The Beatles – Live In Paris 1965 (1988)

FrontCover1This bootleg features the integrity of the 2 concerts performed during their second (and last) visit in Paris (they had performed during 3 weeks at the Olympia the previous year). This day, The Beatles played two shows (afternoon & evening) with the same songs, only shifting the order of the songs. It’s quite funny to hear Paul trying to speak french in between songs.As always with “Swingin Pig”, the packaging is excellent as well as the sound quality. (by rateyourmusic.com)

Some comments on bootlegzone.com:

This is an excellent live boot. The sound quality is great, and so are the Beatles’ performances. It is interesting to compare the crowd reactions during these performances with the crowd reactions that are heard on the tapes of their January, 1964 appearances. It looks as though the French caught up to the rest of the world, in terms of screaming, by this time.

Funny to hear Paul struggle with his then awful French. Great sound.

Of all the live boots available, I like this one best. As was stated by the previous post, Paul trying to speak french is priceless (he really sucks at it).

In other words: A real funny abum from the early days of British Beat … and, of course, The Beatles … long time ago …

Recorded live at Palais Des Sports, Paris, 20 June 1965
(and not 1 Aug 1965 as stated)

And … on the 20th June 1965, I celebrate my 10th birthday !

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Personnel:
George Harrison (guitar, vocals)
Paul McCartney (bass, vocals)
John Lennon (guitar, vocals, harmonica)
Ringo Starr (drums)

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Tracklist:

Palais Des Sports – 20th June 1965 – Afternoon Show:
01. Twist And Shout (Russell/Medley) 1.41
02. She’s A Woman (Lennon/McCartney) 2.43
03. Can’t Buy Me Love (Lennon/McCartney) 2.29
04. I’m A Loser (Lennon/McCartney) 3.25
05. I Wanna Be Your Man (Lennon/McCartney) 2.25
06. A Hard Day’s Night (Lennon/McCartney) 2.47
07. Baby’s In Black (Lennon/McCartney) 2.40
08. Rock And Roll Music (Berry) 2.15
09. Everybody’s Trying To Be My Baby (Perkins) 2.30
10. I Feel Fine (Lennon/McCartney) 2.29
11. Ticket To Ride (Lennon/McCartney) 3.56
12. Long Tall Sally (Johnson/Penniman/Blackwell) 2.38

Palais Des Sports – 20th June 1965 – Evening Show:
13. Twist And Shout (Russell/Medley) 1.29
14. She’s A Woman (Lennon/McCartney) 3.03
15. I’m A Loser (Lennon/McCartney) 3.10
16. Can’t Buy Me Love (Lennon/McCartney) 2.33
17. Baby’s In Black (Lennon/McCartney) 2.45
18. I Wanna Be Your Man (Lennon/McCartney) 2.26
19. A Hard Day’s Night (Lennon/McCartney) 2.53
20. Everybody’s Trying To Be My Baby (Perkins) 2.44
21. Rock And Roll Music (Berry) 2.17
22. I Feel Fine (Lennon/McCartney) 2.38
23. Ticket To Ride (Lennon/McCartney) 3.03
24. Long Tall Sally (Johnson/Penniman/Blackwell) 2.25

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The Easybeats – Easy (1965)

FrontCover1Easy is the debut studio album by the Australian rock band the Easybeats, released on 23 September 1965.

Most of the album was recorded at EMI Studios in Sydney in two consecutive all-night sessions. It was produced by Albert Productions founder, Ted Albert. It also features their hit single “She’s So Fine”, which was recorded at Armstrong Studios in Melbourne with further overdubs in Sydney.

It was released by Albert Productions on the Parlophone label in Australia on 23 September 1965. The front cover’s artwork features a photograph by Australian photographer Ian Morgan of the group miming on the Seven Network music television series Sing, Sing, Sing. It was only released in mono; no stereo mix was made. It was reissued by Albert Productions (this time on their own label) in the 1980s on LP and compact disc. Originally released in Australia only, it would not be available internationally until the 1990s when reissue label Repertoire Records later released the album in 1992 with eight bonus tracks.

