Chuck Berry – St. Louis To Liverpool (1964)

LPFrontCover1St. Louis to Liverpool is the seventh studio album and tenth album overall by rock and roll artist Chuck Berry, released in 1964 on Chess Records, catalogue number 1488. It peaked at number 124 on the Billboard album chart, the first of Berry’s studio albums to appear on the chart. Music critic Dave Marsh named it “one of the greatest rock & roll records ever made”.

On October 18, 1963, Berry was released from prison after having spent 20 months incarcerated owing to conviction on a charge under the Mann Act. During his time in prison, emerging rock groups had found inspiration in his work. The Beach Boys had based their number 3 hit single “Surfin’ U.S.A.” on his “Sweet Little Sixteen”; the Beatles had included “Roll Over Beethoven” on their second American album;[5] the debut single in the United Kingdom by the Rolling Stones was their cover of “Come On,” and they had included “Carol” on their first American album, England’s Newest Hitmakers.

Wishing to capitalize on his popularity during the British Invasion, Berry and Chess Records fashioned this album to appeal to young buyers. St. Louis to Liverpool includes four of the five charting singles he enjoyed in 1964, the final year he would have multiple records appearing on the Billboard Hot 100: “No Particular Place to Go,” “You Never Can Tell,” “Promised Land,” and “Little Marie,” a sequel to “Memphis, Tennessee.” The additional eight tracks included the four b-sides of those singles; “Our Little Rendezvous,” a b-side from 1960; a previously unreleased alternate take of his 1958 Christmas single “Merry Christmas Baby”; an instrumental outtake from a 1950s session; and “Liverpool Drive,” a recent instrumental.

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On April 13, 2004, the Chronicles division of the Universal Music Group remastered the album for compact disc with three bonus tracks as part of its 50th anniversary commemorative of Chess Records, including “O’Rangutang,” the flip side of the fifth of his 1964 charting singles “Nadine (Is It You?),” and a track that had appeared on the 1990 rarities album Missing Berries. In 2008, Mobile Fidelity Sound Lab reissued the album with Chuck Berry Is on Top on an Ultradisc II Gold compact disc. (by wikipedia)

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This album puts the lie to the popular myth that Chuck Berry’s music started to fade away around the same time that the Beatles, the Rolling Stones, et al. emerged covering his stuff. His songwriting is as strong here as ever — side one is packed with now-familiar fare like “Little Marie” (a sequel to “Memphis, Tennessee”), “No Particular Place to Go,” “Promised Land,” and “You Never Can Tell,” but even filler tracks like “Our Little Rendezvous” and “You Two” are among Berry’s better album numbers, the latter showing off the slightly softer pop/R&B side to his music that many listeners forget about. Side two includes a bunch of tracks, including the hard-rocking “Go Bobby Soxer” and the even better “Brenda Lee,” the slow blues “Things I Used to Do” (with a killer guitar break), and the instrumentals “Liverpool Drive” and “Night Beat,” one fast and the other slow, that never get reissued or compiled anywhere. (by Bruce Eder)

Chuck Berry

Personnel:
Fred Below (drums on 10, + 11.)
Chuck Berry (vocals, guitar)
Leroy C. Davis (saxophone on 02., 06., 13, + 14.)
Willie Dixon (bass on 02., 06., 13. + 14.)
Ebby Hardy or Jaspar Thomas (drums on 02.)
Johnnie Johnson (piano on 02., 06., 08., 11. 13. – 15.)
Lafayette Leake (piano on 05., 10. + 12.)
Matt “Guitar” Murphy (guitar on 02.)
Odie Payne (drums)
James Robinson (saxophone on 06., 13. – 14.)
Paul Williams (piano on 03., 04. + 09.)

