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The Dave Clark Five - Instrumental Album (1966)

The Dave Clark Five - Instrumental Album  (1966)

For a very brief time in 1964, it seemed that the biggest challenger to the Beatles' phenomenon was the Dave Clark Five. From the Tottenham area of London, the quintet had the fortune to knock "I Want to Hold Your Hand" off the top of the British charts with "Glad All Over," and were championed (for about 15 minutes) by the British press as the Beatles' most serious threat. They were the first British Invasion band to break in a big way in the States after the Beatles, though the Rolling Stones and others quickly supplanted the DC5 as the Fab Four's most serious rivals. The Dave Clark Five reached the Top 40 17 times between 1964 and 1967 with memorable hits like "Glad All Over," "Bits and Pieces," "Because," and a remake of Bobby Day's "Over and Over," as well as making more appearances on The Ed Sullivan Show than any other English act. The DC5 were distinguished from their British contemporaries by their larger-than-life production, Clark's loud stomping drum sound, and Mike Smith's leathery vocals. Though accused by detractors of lacking finesse and hipness, they had a solid ear for melodies and harmonies and wrote much of their early material, the best of which endured quite well. Interestingly, and unusually for that era, bandleader Dave Clark managed and produced the band himself, negotiating a much higher royalty rate than artists of that period usually received. After a couple years of superstardom, the group proved unable to either keep up with the changing times or maintain a high standard of original compositions, and called it quits in 1970.

The Dave Clark Five - Instrumental Album  (1966)

Issued in Canada only in mid-1966, this LP is a real oddity in the Dave Clark Five discography, indeed consisting entirely of instrumentals as the title promises. As DC5 fans know, unlike just about every other notable British Invasion band, the group often relied on instrumental filler cuts to help pad out their LPs, and 12 of them are gathered on this release. As every one of them also appears on one of the band's 1964-1966 American long-players, it's of interest only for completist collectors attracted by the rarity and artwork of the physical artifact, especially as the music is neither too good nor typical of what the Dave Clark Five were known for. Indeed, side one in particular has some surprisingly vapid easy listening numbers (sometimes with a Duane Eddy-like twanging guitar), though side two moves into more rocking if undistinguished territory, occasionally with spy movie-like motifs. It should also be noted that the LP somehow failed to include what were far and away the band's three best instrumentals: the menacing "Tequila" update "Chaquita," the weird and vicious "Five by Five," and the early-1966 B-side rave-up "All Night Long."

The Esquires - Flashin' Red

The Esquires - Flashin' Red

Instrumental surf/garage band from California. Released in february of '64 "Flashin' Red" b/w "What a Burn". They changed their name several times (LAUGHING GRAVY in '67 then GYPSY BANNED and THE POLICE in '68). The rehearsal sessions on this release were recorded on a home reel to reel machine with one mike!

The Esquires - Flashin' Red


Tommy Scott & The Boys - Sing Along With Beatles Songs (1964)


Clasgoyv born Tommy Scott started his show business career in 1960 with the Andy Stewart Show. He has also appeared in cabaret in France, Germany and Manchester before coming to London, as well as variety in-Scotland and Ireland. He has since earned attention as a very þromising vocaI talent and has also emerged as a hit songwriter. He collaborated with American songwriter Buddy Kaye on Eden Kane's hit Boys Cry. This versatile young man now turns his attention to another me'tier that of the instrumentalist.

01 - Twist And Shout
02 -  A Hard Day's Night
03 - Can't Buy Me Love
04 - From Me To You
05 - Love Me Do
06 - Please Please Me
07 - I Want To Hold Your Hand
08 - She Loves You
09 - Things We Said Today
10 - All My Loving
11 - I Should Have Known Better
12 - Misery
13 - Do You Want To Know A Secret
14 - I Saw Her Standing There






The Violents - AT The Star Club Hamburg

The Violents - AT The Star Club Hamburg

Violents was a mainly instrumental guitar pop group formed in Stockholm, 1959. Their first record was an instrumental version of a traditional song, "Alpens Ros", that gave them a hit in 1961 on the Swedish charts. The first recorded songs were recommendations by their record company but they soon started to write their own songs more in line with their own musical taste. Violents started after a while to search for a lead singer to get more variations on their concerts, which could last for hours. They found in 1961 a talented young rock singer named Jerry Williams with a good reputation as a live act and who agreed to be member of the group. In that way started a cooperation who lasted to the split year of the group Violents, 1966. The first recording with Jerry Williams was "Liebestwist" in 1962. In the start, Violents were the main attraction but soon the spotlight was mainly on Jerry and the band became a backing group with a record career separate from Jerry's own solo career. The last lp album with Violents behind Jerry Williams was Action (1966). Among the group's highlights in their international career was to play at the Star Club in Hamburg 1962 with The Beatles and Little Richard. The Beatles were just second band to Violents at that time and it is rumoured that George Harrison was test playing for a membership in Violents because he was tired of The Beatles, but that the Violents didn't want him.
The Violents - AT The Star Club Hamburg

The Chaps (Heimatliche Klaenge Vol.100)

The Chaps (Heimatliche Klaenge Vol.100)