These included b-sides, their debut single “For My Woman”/”Say That You’re Mine”, outtakes, alternate mixes from the Good Friday album and a live recording of “She’s So Fine” from 1966. (by wikipedia)

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Their first album, not available outside Australia until the 1990s. The Vanda/Young songwriting partnership had yet to dominate the band in their early days, and most of the (entirely original) material here comes from the pens of George Young and singer Stevie Wright. It’s more Merseybeatish and less oriented toward power-pop and staccato guitar attacks than their subsequent releases, which isn’t really detrimental; it doesn’t scale the peaks the band would shortly climb, but neither does it have the overdone good-time mania that made some of their efforts hard to take in more than limited doses. A fairly consistent, if not incredibly remarkable, relic from the Beat era, with some very Beatlesque tracks, including “It’s So Easy,” “I Wonder” (on which Harry Vanda sounds a lot like a young George Harrison circa “Do You Want to Know a Secret”), and cuts that could pass for the Searchers (“I’m Gonna Tell Everybody”), Gerry & the Pacemakers (“Hey Girl,” “A Letter”), the Merseybeats (“Cry Cry Cry”), the Kinks (“You’ll Come Back Again”), and Peter & Gordon (“Girl on My Mind”). Stuck in the middle of all of those delightfully derivative treasures is the most defiantly original track off the album, and (not coincidentally) their first big Australian hit, “She’s So Fine,” which doesn’t sound like anything else here, pulsing with energy, a hot pumping bass part, and a ferocious guitar break. The Repertoire Records CD reissue enhances the original album significantly with the addition of eight bonus tracks, including five jewels from the Vanda/Young songwriting team.  (by Richie Unterberger)

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Personnel:
Dick Diamonde (bass, vocals)
Snowy Fleet (drums, vocals)
Stevie Wright (percussion, vocals)
Harry Vanda (lead guitar, vocals)
George Young (guitar, vocals)

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Tracklist:
01. It’s So Easy (Wright/Young) 2:11
02. I’m A Madman  (Wright/Young) 2.52
03. I Wonder (Vanda) 1.50
04. “She Said Alright” Young 2:15
05. I’m Gonna Tell Everybody (Vanda/Fleet) 2.04
06. Hey Girl  (Wright/Young) 2.10
07. She’s So Fine  (Wright/Young) 2.08
08. You Got It Off Me  (Wright/Young) 2.28
09. Cry Cry Cry (Young) 2.02
10. A Letter (Vanda) 1.39
11. Easy Beat (Vanda) 2.39
12. You’ll Come Back Again (Young) 2.39
13. Girl On My Mind  (Wright/Young) 3.04
14. Ya Can’t Do That  (Wright/Young) 2.28
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15. For My Woman  (Wright/Young) 3.08
16. Say That You’re Mine (Vanda/Young) 2.45
17. The Old Oak Tree (Wright/Young/Vanda/Fleet&Diamonde) 3.08
18. Friday On My Mind (alternate remix) (Vanda/Young) 2.56
19. Lisa (alternate remix) (Vanda/Young) 3.17
20. Find My Way Back Home (unused recording for Sing Sing Sing) (Lambert/Pegues) 2.46
21. No One Knows (outtake) (Wright/Young) 2.58
22. She’s So Fine (live from the First Australian National Record Awards, Melbourne. 14 March 1966)  (Wright/Young) 2.22

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AC/DC producer and The Easybeats’ star George Young has died at the age of 70.

AC/DC said in a statement the band would not exist without Young’s “help and guidance”.
George Young passes away

A pioneering musician, producer and AC/DC mentor, George Young has died aged 70.

“As a musician, songwriter, producer, advisor and much, much more, you could not ask for a more dedicated and professional man,” the statement read.

“You could not ask for a finer brother. We will always remember him with gratitude and hold him close to our hearts.”

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George was the eldest brother of Australian rock legends Malcolm and Angus Young. He was born in Scotland in 1946 but emigrated to Australia with his family when he was still a child.

