Julie London – The Best Of Julie London (1992)

FrontCover1Julie London (née Peck; September 26, 1926 – October 18, 2000) was an American singer and actress whose career spanned more than 40 years. A torch singer noted for her sultry, languid contralto vocals, London recorded over thirty albums of pop and jazz standards between 1955 and 1969. Her recording of “Cry Me a River”, a track she introduced on her debut album, was inducted into the Grammy Hall of Fame in 2001. In addition to her musical notice, London was nominated for a Golden Globe Award in 1974 for her portrayal of nurse Dixie McCall in the television series Emergency!.

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Born in Santa Rosa, California, to vaudevillian parents, London was discovered while working as an elevator operator in downtown Los Angeles, and she began her career as an actress. London’s 35-year acting career began in film in 1944, and included roles as the female lead in numerous westerns, co-starring with Rock Hudson in The Fat Man (1951), with Robert Taylor and John Cassavetes in Saddle the Wind (1958), with Gary Cooper in Man of the West (1958) and with Robert Mitchum in The Wonderful Country (1959).

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In the mid-1950s, she signed a recording contract with Liberty Records, marking the beginning of her professional musical career. She released her final studio album in 1969, but achieved continuing success playing the female starring role of nurse Dixie McCall in the television series Emergency! (1972–1979), in which she acted with her husband Bobby Troup. The show was produced by her ex-husband Jack Webb.

London was a chain smoker from the age of 16 and at times smoked in excess of three packs of cigarettes per day. She suffered a stroke in 1995 and remained in poor health for the following five years. In late 1999, she was diagnosed with lung cancer but forwent treatment due to her weakened physical state. On October 17, 2000, London was rushed from her home to the Encino-Tarzana Regional Medical Center after choking and struggling to breathe. She died in the hospital in the early morning hours of October 18 of what was later determined to be cardiac arrest; she was 74.

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London was cremated and buried next to Troup in the Courts of Remembrance Columbarium of Providence at Forest Lawn-Hollywood Hills Cemetery in Los Angeles.[62] Her star on the Hollywood Walk of Fame (for recording) is at 7000 Hollywood Boulevard in Los Angeles. (wikipedia)

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And here´s a nice compilation:

Julie London´s ravishing beauty and warm, sultry voice made her a singing and acting sensation during the 1950´and 1960´s. Her 1955 recording of Cry Me A River, with its simple, intimate accompaniment of guitar and bass is widely regarded as the definitive interpretation. This album presents this all time classic, along with nineteen more of her most popular recorings (takefrom the linernotes)


Julie London (vocals)
many, many studio musicians


01. Come On-A My House (Bagdasarian/Saroyan) 2.39
02. In The Wee Small Hours Of The Morning (Mann/Hilliard) 2.51
03. Slightly Out Of Tune (Desafinado) (Jobim/Mendonca/Hendricks/Cavanaugh) 2.08
04. I Loves You Porgy (G.Gershwin/Heyward/I,Gershwin) 2.43
05. Hot Toddy (Flanagan/Hendler) 1.52
06. Cry Me River (Hamilton) 3.01
07. More (Theme From “Mondo Cane”) (Newell/Ortolani/Olivero) 2.48
08. Our Day Will Come (Hilliard/Garson) 2.25
09. A Taste Of Honey (Marlow/Scott) 3.23
10. My Heart Belongs To Daddy (Porter) 2.49
11. Love Letters (Young/Heyman) 2.54
12. Midnight Sun (Hampton/Burke/Mercer) 2.31
13. Must Be Catchin’ (Stanley) 2.10
14. Black Coffee (Webster/Burke) 3.00
15. Daddy (Troup) 2.16
16. Blue Moon (Roders/Hart) 2.35
17. Baby, Won’t You Please Come Home (Warfields/Williams) 2.16
18. Sway (Gimbel/Ruiz) 2.38
19. Never On Sunday (Towne/Hadjidakis) 2.25
20. Fascination (Manning/Marchetti) 1.57



More from Julie London:

A fan website (now deleted):

Tom Jones – The Tom Jones Collection (1998)

FrontCover1Tom Jones is one of the most popular vocalists to emerge from the British Invasion. From the mid-’60s on, Jones has sung nearly every form of popular music — from pop, rock, show tunes, and country to dance, techno, and more — while his vocal style, a full-throated, robust baritone with little regard for nuance or subtlety, remained a swaggering constant. Mid-’60s songs like “It’s Not Unusual” and “What’s New Pussycat” registered on the charts, as did inimitable readings of country classics such as “Green, Green Grass of Home” later in the decade.

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As his career rolled along, Jones became a favorite in Las Vegas, had a hit with an Art of Noise-produced cover of Prince’s “Kiss” in 1988, and released albums that ranged from the slick dance-pop of 1994’s The Lead and How to Swing It to 2010’s Praise & Blame, a collection of covers that paved the way for a string of releases that found Jones digging into the modern American Songbook. His taste for exploration led him to cover songs by relatively obscure artists like Billy Joe Shaver and the Milk Carton Kids, while 2021’s Surrounded by Time showed the influence of Radiohead. No matter the style or song, Jones’ powerful, one-of-a-kind voice is instantly recognizable and his passion for performing has never dimmed. (by Stephen Thomas Erlewine)

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And here´s a low budget edition with many of his hits …. on the second CD we hear Tom Jones.

Not really necessary, but Tom Jones was of course an important part of the British music history !


Tom Jones (vocls)
many, many studio musicians



CD 1 (studio reordings):
01. Green Green Grass Of Home (Putman) (1966) 2.25
02. Delilah (Reed/Mason) 2.39
03. Whats New Pussycat (Bacharach/David) 2.16
04. She´s A Lady (Anka) 3.38
05. Please Release Me (Williams/Miller/Harris/Yount) 2.21
06. Bridge Over Troubled Water (Simon) 3.04
07. All By Myself (Carmen/Rachmaninov) 2.41
08. Too Much Too Little Too Late (Kipner/Vallins) 3.06
09. Breaking Up Is Hard To Do (Greenfield/Sedaka) 2.03
10. We Don’t Talk Anymore (Tarney) 2.41
11. Let It Be (Lennon/McCartney) 2.57
12. You’ve Lost That Loving Feeling (Weil/Mann/Spector) 3.11
13. I Write The Songs (Johnston) 2.58
14. Endless Love (with Dionne Warwick) (Richie) 2.40
15. The Most Beatiful Girl In The World (Sherrill/Bourke/Wilson/Welty) 2.42
16. Let Your Love Flow (Williams) 2.48
17. For Once In My Life (Miller/Murden) 2.02
18. She Believes In Me (Gibb) 3.58
19. You Don’t Have To Say You Love Me (Wickham/Napier-Bell/Donaggio/Pallavicini) 2.42
20. Do You Think I´m Sexy (Stewart/Appice/Hitchings) 2.32

CD 2 (live recordings):
01. Hot Legs (with Tina Turner) (Stewart) 2.37
02. Listen To The Music (Johnston) 2.35
03. I Can’t Stop Loving You (Bickerton/Waddington) 3.17
04. Nine To Five (Parton) 2.04
05. Starting Over (Lennon) 1.52
06. Lady Madonna (Lennon/McCartney) 2.35
07. You Win Again (B.Gibb/R.Gibb/M. Gibb) 2.38
08. Rock’n’Roll Music (Berry) 3.22
09. Try A Little Tenderness (Campbell/Connelly/Woods) 2.32
10. I Can See Clearly Now (Nash) 2.14
11. Save The Last Dance For Me (Pomus/Shuman) 2.19
12. Spanish Harlem (Leiber/Spector) 2.23
13. On Broadway (B.Gibb/R.Gibb/M. Gibb) 2.20
14. Sexy Eyes (Waters/Mather/Stegall) 2.39
15. Got To Get You Into My Life (Lennon/McCartney) 2.26
16. Lay Down Sally (Clapton/Levy/Terry) 1.56
17. Such A Night (Chase) 2.16
18. As Time Goes By (Hupfeld) 3.06
19. Fever (Davenport/Cooley) 2.32
20. My Way (live) (Anka/Revaux/François/Thibault) 3.47


More from Tom Jones:

The official website:

Various Artists – La France Et Les Beatles (Volume 1) (2006)


The success of the Beatles in the Sixties was truly incredible.

