Various Artists – Mindrocker Volume 4 (1982)

FrontCover1Mindrocker is an extensive series of compilation albums that was circulated through Line Records and then Impact Records in the 1980s. The complete series compacted nearly 200 songs of rare, and obscure material primarily from American garage and psychedelic rock musical artists that were originally recorded in the 1960s, and previously made available to only a handful of collectors. It was organized by record producer Hans-Hermann Pohle, named after a single by California band, Fenwyck, and initially distributed in Germany. The first volume was released in 1981 and by 1986 the thirteenth and final installment of the series was issued.

Initially, Mindrocker was comparable to the popularity and specialization of the Pebbles series, however, with the ready availability of most of its material via digital means or specified anthologies, the series has not managed to endure as long as other relatable collections. Nonetheless, during its original run, Mindrocker was pivotal to the revival of garage rock. Most of the volumes were arranged to a certain region or record label, though some pieces of the series hold no such pattern. (by wikipedia)

And this is the story of the great Line Records Label:

Back in 1979.
Several major labels had just squeezed out the Punk movement and its followers such as New Wave, when a new small independent record company based in Hamburg made a bold step back into the future: LINE RECORDS.
Virtually nobody still cared about the music of the glorious 60s and 70s then – except Uwe Tessnow, a former A&R rep of Kinney Music and Teldec Records.
Surprise releases by almost forgotten rock stars such as Mitch Ryder and Roger Chapman made their way into the shops and were sold by the vanload immediately.
The news was spread almost overnight, and many musicians got in touch with LINE to find a new platform for their products nobody else was interested in.

A highly attractive artist roster took shape almost by itself, the term “re-release” was (re)born and has become a substantial part of the international recording industry since.
Highly acclaimed (but almost forgotten) artists from America and Great Britain were back in the biz, critics’ darlings got their second chance, lost vinyl rarities were available once again, unknown bands and soloists made their marks on LINE.
Uwe Tessnow signed contracts, acquired rights, the so-called “small label with the scale-paper” had fulfilled groundbreaking, pioneering work – fans and collectors cheered alike.

LINE also set a new standard in extracting valuable material from foreign label catalogues:
LINE got the meat out of cult labels such as BOMP and Star-Club, and took over product from newly established indies from the likes of Stiff, Albion, Beserkley among others for the German market.
There seemed to be a niche for everything: Rock and Rock’n’Roll; R&B and Soul; Blues and Pubrock; 60s Garage Rock, Punk and New Wave. Promoting sound from the past and present, LINE had finally arrived.

Inlets

Furtheron the label set even more new standards – sometimes with a twinkle in the eye: Uwe Tessnow offered coloured vinyl, double LPs with only three sides housed in normal one-album sleeves, 10-inch promo items, special cassette editions – LINE paved the way once more, got imitated but was hardly conquered.

In the mid-80s, comprehensive parts of the label’s catalogue were transferred onto the new compact disc format.
It was the starting shot for special compilation series as well, making LINE a forerunner once again: Rock File, Pop File, and the Backline series – presenting the US pop history from the 40s to the mid-50s – have become legendary projects since, got copied by many competitors but are still a distinctive part of the label’s catalogue.

These days Uwe Tessnow is marketing classical music (core theme: rare opera recordings) – with his pop job expertly done and left behind.
Without his bold reanimation strategy at times when nobody cared, the international rock scene would have been much poorer.

Rock and pop re-issues these days are still a significant part of the record business.
The crucial pattern has got a name: LINE.

MovingSidewalks
The Moving Sidewalks (pre-ZZ Top)

And this is volume 4 of this series … What a great compilation … lot´s of very rare stuff including The Moving Sidewalks (pre-ZZ Top), a rare Johnny Winter song (taken rom a single by Pacemaker Records) and bands like The Scotty McKay Quintet or The Bad Roads (had vever heard of them). You´ll find more informations on the backcover of this LP.

This entry is dedicated to all music maniacs like me !

More compilations like this will come !

