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No Less The Most Famous Club in The World...

No Less The Most Famous Club in The World...

The Star-Club was a music club in Hamburg, Germany that opened Friday 13 April 1962 and was initially operated by Manfred Weissleder and Horst Fascher. In the 1960s, many of the giants of rock music played at the club. The club closed on 31 December 1969 and the building it occupied was destroyed by a fire in 1987.

No Less The Most Famous Club in The World...
No Less The Most Famous Club in The World...

It all started with the Kaiserkeller in late 1959. Restaurateur Bruno Koschmider opened the first rock 'n' roll club in Hamburg at the corner of Grosse Freiheit and Schmuckstrasse in St. Pauli.

Next door to striptease shops and rip-off bars, there were suddenly sweaty young Englishman with leather jackets and dangerous quiffs on the stage, letting the guitars rip and shouting their raucous declarations of love to Lucille, Carol, Peggy Sue and Miss Molly through their 30-watt amplifiers.

For young people at that time, the "beatniks", this club was a revelation. Since Bill Haley unleashed hall and street fights between his fans and a truncheon-swinging, tear gas-throwing police during his first German tour in 1956, adults and the press ensured that this music was almost completely suppressed. What remained were pop, jazz and so-called "Teenagermusik" - Germanised and watered down American rock songs. The only bright spot: the British Forces Broadcasting Service BFBS and Chris Howland with his "Saturday Club" in the WDR.

A little unknown band called "The Beatles"
Nevertheless, progress stood still. While the Kaiserkeller was the first club in Germany that regularly brought rock music and local stars like Tony Sheridan live to the stage, real stars like you would hear on records and on the radio did not come to Hamburg. There were just more or less unknown bands that mostly played others' hits, even the Beatles were no exception.

It was time for the Star Club...

No Less The Most Famous Club in The World...



One morning, St. Pauli awoke to bright orange posters plastered with the announcement: The hardship has ended! The era of old-fashioned music is over! On 13 April 1962, Manfred Weissleder opened his Star-Club on Grosse Freiheit and over the next seven years, lured rock greats like the Beatles, the BeeGees, Jimi Hendrix, Little Richard, James Brown, Fats Domino, Eric Burton, Lee Curtis and Jerry Lee Lewis to the middle of St. Pauli. A milieu that initially scared off many young people and even more parents.

Suit instead of leather jacket, party instead of brawl
You seldom heard of fights and angry rockers in leather jackets at the Star Club. You went to hear music. And you did so wearing a suit, tie and Nyltest shirt or high heels, lipstick and a beehive hairstyle backcombed nice and high. The only nightly problems were for those under 18. At precisely 9.50pm when the star band had finished their first set, there was an announcement over the house speaker, the moment of truth, which always brought some guests to an abrupt stop at 10.00pm. All young people under eighteen years now had to leave the Star Club. The waiters are instructed to perform an identity check. In ten minutes, the Star Club will resume with...".

The last memory of the club: a plaque
Soon, nearly one million visitors were coming each year. If you were a teenager in Hamburg, your first stop was the Star Club. Some even came from the UK, France and Scandinavia, just to spend a few nights on Grosse Freiheit. Desperate parents wrote letters and called the Star Club office to ask if their uprooted son or missing daughter had been seen. The Star Club was a little bit of freedom in a hostile world dominated by authorities, prohibitions and constraints, and everything that was fun they tried to fight and suppress. It hosted its last concert on 31 December 1969 before being taken over by a very permissive nightclub, Salambo. The building then remained vacant for a long time and was finally demolished after a fire in 1987. Today, only a plaque commemorates that legendary time.


********************************

VA - Starclub  Singles Vol. 1-12


No Less The Most Famous Club in The World...

1.Lee Curtis & The All Stars - Exstacy (2:51)
2.Fats Domino - Sally Was A Good Old Girl (2:11)
3.Fats Domino - What Love Is (2:29)
4.James Brown - Out Of Sight (2:18)
5.James Brown - Maybe The Last Time (2:58)
6.Jerry Lee Lewis & The Nashville Teens - High School Confidential (2:17)
7.Jerry Lee Lewis & The Nashville Teens - Lewis Boogie (1:52)
8.The Searchers - I Sure Know A Lot About Love (2:25)
9.The Searchers - Don't You Know (1:59)
10.Little Richard - Whole Lotta Shakin Goin On (2:34)
11.Little Richard - Goodnight Irene (2:49)
12.The Rattles - Geh zu ihm (2:37)
13.The Rattles - Bye, Bye, Baby (2:00)
14.The Rattles - Do Wah Diddy Diddy (2:15)
15.The Rattles - Betty Jean (2:37)
16.Lee Curtis & The All Stars - Shot Of Rhythm And Blues (2:50)


No Less The Most Famous Club in The World...

