Orriel Smith – A Voice In The Wind (1964)

FrontCover1.jpgOrriel Smith has led one of the more extraordinary careers of any vocalist since her emergence at the end of the 1950s. By training and inclination, she was an operatic singer, surrounded by the music from her earliest memories and imitating the coloratura arias that she heard — among the earliest pieces that she mastered, while still a child, was The Bell Song from Lakmé. Her studies, plus the travels of her mother (an established singer), carried her to Italy and the Milan Conservatory, where she took up studying piano and violin, and the La Scala Ballet Company School. Her mother’s work at Paramount Pictures later took her to Hollywood, where Smith began an acting career on television. It was after hearing Jean Ritchie perform at the Arrowbear Music Camp that she became enamored of Appalachian folk songs, and took up the guitar so that she could accompany herself in this newly discovered repertory. As a model for her own work, she turned to Joan Baez, who was then a new and emerging star on the folk scene — by her own account, she learned to play the guitar by slowing Baez’s records to 16 rpm and painstakingly capturing every note on her own guitar, tuned down for the purpose.

OrrielSmith1962ASmith later moved to New York to study singing and began spending time at the folk clubs that abounded in the early ’60s, and was soon singing in them. Her extraordinary range attracted the attention of a manager who, after a meeting in his office, got her booked onto The Tonight Show. This, in turn, led to her being signed to Columbia Records, where she recorded the album A Voice in the Wind in 1963 with producer Bobby Scott. By 1964, she’d appeared on Hootenanny and other television folk venues and was getting major club bookings, albeit mostly as an opening act, around the country. Smith later joined the Jimmy Joyce Singers, who were a fixture on various CBS network variety programs. Since then, Smith has performed solo and worked in film and television, and she also wrote “Lifetime Woman,” a song recorded by David Frizzell. She has also been a member of the Ray Conniff Singers and worked with Dolly Parton. She is still recording at the outset of the 21st century, most notably her highly “stylized” operatic showcase for children, Cluckoratura. (by Bruce Eder)


Orriel Smith was one of numerous young women folksingers with high, pure voices who had the opportunity to record in the early ’60s in the wake of Joan Baez’s rise to stardom. Although it was issued on a major label, Columbia, A Voice in the Wind nonetheless remains quite obscure. Both the repertoire of traditional folk ballads and delivery may well recall early Baez to many listeners, as well as some other singers of the period like Carolyn Hester, though Smith may have a yet higher voice and slightly more operatic manner. Even for a folk album of the period, the production is sparse and dominated by her own acoustic guitar, Walter Raim helping with the accompaniment (as he did for another, more memorable folk LP recorded around the same time, Judy Collins 3). “When I Was Single,” “Geordie,” “Black Is the Color,” and Ewan MacColl’s classic “The First Time Ever I Saw Your Face” are among the more familiar songs included on this recording, produced by “A Taste of Honey” co-writer Bobby Scott. (by Richie Unterberger)


Orriel Smith in her own words:
My first album was 1963. The Producer assigned to my project was Bobby Scott, who wrote “A Taste of Honey”. There I was with my classical voice and folksy guitar facing a great jazz composer. Gulp. What on earth would he decide for me to sing? Turns out he was quite a lover of Irish and English music and was delighted to recall some of his favorites through me. Those were the days! When you could walk in to Columbia Records A&R man’s office and have a live in-person audition.My first album was 1963. The Producer assigned to my project was Bobby Scott, who wrote “A Taste of Honey”. There I was with my classical voice and folksy guitar facing a great jazz composer. Gulp. What on earth would he decide for me to sing? Turns out he was quite a lover of Irish and English music and was delighted to recall some of his favorites through me. Those were the days! When you could walk in to Columbia Records A&R man’s office and have a live in-person audition.


Orriel Smith (vocals, guitar)


01. The Deceived Girl (Raim) 4,21
02. Down By The Glenside (Kearnay/Ryan) 2.52
03. When I Was Single (Traditional) 1.46
04. Over The Hills (Raim) 2.34
05. Been On This Train (Raim) 2.32
06. White Curtains (Resnick) 2.29
07. Black Is The Color (Traditional) 2.50
08. Chilly Winds (Traditional) 2.37
09. Take My Mother Home (Johnson) 4.02
10. Geordie (Owen) 2.59
11. The First Time Ever I Saw Your Face (MacColl) 3.53
12. Red Rosy Bush (‘Traditional) 2.31




Georgie Fame And The Blue Flames – Rhythm & Blues At The Flamingo (1964)

LPFrontCover1.jpgRhythm and Blues at the Flamingo is a live rhythm and blues album recorded by Georgie Fame and the Blue Flames at the Flamingo Club in September 1963 and released by Columbia Records in 1964. It was the first album on which Fame appeared.

