"Tribute To Bobby Fuller" Our Favorite Texan Bobby Fuller (1999)

While he’s not in the first-name-only front row of musicians who didn’t make it out of their 20s (that would be Hank, Buddy, Jim, Jimi, Gram, Bix, Janis, and Kurt), you can probably find Bobby Fuller in the second row just down from Eddie Cochran, Ian Curtis, and Nick Drake. The official cause of death was listed as asphyxiation caused by inhalation of gasoline when the body of the 23-year-old Fuller was found in his car, but a whiff of mystery remains some 35 years later because of the rather mysterious circumstances.

The musical attack of the Bobby Fuller Four, however, didn’t leave much room for doubt. It was the sound of pure energy presented raw, with handclap percussion and just a touch of Fuller’s West Texas roots poking through. This tribute, released on Japanese label #9 Records, showcases fifteen songs written or co-written by Fuller plus six other tunes that he put his stamp on, that latter group led by Buddy Holly’s “Love’s Made A Fool Of You” and, of course, Sonny Curtis’ “I Fought The Law”. (Trivia fans rejoice: Curtis also wrote “Love Is All Around”, better known as the theme song to “The Mary Tyler Moore Show”.)

At the top of the heap are “Fool Of Love” and “Only When I Dream”, covered by Charlie Chesterman & the Legendary Motorbikes and Walter Clevenger & the Dairy Kings, respectively, two outfits whose originals frequently echo the spirited bounce of Fuller and Holly. Marshall Crenshaw, who covered Fuller’s “Let Her Dance” on his 1989 release Good Evening, excels as a one-man band on “My True Love”; kindred spirit Bill Lloyd deftly handles “Let Her Dance” this time out. And then there’s the three-girl salute offered by Michael Shelley (the Chip Taylor-penned “Julie”), Richard Barone (“Nancy Jean”), and Fortune & Maltese and the Phabulous Pallbearers (“Pamela”). What’s not to love about that? (No Depression)

Read more about this tribute here:

http://www.jimbabjak.com/bobby%20fuller%20trib/bfulr4tr.html

trax:

1. Shakedown - Young Fresh Fellows 2. Rockhouse - The Incredible Casuals 3. Love's Made A Fool Of You - Buzzed Meg 4. Julie - Michael Shelley 5. Saturday Night - Health & Happiness Show 6. Take My Word - Sleeping Giant 7. Nancy Jean - Richard Barone 8. Another Sad & Lonely Nig - Kevin Johnson & The Linemen 9. Fool Of Love - Charlie Chesterman 10. Let Her Dance - Bill Lloyd 11. A New Shade Of Blue - Steve Almaas 12. Babe My Heart - Liquor Giants 13. Pamela - Fortune & Maltese & The Phabulous Pallbearers 14. Thunder Reef - Jackie & The Cedrics 15. My True Love - Marshall Crenshaw 16. Don't Ever Let Me Know - John Moremen 17. It's Love, Come What May - Jamie Hoover 18. Only When I Dream - Walter Clevenger & The Dairy Kings 19. I Fought The Law - The Brothers Figaro 20. Never To Be Forgotten - George Usher 21. The Magic Touch - Buzzed Meg

...served by Gyro1966...

BLUE IN HEAVEN "Explicit Material" 1985

Blue In Heaven is a rock quartet from Ireland led by singer Shane O'Neill. - William RuhlmannAs you can see there not much about this band on AllMusic.com, I just know that their first LP was produced by Martin Hannett, and for me it sounds like a poor Joy Division... With "Explicit Material" they radicaly change direction, for something more punchy. This album was the record of my summer 85, nobody cares for sure, but it had to be said... Enjoy that vinyl rip!!! - Magic Kaic's Musictrax:

01 Change Your Mind 02 Tell Me 03 Just Another Day 04 Sister 05 Be Your man 06 I Just Wanna 07 Close Your Eyes 08 Rolling in The Crowd 09 Hope To God

...served by Magic Kaic's Music...

The Stomach Mouths "Psychomania Festival, Bochum (Germany), 02/87"

The Stomachmouths were a garage punk band from Stockholm, Sweden active in the 1980s. Formed in 1984, they were one of the earliest 'pure' garage bands in the European garage revival of the 1980s. Along with local colleagues the Crimson Shadows they pioneered the notion of a garage punk band that strove for authenticity in replicating the sound and the look of the original '60s inspirators, primarily from the US. The Stomachmouths received immediate international attention with their self-released debut 45, which raised interest on the independent music scenes in England and the USA. The band toured extensively in Europe, appearing on German television and receiving major newspaper coverage in Italy.

Originally a quartet, Anna Nystrom joined the band in 1986. In 1987 Kjellen and Stavborg left to form the Livingstones. Jens Lindberg, formerly of the Crimson Shadows and High-Speed V joined as a replacement bass player for the last recordings and European tours. Band leader Stefan Kéry later went on to form the successful independent Xotic Mind/Subliminal Sounds record label. - wiki

trax:

01 Take One Look At Me 02 Don't Mess With My Mind 03 That's Cool, That's Trash 04 Ode To Rhythm And Blues 05 Ugly Things 06 Don't You Know 07 You Better Run Now 08 That Girl Of Mine 09 Crowd 10 Hold Me Now 11 Crowd 2 12 RnB No. 65

RARE 1960'S COUNTRY ROCK FROM NASHVILLE

Classic 1960's Country music from the Nashville based SPAR Records Label. Contains the ultra rare 'Wanted One Mother', written by Willie Nelson & Hank Cochran!, recorded by Hal Kennedy.The Spar Record Company of Nashville, Tennessee was founded in 1961 by veteran record men William Beasley, Alan Bubis and Reynold Bubis. Spar initially concentrated on middle of the road rhythm & blues and pop records, twist and other dance records. But with their incredible distribution network, they soon realized that they could also move their premier imprint (Spar) into rural areas where the majors couldn't compete with them. Rural areas meant country music in the sixties and they soon expanded into that genre. This imprint was wildly successful, and by the mid 1960s Spar and its various other subsidiaries were selling well over a million records every month. An impressive figure then or now. Spar moved into the LP market fairly quickly, releasing both sound alike (at budget price) and individual artist releases on their various album imprints (Spar, Spar Premier, Sterling, Modern Sound, Hit, Nashville Sound, Plantation House). Some of the artists they recorded were country singers Urel Albert, Chase Webster, Moon Mullican, Ricky Page and Carl Story, and instrumentalists Bill Pursell, Jack Eubanks, Jimmy Wilkerson and William Beasley's various orchestral recordings. Spar was an amazing operation. They had their own offices, recording studio, publishing company and even their own pressing plant. They employed musicians, songwriters, arrangers, engineers and producers. The list of musicians alone is quite staggering, the absolute cream of the crop. These people played on every thing from Roy Orbison to Elvis Presley to Bob Dylan and Charlie Rich records. This collection is a fascinating window into a time when musical walls were being torn down and the rules were being broken, so enjoy some of the best music you never heard.trax:

1. It's Been A Long Long Time - Steve Bess 2. Sugar Creek Bottom - Joe Pain 3. I Don't Care, Just As Long As You Love Me - Tom Bell 4. The Heartaches That You Gave Me - Chase Webster 5. From The Cup To The Lip - John Reeves 6. Headlines In My Heart - Rink Hardin 7. I'm Free From Your Love - Gene Snipes 8. Love's Gonna Live Here - Don Branch 9. You've Got To Love Her A Lot - Jay Dee Pepper 10. Mary And Jane - Ken Kennedy 11. Wanted One Mother - Hal Kennedy 12. Such A Short Time - Carl Phillips 13. The Welfare Check - Ken Kennedy 14. Ride Buddy Ride - Urel Albert 15. The Way You've Treated Me For Years - Bob Adams 16. The Swingingest Thing In Town - Urel Albert 17. I Walk Alone - Jack Bond 18. She Even Woke Me Up To Say Goodbye - Nashville Country Jamboree 19. I'm A Country Boy - Joe Cash 20. I Haven't Got The Heart - Charlie Jones 21. Me And Bobby McGee - Nashville Country Jamboree 22. Promised Land - The Country Music Five

...served by Gyro1966...

Billy Lee & The Rugbeaters "Early Rockin` The Real Stuff" + Jim & The Invictas "Memphis" 7"/45rpm

Moin, hier etwas Mucke für das WE. - DooWopDaddyOtrax Billy Lee & The Rugbeaters "Early Rockin` The Real Stuff":
01 Back Door Love Affair 02 Midnight Rockin` 03 Gonna Meet A Woman 04 Gonna Meet A Woman 05 Razzle Dazzle (Twinkle In Your Eyes) 06 Razzle Dazzle (Twinkle In Your Eyes) 07 Down And Broke 08 My Baby _ Chicken Shack 09 My Baby / Chicken Shack 10 Gonna Boogie Tonight 11 Play To Play (Take 4) 12 You're My Superstar 13 You're My Superstar 14 Gimme Your Sweet Sweet Love 15 Gimme Your Sweet Sweet Love 16 If I 17 Look At The Moon 18 Ride With Me 19 Midnight Rockin' 20 Don't Make Me Blue 21 Anytime You Need Me 22 A Cadillac Ride 23 Baby Baby 24 Everbody Loves Girls 25 Won't You Take Me Back 26 Hey Now Baby
...served by DooWopDaddyO...trax Jim & The Invictas "Memphis" 7"/45rpm:

01 Memphis 02 Cottonpickin' 03 Trippin'

...served by DooWopDaddyO...

