The Four Tops - Ultimate Collection

The Ultimate Collection series was a rare success from Motown, one of the first of the label's many compilation series to do justice to some of the finest performers, arrangers, and musicians of the soul era. Nearly every artist with an entry was given the luxury treatment, with a disc-filling running time, excellent compilation decisions, and a pleasing design scheme that reflected the artists in their prime. The Four Tops' entry is arguably the best in the series, since the 25 tracks prove the perfect length to summarize the group's decade at Motown. From 1963 to 1972, the group reached the R&B charts 28 times, and all but a very few are presented here (among the missing are three decidedly unnecessary covers: "MacArthur Park," "If I Were a Carpenter," and "River Deep -- Mountain High"). Though the tracks aren't presented chronologically, thoughtful sequencing makes for an even better listen; The Ultimate Collection opens with "Reach Out (I'll Be There)," perhaps the ultimate pop single of the '60s, and flows smoothly through the best of their 1964-1967 prime: "Baby I Need Your Loving," "I Can't Help Myself (Sugar Pie, Honey Bunch)," "It's the Same Old Song," "Bernadette," and "Standing in the Shadows of Love." And though the hits began to dry up after the Holland-Dozier-Holland machine departed Motown in 1968, the Four Tops' later years are represented well with "It's All in the Game," "Still Water (Love)," "(It's the Way) Nature Planned It," and the driving non-album hit "A Simple Game." Unless you're the type of fan who needs the box set (2001's Fourever), this is all the Four Tops-on-Motown you really need to hear.(AMG)
1. Reach Out I'll Be There
2. Standing In The Shadows Of Love
3. Bernadette
4. Ask The Lonely
5. Baby I Need Your Loving
6. Without The One You Love (Life's Not Worth While)
7. It's The Same Old Song
8. Loving You Is Sweeter Than Ever
9. I Can't Help Myself (Suger Pie, Honey Bunch)
10. Something About You
11. I Got A Feeling
12. I'm In A Different World
13. Walk Away Renee
14. What Is A Man
15. A Simple Game
16. Still Water (Love)
17. (It's The Way) Nature Planned It
18. It's All In The Game
19. You Keep Running Away
20. If You Don't Want My Love
21. 7-Rooms Of Gloom
22. I'll Turn To Stone
23. Shake Me, Wake Me (When It's Over)
24. Sad Souvenirs
25. Yesterday's Dreams
***Down Here/Aqui***

Yet Mo' Mod Jazz (Various)

Like its companion volumes in the Ace catalog (Mod Jazz and Mo' Mod Jazz), Yet Mo' Mod Jazz is a delightful anthology of hip but danceable jazz from the 1950s and 1960s, with a great deal of soul music often entering the equation. This 26-track CD may be more limited than the other Ace sets in its scope of source material, drawing exclusively from the Atlantic vaults between 1957 and 1969, but it's no less eclectic in its musical variety. There are fairly little-heard cuts by Ray Charles ("Get on the Right Track Baby," covered by Georgie Fame in the 1960s), King Curtis, Mose Allison, Esther Phillips, and LaVern Baker alongside quite cool excursions into pop-funk-soul-jazz by Les McCann, Eddie Harris, Johnny Griffin, Hubert Laws, Herbie Mann, Charles Lloyd, and the Modern Jazz Quartet. It's also flexible enough to insert some mighty enjoyable cuts by artists that purists would snub as not jazzy or soulful enough to keep this company. Up that alley there's Mel Tormé, whose "Right Now" was the B-side of his famous "Comin' Home Baby"; Mark in Trio's pre-Santana Latin funk on "Tres Lobos"; the all-out honkin' sax R&B of Tommy Ridgley's "Jam Up Twist"; and Byron Lee & the Ska Kings, who do ska jazz fusion with "Watermelon Man Ska." Of course, Les McCann & Eddie Harris' "Compared to What" is a famous recording that's not been hard to get on other CDs, though its appearance here does not make it any less enjoyable. This is one of those rare anthologies, in any genre, where the quality is consistently high enough to make it difficult to single out favorites, and is also one of the jazz anthologies most likely to be enjoyed by rock and soul fans who don't consider jazz a main interest.(AMG)
1. Memphis Soul Stew - King Curtis
2. Sidewinder - Jones, Tamiko & Herbie Mann
3. Right Now - Torme, Mel
4. Listen Here - Harris, Eddie
5. Memphis Underground - Mann, Herbie
6. Twist City - Griffin, Johnny & Matthew Gee
7. Heartbreaker - Charles, Ray (1)
8. Wild Man On The Loose - Allison, Mose
9. Burnin' Coal - McCann, Les
10. Compared To What - McCann, Les & Eddie Harris
11. Do It To Death - Ivory, Jackie
12. Jet Set - Pike, Dave
13. Love In - Lloyd, Charles Quartet
14. Tres Lobos - Mark III Trio
15. Fever - Phillips, 'Little' Esther
16. You're The Boss - Baker, LaVern & Jimmy Ricks
17. Get On The Right Track Baby - Charles, Ray (1)
18. Jam Up Twist - Ridgley, Tommy
19. Watermelon Man Ska - Lee, Byron
20. Sticks And Stones - Ludwig, Gene
21. Foolkiller - Allison, Mose
22. Bloodshot - Laws, Hubert
23. It's A Funky Thing Right On - Mann, Herbie
24. Sombrero Sam - Lloyd, Charles Quartet
25. One Note Samba - Modern Jazz Quartet & Laurindo Almeida
26. When A Man Loves A Woman - Harris, Eddie
***Down Aqui/Here***

Zoot Money's Big Roll Band - Were You There - Live (1966)

George Bruno "Zoot" Money, a familiar figure on swinging London's mid-'60s club circuit, had brought his Big Roll Band up from their native Bournemouth to London after a short stint moonlighting with Alexis Korner's Blues Incorporated. Based at the Flamingo, a Soho club renowned for its wild all-nighters, the band played a cooking mixture of soul, jazz and R&B, peppered with the flamboyant antics of front man Zoot. Nurturing a passion for Ray Charles, the Hammond organ, and the odd alcoholic beverage, Money was a popular live attraction with the UK's "in-crowd".
These live recordings takenfrom 1966 perfectly illustrate what the Big Roll Band was all about. James Brown's "I Got You (I Feel Good)" and Lee Dorsey's "People Gonna Talk" were typical crowd-pleasers. T-Bone Walker's "Stormy Monday Blues" and Marvin Gaye's "Ain't That Peculiar", sung here by American ex-pat soulster Herbie Goins and band member Paul Williams respectively, would allow Zoot to rest his vocal chords. The boss himself would demonstrate his instrumental prowess on Booker T's "Boot-Leg". This was the essence of the UK club scene in 1966.(Amzn)
1. I Got You (I Feel Good)
2. Smack Dab In The Middle
3. Bootleg
4. Train Train
5. Ain't That Peculiar
6. People Gonna Talk
7. It Should've Been Me
8. Hallelujah I Love Her So
9. Self Discipline
10. Rock Me Baby
11. Stormy Monday Blues
12. Oh Mom (Teach Me How To Uncle Willie)
13. When I Meet My Baby
14. Blues March
15. You Don't Know Like I Know
16. Big Time Operator
17. Hide Nor Hair
18. Haunted House
19. La La La La La/The In Crowd
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The Swamp Rats - Disco Still Sucks! (w/ bonus)

