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March 2nd, 2019

Rock Archeologia 60-70

Rock Archeologia 60-70

Die Javalins - Javalins Beat 1994 (Netherlands, Beat/Pop/Rock & Roll)

Posted: 01 Mar 2019 02:05 PM PST

Исполнитель: Die Javalins

Откуда: Netherlands

Альбом: Javalins Beat

Год выхода: 1994 (recorded in 1962-1964)

Жанр: Beat/Pop/Rock & Roll

Формат: MP3 CBR 320

Размер архива: 144 МB
Группа молодых эмигрантов из Индонезии, активная в 1959-64 годах. Сначала
назывались The Crazy Strangers, в 1962 году сменили название на The
Javalins. Пользовались большой популярностью в Германии. Группа распалась
на пике своей карьеры.


01. Caroline (Youre So Fine) 2:10

02. Mr. Tschang Aus Chinatown 2:02

03. Al Capone (Instrumental) 2:31

04. Javalins Beat (Instrumental) 2:28

05. Sherry 2:07

06. Twisting Away 2:16

07. Hey, Hey, Ha Ha (& Die Crazy Girls) 2:32

08. Joe, Der Gitarrenmann (& Die Crazy Girls) 2:34

09. Hully-Gully-Hop (& Die Crazy Girls) 2:08

10. Lass Sie Reden (& Die Crazy Girls) 2:50

11. Scherben 2:01

12. Tanz Doch Mit Mir Swim 2:17

13. Jenny Jenny 3:51

14. Monkey Walk 2:32

15. Be My baby 3:13

16. The Loveliest Night Of The Year 4:28

17. Es Gibt Kein Bier Auf Hawaii 3:08

18. Ya Ya Twist 3:58

19. Footpatter 5:06

20. Git It! 3:32

21. Sweet Georgia Brown 2:12

22. Twist And Shout 4:04


Freek Franky Franken solo guitar, vocals

Hans Bax guitar

Peter Theunissen bass

Gerard Buskop piano

Walter Kohn (Doron Cohen) saxophone

Rob Latuperisa drums

Обложки синглов


Запись Die Javalins ‎– Javalins Beat 1994 (Netherlands, Beat/Pop/Rock
Roll) впервые появилась Rock Archeologia 60-70.

Blops - Blops 1970 (Chile, Progressive/Folk Rock)

Posted: 01 Mar 2019 08:02 AM PST

Исполнитель: Blops

Откуда: Chile

Альбом: Blops

Год выхода: 1970

Жанр: Progressive/Folk Rock

Формат: MP3 CBR 320

Размер архива: 115 МB
Дебютная пластинка чилийского коллектива, созданного в 1964 году в
Сантьяго. Альбом занимает 37 место в списке лучших альбомов Чили всех
времён по версии журнала Rolling Stone.


01. Barroquita 4:22

02. Los Momentos 2:53

03. La Muerte Del Rey 4:11

04. Niebla 1:57

05. Vértigo 8:38

06. La Mañana Y El Jardin 3:52

07. Santiago Oscurece El Pelo En El Agua 5:28

08. Patita 3:47

09. Atlántico 2:35

10. Maquinaria 7:06


11. Valle De Los Espejos 4:14


Julio Villalobos guitar, hexatron, vocals

Juan Pablo Orrego bass, vocals

Eduardo Gatti guitar, hexatron, vocals

Juan Contreras flute, organ

Sergio Bezard drums, percussion


Запись Blops Blops 1970 (Chile, Progressive/Folk Rock) впервые появилась
Rock Archeologia 60-70.

Blops - Del Volar De Las Palomas 1971 (Chile, Progressive/Folk Rock)

Posted: 01 Mar 2019 07:52 AM PST

Исполнитель: Blops

Откуда: Chile

Альбом: Del Volar De Las Palomas

Год выхода: 1971

Жанр: Progressive/Folk Rock

Формат: MP3 CBR 320

Размер архива: 130 МB
Второй альбом в дискографии группы. Кстати, официально все их 3 альбома
называются одинаково Blops, это при переиздании второму и третьему дали
новые названия.