THE METERS "Here Comes The Meter Man" The Complete Josie Recordings 1968-1970

Organist Art Neville formed a band in 1966 in New Orleans with his brothers Aaron and Charles on vocals, Leo Nocentelli on guitar, George Porter on bass, and Joseph “Zigaboo” Modeliste on drums. Billing themselves as Art Neville & the Sounds, they signed to Sansu Enterprises, a label founded by Marshall Sehorn and writer, producer, arranger, and recording artist Allen Toussaint, and minus the vocalists, and now called the Meters, they became the house band for the label, providing backing tracks for releases by Lee Dorsey, Earl King, Betty Harris, and many others, including many cuts by Toussaint himself. the Meters would also track instrumentals that were used as filler tracks on LP releases by Sansu artists, and in time, there were enough of these instrumentals to release an LP in 1969 called the Meters, which Sehorn shrewdly placed with Josie Records because of that label’s connection to its parent company, Cosnat Distributors, at that time the largest East Coast music distributor. the Meters were something special, and their swampy precision practically defined the meaning and template of funk. Two more LPs, Look-Ka Py Py and Struttin’, appeared a year later in 1970 on the Josie imprint. When Josie went bankrupt in 1971, the Meters moved on to sign with Reprise Records and continued to release thundering funk records through the decade before gradually morphing into the more vocal-oriented group the Neville Brothers. This two-disc set collects the Meters' entire Josie catalog, including all three LPs, the A- and B-sides of four singles, four tracks billed to Art Neville & the Meters, and two tracks attributed to Cyril Neville & the Meters. The end result is a joyous and impressively funky survey of this stellar and professional band’s earliest recordings. (Steve Leggett, Allmusic)trax CD 1:

01 Cissy Strut 02 Here Comes The Meter Man 03 Cardova 04 Live Wire 05 Art 06 Sophisticated Cissy 07 Ease Back 08 6V6 La 09 Sehorn's Farm 10 Ann 11 Stormy 12 Simple Song 13 Look-Ka Py Py 14 Rigor Mortis 15 Pungee 16 Thinking 17 This Is My Last Affair 18 Funky Miracle 19 Yeah You're Right 20 Little Old Money Maker 21 Oh Calcutta! 22 The Mob 23 9 'Til 5 24 Dry Spell

trax CD 2:

01 Chicken Strut 02 Britches 03 Darlin' Darlin' 04 Go For Yourself 05 Hand Clapping Song 06 Hey Last Minute 07 Joog 08 Liver Splash 09 Same Old Thing 10 Tippi-Toes 11 Wichita Lineman 12 Ride Your Pony 13 Message From The Meters 14 Zony Mash 15 Stretch Your Rubber Band 16 Groovy Lady 17 (The World Is A Little Bit Under The Weather) 18 I Need More Time 19 Good Old Funky Music 20 Sassy Lady 21 Bo Diddley Pt 1 22 Bo Diddley Pt 2 23 Heartaches 24 I'm Gonna Put Some Hurt On You 25 Gossip 26 Tell Me What's On Your Mind

...served by Gyro1966...

TROC "Troc" 1973

Hi, I have taken nothing today, but I would like to thank you very much for the pleasure and the magic that brings this blog. Still one ' vinyl rip ', without knowing if this music style is the type of the Home, but it is the only place where I can share my ' vinyl rips ' easily. up to you to choose ... For the biography, I found no article on ' AllMusic ' concerning TROC, it is therefore from wikipédia and in French that comes information. Enjoy!!! - Magic Kaic's MusicTroc est un groupe de Jazz Fusion FranÁais, crÈÈ en 1971 par le batteur AndrÈ Ceccarelli. La premiËre formation comprend aussi Alex Ligertwood au chant, Henri Giordano au piano Èlectrique, Claude Engel ‡ la guitare Èlectrique et Francis Moze ‡ la basse (tous deux en provenance de Magma). Cette formation sortira un seul 45 tours avec les titres Old Man River et May Be Tomorrow Not Today (rÈf. CY Records CY 4501). Francis Moze est bientÙt remplacÈ par Jannick Top et Claude Engel par Jacky Giraudo et le groupe sort un album du mÍme nom en 1973 (rÈf. CY Records CY 30-02).

La musique de Troc est un mÈlange savant de jazz, de soul, de rock et de blues avec parfois des passes de piano classique. Le tout est accompagnÈ par la voix d'Alex Ligertwood que l'on retrouvera par la suite au sein de Santana.

Le groupe se reforme 40 ans aprËs sa crÈation et sort en octobre 2011 chez Universal l'album Troc 2011, bien accueilli. - Wiki

trax:

01 Kali Lo 02 Truth Vérité 03 Old Man River 04 Did You Ever 05 Plum 06 Stick Time

...served by Magic Kaic's Music...

The Sorrows "Teenage Heartbreak" 1980 (nothing to do with the Soorrows from Coventry)

The mid-'70s New York club scene had a large population of Anglo-pop bands, playing Merseybeat root music as accurately as possible. The Sorrows were formed in 1977 from the remains of the Poppees, a minor member of the skinny tie brigade; two years later the Sorrows had a major-league record deal. - Ira RobbinsOver the course of their short two-album career, Sorrows did absolutely nothing that was startlingly new or original. But what they did, they did really well, especially on their 1980 debut, Teenage Heartbreak. More than just another entry in the post-Knack skinny-tie brigade, Teenage Heartbreak is a first-class power pop album of its era, up there with the debuts by the Rubinoos and the Plimsouls. The title track sets the tone immediately, with a killer stuttering hook and appropriately rough-edged harmonies. All four members write, but most of the best songs belong to guitarist Arthur Alexander (not the '60s R&B guy who sang "Anna [Go to Him]" and "Soldier of Love," obviously), whose Roy Loney-style voice adds a nice garage rock element to songs that might otherwise be a little too bubblegummy. The best of the non-Alexander songs is "Can't Go Back," a winsome little sweet 'n' jangly rocker written and sung by Joey Cola, Alexander's former bandmate in the short-lived but much admired Poppees. Bassist Ricky Street's "I Don't Like It Like That" is pretty terrific too, with a stomping break that makes it sound like a classic early Sweet single. Not every song is up to those standards, but even the two or three weaker tracks are performed with enough infectious enthusiasm to get by on attitude. Teenage Heartbreak is probably for power pop fans only, but those fans will find themselves richly rewarded. - by Stewart Masontrax:

01 Teenage Heartbreak 02 I Don't Like It Like That 03 Bad Times 04 I Want You Tonight 05 Lonely Girl 06 She Comes And Goes 07 Can't Go Back 08 All You Gotta Say 09 I Want You So Bad 10 Can't You Tell A Lie 11 Second Chance 12 Televison

"THE ESSENTIAL BOB MARLEY & THE WAILERS"

There are countless Bob Marley collections on the market, most of them drawing from his pre-Island Records Jamaican releases. These are usually poorly annotated, tossed-together affairs of dubious legality, and since Marley & the Wailers often re-recorded songs at various stages of their career, it can be nearly impossible to tell which versions you're getting without actually playing the disc. All of this confusion is a shame, since some of Marley's best work was done before the group signed its Island contract, and many casual Marley fans have no idea this stuff even exists, which is why this two-disc set from Trojan/Sanctuary is so welcome. It does a decent job of cherry-picking key Wailers tracks from several Jamaican producers, and makes a nice entry into the mare's nest of pre-Island releases. Included are tracks produced by Bunny Lee ("Mr. Chatterbox"), Leslie Kong ("Caution," "Soul Shakedown Party," "Stop the Train," "Back Out," "Cheer Up," "Soul Captives"), Ted Powder ("Adam and Eve"), a handful of Wailers self-productions ("Concrete Jungle," "Lively Up Yourself," "Satisfy My Soul"), and a generous selection of Lee "Scratch" Perry's 1970 and 1971 work with the group ("Mr. Brown," "Small Axe," "Kaya," "Soul Rebel," "Sun Is Shining," "Brand New Second Hand," "Duppy Conqueror," "Stand Alone"). Perry also worked with Marley for brief periods in 1976 and 1977, and "Who Colt the Game," "I Know a Place," "Natural Mystic," and "Keep on Skanking" are included from those sessions. The end result isn't the essential Bob Marley & the Wailers, as the title proclaims, but it certainly contains tracks that are essential, particularly the Perry material. Serious fans of the Wailers will already have everything here, but for casual listeners looking for a well-sequenced set of the earlier years to augment the Island releases, this one fills the bill nicely. (Allmusic)trax CD 1:

01 Soul Shakedown Party 02 Caution 03 Soul Rebel 04 Stop The Train 05 Sun Is Shining 06 Adam And Eve 07 Back Out 08 Corner Stone 09 Mr. Chatterbox 10 Brand New Second Hand 11 Duppy Conqueror 12 Soul Captives 13 Try Me 14 Cheer Up 15 Soul Almighty 16 Four Hundred Years 17 Mr. Brown 18 All In One

trax CD 2:

01 Lively Up Yourself 02 Keep On Moving 03 Small Axe 04 Don't Rock The Boat 05 Trenchtown Rock 06 Kaya 07 African Herbsman 08 Down Presser 09 Concrete Jungle 10 Stand Alone 11 Satisfy My Soul 12 Fussing & Fighting 13 Dreamland 14 Keep On Skanking 15 Natural Mystic 16 Who Colt The Game 17 I Know A Place

...served by Gyro1966...

Die Barracudas "Ich will Rock'n'Roll"

Moin RYP, nach den geilen Champions-League Hinspielen hier etwas Rock'n'Roll aus deutschen Gefilden. Die Burschen machen ganz gut Alarm. rockige Grüße aus BÄRlin sendet good ole DooWopDaddyOtrax:

01 Wartburg Cabriolet 02 Oh Du 03 Rocken & Rollen 04 Die Tänzerin 05 Mondscheintwist 06 Bob Cat 07 Rock'n'Roll Daddy 08 Motorroller 09 Käfer Cabriolet 10 Black Jeans 11 Take It Easy 12 Du 13 Girl 14 Wartburg Cabriolet (Version 2) 15 A Teenager In Love 16 Medley

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The Sorrows "Take A Heart" 1965

One of the best obscure British Invasion records.The Sorrows’ roots can be traced back to Coventry (around 1963), where Don Fardon (vocals), Pip Whitcher (lead guitar), Terry Jukes (rhythm guitar), and Philip Packham (bass) played in various local beat groups. While plying their trade in the local night clubs the group was discovered by John Schroeder, Picadilly’s label manager. Their first Picadilly (owned by Pye) single, “I Don’t Want To Be Free/Come With Me,” was an excellent Kinks-like number, full of power chords and tough, soulful vocals. Another quality single leaked out (“Baby”) but success seemed to elude the boys.

It wasn’t until “Take A Heart” that the Sorrows had their big top 20 smash. Originally written by songwriter Miki Dallon and recorded by the Boy Blues, “Take A Heart” for my money, is one of the UK’s greatest rock n roll singles. The song’s arrangement gradually builds up into an explosion of speedy guitar work, charging rhythms, and violent lead vocals (Fardon was a great vocalist). Without question, this 45 is one of the true classics. To capitalize on the single’s success Pye released the Take A Heart LP in December of 1965. The LP is consistently good, featuring originals, a few more tracks written by Miki Dallon and some interesting R&B covers. Standouts include their ferocious take on “Teenage Letter,” the trashy mod pop of “Come With Me,” a couple of strange beat ballads (“How Love Used To Be” and “We Should Get Along Fine”), and a Dylan influenced folk-rocker titled “Don’t Sing No Sad Songs For Me.” Another great cut is their cover of “Let Me In,” a track that rocks really hard and features impressive fretwork. Take A Heart is right up there with the early Stones’ output, the Pretty Things first two LPs, and the Small Faces debut; it’s that good.

