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David & Jonathan - You've Got Your Troubles & The Greatest Hits

David & Jonathan - You've Got Your Troubles & The Greatest Hits


You've Got Your Troubles 


The Greatest Hits 

David & Jonathan - You've Got Your Troubles & The Greatest Hits


Most famous for their hit cover of the Beatles' "Michelle" in early 1966, David & Jonathan were a harmonizing duo from Bristol, England, with more ties to the MOR vocal sound than the British Invasion. Actually named Roger Greenaway and Roger Cook, the pair were primarily songwriters rather than performers, penning "This Golden Ring" and "You've Got Your Troubles" for another British vocal group, the Fortunes. Beatles producer George Martin worked with the renamed David & Jonathan in the mid-'60s, and their soft ballad treatment of "Michelle" made the Top 20 in both the UK and US. Their smooth dual leads were in the vein of Chad & Jeremy, but even more pop-oriented.

David & Jonathan - You've Got Your Troubles & The Greatest Hits

David & Jonathan had another big hit in Britain in 1966, "Lovers of the World Unite." But Greenaway in particular would experience his greatest success as a composer. Sometimes in collaboration with Cook, and sometimes not, his songs were a fixture of the British pop scene in the 1960s and 1970s. The quality of these hits was variable indeed, ranging from the excellent (the Hollies' "Long Cool Woman" and Gene Pitney's "Something Gotten Hold of My Heart") to the banal (the Pipkins' "Gimme Dat Ding" and Whistling Jack Smith's "I Was Kaiser Bill's Batman"), as well as smashes for Blue Mink, Engelbert Humperdinck, White Plains, and others.

Ola & The Janglers - Flashback #20

Ola &  The Janglers - Flashback #20

Ola Håkansson (vocals)
Christer Idering (guitar)
Johnny Lundin (guitar)
Claes "Clabbe" af Geijerstam (guitar)
Johannes Olsson (organ)
Lennart Gudmundsson (bass)
Åke Eldsäter (bass)
Leif Johansson (drums)

Ola and the Janglers bildades 1962. Under några år i mitten och senare delen av sextiotalet hade gruppen sina stora framgångar. En av gruppens största hits, en cover på Chris Montez Let's Dance spelades flitigt inte bara i Sverige. Efter upplösningen av gruppen bildade några av medlemmarna Secret Service.

Ola and the Janglers founded in 1962. For some years in the mid and late sixties, the group had their great success. One of the group's biggest hits, a cover of Chris Montez Let's Dance was played frequently not only in Sweden. After the group disbanded, a few members formed Secret Service.

Ola & The Janglers ‎– Flashback #20 1995


01 Ola & The Janglers - Let's Dance
02 Ola & The Janglers - Hear Me
03 Ola & The Janglers - Save Me, Save Me
04 Ola & The Janglers - I Can't Wait
05 Ola & The Janglers - What I heard Today
06 Ola & The Janglers - You Don't Know Where Your Interest lies
07 Ola & The Janglers - Farewell My love
08 Ola & The Janglers - This Ring
09 Ola & The Janglers - Strolling Along
10 Ola & The Janglers - Juliet
11 Ola & The Janglers - Poetry In Motion
12 Ola & The Janglers - Alex Is The Man
13 Ola & The Janglers - Light Of Lime
14 Ola & The Janglers - Bird's Eye View Of You
15 Ola & The Janglers - Not In My Life
16 Ola & The Janglers - Thinking' Of You
17 Ola & The Janglers - No No No
18 Ola & The Janglers - Love Was on Your Mind
19 Ola & The Janglers - Stop Your Sobbing
20 Ola & The Janglers - Surprise Surprise