01. Que Lindas Son Las Mañanas 4:30

02. Pintando Azul El Mar 3:13

03. Manchufela 4:19

04. El Río Donde Va 3:53

05. Esencialmente Así No Más 3:55

06. El Proclive Necesario 3:12

07. La Rodandera 3:39

08. Tarde 2:51

09. Del Volar De Las Palomas 5:43

10. Campos Verdes 4:09

11. Pisándose La Cola 6:41


12. Machulenco (Single A-Side, 1971) 3:16


Eduardo Gatti guitar, bass, vocals

Julio Villalobos guitar, accordion, piano, vocals

Juan Pablo Orrego bass, acoustic guitar, xylophone, vocals

Juan Contreras flutes, keyboards

Sergio Bezard drums, percussion


Ángel Parra guitarra (09), vocals (09), producer


Запись Blops Del Volar De Las Palomas 1971 (Chile, Progressive/Folk Rock)
впервые появилась Rock Archeologia 60-70.

Blops - Locomotora 1973 (Chile, Progressive/Folk Rock)

Posted: 01 Mar 2019 07:23 AM PST

Исполнитель: Blops

Откуда: Chile

Альбом: Locomotora

Год выхода: 1973

Жанр: Progressive/Folk Rock

Формат: MP3 CBR 320

Размер архива: 108 МB
Третий альбом группы, входит в десятку лучших чилийских альбомов 70-х
годов. Альбом дописывался и сводился в Аргентине, куда уехали участники
группы после прихода к власти Пиночета В конце 70-х и начале 2000-х группа
пережила два реюньона и выпустила один концертный альбом.


01. Allegro Ma Non Troppo 12:39

02. Tartaleta De Frutilla 8:42

03. Locomotora 5:24

04. Pirómano 5:32

05. Sandokán 8:47


Eduardo Gatti guitars, vocals

Juan Pablo Orrego bass

Juan Carlos Villegas electric piano

Juan Contreras flutes, organ

Sergio Bezard drums, percussion


Запись Blops Locomotora 1973 (Chile, Progressive/Folk Rock) впервые
появилась Rock Archeologia 60-70.

Old Melodies ...

Old Melodies ...

Ian & Sylvia - Full Circle (1968 Canada)

Posted: 01 Mar 2019 12:45 PM PST

Ian & Sylvia were a Canadian folk and country music duo which consisted of
Ian and Sylvia Tyson, nee Fricker. They began performing together in 1959,
married in 1964, and divorced and stopped performing together in 1975.The
two started performing together in Toronto in 1959. By 1962, they were
living in New York City where they caught the attention of manager Albert
Grossman, who managed Peter, Paul and Mary and would soon become Bob
Dylan's manager. Grossman secured them a contract with Vanguard Records and
they released their first album late in the year.Their first album,
self-titled Ian & Sylvia, on Vanguard Records consists mainly of
traditional songs. There were British and Canadian folk songs, spiritual
music, and a few blues songs thrown into the mix. The album was moderately
successful and they made the list of performers for the 1963 Newport Folk
Festival.Four Strong Winds, their second album, was similar to the first,
with the exception of the inclusion of the early Dylan
composition, "Tomorrow is a Long Time", and the title song "Four Strong
Winds", which was written by Ian Tyson. "Four Strong Winds" was a major hit
in Canada and ensured their stardom.The two married in June 1964; they also
released their third album, Northern Journey, that year. It included a
blues song written by her, "You Were on My Mind", which was subsequently
recorded by both the California group We Five (a 1965 #1 on the Cashbox
chart, #3 on the Billboard Hot 100) and British folk rock singer Crispian
St. Peters (#36 in 1967).A recording of "Four Strong Winds" by Bobby Bare
made it to #3 on the country charts around that time.On the Northern
Journey album was the song "Someday Soon", a composition by him that would
rival "Four Strong Winds" in its popularity. (Both songs would eventually
be recorded by dozens of singers.)Their fourth album, Early Morning Rain,
consisted in large part of new songs. They introduced the work of the
couple's fellow Canadian songwriter and performer Gordon Lightfoot through
the title song and "(That's What You Get) For Lovin' Me". They also
recorded songs "Darcy Farrow" by Steve Gillette and Tom Campbell, being the
first artists to record these three songs. Additionally, they recorded a
number of their own compositions.They performed at the 1965 Newport Folk
Festival. Play One More, their offering of 1965, showed a move toward the
electrified folk-like music that was becoming popular with groups like the
Byrds and the Lovin' Spoonful. The title tune used horns to evoke the
mariachi style.In 1967, they released two albums, one recorded for
Vanguard, the other for MGM. These two efforts, So Much For Dreaming and
Lovin' Sound, were far less dynamic presentations. At this time they were
doing a weekly TV program for the Canadian Broadcasting Corporation.They
relocated to Nashville, Tennessee, where they recorded two albums; one to
fulfill the terms of their Vanguard contract, the other to supply MGM with
a second (and last) album for that label. The albums can be defined as
early country rock music; Nashville for Vanguard was cut in February 1968,
one month before The Byrds' Sweetheart of the Rodeo, widely considered the
first collaboration of rock and Nashville players. Three of Bob
Dylan's "Basement Tapes" songs are included on these albums; most of the
rest were written by Ian or Sylvia.In 1969, Ian & Sylvia formed the country
rock group "Great Speckled Bird". In addition to participating in the
cross-Canada rock-and-roll rail tour Festival Express, they recorded a
self-titled album for the short-lived Ampex label. Produced by Todd
Rundgren, the record failed when Ampex was unable to establish widespread
distribution. Thousands of copies never left the warehouse, and it has
become a much sought-after collector's item. Initially, the album artist
was given as Great Speckled Bird but later copies had a sticker saying that
it featured the duo.
* * *

