trax:01 santa's coming 02 don't believe in christmas
...served by Gyro1966...
Happy Holidays From RYP & GYRO1966 / TwilightZone!
Just For Your Listening Pleasure: Tune in, turn on, and drop out!
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1. Believe It - The Delltones 2. Bright And Early - Vikki Nelson3. Hey Little Boy - The Hampton Sisters 4. Do You Wanna Ride - Hamilton Sisters 5. Shoo Doo-Be Doo - The Debs 6. Your Love Reminds Me - Gloria Gunter & Group 7. Honky Tonk - Gay Charmers 8. Whadaya Want - The Debs 9. Have Faith In Me - The Blossoms w/Eddie Beal's Music 10. How Could You - Bonnie Davis 11. My Heart Tells Me - The Hampton Sisters 12. Soda Pop - Jan Raye Quartet 13. Oh Baby (Where Did You Stay Last Night) - Helen Thompson 14. Cha Cha Sue - Tiny Topsy 15. You Took My Loving - Jean Simms 16. Where Are You - Cora Woods 17. By My Side - Vikki Nelson 18. My Special Love - The Delltones 19. I've Been Pretending (Everything's All Right) - Pauline Rogers 20. He Promised Me - The Blossoms w/Eddie Beal's Music 21. Please Come Back To Me - Claudia Swanson 22. My Blue Heaven - Hamilton Sisters 23. A Love Like You - Jean Simms 24. Since You're Gone - Bonnie Davis
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LaVern Baker was one of the most successful female R&B vocalists of the 1950s. In the tradition of Ma Rainey and Bessie Smith, Baker's blues-driven, gospel-tinged vocals paved the way for future female rock and rollers. However, unlike the more liberal 1990s, Baker rose to stardom in a decade where songs recorded by black artists were termed "race records" and thus received little airplay on radio stations. "Whitewashing" was a common practice in which white vocalists would re-record a black artist's single note for note and popularize them beyond the original version's success. Despite these barriers, particularly the incessant competition from white cover artist Georgia Gibbs, Baker succeeded. With novelty rock hits "Tweedlee Dee," "I Cried a Tear," "Bop-Ting-a-Ling" and "Jim Dandy," Baker secured her place in pop culture's collective repertoire and her role as pioneer female recording artist.
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One of the coolest collections of female soul tracks we've ever seen -- a package that goes way past the obvious to bring together a range of great bits from the early 60s through the early 70s! Half the work here is quite obscure, but even the better-known tracks are still ones that don't show up that often -- and together the tunes resonate with a depth and quality that easily blows away other sets of this nature -- a great sound that goes way past easy hits and common cliches to showcase a really full range of female soul! Tons of great tracks -- with titles that include "I'm My Own Doctor" by Debbie Dovale, "Don't Stop The Wedding" by Ann Cole, "Groovin At The Go Go" by The Four Larks, "Let Me Down Easy" by Betty Lavette, "Mama's Got A Bag Of Her Own" by Anna King, "One Of Those Good For Crying Over You Days" by Clydie King, "You're No Good" by Dee Dee Warwick, "You Got Em Beat" by Soul Sisters, "Hard To Handle" by Patti Drew, "Beatmaker" by Doris, "Expressway To Your Heart" by Margo Thunder, "There's So Much Love All Around Me" by Three Degrees, "Feel Like Makin Love" by Marlena Shaw, "I Love You More Than You'll Ever Know" by Tina Britt, "I'm Just Not Ready For Love" by The Ikettes, and "Just Not Ready" by The Exciters. © 1996-2008, Dusty Groove America, Inc.
