Los Shakers were a popular rock band in 1960s and was a part of the Uruguayan Invasion in Latin America. They were heavily influenced by the look and sound of the Beatles.[1][2] In the late 1960s they would broaden and expand their musical direction before breaking up at the end of the decade.
The band was formed in 1964 in Montevideo, Uruguay by brothers, Hugo Fattoruso (lead guitar and keyboards) and Osvaldo Fattoruso (rhythm guitar), after watching the movie, A Hard Days Night, by the Beatles. They were modeled after The Beatles and even adopted similar haircuts and clothing, as can be seen in their record cover. The band sang many songs in English, despite their location, and gained their greatest popularity in Argentina.
They signed with the Odeon label of EMI in Argentina. The first single recorded as The Shakers was “Break it All”, in 1965, followed by self-titled album later that year. For obvious reasons, the band focused their attentions almost exclusively on Latin America, but did they did take one crack at the English-speaking market when they released the album Break it All, on the US-based Audio Fidelity label in 1966.
The record (which featured re-recorded versions of many of the songs on their original LP and even a Spanish-language version of Beatles’ “Ticket to Ride”) was little more than a curiosity in America and was not a hit, but became a collector’s item decades later, as would their second album, Shakers For You (released in 1968).
Reflecting the move towards psychedelia, their music went in a new direction. Their last studio album with the original line up, La Conferencia Secreta del Toto’s Bar, released in 1968,[12] mixed psychedelic influences with candombe and some tango sounds; the album has been described as a Latin American Sgt. Pepper’s Lonely Hearts Club Band. However, their recording label (EMI) did not approve of this new sound, and left them without any promotion or support; it led to the band’s split up. In 2005, the original lineup re-united, and recorded a CD Bonus Tracks and played in Argentina and Uruguay. Los Shakers would break up shortly thereafter.
Osvaldo Fattoruso, guitarist and drummer, died on July 29, 2012 due to cancer at the age of 64.
And this is the first studio album by this Uruguayan beat band. It was released in July 1965 on the Odeon Pops label. (by wikipedia)
And we hear pretty good beat music … this time not from the Merseyside in UK, but from Uruguay … and the guys knows how to play this exciting music !
Personnel:
Roberto “Pelín” Capobianco (bass, bandoneon, background vocals)
Hugo Fattoruso (vocals, guitar, piano, harmonica)
Osvaldo Fattoruso (guitar, vocals)
Carlos “Caio” Vila (drums, backing vocals
Tracklist:
01. Rompan Todo (Break It All) (H.Fattoruso/O.Fattoruso) 2.30
02. Que Amor (What A Love) (H.Fattoruso/O.Fattoruso) 3.05
03. Nena Si, Si (Baby Yeah, Yeah) (H.Fattoruso/O.Fattoruso) 2.21
04. No Fuimos (Forgive Me) (H.Fattoruso/O.Fattoruso) 2.29
05. Corran Todos (Everybody Shake) (H.Fattoruso/O.Fattoruso) 2.14
06. Estoy Pensando (I’m Thinking) (Vila) 2.20
07. Esta Es Mi Fiesta (It’s My Party) (Gold/Gluck Jr./Weiner/Gottlieb) 2.14
08. Sigue Buscando (Keep Searching) (Shannon) 2.00
09. Para Ti Y Para Mi (For You And Me) (H.Fattoruso/O.Fattoruso) 2.15
10. Corro Por Las Calles (Shake In The Streets) (H.Fattoruso/O.Fattoruso) 2.31
11. La Larga Noche (The Longest Night) (H.Fattoruso/O.Fattoruso) 2.12
12. Nena Baila Shake (Baby Do The Shake) (H.Fattoruso/O.Fattoruso) 2.13
13. No Me Pidas Amor (Don’t Ask Me Love) (O.Fattoruso/Capobianco) 2.03
14. Dame (Give Me) (H.Fattoruso/O.Fattoruso) 2.27
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15. My Bonnie (Traditional/Sheridan) 2.00
16. Solo En Tus Ojos (Only In Your Eyes) (H.Fattoruso/O.Fattoruso) 2.15
17. Mas (More) (H.Fattoruso/O.Fattoruso) 2.07
18. Boleto Para Pasear (Ticket To Ride) [sung in Spanish] (Lennon/McCartney) 2.13
19. Hasta Luego Cocodrilo (See You Later Alligator) (Guidry) 1.57
20. Solo Quiero Estar Contigo (I Only Want To Be With You) [sung in Spanish] (Hawker/Raymonde) 2.34
21. No Fuimos (Forgive Me) [Spanish version] (H.Fattoruso/O.Fattoruso) 2.32
22. Nena Baila Shake (Baby Do The Shake) [Spanish version] (H.Fattoruso/O.Fattoruso) 2.18
