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Nena - Nena 1983 (German)

Nena - Nena 1983  (German)


The first Nena album was released at the start of 1983 and became the dominant sensation of the West German music scene throughout the year. Starting with the 1982 breakthrough debut single "Nur Getrдumt," Nena arrived at a very distinct period of German pop history, the period of the so-called Neue Deutsche Welle or NDW, the German new wave.

However, by 1982 German new wave music had been watered down by various bandwagon jumpers who transformed the tension- and doom-laden atmosphere of the music of the original late-'70s new wave bands into upbeat synth pop with jokey, ironic, and even romantic lyrics. Nena was immediately pigeonholed as an NDW act, but she and her band were in fact a more unique proposition: a group of musicians with a strong intuitive grasp of both classic pop and rock formulas. All five members contributed to the songwriting, with Carlo Karges and Uwe Fahrenkrog-Petersen providing the essential core of the repertoire. They arrived on the scene with a fully formed, confident music vision of their very own. The sound of the Nena band had in fact nothing to do with the stripped-down structures typical of actual new wave music. Even the use of the then in-vogue synthesizer sound (acting as the leading instrumental sound throughout the album) was firmly incorporated into the general basic power pop-oriented drive of a classic hard rock lineup. The pristine production and the unique touch of a slight but characteristic early-'60s melodic pop influence (including leaning toward essentially romantic imagery in the lyrics) were one thing that made the music special. The other factor was Nena Kerner herself. Her vocal style, remarkably reminiscent of early-'60s Connie Francis, and the excitement generated by her personality — by turns sweet or moody — proved thoroughly captivating. However, she always insisted that she saw herself as a member of the band and not as their leader. The classic across-the-board appeal of the band's music led to such a level of success that it practically buried the whole NDW movement beneath it by 1985. The album is still regarded as an unsurpassed classic of German pop history, although most later Nena albums are not far behind in quality. The second single, "99 Luftballons" — a fable of nuclear war brought about by a bunch of balloons in the sky being mistaken on radar for a pre-emptive missile attack — went on to become a number one hit in the U.S. and worldwide in early 1984.

Nena - Nena 1983  (German)



01 - Kino

02 - Indianer

03 - Vollmond

04 - Nur Getrдumt

05 - Tanz auf dem Vulkan

06 - 99 Luftballons

07 - Zaubertrick

08 - Einmal ist keinmal

09 - Leuchtturm

10 - Ich bleib im Bett

11 - Noch einmal

12 - Satellitenstadt

*****

The Stribes ( pre NENA ) - Complete The Stripes

The Stribes ( pre NENA ) - Complete The Stripes



The Stripes was founded in Hagen, Germany by Rainer Kitzman, who played guitar. Nena Kerner, who would later form the band Nena, was the vocalist. Another future member of Nena, Rolf Brendel, played the drums. Frank Rohler played bass. The band was known for singing exclusively in English. They released four singles, after which they split up.

Néna (настоящее имя Габриэ́ле Ке́рнер, нем. Gabriele Susanne Kerner; род. 24 марта 1960, Бреккерфельд) — немецкая певица и актриса, представительница Neue Deutsche Welle, и одноимённая группа, существовавшая в 1981—1987, в которой солировала Габриэле Кернер. После распада группы Габриэле Кернер продолжила сольную карьеру под именем Nena (от исп. Niña — маленькая девочка).


The Stribes ( pre NENA ) - Complete The Stripes


Complete The Stripes (pre NENA)


01 - Strangers

02 - Tell Me Your Name

03 - Observer

04 - Don't You Think I'm A Lady

05 - Leaving The Suburbs

06 - I'm Not

07 - Tres Chichi

08 - You Must Be Good For Something

09 - On The Telephone

10 - Weekend Love

11 - Kicks In Berlin

12 - 1:59

13 - Radio In Stereo

The Stribes ( pre NENA ) - Complete The Stripes


Sgs

14 - Ectasy

15 - Normal Types

16 - Lose Control

****

Beryl Marsden - Changes - The Story Of Beryl Marsden

Beryl Marsden - Changes - The Story Of Beryl Marsden





Beryl Marsden is one of those names that diligent British Invasion scholars are likely to be aware of, but unlikely to actually have heard much or at all. She has footnotes in some history books as being one of the most popular woman vocalists in Liverpool in the early to mid-'60s, as well as for singing on a 1966 single by the early quasi-supergroup the Shotgun Express (who also included Rod Stewart and Peter Green). This has all dozen of the tracks she issued on Decca and Columbia from 1963-1966, as well as, less interestingly, three 1979-1981 recordings, and eight done just a few years prior to this 2012 compilation. It's one of those anthologies that doesn't really live up to the reputation of the artist, frankly, as Marsden was an OK singer, but not superb. Her '60s singles (there's also a live track from the At the Cavern LP) had serviceable covers of American soul and girl group-type songs that didn't match the originals, as well as some more Merseybeat-influenced pop tunes (including "Love Is Going to Happen to Me," co-written by a young Lesley Duncan with her brother). The orchestrated pop of the Shotgun Express single "I Could Feel the Whole World Turn Around," though not typical of her style, is actually the best song (a previously unreleased alternate take of the subsequent Shotgun Express track "Funny 'Cos Neither Could I" including her voice is also here, though the issued 45 did not include her vocals). The recordings of a more modern vintage are way too synth pop-heavy (even on the '60s soul/girl group covers) to be of much if any interest to those who are curious about her British Invasion-era recordings, though her voice remained in good shape. The compilation's for a specialized audience even by British Invasion collector standards, but the packaging's excellent, the lengthy liner notes including many recollections by Marsden herself.

***

Beryl Marsden - Changes - The Story Of Beryl Marsden

Beryl Marsden has footnotes in some history books as being one of the most popular woman vocalists in Liverpool in the early to mid-'60s, as well as for singing on a 1966 single by the early quasi-supergroup the Shotgun Express (who also included Rod Stewart and Peter Green). This has all dozen of the tracks she issued on Decca and Columbia from 1963-1966, as well as, less interestingly, three 1979-1981 recordings, and eight done just a few years prior to this 2012 compilation. It's one of those anthologies that doesn't really live up to the reputation of the artist, frankly, as Marsden was an OK singer, but not superb. Her '60s singles (there's also a live track from the At the Cavern LP) had serviceable covers of American soul and girl group-type songs that didn't match the originals, as well as some more Merseybeat-influenced pop tunes (including "Love Is Going to Happen to Me," co-written by a young Lesley Duncan with her brother). The orchestrated pop of the Shotgun Express single "I Could Feel the Whole World Turn Around," though not typical of her style, is actually the best song (a previously unreleased alternate take of the subsequent Shotgun Express track "Funny 'Cos Neither Could I" including her voice is also here, though the issued 45 did not include her vocals). The recordings of a more modern vintage are way too synth pop-heavy (even on the '60s soul/girl group covers) to be of much if any interest to those who are curious about her British Invasion-era recordings, though her voice remained in good shape. The compilation's for a specialized audience even by British Invasion collector standards, but the packaging's excellent, the lengthy liner notes including many recollections by Marsden herself.






