VA – Shapes & Sounds – Volume 1 – Orange & Red Beams From The BBC Archives, 1967-1969 (2006)

FrontCover1`Shapes And Sounds’ offers seventeen performances taped in BBC studios between 1967 and 1969 for radio shows such as `Top Gear’ and Saturday Club’, as well as some of the weekly Radio 1 programmes. This release, on both LP and CD, features six bands, all of whom will be familiar to collectors of psychedelia and pop of the period, some of which are lauded as being amongst the most rated groups of their time. For many pride of place will go to Kaleidoscope, as `Shapes And Sounds’ features two tracks that are missing from the BBC’s Transcription Service archive.


Thanks to the recent discovery of a transcription disc, Top Sounds are privileged to offer a choice version of the band’s most contagious single `Jenny Artichoke’, as well as a stupendous rendition of the `Faintly Blowing’ cut `Music’. Also thought lost and making their debut on record and CD are three splendid tracks by Tomorrow featuring Keith West, sourced from two editions of `Top Gear’ in October 1967 and February 1968. Included are excellent renditions of `Blow Up’,`Colonel Brown’ and `Real Life Permanent Dream’. `Shapes And Sounds’ also offers the four remaining Timebox session tracks from the Beeb archives, which include an admirable slice of blue eyed soul in their cover of the Young Rascals’ `A Girl Like You’, which the band never recorded outside of the BBC. The Montanas’ selections feature a superior rendering of `A Step In The Right Direction’ , as well as some cracking Moby Grape covers and a Kenny Lynch / Mort Schuman penned `You’re Never Gonna Get My Lovin’. Of all these numbers from their repertoire, only `A Step In The Right Direction’ ever appeared on a single.


Gentle Influence impress with their BBC only cover of Curtis Mayfield’s `You’ve Been Cheatin’, as well as a very good version of their last single `Always Be A Part Of My Living’. The Spectrum offer a fuzz guitar spiked performance of `Headin’ For A heatwave’ which is more virile and much more atmospheric than the 45 version, and they enthusiastically rip through a Beeb only take of the Artwoods favourite `I Take What I Want’.


The sound quality is absolutely superb throughout, with nearly every track sourced from original BBC Transcription records and though few of the tracks on the collection needed much enhancement at all, all have been professionally restored and mastered. The presentation is immaculate and the CD has a twenty four page booklet packed with illustrations, band histories and listings of all their known BBC sessions. All the selections on this release were specially recorded for the BBC during the late 1960s and in many cases are better than the familiar released versions, and appear here on CD and vinyl for the first time. All copies are hand numbered and `Shapes And Sounds’ is a legitimate limited edition release, licensed from the BBC with the blessing / co-operation of no less than nineteen band members. (press release)

CDBooklet09AAn excellent choice of BBC recordings from a high quality league of psychedelic groups that delivered original material deserving more recognition. The sleeve is packed with press cuttings, discographies and biographies of all groups featured. The album starts off with Kaleidoscope represented with 2 tracks that were omitted from their BBC compilation Please listen to the pictures (CD or 2-LP). These are the single A side Jenny Artichoke, but of course in a different live version, and a fantastic early live version of Music, that later was released in a studio version on Faintly blowing. Other artists featured are Tomorrow with Keith West.

Spectrum, The Montanas, Timebox and Gentle Influence. I bought records by most of those “obscure” artists way back then, and the music has mostly stood the test of time. (by Knut Skyberg)


The Top Sounds label was set up by veteran British psych journalist Nigel Lees. After the release of its first compilation of super-rare British psych, Alphabeat, it concentrated on the groundbreaking Shapes and Sounds series. Taking its cue from Circle Records’ like-minded Action and Kaleidoscope releases, Shapes and Sounds compile largely unknown BBC session recordings from both cult favorites and forgotten British groups of the late 60s. Due to airtime and musicians union rules, many bands were required to record songs in BBC studios for inclusion on transcription discs that could then be either retransmitted or sent to other radio outlets around the world. Auntie Beeb had a nasty habit of wiping many of these discs clean for re-use but those that weren’t have shown up as the various “BBC Sessions” releases of the Beatles, David Bowie, etc. In their defense, the BBC also recorded a lot of bands that had only small or no hits to their names at the time such as Kaleidoscope, Gentle Influence, and the Spectrum, included in the first volume here.


