The Sharp Five – The Sidewinder (1966)

FrontCover1.jpgIn 1962, The Ventures made the first of what would be many tours of Japan and the Far East. While the shows attracted very little media attention, many had already been exposed to this new reverb-drenched instrumental music through imported records and overseas radio broadcasts, and some of these fans formed their own bands that would become the genesis for a new trend in music. Progenitors of this new sound were tossing out their acoustic guitars in favor of more powerful electric ones, which prompted the name “eleki”, taken from the Japanese for “electric guitar”.

When The Ventures returned back to Japan in 1965, a far different scene awaited them. By this time “eleki” was all the rage. Many established groups had by this time given up playing rockabilly, country, and even jazz to switch over to “eleki”, and high school kids across the nation were rushing out to buy electric guitars and jump on the “eleki” bandwagon, demand for these guitars far outstripping domestic supply for several years running.

In addition to the radio and concerts, there were at least four television programs dedicated exclusively to “eleki” music including Eleki Tournament, Exciting Show, Eleki Tournament Show, and New Eleki Sounds Jumping into the World, and the establishment had begun to cast a wary eye on the “disturbing” trend. This had happened in the past with the rockabilly boom of the 50s, and would happen again with the Group Sounds bands later in the 60s, but regardless of the pressure, “eleki” continued to flourish. (by radiodiffusion.wordpress.com)

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One of these eleki gtoups from Japan was The Sharp Five:

“Sharp Five were an instrumental eleki / psychedelic garage combo from japan. Wicked guitar licks and Ventures-esque surf wah-wah fuzzed-out and psyched-up with an oriental sonic garage back bass. Overall a slightly trippier flavour of eleki . This is generally regarded as their best albums…” (by musicofsixties.blogspot)

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Personnel:
Osamu Furuya (organ)
Munetaka Inoue (drums)
Nobuhiro Mine (lead guitar)
Akiyama Tsutomu (bass)
Hidemasa Yamauchi (guitar),

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Tracklist:
01. Paperback Writer (Lennon/McCartney) 2.22
02. What How My Love (Delanoe/Becaud) 2.19
03. Batman Theme (Hefti) 2.53
04. Secret Agentman (Sloan/Barri) 2.32
05. Theme From The “Man From U.N.C.L.E.” (Goldsmith) 1.48
06. Theme From “Our Man Flint” (Goldsmith) 4.23
07. Blue Eyes (Hashimoto/Inoue) 2.58
08. The Cat (Schifrin) 2.46
09. The “In” Crowd (Page) 3.36
10. The Sidewinder (Morgan) 3.14
11. Comin’ Home Baby (Tucher) 2.56
12. In Un Fiore (Mogol/Donida) 2.39
13. Paint It Black (Jagger/Richards) 3.30

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Herman’s Hermits – Same (1965)

FrontCover1.jpgHerman’s Hermits (sometimes called Introducing Herman’s Hermits) is the debut album of the band Herman’s Hermits, first issued in 1965. As was typical of the time, the album’s contents were different on the UK and US releases. UK albums did not have any singles included.

The success of Herman’s Hermits first single, “I’m Into Something Good”, #1 in the UK and #13 on the US Billboard Hot 100, led to a US release of their first album in February, 1965. After two other single releases which were eventually issued on their second US album Herman’s Hermits on Tour, MGM released “Mrs. Brown, You’ve Got a Lovely Daughter” in April, 1965. It immediately went to #1 on the US Billboard Chart. The album itself peaked on the Billboard 200 chart at #2, and remained on the chart for 40 weeks.

The album was not released in the UK until September, 1965. As was customary at the time, UK album releases did not have any singles on them. The UK version peaked at #16, and was only on the charts for two weeks.

In his retrospective review of the album’s release, Richie Unterberger for AllMusic gave the album a modest response by saying, “Since those are the first songs on the album, it’s a letdown thereafter, since the oldies aren’t very creative or (in comparison to the better British Invasion groups) forcefully performed, and the pop numbers sound like filler Merseybeat.” (by wikipedia)

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In his retrospective review of the album’s release, Richie Unterberger for AllMusic gave the album a modest response by saying, “Since those are the first songs on the album, it’s a letdown thereafter, since the oldies aren’t very creative or (in comparison to the better British Invasion groups) forcefully performed, and the pop numbers sound like filler Merseybeat.”

This is the UK Version of the Album including The Yardbird hit “For Your Love” … most of the material is part of the innocent side of Beat Music !

