Aretha Franklin – Yeah!!! (1965)

FrontCover1Yeah!!! (or Aretha Franklin In Person With Her Quartet) is the eighth studio album by American singer Aretha Franklin, Released on May 17, 1965 by Columbia Records. Contrary to the overdubbed sounds of audience murmurs, the album was not a live album, but instead was recorded live at New York’s Columbia Studios and produced by Clyde Otis. This would be Franklin’s last collection of jazz recordings until the release of 1969’s Soul ’69, released during her landmark tenure at Atlantic Records. An expanded version of the album that also contains the original session tracks without audience overdubs has been released on CD in the Columbia Box Set Take A Look: Aretha Franklin Complete On Columbia. (by wikipedia)

This ‘live’ nightclub date with a jazz trio, revealed to be a faked on the Columbia compilations that have since come out, is nonetheless a great LP, maybe the best single Columbia LP from Aretha. John Hammond discovered her and just wanted great music, but the label couldn’t decide if she was a show tune singer, jazz or r&b and never figured out she was all of the above and deserved her own category. This is the most jazzy Aretha ever and if she’d wanted to concentrate on this one area of her talent, she would still be ruling it. Hopefully Columbia will issue the undoctored recordings complete some day soon. The clicking silverware and audience murmurs as if they were ignoring her are actually distracting on a couple of songs, which given that it was dubbed in are overkill besides being ridiculous. To this day, Columbia is mishandling her legacy there … Even faked, a great LP (John Ellison)

Aretha Franklin

Personnel:
Kenny Burrell (guitar)
Hindel Butts (drums)
Aretha Franklin (vocals, piano)
Teddy Harris (piano)
James Richardson (bass)

BackCover1

Tracklist:
01. This Could Be tThe Start Of Something (Allen) 1.31
02. Once In A Lifetime (Newley/Bricusse) 3.22
03. Misty (Garner/Burke) 3.37
04. More (Oliviero/Ortolani/Newell) 1.50
05. There Is No Greater Love (Jones/Symes) 4.41
06. Muddy Water (Richman/Trent/De Rose) 2.27
07. If I Had A Hammer (Hays/Seeger) 2.35
08. Impossible (Allen) 3.23
09. Today I Love Ev’rybody (Arlen/Fields) 3.26
10. Without The One You Love (Franklin) 3.34
11. Trouble In Mind (Jones) 2.54
12. Love For Sale (Porter) 2.39

LabelB1
*
**

 

Advertisements

The Kinks – The Kink Kontroversy (1965)

OriginalFrontCover1

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

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

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

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

TheKinks01

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

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

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

TheKinks02

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

OriginalBackCover

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

LabelA1
*
**

 

Quincy Jones – Plays (Songs) For Pussycats (1965)

FrontCover1An impresario in the broadest and most creative sense of the word, Quincy Jones’ career has encompassed the roles of composer, record producer, artist, film producer, arranger, conductor, instrumentalist, TV producer, record company executive, magazine founder, multi-media entrepreneur and humanitarian. As a master inventor of musical hybrids, he has shuffled pop, soul, hip-hop, jazz, classical, African and Brazilian music into many dazzling fusions, traversing virtually every medium, including records, live performance, movies and television.

Released in 1965, Quincy Plays for Pussycats is a bright, cheeky big-band album done in a more commercial pop style than previous Quincy Jones albums. Nonetheless, there’s plenty to enjoy here. From the hipster reworking of the Tom Jones hit “What’s New Pussycat?” to the buoyant lounge music version of “The Hucklebuck,” this is swinging ’60s jazz for the martini set. (by Matt Collar)

What a line-up: Kenny Burrell  – Gary Burton  – Jim Hall – Thad Jones – Roland Kirk – Lalo Schifrin – Zoot Sims – Toots Thielemans !!!

Alternate frontcover:

AlternateFrontCover

Personnel:
Patti Brown (piano)
Kenny Burrell (guitar)
Gary Burton (vibraphone)
Billy Byers (trombone)
Jimmy Cleveland (trombone)
Curtis Fuller (trombone)
Urbie Green (trombone)
Jim Hall (guitar)
Milt Hinton (bass)
Thad Jones (trumpet)
Roland Kirk (saxophone)
Melba Liston (trombone)
Oliver Nelson (saxophone)
Joe Newman (trumpet)
Jerome Richardson (saxophone, flute)
Ernie Royal (trumpet)
Lalo Schifrin (piano)
Zoot Sims (saxophone)
Toots Thielemans (harmonica)
Julius Watkins (flugelhorn)
Chris White (drums)
Kai Winding (trombone)
Phil Woods (saxophone)
Snooky Young (trumpet)

