The Beatles – 1 (2000)

FrontCover1The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all time and were integral to the development of 1960s counterculture and popular music’s recognition as an art form. Rooted in skiffle, beat and 1950s rock ‘n’ roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era’s youth and sociocultural movements.

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Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon’s previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, “Love Me Do”, in late 1962. As their popularity grew into the intense fan frenzy dubbed “Beatlemania”, the band acquired the nickname “the Fab Four”, with Epstein, Martin and other members of the band’s entourage sometimes given the informal title of “fifth Beatle”.

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By early 1964, the Beatles were international stars and had achieved unprecedented levels of critical and commercial success. They became a leading force in Britain’s cultural resurgence, ushering in the British Invasion of the United States pop market, and soon made their film debut with A Hard Day’s Night (1964). A growing desire to refine their studio efforts, coupled with the untenable nature of their concert tours, led to the band’s retirement from live performances in 1966. At this time, they produced records of greater sophistication, including the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper’s Lonely Hearts Club Band (1967), and enjoyed further commercial success with The Beatles (also known as “the White Album”, 1968) and Abbey Road (1969). Heralding the album era, their success elevated the album to the dominant form of record consumption over singles; they also inspired a greater public interest in psychedelic drugs and Eastern spirituality, and furthered advancements in electronic music, album art and music videos. In 1968, they founded Apple Corps, a multi-armed multimedia corporation that continues to oversee projects related to the band’s legacy. After the group’s break-up in 1970, all principal members enjoyed success as solo artists and some partial reunions have occurred. Lennon was murdered in 1980 and Harrison died of lung cancer in 2001. McCartney and Starr remain musically active.

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The Beatles are the best-selling music act of all time, with estimated sales of 600 million units worldwide.[4][5] They hold the record for most number-one albums on the UK Albums Chart (15), most number-one hits on the Billboard Hot 100 chart (20), and most singles sold in the UK (21.9 million). The band received many accolades, including seven Grammy Awards, four Brit Awards, an Academy Award (for Best Original Song Score for the 1970 documentary film Let It Be) and fifteen Ivor Novello Awards. They were inducted into the Rock and Roll Hall of Fame in 1988, and each principal member was inducted individually between 1994 and 2015. In 2004 and 2011, the group topped Rolling Stone’s lists of the greatest artists in history. Time magazine named them among the 20th century’s 100 most important people.

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1 is a compilation album by the English rock band the Beatles, originally released on 13 November 2000. The album features virtually every number-one single the band achieved in the United Kingdom or United States from 1962 to 1970. Issued on the 30th anniversary of the band’s break-up, it was their first compilation available on only one CD. 1 was a commercial success and topped charts worldwide. It has sold over 31 million copies.[1]

Since Nielsen SoundScan began tracking US album sales in January 1991,[2] 1 is the fourth best-selling album in the US, the best-selling album of the 2000s decade in the US,[3] as well as the best-selling album of the decade worldwide.

1 was remastered and reissued in September 2011.[4] It was remixed and reissued again in several different deluxe editions in November 2015, the most comprehensive of which is a three-disc set entitled 1+, which includes video discs of Beatles promotional films.

As of June 2015, 1 was the sixth best-selling album of the 21st century in the UK, having sold over 3.1 million copies.

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1 was compiled by producer George Martin and former band members Paul McCartney, George Harrison and Ringo Starr.[6] The album contains the 27 Beatles songs that went to number one in the United Kingdom on the Record Retailer Top 50 chart or in the United States on the Billboard Hot 100 chart. Despite Harrison’s “For You Blue” charting at number 1 on Billboard, along with the A-side “The Long and Winding Road”,[7] Capitol Records treated “For You Blue” as strictly a B-side and did not promote it as an A-side. “Day Tripper” was included on 1 since it charted at number 1 in the UK as a double A-side with “We Can Work It Out”, while in the US, only “We Can Work It Out” was number 1. Two singles written by John Lennon and released in both the UK and US were omitted as they did not top either the Record Retailer chart or the Billboard Hot 100: “Please Please Me” and “Strawberry Fields Forever”. The former was the Beatles’ first UK number one single in all British charts except Record Retailer, reaching the top spot in the music magazines New Musical Express, Melody Maker and Disc. “Strawberry Fields Forever” was part of a double A-side single with “Penny Lane”, which reached the top spot in Melody Maker and peaked at number 2 in the other UK charts, behind Engelbert Humperdinck’s “Release Me”.

Liner Notes

The album is a combination of both the US and UK versions of the 1982 compilation 20 Greatest Hits, with the addition of “Something” (which was left off 20 Greatest Hits because of time constraints).[citation needed] On 1, “Hey Jude” was included in its original full-length version (slightly over seven minutes), whereas the American version of 20 Greatest Hits contained a shortened version.

Before 1, all 27 songs were mainly available on two remastered CD releases: firstly on the respective Beatles studio albums released in 1987 (as well as Past Masters, Volume One and Past Masters, Volume Two, released in 1988). The second remastering was made available on the CD versions for 1962–1966 and 1967–1970, released in 1993.

The songs on 1 were remastered specifically for the release in 2000. According to the liner notes of the album, the original analogue masters were “digitally remastered at 24 bits resolution, processed using Sonic Solutions NoNoise technology and mastered to 16-bit using Prism SNS Noise Shaping”. The remastering was overseen by Peter Mew of Abbey Road Studios and took place there.[8] In 2011, 1 was remastered and reissued on CD. In 2015 it was remastered again and remixed by Giles Martin; when Martin began to assist with fixing up the audio tracks for the 1+ video clips, he realised that his goal of making them “more immersive” should also apply to 1.[9] For the remixing project, Martin commented: “The remasters went back to these final mix tapes and remastered them. They cleaned them up and then they EQ-ed them and released them. What we’re doing is remixing. We’re going not to the final mix, we’re creating our own mixes.”[9] About his remixing approach, Martin said: “My approach was to be respectful of everything, I had sessions and sessions where I flipped between previously remastered stereos, the mono remasters, and the remixes we’ve done. I flip between everything and make sure I prefer what we’ve done.”

Beatles04The package of 1 was intended to be simplistic and ambitious at the same tme. Its cover was designed by Rick Ward, and consists of a pop art-style yellow number one on a red background. The emphasis on the 1 digit was used on many of the compilations of number-one hits by different artists that followed this album; for example, ELV1S by Elvis Presley and Number Ones by the Bee Gees. The album’s back cover features the famous photos of the Beatles taken by Richard Avedon and copyrighted on 17 August 1967. The design exclusively uses variations of the Helvetica typeface.