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Tracklist:
01. Little Marie (Berry) 2.37
02. Our Little Rendezvous (Berry) 2-03
03. No Particular Place To Go 2.44
04. You Two (Berry) 2.11
05. Promised Land (Berry) 2.24
06. You Never Can Tell (Berry) 2.43
07. Go Bobby Soxer (Berry) 3.00
08. Things I Used To Do (Jones) 2.42
09. Liverpool Drive (instrumental) 2.56
10. Night Beat (instrumental) 2.46
11. Merry Christmas Baby (Baxter/Moore) 3:14
12. Brenda Lee (Berry) 2.15
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13. Fraulein (Williams)  2.51
14. O’Rangutang (instrumental) (Berry) 3.02
15. The Little Girl From Central (early version of “Brenda Lee”)  (Berry) 2.39

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Mamie van Doren – The Girl Who Invented Rock ‘n’ Roll (1986)

FrontCover1She was born Joan Lucille Olander in the tiny town of Rowena, South Dakota. By the time the was in her midteens, she was doing photo modeling and began to make connections with name photographers and show business types. In 1951, she caught the eye of famed illustrator Alberto Vargas and posed for him. She became a popular model and made her first screen appearance in 1951’s “Footlight Varieties” starring Jack Parr, and by 1953, she had been signed as a contract player at Universal. Mamie Van Doren was on her way (her new name, by the way, picked from Dwight Eisenhowers wife Mamie, and from Mark Van Doren, who had become a national celebrity with his egghead victories on several TV Quiz Shows.)

At age 22 came her first leading part in Universals low budget exploitation pictore “Running Wild”. This was one of the first Hollywood films to cover the newly emerging trends of juvenile delinquency and rock ‘n’ roll. The soundtrack included “Razzle Dazzle” by Bill Haley and the Comets, and the film was sent out on a co-bill with “Tarantula”. In 1955, Mamie married bandleader Ray Anthony. Now she was the stuff of movie magazines, and even the popular scandal magazines, who deemed her important enough for numerous stories. She finished up her tenure at Universal with “Star In The Dust,” and “Jet Pilot” while also making occasional appearances on Ray’s weekly television variety show. In 1957, she appeared in “The Girl In Black Stockings,” where she was co-billed with Lex Barker and Anne Bancroft, but it was Mamie’s sexy portrait that dominated all the ads.

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In 1957, she appeared in Warner Brothers’ teen epic “Untamed Youth.” Here was a true exploitaition film in all its glory. Sex, violence, corruption, and rock ‘n’ roll. What more could you ask for? This eighty-minute wonder placed Mamie in a corrupt rural prison farm (she was picked up for hitchhiking). She got to sing her first on-screen songs. “Untamed Youth” is today, Mamie’s favorite picture. She recalls having Eddie Cochran (who was featured in the film’s musical breaks) over to her house several times, where he would write rock ‘n’ roll songs for her. He played guitar on all the recording sessions for the film featuring Mamie. “I don’t think he got credit for all his work back then,” Mamie remembers, “but he contributed an awful lot.

vanDoren02In 1958 came Mamie’s first featured appearance in a certified “A” picture, Paramount’s “Teacher’s Pet.” The light farce took stars Clark Gable and Doris Day to a seedy nightclub, where Mamie performs “I’m The Girl Who Invented Rock ‘n’ Roll” and “Teacher’s Pet Mambo,” while Doris gets to do her impersonation of Mamie, and later warbles the film’s theme song, “Teacher’s Pet.” Also in 1958, Mamie teamed up with B-movie master Albert Zugsmith, who promised to have Mamie star in all his pictures. First came the now classic “High School Confidential”, and the year was rounded out with a quick lead role in “Guns, Girls and Gangsters.”

By now Mamie Van Doren was a household name, the pictures just kept on coming, and at a certain point Mamie ran into a problem. Producers and studios only wanted to put her roles in as a dumb blonde. She rebelled, but was told either she’d get no other parts, or she’d be on suspension – neither of which was much of a choice. “It got so that everybody started calling you a dumb blonde on screen and in magazines”, she recalled, “It was really the ultimate putdown.”

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So in 1960, the parts stopped coming. “If you were thirty years old back then, your career was over. They’d rather find some eighteen year-old to play these parts, and then dress them up with a lot of make-up to look older.” Mamie stayed in the public eye. She brought an act to Las Vegas where she was a big draw. Her marriage with Ray Anthony was over, but she was still seen and written about at various clubs and events with movie stars, celebrities and sports stars.

vanDoren04Then in 1964, producer/director Tommy Noonan, who had worked closely with Marilyn Monroe and later Jayne Mansfield, got Mamie to return to films and star in “Three Nuts In Search Of A Blot”. The film is best remembered for Mamie’s nude beer-bath scenes. She looked better than ever! Over the years, Mamie went through several husbands and did some theatre and singing tours. In 1973, she made a splash as Henry Kissinger’s date and in 1976, she appeared on the TV series “General Hospital” for a while.