1.The Liverbirds - Shop Around (2:51)
2.The Liverbirds - It's Got To Be You (3:04)
3.Jerry Lee Lewis - High Heel Sneakers (2:48)
4.Jerry Lee Lewis - You Went Back On Your Word (2:04)
5.Fats Domino - Heartbreak Hill (2:41)
6.Fats Domino - Kansas City (2:27)
7.Millie - I Love The Way You Love (2:22)
8. Millie - Bring It On Home To Me (2:50)
9.The Rattles - Shame, Shame, Shame (2:28)
10.The Rattles - Someone Who Is Just Like You (2:06)
11.Jerry Williams & The Violents - Ready Teddy (2:03)
12.Jerry Williams & The Violents - Eldorado (2:33)
13.Ian & The Zodiacs - Take A Message To Martha (3:02)
14.Ian And The Zodiacs - Spartacus (2:19)
15.Michael & The Firebirds - Lass Sie Geh'n (2:25)
16.Michael & The Firebirds - Make Me Happy (2:12)


No Less The Most Famous Club in The World...

1.The Blizzards - Isabel (2:34)
2.The Blizzards - Zu Schon (1:56)
3.Mama Betty's Band - Die Liebesmedizin (1:57)
4.Mama Betty's Band - Wie John, Paul, George Und Ringo (2:25)
5.The Rivets - Now Decide (1:57)
6.The Rivets - Lucille (2:18)
7. he Eyes - Peanut Butter (2:14)
8.The Eyes - She (1:56)
9.The Crickets Show Band - Monkey Time (2:22)
10.The Crickets Show Band - You're No Good (2:27)
11.The Rattles - There Goes My Heart Again (2:16)
12.The Rattles - La La La (2:53)
13.Wayne Fontana & The Mindbenders - Game Of Love (2:09)
14.Wayne Fontana & The Mindbenders - Since You Been Gone (1:58)
15.Ray Charles - Makin' Whoopee part 1+2 (6:20)


No Less The Most Famous Club in The World...

1. The Pretty Things - Honey I Need (2:02)
2. The Pretty Things - I Can Never Say (2:37)
3. Little Richard - It Ain't Watcha Do (2:25)
4. Little Richard - Blueberry Hill (1:52)
5. The Liverbirds - Diddley Daddy (2:45)
6. The Liverbirds - Leave all your love in the past (2:28)
7. The Maggots - Ha, ha mister froggie (2:59)
8. The Maggots - It's no good (2:47)
9. The Liverbirds - Peanut Butter (2:48)
10. The Liverbirds - Why do you hang around me (2:25)
11. The Four Renders - Under the Boardwalk (3:01)
12. The Four Renders - Long tall texan (2:20)
13. The Londoners - That's My Desire (2:36)
14. The Londoners - Bring it at home to me (2:45)
15. The German Bonds - Sonata facile (2:18)
16. The German Bonds - So mystifying (2:37)


No Less The Most Famous Club in The World...

1. Team Beat Berlin - Sick and tired (2:35)
2. Team Beat Berlin - Doctor Feelgood (2:43)
3. Wayne Fontana & The Mindbenders - It?s just a little bit too late (2:21)
4. Wayne Fontana & The Mindbenders - Long Time Comin' (2:08)
5. The Pretty Things - Cry To Me (2:53)
6. The Pretty Things - Get a buzz (4:00)
7. Ian & The Zodiacs - So much in love with you (2:22)
8. Ian & The Zodiacs - All of me (2:52)
9. The Rattles - Come On And Sing (2:12)
10. The Rattles - Candy to me (2:55)
11. The Rivets - Die Welt ist voll Musik (2:03)
12. The Rivets - Komm! (1:57)
13. The Walker Brothers - Make It Easy On Yourself (3:14)
14. The Walker Brothers - But I do (2:58)
15. The Escorts - Dizzy Miss Lizzie (2:11)
16. The Escorts - C?mon home baby (2:01)


No Less The Most Famous Club in The World...

