Old Melodies ...
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Sandy Nelson - Golden Hits & The Best Of The Beats
Posted: 30 May 2015 10:27 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/sandy-nelson-golden-hits-best-of-beats.html
Sandy Nelson was the biggest -- and one of the few -- star drummers of the
late '50s and early '60s era in which instrumental rock was at its peak. He
landed two Top Ten hits, "Teen Beat" (1959) and "Let There Be Drums"
(1961), which surrounded his Gene Krupa-inspired solos with cool, mean
guitar licks that were forerunners of the surf sound. Nelson had only one
other Top 40 hit, "Drums Are My Beat" (1962). He ground out a quick series
of instrumental albums in the early '60s -- eight within 18 months, as a
matter of fact -- with several other top Hollywood rock and pop session
musicians. Nelson was not that great a drummer, although he was good. His
principal importance is that he found a place for drum rock solos in hit
instrumental singles, and the more reckless elements of his style no doubt
influenced other musicians, such as surf drummers and, later, Keith Moon.
Nelson started to play rock & roll as a teenager in Los Angeles in the
1950s, forming a group that included Jan Berry, Dean Torrence, and Bruce
Johnston, all of whom would be important to the surf and hot rod scenes a
few years down the line. By the late '50s he was playing sessions,
including drums on the Teddy Bears' chart-topper "To Know Him Is to Love
Him." After his "Teen Beat" became a hit for Original Sound in 1959, he
signed with Imperial as a solo artist, and continued to work as a session
musician. For instance, he's heard on Gene Vincent records of the time, as
well as the Hollywood Argyles' big hit "Alley Oop," on which he also did
some screams. Nelson's numerous solo albums, despite the assistance of top
fellow sessioneers like Steve Douglas (sax), Ernie Freeman (piano), and
Rene Hall (guitar), had a lot of basic and unimaginative instrumental rock,
whether original material or covers of well-known hits of the day. As with
Duane Eddy's recordings, however, these simple albums might have helped
inspire aspiring musicians as things to play along and learn with, if
nothing else.
Near the end of 1963, Nelson was involved in a serious motorcycle accident
that necessitated amputation of his right foot and part of his leg.
Nonetheless, he managed to resume his drumming career and continued to
churn out albums, as well as some singles, of which "Casbah" (1965) is the
highlight, with its wild splashing drums and frenetic Middle Eastern/surf
guita
Golden Hits & The Best Of The Beats (1997)
Although their titles seem to suggest best-of compilations, both Golden
Hits and Best of the Beats are simply two more entries in a long line of
Sandy Nelson records cut in response to the chart blockbusters of the
moment. These LPs live or die on their relative compatibility with Nelson's
strengths and sensibilities, and each of these 12-song efforts is a
significant cut above average thanks to the inclusion of several R&B
classics that afford the drummer the chance to cut loose. (Their
similarities also make them more compatible than many of the pairings on
See for Miles' other Sandy Nelson two-fers.) Nelson clearly savors the
verve and creativity of Golden Hits covers like Wilbert Harrison's "Kansas
City," Bill Doggett's "Honky Tonk," and Fats Domino's "Walking to New
Orleans," and his drum solos exhibit an unusual finesse, complementing the
melodies instead of overpowering them. The Best of the Beats is even
better. The loosey-goosey energy of the New Orleans party classics "Ooh Poo
Pah Doo" and "Mother-in-Law" proves particularly well matched to the
chaotic abandon of Nelson's rhythms, and he also captures the
Latin-flavored verve of the Ritchie Valens hits "Let's Go" and "La Bamba."
Best of all are the back-to-back Elvis Presley covers "All Shook Up"
and "Don't Be Cruel," which pay implicit homage to D.J. Fontana, the King's
longtime sideman and arguably the first truly great rock & roll drummer.
***
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Johnny And The Hurricanes - Stormsville (1960)
Posted: 30 May 2015 10:11 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/johnny-and-hurricanes-stormsville-1960.html
One of the most distinctive instrumental groups of the '50s and '60s,
Johnny & the Hurricanes produced the Top Ten hit "Red River Rock" and
scored several other instrumental hits that mixed rock & roll with
traditional melodies. Originally known as the Orbits, the group formed in
Toledo, OH, in 1958 and was led by saxophonist Johnny Paris; other members
included organist Paul Tesluk, guitarist Dave Yorko, bassist Lionel "Butch"
Mattice, and drummer Tony Kaye. After a stint recording with rockabilly
singer Mack Vickery, the group traveled to Detroit, hoping to become a
backing band for up-and-coming singers. However, a pair of music promoters,
Harry Balk and Irving Michanik, signed them as a group on their own, and
they recorded their first single, "Crossfire," for the Twirl label in
1959. "Crossfire" went to number 23 and the group moved to the Warwick
imprint for "Red River Rock," a rock & roll instrumental of the
standard "Red River Valley" that peaked at number five. The Hurricanes
responded to their success with more of the same, delivering "Reveille
Rock,""Rockin' Goose,""Revival," and "Beatnik Fly" over the next year,
touring extensively all the while. Eventually the pace -- and lack of
further hit singles -- caught up with the group, and Johnny & the
Hurricanes disbanded in 1965. Paris moved to Hamburg, started his own
label, Atila, and in 1970 formed a new Hurricanes lineup that toured until
November 2005, two weeks before Paris took ill and was hospitalized. He
died on May 1, 2006, due to pneumonia and septic blood after a splenectomy.
