July 15th, 2021


Rock Archeologia 60-70

Rock Archeologia 60 - 70

Trooper - Two For The Show 1976 (Canada, Hard Rock/AOR)

Posted: 14 Jul 2021 01:11 AM PDT

Исполнитель: Trooper

Откуда: Canada

Альбом: Two For The Show

Год выхода: 1976

Жанр: Hard Rock/AOR

Формат: MP3 CBR 320

Размер архива: 77.5 МB
Продолжение темы. Второй альбом группы. #80 в канадском чарте, статус
Platinum в Канаде.


01. Two For The Show 4:28

02. Gypsy Wheeler 3:28

03. Santa Maria 2:56

04. Loretta 3:26

05. The Boys In The Bright White Sports Car 2:59

06. Ready 3:26

07. Whatcha Gonna Do About Me 3:28

08. I Miss You Already 4:44

09. Whats Gonna Happen Now? 5:25


Ra McGuire lead vocals, harp

Brian Smith lead guitar, vocals

Frank Ludwig keyboards, vocals

Harry Kalensky bass, vocals, chimes

Tommy Stewart drums, percussion, vocals


Barry Keene congas (06)

Randy Bachman lead guitar (01, 07), producer

Mark Smith producer, engineer


Joe Walsh - Barnstorm 1972 (USA, Folk/Blues Rock)

Posted: 14 Jul 2021 01:09 AM PDT

Исполнитель: Joe Walsh

Откуда: USA

Альбом: Barnstorm

Год выхода: 1972

Жанр: Folk/Blues Rock

Формат: MP3 CBR 320

Размер архива: 89.6 МB
Joseph Fidler Joe Walsh американский (из Канзаса) музыкант, гитарист,
автор песен и актёр. Был участником групп James Gang и Eagles, сделал
успешную сольную карьеру. По дороге из James Gang в Eagles Уолш создал
группу Barnstorm, выпустившую 2 альбома этот и The Smoker You Drink, The
Player You Get (1973). Эти альбомы записаны как сольники Joe Walsh. В 1974
году группа была распущена и Уолш продолжил сольную карьеру.


01. Here We Go 5:00

02. Midnight Visitor 3:16

03. One And One 1:15

04. Giant Bohemoth 4:19

05. Mother Says 6:14

06. Birdcall Morning 3:43

07. Home 2:53

08. Ill Tell The World 3:55

09. Turn To Stone 5:15

10. Comin Down 1:52


Joe Walsh lead guitars, piano, synthesizer, telegraph key, vocals

Kenny Passarelli bass, guitarrone, vocals

Joe Vitale drums, percussion, electric piano, flute, vocals


Paul Harris piano (02)

Al Perkins pedal steel guitar (02)

Chuck Rainey bass (07)

Bill Szymczyk backing vocals, engineer, producer
Joe Walsh
Barnstorm: L to R: Joe Vitale, Joe Walsh & Kenny Passarelli


Old Melodies ...

Old Melodies ...

The Livin' End Unreleased

Posted: 14 Jul 2021 09:41 AM PDT

1960s garage rock band from Abilene, TX, USA
They recorded numerous songs, but lacked the management that could get them
signed to a label. The group never issued a single during their reign from
1965 to 1968. Their material had been stored in the vaults and was finally
compiled on the CD "Unreleased Texas Garage Sounds."This Livin' End is not
to be confused with the Burkburnett, TX, band of the same name from the
later '60s, who cut singles on the Soft label. Based in West Texas, the
Abilene Livin' End was an offshoot of a group called the Coachmen, formed
by guitarist Wayland Huey after his old band broke up in 1964. They cut
enough material for an album and then some, none of which was released
during the group's own four years of activity involving a lot of it covers
("Get Off of My Cloud," "Baby Please Don't Go" etc.) and all of it very
enthusiastic, if not always carrying the original tunes terribly well.
1 The Livin' End Pine Street Boys 2:582 The Livin' End RoadrunnerWritten-By
– McDaniel*2:033 The Livin' End Get Off My CloudWritten-By –
Jagger-Richard*2:394 The Livin' End All AloneWritten-By – W.Huey*1:395 The
Livin' End FriendsWritten-By – T.Nixon*, W.Huey*1:566 The Livin' End My
Destination 2:247 The Livin' End Talkin' About YouWritten-By – Berry*2:358
The Livin' End Empty HeartWritten-By – Nanker-Phelge*2:569 The Livin' End
Makin' TimeWritten-By – Phillips*, Pickett*2:4110 The Livin' End Captain's
Soul 1:5311 The Livin' End Baby, Please Don't GoWritten-By –
Williams*3:4012 The Livin' End Love Me Two TimesWritten-By – Morrison*,
Densmore*, Manzarek*, Krieger*4:1113 The Coachmen Say You Love MeWritten-By
– T.Nixon*1:4914 The Coachmen Hush Broken HeartWritten By –
HuffmanWritten-By – Kelton*2:16Ty To Original SharerEnjoy"I hope for
nothing, I fear nothing, I am free"

Last of the Unknowns Vol 1-8 + Bonus

Posted: 14 Jul 2021 03:27 AM PDT

1 and 2

3 and 4

5 and 6

Vol 7

Vol 8


EnjoyTy To Original Sharer


Louise Cordet - The Sweet Beat of Louise Cordet (1962-1964)