Without doubt one of the most awaited Reissues & comps of the century! You don't know THE SWAMP RATS? Lemme tell ya something...this band was the loudest & most fucked up bunch of Hooligans EVER!! I mean...just listen to the first track on this 13 track album, „louie louie"...which is one of the punkiest, most outrageous versions you have heard so far..and..now the clue..this band was around in 1966-1967!!! I was just thinking about being at one of their shows in the 60's & hearing their incredible loud proto-Punk, their fuzzed out orgies, their wylde sound! Man, listen to their version of THE SONICS' „psycho"...a manifest of raunchy rawk'n roll..or that true monsterfuzz in THE SPARKLINGS „no friend of mine"..or the wyldest ever version of THE LEAVES „hey joe"!!!! Of course..and everybody needs a rest, there are also some more mellow tracks on this...but...Punkrock NEVER became louder than here..and it was 1966...got it
1. Louie, Louie
2. Hey Freak
3. She's Got Everything
4. I'm Going Home
5. Hey Joe
6. It's Not Easy [Version 1]
7. No Friend of Mine
8. Till the End of the Day
9. In the Midnight Hour
10. Here, There and Everywhere
11. Tobacco Road
12. Psycho
13. It's Not Easy [Alternate Version]
14. ?
15. ?
16. ?
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The Outcasts - The Punk Singles Collection

Link Now on Service...

Bad boys of the Ulster punk scene THE OUTCASTS were formed in Belfast in June 1977 by the Cowan brothers: Greg(bass/vocals), Colin(drums) and Martin(guitar). They were joined by Colin Getgood(better known as Getty) on guitar. They played their debut gig in August of that year at Paddy Lambs pub on Belfasts' Upper Newtownards Road. The gig ended in a mini riot when the local 'Spides' took exception to a number of "strange looking punks" who turned up to watch the band. Their 2nd gig at The Pound Club in Belfast was a lot quieter as they played to a mainly punk audience. The band were quickly daubed "The band you love to hat" by the local press due to their bad boy image and loutish behaviour. However they soon came the attention of the recently formed Portadown based label IT RECORDS (just after they had cut their 1st demo tape in Wizzard Studios) which resulted in a one-off record deal. March '78 saw the release of he Outcasts debut 7" single which featured 3 snarling, snot-nosed punk classics - "You're a disease" "Frustration" and "I don't want to be no adult".This single was re-issued in 1996 by French punk label Combat Rock. After continuous gigging around N.Ireland, the band built up a loyal fanatical supoort. They earned themselves sopport slots to The Radiators From Space at Jordanstown Poly and The CLASH at the Ulster Hall on 11/10/78 (the band received £10 for their trouble and even had to return home for their own gear). A little self-publicity didn't go amiss as was evident on the night they ran onto the stage at an Elvis Costello gig at the Ulster Hall, grabbed the mic off 'The Specky One' and shouted "We're The Outcasts, buy our single". This act went down well with the punters but the bouncers were not too amused! They even managed two sets at the Phoenix Free Festival in Dublin, playing to a crowd of around 3000 people. They soon joined forces with Terri HOOLEY of GOOD VIBRATIONS records and "Just another teenage rebel" c/w "Love is for sops" was released as the 3rd Good Vibes single in the summer of '78. The single was later given a second pressing complete with a new picture cover, to coincide with the Good Vibrations Irish Tour in April '79. The OUTCASTS continued to cause mayhem on the local gig circuit before going into the studio to record a track, the excellent graphically violent "The cops are comin" which was to appear on the double 7" compilation EP "The Battle Of The Bands", again on the Good Vibes label. A different version of this song would crop up on the bands debut LP the following year. The debut album "Self Conscious Over you" was released in 1979 on the Good Vibrations label in the UK and it was also released in France on Blitzkrieg Records. The album showed a great musical versatility, the band moving away from their stock-in-trade three chord punk, to include keyboards and saxophone on a couple of songs. With Terri Hooley now the bands manager, the title track from the album was lifted as a Good Vibes single and was backed by "Love is for sops". Around this time John Davis made a documentary on the band, which included live footage from an Ulster Hall gigs as a follow up to "Shell Shock Rock", his highly acclaimed, award winning movie on the N.Irish punk scene. The debut album featured 11 original compositions, with the band saving the cover versions for live gigs. Sadly, songs such as "These boots are made for walking" and their own composition "Johnny's a wanker'' never made it onto vinyl. Their last Good Vibrations related release came in the shape of the "Room to move" EP, a compilation 7" to wich The Oucasts contributed the track 'Cyborg' which also appeared on their debut album. This Ep was released by Energy Records. In mid 1980 GREG was inured in a motorcycle accident, just ouside the seaside resort of Portrush. As he was unable to play bass for a while, Gordie Blair (ex-RUDI) was brought in love live gigs. The next single "Magnum force" c/w "Gangland warfare" featured Gordie on bass and the single also marked the debut of second drummer Raymond Falls(then a 16 year old, still at school). the sleeve of this single we have always found to be quite eerie, because if you look directly above Colins' head on the cover photo, you will see the words "Sacred to the memory of...". Bearing in mind that Colin was tragically killed in a car crash the following year, it does seem a bit spooky! Around this time The Outcasts recorded 4 songs "Gangland warfare", "The end of the rising sun", "Programme love" and "Machine gun" for the John PEEL Show. This 1st session was broacast on 25/5/81. Also around this time Ross GRAHAM (who had first met the band uring the filming of "Shell Shock Rock") took over as Manager/Producer. The band then set up their own Oucasts Only label in mid '81 and released the 4 track "Programme love" EP which was then followed by another 7" single which featured a cover of the Glitter Band hit "Angel face" c/w a new version of "Gangland warfare", sadly this was the last Outcasts record to feature COLIN, who was killed in a car accident, shortly before the single was released. The 2nd album "Blood And Thunder" was released by Abstract Records in 1982 (by New Rose in France) and on 25/9/82 they recorded their 2nd and final session for John Peel Show, the featured tracks being "Winterland", "Magnum Force", "Sex and glory" and "Frustration". The Oucasts also recorded around 6 sessions for the local Downtown Radio as well as 2 sessions for Dave Fanning on RTE and 2 for the Janice Long show on BBC Radio One. Their 1st live appearance since Colins death, took place at the legendary Harp Bar. Although the Harp was barely recognizable from the bar it was a few years previous (due to some extensive renovation work), it was still a fitting venue for their 'comeback' gig. There was a unique atmosphere in the Harp that night and The OUTCASTS gave one of their best ever performances. In 1983 Abstract Records released the single "Nowhere left to run" on both 7" and 12" format, with the live favourite 'Ruby' appearing on the B-side ('Ruby' was originally intended to appear on an odd' covers album being put together by the French New Rose label). This single was issued later in the same year by Anagram Records in the UK and also by New Rose in France. The french issue is more notable as it inclued a live version of "The cops are coming" and came in a grey sleeve as opposed to the blue in the UK. This single signaled a slight change in musical direction for the band, to a more Psychobilly sound. In early 1984 "Seven deadly sins" was released both as a 7" single and a mini album by New Rose in France. "Seven deadly sins" (albeit a different version) had originally appeared on the Psychobilly compilation album "Revenge of the killer pussies". the mini album contained 4 new band compositions and a David BOWIE 'cover'. 1985 saw the band make their last apperance on vinyl when New rose released their version of the old Stooges classic "1969" on both 7" and 12". Earlier in February 1984 The OUTCASTS had supported The CLASH at the RDS in Dublin and a further springkling of live gigs in '84 and '85, the band decided to call it a day... Currently Martin is expressing his original compositions through and is working along side with his musician daughter Ciara Faye. Greg is bass player in $hame Academy - Ulster Punk supergroup consisting of Brian Young (Rudi) and Petesy Burns (Stalag 17).(MySpace of Outcasts)
1. You're a Disease
2. Don't Want to Be No Adult
3. Frustration
4. Justa Nother Teenage Rebel
5. Love Is for Sops
6. Cops Are Comin'
7. Self Conscious Over You
8. Love You for Never
9. Cyborg
10. Magnum Force
11. Gangland Warfare
12. Programme Love
13. Beating and Screaming, Pt. 1
14. Beating and Screaming, Pt. 2
15. Mania
16. Angel Face
17. Gangland Warfare [Version 2]
18. Nowhere Left to Run
19. Running's Over, Time to Pray
20. Ruby
21. Seven Deadly Sins
22. Swamp Fever [7" Version]
23. 1969 [7" Version]
24. Psychotic Shakedown
25. Blue Murder
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Otis Redding - Love Man (1969)