Get Your Dog off Me, the final real studio album of Scots prog band Beggars Opera, was a disappointment when it came out — and it remains one decades later. Indeed, they never captured the spirit of Act One in any of their further releases, and it’s easy to see why they called this the end of the road (although guitarist Ricky Gardiner and mellotronist Virginia Scott kept the band name going with two German albums later in the decade). The dramatics, which had been quite sly before, descend into melodrama here, and there’s a dearth of songwriting ideas (which was also true on the previous record, where the standout was a cover of “MacArthur Park”). They can still slip in a good hook here and there, and there’s no fault in the playing, with Gardiner in particular showing himself to be an excellent, thoughtful soloist. But on the evidence of the material and arrangements here, this was a band past its sell-by date. The newer harmony style — influenced by bands like the Eagles, is quite at odds with any kind of grandeur. This is really one just for the die-hard fans and obsessives. (by Chris Nickson)
Castle Music deserves some kind of an award for their Beat, Beat, Beat series — and even more honor because it’s unique; no other label, including EMI and English Decca, would have the courage or ambition to go up through three years of the British beat and British Invasion booms, single by single, and B-sides, focused on a single label. There are about 150 minutes of eminently enjoyable, delightfully danceable British Invasion-style music on this two-CD set, filling it to overflowing, and don’t let the fact that most listeners have only heard of maybe three of the three dozen acts featured put you off. Usually, with a compilation like this, covering the complete generic output of a particular label — in this case, England’s Pye Records — for a specific period, there are lots of apologies to be made and explanations to be given about why various tracks should be tolerated. Not so here — every track on this set has value precisely as what it was in 1962-1963: eminently listenable, usually exciting and diverting rock & roll. For starters, any Dave Clark Five fans worthy of the name are probably going to have to own this set because of the two early tracks by the group, “That’s What I Said” and “I Knew It All the Time,” which open these two CDs — they’re about as good as anything else the band ever recorded, and very catchy.
the Viscounts (featuring future songwriter/manager Gordon Mills), who tried for a Merseybeat/harmony approach on “It’s You” and “I’ll Never Get Over You.” Johnny Sandon & the Remo Four show why both singer and band were able to endure as potential breakout talents for years on the enjoyably frantic “Lies” and the ballad “On the Horizon.” Those who are curious about the Undertakers, a top soul outfit from Liverpool who somehow never made it despite enjoying the publicly stated fandom of the Beatles, can start here, and folkish, harmony-based the Overlanders are similarly well represented. Future Graham Nash collaborator and Threshold Records artist Gregory Phillips is also here, doing the Billy J. Kramer-style “Angie,” and the disc ends with the Brian Epstein client Tommy Quickly and reliable Pye mainstays Joe Brown & the Bruvvers. Enjoyable as the first disc is, disc two is even better, showing off the label’s slightly more sophisticated later-1963 vintage efforts at emulating the Mersey sound as it became established, with serious and more compelling talents, including the Puppets (produced by Joe Meek), the Chants (superb singers who not only were based in Liverpool, but were black as well), and the Migil 4 (soon to become the Migil 5, a top bluebeat outfit).
Michael Kevin Taylor (born 17 January 1949) is an English musician, best known as a former member of John Mayall’s Bluesbreakers (1966–69) and the Rolling Stones (1969–74). He has appeared on some of the Stones’ classic albums including Let It Bleed, Sticky Fingers and Exile on Main St..
Recorded after their collaboration, this recording has appeared under different facets (as have many of Santana’s records) sometimes as a single disc, some others as a double, covering the entire concert. The major difference in the line-up is that Billy Cobham holds the drum stool instead of Shrieve on the studio album.
Yusuf Islam (born Steven Demetre Georgiou; 21 July 1948), commonly known by his former stage name Cat Stevens, is a British singer-songwriter and multi-instrumentalist. His 1967 debut album reached the top 10 in the UK, and the album’s title song “Matthew and Son” charted at number 2 on the UK Singles Chart. Stevens’ albums Tea for the Tillerman (1970) and Teaser and the Firecat (1971) were both certified triple platinum in the US by the RIAA. His musical style consists of folk, pop, rock, and Islamic music.