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Apparently, there was a gap in the Beatles’ catalog, after all — all the big hits weren’t on one tidy, single-disc compilation. It’s not the kind of gap you’d necessarily notice — it’s kind of like realizing you don’t have a pair of navy blue dress socks — but it was a gap all the same, so the group released The Beatles 1 late in 2000, coinciding with the publication of their official autobiography, the puzzlingly titled Anthology. The idea behind this compilation is to have all the number one singles the Beatles had, either in the U.K. or U.S., on one disc, and that’s pretty much what this generous 27-track collection is. It’s easy, nay, necessary, to quibble with a couple of the judgment calls — look, “Please Please Me” should be here instead of “From Me to You,” and it’s unforgivable to bypass “Strawberry Fields Forever” (kick out “Yellow Submarine” or “Eleanor Rigby”) — but there’s still no question that this is all great music, and there is a bit of a rush hearing all these dazzling songs follow one after another. If there’s any complaint, it’s that even if it’s nice to have something like this, it’s not really essential. There’s really no reason for anyone who owns all the records to get this too — if you’ve lived happily without the red or blue albums, you’ll live without this. But, if you give this to any six or seven year old, they’ll be a pop fan, even fanatic, for life. And that’s reason enough for it to exist. (by Stephen Thomas Erlewine)

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Personnel:
George Harrison (guitar, percussion, vocals on 24. background vocals)
John Lennon (vocals, guitar, keyboards, harmonica, bass, percussion)
Paul McCartney (vocals, bass, keyboards, guitar, drums.percussion, drums on 23.)
Ringo Starr (drums, percussion, vocals on 15., background vocals on 21.)
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Mal Evans (bass drum on 21.)
George Martin (piano on 06.,17.+ 18.)
David Mason (trumpet on 17. + 18.)
Billy Preston (organ on 24. +  26.,piano on  24. + 27.)
Ronnie Scott (saxophone solo on 20.)
Andy White (drums on 01,)

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Tracklist:
01. Love Me Do 2.22
02. From Me To You 1.58
03. She Loves You 2.23
04. I Want To Hold Your Hand 2.27
05. Can’t Buy Me Love 2.13
06. A Hard Day’s Night 2.35
07. I Feel Fine 2.20
08. Eight Days A Week 2.46
09. Ticket To Ride 3.12
10. Help! 2.20
11. Yesterday 2.07
12. Day Tripper 2.50
13. We Can Work It Out 2.17
14. Paperback Writer 2.20
15. Yellow Submarine 2.40
16. Eleanor Rigby 2.08
17. Penny Lane 3.01
18. All You Need Is Love 3.49
19. Hello, Goodbye 3.29
20. Lady Madonna 2.19
21. Hey Jude 7.05
22. Get Back 3.14
23. The Ballad Of John And Yoko 3.01
24. Something 3.03
25. Come Together 4.20
26. Let It Be 3.52
27. The Long And Winding Road 3.37

All songs written by John Lennon & Paul McCartney
except 24. written b y George Harrison

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Various Artists – Heartbeat (OST) (1996)

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Heartbeat is a British period drama series, based upon the “Constable” series of novels written by Nicholas Rhea, and produced by ITV Studios (formerly Yorkshire Television until it was merged by ITV)[1] from 1992 until 2010. The series is set during the 1960s around real-life and fictional locations within the North Riding of Yorkshire, with most episodes focused on stories that usually are separate but sometimes intersect with one another; in some episodes, a singular story takes place focused on a major incident.

Heartbeat proved popular from the beginning, when early series consistently drew over 10 million viewers, achieving a peak audience of 13.82 million in 2001, and 12.8 million viewers in 2003. Its success eventually led to a spin-off series, titled The Royal, as well as a special episode, and three documentaries. In June 2010, ITV announced the cancellation of Heartbeat after its eighteenth series, following discussions on its future.

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Heartbeat is period drama set within the North Riding of Yorkshire during 1960s. Plots for each episodes take place within both the fictional village of Aidensfield and the fictional town of Ashfordly, as well as several other fictional villages and farms in the surrounding moors and countryside. On occasions, plots also include the real-life town of Whitby. Each episode in the series focuses on a set of at least one or two main storylines and a side story, some or all of which would cross over with each other and influence the outcome of their plots. Political tones for storylines, coinciding with the decade the programme was set in, were rarely featured in episodes, though some episodes featured occasional references to the counterculture movement, while others would sometimes delve into a dramatic single storyline concerning a major incident that characters would deal with and sometimes be affected by.

Scripps’ Garage from the series:
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The programme’s title was chosen by writers to represent the series’ key characters who worked as police officers and medical staff – “heart” for the medical themes featured regularly in the programme; and “beat” based on the phrase “the bobby’s beat” (“bobby” being British slang for a police officer (from Robert Peel)).[5] Each episode’s set of storylines were inspired from those created for the Constable series of books, written by Nicholas Rhea (the pen-name of former policeman Peter Walker), which were focused on a police constable in the 1960s who came to Aidensfield, in order to serve the local community and solve crimes that took place on his new patch. Much of the characters and locations in the Constable series were directly used for creating the setting and plots in Heartbeat, under guidance from Rhea.

Across Eller Beck to Goathland railway station:
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The series was originally intended as a launch platform for actor Nick Berry, following his involvement on the BBC’s soap drama EastEnders, who alongside actress Niamh Cusack, were the prominent main actors of the programme for its first two series. Storylines mainly focused around both their characters, as they offered aid to those around the village and beyond, though the tone of plots were portrayed with grittiness and social realism. From the third series onwards, the role of the village policeman continued to be central to the storyline, but supporting actors were redefined as the programme’s main cast, with their characters elevated in presence, effectively evolving Heartbeat into an ensemble drama that was themed as more cosy and comfortable compared to more modern TV police dramas. The changes were more notable by how supporting actors gained more prominence in the opening titles after being elevated into the series’ main cast – up until the fifth series, both Berry and Cusack were prominently featured in the opening credits, but this changed in later series so that by the beginning of the seventh series, all actors in the main cast were given proper credit for their involvement in the drama series.

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After the fifth series, storylines became less centralized around the village constable, focusing on separate storylines that retained a set structure within episodes: one focusing on a crime solved by the village constable and his colleagues at Ashfordly police; one focused on a medical issue that the village doctor and/or nurse would treat; and a side story focused on the programme’s “lovable rogue” character which mainly was designed as comic relief, but sometimes featured light-hearted plots delving into heart-warming moments. In addition, over-arching storylines covering several episodes or even series, provided sub-plots between main characters, allowing for character and relationship development between them, with additional characters added in over time. In time, Heartbeat saw the cast being changed throughout its broadcast history, as new characters were introduced to replace those who left the show after being written out.

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Sixties pop music features prominently in episodes, notably from the Beatles and Chuck Berry, forming the backbone of Heartbeat’s soundtrack, although music from other decades sometimes is played in episodes. Some 1970s records appear anachronistically, such as the Hollies’ 1974 song “The Air That I Breathe”, Led Zeppelin’s “Black Dog” (1971) or Pink Floyd’s 1971 instrumental “One of These Days.” The series 17 finale “You Never Can Tell” is accompanied by the Flying Pickets’ 1983 song “Only You”, an episode which featured a guest appearance by the band’s lead singer Brian Hibbard. (wikipedia)

And here´s the soundtrack … with a lot of hits from the Roaring Sixties …

A nice trip in this decade including many rarities like music from The Bachelors, Joe Brown & The Bruvvers nd The Fortunes.