1. The Rattles - Las Vegas (2:16)
2. The Rattles - Lean Jean 17 (1:58)
3. In The Family - Shame And Scandal (2:56)
4. Lee Curtis & The All Stars - Nobody But You (2:38)
5. Ian & The Zodiacs - Why Can't It Be Me (2:06)
6. Ian & The Zodiacs - Leave It To Me (2:57)
7. Team Beats Berlin - The Battle Of New Orleans (2:39)
8. Team Beat Berlin - New Orleans (3:00)
9. The Rivets - The Girls I Love (1:48)
10. The Rivets - Time For Love (2:07)
11. The Rivets - Barbara Ann (2:24)
12. The Rivets - I Got A Feeling (2:25)
13. The "In" Crowd - Sha-La-La-La-Lee (2:23)
14. The In Crowd - Old McDonald (1:53)
15. Ian & The Zodiacs - No Money, No Honey (2:21)
16. Ian & The Zodiacs - Ride Your Pony (2:48)


No Less The Most Famous Club in The World...

1. The Walker Brothers - The Sun Ain't Gonna Shine Anymore (3:15)
2. The Walker Brothers - You're all around me (2:38)
3. The Phantom Brothers - Chicago (2:25)
4. The Phantom Brothers - It ain't necessarily so (2:33)
5. The Odd Persons - Hand Jive (2:28)
6. The Odd Persons - I'm Cryin' (2:44)
7. The Remo Four - Peter Gun (2:29)
8. The Remo Four - Mickey's Monkey (2:14)
9. Lee Curtis - Kelly (2:42)
10. Lee Curtis - Mohair Sam (1:55)
11. The Liverbirds - Loop di Loop (2:24)
12. The Liverbirds - Bo Diddley is a Lover (2:18)
13. The Rattles - Love Of My Life (2:42)
14. The Rattles - Say alright (2:28)
15. The Faces - Cry Cry Cry (3:01)
16. The Faces - Stay Away (2:31)


No Less The Most Famous Club in The World...

1. The Pretty Things - Come See Me (2:40)
2. The Pretty Things - L.S.D. (2:26)
3. The Mindbenders - Can't Live With You (2:36)
4. The Mindbenders - One Fine Day (2:51)
5. The Merseys - Sorrow (2:16)
6. The Merseys - Some Other Day (2:20)
7. The Rivets - L.O.V.E. (2:40)
8. The Rivets - Yum Yum (2:41)
9. The Country Stars - Busted (2:03)
10. The Country Stars - My Grandfather's Clock (2:27)
11. Dave Dee, Dozy, Beaky, Mick & Tich - Hideaway (2:25)
12. Dave Dee, Dozy, Beaky, Mick & Tich - Here's A Heart (3:15)
13. The Cheetahs - Russian Boat Song (2:35)
14. The Cheetahs - The Gamble (3:59)
15. The Walker Brothers - You Don't Have To Tell Me (2:28)
16. The Walker Brothers - My Love Is Growing (2:18)


No Less The Most Famous Club in The World...

1. Paul Nero's Blue Sound - King Lonely The Blue (2:36)
2. Paul Nero's Blue Sound - Searchin' (2:37)
3. Pretty Things - A House In The Country (3:00)
4. Pretty Things - Me Needing You (1:58)
5. Dave Dee, Dozy, Beaky, Mich & Tich - Bend It (2:33)
6. Dave Dee Dozy Beaky Mich&Tich - You Make It Move (2:46)
7. King Ping - Gotta Get A Good Thing Going (2:21)
8. King Ping - Willow Tree (2:42)
9. Walker Brothers - Another Tear Falls (2:27)
10. Rattles - It Is Love (2:18)
11. Rattles - Hey Sally (2:44)
12. Ian & The Zodiacs - Na-Na-Na-Na-Na (2:21)
13. Ian&The Zodiacs - Any Day Now (3:07)
14. Dave Dee Dozy Beaky Mich&Tich - Hard To Love You (2:31)
15. Dave Dee Dozy Beaky Mich&Tich - No Time (2:06)
16. Walker Brother - Saturday's Child (2:07)


No Less The Most Famous Club in The World...

1. The Rivets - Wade In The Water (2:26)
2. The Rivets - She Hardly Ever Calls Me Honey Anymore (2:39)
3. Dave Dee, Dozy, Beaky, Mick & Tich - Save Me (3:00)
4. Dave Dee Dozy Beaky Mick & Tich - Shame (2:07)
5. The Pretty Things - Progress (2:41)
6. The Pretty Things - Buzz The Jerk (1:54)
7. The Remo Four - Live Like A Lady (2:35)
8. The Remo Four - Sing Halleluja (3:41)
9. The Hi-Fis - I'm A Box (2:42)
10. The Hi-Fis - No Two Ways (2:20)
11. The Walker Brothers - Deadlier Than The Male (2:31)
12. Jerry Lee Lewis - Detroit City (2:48)
13. Jerry Lee Lewis - City Lights (2:28)
14. The Walker Brothers - Turn Out The Moon (3:30)
15. The Walker Brothers - Archangel (3:42)
16. The Walker Brothers - Stay With Me Baby (3:21)


No Less The Most Famous Club in The World...