Arranged and conducted by Quincy Jones

BackCover

Tracklist:
01. What’s New Pussycat? (Bacharach/David) 2.45
02. A Taste Of Honey (Scott/Marlow) 2.37
03. Sermonette (Adderley) 2.51
04. A Walk In The Black Forest (Jankowski) 2.53
05. Mack The Knife (Weil) 2.34
06. Moon River (Mancini/Mercer) 2.34
07. Take Five (Desmond) 3.31
08. Gravy Waltz (Brown/Allen) 2.44
09. I Hear A Symphony (B.Holland/Dozier/E.Holland) 3.08
10. Mr. Lucky (Mancini/Livingston/Evans) 2.27
11. Cast Your Fate To The Wind (Guaraldi) 2.47

LabelA1
*
**

Quincy Jones 1965
Quincy Jones, 1965

The Pretty Things – Same (1965)

FrontCover1The Pretty Things is the self-titled 1965 release by The Pretty Things, which features mostly R&B and rock and roll cover versions.
The liner notes were written by Jimmy Duncan and Bryan Morrison.
The Pretty Things’ debut LP was a legendary exercise in anarchy — 30 minutes into the two days’ worth of sessions, their original producer, Jack Baverstock (the head of the label, no less), walked out, and was eventually replaced by a slightly more sympathetic personality in the hopes of salvaging something from the efforts of the band, who, whatever their shortcomings in decorum or sobriety, were on their third successive charting single. The resulting album, made under the coordination (if not control) of drummer-turned-producer Bobby Graham, made the early work of the Rolling Stones — rivals and one-time bandmates to the Pretty Things’ Dick Taylor — sound more like the work of the Beatles: very calculated, lightweight, and…genteel. The Pretty Things is recorded with practically every song and instrument pushing the needle into the red (i.e., overload). Normally, that would be a problem, except for the fact that a third of the repertory was written by Bo Diddley and most of the other two-thirds was inspired by him (even their version of Chuck Berry’s “Oh Baby Doll” sounds like it was lifted from the Two Great Guitars sessions where the two legends crossed swords) — and Bo spent most of his career with his amplifiers set on “11” in a world where ten was the max.

PrettyThings1965

“Roadrunner” is about as raw and loud as British rock & roll ever got up to that time, and it’s just the beginning — “Judgement Day” has a lead guitar buried somewhere in there, beneath rhythm instruments that sound like metal being ground up, and “13 Chester Street” is, strangely enough, an homage to the house the band once shared with the Stones’ Brian Jones; appropriately enough, it mixes the band’s crunchy rhythm guitar-centered sound with a Slim Harpo-style lead (all of the stuff that Jones was identified with musically), in a group “composition” that shimmers and pulses around Phil May’s dissolute vocals. “Big City” takes them back to Chess Records territory, from which they never stray — “Mama, Keep Your Big Mouth Shut” even sounds like a Chess outtake, what Leonard Chess would’ve said needed one more pass to get right (and he’d have been wrong). And just to show that there is some justice in the world,
PrettyThings1965_02
The Pretty Things did reach number ten on the U.K. charts, bewildering all of the more “professional” hands at Fontana Records by grabbing the ears of that harder, more intense part of the Stones’ larger audience and throwing them the sonic equivalent of raw meat to chew on. Phil May reveals himself as a fairly powerful singer, though lacking some of the charisma that Mick Jagger projected, but the group’s own raw power made for quirky appeal all of its own that would carry them for many years beyond this roaring start. And in the meantime, records like this would point the way not only toward the work of such American garage band icons as the MC5, but blast a path through the wilderness that the likes of Billy Childish and his band the Milkshakes and their successors would traverse. (by Bruce Eder)
PrettyThings1965_03
Personnel:
Phil May (vocals)
Brian Pendleton (guitar)
Viv Prince (drums)
Dick Taylor (guitar)
John Stax (bass)
+
Bobby Graham (drums)
BackCover1
Tracklist:
01. Road Runner(McDaniel) 3.12
02. Judgement Day (Morrison) 2.47
03. 13 Chester Street (May/Taylor/Pendleton/Stax/Prince) 2.22
04. Big City (Duncan/Klein) 2.02
05. Unknown Blues (May/Taylor/Pendleton/Stax/Prince) 3.48
06. Mama, Keep Your Big Mouth Shut (McDaniel) 3.04
07. Honey, I Need (Taylor/Warburton/Smith/Stirling) 2.00
08. Oh, Baby Doll (Berry) 3.01
09. She’s Fine, She’s Mine (McDaniel) 4.24
10. Don’t Lie To Me (Red) 3.53
11. The Moon Is Rising (Reed) 2.33
12. Pretty Thing (Dixon) 1.39
LabelA1

