaps the only reason he never became a well-known figure in the
Brit-pop world of the '60s. That is quibbling, to say the least, because
his vocals, while not rangy, are still full of warmth and alluring mystery.
But otherwise, there is no logical explanation for such a criminal
oversight in the annals of rock & roll. Miller was an astoundingly unique
songwriter -- possibly one of the most weirdly idiosyncratic from the era
-- and that is plenty evident even on the more "commercially" oriented
material collected on this reissue. All the songs were written and recorded
between February 1966 and February 1968, the same stretch during which he
was also virtually inventing (or at least helping to invent) oddball
British psychedelia, and the music strongly reflects that sonic influence.
So as usual, even his mainstream-targeted music is not exactly flying
straight. Summerland, however, like most of his other work, squarely hits
the bull's-eye. Miller runs through galloping psychedelia ("Where Did It
Go?," with its freakish guitar solos), angst-filled pop ballads, lurching
rock, even proto-country-rock lopes on "Forget Me Not" and "Sweet Talk
Town," as well as the expected British invasion beat music influences on
the excellent "Oh Miss Halliday," with each song spotlighting his extensive
melodic skill. The amazing thing about the music (besides its diversity),
though, is that it doesn't really sound like any music that came before or
after it, and it is not at all beholden to the main influences of its era.
If not as readily accessible to the public, Miller was every bit as
individual in his way as the Beatles or Bob Dylan were in theirs, which is
saying something indeed. Some of these songs are touched by a far-out
mysticism, but generally, he penned a set of lyrics that were much more
grounded in early romance, particularly of the teenage variety, and are far
more straightforward than his trippy, Edward Lear-by-way-of-Joe Meek
opuses. And Summerland isn't as consistently exceptional as his psychedelic
collections -- maybe partly because one expects glorious eccentricity from
Miller -- but it often reaches significant highs that make his neglected
reputation all the more tragic.

Ricky Brown & The Hi-Lites - The Liverpool Beat !

Posted: 24 Jan 2020 05:48 AM PST



Ian and The Zodiacs - Gear Again 12 HITS

Posted: 24 Jan 2020 05:28 AM PST

Biography by Bruce EderIan & the Zodiacs had one of the longest histories
of any band working in Liverpool, which makes their utter obscurity in that
city even more of a puzzle, considering that they had a cool name and
played R&B well enough to become stars in Germany. The band's roots go back
to the Zodiacs, a trad jazz (i.e. Dixieland) outfit formed in 1958 as a
sextet that included future Fourmost drummer Dave Lovelady -- they switched
to rock & roll soon after.
The original Zodiacs stayed intact through the spring of 1960, when lead
guitarist Pete Pimlett exited and Ian Edwards, late of the Deltones (who
attended the same school as the Zodiacs) came aboard, along with Charlie
Flynn, from Kingsize Taylor & the Dominoes. The core lineup of Ian & the
Zodiacs, as they were named in 1960, was Edwards on guitar and vocals, Pete
Wallace on lead guitar, Charlie Flynn on bass and vocals, Cliff Roberts on
drums, and Geoff Bethell at the piano. This was the lineup that held for
much of the early '60s, through 1964, when Bethell and Roberts left.
It was in 1964 that, after years of languishing in obscurity in Liverpool,
the band went to Germany and became major stars -- they were supposed to
stay for a few weeks and didn't really leave for three years. Their lineup
was still a bit fluid, with ex-Lee Curtis All-Stars drummer Joe Walsh
eventually settling in, until he left, and Wallace and Flynn exited for the
Connoisseurs, to be replaced by Arthur Ashton (lead guitar), Freddie Smith
(drums), and Tony Coates (bass). By that time, the group had cut three LPs
(that's one more than Gerry & the Pacemakers, who'd topped the charts in
England, got to do) that were released exclusively in Germany on the Star
Club label, which was part of Polygram, and two albums of Beatles covers
issued under the name the Koppykats.
The group had several label relationships during their three major years,
initially with Oriole and then with Mercury, Philips, and Fontana. Their
audience was centered in the German-speaking world, despite some attempts
at releasing their work in England and America. In addition to their three
German LPs and the Beatles cover albums, they cut an album, Gear Again,
that turned up on Mercury Records' budget Wing label in 1965. The group's
three Star Club albums, Star Club 7, Just Listen to Ian & the Zodiacs, and
Locomotive! (of which the last was heavily soul-oriented) have turned up on
CD in the '90s from the Repertoire label.
The group's sound on records was centered on covers of Motown songs
("Beechwood 4-5789"), current U.S. hits ("Message to Martha," an adaptation
of the Dionne Warwick hit "Message to Michael"), U.K. hits ("The Crying
Game," which actually managed to chart in Texas during 1965), blues ("Good
Morning Little Schoolgirl"), plus some forays into pop-jazz ("Wade in the
Water"), some of which were released in America, once the possibility of
finding an audience in the U.S. was understood. Until the reissue of the
three German albums, they were represented best on Oriole's two-volume LP
series This Is Merseybeat, doing a cover of Little Eva's "Locomotion"
follow-up, "Let's Turkey Trot," on the first volume, and, on the second,
George Gershwin's "It Ain't Necessarily So." Apart from the excellent "Wade
in the Water," which stood on its own terms. They broke up in 1967 when
Edwards shut down the group to return to England when his wife became ill.