Herman's Hermits, Barry Whitwam, Keith Hopwood, Peter Noone, Karl Green, Derek Leckenby, circa early

Personnel:
Karl Green (bass)
Keith Hopwood (guitar)
Derek Leckenby (guitar)
Peter Noone (vocals)
Barry Whitwam (drums)

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Tracklist:
01. Heartbeat (Montgomery/Petty) 2.51
02. Travellin’ Light (Tepper/Bennett) 2.35
03. I’ll Never Dance Again (Mann/Anthony) 3.29
04. Walkin’ With My Angel (Goffin/King) 2.22
05. Dream On (Gordon) 2.05
06. I Wonder (Pearson) 2.10
07. For Your Love (Gouldman) 2.27
08. Don’t Try To Hurt Me (Hopwood) 2.07
09. Tell Me Baby (Leckenby/Hopwood) 2.15
10. I’m Henery VIII, I Am (Murray/Weston) 1.52
11. The End Of The World (Kent/Dee) 2.59
12. Mrs. Brown, You’ve Got A Lovely Daughter (Peacock) 2.48

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The Beatles – Anthology 1 (1995)

FrontCover1.jpgAnthology 1 is a compilation album by the Beatles, released on 20 November 1995 by Apple Records as part of The Beatles Anthology series. It features rarities, outtakes and live performances from the period 1958–1964, including songs with original bass player Stuart Sutcliffe and drummer Pete Best. It is the first in a trilogy of albums with Anthology 2 and Anthology 3, all of which tie in with the televised special The Beatles Anthology. It contains “Free as a Bird”, billed as the first new Beatles song in 25 years. The album topped the Billboard 200 album chart and was certified 8x Platinum by the RIAA.

The album includes material from the Beatles’ days as the Quarrymen, through the Decca audition to sessions for the album Beatles for Sale. It is of historical interest as the only official release of performances with Best and Sutcliffe in the band. Sutcliffe, the band’s original bass player during 1960, and sporadically during the group’s second Hamburg season, appears on the disc-one tracks “Hallelujah, I Love Her So”, “You’ll Be Mine” and “Cayenne”. Best, who was the band’s drummer from just prior to the group’s first departure for Hamburg in August 1960 until 15 August 1962 when he was replaced by Ringo Starr, is on disc one, tracks 10–12, 15–19 and 21–22.

Disc one tracks 10–12 were recorded at a session in Hamburg where the Beatles served as the back-up band to the English rock and roll musician Tony Sheridan. Some songs from this session were released on the 1962 LP My Bonnie, credited to Tony Sheridan and the Beat Brothers. The song “My Bonnie” would be their introductory single in England, featuring Sheridan on lead vocal and guitar. Disc one tracks 21–22 are the only surviving recordings of the Beatles’ first EMI session. Track 22 is the original recording of “Love Me Do”, which would be re-recorded by the group four months later for their first single. Disc one track 24 features EMI session drummer Andy White in place of Starr.

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Disc two contains performances from comedy duo Morecambe and Wise’s popular television programme, Two of a Kind, as well as the opening song from their famed performance on The Ed Sullivan Show, which introduced the band to most of the US in 1964.

The flashpoint for the album came with the song “Free as a Bird” – the three remaining Beatles Paul McCartney, George Harrison and Ringo Starr re-working a John Lennon demo recording given to McCartney by Lennon’s widow, Yoko Ono. Produced by Harrison’s Traveling Wilburys band-mate Jeff Lynne, the three added additional music and lyrics, instrumentation and backing vocals, with McCartney and Harrison both taking a turn at a lead vocal.

The live BBC Radio recording of “Lend Me Your Comb” was held back from Live at the BBC for inclusion on this album, but it was later also included on On Air – Live at the BBC Volume 2.

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The cover of Anthology 1 is the first third of the Anthology collage made by Klaus Voormann. Various photographs and album covers are torn and collected together. Pete Best’s face was torn away from the Savage Young Beatles record jacket in the centre of the album cover, revealing the face of his successor, Ringo Starr, below. The missing piece was subsequently used on the cover of Best’s Haymans Green album in 2008.

The album was a large success throughout the world. It was the first Beatles album to enter the Billboard 200 album chart at number one. It sold 855,473 copies in its first week, the 27th largest one-week sales in the Soundscan history, succeeding Fresh Horses by Garth Brooks. In its second week, Anthology 1 sold 453,000 copies and maintained the top spot. This was repeated the following week, with 435,000 copies sold. In its fourth week, the same quantity was sold, but the album fell to number two, behind Mariah Carey’s Daydream. In the following week, the album fell to number three but with 601,000 sales. Anthology 1 was certified 3× Platinum by the RIAA after six weeks in the US market. In all, the album spent 29 weeks on the Billboard 200, reaching cumulative sales of 3,639,000 scans as of April 2001. In the UK, reaction was similar, but the album peaked at number two, behind Robson & Jerome’s eponymous album. In Australia, the album spent two weeks at number one in December 1995. (by wikipedia)