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Stomping, romping good time numbers are the menu on this 14-track anthology issued in 1988. Such artists as Joe Jones, Al Johnson, Johnny Adams and Edgar Blanchard were hit acts in New Orleans at the time, but made raw music intended for only for the R&B faithful. While an occasional number like Adams' "I Won't Cry" or Jones' "You Talk Too Much" got a little pop attention, most, like Blanchard's hot "Let's Get It" and Tommy Ridgley's "She's Got What It Takes," didn't move anyone who didn't already have the soul spirit, and that's what made them great. (Ron Wynn, All Music Guide)
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There's something for R&B, blues and soul fans of all persuasions on this anthology spotlighting various New Orleans artists who recorded for the Ron label in the late '50s and early '60s. There were celebrities, like pianist Professor Longhair and the sultry soul queen Irma Thomas, country/rockabilly singers like Warren Lee, novelty specialist Chris Kenner and shouters such as Bobby Mitchell. The 14 tracks on the CD are all good; most are wonderful, even if most of the singers never attained any recognition outside Crescent City R&B circles. (by Ron Wynn, All Music Guide)
East Los Angeles in the mid-sixties was a hot bed of musical activity, much like Liverpool in the same time period, or perhaps Seattle in the early nineties. There were countless teenage garage bands rockin’ the barrio. Many of the musicians had genuine talent and a large number of groups, especially considering the small geographical area, went on to achieve national hit records such as, The Premiers, The Blendells and Cannibal & the Headhunters. There was a lot of friendly, and some not so friendly, competition between bands. Many friendships and musical alliances were made that last to this day. On the other hand, during a particularly good set at St. Alphonsus Auditorium, my band (Mark & the Escorts) was unplugged by a rival group on the bill, leaving our drummer playing for a few seconds with no accompaniment. On another occasion, a band hired to play our breaks wanted to rumble with us after the gig because we rejected their request to cut into our allotted time. Fortunately, a couple of beefy friends of ours, acting as our roadies to get into the dance for free, defused the situation. Our main rivals were The Exotics and The Emeralds, but we admired and were influenced by slightly older bands like The Blendells, The Romancers and Thee Midniters. The music that we all played was a mixture of r&b, oldies, Motown, Stax/Volt, and British Invasion. We had many venues to play and worked virtually every weekend and sometimes more than once a night. A typical dance hall gig had four or five bands on the bill with each band playing one set. This was great because one could check out the other groups to see what they were playing and maybe pick up a song or a new guitar lick. There were also wedding dances, quinceaneras (girls coming out parties at age fifteen), and the occasional house party.
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Not to be confused with the Lance label out of New Mexico in the `60s, this compilation was done by the same people responsible for the It's Hard Life comp. Like that one, this has good sound, decent liner notes (included as an insert) and seems to be mostly previously uncomped `60s stuff. It's all quite good, too.
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Hi RYP, an Unrelated comment to the post. I have just posted a track from a young indie band called the Stanley Blacks. I said I'd help them get some feedback and hopefully a little more overage, Would you consider posting their track and asking for some feedback as well.
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Between 1963 and 1964, Dutronc played guitar for the group "El Toro et les Cyclones" with Hadi Kalafate. During this time he also appeared at Le Golf Drouot in Paris as backing guitarist for stars including Eddy Mitchell. After performing his obligatory military service, he landed a job as assistant at Vogue Records to Artistic Director Jacques Wolfsohn. In this capacity, he arranged songs for several lesser known artists such as Zou Zou and Cleo. At Vogue Records, he teamed with writer Jacques Lanzmann, then director at Lui magazine, to create songs for up-and-coming artists. One of their first commissions was for the pop singer Benjamin, however, after his first EP failed to perform, Vogue Records unceremoniously booted him from their roster. After hearing one of the demos that Dutronc had produced, Wolfsohn declared that Jacques should perform the record for release. This single, "Et moi, et moi, et moi" was released in 1966, and its popularity turned Dutronc into a star.

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"Purity Of Essence" was the Rumour's third and final album. Keyboard player Rob Andrews is gone, and the band has shifted their sound towards tight, punchy power-pop songs. They do a great version of Randy Newman's "Have You Seen My Baby", and originals "Tula", "Houston", and "I Don't Want The Night To End" are also impressive.
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