He shot to fame in the ’60s as a guitarist for the Sydney-based rock band The Easybeats. While the band broke up in 1970, he and lead guitarist Harry Vanda were later inducted into the ARIA Hall of Fame. (by smh.com.au)

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Malcolm, George and Angus Young in 2012

The Spencer Davis Group – The Second Album (1966)

FrontCover1.jpgThe Second Album is the second studio album by the British band The Spencer Davis Group, released in 1966. Many of the songs were a slightly experimental blend of beat, folk, jazz and blues, but included Jackie Edwards’ “Keep on Running”, which gave the group their first U.K. number 1 single, and the R&B standard “Georgia on My Mind”. The album spent eighteen weeks on the U.K. album chart, peaking at number 3.[1] While the album was not released in the US, the single “Keep on Running” was released in February, 1966, and spent four weeks on the Billboard Hot 100 chart peaking at number 74 on March 12. (by wikipedia)

The Spencer Davis Group – The Second Album – More Blues and soul from Britain’s highly American influenced soulful blues band of sorts. Their first really big single, “Keep On Running” appears on this disc and is a soulful rock classic and I guess I call it that because there’s a fuzz tone guitar. More blues and soul fill the air with tunes like “Georgia on My Mind” “This Hammer” Strong Love” and “Since I Met You Baby”, all classic American soul songs of that particular time period. Their is also included 8 bonus tracks of some US Versions on here as well. Great album … (by Joe Eastlackon )

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Their best one. Early British group doing jazz and blues like you want to hear. Stevie on piano is soulful in the raw. Georgia on my mind for example. Look away a classic and some more. A few pop like ones but hey something for everyone and not easy to track down finally I have and its on its way. (by bodon)

The Spencer Davis Group from Birmingham is one of my most favortite bands from the British Beat Boom …  and they was much more the only a beatgroup …

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Rare French single

#Personnel:
Spencer Davis (guitar, vocals)
Muff Winwood (bass)
Steve Winwood (guitar, vocals, keyboards)
Pete York (drums, percussion)

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Tracklist:
01. Look Away (Meade/Russell) 2.46
02. Keep On Running (Edwards) 2.51
03. This Hammer (Traditional) 2.19
04. Georgia On My Mind (Carmichael/Gorrell) 4.44
05. Please Do Something (Covay) 2.28
06. Let Me Down Easy (Ford) 3.06
07. Strong Love (Malone/Silvers/Brown) 2.18
08. I Washed My Hands In Muddy Water (Babcock} 2.39
09. Since I Met You Baby (Hunter) 3.30
10. You Must Believe Me (Mayfield) 2.48
11. Hey Darling (Davis/S.Winwood) 4.50
12. Watch Your Step” (Parker) 2.57
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13. Stevie’s Blues (Davis/M.Winwood/S.Winwwod/York) 3.49
14. Trampoline (S.Winwood 2.28
15. Back Into My Life Again (Davis/M.Winwood/S.Winwwod/York) 2.26
16. Kansas City (Leiber/Stoller) 3.52
17. Oh! Pretty Woman (Williams) 3.22
18. Det war in Schöneberg / Mädel ruck ruck ruck (Kollo/Traditional) 2.42
19. Stevie’s Groove (Davis/M.Winwood/S.Winwwod/York) 2.46
20. Stevie’s Blues (US Version) (Davis/M.Winwood/S.Winwwod/York) 3.49

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The Hollies – Hello Graham Nash (Reunion) (1983)

FrontCover1The Hollies – no introduction nessesary …

This live album is a byproduct of the Hollies’ 1983 reunion tour with Graham Nash, mixing new songs off of the accompanying album, What Goes Around…, with their classic material. Instrumentally, lead guitarist Tony Hicks and drummer Bobby Elliott (who is recorded exceptionally well) are supported by Steve Stroud (bass), Alan Coates (rhythm guitar), Pete Anderson (piano), and Paul Bliss (keyboards), who make a smoother, more polished sound; the openings of “Bus Stop” and “Just One Look,” for example, are more keyboard-dominated than they ever were on the original records or any prior concert release, including the mid-’70s Hollies Live LP. Luckily, the middle sections of most of the songs better represent the band’s classic sound, and there’s no complaining about the singing or the harmonies. The new repertoire presented here, including “Casualty,” doesn’t have the staying power of the group’s vintage work, and it’s clear that the crowd is there to hear the oldies, not the new songs, to judge by the gradations in applause.