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Personnel:
George Harrison (vocals, lead guitar)
John Lennon (vocals, rhythm guitar, harmonica)
Paul McCartney (vocals, bass, rhythm guitar)
Ringo Starr (vocals, drums, Percussion)
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Pete Best – drums on “My Bonnie”, “Ain’t She Sweet”, “Cry for a Shadow”, “Searchin'”, “Three Cool Cats”, “The Sheik of Araby”, “Like Dreamers Do”, “Hello Little Girl”, “Bésame Mucho”, “Love Me Do”
Stuart Sutcliffe – bass guitar on “Hallelujah, I Love Her So”, “You’ll Be Mine”, “Cayenne”Colin Hanton – drums on “That’ll Be the Day”, “In Spite of All the Danger”
John Lowe – piano on “That’ll Be the Day”, “In Spite of All the Danger”
Tony Sheridan (vocalsm guitar on 10.)
Andy White – drums on “Please Please Me”

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Tracklist:

CD 1:
01. Free As A Bird (Lennon/McCartney/Harrison/Starr ) 4.25
02. We were four guys … that’s all (Lennon speaking to Jann Wenner of Rolling Stone) 8 December 1970, New York City 0.12
03. That’ll Be The Day (by the Quarrymen) (Allison/Holly(Petty) 2.08
04. In Spite of All The Danger (by the Quarrymen) (McCartney/Harrison) 2.45
05. Sometimes I’d borrow … those still exist (McCartney speaking to Mark Lewisohn – 3 November 1994 London, UK) 0.18
06. Hallelujah, I Love Her So (home demo, 1960) (Charles) 1.13
07. You’ll Be Mine (home demo, 1960) (Lennon/McCartney) 1.39
08. Cayenne (home demo, 1960) (McCartney) 1.14
09. First of all … it didn’t do a thing here (McCartney speaking to Malcom Threadgill – 27 October 1962)0.07
10. My Bonnie (by Tony Sheridan and the Beat Brothers – 22 June 1961
Friedrich-Ebert-Halle, Hamburg, Germany) (Traditional) 2.42
11. Ain’t She Sweet (by the Beat Brothers) Milton Ager, Jack Yellen 22 June 1961
Friedrich-Ebert-Halle( (Ager/Yellen) 2:13
12. Cry For A Shadow (by the Beat Brothers – 22 June 1961
Friedrich-Ebert-Halle) (Lennon/Harrison)  2.22
13. Brian was a beautiful guy … he presented us well (Lennon speaking to David Wigg for BBC Radio 1’s Scene and Heard – October 1971 New York City) 0.10
14. I secured them … a Beatle drink even then (Brian Epstein reading from A Cellarful of Noise) Brian Epstein 13 October 1964) 0.18
15. Searchin’ (Decca Audition – 1 January 1962 Decca Studios, London ) (Leiber/Stoller) 3.00
16. Three Cool Cats (Decca Audition – 1 January 1962 Decca Studios, London) (Leiber/Stoller) 2.25
17. The Sheik Of Araby” (Decca Audition – 1 January 1962 Decca Studios, London) (Smith,/Wheeler/Snyder) 1.43
18. Like Dreamers Do (Decca Audition – 1 January 1962 Decca Studios, London)  (Lennon/McCartney) 2.36
19. Hello Little Girl (Decca Audition – 1 January 1962 Decca Studios, London(Lennon/McCartney)1 1.40
20. Well, the recording test … by my artists” (Epstein reading from A Cellarful of Noise – Epstein 13 October 1964) 0.32
21. Besame Mucho (6 June 1962 EMI Studios) (Velázquez/Skylar) 2.37
22. Love Me Do (Lennon/McCartney) 2.32
23. How Do You Do It (Murray) 1.57
24. Please Please Me (Lennon/McCartney) 1.59
25. One After 909 (sequence) (Takes 3, 4 & 5 – 5 March 1963 (Lennon/McCartney) 2.23
26. One After 909 (complete) (Takes 4 & 5 – 5 March 1963) (Lennon/McCartney) 2.56
27. Lend Me Your Comb (live at the BBC for Pop Go the Beatles – 2 July 1963, Maida Vale Studios, London) (Twomey/Wise/Weisman) 1.50
28. I’ll Get You (live on Sunday Night at the London Palladium – 13 October 1963
The London Palladium, London) (Lennon/McCartney) 2.08
29. We were performers … in Britain (Lennon speaking to Wenner – 8 December 1970
New York City) 0.12
30. I Saw Her Standing There (live for The Beatles, Pop Group from Liverpool Visiting Stockholm, The Karlaplansstudion, Stockholm, Sweden – 24 October 1963) (Lennon/McCartney) 2.49
31. From Me To You (live for The Beatles, Pop Group from Liverpool Visiting Stockholm, The Karlaplansstudion, Stockholm, Sweden – 24 October 1963) (Lennon/McCartney) 2.05
32. Money (That’s What I Want) (live for The Beatles, Pop Group from Liverpool Visiting Stockholm, The Karlaplansstudion, Stockholm, Sweden – 24 October 1963) /Bradford/Gordy) 2.52
33. You Really Got A Hold On Me (live for The Beatles, Pop Group from Liverpool Visiting Stockholm, The Karlaplansstudion, Stockholm, Sweden – 24 October 1963) (Robinson) 2.58
34. Roll Over Beethoven (live for The Beatles, Pop Group from Liverpool Visiting Stockholm, The Karlaplansstudion, Stockholm, Sweden – 24 October 1963) (Berry) 24 2.22