Looking back, Mamie is glad that she made many of her pictures, and is pleased that many have become cult films. She also feels that she contributed to the early days of rock ‘n’ roll as one of the only major Hollywood stars to sing rock ‘n’ roll in their films. And, considering many of the songs and scenes were “written as we went along,” they hold up surprisingly well. (by by Alan Betrock, taken from the original liner notes)

And this is a very nice collection of her songs (I call this music highschool Rock N Roll) from the Fifties, used in all these B-movies – and yes she was a real hot woman !

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Personnel:
Mamie van Doren (vocals)
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a bunch of unknown studio musicians

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Tracklist:
01. The Girl Who Invented Rock ‘N’ Roll (Smith) 1.39
02. Something To Dream About (Singleton/Coreman) 1.36
03. Salamander (Baxter) 2.17
04. Go-Go Calypso (Baxter) 2.34
05. Rolling Stone (Adelson/Baxter) 2.25
06. Do Ba La Baby (Cochran/Adelson/Baxter) 2.26
07. Separate The Men From The Boys (Robin) 2.37
08. I Fell In Love (Davis) 2.27
09. The Beat Generation (Walton/Kent) 2.09
10. I’m Grateful (Rogers/Corpora) 3.05
11. Nobody But You (Clark) 2.33
12. Lifetime Of Love (Kent) 1.58

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Pic from the Playboy photo shooting in 1964

 

George Thorogood & The Destroyers – Live: Let’s Work Together (1995)

FrontCover1.jpgLive: Let’s Work Together is the second live album by George Thorogood & the Destroyers.

It was recorded on December 2–3, 1994 at Mississippi Nights in St. Louis, Missouri and December 5, 1994 at Center Stage in Atlanta, and released in 1995 on the EMI Records label.

The album featured guest appearances by musicians Elvin Bishop and Johnnie Johnson. (by wikipedia)

George Thorogood and his Delaware Destroyers have been raisin’ rock ‘n’ roll Shenanigans now for over thirty years. Coming out of Detroit in 1974, they got to release their first self-titled studio album in 1977. However, it was not until another nine years of roadwork, and several studio albums later, that the band hit pay-dirt with their first live album, simply titled `Live’ in 1986. It made the live Destroyer experience available to the world. And after all is said and done, it is not surprising that this is where the band finally clicked on album. George Thorogood and the Destroyers have always been a live beast, bursting into life when they hit the boards in front of a frenzied audience, but wilting slightly when cooped up in a recording studio.

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In the Destroyers career so far there have been three live albums, the original from 1977, then lately there was Live in 1999, but it’s this middle one from 1995 that I picked as the best of a good bunch. The simple reason is that the performance is explosive, well recorded, chock-a-block full of Thorogood classics, the odd surprise here and there, and, like any good live recording, it is topped and tailed by a good solid slab of Mr. Chuck Berry.
The ever dependable Destroyers, stripped down to a basic four piece which this dog prefers (I’d rather have four musicians working hard than a nine piece being able to take it easy), put out a good solid sound. Apart from the amazing George out front on lead guitar and vocals, you have the exuberant Hank Carter on saxophone, who also contributes a touch of keyboards when the feeling takes. These two are backed by one of the most solid rhythm sections in history – Bill Blough on bass and Jeff Simon on drums. Over the years these two have welded together a mighty partnership.
For the first eleven songs the boys crank up their audience with a set full of Thorogood destroyers, working the fifth member of the band, the audience, to frenzy. Particularly on the tribute to John Lennon with their version of Larry Williams’ ‘Bad Boy’, which the Beatles would of first started playing in their days in Hamburg nightclubs back in the early sixties. But when George introduces Elvin (Bad Boy) Bishop to the crowd to join the band for some slide guitar on `Let’s Work Together’, the audience can barely contain themselves with excitement.