While Otis Redding was already one of the biggest stars in soul music when he died in a tragic plane crash in 1967, as is some times the case his star rose considerably after his passing, and this 1969 release dusted off a set of unreleased tracks Redding had cut in 1967, one of which (the title cut) went on to become a sizable chart hit. Love Man doesn't hold together quite as well as Redding's best proper albums, such as Otis Blue and Complete and Unbelievable: The Otis Redding Dictionary of Soul, but it also manages to avoid sounding like a collection of out-takes and leftovers; as an album it's significantly stronger than the average R&B release of similar vintage, due to Redding's indefatigable energy and conviction as a vocalist and the ever-indomitable groove of Steve Cropper, Al Jackson, Jr., and the other members of the Stax Records studio crew. If Love Man is flawed, it's not a matter of execution so much as material; while Redding's originals are good, none are quite up to the standards of "Cigarettes and Coffee" or "My Lover's Prayer", and covers like "A Lover's Question" and "(Your Love Keeps Lifting Me) Higher and Higher" are not ideally suited to Redding's style. But even the flawed material helps prove just how strong edding's work was, even under less than ideal circumstances, and Love Man makes it clear he never gave less than %110 percent in the studio.(AllMusic)
1. I'm a Changed Man
2. (Your Love Keeps Lifting Me) Higher and Higher
3. That's a Good Idea
4. I'll Let Nothing Separate Us
5. Direct Me
6. Love Man
7. Groovin' Time
8. Your Feeling Is Mine
9. Got to Get Myself Together
10. Free Me
11. Lover's Question
12. Look at That Girl
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Style Council - The Complete Adventures of the Style Council

Given the blockbuster success of the Jam's exhaustive box set Direction Reaction Creation, perhaps it was inevitable that Polydor would give the Style Council a similar treatment, but the 1998 release of the five-disc box set The Complete Adventures of the Style Council was still a bit of surprise -- there never was much interest in their catalog following their 1990 disbandment. Fortunately, Polydor took a chance and assembled The Complete Adventures, a lavish box set containing all of the group's singles and albums, minus the live Home & Abroad but including the notorious unreleased 1989 record A Decade of Modernism, which the label allegedly rejected because it found Weller turning toward house music. As it turns out, A Decade of Modernism wasn't that far afield from what the Style Council was exploring from their inception, as the chronological running order of the set makes clear. The sequencing is a blessed occurrence, since it's easy to trace their development over the years. Instead of an aberration, the Style Council seems like a natural extension of the Jam's final record, The Gift, and every one of their subsequent records makes more sense than before. That doesn't mean the music is always compelling. No matter how interesting some of Weller's ideas were, they didn't always work, and he wrote way too many pompous, directionless songs to have The Complete Adventures rank with Direction Reaction Creation. (There are also too many Mick Talbot instrumentals, but that's another story.) For most listeners, including some serious Weller fans, the Style Council is best appreciated as a singles band, but for the dedicated, The Complete Adventures reveals that the Style Council, no matter how maddening they could be, were a group that continually reinvented themselves, occasionally making some remarkable music along the way.(AllMusic)
Disc: 1
1. Speak Like a Child
2. Party Chambers [*]
3. Money-Go-Round, Pt. 1 & 2 [Bevans, Bert Alernate Remix][#]
4. Headstart for Happiness
5. Mick's Up
6. Long Hot Summer
7. Paris Match
8. Lédepart [*]
9. Solid Bond in Your Heart
10. It Just Came to Pieces in My Hands
11. My Ever Changing Moods [12" Version]
12. Mick's Company
13. Spring, Summer, Autumn
14. Mick's Blessings
15. Whole Point of No Return
16. Me Ship Came In!
17. Blue Café
18. Paris Match
19. My Ever Changing Moods
20. Dropping Bombs on the White House - The Style Council, The Style Council
21. Gospel [#]
***Disc 1 - Down Here/Aqui***

Disc: 2
1. Strength of Your Nature
2. You're the Best Thing
3. Here's One That Got Away
4. Headstart for Happiness
5. Council Meetin'
6. Big Boss Groove
7. Shout to the Top!
8. Ghosts of Dachau
9. Piccadilly Trail
10. Soul Deep [Bevans, Bert Remix][*]
11. Walls Come Tumbling Down!
12. Whole Point II
13. Bloodsports
14. Spin' Drifting
15. Homebreakers
16. All Gone Away
17. Come to Milton Keynes
18. Internationalists
19. Stone's Throw Away
20. Stand Up Comic's Instructions
21. Boy Who Cried Wolf
*** Disc 2 Down Here/Aqui***

Disc: 3
1. Man of Great Promise
2. Down in the Seine
3. Lodgers
4. Luck
5. With Everything to Lose
6. Our Favorite Shop
7. (When You) Call Me
8. Have You Ever Had It Blue? [Uncut Version]
9. Mr. Cool's Dream [*]
10. It Didn't Matter
11. All Year Round [*]
12. Right to Go
13. Heavens Above
14. Fairy Tales
15. Angel
16. Walking the Night
17. Waiting
18. Cost of Loving
19. Woman's Song
20. Francoise [*]
*** Disc 3 Down Here/Aqui***

Disc: 4
1. Wanted
2. Cost of Loving [12" Version] - The Style Council, The Style Council
3. Life at a Top Peoples Health Farm [Um & Argh Mix]
4. Sweet Loving Ways
5. It's a Very Deep Sea
6. Story of Someone's Shoe
7. Changing of the Guard
8. Little Boy in a Castle/A Dove Flew Down from the Elephant
9. Gardener of Eden (A Three Piece Suite)
10. Why I Went Missing
11. How She Threw It All Away
12. Iwasadoledadstoyboy
13. Confessions 1, 2, & 3
14. Confessions of a Pop-Group
15. In Love for the First Time
16. I Do Like to Be B-Side the A-Side/The Mixed Companions
*** Disc 4 Down Here/Aqui***

