Jesse Fuller – San Francisco Bay Blues (1963)

FrontCover1.jpgBorn in Jonesboro, Georgia in 1896, Jesse Fuller spent most of his childhood growing up in the countryside outside Atlanta under what you could call less than ideal circumstances in a foster home. Fuller spent the next sixty years working a handful of odd jobs, working on the fields and in the farms, on the railroads and in the factories, and out in the street. His resume even included a stint in the circus and an appearance as an extra in the film The Thief of Bagdad. In the years just before World War II, Fuller found himself living in Oakland, CA and working for the railroad. As work became increasingly difficult to find after the end of the war Fuller began to consider, already well into his 50’s, the possibility of a career in music. This should have been an obvious choice for Fuller, as he had already developed a wide ranging repertoire of songs on the guitar as a boy. After failing to put together a dependable band, Fuller decided he’d simply have to become a one-man band.

San Francisco Bay Blues, Fuller’s first album, was released by the label Good Time Jazz in 1963 and features Fuller performing mostly originals, singing and playing guitar while accompanying himself on a variety of instruments, including harmonica, kazoo, high-hat, and the fotdella–a musical instrument of Fuller’s own creation that is essentially an upright bass with six strings that are plucked by a row of foot pedals. Every track is all Fuller and completely live with no overdubs of any kind.

Jesse Fuller01

The record kicks off with the title track, “San Francisco Bay Blues,” a completely classic song in every way. One of the quirkiest blues songs ever laid to wax, this tune has a good-time jug band vibe that leaves the listener feelin’ good and waiting for more. Side 2 kicks off with Fuller showcasing his bluesy bottleneck guitar style on “John Henry”, his own re-telling of the classic railroad tale of man vs. machine. “Stealin’ Back To My Old Time Used To Be” is an upbeat rag that features Fuller accompanying himself on acoustic 12 string guitar and harmonica, channeling a country blues sound straight from the Piedmont Georgia pines and backwoods farms of his youth. Fuller wraps it all up with “Brownskin Girl (I’ve Got My Eye On You),” a rollicking country-blues pop tune that sounds, like much of the album, too big to have been performed by just one man.

Fuller’s debut is notable not only for the top-notch singing and songwriting, as well as Fuller’s unique one-man band approach that he had perfected to a tee, but for being such a vivid portrait of, essentially, an old time street performer. Good Time Jazz Records had the foresight to capture Fuller in his prime, playing the songs the way he had intended, instead of forcing him to record with a band backing him, as was becoming more and more common with many of the blues records of the era that were streaming out of studios like Chess in Chicago.

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Good Time Jazz made the equally smart decision to send Fuller to a quality recording studio, and San Francisco Bay Blues greatly benefits from a wonderful quality of sound, where every instrument can be heard with a surprising clarity– putting the album, in terms of listenability, heads and shoulders above piles of excellent but muddy sounding blues records. The Grateful Dead, Dylan, Clapton, and others have covered his songs and the influence of Fuller and his bold one-man band sound can be heard in groups like Jim Kweskin and his motley crue of jug fanatics and the legions of kazoo blowing washboard wailers that had began popping up around America in the years just before and following the release of this lp. With a sound equally rooted in the Georgia country blues of Blind Willie McTell, the ragtime rompers of Gary Davis, and the old-timey jug sound of groups like The Memphis Jug Band, Fuller’s San Francisco Bay Blues serves as a bridge between the acoustic blues of the late 20s/early 30s and the acoustic blues and jug sounds of the mid-century urban folk music revival that brought hordes of bohemian beatniks into coffee shops from coast to coast–San Francisco Bay Blues brought the blues into a new era and onto the West Coast.

Simply put, San Francisco Bay Blues serves up a heapin’ helpin’ of upbeat, feel-good blues tunes, reminding you that, dark as the days may get, as long as you’re alive you’ve got a reason to dance. Better get ready!