The Vernons Girls - We Love The Vernon Girls (1962-1964)

The Vernons Girls - We Love The Vernon Girls (1962-1964)


You won't find the Vernons Girls listed in most girl group registers, mostly because they were British, and weren't so much a group as a corporate-sponsored entity that happened to do girl group-type songs later in their history and chart a few records in the process. But the Vernons Girls are worthy of mention due to their longevity across nearly a decade of the most extraordinary changes in British popular music, coupled with their eventual embrace of girl group sounds. Their origins go back well before the advent of rock & roll, to early-'50s England, which was then very much an economic backwater -- it's easy to forget today that rationing, as a consequence of the Second World War and its aftermath, didn't come to an end in England until 1953, eight years after the end of the war and, ironically, well after it had ended in Germany and Japan. In this stunted business environment, entrepreneurs were always scrambling for angles that would give them an edge, and the Vernons Football Pools reasoned that the company could get press and publicity exposure by organizing a girls choir to perform in various venues, prominently displaying the Vernons name. It wasn't a terribly good idea, but it did find traction in the mid-'50s as British popular entertainment slowly made room for a budding youth culture, oriented toward skiffle music and young vocalists (including Cleo Laine and Petula Clark). With the advent of The 6.5 Special and Oh Boy! on British television in 1956 and 1958, respectively -- both television variety shows aimed at a youth audience, with the latter focused on rock & roll -- the Vernons Girls, now more of a group than a choir, became regular backup singers. And out of that engagement, they even got a contract from EMI's Parlophone label.

They still didn't sound very distinctive, however, until the end of the 1950s when the Vernons Girls became a trio and began aiming for the youth market. This classic lineup consisted of Maureen Kennedy, Jean Owen, and Frances Lee, with Lyn Cornell coming in as a replacement and Joyce Barker (future wife of Marty Wilde and mother of Kim Wilde) passing through. Their names weren't used on the records where they only provided accompaniment, where, if they were billed at all, it was simply as "Two Vernons Girls" or "Three Vernons Girls." They didn't succeed in charting records of their own until 1962, when they were signed to Decca. Their cover of the Drifters' "Lover Please" sold well enough to ride the best-seller lists for nine weeks, and the Liverpool-style "You Know What I Mean" made the U.K. charts two separate times in 1962. Unfortunately, like a lot of English acts that really didn't control their repertory or their direction, the Vernons Girls were at the mercy of producers who didn't always clearly see the direction the public's taste was taking. So their competent cover of "The Loco-Motion" was followed by a very, very dopey-sounding "Dat's Love" and several sub-Connie Francis-style teen pop efforts. There was no consistency to their work, which wore out any welcome that they might have had from the listening public, and certainly no thought given to what was happening to music around them.

By the end of 1963, when they were doing novelty songs like "We Love the Beatles," the Vernons Girls were quaintly anachronistic holdovers from a pop music world whose landscape was already being shaken seismically by the Beatles et al. They tried hard with "Do the Bird," which had a hard-rocking beat and what could pass for a soulful sound, especially the lead singing, but it barely registered on the charts. An almost equally deserving record, "I'm Gonna Let My Hair Down," disappeared without a trace. And then their next single was an annoying novelty number called "Mama Doesn't Know" -- with repertory like that, they were doomed, even as they tried various new sounds, even opting for something akin to Dusty Springfield's Wall of Sound accompaniment. The sheer inconsistency of their records probably contributed to their eventual demise. the Vernons Girls vanished in 1964, although their ex-members remained in the business, singing in various vocal groups -- most notably the Breakaways, whose accompaniments graced dozens of fine records by other artists (including the pre-King Crimson trio of Giles, Giles & Fripp) -- for years to come. Some older British listeners retain a fondness for the Vernons Girls, however, and the group's best records remain listenable and enjoyable over 40 years later.

The Vernons Girls - We Love The Vernon Girls (1962-1964)

As a recording act, the Vernons Girls started releasing records in the late '50s, though by the time they began recording for Decca in 1962, the lineup had changed over to the trio of Maureen Kennedy, Frances Lee, and Jean Owen. This 22-track compilation has everything this iteration released between 1962 and 1964, although Jane Sutton had replaced Owen by the time the final two of these cuts were issued as a 1964 single. As these are the most rock- and girl group-oriented of the Vernons Girls' recordings, they're the ones that attract the most interest among collectors. Be aware, however, that it's not that rock-oriented, despite some varying debts to the American girl group sound. Charles Blackwell's production still has many echoes of the cloying pop of the pre-Beatles rock era, and some of the tracks find them exaggerating their Scouse accents to the verge of novelty. So this can't compare to the best of the U.S. girl groups (or even the best of the U.K. girl groups), but it does have its share of charm, even if it's short of truly outstanding songs and its perkiness might be a little incessant for some tastes. By far the best songs are in a handful of later ones in which both their delivery and Blackwell's production mature and shed some cutesiness for a sound that does begin to stand up to the girl group records across the ocean. That's particularly true of "Tomorrow Is Another Day" (actually a cover of a Doris Troy record) and "Only You Can Do It" (also memorably done by French star Françoise Hardy). Both of those, uncoincidentally, put the focus on the lead vocals of Jean Owen, who'd soon make some memorable records as a solo artist with Blackwell under the name Samantha Jones. There's also one of the better Beatles novelties in "We Love the Beatles (Beatlemania)," though that's not saying a whole lot given the low standard of that genre. Overall, this might be for British Invasion/girl group completists, but it's certainly well packaged, the notes including comments from Owen/Jones and a couple infrequently seen photos of the Vernons Girls with the Beatles.



The Vernons Girls - We Love The Vernon Girls (1962-1964)





Caterina Caselli - I Singoli A's & B's (1964-1969)




Caterina Caselli was the most successful of Italy’s female beat singers. She found fame in the 1966 San Remo song contest with Nessuno mi puo giudicare and went on to become a big star in 1960s Italy.

She was born on 10 April 1946 in Sassuolo, near Modena. She quit school at 13 and got a job in the accounts department of a local firm.

However, music was her main love. She took singing lessons and at the age of 14, she joined the group Gli Amici as both singer and, more unusually, bassist. Together they performed in local dance halls and nightclubs, earning a name for themselves in the area. 

After taking part in the Castrocaro song contest, the young brunette was offered a recording contract with the Milan-based MRC label. However, despite TV promotion, her debut single, Ti telefono tutte le sere, issued in 1964, didn’t sell. (She might have done better to flip the record, to make Sciocca, a take on Lesley Gore’s She’s a fool, the A-side.)


Italian singers were proving popular in Spain with translated versions of their domestic hits, and despite her lack of success, Caterina re-cut her single for an EP issued in Spain. Perhaps realising the earlier mistake, the Lesley Gore song – retitled No esta bien – became the lead track on the release.

At home, a switch of record label in 1965, to CGD, and hair colour, to blond, saw her release Sono qui con voi, a version of Baby please don’t go, a hit for Northern Irish group Them. Thanks to her participation in the Cantagiro contest, the song attracted radio attention, but failed to provide a breakthrough hit.

However, it prompted the label to enter the singer in the 1966 San Remo song festival, the Italian competition that had served as inspiration for the Europe-wide Eurovision song contest. When established star Adriano Celentano turned down the energetic Nessuno mi puo giudicare, Caterina was offered it instead. The practice at the time was to have two singers perform each entry and both Caterina and US star Gene Pitney came to sing the song at the final. 

It didn’t win, but no matter – it went to number one in the Italian charts in February 1966 and remained on the top spot for nine weeks, outselling Pitney’s version and also the winning song from the contest, Domenico Modugno/Gigliola Cinquetti’s Dio come ti amo.