Disc: 5
1. Promised Land [Longer Version]
2. Can You Still Love Me?
3. Long Hot Summer '89
4. Everybody's on the Run/Modernism: A New Decade
5. New Decade
6. Can You Still Love Me?
7. World Must Come Together
8. Hope (Feelings Gonna Getcha)
9. That Spiritual Feeling
10. Everybody's on the Run
11. Love of the World
12. Sure Is Sure
*** Disc 5 Down Here/Aqui***

Ro-d-ys - Complete Collection

The Ro-d-ys were from the northern part of The Netherlands and were formed somewhere around 1965. The name Ro-d-ys was chosen after they heard there already was a band called The Rowdies.
There very first single, released in 1966 flopped saleswise but got a lot of airplay. Their lucky break came with the follow up single "Take Her Home" in 1967. The succes continued with their best known single "Just Fancy" which was a hit late summer/early autumn 1967. In 1968 more quality singles were met with increasing lack of succes and after one more failed attempt with the beautiful and haunting single "Winter Woman" early 1969 the group called it quits. They released two albums, "Just Fancy"in 1967 and "Earnest Vocation" in 1968.
If you like sixties rock with influences from The Beatles, The Kinks & The Yardbirds then this is it. This set is also perfect if you are a completist! All of The Ro-d-ys' singles, A- as well as B-sides and album tracks are collected on these two discs.
The bonus tracks are from the post Ro-d-ys era when the group after a lean period hitwise fused with a Dutch group called Zen who had a similar style and also had gone through some hard times.(amazon)

Disc: 1
1. You'd Better Take Care of Yourself
2. Take Her Home
3. Just Fancy
4. Nothing to Change a Mind
5. Sleep Sleep Sleep
6. Anytime
7. Unforgettable Girl
8. Earnest Vocation
9. Winter Woman
10. Hitch-Hiking
11. Bad Babe
12. My Woman Has Got Loose
13. Waiting for a Cloud-Burst
14. When You Hear This Song
15. Just Go On
16. Destination
17. I Still Got You
18. Let's Try
19. Wrong Shoe
20. Get Me Down [*]
21. Take Me Down to the Riverside [*]
22. Rosie [*]
23. Rock & Roller [#][*] - Harry Rijnbergen

Disc: 2
1. Wheels, Wheels, Wheels
2. Only One Week
3. Gods of Evil
4. Stop Looking on a Deadlock
5. Show Me by Candlelight
6. Dr. Sipher
7. Everytime a Second
8. Isn't It a Good Time
9. Looking for Something Better
10. Love Is Almost Everywhere
11. Robinetta
12. No Place Like Home
13. Easy Come, Easy Go
14. Look for a Windchild
15. Let It Be Tomorrow
16. Peace Ants
17. Flowers Everywhere
18. Tomorrow
19. You'd Better Take Care of Yourself [Alternative Version][Alternate Take
20. Wayfaring Stranger [*]
21. Let Me Try to Cry [*]
22. Lifetime [*]
23. Mysterious Ways [#][*] - Harry Rijnbergen

***Part 1 - Download Aqui/Here***
*** Part 2 - Download Aqui/Here***

Freda Payne - Best of

Band of Gold: The Best of Freda Payne is a lengthy, comprehensive overview of Freda Payne's peak recordings from the early '70s, including not just hits like "Band of Gold," "Deeper and Deeper," and "Bring the Boys Home." This may seem like a lotta Freda, but her recordings are surprisingly consistent -- even when the songs are subpar, the recordings are appealing, as are her performances. There may be more concise collections to appeal to the less-dedicated listener, but for a true appreciation of Payne, this is the disc to get.(AllMusic)
1.Band Of Gold
2.Unhooked Generation
3.Easiest Way To Fall
4.Deeper And Deeper
5.I Left Some Dreams Back There
6.Rock Me In The Cradle
7.Love On Borrowed Time
8.Through The Memory Of My Mind
9.Now Is The Time To Say Ggodbye
10.World Don't Owe You A Thing
11.Cherish What Is Dear To You (While It's Near To You)
12.I Shall Not Be Moved
13.Bring The Boys Home
14.You Brought The Joy
15.You've Got To Love Somebody (Let It Be Me)
16.Road We Didn't Take
17.He's In My Life
18.Come Back
19.Just A Woman
20.How Can I Live Without My Life
21.You're The Only Bargain I've Got
22.Two Wrongs Don't Make A Right
23.For No Reason
24.We've Gotta Find A Way Back To Love
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The Moment - Mod Gods!

The Moment were one of the most powerful Mod bands of the 80s taking 60s powerpop chords from The Who and early punky 'Jam' sounds to come with fantastic Mod anthems for the 80s.
Songs like 'In this Town' and 'With this ring' show this off to good effect, this compilation is a excellent tribute to a brilliant band.(amazon)
1. And With This Ring
2. In This Town
3. Flag to Fight Behind
4. One Two They Fly
5. Games We Played
6. Karl's New Haircut
7. Tailor Made
8. In Front of Men
9. Sticks and Stones
10. Race
11. Just Once
12. Work Gets Done
13. Poor Mr Diamond
14. Carpenter of Life
15. Ready to Fall
16. Who the Hell
17. Make This Clear
18. Pain
19. Aspidistra
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Blue Break Beats Vol.1

Blue Note released the two-volume Blue Break Beats compilation in the early '90s. The music on Blue Break Beats dates from the late '60s and early '70s, when a large portion of Blue Note's soul-jazz artists began experimenting with funk and rock, creating dense electric fusions that concentrated on rhythm, not improvisation. None of this music has ever received much critical praise from jazz purists, but in the late '80s and early '90s, scores of hip-hop and dance DJs discovered these old records and began sampling the original tracks to use in new rap and dance songs. By the early '90s, this jazz-rap-funk fusion had become hip and profitable, which led Blue Note to assemble the Blue Break Beats compilations. All of the tracks on the two discs are from late '60s and early '70s albums, featuring multi-layered percussion, organs, and guitars. Every song on the two discs -- which are sold separately -- is hot, with a deep funky groove, and there are no dull spots on the albums. Though it's designed to appeal to fans of contemporary funk and rap, fans of rock-influenced soul-jazz will find Blue Break Beats a necessary purchase.(AllMusic)
1. Grooving With Mr. G - Richard Groove Holmes
2. Sookie Sookie - Grant Green
3. Who's Making Love - Lou Donaldson
4. Weasil - Donald Byrd
5. Kudu - Eddie Henderson
6. Harlem River Drive - Bobbi Humphrey
7. Blue Juice - Jimmy McGriff
8. The Final Comedown - Grant Green
9. Turtle Walk - Lou Donaldson
10. Your Love Is Too Much - The Three Sounds
11. Black Jack - Donald Byrd
12. Olilloqui Valley - Herbie Hancock
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Blue Break Beats Vol.2

