The recording of this song at Abbey Road studios was transmitted world-wide (I saw it at the time!!!) as part of the first global TV link-up, "Our World", to an estimated audience of 400 million.***The song features exerpts from the Bach's Brandenburger concertos, the French National Anthem "La Marseillaise", "Greensleeves" (1960 oldie by The Brothers Four) and She Loves You.***George Martin, also used a segment of the Glenn Miller Orchestra's In The Mood, thinking it was out of (C).***He was later successfully sued for a royalty settlement by Miller's publishers.***In addition to 13 session musicians [some of them playing Bach's Trumpets], friends on backing vocals were Mick Jagger, Keith Richard(s), Marianne Faithfull, Eric Clapton, Keith Moon, Jane Asher, Paul's brother Mike McGear from The Scaffold, The Walker Brothers' Gary Leeds and finally Graham Nash and his wife. (Our world, June 25, 1967.) All You Need Is Love recorded during a LIVE WORLD TELEVISION TRANSMISSION (original live Odeon O 23 560, Germany.) Video below. YouTube... http://youtu.be/ZmrhN9WzCMk (45 rpm record)
When the Beatles in their last end with U.S. commitments , released in England their new album REVOLVER . On the cover face a collage of photos b / w psychedelic style , the work of Klaus Voorman , their old Hamburg friend . The disc continues the momentum of RUBBER SOUL , amplifying its obvious changes , its avant-garde and maturity. REVOLVER is designed as a disk where the songs follow each other without interruption. It begins with a further contribution of George Harrison who takes the Inland Revenue in a brilliant song called Taxman . In I Love You, he uses the sitar again . Paul wrote a new song in the style of classical music , performed by an octet string , Eleanor Rigby, an ode to solitude. He also wrote another memorable melody , Here there and everywhere and an excellent demonstration of soul music , Got to get you into my life . And also stand And your bird can sing , composed by John and Yellow submarine , small return to childhood offered by Paul and George Martin . The disc ends with Tomorrow never knows , a strange and sophisticated song by John , in a surreal style , built around a single note whose title , to withdraw any dramatic connotation , is based on a common expression Ringo as a hard day 's night (night of a hard day) , another of his leitmotifs . Tomorrow never knows is an abrupt change of course in the music of the Beatles, a harbinger of what will happen thereafter.
REVOLVER is also the first album that The Beatles were recording in a more relaxed atmosphere . The group has decided to leave the scene because of the unbearable pressure of touring and because the cries of fans covering their music, there were less good in concert. Now they have time and Abbey Road Studios become their second home. They are no longer forced to write songs at full speed on the seat of a van/small truck or in a hotel room .
Now they can have fun in the studio , search , engaging experiences . The result will be the definitive abandonment of teenage love songs of their first time , together with a mature sensitive text . Working in studio finally represents a major step forward for the Beatles: new opportunities available to them and many barriers fall . REVOLVER is a beautiful and amazing record, but it is only the announcement of the great work begins to mature around an imaginary character , Sergeant Pepper marking the era of psychedelic time ...
Quand les Beatles en finissent avec leurs derniers engagements américains, sort en Angleterre leur nouvel album intitulé REVOLVER. Sur la pochette figure un collage de photos en n/b de style psychédélique, oeuvre de Klaus Voorman, leur vieux copain de Hambourg. Le disque continue sur la lancée de RUBBER SOUL, en amplifiant ses changements manifestes, son avant-gardisme et sa maturité. REVOLVER est conçu comme un disque où les chansons se suivent sans interruption. Il débute par une nouvelle contribution de George Harrison qui s'en prend au fisc dans une brillante chanson intitulée Taxman. Dans I Love You, il reprend de nouveau le sitar. Paul a écrit une nouvelle chanson dans un style de musique classique, interprétée par un octuor à cordes, Eleanor Rigby, une ode à la solitude. Il a aussi composé une autre mélodie mémorable, Here there and everywhere ainsi qu'une excellente démonstration de soul music, Got to get you into my life. Ressortent aussi And your bird can sing, composée par John et Yellow submarine, petit retour en enfance offert par Paul et George Martin. Le disque s'achève sur Tomorrow never knows, une chanson étrange et sophistiquée de John, dans un style surréaliste, construite autour d'une seule note et dont le titre, pour lui retirer toute connotation dramatique, s'inspire d'une expression habituelle de Ringo, comme A hard day's night (la nuit d'une dure journée), un autre de ses leitmotivs. Tomorrow never knows est un brusque coup de barre dans la musique des Beatles, annonciateur de ce qui va se produire par la suite.