***
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VA - Live in Concert (Fontana) 1968
Posted: 30 May 2015 09:20 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/wanted-va-live-in-concert-fontana.html
http://rateyourmusic.com/release/album/various_artists_f2/live_in_concert/
A1 Cops & Robbers - On Love
A2 The Rivets - Watch the World
A3 The All - I'm Addicted
A4 Marquee Sect - Barefootin'
A5 The Tonics - Peepin' and Hidin'
A6 The Rattles - I'll Catch Her
B1 Cops & Robbers - You Keep Me Hanging On
B2 The All - The Letter
B3 The Tonics - Blue Suede Shoes
B4 The Rivets - Right Girl
B5 The All - I Don't Want to Listen
B6 The Rattles - Love of My Live
Here can be your advertising 8)))!!!!!
http://faintlyblowing.blogspot.ru/2008/01/va-live-in-concert-1968.html
(site open with ESC)
Thanks Nico !!! ***
///////////////////////////////////////////
The Spotnicks - Vocal Tracks
Posted: 30 May 2015 08:54 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/the-spotnicks-vocal-tracks.html
If remembered at all today, it is probably thanks to their silly astronaut
costumes, but in the '60s the Spotnicks were one of the most successful
instrumental rock groups, alongside the Shadows and the Ventures. Their
very specific sound had more in common with the Shadows, being clean and
intentionally gentle. It originated from their first primitive demo
recordings, but the record company liked it and, being plastic and twangy,
it was promoted as a space sound. Already in the late '60s it was outdated,
but that didn't stop the group from having big successes throughout the
decade. In the '70s the sound was definitely antiquated, but like the
Ventures, the Spotnicks found reliable audiences in Japan and Germany, as
well as a cult and nostalgia following around the world. the Spotnicks have
sold over 20 million albums, making them among the most successful Swedish
groups ever, surpassed perhaps only by ABBA and Roxette. By the late '90s
they had released 39 studio albums, recorded roughly 700 songs, and had
more than 100 members in the different constellations of the band.
the Spotnicks were formed in Göteborg, Sweden, in 1957, by guitarist and
undisputed bandleader Bo Winberg. The other members were guitarist and
singer Bob Lander, drummer Ove Johansson, and bassist Björn Thelin, several
of whom had already played together in local rock & roll bands like the
Blue Caps, Rock Teddy, and the Rebels. The first year they performed under
the name the Frazers, but soon changed it to the Spotnicks. In 1961 they
were signed by Karusell and released their first singles containing mostly
instrumental covers of famous songs. The selection of songs was as varied
as the performances were homogenous, including titles like "Hava Nagila"
and "Johnny Guitar." Later the same year, the Spotnicks toured Germany,
France, and Spain, and in 1962 they released their debut album, The
Spotnicks in London, recorded on their first trip to England. Featured on
this tour were the space suits that the band would wear on-stage until
1969."Hava Nagila" became a hit in England in 1963, and the same year
Johansson left and was replaced by Derek Skinner. The rest of the '60s led
to increasing success in Europe, the U.S., and Japan, and the band even
managed to compete with itself on the Japanese charts when the Spotnicks'
song "Karelia" took the first position from the Feenades'"Ajomies." The
song was the same, just recorded under different titles. The Feenades were
a Finland-based side project to the Spotnicks, built upon Winberg and Peter
Winsnes, who had joined the Spotnicks in 1965. Winberg also released less
successful recordings under the name the Shy Ones. Compared to the
following decades, the '60s were a relative stable period for the Spotnicks
in terms of the group's lineup. Some new members were recruited, though,
like drummer Jimmy Nicol, bassist Magnus Hellsberg, and drummer Tommy
Tausis, who had earlier played with TagesIn 1969 the Spotnicks disbanded,
but Winberg continued to record using the name until the group reunited in
1972 upon the request of a Japanese record company. The same year, "If You
Could Read My Mind" from the album Something Like Country became a big hit
in Germany. the Spotnicks would retain their popularity there for a long
time, even as it faded elsewhere. Only the Japanese audience proved more
faithful and, accordingly, the Spotnicks devoted most of their touring
during the '70s to these two countries. After the release of 1972's
Something Like Country (the Spotnicks' best album according to many fans),
they had practically ended being a band, consisting mainly of Winberg and
various session musicians.If the Spotnicks had started out as rock & roll,
in the '70s they turned more toward easy listening, or even exotica,
although perhaps not by changing their own sound as much as by stubbornly
keeping it while trends changed. By the '80s they had essentially become a
curiosity at home, but kept up their popularity in Germany and Japan.
During the '90s Winberg still toured using the name the Spotnicks, but to
little attention. And even in their hometown of Göteborg, the Spotnicks
were mainly forgotten, except for an occasional article in the local paper
reminding readers of some guys with silly helmets who were once
international stars.