In the early 1960s Georgie Fame and the Blue Flames were resident at a number of London clubs including The Flamingo  and the club’s manager Rik Gunnell managed the group. On this recording Gunnell’s younger brother Johnny can be heard announcing the songs over the noisy club clientele.
The album was produced by Ian Samwell, engineered by Glyn Johns and released on the Columbia label (Columbia 33SX 1599). It failed to chart and the single “Do The Dog”, taken from the album and released in the same year, was also commercially unsuccessful.
The vinyl album was re-issued in 1984 with cover notes by Johnny Gunnell. Gunnell noted: “To Do The Dog involves distinctly sensuous body movements and even the most cooly suburban members of the audience could not fail to be moved to an almost jungle like frenzy.” (by wikipedia)


Besides the original ten track album with tracks from the Flamingo Club, thirteen extra tracks have been added to make a good album even better. The original album was recorded in ’64 and the extra tracks are all from that same year which really shows Fame’s style in his early days. This music is hip, swinging, and just plane cool sounding–redolent of it’s time period in Britain.

If the early days of British music interest you this album is something you should consider adding to your shelf. Fame (real name Clive Powell) had a bluesy, yet smooth, understated style of singing while his Hammond organ playing was obviously influenced by American players. And the band (on the Flamingo tracks) includes baritone sax, tenor sax, electric guitar, bass, drums, and congas besides Fame’s organ. The extra tracks from different venues have a similar size band with the same sound. Fame was influenced (among others) by Mose Allison and you can hear that style on this album.

As a long time fan of this era of British music this album is part of the foundation of all the music that came afterwards. It’s a good example of what hip young people, U.S.servicemen stationed in Britain, and others were grooving to back in the mid ’60s. There’s a feeling of excitement and change as Fame (and others) explored and assimilated different styles into their own sound.  (by Stuart Jefferson)

And here´s a sort of collector´s edition with lots of early singles and partly previously unreleased tracks.

And this is sensational good album from the very early days of British R & B !


Michael Eve (saxophone)
Georgie Fame (vocals, organ)
Johnny Marshall (saxophone)
Red Reece (drums)
Boots Slade (bass)
Big Jim Sullivan (guitar)
Tommy Thomas (percussion)


01. Night Train (Forrest/Simpkins/Washington) 4.28
02. Let The Good Times Roll (Moore/Theard) 2.57
03. Do The Dog (Thomas) 3.24
04. Eso Beso (J. Sherman/N. Sherman) 2.44
05. Work Song (Allison) 2.50
06. Parchman Farm (Allison) 3.06
07. You Can’t Sit Down (Muldrow/Clark/Upchurch) 5.04
08. Humpty Dumpty (Morris) 3.19
09. Shop Around (Gordy/Robinson) 3.50
10. Baby, Please Don’t Go (Williamson) 3.10
11. Baby Baby (Don’t You Worry) (Gale) 2.25
12. Prince Of Fools (Gale) 1.52
13.  J. A. Blues (Fame) 2.16
14. Orange Street (Fame) 2.11
15.  Stop Right Here (Rabersa) 2.52
16. Rick’s Tune (unknown) 2.58
17. Parker’s Mood (live) (Jefferson) 4.37
18. Money (That’s What I Want) (live) (Gordy/Bradford) 2.21
19. Money (That’s What I Want) (studio) (Gordy/Bradford) 2.04
20. Do-Re-Mi (King) 2.12
21. Bend A Little (Jay/Obrecht) 2.16
22. I’m In Love With You (Barett) 2.39




Ballet Folklorico de Mexico – Same (1963)

FrontCover1Amalia Hernández Navarro (September 19, 1917 – November 5, 2000) was a Mexican ballet choreographer and founder of the world-renowned Ballet Folklórico de México.

Hernández was born to the military officer and politician Lamberto Hernández and his wife Amalia Navarro.

She was a pioneer in developing Baile Folklorico, and in 1952, Hernández founded the Mexican Folkloric Ballet with only 8 dancers. By 1959, the ensemble had grown to 60 performers. It was commissioned to represent Mexico at the Pan American Games in Chicago, Illinois, in 1959. Navarro created over 60 choreographies in her lifetime.