REVOLVER est aussi le premier disque que les Beatles ont pu enregistrer dans une atmosphère plus détendue. Le groupe vient de décider d'abandonner la scène en raison de la pression insupportable des tournées et parce que, les cris des fans couvrant leur musique, il se trouvaient de moins en moins bons en concert. Maintenant ils disposent de temps et les studios Abbey Road deviennent leur seconde maison. Ils ne sont plus obligés d'écrire des chansons à toute allure, sur la banquette d'une camionnette ou dans une chambre d'hôtel.
Ils peuvent maintenant s'amuser en studio, rechercher, se livrer à des expériences. Le résultat sera l'abandon définitif des chansons d'amours adolescentes de leur première époque, en même temps qu'une maturité sensible des textes. Travailler en studio représente finalement un grand progrès pour les Beatles : de nouvelles possibilités s'offrent à eux et beaucoup de barrières tombent. REVOLVER est un disque superbe et surprenant mais ce n'est que l'annonce de la grande oeuvre qui commence à mûrir autour d'un personnage imaginaire, Sergeant Pepper qui marquera l'ère de l'époque psychédélique...
Bill Haley is the man in the blue jacket. At his right, his friend of all time, Mr. Rudy Pompilli (real house hold name : Pompillii.)
Pictures : CC-BY - 2.0 Belgium
The song Rock Around The Clock was written and composed in November 1952 by Jimmy De Knight (aka James E. Myers) in collaboration with composer "freelance" , Max C. Freedman . It is likely , as was common at the time a publisher has offered Rock Around The Clock Dave Miller , owner of Essex Records in Chester ( Pennsylvania ) or someone around him but nobody ever wanted . It is finally Sonny Dae (aka Paschal Vennitti ) and His Knights in Chester which record the song in October 1953. Rock Around The Clock comes out ARCADE (45- AR- 123), a small label owned by Jack Howard in March 1954. (*) RATC sells for at least a thousand copies in the Delaware Valley , but it is not distributed nationally ( coast to coast ) lack of interest in a Major. Despite his insistence , "on" denied him the right to record (not even in the demo ) . Finally released from his contract with Essex Records, "Bill Haley and His Comets" will save RATC April 12, 1954 at the Pythian Temple in New York City. Bill Haley was so late ( arriving from the neighboring state , New Jersey ) for the record that he had to be back there twice which cost three hours of studio ( thin! Price to cost one hour. ..) . The disc is distributed by Decca ( the 78s 29124 ) and Decca ( the single 9-29124 ) " coast to coast " simultaneously with another country located in Western Europe : Belgium ! DECCA Label 9.60.961 B side of Pinball Boogie Red Foley ( 10 May 1954 ) . But back about seven months ago : Bill Haley , great musician and multi-instrumentalist ( guitar , slap bass ) has a flair like no other and he believes in this song . On September 53 , he added to his repertoire and playing for the first time in public in the name of the time "Bill Haley With Haley's Comets" in the resort of Wildwood -by-the -Sea Hotel Hofbrau in southern New Jersey ( **) . A few months later , Rock Around The Clock does not take long to rank No. 23 in the Billboard Pop chart of May 29, 1954 (***) ... The following is part of the history of the "Popular Music" . .. Sources: (*) Billboard magazine , March 20, 1954 (**) Jersey City : Da Capo Press, 1987 ( ***) The Billboard Book of Top 40 Hits . New York: Billboard Publications , 1984. To enhance this topic , I added two pictures that I took at the Conservatoire de Liège 05/14/74 . Right photo : From left to right: Ray Cawley , bass and vocals - Rudy Pompilli , tenor sax - Freddy Moore , drums - Bill Haley, rhythm guitar and vocals - Nick Masters ( Nastos ) , solo guitar, Spanish guitar and vocals and behind back but invisible : Ray Parsons , steel and lead guitar , vocals .
