close

Old Melodies ... | category: L | (page 2 of 3)

home

Old Melodies ...

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

allmusic-wingsofdream.blogspot.com

The Lemon Fog - The Psychedelic Sound Of Summer (1967-68)


 Enter Chris Lyons, who was recruiting musicians at Clem's Music in Houston for a new band he was forming. Danny Ogg showed up at the store, and Lyons asked him to join -- Ogg agreed on condition that Timmy Thorpe, who had just gotten laid off from work, play bass. Lyons agreed, and by that weekend, the Pla-Boys, as they were known, were playing their first gig, at St. Regis College for the Arts. It was there that they were seen and heard by Ted Eubanks, an avant-garde composer on Houston's mod scene, who caught The Pla-Boys' act, which consisted mostly of covers of such garage greats as Sam the Sham and the Pharaohs and ? and the Mysterians. Eubanks liked the way they played more than what they played, and immediately approached them after the show. The band liked his suggestions, and he began putting original numbers into the group's sets. He also changed their image from clean-cut, matching suits to psychedelic, including beads. In a matter of weeks in 1965, they went from being the Pla-Boys to The Lemon Fog, who quickly became recognized as one of the more formidable bands in Houston.

The group's lineup soon shifted as Timmy Thorpe was dropped and Danny Ogg moved to bass, with Terry Horde taking over the lead guitar spot. They won a local battle of the bands, and, with help from producer-songrwriter Jimmy Duncan, were approached by Orbit Records with the offer of a recording contract. Only three singles were ever issued on the group by Orbit, although they recorded many hours' worth of demos under Eubanks' direction -- he handled most of the songwriting, alternating with Duncan. The best of these was "The Living Eye Theme," also known as "The Lemon Fog," which reached number eight on the regional and local charts in the Houston area. The group was a major draw there and in the Houston area, and made many television appearances promoting their singles.

Their sound, initially typical garage band-dance material, had advanced by leaps and bounds. Some of their songs resembled the folk-rock of the Byrds or the Beau Brummels, while their playing was closer in spirit to the complexity of Moby Grape, with lots of unexpected twists in the guitar and organ parts, and interesting harmonies. Personality conflicts eventually doomed the band, despite some extraordinary music to their credit. Egos clashed, and the use of drugs hampered the talents of one member, and in 1970, Eubanks was cutting records as a solo artist, which heralded the group's disintegration.




Lemon Pipers - Lemon Pipers (2009)



 Lemon Pipers -  Lemon Pipers [Reissue 2009]
 ака Green Tambourine 1967 + bonus 

Lemon Pipers -  Lemon Pipers  (2009)

1. The Lemon Pipers - Green Tambourine (2:27)
2. The Lemon Pipers - Rice Is Nice (2:12)
3. The Lemon Pipers - Shoe Shine Boy (3:30)
4. The Lemon Pipers - No Help From Me (2:41)
5. The Lemon Pipers - Rainbow Tree (2:23)
6. The Lemon Pipers - Ask Me If I Care (3:12)
7. The Lemon Pipers - Straglin' Behind (2:36)
8. The Lemon Pipers - Blueberry Blue (2:30)
9. The Lemon Pipers - The Shoemaker Of Leatherwear Square (2:05)
10. The Lemon Pipers - Fifty Year Void (5:48)
11. The Lemon Pipers - Through With You (9:09)
12. The Lemon Pipers - Jelly Jungle (2:26)
13. The Lemon Pipers - I Was Not Born To Follow (2:35)
14. The Lemon Pipers - Everything Is You (2:48)
15. The Lemon Pipers - Catch Me Falling (5:19)
16. The Lemon Pipers - Love Beads And Meditation (2:50)
17. The Lemon Pipers - I Need Someone (The Painter) (2:42)
18. The Lemon Pipers - Lonely Atmosphere (2:56)
19. The Lemon Pipers - Wine And Violet (3:08)
20. The Lemon Pipers - Dead End Street / Half Light (11:42)