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Jesse Fuller (guitar, kazoo, vocals)


01. San Francisco Bay Blues (Fuller) 3.06
02. Jesse’s New Midnight Special (Traditional) 2.47
03. Morning Blues (Fuller) 3.51
04. Little Black Train (Fuller) 2.22
05. Midnight Cold (Fuller) 3.11
06. Whoa Mule (Traditional) 2.23
07. John Henry (Traditional) 4.52
08. I Got A Mind To Ramble (Fuller) 2.45
09. Crazy About A Woman (Fuller) 3.09
10. Where Could I Go But To The Lord (Coots) 1.58
11. Stealin’ Back To My Old Time Used To Be (Traditional) 2.47
12. Brownskin Girl (Fuller) 3.37



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Jesse Fuller (March 12, 1896 – January 29, 1976)

John Barry – From Russia With Love (OST)(1963)

LPFrontCover1From Russia with Love is a 1963 British spy film and the second in the James Bond film series produced by Eon Productions, as well as Sean Connery’s second role as MI6 agent James Bond. It was directed by Terence Young, produced by Albert R. Broccoli and Harry Saltzman, and written by Richard Maibaum and Johanna Harwood, based on Ian Fleming’s similarly named 1957 novel. In the film, Bond is sent to assist in the defection of Soviet consulate clerk Tatiana Romanova in Turkey, where SPECTRE plans to avenge Bond’s killing of Dr. No.

Following the success of Dr. No, United Artists greenlit a sequel and doubled the budget available for the producers. In addition to filming on location in Turkey, the action scenes were shot at Pinewood Studios, Buckinghamshire, and in Scotland. Production ran over budget and schedule, and was rushed to finish by its scheduled October 1963 release date.

From Russia with Love was a critical and commercial success. It took in more than $78 million in worldwide box-office receipts, far more than its $2 million budget and more than its predecessor Dr. No, thereby becoming a blockbuster in 1960s cinema.

This film also marked the debut of Desmond Llewelyn as Q, a role he would play for 36 years until The World Is Not Enough in 1999.


Seeking to exact revenge on James Bond (007) for killing its agent Dr. No and destroying the organisation’s assets in the Caribbean, the international criminal organisation SPECTRE begins training agents to kill Bond. Their star pupil is Donald “Red” Grant, an Irish assassin who proves his mettle by killing a Bond impostor in 1 minute and 52 seconds on a training course with a garrote wire concealed in his wristwatch.

Meanwhile, the organisation’s chief planner, a Czech chess grandmaster named Kronsteen (Number 5), devises a plan to play British and Soviet intelligence against each other to procure a Lektor cryptographic device from the Soviets. SPECTRE’s chief executive, Number 1, puts Rosa Klebb (Number 3), a former colonel of SMERSH (the counter-intelligence branch of Soviet Intelligence) who has defected to SPECTRE in the West, in charge of the mission as chief of operations. Klebb chooses Grant to protect Bond until he acquires the Lektor and then to eliminate 007 and steal the cipher machine for SPECTRE. As part of the scheme, Klebb recruits the beautiful Tatiana Romanova, a cipher clerk at the Soviet consulate in Istanbul, who believes the ex-colonel is still working for SMERSH.


In London, M informs Bond that Romanova has contacted their “Station ‘T'” in Turkey, claiming to have fallen in love with Bond from his file photo. She offers to defect to the West, and will bring a top-secret Lektor with her to sweeten the deal, but only on the condition that Bond handle her case, personally. Prior to his departure, Bond is supplied by Q with an attaché case containing a concealed throwing knife, gold sovereigns, a special tear gas booby trap connected to the lock mechanism, and ammunition for an included ArmaLite AR-7 folding sniper rifle with an infrared night scope.


After travelling to Istanbul, Bond heads into the city to meet with station head Ali Kerim Bey, tailed by Bulgarian secret agents working for the Russians. They are in turn tailed by Grant, who kills one of them after Bond is taken back to his hotel, stealing their car and dumping it outside the Soviet Consulate to provoke hostilities between British and Soviet Intelligence. In response, the Soviets bomb Kerim’s office with a limpet mine; Kerim, however, is away from his desk for a tryst with his mistress. Bond and he then investigate the attack by spying on a Soviet consulate meeting through a periscope installed in the underground aqueducts beneath Istanbul. Thus, they learn that the Soviet agent Krilencu is responsible for the bombing. Kerim Bey declares it unwise to stay in the city under such circumstances and takes Bond to a rural gypsy settlement. However, Krilencu learns of this and promptly attacks a gypsy feast, where Bond and Kerim are honoured guests, with a band of hired Bulgarian fighters. Much to Bond’s confusion, he is saved from an enemy fighter during the attack by a distant sniper shot from Grant. The following night, Bond and Kerim Bey track Krilencu to his hideout, where Kerim Bey kills him with Bond’s rifle.