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To top that, out from the wings for the final two songs comes Mr. Piano of Rock ‘n’ Roll/Blues/Boogie, Mr. Johnny Johnson. In his past Johnson has been chief sideman to all the greats including Chuck Berry, Buddy Guy, etc., and if you have never heard barrel house, honky-tonk piano, lend an ear to the last two tracks on this album. The first of the two is a storming version of ‘St. Louis Blues’, then we are led away by the rock ‘n’ roll national anthem ‘Johnny B. Goode’. By this time the excitement contained in the grooves of your CD can barely be controlled as your CD player hangs onto the disc by the skin of its teeth. The band members shoulder each other out of the way to take turns at soloing. Finally George breaks back in to take control and brings the song to a shattering climax.
All in all a very satisfying live recording of a band at the top of their game. Not many people know that when George sings…
“Why don’t you get a haircut and get a real job,
Just like your big brother Bob”
…he is of course singing about his soul brother `The Prince of Darkness’, Bob Finch of Tahitian Queen fame. Well, now you know.
Rocked by Mott the Dog
Rolled by Ella Crew (by Kim Fletcheron)

That´s what I call high energy Rock N Roll …

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Personnel:
Bill Blough (bass)
Hank Carter (saxophone, keyboards, background vocals)
Jeff Simon (drums)
George Thorogood (guitar, slide-guitar, vocals)
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Elvin Bishop (slide-guitar on 12.)
Johnnie Johnson (piano on 13. – 14.)
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Tracklist:
01. No Particular Place To Go (Berry) 5.14
02. Ride On Josephine (McDaniel) 6.57
03. Bad Boy (Williams) 4.51
04. Cocaine Blues (Amall) 3.34
05. If You Don’t Start Drinkin’ (I’m Gonna Leave) (Thorogood) 4.28
06. I’m Ready (Dixon) 5.12
07. I’ll Change My Style (Parker/Villa) 4.40
08. Get A Haircut (Avery/Birch) 5.42
09. Gear Jammer (Thorogood) 6.11
10. Move It On Over (Williams) 6.08
11. You Talk Too Much (Thorogood) 6.17
12. Let’s Work Together (Harrison) 6.47
13. St. Louis Blues (Handy) 7.03
14. Johnny B. Goode (Berry) 5.55

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The Beatles – Anthology 1 (1995)

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

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

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

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

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

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

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

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

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

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Tracklist:

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

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

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Willie And The Poor Boys – Same (1985)

FrontCover1With Mick Jagger and Keith Richards bickering back and forth in the press during the mid-’80s (leading many to assume that the Stones were kaput), bassist Bill Wyman decided to fill up his newly acquired spare time by forming an all-star band, Willie and the Poor Boys. The group’s roots lay in the series of high-profile 1983 ARMS Concerts (which raised money for multiple sclerosis research), which led to several of the tour’s participants taking it a step further and laying down some tracks in the studio. Included in this stellar lineup were Wyman’s Stones mates Ron Wood and Charlie Watts, as well as Jimmy Page, Mel Collins, Andy Fairweather Low, Kenny Jones, and Ringo Starr, among others, while Wyman also served as the album’s producer. The resulting 1985 self-titled album was a pleasant enough set of 12 rock & roll/R&B standards (including “Baby Please Don’t Go,” which a promo video was filmed for), but certainly not anything musically earth-shattering. (by Greg Prato)

These were not academic sessions made to bring some new light to bear on nuggets of rock and soul’s golden age. They are what they are: a great group of players who could care less — on either of these dates — about showing off their individual chops, but in simply getting together for real fun playing the music that drew them in the first place. As such, these loose, raggedy, blast-off albums work here shockingly well. Paul Rodgers’ guest vocals on Otis Redding’s “These Arms of Mine,” and Little Richard’s “Slippin’ and Slidin'” (with killer roots guitar work from Jimmy Page), are among the most convincing of Rodgers’ career.