The Sorrows released a few more 45s from the lp but none of them made the charts. At this point Fardon decided it was best that he leave the group to pursue a solo career. The Sorrows would soldier on, releasing an excellent early psych 45 in 1967 (“Pink, Purple, Yellow, Red”) and then relocate to Italy. It was around this time that the group cut an LP titled Old Songs, New Songs in 1968. A respectable LP, Old Songs, New Songs was a mixture of group originals and covers of then popular tracks by Traffic, The Small Faces and Family. Despite the LP’s fine guitar work, it was nowhere near as good (or original) as Take A Heart. - Rising Storm

trax:

01 Baby 02 No No No No 03 Take A Heart 04 She's Got The Action 05 How Love Used To Be 06 Teenage Letter 07 You've Got What I Want 08 Let The Live Live 09 I Don't Wanna Be Free 10 Don't Sing No Sad Songs For Me 11 Cara-lin 12 We Should Get Along Fine 13 Come With Me 14 Let Me In 15 Pink, Purple, Yellow and Red 16 My Gal

NASHVILLE COUNTRY JAMBOREE "Nashville's First Country-Rock Group"

The Spar Record Company of Nashville, Tennessee was founded in 1961 by veteran record men William Beasley, Alan Bubis and Reynold Bubis. They launched the Spar imprint as a standard independent label that would be serviced to radio stations and would strive to have hit records. Texan native Johnny Elgin was brought in to run the Country sessions, soon became a songwriter along with A&R man Jerry Foster and formed the prolific Nasville Country Jamboree in the mid-sixties. The Nashville Country Jamboree featured the cream of the crop of Nashville's studio musicians of the day (many would go on to become country-rock legends with the Area Code 615 Band and Barefoot Jerry) and the singers, songs and performances were all top notch. This was the best that Nashville had to offer, and it's high time that The Nashville Country Jamboree was recognized for their contribution to the musical genre that would come to be known as Country-Rock.
Read all about this album here:
http://jeffersonross.com/wp-content/uploads/2011/05/JeffRossReview.pdftrax:

01 Shove It Up Your Heart 02 Lovin' My Way Through Life 03 The Heart That I Gave You 04 Bring Me Sunshine 05 One Thing 06 My Home Town 07 When I hear A Sad Song 08 Young and Foolish 09 We Must Have Been Out of Our Minds 10 The Heartaches You Gave Me 11 The Best Years of Your Life 12 To See An Angel Cry 13 You Don't Deserve the Pain 14 New City Limits 15 I Knew Her When 16 Tear Drops in a Rainstorm 17 Night Sounds 18 A Fifth Wheel 19 With Your Hand in Mine 20 How Long Is a Memory

...served by Gyro1966...

"GLITTERBEST" 20 Pre Punk 'n' Glam Terrace Stompers

There isn't a single redeeming quality to Glitterbest: 20 Pre Punk 'n' Glam Terrace Stompers. Nothing but good old dumb fun. From the mindless cover of the Kinks' "You Really Got Me" by the Hammersmith Gorillas that kicks things off with a resounding thud all the way to the end of the disc, it is nothing but loud guitars, shouted vocals, stomping beats, and ridiculous lyrics. It covers the years 1971-1976, and if you recognize any of the bands here you were probably a member. Lost gems? There are a few: the tough power pop of the Jook's "Aggravation Place," the '50s-inspired outer-space boogie of Flintlock's "Sooner or Later," the tough Modern Lovers in a wind tunnel sound of Despair's "Sweet Sweet Heart," Streak's "Bang Bang Bullet" (which apes the New York Dolls right down to Johnny Thunders' trademark guitar swoops), and the primitive thunk of Crushed Butler's very very stupid "High School Dropout." (Is Crushed Butler the greatest name for a band ever? Maybe.) Best of all is the extremely nasty "Sick on You" by the Hollywood Brats, which includes tender lyrics like "I'm sick to death of everything you do/And if I'm gonna puke/Oh babe I'm gonna puke on you." Otherwise, the disc serves up a wide range of forgotten music that never made a dent in any chart but sounds damn fine in 2004. You get glitter with Bowie as alien vocals on Jet's "Nothing to Do With Us," weird Roxy Music by way of Taco cabaret glam from Tiger Lily on "Ain't Misbehavin'," an early primitive version of "City of Fun" by England's Glory (later the Only Ones), hyped-up pub rock from Ducks Deluxe on the rockin' "Coast to Coast," and wonderfully silly stuff like American Jam Band's "Jam Jam" and Spunky Spider's "You Won't Come." You won't find any of this stuff in the history books and no one would ever call any of these bands innovators or visionaries. So what. Crank it up next time you want to bug your neighbors, blast it out of your car speakers, embrace it as the offspring of the ridiculous novelty singles of the '50s that you always turn up when they get played by accident on oldies radio. Have fun! That is what rock & roll is truly about and Glitterbest is 100 percent rock & roll. (Allmusic)

trax:

1. You Really Got Me - The Hammersmith Gorillas 2. Bang Bang Bullet - Streak 3. Aggravation Place - Jook 4. Nothing With Do With Us - Jet 5. Good Friends - Milk 'N' Cookies 6. Sooner Or Later - Flintlock 7. Crazy Kids - Trevor White 8. Jam Jam - American Jam Band 9. You Won't Come - Spunky Spider 10. Goodbye - One Hit Wonders 11. All For The Love Of City Lights - Dog Rose 12. I Need You - Helter Skelter 13. Coast To Coast - Ducks Deluxe 14. Ain't Misbehavin' - Tiger Lily 15. Pogo Dancing - Chris Spedding & The Vibrators 16. Sweet Sweet Heart - Despair 17. Fat Judy - The Farm 18. High School Dropout - Crushed Butler 19. City Of Fun - England's Glory 20. Sick On You - The Hollywood Brats

...served by Gyro1966...

"April March Sings Along With The Makers"

A departure from April March's previous solo albums, April March Sings Along With the Makers is much more along the lines of the shambolic punk rock of her records as lead singer of the Shitbirds. The album is a true collaboration with Spokane, WA's the Makers, who ignore the grunge explosion entirely, preferring to focus on the snotty garage rocking style of earlier Pacific Northwest heavies like the Kingsmen, the Wailers, and the Sonics. The songs are as stagey as March's previous explorations of French pop and Lesley Gore-style bubblegum, only this time the chameleonic March is affecting the persona of a black-eyeliner- and sunglasses-clad rocker chick, singing with her usual adorableness but with an extra hint of punky aggression. (Most songs include at least one ear-splitting yowl, but March even screams cutely.) The tunes are shamelessly derivative, but the Makers know this style so intimately that even the most obvious rip-offs somehow sound fresh and inventive. Above all, everyone concerned sounds like they're having a blast, which is all that matters in this style of music. Be warned if you're expecting more French pop, but this is a gem. - by Stewart Masontrax:

01 Dreams Don't Come True 02 I Just Might Crack 03 Try to Cry 04 Sometimes Sometimes 05 Sad Little Bug 06 Explosion 07 I'm Alone 08 Let Him Try 09 Bust Out

DOWNTOWN SOUL FROM THE NASHVILLE INDIES

According to the title, this is a collection of 20 downtown soul tracks released by various independent Nashville labels, and it is that, but it’s really more uptown soul, because there’s a lot of Nashville sweetening going on in these cuts, from strings to horns and choirs, and there’s some jazz and country DNA tossed in there, too. The end result is pretty smooth and it isn’t much like Memphis soul at all, and sounds more East Coast in temperament. Highlights include Rufus Hunter's elegant “Caught Up,” Roscoe Shelton's sincere “What Is It Baby,” and a cool instrumental version of Bobbie Gentry's “Ode to Billie Joe” that was arranged and recorded by Bob Holmes, one of Nashville’s greatest arrangers.(Allmusic)Ref-O-Ree Records was founded by legendary songwriter/record producer Ted Jarrett in 1968, and its Tee-Jay subsidiary was launched a few years later. Ted had begun his career as an A&R man at Tennessee and Republic Records in the early 1950s, producing gospel music and R&B. When that company folded in 1955, Ted went with Alan Bubis´ Champion/Calvert/Cherokee/Kit group of labels from 1956 to 1959. He produced nearly every record that the company released. By 1960 Ted was one of the best known songwriters in rhythm & blues, having penned million sellers like "It´s Love Baby-24 Hours A Day" (Louis Brooks and the Hi-Toppers 1955) and "You Can Make It If You Try" (Gene Allison 1958). When Alan Bubis founded the Spar label in 1961, he again enlisted the services of Ted Jarrett. Ted produced most of the R&B recordings for the company and the two Herbert Hunter tracks featured here are from the Spar catalog, whereas all of the others on this collection are from the Ref-O-Ree years. (Blues Unlimited)

trax:

1. Caught Up - Rufus Hunter 2. Girl Watching On Broadway - Little Rock Brotherhood 3. Do Love You - Rufus Hunter 4. Morning After - Little Rock Brotherhood 5. Wonderful World Of Love - The Precious Three 6. Monterey Goodbye - The Avalon Strings 7. What Is It Baby - Roscoe Shelton 8. Winter I Remember - The Avalon Strings 9. Reality - Freddie Waters 10. The People's Choice - Little Rock Brotherhood 11. The Funky Preacher (Alternate Unreleased Version) - Don Whitehead 12. Too Much For Words - Little Rock Brotherhood 13. Three For Sundown - Bob Holmes 14. Will You Be Staying After Sunday - Wendell Watts 15. Ode To Billie Joe - Bob Holmes 16. I'll Hold You In My Heart - Herbert Hunter 17. And I Love Her - Bob Holmes 18. Make Me Know - Herbert Hunter 19. Popa Nickel (Alternate Unreleased Version) - The Tempo Rhythms 20. Little Green Apples - Bob Holmes

...served by Gyro1966...