Upon returning to his hotel suite that night, Bond finds Romanova waiting for him in his bed and has sex with her; neither is aware that SPECTRE is filming them. The next day, Romanova heads off for a prearranged rendezvous at Hagia Sophia to drop off the floor plans for the consulate, with Grant ensuring Bond receives the plans by killing the other Bulgarian tail who attempts to intercept the drop. Using the plans, Bond and Kerim Bey successfully steal the Lektor, and together with Romanova, escape with the device onto the Orient Express. On the train, Kerim Bey quickly notices a Soviet security officer named Benz tailing them, prompting him and Bond to subdue him. When Bond leaves Benz and Kerim Bey alone together, Grant kills them and makes it appear as though they killed each other, preventing Bond from leaving the train with Romanova to rendezvous with one of Kerim’s men.


At the railway station in Belgrade, Bond passes on word of Kerim Bey’s death to one of his sons, and asks for an agent from Station Y to meet him at Zagreb. However, when the train arrives at the station, Grant intercepts Nash, sent from Station Y, killing the agent before posing as him. After drugging Romanova at dinner, Grant overpowers Bond before taunting him about SPECTRE’s involvement in the theft. After disclosing that Romanova was unaware of what was truly going on, believing she was working for Russia, Grant reveals to Bond his plans to leave behind the film SPECTRE took of him and Romanova at the hotel, along with a forged blackmail letter, to make it appear that their deaths were the result of a murder-suicide, to scandalise the British intelligence community. Bond quickly convinces him to accept a bribe of gold sovereigns in exchange for a final cigarette, tricking Grant into setting off the booby trap in his attaché case. This distracts Grant enough for Bond to attack him in a brutal brawl. In the ensuing fight, Bond narrowly gains the upper hand, stabbing Grant with the case’s concealed knife before strangling him with his own garrotte. Bond then drags the barely conscious Romanova from the train, which has been stopped by a SPECTRE accomplice, where he hijacks Grant’s getaway truck and flees the scene with Romanova.


Upon hearing the news of Grant’s death, Number 1 calls Klebb and Kronsteen onto the carpet to explain what went wrong and remind them that SPECTRE does not tolerate failure. Kronsteen is executed by the henchman Morzeny with a kick from the poison-tipped switchblade in his shoe. Klebb, however, is given one last chance to make good on the mission and acquire the Lektor (which has already been promised to the Russians in a sell-back scheme).

The next morning, Bond’s stolen truck is intercepted along its escape route by a SPECTRE helicopter, but 007 destroys the attacking aircraft by shooting its co-pilot with his sniper rifle, causing the man to drop a live hand grenade in the cockpit. Thus, Bond and Romanova make it to Grant’s escape boat on the Dalmatian coast and steal that, too, only to be pursued by Morzeny, who leads a squadron of SPECTRE powerboats. Bond, however, escapes by dumping his own powerboat’s fuel drums overboard and detonating them with a Very flare to engulf all the chase boats in a sea of flames.


Eventually, Romanova and he reach a hotel in Venice, where they believe themselves to be safe. Klebb, however, disguised as a maid, makes one final attempt on Bond and the Lektor. Klebb tries to kick him with a poisoned switchblade shoe, but Romanova shoots her with her own dropped gun. With the mission accomplished, Bond and Romanova leave Venice on a romantic boat ride, in which course Bond throws Grant’s blackmail film into the canal.

From Russia with Love is the soundtrack for the second James Bond film of the same name. This is the first series film with John Barry as the primary soundtrack composer.

John Barry, arranger of Monty Norman’s “James Bond Theme” for Dr. No, would be the dominant Bond series composer for most of its history and the inspiration for fellow series composer, David Arnold (who uses cues from this soundtrack in his own for Tomorrow Never Dies). The theme song was composed by Lionel Bart of Oliver! fame and sung by Matt Monro.


Following the decision of the producers not to use Monty Norman, though keeping his “James Bond Theme”, Harry Saltzman decided on using the then popular Lionel Bart of Oliver! fame. Bart was unable to read or write music, but he offered to compose the music and lyrics for a title song to the film.

The producers chose John Barry to score the film. Barry had not only arranged and conducted the “James Bond Theme” from the previous film, but had already scored some films such as Beat Girl and Never Let Go. Barry’s group also charted at No. 13 in the November 1962 UK charts with a different arrangement of the Bond theme from that heard in the film.


The title song was sung by Matt Monro. Monro’s vocal version is played during the film (as source music on a radio) and properly over the film’s end titles. The title credit music is a lively instrumental version of the tune preceded by a brief Barry-composed “James Bond is Back” then segueing into the “James Bond Theme”. On the original film soundtrack, Alan Haven played a jazzy organ over the theme but this version was not released on the soundtrack album. The tune also appears in a soft string arrangement as a theme for Tania. In Germany, the original release featured an end title track cover version called Die Wolga ist Weit sung by Ruthe Berlé.