1. Dave Dee,Dozy,Beaky,Mick & Tich - Touch Me,Touch Me-1967 (2:36)
2. Dave Dee,Dozy,Beaky,Mick & Tich - Marina-1967 (2:23)
3. The Rattles - Cauliflower-1967 (2:48)
4. The Rattles - I Will Always Stay Your Friend-1967 (2:41)
5. The Odd Persons - Snakes And Ladders-1967 (3:11)
6. The Odd Persons - Tread Softly For Sleepers (2:12)
7. Dave Dee,Dozy,Beaky,Mick & Tich - Okay!-1967 (2:39)
8. Dave Dee,Dozy,Beaky,Mick & Tich - He's A Raver-1967 (2:10)
9. The Screamers - One Way Love-1967 (2:18)
10. The Screamers - Indication-1967 (2:26)
11. The Pretty Things - Children-1967 (3:00)
12. The Pretty Things - My Time-1967 (2:58)
13. The Walker Brothers - Baby,Make It The Last time-1967 (3:09)
14. The Walker Brothers - Walking In The Rain-1967 (3:26)
15. The Rivets - The Lion (Wimoweh)-1967 (2:45)
16. The Rivets - Make Up My Mind-1967 (2:39)


No Less The Most Famous Club in The World...


1. Lee Curtis And His Allstars - Come On Down To My Boat (2:29)
2. Lee Curtis And His Allstars - Concerto For Her (2:13)
3. John Walker - Annabella (2:17)
4. Cops & Robbers - It Hurts Me So (3:20)
5. John Walker - You Don't Understand Me (2:41)
6. Spanky And Our Gang - Making Every Minute Count (2:37)
7. Spanky And Our Gang - If You Could Only Be Me (2:07)
8. The Ones - Lady Greengrass (2:43)
9. The Ones - Love Of Mine (3:05)
10. Herbert Und Birgit - Hey Jean, Hey Dean (2:33)
11. Herbert Und Birgit - Western Impression (2:18)
12. Dave Dee, Dozy, Beaky, Mick & Tich - Zabadak (3:42)
13. Dave Dee, Dozy, Beaky, Mick & Tich - Nose For Trouble (4:04)
14. Pretty Things - Death Of A Socialite (2:43)
15. Pretty Things - Photographer (2:08)
16. Dave Dee, Dozy, Beaky, Mick & Tich - The Legend Of Xanadu (3:37)
17. Dave Dee, Dozy, Beaky, Mick & Tich - Please (3:15)
18. Cops & Robbers - Harlem Shuffle (2:59)

No Less The Most Famous Club in The World...

No Less The Most Famous Club in The World...

Mike Sheridan &The Nightriders/ Mike Sheridan's Lot – Birmingham Beat (1963-1966г.)

Mike Sheridan &The Nightriders/ Mike Sheridan's Lot – Birmingham Beat (1963-1966г.)

Mike Sheridan &The Nightriders/ Mike Sheridan's Lot – Birmingham Beat (1963-1966г.)
Mike Sheridan &The Nightriders/ Mike Sheridan's Lot – Birmingham Beat (1963-1966г.)

Mike Sheridan-lead vocal
Brian Cope-bass guitar
Al Johnson-lead guitar
Dave Pritchard-guitar, vocals
Roger Spencer-drums, vocals
Greg Masters-bass guitar, vocals
Roy Wood-lead guitar, vocals
Johnny Mann-lead guitar


Fans of British rock & roll have tended to think of Mike Sheridan and his band Mike Sheridan & the Nightriders as a footnote in the music's history, as the band that brought Roy Wood into the recording studio for the first time. They -- and Sheridan -- were actually a bit better than that, not only in Birmingham, whence they came, but in the context of early-'60s British rock & roll. Mike Sheridan (born Michael Tyler) is of the same generation as the Beatles, the Searchers, et al, born in time to reach his teens as Elvis Presley's records were sweeping over the British charts -- he skipped past skiffle to rock & roll in 1958, a reluctant singer who won a local talent contest and found the seed of a career planted. He later joined up with a group called Billy King & the Nightriders -- by early 1963, Billy King was gone and the lineup coalesced around Sheridan, with Big Al Johnson on lead guitar, Brian Cope playing bass, Dave Pritchard on rhythm guitar, and Roger Spencer on drums. At the time, the music scene in Birmingham was starting to heat up, with singles by Jimmy Powell & the Dimensions and other acts starting to turn up in record stores. They were good enough to get a large local following, and once the Beatles and other Liverpool acts started roaring up the charts, record labels began looking at other northern cities, including Birmingham. No less a figure than producer Norrie Paramor, who'd signed Cliff Richard & the Shadows and managed their recordings since 1958, chose them out of a competition for a recording contract with EMI's Columbia label.