The song established Caterina as a star and for the remainder of the year she could do little wrong. She won the Festivalbar contest in the summer with Perdono, which reached number five in the charts in July 1966 and was backed with the equally popular L’uomo d’oro, which Caterina had performed at the Un disco per l’estate contest, finishing fourth.

She also re-recorded her San Remo song for release in France (as La verite je la vois dans tes yeux) and in Spain (as Ninguno me puede juzgar).

Meanwhile, in Italy, she was teamed up with American group We Five for her first album, the imaginatively entitled Caterina meets the We Five. In reality, the artists didn’t perform together – the album was little more than an attempt to satisfy demand while recognising that Caterina didn’t have enough material in the can for a whole LP. Instead, her CGD singles and B-sides were merely compiled along with some of We Five’s best tracks. Although collectors are now happy to shell out generous sums for it, the album offered fans poor value at the time.

Further hits followed, in the form of the emotionally charged Cento giorni and even its B-side, Tutto nero, a version of the Rolling Stones’ Paint it black.


Caterina’s first proper LP, Casco d’oro (a humorous reference to her helmet of blond hair), rounded off the year. In addition to the singles, highlights of the album included E la pioggia che va (originally Bob Lind’s Remember the rain), Puoi farmi piangere (the Alan Price Set’s I put a spell on you) and the Barry Mann and Cynthia Weil-penned Kicks.

The choice of Il cammino di ogni speranza for the 1967 San Remo contest proved disappointing. The song wasn’t as strong as Caterina’s previous entry and was eliminated before the final. However, it gave her another top 20 hit all the same. (Fans often prefer to flip the record for its B-side, the stonking Le biciclette bianche, an ode to a Dutch bike-sharing scheme.)

Sono bugiarda, a cover of The Monkees’ I'm a believer, proved a return to form. Issued that spring, the song reached number six in the charts and remains one of her best-known hits.

A further single, Sole spento, made number 12 that autumn.

A second LP, Diamoci del tu, named after a TV show she fronted, also hit the shops. It included versions of The Four Tops’ Standing in the shadows of love, L’ombra di nessuno (see our Motown males tribute special), and Donovan’s Mellow yellow, Cielo giallo.

Seeking to demonstrate her versatility, Caterina also appeared in a couple of musical films, Io non protesto, io amo and Quando dico che ti amo.

In 1968, the newly brunette singer enjoyed huge hits with Il volto della vita, a cover of David McWilliams’ Days of Pearly Spencer, and the beautiful Italian original Insieme a te non ci sto piu, both of which made the top five. An appearance in the Canzonissima song contest with Il carnevale stopped just short of giving the singer a second chart topper, while a further film appearance, this time in Enzo Battaglia’s Non ti scordar di me, consolidated her success.

Although still at the top of her game in Italy, Caterina’s occasional forays into foreign markets had failed to translate into significant sales so far. However, it was decided that she should have a stab at the lucrative German market too. Il carnevale was translated into German as Wie all’ die Ander’n, but surprisingly, the song was consigned to the B-side of the distinctly less remarkable Si si signorina. It wasn’t a hit and only one further German-language single was issued, 1970’s Schlager-styled Und wenn die Welt vom Himmel fallt.

Back at home, a return to the San Remo contest in 1969, performing Il gioco dell’amore, provided her with a further top 20 hit. The singles Tutto da rifare and Emanuel rounded off the decade, but neither was as big a hit as hoped for. Similarly, a further entry to the San Remo contest in 1970, with Re di cuori, proved less successful than her earlier attempts.

However, by this time, her mind was elsewhere. She had married the head of the Sugar record label and her recording career began to take a back seat to her new interests. Although she continued to record, by the mid-1970s she was all too ready to swap her place in front of the microphone for one behind the production controls. Indeed, she is credited with discovering Andrea Bocelli in 1992.

She released a few further singles in the 1980s and returned to San Remo for a one-off appearance in 1990.

She continues to work as a manager and record producer.

http://www.readysteadygirls.eu/#/caterina-caselli/4523196547

Caterina Caselli - I Singoli A's & B's (1964-1969)


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Jackie Trent &Tony Hatch - The Two Of Us & Live For Love (19671968)

Jackie Trent &Tony Hatch -  The Two Of Us & Live For Love (19671968)




Jackie Trent

Jackie Trent &Tony Hatch -  The Two Of Us & Live For Love (19671968)


A British singer/songwriter of the '60s whose voice was far better suited for reaching the back row of Broadway auditoriums than soul or rock, Jackie Trent (born Yvonne Burgess in 1940; she changed her name to Jackie Trent at the age of 14) nonetheless operated on the fringe of the U.K. pop scene in the manner of other femme belters like Cilla Black, though her efforts were usually even more middle of the road. Her one big triumph was her number one British single in mid-1965, "Where Are You Now (My Love)"; that would be her only Top 20 entry. If she can often sound like Petula Clark crossed with Shirley Bassey, there's a good reason for that; she shared Clark's producer, Tony Hatch, who would become her songwriting partner and husband. Trent and Hatch, in fact, penned several of Clark's hits, though (with the exception of "Where Are You Now") the composers weren't nearly as successful when applying their songwriting/production talents to Jackie's discs. Trent recorded quite prolifically for Pye in the '60s (including some duets with husband Tony), but it's as a songwriter that she'll primarily be remembered.

Tony Hatch

Jackie Trent &Tony Hatch -  The Two Of Us & Live For Love (19671968)


Although Tony Hatch had success in various segments of the entertainment industry from the '60s onwards, he'll be best remembered for his work as a producer and songwriter for several British pop and rock stars in the '60s. As a staff producer at Pye Records, Hatch worked with the Searchers, Petula Clark, his wife, Jackie Trent and on several early singles by David Bowie. Hatch's productions boasted a clean and well-arranged sound that, particularly on his collaborations with Petula Clark, displayed some traces of mainstream pop and Broadway. His most significant role in straight British rock music was as producer during the Searchers' 1963-66 commercial prime, a span which saw them ring up all of their big hits. He left his biggest imprint, however, by producing and often writing the big international hits by Petula Clark in the mid-'60s, including "Downtown," "My Love," "I Know a Place," "Don't Sleep in the Subway," and "A Sign of the Times,." These had enough mod swing to sell to a rock audience, but also enough showbizzy horns and theatrical-type piano to bring in older listeners.
Hatch also had a fair amount of success with Jackie Trent, a singer-songwriter who somewhat recalled Petula Clark and hit number one with "Where Are You Now (My Love)." Moody balladeer Scott Walker also had a British hit with Hatch-Trent's "Joanna." Hatch recorded a few duets with Trent and made some instrumental recordings under his own name, which gathered some belated hipness when they were included on some CD compilations geared toward the lounge revival crowd. During the '70s, he and Trent wrote a couple of musicals and some television music, including the theme song to "Neighbors."