The Chaps (Heimatliche Klaenge Vol.100)


Heimatliche Klaenge - Schweizer Beat 
Native Sounds - Swiss Beat
vol.100

The Chaps

01 - The Rise And Fall Of Flingle Bunt
02 - Over And Over
03 - In The Mood
04 - Take This Hammer
05 - Bring It On Home To Me
06 - Shadoogie
07 - With A Little Help From My Friend
08 - I Want You To Know
09 - Nowhere Man
10 - You Better Move On
11 - Don't Ever Change
12 - Main Theme

On a clear night in spring 1965 a group of beatfreaks were crawling up the last hill to the "Rheinbundhaus". The musical core of this bunch were Marmo, Luus and Hamster. We were dedicated followers of The Shadows, and it didn't take long to get together with another friend and start rehearsing. We had a ukulele, two acoustic guitars and a bar sieve for a drum. Enough to produce some rattling noise that couldn't be ignored. After even our parents had given up trying to stop us, we formed a real band and never looked back. In December we were ready at last, and tried to get some gigs. After initial failures the owner of Restaurant "Glock" gave us a chance.
The following change of drummer couldn't discourage us, because actually this was the real start of THE CHAPS with Paul Stoob on drums.
Bookings at the "Casita" followed in February 1966. Our best boy Sammy Frank had a lot to do and we were working every Saturday night now. A performance at the "Kitsches-Kitsch Can"-event at the "Kunsthalle" (or was it "Kitsch As Kitsch Can"?) was followed by the first steps across our Canton's border. Zofingen was the place where we tried to bring the house down and survived an Egyptian plague of cockchafers. But hard times were around the corner, and we had our share of ups and downs again, when our manager started to do his bits on the side. His replacement was Urs Gnehm, who soon became a close friend. He perfectly fit in with the band, and with permanent dedication he mananged to get us fantastic engagements. Especially a two week residency at the "Atlantis-Scherz" brought us big success. (And some unexpected surprises which we rather keep to ourselves.) 
At last we had achieved our common purpose and owned a proper beatband equipment  without being indebted. Trying to prove that beat musicians not always play for their own profits alone, we organized an open-air concert for the charity action "Bread for Brothers", which was a great success. The hardness test for the band came in 1967. It all started fine with another highlight at the music hall of the city casino, where we were the first beatband booked for a "Fromm-Ball". Prominently featured in a wellknown Basle newspaper we could read what a kind journalist had to say about us. But the crisis came nevertheless. Paul the drummer left in mutual agreement, and we had to look for a fitting substitute. After a long hiatus, The Chaps were in full-blown line-up again by the end of summer 1967. Rico Candio on drums and organist Alain Veltin changed our style copletely, and new engagements soon were offered. It was a pleasure to play the "Atlantis" again, and the "IG-Fest" in the "Freie Strasse" will always stay in good memory. We're still keep talking about it these days.
At the "Technikums-Ball" in Lucerne, where we appeared as a proper ballroom orchestra, we showed that even a beatband is able to provide decent standard dancing music. Time is flying and with the new year in sight we have found yet another drummer. Mike Herbrich is number 11 since we started. Sadly we'll have to give up the band by the end of January 1968, as military service and final examinations inevitably come closer.
Even if our new record may lack some production and and a bit of polish, it's meant as a keepsake, and we dedicate it to all friends and followers who had fun listening to us.
Riehen, December 6th 1967.  THE CHAPS (liner notes translation the lolly pope - thanks!)

The Chaps (Heimatliche Klaenge Vol.100)

Royal Guitar Ensemble - Golden Guitar (1967)

Royal Guitar Ensemble - Golden Guitar (1967)


Royal Guitar Ensemble - Golden Guitar (1967)

Japanese studio project with good arrangements, play and sound.
It was recorded using the Channel 20 Sound, a new process which realises in superbly lifelike stereo all the potential splendour of each instrument, was specially developed in the Tokyo studios of E.M.I.'s associates, Toshiba Musical Industries. Recordings are made in a new studio designed exclusively for high quality recording; a multiplicity of solo microphones captures every subtlety of tone-colour from each instrument, and a specially developed control console blends, mixes and amplifies each microphone's contribution with delicacy, precision and engineering brilliance that characterise Japan's present-day technological achivement. 





Jerry Cole & His Spacemen - Outer Limits (1963)

Jerry Cole & His Spacemen - Outer Limits (1963)



Jerry Cole & His Spacemen - Outer Limits (1963)


Jerry Cole was a first-call session guitarist in the 1960s who played on a number of Phil Spector's epochal sides and led the pit bands for the rock & roll-oriented TV shows Shindig and Hullabaloo. When he wasn't busy with all that, he cut a number of instrumental rock albums under a variety of assumed names, but Outer Limits features Cole and his band working under his own shingle for a change. Outer Limits is a no-fuss collection of 11 surf-influenced tunes, many of them covers of popular hits of the day, and while Cole's style couldn't be called "revolutionary," there's a lot more muscle in the performances of "Pipeline" and "Wipeout" than on the originals. Cole's discreet use of fuzz and the full-bodied tone he could conjure from his gear give his performances a sound that stands out from others of his ilk, and his originals are strong if basic stuff. If this isn't exactly the Holy Grail for surf fans (and the more passionate might want to spring for Power Surf!: The Best of Jerry Cole & His Spacemen), Outer Limits is still good fun, and anyone who digs classic surf and instrumental sides will get hip to this.