Posted: 14 Jul 2021 02:15 AM PDT

Louise Cordet was a phenomenon in English pop/rock for about two years,
beginning when she reached number 13 on the charts with "I'm Just a Baby,"
released on English Decca in 1962. She was lucky enough to hit just as a
new wave of British rock & rollers were coming to the fore, even though her
sound was a little on the wimpy romantic side to fit in with British beat.
As the daughter of a major television personality (and god-daughter of
Prince Philip) with a convent school education, her origins were very
different from the working class origins of most British rock & rollers,
but she found an audience and held onto it, and for a time bidded fair to
be Decca Records's answer to Helen Shapiro. In 1963, Cordet appeared in two
movies, Just for You and Just for Fun; the latter, a follow-up to 1962's
It's Trad, Dad, was particularly notable, presenting Cordet
performing "Which Way the Wind Blows," which many onlookers regarded as the
best music clip in the movie and the highlight of the entire film. In some
ways, Cordet's career anticipated that of Marianne Faithfull, as it took
her from a convent school into a world of pop stars, London night spots,
and concert tours with the Beatles and Gerry & the Pacemakers. Indeed, she
is said to have taught Paul McCartney a dance or two on his arrival in
London, and Gerry Marsden originally wrote "Don't Let the Sun Catch You
Crying" as a number for Cordet, before his group recorded it. Her final
single, "Two Lovers," was a dazzling treatment of a Motown classic,
drenched in heavy guitars and a great beat, and nearly as alluring as the
Beatles' cover of "You've Really Got a Hold on Me." By 1965, however,
Cordet had stopped recording and, ironically, became part of the cadre of
hangers on surrounding Marianne Faithfull, serving as French pronunciation
advisor at Faithfull's May 11, 1965 Decca Records recording session, and
also doing her best in the press as a publicist for Faithfull during this

British singer Louise Cordet got a U.K. Top Twenty hit in 1962 as a
teenager with her first single, "I'm Just a Baby," but never made the hit
parade again despite issuing a couple dozen tracks between 1962 and 1964.
This exemplary compilation has all of them, including her six singles, a
1963 British EP, a couple songs from the 1963 Just for Fun soundtrack, and
nine tracks (all but one sung in French) released only in France. Cordet
had a mild voice that might have been more suited to straight adult pop
than the pop/rock she usually recorded, and was more a late relic of the
U.K. teen idol pre-Beatles pop years than she was a part of the British
Invasion. Combined with the ordinary and innocuous material she was given
to sing, that makes this something for British rock/early-'60s girl singer
completists, as well annotated and illustrated as it is. There are some
tracks of note, if more for their origins than Cordet's interpretations,
particularly "Don't Let the Sun Catch You Crying," which she released (and
which was a flop) in early 1964 shortly before Gerry & the Pacemakers
issued their famous international hit version. Her cover of "From Me to
You" from a May 1963 French EP is one of the earliest and most obscure
covers of a song by the Beatles (with whom she toured that year), and like
some of her other recordings, had a faint Twist rock/"yé-yé" sound. She
also made an unlikely venture into Cajun-flavored pop/rock on the 1963
single "Around and Around," and "Don't Let the Sun Catch You Crying"'s
flip, "Loving Baby" (written by producer and ex-Shadows drummer Tony
Meehan), has some eerie tones a little reminiscent of Joe Meek's work. She
was ill-equipped for harder stuff, however, and the sloppy arrangement of
Mary Wells' "Two Lovers" on her final single misses some chords key to the
classic original.


Gigi - Dann Ging Das Telefon (The Waiting Game) / Verliebte Geigen (1964)

Posted: 14 Jul 2021 02:12 AM PDT

Real Name:Linda UebelherrAliases:Linda G. Thompson, Linda Uebelherr

Linda G. Thompson released her first single in 1964, then under the
pseudonym "Gigi". In the mid-1960s she replaced Katharina Cornely, the
daughter of Frank Cornely, at the Cornely Singers. In 1969 she co-founded
the vocal ensemble Love Generation, which she left in 1971.
In the 1970s she sang first with The Les Humphries Singers, from 1975 then
together with Penny McLean and Ramona Wulf at Silver Convention. The three
singers celebrated world successes with Get Up and Boogie and Fly Robin Fly
and made it to number 1 on the Billboard charts in the USA with the latter.
Together with Ramona Wulf, she became the first German woman to have a
number one hit in the USA. In 1975 Thompson was awarded a Grammy for her
performance in Fly Robin Fly...~
A. Dann Ging Das Telefon (The Waiting Game)Adapted By [Deutscher Text:] –
C. W. BlecherWritten-By – Bob Hilliard, Robert Allen
B. Verliebte GeigenWritten-By – Gilbert Obermair, Robby Spier


Gigi And The Night Shadows - Hey, Hey, Sonny (1967)

Posted: 14 Jul 2021 02:05 AM PDT

Gigi & the Night ShadowsThe quintet "Gigi & the Night Shadows" from Hamburg
has recorded two singles. The entertainment band has found a wider audience
these days because the recently deceased Cisco Berndt (Truck Stop) played
the bass there from 1968 to 1972. The band's figurehead was the singer
Helga "Gigi" Weber. Her husband Jürgen Weber played the lead guitar.
Drummer Uwe “Jimmy” Beckedorf and rhythm guitarist Günther Timm also
belonged to the band.In 1967 "Gigi & the Night Shadows" recorded the
single "Hey, Hey, Sonny" / "Did you forget" on Metronome.
Helga "Gigi" Weber should not be confused with Gigi, who published the
single "Then went the phone" on CBS in 1966. This is Linda Übelherr, who
later became world famous as Linda G. Thompson


Gigi and The Charmains - Gigi and The Charmains 60s

Posted: 14 Jul 2021 01:59 AM PDT

Girls groups have a special place in the soul world. Early 60s and
pre-Motown girls like the Shirelles set the pace. But the crossover period
from R&B to soul via pop in the late 50s and early60s had a huge impact on
what was to become the dominant black music style of the next seven years.
This is reflected in the early recordings of groups like the Vandellas and
the Supremes...and the recordings of groups like Gigi and the Charmaines.