And all over the world, lesser-known groups tried to copy their hits, including in France.

And here is Volume 1 of a 6-part edition with Beatles songs sung in French.

I will now present another issue of this edition every week on this blog … if I don’t forget.

Voila … here´s Volume 1: the most artists was completley unknown to me …


So, enjoy all these rarities rom the Sixties !

And … “Il pleure dans mon cœur (Hey Jude)” is an extraordinary version !


01.I Trovatori: Tu perds ton temps (Please Please Me) (Lennon/McCartney/Cour) 1.50
02. Lynn: Tu changeras d’avis (Bad To Me) (Lennon/McCartney/Jil & Jan) 2.02
03. Jimmy Frey: Elle t’aime (She Loves You) (Lennon/McCartney/Saka) 2.12
04. Richard Anthony: Toi l’ami (All My Loving) (Lennon/McCartney/Hortis) 2.07
05. Les Lionceaux: Mais ne viens plus (Don’t Bother Me) (Harrison//Nencidi) 2.31
06. Jean-Claude Berthon: Je te veux toute à moi (I Wanna Be Your Man) (Lennon/ McCartney/Barouh) 2.28
07. Les Fizz: Si tu fais ça (You Can’t Do That) (Lennon/McCartney/Gerald) 2.40
08. Olivier Despax: Et je l’aime (And I Love Her) (Lennon/McCartney/Simille) 2.40
09. Les Kelton: Oui je reviens (When I Get Home) (Lennon/McCartney/Roblin) 1.59
10. Akim: Hummm ! Qu’elle est belle (I Feel Fine) (Lennon/McCartney/Plait) 2.22
11. François Fabrice: Les garçons sont fous (Think For Yourself) (Harrison/Gerlad) 2.21
12. Dominique: Michelle (Lennon/McCartney/Sam) 2.33
13. Les Blue Notes: Rêve (Girl) (Lennon/McCartney/X…) 2.48
14. Danielle Denin: Je lis dans tes yeux (I’m Looking Through You) (Lennon/McCartney/ Plait) 2.28
15. Erick Saint-Laurent: Eleanor Rigby (Lennon/McCartney/Saka) 2.04
16. Monique Leyrac: Dis-moi (Here, There & Everywhere) (Lennon/McCartney/Simille) 2.24
17. Jean-Marie & Raoul: Le Sous-marin vert (Yellow Submarine) (Lennon/McCartney/ Broussolle) 2.45
18. Dominique Walter: Penny Lane (Lennon/McCartney/Saka) 2.52
19. Marcel Amont: Dans 45 ans (When I’m 64) (Lennon/McCartney/Pecarrère) 2.48
20. Szabo: Il pleure dans mon cœur (Hey Jude) (Lennon/McCartney/Verlaine) 4.13
21. Gerard St. Paul: Bang bang Maxwell (Maxwell’s Silver Hammer) (Lennon/McCartney/ Simille/Delancry) 3.25




Various Artists – Greatest Love Songs (2001)

FrontCover1And here is one of these countless compilation albums with “Greatest Love Song” …

… Compilations of this kind are part of the music industry to earn a little more money with low budget productions.
Many of the songs are actually “sad love songs” and I think there is something for everyone on these two CDs.

My favourite songs are “Morning Has Broken “, “Island In The Sun”, “The Air That I Breathe”, “Light My Fire”, “When A Man Loves A Woman”, “Pretty Woman”, “Wonderful World”, “My Girl”, “Only You”, “It’s All Over Now, Baby Blue” and “Brown Eyed Girl” … they touch my soul.

Enjoy your sentimental side.



CD 1:
01. Al Martino: Spanish Eyes (Kaempfert/ingleton/Snyder) 2.49
02. America: Sister Golden Hair (Beckley) 3.21
03. Art Garfunkel: Bright Eyes (Batt) 3.59
04. Barry White: You’re The First, The Last, My Everything (White/Sepe/Redcliffe) 3.26
05. Bellamy Brothers: If I Said You Have A Beautiful Body Would You Hold It Against Me (D.Bellamy) 3.12
06. Cat Stevens: Morning Has Broken (Stevens/Farjeon) 3.19
07. Chicago: If You Leave Me Now (Cetera) 3.54
08. Commodores: Three Times A Lady (Richie) 3.38
09. Dean Martin: Everybody Loves Somebody (Lane/Coslow/Taylor) 2.46
10. Diane Warwick: Heartbreaker (B.Gibb/R.Gibb/M.Gibb) 4.18
11. Eric Carmen: All By Myself (Carmen) 4.54
12. Everly Brothers: All I Have To Do Is Dream (Bryant) 2.24
13. F. R. Davids: Words (Fetoussi) 2.51
14. Gary Pucket: Young Girl (Fuller) 3.08
15. Gary Wright: Dream Weaver (Wright) 4.18
16. Harry Belafonte: Island In The Sun (Belafonte/Burgess) 3.23

CD 2:
01. Hazlewood/Sinatra: Summerwine (Nayer/Mercer) 3.39
02. Hollies: The Air That I Breathe (Hammond/Hazlewood) 4.03
03. Jose Feliciano: Light My Fire (Morrison/Manzarek/Densmore/Krieger) 3.04
04. Leo Sayer: When I Need You (Hammond/Sager) 4.07
05. Pat Boone: Love Letters In The Sand (Kenny/Coots) 2.08
06. Paul Anka: Put Your Head On My Shoulder (Anka) 2.37
07. Percy Sledge: When A Man Loves A Woman (Lewis/Wright) 2.49
08. Righteous Brothers: Unchained Melody (Zaret/North) 3.37
09. Roy Orbison: Pretty Woman (Orbinson/Dees) 2.59
10. Sam Cooke: Wonderful World (Cooke/Adler/Alpert) 3.00
11. Temptation: My Girl (Robinson/White) 2.41
12. The Platters: Only You (Ram/Rand) 2.36
13. Them: It’s All Over Now, Baby Blue (Dylan) 3.48
14. Tom Jones: She’s A Lady (Anka) 3.36
15. Van Morrison: Brown Eyed Girl (Morrison) 3.03
16. Walker Brothers: The Sun Ain’t Gonna Shine Any More (Crewe/Gauido) 3.01





Ella Fitzgerald – The Best Of The Song Books- The Ballads (1994)

FrontCover1Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz singer, sometimes referred to as the “First Lady of Song”, “Queen of Jazz”, and “Lady Ella”. She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a “horn-like” improvisational ability, particularly in her scat singing.