Sonny & Cher – Look At Us (I Got You Babe (1965)

lpfrontcover1

Sonny & Cher were an American pop music duo, actors, singers and entertainers made up of husband-and-wife Sonny and Cher Bono in the 1960s and 1970s. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector.
The pair first achieved fame with two hit songs in 1965, “Baby Don’t Go” and “I Got You Babe”. Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recording for an unsuccessful movie, Good Times. In 1972, after four years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label.
In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple’s career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher sold over 40 million records worldwide.
Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny’s death in a skiing accident.

sonnycher01Look at Us is the debut album by American pop duo Sonny & Cher, released in 1965 by Atco Records. The album reached number two on the Billboard 200 and was certified Gold for the sales of 500,000 copies.

The album has sold over 8 million copies worldwide.
Shortly after their single “I Got You Babe” had reached number 1 on both sides of the Atlantic, Sonny Bono quickly put together an album for himself and Cher to release in late 1965 to capitalize on its success. Much like the single, this album was also a hit, peaking at the number 2 position on the Billboard 200 for 8 weeks.[4] It also went top ten in the UK, reaching #7.[5] Other than “I Got You Babe”, the album contains the Billboard Hot 100 top 20 hit single “Just You” and the minor hit single “The Letter”, which peaked at #75.
The cover was designed by Haig Adishian and photographed by Robert W. Young. (by Wikipedia)
For their first album-length excursion in the wake of “I Got You Babe,” Sonny & Cher don’t tread too far outside the influence of Phil Spector, including covers of “Unchained Melody,” “Then He Kissed Me,” and “Why Don’t They Let Us Fall in Love,” of which the latter shows off the most appealing elements of each singers’ voice. “It’s Gonna Rain,” which Ahmet Ertegun favored over “I Got You Babe,” is a sub-Rascals attempt at white electric soul, while “500 Miles” is Spectorized folk-rock that Sonny carries for one verse and a chorus longer than he should have. . (by Bruce Eder)
alternatefrontcovers
Alternate frontcovers (from Australia)
Personnel:
Harold Battiste (piano)
Hal Blaine (drums)
Sonny Bono (vocals)
Frank Capp (drums)
Cher (vocals)
Monte Dunn (guitar)
Gene Estes (percussion)
Cliff Hills (bass)
Barney Kessel (guitar)
Steve Mann (guitar)
Donald Peake (guitar)
Don Randi (piano)
Lyle Ritz (bass)
Michel Rubini (harpsichord)
Brian Stone (percussion)

lpbackcover1

Tracklist:
01. I Got You Babe (Bono) 3.12
02. Unchained Melody (Zaret/North) 3.52
03. Then He Kissed Me (Spector/Greenwich/Jeff Barry) 2.56
04. Sing C’est la Vie (Bono/Green/Stone) 3.39
05. It’s Gonna Rain (Bono) 2.24
06. 500 Miles (West) 3.55
07. Just You (Bono) 3.36
08. The Letter (Harris/Terry) 2.09
09. Let It Be Me (Bécaud/Curtis/Delanoë) 2.25
10. You Don’t Love Me (McDaniels/Cobbs) 2.32
11. You’ve Really Got A Hold On Me (Robinson) 2.24
12. Why Don’t They Let Us Fall In Love (Spector/Greenwich/Barry) 2.29

    labelb1
sonnycher03

Aretha Franklin – A Bit Of Soul (Unreleased LP) (1965)

frontcover1A previously unreleased 1965 album from the great Aretha Franklin, first issued in 2011 as part of a three-vinyl package, The Electrifying Aretha Franklin, and 9CD box set, Take A Look: Aretha Franklin Complete On Columbia. The pre-Atlantic Aretha – signed to Columbia by John Hammond – turned out to be a tough sell to the masses, as Franklin was, first and foremost, a piano playing gospel singer. The label’s attempts to channel her immense talents into more pop-oriented commercial surrounds were artistically successful (since Aretha could do anything) but, as history would later inform us, the “Queen Of Soul” didn’t fully hit her sales stride until the late 60s on Atlantic. So this previously unissued album, recorded, sequenced, matrixed and ready to go as the follow-up to 1964’s Runnin’ Out Of Fools, is a mixed bag of lush, string-driven “pop” and a “bit” of smoldering soul. Ashford & Simpson are involved in two of the set’s more soulful numbers (“Cry Like A Baby” and “Take It Like You Give It”). But one listen to that soaring, crystalline voice, in any musical context, makes it obvious why both Columbia and Atlantic saw the same potential in Franklin… just waiting to be tapped. The original 11 track LP is bolstered by 3 bonus tracks and 8 mono mixes (and an outtake), and will probably send you scurrying for more of the early work you probably were never exposed to back in the day.