Live For Love (1968)

01. Jackie Trent And Tony Hatch - Just Beyond Your Smile
02. Jackie Trent And Tony Hatch - Let It Be Me
03. Jackie Trent And Tony Hatch - Loving Things
04. Jackie Trent And Tony Hatch - We're Falling In Love Again
5. Jackie Trent And Tony Hatch - Lazy Day
6. Jackie Trent And Tony Hatch - 59th Street Bridge Song (Feelin' Groovy)
7. Jackie Trent And Tony Hatch - Love So Fine
8. Jackie Trent And Tony Hatch - All Because Of You
9. Jackie Trent And Tony Hatch - Everything In The Garden
10. Jackie Trent And Tony Hatch - Little Green Apples
11. Jackie Trent And Tony Hatch - Our Little Boat
12. Jackie Trent And Tony Hatch - Live For Love

Jackie Trent's 1968 album (done in collaboration with Tony Hatch, who shares credit with Trent as the artist) was more material in a somewhat sub-Petula Clark mode. This time out, the duo focuses more on the work of other songwriters, most notably Roger Nichols and Tony Asher, as well as popular favorites by Paul Simon ("The 59th Street Bridge Song (Feelin' Groovy)") and standards such as "Let It Be Me." She and Hatch do well enough as vocalist and arranger/conductor, respectively -- "Love So Fine" is well worth hearing for its overall sound and arrangement; but Trent just isn't an interesting enough singer on most of this album to make this a compelling listen, except for '60s U.K. pop/rock completists. There are some great songs here, however -- in addition to the bright, spritely "Love So Fine," the ethereal Hatch/Trent original "Lazy Day" (which strongly resembles Fred Karlin/Dory Previn-authored "Come Saturday Morning," from the same year) which make this record a lot more interesting than the singing per se. One must, of course, balance that against dross such as the jaunty brass-and-strings-driven version of "Feelin' Groovy," though even the latter is pleasant enough in its middlebrow way. For very good reasons, the record didn't attract a lot of attention in 1968, but it contained so many of the attributes of good rock-focused pop of its period, that it now possesses what one may call contextual value, and may be worth owning on that basis alone, with any number of Petula Clark and Tom Jones albums of the same period (though those would outclass most of what's here, song for song).

The Two Of Us  (1967)

1. Tony Hatch and Jackie Trent - I Must Know
2. Tony Hatch and Jackie Trent - Play It Again
3. Tony Hatch and Jackie Trent - Don't Stop Now
4. Tony Hatch and Jackie Trent - Morning Dew
5. Tony Hatch and Jackie Trent - Work Song
6. Tony Hatch and Jackie Trent - Thank You For Loving Me
7. Tony Hatch and Jackie Trent - Route 66
8. Tony Hatch and Jackie Trent - Living It up Again
9. Tony Hatch and Jackie Trent - The Fool On The Hill
10. Tony Hatch and Jackie Trent - The Joker
11. Tony Hatch and Jackie Trent - Country Girl and City Man
12. Tony Hatch and Jackie Trent - The Two Of us

Tony Hatch and Jackie Trent were married at the time of their 1967 album The Two of Us. While Hatch had released some instrumental easy listening albums under his own name, this was the first time he'd sung anything but background vocals on record. Understandably, however, his singing was somewhat subservient to Trent's, who had already scored hits in the U.K. with Hatch as producer. They actually weren't intending to make a whole album together, but their lightly swinging jazz-pop single "The Two of Us" -- written by Hatch and Trent, and not even intended by Hatch for release -- became a big Australian hit, leading Pye Records to ask for an entire album. Like its title track, much of the LP was very white-bread showbizzy jazz-pop, sung from an imaginary universe where ebullient happy-go-lucky romance was not only the dominant tone, but virtually the only one. No doubt it was fun to make for the principals involved, but it's certainly not as good as the best records produced by Hatch (who also handled Petula Clark and the Searchers) and/or sung by Trent. There were feel-good pop tracks that were less cabaret-oriented and could have passed for Trent or Clark LP cuts (though Clark would have sung them better), "Play It Again" being about the best of those. Elsewhere "Don't Stop Now"'s arrangement owed a slight debt to Bobbie Gentry's "Ode to Billie Joe" and slightly recalled the duets done by Nino Tempo & April Stevens in the same era; "Country Girl and City Man," co-written by Chip Taylor, was unconvincing pop-soul; and "Morning Dew" was decorated by thin, cheesy sitar riffs.


Ann-Margret - How Lovely To Be

Ann-Margret - How Lovely To Be





Ann-Margret - How Lovely To Be

Actress, singer, and dancer Ann-Margret excelled in two areas of entertainment during a career that was still going strong in its fifth decade: as a movie star, she appeared in more than 50 feature films and as a stage entertainer she performed as a headlining act in showrooms and theaters around the world. To a lesser extent, she found time periodically for television and recordings. Early in her career, emphasis was placed on her attractiveness and sexual appeal; she was marketed as a kind of red-haired American version of Brigitte Bardot. But her talent allowed her to outlive that image, and eventually, while working regularly, she earned Academy, Emmy, and Grammy Award nominations, as well as several Golden Globes in recognition of her film and TV roles.
Swedish-born Ann-Margret Olsson was the only child of Gustav Olsson and Anna (Aronsson) Olsson. Her father, an electrician, had lived in the U.S. for many years, and when she was a year old he moved back to America where he found work in the suburbs of Chicago and saved up to bring his wife and child over. Meanwhile, Ann-Margret began displaying an interest in singing and dancing from the age of three. She and her mother finally arrived in the U.S. in 1946, settling in Fox Lake, IL. There, Ann-Margret took singing, dancing, and piano lessons as a child; she became a naturalized American citizen in 1949. In the summer of 1957, while competing in a TV talent contest in Chicago, she was seen by Ted Mack, host of the national series The Original Amateur Hour, who put her on the show. Later that summer, she spent a month singing with the Danny Ferguson band at the Muehlebach Hotel in Kansas City. Her first recording came in January 1959. It was an amateur effort, an album made of a show put on by the Tri-Ship Club at New Trier High School and released on a limited basis, Lagniappe '59 Presents "Be My Guest"; she was heard singing Irving Berlin's "Heat Wave."
Ann-Margret graduated from high school in the spring of 1959 and entered Northwestern University that fall, majoring in speech with a minor in drama. She and two classmates joined with a Northwestern graduate to form a group called the Suttletones that appeared in clubs around Chicago on the weekends. The second recording with which she was associated was another amateur school effort, Among Friends -- Waa-Mu Show of 1960, a collector's item even though she only appeared as a dancer in the production and was not featured. After finishing her freshman year in June 1960, she and the Suttletones went to Las Vegas for a club engagement that fell through, then continued to Los Angeles, where they found bookings. At the end of the summer, she dropped out of college to pursue her career, while her fellow students returned to school. She earned her first recording contract with Warner Bros. Records, which released two singles and an album, It's the Most Happy Sound, billed to Ann-Margret & the Ja-Da Quartet. But the records didn't sell. She was appearing in a lounge at the Dunes Hotel in Las Vegas when she auditioned for comedian George Burns, who added her to his Christmas show at the Sahara. The attention she received led to a record contract with RCA Victor and a film contract with 20th Century-Fox, which promptly loaned her out to Paramount for her first movie, Pocketful of Miracles, director Frank Capra's remake of his 1934 movie Lady for a Day, starring Bette Davis.

