Various Artists – 25 Hits Of The Sixties – Volume Two – Disc 2 (late 80´s)

FrontCover1Compilations of UK hits from the “roaring sixties” have been very popular for a long time … and that’s a good thing … because the “roaring sixties” were a very important phase in the history of popular music.

They can be used to get an overview of this decade.

But these are not the original recordings of the time, but cheap re-recordings with unknown studio musicians !

Unfortunately, this happens again and again … just to rake in a little money again.
So: Attention please !

This article only serves to show how the music industry wants to cheat us.

There is now the last CD of this collection of obscure versions … now I  can throw them all away.

Listen to the original … they are so much better !


01. The Swinging Blue Jeans: The Hippy Hippy Shake (Romero) 2.08
02. Herman’s Hermits: No Milk Today (Gouldman) 2.49
03. Billy J. Kramer: Bad To Me (Lennon/MCartney) 2.18
04. Gerry & The Pacemakers: Ferry ‘Cross The Mersey (Marsden) 2.20
05. The Fortunes: Freedom Come Freedom Go (Hammond/Hazlewood/Greenaway/Cook) 3.03
06. The Zombies: The Time Of Season (Argent) 3.34
07. Billie Davis: I Want You To Be My Baby (Hendricks) 2.55
08. The Tremeloes: My Little Lady (Pace/Panzeri/Pilat/Hawkes/Blakley) 2.54
09. Dave Berry: Mama (Charron) 2.37
10. The Foundations: Back On My Feet Again (Macaulay/MacLeod) 2.44
11. Freddie & The Dreamers: If You Gotta Make A Fool Of Somebody (Clark) 2.00
12. Kenny Ball And His Jazzmen: Midnight In Moscow (Traditional/Matusovskij/Solovyev-Sedoy) 2.55
13. Georgie Fame: The Ballad Of Bonnie & Clyde (Callander/Murray) 3.16
14. The Equals: Baby Come Back (Grant) 2.31
15. The Merseybeats: I Think Of You (Stirling) 2.22
16. Petula Clark: I Couldn’t Live Without Your Love (Hatch/Trent) 2.58
17. The Marmalade: Reflections Of My Life (Campbell/McAleese) 3.58
18. Brian Poole & The Tremeloes: I Want Candy (Gottehrer/Berns/Feldman/Goldstein) 2.22
19. Christie: San Bernardino (Christie) 3.05
20. Vanity Fare: Early In The Morning (Leander/Seago) 2.36
21. The Fortunes: The Golden Ring (Greenaway/Cook) 2.11
22. Crispian St. Peters: Pied Piper (Duboff/Kornfeld) 2.42
23. Wayne Fontana: The Game Of Love (Ballard) 2.14
24. Mike Pender’s Searchers: Take It Or Leave It (Jagger/Richards) 2.44
25. The Fortunes: That Same Old Feeling (Macaulay/MacLeod) 3.20



More from this fucking edition:

Saito Kinen Orchestra (Daniel Harding) – Alpine Symphony op. 64 (Richard Strauss) (2014)

FrontCover1Richard Georg Strauss (11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.

Strauss’s compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel’s Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony.

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His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen.

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A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow’s assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra’s primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner’s Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally.

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In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss’s daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth.

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His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. (wikipedia)

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Because the Saito Kinen Orchestra annually performs at a summer festival held in the Japanese Alps near Matsumoto, the choice of Richard Strauss’ immense Alpine Symphony for this 2012 recording seems quite appropriate for the occasion. Led by Daniel Harding, the ensemble of exceptional orchestral musicians from around the world takes on one of Strauss’ most imposing scores, and the power, dynamic range, and physical stamina required to make this work succeed are well within the orchestra’s abilities.


Strauss’ musical depiction of the Alps is a sprawling affair, more properly regarded as a tone poem rather than a symphony in the conventional sense, and the effect of the large orchestra of approximately 125 players must be overwhelming to convey the enormous mountains, the volatile weather, the different times of day, and other imagery. Harding controls the orchestra with a steady hand, and his interpretation is expansive without being exaggerated. The sound of the live performance is a little unbalanced, favoring the brass over the strings and woodwinds, and the live recording is just a little unfocused, leaving some details hard to distinguish in the mix. Even so, this recording has excitement and passion going for it, and the spirit of high adventure conveyed in the music is impressive. (by Blair Sanderson)

Comes with three language booklet (german, english, french)


Saito Kinen Orchestra conducted by Daniel Harding
Radek Baborák (horn)
Gabór Tarkövi (trumpet)
Philippe Tondre (oboe)

01. Night 3.12
02. Sunrise 1.24
03. The Ascent 2.20
04. Entry Into The Wood 5.17
05. Wanderin By The Stream 0.49
06. At The Waterfall 0.16
07. Apparition 0.49
08. On The Flowering Meadows 0.53
09. On Alpine Pasture 2.20
10. Lost In Thicket And Undergrouth 1.32
11. On The Glacier 1.16
12. Dangerous Moments 1.31
13. On The Summit 4.49
14. Vision 3.33
15. Mists Rise 0.20
16. The Sun Is Gradually Obscured 0.53
17. Elegy – Élégie 2.13
18. Calm Before The Storm 2.47
19. Thunder And Tempest, Descent 3.48
20. Sunset 2.59
21. Waning Tones 6.41
22. Night 2.19

Music composed by Richard Strauss

Saito Kinen Orchestra

Ash Ra Tempel – Friendship (2000)

FrontCover1Ash Ra Tempel was a West German krautrock group led by guitarist Manuel Göttsching that was active from 1970 to 1976. Their debut album Ash Ra Tempel was released in 1971. Following the band’s demise, Göttsching released music under the name Ashra.