Publishing can be an incredibly lucrative field. Whenever a rapper sampled a recording in the '80s and '90s, the person who owned the publishing stood to make some big bucks -- that is, if the rapper had permission. Some MCs made the mistake of sampling tunes without permission, which resulted in major lawsuits. When Blue Note/Capitol assembled this collection of soul-jazz and jazz-funk in 1993, it encouraged hip-hop, urban contemporary, and acid jazz artists to sample the recordings (which span 1967-1975). But it also stressed that legal clearance would be required -- unless, of course, you wanted to face a lawsuit. And asking for permission is most definitely the right thing to do; as many dues as veteran jazz artists have paid, they certainly deserve monetary compensation whenever their work is sampled (assuming they kept their publishing). Not everything on Blue Break Beats, Vol. 2 is a masterpiece, but overall, it's an enjoyable collection of soul-jazz and jazz-funk. Most of the tunes are from the Blue Note vaults, although Gerald Wilson's infectious, Latin-flavored "Viva Tirado" (which became a big hit for El Chicano in 1970) was actually recorded for Pacific Jazz. None of this material is for jazz purists or bop snobs; Blue Break Beats, Vol. 2 is strictly for those who like their jazz laced with a lot of R&B, and listeners who fit that description are the ones who can appreciate funky, groove-oriented numbers like Lou Donaldson's "The Caterpillar," Grant Green's "Ain't It Funky Now," and Donald Byrd's "Beale Street." Make no mistake: what you hear on this CD is a commercial approach to jazz. But commercial doesn't necessarily mean bad, and for the most part, Blue Break Beats, Vol. 2 demonstrates that jazz can be accessible and still have integrity.(AllMusic)
1. Street Lady
2. Jasper Country Man
3. Kumquat Kids
4. Higga Boom
5. Orange Peel
6. The Worm
7. The Caterpillar
8. Ain´t It Funky Now
9. Ummh
10. Good Humour Man
11. Beale Street
12. Viva Tirado
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Blue Break Beats Vol.3

Blue Note's Blue Break Beats series spotlights songs from their vaults that have been sampled for various hip-hop and techno tracks. As a result, it's been one of their most popular and entertaining series of the '90s, and for good reason -- this funky soul-jazz lends itself to compilations much easier than bop, since the groove is the only thing that matters. Unfortunately, the compilers of Vol. 3 don't always keep that in mind. Much of the collection is weighed down with vocal cuts like Shirley Bassey's "Light My Fire" and Jackie McLean's "Soul," which intercuts nearly free bop with beat poetry. While these are interesting in their own right, they stop the momentum of the disc cold. However, the remainder of Blue Break Beats, Vol. 3 is on par with its two predecessors, featuring funky soul-jazz from the likes of Cannonball Adderley and Lou Donaldson. These are the tracks that can be sampled effectively, and they make for excellent listening in their own right.(AllMusic)
1. Walk Tall - Cannonball Adderley
2. You've Made Me So Very Happy - Lou Rawls
3. Ode To Billy Joe - Lou Donaldson
4. Sho' Nuff Melon - Reuben Wilson
5. Howling For Judy - Jeremy Steig
6. Light My Fire - Shirley Bassey
7. It's Your Thing - Lou Donaldson
8. Put On Train - Gene Harris & The Three Sounds
9. Don't Call Me Nigger Whitey - Gene Harris
10. Dominoes - Donald Byrd
11. Mystic Brew - Ronnie Foster
12. Get Out Of My Life Woman - Joe Williams With Thad Jones
13. Ground Hog - Duke Pearson
14. Soul - Jackie McLean
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Blue Break Beats Vol.4

While this collection contains some of the most memorable hooks in the history of jazz and R& B, with classic tracks from Gene Harris, Buddy Rich, Herbie Hancock, Ike & Tina Turner, and others, its main appeal may be to fans of dance music and hip hop. These songs have provided fodder for samplers throughout the '80s and '90s, showing up on tracks by De La Soul, Gang Starr, and Deee-Lite. Funky, catchy, and groovy, this compilation will get you moving.(AllMusic)
1. Prelude - Gene Harris
2. Holy Thursday - David Axelrod
3. Sitting Duck - Gene Harris & The Three Sounds
4. The Beat Goes On - Buddy Rich
5. Three Is The Magic Number - Bob Dorough
6. Shack Up - Banbara
7. Boomp Boomp Chomp - The Sons
8. Little Green Apples - Monk Higgins
9. Bring Down The Birds - Herbie Hancock
10. Whole Lotta Love - Ike & Tina Turner
11. Repeat After Me - The Three Sounds
12. Inside You - Eddie Henderson
13. Woman Of The Ghetto - Marlena Shaw
14. This Is Soul - Paul Nero
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Fontella Bass - Rescued (Best Of)

"Rescue Me" might have been her only big hit, but Fontella Bass was a terrific gospel-influenced soul vocalist who cut several great sides for Checker/Chess Records in the mid-'60s. They might not have gotten the attention they deserved when they were released, but they have held up very well over the years. Rescued: The Best of Fontella Bass collects sixteen of her finest tracks, including "Rescue Me," three duets with Bobby McClure, and a previously unreleased song; it makes a convincing case that she should have had more hit singles than she did.(AlMusic)
1. Rescue Me
2. You'll Never Know
3. Don't Mess Up A Good Thing
4. The Soul Of A Man (A/K/A Soul Of The Man)
5. Sweet Lovin' Daddy
6. Recovery
7. Since I Fell For You
8. You're Gonna Miss Me
9. I Surrender
10. Free At Last
11. Baby What You Want Me To Do
12. Joy Of Love
13. I Can't Rest
14. Oh, No, Not My Baby
15. Don't Jump
16. Leave It In The Hands Of Love
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Mitch Ryder & Detroit Wheels - Take a Ride (1966)

The debut album of Ryder and the Wheels, fresh from the teenage ballroom circuit in Detroit, where they held court in earlier days as Billy Lee & the Rivieras. One of the defining moments in the history of Motor City music, Take a Ride is the sound of poor White kids claiming the music as theirs, too, while infusing it with the manic energy of the color-blind dreams of anybody who ever wanted to be somebody. Built entirely around their stage act, this album captures a band in full cry at the peak of their powers. This is what they mean when they say the words "high-energy Motor City rock & roll."(allMusic)
1. Shake A Tail Feather
2. Come See About Me
3. Let Your Lovelight Shine
4. Just A Little Bit
5. I Hope
6. Jenny Take A Ride
7. Please, Please, Please
8. I'll Go Crazy
9. I Got You
10. Sticks And Stones
11. Bring It On Home To Me
12. Baby Jane (Mo-Mo Jane)
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Sham 69 - Tell Us The Truth