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“On a Carousel” evokes far more enthusiasm than the newer stuff — as an added benefit of this disc, it captures the group’s first performance on this tour of “King Midas in Reverse,” which is everything one would wish for in delicacy and nuance, as well as radiant harmonies, and here they get the guitar sound (a mix of acoustic and low-amplification electric) exactly right. And when they do “Wasted on the Way” and “Teach Your Children,” it’s worth the price of the disc (as well as the price of admission — the crowd’s delight is almost palpable). The disc isn’t quite essential for Hollies fans — some of its desirability depends upon how one felt about that tour and the What Goes Around… album — but it’s extremely close to it, and shouldn’t be overlooked (and CSN and Graham Nash completists will have to own it).  ( by Bruce Eder)

This concert from the 1983 reunion with Graham Nash was recorded for a planned live album, which was never released … So, we can hear an excellent soundbaoard recording …

Close your eyes and drift away … what a great concert !

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Personnel:
Allan Clarke (vocals, guitar, harmonica)
Bobby Elliott (drums)
Tony Hicks (guitar, vocals)
Graham Nash (guitar, vocals)
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Pete Anderson (piano, synthesizer)
Paul Bliss (keyboards)
Alan Coates (guitar)
Dennis Haines (keyboards)
Steve Stroud (bass)

Booklet

Tracklist:
01 1 I Can’t Let Go (Gorgoni/Taylor 2.31
02. Just One Look (Carrol/Payne) 3.54
03. Bus Stop (Gouldman) 3.29
04. Casualty (Bliss) 3.32
05. On A Carousel (Clarke/Hicks/Nash) 3.32
06. Someone Else’s Eyes (Bliss) 4.11
07. Look Through My Window (Gouldman/Silverman) 2.59
08 .King Midas In Reverse (Clark/Hicks/Nash) 2.53
09. Wasted On The Way (Nash) 3.29
10. Teach Your Children (Nash) 4.01
11. Soldier’s Song (Batt) 4.53
12. Stop, Stop, Stop (Clark/Hicks/Nash The Hollies 2.56
13. The Air That I Breathe (Hammond/Hazelwood) 4.30
14. Carrie Anne (Clarke/Hicks/Nash) 3.33
15. Stop In The Name Of Love (Dozier/Holland) 3.37
16. He Ain’t Heavy, He’s My Brother (Russell/Scott) 4.15
17. Long Cool Woman In A Black Dress (Clarke/Cook/Greenaway) 10.30

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Various Artists – Mindrocker Volume 4 (1982)

FrontCover1Mindrocker is an extensive series of compilation albums that was circulated through Line Records and then Impact Records in the 1980s. The complete series compacted nearly 200 songs of rare, and obscure material primarily from American garage and psychedelic rock musical artists that were originally recorded in the 1960s, and previously made available to only a handful of collectors. It was organized by record producer Hans-Hermann Pohle, named after a single by California band, Fenwyck, and initially distributed in Germany. The first volume was released in 1981 and by 1986 the thirteenth and final installment of the series was issued.

Initially, Mindrocker was comparable to the popularity and specialization of the Pebbles series, however, with the ready availability of most of its material via digital means or specified anthologies, the series has not managed to endure as long as other relatable collections. Nonetheless, during its original run, Mindrocker was pivotal to the revival of garage rock. Most of the volumes were arranged to a certain region or record label, though some pieces of the series hold no such pattern. (by wikipedia)

And this is the story of the great Line Records Label:

Back in 1979.
Several major labels had just squeezed out the Punk movement and its followers such as New Wave, when a new small independent record company based in Hamburg made a bold step back into the future: LINE RECORDS.
Virtually nobody still cared about the music of the glorious 60s and 70s then – except Uwe Tessnow, a former A&R rep of Kinney Music and Teldec Records.
Surprise releases by almost forgotten rock stars such as Mitch Ryder and Roger Chapman made their way into the shops and were sold by the vanload immediately.
The news was spread almost overnight, and many musicians got in touch with LINE to find a new platform for their products nobody else was interested in.