Gigi and the Charmaines’ brief and only Billboard chart appearance at #117
in 1961 doesn’t reflect the trio’s great solo work on six different labels,
nor does it take into account their work backing Lonnie Mack (the CD
includes his Baby What’s Wrong, Oh I Apologize and Say Something Nice To
Me) or their singing behind artists that included Little Willie John, James
Brown, Bobby Freeman, Conway Twitty, Gary U.S. Bonds and Hawkshaw Hawkins
at the King Records’ studio. These acheivements made them Cincinnati’s top
girl group. Gigi Griffin, nee Marian Jackson, the Charmaines lead singer,
helps to tell the story of the group in Mick Patrick’s informative
sleevenotes. How, for instance, they won a recording contract with
Fraternity Records on a local televised talent show. The CD includes the
group’s debut 1960 Fraternity 45 from late 1960 Rockin’ Old Man backed with
If You Were Mine, for which Gigi wrote the lyrics. More 45s, including What
Kind Of Girl (Do You Think I Am), which topped a rival version from Erma
Franklin in the summer of 1961, followed and they worked on local dance
party shows “...just like Bandstand, but local” including the one hosted by
Nick Clooney ‘that’s George Clooney’s dad!’ Gigi said.
The mystery of how one 45 was released on Hollywood-based Dot label is
explained and also the story of how the girls moved to and recorded in
Canada. The CD includes their swampy version of Rockin’ Pneumomia And The
Boogie Woogie Flu, a fabby, dangerous sounding and sexy take on Ike
Turner’s song I Idolise You plus the original version of On The Wagon, a
song later recorded by the pre-fame Ronettes. Gigi tells how her future
husband Herman Griffin got them a contract with the mighty Columbia label
via a demo of her song, later to become a Northern Soul favourite,
In Gigi’s own words: “Being with Columbia Records was a really big deal. We
were so excited you would not believe it.” The CD includes all the group’s
Columbia and Date Detroit-cut killer singles that feature the talents of
Herman Griffin, Don Davis, Leon Ware, Mike Terry, Dale Warren and Tommy
Wright including Guilty, Girl Crazy and Poor Unfortunate Me, a song
co-written and previously recorded by J.J. Barnes and a previously
unreleased track I Don’t Wanna Lose Him which is currently making big
noises in the Northern Soul world. But the girls were not all about uptempo
dancers. If You Ever is a great soulful ballad, Don’t Take Away Your Love
is lovely girl group pop and Where Is The Boy Tonight is great
bottom-heavy, classic girly, teen angst stuff. Two versions of GI Joe are
included, plus Gigi’s sister Jerri Jackson (who replaced Dee Watkins in the
group) and her duet with Kenny Smith, All The Time and an unissued track
from Carl Edmonson where the girls do their best Raelettes impression. So
the story of the talented Gigi and the Charmaines unfolds. Over half of
these tracks are new to CD, including three previously unissued titles.
Gigi still sings with a friend, Carmen, as a duo. They have recorded two
albums of standards and Christmas songs and perform “in nursing homes and
retirement centres, wherever there are seniors that need to be uplifted; we
go there and sing for them. We also do country clubs, private parties,
weddings, things like that. I don’t really regard it as work.”.
~ By Simon White
Gigi and The Charmains - Gigi and The Charmains2006

The back-cover blurb to this disc describes Gigi & the Charmaines
as "Cincinnati's top 1960s girl group," which sounds like the very
definition of a dubious distinction, but this thorough overview of the R&B
trio's recorded output from 1960 to 1967 shows they had the stuff to
compete on a bigger field if they'd had a bit more luck. Gigi Griffin (aka
Marian Jackson), the group's lead singer, was able to meld passion with
vocal precision in a manner that suggests a more sophisticated Diana Ross,
and her partners Dee Watkins and Irene Vinegar brought some superb
harmonies and backing vocals to their sessions. Add some memorable
production smarts (from Norman Lewis and, of all people, Bobby Bare) and
quality material (including "G.I. Joe," "Poor Unfortunate Me," "On the
Wagon," and an offbeat cover of "Brazil"), and you have one of the better
soul vocal acts of the era. This set not only collects Gigi & the
Charmaines' best near-hits but rare sides in which they performed backing
vocals for the likes of Lonnie Mack, Kenny Smith, and Carl Edmondson
(though sadly none of the material where they sang behind James Brown made
the cut). Northern soul obsessives and folks interested in unsung soul
queens of the '60s will eat this up, and more casual R&B enthusiasts will
find Gigi & the Charmaines fun listening as well.

VA - Irish Rock: Beat Groups 1964-1969

Posted: 14 Jul 2021 01:30 AM PDT

Full Info About : http://www.irishrock.org/comps/irelandsbeatgroups.html
Thanks Willy !!!