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Tracklist:

CD 1:
01. Nick Berry: Heartbeat (Montgomery/Petty) 2.15
02. The Swinging Blue Jeans: The Hippy Hippy Shake (Romero) 1.45
03. Sandie Shaw: (There’s) Always Something There To Remind Me (Bacharach/David) 2.36
04. Billy J. Kramer & The Dakotas: Little Children (McFarland) 2.48
05. The Kinks: All Day And All Of The Night (Davies) 2.23
06. Peter & Gordon: A World Without Love (Lennon/McCartney) 2.41
07. The Animals: The House Of The Rising Sun (Traditional) 4.30
08. Lulu & The Luvvers: Shout (O’Kelly Isley/Ronald Isley/Rudolph Isley) 2.53
09. Gerry & The Pacemakers: Don’t Let The Sun Catch You Crying (G,Marsden/ F.Marsden) 2.34
10. Herman’s Hermits: I’m Into Something Good (Goffin/King) 2.34
11. The Searchers: Needles & Pins (Nitzsche/Bono) 2.13
12. The Bachelors: I Believe (Drake/Graham/Shirl/Stillman) 2.06
13. Gerry & The Pacemakers: I Like It (Murray) 2.16
14. Joe Brown & The Bruvvers: A Picture Of You (Beveridge/Oakman) 2.20
15. Acker Bilk: Stranger On The Shore (Bilk/Mellin) 2.49

CD 2:
01. The Hollies: Look Through Any Window (Gouldman/Silverman) 2.18
02. The Moody Blues: Go Now (Banks/Bennett) 3.12
03. The Kinks: Tired Of Waiting For You (Davies) 2.33
04. Amen Corner: Bend Me, Shape Me (English/Weiss) 2.37
05. Georgie Fame: Sunny (Hebb) 2.37
06. The Shadows: FBI (Marvin/Welch/Harris) 2.20
07. The Small Faces: Itchycoo Park (Marriott/Lane) 2.50
08. Dave Berry: The Crying Game (Stephens) 2.45
09. Freddie & The Dreamers: You Were Made For Me (Murray) 2.19
10. Nick Berry: Heartbeat (Montgomery/Petty) 2.15
11. Jeff Beck: Hi Ho Silver Lining (English/Weiss) 2.55
12. Brian Poole & The Tremeloes: Do You Love Me? (Gordy Jr.) 2.24
13. Billy J. Kramer & The Dakotas: Bad To Me (Lennon/MCartney) 2.21
14. The Fortunes: You’ve Got Your Troubles (Greenway/Cook) 3.23
15. The Searchers: When You Walk In The Room (DeShannon) 2.22
16. Spencer Davis Group: Gimme Some Lovin’ (S.Winwood/Davis/M.Winwood) 2.55
17. Manfred Mann: The Mighty Quinn (Dylan) 2.52
18. Donovan: Catch The Wind (Leitch) 2.55
19. Joe Cocker: Let It Be (Lennon/McCartney) 3.32
20. Nick Berry: Daydream Believer (Stewart) 3.18

CDs

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Singles

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The Shadows – Best Sellers (1969)

FrontCover1The Shadows (originally known as the Drifters) were an English instrumental rock group, who dominated the British popular music charts in the late 1950s and early 1960s, in the pre-Beatles era. They served as the backing band for Cliff Richard from 1958 to 1968, and have joined him for several reunion tours.

The Shadows have had 69 UK chart singles from the 1950s to the 2000s, 35 credited to the Shadows and 34 to Cliff Richard and the Shadows. The group, who were in the forefront of the UK beat-group boom, were the first backing band to emerge as stars. As pioneers of the four-member instrumental format, the band consisted of lead guitar, rhythm guitar, bass guitar and drums. Their range covers pop, rock, surf rock and ballads with a jazz influence.

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The core members from 1958 to present are guitarists Hank Marvin and Bruce Welch and drummer Brian Bennett (who has been with the group since 1961) with various bassists and occasionally keyboardists through the years. Along with the Fender guitar, another cornerstone of the Shadows sound was the Vox amplifier.

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And this is a rare sampler, produced exclusively for the German record market /the liner note4s are written in German). It’s a little surprising that it was made in 1969, because back then The Shadows weren’t in the limelight as much as they were in 1964 and 1965.

I am sure that Mark Knopler studied The Shadows extensively.

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Personnel:
Jet Harris (bass)
Hank Marvin (lead guitar)
Tony Meehan (drums)
Bruce Welch (guitar)

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Tracklist:
01. Apache (Lordan) 2.54
02. Wonderful Land (Lordan) 2.08
03. Kon-Tiki (Carr) 1.57
04. F.B.I (Gormley) 2.22
05. The Frightened City (Paramor) 2.22
06. The Savage (Paramor) 2.24
07. Guitar Tango (Liferman/Maine) 2.58
08. Shotgun (Allen) 2.07
09. Man Of Mistery (Carr) 2.07
10. Quatermaster’s Stores (Traditional) 2.23
11. Stars Fell On Stockton (Bennett/Welch/Marvin/Harris) 2.19
12. Lordan/Mould) 2.41

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Eric Burdon And The Animals – The Girl Can´t Help It + Around And Around (1968)

FrontCover1I want to reduce my singles collection:

The Animals (also billed as Eric Burdon and the Animals) are an English rhythm-and-blues and rock band, formed in Newcastle upon Tyne in the early 1960s. The band moved to London upon finding fame in 1964. The Animals were known for their gritty, bluesy sound and deep-voiced frontman Eric Burdon, as exemplified by their signature song and transatlantic number-one hit single “The House of the Rising Sun” as well as by hits such as “We Gotta Get Out of This Place”, “It’s My Life”, “Don’t Bring Me Down”, “I’m Crying”, “See See Rider” and “Don’t Let Me Be Misunderstood.” The band balanced tough, rock-edged pop singles against rhythm-and-blues-oriented album material and were part of the British Invasion of the US.

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The Animals underwent numerous personnel changes in the mid-1960s, and suffered from poor business management, leading the original incarnation to split up in 1966. Burdon assembled a mostly new lineup of musicians under the name Eric Burdon and the Animals; the much-changed act moved to California and achieved commercial success as a psychedelic and hard rock band with hits such as “San Franciscan Nights”, “When I Was Young” and “Sky Pilot” before disbanding at the end of the decade. Altogether, the group had 10 top-20 hits in both the UK Singles Chart and the US Billboard Hot 100.. (wikipedia)

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And here´s a rare single from 1968 …

In fact, the two songs are recordings from 1964 … it was their Mickie Most period.
Enjoy the early power of Eric Burdon & The Animals !

As we know, Eric Burdon, however, was already making a very different kind of music in 1968

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Personnel:
Eric Burdon (vocals)
Bryan “Chas” Chandler (bass)
Alan Price (keyboards)
John Steel (drums)
Hilton Valentine (guitar)

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Tracklist:
01. A The Girl Can’t Help It (Troup) 2.25
02. Around And Around (Berry) 2.45

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The Monkees – Same (Hit Road) (70´s)

FrontCover1Oh yeah … The Monkees:

The Monkees were a rock and pop band, formed in Los Angeles in 1966, whose line-up consisted of the American actor/musicians Micky Dolenz, Michael Nesmith and Peter Tork alongside English actor/singer Davy Jones.

The group was conceived in 1965 by television producers Bob Rafelson and Bert Schneider for the situation comedy series of the same name. Music credited to the band was released on LP, as well as being included in the show, which aired from 1966 to 1968.

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While the sitcom was a mostly straightforward affair, the music production generated tension and controversy almost from the beginning. Music supervisor Don Kirshner was dissatisfied with the actor/musicians’ musical abilities, and he limited their involvement during the recording process, relying instead on professional songwriters and studio musicians, and yielding multiple hit albums and singles. Upset with this arrangement and facing public backlash for not playing on the recordings, the band members soon gained full control over the recording process. For two albums, the Monkees mostly performed as a group, but within a year, each member was pursuing his own interests under the Monkees name. By the end of 1968, they were once again a group in name only, the show had been canceled, and their motion picture, Head, had flopped. Tork left the band soon after, followed by Nesmith a year later, and the Monkees officially broke up in 1970.

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A revival of interest in the television show came in 1986, leading to a series of official reunion tours, a television special, and four new full-length records, all of which spanned the next 35 years, though these efforts rarely comprised all four members performing together. With Jones’ death in 2012 and Tork’s in 2019, Dolenz and Nesmith were left to embark on a farewell tour in 2021, finishing shortly before Nesmith’s death at the end of the year.