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Tracklist:

The Moving Sidewalks:
01. 99th Floor (Gibbons) 2.13
02. What Are You Going To Do (Gibbons) 2.24
03. Need Me (Gibbons) 2.10
04. Every Night A New Surprise (Ames) 2.54

The Great Believers:
05. Comin’ Up Fast (Boynton/Winter) 2.37

The Scotty McKay Quintet:
06. he Train Kept A Rollin’ (Kay/Mann/Bradshaw) 2.20

A-440:
07. Torture (Clark/Romano/Sartie) 2.00

Johnny Winter:
08. Birds Can’t Row Boats (Winter) 2.58

The Things:
09. I Don’t Believe It (Things) 3.04

The Stoics:
10. Enough Of What I Need (Marechal/Quillian/Ash) 2.15

The Pandas:
11. Walk (Bellams/Kelso) 2.28

The Bad Roads:
12. Blue Girl (Bad Roads) 2.07

The Stoics:
13. Hate (Ash) 2.43

Satori:
14.  Time Machine (Warkentin) 1.39

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Jimmy Shand Jnr. – Invites You To Come To The Dance (1969)

FrontCover1Jimmy Shand, who has died at the age of 92, was the musical icon of Scotland’s tartan sub-culture. Over more than half a century, his name was synonymous with a certain style of Scottish music and with a nostalgic image of Scotland which has proved eminently marketable around the world

His recordings sold by the million and, from the 1940s to the 1970s, the name of Jimmy Shand and his Band would fill halls throughout the United Kingdom as well as in any centre of the Scottish diaspora, New York’s Carnegie Hall included. In 1955, his Bluebell Polka was one of the most unlikely top 20 entrants of even that eclectic musical era.

Shand remained a most unlikely figure of show business celebrity. While the band, led by his own button-key accordion, produced music to set even the most reluctant toes tapping, their stage appearance often bordered on the funereal. Shand would allow himself little more than a shy grin and a few words. His was really a band for dancing to, and it was his strict sense of timing, as well as his technical skill, that set him apart. Phil Cunningham, one of the most innovative of present-day Scottish accordion players, described him as “a human metronome”.

Shand’s contribution to popularising Scottish music was immense, although it also did much to channel perceptions of it into a particular style. There is a contradiction between the free-flowing ceilidh tradition and strict tempo dance music. Shand had thousands of superb imitators – tartan jackets and all – but few, until recently, broke out of the limiting format of two accordions, piano, fiddle, double-bass and drums; the stereotype was reinforced by BBC television’s White Heather Club series of the 1960s, built around him.

JimmyShand01Like many talented and successful Scots, Shand came from a mining background. He was born at East Wemyss, in Fife, left school at 14 and went straight into the local pit. Conditions were terrible, and the 1926 general strike brought his career as a miner to an end. He spoke movingly in later life of his decision not to go back down the pit, though his bond with the mining communities of Fife remained extremely strong.
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Since childhood, he had been picking up tunes on his father’s melodeon, a close relative of the button-key accordion. When he visited a music shop in Dundee, the owner gave him a job as a salesman. He thus got to know which of the better-off families bought sheet music, and sought out their houses so that he could listen to them playing and add to his knowledge.

In 1933, he made his first record, and by the following year was broadcasting for the BBC Scottish Home Service. His reputation grew steadily, but it was only after the war that he put together the Jimmy Shand Band.

The former Labour MP, Willie MacKelvey, recalls that his father was the “second box” player. The MacKelveys lived in a spacious new council house in Dundee, which, because it accommodated a piano, became the practice place as the band prepared for an increasingly hectic schedule of one-night stands, television appearances and overseas tours. The neighbours would hang out of their windows to listen.

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Whenever possible, Shand would head back home to Auchtermuchty, in Fife, after gigs – sometimes from as far away as the south of England. He had been a motorcycle racer in his youth and retained a love of fast vehicles and white-knuckle driving. Otherwise, his lifestyle was modest. Whatever international hotel they might be in, he would famously order for the band: “Sausage, egg and chips for six”.

In retirement, honours were showered upon him, culminating in a knighthood last year. There was never any sign of this affecting Shand. He was a shrewd, dignified, Scottish gentleman whose greatest ambition was to be at home in Auchtermuchty among his own people.

He is survived by his wife Anne, whom he married in 1936, and their two sons.

He was a strict-tempo hero of Scottish musical nostalgia. (Brian Wilson)

And here´s a compilation album with his favorites tunes … tunes from good ol´ Scotland.