NASHVILLE ROCKABILLY 1957-1987

Very few of the sides on this 22-track collection are technically rockabilly, being instead a mixture of countrified R&B, horn-led jump bands, and other odds and ends that approximate rockabilly in tone and approach, which is fine, because it means this set list rocks right along from start to finish no matter what label one throws on it. Drawn from tracks recorded in Nashville between 1957 and 1987, this lively compilation shows there’s been more than just mainstream country going on in Nashville and that’s been true for a very long time. Highlights include Baker Knight's big-band and horn-driven “Bring My Cadillac Back,” a little bit of honky tonk Western swing from Whitey Pullen on “Broke Waitin’ for a Break,” a sleek rockabilly take on “Tear It Up” from Andy Arrow & the Twangtown Mavericks (complete with a guitar break that literally takes over the song midway through), and Jimmy Ellis & the Rockabilly All Stars' “Back on the Street,” among others. It might not add up to a rockabilly collection exactly, but it rocks along pretty well just the same. (Steve Leggett, Allmusic)trax:

1. Bring My Cadillac Back - Baker Knight 2. I Cried - Baker Knight 3. They Wanna Fight - Chuck Harrod & The Anteaters 4. Sandy - Chuck Harrod & The Anteaters 5. Crawdad Song - Chuck Harrod & The Anteaters 6. Broke Waitin' For A Break - Whitey Pullen 7. Jinglin' Janglin' Pockets - Tommy Jay 8. Sandy Jane - Tommy Jay 9. It'd Surprise You - Jan Smith 10. Then You'll Know - Big C & The Galaxies 11. Raid On Cedar Street - Big C & The Galaxies 12. Pipeliner Blues - Moon Mullican 13. That's All Right Mama - Jerry Foster 14. Johnny B. Goode - Nashville Country Jamboree 15. Old Pipeliner - Jimmy Ellis & The Rockabilly All Stars 16. Restless - Jimmy Ellis & The Rockabilly All Stars 17. Back On The Street - Jimmy Ellis & The Rockabilly All Stars 18. You're Never Too Old To Rock & Roll - Jimmy Ellis & The Rockabilly All Stars 19. Get Rhythm - Billy C. & The Sunshine 20. Dixie Fried - Billy C. & The Sunshine 21. Tear It Up - Andy Arrow & The Twangtown Mavericks 22. Big Black Cadillac - Freddie & The Screamers

...served by Gyro1966...

Mort Garson "Black Mass, Lucifer" 1971

What a shame this album has virtually vanished from the radar screen. As far as I know, it has never been released on CD, and is a hard to find item on e-bay and elsewhere. The album was released in 1971, and features 10 instrumental compositions by Mort Garson, each around 3 1/2 mins or less, that are virtually all created on the Moog, with some processed percussion and voices added in.
It was creepy and beautiful in it's day, and to my ears, still holds up well today. The songs are well composed and hold your interest throughout, unlike some other meandering electronic albums from the same era. Another 'cool' aspect of this LP was one of the song tracks had a pronounced pattern visible both when viewed in your hand, but especially as it spun on the turntable. I never knew if that was due to the music or if it was cut that way somehow at the factory.
Some may be put off by the Black Mass concept, but electronic music back then was supposed to sound "weird", and this deviated from the Outer Space concepts so prevalent then. No harm will come to anyone who listens to this, I promise. If you like Tonto's Expanding Head Band, early Klaus Schultz or early Tangerine Dream, you owe it to yourself to seek this out. - By D. K. HughesThis bizarre collection of Moog compositions is credited to a band/artist named Lucifer (or is it "Black Mass?"), but the man behind the machine is better known by his more ordinary given name of Mort Garson. Along with scoring films, producing easy listening records, and co-writing the hit tune "Our Day Will Come," Garson released several electronic music LPs with themes like the Zodiac, the Wizard of Oz, and plant growth stimulation. Black Mass/Lucifer (the cover art is ambiguous as to title) is Garson's exploration of the dark arts, an all-instrumental soundtrack for a horror film that never existed. Garson conjures up a sinister, minor-key atmosphere on tracks with titles like "Incubus," "Witch Trial," and "The Evil Eye" often achieving a tone similar to the scores that Italian horror-rock band Goblin would record for Dario Argento films later in the decade. The technology available to Garson in 1971 was still being developed, and the record occasionally sounds dated, particularly when some very corny synthetic drums ruin the mood. There's some evocative music on Black Mass/Lucifer, to be sure, but ultimately it's just not as wild of a recording as legend has painted, perfectly rendered for a psychedelic Halloween party but hardly strong enough to raise evil spirits on its own. Garson's Wozard of Iz album is a freakier Moog ride, a kaleidoscopic retelling of the L. Frank Baum tale. - by Fred Beldin

trax:

01 Solomon's Ring 02 The Ride Of Aida (Voodoo) 03 Incubus 04 Black Mass 05 The Evil Eye 06 Exorcism 07 The Philosopher's Stone 08 Voices Of The Dead (Medium) 09 Witch Trial 10 ESP

"VELVET TINMINE" 20 Junk Shop Glam Ravers

Subtitled - 20 Junk Shop Glam Ravers. Obscure yet high quality singles from the glam era - roughly 1973-75. This compilation really is a Glam Rock 'Nuggets'trax:

1. Rebels Rule - Iron Virgin 2. Another School Day - Hello 3. Let's Get The Party Going - Warwick 4. Morning Bird - The Damned 5. Kick Your Boots Off - Sisters 6. Big Wheel Turning - Flame 7. Toughen Up - Arrows 8. Let's Do It Again - Crunch 9. Rock Star - Bearded Lady 10. (Baby) I Gotta Go - Simon Turner 11. VaVaVa Voom - Brett Smiley 12. Love Machine - Shakane 13. The Comets Are Coming - Washington Flyers 14. Slippery Rock '70s - Stavely Makepeace 15. Neo City - The Plod 16. I Wanna Go To A Disco - Ricky Wilde 17. Bay City Rollers We Love You - Tartan Horde 18. Shake A Tail - Big Wheel 19. Wild Thing - Fancy 20. Kick Out The Jams - Tubthumper

...served by Gyro1966...

"BOOBS" The Junkshop Glam Discotheque

Disregard the word "discotheque" in the title of RPM's glorious Boobs: The Junkshop Glam Discotheque, the sixth installment in their wonderful Lip Smackin' 70s series. Although each of the 20 tracks here has a relentless, pounding beat, this isn't disco, this is glitter -- or, more precisely, what record collectors call junkshop glam, the forgotten glam and glitter singles from the '70s that are coveted precisely because these trashy tunes weren't intended to be remembered 30 years after their initial release. Screemer, just one of 20 unknowns on this collection, were strangely prescient when they declared on their shameless "Ballroom Blitz" ripoff "Interplanetery Twist" that "the people of the 21st century ain't never seen a rock & roller," and listening to Boobs, it's hard not to think that there's some truth there. Certainly, rock & roll in the 21st century no longer means the trashy, sleazy fun that is Boobs (the title, by the way, is an homage to a glam club of the same name from the mid-'70s) -- with an exception or two, it's well-intentioned and somber, even morose, either stagnant in its sincerity or designed for posterity and overly reverential of the past. Glitter and glam had no good intentions at all. The music was cheaply made and quickly released, blatantly aping the sounds of such stars as T. Rex, David Bowie, the Sweet, Slade, and the Bay City Rollers. It wasn't about anything but the moment, and when it did reference the past, say in how Iron Cross covered "Little Bit o' Soul" or Shelby tarted up Duane Eddy's "(Dance with The) Guitar Man," there was no respect there. So why does it still sound so intoxicatingly good after all these years? Because there's a kinetic energy to these fizzy productions -- the bands sound as if they truly believed that they could be stars, while the producers and labels behind them truly believed that they could score a quick buck by duping these young lads to wear fringes and platform shoes, and to cake their faces in makeup. These singles were written, recorded, released, and forgotten so quickly, they're freeze-dried time capsules, so the music sounds startlingly fresh, even if it's unquestionably tied to its time.

While there's a track or two that's nothing more than good-time fun, there are plenty of gems here, first among them the Rats' giddy T. Rex homage "Turtle Dove," which kicks off the party in grand style. It's quickly followed by Hector's Sweet-styled teenaged rampage "Wired Up," and from that point on it's clear that Boobs never will let the momentum sag: it's a party record and the closest it comes to a ballad is when Chunky reworks Norman Greenbaum's "Spirit in the Sky" as a spangled space rock anthem called "Albatross." Along the way are such highlights as Jimmy Jukebox's David Bowie rip "Motor Boat," complete with fey vocalizations and a reference to "Garbo's daughter"; "Jungle" by Erasmus Chorum, the only black glam band in recorded history; the irresistible stomp of Hot Rod's "Love Is Alright (Hey)," which recalls Gary Glitter in its chorus and steals from Three Dog Night's "Joy to the World" in the verse; the trippy, electric sitar-fueled "Natural Gas" by Paul Ryan (a terrific send-up of Marc Bolan at his spaciest); and Catapult's horn- and wah-wah-driven party anthem "Let Your Hair Hang Down." Reasonable critics could claim it's all trash, which it proudly is, but they're not only spoilsports, they're ignoring the fact that these songs were made at the precise moment trash was made with both skill and spirit, walking the fine line between disposable garbage and oddly resilient, eternally infectious junk. The junk of the 21st century is too cold and calculating, too slick and passionless, to be anywhere near this much fun. Put it this way: today, there wouldn't be a club called "Boobs" -- it'd be something crude and direct like, say, "Tits" -- but it was the right name for a glitter club and it's the right name for this disc. It's sexy, silly, and fun, which is exactly what this brilliant compilation is.(Allmusic)

trax:

1. Turtle Dove - The Rats 2. Wired Up - Hector 3. Interplanetary Twist - Screemer 4. Albatross - Chunky 5. Motor Boat - Jimmy Jukebox 6. (Dance With The) Guitar Man - Shelby Flint 7. Jungle - Erasmus Chorum 8. Love Is Alright (Hey) - Hot Rod 9. Black Eyed Woman - Sensation 10. Natural Gas - Paul Ryan 11. Little Bit O' Soul - Iron Cross 12. Don't Let Go - Light Fantastic 13. Let Your Hair Hang Down - Catapult 14. Good Time Fanny - Angel 15. Poor Annie - Barry Blood 16. Shout It Out - Ice Cream 17. Did You Get What You Wanted - Boston Boppers 18. Baby - Sensation 19. She's Just A Friend Of Mine - Hobnail 20. Let's Go - Rock Rebellion

...served by Gyro1966...