Mike Sheridan &The Nightriders/ Mike Sheridan's Lot – Birmingham Beat (1963-1966г.)


They weren't a bad group at the outset, with a tight sound built around strong playing that, if not the most inventive, was still interesting, and they had a good sense of melody and what to do with it, at least instrumentally. Sheridan's voice was strong enough, but they lacked some delicacy in their overall vocal approach -- that problem was solved when Big Al Johnson decided to leave the group and was replaced by Roy Wood. Under the latter's influence, the group began utilizing more (and more sophisticated) harmony vocals, and took on many of the attributes of the Merseybeat sound. By 1965, they'd updated their name to "Mike Sheridan's Lot," but nothing they did seemed to work in term of generating a hit. Following their recording of Jackie DeShannon's "Don't Turn Your Back on Me," the group as it was then constituted decided to pack it in -- Wood exited to co-found the Move, and the rest soon followed suit. Sheridan soldiered on, taking a regular job to earn a living and founding several bands of "Nightriders," while his original band, sans Wood, evolved into the Idle Race, with Jeff Lynne fronting them. Sheridan linked up with Move alumnus Rick Price at the tail-end of the '60s to produce a pretty, McCartney-esque album, and eventually succeeded as a songwriter in the '70s; he also cut a single of Roy Wood's "Do Ya" for Tony Stratton-Smith's Charisma Records in the early '70s. He left music for a few years, but by the start of the '80s was back fronting a new band -- and playing bass -- with Keith Statler and Tony Kelsy. He also played with veteran British rock & roller Joe Brown.

Mike Sheridan &The Nightriders/ Mike Sheridan's Lot – Birmingham Beat (1963-1966г.)

Beat in Liverpool Buchclub - EP

Beat in Liverpool Buchclub -  EP



Beat in Liverpool Buchclub -  EP



Release only 1965/66 in germany with book "Beat in Liverpool" 
Buechergilde Gutenberg, Frankfurt am Main

A
The Clayton Squares at the Cavern Club
Watch Your Step
Hey, Good Locking
Tell Me How Do You Feel

B
The Hideaways at the Sink Club
Black Night
Momma, Keep You Big Mouth Shut

The Clayton Squares
For many Liverpool groups of the mid sixties the dividing lines between soul and R&B was
never clearly drawn and this was especially true in the case of the Clayton Squares. From its
early beginnings in 1964 as the first local band to feature a two sax line-up, the Clayton Squares
embraced a very broad range of music in their repertoire - as is evident by the presence of the
Hank Williams track on this compilation. Pete Dunne (guitar and organ) had previously been
with the Flintstones and bassist Geoff Jones had been with the Georgians - another Quarry Bank
Grammar School R&B outfit. Les Smith (tenor) was fresh from art school, Terry Hines
(vocals), Bobby Scott (drums) and Mike Evans (alto) completed the squad.
The aforementioned Terry Hines was an extrovert with a very distinctive jazz-inclined voice.
According to alto player Mike Evans, Hines once sang an entire set with his back to the
audience and without even removing his duffle coat and scarf! Their repertoire ranged from
Buddy Guy's 'the First Time I Ever Met The Blues' and Bobby Parker's 'Watch Your Step'
(featured here) to the Bacharach-David composition 'Always Something There To Remind Me'.
In the spring of 1965 Terry Hines was replaced as vocalist by Denny Alexander from the
Kinsleys and the repertoire of the band shifted accordingly to reflect the new singer's interests in
Atlantic and Stax soul music. Songs by the likes of Otis Redding and Wilson Pickett were
included and the band attempted to reflect a kind of Stax-cum-Muscle Shoals sound around the
clubs of Liverpool. In fact, Mike Evans has even suggested that the 'Squares were one of the
first groups in the entire country to play 'In The Midnight Hour'.
By 1965 they were playing the Cavern three or four times each week. Additionally they were a
very popular club act throughout the North West of England. Under the guidance of Cavern disc
jockey Bob Wooler, the group built a considerable local following and for a time in 1965 were
regarded as the 'next big thing'. They released a single on Decca - 'Come And Get It', produced
by Ian Samwell - which went straight to number one on the Liverpool charts. An appearance on
'Ready Steady Go' seemed to guarantee their future but the band then appeared to press a selfdestruct
button. Mike Evans simply remarks, "We blew it".
The 'Squares turned their back on Bob Wooler and signed with notorious London manager and
entrepreneur Don Arden. In their search for glory, they upped sticks to London but soon
discovered that London was full of "mod-style showbands". Within a comparatively short space
of time they drifted into obscurity. Apart from one other rather average Decca single ('There She
Is') nothing further was 'officially' recorded and the material on this album is the only footage of
the group at their peak of their popularity (spring, '65). Within 12 months or so of this recording,
the group had disintegrated.