***
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The Kinks - Kinky Boots
Posted: 30 May 2015 08:42 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/the-kinks-kinky-boots.html
The Secret Sessions (Phenomenal Cat PC 63/71)
Kinky Boots
Collection of Alternate, Rare and Unreleased Tracks
The Kinks - Kinky Boots (31 / 78:32)
[01:58] 01. The Kinks - I Believed You[01:39] 02. The Kinks - I'm A Hog For
You Baby[01:57] 03. The Kinks - Oobadiaboo[01:50] 04. The Kinks -
Revenge[03:30] 05. The Kinks - Got Love If You Want It[02:10] 06. The Kinks
- Too Much Monkey Business[02:10] 07. The Kinks - I Don't Need You
Anymore[02:16] 08. The Kinks - Don't Ever Let Me Go[02:00] 09. The Kinks -
When I See That Girl Of Mine[02:41] 10. The Kinks - I Go To Sleep[01:59]
11. The Kinks - This I Know[01:47] 12. The Kinks - A Little Bit Of
Sunshine[01:54] 13. The Kinks - Tell Me Now So I'll Know[02:25] 14. The
Kinks - There's A New World(Just Opening For Me)[02:26] 15. The Kinks -
She's My Girl[02:31] 16. The Kinks - Listen To Me[01:50] 17. The Kinks -
All Night Stand[02:52] 18. The Kinks - Dedicated Follower Of Fashion[02:38]
19. The Kinks - Time Will Tell[02:52] 20. The Kinks - Lazy Old Sun[02:55]
21. The Kinks - Lavender Hill[01:44] 22. The Kinks - Rosemary Rose[03:22]
23. The Kinks - Misty Water[02:47] 24. The Kinks - Pictures In The
Sand[02:10] 25. The Kinks - Where Did The Spring Go?[03:08] 26. The Kinks -
Mr. Shoemaker's Daughter[03:17] 27. The Kinks - Till Death Do Us
Part[02:20] 28. The Kinks - When I Turn Off The Living Room Light[03:07]
29. The Kinks - Climb Your Wall[03:40] 30. The Kinks - Apeman[04:21] 31.
The Kinks - Powerman
http://bootlegzone.com/album.php?name=tkssd2§ion=42http://kinksbootlegs.sarashi.com/boots/secrets.htmlhttp://www.kinks.ufo.ru/bootlegs.htmlhttp://www.kinks.de/40jahre/teil1_e.html
***
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Angel Pavement - Maybe Tomorrow (1969)
Posted: 30 May 2015 08:23 AM PDT
http://allmusic-wingsofdream.blogspot.com/2011/02/angel-pavement-maybe-tomorrow-1969.html
Recorded in 1969 but unreleased at the time, the sole album by baroque
harmony pop-psych group Angel Pavement finally emerged in vinyl-only format
in 2003. This CD release adds a further eight tracks, including five superb
West Coast-leaning demos recorded locally in 1967 before they came down
south to London to release two singles, all four sides of which are
included herein. A rare treat for lovers of Honeybus/Zombies-style
late '60s British pop.
Anyone unfamiliar with Angel Pavement shouldn't feel too bad. After all,
the band was hardly a household name in its heyday, and its peak of
exposure consisted of a pair of failed singles at the very tail-end of the
1960s in England. But they were a seriously wonderful sunshine pop outfit
from late 1960s, hailing from York, with a sound that was equal parts
psychedelia and pop/rock in the best Hollies/Zombies/Beatles manner. The
band, which took its name from a 1930 novel by J.B. Priestley (himself a
Yorkshireman, natch), was assembled by guitarist/songwriter Alfie Shepherd
out of the remnants of a soul-based outfit, Wesley Hardin's Shotgun
Package, with Paul Smith (lead vocals), Dave Smith (guitar), Graham Harris
(bass), and Alan Reeve (drums) (later replaced by Mike "Candy" Candler).
They quickly developed an effective pop-oriented psychedelic sound, similar
to what the Hollies were doing on Evolution and Butterfly, and the Zombies
generated on Odessey & Oracle, with lush harmonies, glittering instrumental
textures, horns and brass in the right places on the pop numbers. They
managed to build a large following in their native York and also cut some
early sides that heavily reflected all of those influences.
The group's attempt to crack the London club scene coincided with their
starting work on a debut album at Morgan Studios, but those efforts were
interrupted by an offer to play a series of gigs for a few days in Mexico
City in early 1969. Instead, they stayed for five months, and returned to
London to pick up work on the album, a process interrupted by Dave Smith's
departure (and his replacement by John Cartwright, who played guitar and
trumpet). A pair of singles, "Baby You've Gotta Stay" and "Tell Me What
I've Got to Do," issued through Fontana Records, failed to elicit any
serious chart action in late 1969 and early 1970; a third single and their
announcement of a forthcoming LP all ended up missing in action because of
disputes between Shepherd and the studio's publishing arm. Their producer
apparently put the final nail in the coffin, and they broke up at the end
of 1970. Candler went on to join Decameron and the John Coppin and his
band, and Shepherd wrote songs and attempted to do a musical adaptation of
The Wind in the Willows, while the others exited the business altogether.
In 2005, Wooden Hill Records issued Maybe Tomorrow, the first-ever release
of nearly two-dozen songs from those long-ago Morgan sessions by Angel
Pavement -- they lived up to all of the stories about the group's sound and
potential. The 1969 Wind in the Willows project was finally released on CD
in 2009, digitally remastered with extra demo songs, on the Wooden Hill
label.