After a tumultuous adolescence, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country but most often associated with the Savoy Ballroom in Harlem. Her rendition of the nursery rhyme “A-Tisket, A-Tasket” helped boost both her and Webb to national fame. After taking over the band when Webb died, Fitzgerald left it behind in 1942 to start her solo career. Her manager was Moe Gale, co-founder of the Savoy, until she turned the rest of her career over to Norman Granz, who founded Verve Records to produce new records by Fitzgerald. With Verve she recorded some of her more widely noted works, particularly her interpretations of the Great American Songbook.

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While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and The Ink Spots were some of her most notable acts outside of her solo career. These partnerships produced some of her best-known songs such as “Dream a Little Dream of Me”, “Cheek to Cheek”, “Into Each Life Some Rain Must Fall”, and “It Don’t Mean a Thing (If It Ain’t Got That Swing)”. In 1993, after a career of nearly 60 years, she gave her last public performance. Three years later, she died at the age of 79 after years of declining health. Her accolades included 14 Grammy Awards, the National Medal of Arts, the NAACP’s inaugural President’s Award, and the Presidential Medal of Freedom. (wikipedia)

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And here´s a beautful compilation:

Though her career stretched from the ’30s to the ’80s and she’s widely considered possibly the greatest female jazz singer or all time, Ella Fitzgerald will probably forever be best known for a mid-’50s collection of albums collectively called the Songbooks, where she devoted entire albums to the works of such composers as Harold Arlen, Cole Porter, and Duke Ellington. THE BEST OF THE SONGBOOKS: THE BALLADS is one of the many compilations based on these recordings, and one of the best.


From its beautiful, informative packaging to its gorgeously remastered sound, this 16-track, 64-minute collection treats the material with the respect it deserves. The material, of course, is first-rate, wall-to-wall standards from Johnny Mercer’s wistful “Laura” to Ellington’s sly “Do Nothin’ Til You Hear From Me.” Fitzgerald’s performances are equally outstanding, as are the mostly big-band arrangements. This is as good as jazz ballad collections get. (by AllMusic)


Ella Fitzgerald (vocals)
Billy May’s Orchestra (on 06., 12. + 16.)
Duke Ellington And His Orchestra  (on 04.)
Nelson Riddle’s Orchestra (on 01. – 03., 97., 08. + 15.)
Paul Weston’s Orchestra (on 09. + 13.)
Buddy Bregman’s Orchestra (on 10. + 14.)
on 05 + 11.:
Barney Kessel (guitar)
Joe Mondragon (bass)
Paul Smith (piano)
Alvin Stoller (drums)
Stuff Smith (violin on 11.)
Ben Webster (saxophone on 11.)


01. Oh, Lady Be Good! (G.Gershwin/I.Gershwin) (1959) 4.04
02. I’m Old Fashioned (Kern/Mercer) (1963) 3.30
03. Laura (Raksin/Mercer) (1964) 3.46
04. Day-Dream (Strayhorn/Ellington/Latouche) (1957) 4.00
05. Easy To Love (Porter) (1956) 3.26
06. It Was Written In The Stars (Arlen/Robin) (1961) 5.11
07. How Long Has This Been Going On? (G.Gershwin/I.Gershwin) (1959) 3.47
08. Let’s Begin (Kern/Harbach) (1963) 3.00
09. Now It Can Be Told (Berlin) (1958) 3.12
10. There’s A Small Hotel (Hart/Rodgers) (1956) 2.51
11. Do Nothing Till You Hear From Me (Russell/Ellington) (1956) 7.43
12. Ill Wind (You’re Blowin’ Me No Good) (Arlen/Koehler) (1961) 3.53
13. You’re Laughing At Me (Berlin) (1958) 3.17
14. A Ship Without A Sail (Hart/Rodgers) (1956) 4.10
15. Trav’lin’ Light (Mundy/Mercer/Young) (1964) 3.50
16. This Time The Dream’s On Me (Arlen/Mercer) 4.35




More from Ella Fitzgerald:

The official website:


The Beatles – 1 (2000)

FrontCover1The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all time and were integral to the development of 1960s counterculture and popular music’s recognition as an art form. Rooted in skiffle, beat and 1950s rock ‘n’ roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era’s youth and sociocultural movements.


Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon’s previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, “Love Me Do”, in late 1962. As their popularity grew into the intense fan frenzy dubbed “Beatlemania”, the band acquired the nickname “the Fab Four”, with Epstein, Martin and other members of the band’s entourage sometimes given the informal title of “fifth Beatle”.


By early 1964, the Beatles were international stars and had achieved unprecedented levels of critical and commercial success. They became a leading force in Britain’s cultural resurgence, ushering in the British Invasion of the United States pop market, and soon made their film debut with A Hard Day’s Night (1964). A growing desire to refine their studio efforts, coupled with the untenable nature of their concert tours, led to the band’s retirement from live performances in 1966. At this time, they produced records of greater sophistication, including the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper’s Lonely Hearts Club Band (1967), and enjoyed further commercial success with The Beatles (also known as “the White Album”, 1968) and Abbey Road (1969). Heralding the album era, their success elevated the album to the dominant form of record consumption over singles; they also inspired a greater public interest in psychedelic drugs and Eastern spirituality, and furthered advancements in electronic music, album art and music videos. In 1968, they founded Apple Corps, a multi-armed multimedia corporation that continues to oversee projects related to the band’s legacy. After the group’s break-up in 1970, all principal members enjoyed success as solo artists and some partial reunions have occurred. Lennon was murdered in 1980 and Harrison died of lung cancer in 2001. McCartney and Starr remain musically active.

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The Beatles are the best-selling music act of all time, with estimated sales of 600 million units worldwide.[4][5] They hold the record for most number-one albums on the UK Albums Chart (15), most number-one hits on the Billboard Hot 100 chart (20), and most singles sold in the UK (21.9 million). The band received many accolades, including seven Grammy Awards, four Brit Awards, an Academy Award (for Best Original Song Score for the 1970 documentary film Let It Be) and fifteen Ivor Novello Awards. They were inducted into the Rock and Roll Hall of Fame in 1988, and each principal member was inducted individually between 1994 and 2015. In 2004 and 2011, the group topped Rolling Stone’s lists of the greatest artists in history. Time magazine named them among the 20th century’s 100 most important people.


1 is a compilation album by the English rock band the Beatles, originally released on 13 November 2000. The album features virtually every number-one single the band achieved in the United Kingdom or United States from 1962 to 1970. Issued on the 30th anniversary of the band’s break-up, it was their first compilation available on only one CD. 1 was a commercial success and topped charts worldwide. It has sold over 31 million copies.[1]

Since Nielsen SoundScan began tracking US album sales in January 1991,[2] 1 is the fourth best-selling album in the US, the best-selling album of the 2000s decade in the US,[3] as well as the best-selling album of the decade worldwide.

1 was remastered and reissued in September 2011.[4] It was remixed and reissued again in several different deluxe editions in November 2015, the most comprehensive of which is a three-disc set entitled 1+, which includes video discs of Beatles promotional films.

As of June 2015, 1 was the sixth best-selling album of the 21st century in the UK, having sold over 3.1 million copies.