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CD 2:
01. She Loves You (live on the Royal Variety Performance – The Prince of Wales Theatre, London, 4 November 1963) (Lennon/McCartney) 2.50
02. Till There Was You (live on the Royal Variety Performance – The Prince of Wales Theatre, London, 4 November 1963) (Willson) 2.54
03. Twist And Shout (live on the Royal Variety Performance – The Prince of Wales Theatre, London, 4 November 1963) (Russell/Medley) 3:05
04. This Boy (live on Two of a Kind; ATV Studios, London, 2 December 1963)(Lennon/McCartney) 2.22
05. I Want To Hold Your Hand (live on Two of a Kind; ATV Studios, London, 2 December 1963) (Lennon/McCartney) 2.37
06. Boys, what I was thinking… (Eric Morecambe and Ernie Wise speaking to the Beatles live on Two of a Kind – ATV Studios, 2 December 1963) 2.06
07. Moonlight Bay (live on Two of a Kind; ATV Studios, London, 2 December 1963) (Lennon/McCartney) 0.50
08. Can’t Buy Me Love (Takes 1 & 2 – 29 January 1964 Pathé Marconi, Paris, France) (Lennon/McCartney) 2.10
09. All My Loving (live on The Ed Sullivan Show –CBS-TV Studio 50, New York City, 9 February 1964) (Lennon/McCartney) 2.19
10. You Can’t Do That (Take 6) (EMI Studios – 25 February 1964) (Lennon/McCartney) 2.42
11. And I Love Her (Take 2) (EMI Studios – 25 February 1964) (Lennon/McCartney) 1.52
12. A Hard Day’s Night (Take 1) (EMI Studios – 25 February 1964) (Lennon/McCartney) 2.44
13. I Wanna Be Your Man (live for Around the Beatles – IBC Studios, London, 19 April 1964) (Lennon/McCartney)  1.48
14. Long Tall Sally (live for Around the Beatles – IBC Studios, London, 19 April 1964)  (Johnson/Penniman/Blackwell) 1.45
15. Boys (live for Around the Beatles – IBC Studios, London, 19 April 1964) (Dixon/Farrell) 1:50
16. Shout (live for Around the Beatles – IBC Studios, London, 19 April 1964) (R.Isley/R.Isley(K.Isley) 1.31
17. I’ll Be Back (Take 2) (EMI Studios – 1 June 1964) (Lennon/McCartney) 1.13
18. I’ll Be Back (Take 3) (EMI Studios – 1 June 1964) (Lennon/McCartney) 1.58
19. You Know What To Do (demo) (EMI Studios, 3 June 1964) (Harrison) 1.59
20. No Reply (demo) (EMI Studios, 3 June 1964) (Lennon/McCartney) 1.46
21. Mr. Moonlight (Takes 1 & 4) (EMI Studios, 14 August 1964) (Johnson) 2.47
22. Leave My Kitten Alone (Take 5) (EMI Studios, 14 August 1964) (John(Turner/McDougal) 2.57
23. No Reply (Take 2) (EMI Studios, 30 September 1964) (Lennon/McCartney) 2.29
24. Eight Days A Week (sequence) (Takes 1, 2 & 4) (EMI Studios, 6 October 1964) (Lennon/McCartney) 1.25
25. Eight Days A Week (complete) (Take 5) (EMI Studios, 6 October 1964) (Lennon/McCartney) 2.48
26. Kansas City / Hey-Hey-Hey-Hey! (Take 2) (EMI Studios, 18 October 1964) (Leiber/Stoller/Penniman) 2.44

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Casey Jones & The Governors – Don’t Ha Ha (1964)

FrontCover1.jpgHere´s a forgotten highlight of the British Beat Scene in the Mid-Sixties:

Brian Casser (born 21 March 1936, Newcastle-upon-Tyne, England) is a British singer and guitarist. He led the first notable beat group in Liverpool, Cass & the Cassanovas, who were early rivals of The Beatles in the city. He later led another group, Casey Jones & the Engineers, which was one of Eric Clapton’s first bands, and then, as leader of Casey Jones & the Governors, became successful in Germany in the mid-1960s.