"THE WOZARD OF IZ" Electronic Music Composed & Realized by Mort Garson - 1968

Far, far ahead of his time, Garson is a true genius of electronic music, it is rumored that the part of Dorothy is played by Nancy Sinatra, this lp is hard to discribe, electronic, comedy, weird, and at times, frightening, and of course, a true mind blower! Very rare...Typical record finding story. One day in the hallway of my building, near the trash... someone had left a huge pile of records that they were obviously throwing out. Since they weren't covered in empty crack vials and rat urine yet... and being an on-again-off-again vinyl junkie, I leafed through them and found it to mostly be a 70's rock-centric collection with some very popular titles and a few odd items (like an original copy of Sun Ra's 'Astro Black' - score!). Amongst the Kansas and Dan Fogelberg was also an odd record with a funny cover. It appeared to say "The Wozard of Iz" in faded letters on the front, and on the back were some photos of a man with a funny mustache and glasses in front of a bunch of old electronics keyboards and wires, and some text about how the "contemporary moog-man attempts to fuze words with wires and create a contemporary version of a children's classic." Interesting. I put it aside for future investigating. 
On the day I actually decided to give it a spin... my ears and eyes bloomed to a brilliantly warped, counter culture, drug-marinated version of The Wizard of Oz that sounded like "Cats" on a bad trip... fused with a maddening moog/electronic score. I looked on the web and found that the album is by one Mort Garson, a kind of electronic music pioneer who made quite a few really wonderful records but mostly stayed out of the limelight. And it turned out that "The Wozard of Iz" was a pretty rare recording that was highly sought after. How it ended up in the trash bin in the hallway of my building is just another one of life's little mysteries. 
Mort Garson was a hippie-ish electronic music scientist and guru, who specialized in the more extreme possibilities of the moog. One of his most ambitious projects was a single spoken word LP for each sign of the zodiac, set to an electronic score. He also recorded the moog album "Electronic Hair Pieces" - that one with the great cover. "The Wozard of Iz" was one of his later recordings, and was a collaboration with Jacques Wilson (who apparently wrote and conceived the project). The musical, which might have been intended to go beyond just a recorded album, is a psycho-electronic re-working of "The Wizard of Oz" that sounds like the soundtrack to the greatest LSD/FREAK_OUT / MOOG / SYNTH / ELECTRONIC MUSICAL that never was. This oddity is a hysterical and typical leftist/hippie commentary on the socioeconomic human condition of the average American in 1968, and uses the analogy of Dorothy taking a "trip" from Kansas for a brighter and better world where one can really be "free." 
The record begins over a kooky electronic score, while a male voice (with a deep Brooklyn accent) intones: "This is the story of why Dorothy began her search for the Wonderful Wozard of Iz!  Or somewhere... over... what rainbow?  Our Dorothy... locked into one suburban acre of negative vibrations... boxed in with a pair of authority symbols; a hypnotized aunt, and a mesmerized uncle, who had turned life off... and turned the television set... on... and on ...AND ON!!!" 
Then the music builds and builds as another voice commands Dorothy: "Congratulations Dorothy, you're about to join the ranks of other famous teenage drop-outs... like Shirley Temple, Candy, and Tallulah Bankhead!" To which a synthesized male voice in the background repeats over and over: "Leave the driving to us! Leave the driving to ussssss!" ...to which the voice of Dorothy makes it's first appearance and sexily coos: "I'm out of the coffin... I'm out of the box... Kansas City isn't where it's at... it's a place where people throw rocks at dreams, and the dreams shouldn't be stoned... only the dreamer. I want to be in a place where I can see a stranger, and offer him a flower. I want that kind of power!" 
And that's just in the first few minutes. The record goes on and on and on like that. Dorothy meets a bag lady "on a bus" who tries to hand her some pamphlets written by an army general from "Normalville" ... but Dorothy convinces the army general to "...trade his dog tags in for love beads..." and the lady on the bus eventually gets attacked by some "free press" pamphlets, and becomes The Wicked Old Witch in protest. Dorothy eventually decides to "...find the Great Wozard of Iz... because if I find out where the Woz was, I'd find out where it's at!" Then she gets advised by some more witches on busses to leave "Upset Strip" road in search of "the yellow green road" past the land of "surf and muscle tan" where she notes "...everyone has sunburned teeth from smiling so much." The scarecrow she eventually meets is an excessive consumer who buys too many American gas-guzzling cars and who has substituted "things" for "zing" and decides to follow Dorothy on her quest for the Wozard who can perhaps help him "think" instead of "thing." All the while, insanity-inducing electronic sounds bloop, swerve, echo and boom in the background. This LP is a (fractured) MASTERPIECE! 
The rest of the album goes all over the place... using plenty of instruments and a whole chorus of vocalists. The songs sound like they could be in ANY musical... and it's a wonder that the production never made it anywhere past an LP recording. The voice of Dorothy is provided by sometime LEE HAZELWOOD vocalist/partner Suzie Jane Hokum. There are rumors that this woman is actually NANCY SINATRA (it certainly sounds like her)... but looking at some of the discussions about this album on the web... it looks like the verdict is still undecided as to whether it is her or not. It could be... or it may be just a vinyl compleatist nerd's urban legend. 
Now I won't say any more about this great record except that you should keep an eye peeled for it... and hear it if you can. IT'S A TOTAL BLAST. When I first looked around the web, I found a site where some guy had uploaded every track from the album in mp3 form... and would send you a password for the mp3s if you emailed him nicely... but now I can't seem to find it. Maybe if you search around you can find it. - from markallencam.comtraxfromwax:

1. Prologue 2. Upset Strip 3. Never Follow the Yellow Green Road 4. Thing a Ling (Scared Crow) 5. In-Man 6. Man With the Word (Lyin' Coward) 7. They're Off to Find the Wozard 8. Blue Poppy 9. I've Been Over the Rainbow 10. Big Sur 11. Killing of the Witch 12. Finale

various sleeve notes: Electronic Music Composed and Realized by MORT GARSON / Odyssey Conceived and Written by JAQUES WILSON / Produced by BERNARD KRAUSE

CAST OF CHARACTERS: 
Dorothy - SUZY JANE HOKUM* (possibly Nancy Sinatra) / Scared Crow - BARNEY PHILLIPS / In-Man - JAY JASON / Lyin' Coward - BARNEY PHILLIPS / Baddy Witch - JULIE HAAS / Goodie Witch - JADINE VAUGHAN / Narrator - JAQUES WILSON

Little Willie John "Grits & Soul" 1955

Big thanks for this one (The Philly Sound), concentring the essential. Another vinyl rip, I bought that one on a second hand market, the seller who really had good discs (but I had not much money...), insisted so that I take it, underlining that there was the 'hit ' ' Fever ', and it made well because it remains my favourite version of this song. Enjoy!!! - Magic Kaic's MusicHe never received the accolades given to the likes of Sam Cooke, Clyde McPhatter, and James Brown, but Little Willie John ranks as one of R&B's most influential performers. His muscular high timbre and enormous technical and emotional range belied his young age (his first hit came when he was 18), but his mid-'50s work for Syd Nathan's King label would play a great part in the way soul music would sound. Everyone from Cooke, McPhatter, and Brown to Jackie Wilson, B.B. King, and Al Green has acknowledged his debt to this most overlooked of rock and soul pioneers.

His debut recording, a smoking version of Titus Turner's "All Around the World" from 1955, set the pattern for a remarkable string of hits: "Need Your Love So Bad," "Suffering with the Blues," "Fever," "Let Them Talk," and his last, "Sleep," from 1961. His version of "Fever" was copied note for note by Peggy Lee and Elvis Presley, both of whom had bigger hits with it; John's version, however, remains definitive. His second hit, "Need Your Love So Bad," contains one of the most intimate, tear-jerking vocals ever caught on tape.

John had a volatile temper, fueled by a taste for liquor and an insecurity regarding his slight height (5 feet 4 inches). He was known to pack a gun and knife; in 1964, he stabbed a man and was sent to the Washington State penitentiary, where he died of pneumonia in 1968. James Brown recorded a tribute album to John that year, and his material has been recorded by scores of artists from the Beatles to Fleetwood Mac to the Blasters. Nevertheless, Little Willie John remains a stranger to most listeners and has never received the respect his talent deserves. - AllMusic

trax:

01 All Around The World 02 Need Your Love So Bad 03 Fever 04 Do Something For Me 05 Suffering With The Blues 06 I've Been Around 07 Person To Person 08 Talk To Me, Talk To Me 09 Let's Rock While The Rockin's Good 10 Let Them Talk 11 Leave My Kitten Alone 12 Walk Slow 13 You Hurt Me 14 My Baby's in Love With Another Guy 15 Big Blue Diamonds 16 Come Back to Me

...served by Magic Kaic's Music...

THE GEORGE BARNES OCTET "The Complete Standard Transcriptions"

George Barnes may not be as well-remembered as Les Paul or Chet Atkins, but he was an influence on both and a master on par with the best jazz and country guitarists. The Complete Standard Transcriptions is a two-disc set that resurrects nearly 50 1946-1951 recordings of Barnes and his octet performing unique jazz-pop guitar instrumentals that bear little similarity to anyone else. The tight and inventive arrangements revolve around the interplay between Barnes' jazz/pop guitar leads and the octet's woodwinds, resulting in a delightfully different and surprising instrumental blend that sounds like the swingingest chamber music ever made. It's a minor miracle that such an extensive showcase of Barnes' talents exists and, as such, The Complete Standard Transcriptions is recommended not only for those who appreciate guitar wizardry and the Country All Stars scene of which Barnes was a part, but for all lovers of good music. (Greg Adams, Allmusic)

trax CD 1:

01 Twinkle, Twinkle 02 A Good Night For Murder 03 Hickory Dickory 04 London Bridgework 05 Concerto For Three Minutes 06 Man Riding Bicycle Down The Street Meets Fair Lady 07 Girl In A Picture Hat 08 Intricacies Of A Threshing Machine 09 Afternoon Of A Billy Goat 10 Parade Of The Wooden Easter Bunnies 11 Evening In London 12 Blondie Buys a Bonnet 13 Misty Morn 14 Sunday Drive 15 Private Life Of A Vulture 16 Fast And Fancy 17 Jumpin_ Jack 18 Sunny Day In May 19 Children On A Picnic 20 Muskrat Ramble 21 My Blue Heaven 22 The One I Love Belongs To Someone Else 23 It Must Be True (You Are Mine, All Mine) 24 Jeepers Creepers 25 All Of Me 26 The Love Nest 27 Always

trax CD 2:

01 Ain't She Sweet? 02 When I Take My Sugar To Tea 03 Aren't You Glad You're You 04 Kilroy Is Here 05 Chicago 06 Priority Of A Moonbeam 07 I Can't Give You Anything But Love 08 Starlight Interlude 09 Zebra's Derby 10 Somebody Loves Me 11 Smoke Gets In Your Eyes 12 South Side Blues 13 Suite For Octette (Part 1 - Allegro Moderato) 14 Suite For Octette (Part 2 - Andante) 15 Suite For Octette (Part 3 - Scherzo) 16 Suite For Octette (Part 4 - Allegro) 17 September In The Rain 18 Something To Remember You By 19 Imagination 20 Jazz Band Ball 21 Undecided

...served by Gyro1966...

"The Philly Sound" Kenny Gamble, Leon Huff & The Story Of Brotherly Love (1966-1976)

The vintage music recorded at Philadelphia International Records, especially during owner/producers Kenny Gamble and Leon Huff's first decade, glue the classic soul of Memphis and Motown with the disco and hip-hop sounds to follow. "The Philly Sound," three volumes including #1 hits by Billy Paul, the O'Jays, Harold Melvin and the Blue Notes and others, celebrates gritty vocals, lush, deep-grooved orchestration, and socially proactive lyrics for what became classic R&B's final bow.