Since 1960, Hernández’s Ballet Folklórico de México has performed without interruption Sunday mornings and Wednesday evenings at the Palace of Fine Arts in Mexico City.

Additionally, she founded the Folkloric Ballet School in Mexico City. Her brother, architect Agustín Hernández Navarro, designed the building in 1968.

Born in Mexico City on September 19, 1917, Amalia Hernández grew up in a wealthy home as her father was a prominent businessman with military and political involvement. She has been known to credit her mother for her interest in the arts, explaining a childhood full of art, singing, and music lessons. Her parents encouraged her interest in dance, her father going so far as to build a studio in their home. Her father was quoted as saying, “… there is no other alternative but to accept the career Amalia was born to have”.

Amalia Hernández

At the age of 17, she entered the National School of Dance directed by Nellie Campobello, which marked the beginning of Amalia’s serious involvement in dance. After some conflicts with the director of the school, however, Hernández dropped out and consequently married, effectively putting her career on hold for a short while. Ultimately, the call of dance was too strong, for she began to work at the Fine Arts National Institute as a teacher and choreographer of modern dance.

She was unsatisfied and unfulfilled with her dancing, however, unable to connect with modern and European dance: “her cross-breed feeling, her contemporary mexicanism, vibrated with the half-breed’s resonance, already defined and on the surface of the colorful México.”[5] She turned to traditional, cultural dances of Mexico, and thus began her involvement with baile folklorico.

Hernández died on November 5, 2000 in Mexico City, aged 83.


Hernández founded the dance company Ballet Folklórico de México in 1952, choosing to branch out with her experience and follow her own specific creative path. The group was small, consisting of only eight members in the beginning, and for their debut, Hernández presented the now-famous Melodies of Michoacan. In 1954, the chance to perform on television presented itself in the form of the Funcion de Gala program.

This is when the momentum began to truly pick up, the group performing a new dance every weekly broadcast. Success was garnered, and Hernández not only became director; the group expanded to twenty members by the end of the 67 episode run. With that small amount of success came recognition, and Hernández’s company gained the attention of the department of tourism. The government endorsed her group, aiding her in touring North America in representation of Mexico, the results absolutely positive. By 1959, the group had grown to sixty members and was commissioned to participate in the Pan American Games in Chicago on behalf of Mexico.Being catapulted onto the national stage, Hernández and the company only worked harder, creating 40 different dances in the 1960s alone. Following from there, her prominence as a cultural icon was only cemented further, as she went to choreograph about 70 dances, with performances around the world. In fact, the company has “performed more than 15,000 times for a total audience number of more than 22 million people”, one of those performances being for John F. Kennedy during his presidency.


Original labels from 1963

Hernández was always vocal about her love for her native Mexico, but she was careful to place significance upon Mesoamerican cultures, highlighting them when possible through her dancing. Her goal was to convey the diversity of Mexico, while also exploring pre-Columbian culture and traditions. She became a symbol for Mexicanidad, her pursuit of indigenous inclusionary dance an indication of her dedication to the presentation of a realistic Mexican identity (i.e. not only Western-influenced).

Hernández’s love of indigeneity has also cemented the indigenous image of Mexico around the world, a direct result of the company’s world-wide presence. This has helped recognize the unique Mexican culture, as well as promote a sense of national pride in regards to folklorico dancing. Additionally, she did not shy away from regional differences, her dances focusing on specific geographical areas and cultural areas in Mexico in order to provide a diverse outlook of Mexico. For example, her most famous dances (Melodies of Michoacan, Deer Dance, Jalisco, Fandangos) all spotlight certain areas of Mexico, along with their cultural traditions.


On September 19, 2017, a Google Doodle was released to honor Hernández’s 100th birthday (by wikipedia)

And here´s the first album of Ballet Folklorico de Mexico.

Sweet memories by Karen E. Brown

When I was an adolescent in the 60’s I was lucky enough to see the Ballet Folklorico De Mexico perform live in Mexico City. After the performance I was able to purchase this 1963 LP album featuring the music from the dances I had just seen. I especially liked the music from the deer dance, the Mexican hat dance, and the wedding dance. In fact movie soundtrack composer, Carter Burwell incorporated the theme from the wedding dance as background music for the remake of “The Alamo”. A while back I purchased the current 1995 CD of the Ballet Folklorico De Mexico only to be terribly disappointed! I give anything if this 1963 LP album could be made available on CD!