The Left Banke - 2 in 1

Posted: 14 Jul 2021 12:59 AM PDT

This New York group pioneered "baroque & roll" in the '60s with its mix of
pop/rock and grand, quasi-classical arrangements and melodies. Featuring
teenage prodigy Michael Brown as keyboardist and chief songwriter, the
group scored two quick hits with "Walk Away Renee" (number five)
and "Pretty Ballerina" (number 15). Chamber-like string arrangements, Steve
Martin's soaring, near-falsetto lead vocals, and tight harmonies that
borrowed from British Invasion bands like the Beatles and the Zombies were
also key elements of the Left Banke sound. Though their two hits are their
only well-remembered efforts, their debut album (Walk Away Renee/Pretty
Ballerina) was a strong, near-classic work that matched the quality of
their hit singles in songwriting and production.the Left Banke's internal
dynamic wasn't nearly as harmonious as their sound, and their history goes
some way toward explaining their short career. Initially, the group made
some recordings that were produced by Brown's father, Harry Lookofsky. When
these recordings failed to interest companies in signing the band, the Left
Banke broke up, Brown moving to California with the group's original
drummer. A backing track for "Walk Away Renee" had already been completed,
and the other members overdubbed vocals in Brown's absence. The song was
released on Smash and became a hit, and the musicians reunited to tour and
continue recording.Unfortunately, the group, which showed such tremendous
promise, was quickly torn asunder by dissension. Due to the nature of their
music (which often employed session musicians), the Left Banke's sound was
difficult to reproduce on the road, and one could sympathize with Brown's
wishes to become a Brian Wilson-like figure, concentrating on writing and
recording while the rest of the musicians took to the road. A variety of
guitarists, as both session musicians and ostensible group members, flitted
in and out of the lineup; Rick Brand, credited as the guitarist on the
first LP, actually plays on only one of the album's songs. Adding fuel to
the fire, Brown's bandmates wanted to oust Brown's father as the act's
manager. In early 1967, Brown went as far as to record a Left Banke single
without them, using vocalist Bert Sommer.
That single ("And Suddenly") flopped, and for a brief time in September
1967 the original members were recording together again. After just one
single ("Desiree"), though, Brown left for good. Most of the group's second
and final album, The Left Banke Too, was recorded without him. While it
still sported baroque arrangements and contained some fine moments, Brown's
presence was sorely missed, and the record pales in comparison to their
debut. Brown went on to form a Left Banke-styled group, Montage, which
released a fine and underappreciated album in the late '60s. He later
teamed up to form Stories with vocalist Ian Lloyd.There were some confusing
son-of-Left Banke recordings over the next few years, although the band
really came to a halt in 1969, after the second album. Brown, Martin, and
unknown musicians made a few recordings in late 1969; then, oddly, the
original group re-formed for a fine early-1971 single on Buddah ("Love
Songs in the Night" b/w "Two by Two"), although the record itself was
credited to Steve Martin. And the original group, minus its key visionary
Michael Brown, made an album's worth of ill-advised reunion recordings in
Walk Away Renee Pretty Ballerina 1967

While the rise of folk-rock acts like the Byrds and the Lovin' Spoonful
brought 12-string guitars and autoharps into the rock & roll vocabulary,
and the Beatles' "Yesterday" and "Eleanor Rigby" opened the door for a more
artful use of strings in pop music, the Left Banke pioneered something new
with their debut single, 1967's "Walk Away Renee," which incorporated a
small string section, harpsichord, and woodwinds to give the song a light
yet dramatic Baroque flavor that was unique in rock at the time, and a
perfect complement to the song's bittersweet tale of unrequited love. the
Left Banke's follow-up, "Pretty Ballerina," was even more striking, and
while the group started to fall apart almost as soon as they achieved
success, their debut album, named for the two hit singles, was one of the
best LPs released in a year full of innovation in pop music. Michael Brown,
the group's keyboard player, wrote most of the songs, and with producer and
arranger Henry Lookofsky (who was also Brown's father) he helped brainstorm
the unusual sound of the Left Banke's material, but vocalist Steve
Martin-Caro also played a major role in these sessions; his vocals, which
could go from the wistful "Barterers and Their Wives" to the full-on rock
shouting of "Lazy Day" at the drop of a hat, are impressive, and he helped
write three of the album's best songs, "She May Call You Up Tonight" and "I
Haven't Got the Nerve," and "Shadows Breaking Over My Head." Walk Away
Renee/Pretty Ballerina is hardly unusual for a rock album of the era in
that most of the tracks were dominated by session musicians rather than
actual bandmembers, and in many respects, this album was a triumph for the
producers and arrangers (among them Steve Jerome and John Abbott, along
with Lookofsky) as much as the band, but they also gave this LP a
remarkably diverse feel, from the Baroque sound of the hit singles and the
formal-dress psychedelia of "Shadows Breaking Over My Head," to the
country-rock accents of "What Do You Know," and the straightforward rock
of "Lazy Day" and "Evening Down." If the Left Banke's moment of stardom was
fleeting, Walk Away Renee/Pretty Ballerina reveals, for a brief and
exciting moment, they were one of the best and most innovative American
bands in rock & roll.
The Left Banke Too 1968

The Left Banke had been together for less than a year when their debut
single, "Walk Away Renee," became a hit, and once the band began touring
steadily, they started to fracture as Michael Brown, the group's
17-year-old wunderkind, songwriter, and pianist, decided he didn't care for
life on the road. By the time The Left Banke cut their second album, Brown
was out of the picture, as was producer and arranger Henry Lookofsky (he
was also Brown's dad), and the lineup was down to a trio: vocalist Steve
Martin-Caro, guitarist/bassist Tom Finn, and drummer George Cameron. Not
promising circumstances for the creation of The Left Banke Too, but
surprisingly it's a fine album that shows the group's second string had
plenty of talent and a sound creative vision. The album's tone differs from
the debut, with fewer songs as mysterious as the lovelorn "Walk Away Renee"
and "Pretty Ballerina," and a production that sounds more like intelligent
sunshine pop than the leaner Baroque vision of its precursor. But with the
help of outside songwriter Tom Feher, the remaining members came up with
some impressive material, including the lush psychedelic pop of "There's
Gonna Be a Storm" and "My Friend Today," the engaging uptempo
rocker "Goodbye Holly," and a witty tale of low-budget rock star
decadence, "Bryant Hotel," which features some rollicking piano and a
wailing vocal from Cameron. (He and Finn both stepped up for lead vocal
spots on the album, with impressive results.) Brown reconciled with his
bandmates long enough to write and produce a single, and both sides were
included on Left Banke Too, with "Desiree" sounding like a grander
variation on the tone of the first LP. The single was a flop, and none of
the songs from The Left Banke Too fared any better, but even though it
proved the be the band's swan song, it's a great pop album that confirms
Michael Brown wasn't the only gifted songwriter in the group. (Two songs on
the album feature backing vocals from one Steve Tallarico, who several
years later would tie a scarf to his mike stand, change his name to Steven
Tyler, and become the lead singer with Aerosmith.)