La De Das - Anthology-Rock 'n' Roll Decade


 Original line-up: BRYAN HARRIS (drums); TREVOR WILSON (bass); BRUCE HOWARD (organ/sax); PHILLIP KEY (lead vocals); KEVIN BORICH (lead guitar).
The band formed in New Zealand in 1965 and after reaching the top there (with their single, 'Hey Baby' which made number one), they left for Sydney two years later.
On their arrival in Australia they received little attention from their recording company who at first refused to let them record. As a result they fell into a rut working steadily, but uneventfully, in Melbourne and Sydney. Then early in 1968 they decided to buy new instruments and develop a new act. The change brought with it a renewed interest in the band and in March, 1969 they released their highly acclaimed Happy Prince album.
Two months later they left Australia to try their luck in England. Other, more renowned groups, had tried before them without success and the La De Das found the going just as tough. They returned in April, 1970 minus Trevor and his place was taken by RENO TEHEI (ex-Genesis and Compulsion). In the meantime their album had sold steadily during their absence, and later in the year Bryan left and he was replaced by KEITH BARBER.
More line-up changes occurred in January, 1971 when Bruce left to form a duo with Trevor, and Reno also moved out. The band added PETER ROBERTS and reformed as follows: PHIL KEYS (vocals and guitar); PETER ROBERTS (bass); KEITH BARBER (drums); and KEVIN BORICH (vocals and guitar).
They consolidated with the new format and released a new single, 'Sweet Girl'/'I Can't Find A Reason'. Then in November, '71 came the breakthrough they had been waiting for when they made the charts with 'Gonna See My Baby Tonight.' Another hit was achieved six months later with 'Morning Good Morning.'
But, just as they seemed destined to become the superstars they had tried so long to be, the band experienced another setback. In September, 72 Peter and Phil left to form the Band of Light. But not to be discouraged, the band took on RONNIE 'PEEL (ex-One Ton Gypsy and Thunderclap Norman) to play bass and worked as a trio.


La De Das - Anthology-Rock 'n' Roll Decade


The new three piece format created a new vigour, with Kevin having to work harder on guitar, and in November, '72 they released an exciting single called 'I'll Never Stop Loving You.' From there they settled into a hectic pattern of work and in July, 1973 they issued their notorious Rock'n'Roll Sandwich album.
The following year was their last together, but included a single, 'The Place' (May, '74), a tour with Gary Glitter (July, 74) and also a re-entry into the charts with Chuck Berry's old rocker 'Too Pooped to Pop.'
Kevin went on to form Kevin Borich Express while Ronnie recorded under the alias of Rockwell T. James as well as playing with John Paul Young's All Stars.

La De Das - Anthology-Rock 'n' Roll Decade

Teenage schoolboys have always dreamed of becoming rock and roll stars, but it's a fair bet that such a fantasy was more prevalent in 1964 than all the other years combined. Certainly it was for four Auckland lads who, midway through 1964, pooled their musical talents and aspirations to become the long-forgotten 'Mergers'. The Mergers became such hot property on the Auckland school / fotball club dance circuit that the occassional weekend work became a regular occupation and mid-week engagements began to roll in as well. The quartet soon decided their name was a little too quaint and intended chnaging it to something a little tougher. When Trevor Wilson's mum heard that they were about to become The Criminals, she reprimanded, "You might as well call yourselves the La De Das". What, with mums knowing best and all that, they took her suggestrion.
During all this fledgling activity, Phil was struggling throgh high school. Trevor (the yougest, 16) was working as a delivery boy, Kevin was laboring on his parent's orchard (and would cycle 20 miles to rehearsals) and Brett had just left school. Phil had not yet begun to sing, so Kevin and Trevor were handling all vocal duties.

In April 1965, the film 'Those magnificent Men In Their Flying Machines' opened in Auckland and TV producer Robert Handlin cooked up an idea for promoting it on TV. Having heard some impressive reports about a 'happening' young group around town, he caught them in a club one night and made an offer they couldn't possibly have refused.
Resplendent in black suits, white shirts, bow ties and bowler hats, the La De Das mimed the film's theme song in prime time on national network television - an ingnominous fate for proud blues purists! Handlin, who certainly owed them a favour after that episode, liked the group enough to record single with them in a vaguely adequate 2 track studio.