The first wave of British punk was overrun with smart kids from upper-class backgrounds play-acting at being working-class yobs. (The Clash did this first, and did it better than practically anyone.) But Sham 69 was different; every bit as thick-headed and provincial as the band sounded, Sham 69 took a perversely populist pride in its lack of musical or intellectual sophistication. If there's a point where British punk began to evolve from smart, edgy bands like the Sex Pistols and the Adverts into beer-soaked Neanderthals such as the Exploited and the Anti-Nowhere League, Sham 69 marks the spot, and while its first album, Tell Us the Truth, is the band's strongest work, the album also shows that most of Sham 69's flaws were in plain sight from the start. Side one of Tell Us the Truth was recorded live, and it's inarguably fascinating as an anthropological document, capturing the Cockney yob in his native environment, complete with football chants and a spontaneous chorus of "Knees Up, Mother Brown." Jimmy Pursey's communication with his audience is inarguably impressive, and some of the songs have a good head of straight-ahead energy (especially "Borstal Breakout"), but the sound is thin and the band seems to have a hard time getting into fifth gear. The studio side actually sounds more impressive; the performances are tighter, Dave Guy Parsons' guitar benefits from a bit of double-tracking, and Pursey sings more than he hectors. But Pursey was already starting to sound a bit pompous, and time has not been the least bit kind to songs like "I'm a Man I'm a Boy" and "Hey Little Rich Boy" which, for all their sincerity, don't say anything dozens of other bands haven't said better. Tell Us the Truth sounds passionate, belligerent, and kinda dumb, but that's an improvement over Sham 69's later work, where the band sounds overblown, strident, and really, really dumb.(AllMusic)
1.We Got A Fight - (live)
2.Rip Off - (live)
3.Ulster - (live)
4.George Davis Is Innocent - (live)
5.They Don't Understand - (live)
6.Borstal Breakout - (live)
7.Family Life
8.Hey Little Rich Boy
9.I'm A Man I'm A Boy
10.What About The Lonely
11.Tell Us The Truth
12.It's Never Too Late
13.Who's Generation
14.What Have We Got - (bonus track)
15.Borstal Breakout
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The Return of Mod Jazz - Kent 250

A sharp modernist on the town looking for kicks, and soundtracked by the comeback of the year. THE RETURN OF MOD JAZZ. It's been a while, but we are glad to tell you that the original purveyors of the sharp mixture of jazz, latin and R&B sounds is back on the street, with the sort of music that many of the young pretenders would kill to put within their covers. What stronger message of intent could you be laying down than the pictures of Oscar Brown Jr - stripy shirt, fingers snapping - and Gene McDaniels - black suit, cuffs just so with some fine links. Are they on the album? You bet! Oscar working his way through his mod anthem Humdrum Blues while Gene appears with the amazing latin soul of Sweet Lover No More, a single he released on Columbia just before he went to Atlantic to dress up in radical-chic outfits and upset the vice-president of the USA. Regular purchasers of the series will be aware that mod jazz doesn't really sit at the high church of jazz appreciation, but rather we plough our own furrow, going with whatever we think has a distinctly jazzy flavour. Of course we are big fans of a vocals and Hammonds, and on this volume we remain firm friends of both. For those who love a touch of the big H we have Clarence Armstrong's Money rarity the Beaver, his cousin Hank Jacobs both with and without the TKOs, Red Holloway with Jack McDuff, Bill Doggett and Timmy Thomas confusing us all as he urges us to Have Some Boogaloo.Vocally we have some of the finest, Oscar and Gene of course and George Benson and Mose Allison, whose laconic I Love The Life I Live was a big influence on Georgie Fame. Also from this side of the tracks we have Them Blues by Billie Poole which, so I'm told is picking up some plays in the clubs right now. And we have our own special discovery in the blistering big horned R&B of the Swinging Tomatoes' Get It. Elsewhere we let Mongo Santamaria, Pucho and the Afro Blue Quintet give us a full helping of latin soul. Leon Haywood, Dave Davani and Leo's Five provide us with some swinging grooves, whilst it would be remiss of us to pass over other fine contributions from mod jazz favourites Googie Rene and the Johnny Otis Show. So if you are to feel the need to dress sharp in the manner described above be sure to use this as the only recommended soundtrack!
01 SACK O' WOE - Ray Bryant Combo
02 SWEET LOVER NO MORE - Gene McDaniels
03 THEM BLUES - Billie Poole with The Junior Mance Trio
04 BELL BOTTOMS - Joe Swift's Internationals
05 HOLD IT - Kenny Rice and Leo's Five
06 HAVE SOME BOOGALOO - Timmy Thomas
07 EAST SIDE - Hank Jacobs
08 SUMMERTIME - The George Benson Quartet
09 EL PUSSY CAT - Mongo Santamaria
10 LIBERATION - The Afro Blues Quintet Plus One
11 CANTELOUPE ISLAND - Pucho & His Latin Soul Brothers
12 WILD BIRD - The Googie Rene Combo
13 BEAVER - Clarence Armstrong
14 TWENTY FIVE MILES - Bill Doggett
15 BANANA PEELS - Johnny Otis
16 RAY'S THEME - Leon Haywood
17 I LOVE THE LIFE I LIVE - Mose Allison Trio
18 MONKEY SHO' CAN TALK - Red Holloway
19 TOP OF THE POPS - The Dave Davani Four
20 GET IT - The Swingin' Tomatoes
21 EVERYTIME PT 2 - Buddy McKnight
22 GETTING INTO SOMETHING - The TKO's
23 HUMDRUM BLUES - Oscar Brown Jr
24 HIDE OUT - The Hideaways
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Rufus Thomas - Walking The Dog (1964)

One of the artists who defined Memphis soul and put Stax Records on the map, Rufus Thomas is known for liking his R&B hard-edged, gritty and earthy. That approach served him impressively well on his debut album Walking the Dog. In contrast to the sleeker, more elaborate production style favored by the Northern soulsters of Motown, Thomas rejects pop elements altogether and thrives on rawness on his hits "Walking the Dog" and "The Dog," as well as inspired versions of "Land of 1000 Dances" (which became a major hit for Wilson Pickett), Lee Dorsey's "Ya Ya" and John Lee Hooker's "Boom Boom." Thomas was in his mid-40s when these fun, infectious recordings were made, and he definitely lives up to his title "The World's Oldest Teenager" (a title later given to Dick Clark as well).(allMusic)
1. Dog
2. Mashed Potatoes
3. Ooh Poo Pah Doo
4. You Said
5. Boom Boom
6. It's Aw'rite
7. Walking The Dog
8. Ya Ya
9. Land Of 1000 Dances
10. Can Your Monkey Do The Dog
11. Because I Love You
12. I Want To Be Loved
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After Hours Vol.3