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Spurred by the success of the show, the Monkees were one of the most successful bands of the 1960s. The band sold more than 75 million records worldwide making them one of the biggest-selling groups of all time with international hits, including “Last Train to Clarksville”, “I’m a Believer”, “A Little Bit Me, a Little Bit You”, “Pleasant Valley Sunday”, and “Daydream Believer”, and four chart-topping albums. Newspapers and magazines falsely reported that the Monkees outsold the Beatles and the Rolling Stones combined in 1967, a claim that originated from Nesmith in a 1977 interview. (wikipedia)

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And here´s a nice compilation from Germany from the mid-Seventies … This LP was released in the mid-seventies (possibly in 1975) … the original version was released in 1972.

And their version from “I’m A Believeris the best version ever of the song song from Neil Diamond !

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Personnel:
Micky Dolenz (drums and percussions, vocals)
Davy Jones (guitar, bass, vocals)
Michael Nesmith (guitar, piano,vocals)
Peter Tork (bass, organ, guitar, banjo, vocals)
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many, many studiop musicians

The original German edition from 1972:
OriginalGermanEdition1972

Tracklist:
01. Monkee’s Theme (Boyce/Hart) 2.18
02. Last Train To Clarksville (Boyce/Hart) 2.46
03. She (Boyce/Hart) 2.37
04. Daydream Believer (Stewart) 3.00
05. Listen To The Band (Nesmith) 2.29
06. A Little Bit Me, A Little Bit You (Diamond) 2.48
07. I’m A Believer (Diamond) 2.46
08. I Wanna Be Free (Boyce/Hart) 2.25
09. Pleasant Valley Sunday (King/Goffin) 3.15
10. (I’m Not Your) Steppin’ Stone (Boyce/Hart) 2.24
11. Shades Of Gray (Mann/Weil) 3.20

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Boyce Hart

And … they still have an official website !!!
Website

The Troggs – Hit Single Anthology (1991)

FrontCover1The Troggs (originally called the Troglodytes) are an English garage rock band formed in Andover, Hampshire in May 1964. They had a number of hits in the United Kingdom and the United States. Their most famous songs include the US chart-topper “Wild Thing”, “With a Girl Like You” and “Love Is All Around”, all of which sold over 1 million copies and were awarded gold discs. “Wild Thing” is ranked No. 257 on the Rolling Stone magazine’s list of The 500 Greatest Songs of All Time and was an influence on garage rock and punk rock.

Reg Presley (lead vocals) and Ronnie Bond (drums) were childhood friends and in the early 1960s formed an R&B band in their home town of Andover. In 1964 they were joined by Pete Staples (bass) and Chris Britton (guitar) and became the Troggs. They were signed by Larry Page, manager of the Kinks, in 1965. They recorded on Page’s Page One Records, and Page also leased them to CBS for the debut single “Lost Girl”.

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Their most famous hit was the single “Wild Thing” (written by Chip Taylor) (the song on the B-side of the single depended on the country where it was sold) which, with the help of television exposure on Thank Your Lucky Stars, reached number 2 in the UK (b/w Reg Presley’s song “From Home”) and number 1 in the United States in July 1966. Its combination of a simple heavy guitar riff and flirtatious lyrics helped it to quickly become a garage rock standard. It was recorded in one complete take (take two) at Olympic Studios in London, with Keith Grant engineering. Because of a dispute over US distribution rights, “Wild Thing” was released (along with the first album of the same name) on two labels: Fontana and Atco. The band’s success in the US was also limited by not touring there until 1968.

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They also had a number of other hits, including “With a Girl Like You” (a UK number 1 in July 1966, US number 29), “I Can’t Control Myself” (a UK number 2 in September 1966; their first UK single release on the Page One label, POF 001; this was also their second and final dual-label release in the US, with Fontana retaining the rights to all subsequent releases),[10] “Anyway That You Want Me” (UK number 10 in December 1966), all at Olympic Studios, “Give It To Me” (UK No.12 1967), “Night of the Long Grass” (UK number 17 in May 1967), “Love Is All Around” (UK number 5 in November 1967 and US number 7 in May 1968) plus “Hi Hi Hazel” (UK No.42, 1967).

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The band’s popularity completely waned the following year. Former Plastic Penny bassist Tony Murray replaced Pete Staples in 1969. Richard Moore filled in for Britton on their 1972–1973 tour. In 1974, after a spell on Pye Records, in an attempt to re-create their 1960s successes, the Troggs re-united with Larry Page, now running Penny Farthing Records. The resulting cover version of the Beach Boys hit “Good Vibrations” failed to chart. A reggae version of “Wild Thing” also failed. Richard Moore and Colin Fletcher substituted for Britton, who temporarily quit music to manage a night club in Spain, for the recording of The Troggs Tapes album released in 1976.[8] The band found a sympathetic ear at French label New Rose in the 1980s, releasing the Black Bottom LP (1982) and AU (1990).

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In 1991, they recorded Athens Andover, an 11-song collaboration between themselves and three members of R.E.M. It was recorded in the American band’s hometown of Athens, Georgia, and was released in March 1992. The band attempted to capitalise on this new exposure with two collaborations on new versions of “Wild Thing”. A 1992 recording with actor Oliver Reed and snooker player Alex Higgins failed to chart, but another version the following year featuring Wolf from the TV show Gladiators reached number 69 in the UK Singles Chart.[3][12] In 1994, Wet Wet Wet’s cover of “Love Is All Around” was No. 1 in the UK for 15 weeks, resulting in substantial royalties for Presley.

The band’s original drummer, Ronnie Bond, died on 13 November 1992. In January 2012, Reg Presley retired after being diagnosed with lung cancer. The band carried on with new lead singer Chris Allen. Presley died on 4 February 2013.

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The Troggs are widely seen as a highly influential band whose sound was an inspiration for garage rock and punk rock.[6] Influential American critic Lester Bangs “called the band the progenitors of punk”, according to NPR.[15] For example, the Troggs influenced artists such as Iggy Pop,[16] and the early version of British pop-punk pioneers Buzzcocks featured “I Can’t Control Myself” in their live repertoire. The Ramones are also among the punk bands who cited the Troggs as an influence. “I Can’t Control Myself” is perhaps the most enduring favourite of critics; it continues to be championed for its originality and lasting influence by radio hosts such as “Little” Steven Van Zandt.

A specially tailored version of “Give It to Me” featured in the “Sadie’s Daydream” sequence of Michelangelo Antonioni’s 1966 film Blowup. “I Can’t Control Myself” appears at the climax of “The Little Chaos”, the 1967 short film by German director Rainer Werner Fassbinder and in the “1967” episode of the 1996 British television serial Our Friends in the North.

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“With a Girl Like You” is featured uncut in a school dance scene from the 1991 Nicole Kidman/Noah Taylor movie Flirting. It also is featured in Shine, The Good Night and The Boat That Rocked. “Wild Thing” is prominent in Jonathan Demme’s 1986 film Something Wild. A modified version of “Love Is All Around” was featured in the film Love Actually (2003), performed by actor Bill Nighy. The Troggs was the name of the high school gang in the movie Bang Bang, You’re Dead that persuade the main character to join them in attacking their high school. The point-and-click adventure game Hopkins FBI features “I Can’t Control Myself” and “Lost Girl”. Trogg is the name of one of Bane’s three henchmen in Dennis O’Neil’s Batman: Knightfall comic arc. The other henchmen are Bird and Zombie, named after two other popular 1960s rock bands: the Byrds and the Zombies.