Orange and Red Beams includes 3 highly regarded psych darlings, Kaleidoscope, Timebox, and Tomorrow. Some rerecorded singles such as “Jenny Artichoke” and “Beggin'” don’t differ too dramatically from the originals, though they are still welcome inclusions. Other rerecorded tracks, however, differ wildly and are far superior in this incarnation, such as Timebox’s “Yellow Van” (finally free of those faux-soul bleating trumpets) and an absolutely stunning version of the uncharacteristic Kaleidoscope freakout “Music”.

The lesser known bands also acquit themselves splendidly, with Gentle Influence’s rousing take on the Impressions’ “You’ve Been Cheatin'” and Spectrum’s “Headin’ for a Heatwave”.


The main draw of any BBC sessions, however, are the otherwise unrecorded songs. Here the Montanas, of all things, shine with 2 storming Moby Grape covers to go with their even more heavily phased smash through hidden gem “Step in the Right Direction”. Tomorrow perform the unreleased In Crowd track “Blow Up” which was supposed to be the title track to the film of the same name.

The sound quality is excellent throughout, with the exception of “Blow Up” which is an off-air recording. Both CD and vinyl releases are notable for their exquisite attention to detail. There are precious few archival releases that are presented this lovingly, with tons of color pictures and copious liner notes (in the smallest font possible). Anyone who is a fan of the aforementioned bands should try to snap this up immediately. Only 1000 hand-numbered copies of each. (by Magic Hands)


01. Kaleidoscope: Jenny Artichoke (Daltrey/Pumer) 2.38
02. Gentle Influence: You’ve Been Cheatin’ (Mayfield) 2.22
03. The Montanas: Hey Grandma (Miller/Stevenson) 2.20
04. Timebox: Beggin’ (Farina/Gaudio) 2.51
05. The Spectrum: Headin’ For A Heatwave (Roberts/Kinsella) 2.40
06. Tomorrow (featuring Keith West): Colonel Brown (Hopkins/Burgess) 2.53
07. Timebox: Stay There (Patto/Halsall) 3.04
08. The Montanas: A Step In The Right Direction (Trent/Hatch) 3.18
09. Tomorrow (featuring Keith West): Blow Up (Hopkins) 2.05
10. Timebox: A Girl Like You (Cavaliere/Brigati) 3.05
11. The Montanas: You’re Never Going To Get My Lovin’ (Lynch/Shuman) 2,38
12. Tomorrow (featuring Keith West): Real Life Permanent Dream (Hopkins) 2.36
13. Kaleidoscope: Music (Daltrey/Pumer) 3.22
14. The Montanas: Omaha (Spence) 2.27
15. The Spectrum: I Take What I Want (Hayes/Porter/Hodges) 2.27
16. Timebox: Yellow Van (Patto/Halsall) 2.41
17. Gentle Influence: Always Be A Part Of My Living (Fletcher/Flett) 3.18




Various Artists – 25 Hits Of The Sixties – Volume Two – Disc 1 (late 80´s)


Compilations of UK hits from the “roaring sixties” have been very popular for a long time … and that’s a good thing … because the “roaring sixties” were a very important phase in the history of popular music.

They can be used to get an overview of this decade.

But these are not the original recordings of the time, but cheap re-recordings with unknown studio musicians !

Unfortunately, this happens again and again … just to rake in a little money again.
So: Attention please !

This article only serves to show how the music industry wants to cheat us.

I have three more CDs from this series … I will present them here in the course of the next weeks … before I throw them all away.

But: So I have at least discovered some artists I didn’t know before, such as Vanity Fare and Polly Brown.

Listen to the original … they are so much better !