Hep Stars - We And Our Cadillac (1996)

Posted: 14 Jul 2021 12:49 AM PDT

The chances are that, had ABBA never come along making Benny Andersson (and
his three partners in the group) into an international pop/rock star, no
one outside of Sweden would ever have heard of the Hep Stars. They were the
hottest rock band of the mid-to late '60s in Sweden, however, considered by
some to be that country's answer to the Beatles. The Hep Stars also charted
20 singles in their own country and had hits in the Netherlands, as well as
building a following in Germany -- and their CDs are exported around the
world as a result of the ABBA connection. It also turns out that they were
a pretty good band, too.

Andersson's interest in the keyboard manifested itself at age six, when he
got his first accordion, and he began playing with his father and
grandfather. At 10, he got his first piano and started lessons, but these
didn't continue, and he basically became a self-taught musician.

He was playing in a band in 1964 when he chanced to be heard by Svenne
Hedlund, a member of the Hep Stars, who had been formed in 1963 and already
recorded one single, but had also just lost their organist, Hasse Ostlund.
Anderson joined the band in October of 1964 -- the lineup also featured
Janne Frisk on guitar and vocals, Hedlund on lead vocals, Lelle Hegland on
bass, and Christer Pettersson on drums. Soon after Andersson joined, the
Hep Stars recorded four songs: Geoff Goddard's "Tribute to Buddy Holly,"
which had been a hit in England for Mike Berry in the early '60s; the
Premiers' then-current hit "Farmer John," and "Cadillac" (not the Bo
Diddley song), that helped transform their careers.

By the middle of 1965, after getting a break on Swedish
television, "Tribute to Buddy Holly," "Farmer John," and "Cadillac" had
each topped the Swedish radio charts. "Cadillac," "Farmer John," and a
cover of Shel Talmy's "Bald Headed Woman" also reached number one on the
sales charts, while "Tribute to Buddy Holly" got to number five, all in
less than a year.

"Cadillac" was a good representative of the group's sound during this
period, a piece of lusty, bluesy garage rock. dominated by an agonized lead
vocal, somewhere between Gene Vincent at his most quiet and menacing and
David Aguilar of the Chocolate Watchband doing his best anguished teen
emoting, and some very prominent organ riffs by Andersson. The group
sounded sort of like a Swedish Paul Revere & the Raiders with a little more
lyricism than that comparison implies. Their version of "Farmer John" was a
pale imitation of the Premiers' original, but it satisfied home-grown
audiences. "Bald Headed Woman" was convincingly bluesy and threatening,
and "Tribute to Buddy Holly" was a less dramatic rendition of the song than
Mike Berry's version. They had a decent if slightly smooth garage band
style, Andersson's organ and Frisk's guitar paired up very nicely on the
breaks on numbers like "Should I," while Andersson's electric harpsichord
was the dominant instrument on the folk-like "Young and Beautiful."

We and Our Cadillac Their initial string of hits resulted in the release of
two LPs in 1965, We and Our Cadillac, and The Hep Stars on Stage.
Additionally, Benny Andersson began writing songs that year -- up to that
point, the band had done nothing but covers of songs by American and
British composers (they did rocking versions of "What'd I Say" and other
rock & roll standards on stage), but "No Response," Andersson's debut as a
songwriter, made it to number two on the charts. A year later, his "Sunny
Girl" got to number one, and his "Wedding," released that same year, also
topped the charts. For the next three years, his originals would compete
with outside material for space on the A-sides of single releases by the
The Hep Stars The group scored 20 hits in the Swedish Top Ten thru the
summer of 1969, among them nine songs that topped the charts. They also
released five more albums: The Hep Stars (1966), Jul Med Hep Stars
(Christmas with the Hep Stars) (1967), Songs We Sang (1968), and Hep Stars
Pa Svenska (1969). As those titles indicate, as the '60s progressed, the
band began cutting their songs more and more often in Swedish, including
covers of modern folk songs such as Ian Tyson's "Four Strong Winds" (done
as "Mot Okant Land").
Shortly after hitting number one with "Wedding" in May of 1966, the Hep
Stars were invited to a party by another popular Swedish group, the
Hootenanny Singers. It was there that Andersson first met Bjorn Ulvaeus,
who was a member of the other group. They began writing songs together
later that year, with "It Isn't Easy to Say" -- that song, along with the
Ulvaeus composition "No Time," showed up on the Hep Stars' self-titled
third album, issued in December of that same year. At that time, their
popularity was such that the album's sales broke all records, making it the
first album by a Swedish band to reach the Top 20 album and singles charts.

Their string of hits continued with a Swedish version of "Last Night I Had
the Strangest Dream," "Don't" (a cover of the Elvis Presley song), and
Andersson's "Consolation." Everything seemed to be going extraordinarily
well for the Hep Stars, but that all changed in 1967 when the band made a
mistake astonishingly similar to one that the Beatles made that same year
-- they decided to make a movie; additionally, the movie was to be financed
by the band, and it had no script, which sounds a lot like The Magical
Mystery Tour.