1 was compiled by producer George Martin and former band members Paul McCartney, George Harrison and Ringo Starr.[6] The album contains the 27 Beatles songs that went to number one in the United Kingdom on the Record Retailer Top 50 chart or in the United States on the Billboard Hot 100 chart. Despite Harrison’s “For You Blue” charting at number 1 on Billboard, along with the A-side “The Long and Winding Road”,[7] Capitol Records treated “For You Blue” as strictly a B-side and did not promote it as an A-side. “Day Tripper” was included on 1 since it charted at number 1 in the UK as a double A-side with “We Can Work It Out”, while in the US, only “We Can Work It Out” was number 1. Two singles written by John Lennon and released in both the UK and US were omitted as they did not top either the Record Retailer chart or the Billboard Hot 100: “Please Please Me” and “Strawberry Fields Forever”. The former was the Beatles’ first UK number one single in all British charts except Record Retailer, reaching the top spot in the music magazines New Musical Express, Melody Maker and Disc. “Strawberry Fields Forever” was part of a double A-side single with “Penny Lane”, which reached the top spot in Melody Maker and peaked at number 2 in the other UK charts, behind Engelbert Humperdinck’s “Release Me”.

Liner Notes

The album is a combination of both the US and UK versions of the 1982 compilation 20 Greatest Hits, with the addition of “Something” (which was left off 20 Greatest Hits because of time constraints).[citation needed] On 1, “Hey Jude” was included in its original full-length version (slightly over seven minutes), whereas the American version of 20 Greatest Hits contained a shortened version.

Before 1, all 27 songs were mainly available on two remastered CD releases: firstly on the respective Beatles studio albums released in 1987 (as well as Past Masters, Volume One and Past Masters, Volume Two, released in 1988). The second remastering was made available on the CD versions for 1962–1966 and 1967–1970, released in 1993.

The songs on 1 were remastered specifically for the release in 2000. According to the liner notes of the album, the original analogue masters were “digitally remastered at 24 bits resolution, processed using Sonic Solutions NoNoise technology and mastered to 16-bit using Prism SNS Noise Shaping”. The remastering was overseen by Peter Mew of Abbey Road Studios and took place there.[8] In 2011, 1 was remastered and reissued on CD. In 2015 it was remastered again and remixed by Giles Martin; when Martin began to assist with fixing up the audio tracks for the 1+ video clips, he realised that his goal of making them “more immersive” should also apply to 1.[9] For the remixing project, Martin commented: “The remasters went back to these final mix tapes and remastered them. They cleaned them up and then they EQ-ed them and released them. What we’re doing is remixing. We’re going not to the final mix, we’re creating our own mixes.”[9] About his remixing approach, Martin said: “My approach was to be respectful of everything, I had sessions and sessions where I flipped between previously remastered stereos, the mono remasters, and the remixes we’ve done. I flip between everything and make sure I prefer what we’ve done.”

Beatles04The package of 1 was intended to be simplistic and ambitious at the same tme. Its cover was designed by Rick Ward, and consists of a pop art-style yellow number one on a red background. The emphasis on the 1 digit was used on many of the compilations of number-one hits by different artists that followed this album; for example, ELV1S by Elvis Presley and Number Ones by the Bee Gees. The album’s back cover features the famous photos of the Beatles taken by Richard Avedon and copyrighted on 17 August 1967. The design exclusively uses variations of the Helvetica typeface.


Apparently, there was a gap in the Beatles’ catalog, after all — all the big hits weren’t on one tidy, single-disc compilation. It’s not the kind of gap you’d necessarily notice — it’s kind of like realizing you don’t have a pair of navy blue dress socks — but it was a gap all the same, so the group released The Beatles 1 late in 2000, coinciding with the publication of their official autobiography, the puzzlingly titled Anthology. The idea behind this compilation is to have all the number one singles the Beatles had, either in the U.K. or U.S., on one disc, and that’s pretty much what this generous 27-track collection is. It’s easy, nay, necessary, to quibble with a couple of the judgment calls — look, “Please Please Me” should be here instead of “From Me to You,” and it’s unforgivable to bypass “Strawberry Fields Forever” (kick out “Yellow Submarine” or “Eleanor Rigby”) — but there’s still no question that this is all great music, and there is a bit of a rush hearing all these dazzling songs follow one after another. If there’s any complaint, it’s that even if it’s nice to have something like this, it’s not really essential. There’s really no reason for anyone who owns all the records to get this too — if you’ve lived happily without the red or blue albums, you’ll live without this. But, if you give this to any six or seven year old, they’ll be a pop fan, even fanatic, for life. And that’s reason enough for it to exist. (by Stephen Thomas Erlewine)


George Harrison (guitar, percussion, vocals on 24. background vocals)
John Lennon (vocals, guitar, keyboards, harmonica, bass, percussion)
Paul McCartney (vocals, bass, keyboards, guitar, drums.percussion, drums on 23.)
Ringo Starr (drums, percussion, vocals on 15., background vocals on 21.)
Mal Evans (bass drum on 21.)
George Martin (piano on 06.,17.+ 18.)
David Mason (trumpet on 17. + 18.)
Billy Preston (organ on 24. +  26.,piano on  24. + 27.)
Ronnie Scott (saxophone solo on 20.)
Andy White (drums on 01,)


01. Love Me Do 2.22
02. From Me To You 1.58
03. She Loves You 2.23
04. I Want To Hold Your Hand 2.27
05. Can’t Buy Me Love 2.13
06. A Hard Day’s Night 2.35
07. I Feel Fine 2.20
08. Eight Days A Week 2.46
09. Ticket To Ride 3.12
10. Help! 2.20
11. Yesterday 2.07
12. Day Tripper 2.50
13. We Can Work It Out 2.17
14. Paperback Writer 2.20
15. Yellow Submarine 2.40
16. Eleanor Rigby 2.08
17. Penny Lane 3.01
18. All You Need Is Love 3.49
19. Hello, Goodbye 3.29
20. Lady Madonna 2.19
21. Hey Jude 7.05
22. Get Back 3.14
23. The Ballad Of John And Yoko 3.01
24. Something 3.03
25. Come Together 4.20
26. Let It Be 3.52
27. The Long And Winding Road 3.37

All songs written by John Lennon & Paul McCartney
except 24. written b y George Harrison



More from The Beatles:

Various Artists – Heartbeat (OST) (1996)


Heartbeat is a British period drama series, based upon the “Constable” series of novels written by Nicholas Rhea, and produced by ITV Studios (formerly Yorkshire Television until it was merged by ITV)[1] from 1992 until 2010. The series is set during the 1960s around real-life and fictional locations within the North Riding of Yorkshire, with most episodes focused on stories that usually are separate but sometimes intersect with one another; in some episodes, a singular story takes place focused on a major incident.

Heartbeat proved popular from the beginning, when early series consistently drew over 10 million viewers, achieving a peak audience of 13.82 million in 2001, and 12.8 million viewers in 2003. Its success eventually led to a spin-off series, titled The Royal, as well as a special episode, and three documentaries. In June 2010, ITV announced the cancellation of Heartbeat after its eighteenth series, following discussions on its future.


Heartbeat is period drama set within the North Riding of Yorkshire during 1960s. Plots for each episodes take place within both the fictional village of Aidensfield and the fictional town of Ashfordly, as well as several other fictional villages and farms in the surrounding moors and countryside. On occasions, plots also include the real-life town of Whitby. Each episode in the series focuses on a set of at least one or two main storylines and a side story, some or all of which would cross over with each other and influence the outcome of their plots. Political tones for storylines, coinciding with the decade the programme was set in, were rarely featured in episodes, though some episodes featured occasional references to the counterculture movement, while others would sometimes delve into a dramatic single storyline concerning a major incident that characters would deal with and sometimes be affected by.