VA - Sixties singles from A to Z Vol.C

Posted: 01 Mar 2019 09:30 AM PST


VA - Sixties singles from A to Z Vol.B

Posted: 01 Mar 2019 08:43 AM PST


VA - Sixties singles from A to Z Vol.A

Posted: 01 Mar 2019 08:16 AM PST


The Dave Clark Five - The Complete History

Posted: 01 Mar 2019 06:20 AM PST

Formed 1958 // Tottenham, London, United Kingdom Disbanded 1970 Members:
Dave Clark: Drums, Percussions, Vocals Mike Smith: Lead Vocals, Piano,
Organ Denis Payton: Tenor-Baritone Saxes, Acoustic Guitar, Vocals Rick
Huxley: Bass Guitar, Acoustic Guitar, Vocals Lenny Davidson: Lead Guitar,
Acoustic Guitar, Vocals


In the early years of the British Invasion, two bands vied for supremacy:
the Beatles and the Dave Clark Five.
Granted, the Fab Four from Liverpool out-charted the five lads from London,
but almost no other band—not the Rolling Stones, Kinks or Animals—came
close to the Dave Clark Five’s hit-making prowess from early 1964 to
mid-1966. During that period, the “DC5,” as they were known in fan
shorthand, placed fifteen consecutive singles in the U.S. Top 40. It is one
of the most impressive statistical feats of the British Invasion.
Their historic run began with “Glad All Over” and ended with “Please Tell
Me Why.” In between came such hooky, high-energy hits as “Bits and Pieces,”
“Can’t You See That She’s Mine,” “Any Way You Want It,” “Catch Us If You
Can,” “Over and Over” and “Try Too Hard.” Even after the Top 40 string was
broken, when “Satisfied With You” stalled at Number Fifty, the DC5
continued to make the charts through 1967, hitting the Top 10 once again
with “You Got What It Takes.” By the time it was all over, the Dave Clark
Five had sold 50 million records.
The DC5 were regulars on the American charts at the height of the British
Invasion because their records were, quite simply, fun to listen and dance
to. They cut original material and covered American rock and roll and R&B
songs, such as Chuck Berry’s “Reelin’ and Rockin’,” Chris Kenner’s “I Like
It Like That” and the Contours’ “Do You Love Me.” They pursued success as
hungrily as the Beatles, working exhaustively to establish themselves in
America. They launched their first U.S. tour shortly before the Fab Four,
ultimately undertaking six coast-to-coast tours. The DC5 also appeared on
The Ed Sullivan Show—the Sunday-night variety show that helped break so
many rock and roll acts in that era—an amazing eighteen times. (By
contrast, the Beatles performed on the Sullivan Show four times.)
There was an effort to fabricate competition between the Beatles and the
Dave Clark Five, framing it as the provincial north of England (Liverpool’s
Beatles) versus the hip, urbane south (London’s DC5). The Dave Clark Five,
who hailed from the North London suburb of Tottenham, were declared
purveyors of the “Tottenham Sound.” In reality, there was no head-to-head
competition, and the bands were friendly with one another. The Dave Clark
Five were content to make solid, danceable pop records. The sound was
contemporary, but the spirit was similar to that of the rhythm & blues and
rock & roll from the Fifties. “The music was fun,” Mike Smith told Goldmine
in 1988. “It had no message. It was just supposed to be about fun and good
times.” Dave Clark asserted in his liner notes to the 1993 CD compilation,
The History of the Dave Clark Five, “The DC5 was originally formed for the
fun of playing the music we all enjoyed.”
Before signing a record contract, the group honed their act to a
crowd-pleasing tightness by performing extensively on the British ballroom
circuit. Solid players all, their greatest assets were keyboardist Mike
Smith’s wailing, full-bodied vocals and Dave Clark’s booming drum sound.
Denis Payton’s saxophones, an unusual inclusion for a British Invasion
lineup, added rhythmic texture and a gritty Fifties rhythm & blues
The Dave Clark Five signed to Columbia Records in the U.K. and Epic (a
Columbia subsidiary) in the U.S. The contract represented a farsighted leap
on bandleader and business manager Dave Clark’s part. He insisted and won
creative control over the band’s output, including final say over what
songs could be released as singles. He set up a publishing company for the
band’s original material. As their producer, he negotiated a figure that
was considerably higher than the going rate for independent production at
the time. He also inserted a reversion clause that returned ownership of
the band’s recordings after a specified time. In essence, Clark called all
the shots, making the Dave Clark Five one of the few Sixties bands that
were not bound by grossly unfavorable standard record contracts. Nowadays,
there is a lot of talk about artistic control and independence, but Dave
Clark drew up the blueprint at the dawn of the first British Invasion.
In much the same spirit, the Dave Clark Five quit while they were ahead.
The group disbanded in 1970. They could have taken what work was available
or reunited at a later date, when Sixties nostalgia became all the rage.
Instead, they let their music speak for itself and its time. When a
promoter called Clark in the early Eighties with a lucrative offer for a
reunion tour, Clark declined. Sometimes what a band doesn’t do says as much
as what they have done. “We can’t better what we’ve done,” Clark said in
1993. “I’ll leave that to the exciting new acts.”








