Tuesday, October 18, 2011
Monday, September 5, 2011
1965 LP Fath Alive! (UK Parlophone 1249)
Monday, August 29, 2011
In looking back over the history of rock & roll, the sad fact remains that very few of its original practitioners stayed true to its original big beat vision. Some made a handful of brilliant sides before broader horizons -- television or the movies -- beckoned. Others were rockers in name only, pop singers who couldn't wait to shimmy into a tuxedo, trading in stomp'n'shout hysteria for the more "respectable" future of dispensing supper club schmaltz. But Freddy Cannon was a true believer, a rocker to the bone. Freddy Cannon made rock & roll records; great noisy rock & roll records and all of them were infused with a gigantic drum beat that was an automatic invitation to shake it on down anyplace there was a spot to dance. Freddy Cannon remained true to the beat and made some really great fun rock & roll records in the bargain. Because of the time frame he enjoyed his biggest successes in -- the late '50s to the mid-'60s -- Cannon is wrongly lumped in with the "Bobbies and Frankies" that proliferated during that era. But a quick listen to any of his finest records quickly dispels any preconceived notions of him being a pretty-boy teen idol no-talent. Read On
1960 LP The Explosive Freddy Cannon (US Swan 502)
1961 LP Freddy Cannon Sings Happy Shades Of Blue (US Swan 504)
1961 LP Freddy Cannon's Solid Gold Hits (US Swan 505)
1962 LP Palisades Park (US Swan 507)
1963 LP Freddy Cannon Steps Out (US Swan 511)
1964 LP Freddie Cannon (US Warner Bros. W-1544)
1965 LP Action (US Warner Bros. W-1612)
Thursday, August 11, 2011
Although Aaron Neville is often compared to singer Sam Cooke in terms of sheer vocal refinement, he has a voice and style uniquely his own. He is well known as part of the New Orleans sound of the Neville Brothers. Yet, aside from the 1967 number one R&B hit "Tell It Like It Is," few have heard his incredible early solo recordings. Many of the first recordings of Neville, in the early and mid-'60s, were arranged, produced, and often written by the brilliant Allen Toussaint -- another talent only later being really appreciated. Most of these sides were cut for the Minit and, later, Parlo labels. Songs like "She Took You for a Ride" and "You Think You're So Smart" on Parlo are masterpieces. While his more recent work, including that with Linda Ronstadt, makes for pleasant listening, it lacks the sheer persuasion of his early songs. Neville has re-recorded his early work often, and it is important to hear the originals. The early sides are just waiting to be heard. (by Michael Erlewine)
Wednesday, July 20, 2011
Heinz van Tuyl - Solo guitar
Jos Panhuysen - Lead guitar + vocal
Hans Vermeulen - Bass
Peter v. Breemen - Drums
Thursday, July 14, 2011
In early 1970, Orlando received a call from Bell Records producer Hank Medress requesting that he lay down a lead vocal over a demo recorded by a Detroit-based act called Dawn. The duo, consisting of vocalists Telma Hopkins and Joyce Vincent, had previously backed up singers including Edwin Starr, Johnnie Taylor, Freda Payne, and others; according to legend, Orlando never even met either singer until well after the record, "Candida," became a massive hit, rising to number three on the singles charts. Orlando quickly agreed to cut another record with Dawn, nonetheless adamantly insisting on keeping his day job; titled "Knock Three Times," the single topped the charts in early 1971, and finally he returned to music full-time, signing with Bell and going on tour with Hopkins and Vincent under the banner of Dawn, Featuring Tony Orlando.
Released in 1973, "Tie a Yellow Ribbon" became Orlando's biggest hit yet, and was named the top-selling single of the year. Long after its original success, the song re-entered the public consciousness with renewed force in 1981, becoming something of anthem during the Iranian hostage crisis as American citizens regularly tied yellow ribbons around trees as a symbol of their hopes and prayers for the hostages' safe return. By that time, Tony Orlando & Dawn had long since dissolved: after scoring subsequent Top Ten hits with 1973's "Say, Has Anybody Seen My Sweet Gypsy Rose?," 1974's "Steppin' Out (Gonna Boogie Tonight)," and 1975's chart-topping "He Don't Love You (Like I Love You)," the group's popularity began to slip, although they enjoyed considerable success with their CBS television variety series. However, in July 1977, Orlando -- reeling from the recent deaths of his sister and his close friend Freddie Prinze, as well as mounting drug problems -- announced his retirement, giving up show biz in the name of Christianity. (by Jason Ankeny)
Monday, July 11, 2011
Teenage Triangle is a joint album by three pop artists, Shelley Fabares, James Darren and Paul Petersen. It was released in 1963 on Colpix Records and included 12 tracks with 4 songs from each of the three singers. Seven of the singles were US Top 40 hits, 2 from Fabares, 2 from Petersen and 3 from Darren. The album was produced and arranged by Stu Phillips. It was available in both mono and stereo, catalogue numbers CP-444 and SCP-444. Teenage Triangle peaked on the Billboard 200 Albums Chart at #48 in May 1963.