Ann-Margret's first RCA single, "Lost Love," did not chart. She followed with "I Just Don't Understand," a bluesy, rocking number co-produced by Chet Atkins and featuring Elvis Presley's backup singers, the Jordanaires, that entered the Billboard Hot 100 in July 1961 and rose into the Top 20. Her first RCA album, And Here She Is...Ann-Margret, was released in October. A third single, "It Do Me So Good," barely reached the charts in November. The same month, Pocketful of Miracles opened, earning her good notices, and she won the Golden Globe Award for New Star of the Year -- Female. RCA had her record a variety of pop, country, and rock for her next LP, On the Way Up. The set, released in March 1962, included her versions of such differing material as the pop song "Moon River" and Presley's blues-rock standard "Heartbreak Hotel," as well as the lush ballad "What Am I Supposed to Do," which spent five weeks near the bottom of the Hot 100 and made the easy listening charts. Also in March 1962 came her second film, a remake of the musical version of State Fair, also featuring Pat Boone and Bobby Darin. Here, she got to put on film for the first time her singing and dancing abilities as well as sexy appeal, performing a revved-up version of Rodgers & Hammerstein's "Isn't It Kinda Fun?" and a duet with Boone on the newly written Rodgers ballad "Willing and Eager." The soundtrack album reached the Top 20.

On April 9, 1962, Ann-Margret appeared on the Academy Awards telecast to sing one of the year's nominated songs, the title theme from Bachelor in Paradise. Her torrid song-and-dance routine stopped the show and increased her stardom exponentially. RCA tried to take advantage of that notoriety by sending her back to the studio and titling the resulting album The Vivacious One, but the record was not successful. She had more luck on the silver screen, where she was cast in the film adaptation of the stage musical Bye Bye Birdie, a send-up of Elvis Presley, in which she played a Midwestern teenager who wins the chance to bestow "one last kiss" on a Presley-like teen idol before he goes into the Army. Her part was built up considerably from what it had been on Broadway, as she opened and closed the film singing a newly written title song, had another solo on "How Lovely to Be a Woman," and joined other cast members on half a dozen other songs. "Ann-Margret...is a wow," wrote Variety, and when Bye Bye Birdie opened in April 1963, it was a hit, its soundtrack album peaking at number two and remaining in the charts over a year. She earned a Golden Globe nomination for Best Actress -- Musical or Comedy.

Ann-Margret - How Lovely To Be


Despite her success in movie musicals, Ann-Margret was not able to translate that popularity into her solo records. In the fall of 1963, RCA released Bachelors' Paradise, belatedly trying to take advantage of her Academy Awards moment a year and a half earlier, but the album failed to chart. Meanwhile, she was achieving a kind of immortality by voicing the character of Ann-Margrock on the popular prime-time animated TV series The Flintstones. In January 1964, RCA managed to get her back into the Top 100 on the LP charts by pairing her with trumpeter Al Hirt on the LP Beauty and the Beard. Having worked with an Elvis Presley imitator in Bye Bye Birdie, she next teamed up with the real thing, co-starring in the Presley film Viva Las Vegas, which opened in May 1964. She also sang several songs, soloing on Leiber & Stoller's "Appreciation" and "My Rival" and performing a duet with Presley on "C'mon Everybody," "The Lady Loves Me," and the title song, written by Doc Pomus and Mort Shuman. Another duet with Presley, "You're the Boss," was cut from the finished film. She had recorded studio versions of it, "The Lady Loves Me," and "Today, Tomorrow and Forever" (a Presley solo in the film) as duets with Presley, but those recordings were not issued at the time, and there was no soundtrack album, only an EP of Presley solo tracks. Thus, record buyers were denied the chance to buy copies of some of her most memorable musical performances.
RCA (which, of course, also had Elvis Presley under contract) seemed interested in promoting a very different Ann-Margret. The label paired her with middle-of-the-road singer John Gary on the duet album David Merrick Presents Hits from His Broadway Shows, released in October 1964 and in the charts for four weeks. And after three straight movie musicals, her film career took a false step with the poorly reviewed melodrama Kitten With a Whip, which also appeared in October 1964. Two months later, she was back in the theaters and the record stores with The Pleasure Seekers, a musical remake of Three Coins in the Fountain with a soundtrack album on which she also appeared.
As the release of three films within the calendar year of 1964 indicated, Ann-Margret was concentrating more on her film career than anything else, although she was willing to sing in her movies and fulfill the terms of her record contract. RCA didn't bother to have her make an album in 1965, restricting itself to one single, while she released three more non-musical movies, Bus Riley's Back in Town in March, Once a Thief in August, and The Cincinnati Kid in October. The next year brought four film releases. She starred in the comedy Made in Paris in February 1966 and had a featured role in the all-star remake of Stagecoach, released in May. She got to sing in The Swinger in November, leading to the release of her final RCA LP, Songs from "The Swinger" (And Other Swingin' Songs), and played opposite Dean Martin in his second Matt Helm spy spoof, Murderers' Row, in December.


By the end of 1966, Ann-Margret's career was in decline. Like some other performers, she was caught in the cultural changes of the 1960s. Still only 25 years old, she was the same age as Bob Dylan, but she had trained herself for a style of show business that seemed to be passing away. Movie studios were not much interested in making the kind of musicals at which she excelled, and she had made too many non-musicals in too short a time, too many of them failures. Meanwhile, rock had taken over popular music, dooming her recording career. And her sexy, show-business image did not appeal to a new, hip, long-haired generation. RCA released one more single in 1967 before allowing her contract to lapse. Her Hollywood film offers dried up. So, she took steps to retool her career. On May 8, 1967, she married television actor Roger Smith (77 Sunset Strip), who retired from performing to become her manager. In June 1967, she debuted as a Las Vegas headliner at the Riviera Hotel. And in December 1968, she starred in her first television special, The Ann-Margret Show. Meanwhile, film offers had continued to come in from overseas, and her next several movies were made in Europe, South America, and the Middle East. (In one, Rebus, she sang a couple of songs; a soundtrack album belatedly came out in Italy in 2001.)

Ann-Margret returned to recording in 1969 when she made The Cowboy & the Lady, a duo album with Lee Hazlewood, for LHI Records. A second television special, From Hollywood With Love, aired in December. Her first American movie role in years came with R.P.M., released in September 1970, and the following month she appeared in C.C. and Company, written and produced by her husband. (A soundtrack album was released featuring her recording of "Today," written by score composer Lenny Stack, which was also released as a single.) But the role that brought her back to prominence and brought her legitimacy as a serious actress was her featured part in director Mike Nichols' Carnal Knowledge, starring Jack Nicholson and Art Garfunkel, which opened in June 1971. It earned her her first Academy Award nomination for supporting actress and won her another Golden Globe. On November 15, 1971, she appeared in a television production of the musical Dames at Sea, resulting in a soundtrack album.