Джери Коул(Jerry Cole)был истинным гением и одним из тех кого заслуженная слава обошла стороной. Джерри Коул умел играть и в стиле сёрф, и кантри, и Go-Go,- он был разнообразным музыкантомю И действительно,если кто-то заслуживает того,чтобы быть замеченным,это было Джерри Коул. Он был одним из самых популярных сессионных музыкантов в Лос-Анжелесе которые работали с крупнейшими именами в те времена,такими как Beach Boys, The Byrds, Фил Спектор(Phil Spector) с Гленом Кэмпбеллом в The Champs с их вечным легендарном теперь хитом,Текила(Tequila). В шестидесятые годы он записал под множеством лейблами и даже с несколькими группами на Shindig и Hullabaloo. Он занимался кантри-музыкой в 70-х и работал с Роджером Миллером(Roger Miller) и был введен в Rockabilly Зал славы в 2004 году. Джерри умер в своем доме Калифорнии в возрасте 68 лет.

01. Jerry Cole & His Spacemen - Outer Limits
02. Jerry Cole & His Spacemen - The Strut
03. Jerry Cole & His Spacemen - Wipe Out
04. Jerry Cole & His Spacemen - Colour Blues
05. Jerry Cole & His Spacemen - Pipeline
06. Jerry Cole & His Spacemen - Sukiyaki
07. Jerry Cole & His Spacemen - Midnight Surfer
08. Jerry Cole & His Spacemen - Pokey
09. Jerry Cole & His Spacemen - Papa-Oom-Mow-Mow
10. Jerry Cole & His Spacemen - Point Panic
11. Jerry Cole & His Spacemen - Tequila
12. Jerry Cole & His Spacemen - Surf Age



Please, I Wanted....

JERRY COLE - PSYCHEDELIC GUITARS
Ace ‎– 2012

Jerry Cole & His Spacemen - Outer Limits (1963)

Sounds Incorporated - Sounds Incorporated (1964) & Studio 2 Stereo (1966)

Sounds Incorporated - Sounds Incorporated (1964) & Studio 2 Stereo (1966)

Sounds Incorporated - Sounds Incorporated (1964) & Studio 2 Stereo (1966)

Sounds Incorporated were a saxophone-led instrumental style sextet, from Dartford, Kent, England. The group formed in 1961 and had their first taste of success backing Gene Vincent for his UK tour as a replacement for The Blue Caps who had been denied British work permits. They initially released a single "Mogambo" on the Parlophone label and later produced three singles on Decca, the last of which "Keep Movin'" was produced by Joe Meek. The group had already made use of the unique sound of an electronic 'Clavioline' keyboard before this recording and it was an instrument also adopted by another Meek-produced group, The Tornados.

Whilst performing in Hamburg in 1963 Sounds Incorporated gained the attention of The Beatles and were subsequently signed to NEMS by Brian Epstein. The group toured with The Beatles as the opening act, including the famous Shea Stadium concert in New York. Sounds Incorporated began releasing singles on the Columbia label, gaining moderate success in the UK charts. Their third single "William Tell" reached #2 in the Australian charts in 1964, the same year that the band released their first eponymous album and became a regular backing group for Cilla Black. Another album followed, also titled "Sounds Incorporated", on EMI's Studio 2 label in 1966.

Sounds Incorporated had shortened their name to "Sounds Inc" by 1967 and Cameron, Holmes and West also featured as the saxophone section on the track "Good Morning Good Morning" for The Beatles' album "Sgt. Pepper's Lonely Hearts Club Band". The group then left EMI and recorded the single "How Do You Feel", featuring vocals for the first time, on the Polydor label. Sounds Incorporated began to disintegrate when Newman departed, performing at one point with the Jeff Beck Group, and with Cameron leaving to follow a career in A&R. The group moved to Australia where their popularity was stronger but, after the release of a further LP, Sounds Incorporated finally broke up in 1971.

Sounds Incorporated - Sounds Incorporated (1964) & Studio 2 Stereo (1966)


This two-fer from Beat Goes On includes the all-instrumental rock & roll combo Sounds Incorporated's 1964 eponymous debut, as well as its 1966 sophomore release, Studio 2 Stereo.

The Dave Clark Five - Instrumental Album  (1966)The Esquires - Flashin' RedTommy Scott & The Boys -  Sing Along With Beatles Songs (1964)The Violents - AT The Star Club HamburgThe Chaps (Heimatliche Klaenge Vol.100)Royal Guitar Ensemble - Golden Guitar (1967) Jerry Cole & His Spacemen - Outer Limits (1963)Sounds Incorporated - Sounds Incorporated (1964) & Studio 2 Stereo (1966) The Red Snakes - Jovem Brasa (1965;1966)Ritchie Valens ‎– Strictly Instrumental!

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