Peter & Gordon - The EP Collection

Posted: 01 Mar 2019 06:01 AM PST


Waye Fontana & The MIndbenders - The Game Of Love + 2 EP's

Posted: 01 Mar 2019 05:24 AM PST

The Letter (1967)

Road Runner (1964)


The Mirage - You Can't Be Serious (1965-69)

Posted: 01 Mar 2019 05:17 AM PST

The Mirage managed to release seven singles on three labels in the U.K.
between 1965 and 1968 without getting anything resembling a hit or even a
solid cult reputation. This can be ascribed to two major factors: the
absence of significant original musical vision, and the absence of really
strong original material, although they did write many of their own songs.
Their upbeat, harmony-laden approach was quite British and owed significant
debts to the 1966-era Beatles and the Hollies, as well as lighter ones to
the Who. The most British aspect of their sound was their propensity for
songs with a storytelling, observational viewpoint. The most famous of
these was their 1967 single, "The Wedding of Ramona Blair," about a bride
whose groom fails to show up at the ceremony, which has appeared on several
compilations of British psychedelia obscurities.
The Mirage signed to Dick James Publishing and served as the house band for
that organization; they also backed Elton John at his first solo
performances. The group split up in October 1968 when lead guitarist Dee
Murray and drummer David Hynes briefly joined the Spencer Davis Group.
Murray became bassist in Elton John's band, while Hynes left the Spencer
Davis Group in spring 1969 (perhaps with Murray -- it's not clear from
existing documentation) and re-teamed with the other members of the Mirage
to form the Portobello Explosion, who did a 1969 single for Carnaby; that
band then changed into Jawbone, who also recorded for Carnaby. Much of the
material from their singles, as well as a bunch of unreleased acetates,
demos, and BBC broadcasts, can be heard on the CD You Can't Be Serious.


The Symbols - The Best Part of the Symbols (1966-68)

Posted: 01 Mar 2019 05:13 AM PST

The Symbols began their stage career as Johnny Milton and the Condors -
John Milton (vocals), Mick Clarke (bass guitar), Shaun Corrigan (lead
guitar) and Clive Graham (drums). Their first single under the new name
was "One Fine Girl", produced by Mickie Most, but it didn't sell.
They experienced several line-up shuffles during their existence, with Joe
Baccini (bass), Sean Corrigan (guitar) and Chris (Chas) Wade (drums)
playing with the group at various times. A cover version of "Why Do Fools
Fall In Love" failed to produce mainstream success and 1966 saw them
without a record contract.
Mick Clark left to play with The Tremeloes for a while and introduced them
to a song from The Symbols act, "Silence Is Golden". He then returned to
the Symbols.
Ed Kassner at President needed a harmony band to cover "See You In
September" which he owned and which was a hit in the US, so The Symbols
were signed. The record didn't sell, partly due to distribution problems,
but it set the band up for more singles including "Bye Bye Baby" which was
later to produce success for the Bay City Rollers and "Best Part Of
Breaking Up", which became their second chart hit at number 25 in January
The band carried on until 1972. Mick Clark joined The Rubettes, Chas Wade
and John Milton played with the pub-rock band JJ Foote during the mid-70s.