Casser lived in Liverpool in the late 1950s, having previously worked in the Merchant Navy. As singer and rhythm guitarist, he formed a trio, Cass & the Cassanovas, in May 1959, with singer and guitarist Adrian Barber (born 13 November 1938, Ilkley, Yorkshire), and drummer and singer Brian J. Hudson (born Brian James Hudson, 21 April 1938, Cleveland, Yorkshire). After a few months, Hudson left and was replaced by Johnny Hutchinson (born 18 July 1940, Malta), known as Johnny Hutch. In need of a bass guitarist, Hutchinson then brought in Johnny Gustafson (born 8 August 1942, Liverpool) in December 1959.

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At that time Gustafson did not have a proper bass guitar so Barber converted an acoustic for him. The group became popular playing a wide range of music, from Latin American music to rock and roll, in dance halls in the Liverpool area. Casser also started his own music club in Liverpool, the Casanova Club, whose guest groups included one known at the time as the “Silver Beetles”; according to some reports, Casser had suggested that they change their name from the earlier spelling of “Beatals” which Casser found “ridiculous”. In May 1960 Cass & the Cassanovas took part in auditions in front of leading manager Larry Parnes who was looking for backing bands for his stable of pop singers. The group secured a place as backing group for singer Duffy Power and toured with him.[3][4][5] By this time, Casser had begun using the stage names of “Casey Jones” and “Casey Valence”.

In December 1960, Gustafson, Hutchinson and Barber left the band, and formed themselves into a new trio, The Big Three. Casser moved to London around 1962, and managed the Blue Gardenia club in Soho. He also briefly formed a group called the Nightsounds, which featured Albert Lee on guitar. The following year, he won a recording contract with the Columbia label, and recorded a single, “One Way Ticket”, using the name Casey Jones. With drummer Ray Stock, he recruited two former members of R&B group the Roosters, guitarist Eric Clapton and bassist Tom McGuinness, and briefly toured as Casey Jones & the Engineers. Clapton and McGuinness left after a few performances, shortly followed by Stock.

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Casser then formed a new group with David Coleman (lead guitar), Roger Cook (rhythm guitar), Jim Rodford (bass) and Peter Richards (drums). They played at the Star-Club in Hamburg and became popular in Germany, releasing two singles, “Tall Girl” and “Don’t Ha Ha” on the Bellaphon label, before changing their name to Casey Jones & the Governors, apparently in an attempt to stress their British origins. The record label reissued “Don’t Ha Ha” – which in fact was a version of the 1958 Huey Smith and the Clowns song “Don’t You Just Know It” – under the new band name and it rose to # 2 on the German pop chart. Casey Jones and the Governors continued to tour and record successfully in Germany for a few years, achieving six top 40 singles and releasing two albums on the Gold 12 label, Casey Jones and the Governors (1965) and Don’t Ha Ha (1966).

In the 1970s, Casser, still using the name Casey Jones, worked as a disc jockey in Löhnberg, and recorded a solo album, Casey’s Rock ‘n’ Roll Show.[3] In the 1990s, he formed a new version of Casey Jones and the Governors to play the oldies circuit in Germany, and in 2006 was reported to be living in Unna near Dortmund. (by wikipedia)

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And here´s the very rare debut album … if you like the raw, sometimes sentimental Sixties Beat you should listen … here´s one of the best Album from this period … including many bonus tracks (Singles from 1963 – 1966) and … a killer vrsion of “Jack The Ripper” !

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Personnel:
David Coleman (guitar)
Roger Hook (guitar)
Casey Jones (vocals)
Jim Redford (bass)
Peter Richards (drums)