Mandy And The Girlfriends - Mandy And The Girlfriends

Posted: 24 Jan 2020 05:24 AM PST

The focus on the pop scene may have been Liverpool and London in the 1960s,
but Hull spawned a girl group with an international following.
Hilary Morgan and Margaret Wedgner were two members of the 1960's group,
Mandy and the Girlfriends who came into the Late Show to tell of their days
touring and performing with the group from Hull. The line-up wasn't
consistent throughout the group's life, but Margaret who was on bass and
vocals and Hilary (the only non-singer in the group) who played drums, were
at the group's core. Other members of the group were Karen Baker, Lynda
Harrison, Lesley Saxil-Neilson and Merle Prior. 'Mandy' Smith was a
vocalist who worked with a number of local groups.
As teenagers, the group came together with the full support of their
parents and set out entertaining the crowds in clubs principally around the
city of Hull but also they travelled further afield. They were chaperoned
by a Mrs. Smith who looked after the girls, helping them in their
endeavours. Margaret and Hilary talk with deep affection about the times
they had, including playing with The Animals. Margaret in a project after
the Girlfriends, also recalls playing at the same venue as The Who in
Hull.60s Female Group 352
The all-female line-up attracted a great deal of attention, none more so
than when they toured US airbases in Germany in the mid-1960's. Going on
the German tour was a big decision. The group gave up the chance of
appearing on the TV show, Opportunity Knocks, which at the time had an
audience of millions. They'd passed the audition stage in Hull but took the
decision to work abroad. Hilary says that for her, playing in the band was
all that mattered and loved the thrill of playing before a large
crowd.Woman playing drums 200
The attention they received from the US troops was rapturous. It was the
time of the Vietnam war and a lot of troops passed through the three bases
the girls toured. It was a gruelling schedule, they spent a year at the
bases, interspersed with breaks which brought them back to Britain for a
month's leave. Hilary had a 'souvenir' from the German tour, she became a
GI bride.
During their German tour they recorded an album of songs, but had also
recorded in this country notably with Keith Herd of the Fairview Studios.
Margaret recalls recording 12 songs in a four hour period in a room with
walls covered with egg boxes to help insulate the room and provide the
correct acoustic. Songs were recorded in one session and
not 'multi-tracked' where instruments are recorded separately and then
mixed together to form one song.
Margaret and Hilary speak at length about the formation of the group,
performing, recording, life in Germany and very importantly the clothes.
They also lament the loss of the venues where live bands can play. They say
that since the smoking ban in public places came into force they've noticed
a big decline in audiences at events they've attended in recent times.

One of the rarest german longplayer from label Kerston.