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The Jimi Hendrix Experience famously covered “Wild Thing” during their appearance at the 1967 Monterey Pop Festival, introducing it as the British/American joint “national anthem”, and climaxing with Hendrix burning his guitar. MC5 covered “I Want You” at their live shows and recorded the song for the album Kick Out the Jams, although they renamed it “I Want You Right Now”. In 1990, the first hit for (and first single by) the band Spiritualized was a cover of “Anyway That You Want Me”. This cover later was used in the movie Me and You and Everyone We Know. In 1991, “Love Is All Around” was covered by R.E.M. during live performances and was released later that year as a B-side on their “Radio Song” single. They also performed an acoustic version of the song on MTV Unplugged. In 1994, Scottish band Wet Wet Wet’s version of “Love Is All Around” spent 15 weeks at number one in the UK after its inclusion in Four Weddings and a Funeral. The authorship royalties enabled Reg Presley’s 1990s research and publication on extraterrestrials and other paranormal phenomena. In 2012, Norwegian band Ulver covered the song “66-5-4-3-2-1” for their covers album Childhood’s End. “Wild Thing” was covered by an ensemble featuring Queen guitarist Brian May to open the Wildlife Rocks’ event at Guildford Cathedral in May 2014.

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An in-studio tape of Reg Presley’s running commentary on a recording session, filled with in-fighting and swearing (known as The Troggs Tapes), was widely circulated in the music underground, and was included in the Archaeology box set, as well as the compilation album, The Rhino Brothers Present the World’s Worst Records. The group infighting is believed to be the inspiration for a scene in the comedy film This Is Spinal Tap, where the band members are arguing. Some of this dialogue was sampled by the California punk band the Dwarves on their recording of a cover version of the Troggs song “Strange Movies”. (wikipedia)

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And here´s a nice compilation with many of their (hit) ingles from der Fontana period in  the mid-Sixties.

Enjoy The Troggs !

And I’ve added a little BBC clip about Reg Presley’s funeral.

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Personnel:
Ronnie Bond (drums)
Chris Britton (guitar, background vocals)
Reg Presley (vocals)
Pete Staples (bass, background vocals)

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Tracklist:
01. Wild Thing (Taylor) 2.36
02. From Home (Presley) 2.22
03. With A Girl Like You (Presley) 2.07
04. I Want You (Frechter/Page) 2.14
05. I Can’t Control Myself (Presley) 3.05
06. Gonna Make You (Frechter/Page) 2.47
07. Anyway That You Want Me (Taylor) 2.56
08. 66-5-4-3-2-1 2 (Presley) 2.35
09. Give It To Me (Presley) 2.14
10. You’re Lyin’ (Frechter/Page) 2.23
11. Night Of The Long Grass (Presley) 3.05
12. Girl In Black (Frechter/Page) 2.02
13. Hi Hi Hazel (Martin/Coulter) 2.47
14. As I Ride By (Bond) 2.02
15. Love Is All Around (Presley) 2.58
16. When Will The Rain Come (Bond) 2.41
17. Little Girl (Presley) 3.00
18. Maybe The Madman (Britton) 2.13

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I want to spend my life with a girl like you
Ba ba ba ba, ba ba ba
And do all the things that you want me to
Ba ba ba ba, ba ba ba
‘Til that time has come that we might live as one
Can I dance with you?

I tell by the way you dress that you’re so refined
Ba ba ba ba, ba ba ba
And by the way you talk that you’re just my kind
Ba ba ba ba, ba ba ba
Girl, why should it be that you don’t notice me?
Can I dance with you?

Baby, baby is there no chance
I can take you for the last dance?
All night long, yeah, I’ve been waiting
Now there’ll be no hesitating
So before this dance has reached the end
Ba ba ba ba, ba ba ba
To you across the floor, my love I’ll send
Ba ba ba ba, ba ba ba
I just hope and pray that I’ll find a way to say
Can I dance with you?

Baby, baby is there no chance
I can take you for the last dance?
All night long, yeah, I’ve been waiting
Now there’ll be no hesitating
So before this dance has reached the end

To you across the floor, my love I’ll send
Ba ba ba ba, ba ba ba
I just hope and pray that I’ll find a way to say
Can I dance with you?

Reg Prseley02

The official website:
Website

Chris Andrews – Lady Oh Lady + Something On My Mind (1966)

FrontCover1I want to reduce my single collection …

Christopher Frederick Andrews (born 15 October 1942) is an English-German singer-songwriter whose musical career started in the late 1950s.

Andrews was born in Romford, Essex, England, and by his mid teens had formed his own group, Chris Ravel and the Ravers. On 14 March 1959, he made his British television debut, performing on the Oh, Boy! show. He would later return in April to perform a cover of Cliff Richard’s, “Move It”.

For Adam Faith, Andrews wrote “The First Time” (No. 5 on the UK Singles Chart, 1963) and “We Are in Love” (No. 11, 1964), and then a string of hits for Sandie Shaw. They included “Girl Don’t Come” (No. 3, 1964/65), “I’ll Stop at Nothing” (No. 4, 1965), “Message Understood” (No. 6, 1965) and “Long Live Love” (No. 1, 1965). The latter remained a chart topper in the UK Singles Chart for three weeks. “Girl Don’t Come” was covered by Cher on her debut album, All I Really Want to Do.

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Also in 1965, Andrews as a solo artist, got to No. 3 in the same listings with “Yesterday Man”, which peaked in Germany at No. 1 for four weeks; followed up with a No. 13 hit in the UK “To Whom It Concerns”. The instrumental section of this song was used as the theme for RTÉ’s long-running TV programme, The Late Late Show, until 1999, and a re-arranged version returned as the show’s theme music in September 2009. As well as obtaining a high placing in the UK chart, “Yesterday Man” climbed to No. 1 in Ireland and Germany. It sold over one million copies, and was awarded a gold disc. Later releases were not as successful, but his own hits are seen as early examples of bluebeat influenced white pop music. Although his chart appearances dwindled in Britain by 1966, his chart topping success continued in mainland Europe for a number of years, particularly in Germany, and Andrews often recorded in foreign languages.

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It is possible that Chris Andrews’ huge success in Germany was connected to the fact that his two UK hits, at least, were rhythmically redolent of Oom-pah music (although not intentionally so; see above), thus making them more acceptable to older German audiences who would not have liked many of the other Anglophone songs which became hits there.

In South Africa, his later single releases proved particularly popular, with “Pretty Belinda” (1969), “Carol OK” and “Brown Eyes” (both 1970) all topping the charts there. “Yo Yo” reached No. 7 at the end of 1970.

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Andrews remains active in his career as a singer-songwriter, working primarily in continental Europe and in the United Kingdom. He lives with his second wife Alexandra, who is also his manager, in Selm, Germany, and Mallorca. Because of the Brexit vote, Andrews also obtained German citizenship in 2016. (wikipedia)

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And here´s one of his countless singles from the Sixties … As far as I know, this single was only released in Germany.

And “Lady Oh Lady” is a real hot Beat-number … but was not so sucessful as “I´m Her Yesterday Man”.

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Personnel:
Chris Andrews (vocals)
+
Ken Woodman Orchestra

Ken Woodman

Tracklist:
01. Lady Oh Lady (Andrews) 2.54
02. Something On My Mind (Andrews) 2.20

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Various Artists – Psicofásicos de Bolivia (2003)

FrontCover1Bolivian youngsters knew how to do it, yes. If you’re searching for REAL garage and ’60s punk sound and attittude, this is for you.

Also, if you’re simply loving the typical South-American ’60s sounds, you’ll be pleased with this collection of rare, RARE tracks taken from impossible to find 45s from one of the hardest to follow ’60s scenes.

