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The Bells - Best Of (20th Century Masters Millennium Collection)

The Bells - Best Of (20th Century Masters Millennium Collection)

The Bells were a Canadian rock band formed in 1965 in Montreal. The band had two hit singles in the early 1970s. Featuring South African natives Ann and Jackie Ralph as well as Cliff Edwards, Doug Gravelle and Gordie McLeod, the group started in 1965 as "The Five Bells". Cliff and Ann married in 1967 and when their first child was born Ann retired to raise their family on a hobby farm in Warkworth, Ontario.
The Five Bells first hit in 1969 with "Moody Manitoba Morning", followed in 1970 — after shortening their name and Ann leaving to raise their family — with "Fly Little White Dove Fly", which became a Top 10 hit in Canada. Piano player Frank Mills joined The Bells for a short period from 1970 to 1971, after which he pursued a successful solo career, the highlight of which was the #3 1979 U.S. hit single "Music Box Dancer". Mills was replaced by piano player Dennis Will who remained with the band through to the end. Charlie Clark also joined the band in 1970 as a guitarist and vocalist; he now lives in Saint John, New Brunswick.
"White Dove" was followed up in 1971 by "Stay Awhile", a duet featuring Ralph and Edwards. Written by Saint John native Ken Tobias, the song became a major hit worldwide, selling four million copies and going to #1 in Canada on the RPM 100 national Top Singles chart on April 10, 1971 and remaining there for two weeks[1][2] as well becoming their only Top 40 hit in the U.S., reaching #7 on the Billboard Hot 100 chart.[3] This disc sold over one million copies before the major U.S. radio stations played it, and received a gold disc awarded by the R.I.A.A. on 27 May 1971.[3] The song features a whispered vocal by Jackie Ralph. The success led to invitations to perform on The Tonight Show in June 1971[3] and The Merv Griffin Show. In Australia, "Stay Awhile" reached #9.
The band broke up as Edwards departed out on a solo career in 1973.[4] The Bells meanwhile had three Top Ten singles from their final album, Pisces Rising (Polydor, 1973): "The Singer", "Hey My Love" and "He Was Me, He Was You", featuring a new rhythm section with Skip Layton on drums and Will (Wayne) Cardinal on bass. Layton and Cardinal were also members of Ocean in 1976 and Faro in the early 1970s.
The group has continued to perform occasionally over the years. Edwards and Gravelle both now reside in Gananoque, Ontario, Jackie Ralph in Vancouver, British Columbia, and Will in Mississauga, Ontario.


1.Rain
2.Moody Manitoba Morning
3.Fly Little White Dove Fly
4.Stay Awhile
5.Maxwell's Silver Hammer
6.Kris's Collection
7.For Better, For Worse
8.Lady Dawn
9.Oh My Love
10.The Singer
11.Rich Man, Poor Man
12.He Was Me, He Was You

Michaj Burano - Największe przeboje

Michaj Burano - Największe przeboje


 Michaj Burano (1992) Najwiкksze przeboje (PNCD 079)



Nazwisko, imie
Michaj, Wasil
(wlasciwie)

Michaj Burano
(pseudonim)
Steve Luca
(pseudonim)
Michael Michaj
(pseudonim)
John Mike Arlow
(pseudonim)

Data urodzenia
29 pazdziernika 1944

Miejsce urodzenia
Taszkient (ZSRR)

Biografia
Piosenkarz, gitarzysta, kompozytor, autor tekstow, aktor. Pochodzi z cyganskiego szczepu Lowari. W 1952 r. przyjechal do Polski i zamieszkal w Lublinie. Po raz pierwszy wystapil publicznie w 1952 r. z Zespolem Piesni i Tanca Cyganow Moldawskich. W maju 1959 r. – pod pseudonimem Michaj Burano, nadanym mu przez Walicki_Franciszek – zadebiutowal jako wokalista pierwszego polskiego zespolu rockandrollowego ZespolRhythm & Blues. W latach 1960–1963 byl solista zespolu ZespolCzerwono-Czarni, z ktorym zyskal ogolnopolska popularnosc. Miedzynarodowa kariere rozpoczal w 1963 r. z grupa ZespolNiebiesko-Czarni, z ktora wspolpracowal do 1966 r.
W 1964 r. nagral SP w Paryzu dla firmy Decca, a w listopadzie 1966 r. wzial udzial w Festival International des Varietes et Music-Halls w Rennes (Francja). Zdobyl tam Prix de l’Union de Commerce, L’Oscar du Festival i Prix d’Honneur du Festival. Otrzymal tez propozycje nagran radiowych i wystepow w TV. Wkrotce, jako Steve Luca, podpisal piecioletni kontrakt z wytwornia RCA. Koncertowal z gwiazdami francuskiej piosenki, m.in. z Mireille Mathieu i Gilbertem Becaud.
W 1968 r. powrocil do Polski. Zalozyl pierwszy wlasny zespol ZespolBurano and Leske Rom (Burano i Jego Cyganie), z ktorym dokonal nagran archiwalnych dla radiowego Studia Rytm i dal kilka koncertow w kraju. Po kilku miesiacach rozwiazal zespol i wyjechal z Polski. Od tamtej pory mieszka za granica.
Poczatkowo przebywal we Francji, potem w USA. Na poczatku 1969 r., pod pseudonimem John Mike Arlow, podbil francuska publicznosc piosenka pt. My Sweet Angel. Nastepne nagrania i wydawane plyty umocnily jego pozycje na miedzynarodowej scenie piosenki. W 1970 r. spiewal na MIDEM w Cannes. Dwa lata pozniej zdobyl II nagrode na Festiwalu Piosenki w Tokio, wyprzedzajac m.in. Julio Iglesiasa i Richarda Springfielda. W 1974 r. utworzyl we Wloszech zespol Burano and His Gypsy Caravan, z ktorym koncertowal w Europie.
W 1976 r. osiadl w Los Angeles, gdzie mieszka do dzis. Nawiazal wspolprace z tamtejszymi autorami tekstow, m.in. z Patrycja Forrest i Barrym Masonem. Komponowal piosenki, muzyke filmowa, koncertowal w krajach Bliskiego i Dalekiego Wschodu, Afryki i obu Ameryk.
W 1978 r. rozpoczal w Warszawie zdjecia do filmu biograficznego dla TVP, ktorego do dzis nie ukonczono. Jest bohaterem hasla w telewizyjnej wersji Leksykonu Polskiej Muzyki Rozrywkowej (odcinek 5 w rezyserii Ryszarda Wolanskiego). W 1986 r. wzial udzial w Old Rock Meeting w Sopocie, na ktorym wystapil ze swoim polsko-szwedzkim zespolem ZespolJohn Mike Arlow Group. Nagrania z tej imprezy ukazaly sie na LP Old Rock Meeting A.D. 1986, vol. 1-5 oraz LP Czy nas jeszcze pamietasz, vol. 1-2. W 1992 r. ukazal sie CD Michaj Burano: Najwieksze przeboje, przypominajacy jego repertuar spiewany z Czerwono-Czarnymi, Niebiesko-Czarnymi oraz zespolami Burano and Leske Rom i John Mike Arlow Group[1].


1.Lucille
2.Sorrento
3.Let's Twist Again
4.Wezmк w drogк zіoty ksiкїyc
5.Oczy czarne
6.Madame, Madame
7.Pieњс Orfeusza
8.Syg, Sygedyr
9.Patrina
10.Ja po tobie nie pіaczк
11.Sіuchajcie, dziewczкta
12.Jeden taniec dla mnie
13.Nie opuszczaj mnie
14.Dom Wschodz№cego Sіoсca
15.Zostaіy mi tylko twoje listy
16.Nuna
17.Smutny њwiat
18.Moje sny
19.Caіe niebo w ogniu
20.Lucille

Bonney & Buzz - Rock-Ola


Two UK guitar legends from the 60's are together for the first time on this fabulous new CD. Rock-Ola features Bill Bonney of The Fentones ("The Mexican" and "The Breeze & I") and Pete "Buzz" Miller ("Can Can 62" and "Totem Pole"). Buzz was also half of the Shig & Buzz project that released the CD Double Diamonds on Shag's Mai Tai Records label in the mid-90's. Rock-Ola contains twelve more "diamonds", with a smooth, deep Euro-instro sound not too removed from The Shadows, but dense with mystery and intrigue.



Bonney & Buzz - Rock-Ola


by Eddy

Michaj Burano - Gwiazdy polskiego big beatu (2013)


 Michaj Burano (born October 29, 1944 in Tashkent) - Gypsy origin musician, singer, composer, also a songwriter and actor.
He also appeared as John Mike Arlow, Michael Mihaj, Steve Luca


Michaj Burano, właśc. Wasyl Michaj, pseud. także John Mike Arlow, Michael Michaj, Steve Luca (ur. 29 października 1944 w Taszkencie), polski wokalista, kompozytor, gwiazda big bitu, także autor tekstów piosenek i aktor.

Urodził się w rodzinie należącej do romskiej grupy Lowarów. Występować zaczął w wieku 6 lat (ok. 1950 r.) w kierowanym przez ojca zespole Cyganów mołdawskich (Zespół Pieśni i Tańca Cyganów Mołdawskich).

Podczas trasy koncertowej po Polsce w 1952 roku, rodzina postanowiła osiedlić się w okolicach Lublina.

Stamtąd Wasyl wyjechał do Gdańska, gdzie dostrzegł go Franciszek Walicki. Występy zaczął z grupą Rythm and Blues w roku 1959. Wtedy też przyjął pseudonim artystyczny Burano (po romsku „burza”).

Jego kariera zaczęła się od występów z zespołami Czerwono-Czarni, którego był solistą w latach 1960-1963, a później Niebiesko-Czarni (1963-1966).

Michaj Burano - Gwiazdy polskiego big beatu (2013)


W grudniu 1963 roku został zaproszony do paryskiej Olympii, gdzie występował ze swym zespołem jako pierwszy artysta zza żelaznej kurtyny. Razem z Niebiesko-Czarnymi odniósł spory sukces na kilku festiwalach muzycznych we Francji. Burano (pod pseudonimem Steve Luca) nagrywał płyty dla wytwórni RCA.

Michaj Burano - Gwiazdy polskiego big beatu (2013)


W marcu 1968 roku wrócił do Polski i zaczął eksperymentować z własną formacją Burano & leske Rom. Zespół okazał się wielkim sukcesem i zyskał sporą popularność.

Mars Bonfire - Faster Than The Speed Of Life (1968)

Mars Bonfire - Faster Than The Speed Of Life  (1968)
 Mars Bonfire's late-'60s material occasionally bears some resemblance to Steppenwolf, particularly in the use of heavy organs. But in fact this is certainly on the lighter and more pop-flecked side than Steppenwolf, which might both disappointment Steppenwolf fans who seek this out on the basis of the "Born to Be Wild" connection, and make this LP a rather pleasant surprise to those fearing bombastic late-'60s hard rock on the order of Steppenwolf's less impressive aspects. There is a version of "Born to Be Wild" here that is far tamer and less effective than Steppenwolf's hit cover. Yet on about half the album Bonfire favors a pretty airy pop-psychedelic approach (reminiscent of his "Tomorrow's Ship" composition on the single for pre-Steppenwolf outfit the Sparrow, written under his real name of Dennis Edmonton) to both his songwriting and arrangements. Bonfire has a thin, crackly voice that lacks force and precluded any significant success as a solo singer and band frontman, but does have a sincere and likable quality in spite of its limitations. "Lady Moon Walker" in particular is an overlooked psych-pop gem, with Bonfire's best deployment of attractive melodies, spacy lyrics, and pleasing keyboard textures. "In Christina's Arms" and "Sad Eyes" are also neat-o tender love songs with just enough unexpected melodic changes and oh-so-slightly trippy lyrics to make them more intriguing than the usual decent late-'60s pop/rock tune. When Bonfire tries to rock harder and get a little bluesy, the music becomes undistinguished, and sometimes downright boring. The good half of the album make this a worthwhile find, though, and it's worthy of CD reissue (along with "Little Girl Lost" and "Time to Fly," non-LP cuts from the era). Sure it's obscure, but that hasn't stopped Columbia from reissuing lots of other commercially unsuccessful '60s stiffs from its vaults.


1. Faster Than The Speed Of Life
2. Born To Be Wild
3. Sad Eyes
4. Lady Mood Walker
5. Tenderness
6. She
7. Ride With Me, Baby
8. How Much Older Will We Grow?
9. So Alive With Love
10. In Chrisina's Arms
11. Night Time's For You



The Blue Things - The Bluethings Story Vol.1-2

The Blue Things - The Bluethings Story Vol.1-2

Val Stecklein Guitar (rhythm), Vocals
Mike Chapman Guitar (lead), Vocals
Richard Larzalere Drums
Richard Scott Bass guitar, Vocals




Along with the Remains, the Blue Things are serious contenders for the title of the Great Lost Mid-'60s American Band. The Kansas group was extremely popular in the Midwest and Texas, but remained unknown on a national level, despite a deal with RCA. Piloted by the songwriting of singer and guitarist Val Stecklein, the group often sounded like a cross between the Byrds and the Beau Brummels with their melodic, energetic, guitar-oriented folk-rock and haunting harmonies. The group's sole album (Listen & See, 1966) and several singles chart a rapid growth from British Invasion-like material with a heavy Searchers and Buddy Holly influence to full-blown psychedelic efforts with careening guitars, organ, and backward effects. Quite innovative for the time, these 1966 psychedelic singles met with no more than regional success. The group's impetus was derailed by the departure of Stecklein at the end of 1966, although they struggled on for a bit. Stecklein went to California and recorded a disappointing MOR folk album for Dot in the late '60s that reprised some of his Blue Things songs.



Originals LP covers :

The Blue Things - The Bluethings Story Vol.1-2

The Blue Things - The Bluethings Story Vol.1-2

The Blue Things Story, Vols. 1

The Blue Things began in Kansas in 1964, and by 1965 when they were signed to RCA Records they had earned the reputation as one of the best Midwestern groups in the U.S.A. With a number of regional hit singles for the label, the band recorded an album which was released in 1966. By the time the album was released, the band had changed direction from a pop band to that of a psychedelic group patterned around the songwriting ability of group member and founder, Val Stecklein. The Blue Things' Story, Vol. 1 contains 22 tracks that trace the development of the band from its pop-folk roots to the hard psychedelic sound of its last years. By 1967, the band had run its course and sadly broke up. Val Stecklein went on to explore more of the psychedelic sound with other bands. The Blue Things' Story, Vol. 2 continues the story and history of the band and Val Stecklein where Vol. 1 left off. This CD compiles some early Blue Things singles, songs from the RCA album omitted from Vol. 1, and unreleased tracks from 1966. The CD also features two early pre-Blue Things tracks by Val Stoecklein and the Hi Plains Singers from 1963 and four tracks from 1964 by the Blueboys, another pre-Blue Things incarnation. The 22 tracks on this album are brought to a close with two Grey Life solo project songs recorded by Stoecklein in 1968. Both volumes of Story gives the listener 44 tracks of one of the best bands to emerge from the Midwest '60s music scene and an insight of the remarkable talent of Val Stecklein.

The Blue Things Story, Vol. 2: 1963-1968

The Blue Things (on some releases they are listed as the Bluethings) were an extremely interesting band, full of talent and a willingness to take creative leaps that gives them some claim to being the Great Lost 1960s folk-rock group. Born on the high plains of Kansas, The Blue Things enjoyed tremendous regional success but were never able to expand on it, even though they had a major-label deal with RCA, which led to their only album, 1966's Listen & See. This disc charts their folkier material, beginning with lead singer (and chief songwriter) Val Stecklein's early recordings with the Hi-Plains Singers in 1963, tracks with a pre-RCA version of the band attributed to the Blueboys, key cuts and alternate takes from the Listen & See sessions, and ends with demos from Stecklein's solo project, Grey Life, from 1968. Stecklein has an intriguing voice, reminding one at times of Gene Clark crossed with John Lennon, and although his writing bends too much at times to the maudlin end of things, it is easy to see how a break here or there could have made him a major player. The breaks didn't happen, however, and The Blue Things remain a lost treasure. Highlights here include the Lennon-esque "High Life" and two intriguing songs that sound a bit like the Beau Brummels crossed with Buddy Holly, "Doll House" and "I Must Be Doing Something Wrong." Collectables has also released a CD entitled The Blue Things Story, Vols. 1-2 that includes much (but not all) of what is here, but also adds in some of the group's later psychedelic experiments, particularly the lost psych classics "The Orange Roof Tops of Your Mind" and "You Can Live in Our Tree."



Colin Blunstone - One Year (1971)

Colin Blunstone - One Year (1971)
As the lead singer of the Zombies, Blunstone was one of the greatest '60s rock vocalists, pacing the group's minor-key masterpieces with his inimitable choked and breathy vocals. After retiring from the business briefly in the late '60s (to work in the insurance industry, of all things), he went solo in the early '70s with a string of interesting pop/rock albums that were more of an extension of the late Zombies sound than the more well-known work of Argent, the other Zombies spin-off act. the Zombies connection is hardly incidental; chief Zombie songwriters Rod Argent and Chris White gave Blunstone some songs, as did Argent member Russ Ballard, though Blunstone penned much of his material himself. With their moody melodies and Baroque touches of muted keyboards, classical guitars, and inventive string arrangements, his early-'70s albums sometimes sounded like a mellower take on the direction the Zombies pursued with their pop-psychedelic masterwork Odessey and Oracle. Blunstone managed some small British hits with "How Could We Dare Be Wrong," "I Don't Believe in Miracles," and the Top 20 single "Say You Don't Mind," a cover of a tune written and recorded by Denny Laine after he left the Moody Blues and before he joined Wings. Blunstone's first album, One Year (1971), was his best, though the follow-ups Ennismore and Journey also had their moments.

Colin Blunstone - One Year (1971)

After the Zombies split in 1968, Colin Blunstone opted for the security of a 9-to-5 job and took a position with a London insurance company. However, the posthumous success of the Zombies' "Time of the Season" made a return to the music business almost inevitable. Blunstone accepted an offer from producer Mike Hurst to cut a remake of the group's first hit, "She's Not There" for Deram Records. Released under the pseudonym "Neil MacArthur," the record was a hit and two further MacArthur singles followed in 1969. Neither charted, and Blunstone soon decided to start recording under his own name. He ran into ex-Zombies Rod Argent and Chris White, who had just signed a production deal with Epic Records. The duo were eager to produce their former bandmate, and soon Blunstone was preparing his first album for Epic. Recorded between June 1970 and June 1971, the album was titled One Year (for the length of time spent making it). The initial sessions found Blunstone backed by Argent's new group, Argent, but later sessions saw the singer backed by Chris Gunning's lovely string arrangements. The first singles, "Mary Won't You Warm My Bed" and "Caroline Goodbye," flopped, but the third -- a cover of Denny Laine's "Say You Don't Mind" -- was a hit in Britain. Widely considered to be Blunstone's best solo album, One Year is the perfect showcase for his distinctive, breathy voice. He also came into his own as a songwriter on this record. Although he had penned only two songs during the Zombies' career, he was responsible for most of the songwriting on One Year, including such classics as "Caroline Goodbye" and "Let Me Come Closer to You." 


Beauregard Ajax - Deaf Priscilla (1968)

Beauregard Ajax - Deaf Priscilla (1968)



David Ferguson - vocals, guitar
Charlie Hendrix - vocals, pipe, recorder
Clint Williams - electric bass
John Boutell - vocals, guitars
Leo Hartshorn – drums

Beauregard Ajax - Deaf Priscilla (1968)


In 1966 David Ferguson (Guitar & Vocals), his neighbour John Boutell (Rhythm Guitar) and a schoolmate of David?s, Dennis Margeson (Bass), formed the Poets. By 1967 they had added another neighbour to the group, vocalist Charlie Hendricks. David and Charlie immediately began writing original music for the group, both separately and in collaboration. Soon after the introduction of Charlie into the band Dennis Margeson was replaced with bassist Clint Williams. Charlie and Clint had previously played in several bands together. The group was still shy a drummer until Patrick Landreville, a mutual friend, introduced drummer Leo Hartshorn to the band.Completing the band roster was the catalyst that David and Charlie needed to begin writing in earnest, rapidly increasing their repertoire. The Poets soon began playing in any venue that would have them and they quickly became one of the most popular bands in the area. Capitalising on the Poets rapid rise in popularity Patrick introduced the band to his friend, concert promoter Jim Salzer. Salzer was suitably impressed with the bands sound and appearance and began booking them as an opening act at his concerts as well as at his nightclub, the Starlight Lounge. Jim Salzer was at the time one of the top two concert promoters in southern California, the other being Avalon Attractions.

By this time Charlie had persuaded the band to change the name of the band from the Poets to the Dumplings. Mike Cullen, another local favourite, approached David with the idea of playing a double bill with Mike?s band. David was receptive to the idea and Mike secured several performances at local venues. At one of these shows Barbara Haskell, the wife of famed music arranger Jimmie Haskell, saw the Dumplings and offered to introduce the band to one of her husband?s associates in the music industry. Patrick contacted Barbara and she subsequently contacted Bob Keane of Del-fi Records. Bob immediately called Patrick saying he had gotten a glowing recommendation from the Haskell?s concerning the Dumplings and he was indeed interested in hearing the band. Patrick then forwarded this information to David and Charlie. A meeting at Del-fi was set up, a contract was offered and after a brief battle between Averill C. Pasarow, the band?s attorney and J. Cooper, Keane?s attorney, a contract was signed. Keane thought the Dumplings was a terrible name and strongly suggested the band change it. As it happens the band members, with the exception of Charlie, also hated the name. After the band considered a great many names and rejected them all, Patrick suggested naming the band as if it were a person rather than traditional band type names, they liked the idea and settled on one from Patrick?s list, Beauregarde Ajax. Bob Keane subsequently misspelled the name as Beauregard Ajax which is how it appears on ?Deaf Priscilla? the only record commercially released by the band. Bob Keane personally produced the majority of the tracks then handed the project off to Paul Politi to finish the recordings.


All tracks recorded for Del-fi were done at Bob Keane?s Stereo-fi Studio on Selma Avenue in Hollywood, a stones throw from the Capitol records building on Vine Street. The tracks were recorded on his Scully Dictaphone eight track machine which at the time was state of the art. Most recordings at that time were done on four track machines, eight track machines did not become standard until the early 1970s and were shortly replaced by sixteen and twenty-four track machines.Del-Fi Records never released the Beauregard Ajax recordings as the master tapes were lost when Bob Keane had a falling out with his partner in the Stereo-Fi Studio. The band arrived at Stereo-Fi for the final recording sessions and found the doors chained with a notice from the sheriff?s office.The Deaf Priscilla album eventually released by German label, Shadok Records, is from a cassette duplication of the original masters.The band underwent another name change while on the Del-fi label, Beauregard Ajax was changed to Sleep. With the name change from Beauregard Ajax to Sleep Charlie Hendricks left the band and was replaced by Bruce (no known surname), David had met Bruce while attending Los Angeles City College.

ALSO

How did it all get started ?

Beauregard Ajax - Deaf Priscilla (1968)

Rewiev by Bart Bealmear

Southern California's Beauregard Ajax recorded Deaf Priscilla in late 1967 and early 1968, with legendary Del-Fi Records founder, Bob Keane producing, but the record was shelved when the group disbanded. Decades later a vinyl pressing was issued, and in 2006 Shadoks Music released it on CD for the first time, with four bonus tracks. As was the case for countless aspiring American rock collectives, the British Invasion from a few years earlier heavily influenced the five-piece (the singer even picked up an accent along the way), but as this was psychedelic age, the songs are augmented with slightly fuzzed-out blues licks. The actual tunes possess pleasing melodies, resulting in an overall light psych sound. Lyrically, the tone is usually pretty heavy, though, with such darker subject matters as loneliness, depression, failed relationships, and boredom. The group shows a whimsical side on "Kaleidoscope," and the bubblegummy "Happy Brontosaurus," but they are at their best when embracing the melancholic aspects of day-to-day life on such numbers as "Loneliness Is a Sometime Thing," "Goodbye Again," and "Blue Violins." One of the best and more bizarre tracks, "Deaf Priscilla," is the mysterious tale of a horrific domestic dispute, which the protagonist can partly ignore due to loss of one of her senses. As a band, Beauregard Ajax is competent but largely unremarkable, and the vocalist isn't distinctive, leaving this an interesting, but unessential curio. As for the sonic experience, the master tape has deteriorated some, which is often distracting (especially if listening on headphones). As for the bonus tracks, they are useless, consisting of "alternate" versions that hardly differ from the final mixes.

The Silver Beatles - Original Decca Tapes & Cavern Club Rehearsals












 Yellow Dog YD 011 - sb6
Compilation, released in 1991

Track List
01 Like dreamers do
02 Money
03 Till there was you
04 The Sheik of Araby
05 To know her is to love her
06 Take good care of my Baby
07 Memphis Tennessee
08 Sure to fall
09 Hello little Girl
10 Three cool Cats
11 Crying, waiting, hoping
12 Love of the Loved
13 September in the Rain
14 Besame mucho
15 Searchin'
16 I saw her standing there
17 The one after 909
18 The one after 909(alternate Take)
19 Catswalk
20 Catswalk(alternate Take)

Tracks 1-15: Monday, January 1, 1962, Decca Studios, London
Tracks 16-20: Rehearsal, early 1962, Cavern Club, Mathew Street, Liverpool


The Bells - Best Of (20th Century Masters Millennium Collection)Burt Blanca - Rock & Roll Revival Vol.1-4Michaj Burano - Największe przeboje Bonney & Buzz - Rock-OlaMichaj Burano - Gwiazdy polskiego big beatu (2013)Mars Bonfire - Faster Than The Speed Of Life  (1968)The Blue Things - The Bluethings Story Vol.1-2Colin Blunstone - One Year (1971)Beauregard Ajax - Deaf Priscilla (1968)The Silver Beatles - Original Decca Tapes & Cavern Club Rehearsals

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