17 year old Kevin Borich was the forefront of the session. He wrote the ballad "Ever Since The Night" amd co-wrote (with Trevor) "Little Girl". Ironically this was to be his last recorded composition/s for five years. Kevin's recording experience actually predated his associates for many years. When 12 Years old, he had made a private recording for Astor with two your sisters who lived in a neighbouring poultry farm in Huapai, Judy (11) and Sue Donaldson (9) later became a popular Auckland recording group called The Chicks, around the same time the La De Das were chart topping (sue now records as Suzanne in England and also sings with Cat Stevens). Kevin's withdrawl from a focal position in the group, until he finally took control in 1973, is puzzling indeed and indicates just how strong was the leadership of Wilson and later, Key.
In 1965/6, New Zealand's local pop industry was enjoying a bouyant boom, new bands were forming each week, record companies were snapping up as many acts as they could find, the public was buying local hits and gigs were plentiful. The most popular acts were mass-appeal soloists like Mr. Lee Grant, Allison Durbin, Peter Posa, Sandy Edmonds, john Hore and Maria Dallas, but popgroups were also making great strides in the footsteps of national heroes Ray Columbus & The Invaders and Max merritt's meteors. They sprung up from all over (mostly) the North Island; the most notable being Peter Nelson and the Castaways, The Crescendos, The Underdogs, The Gremlins and Larry's Rebels to name but a few. Nightspots were also thriving, in Aukland one could rage to good young R & B bands at dives like the Oriental ballroom, 1480 Village, Galaxie and Monaco. In all, it was a vibrant healthy atmosphere for the develoment of good rock music.

The hottest beat club in Auckland in 1965 was 'The Platterack', run by wrestler cum footballer cum bouncer, Dave Henderson and partner, Fred McMahon. The pair were continually reminded by one or all of the La De das of the group's decided suitability for this hallowed venue, but were a little unsure of the musicalability of 4 idealistic kids. An opportunity finally came late in 1965 when Red McKelvie's band was unable to play a full night and the La De Das were given a try-out. they were reasonably well recieved and sparadic bookings continued.
By Christmas 1965, Phil had left school and the La De Das went fully professional. The Platterack, which they were now packing out almost every night, engaged them as resident group for the fine sum of twelve poundsa week and they gradually became known around Auckland as N.Z.'s Rolling Stones. A regular quiet admirer from the balcony was one Bruce Howard, a formally trained young pianist. It didn't take long to figure that, with the holiday season requiring up to eight hours playing a night and a keyboard being good for a lengthy solo every few songs, Bruce could become a valuable addition to the outfit. He was summarily invited to join and , with restrained fervour, accepted.

The excitment being generated from the PLatterack soon found its way to the attention of Eldred C.Stebbling, a wiley manager/record producer who actually owned his own studio. Through his Zodiac Records label, Stebbing had launched Ray Columbas & The Invaders and was ever on the lookout for another promising act. He was impressed enough to take on the La De Das and devote considerable attention to breaking them nationally.
In January 1966, Stebbing produced their first Zodiac single (The Blue Magoo's) How Is The Air Up There? The studio was under his house, "He had four single track Telefunken tape recorders patched together" is how Phil Key remenbers it. "There was hardly any privacy, the wife and kids would wander through and people would call by, but we got such a great sound it didn't matter."
When released in Feburary, "How Is The Air Up There?" was an instant smash, climbing to number four on the national local artist chart and establishing the group as a major entity. For the next two years, nobody in the country could rival them for popularity and record sales. Only Larry's Rebels came near but their teenybop status was never matched with high sales or chart action.

Phil Key again recalls, "The hits just inspired confidence in us.We became totally involved in getting dressed up and going out to gigs, the gigs and rehearsals were everything. Nothing worried us, we were so busy consuming what was happening around us. We were super aware, on top of every trend in music and clothes and language. We tried to be honest and sincere with our music, only playing and recording what we liked. The guys in the good record bars dug what we were doing and they got in all the latest English R&B records for us. We were listening to Zoot Money, John Mayall, Manfred mann, The Animals, all that sort of stuff, and trying to create that sound. We were different from groups like the Underdogs who just played 12 bar blues all night, we tried to be a lot more imaginative about what we did".