A highly attractive artist roster took shape almost by itself, the term “re-release” was (re)born and has become a substantial part of the international recording industry since.
Highly acclaimed (but almost forgotten) artists from America and Great Britain were back in the biz, critics’ darlings got their second chance, lost vinyl rarities were available once again, unknown bands and soloists made their marks on LINE.
Uwe Tessnow signed contracts, acquired rights, the so-called “small label with the scale-paper” had fulfilled groundbreaking, pioneering work – fans and collectors cheered alike.

LINE also set a new standard in extracting valuable material from foreign label catalogues:
LINE got the meat out of cult labels such as BOMP and Star-Club, and took over product from newly established indies from the likes of Stiff, Albion, Beserkley among others for the German market.
There seemed to be a niche for everything: Rock and Rock’n’Roll; R&B and Soul; Blues and Pubrock; 60s Garage Rock, Punk and New Wave. Promoting sound from the past and present, LINE had finally arrived.

Inlets

Furtheron the label set even more new standards – sometimes with a twinkle in the eye: Uwe Tessnow offered coloured vinyl, double LPs with only three sides housed in normal one-album sleeves, 10-inch promo items, special cassette editions – LINE paved the way once more, got imitated but was hardly conquered.

In the mid-80s, comprehensive parts of the label’s catalogue were transferred onto the new compact disc format.
It was the starting shot for special compilation series as well, making LINE a forerunner once again: Rock File, Pop File, and the Backline series – presenting the US pop history from the 40s to the mid-50s – have become legendary projects since, got copied by many competitors but are still a distinctive part of the label’s catalogue.

These days Uwe Tessnow is marketing classical music (core theme: rare opera recordings) – with his pop job expertly done and left behind.
Without his bold reanimation strategy at times when nobody cared, the international rock scene would have been much poorer.

Rock and pop re-issues these days are still a significant part of the record business.
The crucial pattern has got a name: LINE.

MovingSidewalks
The Moving Sidewalks (pre-ZZ Top)

And this is volume 4 of this series … What a great compilation … lot´s of very rare stuff including The Moving Sidewalks (pre-ZZ Top), a rare Johnny Winter song (taken rom a single by Pacemaker Records) and bands like The Scotty McKay Quintet or The Bad Roads (had vever heard of them). You´ll find more informations on the backcover of this LP.

This entry is dedicated to all music maniacs like me !

More compilations like this will come !

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Tracklist:

The Moving Sidewalks:
01. 99th Floor (Gibbons) 2.13
02. What Are You Going To Do (Gibbons) 2.24
03. Need Me (Gibbons) 2.10
04. Every Night A New Surprise (Ames) 2.54

The Great Believers:
05. Comin’ Up Fast (Boynton/Winter) 2.37

The Scotty McKay Quintet:
06. he Train Kept A Rollin’ (Kay/Mann/Bradshaw) 2.20

A-440:
07. Torture (Clark/Romano/Sartie) 2.00

Johnny Winter:
08. Birds Can’t Row Boats (Winter) 2.58

The Things:
09. I Don’t Believe It (Things) 3.04

The Stoics:
10. Enough Of What I Need (Marechal/Quillian/Ash) 2.15

The Pandas:
11. Walk (Bellams/Kelso) 2.28

The Bad Roads:
12. Blue Girl (Bad Roads) 2.07

The Stoics:
13. Hate (Ash) 2.43

Satori:
14.  Time Machine (Warkentin) 1.39

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After Tea – National Disaster (1968)

FrontCover1After Tea was founded in 1967 by Hans van Eijck (organ), Ray Fenwick (guitar) and Polle Eduard (bass/vocals) – all ex-members of the Tee Set – with drummer Martin Hage (ex-Don’t). The group produced three moderate hits in 1967-1968: “Not Just A Flower In Your Hair”, “We Will Be There After Tea” and “Snowflakes on Amsterdam”, all in a psychedelic pop style.

Ray Fenwick left shortly after the recordings of the first LP, “National Disaster” (his work permit had expired) and returned to England to join the Spencer Davis Group. He was replaced by ex-Just Colours guitarist Ferry Lever.