Many, many unknown studio musicians


01. The Troggs: Wild Thing (Taylor) 2.42
02. The Fortunes: Here It Comes Again (Reed/Mason) 2.57
03. The Tremeloes: Suddenly You Love Me (Pace/Callander/Panzeri/Pilat) 3.09
04. P.J. Proby: Somewhere (Bernstein/Sondheim) 3.08
05. The Zombies: She’s Not There (Argent) 2.24
06. The Nashville Teens: Tobacco Road (Loudermilk) 2.42
07. Christie: Yellow River (Christie) 2.48
08. Polly Brown: That Same Old Feeling (MacLeod/MacAulay) 2.59
09. The Searchers: Sugar & Spice (Nightingale) 2.10
10. Marmalade: Ob La Di Ob Li Da (Lennon/McCartney) 3.14
11. Mary Hopkin: Those Were The Days (Fomin/Raskin) 4.58
12. Tornados: Telstar (Meek) 3.03
13. The Foundations: Baby Now That I’ve Found You (MacAulay/MacLeod) 3.08
14. Herman’s Hermits: There’s A Kind Of Hush (Reed/Stephens) 2.35
15. The Searchers: Don’t Throw Your Love Away (Jackson/Wisner) 2.13
16. Dave Berry: The Crying Game (Stephens) 2.40
17. Wayne Fontana: A Groovey Kind Of Love (Sager/Wine) 1.59
18. Billy J. Kramer: Do You Want To Know A Secret (Lennon/McCartny) 2.04
19. Brian Poole: Twist And Shout (Russell/Medley) 2.12
20. Gerry & The Pacemakers: How Do You Do It (Murray) 1.54
21. Petula Clark: Downtown (Hatch) 3.49
22. The Fortunes: Storm In A Tea Cup (Rubin/Roker) 3.25
23. Vanity Fare: Hitchin A Ride (Murray/Callander) 2.56
24. Crispian St. Peters: You Were On My Mind (Fricker/Nicolson) 2.45
25. Acker Bilk: Stranger On the Shore (Bilk) 2.48



More from this fucking edition:

Ella Fitzgerald – The Essential Ella (1991)

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.


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 another official compüilation from Verve Records, a rare release from Australia.

Recognized worldwide as “The First Lady of Song,” Ella Fitzgerald is arguably the finest female jazz vocalist of all time. Blessed with a highly resonant voice, wide range, and near-perfect elocution, Fitzgerald also possessed a deft sense of swing, and with her brilliant scat technique, could hold her own against any of her instrumental contemporaries. She came to initial popularity as a member of drummer Chick Webb’s band in the 1930s, scoring a hit with a “A-Tisket, A-Tasket,” before ascending to wide acclaim in the 1940s with Jazz at the Philharmonic and Dizzy Gillespie’s Big Band, and issuing landmark performances like “Flying Home” and “How High the Moon.”

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Working with producer/manager Norman Granz, she gained even more acclaim with her series of albums on Verve, recording definitive versions of the music of the Great American Songbook composers, including 1956’s Sings the Cole Porter Songbook. Over her 50-year career, she earned 13 Grammy Awards, sold over 40 million albums, and picked up numerous accolades including a National Medal of Arts and the Presidential Medal of Freedom. A hugely important cultural figure, Fitzgerald made an immeasurable impact on the development of jazz and popular music, and remains a touchstone for fans and artists decades after her passing. (by Matt Collar)

Another chance to discover “The First Lady of Song” !


Ella Fitzgerald (vocals)
The Buddy Bregman Orchestra (on 01,, 02, 06, 14. – 16)
Billy May And His Orchestra (on 03. – 05. 08., 17., 20. + 21.)
Nelson Riddle And His Orchestra (on 07., 13. + 19.)
Max Bennett (bass on 10.)
Ray Brown (bass on 10.)
Herb Ellis (guitar on 10.)
Jim Hall (guitar on 09. 11. + 12.)
Gus Johnson (drums on 09., 11., 12. + 22.)
“Philly” Joe Jones (drums on 10.)
Lou Levy (piano on 09. + 12.)
Wilfred Middlebrooks (bass on 09., 11. + 22.)
Oscar Peterson (piano on 10.)
Paul Smith (piano on 11. + 22.)