This performance captures Steppenwolf at a pivotal time, early in their career, as the band was experiencing their first tastes of commercial success from the single off their debut album: the blazing biker anthem “Born To Be Wild.” They had recorded but not yet released their second album (which contained the single “Magic Carpet Ride”), and were beginning to perform the more adventurous and experimental material to be included on that album, in addition to staples from their debut LP. This is an excellent performance that grabs you and doesn’t let go.
Next up is the classic “Born To Be Wild,” here expanded to over twice its original length, giving the group another chance to jam a bit before they slow things down with the introspective “Desperation.” They continue with another Sparrow-era song that closed the first Steppenwolf LP, “The Ostrich,” featuring lyrics with political commentary, a common thread that would continue in Steppenwolf’s future material. Next up is “Tighten Up Your Wig,” a song that is essentially Junior Wells’ “Messin’ With The Kid,” with new lyrics by Kay.
First Pull Up, Then Pull Down is the second album by Hot Tuna, released in 1971 as RCA Victor LSP-4550. The album was recorded live with electric instruments, instead of the acoustic instruments used on the previous album, Hot Tuna. The album rose to #43 on the Billboard charts. In 1996, RCA released the CD box set Hot Tuna in a Can, which included a remastered version of this album, along with remasters of the albums Hot Tuna, Burgers, America’s Choice and Hoppkorv.Helmut Qualtinger (Remigius)First Pull Up, Then Pull Down is the second album by Hot Tuna, released in 1971 as RCA Victor LSP-4550. The album was recorded live with electric instruments, instead of the acoustic instruments used on the previous album, Hot Tuna. The album rose to #43 on the Billboard charts. (by wikipedia)
You Never Know Who Your Friends Are is the second solo album by American multi-instrumentalist Al Kooper, issued in 1969 on Columbia Records.
Al Kooper’s second solo album is a bit more uneven than its predecessor, I Stand Alone, for understandable reasons — it would have been nothing less than a miracle for Kooper to have matched the consistency and daring of that album, and he doesn’t have quite the same array of memorable tunes here. He’s still ranging freely, however, through pop, jazz, R&B, and soul, with some songs that are among the most glorious of his output. “Magic in My Sock” is a good enough opener, making up in its virtuoso horn parts and guitar for what it lacks in melodic invention; “Lucille” is hardly the best ballad that Kooper has ever written, but it forms a good bridge to “Too Busy Thinkin’ About My Baby,” a Motown cover that’s one of the highlights of Kooper’s entire output — from a black singer this track would be a priceless gem, but coming from Kooper it’s extraordinary in its every nuance. You get some blues instrumental (principally piano-based) and an abortive but entertaining effort at pop/rock with the title tune, and then Kooper plunges into arty balladry with the hauntingly beautiful “The Great American Marriage/Nothing.” He goes back into Motown territory, just as successful as before, on “I Don’t Know Why I Love You,” and back to moody art-song with Harry Nilsson’s “Mourning Glory Story.” Kooper returns to the soulful side of rock on “Anna Lee (What Can I Do for You)” and finishes with “I’m Never Gonna Let You Down” — the latter would be worth the price of the album by itself, a soaring, more lyrical and moody original classic that manages to be unpretentious yet epic in its treatment. by Bruce Eder)
Blues Cross Country is a 1962 studio album by Peggy Lee, principally arranged by Quincy Jones, with some arrangements by Benny Carter. The album can be described as a concept album, consisting of a musical journey across the United States through swinging blues songs, many of which were written by Lee with other contributors.Blues Cross Country is a 1962 studio album by Peggy Lee, principally arranged by Quincy Jones, with some arrangements by Benny Carter. The album can be described as a concept album, consisting of a musical journey across the United States through swinging blues songs, many of which were written by Lee with other contributors.
on the album.) Though Jones’ arrangements are often a touch brassier than the blues standards can handle, Lee contributes just the right blend of vigor and feeling to the songs. Blues Cross Country also includes her first waxing of the Leiber & Stoller song “Kansas City,” which looks forward to her successful performances of their “I’m a Woman,” “Is That All There Is?,” and the Mirrors album. At a little over half-an-hour, it is a brief LP, and the 1999 CD reissue has two additional tracks. From the same spring 1961 sessions that produced the album came Lee’s single recording of Cy Coleman and Carolyn Leigh’s “Hey! Look Me Over,” the most popular song to emerge from the 1960 Broadway musical Wildcat, also arranged by Quincy Jones. Skipping ahead five years, there was another Lee single, “The Shining Sea,” which she wrote with Johnny Mandel, who also arranged it. Neither song fits in with the album’s concept, but they at least add more than four minutes to its running time. (by William Ruhlmann)
ManyFantasticColors 