Scripps’ Garage from the series:

The programme’s title was chosen by writers to represent the series’ key characters who worked as police officers and medical staff – “heart” for the medical themes featured regularly in the programme; and “beat” based on the phrase “the bobby’s beat” (“bobby” being British slang for a police officer (from Robert Peel)).[5] Each episode’s set of storylines were inspired from those created for the Constable series of books, written by Nicholas Rhea (the pen-name of former policeman Peter Walker), which were focused on a police constable in the 1960s who came to Aidensfield, in order to serve the local community and solve crimes that took place on his new patch. Much of the characters and locations in the Constable series were directly used for creating the setting and plots in Heartbeat, under guidance from Rhea.

Across Eller Beck to Goathland railway station:

The series was originally intended as a launch platform for actor Nick Berry, following his involvement on the BBC’s soap drama EastEnders, who alongside actress Niamh Cusack, were the prominent main actors of the programme for its first two series. Storylines mainly focused around both their characters, as they offered aid to those around the village and beyond, though the tone of plots were portrayed with grittiness and social realism. From the third series onwards, the role of the village policeman continued to be central to the storyline, but supporting actors were redefined as the programme’s main cast, with their characters elevated in presence, effectively evolving Heartbeat into an ensemble drama that was themed as more cosy and comfortable compared to more modern TV police dramas. The changes were more notable by how supporting actors gained more prominence in the opening titles after being elevated into the series’ main cast – up until the fifth series, both Berry and Cusack were prominently featured in the opening credits, but this changed in later series so that by the beginning of the seventh series, all actors in the main cast were given proper credit for their involvement in the drama series.


After the fifth series, storylines became less centralized around the village constable, focusing on separate storylines that retained a set structure within episodes: one focusing on a crime solved by the village constable and his colleagues at Ashfordly police; one focused on a medical issue that the village doctor and/or nurse would treat; and a side story focused on the programme’s “lovable rogue” character which mainly was designed as comic relief, but sometimes featured light-hearted plots delving into heart-warming moments. In addition, over-arching storylines covering several episodes or even series, provided sub-plots between main characters, allowing for character and relationship development between them, with additional characters added in over time. In time, Heartbeat saw the cast being changed throughout its broadcast history, as new characters were introduced to replace those who left the show after being written out.


Sixties pop music features prominently in episodes, notably from the Beatles and Chuck Berry, forming the backbone of Heartbeat’s soundtrack, although music from other decades sometimes is played in episodes. Some 1970s records appear anachronistically, such as the Hollies’ 1974 song “The Air That I Breathe”, Led Zeppelin’s “Black Dog” (1971) or Pink Floyd’s 1971 instrumental “One of These Days.” The series 17 finale “You Never Can Tell” is accompanied by the Flying Pickets’ 1983 song “Only You”, an episode which featured a guest appearance by the band’s lead singer Brian Hibbard. (wikipedia)

And here´s the soundtrack … with a lot of hits from the Roaring Sixties …

A nice trip in this decade including many rarities like music from The Bachelors, Joe Brown & The Bruvvers nd The Fortunes.



CD 1:
01. Nick Berry: Heartbeat (Montgomery/Petty) 2.15
02. The Swinging Blue Jeans: The Hippy Hippy Shake (Romero) 1.45
03. Sandie Shaw: (There’s) Always Something There To Remind Me (Bacharach/David) 2.36
04. Billy J. Kramer & The Dakotas: Little Children (McFarland) 2.48
05. The Kinks: All Day And All Of The Night (Davies) 2.23
06. Peter & Gordon: A World Without Love (Lennon/McCartney) 2.41
07. The Animals: The House Of The Rising Sun (Traditional) 4.30
08. Lulu & The Luvvers: Shout (O’Kelly Isley/Ronald Isley/Rudolph Isley) 2.53
09. Gerry & The Pacemakers: Don’t Let The Sun Catch You Crying (G,Marsden/ F.Marsden) 2.34
10. Herman’s Hermits: I’m Into Something Good (Goffin/King) 2.34
11. The Searchers: Needles & Pins (Nitzsche/Bono) 2.13
12. The Bachelors: I Believe (Drake/Graham/Shirl/Stillman) 2.06
13. Gerry & The Pacemakers: I Like It (Murray) 2.16
14. Joe Brown & The Bruvvers: A Picture Of You (Beveridge/Oakman) 2.20
15. Acker Bilk: Stranger On The Shore (Bilk/Mellin) 2.49

CD 2:
01. The Hollies: Look Through Any Window (Gouldman/Silverman) 2.18
02. The Moody Blues: Go Now (Banks/Bennett) 3.12
03. The Kinks: Tired Of Waiting For You (Davies) 2.33
04. Amen Corner: Bend Me, Shape Me (English/Weiss) 2.37
05. Georgie Fame: Sunny (Hebb) 2.37
06. The Shadows: FBI (Marvin/Welch/Harris) 2.20
07. The Small Faces: Itchycoo Park (Marriott/Lane) 2.50
08. Dave Berry: The Crying Game (Stephens) 2.45
09. Freddie & The Dreamers: You Were Made For Me (Murray) 2.19
10. Nick Berry: Heartbeat (Montgomery/Petty) 2.15
11. Jeff Beck: Hi Ho Silver Lining (English/Weiss) 2.55
12. Brian Poole & The Tremeloes: Do You Love Me? (Gordy Jr.) 2.24
13. Billy J. Kramer & The Dakotas: Bad To Me (Lennon/MCartney) 2.21
14. The Fortunes: You’ve Got Your Troubles (Greenway/Cook) 3.23
15. The Searchers: When You Walk In The Room (DeShannon) 2.22
16. Spencer Davis Group: Gimme Some Lovin’ (S.Winwood/Davis/M.Winwood) 2.55
17. Manfred Mann: The Mighty Quinn (Dylan) 2.52
18. Donovan: Catch The Wind (Leitch) 2.55
19. Joe Cocker: Let It Be (Lennon/McCartney) 3.32
20. Nick Berry: Daydream Believer (Stewart) 3.18






Crosby, Stills & Nash – Carry On (1991)

FrontCover1Crosby, Stills & Nash (CSN) were a folk rock supergroup made up of American singer-songwriters David Crosby and Stephen Stills, and English singer-songwriter Graham Nash. When joined by Canadian singer-songwriter Neil Young as a fourth member, they are called Crosby, Stills, Nash & Young (CSNY). They are noted for their lasting influence on American music and culture, and for their intricate vocal harmonies, often tumultuous interpersonal relationships, and political activism.

CSN formed in 1968 shortly after Crosby, Stills and Nash performed together informally in July of that year, discovering they harmonized well. Crosby had been asked to leave the Byrds in late 1967, and Stills’ band Buffalo Springfield had broken up in early 1968; Nash left his band the Hollies in December, and by early 1969 the trio had signed a recording contract with Atlantic Records.


Their first album, Crosby, Stills & Nash, was released in May 1969, from which came two Top 40 hits, “Suite: Judy Blue Eyes” (No. 21) and “Marrakesh Express” (No. 28). In order to tour the album, the trio hired drummer Dallas Taylor and session bassist Greg Reeves, though they still needed a keyboardist; Ahmet Ertegun suggested Neil Young, who had played with Stills in Buffalo Springfield, and after some initial reluctance, the trio agreed, signing him on as a full member. The band, now named Crosby, Stills, Nash & Young, started their tour, and played their second gig at the Woodstock festival in the early morning hours of August 18, 1969. The first album with Young, Déjà Vu, reached number one in several international charts in 1970, and remains their best selling album, going on to sell over 8 million copies with three hit singles: “Woodstock”, “Teach Your Children”, and “Our House”. The group’s second tour, which produced the live double album 4 Way Street (1971), was fraught with arguments between Young and Taylor, which resulted in Taylor being replaced by John Barbata, and tensions with Stills, which resulted in his being temporarily dismissed from the band. At the end of the tour the band split up. The group have since reunited several times, sometimes with and sometimes without Young, and have released eight studio and four live albums.


