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Old Melodies ...

Beat, Garage,Psychedelic... and much more in one place.

26 indfødte lyde - Native Sounds - Denmark Record-Labels

 26 indfødte lyde - Native Sounds - Denmark Record-Labels
The Mat's - Live

01 - Squeeze Her - Tease Her
02 - Please Do Something
03 - This Hammer
04 - The Good's Gone
05 - Much Too Much
06 - Heart Full Of Soul
07 - Keep On Running
08 - When I Come Home
09 - Watch Your Step
10 - What Am I Living For
11 - I Only Want To Be With You
12 - I'll Cry Instead
13 - I Can't Believe It
14 - I Don't Mind
15 - High Time Baby
16 - Somebody Help Me
17 - It's Not True
18 - Baby I Don't Care
19 - Foot Tapper
20 - See You In My Drums
21 - From Me To You
22 - Move It
23 - Long Tall Sally
24 - In The Mood
25 - My Bonnie
26 - Blue Shadow
27 - Baby It's You
28 - Don't Bother Me
29 - South Of The Border
30 - That's All Right
31 - Shindig

By Jancy

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)

Les Miserables - L'Integrale (1964-1968)

Les Miserables - L'Integrale (1964-1968)

I have a deep affection for mid 1960s French Canadian garage rock, but will readily admit that lots of it tends to get kind of sappy. Montreal's les Miserables are one of the notable exceptions. Their rare 1966 LP is one of the crown jewels of the genre ...

01. Chemises a pois, cravates a fleurs
02. Miserablement votre
03. Trop fort
04. Rhythm & Blues
05. Le chameau
06. Elle me dit
07. Vivre avec toi
08. Toi qui est jeune
09. Ecoute-moi
10. Tu peux partir
11. A quoi ca sert
12. Delaisse
13. Le chemin
14. Cette chanson
15. Je vous salue madame
16. Pourquoi
17. Si jamais
18. Une lettre
19. Western Union
20. Ooh Poo Pah Doo
21. Il s'appelle Antoine
22. C'est l'ete
23. Je ne peux plus rien lui dire

Thee Midniters - In Thee Midnite Hour !!!!

Thee Midniters - In Thee Midnite Hour !!!!

Thee Midniters are generally acknowledged to be the most fearsomely rockin' Chicano band to come out of the fabled East L.A. scene of the mid-'60s. Although their chart success was limited to their version of "Land of a Thousand Dances" (an extended live take of which is among the tracks included here) and they were beaten to the punch on that one by fellow scenesters Cannibal & the Headhunters -- the latter's version charted a month earlier and rose higher -- the rest of Thee Midniters' output leaves no doubt that they were the more ferocious band. A few fine collections of the group's limited output on such labels as Whittier and Chattahoochee have previously found their way to market, but Norton typically ups the ante with the most comprehensive set yet, accompanied by exhaustive liner notes by Domenic Priore and a slew of great vintage photos. Although Thee Midniters were known primarily for their sizzling covers of then-current rock & roll and R&B hits, the majority of the tracks here are originals, written by various combinations of bandmembers. The originals (especially "Whittier Blvd." and its cousin, "Down Whittier Blvd.") and covers both show a heavy allegiance to funky soul of the Stax and Motown varieties (great covers of the Contours' "Do You Love Me" and Barrett Strong's "Money"), as well as happening bands like the Rolling Stones ("Empty Heart") and Them ("Gloria"). On both "Everybody Needs Somebody to Love" (Stones via Solomon Burke) and their insane blast-out on the Mitch Ryder medley of "Devil with a Blue Dress/Good Golly Miss Molly," Thee Midniters are simply on fire. On occasion, the group showed a tendency to veer off into what would soon morph into psychedelia, but most of these 19 tracks, cranked to the max with blessed distortion, are unscathed, gritty rock & roll.

Thee Midniters - In Thee Midnite Hour !!!!