Meanwhile, Ann-Margret was continuing to perform her stage show in the Nevada showrooms. On September 10, 1972, she was severely injured when she fell from a faulty platform during her act at the Sahara Hotel in Lake Tahoe. Surgery and rehabilitation followed, but she was back to performing ten weeks later. That setback aside, she had successfully rebuilt her career by the mid-'70s, alternating film roles (in 1973, the Western The Train Robbers with John Wayne and the French crime thriller The Outside Man) with television specials and stage work. In March 1975, she returned to movie musicals in a big, and surprising, way in director Ken Russell's outrageous film treatment of the Who's concept album Tommy, playing the part of Tommy's mother. She was 33 years old; Who lead singer Roger Daltrey, who played Tommy, turned 31 just before the movie opened. She sang on more than a dozen songs in the all-singing film, including two duets with Daltrey, "Champagne" and "Mother and Son," newly written for the movie. The double-LP soundtrack album hit number two and went gold. She was nominated for her second Academy Award, this time for Best Actress, and won her third Golden Globe, for Best Actress -- Musical or Comedy.
In the second half of the 1970s, Ann-Margret continued to appear regularly on film, earning another Golden Globe nomination for Best Supporting Actress for 1977's Joseph Andrews, while also making TV specials and performing her act on-stage in Nevada and elsewhere. The rise of disco offered her another chance at the music business, however, and on October 27, 1979, her single "Love Rush," released on Ocean Records and later picked up by MCA, entered Billboard's disco/dance charts heading for a peak at number eight. MCA financed a five-track EP, released in 1980 as Ann-Margret, and from it came "Midnight Message," which entered the dance charts in March and peaked at number 12. Disco was petering out by 1980, but she managed one more chart placing, starting in October 1981 with "Everybody Needs Somebody Sometimes" on First American Records; it got to number 22.
Ann-Margret suffered a personal setback in 1980 when her husband was diagnosed with myasthenia gravis, a muscle-weakening nerve disease. She devoted more time to her family, helping to care for her husband and three stepchildren, but as the breadwinner in the family, she still had to work. She took more film roles in the early '80s, but cut down on performing her stage act, stopping completely by the end of 1983. Heretofore, she had avoided television movies, but her first one, a tearjerker called Who Will Love My Children? (about a mother of ten who contracts a fatal illness), was broadcast February 14, 1983; it earned her an Emmy nomination. In 1984, she had a more prestigious television appearance in an adaptation of Tennessee Williams' play A Streetcar Named Desire, playing the part of Blanche DuBois. The performance won her her fourth Golden Globe for Best Actress -- Mini-Series or Television Movie. She was able to return to performing on-stage in October 1988 when she began her first run at Caesar's Palace in Las Vegas in five years. She toured extensively over the next three years, culminating in her first appearance at New York's Radio City Music Hall in October 1991. In the spring of 1992, she appeared in Newsies, a movie musical for children produced by Walt Disney that didn't do much business but did have a soundtrack album that spent a week in the charts. For the rest of the 1990s, she worked steadily in feature films (e.g., Grumpy Old Men [1993] and Grumpier Old Men [1995]) and TV movies (e.g., the mini-series Scarlett, a sequel to Gone With the Wind [1994], and Life of the Party: The Pamela Harriman Story [1998], which earned her an Emmy nomination for Outstanding Actress in a Miniseries or TV Movie), while continuing to perform her stage act. She published a best-selling autobiography, Ann-Margret: My Story (written with Todd Gold) in 1994.

Ann-Margret continued to work steadily in the 21st century. For the 2000 film The Flintstones in Rock Vegas, she recalled her 1963 appearance on the TV version by singing "Viva Rock Vegas" on the soundtrack (and the soundtrack album, of course). In February 2001, she turned to musical theater for the first time (and returned to the stage for the first time in seven years), starring in a national touring company of the Broadway hit The Best Little Whorehouse in Texas and recording a cast album. Somewhat incongruously, in 2001, she released her first gospel album, God Is Love: The Gospel Sessions, accompanied by the Jordanaires (who had been on her first recordings 40 years earlier) and the Light Crust Doughboys with James Blackwood. The album earned her her first Grammy nomination for Best Southern, Country, or Bluegrass Gospel Album. After 18 months, she came off the road with The Best Little Whorehouse in Texas, but by early 2003 she had put together a new stage act and launched her first solo tour in a decade.


Ann-Margret - How Lovely To Be  [Bootleg Compilation]
2010

Ann-Margret - How Lovely To Be

Clothilde - Queen of the French Swinging Mademoiselle 1967




Clothilde, Queen of the S.M. (Swingin’ Mademoiselles)… Why Clothilde? Why not that more star-worthy, international acclaimed Françoise Hardy, or the more akin to the sub-genre, France Gall? Because she’s the most characteristic, archtypical French mademoiselle, that’s why! Christine Pilzer, even Jacqueline Taïeb before her, both may’ve been rediscovered first in this style unique to French Sixties Pop, and Stella also may’ve been the most out and out “anti-Yeye” with her slightly anti-establishment and derisive lyrics countering the Pop system and establishment but, Cleo’s all about text, not that much as a whole production. As such, we feel Clothilde takes the crown. Not only has Clothilde the most natural (albeit unknowingly) disposition as a chanteuse, singing such subversive lyrics with as much second degree and detachment but, the music itself is highly original : inventive arrangemen including French horn, musical saw, church bells, barrel organ, marimba, brass fiddle, woodwinds and busy fuzz guitar amidst all that slapstick comedy-like audio bric-à-brac.. Almost avant-garde in concept, it was imagined and produced by Clothilde’s impresario, manager and indeed creator, legendary Disques Vogue A.D. Germinal Tenas.  … This could’ve only come out of France!


Clothilde -  Queen of the French Swinging Mademoiselle 1967


 http://www.bornbadrecords.net/releases/
clothilde-queen-of-the-french-swinging-mademoiselle-1967/




Clothilde - Queen Of The French Swinging Mademoiselle 1967 - Import - After whetting our whistles with recent reissues by Francoise Hardy and the newest volume of the Swingin' Mademoiselles compilation (you grab that? HOT DAMN), this compilation of sides by Ye-Ye chanteuse Clothilde, compiled by our mainline to the French underground - Born Bad Records! Ecouté!:

"Comes with a four-page insert. Clothilde, queen of the ""Swingin' Mademoiselles."" Why Clothilde? Why not that more star-worthy, internationally-acclaimed Françoise Hardy, or the more akin to the sub-genre, France Gall? Because she's the most characteristic, archtypical French mademoiselle, that's why! Christine Pilzer, even Jacqueline Taïeb before her, both may have been rediscovered first in this style unique to French '60s pop, and Stella also may have been the most out and out ""anti-ye-ye"" with her slightly anti-establishment and derisive lyrics countering the pop system and establishment, but Cleo's all about text, not that much as a whole production. As such, Clothilde takes the crown. Not only has Clothilde the most natural (albeit unknowingly) disposition as a chanteuse, singing such subversive lyrics with as much second degree detachment as possible but also, the music itself is highly original: inventive arrangements including French horn, musical saw, church bells, barrel organ, marimba, brass fiddle, woodwinds, and busy fuzz guitar amidst all that slapstick comedy-like audio bric-à-brac. Almost avant-garde in concept, it was imagined and produced by Clothilde's impresario, manager and indeed creator, legendary Disques Vogue A.D. Germinal Tenas. This could've only come out of France. "

First off - if you dig Ye-Ye in any capacity, you're bound to love this, BUT just as the icing on the cake, let us testify to the greatness in these grooves! Clothilde operates within the general framework of all the Ye-Ye princesses, but the beauty of these tracks is the KILLER arrangements by famed producer Germinal Tenas that weave in downright weird sounds like fuzz guitar, sitar, harpsichord and french horn in such an interesting way that we were hooked from track #1! Clothilde's got one-up on her contemporaries - this stuff frickin' ROCKS with raging guitars and HEAVY pounding drums (not unlike a Dutronc tune) and we feel like that alone will keep us coming back again and again! 