The set serves to salute not only Gamble-Huff and their considerable artist stable, but also their distinctive backup band MFSB (whose trumpet player, Rocky Bene, tried in vain to teach yours truly in high school). Also, it salutes songwriters like McFadden-Whitehead and Linda Creed, and arrangers like Bunny Sigler, Bobby Martin and Thom Bell (who himself could merit a producer's box set).

The introductions alone to these songs are 70s signposts: the strings and horns blowing smokerings to introduce Paul's "Me and Mrs. Jones," the musical sunrise on the Blue Notes' "Wake Up Everybody," the sinister bass line which begins the O'Jays earth-shaking "For The Love Of Money." The outros went on a bit too long (this music started disco, after all) but Teddy Pendergrass' personal-into-political-into-spiritual rant at the end of "Bad Luck" is one of soul's best performances (recorded in a town whose mayor, often perceived at odds with Gamble and the black community, actively supported the president who "said he was gonna give it up!")(Amazon)

trax CD 1:

1. Expressway To Your Heart - The Soul Survivors 2. Cowboys To Girls - The Intruders 3. I Can't Stop Dancing - Archie Bell & The Drells 4. Only The Strong Survive - Jerry Butler 5. One Night Affair - The O'Jays 6. (We'll Be) United - The Intruders 7. Silly, Silly Fool - Dusty Springfield 8. Don't Let The Green Grass Fool You - Wilson Pickett 9. Slow Motion, Part 1 - Johnny Williams 10. Me And Mrs. Jones - Billy Paul 11. Regina - Bunny Sigler 12. The Bells - Laura Nyro & LaBelle 13. Drowning In The Sea Of Love - Joe Simon 14. If You Don't Know Me By Now - Harold Melvin & The Blue Notes 15. 992 Arguments - The O'Jays 16. You're The Reason Why - The Ebonys 17. I Miss You - Harold Melvin & The Blue Notes 18. When The World's At Peace - The O'Jays 19. That's How Long I'll Be Loving You - Bunny Sigler 20. Back Stabbers - The O'Jays

trax CD 2:

1. Love Train - The O'Jays 2. The Love I Lost - Harold Melvin & The Blue Notes 3. Now That We Found Love - The O'Jays 4. Yesterday I Had The Blues - Harold Melvin & The Blue Notes 5. I'll Always Love My Mama - The Intruders 6. For The Love Of Money - The O'Jays 7. Bad Luck - Harold Melvin & The Blue Notes 8. Don't Call Me Brother - The O'Jays 9. Zach's Fanfare (I Hear Music) - M.F.S.B. 10. Love Is The Message - M.F.S.B. 11. Am I Black Enough For You - Billy Paul 12. Sunshine - The O'Jays 13. When Will I See You Again - The Three Degrees 14. TSOP (The Sound Of Philadelphia) - MFSB Feat. The Three Degrees

trax CD 3:

1. Livin' For The Weekend - The O'Jays 2. Wake Up Everybody - Harold Melvin & The Blue Notes 3. Enjoy Yourself - The Jacksons 4. I Could Dance All Night - Archie Bell & The Drells 5. I Love Music - The O'Jays 6. Love Epidemic - The Trammps 7. Stairway To Heaven - The O'Jays 8. Show You The Way To Go - The Jacksons 9. Do It Any Way You Wanna - People's Choice 10. My One And Only Love - M.F.S.B. 11. Rich Get Richer - The O'Jays 12. Hope That We Can Be Together Soon - Harold Melvin & The Blue Notes 13. O-o-h Child - Dee Dee Sharp 14. Love Train - Bunny Sigler

...served by Gyro1966...

"DYNAMITE" The Best Of Glam Rock

43 blasts of glam rock from 1971-1974!trax CD 1:

1. Dance With The Devil - Cozy Powell 2. Ballroom Blitz - Sweet 3. The Tears I Cried - The Glitter Band 4. Good Time Fanny - Angel 5. 48 Crash - Suzi Quatro 6. Mama Weer All Crazee Now - Slade 7. I Love To Boogie - T.Rex 8. Good Old USA - Hello 9. Goodbye Love - Geordie 10. Dyna-Mite - Mud 11. I'm The Leader Of The Gang - Gary Glitter 12. Girl From Germany - Sparks 13. Make Me Smile (Come Up And See Me) - Cockney Rebel 14. Standing In The Road - Blackwood Sue 15. Do You Wanna Dance - Barry Blue 16. The Kid's A Punk - Slik 17. Fancy Pants - Kenny 18. Yesterday's Hero - Bay City Rollers 19. What's Your Name - Chicory Tip 20. Rock'n'Roll Lady - Showaddywaddy 21. One And One Is One - Medicine Head 22. The Man Who Sold The World - Lulu Featuring David Bowie

trax CD 2:

1. Get Down And Get With It - Slade 2. The Wild One - Suzi Quatro 3. Sing Don't Speak - Blackfoot Sue 4. Na Na Na - Cozy Powell 5. Motorbikin' - Chris Spedding 6. Don't Do That - Geordie 7. The Cat Crept In - Mud 8. Do You Wanna Touch Me - Gary Glitter 9. He's Gonna Step On You Again - John Kongos 10. Man In Black - Cozy Powell 11. Forever And Ever - Slik 12. Hey Rock'n'Roll - Showaddywaddy 13. Angel Face - The Glitter Band 14. Little Boy Blue - Angel 15. She's No Angel - Heavy Metal Kids 16. Clap Your Hands - Bonnie Stçlaire 17. Tell Him - Hello 18. Tokoloshe Man - John Kongos 19. You Could've Been A Lady - Hot Chocolate 20. Hot Lips - Kenny 21. See My Baby Jive - Wizzard

...served by Gyro1966...

"Rumba Doowop" Vol. 2 - 1955-1956

In jazz music, the Latin tinge is well-documented, but its influence on pop music has been given far less space; although it's not often hard to connect the dots between Cuban or Brazilian rhythms in early swing, it's far more difficult to see how those rhythms eventually filtered through the rest of popular music, especially R&B and rock & roll. The astonishingly thorough compilation Rumba DooWop, Vol. 1: 1933-1954 provides no less than 64 examples of how vocal groups (nearly all of them black) incorporated Latin rhythms into their recordings, nearly always easily and naturally. The set begins in the mid-'30s, with early vocal groups or gospel combos like the Mills Brothers, Delta Rhythm Boys, Golden Gate Quartet, and the Ravens -- groups that weren't doo wop, but certainly paved the way for all the Coastersand Platters and Robins to come. The rock & roll era is accounted for too, both here on the second disc of the set, as well as on volume two (Rumba DooWop, Vol. 2: 1955-1956), mostly with lesser-known songs and artists. (Only one song on the second disc, "Ling Ting Tong" by the Charms, is well-known.) Aside from containing dozens of great songs by talented groups, listeners shouldn't assume that many of these sides from the '50s are radical departures from standard doo wop; in fact, the fusion of Latin and American was so complete by the late '40s that scads of doo wop sides could use Latin rhythms without even sounding exotic -- which works slightly to the detriment of the compilation, at least as a concept. The best course of action is to treat it simply as a repository for great sides by a variety of doo wop groups, both popular and obscure. (Allmusic)This 2-CD set is the second of a two-volume collection looking at the influence of Latin rhythms, notably the rumba, in the doowop vocal group strand of American R&B music during the decades either side of the Second World War. Africa and Latin America together have moulded American popular music since the beginning of the twentieth century. African influences have led to the development of jazz, gospel and blues while their rhythms have been largely determined by successive waves of dance music from Cuba, Argentina, Brazil, Mexico, Puerto Rico and Jamaica. Every American musical genre from Broadway stage, Hollywood film, Tin Pan Alley pop and even country music has been affected to some degree. Dance forms and musical stylings such as habanera, bolero, tango, rumba, conga, samba, baion all have their origins in the Caribbean or in Latin America. New Orleans has been responsible more than any other city in the world for shaping the sound of twentieth century popular music. A sweeping statement that may seem, but as the birthplace of jazz, funk and arguably rock’n’roll, it really has no other contenders. At the heart of these three widely different varieties of music lies the rhythmic complexity of second line parade drumming. Its two-beat patterns combining military band and Caribbean rhythms underpin early jazz recordings much as they do those of Little Richard and James Brown. It is in this parade band beat that the first intimations of early funk drumming can be heard. This collection brings together over sixty recordings featuring vocal groups from the heyday of the booming doowop fraternity that was a key element of the R&B market in the mid- ‘50s, as popular music made its transition to rock ‘n’ roll. With carefully restored recordings and complete with a comprehensive 24-page booklet providing a detailed background narrative and discography, this is once again an absolute must for enthusiasts and collectors of classic R&B. (R&B Review)

trax CD 1:

1. Help Me - The Aladdins 2. Somebody Changed the Lock - The Empires 3. Zindy Lou - The Chimes 4. Jingle Jangle - The Penguins 5. That's the Way I Like It - The Queens 6. When You Dance - The Turbans 7. Mardi Gras Mambo - The Hawketts 8. Hot Mama - The Chanters 9. You Know I Can't Refuse - The Five Dollars 10. Do-Be-Do-Be-Wop-Wop - The Squires 11. Witchcraft - The Spiders 12. Lips Red As Wine - The Colts 13. Don't Do That - The Five Tinos 14. Day By Day - The Four Freshmen 15. Rollin' Stone - The Marigolds 16. Gumbo Mambo - The Larke Sisters 17. Grand, Nice, Swell - The Ebony Moods 18. Chop Chop Boom - The Danderliers 19. Morocco Chant - The Moroccos 20. Going Down to Tia Juana - The Don Juans 21. Rock It, Davy, Rock It - The Jaguars 22. Cha Cha Baby - The New Yorkers 5 23. Yacka Hoom Boom - The Savoys 24. Cigareetos - The Orioles 25. Laverne - The Earls 26. Ay Si Si - The Dootones 27. Mambo Baby To-Nite - The Falcons 28. Watussi Wussi Wu - The Tenderfoots 29. Cool, Mambo - The Sheppards 30. Red Hots and Chili Mac - The Moroccos 31. Man from Utopia - The Vel-Aires

trax CD 2:

1. Brazil - The Coasters 2. Goin' Goin' Gone - The Jewels 3. Patricia - The Rhythm Masters 4. Choo Choo - The Cardinals 5. Everybody's Whalin' - Huey 'Piano' Smith And His Rhythm Aces 6. Gift O' Gabbin' Woman - The Nutmegs 7. Stranded In The Jungle - The Jayhawks 8. Don't Worry About A Thing - The Sweet Teens 9. Cha Jezabel - The Notes 10. All My Love Belongs To You - The Joytones 11. A Fallen Tear - The El Dorados 12. Shimmy Shimmy Ko Ko Wop-cr2 - The El Capris 13. A-1 In My Heart - The Spiders 14. Mambo Fiesta - The Calvaes 15. Watusi - The Pharaohs 16. Gotta have you baby - The Combonettes 17. Let's Do The Razzle-Dazzle - The Rip Chords 18. I'm Yours - The Mellows 19. Last Night - The Starlighters 20. Cotton Picking Hands - The Dukes 21. Show Me The Merengue - The Hearts 22. It Was a Night Like This - The Turbans 23. So Good - The Playboys 24. Tonight - The Supremes 25. Mexico Bound - The Champions 26. Out Of The Picture - The Robins 27. Smooth, Slow & Easy - The Drivers 28. Ain't She Got Nerve - The Mellows 29. Last Ride - The Dukes 30. Down In Mexico - The Coasters 31. In Paradise - The Cookies

...served by Gyro1966...