Ola &  The Janglers - Flashback #20


Ola &  The Janglers - Flashback #20







Jan & Dean - Filet Of Soul 1966

Jan & Dean - Filet Of Soul 1966


Review by Bruce Eder
Filet of Soul is a good example of a successful "fake" -- oh, it's real enough as a Jan & Dean album, and the recordings here are all the real article and enjoyable, even if most of them are hardly representative of the duo at its best. Mostly the album works because it slots into the parody element that always played a role in the duo's presentation -- though Jan & Dean were meticulous in their productions, and Jan Berry a very serious personality in terms of his work, there was always a strong component of laughter in their music, and they never took themselves (or rock & roll) too seriously. And it's entirely possible that, had events worked out differently, the Beatles' Rubber Soul album (itself a parody title) might have inspired the pair to devise an "answer" record. But Filet of Soul was actually the creation of Liberty Records, in the wake of Jan Berry's disastrous April 1966 car accident, to keep some Jan & Dean product out there and sell it while the notoriously fickle teen audience still remembered who they were. By scouring the unused portions of the concert tape that had yielded the pair's live Command Performance album, plus a few studio tracks that had already been heard on other albums, a coherent Jan & Dean album was devised, complete with three John Lennon/Paul McCartney songs. None of the latter, most especially the utterly improbable "Norwegian Wood," are exactly groundbreaking, nor is the album a landmark of any kind, but like almost every other record that Jan & Dean ever issued, it is lots of fun (though the "fun" is stretched just about to the breaking point with their rendition of "Everybody Loves a Clown," which is saved for last, for obvious reasons). With a live audience ambience behind their deliberately adenoidal harmonies on "You've Got to Hide Your Love Away," you know that this is no more a serious effort to "interpret" the song than, say, the Beach Boys' version from Beach Boys' Party! (recorded the previous year with Dean Torrence on hand). Jan & Dean are obviously more straight-faced on "Let's Hang On," "Honolulu Lulu," and "1-2-3," and the 1964-vintage "Dead Man's Curve," with its elaborate production, stands apart from everything else here, showcasing the offhanded nature of most of the material on this album. 


Jan & Dean - Filet Of Soul 1966



The Jones - Music To Watch Girls Dance (1967)




The Jones -  Music To Watch Girls Dance (1967)

Carioca group of instrumental rock, composed by George Klein Romeiro da Silva (lead guitar), Edson Klein Romeiro da Silva, brother of the first (rhythm guitar), Newton dos Santos de Oliveira (bass) and Oswaldo Magellan Sands (drums). The ensemble recorded a compact and four long-plays. On the occasion of the third disc was included organist Carlos Alberto Rinaldi da Silva and the drummer was replaced by Lauro de Oliveira Silva Júnior. The group performed at dances, concerts and TV shows. Their executions were of good technique and its long-play \"Feature 14 greatest hits\" had good sales among the people of the musical genre. Excerpted from \"rock'n ' Roll-origin Myths and Rock Instrumental in Brazil and in other countries\", Laércio P Malhotra, ed., 2001.


Peter Jay &The Jaywalkers - Jaywalkin'Singles 1962-1965

Peter Jay &The Jaywalkers -  Jaywalkin'Singles 1962-1965


Originally based in East Anglia, England, the Jaywalkers, comprising Peter Miller (lead guitar), Tony Webster (rhythm guitar), Mac McIntyre (tenor saxophone/flute), Lloyd Baker (piano/baritone saxophone), Geoff Moss (acoustic bass), Johnny Larke (electric bass), and Peter Jay (drums), pre-dated the British beat boom. They scored a minor hit in 1962 with ‘Can Can 62’, but despite an unquestioned competence, their rather stilted act became increasingly anachronistic. The group attempted a more contemporary image with several R&B-based releases, and in 1966 a restructured line-up emerged under the name Peter Jay And The New Jaywalkers. Now reduced to a quintet, the unit featured vocalist Terry Reid, but despite an impressive appearance on the Rolling Stones’ UK tour, they disbanded by the end of that year.


Peter Jay &The Jaywalkers -  Jaywalkin'Singles 1962-1965

The Mops - Psychedelic Sounds in Japan (1968)

The Mops - Psychedelic Sounds in Japan (1968)


Among hardcore 1960s rock collectors who have an interested in Japanese bands of the period, the Mops are one of the biggest acts in the genre, even if that genre is barely known to English-speaking listeners due to some linguistic barriers, and its general obscurity outside of Japan. Their 1968 album Psychedelic Sounds in Japan is certainly the Mops LP that's gained the widest international exposure, as it's the one with the most garage-psychedelic style and has rewarded the efforts of avid collectors around the world. In fact, the Mops were even marketed as "the first psychedelic band in Japan" in their homeland, though as psychedelia goes, it's pretty raw, verging on garage-punk at times. In truth, it's more attractive for the crazed energy of the performances -- and the odd juxtaposition of the earnestness of the singing and playing with the unhinged bent of the arrangements -- than for the originality of the music. It's distinguished from other sounds of its sort, perhaps, by the manic fervor of youngsters discovering British and American psychedelia without quite having the vocabulary (musical and otherwise) to execute it with nearly as much polish as their inspirations. On the Japanese-language songs in particular, this leads to some melodic angles, anguished vocals, and rudimentary fuzz guitar blasts that can sound fairly exotic to Western ears, though they're not exactly catchy. The English-sung tunes comprising more than half the album are mostly covers of foreign hits (the zany self-identifying anthem "I Am Just a Mops" being an exception), and while there's a charge to be gotten by hearing them tackle classics by the Animals and Jefferson Airplane with naive zeal, they're not exactly stunning interpretations, let alone close to being on the level of the originals. They also make an ambitious foray into raga-rock with "Kienai Omoi," complete with sitar. As a whole, the record's an interesting if flawed relic of a time when Japanese rock was just finding its feet, with a clumsy yet endearingly passionate force. [The 2010 British CD reissue on RPM (with English-language historical liner notes) marks the first time it's been licensed outside Japan, and includes two bonus tracks from their 1968 non-LP single "Omae No Subete O"/"Atsuku Narenai," both of which find them getting into dissociative distorted-guitar-fueled sounds far freakier than anything on the album. Note that this reissue does not include one of the tracks from the original LP, "Blind Bird," which has never been made available for any reissue of the album due to its controversial lyrics.]