Mark Wirtz Orchestra & Chorus - Latin a Go Go (1966)

Mark Wirtz Orchestra & Chorus - Latin a Go Go (1966)

Backing Vocals – Barbara Moore, Gloria George, Maggie Stredder, Marian Davis*
Bass – Eric Ford
Directed By, Arranged By, Conductor – Mark Wirtz
Drums – Dougy Wright*
Engineer – Michael Ross-Trevor*
Guitar – Jim Sullivan*, Vic Flick
Liner Notes – Mark Wirtz
Piano – Reg Guest
Producer – Mark Wirtz

Alsatian-Born Mark Wirtz began his music career while studying art at London's Fairfield College of Arts and Sciences, and drama at the Royal Academy Of Dramatic Arts, when his college Rock-band, 'The Beatcrackers,' were signed to a recording contract in 1963 as 'Mark Rogers and the Marksmen' by EMI producer Norman Newell. 
By 1965 Mark had started his first independent production company, releasing records that have since become enduring classics, including Mood Mosaic's, "A Touch Of Velvet, A Sting Of Brass," for EMI's Parlophone Records, and his own Mark Wirtz Orchestra album, "Latin A Go-Go," for Ember Records 

In 1967, Mark accepted EMI veteran producer/A&R chief Norrie Paramor's offer to join EMI Records as in-house producer. Working at Abbey Road Studios alongside the Beatles and Pink Floyd (the latter whom he was instrumental in signing to the company), Mark wrote and produced landmark recordings by artists such as Keith West, Tomorrow, and Kippington Lodge. Most notably, he reached global success with his production of excerpts from the first ever Rock Opera, "A Teenage Opera." Though never allowed to be completed or released as an entire work, the opera's excerpts "Grocer Jack," "Sam" "Weatherman" and "Theme" became legendary trail-blazers, which have not only captivated several generations of music fans, but influenced and inspired artists and musicians world-wide. 

In 1969, his creative freedom restricted by drastic, corporate, A&R policy changes, Mark resigned his post at EMI Records to return to independent production. Associations with Larry Page's Penny Farthing label (Samantha Jones, Kris "Lion Judd" Ife) and Les Reed's Chapter One label (Philwit & Pegasus, Roger James) followed, during which Mark formed a co-writing partnership with Kris Ife that has endured to the present day with recent collaborations ("Learning 2 Live With Love," MWET/Spyderbaby (2005); "One Night Stand" MWET/Anthony Rivers" (2005), and current works in progress for the "Cooking For Cannibals" soundtrack album (2007) 

In 1970, Mark left the shores of Britain to follow an invitation by his fellow expatriate producer and friend Denny Cordell to work with him at Hollywood's Shelter Records. 

In 1973, Mark signed a writer/artist/producer contract with Capitol Records for whom he recorded two acclaimed albums, "Balloon" and "Hothouse Smiles." 

In 1975, dropped by Capitol for his refusal to tour or perform publicly, Mark signed with ace producer Tom Catalano and veteran publisher Dan Crewe's RCA-distributed TomCat label, an association that was doomed to be a short-lived when the label folded only week's after Mark's first single release, "We Could Have laughed Forever,". 

Having become a parent in the same year, hence home-responsibility-bound, Mark dropped his "loose cannon" career pursuits and, under the name of Marc Peters, submerged into the role of "hired gun" session arranger/conductor in partnership with producers including Kim Fowley and Jimmy Bowen. Numerous Pop/R&B and Country hit records followed, featuring an array of artists as diverse as Helen Reddy, Leon Russell, Vicky Leandros, Kim Carnes, Dean Martin and Anthony Newly. 

In 1979, signed by Russ Regan to Interworld Music/CBS Records as writer and producer, Mark returned to the studio to produce his third solo album, "Lost Pets," sequentially joined by ace guitarists Richard Bennett and John Beland, keyboard players Alan Lindgren and Tom Hensley, drummers Billy Thomas and Denny Seiwell, bassists David Hungate and Les Hurdle. In the midst of a session for the only half-finished production, a medical emergency call from his daughter's Kindergarten principal prompted Mark to close the piano lid, abort the project and leave the studio. Priority committed to hands-on single parenting of his daughter Nicole, Mark vanished into obscurity and a hiatus from the music business that would last for more than twenty years... 

During those years, after savings had run out and royalties had dwindled, Mark took on a gamut of art-alien jobs, including tele-marketer, waiter, maоtre 'd, blood-stock agent, interpreter, voice-over artist, undercover agent, seminar leader and eventually sales manager for the prestigious 'Geneva' merger & acquisition firm. 

While taking acting classes during off-times and burning the midnight oil in the pursuit of a new career as a novelist, Mark also realized a life-long ambition to be a comedian by studying and performing at Hollywood's 'Groundlings' Improv Theater, to eventually take his first steps onto the stages of Hollywood's comedy clubs, including the Comedy Store and the Improv. 