In the Spring of 1968, Polle Eduard was arrested for possession of marijuana and incarcerated for a few months. His temporary replacements were singer Frans Krassenburg (ex-Golden Earrings) and bass player Henk Smitskamp (ex-Motions, to Livin’ Blues). In the Summer of that year, the band scored a surprise hit under the pseudonym De Martinos with “Moest dat nou?” (recorded as a joke).

Martin Hage left later that year, replaced temporarily by Pierre van der Linden (later to Focus, Trace) and then permanently by Ilja Gort (ex-IQ 150).

AfterTea01

Early 1969, the most important songwriter in the band, Hans van Eijck, left to rejoin the Tee Set. He was replaced by German keyboard player Uli Grün (ex-Boots). The group then switched to a more rock-oriented sound. Yet in 1970, Ferry Lever left (also to join the Tee Set) and was not replaced. The band continued as a three-piece for some time, but in 1971 After Tea finally folded. Polle Eduard and Uli Grün were then joined by guitarist Frank van der Kloot and drummer Shel Schellekens, calling themselves Drama. They scored a Top 20 hit with “Mary’s Mama” which they subsequently refused to play live (as the whole thing was a concoction by producer Peter Koelewijn). However, in 1975, Polle Eduard, Ferry Lever and Ilja Gort reunited once more to record the single “Mexico” under the After Tea moniker. Polle Eduard continued his career as a songwriter by penning a few hits for Nico Haak and subsequently recorded an album of Dutch songs one year later, in 1976. Polle continued playing solo and in bands like The Rest (with Hans Vermeulen of Sandy Coast).

AfterTea02Ilja Gort worked as a producer for Basart Records before making a fortune composing music for commercials like the famous Nescafe tune. He now owns a vineyard in France producing his La Tulipe wines.

After his stint with the Tee Set, Hans van Eijck concentrated on writing music for TV and became a successful record producer (Danny de Munck, Marco Borsato). Ferry Lever became a music teacher and a session player. He still plays in the band of singer Rob de Nijs. (by Alex Gitlin)

Based on the success of their debut 45, Decca management wasted no time rushing the group into the studio to record an album. Produced by Bert Schouten, 1967’s “National Disaster” offered up a an entertaining blend of mid-1960s freakbeat, pop, psych, and rock influences. Largely written by van Eijck and Fenwick the song titles pretty much told you what was going on. If tracks like the earlier single ‘Not Just a Flower In Your Hair’, ‘ In the Land of the Bubble Gum Tree’ and ‘The Time Is Nigh’ weren’t a reflection of the age of love, peace and lots of illicit substances, I don’t know what was. Sure it was hopelessly dated (probably within a matter of months of being released), but hearing a lyric like ‘throw away your LSD’ (off of ‘The Time Is Nigh’) had to make you laugh. Equally good were the band’s occasional stabs at blue-eyed soul (‘National Disaster’), and more conventional rock (‘Long Ago’). Hard to believe, but in spite of van Eijck’s heavily accented vocals, the combination of trippy studio effects (phasing, offbeat tempos, etc.) and some surprisingly strong material made for an album that stood up well against better know UK and US competitors.  (by badcatrecords.com)

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In other words: This is a pretty good pop-psychedelic album from the Sixties … one of these forgotten pearls of this wonderful decade !

And “(We Will Be There) After Tea” is a classic song from the Sixties !

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Personnel:
Polle Eduard (organ, bass, vocals)
Hans van Eijck (guitar, keyboards, vocals)
Ray Fenwick (guitar, vocals)
Martin Hage (drums, vocals)

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Tracklist:
01. Gotta Get You In My Garden Girl (v.Eijck) 2.53
02. A Lot To Do (v.Eijck) 2.04
03. Not Just A Flower In Your Hair (v.Eijck) 2.41
04. In The Land Of The Bubble Gum Tree (v.Eijck(Fenwick) 2.13
05. I’ll Push You For An Answer (v.Eijck) 2.10
06. Don’t Waste Your Love On Me (v.Eijck/Langenbach) 1.27
07. National Disaster (Renwick) 2.04
08. Long Ago (v.Eijck) 4.00
09. The Time Is Nigh (v.Eijck/Fenwick) 3.27
10. Play That Record (v.Eijck) 4.44
11. Been A Sad Day  (Fenwick) 2.53
12. It’s Too Late (v.Eijck) 2.29
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13. (We Will Be There) After Tea (v.Eijck(Fenwick) 3.02
14. Lemon Coloured Honey Tree (v.Eijck(Fenwick) 3.49