In contrast to the Beatles, who were earning enough money from record sales
that they could've made two or three Magical Mystery Tours and not been
seriously hurt, however, the Hep Stars were stricken financially by the
project, which was never completed. The one bright spot in the entire
debacle was the song "Malaika," which they found while shooting in Africa,
and which reached number one.

The group kept working, oblivious to the hole they'd put themselves in
until they were hit with a bill for back taxes that drove them into
bankruptcy. They soldiered on, the members working off their debts, and in
the summer of 1968, there was a lineup change when Svenne Hedlund's fiancee
Charlotte "Lotta" Walker joined as lead singer. The hits kept coming,
though from 1968 onward the Hep Stars were no longer recording much rock
music, preferring a softer MOR and folk-based style.

It was this change that led to the group's split. Andersson and Svenne and
Lotta Hedlund wanted to keep moving in an MOR direction, while the rest of
the band preferred going back into the rock 'n roll music with which they'd
started out. Andersson, Hedlund, and Walker exited the line-up following
the band's 1969 summer tour. The seeds that would spawn ABBA were already
planted by that time -- Andersson met Anni-Frid Lyngstad during the Hep
Stars' final weeks of performing, and their engagement, and his involvement
with her music as producer of her new single (co-written by Andersson and
Ulvaeus), followed soon after the Hep Stars split.

In more recent years, the Hep Stars have appeared as a reunited band (sans
Andersson), and have made a serious effort at recording as well as
performing in Sweden, where their music is still remembered by older
audiences from the '60s. ABBA's success has seen to their reissue on CD, as
well as to the international availability of their music.
The debut LP by the Hep Stars is mostly made up of guileless and style-less
rock & roll. The Hep Stars were like a lot of English bands of the period,
rippling through the harder rock & roll numbers with thumping efficiency or
aping the originals on songs like Carl Mann's "Rockin' Love" without any
real feel for or comfort with the words. Parts of this album resemble
English releases of the period, in the sense that the group is covering
Phil Spector, Carl Mann, and Shel Talmy numbers in an earnest manner, but
they lack the originality to pull off anything more than going through the
motions. The best song here is the Swedish Top Ten single "Cadillac," a
hot, bluesy organ-dominated number that might have passed for a Gene
Vincent or Marty Wilde song. Otherwise, the group works best with melodic
numbers that allow them music to hook their work around -- "Be My Baby" as
a guitar-driven piece is passable, and it and the organ-dominated version
of "And Then She Kissed Me" come off best; plus, they throw themselves into
Neil Sedaka's "Oh! Carol" with compelling passion. "Bald Headed Woman"
comes off surprisingly well also, mostly because it's similar in character
to "Cadillac." "That's When Your Heartaches Begin" is pretty poor, apart
from Benny Andersson's elegant piano playing, and little of the rest works
better. The bonus tracks on the 1996 EMI reissue are mostly superior to the
original LP's, apart from their debut single (a piece of pathetic
Euro-pop/rock called "Kana Kapila"), "I Got a Woman," "Tribute to Buddy
Holly," "Summertime Blues," and "Farmer John" are all worth hearing.


The Barrier - First, Last and Always 7" (1966)

Posted: 14 Jul 2021 12:33 AM PDT

A1 Spot The Lights
Written-By – Francis*, Dwyer*
A2 Uh!
Written-By – Howard Blaikley
B1 Dawn Breaks Through
Written-By – Francis*, Dwyer*
B2 Tomorrow Of Yesterday
Written-By – Francis*, Dwyer*

Bass, Vocals – Alan Francis (3)
Coordinator [Project] – Don Craine
Design [Cover] – Pablo De La Cruz
Drums, Vocals – Alan Brooks
Guitar, Vocals – Del Dwyer
Keyboards, Vocals – Eric Francis

Songs A1 and A2 originally issued in 1968 on 7" single: Philips BF 1731 (UK)
Song B1 originally issued in 1968 on 7" single: Eyemark EMS 1013 (UK)


Willie & The Red Rubber Band - Willie And The Red Rubber Band (1968) &
We're Coming Up (1969)

Posted: 14 Jul 2021 12:27 AM PDT

Willie et al came out of west Texas and remind me of a cross between a jug
band and the 13th Floor Elevators, or maybe Zappa if he went country, or,
The Fugs if they went country. They have nothing in their oeuvre to compare
to fellow Texan Roky and his 13th Floor Elevators but they are interesting
as a time capsule of the era and they were certainly "playing" in the
same "mind" park as Roky. Drums – Conley Bradford
Engineer [Recording] – Al Pachucki
Guitar – John Buck Wilken*, Lanny Fiel
Guitar, Bass – Glen Ballard (2)
Organ, Piano, Cello – Charles Addington
Photography By – Bill Berger
Piano – Begie Chruser
Producer – Chuck Sagle, Duke Niles (tracks: B6)
Vocals, Guitar – Willie Redden
The band is off the wall with a melting pot of styles which is slightly
endearing. Willie et al came out of west Texas and remind me of a cross
between a jug band and the 13th Floor Elevators, or maybe Zappa if he went
country, or, The Fugs if they went country. They have nothing in their
oeuvre to compare to fellow Texan Roky and his 13th Floor Elevators but
they are interesting as a time capsule of the era and they were certainly
playing in the same mind park as Roky. Trying to find anything on this band
is near on impossible – but they must have had a career as this is their
second album and they are on a major label (RCA). The music is a mix of
rock, blues, country and soul with a dash of the avant-garde underground.
Mary Jane is their best song of their first album and Chicky – Chicky Boom
Boom their greatest acid dancing hit from their second LP

John "Bucky” Wilkin, the son of Marijohn Wilkin (author of the country
classic “Long Black Veil”), is most noted as a session guitarist on
numerous country and rock records of the 1970s, particularly outlaw country
releases by Waylon Jennings, Kris Kristofferson, Kinky Friedman, and Jessi
Colter. He was also a songwriter and put out a little-known solo LP. Prior
to his solo album, Wilkin had been in Ronny & the Daytonas, famous for
their 1964 hot rod hit “Little GTO.” Wilkin was also in the American Eagles
(not to be confused with the much more famous Eagles), who also included
keyboardist Chuck Leavell, and put out a single in 1969.