The Cake - More Of The Cake Please [Flac]

Posted: 24 Jan 2020 05:21 AM PST

Biography by Richie UnterbergerAlong with the Shirelles and the Ronettes,
the Shangri-Las were among the greatest girl groups; if judged solely on
the basis of attitude, they were the greatest of them all. They combined an
innocent adolescent charm with more than a hint of darkness, singing about
dead bikers, teenage runaways, and doomed love affairs as well as ebullient
high-school crushes. These could be delivered with either infectious,
handclapping harmonies or melodramatic, almost operatic recitatives that
were contrived but utterly effective. Tying it all together in the studio
was Shadow Morton, a mad genius of a producer who may have been second in
eccentric imagination only to Phil Spector in the mid-'60s.
Originally the Shangri-Las were comprised of two pairs of sisters from
Queens, NY (identical twins Marge and Mary Anne Ganser and siblings Mary
and Betty Weiss). They had already recorded a couple of obscure singles
when they were hired by George "Shadow" Morton to demo a song he had
recently written, "Remember (Walkin' in the Sand)." The haunting ballad,
with its doomy "Moonlight Sonata"-like piano riffs, wailing lead vocal, and
thunderous background harmonies, seguing into an a cappella chorus backed
by nothing except handclaps and seagull cries, made the Top Five in late
1964. It also began their association with Jerry Leiber and Mike Stoller's
Red Bird label, which would handle the group for the bulk of their career.
The quality of Morton's work with the Shangri-Las on Red Bird (with
assistance from Jeff Barry and Artie Butler) was remarkable considering
that he had virtually no prior experience in the music business. The
group's material, so over-the-top emotionally that it sometimes bordered on
camp, was lightened by the first-class production, which embroidered the
tracks with punchy brass, weeping strings, and plenty of imaginative sound
effects. Nowhere was this more apparent than on "Leader of the Pack," with
its periodic motorcycle roars and crescendo of crashing glass. The
death-rock classic became the Shangri-Las' signature tune, reaching number
Several smaller hits followed in 1965 and 1966, many of them
excellent. "Give Him a Great Big Kiss" proved they could handle more
conventionally, bubbly girl group fare well; "I Can Never Go Home Anymore,"
a runaway tale that took their patented pathos to the extreme, would be
their third and final Top Ten hit. These all show up on oldies collections,
but lots of listeners remain unaware of the other fine singles in their
catalog, like the moody "Out in the Streets," the dense orchestral swamp
of "He Cried" (which cuts Jay & the Americans' original, "She Cried," to
pieces), and another teen death tale, "Give Us Your Blessings." Some of
their best songs, in fact, were B-sides; "Dressed in Black," yet another
teen death drama, had a marvelously hushed and damned atmosphere,
and "Paradise" was co-written by a young Harry Nilsson. Their most unusual
single of all was "Past, Present and Future," which didn't feature a single
sung note, presenting a somber spoken monologue and occasional spoken
background chants over a classical piano track reminiscent of "Remember
(Walking in the Sand)." It was too unconventional to rise above the middle
of the charts, especially given that the narrative could quite possibly be
construed as the recollections of an assault/rape victim.
Unlike some girl groups, the Shangri-Las were dynamic on-stage performers,
choreographing their dance steps to their lyrics and wearing skin-tight
leather pants and boots that were quite daring for the time. Their real
lives, however, were not without elements of drama themselves. Their
constant personnel changes baffle historians; sometimes they are pictured
as a trio, and sometimes one of the members in the photos is clearly not
one of the Weiss or Ganser sisters. Worse, the Red Bird label ran into
serious organizational difficulties in the mid-'60s, and wound down its
operations in 1966. The group moved to Mercury for a couple of dispirited
singles, but had split by the end of the 1960s. Shadow Morton went on to an
interesting, erratic career that included involvement with Janis Ian, the
New York Dolls, and Mott the Hoople. Mary Anne Ganser died in 1970; the
cause has been a source of mystery but it was due to either encephalitis, a
barbituate overdose, or the result of a seizure.
Even today, the Shangri-Las' history remains somewhat murky and mysterious;
the original members have rarely reunited for oldies shows or talked to the
press. The situation was exacerbated by frustratingly substandard reissues
of their Red Bird work, which made it impossible to collect all of their
fine sides without buying numerous packages, many of which boasted
shockingly shoddy sound quality. Happily, the situation was rectified in
the mid-'90s with excellent, comprehensive compilations of the Red Bird
material in both the U.K. and U.S.