Crosby, Stills & Nash were inducted into the Rock and Roll Hall of Fame and all three members were also inducted for their work in other groups: Crosby for the Byrds; Stills for Buffalo Springfield; and Nash for the Hollies. Neil Young has also been inducted as a solo artist and as a member of Buffalo Springfield but not as a member of CSN. They have not made a group studio album since 1999’s Looking Forward, and have been inactive as a performing unit since the end of 2015. Whether or not this break is permanent remains to be seen, as the group has often been inactive for years at a time.


Carry On is the twelfth album by Crosby, Stills & Nash, issued on Atlantic Records in 1991, generally for the European and Australian markets. It is a two-disc sampler of their four-disc box set, CSN, released two months previously in the United States and the United Kingdom. It features material spanning 1968 through 1990 from their catalogue of recordings as a group in addition to selections from Crosby & Nash, Manassas, and their individual solo albums. It was reissued on 30 June 1998 on the WEA International record label. This compilation should not be confused with the Stephen Stills box set of the same name released in 2013.

Where the box set is a more comprehensive overview, this one focuses on previously unreleased tracks, hits, and favorites. Of its 36 tracks, 13 had been unreleased previously, and nine contain all of the group’s Top 40 hits from the Billboard Hot 100. The group’s some-time partner Neil Young appears on eight tracks, including his own songs “Helpless” and “Ohio”. The previously-unreleased material includes studio recordings by the full quartet of “Helplessly Hoping” (originally released by the trio), “Taken at All” (originally by Crosby & Nash), and “The Lee Shore” (previously available only live).[2] The set also includes both the demo of “You Don’t Have to Cry”, the first recording they made as Crosby, Stills & Nash, and the three tracks from their most recent studio album as of 1991 that are also on the box set.


The original recordings were produced David Crosby, Stephen Stills, Graham Nash, and Neil Young, with assistance from Howard Albert, Ron Albert, Stanley Johnston, and Paul Rothchild. Audio engineers on the original recordings include Stephen Barncard, Larry Cox, Russ Gary, Don Gooch, Steve Gursky, Bill Halverson, David Hassinger, Andy Johns, and Jim Mitchell. The original masters were recorded at the following studios: Devonshire Sound Studio, Wally Heider Studios, The Record Plant, Rudy Recorders, the Sound Lab, Sunset Sound, Sunwest Studio, and Village Recorders in Los Angeles; United Studio in Hollywood; The Record Plant in New York City; Wally Heider Studios, His Master’s Wheels, and Rudy Recorders in San Francisco; Criteria Sound Studios in Miami; Island Studios in London; and Stephen Stills’ late 1960s home in Laurel Canyon. The selections were compiled for this set by Crosby, Stills, Nash, Gerry Tolman, and Yves Beauvais, with additional research by Joel Bernstein. (wikipeia)


This two-CD set, issued for the European and Australian markets, has proved among the most popular of Crosby, Stills & Nash’s imports since its release in 1998. Not as hefty, physically or monetarily, as the 1991 four-CD box, it limits itself to the group’s hits and popular and important LP cuts — many represented by outtake versions and alternate mixes — interspersed with popular tracks from the work of Stephen Stills, Graham Nash, and David Crosby (solo and partnered together), and adds what is mostly the best of the previously unissued Crosby, Stills, Nash & Young material from the box. It’s a good survey of the trio’s best moments and the three members’ most effective solo outings, and presents their most appealing side — one assumes that a future Graham Nash compilation will include room for tracks like “I Used to Be a King” or “Military Madness” and that Crosby’s best stuff off of his first solo album will be compiled that way as well. The inclusion of Crosby’s 1968 version of “Guinevere,” the early alternate mix of “Suite: Judy Blue Eyes,” and a handful of additional outtakes that surfaced on the box are the places where the set departs from a standard best-of, but that departure is justified and welcome, separating this set from the So Far album, and anyone who didn’t spring for the four-CD set will be delighted. There are no notes, but none are needed either, and the only drawback for some will be the fact that the stuff isn’t presented in remotely chronological order. (by Bruce Eder)


David Crosby (vocals, guitar, keyboards)
Graham Nash (vocals, guitar, keyboards, percussion)
Stephen Stills (vocals, guitar, keyboards, bass, percussion)
Neil Young (vocals, guitar, harmonica, keyboards)
Joel Bernstein – Danny Kortchmar – Michael Landau – David Lindley – Michael Stergis –  James Taylor

Jack Casady – Tim Drummond – Bob Glaub – Bruce Palmer – George “Chocolate” Perry –  Greg Reeves – Calvin “Fuzzy” Samuels – Leland Sklar

Richard T. Bear, – Joel Bernstein – Craig Doerge – Mike Finnigan – Paul Harris – James Newton Howard

John Barbata – Russ Kunkel – Dallas Taylor

Michael Fisher – Joe Lala – Efrain Toro, Jeff Whittaker
Tony Beard (drum programming)
Cyrus Faryar (bouzouki)
Jerry Garcia (pedal steel-guitar)
Wayne Goodwin (fiddle)
Branford Marsalis (saxophone)
John Sebastian (harmonica, backround vocals)
Joe Vitale (drums, percussion, keyboards, synthesizers, vibraphone, flute)
background vocals:
Joel Bernstein – Rita Coolidge – Venetta Fields – Priscilla Jones – Clydie King – Sherlie Matthews – Dorothy Morrison – Timothy B. Schmit


CD 1:
01. C S N & Y: Woodstock (Mitchell) (1969:**) 3.54
02. C S & N: Marrakesh Express (Nash) 2.36
03. C S & N: You Don’t Have To Cry (Stills) (1968:†) 2.41
04. CS N & Y:  Teach Your Children (Nash) )1969) 2.54
05. Stephen Stills: Love the One You’re With (Stills) (1970) 3.06
06. CS N & Y: Almost Cut My Hair (Crosby) (1970; †) 8,51
07. C S & N: Wooden Ships (Crosby/Kantner/Stills) 5.27
08. C S & N: Dark Star (Stills) (1983; *) 4.58
09. C S N & Y: Helpless (Young) (1969) 3.37
10. Graham Nash: Chicago/We Can Change The World (Nash) (1971) 4.00
11. C S & N: Cathedral (Nash) (1977) 5-28
12. Stephen Stills: 4+20 (Stills) (1969; **) 2.11
13. C S N & Y: Our House (Nash) 2.59
14. David Crosby & Graham Nash: To the Last Whale…” (Crosby/Nash) (1975) 5.31
15. Stephen Stills: Change Partners (Stills/Crosby) (1971) 3.16
16. C S & N: Just A Song Before I Go (1977) 2.14
17. C S N & Y: Ohio (non-album single) (Young) (1970) 3.06
18. C S & N: Wasted On The Way (Nash) (1981) 2.50
19. C S & N: Southern Cross (Stills/R.Curtis/M.Curtis) (1981) 4.39