Originally planning to use local Turkish music as Norman had used Jamaican music on Dr No, Barry accompanied the film crew to Istanbul, however he found nothing suitable for the film.

Recalling his visit to Istanbul, John Barry said, “It was like no place I’d ever been in my life. [The Trip] was supposedly to seep up the music, so Noel Rogers and I used to go ’round to these nightclubs and listen to all this stuff. We had the strangest week, and really came away with nothing, except a lot of ridiculous stories. We went back, talked to Lionel, and then he wrote ‘From Russia with Love.”


The soundtrack’s original recordings are thought to be lost and did not appear when the Bond soundtrack albums were issued in remastered form on CD. The album is different from the film with the album’s recording of the main titles sounding slower and not featuring the organ played by Alan Haven. Several tracks on the album do not appear in the completed film. The album was the last of the Bond soundtrack albums to feature more than the usual six tracks per record side.


The soundtrack album reached No. 28 on the Variety charts in March 1964 with the title song becoming Unart Music’s most recorded song. Other cover versions of the “James Bond Theme” were also released to coincide with the film. Barry also released different cover versions of the title song and “007” on his Ember records for the pop charts. The Roland Shaw Orchestra performed cover versions of most of the music of Barry’s soundtrack on several albums. (by wikipedia)

The cover images include Sean Connery as James Bond, and Daniela Bianchi.

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Unknown orchestra conducted by John Barry
Matt Monro (vocals)


01. James Bond Is Back – From Russia With Love – James Bond Theme (Bart/Norman) 2.26
02. Tania Meets Klebb (Barry) 1.31
03. Meeting In St. Sophia (Barry) 1.09
04. The Golden Horn (Barry) 2.25
05. Girl Trouble (Barry) 2.27
06. Bond Meets Tania (Bart) 1.20
07. 007 (Barry) 2.47
08. Gypsy Camp (Barry) 1.17
09. Death Of Grant (Barry)
10. From Russia With Love (Bart) 2.35
11. Spectre Island (Barry) 1.19
12. Guitar Lament (Barry) 1.12
13. Man Overboard – Smersh In Action (Barry) 2.19
14. James Bond With Bongos (Norman) 2.33
15. Stalking (Barry) 2.05
16. Leila Dances (Barry) 1.57
17. Death Of Kerim (Bart/Barry) 2.31
18. 007 Takes The Lektor (Barry) 3.03
19. Die Wolga ist weit (German version of “From Russia With Love” (Bart/Hertha) 2.27





Willie Nelson – Here’s Willie Nelson (1963)

FrontCover1Here’s Willie Nelson is the second studio album by country singer Willie Nelson.

After working as a disc jockey in Texas and Oregon, Nelson moved to Nashville in 1960 in hopes of making a living as a songwriter and recording artist. He found work writing compositions for Pamper Music and scored his first hit when Faron Young recorded “Hello Walls.” More hits followed, including Patsy Cline’s classic rendition of “Crazy,” but Nelson, who played bass on tour with Ray Price during this period, wanted to be a recording artist in his own right, and recorded his debut album, …And Then I Wrote for Liberty in 1962. He scored a Top 10 hit with “Touch Me,” but the LP was not a huge seller. Against his better judgement, Nelson would allow his songs to be heavily augmented when he returned to the studio, later admitting, “I didn’t argue. In those days, big productions like Johnny Cash’s ‘Ring of Fire’ were huge hits. So if it worked for Johnny, maybe it’d work for me. I went along with the program.”

After failing to deliver a hit for Liberty, Joe Allison, who produced Nelson’s debut, was replaced by Tommy Allsup, who would go on to produce twenty-six sides on the singer between December 1962 and November 1963. Some of those tracks found their way onto his second album, on which Nelson’s voice was complemented by a pronounced country and swing sound, although the tracks arranged by Ernie Freeman blatantly pushed him in a pop or jazz direction. Unlike his debut, Here’s Willie Nelson contains more cover songs, including two made famous by Bob Wills and the Texas Playboys, “Roly Poly” and “Right or Wrong.” Wills, one of Nelson’s idols, would also write the liner notes for the LP.