Despite being featured regularly on the C'mon T.V pop show, the La De Das generally lacked a strong P.R machine and more press ink seemed to be devoted to The Gremlins and Larry's Rebels. Although Stebbing was an effective manager, his flair was more toward production than promotion.
The second Zodiac single "Don't You Stand In My Way" a Wilson/Howard original almost stiffed butv the third finally broke them on the major national chart. "On Top Of The World", a frantic John Mayall song issued at the end of 1966, hit number three and migled with the Hollies, Gene Pitney and Herman's Hermits.
Life for the La De Das was, by this point, a living fairy tale. "We had no idea what we were earning on tour, we just spent what we wanted and ploughed the rest back into the band. We had our way with girls, bought more clothes and equipment and just enjoyed being stars" admits an almost embarrassed Phil. Most of their popularity however, was Auckland based, they were yet to become a pnenomena in the South and other areas of the North Island. Brett Neilson at the time, told a straight women's magazine , "It's good in Auckland now but when we go away to places like Whangerei, it's like starting all over again." Shy Brett was, along with Kevin, attracting the bulk of adoriing fans and pleading letters by this point, with Phil a close third. Trevor and Bruce were the musical leaders - determining with Phil, the direction / repertoire of the band. Borich, as best as he remembers, just played what he was told and went along for the ride. His musical dexterity was still in apprentice stage.

The choice of a follow-up to their first big hit was crucial and finally came from legendary blind pianist Claude Papesh (one of Johnny Devlin's original Devils). In a club one night, he played them a soulful version of Bruce Channel's classic "Hey Baby" and the group fell in love with it. In March 1967 the La De Das version was released and five weeks later it knocked Penny Lane out of number one on the national charts. Not only that, it was also the very first local group recording to hit number one. Eldred Stebbing promptly sent off a telegram to Brian Epstein informing him of the event (he must have been pleased!)

The next step was quite inevitable. Kevin, Bruce, Trevor and Phil, who were all living a consumate bachelors existence together in one Auckland house, knew that they had conquered New Zealand, for all that it was worth, and that if they were to grow musically they would have to journey to more demanding pastures. England and America were worlds in another galaxy but Australia was comfortably in reach, so it was on this barren land that they set their ambitious sights. Brett was not quite so enthusiastic; although he was a fine drummer ("Looking back now, he was very together, we didn't have to tell him a thing" says Kev) he was almost involuntarily caught up in the pop-star game and, being basically shy and conservative, began to feel frightened by its threat to his domestic security.

The La De Das impeding departure was announced with a great flourish by Stebbing; "Shortly the La De das will branch into a new concept of pop music, concentrating on soul music and giving their own interpretations of Negro spirituals. because of this we want to make some appearances on Australian television shows. We eventually hope to get to America" he told the daily press. True to their word, in May 1967, with "Hey Baby" still topping the charts and another hot single in the can ("All Purpose Low"), the group flew to Sydney to begin their great rock 'n' roll adventure.

Found of Cannapower
(http://rockonvinyl.blogspot.com)
text

The Lemon Pipers - Green Tambourine (1967)


The Lemon Pipers - Green Tambourine (1967)