Frankie Connor – broadcaster/deejay at BBC Radio Merseyside and former Hideaway
introduces the Hideaways and the album.
“It’s incredible to think as I sit here at home in January, 2002, that I’m about to recall an
obscure occasion that happened almost 37 years ago.
It was April 1965 and I played rhythm guitar with a local 5-piece R&B group the Hideaways.
School friends Ozzie Yue, John Shell and John Donaldson formed the group some 18 months
earlier; I joined just three months later. The line-up was then completed in early 1964 by the
arrival of harmonica player Judd Lander.
During the spring of 1965 we met two gentlemen from the Netherlands. They were putting
together a book to be titled ‘Beat in Liverpool’. The main focus of the book was to follow
around two local Liverpool groups – mainly, actually, the Clayton Squares – and the
Hideaways.
The pair came to several Hideaway gigs around the city, namely the Cavern, the Iron Door, the
Way Down, the Mardi Gras and the Sink Club. I can’t recall if they recorded us at all of the
clubs mentioned (I seem to remember the equipment being a tape recorder over the shoulder
and a hand held microphone thrust into the air in the middle of the audience!) – but I think not.

I heard about a book only available on the continent about the Liverpool scene of the mid-1960s. Of
course, by this time there was nothing particularly unusual about that, but I also heard that a disc
was included with this book containing a recording of previously unheard live tacks from the
Clayton Squares and the Hideaways. I asked friends and fellow musicians to find a copy for me
but all to no avail. It was not until the late 1980s that a good friend – Dave Carlyle – discovered
one and purchased it for me.
I was a little disappointed to being with: the book was written in Dutch! However I eventually
gleaned a great deal from the text with careful reading and the superb photographs in stark black
and white were very atmospheric. There were many photos of the Clayton Squares, of course,
but there were also several of the Hideaways. Of particular poignancy were the shots of our
bass player John Shell in our favourite meeting place, the Kardomah Café in Whitechapel. John
could be seen with his then girl friend Elaine Curtis. They were, in fact, married shortly after
these photographs were taken. Sadly (tragically, in fact), John was to lose his life in the Vietnam
War (he was born in Dallas in 1947) leaving Elaine a teenage widow.
There was also that recording (the real reason I am penning these notes now) – the only known
live recording of the original Hideaways. The recording is rather primitive but to judge by
modern recording standards is to entirely miss the point. We always enjoyed playing the Sink
Club in Hardman Street, Liverpool. The owner, Neil English was also a very fair guy to us and
in 1965 every Wednesday night was ‘Hideaways Night’. The recording captures a wonderfully
distinctive vignette from one such night.
I sing the first number, the Arthur Alexander song ‘Black Night,’ and Ozzie Yue takes the vocal
on Bo Diddley’s ‘Keep Your Big Mouth Shut’ (by this time a staple of R&B bands all over the
country). I really do think that the recording captures the essence and the rawness of the kind of
material the Hideaways enjoyed playing. It wasn’t ‘rocket science’, but we were only 17/18
years of age, we loved our music, we really were great friends, and, as you might be able to
detect, we had a very loyal and vociferous following who shared our love of rhythm and blues.
Frank Connor
B.B.C. Radio Merseyside.



Die Platte bringt Life-Ausschnitte aus den Shows zweier in Liverpool besonders populären Gruppen, 
der "Clayton Squares" und der "Hideaways".
Entscheidend für die Aufnahmetechnik war das Bestreben, möglichst viel von der Atmosphäre der Show 
wiederzugeben. Der harte, die natürlichen Tonwerte verzerrende Klang der übersteuerten Lautsprecher, 
die Schwingungen der unter dem ohrenbetäubenden Lärm vibrierenden Wände und Gewölbe, das rhythmische 
Händeklatschen, die Zurufe und das Mitsingen der um die Gruppe versammelten weiblichen Fans, diese 
für den akustischen Eindruck der Show so wichtigen Elemente sollten erhalten bleiben. 
Die Hi-Fi Qualitäten erschienen uns beim dokumentarischen Charakter dieser Aufnahme zweitrangig.