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Likewise, moody rocker Chris Rea’s vocal read of “Baby Please Don’t Go,” is astonishing. Geraint Watkins, known by many as Van Morrison’s keyboard ace (and producer of Tres Chicas) turns in a killer lead vocal on “Saturday Night” and “Chicken Shack Boogie,” (not bad for a guy who everybody thought couldn’t sing). Ray Cooper, percussionist to the stars — and some regular blokes, too — sings his skinny ass off on Lee Dorsey’s nugget “Can You Hear Me?.” But it’s not just the singers who provide satisfaction here. Guitarists Andy Fairweather Low and Mickey Gee are killer throughout. The horn section of Steve Gregory and Willie Garnet add heft and weight to this entire orgy of rock and rhythm. Speaking of rhythm, the drummers here are none other than fellow Rolling Stone Charlie Watts, ex-Faces and Who drummer Kenney Jones, Eric Clapton skinman Henry Spinetti, and Rockpile’s rhythm ace Terry Williams. These cats push the proceedings into the red, with splattering hi hat work and popping snares. With Wyman manning the bass with finger-popping groove and grit, guests in the chair were utterly unnecessary. Fairweather Low is also a smashing vocalist, as evidenced on a burning read of Hudson Whittaker’s “Let’s Talk It Over (Don’t You Lie to Me).” The awesome thing about the set, brief as it is, is that despite the many players, it sounds like a band, a whole band, experienced, rehearsed, and smashing.

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The final and title cut on the Poor Boy Boogie studio album is a great pastiche/medley written by Wyman. Lyrics from all the songs are used and so are themes; it’s a seamless, wooly monster. The remastering job is terrific and if ever there were a record to take the roots sound and make it fun again, this is it. (by Thom Jurek)

Hey boys and girls … let´s have some fun tonight !

Bill Wyman

Personnel:
Andy Fairweather-Low (guitar, vocals)
Mickey Gee (guitar)
Geraint Watkins (keyboards, vocals)
Charlie Watts (drums)
Bill Wyman (bass, vocals)
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Ray Cooper (percussion)
Willie Garnett (horns)
Steve Gregory (horns)
Kenney Jones (drums)
Jimmy Page (guitar on 06.)
Chris Rea (vocals on 01.)
Paul Rodgers (vocals on 03. + 06.)
Henry Spinetti (drums)
Terry Williams (drums)

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Tracklist:
01. Baby Please Don’t Go (Williams) 2.37
02. Can You Hear Me (Toussaint) 3.13
03. These Arms Of Mine (Redding) 3.31
04. Revenue Man (White Lightening) (Richardson) 2.35
05. You Never Can Tell (Berry) 3.54
06. Slippin’ And Slidin’ (Collins/Bocage/Smith/Penniman) 2.33
07. Saturday Night (Brown) 2.51
08. Let’s Talk It Over (Whittaker) 2.58
09. All Night Long (Chenier) 2.31
10. Chicken Shack Boogie (Milburn/Cullum) 3.12
11. Sugar Bee (Shuler) 3.12
12. Poor Boy Boogie (Fairweather-Low/Wyman) 3.26

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Eddie Cochran – The Eddie Cochran Memorial Album (1960)

FrontCover1The Eddie Cochran Memorial Album is the second album by Eddie Cochran, released on Liberty Records in mono, LRP 3172, in May 1960. It had previously been issued as 12 of His Biggest Hits in April 1960 with the same catalogue number, but after Cochran’s death on April 17 it was retitled and reissued, and has remained so titled ever since. It is currently in print on the Magic Records label in France, on CD on EMI-Toshiba in Japan, and on BGO in the UK as a twofer with “Singin’ To My Baby.”The Eddie Cochran Memorial Album is the second album by Eddie Cochran, released on Liberty Records in mono, LRP 3172, in May 1960. It had previously been issued as 12 of His Biggest Hits in April 1960 with the same catalogue number, but after Cochran’s death on April 17 it was retitled and reissued, and has remained so titled ever since.