VA - Swinging Mademoiselle Vol.1-3


 Swinging Mademoiselle Volume 1


 This 16-song compilation of rare, '60s French pop sung by female vocalists is very similar to the three-volume Ultra Chicks CD series devoted to the same micro-genre. In fact, most of the singers on this LP are also represented on the Ultra Chicks volumes, although only three of the tracks are duplicated from Ultra Chicks. And like Ultra Chicks, this might disappoint those looking for something of the caliber of Françoise Hardy. But it has fun, if on the whole light, pop/rock tunes that derive pretty heavily from British Invasion, mod, girl group, and early psychedelic styles, but with French femme vocals. Some of the better tracks are Elsa Leroy's French cover of the Beau Brummels' "Just a Little"; Françoise's (who is not Françoise Hardy) breathy rendition of "Love Is Strange," retitled "Hum! Hum!"; and Cleo's pensively melodic "Madame La Terre." Comes with lots of photos and detailed liner notes, which you don't get with all of these kinds of comps (like the Ultra Chicks ones, for instance).

  Swinging Mademoiselle Volume 2

VA - Swinging Mademoiselle  Vol.1-3

 Swinging Mademoiselle Volume 3

VA - Swinging Mademoiselle  Vol.1-3


VA - Rock 'N' Roll Girls ~ The Rockin' And Swinging Girls Of The 50's (10 CD Set) 2011


VA - Rock 'N' Roll Girls ~ The Rockin' And Swinging Girls Of The 50's (10 CD Set) 2011


CD 1 - Let's Have A Party
1. Wanda Jackson - Let's Have A Party (2:07)
2. Barbara Evans - Souvenirs (1:58)
3. Kathy Zee - Cracker Jack (2:07)
4. Brenda Lee - Rock The Bop (2:12)
5. Janis Martin - My Boy Elvis (2:07)
6. Lavern Baker - Whipper Snapper (2:12)
7. Barbara Pittman - I Need A Man (2:53)
8. Teresa Brewer - Hula Hoop Song (2:47)
9. Connie Francis - Fallin' (2:12)
10. Ruth Brown - Lucky Lips (2:09)
11. Jackie Dee (Jackie DeShannon) - Buddy (1:54)
12. Shirley Bassey - Kiss Me Honey, Honey Kiss Me (2:27)
13. The Fontane Sisters - Hearts Of Stone (2:05)
14. Georgia Gibbs - Dance With Me Henry (2:19)
15. The Chordettes - Lollipop (2:09)
16. Carole King - Oh Neil (2:15)
17. Bonnie Lou - Friction Heat (2:13)
18. Linda Hopkins - Rock And Roll Blues (2:08)
19. Etta James - Tough Lover (2:11)
20. Rosemary Clooney - This Ole House (2:23)

CD 2 - Great Balls Of Fire
1. Brenda Lee - Sweet Nothin's (2:25)
2. Georgia Gibbs - Great Balls Of Fire (2:12)
3. Rose Maddox - Wild WIld Young Men (2:29)
4. Ruth Brown - This Little Girl's Gone Rockin' (1:45)
5. Bob And Lucille - Eeny Meeny Miney Moe (2:13)
6. Connie Francis - Robot Man (1:55)
7. Big Maybelle - Rang Dang Dilly (2:21)
8. Bunny Paul - History (2:08)
9. Ella Mae Morse - Razzle Dazzle (2:49)
10. Lavern Baker - Jim Dandy (2:11)
11. Marie Knight - I Thought I Told You Not To Tell Them (2:17)
12. Mabel King - Alabama Rock 'N' Roll (2:44)
13. Patsy Clarke - Watcha Do To Me (2:06)
14. Wanda Jackson - Mean Mean Man (2:12)
15. Ann Castle - Go Get The Shotgun Grandpa (2:07)
16. Laura Lee Perkins - Don't Wait Up (2:33)
17. Wynona Carr - Jump Jack Jump (2:15)
18. Carole King - Short Mort (2:06)
19. The LaDell Sisters - Rockin' Robert (2:04)
20. The Chordettes - A Girl's Work Is Never Done (2:15)

CD 3 - Baby Loves Him
1. Connie Francis - Lipstick On Your Collar (2:17)
2. Barbara Pittman - Everlasting Love (1:57)
3. Brenda Lee - Bill Baily (2:24)
4. Margaret Lewis - Shake A Leg (2:19)
5. Kathy Zee - Buzzin' (2:06)
6. The Cookies - Hippy Dippy Daddy (2:01)
7. Wanda Jackson - Baby Loves Him (2:01)
8. Annisteen Allen - Mine All Mine (2:45)
9. Lavern Baker - Dix-A-Billy (1:53)
10. Ella Johnson - Allright, Okay, You WIn (2:48)
11. Jo-Ann Campbell - You're Drivin' Me Mad (2:00)
12. Janis Martin - Good Love (2:13)
13. Wynona Carr - 'Til The Well Runs Dry (2:07)
14. Ruth Brown - Mama, He Treats Your Daughter Mean (3:04)
15. Lorelei Lynn - Rock-A-Bop (2:02)
16. Irma Thomas - Don't Mess With My Man (2:18)
17. Martha Carson - Now Stop (2:07)
18. Joyce Green - Black Cadillac (2:32)
19. Rose Maddox - Hey Little Dreamboat (3:00)
20. Brenda Lee - Let's Jump The Broomstick (2:34)

CD 4 - My Little Baby
1. Wanda Jackson - Long Tall Sally (1:58)
2. Rose Maddox - My Little Baby (1:55)
3. Janis Martin - Drugstore Rock 'N' Roll (2:08)
4. Ella Mae Moore - Oakie Boogie (1:57)
5. Connie Francis - Plenty Good Lovin' (2:03)
6. Shirley Gunter - Crazy Little Baby (2:16)
7. Helen Bozeman - Sugar Baby (2:07)
8. The Chordettes - No Wheels (2:32)
9. Laura Lee Perkins - Come On Baby (2:03)
10. Lavern Baker - Voodoo Voodoo (1:50)
11. The Miller Sisters - Ten Cats Down (2:22)
12. Varetta Dillard - Scorched (2:46)
13. Mary Edwards - Chilly Willy (2:34)
14. The Bonnie Sisters - Cry Baby (2:24)
15. Brenda Lee - Jambalaya (2:10)
16. Donna Dameron - Bopper 486609 (2:13)
17. Kay Cee Jones - Shortnin' Bread (2:39)
18. Pearl Bailey - I Can't Rock 'N' Roll To Save My Soul (2:22)
19. Sandy Lee - Ballin' Keen (1:54)
20. Ruth Brown - Mambo Baby (2:43)

CD 5 - Hands Off
1. Barbie Gaye - My Boy Lollipop (2:09)
2. Connie Francis - Stupid Cupid (2:13)
3. Jean Shepard - He's My Baby (2:09)
4. Wynonna Carr - Boppity Bop (2:29)
5. Sparkle Moore - Rock-A-Bop (2:15)
6. Brenda Lee - Ring A My Phone (2:01)
7. The Collins Kids - The Rockaway Rock (2:07)
8. Carole King - Baby Sittin' (2:19)
9. The Bobettes - Speedy (2:17)
10. Debbie Stevens - If You Can't Rock Me (1:41)
11. Wanda Jackson - Fujiyama Mama (2:15)
12. Ann Cole - I Got My Mojo Working (2:37)
13. Jackie Dee (Jackie De Shannon) - Trouble (2:29)
14. Gorman Sisters - Sock Hop (2:03)
15. Donna Hightower - Hands Off (2:55)
16. Jo-Ann Campbell - Wassa Matter With You (2:33)
17. The Starr Sisters - Three Young Chicks (2:33)
18. Laura Lee Perkins - Gonna Rock My Baby Tonight (2:10)
19. Brenda Lee - Bigelow 6-200 (2:19)
20. Ruth Brown - As Long As I'm Moving (2:43)