***
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VA - Original Beat aus England Vol1-31
Posted: 30 May 2015 07:55 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/va-original-beat-aus-england-vol1-31.html
***
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Heimatliche Klaenge vol.160: Label New Blood / Sound Records
Posted: 30 May 2015 04:43 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/heimatliche-klaenge-vol159-label-new.html
01 - A Whiter Shade Of Pale - Iff Bennett (PA5477)
02 - Just For You
03 - Echo-Melody - Pink Flowers (PA575)
04 - P T
05 - Raggut Fin De Siecle - Athon Re (LA1376)
06 - Traumbegegnung
07 - Gunfighter's Blues - Manni (PA375)
08 - Help Me Forget
09 - Hate Everything Except Of Hatter - Steve Cannings (TM676)
10 - It's All Over Now Baby Blue
11 - Country Waltz - Twilight (LA1076)
12 - Last Night In Verona
13 - Don’t You Know What I Feel - Orange Rocks (PA4277)
14 - Queen Of Love
15 - Rock & Roll Lullaby - Dave Jansen (LA276)
16 - I Just Can't Help Believing
17 - Tanze Heut Nur Mit Mir - Richard Deutsch (YM1007)
18 - Wig-Wam-Bam
19 - Rock & Roll Is As Dynamite - Sunny (Logemann) (PA179)
20 - Down To The Sea***
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The Gosdin Brothers- Sounds of Goodbye (1968)
Posted: 30 May 2015 04:37 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/the-gosdin-brothers-sounds-of-goodbye.html
Despite a strong association with the Byrds, the Gosdin Brothers'
progressive blend of bluegrass and country-rock never found its way to a
popular audience, though Vern Gosdin would later become one of country's
more acclaimed vocalists. Vern and Rex Gosdin grew up on a farm in
Woodland, AL -- two of nine children -- and started singing together after
discovering the Louvin Brothers. They performed regularly on local radio as
teenagers, and moved to the Los Angeles area in 1961, where they joined a
bluegrass group called the Golden State Boys. Chris Hillman was a member
prior to joining the Byrds, and the group later changed its name to the
Hillmen. When Hillman departed, the Gosdin Brothers teamed up to form their
own outfit, and sometimes served as the Byrds' opening act. Additionally,
when Gene Clark left the Byrds for a solo career, he teamed up with Vern
and Rex to record the 1966 album Gene Clark With the Gosdin Brothers, an
influential proto-country-rock effort. the Gosdin Brothers subsequently
scored a deal with Capitol, and had their only chart single with
1967's "Hangin' On." Their first and only album, Sounds of Goodbye, was
released in 1968, and its brand of country owed much to Clark and the
Byrds' influence. The Gosdins opened for Merle Haggard on tour, and the
Byrds recorded Vern's "Someone to Turn To" for the soundtrack of Easy Rider
in 1969, but the overall lack of exposure proved too frustrating, and the
brothers disbanded in 1970. Vern moved to Atlanta and ran a glass business
before returning to music in 1976; this time the charts were kinder, and he
ran off a string of country hits that lasted into the early '90s, when
health problems curtailed his performing activities. Rex, too, mounted a
solo career, but was less successful, and passed away in 1983.
The Gosdin Brothers' obscure 1968 LP Sounds of Goodbye is an overlooked
country-rock milestone, and one that owes as much to the sound of the
1966-1967 era Byrds as it does to country music. That's unsurprising,
perhaps, given that the Gosdins helped out a lot on Gene Clark's debut solo
album in 1967, and sometimes shared bills with the early Byrds, as they
shared the same management. In truth, this will appeal far more to the
early Byrds fan than to the straight country fan. That's not damning with
faint praise, far from it; it's actually high praise. It's a fair guess,
too, that anyone who likes Gene Clark's early work will enjoy this record,
as it has a similar low-key, hurt, vulnerable mystique to the melodies,
vocals, and harmonies. The material, though sometimes average, is also
sometimes outstanding, as on "Love at First Sight," which actually comes
quite close to the classic 1966 Byrds jangle rock sound; the melancholy,
graceful "She's Gone," with the kind of unexpected compelling chord changes
you'd expect from the Gene Clark songwriting school; and "The Victim," with
its pungent burned-by-love lyrics, and an odd (though not displeasing) dash
of psychedelic echo on the chorus. The covers cast an eclectic net ("Catch
the Wind,""Let It Be Me," the Everly Brothers'"Bowling Green") and are
not as distinctive as the originals, but even so there's an excellent
reading of Ewan MacColl's "The First Time Ever I Saw Your Face."
***
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Live from Soundboard
Posted: 30 May 2015 04:30 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/live-from-soundboard.html
live from soundboard
The Equals
01 - Viva Bobby Joe
02 - Michael And The Slipper Tree
03 - Green Light
04 - Ainґt Got Nothing To Give You
05 - Black Skin - Blue Eved Boys
06 - Softly Softly
The Marmelade
01 - Cousin Norman
02 - I See The Rain
03 - Radancer
03 - Rainbow
04 - Reflections Of My Life
05 - Ob La Di Ob La Da
Mike Penders Searchers
01 - Sugar And Spice
02 - Don't Trow Your Love Away
03 - When You Walk In The Room
04 - Goodbye My Love
05 - Needles And Pins
06 - Sweets For My Sweet
Tielman Brothers
01 - Shake Ip Up
02 - Little Bird
03 - You've Lost that Loving Feeling
04 - My Bonnie
05 - My Maria
***
///////////////////////////////////////////
Sandy Nelson - Golden Hits & The Best Of The Beats
Posted: 30 May 2015 10:27 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/sandy-nelson-golden-hits-best-of-beats.html
Sandy Nelson was the biggest -- and one of the few -- star drummers of the
late '50s and early '60s era in which instrumental rock was at its peak. He
landed two Top Ten hits, "Teen Beat" (1959) and "Let There Be Drums"
(1961), which surrounded his Gene Krupa-inspired solos with cool, mean
guitar licks that were forerunners of the surf sound. Nelson had only one
other Top 40 hit, "Drums Are My Beat" (1962). He ground out a quick series
of instrumental albums in the early '60s -- eight within 18 months, as a
matter of fact -- with several other top Hollywood rock and pop session
musicians. Nelson was not that great a drummer, although he was good. His
principal importance is that he found a place for drum rock solos in hit
instrumental singles, and the more reckless elements of his style no doubt
influenced other musicians, such as surf drummers and, later, Keith Moon.
