Tuesday, October 18, 2011
Monday, September 5, 2011
1965 LP Fath Alive! (UK Parlophone 1249)
Monday, August 29, 2011
In looking back over the history of rock & roll, the sad fact remains that very few of its original practitioners stayed true to its original big beat vision. Some made a handful of brilliant sides before broader horizons -- television or the movies -- beckoned. Others were rockers in name only, pop singers who couldn't wait to shimmy into a tuxedo, trading in stomp'n'shout hysteria for the more "respectable" future of dispensing supper club schmaltz. But Freddy Cannon was a true believer, a rocker to the bone. Freddy Cannon made rock & roll records; great noisy rock & roll records and all of them were infused with a gigantic drum beat that was an automatic invitation to shake it on down anyplace there was a spot to dance. Freddy Cannon remained true to the beat and made some really great fun rock & roll records in the bargain. Because of the time frame he enjoyed his biggest successes in -- the late '50s to the mid-'60s -- Cannon is wrongly lumped in with the "Bobbies and Frankies" that proliferated during that era. But a quick listen to any of his finest records quickly dispels any preconceived notions of him being a pretty-boy teen idol no-talent. Read On
1960 LP The Explosive Freddy Cannon (US Swan 502)
1961 LP Freddy Cannon Sings Happy Shades Of Blue (US Swan 504)
1961 LP Freddy Cannon's Solid Gold Hits (US Swan 505)
1962 LP Palisades Park (US Swan 507)
1963 LP Freddy Cannon Steps Out (US Swan 511)
1964 LP Freddie Cannon (US Warner Bros. W-1544)
1965 LP Action (US Warner Bros. W-1612)
Thursday, August 11, 2011
Although Aaron Neville is often compared to singer Sam Cooke in terms of sheer vocal refinement, he has a voice and style uniquely his own. He is well known as part of the New Orleans sound of the Neville Brothers. Yet, aside from the 1967 number one R&B hit "Tell It Like It Is," few have heard his incredible early solo recordings. Many of the first recordings of Neville, in the early and mid-'60s, were arranged, produced, and often written by the brilliant Allen Toussaint -- another talent only later being really appreciated. Most of these sides were cut for the Minit and, later, Parlo labels. Songs like "She Took You for a Ride" and "You Think You're So Smart" on Parlo are masterpieces. While his more recent work, including that with Linda Ronstadt, makes for pleasant listening, it lacks the sheer persuasion of his early songs. Neville has re-recorded his early work often, and it is important to hear the originals. The early sides are just waiting to be heard. (by Michael Erlewine)
Wednesday, July 20, 2011
Heinz van Tuyl - Solo guitar
Jos Panhuysen - Lead guitar + vocal
Hans Vermeulen - Bass
Peter v. Breemen - Drums
Thursday, July 14, 2011
In early 1970, Orlando received a call from Bell Records producer Hank Medress requesting that he lay down a lead vocal over a demo recorded by a Detroit-based act called Dawn. The duo, consisting of vocalists Telma Hopkins and Joyce Vincent, had previously backed up singers including Edwin Starr, Johnnie Taylor, Freda Payne, and others; according to legend, Orlando never even met either singer until well after the record, "Candida," became a massive hit, rising to number three on the singles charts. Orlando quickly agreed to cut another record with Dawn, nonetheless adamantly insisting on keeping his day job; titled "Knock Three Times," the single topped the charts in early 1971, and finally he returned to music full-time, signing with Bell and going on tour with Hopkins and Vincent under the banner of Dawn, Featuring Tony Orlando.
Released in 1973, "Tie a Yellow Ribbon" became Orlando's biggest hit yet, and was named the top-selling single of the year. Long after its original success, the song re-entered the public consciousness with renewed force in 1981, becoming something of anthem during the Iranian hostage crisis as American citizens regularly tied yellow ribbons around trees as a symbol of their hopes and prayers for the hostages' safe return. By that time, Tony Orlando & Dawn had long since dissolved: after scoring subsequent Top Ten hits with 1973's "Say, Has Anybody Seen My Sweet Gypsy Rose?," 1974's "Steppin' Out (Gonna Boogie Tonight)," and 1975's chart-topping "He Don't Love You (Like I Love You)," the group's popularity began to slip, although they enjoyed considerable success with their CBS television variety series. However, in July 1977, Orlando -- reeling from the recent deaths of his sister and his close friend Freddie Prinze, as well as mounting drug problems -- announced his retirement, giving up show biz in the name of Christianity. (by Jason Ankeny)
Monday, July 11, 2011
Teenage Triangle is a joint album by three pop artists, Shelley Fabares, James Darren and Paul Petersen. It was released in 1963 on Colpix Records and included 12 tracks with 4 songs from each of the three singers. Seven of the singles were US Top 40 hits, 2 from Fabares, 2 from Petersen and 3 from Darren. The album was produced and arranged by Stu Phillips. It was available in both mono and stereo, catalogue numbers CP-444 and SCP-444. Teenage Triangle peaked on the Billboard 200 Albums Chart at #48 in May 1963.
Bye Bye Birdie was a 1963 musical comedy film from Columbia Pictures. It was a film adaptation of the stage production of the same name. The screenplay was written by Michael Stewart and Irving Brecher, with music by Charles Strouse and lyrics by Lee Adams. Directed by George Sidney, the film version starred Dick Van Dyke, reprising his Broadway role as Albert Peterson, along with Maureen Stapleton as Mae Peterson, Janet Leigh as Rosie DeLeon, Paul Lynde reprising his Broadway role as Harry MacAfee, Bobby Rydell as Hugo Peabody, and Ann-Margret as Kim MacAfee. The original soundtrack was released by RCA Records in 1964 but here is a 1963 Colpix production with their biggest stars of that time.
Wednesday, January 5, 2011
The acquisition of Sheppard helped the Hearts twofold: not only could he blow, he also wrote gorgeous ballads. Shortly after he joined the Hearts, they became the Heartbeat Quintet and started playing clubs, weddings, graduations, ceremonies, and basement parties. Jazz saxophonist Illinois Jacquet befriended them and let them rehearse in his basement. Jacquet's brother arranged their first recording opportunity. "Tormented," a ballad written by Sheppard, was released on Network Records in Philadelphia, but lack of promotion killed any chance of success. After shortening their name to the Heartbeats, they came to the attention of William Miller, who worked for Hull Records. He introduced the quintet to owner Bea Caslin, who was impressed by their tight harmonies and Sheppard's songwriting skills; the group was soon signed to the label. Three initial releases sold well, particularly the magnificent "Your Way"; all were ballads written by Sheppard.
Read on +/-