The group was founded by Göttsching, drummer Klaus Schulze, and bassist Hartmut Enke in 1970, following their participation in Conrad Schnitzler’s short-lived group Eruption. Prior to Eruption, Schnitzler and Schulze had played together in Tangerine Dream.

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Ash Ra Tempel released its self-titled debut album in June 1971; it’s considered by critics to be a classic of the krautrock genre. Following the album’s release, Schulze left for a solo career and subsequent albums utilized different drummers, frequently augmented by additional musicians. In 1972 the band collaborated with Timothy Leary, who was living in exile in Switzerland; an album, Seven Up, was released in 1973. On February 28, 1973,[1] a reunion concert performance with the original line-up took place in Cologne. An album featuring the original three plus added vocalist Rosi Müller, Join Inn, was released later that year. After Join Inn, both Schulz and Enke departed and for the next album — Starring Rosi — the band was credited as only Göttsching and Müller, with special thanks to Harald Grosskopf on drums and engineer Dieter Dierks, who played bass.


In 1975 Göttsching released a solo album, Inventions for Electric Guitar, that was subtitled “Ash Ra Tempel VI” — dubbing it the sixth Ash Ra Tempel album. Later that year Göttsching collborated on the soundtrack for Philippe Garrel’s Le berceau de cristal with Lütz Ülbrich of Agitation Free. The soundtrack’s first commercial release — under the Ash Ra Tempel banner — wasn’t until 1993.

The next Ash Ra Tempel album, 1976’s New Age of Earth — for all intents and purposes another Göttsching solo album — was re-released the following year under the band name Ashra, signaling the end of Ash Ra Tempel. Ashra continued to release music into the early 2000s.


When Julian Cope, musician and author of Krautrocksampler, invited Göttsching to perform at his April 2000 Cornucopea festival, an attempt was made to once again reunite the original trio. Unable to convince Enke to participate, Göttsching and Schulze nonetheless resurrected the Ash Ra Tempel name for the performance, releasing an album of new material — Friendship — later that year.

Ash Ra Tempel exerted a relatively large influence on later space rock, krautrock, electronic and ambient music. The psychedelic bands Acid Mothers Temple and Hash Jar Tempo named themselves in reference to Ash Ra Tempel. The experimental rock ensemble Al Berkowitz covered “Light: Look At Your Sun,” from Schwingungen, and featured it on their live album Apprenticeship and Attitude (2009). Hungarian psychedelic hardcore, ‘shaman punk’ band Galloping Coroners also said that they were influenced by Ash Ra Tempel in the late 1970s. (wikipedia)

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Recorded in 2000, Friendship marked the return of Krautrock pioneers Ash Ra Tempel, though founding member Manuel Göttsching had been making music under the name Ashra on and off with a host of other players a few years after the 1973 breakup of the band’s original lineup. Friendship saw the reunion of Göttsching and fellow Ash Ra Tempel founding member Klaus Schulze, who had spent much of the ’70s, ’80s and ’90s amassing an impressive body of his own solo work. Working as a duo, Göttsching’s fantastical guitar leads and Schulze’s trademark synth pads are joined by more digital drum programming (also the handiwork of Schulze, who had originally served as the band’s drummer back in their earliest days). The album is made up of three lengthy compositions somewhere between trance, deep house, and hints of the early Krautrock experimentalism the band forged in the early ’70s. (by Fred Thomas)

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As it was indicated in the title , this one commemorates a long time friendship between the two great and innovative musicians Schulze & Gottsching. In the past they participated together to a few classics of space rock classic, I think notably to the magistral ‘ART’ (by Ash ra Tempel) and ‘Join inn’ (By ART). ‘Friendship’ is slightly different in style compared to this golden age…but emotions remain intact. In this album, the alchimy between the two musicians works to perfection. We find again the typical Schulze spacey keyboards parts, sometimes sustained by electronic percussions. In ‘Friendship’ title track, Gottsching delivers a sumptuous & deeply emotional guitar solo…all seems to gather like magic…ethereal and very beautiful! (by Philippe)

Alternate front+backcover:

On the Ash Ra Tempel studio album: Friendship, Gottsching’s guitar melodies and Schulze’s synths and percussion are together again with an easy going musical jaunt between two comrades. Individually, they cast a giant shadow. Together, on Friendship, they are found simply enjoying each other’s company and music. The three lengthy pieces on Friendship are linear, with Schulze’s electronic percussion and evocative harmonies leading the listener along the musical path while Gottsching’s guitar stylings speak of their surroundings. The mood created is familiar, modern and mature. Listening to Friendship calls to mind that comfort which is felt at a long awaited reunion and the sharing of the past and present. (by Chuck van Zyl)


Manuel Göttsching (guitar)
Klaus Schulze (keyboards, electronics, percussion)
01. Reunion 30.39
02. Pikant 21.37
03. Friendship 26.35


Klaus Schulze (4 August 1947 – 26 April 2022)

Manuel Göttsching (9 September 1952 – 4 December 2022)