A real great album … and believe me: sometimes the songs sound like Irish fiddles tunes (“Sonaja”) … !



Los Dioses:
01 Danza De Los Cuatro Puntos Cardinales (Traditional) 1.45
02. Danza Xochipilli (Traditional) 0.46
03. Konex Konex (Traditional) 0.51

04. Sonaja 2.17
05. Jarabe 3.00

06. Jesusita En Chihuahua (Mendoza) 3.21
07. La Adelita (Traditional) 2.54

La Huesteca:
08. La Huazanga (Ramírez) 2.54

Los Tarascos:
09. Malva Rosita (Traditional) 0.35
10. Danza De Los Viejitos (Traditional) 2.46

Fiesta En Veracruz:
11. Zapateado Veracruzano (Traditional) 1.58
12. La Bamba (Traditional) 1.26

13. Danza De Los Quetzales (Traditional) 1.54

Boda En Tehuantepec:
14. La Zandunga (Traditional) 1.34

15. Los Sonajeros De Tuxpan (Traditional) 1.35

Zafra En Tamaulipas:
16. Las Chaparreras (Traditional) 2.56
17. Corre Corre Caballito (Traditional) 2.05

18. Danza Del Venado (Traditional) 2.03

19. La Negra (Vargas/Fuentes) + Jarabe Tapatío (Partichela) 2.41



Still alive and well till today:


Ruth Brown – Gospel Time (1963)

FrontCover1.jpgRuth Alston Brown (née Weston, January 12, 1928 – November 17, 2006) was an American singer-songwriter and actress, sometimes known as the “Queen of R&B”. She was noted for bringing a pop music style to R&B music in a series of hit songs for Atlantic Records in the 1950s, such as “So Long”, “Teardrops from My Eyes” and “(Mama) He Treats Your Daughter Mean”. For these contributions, Atlantic became known as “the house that Ruth built” (alluding to the popular nickname for the old Yankee Stadium).

Following a resurgence that began in the mid-1970s and peaked in the 1980s, Brown used her influence to press for musicians’ rights regarding royalties and contracts; these efforts led to the founding of the Rhythm and Blues Foundation. Her performances in the Broadway musical Black and Blue earned Brown a Tony Award, and the original cast recording won a Grammy Award. (by wikipedia)

Gospel Time, Ruth Brown’s first and only gospel album, was recorded in 1963 in Nashville under Shelby Singleton’s direction, using country musicians. Ray Stevens of “Ahab the Arab” fame plays organ. Vocal backgrounds are by the Milestone Singers. The most impressive cuts are “Closer Walk With Thee,” with soulful guitar licks from Jerry Kennedy and Harold Bradley; “Peace in the Valley,” with nice piano triplets by Harold “Pig” Robbins; the beautiful “Walk With Me”; and a fabulous version of “Milky White Way.” Brown even tries her hand at preaching in a rocking version of “Morning Train.” This is a surprisingly fine album. (by Opal Nations)


Harold Bradley (guitar)
Ruth Brown (vocals)
Buddy Harmon (drums)
Jerry Kennedy (guitar)
Bob Moore (bass)
Hargus “Pig” Robbins (piano)
Ray Stevens (organ)
The Milestone Singers (background vocals)


01. Morning Train (Traditional) 2.45
02. Satisfied (Carson) 2.44
02. Will The Circle Be Unbroken (Habershom/Gabriel) 3.24
04. Deep River (Traditional) 3.23
05. Milky White Way (Traditional) 3.39
06. He’s Got The Whole World In His Hands (Traditional) 2.36
07. Just A Closer Walk With Thee (Traditional) 4.33
08. I’ve Got Shoes (Traditional) 2.31
09. (There’ll Be) Peace In The Valley (For Me) (Dorsey) 3.20
10. Walk With Me Lord (Dargan) 2.37
11. Swing Low, Sweet Chariot (Traditional) 2.51




Ruth Alston Brown (née Weston, January 12, 1928 – November 17, 2006)

Wes Montgomery – Guitar On The Go (1963)