Nelson started to play rock & roll as a teenager in Los Angeles in the
1950s, forming a group that included Jan Berry, Dean Torrence, and Bruce
Johnston, all of whom would be important to the surf and hot rod scenes a
few years down the line. By the late '50s he was playing sessions,
including drums on the Teddy Bears' chart-topper "To Know Him Is to Love
Him." After his "Teen Beat" became a hit for Original Sound in 1959, he
signed with Imperial as a solo artist, and continued to work as a session
musician. For instance, he's heard on Gene Vincent records of the time, as
well as the Hollywood Argyles' big hit "Alley Oop," on which he also did
some screams. Nelson's numerous solo albums, despite the assistance of top
fellow sessioneers like Steve Douglas (sax), Ernie Freeman (piano), and
Rene Hall (guitar), had a lot of basic and unimaginative instrumental rock,
whether original material or covers of well-known hits of the day. As with
Duane Eddy's recordings, however, these simple albums might have helped
inspire aspiring musicians as things to play along and learn with, if
nothing else.
Near the end of 1963, Nelson was involved in a serious motorcycle accident
that necessitated amputation of his right foot and part of his leg.
Nonetheless, he managed to resume his drumming career and continued to
churn out albums, as well as some singles, of which "Casbah" (1965) is the
highlight, with its wild splashing drums and frenetic Middle Eastern/surf
guita
Golden Hits & The Best Of The Beats (1997)
Although their titles seem to suggest best-of compilations, both Golden
Hits and Best of the Beats are simply two more entries in a long line of
Sandy Nelson records cut in response to the chart blockbusters of the
moment. These LPs live or die on their relative compatibility with Nelson's
strengths and sensibilities, and each of these 12-song efforts is a
significant cut above average thanks to the inclusion of several R&B
classics that afford the drummer the chance to cut loose. (Their
similarities also make them more compatible than many of the pairings on
See for Miles' other Sandy Nelson two-fers.) Nelson clearly savors the
verve and creativity of Golden Hits covers like Wilbert Harrison's "Kansas
City," Bill Doggett's "Honky Tonk," and Fats Domino's "Walking to New
Orleans," and his drum solos exhibit an unusual finesse, complementing the
melodies instead of overpowering them. The Best of the Beats is even
better. The loosey-goosey energy of the New Orleans party classics "Ooh Poo
Pah Doo" and "Mother-in-Law" proves particularly well matched to the
chaotic abandon of Nelson's rhythms, and he also captures the
Latin-flavored verve of the Ritchie Valens hits "Let's Go" and "La Bamba."
Best of all are the back-to-back Elvis Presley covers "All Shook Up"
and "Don't Be Cruel," which pay implicit homage to D.J. Fontana, the King's
longtime sideman and arguably the first truly great rock & roll drummer.
***
///////////////////////////////////////////
Johnny And The Hurricanes - Stormsville (1960)
Posted: 30 May 2015 10:11 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/johnny-and-hurricanes-stormsville-1960.html
One of the most distinctive instrumental groups of the '50s and '60s,
Johnny & the Hurricanes produced the Top Ten hit "Red River Rock" and
scored several other instrumental hits that mixed rock & roll with
traditional melodies. Originally known as the Orbits, the group formed in
Toledo, OH, in 1958 and was led by saxophonist Johnny Paris; other members
included organist Paul Tesluk, guitarist Dave Yorko, bassist Lionel "Butch"
Mattice, and drummer Tony Kaye. After a stint recording with rockabilly
singer Mack Vickery, the group traveled to Detroit, hoping to become a
backing band for up-and-coming singers. However, a pair of music promoters,
Harry Balk and Irving Michanik, signed them as a group on their own, and
they recorded their first single, "Crossfire," for the Twirl label in
1959. "Crossfire" went to number 23 and the group moved to the Warwick
imprint for "Red River Rock," a rock & roll instrumental of the
standard "Red River Valley" that peaked at number five. The Hurricanes
responded to their success with more of the same, delivering "Reveille
Rock,""Rockin' Goose,""Revival," and "Beatnik Fly" over the next year,
touring extensively all the while. Eventually the pace -- and lack of
further hit singles -- caught up with the group, and Johnny & the
Hurricanes disbanded in 1965. Paris moved to Hamburg, started his own
label, Atila, and in 1970 formed a new Hurricanes lineup that toured until
November 2005, two weeks before Paris took ill and was hospitalized. He
died on May 1, 2006, due to pneumonia and septic blood after a splenectomy.