Born in Malaysia, Antony "Lee" Cooper lived his youth in the U.S.A. and in Holland. Orphan when he was just a baby, he used to sing in the streets to win some money as long as he recalls. In the early sixties Antony was on tour in Germany with an unknowned British band called...The Beat Brothers (backing Tony Sheridan). He was in the same show that is now legendary at the Star Club in Hamburg. Twenty years on stage made of him one of the best entertainers in Belgium. A little bit of Elvis, a little bit of Dean Martin, Antony sings soft ballads and country songs as well as rockin' tunes.
He cut his first record in 1982 (this one) with the SHAKIN' GUYS, an exciting band whose members made the arrangements of the songs, the vocal Chorus and the backing group.
THE SHAKIN' GUYS ARE :
Giovanni DEL DUCA (wall of guitars, backin' voice), Jean Claude BAADE (bass guitar, backin' voice), Jimmy WARZE (drums), Rosario ONDARO (piano, strings and backin voice) with appreciated help of Christian DETHIER (steel guitar) and "Mangaf" LOVY (sax).
This 7" single is dating back to May 1982. A BLACKJACK PRODUCTION / NASHVILLE-ROCK PUBLICATION.
SLEEVE AND PICTURE : Robby VALTIN - Recorded at MD STUDIO-OUGREE (Liège).
Reference : BLACKJACK NR 4032 STEREO, May 1982. Distribution : inelco.
http://youtu.be/2XXroGdmhLc (Satin Doll)
http://youtu.be/2XXroGdmhLc (Drunken Cowboy)
Antony and I became friends at that time. I was his best man at his civil wedding 'round 40 years ago...
Wild Honey Pie, a band from Belgium, plays The Baetles @ the Spirit of 66 in Verviers last June 8, 2013.
http://youtu.be/6sis9tJuEEc (Back In The USSR) - http://youtu.be/rRphIPdnexs (Day Tripper) -
http://youtu.be/dY_wJ8MX2kc (I Should Have Known Better)
http://youtu.be/DsrnUa8By_o (I Want To Hold Your Hand)
http://youtu.be/5YTnT7Ml2q8 (Sgt. Pepper's Lonely Hearts Club Band (Reprise)
2009/3/30 Quality Economics <quality.economics@blue...
I should have mentioned perfect hygiene at the abbatoir – they have to have far higher standards than Britain if they are to export to us.
Slavery. August’s tribe in the East would have been threatened by slavers over a thousand years. The last raid was Arab/Portuguese slavers in 1905. I do not know what part his tribe played in this.
The Matabele, based in Bulawayo, were a Zulu offshoot who arrived in 1836. They were one of Chaka’s impi who did not dare return to Zululand after an unsuccessful raid. They used the Zulu system of capturing tribes, enslaving or killing the men, enslaving and marrying the women. Much nastier than commercial slavery. When they settled in Southern Rhodesia they continued this system. There were annual raids on surrounding tribes for grain, cattle and women. This was the nominal excuse for the 1893 Matebele war and the occupation of Matabeleland. It is normally expected that it takes at least one generation to get rid of slavery, after its legal abolition. I do not know how they did it in Rhodesia. There were slave tribes and slave owning tribes. There were slave soldiers in the impi. The children were fathered by slave owners and slave mothers. It was not just a matter of sending people home and returning their property. So there were ex-slaves and slave owners around at the time of Skokiaan. People August’s age would have been born in the residual slavery. And the Matabele war was only 60 years before Skokiaan, closer than we are to the recording of Skokiaan. (by Bill Haley and His Comets in 1959 : http://youtu.be/2z1br3piNmM) [*]
This is still of fundamental importance in Zimbabwe politics, the Matabele/Shona divide.