Nelson worked out several songs on his second album while touring with his wife Shirley Collie and steel guitarist Jimmy Day while playing shows as the trio The Offenders.  Nelson later expressed dissatisfaction with the recorded version of “Home Motel,” a song he described as “another study in despair,” and it was typical of the frustration that he would feel regarding the tepid sound of his albums in the decade ahead:

It was a thrill to play the song live. Jimmy Day had his steel guitar weeping just enough, and Shirley added just a touch of harmony, and I got to sing my blues the way the blues should be sung: no frills. Yet when I brought the song into the Liberty studios, the producers felt compelled to put on the frills. “Aren’t you worried you’re burying the soul of the song?” I asked. “More worried about the song not selling,” was the usual answer.


In his 2015 memoir, Willie admitted that “Half a Man” was “one of my stranger songs. It’s about a guy who considers what it would be like, in the name of lost love, to start losing body parts…This wasn’t exactly a song that made you want to dance.” The song was released as a single but only made it to number 25, with Allsup recalling, “Half the country stations wouldn’t play ‘Half a Man’ because they thought it was morbid.” Years later Nelson would record the song as two different duets with Merle Haggard and George Jones. (by  wikipedia)


Willie Nelson (guitar, vocals)
a bunch of unknown studio musicians (arranged by Ernie Freeman &  Jimmy Day)


01. Roly Poly (Rose) 1.52
02. Half A Man (Nelson) 2.27
03. Lonely Little Mansion (Nelson) 2.26
04. The Last Letter (Griffin) 2.58
05. Second Fiddle (Miller) 2.24
06. Take My Word (Nelson) 1.50
07. Right Or Wrong (Gillespie/Sizemore/Biese) 2:10
08. Feed It A Memory (Cochran/Tubb) 2.35
09. Let Me Talk To You (Dill/Davis) 2.21
10. Way You See Me (Nelson) 2.58
11. Things I Might Have Been (Robert Sherman/Richard M. Sherman) 2.21
12. Home Motel (Nelson) 2.26



The Searchers – Sugar And Spice (1963)

FrontCover1Originally founded as a skiffle group in Liverpool in 1959 by John McNally and Mike Pender (Mike Prendergast), the band took their name from the classic 1956 John Wayne western The Searchers. Prendergast claims that the name was his idea, but McNally ascribes it to ‘Big Ron’ Woodbridge, their first lead singer. The issue remains unresolved.

The band grew out of an earlier skiffle group formed by McNally, with his friends Brian Dolan (guitar) and Tony West (bass). When the other two members lost interst McNally was joined by his guitarist neighbour Mike Prendergast. They soon recruited Tony Jackson with his home-made bass guitar and amplifier and styled themselves Tony and the Searchers with Joe Kelly on drums. Kelly soon left to be replaced by Norman McGarry and it is this line-up—McNally, Pender (as he soon became known), Jackson and McGarry—that is usually cited as the original foursome.


McGarry did not stay long, however, and in 1960 his place was taken by Chris Crummey (who later changed his name to Curtis). Later that year Big Ron had a successful audition with Mecca and became a ballroom singer. He was replaced by Billy Beck, who changed his name to Johnny Sandon. The band had regular bookings at Liverpool’s Iron Door Club as Johnny Sandon and the Searchers.

Sandon left the band in late 1961 to join The Remo Four in February 1962. The group settled into a quartet sharing the vocal lead and billed simply as The Searchers. They continued to play at the Iron Door, The Cavern, and other Liverpool clubs. Like many similar acts they would do as many as three shows at different venues in one night. They negotiated a contract with the Star-Club in the St. Pauli district Hamburg for 128 days, with three one-hour performances a night, starting in July 1962.


The band returned to a residence, at the Iron Door Club and it was there that they tape recorded the sessions that led to a recording contract with Pye Records with Tony Hatch as producer.

Hatch played piano on some recordings and wrote “Sugar and Spice”—the band’s second number one record—under the pseudonym Fred Nightingale; a secret he kept from the band at the time.

After scoring their monumental hit “Needles and Pins”, bassist Tony Jackson went solo and was replaced by Hamburg pal Frank Allen of Cliff Bennett and the Rebel Rousers.

Chris Curtis left the band in 1966 and was replaced by the Needles and Pins-influenced John Blunt, who in turn was replaced by Billy Adamson in 1970.


As musical styles evolved, the Searchers could not keep up and as a result, the hits ran out and while they continued to record for Liberty Records and RCA Records, ended up on the British “Chicken in a Basket” circuit although they did score a minor US hit in 1971 with “Desdemona”.