Thanks Cor for this !

The Sorrows - You've Got What I Want - The Essential Sorrows 1965-67

Posted: 24 Jan 2020 05:21 AM PST

Review by Richie Unterberger Despite the group's limited commercial
success, there have been several Sorrows CD compilations. Why should you
get this one, whether you already have Sorrows collections or are looking
for the best Sorrows anthology? Well, the 30 tracks do include everything
essential from their mid-'60s prime, including both sides of their seven
1965-1967 singles; the stereo version of their 1965 album Take a Heart,
which included a couple songs not on those 45s, as well as slightly
different, re-recorded versions of some numbers that also appeared on
singles, and four outtakes. That in fact totals up to almost everything the
Sorrows recorded in the mid-'60s, not merely their best tracks, though it
does omit some foreign language versions and outtakes that have appeared on
previous compilations. More importantly, however, it has a 16-page booklet
that's amply illustrated with vintage photos and clippings, along with a
lengthy history of a band that really hasn't been too well documented in
other liner notes or vintage rock-oriented magazines. Most importantly of
all, much of it's simply terrific music from the tougher side of the
British Invasion, though the Sorrows are largely unknown (especially in the
U.S.) to this day. Though more pop-oriented than the Pretty Things (whom
they most resemble among notable British mid-'60s groups in their fusion of
R&B and pop), and possessed of as strong an identity and original
innovation as the Pretty Things or the Yardbirds, the Sorrows will
nonetheless strongly appeal to fans of such bands. It's true, too, that
some of the more marginal B-sides and outtakes here aren't so hot, but
there are too many outstanding songs here to list in one sentence,
including their one sort-of British hit ("Take a Heart") and their
successful progression into psychedelia ("Pink Purple Yellow and Red").
320 Kbps
Thanks a lot to Cor.

The Gants - I Wonder

Posted: 24 Jan 2020 05:20 AM PST

One of the relatively few garage bands from the Deep South to make a
national impression in the mid-'60s, the Gants hit the Top 50 in 1965 with
their cover of "Roadrunner." Liberty Records then preceded to bleed the
band dry by issuing three cover-heavy albums and five more singles in the
next year and a half. They deserved better, because lead singer and
guitarist Sid Herring was a performer and songwriter of some talent. Too
Beatlesque to be considered a garage band in the usual mold, their original
material approximated elements of the Fab Four's sound circa 1965 with a
blend of mid-tempo acoustic and electric guitars, close harmonies, and a
slight country feel. Herring himself sounded like Lennon, and he wasn't
above reworking melodic phrases from "In My Life" and "From Me to You." The
strong material tended to be dwarfed by their rushed, cover-heavy albums,
and the group never had another hit after "Roadrunner."

320 Kbps
Thanks to Cor !

VA - British Beat Anthology Volume 1 (PRT Jap)

Posted: 24 Jan 2020 05:20 AM PST

01 The Wild Side Of Life - Tommy Qickly & The Remo Four 02 Everbody Loves A
Lover - The Undertakers 03 Come Go With Me - The Chants 04 Yes - Johnny
Sandon & The Remo Four 05 Boys - Jeannie & The Big Guys 06 Just A Little
Bit - The Undertakers 07 I Could Write A Book - The Chants 08 Lies - Johnny
Sandon & The Remo Four 09 I'm A Hog For You, Baby - Erky Grant & The
Eerwigs 10 Fortune Teller - Tony Jackson & The Vibrations 11 Country Line
Special - Cyril Davis & His Rhythm And Blues All Stars 12 All My Loving -
The Trends 13 Do The Mashed Potatoes - The Undertakers 14 She's Mine - The
Chants 15 Sticks And Stones - Jeannie & The Big Guys 16 Peter Gunn - The
Remo Four 17 You're A Wonderful One - The Trends 18 Love Or Money - The
Wackers 19 Bye Bye Baby - Tony Jackson 20 Stupidity - The Undertakers 21
Show You Mean It Too - Me And Them 22 Got My Mojo Working - The Sheffields
23 If You Don't Come Back - The Takers 24 The Girl Who Wanted Fame - The
Wackers 25 I'll Go Crazy - Tommy Quickly 26 I Wanna Know - Paddy, Klaus &
Gibson 27 Stage Door - Tony Jackson