***
///////////////////////////////////////////
VA - Live in Concert (Fontana) 1968
Posted: 30 May 2015 09:20 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/wanted-va-live-in-concert-fontana.html
http://rateyourmusic.com/release/album/various_artists_f2/live_in_concert/
A1 Cops & Robbers - On Love
A2 The Rivets - Watch the World
A3 The All - I'm Addicted
A4 Marquee Sect - Barefootin'
A5 The Tonics - Peepin' and Hidin'
A6 The Rattles - I'll Catch Her
B1 Cops & Robbers - You Keep Me Hanging On
B2 The All - The Letter
B3 The Tonics - Blue Suede Shoes
B4 The Rivets - Right Girl
B5 The All - I Don't Want to Listen
B6 The Rattles - Love of My Live
Here can be your advertising 8)))!!!!!
http://faintlyblowing.blogspot.ru/2008/01/va-live-in-concert-1968.html
(site open with ESC)
Thanks Nico !!! ***
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The Spotnicks - Vocal Tracks
Posted: 30 May 2015 08:54 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/the-spotnicks-vocal-tracks.html
If remembered at all today, it is probably thanks to their silly astronaut
costumes, but in the '60s the Spotnicks were one of the most successful
instrumental rock groups, alongside the Shadows and the Ventures. Their
very specific sound had more in common with the Shadows, being clean and
intentionally gentle. It originated from their first primitive demo
recordings, but the record company liked it and, being plastic and twangy,
it was promoted as a space sound. Already in the late '60s it was outdated,
but that didn't stop the group from having big successes throughout the
decade. In the '70s the sound was definitely antiquated, but like the
Ventures, the Spotnicks found reliable audiences in Japan and Germany, as
well as a cult and nostalgia following around the world. the Spotnicks have
sold over 20 million albums, making them among the most successful Swedish
groups ever, surpassed perhaps only by ABBA and Roxette. By the late '90s
they had released 39 studio albums, recorded roughly 700 songs, and had
more than 100 members in the different constellations of the band.
the Spotnicks were formed in Göteborg, Sweden, in 1957, by guitarist and
undisputed bandleader Bo Winberg. The other members were guitarist and
singer Bob Lander, drummer Ove Johansson, and bassist Björn Thelin, several
of whom had already played together in local rock & roll bands like the
Blue Caps, Rock Teddy, and the Rebels. The first year they performed under
the name the Frazers, but soon changed it to the Spotnicks. In 1961 they
were signed by Karusell and released their first singles containing mostly
instrumental covers of famous songs. The selection of songs was as varied
as the performances were homogenous, including titles like "Hava Nagila"
and "Johnny Guitar." Later the same year, the Spotnicks toured Germany,
France, and Spain, and in 1962 they released their debut album, The
Spotnicks in London, recorded on their first trip to England. Featured on
this tour were the space suits that the band would wear on-stage until
1969."Hava Nagila" became a hit in England in 1963, and the same year
Johansson left and was replaced by Derek Skinner. The rest of the '60s led
to increasing success in Europe, the U.S., and Japan, and the band even
managed to compete with itself on the Japanese charts when the Spotnicks'
song "Karelia" took the first position from the Feenades'"Ajomies." The
song was the same, just recorded under different titles. The Feenades were
a Finland-based side project to the Spotnicks, built upon Winberg and Peter
Winsnes, who had joined the Spotnicks in 1965. Winberg also released less
successful recordings under the name the Shy Ones. Compared to the
following decades, the '60s were a relative stable period for the Spotnicks
in terms of the group's lineup. Some new members were recruited, though,
like drummer Jimmy Nicol, bassist Magnus Hellsberg, and drummer Tommy
Tausis, who had earlier played with TagesIn 1969 the Spotnicks disbanded,
but Winberg continued to record using the name until the group reunited in
1972 upon the request of a Japanese record company. The same year, "If You
Could Read My Mind" from the album Something Like Country became a big hit
in Germany. the Spotnicks would retain their popularity there for a long
time, even as it faded elsewhere. Only the Japanese audience proved more
faithful and, accordingly, the Spotnicks devoted most of their touring
during the '70s to these two countries. After the release of 1972's
Something Like Country (the Spotnicks' best album according to many fans),
they had practically ended being a band, consisting mainly of Winberg and
various session musicians.If the Spotnicks had started out as rock & roll,
in the '70s they turned more toward easy listening, or even exotica,
although perhaps not by changing their own sound as much as by stubbornly
keeping it while trends changed. By the '80s they had essentially become a
curiosity at home, but kept up their popularity in Germany and Japan.
During the '90s Winberg still toured using the name the Spotnicks, but to
little attention. And even in their hometown of Göteborg, the Spotnicks
were mainly forgotten, except for an occasional article in the local paper
reminding readers of some guys with silly helmets who were once
international stars.