01. The Lady Is A Tramp (Rodgers/Hart) (1956) 3.24
02. Manhattan (Rodgers/Hart) (1956) 2.51
03. The Very Thought Of You (Noble) (1962) 2.46
04. From This Moment On (Porter) (1956) 3.20
05. A Foggy Day (G.Gershwin/I.Geshwin) (1959) 3.33
06. With A Song In My Heart (Rodgers/Hart) (1959) 2.46
07. Cheek To Cheek (Berlin) 1958) 3.48
08. I’ve Got A Crush On You (G.Gershwin/I.Geshwin) (1959) 3.30
09. A-Tisket A-Tasket (live) (Fitzgerald /Feldman) (1951) 1.55
10. These Foolish Things (Strachey/Link/Marvell) (1957) 3.49
11. Mack The Knife (live) (Weill/Brecht/Blitzstein) (1960) 5.06
12. Caravan (live) (Ellington/Tizol/Mills) (1958) 2.44
13. I Can’t Get Started (Duke/Gershwin) (1962) 3.33
14. I’ve Got You Under My Skin (Porter) (1956) 2.45
15. Night And Day (Porter) (1956) 3.05
16. Everytime Time We Say Goodbye (Porter) (1956) 3.34
17. It’s Only A Paper Moon (Arlen/Harburg/Rose) (1960) 3.35
18. I Get A Kick Out Of You (Porter) (1956) 4.05
19. I Got Rhythm (G.Gershwin/I.Gershwin) (1959) 3.07
20.  My Funny Valentine (Rodgers/Hart) (1956) 3.53
21. That Old Black Magic (Arlen/Mercer) (1961) 4.11
22. Misty (live) (Gamer/Burke) (1960) 2.42



More from Ella Fitzgerald:

The official website:


Manfred Mann – Soul Of Mann (1967)

LPFrontCover1Manfred Sepse Lubowitz (born 21 October 1940), known professionally as Manfred Mann, is a South African–English keyboardist, arranger, singer and songwriter. He is best known as a founding member and eponym of the bands Manfred Mann, Manfred Mann Chapter Three and Manfred Mann’s Earth Band.

Manfred Mann were an English rock band, formed in London and active between 1962 and 1969. The group were named after their keyboardist Manfred Mann, who later led the successful 1970s group Manfred Mann’s Earth Band. The band had two different lead vocalists, Paul Jones from 1962 to 1966 and Mike d’Abo from 1966 to 1969.


Prominent in the Swinging London scene of the 1960s, the group regularly appeared in the UK Singles Chart. Three of their most successful singles, “Do Wah Diddy Diddy”, “Pretty Flamingo”, and “Mighty Quinn”, topped the UK charts. The band’s 1964 hit “5-4-3-2-1” was the theme tune for the ITV pop music show Ready Steady Go!. They were also the first southern-England-based group to top the US Billboard Hot 100 during the British Invasion.

The Mann–Hugg Blues Brothers were formed in London by keyboard player Manfred Mann and drummer/vibes/piano player Mike Hugg, who formed a house band in Clacton-on-Sea that also featured Graham Bond. Bringing a shared love of Jazz to the British Blues boom then sweeping London’s clubs, the band was completed by Mike Vickers on guitar, alto saxophone and flute, bassist Dave Richmond and Paul Jones as lead vocalist and harmonicist. By this time they had changed their name to Manfred Mann & the Manfreds. Gigging throughout late 1962 and early 1963, they soon attracted attention for their distinctive sound.


After changing their name to Manfred Mann at the behest of their label’s producer John Burgess, the group signed with His Master’s Voice in March 1963 and began their recorded output that July with the slow, blues instrumental single “Why Should We Not?”, which they performed on their first appearance on television on a New Year’s Eve show. It failed to chart, as did its follow-up (with vocals), “Cock-a-Hoop”. The overdubbed instrumental soloing on woodwinds, vibes, harmonica and second keyboard lent considerable weight to the group’s sound, and demonstrated the jazz-inspired technical prowess in which they took pride.