Bye Bye Birdie was a 1963 musical comedy film from Columbia Pictures. It was a film adaptation of the stage production of the same name. The screenplay was written by Michael Stewart and Irving Brecher, with music by Charles Strouse and lyrics by Lee Adams. Directed by George Sidney, the film version starred Dick Van Dyke, reprising his Broadway role as Albert Peterson, along with Maureen Stapleton as Mae Peterson, Janet Leigh as Rosie DeLeon, Paul Lynde reprising his Broadway role as Harry MacAfee, Bobby Rydell as Hugo Peabody, and Ann-Margret as Kim MacAfee. The original soundtrack was released by RCA Records in 1964 but here is a 1963 Colpix production with their biggest stars of that time.
Wednesday, January 5, 2011
The acquisition of Sheppard helped the Hearts twofold: not only could he blow, he also wrote gorgeous ballads. Shortly after he joined the Hearts, they became the Heartbeat Quintet and started playing clubs, weddings, graduations, ceremonies, and basement parties. Jazz saxophonist Illinois Jacquet befriended them and let them rehearse in his basement. Jacquet's brother arranged their first recording opportunity. "Tormented," a ballad written by Sheppard, was released on Network Records in Philadelphia, but lack of promotion killed any chance of success. After shortening their name to the Heartbeats, they came to the attention of William Miller, who worked for Hull Records. He introduced the quintet to owner Bea Caslin, who was impressed by their tight harmonies and Sheppard's songwriting skills; the group was soon signed to the label. Three initial releases sold well, particularly the magnificent "Your Way"; all were ballads written by Sheppard.
Read on +/-
1965 SP Mr.Tambourine Man/It Ain't Me Babe (NL RCA Victor 47-9597)
1965 SP You Were On My Mind/Bury Me Beneath The Willow (NL RCA Victor 47-9599)
1966 SP Russian Spy And I/Spring (NL RCA Victor 47-9656)
1966 SP Janosh/When I See Babette (NL RCA Victor 47-9657)
1967 SP I'm The King/The Consul Of Sidney (NL RCA Victor 47-9751)
1968 SP Lost Money/Shovel Man (NL Imperial IH 818)
1968 SP Strange Things Appear/Blues In G (NL Imperial IH 791)
In 1965 Jan Akkerman and his band decided to change their name from "Johnny and The Cellar Rockers" to "Johnny and the Hunters", wich became simply "The Hunters" soon after. Paul Hubert replaced Jan Burgers on guitar, while Wilfred Arens was the new bassplayer. Wilfred on his turn was replaced by Ron Bijtelaar in 1966. Their first singles featured Rita Severijnse and Floor Klomp on vocals, but since "The Russian Spy and I", released in June 1966, they shared the vocals themselves. That single became a Top 40 hit in The Netherlands, as it reached #10. The next single "Janosh" wasn't very successful (#40) and not very good aether. But it was a logical follow-up to its predecessor, who became one of the milestones in Dutch pop history. After that single, Ron Bijtelaar was replaced by Frank Smit, before Ron finally returned to The Hunters, to play on their last single "Lost Money" in November 1968. The Hunters were, just like the "Cellar Rockers", also a backing group for several lead singers. For instance, they recorded a single with vocaliste Peggy March in 1966. Recently this photo from the recording session turned up. For more info about Jan Akkerman -- Holland's best guitar player ever: janakkerman.com
Tuesday, January 4, 2011
1964 LP School Is A Drag (US Capitol ST-2190)
The Super Stocks first showed up on the Capitol Records car song compilation album Shut Down (not to be confused with the Beach Boys' Shut Down, Vol. Two, which was done in its wake), on which they had four songs. They also contributed six songs to the album Hot Rod Rally, but the group's main claim to fame lies in the three LPs of their own that they released in 1964: Thunder Road, Surf Route 101, and School Is a Drag. Following those odd early sides, Usher assembled a core of regular players, including Glen Campbell, Richie Podolor, and Paul Johnson on guitars; Hal Blaine on drums; and Steve Douglas on sax. He handled some of the early vocals himself, with Chuck Girard, Ritchie Burns, and Joe Kelly also singing; and Girard eventually took over most of the vocal chores. Read on +/-
1961 EP The Shadows (UK Columbia SEG-8061)
1961 EP The Shadows To The Fore (UK Columbia SEG-8094)
1961 EP Live At The Colosseum (SEGJ-11014)
Monday, January 3, 2011
1961 EP The Shadows (UK Columbia SEG-8061)
1961 EP The Shadows To The Fore (UK Columbia SEG-8094)
1961 EP Live At The Colosseum (SEGJ-11014)
In 1958 -- in youth club 'Don Bosco', Rijswijk, Netherlands -- the 13-years old Hans van Eijk met Johnny Lion (Jan van Leeuwarden), who formed a singing duo at that time with his brother Fred. Together Johnny and Hans create a band: Johnny & The Jewels. Initially it was a seven piece orchestra which played -- in addition to their performances on party's -- in the parish hall of the Catholic Church. Drummer Frits Tamminga was already in the first line up and also Joop Oonk -- trained by Hans van Eijk for bass player. Peter Tamminga did play piano and Chris Jackson guitar. And then there was a certain Bas -- school companion of Hans van Eijk -- and a girl singer: Nellie. Later on Tjibbe Veeloo replaced the rhythm guitarist of the first line up: Chris Jones. The original 'Frisian' Tjibbe also learned to play guitar with the help of Hans.
Summer 1960, Willy Wissink (Willy & His Giants) operates the dancing pavilion of the roller rink in the Zuiderpark in The Hague. He also performed there with his own group: The Real Rhythm Teens. Johnny & The Jewels play there on weekends. A cousin of laundry owner Herman Batelaan played with Willy Wissink, and so comes Batelaan had contact with Wissink. When Willy leaved The Hague, Herman did take over the dances in the South Park and met Hans van Eijk and his guys. Herman Batelaan sets itself up as business manager. The orchestra was reduced to five men and from October 1960 they continue under the name The Jumping Jewels. Early 1961, record company Phonogram was looking for a guitar group -- in the style of the successful British Shadows -- who could record the world hits "Wheels" and "(Ghost) Riders In The Sky" for the Philips label. Herman Batelaan brought The Jumping Jewels at the right time in contact with Phonogram. The result was that, March, 1961, their version of the two instrumentals could be found in the record stores.
The group scores -- both, with singer Johnny Lion as instrumental -- a reasonable number of hits and grows as the most popular guitar group from the lowlands. But also in the rest of Europe and Asia they sold many records. In 1964 Pakistan, Malaysia and Singapore are visited. In Singapore approximately 10,000 fans saw their performances at the Odeon theater, in the middle of the city. 1965 Is a turbulent year for The Jumping Jewels. In April, they join Johnny Lion in the circus of Toni Boltini, but it also came to a break that summer. Johnny Lion scored a big hit with the Dutch song "Sophietje," without the Jewels. Their share was acquired by The Young Ones. The Jumping Jewels ended then their contract with Herman Batelaan and continued as a backing group for Rob de Nijs -- another popular Dutch singer. Batelaan however went to court because of rights of the groups name. He won the lawsuit which meant the end of the Jumping Jewels. Early 1966 Hans van Eijk and his men made a relaunch as a beat group: 'The Jay Jays'.
1966 - Sensations In Sound (Artone PDS-510)
1967 - Beat Meets Rhythm & Blues (Artone PDR-552)
1967 - Shame On You (Artone PDS-560)
The group arises late 1962 as singer Bob Bouber saw the Amsterdam band the Apron Strings on stage. He thougt the concept of ZZ & de Maskers with the entire group (including him self as ZZ) acting with masks. Later Bouber discard his mask. The group was initially focused on Dutch rock with songs like "Dracula," "Ik Heb Genoeg Van Jou," and "Shake Hands." In addition to the vocals of Bob Bouber they played a large number of instrumental tracks as ZZ & de Maskers -- although Bouber was not contributing to them. Jan de Hont was the soloist in these songs, of which La Comparsa became a classic. Inspired by the British beat music in 1964, the group also recorded songs in English as "Sloppin' in Las Vegas" (also as "Stoppin' In Las Vegas" with Chubby Checker in 1965) and "Cheat, Cheat, Cheat.
After five mostly instrumental years as "ZZ en de Maskers", and the split from their singer Bob Bouber, Jan de Hont and his Amsterdam guys tried to find new roads as De Maskers. Times had changed. Beat and Rhythm & Blues had taken over from instrumentals. The first single with the new face was "Brand New Cadillac", a cover from The Renegades. The record reaches #15 in the Dutch hit list. After that a new single came with Chubby Checker; "Baby, Baby, Balla, Balla!!!, who reached #17 in Holland and climbed to #1 in Germany. De Maskers recorded three original lp's, from who --in my opinion-- the first: "Sensations In Sound" was the best. The second lp mixed up some new tracks with a couple of older instrumentals. The record company had for sure troubles with the new 'beat face' of De Maskers, and tried to please the old fans this way. That makes it even more difficult for the band to build up a new public image. The third and last long player was more Rhythm and Blues orientated, but missed the real touch from --for instance-- The Incrowd and The Rodys, two other Dutch R&B groups. But overall De Maskers were one off the best and most important Dutch bands in the sixties with their superb guitarist Jan de Hont.