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Personnel:
Jimmy Shand (accordeon)
+
many other muscians

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Tracklist:
01. Set Of Reels 4 x 32 Bars 2.19
02. Alyth Burn-Jig 2.20
03. Geordie Medley 1.57
04. International Marches 2.40
05. Forty Shades Of Green 2.55
06. The Edzell Waltz 2.20
07. West Country Barn Dance 1.45
08. The Glens Of Angus 2.27
09. Jaws Harp Selection 1.21
10. Dance With A Dolly 1.49
11. Pride Of Erin Waltz 2.42
12. Folk Waltz Selection 3.10

All songs are Traditionals

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Various Artists – Songs Of Israel (1971)

FrontCover1This rare Album is a giveaway from El Al, the Airline Company of Israel:

El Al Israel Airlines Ltd. is the flag carrier of Israel. Since its inaugural flight from Geneva to Tel Aviv in September 1948, the airline has grown to serve over 50 destinations, operating scheduled domestic and international services and cargo flights within Israel and to Europe, Middle East, Americas, Africa and the Far East from its main base in Ben Gurion Airport.

El Al in principle offers only kosher in-flight meals and does not fly passengers on the Jewish Sabbath or religious holidays. El Al is the only commercial airline to equip its planes with missile defense systems, and is considered one of the world’s most secure airlines, thanks to its stringent security procedures, both on the ground and on board its aircraft. Although it has been the target of many attempted hijackings and terror attacks, only one El Al flight has ever been hijacked.[8][9] As Israel’s national airline, El Al has played an important role in humanitarian rescue efforts, airlifting Jews from other countries to Israel, setting the world record for the most passengers on a commercial aircraft (single plane record of 1,122 passengers) by Operation Solomon when 14,500 Jewish refugees were transported from Ethiopia in 1991.

In 2012, El Al operated an all-Boeing fleet of 38 aircraft, flying over 4 million passengers, and employed a staff of 6,056 globally. The company’s revenues for 2011 grew to $2.4 billion, totalling losses of $49.4 million compared to a profit of $57 million in 2010. (by wikipedia)

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“This selection of Songs draws on many traditions and like very old wines the vintage suits the pattern and ryhthm of the seventies.We hope that you will find in this record some of the excitmentyou have experienced in Israel today” (taken from the original liner notes).

The music of Israel is a combination of Jewish and non-Jewish music traditions that have come together over the course of a century to create a distinctive musical culture. For almost 150 years, musicians have sought original stylistic elements that would define the emerging national spirit. In addition to creating an Israeli style and sound, Israel’s musicians have made significant contributions to classical, jazz, pop rock and other international music genres. Since the 1970s, there has been a flowering of musical diversity, with Israeli rock, folk and jazz musicians creating and performing extensively, both locally and abroad. Many of the world’s top classical musicians are Israelis or Israeli expatriates. The works of Israeli classical composers have been performed by leading orchestras worldwide.

Ilan & Ilanit
Ilan & Ilanit

Music in Israel is an integral part of national identity. Beginning in the days of the pioneers, Hebrew songs and public singalongs (Shira beTsibur) were encouraged and supported by the establishment. “Public singalongs were a common pastime [of the early settlers], and were for them a force in defining their identity”, wrote Nathan Shahar.[2] This view of music as nation-building continues to this day. “We are in the midst of creating a culture”, says Nahum Heyman, one of Israel’s leading music composers and music historians. Jewish immigrants from Europe, Asia, the Middle East and elsewhere brought with them their musical traditions, melding and molding them into a new Israeli sound. (ny Wikipedia)

And I was deeply impressed by this beautiful songs … and ir you like world music, than you should listen to this record !

And I guess, I would like to collect more records with music from Israel …

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Tracklist:

01. Ilan & Ilanit: Bashana Haba’ah (Manor/Hirsh) 2.49
02. The Navy Troupe: Ma Avarech (Shapira/Rosenblum) 3.59
03. Shiru Shir Ensemble: Hevenu Shalom Alechem (Traditional) 1.14
04. Southern Command Troupe:  Shivchey Maoz (Shemer) 2.58
05. Ilana Rovina: Yevarechecha (Weinkranz/Traditional) 2.51
06. Shuly Nathan: Jerusalem Of Gold (Shemer) 4.55
07. Sh. Nitzan & N. Rabinovitz: Chassidic Song (Traditional) 1.48
08. Igal Bashan: Osse Shalom (Hirsh/Traditional) 3.42
09. Ran & Nama: Hava Nagila (Traditional) 2.00
10. Effi Netzer Singers: Tsur Mishelo Achalnu (Traditional) 3.07
11. Shlomo Carlebach: Vehaer Enenu (Carlebach/Traditional) 3.36
12. The Nachal Troupe: Haben Yakir Li (Traditional) 4.24
13. Ran Eliran: Lach Yerushalayim (Ettinger/Rubinstein) 2.08
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Shuly Nathan
Shuly Nathan

Various Artists – Percussion For Playboys (early 60´s)

frontcoveromega1A real strange LP …:

It starts with “Sports Car Races ” and you´ll hear the sounds of the motors of (Sport) cars …

And then you´ll hear a couple of unknown jazz bands like the Dick Marx Quintet … The Bay Big Band … The Frank Comstock Orchestra … and much more.

