HOLIDAYS IN THE SUN!!!




Hello Folks, just for your information i will go to the sun this year from the 23rd of this month until around the 15th of october. I got the confirmation today. Hurray :-). hope we will meet here again after my holidays.

Frank

Sunday, 13 August 2017

The Shades Of Blue - A Golden Classics Edition (1997 Collectables) Flac & mp3


The Domingos formed while in junior high in 1961. The lineup consisted of Nick Marinelli (lead), Bob Kerr (baritone), Ernie Dernai (first tenor), and Dan Guise (baritone). All lived in Livonia, a suburb of Detroit, Michigan. Bitten by the Motown sound and the predominance of R&B emanating from Detroit radio stations, they fashioned themselves after the top acts and began doing talent shows and dances. They gigged without recording for five years. Marinelli started college, Guise disappeared, and Kerr and Dernai also started college, but at a distant university, and the group was limited to singing on weekends. They befriended members of the Reflections ("Just Like Romeo and Juliet"), also from Livonia, who encouraged them to audition for Ed Wingate's Golden World/Ric Tic Records, where they recorded. Linda Steinberg, who attended the same college as Marinelli, took Guise's place and soon became Mrs. Bob Kerr.
The last thing Ed Wingate wanted to see was another blue-eyed soul group. He had already signed and released records by Flaming Ember and the Reflections. The Reflections in particular had given him headaches. The Reflections disliked the way they were being recorded and their producers, mainly Bob Hamilton, and his brother Freddie Gorman (Originals), who insisted on heavy falsetto usage on their recordings, which they hated. Still, Wingate allowed the Shades of Blue to hang around and cut demos. One day while woodshedding on a song Edwin Starr had started in the military, they came up with a finished "Oh How Happy." Young and naïve, they knew little about songwriting credits, so the only name listed is Charles Hatcher, Edwin Starr's birth name; this became a sore point later. While Wingate wanted no part of them, independent producer John Rhys was there when the guys were working with Starr and liked the song and the group.
And why not? They harmonized like birds, and could doo wop down. Rhys is credited with renaming them the Shades of Blue, and taking their master to Impact Records. Rhys also worked with the Newbeats. The Shades of Blue were all in college when "Oh How Happy" shot up the charts, cracking the Top 20 and nesting at number 12 pop in 1966. They quickly assembled management and a band, and hit the road for a year, appearing on Dick Clark's Caravan of Stars and at other venues. On off days they recorded their first and only album for Impact, the self-titled Happiness Is the Shades of Blue. Subsequent releases charted but not very high. "Lonely Summer," written by Edwin Starr, had all the charm of "Happy" but stalled at number 72; and "Happiness," composed by John Rhys, slotted six rungs lower at number 78.
As for the LP, the two cuts were written by Edwin Starr and Rhys wrote a handful, including his most famous "He Got the Whole World in His Hands"; the Shades of Blue
composed one selection, "Night." While they made money on the road, they didn't see any royalties and felt cheated after talking with other artists. So, by 1969, approximately three years after they started recording, they called it quits. Most of the members still live in the Detroit area, working in various occupations.(allmusic)

Hope you have fun
                              SB1                     Flac p1  &  Flac p2        mp3@320





Sixties Beat/Pop From Germany: The Petards - A Deeper Blue 1968 Lp (Europa Records) Flac & mp3



The band was founded in 1966 by brothers Horst and Klaus Ebert. Hans Jürgen Schreiber (drums) left the band in june of'67 and for him came Arno Dittrich, at the time then one of the best drummers in Germany, in the band. The band won an important battle of the bands competition by radio and tv station SWF and after that they recorded the first album ''A Deeper Blue''. Their first two singles ''Golden Glass'' and ''Shoot Me Up To The Moon'' reached  the number one in different regional charts of Germany. 




To me the band is one of the best pop and beat bands from Germany of the time then.
Have fun
               SB1    Flac  &  mp3@320

Sixties Garage Pop: The Jujus - You Treat Me Bad "1965-1967" (2009 Cicadelic Records) Flac & mp3@320


Formed in Grand Rapids, MI in 1963 by a trio of Godwin High School students, the JuJus never recorded an album but released an impressive series of poorly recorded but wonderfully energetic singles on local labels, including the ragged and raw garage cult classic “You Treat Me Bad,” and if they weren’t exactly polished musicians, the band certainly understood what made the little girls scream.