The Victors - Victorious (1964 - 1966)

Posted: 14 Jul 2021 12:20 AM PDT

By their own admission, the Victors were an ordinary teenage garage band
from Minnetonka, MN; as guitarist Ron Daily puts it, "I don't think we were
anything special, it was just a good time in our lives." However, the
Victors did have a few brushes with greatness -- the combo ended up backing
vocalist Pete Lokken on the fabled teen decadence anthem "Beer Bust Blues"
by the Scotsmen, organ player Terry Knutson got to hang out with the
Rolling Stones when Mick's boys played a poorly attended gig in Excelsior,
MN, on their first U.S. tour in 1964, and two members of the Victors, Jim
Kane and Denny Waite, later joined the Litter, one of the greatest
Minnesota bands of the 1960s. While the Victors never released a record in
their lifetime (except for the "Beer Bust Blues" single), Victorious
collects nearly 80 minutes of demos and live tapes the group left behind,
and if they aren't exactly revelatory, they are sure a lot of fun. The
Victors began life as a landlocked surf band in the manner of fellow
Minnesotans the Trashmen, and their takes on stuff like "Death of a
Gremmie" and "Shake 'n' Stomp" display an impressive command of cheap
reverb. But with time they began tackling R&B and British Invasion
material, and while the Victors didn't play "Wallking the Dog," "I Ain't
Gonna Eat Out My Heart Anymore," or "Midnight Hour" any better than a dozen
other bands of the era, there's a naive and engaging primitive sound to the
band that suggests you've walked into a time machine and ended up at a teen
dance in the Midwest before LSD came along to spoil everything. The
Victors' cover of "You're a Better Man Than I" also suggests they were
better informed than the average teenagers of their day, and their
misspelled version of "Gloria" is some sort of lost classic. Fans of
authentic teenage music will love this.

Freddie & The Dreamers - The EP Collection

Posted: 14 Jul 2021 12:06 AM PDT

Freddie & the Dreamers were the clowns of the British Invasion, playing
their pop music for laughs while the other groups of the time were dead
serious. Lead singer Freddie Garrity began playing in skiffle groups in the
late '50s, switching to rock & roll in the early '60s. After the Beatles
broke the American market wide open, Freddie & the Dreamers followed in the
flood of acts that tried to duplicate the overwhelming success of the Fab
Four. The group's hits were more numerous in the U.K. than in America,
where they had only one Top Ten hit, the number one "I'm Telling You Now."
As 1965 turned into 1966, the group stopped charting in the U.S. and the
hits began to dwindle in the U.K.; by 1968 the original group disbanded.
Garrity later assembled new versions of the Dreamers, and the group toured
for two decades; however, Garrity's health began to decline and he became
acutely ill on a plane from New York to Britain in 2001, reportedly due to
emphysema. Subsequently often confined to a wheelchair, he died in Bangor,
Wales, on May 19, 2006 at the age of 69.


The Rockin' Berries-Life Is Just A Bowl Of Berries

Posted: 14 Jul 2021 12:05 AM PDT

The group decided to push their comic routines to the fore on their second
album, with fairly disastrous results. Their use of comedy in their live
act may have helped get them work at seaside resorts and cabarets, but it's
painfully corny on record. That's what you hear on about half of the
album--yuk-yuk run-throughs of hammy novelties like "I Know an Old
Lady," "When I'm Cleaning Windows," and "The Laughing Policeman."
Interspersed, with all the flavorful consistency of a licorice pizza, are
standards like "The Way You Look Tonight" and covers of Goffin-King's
soul-ballad "I Need You," the Dixie Cups' "Iko Iko," and
Bacharach-David's "My Little Red Book." The non-comedy material is
competent but unremarkable, and not as good as the straight rock and pop
stuff the Berries did on their first LP, In Town. If you must seek this
out, the painless way to do so is on Sequel's two-CD They're in Town, which
includes Life Is Just a Bowl in its entirety, surrounded by dozens of other
(usually superior) tracks recorded by the band in the 1960s.

VA - The Weekend Starts Here (Original Sixties Mod Classics)

Posted: 13 Jul 2021 09:38 PM PDT

Original Sixties Mod Classics

VARIOUS ARTISTS The Weekend Starts Here! Original Sixties Mod Classics
(2008 UK 75-track 3-CD set - Every Friday evening at exactly 6.08pm, over
10 million teenagers tuned in to the most popular live TV show ever made in
the UK: 'Ready Steady Go!'. Hosted by Cathy McGowan & Keith Fordyce, it was
THE music show for the in-crowd, the Carnaby Street set where pop, soul and
R&B mixed with the latest fashions and the latest dance craze. 'The Weekend
Starts Here!' is the greatest collectionof 60's classics ever put together,
with featured acts including Booker T & The MG's, Dusty Springfield, Eddie
Floyd, Edwin Starr, Ike & Tina Turner, Isley Brothers, James Brown, Julie
Driscoll & Brian Auger, Little Richard, Long John Baldry, Lulu, Manfred
Mann, Martha & The Vandellas, Marvin Gaye, Mary Wells, Otis Redding, Rod
Stewart, Smokey Robinson & The Miracles, Solomon Burke, Stevie Wonder, The
Animals, The Four Tops, The Small Faces, The Temptations, The Who, The
Yardbirds and MORE.).