This one looks like it was released in… oh, say 1960/61. The LP is a compilation of whatever Omega had on the shelf at the moment… including several weird tracks that include a sound effects track from an automobile race and the track titled A Visit To A Hindu Monastery (that I tacked onto the sample track above)! There are no artist credits and there is precious little “percussion” on the album. Actually this is more of a “jazz” album. Omega slapped the provocative title and cheesecake photo on the cover and they were good to go. (by artworkbymanicmark.blogspot)

This is a sort of compilation from Omega record which is triply “lost” – it’s a long forgotten Album  on a long forgotten label  …

It´s jazz, it´s easy listening, it´s  a real strange Album and … it´s beautiful !

The UK version of the US compilation titled “Bedside Companion For Playboys”

This entry is dedicated to all the unknowns muscians from this golden era of Jazz !

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Tracklist:
01. Sports Car Races 1.51
02. Dick Marx Quintet:  Mickey Mouse Theme (Dodd) 2.37
03. Andre Montero: Take The “A” Train (Strayhorn) 3.47
04. Inez Jones with The Oscar Moore Quintet: Dancing On The Ceiling (Rodgers/Hart) 1:55
05. The Hi-Lo’s with The Frank Comstock Orchestra: Island Of Desire (Meyer/Jones) 2.39
06. The Lighthouse All-Stars: Coop Salutes (Cooper) 5.43
07. Los Gatos Ritmos: Return To Paradise (Tiomkin/Washington) 2.14
08. The Bay Big Band:  Latin Heat (Bolero) (Ravel) 3.22
09. Ernestine Anderson with Dick Marx Quintet Limehouse: Limehouse Blues (Farber/Braham)  4.18
10. Brussels World’s Fair Orchestra:  Laura (Raksin/Mercer 3.50
11. The Bay Big Band: Daybreak (Grafe) 2.25
12. Oscar Moore + Leroy Vinnegar: Angel Eyes (Dennis/Brent) 2.25
13. The John Evans Group:  It Ain’t Necessarily So (Gershwin) 3.46
14, A Visit To A Hindu Monastery 0.37

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Eric Burdon And The Animals – Roadrunners! Rare Live And Studio Recordings (1990)

front-cover1Eric’s at his wild best in these rare recordings-many never heard by even the most ardent Animals collector! Four tracks are British radio broadcasts from ’66, one is from German TV in ’67; the rest are all live, from Monterey in ’67, London in ’67 (including Inside Looking Out ) and Stockholm in ’68 ( San Franciscan Nights; Monterey , and more). And the rarest of the rare: six live cuts from Melbourne, Australia in ’67, including See See Rider and When I Was Young .
This is a mixed bag of live and BBC recordings from both the post-Alan Price edition of the original band, and the later New Animals of “San Franciscan Nights” fame. Sound quality varies, but the obscurity of these tracks more than compensates. The Beeb tracks include one Price number, a faithful rendition of “Heartbreak Hotel.” Other highlights include gritty takes on “Inside Looking Out” and “Maudie” plus a fantastic version of “Jailhouse Rock” that comes within shouting distance of Elvis (honestly!). Barry Jenkins almost steals the show with his knockout drumming, and Zoot Money’s organ washes are utterly scintillating. There’s also a raw set culled from the New Animals’ tour of Australia, highlighted by spirited versions of standards like “Shake Rattle and Roll” and “See See Rider.” The version of “When I Was Young” is also strong and the groovy radio announcer at the end is a trip. Burdon’s Monterey appearance is showcased in a pair of freakout versions of “Ginhouse Blues” and “Hey Gyp”, both of which are way too long and too self-indulgent. This is the weakest part of the album by far. New Animals fans will adore the 1968 tracks from Stockholm which feature the band at its psychedelic apex. As goofy as it sounds on WINDS OF CHANGE, “Yes I’m Experienced” really rocks on stage (especially the killer feedback rave up—and Eric’s rap at the end is hilarious), and the other tracks (“Paint It Black”, “San Franciscan Nights” and “Monterey”) are faithful, though edgier recreations of the group’s studio versions. Vic Briggs always claims the band was much better on stage than in the studio and this set backs him up, mainly because Burdon’s often wearying improvisations are kept to a reasonable minimum. Grab it if you dig Burdon’s post-1966 work (although Glen A. Baker’s liner notes are so fawning they’re worthless).(by an amazon customer