V.A.- Dream Babes

Posted: 01 Mar 2019 04:35 AM PST

Vol.1 - Am I DreamingThe British girl group sound was a different animal
than the American article: there was an equal emphasis on production craft,
but there was a higher proportion of pop to soul, and a Europop influence
in many of the melodies and arrangements. This 24-track compilation gathers
rare non-hit singles from 1962 to 1970, and none of the singers will be
familiar to U.S. listeners (indeed, most or all of them will be unfamiliar
to British ones as well). It's decent but light girl group (or girl
group-influenced) '60s pop that could often use more grit; some of it's
fairly strong, but there are no melodies or performances that
announce "classic" in neon lights. If you're a sucker for the girl group
sound, it's an acceptable addition to the library, with some standouts,
like Samantha Jones' "Don't Come Any Closer" (covered to greater effect in
French by Françoise Hardy), Alma Cogan's "Snakes and Snails," and Carole
Deene's goofy "Some People," with a train whistle bleating away in the

Vol.2 - Reflections
British girl singers did not comprise the healthiest subgenre of 1960s
rock. And since this 22-track compilation of female-sung British pop/rock
from 1962-1971 does not include any big names except for Cilla Black
(represented by her 1968 B-side "Work Is a Four Letter Word") and Helen
Shapiro (with her self-penned 1964 B-side "He Knows How to Love Me"), you
might not ready yourself for a stunning experience. It isn't brilliant, but
actually it's a pretty fair and fun collection of obscurities. Some other
names might be faintly remembered (in the U.K., not the U.S.), such as
Samantha Jones and Elkie Brooks, but for the most part these are no-names,
working in a vein combining British Invasion sounds with American
girl-group/soul-influenced production. Some of the more memorable outings
include Jones' wispy "Somebody Else's Baby," Guillivers People's solid
adaptation of Jackie DeShannon's "Splendour in the Grass," Linda Laine &
the Sinners' wistful and folky "Don't Do It Baby," and Carol Elvin's "Don't
Leave Me," which sounds instantly suitable for a British mid-'60s film
soundtrack. As a change of pace there's also the folk-pop of the Levee
Breakers' 1965 single "Babe I'm Leaving You," featuring the voice of
Beverley, who would become a noted part of the 1970s folk-rock scene as
part of a duo with her

Vol.3 - Backcomb'n'Beat
The third installment of this series devoted to British '60s girl
group-like sounds is, like the genre itself, not a match for the best
American girl group music. But like its predecessors, it's a fairly good
compilation, if more notable for inventive orchestral pop production than
for the talents of the singers. Julie Driscoll, represented by the early
single "I Know You Love Me Not" (which sounds a little like an experimental
Dusty Springfield), is the only fairly well-known name on this 22-track
disc, though Twinkle had some success in Britain, and Glenda Collins and
Samantha Jones have their enthusiasts. There are some real solid,
ingratiating pop/rock cuts here, though, like the McKinleys' quite
gutsy "Sweet and Tender Romance"; Dany Chandelle & the Ladybirds' "Lying
Awake," a pretty reasonable facsimile of Phil Spector's Ronettes/Crystals
arrangements; the Chantelles' exuberant "Gonna Get Burned"; Sylvan's
odd "We Don't Belong," with its clattering descending melody and suicide
allusions; the breathy sides by Samantha Juste, the future wife of Mickey
Dolenz; the swirling torch pop of Cloda Rogers' "Lonely Room"; and the
Drifters-influenced arrangement of Jan Panter's "Yours Sincerely." A real
surprise contributor, if an indirect one, is Donovan, who co-wrote and
played guitar on the McKinleys' 1965 pop-folk outing "Give Him My Love," a
number he never recorded himself. Overall it's an above-average comp with
good variety, not just of interest to die-hard specialists.