Eight tracks were released as singles, with “Three Steps to Heaven” appearing as a b-side. Three additional tracks “Have I Told You Lately That I Love You,” “Lovin’ Time,” and “Tell Me Why” had been released on his first album, Singin’ to My Baby in 1957. All five singles that appeared on the Billboard Hot 100 are included, with the teen anthem “Summertime Blues” being the only time Cochran made the top ten. No Cochran album has ever charted in the United States (by wikipedia)

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This compilation was released by Liberty Records in 1960, shortly after Eddie Cochran’s death that spring, the first of several memorial albums (including one called Memorial Album) to come out on Cochran. And while it doesn’t really live up to its title — sad to say, Cochran never had a dozen hits, big or otherwise, to compile — it is a surprisingly good collection as an overview of Cochran’s career and sound (flaws and all), the hits included. At the time of its release, this album would have presented the very first chance that anyone would have had for an overview of Cochran’s career — the problem with the record, as with most early Cochran compilations, lies in the errors made by Liberty Daily MirrorRecords in handling Cochran’s career in the first place; the label apparently saw him developing in the same manner as Elvis Presley (which was understandable, as Elvis was the quintessential white rock & roll star of the era), and, like Presley, doing ballads as often as rockers, and found nothing incongruous in the fact that Cochran just didn’t have the voice to pull that off the way that Elvis did. It wasn’t that Cochran couldn’t do it — he could — but it was more of a stretch, and became an impossible one when he was saddled with second-rate material, as was often the case (where Elvis, until he started doing the movies full-time, never had that problem). But this album starts off on the right foot, with “C’mon Everybody” — one of Cochran’s best songs but never a huge hit in the U.S. — leading off the set, which proceeds with the deceptively complex rocker “Three Steps to Heaven.” We jump back to Cochran’s country roots with “Cut Across Shorty” and “Have I Told You Lately That I Love You,” the latter a ballad that Cochran handled surprisingly well — trying for a sound akin to what Elvis was doing on slow numbers — given his relative antipathy to the form. “Hallelujah, I Love Her So” puts us back in the heart of Cochran’s mature sound, showcasing his guitar amid its string accompaniment and some very strong singing as well. The first side closes with the obligatory “Sittin’ in the Balcony” — which, in fairness, was his first Liberty single, and does have a more than decent guitar break even if the song is a little wimpy. Side two storms out with “Summertime Blues,” as powerful a song as any white rock & roller charted in 1957.

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But listeners who skip the sappy “Lovin’ Time” and jump to “Somethin’ Else” will be doing Cochran’s memory a world of good. “Tell Me Why” is another slowie, but it shows some power to Cochran’s singing, even if he doesn’t pull off what the record label wanted. “Teenage Heaven” was probably obligatory, as it was featured in the then relatively recent movie Go Johnny Go, and it avoids being totally lame by virtue of Cochran’s raspy vocalizing and a reasonably hot sax solo. And “Drive In Show” closes the set out in a manner that probably ought to be skipped, except out of curiosity over some of the more absurd numbers that Cochran was made to record in his tragically brief career. It’s not an ideal collection, by any means, but it is an honest snapshot of his music, warts and all.  (by Bruce Eder)

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Personnel:
Jerry Allison (drums)
Perry Botkin, Jr. (guitar)
Sonny Curtis (guitar)
Mike Deasy (saxophone)
Eddie Cochran (guitar, ukulele, bass, piano, percussion, vocals)
Mike Henderson (saxophone)
Ray Johnson (piano)
Earl Palmer (drums)
Gene Riggio (drums)
Sharon Sheeley (percussion)
Dave Shriver (bass)
Connie “Guybo” Smith (bass)
Jim Stivers (piano)
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The Johnny Mann Chorus (background vocals)

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Tracklist:
01. C’mon Everybody (Cochran/Capehart) 1.58
ß2. Three Steps to Heaven (Cochran) 2.25
03. Cut Across Shorty (Wilkin/Walker) 1.53
04. Have I Told You Lately That I Love You? (Wiseman) 2.38
05. Hallelujah I Love Her So (Charles) 2.21
06. Sittin’ In The Balcony (Loudermilk) 2.02
07. Summertime Blues (Cochran/Capehart) 1.59
08. Lovin’ Time (Woolsey) 2.09
09. Somethin’ Else (B.Cochran/Sheeley 2.10
10. Tell Me Why (Cochran) 2.20
11. Teenage Heaven (Cochran/Capehart) 2.07
12. Drive In Show (Dexter) 2.05