The group continued to tour through the 1970s and were rewarded in 1979 when Sire Records signed the band to a multi-record deal. Two albums were released by them, The Searchers and Play for Today (retitled Love’s Melodies outside the UK). Both records garnered great critical acclaim but did not break into the charts. They did however revitalize the group’s career. According to John McNally, the band were ready to head into the studio to record a third album for Sire when they were informed that due to label reorganization, their contract had been dropped.


In 1981, the band signed to PRT Records (formerly Pye, their original label) and began recording an album but only one single, “I Don’t Want To Be The One” backed with “Hollywood”, saw the light of day at that time. The rest of the tracks would be released as part of 2004’s 40th Anniversary collection.

Soon after the PRT release, Mike Pender left the group amidst great acrimony and now tours as Hollywood. McNally and Allan recruited former First Class vocalist Spencer James to fill Pender’s shoes.

In 1988, Coconut Records signed The Searchers and the album Hungry Hearts was the result. A very contemporary sounding release, it featured modern sounding remakes of “Needles and Pins” and “Sweets For My Sweets”. While the album was not a major hit, it did keep the group in the public eye.

The band continues to tour with Eddie Rothe replacing Adamson on drums and is considered to be one of the most popular 1960s bands on the UK concert circuit. (by wikipedia)


Sugar and Spice is a 1963 album (their second one) by British rock band, The Searchers. This album features the band’s second single released, “Sugar and Spice”, the title track:

“Sugar and Spice” is a 1963 song by Merseybeat band The Searchers written by Tony Hatch under the pseudonym Fred Nightingale. It made number two on the UK charts (on Pye) and number 44 in the USA charts.

The composer and producer of “Sugar and Spice”: Tony Hatch, had produced the precedent Searchers’ single: a cover of the Drifters’ “Sweets for My Sweet” which had afforded the Searchers a #1 UK hit. Hatch, having written “Sugar and Spice” on the template of “Sweets for My Sweet”, pitched his original song to the Searchers as the work of an as-yet unknown songwriter named Fred Nightingale, as Hatch felt the group might be dismissive of the song if they knew it to be their producer’s work.


The first line of the chorus “Sugar and spice and all things nice” references the nursery rhyme What Are Little Girls Made Of?, while the second line of the chorus is the title of the well-known Pete Seeger/ Lee Hays composition “Kisses Sweeter than Wine”.

The Searchers recorded a German rendering of the song entitled “Süß ist sie”, and also the French rendering “C’est De Notre Age” , released in both countries by French Record Label, Disques Vogue. (by wikipedia)

Enjoy the power and energy  … here´s a classic album from the very early British Beat era !


Chris Curtis (drums, vocals)
Tony Jackson (bass, vocals)
John McNally (guitar, vocals
Mike Pender (guitar, vocals)


01. Sugar And Spice (Nightingale) 2.17
02. Don’t You Know (Box/Hall) 2.03
03. Some Other Guy (Leiber/Stoller) 2.09
04. One Of These Days (Magill/Hawkins) 2.17
05. Listen To Me (Hardin/Petty) 2.13
06. Unhappy Girls (Burch/Wilkin) 2.39
07. Ain’t That Just Like Me (Guy/Carroll) 2.25
08. Oh My Lover (Mack) 2.24
09. Saints And Searchers (When The Saints Goes Marchin´ In) (Traditional) 3.17
10. Cherry Stones (Jerome) 2.32
11. All My Sorrows (Yarborough) 3.26
12. Hungry For Love (Mills) 2.23




(1938 – 2003)

(1941 – 2005)


Manfred Mann -The Manfred Mann Album (1964)

FrontCover1.jpgThe Manfred Mann Album is the debut American studio album by Manfred Mann, released in September 1964 on Ascot Records. It contains the hit single “Do Wah Diddy Diddy”, as well as covers of well-known R&B hits such as “Smokestack Lightning” by Howlin’ Wolf, “I’m Your Hoochie Coochie Man” by Muddy Waters, and “Down the Road Apiece” by Will Bradley. Modern reviews of the album are generally positive and consider The Manfred Mann Album an important piece during the heydey of the British Invasion.

The twelve tracks on the record include the group’s hit single “Do Wah Diddy Diddy”, which reached No. 1 on the Billboard Hot 100 chart, while the rest reflect on their love of R&B, including cover versions of Howlin’ Wolf’s “Smokestack Lightning”, Muddy Waters’ “Got My Mojo Working”, and Bo Diddley’s “Bring It to Jerome”. The album includes the Cannonball Adderley song “Sack O’ Woe”.