Vol.4 - Go Girl
Although volume four of RPM's Dream Babes series of 1960s British girl
group sides gets further into obscure flops than its predecessors, there's
barely any drop in the quality, which remains good, though hardly great.
And as with most of the rest of the songs on this series, the production's
better than the singers or the material. That's not to say there aren't
some pretty good cuts on this 22-song anthology, some of them explicitly
derivative of the American girl group sound (like the Chantelles'
cracking "I Want That Boy," a cover of an obscure U.S. single by Sadina),
others taking a pop-soul approach, others mixing in some British beat
music. Some of these performers are famous, but not for their music: two
sides of a 1967 Twiggy single are here, as are a couple of 1968 tracks by
Linda Thorson (who played Tara King on The Avengers). Highlights include
the Orchids' stomping, pining adolescent girl group "Mr. Scrooge" (produced
and co-written by Who/Kinks producer Shel Talmy); the Chantelles' credible
emulation of slickly lush American pop-soul on "I Think of You"; and the
British Invasion-cum-Everly Brothers harmonies of the McKinley Sisters'
pounding "When He Comes Along" (by Geoff Stephens, author of "The Crying
Game"). Plenty of other names well-known to British Invasion fans were
involved in some of these sides in some capacity, like John Carter and Ken
Lewis (who wrote the McKinleys' nice ballad "That Lonely Feeling"); session
guitar ace Big Jim Sullivan, who plays tone pedal guitar on that track, as
he had on Dave Berry's "The Crying Game"; Tim Rice and Andrew Lloyd Webber,
who wrote Ross Hannaman's Marianne Faithfull-like 1967 single "Down Through
Summer"; producer Mike Leander, who wrote the Breakaways' gloomy
ballad "Sacred Love"; and Kenny Lynch, who wrote the Linda Thorson sides.
Released for the first time here is Jacki Bond's 1967 recording
of "Reviewing the Situation," cut a couple of years prior to Sandie Shaw's
release of the same tune on her 1969 album of the same name.

Vol.5 - Folk Rock and Faithful
The word "folk-rock" seems to mean something different to everyone, and
many fans might find Dream Babes, Vol. 5: Folk Rock and Faithfull, a
compilation of 22 woman-sung 1965-1969 tracks to be more accurately pegged
as "folk-rock-influenced pop/rock" than "folk-rock." Even if it's more
featherweight than the Byrds (or for that matter the Mamas & the Papas),
it's a pretty interesting and fun collection of rarities, most of them sung
by British femmes and produced in the U.K. (though a couple of Australians
sneak in, as does Jackie DeShannon's "Don't Turn Your Back on Me," recorded
by the Californian in England). There's nothing here by Marianne Faithfull,
despite the sly use of her name in the title. But the wispier and folkier
tracks here certainly bear her influence, including those by Nico (her
London-recorded cover of Gordon Lightfoot's "I'm Not Saying"), Vashti
(represented by her rare 1966 single "Train Song"/"Love Song"), Gay
Singleton's "In My Time of Sorrow" (a DeShannon-Jimmy Page composition also
recorded by Faithfull, though Singleton's version is good too), Greta Ann's
melodramatic "Sadness Hides the Sun," Gillian Hills's "Tomorrow Is Another
Day" (the actress' only English-language release), and Trisha's 1965
single "The Darkness of My Night" (a Donovan composition that Donovan
apparently never recorded himself, though it's not so hot). Some of these
records opt for a far more elaborately arranged approach, though, with the
Caravelles' 1967 single "Hey Mama You've Been on My Mind" sounding rather
like Eric Andersen as sung by a girl group and produced by Phil Spector,
and Gemini's "Sunshine River" (from Australia) pouring on the Byrds-y
electric guitars. While some of these cuts are dull, there are other cool
items as well, like "Bring It to Me" by Vashti pals Jennifer Lewis and
Angela Strange; Judi Smith's gorgeous "Leaves That Come Tumbling Down,"
another Jackie DeShannon-Jimmy Page co-write; Australian Maggie Hammond's
strong cover of "High Flying Bird," even if she does change the key
lyric "I'm rooted like a tree" to the less effective "I'm tired as can be";
and Caroline Carter's "The Ballad of Possibilities (Come Along)," another
obscure Jackie DeShannon song. The more traditional face of folk music even
surfaces with Leonore Drewery's "Rue," probably better known under the
title Pentangle used for the same tune, "Let No Man Steal Your Thyme." The
folk-rock concept gets stretched pretty far to include Angelina's "Wishing
My Life Away," which seems more influenced by Buddy Holly and Joe Meek. But
if that's what it takes to get worthwhile rarities like those issued, why