Google Chaka Zulu, Matabele, Bemba, Yao, Angoni, Slavery Rhodesia, Zambia, Zimbabwe.
[*] : nothing to see with The No-No song ! Ringo & His New All Starr Band 2001 :
The Bulawayo Sweet Rhythm Band : Skokiaan (1953/1954) http://youtu.be/oxnXcBBdUBU
Complete e-mail sent to me by Mr. Peter BOWBRICK :
2009/3/28 Quality Economics <quality.economics@blue...
August Musarugwa trained in the BSAP police band, with the bandmaster hitting him on the knuckles if he made a false note. Attached is a photograph of police bandsmen at BSAP Depot 1936. (Photo S.A. Bowbrick)
He was employed as a clerk by another ex-policeman, Syd Bowbrick (1907-1978) who was personnel manager for the Cold Storage Commission, the government meat marketing board from the end of 1949. Bowbrick organized works sports, cinema, etc. and the works band – the African Dance Band of the Cold Storage Commission under August Musarugwa.
Syd Bowbrick was strongly into preserving African music and dance, organizing village dance groups from the Zambezi valley to travel to Bulawayo for festivals or the Eisteddfod. He stopped abruptly when a police friend told him that the Special Branch (security) had opened a file on him. However he continued to support the works band.
There was an attempt to launch the band commercially. They got a well paid job in the Congo, but all their instruments were stolen. Neither the players nor their sponsor could afford to replace them. So it was back to the day job, clerking, plus playing local gigs with the firm’s instruments.
Bowbrick had met Hugh Tracy recording in the bush in the 1930s and arranged for him to record Musarugwa.
He also arranged for Gallo Africa to record Skokiaan somewhere between August and December 1953, in Bulawayo. The musical arrangement of this recording was influenced partly by the fact that they had to employ a session musician who played both the piano and the trumpet (He was paid 5 shillings (70c). He later became a full time member of the Bulawayo Sweet Rhythm Band.) Bowbrick prevailed on the band not to all play at once as they wished, but to let solos stand out, in deference to his unsophisticated western ear.
Bowbrick sent copies of the record to major record companies. Decca replied with a letter saying that Ted Heath, the top bandleader in Britain, did not think that it had any potential. Eventually it was picked up. Bowbrick always regretted that nobody picked up Musarugwa’s Tinochimero, which he thought would have been a bigger hit. The Chishona vocals probably put western bands off.
Spokes Mashiane recorded Skokiaan in 1955, some years before his hit, Kwela Claude, made the penny whistle acceptable.
After he got enough money to buy instruments, Musarugwa launched the Bulawayo Sweet Rhythm Band.
At the time African contestants in dance competitions wore white tie and tails. A 30 inch watch chain was de rigueur, going from the fly buttons to the right trouser pocket.
The tune came from the one played in shebeens to warn staff and customers that there was a police raid and staff and customers should dispose of the evidence. The sheebeen might indeed have been supplying skokiaan, but was more likely to have been selling lager or spirits – it was illegal to sell Natives (Black Africans) anything but the traditional beer – looking like a dilute maize or sorghum flour porridge with 2.5% alcohol. Skokiaan was sometimes traditional beer fortified with methylated spirits, which could blind or kill. Musarugwa was well acquainted with sheebeens as a policeman and as a customer.