The Mops - Psychedelic Sounds in Japan (1968)


Junior's Eyes - Battersea Power Station (1967-69)

Junior's Eyes - Battersea Power Station (1967-69)

REPOST



This is a tribute music space for the band Junior’s Eyes. Founded by Mick Wayne in London, 1968, with Steve Chapman on drums and Honk (John Lodge) on bass, they quickly signed a record deal with Denny Cordell/Tony Visconti Productions. They were managed by Blackhills (T.Rex, Pink Floyd, etc.), who organized the Hyde Park concerts. Junior's Eyes first gig was with Traffic and many other gigs and benefits followed closely, such as the Marquee, Roundhouse and Middle Earth in London and then various venues and festivals up and down Great Britain and Europe including Star Club Hamburg and Beat Club TV in Bremen. In 1969, they recorded their only album 'Battersea Power Station'. Grom (Graham Kelly) joined them on vocals and Rick Wakeman was added on keyboards. John Cambridge who had earlier been in the Hullaballoos with Mick, replaced Steve Chapman on drums, whilst Tim Renwick was added on guitar. The band however where not to stay together for long. Mick had been playing sessions for various people, including James Taylor, Joe Cocker, David Bowie ("Space Oddity") and following the demise of the band he was adviced by his managers to move to Los Angeles to continue his career. At Leon Russell's studio he recorded a new album. This master tape contained performances by various L.A. musicians, but was subsequently stolen from Island Studios, London. In 1972, Mick came back to London and recorded with Joe and Sandy Denny, Steve Winwood and Ringo. He also went on to play and record with the Pink Fairies, Tim Hardin, and Phil Collins. Tragically though he died in a house fire in the USA in 1994.

Mick Wayne - guitar, vocal
Tim Renwick - guitar
John Lodge - bass
Graham Kelly - guitar 
John Cambridge - drums 


Junior's Eyes are one of the more well-known unknowns -- if such an oxymoron can be applied -- of the late-'60s British psychedelic scene. Most people who have seen any reference to them at all are apt to know them only as an act that served as David Bowie's backup group briefly in the late '60s. Mick Wayne, Junior's Eyes' lead guitarist and songwriter, played guitar on Bowie's "Space Oddity" and some of Bowie's other recordings. Prior to forming Junior's Eyes, he had briefly been in the Hullaballoos, a lightweight British Invasion band that had a bit of success in the States. He had also been in the Bunch of Fives with ex-Pretty Things drummer Viv Prince. As part of the Tickle, he wrote their sole 1967 single, "Subway (Smokey Pokey World)," one of the greatest obscure psychedelic 45s. He also played acoustic guitar on James Taylor's Apple album.

All of these interesting peripheral contributions might lead one to suspect that Junior's Eyes' 1969 album, Battersea Power Station, could be a hidden nugget of psychedelia. But although it is well-respected by some cultists, it's actually a letdown, with a very ordinary if somewhat eclectic assortment of tunes (all penned by Wayne) which reflect the British scene's juncture between psychedelia and hard rock/progressive rock. The melodies aren't memorable, the intricate song structures tend to make one's mind ramble rather than intrigue, and there's an overall sense of pedestrian ploddiness, in spite of the ambition of much of Wayne's songwriting.
Other than Wayne, Junior's Eyes' personnel was variable during its brief existence. Members of some note who played in the lineup at some point included drummer John Cambridge, who went on to another David Bowie backup band, the Hype; guitarist Tim Renwick, who much later would play with Pink Floyd; and Steve Chapman, who later played drums with Poco. After Junior's Eyes broke up in early 1970, Wayne went on to session work and a stint with the Pink Fairies. Battersea Power Station was reissued on CD by Castle in 2000, with the addition of three non-LP singles, four demos, and both sides of the Tickle's 1967 single.~ by Richie Unterberger (allmusic)