CD 2:
01. C S & N: Suite: Judy Blue Eyes (Stills) (1969; ** ) 7.29
02. C S N & Y: Carry On/Questions (Stills) (1969) 4.27
03. C S N & Y: Horses Through A Rainstorm (Nash/Reid) (1969; ‡) 3.39
04. Manassas: Johnny’s Garden (Stills) (1972) 2.47
05. David Crosby: Guinnevere (Crosby) (1968: †) 4.46
06. C S N & Y: Helplessly Hoping (Stills) (1969: †) 2.32
07. C S N & Y: The Lee Shore (Crosby) (1969; †) 5.30
08. C S N & Y: Taken At All (Nash/Crosby) (1976; † ) 2:54
09. C S & N: Shadow Captain (Crosby/Doerge) (1977) 4.33
10. C S & N: As I Come Of Age (Stills) (1981; †) 2.49
11. David Crosby: Drive My Car (Crosby) (1978; †) 3.51
12. Steve Stills & Graham Nash: Dear Mr. Fantasy (Winwood/Capaldi/Wood( (1980;‡) 7.04
13. C S & N: In My Dreams (Crosby) (1977) 5.12
14. C S & N: Yours And Mine (Crosby) (1990) 4.28
15. C S & N: Haven’t We Lost Enough? (Stills/Cronin) (1990) 3.07
16. C S & N: After The Dolphin (Nash) (1989) 4.54
17. C S N & Y: Find the Cost Of Freedom (B-side of the “Ohio” single) (Stills) (1970) 1.59

An asterisk (*) indicates a live recording, two asterisks (**) a previously unreleased mix, (†) a previously unreleased version, and (‡) a previously unreleased song.



More from Crosby, Stills, Nash (& Young):

Eric Clapton – The Cream Of Clapton (1994)

FrontCover1At his peak, Eric Clapton was nicknamed “God” by his fans, an indication of how highly regarded the guitarist was during his glory days. This phrase, immortalized in graffiti that spread across London in 1967, originated a few years earlier when Clapton was playing with John Mayall’s Bluesbreakers just after leaving the Yardbirds in 1965. Clapton never was comfortable with the nickname — he embraced “Slowhand,” titling his 1977 album after it — but “Clapton Is God” is a pivotal part of his story and an instrumental moment in the rise of the guitar hero, a rock & roll cliché that didn’t exist prior to EC. To be sure, there were flashy players in blues and rock prior to Clapton, but nothing along the lines of Clapton, whose fame quickly eclipsed Mayall’s in the Bluesbreakers and whose playing became the centerpiece of Cream, the psychedelic power trio he co-led with bassist Jack Bruce and drummer Ginger Baker between 1966 and 1968.

Eric Clapton01

Clapton was venerated for his fast-fingered solos (the “Slowhand” nickname was in jest) and that’s what people came to see. Although he sang some Cream songs, it took him a while before he embraced lead vocals, easing into a solo career after a stint with Delaney & Bonnie in 1969 and 1970. Clapton was so reticent to step to the front of the stage that he adopted a pseudonym for what’s regarded as his finest album, Layla & Other Assorted Love Songs by Derek & the Dominos, but after a bout with addiction that sidelined him through much of the early ’70s, he re-emerged as the pre-eminent guitarist of his generation, a sword-slinger who undercut his bravado with pretty ballads, like “Wonderful Tonight.”


The ’80s may not have treated Clapton kindly — he teamed with Phil Collins for albums designed to bring him hits that never materialized — but he reigned in the ’90s, benefitting from the acoustic authenticity of 1993’s Unplugged, which turned into one of his biggest records. After that LP, he went out of his way to boost his idols — he cut full albums with J.J. Cale and B.B. King — while occasionally taking an odd stylistic departure (his odd TDF side project with Simon Climie) but always reconnecting with the blues roots upon which his entire career lay, as evidenced by his relaxed 2021 album The Lady in the Balcony: Lockdown Sessions. (by Qilliam Ruhlman)

Eric Clapton03

The Cream of Clapton is an Eric Clapton compilation album released in 1995. Additionally, the European and U.S.-versions have a different track listings. The European version had already been released as The Best of Eric Clapton (Polydor 511072) in 1991, though without the track “I Can’t Stand It”.

In addition to profiling Clapton’s solo work, the album also includes Clapton’s involvement in the bands Cream, Blind Faith, and Derek and the Dominos. The sole track penned by Clapton on Blind Faith’s studio album is the only one included here.

Another nice compilation (with real good liner notes by Ray Coleman, author of the book “Clapton – The Biography)  … … and it is obvious that Eric Clapton’s most powerful phase was during the times when he played with Cream, Blind Faith and Derek & The Dominos..


Eric Clapton (guitar, vocals)
many, many studio musicians


Derek and the Dominos:
01. Layla (Clapton/Gordon) (from Layla and Other Assorted Love Songs, 1970) 7.10

02. Badge (Clapton/Harrison) (from Goodbye, 1969) 2.43
03. I Feel Free (Brown/Bruce) (from Fresh Cream, 1966) 2.54
04. Sunshine Of Your Love (Brown, Bruce, Clapton) (from Disraeli Gears, 1967) 4.12
05. Crossroads (live) (Johnson) (from Wheels of Fire, 1968) 4.13
06. Strange Brew (Clapton/Pappalardi/Collins) (from Disraeli Gears, 1967) 2.47
07. White Room (Brown/Bruce) (from Wheels of Fire, 1968) 5.01

Derek and the Dominos:
08. Bell Bottom Blues (Clapton) (from Layla and Other Assorted Love Songs, 1970) 5.04

Eric Clapton:
09. Cocaine (Cale) (from Slowhand, 1977) 3.35
10. I Shot The Sheriff (Marley) 4:22 (from 461 Ocean Boulevard, 1974) 4.23
11. After Midnight (Cale) (from Eric Clapton, 1970) 3.11
12. Swing Low, Sweet Chariot (Traditional) (from There’s One in Every Crowd, 1975) 3.28
13. Lay Down Sally (Clapton/Levy/Terry) (from Slowhand, 1977) 3-51
14. Knockin’ On Heaven’s Door (Dylan) (non-album single, 1975) (Dylan) 4.24
15. Wonderful Tonight (Clapton) (from Slowhand, 1977) 3.41
16. Let It Grow (Clapton) (from 461 Ocean Boulevard, 1974) 4.56
17. Promises (Feldman/Linn) (from Backless, 1978) 3.00
18. I Can’t Stand It (Clapton) (from Another Ticket, 1981) 4.09



Eric Clapton04


More from Eric Clapton:

The official website:

Gene Pitney – 24 Greatest Hits (1994)

FrontCover1One of the most interesting and difficult-to-categorize singers in 1960s Pop, Gene Pitney had a long run of hits, distinguished by his pained, one-of-a-kind melodramatic wail. Pitney was a successful ’60s artist, scoring sixteen Top 40 songs in the USA from 1961 to 1968, and forty such songs in the UK, all the way up to 1974.

Gene Francis Alan Pitney was born in Hartford, Connecticut in 1941, but spent most of his youth in Rockville, Connecticut. Pitney studied piano, guitar, and drums while at Rockville High School while performing with his group, “he Genials and had written and published some songs. By the time he had dropped out of the University of Connecticut, he was performing with Ginny Arnell as the male half of Jamie And Jane, then as a singer/songwriter under the name Billy Bryan for Blaze Records and under his own name for Festival Records in 1960. Pitney broke into the music business as a songwriter in his late teens, getting his first taste of success when Rick Nelson had a #9 hit with his “Hello Mary Lou”, and Bobby Vee charted at #6 with “Rubber Ball” in 1961. In 1962, he wrote “He’s a Rebel” for the Crystals and became friends with producer Phil Spector. He also wrote for Roy Orbison and Tommy Edwards.