Thanks so much to Cor !
WANTED : British Beat Anthology Volume 1 (PRT Jap)

Honeybus - Old Masters Hidden Treasures

Posted: 24 Jan 2020 03:09 AM PST

The story of Honeybus is almost a cautionary tale. Considering that most
have never heard of them, it's amazing to ponder that they came very close,
in the eyes of the critics, to being Decca Records' answer to the Rubber
Soul-era Beatles. The harmonies were there, along with some catchy,
hook-laden songs and usually tastefully overdubbed brass and violins. The
pop sensibilities of Honeybus' main resident composers, Pete Dello and Ray
Cane, were astonishingly close in quality and content to those of Paul
McCartney and the softer sides of John Lennon of that same era.

Line-upThe best known line-up consisted of:
Pete Dello (born Peter Blumsom, 1942, Oxford, Oxfordshire) — (vocals,
keyboards, guitar)Ray Cane (born Raymond Byart, 1945, Hackney, East London)
— (vocals, bass, keyboards)Colin Hare (born Colin Nicholas Nicol, 4 June
1946, Combe, near Bath, Somerset) — (rhythm guitar, vocals)Pete Kircher
(born Peter Derek Kircher, 21 January 1945, Folkestone, Kent) — (drums,
vocals)Jim Kelly (born James Kelly, 19 December 1946, Dundee, Scotland -
died 26 December 1995, Dundee, Scotland) — (lead guitar, vocals)Lloyd
Courtenay (born 20 December 1944, Wallasey) - drums