booklet01aPersonnel:
Various Animals line-ups

booklet03aTracklist:

Broadcasts:
BBC 1966:

01. Heartbreak Hotel (Axton/Durden) 2.40
02. The Work Song (Adderley/Brown) 2.52
03. Corrina Corrina (Traditional) 2.46
04. Jailhouse Rock (Leiber/Stoller) 2.52

German TV 1967:
05. Roadrunner (McDaniel) 2.53

Concerts:
Monterey 1967:
06. Gin House Blues (Troy/Henderson) 5.51
07. Hey Gyp (Dig The Slowness) (Leitch) 8.24

Festival Hall, Melbourne, 1967:
08. Shake, Rattle & Roll (Calhoun) 4.25
09. When I Was Young (Burdon/Briggs/Weider/Jenkins/McCulloch) 3.15
10. See See Rider (Rainey) 4.02
11. Rock Me Baby (King/Josea) 2.36
12. Tobacco Road (Loudermilk) 5.37
13. So Long (Burdon/Briggs/Weider/Jenkins/McCulloch) 3.46

Live London, 1967:
14. Inside Looking Out (L.Lomax/A.Lomax/Burdon/Chandler) 3.04
15. Maudie (Hooker) 4.15

Live Stockholm, 1968:
16. San Franciscan Nights (Burdon/Briggs/Weider/Jenkins/McCulloch) 4.33
17. Monterey (Burdon/Briggs/Weider/Jenkins/McCulloch) 6.16
18. Paint It Black (Jagger/Richards) 6.28

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Various Artists – Chicago Breakdown (1981)

frontcover1 Chicago Breakdown is a collection of blues recordings made in Chicago in the early 1060´s by Norman Dayron. It was recorded for the most, in the apartments or basements of the artists.

But sometimes the recordings werde made in small clubs on the South Side or the West Side. The feeling of the various sessions was always easy and natural. There was no sense of formality or self-importance. Only the sense of musicians and their friends trying to please each other. As such, these recordings are unusual and very personal.

They are also fine examples of the work of traditional blues artists who lived in Chicago at a time when electric band blues was the predominant sound of the city” (Noram Dayron; taken from the origianl liner notes).

And can not only fine black blues musicians from that time, but also young white blues freaks like Elvin Bishop, Mike Bloomfield and Paul Butterfield ! … Their first recordings I guess.

More about the great Norman Dayron will come very soon ..

bluesbar

A blues bar in Chicago

Personnel:

Little Brother Montgomery:
Little Brother Montgomery (piano, vocals)

John Lee Granderson:
John Lee Granderson (vocals, guitar)

Dr. Isaiah Ross:
Dr. Isaiah Ross (vocals, guitar, harmonica)

Big Joe Williams:
Paul Butterfield (harmonica on 10.)
Big Joe Williams (vocals, guitar)

James Cotton:
Elvin Bisjop (guitar)
Paul Butterfield (harmonica)
James Cotton (vocals)

Maxwell Street Jimmy:
Maxwell Street Jimmy (vocals, guitar)

Little Brother Montgomery:
Michael Bloomfield (guitar)
Little Brother Montgomery (vocals, piano)

Eddie Boyd:
Eddie Boyd (vocals, piano)

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Tracklist:
01. Little Brother Montgomery: Hesitatin’ Blues 2.33
02. John Lee Granderson: Minglewood Town 1.38
03. Dr. Isaiah Ross: Chicago Breakdown 5.51
04. Big Joe Williams: I Feel So Worried 2.58
05. James Cotton: V-8 Ford Blues 3.50
06. Maxwell Street Jimmy: Cryin’ Won’t Make Me Stay 2.54
07. Little Brother Montgomery: Michigan Water Blues 3.35
08. John Lee Granderson: Good Morning Little Schoolgirl 2.48
09. Dr. Isaiah Ross: Hobo Blues 4.32
10. Big Joe Williams: Stack O’ Dollars 2.37
11. James Cotton: Polly Put The Kettle On 1.43
12. Eddie Boyd: Five Long Years 2.54