Beat in Liverpool Buchclub -  EP
Beat in Liverpool Buchclub -  EP

Beat in Liverpool Buchclub -  EP

VA - Beat-Wettbewerb der Stadt Frankfurt (1967)

VA - Beat-Wettbewerb der Stadt Frankfurt (1967)


VA - Beat-Wettbewerb der Stadt Frankfurt (1967)



Label:CBS ‎– S 52330
Format:Vinyl, LP, Album, Stereo 
Country:Germany
Released:1967

01 - These Boots Are Made For Walking 
02 - But You Never Do It Babe
03 - Till The End Of The Day
04 - I'm Alive
05 - Que Sera
06 - Keep On Running
07 - My Generation
08 - Very Last Day
09 - I'm A Man
10 - I Need You
11 - I Feel A Whole Lot Better
12 - Louie Louie
13 - Things I Sould Have Known
14 - Look Through Any Window

The Rangers = 1, 8, 14
The Anoms = 2, 9, 12
The Skins = 3, 10
The Shapes = 4,
The Spotlights = 5
The Cheats = 11
The Maniacs = 13

VA - Beat-Wettbewerb der Stadt Frankfurt (1967)


VA - Brum Beat

VA - Brum Beat


VA - Brum Beat

VA - Brum Beat

VA - Brum Beat

WHAT IS BRUMBEAT?

There has never been a decade before or since, that has produced so much innovation and creativity regarding the development of popular music. This was particularly true in Britain where the 'Mersey Sound' led by The Beatles and others, would ensure that British popular music would have a far-reaching influence on the rest of the world. The 1950s may have lit the fuse in terms of rock 'n' roll, but the 1960s was certainly the explosion. In light of this, the period may be described as a "Big Bang" because of the long and continuing influence that the 1960s has had on the development of music in subsequent decades.


The term "Brum Beat" or "Brumbeat" originated in the early 1960s in the wake of the famous "Mersey Sound" (later incorrectly described as "Mersey Beat") that came out of Liverpool and was spearheaded by such well known groups as The Beatles and Gerry and the Pacemakers. (Mersey Beat was actually the name of the famous Liverpool music scene and entertainment newspaper founded by Bill Harry - see www.mersey-beat.com)

The Mersey Sound was sweeping all over the country by early 1963, resulting in big record companies (based in London) looking to northern cities in search of similar marketable talent. Cliff Richard and The Shadows producer Norrie Paramor of EMI Records, went up to "Brum" (slang for the City of Birmingham) in order to audition and discover local talent to sign up.


Birmingham is a large industrial city located about halfway between London and Liverpool and was thus subjected to influence from the Liverpool Mersey Sound in the north and also the Rhythm & Blues that was becoming popular in the London area and promoted by bands like the Rolling Stones.


Norrie Paramor apparently came up with the term "Brum Beat" as part of an advertising campaign to promote national interest in the bands he had signed up from Birmingham, but "Brumbeat" would later become known more for the geographical location that certain groups and performers came from, rather than for a single unifying 'sound'. That geographical location not only included Birmingham, but also the heavily populated area to the west as far as Wolverhampton and known locally as the "Black Country" because of its long history of coal mining and heavy industrial activity. This area includes towns such as Walsall, Dudley, and Stourbridge.


VA - Brum Beat


VA - Beat Parade 1966 (from 17 heimatliche/ Baccarola )

VA - Beat Parade 1966 (from 17 heimatliche/ Baccarola )


VA - Beat Parade 1966 (from 17 heimatliche/ Baccarola )


VA - Beat Parade 1966 (from 17 heimatliche/ Baccarola )

Beat Parade 1966 (baccarola)

01 - Paperback Writer
02 - Bus Stop
03 - Pretty Flamingo
04 - Black Is Black
05 - Girl
06 - Nowhere Man
07 - Lovers Of The World Unite
08 - Sunny Afternoon
09 - Hi Lili, Hi Lo
10 - Take This Hammer
11 - Michelle
12 - Greenback Dollar
13 - Hey Girl
14 - Let's Go

The Newcomers = 1, 3,. 6, 8
Frederic & The Rangers = 2, 5, 10, 11
The Rangers = 4, 7
The Royal Four = 9, 13
Didi & His ABC-Boys = 12
The Beat Buddies = 14