In 1964, the group were asked to provide a new theme tune for the ITV pop music television programme Ready Steady Go! They responded with “5-4-3-2-1” which, with the help of weekly television exposure, rose to No. 5 in the UK Singles Chart. Shortly after “5-4-3-2-1” was recorded, Richmond left the band, though he would record with them occasionally later. He was replaced by Jones’ friend Tom McGuinness—the first of many changes. After a further self-penned hit, “Hubble Bubble (Toil And Trouble)”, the band struck gold with “Do Wah Diddy Diddy”, a cover version of the Exciters’ No. 78 Hot 100 hit earlier that year. The track reached the top of the UK, Canadian, and US charts.

Manfred Mann01

With the success of “Do Wah Diddy Diddy” the sound of the group’s singles moved away from the jazzy, blues-based music of their early years to a pop hybrid that continued to make hit singles from cover material. They hit No. 3 in the UK with another girl-group cover, “Sha La La”[3] (originally by the Shirelles), which also reached No. 12 in the US and Canada, and followed it with the sentimental “Come Tomorrow” (originally by Marie Knight) but both were of a noticeably lighter texture than their earliest output. Meanwhile, “B” sides and four-song EPs showcased original material and instrumental solos. The group also returned to jazz and R&B themes on their albums: their first, 1964’s The Five Faces of Manfred Mann, included standards such as “Smokestack Lightning” while the second and last with this line-up, Mann Made, offered several self-composed instrumentals and a version of “Stormy Monday Blues” alongside novelties and pop ballads. With a cover of Maxine Brown’s “Oh No Not My Baby” began a phase of new depth and sophistication in the arrangements of their singles. The group began its string of successes with Bob Dylan songs with a track on the best-selling EP The One in the Middle, “With God on Our Side”, next reaching No. 2 in the UK with “If You Gotta Go, Go Now”. The EP’s title track reached the British top ten singles, the last self-written song (by Jones) and the band’s last R’n’B workout to do so. The run climaxed with a second UK No. 1 single, “Pretty Flamingo”, produced by John Burgess.

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The group had managed an initial jazz/rhythm-and-blues fusion, and then had taken chart music in their stride—but could not hope to cope with Paul Jones’ projected solo career as singer and actor, and with Mike Vickers’ orchestral and instrumental ambitions. Jones intended to go solo once a replacement could be found, but stayed with the band for another year, during which Vickers left. McGuinness moved to guitar, his original instrument, contributing the distinctive National Steel Guitar to “If You Gotta Go, Go Now” and “Pretty Flamingo”, and was replaced on bass by Jack Bruce, who had been playing for the Graham Bond Organisation for some time before a recent brief stint with John Mayall’s Bluesbreakers. In his brief tenure before leaving to form Cream, Bruce played on “Pretty Flamingo” and on the EP Instrumental Asylum (for which he and wind instrumentalists Henry Lowther and Lyn Dobson were included in the sleeve photo of the group), which began the group’s experiments with instrumental versions of chart songs. Bruce was replaced by Klaus Voormann. The band changed record companies just afterward, although EMI quickly released an EP of earlier unissued 1963–66 era songs titled As Was (a play on the title of their then new 1966 album, As Is), a hits compilation; Mann Made Hits (1966), an instrumental compilation LP that included one unissued instrumental track; Soul of Mann (1967); and, most controversially, used session players to complete the unfinished track “You Gave Me Somebody To Love” (c/w ‘Poison Ivy”—both sung by Paul Jones) which made No. 36 in the UK singles chart, upsetting the group—hence McGuinness’s wry comment “Manfreds disown new single” on the sleeve of their next studio album for their new record label. (wikipedia)

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Soul of Mann is a 1967 compilation album of mostly instrumental recordings by Manfred Mann, released by HMV Records shortly after the company dropped the group from its roster. It was not well publicised and did not sell strongly.