CD 6 - Roll Over Beethoven
1. Jo-Ann Campbell - Crazy Daisy (2:20)
2. Margaret Lewis - Roll Over Beethoven (2:19)
3. Brenda Lee - Dynamite (2:05)
4. Big Maybelle - Whole Lotta Shakin' Goin' On (2:41)
5. Jackie Johnson - Starlight Starbright (2:27)
6. Carol King - Queen Of The Beach (2:10)
7. Bunny Paul - Sweet Talk (2:13)
8. Connie Francis - Baby Roo (2:29)
9. Penny Candy - The Rockin Lady (2:19)
10. Laura Lee Perkins - Oh La Baby (2:00)
11. Wynona Carr - Nursery Rhyme Rock (1:59)
12. Wanda Jackson - Cool Love (2:18)
13. Dorothy Collins - Rock Me Baby (1:59)
14. Patti Page - Just Because (2:28)
15. Jackie Dee (Jackie DeShannon) - I Need Lovin' (1:59)
16. Georgia Gibbs - Silent Lips (2:04)
17. The Chordettes - Taul Paul (1:33)
18. Big Mama Thornton - Hound Dog (2:50)
19. Janis Martin - Will You Willyum (1:57)
20. Jo-Ann Campbell - Wait A Minute (2:39)

CD 7 - Don't Be Cruel
1. Connie Francis - Don't Be Cruel (1:44)
2. Lois Lee - I've Got It Bad For You Baby (2:13)
3. Judy Capps - You Can Have My Love (1:53)
4. Laura Lee Perkins - Kiss Me Baby (1:55)
5. Sheree Scott - Fascinating baby (2:38)
6. Carol Davis - Little Bit (1:58)
7. Jo-Ann Campbell - Motorcycle Michael (2:34)
8. Linda Brennon - Any Way You Do (2:16)
9. Jerry Grimes - My Rock And Roll Daddy (2:42)
10. Brenda Lee - Little Jonah - Rock On Your Steel Guitar (2:25)
11. The Melody Maids - Harry Will You Marry Me (2:00)
12. Barbara Green - Long Tall Sally (2:08)
13. Jane Bowman - Mad Mama (1:53)
14. Betty McQuade - Tongue Tied (2:10)
15. Shirley Caddell - The Big Bounce (2:14)
16. Dotty Frederick - Just Wait (1:54)
17. Bonnie Guitar - Love Is Over, Love Is Done (2:04)
18. Linda Roth - Gonna Be Loved (2:42)
19. Jackie Whitley - Mean Man Blues (2:09)
20. Wanda Jackson - Honey Bop (2:14)

CD 8 - No Way Out
1. Brenda Lee - Baby Face (2:15)
2. Eileen Rodgers - That Ain't Right (1:44)
3. Joan Armstrong - Big Midnight Special (2:24)
4. Barbara Tennant - Rock Baby Rock (1:58)
5. Alvadean Coker - We're Gonna Bop (2:15)
6. Barbara Allen - Sweet Willie (2:01)
7. Betty Jo Starr - Eskimo Boogie (3:02)
8. Alice Lesley - Heartbreak Harry (2:04)
9. Wanda Jackson - Rock Your Baby (1:46)
10. Peggy Upton - Sweet Sugar Bugger (1:50)
11. Joan King - O.K. Doll (1:59)
12. Jean Dinning - My Boy Friend (1:39)
13. Linda And The Epics - Gonna Be Loved (2:41)
14. Carole King - Goin' Wild (2:31)
15. Joyce Harris - No Way Out (2:15)
16. Judy Faye - Rocky Rolly Lover (1:57)
17. Barbara Redd - Dancing Teardrops (2:29)
18. Pat Ferguson - Fool I Am (2:05)
19. Dee Dee Gaudet - Where's The Law (2:13)
20. Laura Lee Perkins - I Just Don't Like This Kind Of Livin' (1:50)

CD 9 - Love And Kisses
1. Janis Martin - Love And Kisses (2:01)
2. Betty Johnson - Honky Tonk Rock (1:59)
3. Dolly Parton - Puppy Love (1:38)
4. Norma Lee - Paper Boy (2:20)
5. Brenda Lee - When My Dreamboat Comes Home (2:18)
6. Eartha Kitt - Honolula Rock And Roll (1:46)
7. Peggi Griffith - Rockin' The Blues Away (1:57)
8. Judy Layne - Hard Headed Woman (2:11)
9. Tina Robin - Lady Fair (2:04)
10. Libby Dean - Ding Dong Rockabilly Wedding (1:59)
11. Linda Laurie - Soupin' Up Your Motor (2:29)
12. Wanda Jackson - Hot Dog, That Made Me Mad (2:42)
13. Dorothy Minor - Bye Bye Baby (2:30)
14. Liz Red - Light (1:39)
15. Carol Honeycutt - Teenage Rebel (2:04)
16. Fonda Wallace - Lou Lou Knows (2:15)
17. Joyce Paul - Baby You've Had It (1:50)
18. Sue Patrick - You Found A New Love (1:57)
19. Norma And Linda - Do Dee Oodle Dee Do (1:48)
20. Ceci Julian - Rock Right (2:19)

CD 10 - Tonight's The Night
1. Bonnie Prater - Pass Around The Apples (2:30)
2. Cathy Sharpe - North Pole Rock 'N' Roll (2:07)
3. Wanda Jackson - Money Honey (2:16)
4. Colleen Carson - Going Going Gone (2:00)
5. Babette Bain - That's It (1:55)
6. The Bobettes - Mister Lee (2:13)
7. Dodie Stevens - Pink Shoe Laces (2:28)
8. Carmela Rosella - Oh, It Was Elvis (1:52)
9. Brenda Pepper - Wichita Willy (1:28)
10. Brenda Lee - Just Because (2:00)
11. Norma Shearer - Tonight's The Night (1:57)
12. Pamela Law - When The Band Plays The Blues (2:38)
13. Jean Martin - Rock-A-Knock Blues (2:00)
14. Betty Jane - Show Your Love (2:09)
15. Gina Lombardi - Dancing Teenage Style (2:05)
16. Janis Martin - Let's Hope Baby (2:05)
17. Betty Dickson - Shanty Tramp (2:01)
18. Jeanette Washington - Money's Funny (2:37)
19. Bella Lee - Two Timin' Man (2:04)
20. Nona Rae - You Can't Get Away From Me (2:18)

Nena - Nena 1983  (German)The Stribes ( pre NENA ) - Complete The StripesBeryl Marsden - Changes - The Story Of Beryl Marsden The Vernons Girls - We Love The Vernon Girls (1962-1964)Caterina Caselli - I Singoli A's & B's (1964-1969)Jackie Trent &Tony Hatch -  The Two Of Us & Live For Love (19671968)Ann-Margret - How Lovely To Be Clothilde -  Queen of the French Swinging Mademoiselle 1967VA - Swinging Mademoiselle  Vol.1-3VA - Rock 'N' Roll Girls ~ The Rockin' And Swinging Girls Of The 50's (10 CD Set) 2011

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