Loads of fuzz, organ and raw sounds here, all been professionally remastered again (some of these 45s are sooo bad sounding, we’ve done our best!). This CD release includes an 12-page full colour booklet with liner notes and photos. (Press release)

There has been much written elsewhere about the absolute coolness factor of this rare el go-gó & sicodelico from late 60s Bolivia. I’ll try to just give a bit of info about the various outstanding groups found here.

First an intro commercial for Inca Kola, then…

Inca-KolaFourteen songs from 1966-1969, mucho fuzz, primitive but great productions. Most tracks are covers: the Dhag Dhag’s take on “One Track Mind” by The Knickerbockers; Grupo 606’s takes on “Break On Through” by The Doors & “Gotta Get Away” by The Blues Magoos; Los Ecos do Rufus Thomas’ “Walk That Walk”; The Loving Darks cover The Rolling Stones’ “Complicated”; Los Burros fuzz out The Rascals’ “You Better Run”; while Los Bonny Boy’s Hot’s (???) cover Peruvian Andino hit of Jorge Bravo de la Rueda/Yma Sumac. The original songs are also impressive, like the punker “Pena” by The Blackstones or the somber “Tipo sicodélico” & the swinging “Bohemio” both by the Dhag Dhag’s.

It’s a wonder how records of any kind were made at all in a country where even in the big cities the power was regularly shut off at 11:00 pm every night & where farm carts still outnumbered cars on the roads. Groups like Grupo 606 had to make their own instruments before they could get to play anything. The Bolivian police in La Paz & other cities like Cochabamba were always on the look-out for local long-hairs & youthful rebels. They launched a campaign called ‘Operacion Tijeras’ (Operation Scissors). It consisted in shaving the head of any long haired rocker/rebel in these cities. Afterall, they might be revolutionaries.

Los Daltons – They came out of Santa Cruz de le Sierra around 1967. In 1968 they released a four-song instrumental EP. Due to the 11:00 pm electricity cut-off, they did without a singer who would need a microphone. These instrumentals, led by a crazed merry organ, didn’t need vocals. This album starts with their version of the Ventures “ High & Dry” only here they were referring to the high & dry plains of the Bolivian Altiplano.

DhagDhagsThe Dhag Dhags – Behind this untranslatable name hides a undeniable gem: one of the best 60s beat bands in the world. The Dhad Dhasgs were a trio of teenagers from La Paz led by the brilliant Javier Sandoval. In 1968 he released his first EP on the “Psicofásicos” division of the Discos Mendez label. “Trata de Comprender” (Try to Understand) is their version of “One Track Mind” by The Knickerbockers. “Type Sicodélico” is an original composition, written in English, probably the first recording of psychedelic music in Bolivia. Its spectral atmosphere is reminiscent of the Peruvian group Los Saicos. On “Bohemio” Sandoval mocks the local conservatives by creating a ‘groove’ that caused every El Go-Gó girl from La Paz to Santa Cruz to go crazy.

Los Ecos

Los Ecos – The crazy drum beats & shrill cries you hear coming out of this band come from Terso, the 11 year old girl on drums in this band. She & her three companions, revel in the infernal hully gully beat. They began performing in mid-1967. On this disc they do their version of “Walk That Walk” by Rufus Thomas. In 1968, the band had achieved national success with their magnificent song “Callaré Simplemente”.

The Blackstones – Here we have another trio originally from Santa Cruz, they moved to Cochabamba & recorded an EP on Psicofásicos in 1969. Here they do their version of “Pain” by the Walkers sung by JC Lugones “Pena” is a typical case of teenage frustrations brutally played in the best three-chord tradition on screaming electric guitar. Minimalist, crude, neurotic punk from Bolivia before there was punk.

Los Tennyson – There is not much information about these poets. They are kind of a mystery band. They are probably from Cochabamba or Oruro. They had a single in 1967, a version of The Twist. The song here was taken from their EP Psicodélico recorded on the Lyra label in 1969.

Grupo606Grupo 606 – In late 1966, three friends from school in Cochabamba formed this great band. At first they just played at local parties with instruments made by themselves. At one of their shows in 1967 they met Oswaldo, a radio announcer & singer. He joined the group & got them a recording contract with Lyra. At the beginning of 1969, these chavalitos (only 17-19 years old) released their second EP, demonstrating their best & angeriest garage style. They play their version of “Break on Through” by The Doors on the first side & open the B side with a sublime version of “Gotta Get Away” by The Blues Magoos.

Los Burros – Started in 1967, Los Burros was one of the most successful bands from Bolivia. Originally from Santa Cruz de la Sierra, this band was formed with members of Los Vandalos & Fire Hearts. Once they got a little notoriety, the moved to La Paz where the soon frightened the conservatives. They rode around in their Prado jeep painted Rolls-Royce yellow, wearing baggy pants & floral shirts. They sang in Spanish, Portuguese, & Italian. They recorded “El Pobre”, their version of the Spanish band Los Pasos’ tune, in September 1968. That same year they were arrested by the army as suspected guerillas supporting Ernesto ‘Che’ Guevara because they had beards & long hair. By the way, Los Burros are the guys on the cover. Their second song is their version of “You’d Better Run” by The Young Rascals.

Los Bonny Boy's HotsLos Bonny Boy’s Hots – They were the first well-known electronic band in Bolivia. They worked on a lot of records accompanying singers for Lyra, but their most interesting releases were their reworked & roomy recordings of various artists. On this album they do a version of the famous song composed by Jorge Bravo de la Rueda that was popularized by Yma Sumac, done to go-gó tempo. The song is about the mythical Incan Sun virgins of the sixteenth century. Recorded in 1966, this instrumental was a success in Bolivia. It ushered in a spate of traditional Incan songs set to the go-gó pace.

The Loving Dark – Here they are named The Loving Dark, but on their first EP they are called Amantes Oscuros (Dark Lovers). The group was formed in La Paz by Argentinean guitarist-singer Felix Chavez & Bolivian drummer Boris Rodriguez in the year 1969. Chavez was originally in the band Las Tortugas .Rodriguez in Los Black Byrds, one of the pioneers of rock groups in Bolivia. They recorded three EP’s for Lyra by 1972. This version of “Complicated” by the Rolling Stones comes from their second EP from late 1969. Their play sound has been described as ‘BIG’: great guitar fuzz, demonic drums, groovy organ & bass at least 10 years ahead of their time.

Los GrillosLos Grillos – Los Grillos are probably the most famous group of this compilation. Los Grillos began in 1967 under the name anglicized name The Crickets in Cochabamba. Shortly after forming, they changed their name to the Spanish Los Grillos. They played the current popular dance music & they achieved great successes. They regularly appeared on Bolivian & other South American television. They recorded at least 20 EP’s for Lyra & later their own label Grillo. In the 70s, they played their own unique style of folk-rock with Andean sounds & Moog synthesizers. The song here dates from 1968. It is one of their early recordings. It is a famous Spanish popular song with lyrics by Federico Garcia Lorca. However, the guitar solo make it worthy of inclusion here. (nathannothinsez.blogspot.com)

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Tracklist:
01. Los Dalton’s: Intro Inca Kola + Alto Y Seco 2.52
02. The Dhag Dhag’s: Trata De Comprender 2.43
03. Los Ecos: La Gran Pelea 2.14
04. The Blackstones: Pena 2.39
05. Los Tennyson: Un Mundo Para Mi 2.49
06. Grupo 606: Rompe, Cruza O Ayúdame 1.59
07. The Dhag Dhag’s: Tipo Sicodélico 3.17
08. Grupo 606: Busco Un Camino 2.38
09. The Donkeys: El Pobre 3.19
10. Los Burros: Es Mejor Que Corras 2.44
11. Los Bonny Boy’s Hot’s: Virgenes Del Sol 2.48
12. The Loving Darks: Complicado 2.24
13. Los Grillos: La Tarara 1.52
14. The Dhag Dhag’s: Bohemio 2.33

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I got this rare item from Mr. Sleeve … thank you very much !