When Louis Armstrong visited Bulawayo, some years after his hit, he arranged to play with August at his concert. Louis was shocked to hear that August had spent all his earnings. August was startled to hear how much he should have earned in royalties. On investigation, it turned out that this was because he had been asked to sign the standard contract, under which an African artist only got royalties on sales in Southern Africa. However, Bowbrick had vetted the contract and crossed out the relevant sentences before Musarugwa signed it, so he was entitled to full royalties. His lawyers, Coghlan and Welsh, took it up.
The name was definitely pronounced Musarugwa, but they were switching to a new orthography in the 1930s which could explain spelling differences.
I have a strong recollection of it being Bulawayo Sweet Rhythm, not Rhythms, Band – we had all the records at home.
It is my impression, but only that, that August joined the Cold Storage at about the same time as my father: they were certainly not allowed to leave the police during the war.
As a police bandsman he would have played several instruments. I never heard of him playing an mbira.
I have never heard of a 1947 recording. [what did I say about the year of first published ???]
Sources: I knew August from age 5 to age 11, when he left the Cold Storage in 1954. My father Syd Bowbrick kept up with him until 1966 when Syd left the country after UDI. My brother, who was also at the recording session, worked for his solicitors. Peter Bowbrick.
Bill Haley "Rareties" LP, Malaysia, AMBASSADOR A 98100 (completely unknown of origin? : I'm not quite sure at all !)
This LP compilation in 1979 is still completely unknown of origin. I remember when I bought it, in early January 1980, the record dealer told me it was coming from Malaysia. J'appelle ça de la basse vengeance : j'en ai par dessus la tête que les anglais et les français (ces derniers ont purement et simplement supprimé une bonne discographie toutefois considérée comme un torchon irrécupérable!] me prennent pour un rigolo ou simplement pour un imbécile. ["you're the expert"! My foot! (English-speaking Wikipedia)] sous le fallacieux prétexte - parce que je n'hésite pas à (d)écrire la vérité - qu'ils se croient les uniques papes de Bill Haley alors qu'en Belgique nous sommes bien mieux informés qu'eux!). De toute façon, s'ils ne détiennent pas l'info avant quiconque, elle est considérée comme fausse, voire pourrie! Il y a des articles qui dérangent beaucoup de monde: tant mieux! La vérité n'est pas toujours bonne à dire. Il est hors de question de fausser la vérité et de toute façon, je n'en ai rien à fiche!...***I call that low revenge: I have some over my head which Englishmen [(Pommies :-)] take me as a funny guy or simply as a nunskull. ["you're the expert"!] My foot! (English-speaking Wikipedia which destroyed the DECCA Sessions as well as the other ones) under the fallacious pretext - because I don't hesitate to write/tell the truth as true as possible - that they believe they are the quite unique popes on Bill Haley (it's not bad, but I've seen much better!!) whereas in Belgium we got a better information (early 1970 for me and Alain Darmor 20 years beforehand!!) than them!)! In any event, if they don't hold information before whoever, it is regarded as false, rotten! There are articles which disturb many people: hardest the better! Chris (G.): just have a look! Convinced? Think, you might have to update and correct your own discography. So, the truth is not always good to say… ! Anyway, it is out of question to twist the truth and I couldn't care less what they're up to! Pure de papas, it's quite hot here in Belgium...(today June 1, 2013, the sky is blue ;-) http://youtu.be/t6LDwZSyYHA : Viva la rock r 'n' roll from the German motion Picture by Werner Jacobs "Hier Bin Ich, Hier Bleib' Ich" (Here I am, here I stay). Première : 8. Januar 1959 im Stuttgarter Gloria-Palast.