"Tales From the Australian Underground" Singles 1976-1989

All these compilations of the Australian punk years: Tales From The Australian Underground, Do The Pop, Inner City Sound, Murder Punk, Where The Birdmen Flew are all very, very addictive and well put together. They give you a very broad overview of the whole punk scene in Australia at the time. I thank everyone who put one of these compilations together because they've been lifesavers.
There are some well-known songs on this Australian Underground first compilation but tons more buried gems that you've never heard of. If you like punk or postpunk it's highly recommended. I guess if you're curious you can look some of this stuff up on YouTube to get a taste. - By neat tunesA collection of some of the great 45′s released during Australia’s most prolific independent era of 1976 to 1989. Tales from the Australian Underground highlights selections from the previous careers of acts like Hoodoo Gurus (The Victims & Fun Things), Gangajang (The Riptides), The Cruel Sea (Sekret Sekret), Dave Graney (The Moodists), Big Heavy Stuff (Ups & Downs), You Am I (The Bamboos), Tex Perkins, (Thug), Dirty Three (Venom P. Stinger) as well as classic early releases from Radio Birdman, The Saints, The Scientists, Triffids, Died Pretty, The Mark Of Cain and the Hard-Ons.

In addition, Tales from the Australian Underground includes a selection of seminal tracks, previously unreleased on CD. Featured among others are Pel Mel, Sunnyboys, Sardine, Psycho Surgeons, The Leftovers, Do Re Mi, The Numbers, Tactics, X and Wet Taxis.

Besides offering up an indie “best of”, Tales from the Australian Underground gives the listener an insight into the sounds and musical styles that were developed over the highlighted period. From raw rock ‘n’ roll and punk roots, to the eclecticism of the eighties. All documented in an extensive 36 page booklet and 2CD collection. Essential for anyone serious about their music.

trax disc 1:

1. Burned My Eye - Radio Birdman 2. This Perfect Day - The Saints 3. I'm Flipped Out Over You - The Victims 4. Sunset Strip - The Riptides 5. Horizontal Action - The Psycho Surgeons 6. Cigarettes & Alcohol - The Leftovers 7. Chelsea Kids - La Femme 8. Frantic Romantic - The Scientists 9. Government Boy - The Numbers 10. Standing by the Window - The Tactics 11. Hindu Gods (Of Love) - The Lipstick Killers 12. Face With No Name - The Passengers 13. When the Birdmen Fly - The Fun Things 14. Brother John - The Visitors 15. Happy Birthday - The Birthday Party 16. Sometimes (I Just Can't Live With Anyone) - The Laughing Clowns 17. I Belong to Nobody - The FLAMING HANDS 18. Love to Rule - The Sunnyboys 19. New King Jack - Sekret Sekret 20. No Word From China - Pel Mel 21. Taels of the Saeghors - Makers of the Dead Travel Fast 22. Sudan - Sardine v 23. Standing on Wires - Do-Re-Mi

trax disc 2:

1. We Had Love - The Scientists 2. The Disciples Know - The Moodists 3. Beautiful Waste - The Triffids 4. Half Way Round the World - X 5. Ocean Liner - The Lighthouse Keepers 6. Another Day in the Sun - The Moffs 7. Ambergris - Died Pretty 8. Julie Is a Junkie - The Eastern Dark 9. No Next Time - The New Christs 10. The Living Kind - Ups & Downs 11. Also Sprach the King of Euro-Disco - Ed Kuepper 12. With Which to Love You - The Bamboos 13. Sailors Dream - The Wet Taxis 14. Dad - Thug 15. Walking About - Venom P. Stinger 16. My Pal - God 17. Lords of Summer - The Mark of Cain 18. Know You Know - The Someloves 19. Johnny - The Celibate Rifles 20. Lost Cause - The Cosmic Psychos 21. I Didn't See Them at All - The Plunderers 22. Just Being With You - The Hard-Ons

"BUBBLE GUM MUSIC IS THE NAKED TRUTH"

When Buddah Records released Bubblegum Music Is the Naked Truth, Vol. 1 in 1969, it was a collection of the label's biggest pop hits, but at the time it was a statement of purpose -- if this music was sneered at by rock critics as empty-headed AM radio fodder, the liner notes by Neil Bogart made it clear that as long as the kids were digging it, the folks behind these songs were convinced they were doing something right (and making money hand over fist at the same time). Producers Jerry Kasenetz and Jeff Katz devised a hitmaking formula that worked remarkably well for them in 1968 and 1969 -- simple tunes with aggressive melodic hooks, nasal vocals, lyrics that combined playground rhymes with subtle (or not so subtle) sexual innuendo, and a hard stomping beat often accentuated by handclaps or additional percussion. The 1910 Fruitgum Company's "Simon Says" and "1,2,3 Red Light" and "Chewy Chewy" by the Ohio Express represented the Kasenetz-Katz formula at its apex, hit singles that were dirt simple but perfectly formulated teen pop, and though they got more ambitious with the passage of time, they were never better at working their magic formula. Bubblegum Music Is the Naked Truth, Vol. 1 is arguably the definitive document of the Kasenetz-Katz aesthetic in action; while the cuts from the Lemon Pipers are a bit arty compared to the rest of the disc, "Green Tambourine" and "Jelly Jungle (Of Orange Marmalade)" are brilliant psychedelia for people who haven't used drugs yet, and "Yummy Yummy Yummy" and "1,2,3 Red Light" are either brilliant or perverse (or a bit of both) in their erotic metaphors and irresistible prefabricated production. Bubblegum was a perfect analogy for this music -- sure it's sickly sweet and not necessarily good for you, but those who say they never took pleasure from this is probably lying, and Bubblegum Music Is the Naked Truth, Vol. 1 is as satisfying as guilty pleasures get. (Allmusic)trax:

1. Simon Says - 1910 Fruitgum Company 2. Yummy Yummy Yummy - The Ohio Express 3. Quick Joey Small (Run Joey Run) - Kasenetz-Katz Singing Orchestral Circus 4. Green Tambourine - Lemon Pipers 5. 1,2,3 Red Light - 1910 Fruitgum Company 6. Down At Lulu's - The Ohio Express 7. Shake - Shadows Of Knight 8. Chewy Chewy - The Ohio Express 9. May I Take A Giant Step (Into Your Heart) - 1910 Fruitgum Company 10. Jelly Jungle (Of Orange Marmalade) - Lemon Pipers 11. Goody Goody Gumdrops - 1910 Fruitgum Company 12. Rice Is Nice - Lemon Pipers 13. Indian Giver - 1910 Fruitgum Company 14. Sausalito (Is The Place To Go) - The Ohio Express 15. Rainbow Tree - Lemon Pipers 16. Run Run Billy Porter - Shadows Of Knight 17. Sweeter Than Sugar - The Ohio Express 18. Finders Keepers - Salt Water Taffy 19. Special Delivery - 1910 Fruitgum Company

...served by Gyro1966...

"Rumba Doowop" Vol. 1 - 1933-1954

In jazz music, the Latin tinge is well-documented, but its influence on pop music has been given far less space; although it's not often hard to connect the dots between Cuban or Brazilian rhythms in early swing, it's far more difficult to see how those rhythms eventually filtered through the rest of popular music, especially R&B and rock & roll. The astonishingly thorough compilation Rumba DooWop, Vol. 1: 1933-1954 provides no less than 64 examples of how vocal groups (nearly all of them black) incorporated Latin rhythms into their recordings, nearly always easily and naturally. The set begins in the mid-'30s, with early vocal groups or gospel combos like the Mills Brothers, Delta Rhythm Boys, Golden Gate Quartet, and the Ravens -- groups that weren't doo wop, but certainly paved the way for all the Coastersand Platters and Robins to come. The rock & roll era is accounted for too, both here on the second disc of the set, as well as on volume two (Rumba DooWop, Vol. 2: 1955-1956), mostly with lesser-known songs and artists. (Only one song on the second disc, "Ling Ting Tong" by the Charms, is well-known.) Aside from containing dozens of great songs by talented groups, listeners shouldn't assume that many of these sides from the '50s are radical departures from standard doo wop; in fact, the fusion of Latin and American was so complete by the late '40s that scads of doo wop sides could use Latin rhythms without even sounding exotic -- which works slightly to the detriment of the compilation, at least as a concept. The best course of action is to treat it simply as a repository for great sides by a variety of doo wop groups, both popular and obscure. (Allmusic)This 2-CD set is the first of a two-volume collection looking at the influence of latin rhythms, and notably the rumba, in the doowop vocal group strand of American R&B music during the decades either side of the Second World War. Africa and Latin America together have moulded American popular music since the beginning of the twentieth century. African influences have led to the development of jazz, gospel and blues while their rhythms have been largely determined by successive waves of dance music from Cuba, Argentina, Brazil, Mexico, Puerto Rico and Jamaica. Every American musical genre from Broadway stage, Hollywood film, Tin Pan Alley pop and even country music has been affected to some degree. Dance forms and musical stylings such as habanera, bolero, tango, rumba, conga, samba, baion all have their origins in the Caribbean or in Latin America. New Orleans has been responsible more than any other city in the world for shaping the sound of twentieth century popular music. A sweeping statement that may seem, but as the birthplace of jazz, funk and arguably rock’n’roll, it really has no other contenders. At the heart of these three widely different varieties of music lies the rhythmic complexity of second line parade drumming. Its two-beat patterns combining military band and Caribbean rhythms underpin early jazz recordings much as they do those of Little Richard and James Brown. It is in this parade band beat that the first intimations of early funk drumming can be heard. This collection brings together over sixty recordings featuring vocal groups from every facet of American popular music, including of course the ubiquitous gospel quartets and the barber shop styled groups of the 30s, through to the groups that were at the heart of the booming R&B market in the early ‘50s, who would provide part of the transition to rock ‘n’ roll. With carefully restored recordings and complete with a comprehensive 24-page booklet providing a detailed background narrative and discography, this is once again an absolute must for enthusiasts and collectors of classic R&B. (R&B Review)

trax CD 1:

1. I Got Rhythm - The Five Spirits Of Rhythm 2. Tiger Rag - The Mills Brothers 3. Jesus Is A Rock In A Weary Land - The Charioteers 4. La Cucaracha - The Delta Rhythm Boys 5. Packing Up - Getting Ready To Go - The Golden Gate Jubilee Quartet 6. St Louis Blues - The Jubalaires 7. Brother Bill - The Five Blind Boys Of Montana 8. Choo Choo - The Four Vagabonds 9. Shadrack - The Golden Gate Jubilee Quartet 10. Casey Jones - The Jubalaires 11. Dry Bones - The Missionary Quintet 12. Jesus Met The Woman At The Well - The Pilgrim Travelers 13. Swing Down Chariot - The Jubalaires 14. Ol' Man River - The Ravens 15. Wanda - The Heartbreakers 16. Roll Roll Pretty Baby - The Swallows 17. Besame Mucho - The Ray-O-Vacs 18. Don't You Know I Love You? - The Clovers 19. I'm So High - The Five Keys 20. My Baby's Gone - The Ray-O-Vacs 21. Be Bop Wino - The Lamplighters 22. Let Me Come Back - The Checkerse 23. I Didn't Want To Do It - The Spiders 24. Softly And Tenderly - The Prisonaires 25. Good Lovin' - The Clovers 26. Calypso Song - The Ravens 27. Geechie Goomie - The Mello-Tones 28. Whop - The Squires 29. Baby Doll - The Four Dukes 30. Bicycle Tillie - The Swallows 31. Chee Koo Baby - The Dukes

trax CD 2:

1. It's Too Late Now - The Hawks 2. Be Bop Baby - The Peacheroos 3. Real Gone Mama - The Moonglows 4. I've Got My Eyes On You - The Clovers 5. Such A Night - The Drifters 6. Mambo Shevitz - The Crows 7. All Night Mambo - The Cookies 8. Shake It Up Mambo - The Platters 9. Natural Natural Ditty - The Jewels 10. Irene - The Holidays 11. Sweet Lulu - The Love Notes 12. Boppin' With The Mambo - The Sultans 13. White Cliffs Of Dover - The Pelicans 14. Drunk, Drunk, Drunk - The Kidds 15. Down In Mexico - The Pelicans 16. I Want You To Be My Baby - The Royals 17. Five Minutes Longer - The Lamplighters 18. Mambo Sh-Mambo - The Charms 19. Bye Bye - The Dreamers 20. Ain't Gonna Do It - The Spiders 21. Trying To Get To You - The Eagles 22. Give It Up - The Hawks 23. All I Do Is Rock - The Robins 24. Sweet Sue - The Starlighters 25. Watts - The Chanters 26. Ling Ting Tong - The Charms 27. I Wanna Love - The Crowns 28. You Made Me Cry - The Platters 29. White Christmas - The Drifters 30. Hey Senorita - The Penguins 31. Tempting - The Moonglows 32. Ko Ko Mo - The Flamingos

...served by Gyro1966...

Loveland "Order To Love"

WHOLE LOTTA LOVE...Lana is a musician, singer & songwriter from Berlin. Together with Lenny Svilar on guitar they formed their first band Cox Orange in 1995. With Lyricist Marcin Zastrozny they wrote songs in the style of the music from the 60s. (Most of them you can hear on "Order To Love" by LOVELAND). In 2001 she moved to California. Soon after her arrival she was asked to play with the Bonniwell Music Machine, her longtime favorite group from the 60's. One year later she was asked by Rudi Protrudi to join The Fuzztones. Since 2005 she has been touring with them through Europe. She has recorded with the Fuzztones two albums (Horny As Hell/2008 and Preaching To The Perverted/2011) and played organ on several other sideprojects. In 2009 she has also performed with The Fuzztones for german TV show ROCKPALAST. In 2010 she recorded her new album ORDER TO LOVE with Lenny Svilar on guitar, Rudi Protrudi on bass, and Alex Tenas on drums. It was released on GROOVIE RECORDS, February 2011. Butterfly Records has released Loveland's first single "Black Glove" March 2010. In 2011, a spring tour in Spain followed, later that year tours in Germany, Italy, and the UK. - from: http://www.lanaloveland.com/trax:

01 Black Glove 02 Missing Illusions 03 Theater Of Dreams 04 Nervous People 05 Paranoia 06 Missing Link 07 Waiting 08 Silence Everywhere 09 Bandit 10 Constant Furs

"ZIGZAG" 20 Junkshop Soft Rock Singles

RPM's Lipsmackin' 70s series is one of the most delightful events in pop reissues in 2003, since it plays on two key points for pop record collectors: it is music that is both totally obscure and uniformly excellent. These two traits don't necessarily go hand in hand, and record collectors are known to convince themselves that obscure music is obscure because it is obscure, but the producers behind Lipsmackin' 70s have a knack for finding forgotten minor hits, B-sides, neglected album tracks, overlooked artists, songs recorded under aliases, and other assorted pop ephemera. Some of this stuff is so arcane that it's easy to dismiss on paper as mere oddities, but it plays brilliantly, since the compilers have excellent taste and excellent sequencing skills. These traits were all apparent on the first two installments of the series: the deliriously gaudy Velvet Tinmine and Magpie, an appealingly shambolic odds 'n' ends collection of TV themes, commercials, covers, and kitsch classics. The same spirit carries through on the third installment, ZigZag: 20 Junkshop Soft Rock Singles 1970-1974, but the music it chronicles isn't nearly as trashy as its two predecessors. ZigZag chronicles British pop singer/songwriters of the early '70s, musicians equally inspired by Dylanesque folkies and lush, orchestrated post-Sgt. Pepper pop. Although this is certainly music of its time, and therefore is often viewed through rose-tinted nostalgia or wrongly seen as camp, it is certainly lacking the cheap pop thrills of Velvet Tinmine and boasts a lineup of artists who were quite serious in their intentions, and their music reflects those sentiments.

Which means, of course, that ZigZag isn't glitzy, but rather reflective, earnest, and lush, often sounding like a cross between Paul McCartney, Elton John, Al Stewart, Cat Stevens, and Gilbert O'Sullivan. Some of the artists carry a somber vibe, complete with grandiose Paul Buckmaster-styled strings, but most of this is rather light, skipping along on folky guitars, pianos, and a melodic sensibility borrowed from McCartney. If a few cuts are a little too steeped in the sensibility of the time, whether it's through unabashed feyness or the heavy soul of Tim Rose's "(You've Got To) Hide Your Love Away," that's part of the compilation's charm -- it is music that could only have been made during the early '70s in its attitude, sensibility, and production. Yet these 20 songs sound fresh, partially because they haven't been widely heard, but also because there's a freshness and excitement in hearing these songwriters play around with new ideas in pop music and production, creating some very fine soft rock singles in the process. While it is true that you either have to have lived through the time or be a fanatical pop record collector to dig this stuff, if you fall into either category, ZigZag is sheer pleasure. (Allmusic)

trax:

1. Pinball - Brian Protheroe 2. Wherewithall - Clifford T. Ward 3. You're Not Smiling - Howard Werth 4. Chinese Restaurant - The Sarstedt Brothers 5. (You've Got To) Hide Your Love Away - Tim Rose 6. El Doomo - Ellis 7. Why Is Everybody Going Home - Leo Sayer 8. Yesterdays Hero - The English Roses 9. Goodbye Suzie - John Howard 10. It's Not Easy - Neil MacArthur 11. Beat The Reaper - Laurie Styvers 12. Home Is Where You Find It - Ray Fenwick 13. Queen Of The Good Times - Ewan Stephens 14. Everything Changes - Lesley Duncan 15. Lord I Don't Have The Time - Mike Hurst 16. We Can Give It A Try - Ewan Stephens 17. Let It Roar - Mike D'Abo 18. And In The Morning - Jake 19. One Way Ticket - Curtiss Maldoon 20. One More Mile To Freedom - John Carter

...served by Gyro1966...

VERVE / UNMIXED Vol. 4

More great original songs of jazz, R&B, and blues from the Verve label.trax:
1. Cry Me A River - Dinah Washington 2. Gimme Some - Nina Simone 3. There Was A Time - James Brown & The Famous Flames 4. California Soul - Marlena Shaw 5. Take Care Of Business - Nina Simone 6. Bim Bom - Astrud Gilberto 7. Tenderly - Anita O'Day 8. Tea For Two - Sarah Vaughan 9. Dilo Como Yo - Eugene Arango 10. Evil Ways - Willie Bobo 11. Everybody Loves The Sunshine - Roy Ayers 12. I Get A Kick Out Of You - Ella Fitzgerald
...served by Gyro1966...

VERVE / UNMIXED Vol. 3

The companion piece to the third volume of Verve's mix CD series, this disc features the unmixed, untouched original versions of songs found in remix form on Verve Remixed, Vol. 3. Focusing less on groove-oriented songs featured in previous editions, this time around the disc salutes the ladies of jazz. Some of the greatest names in the history of vocal jazz make appearances here. Billie Holiday makes two appearances with "Speak Low" and "Yesterdays," as does Sarah Vaughan with "Peter Gunn" and "Fever." Nina Simone, Anita O'Day, Shirley Horn, and Astrud Gilberto also make appearances, along with jazz legends Hugh Masekela and Jimmy Smith. While Unmixed, Vol. 3 is by no means a greatest-hits compilation for the Verve imprint, it is a quality survey of one of the most important bodies of work in the history of jazz. (Allmusic)trax:

1. Little Girl Blue (Live Stereo (1964/New York) - Nina Simone 2. Speak Low - Billie Holiday 3. Sing, Sing, Sing - Anita O'Day 4. Fever - Sarah Vaughan 5. Come Dance With Me - Shirley Horn 6. Just One Of Those Things - Blossom Dearie 7. The Gentle Rain - Astrud Gilberto 8. Peter Gunn - Sarah Vaughan 9. Stay Loose - Jimmy Smith 10. The Boy's Doin' It - Hugh Masekela 11. Lilac Wine - Nina Simone 12. Yesterdays (1952 Version) - Billie Holiday 13. Baby Did You Hear - Dinah Washington

...served by Gyro1966...