Jimmy Page – She Just Satisfies + Keep Moving (1965)

FrontCover1Page was born to James Patrick Page and Patricia Elizabeth Gaffikin in the west London suburb of Heston on 9 January 1944. His father was a personnel manager at a plastic-coatings plant and his mother, who was of Irish descent, was a doctor’s secretary. In 1952, they moved to Feltham and then to Miles Road, Epsom in Surrey. Page was educated from the age of eight at Epsom County Pound Lane Primary School, and when he was eleven he went to Ewell County Secondary School in West Ewell. He came across his first guitar, a Spanish guitar, in the Miles Road house: “I don’t know whether [the guitar] was left behind by the people [in the house] before [us], or whether it was a friend of the family’s—nobody seemed to know why it was there.” First playing the instrument when aged 12, he took a few lessons in nearby Kingston, but was largely self-taught:

When I grew up there weren’t many other guitarists … There was one other guitarist in my school who actually showed me the first chords that I learned and I went on from there. I was bored so I taught myself the guitar from listening to records. So obviously it was a very personal thing.

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This “other guitarist” was a boy called Rod Wyatt, a few years his senior, and together with another boy, Pete Calvert, they would practise at Page’s house; Page would devote six or seven hours on some days to practising and would always take his guitar with him to secondary school, only to have it confiscated and returned to him after class. Among Page’s early influences were rockabilly guitarists Scotty Moore and James Burton, who both played on recordings made by Elvis Presley. Presley’s song “Baby Let’s Play House” is cited by Page as being his inspiration to take up the guitar, and he would reprise Moore’s playing on the song in the live version of “Whole Lotta Love” on The Song Remains the Same. He appeared on BBC1 in 1957 with a Höfner President acoustic, which he’d bought from money saved up from his milk round in the summer holidays and which had a pickup so it could be amplified, but his first solid-bodied electric guitar was a second-hand 1959 Futurama Grazioso, later replaced by a Fender Telecaster, a model he had seen Buddy Holly playing on the TV and a real-life example of which he’d played at an electronics exhibition at the Earls Court Exhibition Centre in London.

Page’s musical tastes included skiffle (a popular English music genre of the time) and acoustic folk playing, and the blues sounds of Elmore James, B.B. King, Otis Rush, Buddy Guy, Freddie King, and Hubert Sumlin. “Basically, that was the start: a mixture between rock and blues.”

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At the age of 13, Page appeared on Huw Wheldon’s All Your Own talent quest programme in a skiffle quartet, one performance of which aired on BBC1 in 1957. The group played “Mama Don’t Want to Skiffle Anymore” and another American-flavoured song, “In Them Ol’ Cottonfields Back Home”. When asked by Wheldon what he wanted to do after schooling, Page said, “I want to do biological research [to find a cure for] cancer, if it isn’t discovered by then.”

In an interview with Guitar Player magazine, Page stated that “there was a lot of busking in the early days, but as they say, I had to come to grips with it and it was a good schooling.” When he was fourteen, and billed as James Page, he played in a group called Malcolm Austin and Whirlwinds, alongside Tony Busson on bass, Stuart Cockett on rhythm and a drummer called Tom, knocking out Chuck Berry and Jerry Lee Lewis numbers. This band was short-lived, as Page soon found a drummer for a band he’d previously been playing in with Rod Wyatt, David Williams and Pete Calvert, and came up with a name for them: The Paramounts.[28] The Paramounts played gigs in Epsom, once supporting a group who would later become Johnny Kidd & the Pirates.

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Although interviewed for a job as a laboratory assistant, he ultimately chose to leave secondary school in West Ewell to pursue music, doing so at the age of fifteen – the earliest age permitted at the time – having gained four GCE O levels and on the back of a major row with the school Deputy Head Miss Nicholson about his musical ambitions, about which she was wholly scathing.

Page had difficulty finding other musicians with whom he could play on a regular basis. “It wasn’t as though there was an abundance. I used to play in many groups … anyone who could get a gig together, really.” Following stints backing recitals by Beat poet Royston Ellis at the Mermaid Theatre between 1960 and 1961, and singer Red E. Lewis, who’d seen him playing with the Paramounts at the Contemporary club in Epsom and told his manager Chris Tidmarsh to ask Page to join his backing band, the Redcaps, after the departure of guitarist Bobby Oats, Page was asked by singer Neil Christian to join his band, the Crusaders. Christian had seen a fifteen-year-old Page playing in a local hall, and the guitarist toured with Christian for approximately two years and later played on several of his records, including the 1962 single, “The Road to Love.”

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During his stint with Christian, Page fell seriously ill with infectious mononucleosis (i.e. glandular fever) and could not continue touring. While recovering, he decided to put his musical career on hold and concentrate on his other love, painting, and enrolled at Sutton Art College in Surrey. As he explained in 1975:

[I was] travelling around all the time in a bus. I did that for two years after I left school, to the point where I was starting to get really good bread. But I was getting ill. So I went back to art college. And that was a total change in direction. That’s why I say it’s possible to do. As dedicated as I was to playing the guitar, I knew doing it that way was doing me in forever. Every two months I had glandular fever. So for the next 18 months I was living on ten dollars a week and getting my strength up. But I was still playing.

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While still a student, Page often performed on stage at the Marquee Club with bands such as Cyril Davies’ All Stars, Alexis Korner’s Blues Incorporated, and fellow guitarists Jeff Beck and Eric Clapton. He was spotted one night by John Gibb of Brian Howard & the Silhouettes, who asked him to help record some singles for Columbia Graphophone Company, including “The Worrying Kind”. Mike Leander of Decca Records first offered Page regular studio work. His first session for the label was the recording “Diamonds” by Jet Harris and Tony Meehan, which went to Number 1 on the singles chart in early 1963.

After brief stints with Carter-Lewis and the Southerners, Mike Hurst and the Method and Mickey Finn and the Blue Men, Page committed himself to full-time session work. As a session guitarist, he was known as ‘Lil’ Jim Pea’ to prevent confusion with the other noted English session guitarist Big Jim Sullivan. Page was mainly called into sessions as “insurance” in instances when a replacement or second guitarist was required by the recording artist. “It was usually myself and a drummer”, he explained, “though they never mention the drummer these days, just me … Anyone needing a guitarist either went to Big Jim [Sullivan] or myself.”[23] He stated that “In the initial stages they just said, play what you want, cos at that time I couldn’t read music or anything.”

producer Shel Talmy. As a result, he secured session work on songs for the Who and the Kinks.[35] Page is credited with playing acoustic twelve-string guitar on two tracks on the Kinks’ debut album, “I’m a Lover Not a Fighter” and “I’ve Been Driving on Bald Mountain”,[36] and possibly on the B-side “I Gotta Move”.[37] He played rhythm guitar on the sessions for the Who’s first single “I Can’t Explain”[33] (although Pete Townshend was reluctant to allow Page’s contribution on the final recording; Page also played lead guitar on the B-side, “Bald Headed Woman”).[38] Page’s studio gigs in 1964 and 1965 included Marianne Faithfull’s “As Tears Go By”, Jonathan King’s “Everyone’s Gone to the Moon”, the Nashville Teens’ “Tobacco Road”, the Rolling Stones’ “Heart of Stone”, Van Morrison & Them’s “Baby, Please Don’t Go”, “Mystic Eyes”, and “Here Comes the Night”, Dave Berry’s “The Crying Game” and “My Baby Left Me”, Brenda Lee’s “Is It True”, Shirley Bassey’s “Goldfinger”, and Petula Clark’s “Downtown”. (wikipedia)

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When we think of Jimmy Page’s solo career, we tend to remember his 1988 Outrider LP first. However, Page actually got his start decades earlier, with the little-heard single “She Just Satisfies.”