45'  The Beat Buddies 
15 - A Tribute To Buddy Holly (b-side)

45'  Frederic an the Rangers
16 - I'm On The Out
VA - Beat Parade 1966 (from 17 heimatliche/ Baccarola )

VA - Warszawski Rock and Roll lat 60

Bill Kimber & The Couriers - Shakin' Up A Storm & Swinging Fashion

Bill Kimber & The Couriers - Shakin' Up A Storm & Swinging Fashion


This group, formed in the 1960s, included two Sloane old boys, Bill Kimber on rhythm guitar and vocals and Alan Tiuner on drums. Others in the line-up were Richard Laws - vocals and lead guitar, Peter Fairweather - vocals and bass guitar and Barry Ashby who joined in 1965 as a vocalist. They didn't chart in this country with songs that included covers of the Swinging Blue Jeans' Hippy Hippy Shake and the Beatles' I Want To Hold Your Hand, but became massive in South Africa. Their South African recordings, Shakin' Up A Storm and Swinging Fashion, are very collectable and fetch ?100+ each in mint condition and their 1968 Parlophone recording, Kilburn Towers/Goodbye, whilst not as valuable is still a collector's item. Bill Kimber also recorded as a solo artist as William E Kimber and two of his albums, William Kimber and Art of William Kimber are also sought after by collectors. A South African website remembers them, in 1964, as one of the hottest "new wave" groups in the business and says they're a "talented group of London boys (they're all under twenty) who are being launched into the pop world of music in an unusual way- they're getting their big kick-off in South Africa."

Their promotion included, in the style of Beatles' films of the era, a 90 minute film, made in South Africa, that showed them touring the country. David Hemmings was also in this film as were Brian Poole and The Tremeloes whom the group were later to tour England with. This film, described at the time as 'a musical comedy in English' and the 'most unusual film ever made in South Africa', included over twenty songs, mainly standards like Long Tall Sally and I Got My Mojo Working, to make up for the lack of plot, no logical sequence of events and the fact that the screenply was written as they went along. The group were described as 'specialists in the Mersey beat, the contemporary folk music which was originally popularised by The Beatles. The music is characterised by an accented beat, vocals which are screamed rather than sung, and electric guitars tuned and amplified to an excruciating pitch."

As a group, The Couriers owed their existence to Johannesburg-born Frank Fenter and it was he who arranged for them to go to South Africa to make what was that country's first English language musical. They don't seem to have achieved the 'lucrative career' that was predicted for them.
 
Bill Kimber & The Couriers - Shakin' Up A Storm & Swinging Fashion

Hu And The Hilltops & The Sparklings (1966-1967)

Hu And The Hilltops & The Sparklings (1966-1967)


Hu And The Hilltops Formed
1965, Den Haag, Zuid-Holland, Netherlands
Disbanded
1967
Members:
Fred de Wilde (vocals), Hu [Hans van Toorn, aka Ralph Anderson] (vocals), Henk van Meerbeek (drums, 1965-67), Mike Scholten (bass), Werner den Heyer (guitar, 1965-66), Cesar Zuiderwijk (drums, 1967), Roy van der Merwe [aka Roy Marley] (organ, 1966-67)
 
 
 The Sparklings Formed
1965, Amsterdam, Noord Holland, Netherlands
Disbanded
1971
Members
Ben Cramer (vocals), Rori van Ark (drums, 1965-67), Ger Belmer (organ, 1965-66), Wim Timmer (guitar, 1965-68), Ton Vos (guitar, organ, piano, 1965-69), Douwe van der Zee (bass, 1965-67), Wil Schoonenberg (bass, 1968-70), Peter Mulder (drums, 1967-71), Ron Fens (guitar, 1967-71), Bart van de Post (guitar), Henk Groenveld (keyboards, 1969-71)
 
Hu And The Hilltops & The Sparklings (1966-1967)



No Less The Most Famous Club in The World...Mike Sheridan &The Nightriders/ Mike Sheridan's Lot – Birmingham Beat (1963-1966г.)Beat in Liverpool Buchclub -  EP VA - Beat-Wettbewerb der Stadt Frankfurt (1967)VA - Brum Beat Motorcity Music (Midlands Beat Groups Of The 60's)VA - Brum Beat VA - Beat Parade 1966 (from 17 heimatliche/ Baccarola )VA - Warszawski Rock and Roll lat 60 Bill Kimber & The Couriers - Shakin' Up A Storm & Swinging Fashion Hu And The Hilltops & The Sparklings (1966-1967)

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