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José Feliciano – Ché Sara´ (1971)

frontcover1One of the most prominent Latin-born performers of the pop era, singer/guitarist Jose Feliciano was born September 10, 1945, in Lares, Puerto Rico; the victim of congenital glaucoma, he was left permanently blind at birth. Five years later, he and his family moved to New York City’s Spanish Harlem area; there Feliciano began learning the accordion, later taking up the guitar and making his first public appearance at the Bronx’s El Teatro Puerto Rico at the age of nine. While in high school he became a fixture of the Greenwich Village coffeehouse circuit, eventually quitting school in 1962 in order to accept a permanent gig in Detroit; a contract with RCA followed a performance at New York’s Gerde’s Folk City, and within two years he appeared at the Newport Jazz Festival. After bowing with the 1964 novelty single “Everybody Do the Click,” he issued his flamenco-flavored debut LP The Voice and Guitar of Jose Feliciano, trailed early the next year by The Fantastic Feliciano.

Unhappy with the direction of his music following the release of 1966’s A Bag Full of Soul, Feliciano returned to his roots, releasing three consecutive Spanish-language LPs — Sombras…Una Voz, Una Guitarra, Mas Exitos de Jose Feliciano and El Sentimiento, La Voz y La Guitarra de Jose Feliciano — on RCA International, scoring on the Latin pop charts with the singles “La Copa Rota” and “Amor Gitana.” With 1968’s Feliciano!, he scored a breakthrough hit with a soulful reading of the Doors’ “Light My Fire” that launched him into the mainstream pop stratosphere; a smash cover of Tommy Tucker’s R&B chestnut “Hi Heel Sneakers” solidified his success, and soon Feliciano found himself performing the national anthem during the 1968 World Series. His idiosyncratic Latin-jazz performance of the song proved highly controversial, and despite the outcry of traditionalists and nationalists, his status as an emerging counterculture hero was secured, with a single of his rendition also becoming a hit.

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In 1969 Feliciano recorded three LPs — Souled, Alive Alive-O, and Feliciano 10 to 23 — and won a Grammy for Best New Artist; however, he never again equalled the success of “Light My Fire,” and only the theme song to the sitcom Chico and the Man subsequently achieved hit status, edging into the Top 100 singles chart in 1974. Throughout the 1970s Feliciano remained an active performer, however, touring annually and issuing a number of LPs in both English and Spanish, including 1973’s Steve Cropper-produced Compartments; he also appeared on the Joni Mitchell hit “Free Man in Paris,” and guested on a number of television series including Kung Fu and McMillan and Wife. In 1980 Feliciano was the first performer signed to the new Latin division of Motown, making his label debut with an eponymous effort the following year; his recorded output tapered off during the course of the decade, although he occasionally resurfaced with LPs including 1987’s Tu Immenso Amor and 1989’s I’m Never Gonna Change. A school in East Harlem was renamed the Jose Feliciano Performing Arts School in his honor; in 1996, he also appeared briefly in the hit film Fargo. (by Jason Ankeny)

This is a rare German sampler (all songs were recorded between 1968 and 1971) including his bit hit “Ché Sara’, a fine version of “Hitchcock Railway” (most of us will know this song from Joe Cocker) … and a wonderful version of “Let It Bet”.

“California Dreamin'” was recorded live is another pretty good socer version of José Feliciano.

This is the chance to discover the magic musical world of José Feliciano …  try and enjoy !

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Tracklist:
01. Ché Sara’ (Migliacci/Fontana) 3.34
02. Hitchcock Railway (Dunn/McCashen) 3.18
03. There’s No One About (Feliciano) 1.43
04. Sunny (Hebb) 3.25
05. Destiny (Feliciano) 2.50
06. I Only Want To Say (Gethsemane) (Webber/Rice) 4.36
07. Rain (H.Feliciano/J.Feliciano) 2.24
08. (There’s) Always Something There To Remind Me (Bacharach/David) 3.01
09. El Voh (Caymmi) 2.17
10. Let It Be (Lennon/McCartney) 3.55
11.  California Dreamin’ (Phillips) 4.23
12. Shake A Hand (Fontana/Burnett) 3.31

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