VA - Boogie Chillen Early Mods' First-Choice Vinyl

Posted: 13 Jul 2021 08:59 PM PDT

The most enlightening and informative mod collection yet to see issue,
Boogie Chillen not only provides a fascinating history lesson, but also
delivers a compelling 3 ½ hours of great music. At the start of the
sixties, Britain bore witness to a new, brash youth movement, which up
until the onset of hippy-dom later that decade, dominated the country s
fashion and musical landscape. These young modernists embraced a smart,
stylish look along with the coolest sounds emanating from the US, and
later, Jamaica. While the subculture eventually faded from British
mainstream consciousness, it has never disappeared altogether, attracting
new followers worldwide with each new generation. Yet despite its enduring
popularity, the music that inspired the original mod stylists has remained
largely undocumented. Boogie Chillen sets to put the record straight,
collecting 75 of the most popular and influential tracks on the burgeoning
mod scene of the early sixties. Annotated and compiled by first generation
mod, Rob Nicholls, the 3CD set takes a musical journey, highlighting an
array of classic R&B, jazz and rock & roll classics that found favour among
those considered Britain s coolest youths. Disc One features recordings
from 1952 through to 1960, from the elemental electric blues of John Lee
Hooker, Slim Harpo and Elmore James, to the jazz grooves of Cannonball
Adderley, via the rock & roll of Link Wray and Dale Hawkins. There are R&B
cuts of all shades, from the New Orleans sounds of Huey Smith and Frankie
Ford to the polished sound of Lloyd Price. Discs Two and Three concentrates
on the early 1960s, presenting sounds that were contemporaneous with the
blossoming mod club scene. The net is cast wide to include James Brown,
early Motown and Stax sides, the Latin jazz of Ray Barretto and the
sophisticate vocals of Mel Torme. It is this variety of styles that sets
Boogie Chillen apart from other mod compilations: the early mod scene
embraced all forms of popular music from Neil Sedaka to Booker T & The MG s
as long as it satisfied the discerning early mods taste for cool grooves
and rocking rhythms.


VA - Nederbeat Downbeat

Posted: 13 Jul 2021 08:49 PM PDT


The Purple Gang - Purple Gang Strikes ( 1968)

Posted: 13 Jul 2021 08:42 PM PDT

The Purple Gang were more '60s jug band revivalists than they were anything
else, but they have sometimes been lumped into the psychedelic scene due to
the company they kept. Formed in Stockport Art College in England in the
mid-'60s, they found a deal with the British folk label Transatlantic, who
referred them to producer Joe Boyd. Though American, Boyd was already a
mover and shaker in London as a budding producer (with early Pink Floyd), a
representative for Elektra Records, and a co-runner of the legendary
underground rock/psychedelic club the UFO. Boyd produced their 1967
single "Granny Takes a Trip," which, despite one word in the title, was not
about acid. In reality it was a pleasant jug band tune with a morsel of
pop/rock influence. The BBC, however, felt otherwise and banned it from its
This setback contributed to the Purple Gang breaking up after just a couple
of singles and one album (which included those singles), Strikes. Actually,
much of the LP was standard good-time jug band music, rather reserved even
by the standards of '60s jug band revivalism, though it was entirely
comprised of original compositions. The only psychedelic thing about the
Purple Gang was their milieu. They found their largest audience, for
whatever reason, in the underground rock crowd, including the one at the
UFO, where the "Granny Takes a Trip" single would often be played.
The Purple Gang did reorganize in the late '60s in a more electric
incarnation, but could not get a record deal. Purple Gang founder Joe Beard
re-formed the band in the late '90s with three new members, recording a CD
and playing live gigs.

The Purple Gang's sole record is an oddity, not comfortably fitting into
any of the scenes -- folk, folk-rock, psychedelia -- with which some
historians have associated it. Actually, it's moderately engaging,
moderately modernized jug band music, quite mild even compared to the
better revivalists of the style in the 1960s, like Jim Kweskin or Dr.
West's Medicine Show & Junk Band. There's little hint of electric rock or
psychedelia, and one's left with the feeling that you had to be there to
get hip to what made them hip, or that they wouldn't have been that
interesting even if you were there. Tossing expectations aside and just
judging what's on the platter, it's OK jug band revival music, albeit with
wholly original material. It's also pretty restrained, almost to the point
of gentility, in its fervor and humor. A bit of the hippie acid-folk vibe
seeps into one of the better and more mysterious cuts, "The Wizard," which
actually does have a trilling electric guitar. A wee bit of British
pop-psych bonhomie also colors "The Sheik," "Kiss Me Goodnight Sally
Green," and their most famous track by far, "Granny Takes a Trip" (which is
still jug band-based, despite the psychedelic implications that some read
into the title). Ultimately, though, it's surprisingly tame and ordinary.

VA - Marshmallow Skies (60s Pop Stars Flirt With Psychedelia)

Posted: 13 Jul 2021 08:16 PM PDT

"Turn the time machine back fifty years for a groovy 80 minute trip:
Marshmallow Skies is a turned-on look into established 60s pop artists’
forays and experiments with the psychedelic music scene. Listen as stars of
sixties flirt with psych instrumentation coupled with lyrics about peace
and love. It’ll blow your mind in 28 different pieces, man."Check out
Teensville Records in NSW, AU they have put together some great 60's