Led by singer Ray Hammel and the throaty saxophone playing of Max Colley, Jr., the group played the state’s frat circuit, mixing in thinly disguised R&B licks with a dose of folk-rock, British Invasion echoes, and, later, a nice splash of psychedelia, sounding a bit like the Beau Brummels crossed with the early Kinks. “You Treat Me Bad” got a lot of play on the regional radio stations, but the band was no more by 1967. This set collects all of the group’s singles and adds in a live track and a handful of unissued sides to make a complete history of this fun little band.


Highlights include two versions of “You Treat Me Bad,” the breezy “There She Goes,” “Hey Little Girl” (in two versions), “Do You Understand Me” (which borrows the main riff from the Rolling Stones' “The Last Time” and somehow gets away with it), the impressive “Sometime or Other,” and the delightful “If You Really Love Me,” which may have been the band’s melodic peak and certainly deserved some airplay.


Countless garage bands like the JuJus sprang up in the mid- to late '60s, and most of those never did more than play a handful of gigs and left behind nothing but stacks of yellowed handbills in someone’s attic or basement, but the JuJus left behind at least 23 fun tracks of local garage band history, all of which is collected here.

Wonderful band from the US with great garage pop from the middle of the sixties.
Have fun
               SB1     Flac p1  &  Flac p2      -  mp3@320

Sixties Garage Pop/Bubblegum By The Five Americans - Western Union (1989 Sundazed) Flac & mp3@320



In 1966-1967, this Dallas group enjoyed some modest national success with the number five hit "Western Union," as well as a few other Top 40 entries, "I See the Light," "Zip Code," and "Sound of Love." Dominated by high bubbling organ lines and clean harmony vocals, the group favored high-energy pop/rock far more than British Invasion or R&B-inspired sounds, although a bit of garage/frat rock raunch could be detected in their stomping rhythms -- and their guitar-dominated tracks offered something else again, the harmonies and texture of "The Train" (which was very nearly their debut single) recalling the punchier work of Gene Clark with the Gosdin Brothers from the same period. Recording prolifically throughout the last half of the '60s (often with ex-rockabilly star Dale Hawkins as producer) and writing much of their own material, they were ultimately too lightweight and bubblegum-ish to measure up to either the era's better pop/rock or garage bands. Their 1966 hit "I See the Light" is their toughest and best performance.