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Tracklist:
01. Don’t Ha Ha (Smith/Vincent) 2.07
02. Love Potion No. 9 (Leiber/Stoller) 2.06
03. Mickeys Monkey (Robinson) 3.06
04. Parchman Farm (Allison) 2.56
05. Slow Down (Williams) 3.09
06. Too Much Monkey Business (Berry) 2.29
07. Sounds Like Locomotion (St. John) 1.52
08. Dizzy Miss Lizzy (Williams) 2.06
09. Talking ‘Bout You (Berry) 2.05
10. Do The Dog (Thomas) 2.50
11. Can’t Judge A Book (McDaniels) 2.39
12. So Long Baby (Jones) 4.28
13. Jack The Ripper (Sutch) 3.04
14. Nashville Special (Larson) 2.30
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15. One Way Ticket  (Davis/Duncan/Jones) 2.49
16. I’m Gonna Love (Davis/Duncan) 2.04
17. Tall Girl (Jones) 2.04
18. Blue Tears (Jones) 2.49
19. Don’t Ha Ha (1st Version, 1963) (Smith/Vincent) 
20. Long Gone Train (Jones) 2.38
21. Candy Man (Ross/Neil) 2.20
22. Tallahassee Lassie (Slay/Crese/Picariello) 2.26
23. So Long Baby (Mono Single mix) (Jones) 2.03
24. Bumble Bee (German Version) (Fullylock/Baker/Holm) 2.21
25. Rootin Tootin Baby (Jones) 2.34
26. Yockomo (Mono Single mix) (Smith/Vincent) 2.34
27. Baby Why Did You Say Goodbye (Jones) 2.32
28. Little Girl (Jones) 3.08
29. A Legal Matter (Townshend) 2.55

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Los Shakers – Same (1965)

LPFrontCover1Los 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.

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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.

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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 !

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Personnel:
Roberto “Pelín” Capobianco (bass, bandoneon, background vocals)
Hugo Fattoruso (vocals, guitar, piano, harmonica)
Osvaldo Fattoruso (guitar, vocals)
Carlos “Caio” Vila (drums, backing vocals

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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

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Various Artists – Beat, Beat, Beat! Volume One – The Mersey Sound & Other Mop Top Rarities 1962 – 1963 (2001)

FrontCover1Castle 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.

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A pair of early dance cuts by the Roulettes at the outset of their career are no less compelling. Erky Grant & the Earwigs may have been a less-compelling talent, but even they had a rhythm section that could pound out a solid dance beat, and generated one solidly memorable song in “I’m a Hog for You Baby.” Nelson Keene, Bobby Shafto, and Dickie Pride, all late-’50s popsters, didn’t do a bad beat-style single in “The Kissing Had to Stop,” masquerading as the Guv’ners. Much more interesting is the harmony-based trio the Kestrels and their cover of “There’s a Place,” which attempts (successfully) to lay a more ornate and soulful vocal take on the early Lennon/McCartney original. In this company, the Searchers sound like world-class talents, but they’re not that far above, say, Danny Stormthe 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).

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There are several examples of good early versions of songs that would later manifest themselves as hits in the hands of other bands, including Johnny Sandon & the Remo Four’s recording of “Magic Potion,” the Sundowners’ interpretation (complete with electric guitar) of “House of the Rising Sun,” and Pat Harris & the Blackjacks’ “Hippy Hippy Shake,” done in a high-energy Brenda Lee style. The sound is excellent throughout, giving good, solid, even pumped-up play to the bass and rhythm sections that will tell you why many of these groups came off so well when they played live. (by Bruce Eder)

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Oh boys and girls … what a great, sentimental trip in the very earlydays of British Beat …

And I will dedicate this entry to all these unknown heroes of teh times of Merseybeat:

The Roulettes – Buddy Britten & The Regents – Carter-Lewis – Joe Brown – Erkey Grant & The Eerwigs – The Guv’ners – The Kestrels – The Viscounts – Johnny Sandon & The Remo Four – The Hi-Fi’s – The Undertakers – The Overlanders – Gregory Phillips – The Bruvvers – The Puppets – The Chants – Nicky James – The Sundowners – Danny Storm & The Strollers – Pat Harris & The Blackjacks – The Migil 4 – Jeannie & The Big Guys – Dickie Rock & Miami Showband

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Tracklist:

CD 1:

Dave Clark Five feat. Mike Smith:
01. That’s What I Said (Clark/Ryan) 2.19
02. I Knew It All The Time (Murray) 2.25

The Roulettes:
03. Hully Gully Slip ‘N’ Slide (Vandyke) 2.09
04. La Bamba (Traditional) 2.31

Buddy Britten & The Regents:
05. My Pride, My Joy (Britten) 1.54

Carter-Lewis:
06. Here’s Hopin’ (Reed/Stephens) 1.59

Joe Brown:
07. What’s The Name Of The Game (Westlake/Subotsky) 2.34

Erkey Grant & The Eerwigs:
08. I Can’t Get Enough Of You (Mills)  2:22
09. I’m A Hog For You Baby (Leiber/Stoller) 2.08

The Guv’ners:
10. Lat’s Make A Habit Of This (Reed/Murray) 2.02
11. The Kissing Had To Stop (Howard/John) 2.00

The Kestrels:
12. There’s A Place (Lennon/McCartney) 2.16

The Searchers:
13. Sweets For My Sweet (Pomus/Shuman) 2.28
14. It’s All Been A Dream (Crummy) 1.50