What's more, the critics loved their records. Yet, somehow, Honeybus never
got it right; they never had the right single out at the proper time, and
only once in their history did they connect with the public for a major
hit, in early 1968. Their best known lineup consisted of Pete Dello
(vocals, keyboards, guitar), Ray Cane (vocals, bass, keyboards), Colin Hare
(rhythm guitar, vocals), and Pete Kircher (drums, vocals), with Dello and
Cane writing most of their songs. Dello and Cane, songwriting partners and
ex-members of various minor early-'60s rock bands, most notably Grant Tracy
& the Sunsets, were the prime movers behind Honeybus. In 1966, they formed
the Yum Yum Band with ex-Them drummer Terry Noon, which became popular in
the London clubs and released five singles on the English Decca label. A
collapsed lung put Dello out of action in early 1966, and it was during his
recuperation that he began rethinking what the band and his music were
about. He developed the notion of a new band that would become a canvas for
him to work on as a songwriter -- they would avoid the clubs, working
almost exclusively in the studio, recreating the sounds that he was hearing
in his head. Those sounds mostly featured lush melodies and lyrics that
suddenly blossomed with the upbeat radiance of flower power and the Summer
of Love. It was a novel strategy, paralleling the approach to music-making
by the Beatles in their post-concert period, and all the more daring for
the fact that they were a new group, without the unique hitmaking history
of the Liverpool quartet. Out of this came Honeybus, with Noon stepping
aside to manage the group and being replaced by Mike Kircher. The group was
one of the best studio bands of the period, reveling in the perfection that
could be achieved through multi-tracking and overdubbing, and an approach
that also mimicked the Beatles' breadth, playing with either admirable
taste or reckless abandon, depending on the song. They were duly signed to
England's Decca Records and assigned to the company's newly organized Deram
label, which was intended to represent their new generation of pop/rock
acts, oriented toward sunshine pop, psychedelic, and what was later
designated "freakbeat" sounds. Their debut single, "Delighted to See You,"
which was cut with the help of Roulettes members Bob Henrit and Russ
Ballard, sounded more like the Beatles than anything heard in British
pop/rock since the Searchers had faded from view in early 1966. The
B-side, "The Breaking Up Scene," could have been the work of the Jimi
Hendrix Experience or the Creation. Actually, if anything, they sounded a
great deal like the Bee Gees, who had just begun establishing themselves as
something more than Beatles sound-alikes -- the difference was that the Bee
Gees were a performing band as well as a top-notch studio outfit, fully
capable of doing (and willing to do) most of their output on-stage. The
critics were quick to praise the band and the record, but it never charted,
and their second single was also unsuccessful. Then Honeybus hit with their
third release, "I Can't Let Maggie Go," in March of 1968, which rode the
British Top 50 for three months and peaked at number eight. One of the most
fondly remembered examples of psychedelic pop/rock to come out of England
in 1967, with a richly textured, reed-dominated arrangement (with a bassoon
very prominent and a break played on oboes and clarinets) and a pleasant
McCartney-esque lead vocal surrounded by gentle high harmonies, all wrapped
up in a melody that wore well on repeated listening. The record should have
made the group, but instead it shattered them.Pete Dello resigned during
the single's chart run. He had been willing to play live on radio
appearances and the occasional television or special concert showcase --
during which the group used a Mellotron to replace the overdubbed strings
and other backing instruments on their songs -- but he couldn't accept the
physical or emotional stresses of performing live on a regular basis, or
the idea of touring America, which would have been the inevitable result of
a British hit of that size. Perhaps a Brian Wilson/Beach Boys-type
solution, with an on-stage replacement, might have worked, but instead
Dello left, and with him went his songs.Jim Kelly came in on guitar and
vocals, while Ray Cane, whose talents and instincts were a near-match for
Dello's, took over most of the songwriting, and Honeybus proceeded to play
regular concerts. The group never recovered the momentum they'd lost
over "Maggie," however, despite a string of fine singles, beginning in
September 1968 with "Girl of Independent Means" -- a McCartney-esque ballad
authored by Cane -- and its cheerfully trippy B-side "How Long" (a
Cane/Kircher/Hare composition), with its radiant choruses and mix of
elegant acoustic guitars and neatly jagged electric lead. A third single
followed in May of 1969, "She Sold Blackpool Rock" and its country-ish
B-side, "Would You Believe." These records never charted, however, and by
the end of 1969 the group had pretty well decided to call it quits once
they finished the LP that they'd begun for Decca -- as it was, the world
was shifting under the group, the music around them changing into something
harder and louder. By mid-1969 it was all over. Kircher couldn't even stay
to complete their LP, joining Engelbert Humperdinck's touring band instead,
and the drums on fully half of the album were played by Lloyd Courteney and
Bob Henrit. That album, The Honeybus Story, was released in late 1969, but
without an active group to promote it, the record sank without a trace. The
members did re-form to help promote it, thinking there might be some life
yet left in the name and their work, but that brief spring 1970 revival was
as far as their future seemed to go. This was a real pity, because it was a
beautiful album, with the kind of ornate production and rich melodies that
had become increasingly rare with the passing of the psychedelic era, and
over the years won converts to their sound, even on the far side of the
Atlantic (where it was never officially released). Colin Hare cut a highly
melodic folk-rock-style solo album in 1971, entitled March Hare, and Dello
released an even better record of his own entitled Into Your Ears, working
once again with Ray Cane, who arranged the music. Soon after, Dello got the
Honeybus lineup back together -- coming back to succeed his own replacement
in the lineup, Jim Kelly -- to record a single on Bell Records' U.K. label.
That single, "She Is the Female to My Soul," released in early 1972, was
reminiscent of their 1960s' work, an ornately sung and arranged ballad,
like Paul McCartney (or Pete Ham) in a romantic vein, a pleasant acoustic
and lightly amplified electric guitar-driven piece with a break featuring a
prominent reed part. It generated more positive press than sales, but the
record did gain the attention of Warner Bros.' British division, and
suddenly Honeybus had a recording contract with a major label. The
resulting album, Recital, was completed in early 1973, by which time a
change in A&R personnel at Warner Bros. had taken place -- the new regime,
eager to put its own mark on the company's releases and having no
investment in (or understanding of) Honeybus, elected not to release the
album. At that point, Cane and Noon exited the group to form a duo called
the Bo'flyers, who recorded for Pye. Dello kept working, sometimes under
pseudonyms and later recut "I Can't Let Maggie Go" for use in a commercial
that was so successful Decca reissued the original version at least twice
during the 1970s -- meanwhile, Dello made several unsuccessful attempts at
turning his song "I'm a Gambler" into a hit. By the 1980s, all of the
members except for Kircher -- who joined Status Quo -- had left music.
There were periodic reissues of the group's work, including a 1999
single-disc compilation from Repertoire, culminating in 2002 with She Flies
Like a Bird: The Honeybus Story, from Castle Records, which included their
complete Decca single and album sides, their Bell and Warner singles, cuts
from Recital, and a brace of live BBC track