FrontCover1.jpgGuitar on the Go is the eleventh album by American jazz guitarist Wes Montgomery, released in 1963. It included tracks recorded in October and November 1963 as well as two from early 1959 sessions. It was Montgomery’s last principal release for Riverside and he subsequently moved to the Verve label.[1]Guitar on the Go is the eleventh album by American jazz guitarist Wes Montgomery, released in 1963. It included tracks recorded in October and November 1963 as well as two from early 1959 sessions. It was Montgomery’s last principal release for Riverside and he subsequently moved to the Verve label. (by wikipedia)

The final Riverside release of Wes Montgomery material (before the important label went completely bankrupt) was similar to his debut four years earlier: a trio with organist Melvin Rhyne and an obscure drummer (this time George Brown). In general, the music swings hard (particularly the two versions of “The Way You Look Tonight”), and is a worthy if not essential addition to Wes Montgomery’s discography. He would have a few straight-ahead dates for Verve, but this release was really the end of an era. (by Scott Yanow)

Wes Montgomery

George Brown (drums)
Wes Montgomery (guitar)
Melvin Rhyne (organ)
Paul Parker (drums on 04.)

01. The Way You Look Tonight (Kern/Fields) 9.08
02. Dreamsville (Evans/Livingston/Mancini) 3.48
03. Geno (Montgomery) 2.54
04. Missile Blues (Montgomery) 6.01
05. For All We Know (Coots/Lewis) 4.30
06. Fried Pies (Montgomery) 6.40


Henry Mancini – The Pink Panther (OST) (1963)

FrontCover1The Pink Panther, British comedy film, released in 1963, that was the first and arguably the best entry in the Pink Panther film series.

Bumbling French detective Jacques Clouseau (played by Peter Sellers) is assigned to prevent the notorious villain Phantom (David Niven) from stealing a world-famous jewel known as the Pink Panther, which belongs to a princess (Claudia Cardinale) who is on holiday at an Alpine resort. The film evokes a bygone era in which screen heroes were seemingly always dressed in tuxedos and able to produce a clever witticism or seductive line for every occasion. Though the film was a comedy, Sellers’s Clouseau was not yet the over-the-top character he would later become.

Fans familiar only with the subsequent entries in the Panther series may find this initial film relatively slow moving when compared with the slapstick farces that followed. However, the Inspector Clouseau character was never intended to inspire a series, and many critics have concluded that the sophistication of this film was never equaled in the sequels. Henry Mancini’s famous jazz theme song and the pink animated cartoon panther that opens and closes the movie are integral parts of cinematic history. The Pink Pather was directed by Blake Edwards, who helmed subsequent installments. (by www.britannica.com)


Everybody shoul know this great movie, and everyody shoul know the wonderful soundtrack, written by Henry Mancini:

The Pink Panther is another fine, early-’60s soundtrack from Henry Mancini. The title track became one of his most recognizable themes and kicks off a pleasant program of dreamy lounge cuts and Latin-tinged numbers. As he did on many other movie/TV albums (Touch of Evil, Peter Gunn, etc.), Mancini also includes some noirish, big band numbers, like “The Tiber Twist” and the main title.


Along with these up-tempo songs, he balances out the mostly light material with the solidly swinging mambos “The Village Inn,” “Something for Sellers” (as in Peter Sellers, the movies’ star), and “It Had Better Be Tonight” (co-written by frequent partner Johnny Mercer and something of a minor vocal hit upon its release). The program’s highlights, though, come from the kind of sublime (some might say cheesy) ballads he usually included on his soundtracks; the after-hours jazz tune “Royal Blue” stands out in particular, with its tasteful string arrangement and glowing trumpet solo. This is a great title for fans of Mancini’s lounge/soundtrack material, but those more into his jazz material should consider either his Peter Gunn or Combo soundtracks. (by Stephen Cook)


Henry Mancini Orchestra


01. The Pink Panther Theme 2:35
02. It Had Better Be Tonight (Meglio Stasera) (instrumental version) 1:44
03. Royal Blue 3:09
04. Champagne And Quail 2:45
05. The Village Inn 2:34
06. The Tiber Twist 2:47
07. It Had Better Be Tonight (Meglio Stasera) (vocal version) 1:56
08. Cortina 1:52
09. The Lonely Princess 2:25
10.Something For Sellers 2:45
11. Piano And Strings 2:34
12. Shades Of Sennett 1:22

Music composed by Henry Mancini
Lyriks written by Johnny Mercer (on 07.)




Blake Edwards (right) directing Peter Sellers in The Pink Panther (1963)

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

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

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

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


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

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


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

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


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


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


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