The Viscounts:
15. It’s You (Mills/Paul/Wells) 2.11
16. I’ll Never Get Over You (Mills) 1.55

Johnny Sandon & The Remo Four:
17. Lies (Manley) 2.08
18. On The Horizon (Leiber/Stoller) 2:23

The Hi-Fi’s:
19, Take Me Or Leave Me (Bennett/Higgins) 2.01
20. I’m Struck (Bennett/Higgins) 2:51

The Undertakers:
21. (Do The) Mashed Potatoes (Rozier) 2.14
22. Everybody Loves A Lover (AdlerAllen) 2.17

The Overlanders:
23. Summer Skies & Golden Sands (Mason/Friswell/Bartholomew) 2.32
24. Call Of The Wild (Mason/Friswell/Bartholomew) 3.07

Gregory Phillips:
25. Angie (Springfield/Slater) 2.00
26. Please Believe Me (Beveridge/Oakman) 1.52

Tommy Quickly:
27. Tip Of My Tongue (Lennon/McCartney) 2.09
28. Heaven Only Knows (Rapaport/Murray) 2.21

Joe Brown & The Bruvvers;
29. Sally Ann (Klein) 1.57
30. There’s Only One Of You (Klein/Brown) 2:35

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CD 2:

The Puppets:
01. Everybody’s Talking (Cap) 2.01
02. Poison Ivy (Leiber/Stoller) 2.09

The Chants:
03. I Don’t Care (Amoo) 1.57
04. Come Go With Me (Quick) 2.32

Johnny Sandon & Remo Four:
05. Yes (Leiber/Stoller) 2.35
06. Magic Potion (Bacharach/David) 2.19

Nicky James:
07. My Colour Is Blue (James) 2.18

The Undertakers:
08. What About Us (Leiber/Stoller) 2.40
09. Money (That’s What I Want) (Bradfod/Gordy) 2.53

The Sundowners:
10. Baby, Baby (Takes) 2.12
11. House Of The Rising Sun (Traditional) 2:54

Danny Storm & The Strollers:
12. Say You Do (Storm/Pritchard) 2.10
13. Let The Sun Shine In (Barberis/Weinstein/Randazzo) 2.27

Pat Harris & The Blackjacks:
14. Hippy, Hippy Shake (Romero) 2.25
15. You Gotta See Your Mama Ev’ry Night (Rose/Conrad) 2.10

The Overlanders:
16. Movin’  (Mason/Friswell/Bartholomew) 2.31
17. Rainbow (Mason/Friswell/Bartholomew) 2.30

The Migil 4;
18. Maybe (Flynn/Madden) 2.24
19. Can’t I ? (Lovett) 2.29

The Searchers:
20. Sugar & Spice (Nightingale) 2.16
21. Saints & Searchers (Traditional) 3.18

Jeannie & The Big Guys:
22. Don’t Lie To Me (Dawson/Ford/Hiller) 2.19
23. Boys (Farrell) 2.06

Tommy Quickly & Remo Four:
24. Kiss Me Now (Martin) 1.55
25. No Other Love (Could Ever Be The Same) (Leonard) 2.00

The Chants:
26. I Could Write A Book (Rodgers/Hart) 2.02
27. A Thousand Stars (Pearson) 1.56

Dickie Rock & Miami Showband:
28. Boys (Farrell) 2.40

The Searchers:
29. Needles & Pins (Nitzsche/Bone) 2.14
30. Saturday Night Out (Anthony/Richards) 1.47

CD2A

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Ca. 1963 excerpt from Mersey documentary on the music scene, featuring The Undertakers (Jackie Lomax, Chris Huston, Geoff Nugent, Brian Jones, Bugs Pemberton) at the Iron Door Club in Liverpool.

Manfred Mann – My Little Red Book Of Winners (1965)

LPFrontCoverA1The Mann-Hugg Blues Brothers were formed in London[3] by keyboard player Manfred Mann and drummer/vibes/piano player Mike Hugg, who formed a house band in Clacton-on-Sea that also featured Graham Bond. Bringing a shared love of jazz to the British blues boom, then sweeping London’s clubs (which also spawned Alexis Korner, the Rolling Stones and the Yardbirds), the band was completed by Mike Vickers on guitar, alto saxophone and flute, bassist Dave Richmond and Paul Jones as lead vocalist and harmonicist.[1] By this time they had changed their name to Manfred Mann & the Manfreds. Gigging throughout late 1962 and early 1963 the band soon attracted attention for their distinctive sound.