Vol.6 - Sassy and Stonefree
Where previous volumes of the worthy Dream Babes series focused on
woman-sung British pop/rock of a slightly earlier (mid-'60s) vintage, Sassy
and Stonefree: Dream Babes, Vol. 6 has a somewhat later timespan, featuring
22 recordings from 1966-1972 (three of them previously unreleased).
Accordingly, there are more soul, heavy rock, and singer/songwriter
influences to be heard, though it's still identifiably Brit-pop-based for
the most part. Even if you think you know your '60s Brit-pop, you might not
be well acquainted with many of the names here; it takes quite some digging
to assemble a compilation of this sort in which the most famous names are
Clodagh Rodgers (whose "Come Back and Shake Me," included here, made number
three in the U.K. in 1969), Samantha Jones, and Lesley Duncan. It's shorter
on highlights than other installments in the series, and not the kind of
thing that would have given Dusty Springfield and Lulu much to worry about.
There's some stuff to enjoy in what's a pretty pop-soul-oriented set,
particularly on the production end. But there are no true standouts as far
as the songs are concerned, and while the singers are okay, none are
especially commanding (and some of the material would have probably been
done better by the American artists the producers and vocalists sometimes
seemed to be trying to emulate). Generally it's tastefully perky and
upbeat, never more so than on Sandra Bryant's "Girl with Money," which is a
little reminiscent of the kind of uptempo songs Neil Diamond wrote in his
early solo career.

Vol.7 - Beat Chic
By the time of this 2007 release, the Dream Babes series had developed into
a surprisingly extensive one, testifying to the existence of much more
female-sung 1960s British pop/rock than even most British rock experts
realized. Like any genre series that digs up a seemingly endless mountain
of obscurities, it's more impressive for its quantity than its quality.
Still, like its predecessors, Beat Chic: Dream Babes, Vol. 7 offers a wide
assortment of material from the '60s (from 1962-1967 in this CD's case),
drawing from the girl group, soul-pop, and pop/rock styles, only
occasionally taking in influences from the guitar-oriented British Invasion
sound. Certainly the 22 tracks aren't safe choices; Billie Davis and Goldie
& the Gingerbreads are the only artists who will be fairly recognizable to
collectors, and even those acts aren't exactly automatically familiar ones
to most vintage rock fans. Fans of the mainstream mid-'60s British pop/rock
sound will enjoy this material for the production values it typifies, but
there's really not much in the way of gripping performances or songs. Some
of the more notable items include Polly Perkins' energetic novelty "You Too
Can Be a Beatle"; Goldie & the Gingerbreads' rather disappointingly
mild "Can't You Hear My Heartbeat," which Herman's Hermits nabbed the hit
with in the U.S.; and Dani Sheridan's quite good interpretation of "Guess
I'm Dumb," co-written by Brian Wilson and originally recorded by Glen
Campbell in the U.S. Honeybus fans will also want to note the inclusion of
three previously unreleased Christine Holmes tracks co-written by Pete
Dello and Ray Cane, the best of which ("Here Comes My Baby") is a competent
American girl group-like effort with Beatlesque touches.

Vol.8 - Stockingtop Pop
In the mid-'60s through early '70s, the British pop music industry was a
well-oiled machine, cranking out bright, tuneful melodies at a feverish
pace, and RPM's eighth CD collection of rare U.K. pop singles from female
vocalists demonstrates just how deep the well goes on this stuff. With the
exception of Tina Charles' brassy but over the top cover of Melanie's "Bo
Bo's Party" and the subtle but defiant "I Don't Ever Want to Be Kicked by
You" by the Stockingtops, the mood on these tunes is upbeat and the craft
is polished and professional, with the production slick and the
arrangements full-bodied, suggesting the British equivalent of classic
Brill Building pop with a characteristic dollop of music hall theatrics.
Many of these singers supplemented their paychecks as solo acts by doing
backing vocals on sessions by other artists (or by doing commercials -- a
promotional recording for Bush audio equipment leads off this disc), and
there's a certain uniformity to the performing styles of these artists. But
a few of the tracks do stand out, such as the high-gloss soul stylings of
Maxine Nightingale, the aggressively chirpy harmonies of the Cameos, the
very American leanings of the Chanters, and the sweet, breathy confidence
of the Paper Dolls. And even the lesser selections are fine examples of
studiocraft at its height, from the days when the bigger the studio
orchestra and the more audacious the arrangement, the better. While some
might find a certain kitsch value in this stuff, Stockingtop Pop is good
enough to be appreciated without irony, and Michael Robson's liner notes
offer plenty of background data on these forgotten songbirds.