Released on Feb. 26, 1965, on the Fontana label, “She Just Satisfies” (backed with “Keep Moving”) found Page producing, playing all the instruments except the drums, and – for what seems to be the first and only time – handling lead vocals.

The recordings took place toward the end of Page’s lucrative and prolific career as one of the most sought-after session guitarists on the U.K. rock scene, but before he stepped into the spotlight as a member of the Yardbirds (and later Led Zeppelin).

“My session work was invaluable. At one point I was playing at least three sessions a day, six days a week! And I rarely ever knew in advance what I was going to be playing. But I learned things even on my worst sessions – and believe me, I played on some horrendous things,” he told CBS in 2013.

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Muzak,” Page added. “I decided I couldn’t live that life any more; it was getting too silly. I guess it was destiny that a week after I quit doing sessions Paul Samwell-Smith left the Yardbirds and I was able to take his place. But being a session musician was good fun in the beginning – the studio discipline was great. They’d just count the song off and you couldn’t make any mistakes.”

Even if he was growing disenchanted with the session life, Page wasn’t exactly dying to become a solo artist. It took some encouragement from his girlfriend at the time, singer-songwriter Jackie DeShannon, with whom he’d collaborated on a string of songs that included “Dream Boy” and “Don’t Turn Your Back on Me” (as well as “Keep Moving”). And while the fact that it wasn’t a hit probably made a long-term solo career a moot point anyway, Page later seemed dismissive of his efforts on the single.

“There’s nothing to be said for that record except it was very tongue-in-cheek at the time,” he later shrugged in an interview with Creem. “I played all the instruments on it except for the drums and sang on it too, which is quite, uh … unique. ‘She Just Satisfies,’ that’s what it was called. It’s better forgotten.”

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These days, YouTube is a pretty fantastic tool for making sure no piece of musical history is ever forgotten, and sure enough, some enterprising fans have uploaded “She Just Satisfies” and “Keep Moving” for all of us to enjoy. Perhaps not Page’s finest musical hour, but an interesting footnote in an incredible career, and a fascinating glimpse of what was soon to come from one of the greatest guitarists in rock ‘n’ roll history. (ultimateclassicrock.com)

And co-writer Barry Mason was the award-winning songwriter who brought us Delilah – and also wrote songs for Elvis Presley, Rod Stewart and Barbra Streisand … and Jimmy Page !

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Personnel:
Bobby Graham (drums)
Jimmy Page (guitar, vocals, bass, harmonica)

A re-issue from 1967:
PicSleeveFC

Tracklist:
01. She Just Satisfies (Page/Mason) 2.01
02. Keep Moving (Page/Mason) 3.29

Labels

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Die Sweetles – Ich wünsch‘ mir zum Geburtstag einen Beatle + Die Schule ist aus (1964)

FrontCover1German girl group Die Sweetles owed as much to marketing as to music. The four mop-topped Mädchen who promoted the group’s records were models, while the three actual singers were kept out of the public eye.

The behind-the-scenes singers of Die Sweetles were Peggy Peters, Charlotte Marian and Monika Grimm.

Peggy was born Christina Zakewski on 25 December 1946 in Berlin. After leaving school she worked as an air hostess before winning a talent contest with her childhood friend Drafi Deutscher (later a big star himself). As a result Christina was offered a recording contract, and as Peggy Peters released a string of singles. The first, Keine Schule mehr, issued in 1963, was a cover of French yé-yé girl Sheila’s massive hit L’école est finie.

It was followed by Nimm dich in acht vor bösen Buben and Ich setze alles auf einer Karte (which is best known for its B-side, Aus, a raucous approximation of British singer Lulu’s Shout) and Java Boy, all issued in 1964. After failing to score a hit, she was roped into the Sweetles project.

Monika had made a name for herself as a television actress, appearing as a singer in 1960’s Papas neue Freundin, and later in 1963’s Strandgeflüster and 1964’s Mitternachtszauber. She also made a number of recordings, including a German version of Paul Anka’s 1961 hit Kissin’ on the phone (which became Ein Kuss am Telefon).

Charlotte Marian02

Charlotte Marian was the stage name of session singer Charlotte Bischoff, born 16 February 1937 in Obernburg. She recorded a number of songs for Tempo, a label that specialised in cut-price versions of hits of the day (rather like the Top of the pops albums that were popular in Britain in the 1970s).

In 1962 she became the second wife of Christian Bruhn, one of Germany’s top songwriters of the 1960s. He composed songs for many stars of the day, including Marion, Manuela, France Gall, Conny Froboess, Rita Pavone, Wencke Myhre, Dorthe and Siw Malmkvist, and in the 1970s, for Katja Ebstein, who had become wife number three (of five) by that time.

Conceived by Bruhn in 1964 as a Beatles tribute group, Die Sweetles needed four singers for the concept to work. So, four singers it had, publicly at least. If Polydor had any notion of using the three singers as part of its promotional activities, the fact that Charlotte was five months pregnant at the time the group’s first single was released put paid to this idea. Instead, four models sporting mop-top wigs were drafted in to appear on the group’s picture sleeves and to mime during public appearances.

Monika Grimm02

The tactic paid off and the group’s first single, Ich wünsch’ mir zum Geburtstag einen Beatle, became a top 40 hit in June 1964. The Christian Bruhn/Hans Bradtke-penned single has found lasting popularity amongst fans of German girl pop, and the B-side, Die Schule ist aus, is another three minutes of German garage gold.

A second single, Früher oder später, backed with Goodbye my summer-love, was issued several months later but failed to chart and a decision was taken not to pursue the group.

The three girls made another brief try together as Die Petras in 1965, releasing the single Mädchen träumen gern.

After that, Monika went back into acting, moving from television onto the big screen in Mordnacht in Manhattan, released in 1965. The following year she appeared in a further film, Um Nul Uhr schnappt die Falle zu, recorded a duet with opera singer René Kollo and took part in the Deutsche Schlager-Festspiele with Wer nimmt mich in seine Arme.

Charlotte returned to session singing with Tempo. Interestingly, in 1968 she adopted a French accent to record a cover of Der Computer Nr 3, a hit her husband Bruhn had composed for French star France Gall.

Tina Rainford02

By this time, Peggy had met future husband Peter Rainford, with whom she went on to release a number of duets in the late 1960s. To underline her new start, she went blonde and used her married name, Tina Rainford.

She joined the New Seekers-styled group Wir in 1971 before going solo. In 1976 Drafi Deutscher produced Silverbird for his old friend. It gave the singer a top five hit and is still popular in Germany today. An English version also made the US country and western top 20. A further hit in Germany, Charly Boy, followed a year later, though the follow up, Fly away, pretty flamingo, failed. (readysteadygirls.webeden.co.uk)

And here´s their hit single ”

One of the funniest beat singles from the beginnings of the early German beat scene.

PolydorFC+BC

Personnel:
vocals:
Charlotte Marian – Monika Grimm – Peggy Peters
+
a bunch of unknown studio musicians

Die Sweetles01

Tracklist:
01. Ich wünsch‘ mir zum Geburtstag einen Beatle (I want a Beatle for my birthday) (Bruhn/Bradtke) 2.14
02. Die Schule ist aus (School´s out) (Bruhn/Loose) 2.41

LabelB2

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