***
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The Kinks - Kinky Boots
Posted: 30 May 2015 08:42 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/the-kinks-kinky-boots.html
The Secret Sessions (Phenomenal Cat PC 63/71)
Kinky Boots
Collection of Alternate, Rare and Unreleased Tracks
The Kinks - Kinky Boots (31 / 78:32)
[01:58] 01. The Kinks - I Believed You[01:39] 02. The Kinks - I'm A Hog For
You Baby[01:57] 03. The Kinks - Oobadiaboo[01:50] 04. The Kinks -
Revenge[03:30] 05. The Kinks - Got Love If You Want It[02:10] 06. The Kinks
- Too Much Monkey Business[02:10] 07. The Kinks - I Don't Need You
Anymore[02:16] 08. The Kinks - Don't Ever Let Me Go[02:00] 09. The Kinks -
When I See That Girl Of Mine[02:41] 10. The Kinks - I Go To Sleep[01:59]
11. The Kinks - This I Know[01:47] 12. The Kinks - A Little Bit Of
Sunshine[01:54] 13. The Kinks - Tell Me Now So I'll Know[02:25] 14. The
Kinks - There's A New World(Just Opening For Me)[02:26] 15. The Kinks -
She's My Girl[02:31] 16. The Kinks - Listen To Me[01:50] 17. The Kinks -
All Night Stand[02:52] 18. The Kinks - Dedicated Follower Of Fashion[02:38]
19. The Kinks - Time Will Tell[02:52] 20. The Kinks - Lazy Old Sun[02:55]
21. The Kinks - Lavender Hill[01:44] 22. The Kinks - Rosemary Rose[03:22]
23. The Kinks - Misty Water[02:47] 24. The Kinks - Pictures In The
Sand[02:10] 25. The Kinks - Where Did The Spring Go?[03:08] 26. The Kinks -
Mr. Shoemaker's Daughter[03:17] 27. The Kinks - Till Death Do Us
Part[02:20] 28. The Kinks - When I Turn Off The Living Room Light[03:07]
29. The Kinks - Climb Your Wall[03:40] 30. The Kinks - Apeman[04:21] 31.
The Kinks - Powerman
http://bootlegzone.com/album.php?name=tkssd2§ion=42http://kinksbootlegs.sarashi.com/boots/secrets.htmlhttp://www.kinks.ufo.ru/bootlegs.htmlhttp://www.kinks.de/40jahre/teil1_e.html
***
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Angel Pavement - Maybe Tomorrow (1969)
Posted: 30 May 2015 08:23 AM PDT
http://allmusic-wingsofdream.blogspot.com/2011/02/angel-pavement-maybe-tomorrow-1969.html
Recorded in 1969 but unreleased at the time, the sole album by baroque
harmony pop-psych group Angel Pavement finally emerged in vinyl-only format
in 2003. This CD release adds a further eight tracks, including five superb
West Coast-leaning demos recorded locally in 1967 before they came down
south to London to release two singles, all four sides of which are
included herein. A rare treat for lovers of Honeybus/Zombies-style
late '60s British pop.
Anyone unfamiliar with Angel Pavement shouldn't feel too bad. After all,
the band was hardly a household name in its heyday, and its peak of
exposure consisted of a pair of failed singles at the very tail-end of the
1960s in England. But they were a seriously wonderful sunshine pop outfit
from late 1960s, hailing from York, with a sound that was equal parts
psychedelia and pop/rock in the best Hollies/Zombies/Beatles manner. The
band, which took its name from a 1930 novel by J.B. Priestley (himself a
Yorkshireman, natch), was assembled by guitarist/songwriter Alfie Shepherd
out of the remnants of a soul-based outfit, Wesley Hardin's Shotgun
Package, with Paul Smith (lead vocals), Dave Smith (guitar), Graham Harris
(bass), and Alan Reeve (drums) (later replaced by Mike "Candy" Candler).
They quickly developed an effective pop-oriented psychedelic sound, similar
to what the Hollies were doing on Evolution and Butterfly, and the Zombies
generated on Odessey & Oracle, with lush harmonies, glittering instrumental
textures, horns and brass in the right places on the pop numbers. They
managed to build a large following in their native York and also cut some
early sides that heavily reflected all of those influences.
The group's attempt to crack the London club scene coincided with their
starting work on a debut album at Morgan Studios, but those efforts were
interrupted by an offer to play a series of gigs for a few days in Mexico
City in early 1969. Instead, they stayed for five months, and returned to
London to pick up work on the album, a process interrupted by Dave Smith's
departure (and his replacement by John Cartwright, who played guitar and
trumpet). A pair of singles, "Baby You've Gotta Stay" and "Tell Me What
I've Got to Do," issued through Fontana Records, failed to elicit any
serious chart action in late 1969 and early 1970; a third single and their
announcement of a forthcoming LP all ended up missing in action because of
disputes between Shepherd and the studio's publishing arm. Their producer
apparently put the final nail in the coffin, and they broke up at the end
of 1970. Candler went on to join Decameron and the John Coppin and his
band, and Shepherd wrote songs and attempted to do a musical adaptation of
The Wind in the Willows, while the others exited the business altogether.
In 2005, Wooden Hill Records issued Maybe Tomorrow, the first-ever release
of nearly two-dozen songs from those long-ago Morgan sessions by Angel
Pavement -- they lived up to all of the stories about the group's sound and
potential. The 1969 Wind in the Willows project was finally released on CD
in 2009, digitally remastered with extra demo songs, on the Wooden Hill
label.