Junior's Eyes - Battersea Power Station (1967-69)

Mick Wayne undoubtedly tried hard to be significant and progressive with his songs on Junior's Eyes' sole album. There were meter changes, skilled psychedelic hard rock guitar riffs, and moods both whimsical and cynical throughout. Although the predominant vibe was bluesy psych-prog, there were also quieter, more acoustic interludes. It doesn't add up to much without memorable hooks or vision, though, and the record fails to stick as a noteworthy effort, even by the standards of obscure late-'60s British psychedelia. If you disagree with that assessment, or in any case are still curious enough to track down this collectable release, the 2000 CD reissue on Castle couldn't possibly be a more thoughtful package. In addition to the songs from the original LP, it contains both sides of their three non-LP 1968-1969 singles, four demos of songs from Battersea Power Station, and both sides of the 1967 psych-pop single by the Tickle, Mick Wayne's previous band, along with very extensive historical liner notes. Aside from that Tickle single, the extra material doesn't contain anything too interesting, though a few of the 45 tracks are rather poppier in approach than most of the album. Unintentionally, no doubt, the Tickle gem "Subway (Smokey Pokey World)" blows everything else on the disc to smoke.



Ola &The Janglers - Surprise Surprise (1965)

Ola &The Janglers - Surprise Surprise (1965)




Ola & the Janglers were a garage rock and beat group, founded in Stockholm, Sweden in1962. Its lead member was Ola Håkansson.
Among the hits they scored in their native country are "No, No, No" (1965), "Love Was on Your Mind", "Poetry in Motion", "Alex Is the Man" (1966), "I'm Thinking Of You" (1965), "Strolling Along", and "Runaway" (1968). The group's 1969 hit "Let's Dance", a cover of the Chris Montez song, reached #92 on the Billboard Hot 100.

Ola &The Janglers - Surprise Surprise (1965)

Ola Håkansson, vocal
Christer Idering, guitar. Replaced by Claes af Geijerstam 1965
Johannes Olsson, keyboards (organ)
Lennart Wallin, bass. Replaced by Åke Eldsäter 1966
Leif Johansson, drums

Всё началось в начале 60-х. Малоизвестный молодой исполнитель Ola Håkansson в 1963 году присоединяется к группе The Janglers, как их солист. Ola сразу же занял там лидирующие позиции, так как вскоре название этого коллектива звучало как Ola & The Janglers. Помимо Ola, в группу входили ещё четверо участников, среди которых можно отметить известного шведского музыканта Claes Af Geijerstam (он и являлся автором большинства песен Ola & The Janglers) и Leif Johansson, который впоследствии также попал в группу Secret Service. Творчество Ola & The Janglers было довольно популярным как в самой Швеции, так и за её пределами. Начав репертуар с кавер-версий композиций The Kinks и Rolling Stones, у себя на родине группа записала более 20 синглов. А их песня “Let’s Dance” в мае 1969 года даже удостоилась попасть в American Billboard Top 100. Ola & The Janglers засветились и в роли кинозвёзд: в 1967 году появились два фильма с участием музыкантов: Drra på - Kul grej på väg till Götet и более известный Ola & Julia, где Ola Håkansson даже исполнил главную роль. Саундтрек к Ola & Julia был написан Claes Af Geijerstam, и включал в себя песню Juliet (Julia на шведском), вышедшую также на сингле. Активность Ola & The Janglers стала угасать с началом 70-х. Последние же сингл и альбом группы вышли в 1976-м году с большим отрывом в пять лет от предшествующих релизов. Альбом 1965 года.

01-Surprise, Surprise 
02-Stop Your Sobbing 
03-We Got A Good Thing Going 
04-Land Of 1000 Dances 
05-Love Was On Your Mind 
06-No No No 
07-It`s Allright 
08-Thinkin` Of You 
09-I Remember When I Loved Her 
10-Satisfaction 
11-This Sporting Life 
12-Leave Me Be







David & Jonathan - You've Got Your Troubles & The Greatest Hits Ola &  The Janglers - Flashback #20Jan & Dean - Filet Of Soul 1966The Jones -  Music To Watch Girls Dance (1967)Peter Jay &The Jaywalkers -  Jaywalkin'Singles 1962-1965The Mops - Psychedelic Sounds in Japan (1968)Junior's Eyes - Battersea Power Station (1967-69)Ola &The Janglers - Surprise Surprise (1965)

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