Gene Pitney02

Yearning for a hit of his own, in 1961 Pitney went into a small four-track studio on 7th Avenue in New York, and for a cost of thirty dollars, played and overdubbed every instrument and multitracked his vocals. The result was his first hit “(I Wanna) Love My Life Away” (#39 in 1961). Another 1961 single, Goffin-King’s “Every Breath I Take”, was produced by Phil Spector, and is one of the very first examples of his pull-out-the-stops Wall Of Sound productions. Pitney didn’t really find his groove, however, until late-1961’s “Town Without Pity,” which became his first Top 20 entry when it peaked at #13. Pitney’s label, Musicor Records, was primarily involved in Country And Western music and Pitney began recording material in that vein. More hits began piling up in 1963 with “Half Heaven – Half Heartache” (#12), “Mecca” (#12), “True Love Never Runs Smooth” (#21), and “Twenty Four Hours From Tulsa” (#17).

Gene Pitney05

Pitney withstood the initial onslaught of the British Invasion fairly well, scoring Top 10 hits in 1964 with “It Hurts To Be In Love” and “I’m Gonna Be Strong”. The same year he began recording albums in foreign languages. In 1965 and 1966, Pitney recorded Country albums with George Jones and Melba Montgomery, scoring hits with “I’ve Got Five Dollars And It’s Saturday Night” and “Louisiana Mama” with Jones and “Baby Ain’t That Fine” with Montgomery. By 1966 though, his popularity was fading stateside. Ironically, by this time he was a much bigger star in Britain, making the UK Top 10 six times in 1965-66. He could also depend on a faithful international audience throughout Europe, and frequently recorded in Italian and Spanish for overseas markets. In 1966 he became one of the first artists to reach success with Randy Newman compositions, taking “Nobody Needs Your Love” and “Just One Smile” into the British Top 10. Pitney remained a prolific recording artist, putting out many albums a year in America in the mid-Sixties. Tremendously popular in Italy too, he recorded albums of Country tunes in Italian. His last chart hit in America was in 1969 with a song called “She’s A Heartbreaker”, but he continued to hit the UK charts until 1974, and to tour Britain and Europe, avoiding the US oldies revival shows.

Gene Pitney04

In 1970, after spending nearly a decade on the road eleven months of every year, Gene decided to drastically cut back on his touring commitments. ‘I had a family at home, two boys starting to grow up, and I was getting a guilt complex about not being there with them. So I decided to make a six-month commitment to touring and spend the rest of the time at home with the family.’ He decided to quit the long tours of the US and, without meaning to, increasingly found himself in countries other than America due to his love of exotic travel. ‘There is nothing more exciting to me than to get on that airplane and know I’m going to get off in a totally different country, in a different part of the world.’ His annual tours of Britain, Europe, and Australia became a way of life. With every tour proving a sellout, the plan was an outstanding success.

In 1983, when an agent gently twisted his arm, Gene embarked on his first North American tour in over a dozen years. It became a huge personal triumph. Gene Pitney was back with a vengeance, even though he’d never been away. He was introduced to a new generation of fans in 1989 when he recorded “Something’s Gotten Hold Of My Heart” as a duet with Marc Almond. The single gave Pitney his first UK #1, twenty-two years after its first release.

Gene Pitney03

During the 1990s, many exciting things happened to Gene in both the studio and on stage. In 1993 he played the prestigious Carnegie Hall in New York City the day The World Trade Center was bombed. Gene Says, ‘New Yorkers, being New Yorkers, still gave us a sold-out show. No one stayed away!’ The tour of the UK in the same year completely sold out, closing at the beautiful London Palladium. 1994 saw tours in the UK and Australia. In 1995, Gene worked the crowds at The Taj Mahal in Atlantic City, NJ, and did a two-part, forty-six day tour in the UK in May/June and Oct/Nov. During 1996, he performed at the Universal Amphitheatre in Los Angeles and then moved onto a twenty-city concert tour of Australia, followed by a quick trip to Catania, Italy. 1997 was another busy year with shows in Las Vegas, Atlantic City, St. Louis, Kansas City, Boston and another twenty-city concert tour of Australia. 1998 saw Pitney continuing to tour as his composition, “He’s A Rebel” received a BMI Award for having surpassed one million air plays in the US. 1999 saw another sell-out tour of Australia and ended with a twenty-four-city concert tour of England.

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As the year 2000 rolled around, Gene was living in Connecticut, not far from where he was raised, in a big rambling Dutch Colonial house set in an old apple orchard, with his wife, Lynne, whom he married in 1966. Gene divided his time between touring, mostly overseas, and his business interests, which included the Crystal Lake Beach And Boat Club in Connecticut where he worked as a youth. That same year, Gene filmed a Public Television Special called Gene Pitney on Stage, a 60-minute concert that featured Pitney, accompanied by a full orchestra, singing the songs that made him famous. Taped on July 25th at the Fox Theatre at Foxwoods Resort Casino in Mashantucket, Connecticut, Gene Pitney on Stage is a stirring concert special that proved Pitney’s voice and charisma remained as dynamic as ever. In 2002 he was inducted into the Rock And Roll Hall Of Fame.

The music world was shocked to learn of Gene’s death on April 5th, 2006, when his body was discovered just after 10 a.m. at the Hilton Hotel in Cardiff, Wales. The official cause of death was heart disease brought on by hardening of the arteries. The 65-year-old entertainer had given a concert in the Welsh capital the previous day. He was survived by his wife Lynne and three sons, David, Todd and Chris. On September 20th, 2007, a plaque in memory of Gene Pitney was unveiled in his hometown of Rockville, Connecticut, at the town hall, with members of his family in attendence. In October 2008, an international fan convention was held in Rockville. In 2009, Gene Pitney was inducted into the Hit Parade Hall of Fame. (classicbands.com)

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And here´s a low budget sampler with many hits.

Not my kind of music, but of course an important part of Pop Music made in the USA.


Gene Pitney (vocals)
many, many studio musicians


01. Something’s Gotten Hold Of My Heart (Cook//Greenaway) 3.37
02. Twenty Four Hours From Tulsa (Bacharach/David) 3.01
03. I’m Gonna Be Strong (Mann/Weil) 2.18
04. Only Love Can Break A Heart (Bacharach/David) 2.53
05. It Hurts To Be In Love (Greenfield/Miller) 2.32
06. Looking Through The Eyes Of Love (Mann/Weil) 3.21
07. Mecca (Gluck/Nader) 2.21
08. Just One Smile (Newman) 2.38
09. Princess In Rags (Atkins/Miller) 2.37
10. (The Man Who Shot) Liberty Valance (Bacharach/David) 3.02
11. I Must Be Seeing Things (Kooper) 2.31
12. Last Chance To Turn Around (Kahan/Bruno/Millrose) 3.10
13. (I Wanna) Love My Life Away (Pitney) 1.51
14. Baby, You’re My Kind Of Woman (Williams/Foxx)) 2.48
15. Every Breath I Take (Goffin/King) 2.40
16. Hello Mary Lou (Pitney) 2.10
17. She’s A Heartache (Williams/Foxx) 3.18
18. Unchained Melody (North/Zaret) 3.25
19. Summertime Dreamin’ (Murray/Stephens) 2.46
20. Town Without Pity (Tiomkin/Washington) 2.59
21. Back Stage (Denson/Anisfield) 2.39
22. Half Heaven, Half Heartache (Schroeder/Goehring/Wall) 2.46
23. True Love Never Runs Smooth (Bacharach/David) 2.25
24. Somewhere In The Country ((Tobin/Cymbal)) 3.10



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