In 1996, his daughter grown up and in college, Mark moved to Savannah, GA, where he kept busy as an award-winning freelance magazine columnist/food- and drama critic, while publishing his first novels, "Sisyphus Rocks" and "Love Is Eggshaped," as well as selling his paintings in a Savannah gallery. 

In 2004, giving in to the plea from his by now in Spain residing daughter Nicole to produce her Rock-band leader boyfriend's debut album, Mark flew to Barcelona and returned to the studio for the first time in many years to produce Les Philippes' "Philharmonic Philanthropy." Before year's end, the band's album was #1 in the Independent label charts and has since become a 'neo-psych Rock' cult classic. 

His music appetite re-awakened, Mark continued his rebounded studio activities by subsequently producing his own 'Mark Wirtz Eartheatre' solo album "Love Is Eggshaped," Spyderbaby UK's "Glassblower" CD, and Anthony River's yet unreleased "Marked Confidential." 

In 2006, Mark rekindled his passion for comedy by performing regularly in Florida and Georgia comedy clubs, while working on his new, monologue/music CD/book project currently in-progress, "Cooking For Cannibals." 

Mark Wirtz Orchestra & Chorus - Latin a Go Go (1966)

Keith... Wirtz ...

Keith...  Wirtz ...


- а кто же такой Марк Вирц?
- он написал "Teenage opera"...
- хм...
- ну, там ещё пел Кейт Вест...
- хм...
- ну, он ещё пел в "Туморроу"...
- ага... хм...
- ну, там ещё играл на гитаре Стив Хоу...
- да-да-да...
- ну, который играл в "Йес"...
- а!!!
- вот, кто такой Марк Вирц... ))

Марк Филипп Вирц (впоследствие - также Мишель Синклер) родился в Страсбурге (Эльзас/Лотарингия). Детство своё он провёл в Кёльне, в начале 60-ых он приезжает в Лондон, где учится в Лондонском Фэрфильд колледже искусств и наук и Королевском Колледже Драмматических Искуств.
с 1964 года Марк Вирц - сотрудник EMI Records, сперва - сессионный музыкант (пианист), затем - аранжировщик и продюсер. Он работает бок о бок с Битлз, выпускает записи множества групп, в том числе Пинк Флойд, Ин Кроуд и т.п.
в 1967 году - он сотрудничает с группой Туморроу (продюсер и клавишник), тогда же он задумывает проект "Teenage Opera", первые синглы которого (вокал - Кейт Вест) выходят в 1967 году ("Excerpt from A Teenage Opera" и "Shy Boy").
в том же году он получает премию "Ivor Novello" как автор и продюсер первой в мире рок-оперы.
в 1968г. Марк Вирц женится на Розе Хэннаман (певица, её голос можно услышать в композиции "Barefoot & Tiptoe" - "Teenage Opera").
в конце 60-ых он пишет песни и продюсирует множество исполнителей, создаёт совмество с Шэз Милз Chas-Mark Productions, а в 1969 году уходит из EMI Records. в 1970 в соавторстве с Марией Фэлтам записывает диск "Philwit & Pegasus".

Keith...  Wirtz ...

Indfødte lyde / Native Sounds - Denmark Record Labels Vol.8

Indfødte lyde / Native Sounds - Denmark Record Labels Vol.8

Indfødte lyde / Native Sounds - Denmark Record Labels Vol.8

01 - Irene-Hully Gully
02 - I'm Sitting On Top Of The World
03 - Love Me If You Love Me Do
04 - Your Mama Says
05 - Make Me Happy
06 - Anytime
07 - Tobacco
08 - A Girl In Blue
09 - Tornerose
10 - Ud Paa Flisen Karoline
11 - De'r Altid Velkom'n I Vores Hus
12 - Et Fredeligt, Kedeligt, Dumt Lille Loeg
13 - Miss Sunshine
14 - One-Way Ticket
15 - She Went Away
16 - Lucille
17 - Things We Said Today
26 indfødte lyde - Native Sounds - Denmark Record-LabelsPeter Moessers Music - Happy TimeThe Mops - Psychedelic Sounds in Japan (1968)Les Miserables - L'Integrale (1964-1968)Thee Midniters - In Thee Midnite Hour !!!!Mark Wirtz Orchestra & Chorus - Latin a Go Go (1966)The Matchmakers - Bubble Gum A Go Go (1970) + unknown albumKeith...  Wirtz ...Indfødte lyde / Native Sounds - Denmark Record Labels Vol.8

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