Though they officially hailed from Dallas, the Five Americans had their origins in Oklahoma. Mike Rabon grew up in Hugo, the county seat of Choctaw County, in southeastern Oklahoma, founded in 1902 (and named after Victor Hugo, the novelist), 25 miles north of Paris, Texas, and 15 miles west of Fort Towson, site of the last Confederate surrender of the Civil War. He became interested in playing the guitar when he was eight years old, and saved up to buy a homemade instrument at a local pawn shop. He got a start on a few chords learned from his grandmother and quickly got the hang of the instrument. When rock & roll broke nationally, he was swept right in, and became a big fan of Elvis Presley and Carl Perkins, and later added singers such as Frankie Ford to his list of influences.
He joined a local high-school band called the Rhythm Rebels, who played mostly instrumentals and whose gigs included some local radio appearances. While Rabon was honing his guitar skills and learning what he could from the playing of Carl Perkins, Scotty Moore, et al., John Durrill, who was a few years older, was living Bartlesville, OK -- near the Kansas border, originally part of Indian Territory, and the birthplace of Phillips Petroleum -- and already learning a lot by listening to Jerry Lee Lewis, whose playing inspired him to dress up his already freewheeling approach to the piano even more flamboyantly. Durrill entered Southeastern Oklahoma State College in the early '60s as an English major, and played frat parties and the like in his spare time. It was at one such event, playing for Sigma Tau Gamma, that he crossed paths with Rabon, who had started attending the school in 1962.
By that time, Rabon had in his mind the idea of putting together a group, and he approached Durrill. The others -- Norman Ezell (guitar), Johnny Coble (drums), and Jim Grant (maracas and later bass) -- fell into place quickly. The quintet, named the Mutineers, had a repertory built on the music of Duane Eddy and Bo Diddley, and played events around campus, including a regular Monday night gig at the student union. They were good enough to take a chance on recording, cutting their debut in Dallas in 1963 with "Jackin' Around," an instrumental that got some play on their college station. The British Invasion caused them to add some Beatles numbers to their set list and change their look slightly, as well as emphasize their singing a little bit more. Durrill also added a Wurlitzer electric piano -- purchased by Rabon's father, Smiley (who had also financed their first recording sessions) -- to their sound, though the big change came later, when he acquired a Vox organ, which became part of the group's signature sound when the band started recording.
By the summer of 1964, they felt ready to try competing in Dallas, but Coble backed out at the last minute, and they recruited drummer Jimmy Wright on a couple of hours' notice. The bandmembers spent a few weeks crashing at the pad of Durrill's girlfriend, and picked up their first serious gig -- appropriately enough, for a band called the Mutineers -- at a club called The Pirates' Nook, where they bumped an established band out of their spot there, mostly with their stage antics. They did well enough so that they decided to stick it out for a while longer, past the end of the summer. The Mutineers were booked into a club called Lou Ann's, where they chanced to be heard by John Abdnor, Jr., whose multimillionaire father owned a record label. He invited them to audition, and they were duly signed up to his Abnak label. The latter also involved a name change, and that was how the Five Americans got their new name, at Abdnor's insistence.
Their first single, "I See the Light," cut in late 1965 in Dallas, showed just how powerful a performing unit they'd become in the previous year, their instrumental attack resembling the best elements of such much-vaunted British bands as the Yardbirds and the Nashville Teens, with Durrill's singing supported by Rabon and Ezell. The single, which was leased to the HBR label -- a unit of Hanna-Barbera Studios, the cartoon producers -- reached number 26 nationally, and the group got the go-ahead to work on a debut LP. Equally important, the licensing deal got the Five Americans a trip to Los Angeles to meet the executives of the national label. That in itself was highly instructive to five Oklahoma boys who hadn't been anywhere more sophisticated than Dallas -- where their "long hair" (not nearly to the shoulders) made them "freaks" -- and their musical ambitions as well as the quintet's visual presentation advanced by leaps and bounds across early 1966, even as they made the rounds of venues such as the Whisky a Go Go and various TV music showcases such as Shivaree and The Woody Woodbury Show, turning into a national-level act in a matter of weeks. Oddly enough, at the time of its release, the band and its label hadn't been certain of "I See the Light"'s appeal, especially as its other side, "The Train," had some merit of its own.
Not too many bands coming off the college circuit by scarcely a year could have led with that kind of strength. There were similarly high expectations for their follow-up single, "Evol -- Not Love," a harmony-based rocker that seemed to carry them to the next step. Alas, it didn't do nearly as well, essentially dying in the womb in Dallas, owing to a local business-related "political" dispute involving Abdnor. But their next single, "Western Union," soared from the moment it reached the public, reaching the Top Ten. It also marked the beginning of Dale Hawkins, the guitarist/singer/composer of "Susie Q" fame, working as their producer. This should have been the beginning of a new phase in the group's history, and a leap in their fortunes and prospects, but differences with Abdnor and the limitations inherent in not being signed to a major label combined to sap whatever momentum the song generated. This was all especially tragic, as the Five Americans were generating music that was not only superb AM bubblegum pop, but also credible garage rock on occasion, and excellent pop/rock overall, with killer harmonies and excellent playing, filled with the kinds of hooks that most bands would kill for on their records.
Indeed, there are moments on "Now That It's Over" and "If I Could" where their mix of nicely woven harmonies and clean, sophisticated playing recall the work of the Beatles or the Searchers. "Sound of Love" and "Zip Code" -- issued in 1967 -- charted far lower than the records that had preceded them, despite hooks and harmonies that made them eminently hummable and memorable (especially "Zip Code"). They were doing work of at least the caliber of the Monkees without the Screen Gems publishing/arranging/producing factory backing them up, and if some of it was a bit derivative -- "Sympathy" did seem to recall the Beatles' "You Like Me Too Much" at times -- the music was presented with enough fresh twists to easily justify the purchase and the listening time.
The differences with Abdnor were worsening, however, and the members felt he was now compromising the music and any chance for growth by his insistence that they continue to record in Dallas. By 1968 Durrill and Ezell were both gone, replaced by Lenny Goldsmith and Bobby Rambo. The group continued on through 1969, but by then even their name was starting to sound quaintly out of date amid the burgeoning influence of the counterculture; they could probably have gone on indefinitely in Dallas, but their chances for national exposure were receding by the week. Among their last efforts was a double LP (credited to "Michael Rabon & the Five Americans"), before the remaining members went their separate ways. The band has mostly been remembered across the decades for its two biggest hits, "Western Union" and "I See the Light." In the 21st century, however, Sundazed Records reissued a big chunk of their catalog, giving the Five Americans their biggest exposure in decades, and revealing an astonishingly fine legacy, far beyond their best-known hits and all well worth hearing.(allmusic)


Around four months ago i posted already an album by the Americans called''Western Union'' and it's also released by Sundazed. But they are different. This is a collection of songs from 1965 till 1969 while the other record is a release of the Western Union album from 1967 with bonus track.
Enjoy it
            Frank    Flac p1  &  Flac p2         mp3@320