The album brought together:

Both sides of the group’s debut single, “Why Should We Not” and “Brother Jack” (1963)
“Sack O’ Woe” (Cannonball Adderley) and “Mr.Anello”, released on the group’s first album The Five Faces of Manfred Mann (1964)
“Bare Hugg”, “The Abominable Snowmann” and “L.S.D.”, from the group’s second album Mann Made (1965)
“Still I’m Sad” (Samwell-Smith), “My Generation” (Townshend), “(I Can’t Get No) Satisfaction” (Jagger-Richards) and “I Got You Babe” (Bono) from the 1966 EP Instrumental Asylum, with Jack Bruce, Henry Lowther and Lyn Dobson
“Spirit Feel” (Milt Jackson), previously released on the compilation Mann Made Hits, and two previously unreleased recordings, “God Rest Ye Merry Gentlemen” and “Tengo Tango”.

CD releases contain extra tracks, mostly with vocals and from the group’s series of HMV EPs. (wikipedia)


5.0 out of 5 stars Great instrumentals
Reviewed in Germany 🇩🇪 on 3 December 2016
If you have problems identifying the jazz influence in Manfred Mann’s works, this compilation is for you. With the exception of one track, everything here is instrumental. Manfred shows that he is a great arranger with sometimes really bizarre versions of then current hits like “My Generation” or “(I Can’t Get No) Satisfaction” – the latter with a brute version of the famous guitar riff and some crazy jazzy breaks. “Still I’m Sad” with layered melodies and “I Got You Babe” changed beyond recognition are not bad either. These four songs were also available on the EP “Instrumental Asylum”, which is a fitting attribute. Only “Why Should We Not”, a rather gloomy melody, comes from Manfred himself. Except for Paul Jones (who can only be heard here from time to time with his blues harp), the other band members have also contributed one track each.

EP (with Jack Bruce)

“The Abominable Snowman” was written by Mike Vickers, who not only plays the guitar but also the saxophone very well. On Mike Hugg’s “Bare Hugg” (another pun) he plays the flute, while drummer Hugg enchants on the vibraphone. In addition, with Milt Jackson’s “Spirit Feel” and the two Cannonball Adderley numbers “Tengo, Tango” and “Sack O’ Woe”, there are three real jazz tracks that hardly sound like a British R&B band from the early sixties. None of the songs exceed the four-minute limit, which means that much here is fast, lively and entertaining (no hour-long solos!). Somewhat superfluous, however, are perhaps the two traditionals “God Rest Ye Merry Gentlemenn” and “Brother Jack” (aka “Brother Jacob” aka “Frère Jacques”). And what the sung “LSD” is doing here, I don’t understand at all.

The whole album is in mono; apart from that, the versions of “Snowmann”, “Bare Hugg”, “Spirit Feel”, “LSD” and “Sack O’ Woe” are no different from the versions on “Five Faces”, “Mann Made” and “Mann Made Hits” respectively. However, “Mr Anello” is a longer version with intro and different guitar solo compared to the Five Faces version. (by Perfectionist)

In other words; excellent early Jazz-Rock from Britain !

And … “Brother Jack” is a is a French children’s song (“Frère Jacques”) from the 18th century.


Mike Hugg (drums, vibraphone)
Manfred Mann (keboards)
Tom McGuinness (guitar, bass)
Mike Vickers (guitar, saxophone, flute)
horn section:
Henry Lowther – Lyn Dobson
Jack Bruce bass and arrangment  on 02., 07., 09. + 12.)

 The re-issue on See For Miles Records (1985):
Re-Issue Edition

01. The Abominable Snowman (Vickers) 2.48
02. I Got You Babe (Bono) 2.2
03. Bare Hugg (Hugg) 3.53
04. Spirit Feel (Jackson) 2.42
05. Why Should We Not (take 5) (Mann) 2.24
06. L.S.D. (McGuinness) 3.51
07. (I Can’t Get No) Satisfaction (Jagger/Richards)
08. God Rest Ye Merry Gentlemen (Traditional) 1.57
09. My Generation (Townshend) 2.28
10. Mr. Anello (version 2) (Mann/Hugg/Vickers/Jones/McGuinness) 2.19
11. Still I’m Sad (McCarty/Samwell-Smith) 2.43
12. Tengo Tango (Adderley) – 3:34- Bass- Jack Bruce
13. Brother Jack (Mann) 2.29
14. Sack O’ Woe (Adderley) 2.16



More from Manfred Mann:

The official website:

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: