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Suzi Quatro / My Heart and Soul (I Need You Home for Christmas) 2020

Suzi Quatro / My Heart and Soul (I Need You Home for Christmas) 2020

4 December Suzi Quatro — known in music history as the first “breakout” female bass player to become a bona fide “rock star” with a string of international hits in the 1970s — released a powerful new holiday song, “My Heart and Soul (I need You Home for Christmas).”

Explained Suzi Quatro of the song’s process in a statement:

“So, lockdown had just begun. My son was in the studio working on ideas every day for our next album, a perfect opportunity as neither of us was ‘on the road’. I was sitting on the patio, relaxing, and heard this absolutely beautiful track coming out of the open studio door. It was a bass line, with a sparse guitar chord, and drums. It was immediate for me. I ran into the studio (mask on of course), and told my son to set up a microphone, and without thinking, without writing anything down, I sang the first 4 lines of the song exactly as they ended up. That`s when you know you have a great song … and we do. Merry Xmas everyone!

1 My Heart and Soul (I Need You Home for Christmas) Radio Edit
2 My Heart and Soul (I Need You Home for Christmas) Full Version


The Pleasure Seekers - What A Way To Die (1964-1968)

The Detroit garage band the Pleasure Seekers originally comprised sisters Suzi, Patti, and Arlene Quatro, the daughters of jazz musician Art Quatro. The group started while the siblings were all still in their teens. They quickly transcended novelty status by writing their own material and playing their own instruments, and made their debut in 1966 with the local hit "Never Thought You'd Leave Me," released on the Hideout label (the recording arm of the local teen club where Suzi reportedly worked as a counter clerk). A year later they jumped to Mercury for "Light of Love." Eldest sister Arlene soon exited the Pleasure Seekers to begin a family -- among her children was actress Sherilyn Fenn, best known for her work in the TV cult series Twin Peaks -- and was replaced by another Quatro sister, Nancy. Throughout the remainder of the decade the band toured relentlessly, even appearing at a USO showcase at the peak of the Vietnam War, but mainstream success continued to elude them. Around 1969, the Pleasure Seekers rechristened themselves Cradle, a move which also heralded a harder-edged sound; by the early '70s, however, the trio disbanded, with Suzi going on to fame as a solo performer (as well as co-starring on the hit sitcom Happy Days as the legendary Leather Tuscadero) while Patti joined the California band Fanny. In 2016, Sundazed released a collection of their classic recordings, What a Way to Die.

Label:Sundazed Music 

Released: 2016

What A Way To Die (1964-1968):
Bass Vocals – Suzi Quatro (tracks: 2,7,9,10,11,12)
Drums – Darline Arnone, Nan Ball (tracks: 3,6), Nancy Rogers
Guitar – Pami Benford
Guitar, Vocals – Patti Quatro (tracks: 2,7,9,11,12)
Keyboards – Diane Baker (tracks: 3,6)
Keyboards, Vocals – Arlene Quatro (tracks: 2,11,12)
Percussion – Nancy Quatro (tracks: 11)
Vocals – Marylou Ball (tracks: 3,6)

Years before Rolling Stone ran their first think piece about "Women in Rock," the Go-Go's had their first practice, or Fanny had to explain for the first time that they really played their own instruments, the Pleasure Seekers were a combo out of Detroit who proved the gals could rock just as hard as the guys. Led by future glam rock icon Suzi Quatro on bass and her sister Patti Quatro on lead guitar (with fellow siblings Arlene Quatro and Nancy Quatro joining the lineup at different times), the Pleasure Seekers were a tough, versatile band with chops, personality, and attitude to spare. The Pleasure Seekers never scored a hit record, and while they toured relentlessly, their novelty as an all-female rock band was a blessing and a curse, attracting an audience that often didn't take them seriously. But the sides they left behind leave no question that they had the goods, and What a Way to Die is a thoroughly enjoyable 11-song collection that preserves the Pleasure Seekers' finest moments. The title track has long been a favorite among garage rock collectors, and it's one of the wildest and funniest sides of the era, in which a young woman compares her boyfriend to a bottle of beer -- and finds the boyfriend a lot less satisfying. While there are other garage-centric tracks like "Never Thought You'd Leave Me" and "Gotta Get Away," the Pleasure Seekers also cut some potent blue-eyed soul, especially "Good Kind of Hurt" and "Locked in Your Love." And the latter-day live recordings on side two saw they were evolving into a smart, heavier outfit that fit right in at the Grande Ballroom, Detroit's home venue for the MC5, SRC, and the Stooges. While What a Way to Die only runs 38 minutes, it does include all the material the band released in its lifetime, along with some potent outtakes and live material, and the liner notes from Mike and Anja Stax tell the band's story in concise but well-detailed fashion. You don't have to be a garage rock junkie or obsessed with female-fronted bands to dig this collection -- just about anyone who goes for '60s-era rock & roll should find something here to like.

VA - The Boat That Rocked (OST) 2009

The Boat That Rocked (retitled Pirate Radio in North America, Good Morning England in France, Radio Rock Revolution in Germany, and I Love Radio Rock in Italy)  is a 2009 British comedy film written and directed by Richard Curtis, with pirate radio in the United Kingdom during the 1960s as its setting. The film has an ensemble cast featuring Philip Seymour Hoffman, Bill Nighy, Rhys Ifans, Nick Frost, and Kenneth Branagh. Set in 1966, it tells the story of the fictitious pirate radio station "Radio Rock" and its crew of eclectic disc jockeys, who broadcast rock and pop music to the United Kingdom from a ship anchored in the North Sea while the British government endeavours to shut them down. It was produced by Working Title Films for Universal Pictures, and was filmed on the Isle of Portland and at Shepperton Studios.

After the world premiere in London's Leicester Square on 29 March 2009,[4] the film was released in United Kingdom and Ireland on 1 April 2009. It was a commercial failure at the British box office, making only US$10.1 million in its first three months, just a fifth of its US$50 million production cost. It received mixed reviews, with most criticism directed at its muddled storyline and 2¼-hour length. For its North American release the film had its running time cut by 20 minutes, and was retitled Pirate Radio. Opening 13 November 2009, it was still commercially unsuccessful in the US, earning only US$8 million. When the worldwide theatrical run was finished in January 2010, the film had grossed US$36.3 million.

The Kinks - Rare Anthology Vol. 2

The Kinks - Rare Anthology Vol. 2

Although they weren't as boldly innovative as the Beatles or as popular as the Rolling Stones or the Who, the Kinks were one of the most influential bands of the British Invasion. Like most bands of their era, the Kinks began as an R&B/blues outfit. Within four years, the band had become the most staunchly English of all their contemporaries, drawing heavily from British music hall and traditional pop, as well as incorporating elements of country, folk, and blues.
Throughout their long, varied career, the core of the Kinks remained Ray (born June 21, 1944) and Dave Davies (born February 3, 1947), who were born and raised in Muswell Hill, London. In their teens, the brothers began playing skiffle and rock & roll. Soon, the brothers recruited a schoolmate of Ray's, Peter Quaife, to play with them; like the Davies brothers, Quaife played guitar, but he switched to bass. By the summer of 1963, the group had decided to call itself the Ravens and had recruited a new drummer, Mickey Willet. Eventually, their demo tape reached Shel Talmy, an American record producer who was under contract to Pye Records. Talmy helped the band land a contract with Pye in 1964. Before signing to the label, the Ravens replaced drummer Willet with Mick Avory.
the Ravens recorded their debut single, a cover of Little Richard's "Long Tall Sally," in January 1964. Before the single was released, the group changed their name to the Kinks. "Long Tall Sally" was released in February of 1964 and it failed to chart, as did their second single, "You Still Want Me." The band's third single, "You Really Got Me," was much noisier and dynamic, featuring a savage, fuzz-toned two-chord riff and a frenzied solo from Dave Davies. Not only was the final version the blueprint for the Kinks' early sound, but scores of groups used the heavy, power chords as a foundation. "You Really Got Me" reached number one within a month of its release; released on Reprise in the U.S., the single climbed into the Top Ten. "All Day and All of the Night," the group's fourth single, was released late in 1964 and it rose all the way to number two; in America, it hit number seven. During this time, the band also produced two full-length albums and several EPs.
Not only was the group recording at a breakneck pace, they were touring relentlessly, as well, which caused much tension within the band. At the conclusion of their summer 1965 American tour, the Kinks were banned from re-entering the United States by the American government for unspecified reasons. For four years, the Kinks were prohibited from returning to the U.S., which not only meant that the group was deprived of the world's largest music market, but that they were effectively cut off from the musical and social upheavals of the late '60s. Consequently, Ray Davies' songwriting grew more introspective and nostalgic, relying more on overtly English musical influences such as music hall, country, and English folk, than the rest of his British contemporaries. the Kinks' next album, The Kink Kontroversy, demonstrated the progression in Davies' songwriting. "Sunny Afternoon" was one of Davies' wry social satires and the song was the biggest hit of the summer of 1966 in the U.K., reaching number one. "Sunny Afternoon" was a teaser for the band's great leap forward, Face to Face, a record that featured a vast array of musical styles. In May of 1967, they returned with "Waterloo Sunset," a ballad that reached number two in the U.K. in the spring of 1967.
Released in the fall of 1967, Something Else by the Kinks continued the progressions of Face to Face. Despite the Kinks' musical growth, their chart performance was beginning to stagnate. Following the lackluster performance of Something Else, the Kinks rushed out a new single, "Autumn Almanac," which became another big U.K. hit for the band. Released in the spring of 1968, the Kinks' "Wonderboy" was the band's first single not to crack the Top Ten since "You Really Got Me." They recovered somewhat with "Days," but the band's commercial decline was evident by the lack of success of their next LP. Released in the fall of 1968, The Village Green Preservation Society was the culmination of Ray Davies' increasingly nostalgic tendencies. While the album was unsuccessful, it was well received by critics, particularly in the U.S.

Peter Quaife soon grew tired of the band's lack of success, and he left the band by the end of the year, being replaced by John Dalton. In early 1969, the American ban upon the Kinks was lifted, leaving the band free to tour the U.S. for the first time in four years. Before they began the tour, the Kinks released Arthur (or the Decline and Fall of the British Empire). Like its two predecessors, Arthur contained distinctly British lyrical and musical themes, but it was a modest success. As they were recording the follow-up to Arthur, the Kinks expanded their lineup to include keyboardist John Gosling. The first appearance of Gosling on a Kinks record was "Lola." Featuring a harder rock foundation than their last few singles, "Lola" was a Top Ten hit in both the U.K. and the U.S. Released in the fall of 1970, Lola vs. the Powerman and the Money-Go-Round, Part One was their most successful record since the mid-'60s in both the U.S. and U.K., helping the band become concert favorites in the U.S.

The band's contract with Pye/Reprise expired in early 1971, leaving the Kinks free to pursue a new record contract. By the end of 1971, the Kinks had secured a five-album deal with RCA Records, which brought them a million dollar advance. Released in late 1971, Muswell Hillbillies, the group's first album for RCA, marked a return to the nostalgia of the Kinks' late-'60s albums, only with more pronounced country and music hall influences. The album failed to be the commercial blockbuster RCA had hoped for. A few months after the release of Muswell Hillbillies, Reprise released a double-album compilation called The Kink Kronikles, which outsold their RCA debut. Everybody's in Showbiz (1973), a double-record set consisting of one album of studio tracks and another of live material, was a disappointment in the U.K., although the album was more successful in the U.S.

In 1973, Ray Davies composed a full-blown rock opera called Preservation. When the first installment of the opera finally appeared in late 1973, it was harshly criticized and given a cold reception from the public. Act 2 appeared in the summer of 1974; the sequel received worse treatment than its predecessor. Davies began another musical, Starmaker, for the BBC; the project eventually metamorphosed into Soap Opera, which was released in the spring of 1975. Despite poor reviews, Soap Opera was a more commercially successful record than its predecessor. In 1976, the Kinks recorded Davies' third straight rock opera, Schoolboys in Disgrace, which rocked harder than any album they released on RCA.

During 1976, the Kinks left RCA and signed with Arista Records. On Arista, the band refashioned themselves as a hard rock band. Bassist John Dalton left the group near the completion of their debut Arista album; he was replaced by Andy Pyle. Sleepwalker, the Kinks' first album for Arista, became a major hit in the U.S. As the band was completing the follow-up to Sleepwalker, Pyle left the group and was replaced by the returning Dalton. Misfits, the band's second Arista album, was also a U.S. success. After a British tour, Dalton left the band again, along with keyboardist John Gosling; bassist Jim Rodford and keyboardist Gordon Edwards filled the vacancies. Soon, the band was playing arenas in the United States. Even though punk rockers like the Jam and the Pretenders were covering Kinks songs in the late '70s, the group was becoming more blatantly commercial with each release, culminating in the heavy rock of Low Budget (1979), which became the group's biggest American success, peaking at number 11. the Kinks' next album, Give the People What They Want, appeared in late 1981; the record peaked at number 15 and went gold. For most of 1982, the band was on tour. In spring of 1983, "Come Dancing" became the group's biggest American hit since "Tired of Waiting for You," thanks to the video's repeated exposure on MTV; in the U.S., the song peaked at number six, in the U.K. it climbed to number 12. State of Confusion followed the release of "Come Dancing," and it was another success, peaking at number 12 in the U.S. For the remainder of 1983, Ray Davies worked on a film project, Return to Waterloo, which caused considerable tension between himself and his brother. Instead of breaking up, the Kinks merely reshuffled their lineup, but there was a major casualty: Mick Avory, the band's drummer for 20 years, was fired and replaced by Bob Henrit. As Ray finished post-production duties on Return to Waterloo, he wrote the next Kinks album, Word of Mouth. Released in late 1984, the album was similar in tone to the last few Kinks records, but it was a commercial disappointment and began a period of decline for the band; they never released another record that cracked the Top 40.

Word of Mouth was the last album they would record for Arista Records. In early 1986, the band signed with MCA Records in the U.S., London in the U.K. Think Visual, their first album for their new label, was released in late 1986. It was a mild success but there were no hit singles from the record. The following year, the Kinks released another live album, appropriately titled The Road, which spent a brief time on the charts. Two years later, the Kinks released their last studio record for MCA, UK Jive. During 1989, keyboardist Ian Gibbons left the band. the Kinks were inducted into the Rock & Roll Hall of Fame in 1990, but the induction did not help revive their career. In 1991, a compilation of their MCA records, Lost & Found (1986-1989), appeared, signalling that their contract with the label had expired. Later in the year, the band signed with Columbia Records and released an EP called Did Ya, which didn't chart. the Kinks' first album for Columbia, Phobia, arrived in 1993 to fair reviews but poor sales. By this time, only Ray and Dave Davies remained from the original lineup. In 1994, the band was dropped from Columbia Records, leaving the group to release the live To the Bone on an independent label in the U.K.; the band was left without a record label in the U.S.
Despite a lack of commercial success, the band's public profile began to rise in 1995, as the group was hailed as an influence on several of the most popular British bands of the decade, including Blur and Oasis. Ray Davies was soon on popular television shows again, acting as these band's godfather and promoting his autobiography, X-Ray, which was published in early 1995 in the U.K. Dave Davies' autobiography, Kink, was published in the spring of 1996.

The Kinks - Rare Anthology Vol. 2
Bootleg (quality As Is...) source Web

The Kinks - Rare Anthology Vol. 2

Disc 1:   

1. Ooba Diooba (Ravens' acetate, nov. 1963) 
2. Long Tall Sally (Live late 1963) 
3. Bald Headed Woman (Alt. Take, 1964) 
4. Got Love If You want It (BBC "Beat Room", 1964) 
5. She's My Girl (Dave Davies acetate, 1965) 
6. I Am Free (BBC Session, 1965) 
7. Listen To Me (Kinks acetate, early 1966) 
8. Sunny Afternoon (stereo version) 
9. Susannah's Still Alive (1969 mix for solo album) 
10.Misty Water (1983 remix) 
11.Hold My Hand (stereo demo, 1968) 
12.Plastic Man (BBC Session, 1969) 
13.Are You Ready 
14.Do You Wish To Be A Man? 
15.Crying (Dave's unreleased solo tracks, recently discovered excellent stereo sound quality versions!) 
17.Mr. Churchill Says (BBC Session, 1969) 
19.Apeman (BBC Sessions, 1970) 
21.Got To Be Free (Songs from TV play "Long Distance Piano Player", 1970) 
23.Bernadette (Alt. takes taken from acetate, 1981) 
24.Video Shop (Live 1987) 
25.The Road (Ray Davies live at The Dave Letterman Show, 1988).

Disc 2: 

1. You Really Got Me (B-side "Down All The Days", 1989) 
2. How Can I Get Close (Ray Davies live at The Dave Letterman Show, 1990) 
3. Now And Then (Rough mix, 1990) 
4. You Really Got Me (Ray, Dave & The Smithereens, 1991); 
5. Hey Donny (Live in Frankfurt, 1993) 
6. Phobia 
7. Over The Edge 
8. Wall Of Fire 
9. Till The End Of The Day (BBC Session at Maida Vale Studios, Jan. 7th, 1994) 
10.All Day And All Of The Night 
11.Waterloo Sunset 
12.I'm Not Like Everybody Else 
13.Till The End Of The Day 
14.You Really Got Me (BBC Session at Maida Vale Studio, late 1994) 
15.To The Bone (Home Demo Recorded by Ray, 1996) 
16.To The Bone 
17.Waterloo Sunset (Studio recordings by Ray & Pete Mathison for US Radio) 
18.You Really Got Me 
19.Yours Truly Confused # 10 
20.Lola (Ray Davies live at BBC program "Jools' Hootenanny", New Years' Eve , 2000/2001) 

The Kinks - Rare Anthology Vol. 2

The Kinks - Rare Anthology Vol. 1

The Kinks - Rare Anthology Vol. 1


The Kinks - Rare Anthology Vol. 1
Bootleg (quality As Is) source Web

The Kinks - Rare Anthology Vol. 1

Disc 1: 
1 - I'm A Hog For You (Ravens Demo 11/63)
2 - I Believed You (Ravens Demo 11/63)
3 - Revenge (Ravens Demo Instrumental1963)
4 - I Don't Need You Anymore (Ravens Demo 1964)
5 - Too Much Monky Business (alt. take 1964)
6 - Got Live If You Want It (alt. take 1964)
7 - Don't Ever Let Me Go (Purposed single 1964)
8 - This I Know (Ray Davies 07/65)
9 - Milk Cow Blues (BBC 8/10/65)
10 - Never Met A Girl Like You Before (BBC 8/10/65)
11 - Wonder Where My Baby Is Tonight (BBC 8/10/65)
12 - And I Will Love You (Unreleased 1965)
13 - Love Me Till The Sunshine (BBC 8/4/67)
14 - Death of a Clown (BBC 8/4/67)
15 - Good Luck Charm (BBC 8/4/67)
16 - Sunny Afternoon (BBC 10/25/67)
17 - Mr.Pleasant (BBC 10/25/67)
18 - Susannah's Still Alive (BBC 10/25/67)
19 - David Watts (BBC 10/25/67)
20 - Sand on My Shoes (Early ver. of Tin Soldier Man)
21 - Easy Come, There You Went (Unreleased '68)
22 - Days (BBC 1968)
23 - Victoria (BBC 12/18/69)
24 - Australia (Australian Single Edit '69)
25 - Supersonic Rocketship (alt.take 1972)
26 - Celluloid Heroes (mono/alt. mix)
27 - You Really Got Me (live US TV "Midnight Special" 1974) "Hidden Tracks!!"
28 - Money Talks (live US TV "Midnight Special" 1974) "Hidden Tracks!!" 

Disc 2: 
1 - Elevator Man (Sleepwalker Demo)
2 - On The Outside (Sleepwalker Demo)
3 - Sleepwalker (Acetate '76 with Extra Verse)
4 - Brother (Aceteta '76 with Earlier End)
5 - Stormy Sky (Acetate '76 with Longer End)
6 - Moving Picture (alt.take)
7 - Wild Man (B-side of Imaginations Real '80)
8 - Give the People What They Want (Acetate '81 with Extra Verse)
9 - Yo-Yo (Acetate '81 with Longer End)
10 - Predictable (Acetate '81 with Longer End)
11 - Destroyer (Acetate '81 with Longer End)
12 - One Night With You (B-side of "Love Gets You" '83)
13 - Once A Thief (Outtake from State of Confusion '83)
14 - Quiet Life (Ray on "Absolute Begginers")
15 - Eternity (Dave Demo for "Faraway So Clone" '91)
16 - Sitting In The Stand (ray solo TV tune)
17 - Unfinished Business (Dave solo)
18 - Love Gets You (Dave solo)
19 - I'll Get Over (Dave solo)
20 - When The Wind Blows ("Emergency" Dave Solo) 

The Kinks - Rare Anthology Vol. 1

The Singles Collection

The Singles Collection

                              VA - The Immediate Singles Collection

The Singles Collection

The Singles Collection


The Singles Collection

The Singles Collection

The Singles Collection
The Singles Collection
Suzi Quatro / My Heart and Soul (I Need You Home for Christmas) 2020VA - The Boat That Rocked (OST) 2009Billy Lee & The Rivieras ‎– You Know  Won't You Dance With Me 7''The Kinks - Rare Anthology Vol. 2The Kinks - Rare Anthology Vol. 1The Kinks-Kinky Beebs

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