Eleven of the twelve tracks were taken from Manfred Mann’s debut British release, The Five Faces of Manfred Mann.

All of the songs were recorded 17 December 1963 – 22 June 1964 at EMI Studios, London, England. (by wikipedia)


Manfred Mann’s debut full-length U.S. platter was probably their strongest, and indeed one of the stronger British Invasion albums of the very competitive year of 1964. Besides the smash “Do Wah Diddy Diddy,” it contained a number of fine soul and R&B covers. Standouts were the versions of “Untie Me” and Ike & Tina Turner’s “It’s Gonna Work Out Fine,” as well as the strong pounding Paul Jones original, “Without You.” (by Richie Unterberger)

A real strong album from the very early days of British Beat and R & B !!!


Tom McGuinness (bass, background vocals)
Mike Hugg (drums, percussion, vibraphone)
Paul Jones (vocals, harmonica)
Manfred Mann (keyboards, background vocals)
Mike Vickers (guitar, saxophone, flute, background vocals)
Dave Richmond (bass on 12.)

01. Do Wah Diddy Diddy (Greenwich/Barry) 2.24
02. Don’t Ask Me What I Say (Jones) 2.56
03. Sack O’ Woe (Arderley) 2.07
04. What You Gonna Do? (Jones/Mann) 2.34
05. I’m Your Hoochie Coochie Man (Dixon) 3.17
06. Smokestack Lightning (Burnett) 3.31
07. Got My Mojo Working (Morganfield) 3.10
08. It’s Gonna Work Out Fine (McCoy/McKinney/Seneca/Lee) 2.33
09. Down The Road Apiece (Raye) 2.24
10. Untie Me (South) 3.34
11. Bring It To Jerome (Greene) 3.24
12. Without You (Jones) 2.17



Beach Boys – Little Deuce Coupe (1963)

FrontCover1.jpgLittle Deuce Coupe is the fourth album by American rock band the Beach Boys, and their third album release in 1963. It reached number four in the United States during a 46-week chart stay, and was eventually certified platinum by the RIAA. It is considered to be one of the earliest examples of a rock concept album.

The album was released three weeks after Surfer Girl. Four of the tracks from Little Deuce Coupe (“Shut Down”, “409”, “Our Car Club” and “Little Deuce Coupe”) had already appeared on previous albums, and discounting an alternate recording of “Be True to Your School”, no tracks from the album were issued as an A-sided single.

In the summer of 1963, Capitol Records compiled a “hot rod” compilation album called Shut Down, including the Beach Boys’ song of the same name and “409”—without their approval or involvement. Brian Wilson promptly readied several songs he had already been working on (mainly with radio DJ Roger Christian) and the band hastily went through recording sessions to put Little Deuce Coupe on the record shop racks, remarkably, one month after Surfer Girl had come out. Eight of the tracks were new, while “Little Deuce Coupe”, “Our Car Club”, “Shut Down” and “409” had all come out on one of their previous three albums.

BeachBoys1963.jpgAlthough Nick Venet was listed as producer for “Shut Down” and Murry Wilson for “409”, the official producer’s credit for the entire Little Deuce Coupe album cites only Brian Wilson. Despite the rushed nature of the album’s sessions, Brian Wilson’s song arrangements were notably becoming more complex, specifically songs like “No-Go Showboat” and “Custom Machine”. After its recording, Brian Wilson re-recorded “Be True to Your School” for single release, resulting in another top 10 hit. An original Christmas-themed composition, “Little Saint Nick” was also recorded, produced and issued as a Christmas single.[citation needed]

This was the last Beach Boys album to officially include rhythm guitarist David Marks until 2012’s That’s Why God Made the Radio. Original member Al Jardine made his permanent return preceding this album’s sessions, and Marks departed shortly thereafter.[citation needed]

As with the preceding Surfer Girl album, the date assigned for recording all eight of the new tracks (September 2, 1963) is highly doubtful. However, as no AFM contracts from these sessions are known to exist, the actual dates are currently unknown.

A Deuce Coupe is a 1932 Ford Coupe (deuce being for the year). This was considered by many to be the definitive “hot rod”. The Model B had four cylinders and the Model 18 featured the Ford flathead V8 engine when the car was introduced. A pink slip (mentioned in the lyrics) was the title to the car, named for the color of the paper then used in California

The picture featured on the front cover of the album was supplied by Hot Rod magazine, and features the body (with his head cropped in the photo) of hod-rod owner Clarence ‘Chili’ Catallo and his own customized three-window 1932 Ford Coupe – known to hot rod enthusiasts as “the lil’ deuce coupe”. (by wikipedia)


Little Deuce Coupe was a concept album of sorts, in that most of the songs had something to do with cars and hot rod culture. That’s a pretty thin train of thought to sustain for most of a record. What’s worse, by the Beach Boys’ own standards of hot rod tunes, most of the tracks are pretty trite and unimaginative, rating among their worst early material. Not only that, the three best cuts — “Little Deuce Coupe,” “409,” and “Shut Down” — had already been issued on LP. The most noteworthy of the other tracks was the Top Ten hit “Be True to Your School,” whose fine tune and arrangement are marred by sappy lyrics of faith and loyalty to one’s high school. (The album version, oddly, is different from the superior single, which had the Honeys adding female cheerleader chants.) “Spirit of America” and “A Young Man Is Gone” (a James Dean tribute with Four Freshmen-style vocals) are moderately interesting numbers, but on the whole this is probably the worst early Beach Boys album, with the possible exception of Surfin’ Safari (and their 1964 Christmas LP, which doesn’t really count). (by Richie Unterberger)


Al Jardine (bass, background vocals)
Mike Love (vocals; saxophone)
David Marks (guitar, background vocals)
Brian Wilson (vocals, piano, bass)
Carl Wilson (guitar, background vocals)
Dennis Wilson (drums, background vocals)


01. I Get Around (Single 1964) (B.Wilson/Love) 2.16
02. Little Deuce Coupe (B.Wilson/Christian) 1.42
03. Shut Down (B.Wilson/Christian) 1.52
04. Ballad Of Ole’ Betsy (B.Wilson/Christian) 2.17
05. Be True To Your School (B. Wilson/Love) 2.10
06. Car Crazy Cutie (B.Wilson/Christian) 2.51
07. Cherry, Cherry Coupe (B.Wilson/Christian) 1.52
08. 409 (B. Wilson/Usher/Love) 2.00
09. Spirit Of America (B.Wilson/Christian) 2.25
10. No-Go Showboat (B.Wilson/Christian) 1.57
11. A Young Man Is Gone (Troup) group 2.18
12. Custom Machine (B. Wilson/Love) 1.42
13. Our Car Club (B. Wilson/Love) Love with B. Wilson 2.23




Julian Bream – Popular Classics For Spanish Guitar (1964)

FrontCover1.jpgThe mastery of guitarist Julian Bream is perhaps at its best in Spanish music, and this legendary recording – featuring some of the most popular works ever written for the guitar.

This recording of remains one of the most gorgeous classical guitar recordings of all time. It was brilliant 50+ years ago and you will thrill at this landmark recording!

Julian Bream was the most recorded guitar master of his era (if one were to pass on Decca’s over-processed Segovia LP’s) and the selection of pieces is impeccable. (by L. Solomon)

English guitarist Julian Bream has retired from the concert stage. But in his day, he was perhaps the greatest concert guitarist of the 20th century. This album captures the 29 year old artist in his prime, playing with a passion and flair that no one has surpassed. These recordings reminds us of how, in the right hands, the guitar has a voice that no other instrument can match. Too often today the guitar is played as though it’s a second rate piano, eschewing the supple shaping of sound for which stringed instruments are uniquely suited. Bream in this recording will have none of this. His approach is unabashedly sensual and prismatic.

While other recordings can claim more historical significance—for example, those that premiere important new works—none before or since has better showcased guitar playing at its absolute best. (by Tom Poore)


Julian Bream (guitar)


01. Chôros No.1 (Villa-Lobos) 4.54
02. Etude In E Minor (Villa-Lobos) 4.10
03. Madroños (Torroba) 3.01
04. Homenaje A Tárrega, Op. 69: Garrotín (Turina) 2.10
05. Homenaje A Tárrega, Op. 69: Soleares (Turina) 2.00
06. Prelude In E Minor (Villa-Lobos) 3.12
07. Suite Española, Op. 47: Granada (Albéniz) 5.21
08. Suite Española, Op. 47: Leyenda (Asturias) (Albéniz) 5.57
09. Homenaje (Pour Le Tombeau De Debussy) (de Falla) 4.15
10. Canciones Populares Catalanas: El Testament D’Amelia (Traditional) 2.13
11. Fandanguillo (Turina) 5.14