The Lemon Pipers included singer Ivan Browne, guitarist William Bartlett, keyboardist R.G. Nave, bassist Steve Walmsley, and drummer William Albaugh. The group is best known for their number-one bubblegum hit "Green Tambourine" and several followups, all written by the team of Paul Leka and Shelley Pinz. The group actually wanted to play more psychedelic music; they only recorded "Green Tambourine" because their label would have dropped them had they refused. They eventually got the artistic control they wanted and ended up dropping off the charts for good with their first self-produced album. They broke up in 1969, with Bartlett joining Ram Jam.
****
Unlike the majority of bubblegum bands, the Lemon Pipers' albums are actually quite good, not least because they were one of the few bubblegum bands who were a proper band with their own songwriters (although outside writer/producers did provide the two hits, the inescapable "Green Tambourine" and the actually even better "Rice Is Nice," a sweet, harp-laden depiction of a wedding day). Even the album tracks are pretty groovy, like the Cat Stevens-like character sketches "Shoeshine Boy" and "The Shoemaker of Leatherwood Square," which effectively use trippy string sections and playful harmonies. The snottier folk-rock of "Ask Me if I Care" and the far-out "Fifty Year Void," to say nothing of the nine-minute freakout "Through With You," give Green Tambourine a harder edge than most bubblegum albums, though it's still closer to, say, the Cyrkle than Cream. Seek it out, bubblegum snobs: you'll find yourself pleasantly surprised.
****
The Lemon Pipers - Green Tambourine (1967)

Brenda Lee - This Is... Brenda & Emotions




One of the biggest pop stars of the early '60s, Brenda Lee hasn't attracted as much critical respect as she deserves. She is sometimes inaccurately characterized as one of the few female teen idols. More crucially, the credit for achieving success with pop-country crossovers usually goes to Patsy Cline, although Lee's efforts in this era were arguably of equal importance. While she made few recordings of note after the mid-'60s, the best of her first decade is fine indeed, encompassing not just the pop ballads that were her biggest hits, but straight country and some surprisingly fierce rockabilly.

Lee was a child prodigy, appearing on national television by the age of ten, and making her first recordings for Decca the following year (1956). Her first few Decca singles, in fact, make a pretty fair bid for the best preteen rock & roll performances this side of Michael Jackson. 'Bigelow 6-200,' 'Dynamite,' and 'Little Jonah' are all exceptionally powerful rockabilly performances, with robust vocals and white-hot backing from the cream of Nashville's session musicians (including Owen Bradley, Grady Martin, Hank Garland, and Floyd Cramer). Lee would not have her first big hits until 1960, when she tempered the rockabilly with teen idol pop on 'Sweet Nothin's,' which went to the Top Five.

The comparison between Lee and Cline is to be expected, given that both singers were produced by Owen Bradley in the early '60s. Naturally, many of the same session musicians and backup vocalists were employed. Brenda, however, had a bigger in with the pop audience, not just because she was still a teenager, but because her material was more pop than Cline's, and not as country. Between 1960 and 1962, she had a stunning series of huge hits: "I'm Sorry," 'I Want to Be Wanted,' 'Emotions,' 'You Can Depend on Me,' 'Dum Dum,' 'Fool #1,' 'Break It to Me Gently,' and 'All Alone Am I' all made the Top Ten. Their crossover appeal is no mystery. While these were ballads, they were delivered with enough lovesick yearning to appeal to adolescents, and enough maturity for the adults. The first-class melodic songwriting and professional orchestral production guaranteed that they would not be ghettoized in the country market.

Lee's last Top Ten pop hit was in 1963, with 'Losing You.' While she still had hits through the mid-'60s, these became smaller and less frequent with the rise of the British Invasion (although she remained very popular overseas). The best of her later hits, 'Is It True?,' was a surprisingly hard-rocking performance, recorded in 1964 in London with Jimmy Page on guitar. 1966's 'Coming on Strong,' however, would prove to be her last Top 20 entry.

In the early '70s, Lee reunited with Owen Bradley and, like so many early white rock & roll stars, returned to country music. For a time she was fairly successful in this field, making the country Top Ten half-a-dozen times in 1973-1974. Although she remained active as a recording and touring artist, for the last couple of decades she's been little more than a living legend, directing her intermittent artistic efforts to the country audience. By Richie Unterberger


 This Is... Brenda  1960

 Brenda Lee's third album was significantly above the average for a pop/rock LP of the era. The orchestrated Nashville production was lush but tasteful, Lee's singing unfailingly committed, and the material pretty strong, even if there was nothing else on the album as strong as its big hit, "I Want to Be Wanted." The record did lean more toward pop than rock, but it was clearly not either Nashville country or straight adult pop, even if by this time in her career she was taking her shots at (and doing quite well with) standards like "Teach Me Tonight." The rock & roll side of her sound was represented by "Love and Learn" and covers of Ray Charles' "Hallelujah, I Love Her So" and Fats Domino's "Blueberry Hill" and "Walking to New Orleans," though she really did better with the ballads. And some of the ballads here are among her stronger material that you won't find on typical Lee greatest-hits collections, à la "If I Didn't Care," "Pretend," and "We Three (My Echo, My Shadow and Me)." It was certainly among the most commercially successful of her albums, reaching number four in the LP charts.