***
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VA - Original Beat aus England Vol1-31
Posted: 30 May 2015 07:55 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/va-original-beat-aus-england-vol1-31.html
***
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Heimatliche Klaenge vol.160: Label New Blood / Sound Records
Posted: 30 May 2015 04:43 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/heimatliche-klaenge-vol159-label-new.html
01 - A Whiter Shade Of Pale - Iff Bennett (PA5477)
02 - Just For You
03 - Echo-Melody - Pink Flowers (PA575)
04 - P T
05 - Raggut Fin De Siecle - Athon Re (LA1376)
06 - Traumbegegnung
07 - Gunfighter's Blues - Manni (PA375)
08 - Help Me Forget
09 - Hate Everything Except Of Hatter - Steve Cannings (TM676)
10 - It's All Over Now Baby Blue
11 - Country Waltz - Twilight (LA1076)
12 - Last Night In Verona
13 - Don’t You Know What I Feel - Orange Rocks (PA4277)
14 - Queen Of Love
15 - Rock & Roll Lullaby - Dave Jansen (LA276)
16 - I Just Can't Help Believing
17 - Tanze Heut Nur Mit Mir - Richard Deutsch (YM1007)
18 - Wig-Wam-Bam
19 - Rock & Roll Is As Dynamite - Sunny (Logemann) (PA179)
20 - Down To The Sea***
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The Gosdin Brothers- Sounds of Goodbye (1968)
Posted: 30 May 2015 04:37 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/the-gosdin-brothers-sounds-of-goodbye.html
Despite a strong association with the Byrds, the Gosdin Brothers'
progressive blend of bluegrass and country-rock never found its way to a
popular audience, though Vern Gosdin would later become one of country's
more acclaimed vocalists. Vern and Rex Gosdin grew up on a farm in
Woodland, AL -- two of nine children -- and started singing together after
discovering the Louvin Brothers. They performed regularly on local radio as
teenagers, and moved to the Los Angeles area in 1961, where they joined a
bluegrass group called the Golden State Boys. Chris Hillman was a member
prior to joining the Byrds, and the group later changed its name to the
Hillmen. When Hillman departed, the Gosdin Brothers teamed up to form their
own outfit, and sometimes served as the Byrds' opening act. Additionally,
when Gene Clark left the Byrds for a solo career, he teamed up with Vern
and Rex to record the 1966 album Gene Clark With the Gosdin Brothers, an
influential proto-country-rock effort. the Gosdin Brothers subsequently
scored a deal with Capitol, and had their only chart single with
1967's "Hangin' On." Their first and only album, Sounds of Goodbye, was
released in 1968, and its brand of country owed much to Clark and the
Byrds' influence. The Gosdins opened for Merle Haggard on tour, and the
Byrds recorded Vern's "Someone to Turn To" for the soundtrack of Easy Rider
in 1969, but the overall lack of exposure proved too frustrating, and the
brothers disbanded in 1970. Vern moved to Atlanta and ran a glass business
before returning to music in 1976; this time the charts were kinder, and he
ran off a string of country hits that lasted into the early '90s, when
health problems curtailed his performing activities. Rex, too, mounted a
solo career, but was less successful, and passed away in 1983.
The Gosdin Brothers' obscure 1968 LP Sounds of Goodbye is an overlooked
country-rock milestone, and one that owes as much to the sound of the
1966-1967 era Byrds as it does to country music. That's unsurprising,
perhaps, given that the Gosdins helped out a lot on Gene Clark's debut solo
album in 1967, and sometimes shared bills with the early Byrds, as they
shared the same management. In truth, this will appeal far more to the
early Byrds fan than to the straight country fan. That's not damning with
faint praise, far from it; it's actually high praise. It's a fair guess,
too, that anyone who likes Gene Clark's early work will enjoy this record,
as it has a similar low-key, hurt, vulnerable mystique to the melodies,
vocals, and harmonies. The material, though sometimes average, is also
sometimes outstanding, as on "Love at First Sight," which actually comes
quite close to the classic 1966 Byrds jangle rock sound; the melancholy,
graceful "She's Gone," with the kind of unexpected compelling chord changes
you'd expect from the Gene Clark songwriting school; and "The Victim," with
its pungent burned-by-love lyrics, and an odd (though not displeasing) dash
of psychedelic echo on the chorus. The covers cast an eclectic net ("Catch
the Wind,""Let It Be Me," the Everly Brothers'"Bowling Green") and are
not as distinctive as the originals, but even so there's an excellent
reading of Ewan MacColl's "The First Time Ever I Saw Your Face."
***
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Live from Soundboard
Posted: 30 May 2015 04:30 AM PDT
http://allmusic-wingsofdream.blogspot.com/2015/05/live-from-soundboard.html
live from soundboard
The Equals
01 - Viva Bobby Joe
02 - Michael And The Slipper Tree
03 - Green Light
04 - Ainґt Got Nothing To Give You
05 - Black Skin - Blue Eved Boys
06 - Softly Softly
The Marmelade
01 - Cousin Norman
02 - I See The Rain
03 - Radancer
03 - Rainbow
04 - Reflections Of My Life
05 - Ob La Di Ob La Da
Mike Penders Searchers
01 - Sugar And Spice
02 - Don't Trow Your Love Away
03 - When You Walk In The Room
04 - Goodbye My Love
05 - Needles And Pins
06 - Sweets For My Sweet
Tielman Brothers
01 - Shake Ip Up
02 - Little Bird
03 - You've Lost that Loving Feeling
04 - My Bonnie
05 - My Maria
***