The third great installment in the After Hours series -- one of the best collections of Northern Soul we've heard in years! The genius of the set is that it moves past the smaller indie labels -- and really gets at some of the treasures that have been hidden in the catalogs of the major labels from the 60s -- tunes that are great, but which were often eclipsed by the bigger hits of the time, and not pushed nearly as heavily as the work might have been, had it come out on a smaller label. As with previous volumes, the set's overflowing with gems from the depths of the Atlantic and Warner catalogs -- a total of 29 numbers that includes a wide range of folks that you might never have guessed recorded for the companies -- plus other singles by familiar names, represented here by some of their more obscure numbers! The groove is hard upbeat soul all the way through -- and titles include "Last Minute Miracle" by Linda Jones, "Mean It Baby" by Carl Hall, "Happiest Girl In The World" by Plus 4, "My Love Is Getting Stronger" by Cliff Nobles, "I Want It Back" by The Voice Box, "Hang My Head & Cry" by The Big Guys, "We Need To Be Loved" by Teen Turbans, "Tell Me Why" by Life, "Contact" by Three Degrees, "Frantic Escape" by Innocent Bystanders, "West 4th Street" by Valerie & Bobby Capers, and "Call On Me" by The Dynells.
1. Carl Hall - Mean It Baby
2. The Pointer Sisters - Send Him Back
3. The Drifters - You Got To Pay Your Dues
4. Linda Jones - A Last Minute Miracle
5. Tony & Tyrone - Please Operator
6. Darlene Love - Too Late To Say You’re Sorry
7. Cajun Hart - Got To Find A Way
8. Delilah Keenebruew - Bright Lights
9. Jimmy Hughes - Slippin’ Around With You
10. Sister Sledge - Love Don’t You Go Through No Changes On Me
11. Cliff Nobles - My Love Is Getting Stronger
12. Plus 4 - Happiest Girl In The World
13. Archie Bell & The Drells - A Thousand Wonders
14. Mary Wells - Can’t You See (You’re Losing Me)
15. Soul Brothers Six - I’ll Be Loving You
16. The Three Degrees - Contact
17. Life - Tell Me Why
18. The Teen Turbans - We Need To Be Loved
19. James Barnett - Keep On Talking
20. Roy Redmond - Ain’t That Terrible
21. The Voice Box - I Want It Back (Your Love)
22. The Big Guys - Hang My Head And Cry
23. Willie Tee - I Want Somebody (To Show Me The Way)
24. Al Perkins - Nothing Is Impossible
25. Barbara Lynn - You’re Losing Me
26. The Dynells - Call On Me
27. The Mystic Moods - Astral Trip
28. The Innocent Bystanders - Frantic Escape
29. Valerie & Bobby Capers - West 4th Street
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The Strollers - Falling Right Down! (Re-Up)

This album wasn't released, it was unleashed. The Strollers want to shake your action with some raucous fuzz'n'farfisa snotty nosed and black as night garage punk. But they don't want to bother you with hissy lo-fi crud. They don't want you to fork out for yet another mid-table retread of Texas '66. They want to blow you away like The Lyres, Fuzztones, Nomads, and Creeps once blew you away.Rusty it's for you man!!!
1. Let me come on in
2. Bad situation
3. I fell right down
4. Little cheater
5. Won't stand it
6. Get lost child
7. I saw it coming
8. Lies
9. Tell me, tell me
10. She'll be mine
11. Memories
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The Box Tops - The Best of the Box Tops

Who would be interested in a compilation devoted to a two-hit wonder, albeit a very good two-hit wonder? In the case of the Box Tops, there are actually several answers: oldies fans, blue-eyed soul devotees, and Big Star fans interested in the early development of bandleader Alex Chilton. At 18 tracks, The Best of the Box Tops: Soul Deep is the most extensive compilation of the blue-eyed soul group's output, featuring all of their singles and pretty much all of their best album cuts. Their LPs were erratic at best, since producer Dan Penn didn't always expend A-list material on the group; plus, up until the end, he refused to allow budding songwriter Chilton to record original contributions. Soul Deep is a vastly preferable way to hear the Box Tops' best moments, and it proves that when they were handed the right songs, they were an excellent pop-oriented blue-eyed soul group, easily ranking with the more renowned Righteous Brothers or Rascals. Like the latter group, they flirted with psychedelia on some of their poppier numbers (most notably "Sweet Cream Ladies, Forward March"), which contrasts sharply with the occasional return to down-home, rootsy soul. Chilton fanatics are treated to some of his earliest originals -- the gritty blues "I Must Be the Devil," the straightforward period pop of "The Happy Song," and a couple more. Even if nothing is quite as striking as the group's two big hits, "The Letter" and "Cry Like a Baby," there's enough here to make The Best of the Box Tops: Soul Deep worth the time of fans with a serious interest.(AllMusic)
1. The Letter
2. Neon Rainbow
3. Happy Times
4. Cry Like A Baby
5. Fields Of Clover
6. Choo Choo Train
7. She Shot A Hole In My Soul
8. People Gonna Talk
9. I Met Her In Church
10. Sweet Cream Ladies, Forward March
11. Together
12. I Must Be The Devil
13. Soul Deep
14. I Shall Be Released
15. (The ) Happy Song
16. Turn On A Dream
17. I See Only Sunshine
18. You Keep Tightening Up On Me
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Purple Hearts - Beat That! (1980)

The story of London, England mod revivalists the Purple Hearts begins in 1977 when teenagers Jeff Shadbolt, Simon Stebbing, Bob Manton, and Nicky Lake dubbed themselves the Sockets to sneak their way onto a bill opening for the Buzzcocks, even though none of the four had the ability to play an instrument. Each member of the quartet chose an instrument -- Shadbolt chose the bass, Stebbing the guitar, Manton stuck with just vocals, and Lake picked up drumsticks -- and they feverishly threw together a set of original songs while trying to learn their instruments. A matter of weeks certainly isn't enough time to master a musical instrument, but the Sockets played their gig anyway, much to the amusement of the Buzzcocks and the audience, and the bandmembers found that they very much enjoyed performing. They enjoyed it so much that they continued to play a handful of gigs as the Sockets, but in May of 1978 both the name changed (to the Purple Hearts) and the lineup changed when drummer Gary Sparks replaced Lake.
By 1979, the Purple Hearts began to enjoy some success touring with contemporaries Secret Affair and Back to Zero, and directly afterward they signed with the Polydor Records subsidiary Fiction. Fiction released their debut single, titled "Millions Like Us," and it charted in the U.K., peaking at number 57 -- their highest charting single. It was followed by two more charting singles in 1979 and then the release of their first full-length album, Beat That!, in early 1980, but that proved to be a high point for the band as the mod revival fad burned out and Fiction dropped the Purple Hearts midway through the year. A few other 45s were released via different small labels, but the bandmembers decided to take some time off and didn't resurface until 1985 with the live album Head on Collision Time, followed a year later by Pop-ish Frenzy, after which they split up for good.(AllMusic)
1. Jimmy
2. Perfect World
3. Something You Can't Have
4. Beat That
5. Nothing's Left
6. Frustration
7. If You Need Me
8. Can't Stay Here
9. Can't Help Thinking About Me
10. Slay It With Flowers
11. I've Been Away
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The Roulettes - Stakes & Chips (1965)

An underrated British quartet made up of John Rogan (bass), Russ Ballard (lead guitar), Peter Thorpe (rhythm guitar), and Bob Henrit (drums), the Roulettes featured future Argent alumnus Russ Ballard on lead guitar. They were originally formed as a backing band for vocalist Adam Faith, who enjoyed a massively successful light rock & roll career in the early '60s in England. Beginning in 1963 with the start of the rock & roll explosion coming out of Liverpool, the group was somewhat reorganized, and their and Faith's work together became much more assertive; the result was Faith's last big hit, "The First Time," in August of 1963.
The group began recording on their own for EMI in late 1963 and revealed themselves as an above-average group, fully competitive on a musical level with acts like the Searchers and the Hollies. Their records, though fewer in number, display many of the same virtues found on the better-known work of the Beatles and the Searchers, including soaring harmonies behind strong lead vocals, crisp guitar playing, and a good ear for memorable hooks. Ballard and Henrit also appeared on "Concrete and Clay," a major hit for the acoustic rock outfit Unit Four Plus Two, but the Roulettes' own records stubbornly failed to make the charts. By 1965, they'd split with Adam Faith, but the concentration on their own careers didn't change the inexplicably lackluster performance of their records.
The group soldiered on through 1967 without any chart success, playing shows on the European continent, where any good British rock band could still earn a decent living. Finally, Ballard and Henrit joined Unit Four Plus Two, while Thorpe and Rogan left the music business. Following the breakup of Unit Four Plus Two in 1968, Ballard and Henrit hooked up with Rod Argent and Chris White, late of the Zombies, and formed Argent, a quartet that, for a brief time in the early 1970s, enjoyed some of the chart success that had eluded the Roulettes throughout their history.(AllMusic)
1. Bad Time
2. What You Gonna Do?
3. Settle Down
4. Taste Of Honey
5. Find Out The Truth
6. I'll Remember Tonight
7. You Don't Love Me
8. Stubborn Kind Of Fellow
9. I Hope He Breaks Your Heart
10. I Can't Think Of Anyone Else
11. Shake
12. Soon You'll Be Leaving Me
13. Me Body
14. This Little Girl
15. Can You Go
16. Tell Tale Tit
17. The Long Cigarette
18. Junk
19. Jackpot
20. Yesterday, Today And Tomorrow
21. Tracks Of My Tears
22. I Can't Stop
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Attention