After changing their name to Manfred Mann at the behest of their label’s producer John Burgess, the group signed with His Master’s Voice in March 1963 and began their recorded output that July with the slow, bluesy instrumental single “Why Should We Not?”, which they performed on their first appearance on television on a New Year’s Eve show.[5] It failed to chart, as did its follow-up (with vocals), “Cock-a-Hoop.”[1] The overdubbed instrumental soloing on woodwinds, vibes, harmonica and second keyboard lent considerable weight to the group’s sound and demonstrated the jazz-inspired technical prowess in which they took pride.

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In 1964 the group was asked to provide a new theme tune for the ITV pop music television programme Ready Steady Go!.[3] They responded with “5-4-3-2-1” which, with the help of weekly television exposure, rose to No. 5 in the UK Singles Chart.[2] Shortly after “5-4-3-2-1” was recorded, Richmond left the band,[6] though he would record with them occasionally later. He was replaced by Jones’ friend Tom McGuinness—the first of many changes. After a further self-penned hit, “Hubble Bubble (Toil And Trouble),” the band struck gold with “Do Wah Diddy Diddy”, a cover of the Exciters’ No. 78 Hot 100 hit earlier that year.[3] The track reached the top of each of the UK, Canadian, and US charts.

With the success of “Do Wah Diddy Diddy” the sound of the group’s singles moved away from the jazzy, blues-based music of their early years to a pop hybrid that continued to make hit singles from cover material. They hit No. 3 in the UK with another girl-group cover “Sha La La”, (originally by the Shirelles) which also reached No. 12 in the US and Canada and followed with the sentimental “Come Tomorrow” (originally by Marie Knight) but both were of a noticeably lighter texture than their earliest output.

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Meanwhile, “B” sides and four-song EPs showcased original material and instrumental solos. The group also returned to jazz and R&B themes on their albums: their first, 1964’s The Five Faces of Manfred Mann, included standards such as “Smokestack Lightning”[3] while the second and last with this line-up, Mann Made, offered several self-composed instrumentals and a version of “Stormy Monday Blues” alongside novelties and pop ballads. With a cover of Maxine Brown’s “Oh No Not My Baby” began a phase of new depth and sophistication in the arrangements of their singles. The group began its string of successes with Bob Dylan songs with a track on the best-selling EP The One in the Middle, “With God on Our Side”, next reaching No. 2 in the UK with “If You Gotta Go, Go Now”.[2] The EP’s title track reached the British top ten singles, the last self-written song (by Jones) and the band’s last R’n’B workout to do so. The run climaxed with a second UK No. 1 single, “Pretty Flamingo” produced by John Burgess. (ny wikipedia)

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And this is the third album fir the US record market:
The big song off of the 1965 album “My Little Red Book of Winners” was the title song, written by Bacharach and David, which made it into the hit film “What’s New Pussycat.” Again, Jones has a nice original song with “The One in the Middle,” and there is a solid cover with “Oh No, Not My Baby.” The Beatles were cute, the Rolling Stones were dangerous, and Manfred Mann was staking out the intellectual field of rock ‘n’ roll. Of course, the Stones were into R&B as well, but without as much sophistication as Manfred Mann, mainly because the emphasis was more on keyboards than guitars. The band managed to stay true to its roots by only touring the United States oncein 1964 and continuing to record in Britain while establishing a large and faithful following in the Eastern Bloc by touring there instead.
Manfred Mann is an all or nothing group, especially since their pop hits are atypical compared to the rest of the songs on most of their albums. A lot of people can survive with “Do Wah Diddy Diddy” on a hits collection, but if you like Manfred Mann then they are going to end up wanting to get all of their albums from their myriad instantiations in the 1960s and beyond. This would be the first CD chronologically and would be one of the very best you can find (the soundrack for “Up the Junction” would probably be the first choice). Note: the band went with the name Manfred Mann despite the wishes of the South African board keyboardist who was originally born Manfred Lubowitz. (by Lawrance Bernabo)

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Personnel:
Tom McGuinness (bass)
Mike Hugg (drums, vibraphone)
Paul Jones (vocals, harmonica)
Manfred Mann (keyboards)
Mike Vickers (flute, guitar, saxophone)

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Tracklist:
01. My Little Red Book (Bacharach/David) 2.27
02. Oh, No, Not My Baby (Goffin/King) 2.21
03. What Am I To Do (Spector/Pomus) 2.42
04. The One In The Middle (Jones) 2.40
05. You Gave Me Somebody To Love (Andreoli/Poncia) 3.02
06. You’re For Me (Vickers) 2.55
07. Poison Ivy (Leiber/Stoller) 2.50
08. Without You (Jones) 2.20
09. Brother Jack (Traditional) 2.28
10, A Love Like Yours (Don’t Come Knocking Every Day) (Holland/Dozier/Holland) 2.26
11, I Can’t Believe What You Say (Turner) 2.17
12. With God On Our Side (Dylan) 4.24

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