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The Kinks – The Kink Kontroversy (1965)

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The Kink Kontroversy is the third studio album by English rock band The Kinks, released on 26 November 1965. It is a transitional work, with elements of both the earlier Kinks’ styles (heavily blues-influenced songs such as “Milk Cow Blues”, and variations on the band’s hits from 1964-65 such as “Till the End of the Day”) and early indications of the future direction of Ray Davies’ songwriting styles (“The World Keeps Going Round” and “I’m On an Island”).The Kink Kontroversy is the third studio album by English rock band The Kinks, released on 26 November 1965. It is a transitional work, with elements of both the earlier Kinks’ styles (heavily blues-influenced songs such as “Milk Cow Blues”, and variations on the band’s hits from 1964-65 such as “Till the End of the Day”) and early indications of the future direction of Ray Davies’ songwriting styles (“The World Keeps Going Round” and “I’m On an Island”).

The album’s title is a mocking reference to the notorious reputation the band had developed over the previous year, including onstage fights and concert riots in Europe, which led to a ban on the group’s concerts in the US.

American singer Bobby Rydell covered “When I See That Girl of Mine”, which was released as a single in the US a full month before the Kinks’ version was made public.

The single “Till the End of the Day” was a major hit, reaching #8 in the UK and #50 in the US, spending eight weeks or more in each chart. (by wikipedia)

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The Kinks came into their own as album artists — and Ray Davies fully matured as a songwriter — with The Kink Kontroversy, which bridged their raw early British Invasion sound with more sophisticated lyrics and thoughtful production. There are still powerful ravers like the hit “Til the End of the Day” (utilizing yet another “You Really Got Me”-type riff) and the abrasive, Dave Davies-sung cover of “Milk Cow Blues,” but tracks like the calypso pastiche “I’m on an Island,” where Ray sings of isolation with a forlorn yet merry bite, were far more indicative of their future direction. Other great songs on this underrated album include the uneasy nostalgia of “Where Have All the Good Times Gone?,” the plaintive, almost fatalistic ballads “Ring the Bells” and “The World Keeps Going Round,” and the Dave Davies-sung declaration of independence “I Am Free.” (by Richie Unterberger)

In other words: Won´t you tell me … where have all the good times gone …

The Kinks … one of the finest groups from the classic beat period in the Sixites !

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Personnel:
Mick Avory (drums on 01., 02. + 09., percussion)
Dave Davies (guitar, vocals on 01., 05., 11., 12.)
Ray Davies (vocals, guitar, harmonica)
Pete Quaife (bass, background vocals)
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Clem Cattini (drums, 03. + 08., 10. – 12.)
Rasa Davies (background vocals)
Nicky Hopkins (keyboards)
Shel Talmy (guitar on 10.)

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Tracklist:
01. Milk Cow Blues (Estes) 3.45
02. Ring The Bells (R.Davies) 2.22
03. Gotta Get the First Plane Home (R.Davies) 1.50
04. When I See That Girl Of Mine (R.Davies) 2.13
05. I Am Free (D.Davies) 2.32
06. Till The End Of The Day (R.Davies) 2.22
07. The World Keeps Going Round (R.Davies) 2.37
08. I’m On An Island (R.Davies) 2.19
09. Where Have All The Good Times Gone (R.Davies) 2.54
10. It’s Too Late (R.Davies) 2.37
11. What’s In Store For Me (R.Davies) 2.07
12. You Can’t Win (R.Davies) 2.43
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13. Dedicated Follower Of Fashion (R.Davies) 3.05
14. Sittin’ On My Sofa (R.Davies) 3.08
15. When I See That Girl Of Mine (demo version) (R.Davies) 2.02
16. Dedicated Follower Of Fashion (alternate stereo take) 3.01 (R.Davies) 3:01

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