Dream Babes scans

Czerwone Gitary - To właśnie my (1966)

Posted: 01 Mar 2019 03:45 AM PST

Polish rock/pop band, founded 1965, which had its biggest outside success
in the German Democratic Republic. In Poland known as Czerwone Gitary (=
Red Guitars), they performed numerous songs in German as well and
consequently released them under a German name, Rote Gitarren.
members: Seweryn Krajewski (g, keyb, p, v, solo-voc) Bernard Dornowski (g,
voc) Jerzy Skrzypczyk (dr, voc) Jan Pospieszalski (bg, b)
Czerwone Gitary (The Red Guitars) is one of the most popular rock bands in
the history of Polish popular music. The band formed in 1965 and achieved
its greatest success from 1965 to 1970. Often considered the Polish
equivalent of the Beatles, many of their hits are now classics in Poland.
The group toured extensively outside Poland (in Czechoslovakia, Hungary,
United States, Germany and Soviet Union) but had mostly disappeared from
the Polish scene by the 1980s. The band reformed in the 1990s.
The Czerwone Gitary were founded by guitarist/vocalist Jerzy Kossela and
bassist Henryk Zomerski on 3 January 1965 in Gdańsk. Initial members
included Bernard Dornowski (guitar/vocals), Krzysztof Klenczon (lead guitar
/vocals) and Jerzy Skrzypczyk (drums/vocals); four members (Dornowski,
Klenczon, Kossela and Zomerski) had played previously in another notable
Polish band, the Niebiesko-Czarni (The Blue-Blacks). Note: Radio disc
jockey Neil Kempfer-Stocker was the first person to air the Blue-Blacks 45
rpms in America while at WRMC Radio Bethlehem, Pennsylvania in 1968. In
Autumn 1965 Zomerski was replaced by Seweryn Krajewski (bass/vocals);
around that time the band also launched their first tour in Poland under
the slogan "We play and sing the loudest in Poland".
Their 1966 debut album To właśnie my (It's us) sold 160,000 copies, and
their May 1967 follow up, Czerwone Gitary 2, sold a then-record (for
Poland) 240,000. In the same year Krajewski received a special award at the
National Festival of Polish Song in Opole (Krajowy Festiwal Piosenki
Polskiej w Opolu). In 1967 Kossela left the band. The band's 1968 third
album sold 220,000 copies, and the group received an award in Opole for
their song Takie ładne oczy (Such Pretty Eyes). In 1969 the band received a
MIDEM award in Cannes for the largest number of discs sold in Poland up to
that date; this was the same year that the Beatles received this award.
Thereafter the Czerwone Gitary would be known as the Polish Beatles (see
also Beatlesque).[1] The same year the group received a special award from
Billboard magazine, and in Poland, another award from Opole festival for
Biały krzyż (White cross).
Klenczon left in 1970, the year of the band's acclaimed LP Na fujarce (On
the flute). Krajewski then took lead as the group turned to mainstream
folk-tinged pop in the 1970s.
After a hiatus the Czerwone Gitary returned in the early 1990s with
Kossela, Dornowski and Skrzypczyk resurrecting the group. Krajewski refused
to participate - save for the initial 1991 tour Wszystkim,którzy o nas
pamietają (For All Who Still Remember Us) - and even released a solo album
credited to Czerwone Gitary by Seweryn Krajewski called Koniec (The End).
Initially the new lineup played the old hits; its first new album since the
1970s was the ...jeszcze gra muzyka (...still the music plays) in 1998. In
a 2000 poll for the Polish magazine Polityka, Czerwone Gitary were selected
as "One of the Best Polish Bands of the 20th Century". In 2005 a new song
Senny szept (Sleepy whisper) took fourth place in the Sopot International
Song Festival.


The Beatmen - The Beatmen

Posted: 01 Mar 2019 01:29 AM PST

The Beatmen were a Slovak rock band singing predominantly in English, that
existed from 1964 to 1966. Although they released only 4 songs, they remain
one of the most significant bands in the history of the Czechoslovak
popular music. They were one of the first widely popular Big Beat bands in
Czechoslovakia and they were one of the first bands from behind the iron
curtain to play in the western Europe, in Munich.The band was the first
bigger success for the singer and guitarist Dežo Ursiny, who later became a
legend of the Czechoslovak music.
Music and sound of the Beatmen is mightily influenced especially by The
Beatles, as is obvious from the listening. Their song Let's Make A Summer
has been highly critically acclaimed and remains one of the best
Czechoslovak pop songs ever written.



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