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Edward Raymond Cochran (October 3, 1938 – April 17, 1960)

Chuck Berry – The London Chuck Berry Session (1972)

FrontCover1The London Chuck Berry Sessions is an album of studio recordings and live recordings by Chuck Berry, released by Chess Records in October 1972. Side one of the album consists of studio recordings, engineered by Geoff Calver; side two features three live performances recorded by the Pye Mobile Unit, engineered by Alan Perkins, on February 3, 1972, at the Lanchester Arts Festival in Coventry, England. At the end of the live section, the recording includes the sounds of festival management trying in vain to get the audience to leave so that the next performers, Pink Floyd, can take the stage; the crowd begins chanting “We want Chuck!”

“My Ding-a-Ling”, from the live side of the album, was edited to approximately 4 minutes for release as a single. It was Berry’s first and only single to reach number 1 in both the US and the UK.

In May 1970, Howlin’ Wolf traveled to Olympic Sound Studios in London, England, to record songs for The London Howlin’ Wolf Sessions. The album was released in August 1971[6] and peaked at number 28 on Billboard magazine’s R&B Albums chart and number 79 on the Billboard 200. Because of Wolf’s success, Muddy Waters recorded his own London Sessions album in December 1971, and Berry did the same in 1972.

The album was not even out for a month, when on October 27, 1972, The London Chuck Berry Sessions was certified gold by the Recording Industry Association of America with sales of 1,000,000 units. It is Berry’s only album to be certified by the RIAA  (by wikipedia)

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One-half of this album is a studio recording featuring Ian McLagan and Kenny Jones of the Faces. The other half is a live recording from the Lancaster Arts Festival in Coventry, England, featuring performances of “My Ding-a-Ling” and “Reelin’ and Rockin'” that, in edited form, became the first hit singles for Chuck Berry in many years. (“My Ding-a-Ling” went gold and hit #1.) This gold-selling, Top Ten album represents Berry’s commercial, if not artistic, peak. (by William Ruhlmann)

But .. on this album we can hear the best version of “Reelin’ And Rockin'” … a male fantasy of omnipotence …

And his version of “My Ding-a-Ling” is another song by Chuck Berry … and his version is very hot:

The lyrics with their sly tone and innuendo (and the enthusiasm of Berry and the audience) caused many radio stations to refuse to play it. British morality campaigner Mary Whitehouse tried unsuccessfully to get the song banned. “One teacher,” Whitehouse wrote to the BBC’s Director General, “told us of how she found a class of small boys with their trousers undone, singing the song and giving it the indecent interpretation which—in spite of all the hullabaloo—is so obvious … We trust you will agree with us that it is no part of the function of the BBC to be the vehicle of songs which stimulate this kind of behaviour—indeed quite the reverse.”

In Icons of Rock, Scott Schinder calls the song “a sophomoric, double-entendre-laden ode to masturbation”. Robert Christgau remarked that the song “permitted a lot of twelve-year-olds new insight into the moribund concept of ‘dirty'”.

Berry refers to the song on the recording as “our alma mater

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Personnel:
Chuck Berry (vocals, guitar)
Derek Griffiths (guitar on 01. – 05.)
Kenney Jones (drums on 01. – 05.)
Dave Kaffinetti (piano on 06. -09.)
Robbie McIntosh (drums on 06. – 09.)
Onnie Owen McIntyre (guitar on 06. – 09.)
Ian McLagan (piano on 06. – 09.)
Nic Potter (bass on 06. – 09.)

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Tracklist:

Side one (studio recordings):
01. Let’s Boogie (Berry) 3.11
02. Mean Old World (Walter) 5.48
03. I Will Not Let You Go (Berry) 2.51
04. London Berry Blues (Berry) 6.00
05. I Love You (Berry) 3.26

Side two (live recordings):
06. Reelin’ And Rockin’ (Berry) 7.07
07. My Ding-a-Ling (Bartholomew) 11.34
08. Johnny B. Goode (& Closing) (Berry) 4.21
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09. My Ding-a-Ling (single edition) (Bartholomew) 4.22

(This version of “Johnny B. Goode” replaces the first verse of the original with the first verse of “Bye Bye Johnny”.)

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Singles