 Emotions 1961

Brenda Lee's fourth album, Emotions, stayed with the approach she'd used on her previous LP, This Is...Brenda, mixing gorgeously produced Nashville orchestration with a bit of rock & roll and lush pop ballads. While it was the kind of record that could appeal to both kids and adults, it wasn't watered down, as the production on its own was pretty delightful to listen to, matched by the excellence of Lee's incredibly (for a teenager) mature vocals. "Emotions" was the big hit on the record, which also contained its B-side, "I'm Learning About Love," which made the Top 40 under its own steam. Nothing else on the album is too well known to listeners other than serious Lee fans. But there are some good ballads here, particularly "If You Love Me (Really Love Me)," which is nearly on par with her big hits in that style. While the rock covers (the Shirelles' "Will You Love Me Tomorrow" and Ray Charles' "Georgia On My Mind" and "Swanee River Rock") were more on the filler side, Lee still brought commitment to each and every one of her vocals. Also leaning toward the rock & roll side of things was a decent frisky number, "Crazy Talk," co-penned by Mel Tillis, who had a few of his tunes cut by rock & roll artists in his early years.


Love Afair - Everlasting Love


 Originally formed in 1966, this London, England-based quintet comprised Steve Ellis (vocals), Morgan Fisher (b. 1 January 1950, London, England; keyboards), Rex Brayley (guitar), Mick Jackson (bass) and Maurice Bacon (drums). Although Ellis was barely 16 years old, the band performed frequently in clubs on a semi-professional basis. Fisher was briefly replaced by Lynton Guest and the following year Ellis, backed by session musicians, recorded a sparkling cover version of Robert Knight’s ‘Everlasting Love’ for CBS Records. By January 1968, the single unexpectedly hit number 1 in the UK and Love Affair became instant pop stars with Ellis’ cherubic looks gracing teen magazines throughout the nation. With Bacon’s father Sid overseeing the management, the band resisted the solicitations of more powerful entrepreneurs, yet failed to exploit their potential. Four more Top 20 hits followed, ‘Rainbow Valley’, ‘A Day Without Love’, ‘One Road’ and ‘Bringing On Back The Good Times’, but by 1969 Ellis had left to start a solo career. He recorded a few singles and the soundtrack to Loot before collaborating with Zoot Money in Ellis, who released two albums for Epic Records (1972’s Riding On The Crest Of A Slump and 1973’s ... Why Not?). Ellis later sang with Widowmaker, and in 1978 recorded a solo album (The Last Angry Man) which was briefly made available on cassette before finally being given a full release in 2000.

The remaining quartet recruited new vocalist Gus Eadon (b. Auguste Eadon; ex-Elastic Band) and began to steer the band in a more progressive direction. The second Love Affair album, released at the beginning of 1971, was credited simply to LA in an attempt to attract a more mature audience. The record was a commercial failure and six months later the band was dropped by CBS. They resigned to Parlophone Records as Love Affair but were unable to revive their fortunes. Bacon and Fisher left to form Morgan, recording 1973’s Nova Solis for RCA Records. Fisher later reappeared in Mott The Hoople and the Third Ear Band before releasing some bizarre solo material for Cherry Red Records during the 80s and launching a career in Japan. Bacon moved into music publishing and management, while Jackson worked his way up to become an important figure in the Alfa Romeo car group. A line-up of the Love Affair featuring no original members went on to issue obscure singles for Pye Records and Creole, before successively plundering the band’s name for cabaret/revivalist bookings.