arethafranklin

Personnel:
Aretha Franklin (vocals)
+
a bunch of unknown studio musicians

bacjcover1

Tracklist:
01.Follow Your Heart (Hendricks/McCoy) 2.29
02. Only The One You Love (Snyder/Singelton) 2.29
03. One Step Ahead (Snyder/Singelton) 2.38
04. Can’t You Just See Me (Hendricks) 2.07
05. How To Murder Your Wife (Hefti/Mattes) 2.59
06. A Little Bit Of Soul (Bland/Mitchell/Wilkinson) 2.26
07. Cry Like A Baby (ArmsteadAshford/Simpson) 2.17
08. Her Little Heart Went To Loveland (Kaye/Springer) 2.37
09. Remember Me  (McCoy/Otis) 2.16
10. Land Of Dreams (Franklin/White) 2.18
11. Little Miss Raggedy Ann (White) 2.14

Bonus Tracks:
12. Deeper (Clivillés/Cole) 2.14
13. I Still Can’t Forget (Franklin) 2.56
14. Rose Of Washington Square (Hanley/McDonald) 2.40

Mono Mixes:
15. Take It Like You Give It (Franklin)  1.55
16. Follow Your Heart (Hendricks/McCoy) 2.27
17. Only The One You Love (Snyder/Singelton) 2.24
18. One Step Ahead (Snyder/Singelton) 2.28
19. How To Murder Your Wife (Hefti/Mattes) 2.50
20. A Little Bit Of Soul (ArmsteadAshford/Simpson) 2.20
21. Cry Like A Baby (Mono Mix) 2.07
22. Her Little Heart Went To Loveland  (Kaye/Springer) 2.35

cd

*
**

 

Various Artists – An Easy Christmas (2001)

frontcover1This is just a sampler, full with 20 old and classic christmas songs, performed by many stars in the easy listening style.
You can hear singers like Don McLean, David Bowie, Andy Williams, Nat King Cole, Doris Day, Perry Como and Al Green.

“This is my most favourite christmas album ever-I had to order a second copy as the first had a scratch on. I listen to it all the time. Not your average Christmas album!”(by miss r aughton)

“Great to listen to while wrapping presents” (by Zoe Bell)

And I guess, I will play this album (amongst others) on December 24, 2016 … Enjoy this romantic and sentimental sampler.

booklet01a

Tracklist:
01. Andy Williams: Most Wonderful Time Of Year (2001) (Pola/Wyle) 2.34
02. Nat King Cole: Christmas Song (1963) (Chestnuts Roasting On An Open Fire) (Tormé/Wells) 3.14
03. Eartha Kitt: Santa Baby (1953) (Javits/Springer) 3.26
04. Dean Martin: Let It Snow Let It Snow Let It Snow (1965) (Cahn/Styne) 1.58
05. Judy Garland: Have Yourself A Merry Little Christmas (1944) (Martin/Blane) 2.45
06. Harry Belafonte: Mary’s Boy Child (1957) (Hairston) 2.59
07. Bing Crosby: White Christmas (1954) (Berlin) 3.04
08. Al Green: Silent Night (1963) (Gruber/Mohr) 3.19
09. Crystal Gayle: Rudolph The Red Nose Reindeer (1996) (Marks) 2.57
10. Anne Murray: Snowbird (1978) (MacLellan) 2.11
11. Don McLean: Winter Wonderland (1991) (Bernard/Smith) 2.54
12. Charles Brown: Please Come Home For Christmas (Christmas Finds Me Oh So Sad) (1961) (Brown/Redd) 3.18
13. Doris Day: I’ll Be Home For Christmas (1964) (Gannon/Kent/Ram) 2.27
14. Andy Williams: Sleigh Ride (live) (2001) (Anderson) 2.22
15. Crystal Gayle: Silver Bells (1996) (Livingston/Evans) 4.09
16. Don McLean: Santa Claus Is Comin’ To Town (1991) (Coots/Gillespie) 3.06
17. Perry Como: God Rest Ye Merry Gentlemen (1959)(Traditional) 2.56
18. Al Green: What Christmas Means To Me (1963) (Story/Gaye/ Gordy) 3.44
19. Bing Crosby + David Bowie: Peace On Earth/Little Drummer Boy (1977) (Fraser/Grossman/Alan Kohan/Simeone/Davis/Onorati) 2.38
20. Michael Ball: Happy New Year (1999) (Andersson/Ulvaeus) 4.18

cd1

*
**

singles
.