Attention
I started to work in a new service, therefore, uploads will fall.....ok

Graham Gouldman - The Graham Gouldman Thing (1968)

Already established among the most successful songwriters Britain had ever produced, Graham Gouldman launched his solo career in 1966 after two successive band projects, the Whirlwinds and the Mockingbirds, met nothing but failure.
The Yardbirds, the Hollies, Herman's Hermits, Wayne Fontana, Jeff Beck, Cher, the Shindigs, Jeff Beck, the Shadows, and PJ Proby were among the high-profile acts who recorded Gouldman material. He had turned his hand to production, handling a single for Little Frankie, while the quality of his work was such that when the Downliners Sect came to release his "The Cost of Living" as a single, they didn't even record it themselves. They just rushed out Gouldman's original demo.
Gouldman issued this solo album in 1968, featuring his own versions of the hits "For Your Love," "Bus Stop," and "No Milk Today" with eight other original tunes. The album blends pensive, acoustic-guitar driven compositions with light orchestral arrangements. It's a pleasant record, but ultimately does not measure up to the monster hit covers of his tunes. He's only an adequate singer, and the slower, more elaborately produced versions of "Bus Stop" and "For Your Love" are not nearly as good as the hard-charging renditions by the Yardbirds and Hollies. A decent curio, though, highlighted by "Pawnbroker" and "Upstairs Downstairs," which would have fit in well on the Hollies' 1966-1967 records.(AllMusic)
1. Impossible Years
2. Bus Stop
3. Behind the Door
4. Pawnbroker
5. Who Are They
6. My Father
7. No Milk Today
8. Upstairs Downstairs
9. For Your Love
10. Pamela, Pamela
11. Chestnut
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Mary Wells - Ultimate Collection

Motown is notorious for recycling their catalog as endless hit collections, but The Ultimate Collection is one of the finest series of greatest-hits CDs they have ever assembled. Each disc contains all of the major hits from an artist, plus important B-sides, album tracks and minor hits. Mary Wells' entry in the series is no exception to the rule, boasting all her Top Ten pop and R&B hits. Not only are the familiar Motown singles here -- "Bye Bye Baby," "I Don't Want to Take a Chance," "The One Who Really Loves You," "You Beat Me to the Punch," "Two Lovers," "Laughing Boy," "Your Old Stand By," "What's Easy for Two Is So Hard for One," "You Lost the Sweetest Boy," "My Guy" -- but also her Top Ten hit for Atco, "Dear Lover," a pair of singles from 20th Century and several minor Motown hits and B-sides, resulting in a total of 25 tracks.(AllMusic)
1. Bye Bye Baby
2. I Don't Want To Take A Chance
3. Strange Love
4. The One Who Really Loves You
5. You Beat Me To The Punch
6. Old Love (Let's Try Again)
7. Two Lovers
8. Operator
9. Laughing Boy
10. Two Wrongs Don't Make A Right
11. Goodbye And Good Luck
12. Your Old Stand By
13. What Love Has Joined Together
14. You Lost The Sweetest Boy
15. What's Easy For Two Is Hard For One
16. My Guy Listen Listen
17. Oh Little Boy (What Did You Do To Me)
18. Once Upon A Time
19. What's The Matter With You Baby
20. Whisper You Love Me Boy
21. I'll Be Available
22. When I'm Gone
23. Use Your Head
24. Never, Never Leave Me
25. Dear Lover
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John's Children - Smashed Blocked! (1966-67)

A must not only for T. Rex archaeologists, but for anyone with a yearning to discover what the best of British freakbeat sounds like, Smashed Blocked! reprises the six months or so that Marc Bolan spent with mod psychedelics John's Children in 1967, adding the group's two earlier 45s (the U.S. hit title track included), and a random selection of rarities and acetates to what would otherwise appear a fairly standard track listing. Most of the titles here have already appeared on a myriad compilations. Did they really need to be released one more time? Appearances can be deceptive. Of the nine (out of 17) tracks that boast some kind of Bolan-ic intervention, only one has previously seen the light of day on official releases: the outtake "Hippy Gumbo." The singles "Midsummer Night's Scene" and "Remember Thomas A. Beckett," together with the post-Bolan "Come and Play With Me in the Garden" and "Jagged Time Lapse," are present as alternate takes with noticeable, if not precisely Earth-shattering differences; "Mustang Ford" and the backing track for "Sally Was an Angel" are familiar only from bootlegs; and the set comes to a shattering conclusion with four cuts from a 1967 BBC session, recorded shortly after drummer Chris Townson returned from a tour with the Who, where he sat in for a poorly Keith Moon. The reproduction is no better than the crunchy-sounding bootleg EP that appeared in the late '80s, and may even come from the same source. But at least it won't deteriorate any further. To this already mouthwatering selection can be added the original acetate pressing for "Smashed Blocked," still laboring beneath its working title of "The Love I Thought I'd Found," and the group's "lost" third Columbia label single, the fuzz-drenched "Not the Sort of Girl You'd Take to Bed." There's also a reprise of "Strange Affair," without the pointless backward tape effects found on the Orgasm album release, plus another chance to hear Jeff Beck's crucial solo in the B-side "But She's Mine." And while the John's Children catalog still cries out for a decent housekeeping job, but at least the component parts are now in place. Around the same time as this album was released, a copy of the original "Midsummer Night Scene" 45 sold in England for over 4,000 dollars. Smashed Blocked! grants the opportunity to hear what all that fuss is about for considerably less outlay than that.(AllMusic)
1. Smashed Blocked
2. Just What You Want- Just What You'll Get
3. Strange Affair
4. But She's Mine
5. Hippy Gumbo
6. Jagged Time Lapse
7. Midsummer Night's Scene ( Alternative Version)
8. Not The Sort Of Girl You Take To Bed
9. Mustang Ford
10. The Love I Thought I'd Found
11. Remember Thomas A'Beckett
12. Come And Play With Me In The Garden (Inst)
13. Daddy Rolling Stone (BBC)
14. Hot Rod Mama (BBC)
15. Perfumed Garden Of Gulliver Smith (BBC)
16. Jagged Time Lapse (BBC)
17. Sally Was An Angel (Inst)
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