Love Afair - Everlasting Love

Julie London - Our Fair Lady (1965)


 Julie London spent most of the 1960s recording middle-of-the-road vocal pop albums of varying degrees of worth before returning to West Coast jazz with a vengeance on 1965's All Through the Night. Recorded the same year as that excellent Cole Porter tribute, the bland Our Fair Lady comes off like corporate payback for a quick jazz rebellion. The arrangements on this release are lifeless, and though she projected a sexy, confident image on album covers, Julie London was always better at singing torch songs of unrequited love then whispering winking, come-hither tracks like "Never on Sunday" or kitsch songs such as "Theme From a Summer Place." While Our Fair Lady seems like a stopgap release, the balance between jazz and upscale pop was achieved on London's next release, the fine For the Night People.

Julie London - Our Fair Lady (1965)


Brenda Lee - By Request (1964)



By Request, a Top 100 album for Brenda Lee in 1964, is heavy on ubiquitous easy listening ballads like "Days of Wine and Roses," "Tammy," and "Blue Velvet," but don't pass it over just yet. It also contains four of Lee's hits from 1963: "My Whole World Is Falling Down," "I Wonder," "The Grass Is Greener," and "As Usual," all of which charted in the Top 25. They are also reissued on the two-disc set Anthology, Vols. 1 & 2 (1956-1980), which leaves half a dozen overly familiar adult contemporary songs for your consideration. By Request offers a useful roundup of hit singles for vinyl addicts, but no surprises for completists.

Brenda Lee - By Request (1964)


 http://www33.zippyshare.com/v/99272202/file.html

Dinah Lee – The Sound Of Dinah Lee (1965)



Dinah Lee – The Sound Of Dinah Lee (1965)


 Dinah Lee is the stage name of New Zealand-born singer, Diane Marie Jacobs (born 19 August 1946), who performed 1960s pop and then adult contemporary music. Her debut single from early 1964, "Don't You Know Yockomo?", achieved No. 1 chart success in New Zealand and, across the Tasman Sea, in Brisbane and Melbourne. It was followed in September by her cover of Jackie Wilson's, "Reet Petite", which also reached No. 1 in New Zealand and peaked at No. 6 in Melbourne. The Australian release was a double A-sided single with "Do the Blue Beat". On her early singles she was backed by fellow New Zealanders, Max Merrit & His Meteors. Lee appeared regularly on both New Zealand and Australian television variety programs, including Sing, Sing, Sing and Bandstand. She toured supporting Johnny O'Keefe, Ray Columbus & the Invaders and P.J. Proby. According to Australian rock music journalist, Ed Nimmervoll, in the 1960s, "Lee was the most successful female singer of in [sic] both her New Zealand homeland and Australia ... on stage and on record Dinah had all the adventure and exuberance for the time the boys had"

01 what kind of love is this (2:03)
02 what did he say (2:16)
03 twist and shout (1:53)
 04 It's for you (2:10)
 05 oh boy (1:41)
 06 hey chickie baby (1:53)
07 i'll forgive you then forget you (2:16)
08 he can't do the blue beat (1:45)
09 long way from st louis (2:17)
10 shout (2:35)
11 hot spot (2:12)
12 is it true (2:13)

1965 album for kiwi songstress Dinah Lee, good beat, pop and even ska from this talented vocalist
Songs: What Kind of Love Is This, What Did He Say, Twist and Shout, It's For You, Oh Boy, Hey Chickie Baby, I'll Forgive You, Then Forget You, He Can't Do the Blue Beat, Long Way From St Louis, Shout, Hot Spot

The Lemon Fog - The Psychedelic Sound Of Summer (1967-68)Lemon Pipers - Love Beads And MeditationLemon Pipers -  Lemon Pipers  (2009)La De Das - Anthology-Rock 'n' Roll DecadeThe Lemon Pipers - Green Tambourine (1967) Brenda Lee - This Is... Brenda & EmotionsLove Afair - Everlasting LoveJulie London - Our Fair Lady (1965)Brenda Lee - By Request (1964)Dinah Lee – The Sound Of Dinah Lee (1965)

Report "Old Melodies ..."

Are you sure you want to report this post for ?

Cancel
×