Original albums
1970 Story1973 Recital (unreleased)Posthumous compilation albums
1989 Honeybus At Their Best1993 Old Masters, Hidden Treasures1997 At Their
Best1999 The Honeybus Story2002 She Flies Like A Bird : The Anthology
(features previously unreleased songs such as "Big Ship")
1967 "Delighted To See You" (Dello) b/w "The Breaking Up Scene" (Dello) -
Deram Records1967 "(Do I Figure) In Your Life" (Dello) b/w "Throw My Love
Away" (Cane) - Deram1968 "I Can't Let Maggie Go" (Dello) b/w "Tender Are
The Ashes" (Dello) - Deram1968 "Girl Of Independent Means" (Cane) b/w "How
Long" (Kircher-Cane-Hare) - Deram1969 "She Sold Blackpool Rock" (Cane)
b/w "Would You Believe" (Hare) - Deram1969 "La Cicogna" (Italian version
of "She Sold Blackpool Rock") b/w "Chi Sei Tu" (Italian version
of "Ceilings No 2") - Decca1972 "Story" (Cane) b/w "The Right To Choose"
(Cane) - Deram (recorded in January 1970)1972 "She Is The Female To My
Soul" (Dello) b/w "For Where Have You Been" (Hare) - Bell Records1973 "For
You Baby" (Dello) b/w "Little Lovely One" (Dello) - WEA1976 "I Can't Let
Maggie Go" (Dello) b/w "Julie In My Heart" (Dello) - Decca Records
reissue1982 "I Can't Let Maggie Go" (Dello) / "Tender Are The Ashes"
(Dello) - Further Decca reissue

Honeybus - Old Masters Hidden Treasures

01 - I Can't Let Maggie Go02 - Texas Gold03 - Hear Me Only04 - Baroque'N
Roll Star05 - Madam, Chairman Of The Committee06 - Jug Of Water07 - Slow
Rock08 - Story09 - Lute Girl10 - Proof Enough11 - Lovely Ladies 'N Things12
- Cross Channel Ferry13 - I Can't Say It But I Can Sing It14 - Music15 -
Lovely Vanessa16 - The Lady's Not For Burning17 - Caterina18 - Like Me Like
You Used To Do19 - Do I Still Figure In Your Life20 - In My End Is My
Bonus21 - Julie in My Heart22 - She Sold Blackpool Rock (Italien Version)

Music 60-70


Yes - Awaken In The City Of Lights (live 1978) (UK, Symphonic Prog)

Posted: 24 Jan 2020 07:13 AM PST

Исполнитель: Yes
Откуда: England
Альбом: Awaken In The City Of Lights (bootleg)
Год записи: 1978
Жанр: Symphonic Prog
Длительность: 121:12
Формат: MP3 CBR 320
Размер архива: 281 МБ (с 3% на восстановление)

Sir Hedgehog - Sir Hedgehog 2000 (Canada, Stoner)

Posted: 24 Jan 2020 04:52 AM PST

Исполнитель: Sir Hedgehog
Откуда: Canada
Альбом: Sir Hedgehog
Год выхода: 2000
Жанр: Stoner
Длительность: 51:03
Формат: MP3 CBR 320
Размер архива: 119 МБ (с 3% на восстановление)