First recorded by Bill Haley & His Comets on the DECCA DL-8964 LP/album Strictly Instrumental released in December 1959. ***He was accompanied i.a. by Johnny Grande on piano and Ralph Jones on drums and different with the one recorded for the Mex Orfeón/Dimsa LP/album DML 8381 Bill Haley A Go-Go in 1966 as by Bill Haley and The Comets (aka y Sus Cometas) were we found i.a. Julian Bert on piano; John "Bam Bam" Lane on drums; mariachis Diego Romero & Luis Sanchez playing trumpets.***Also known as "Skokiaan A Go-Go" for the latters.***Skokiaan (Tsaba Tsaba Dance) had been composed in Southern Rhodesia (now, Zimbabwe) by August Macon Msarurgwa (in fact, Musarurwa of the village of the same name in Zwimba Reserve) in the late 1949.***The original version has been released in early 1950 (b/w Karekwangu) and interpreted by the African Dance Band of The Cold Storage Commission of Southern Rhodesia fronted by leader August Macon Msarurgwa.***Reference: Eric Gallo's Gallotone-JIVE GB. 1152.***My special thanks go to Mr. Peter Bowbrick from Great Britain who has provided me with bright help seeing he had known the composer and his sister in his early teens.***This instrumental has been also recorded and released later in 1954 by The Bulawayo Sweet Rhythm Band (in Bulawayo) also fronted by Msarurgwa.***Both cover versions/songs were available on CD's i.a. The Magic Collection (a division of Telesonic Holland), ARC records MEC 949078 in 1983 and also on M next CDES 61 released in France in 2002 under license to San Juan, 2001.***Here 's another history from Goldworthy and Disa: A.M. could only have joined the AFDB of TCSC of SR in 1950 saying that Hugh Tracey also put the tune on tape on 8 June 1951.***This version has been issued (SWP032/HT21) on June 8, 2006 by Sharp Wood. http://www.disa.ukzn.ac.za/samap/content/skokiaan***A sung version also exists in Shona Zezuru.
Karekwangu ? Badly called "In The Mood" !!! What a good joke! http://youtu.be/jhEBzhBLdHc
In The Mood by the Bulawayo Sweet Rhythm(s) Band : http://youtu.be/uI6VqzdelLA
The Jodimars: refugees from/of Bill Haley's Comets : Let's all rock together! ("I'm like a one-eyed cat peepin' in a sea food store!). Do I make a drawn???
CD cover: left to right: Franny Beecher, Dick Richards and Max daffner (drums), Joey D'Ambrosio (tenor sax) and Marshall Lytle (bass). The story began a long time ago (Philadelphia, Pensylvania, 1953) when for the 1st time Bill Haley recorded 2 songs [under the name "Bill Haley And Haley's Comets", ESSEX E-348, March 1954]: Chattaanooga Choo Choo [from Glenn Miller and his orchestra, feat. Tex Beneke on lead vocal, 1940] and Straight Jacket, accompanied by Art Ryerson, Billy Williamson, Johnny Grande, Billy Gussak and, Joey D'Ambrosia, Dick Richards and Marshall Lytle to become the Jodimars at summer 1955 due to internal conflictflicts about their salaries.The latters were of the Decca Sessions, at Pythian Temple, New York City, April 12, 1954 [(We're Gonna) RATC from "Rock Around The Clock", Sonny Dae (a.k.a. Paschal Vennetti) and His Knights, Arcade, Philadelphia, 11/952) and Thirteen Women (And Only One Man In Town) from "Thirteen Women And One Man" by Dickie Thompson and His Orchestra, Herald 424, 1953.*****"Shake, Rattle And Roll" [...Let me tell you something else : I'm like a one-eyed cat peepin' in a sea food store. I like to look at you, dear till ain't no shine no more. All you want to do is shake, rattle and roll, all night long. Shake, rattle and roll in the morning...] from (Big) Joe Turner acc. by Pluma Davis Orchestra including Mickey Baker, Lloyd Troutman, Jesse Stone [himself!] (a.k.a. Charles E. Calhoun), Frank "Heywood" Henry, Wilber DeParis, Connie Kay, Ahmet "Nugetre" Ertegun (Atlantic boss with Herb Abramson) and Jerry Wexler (Atlantic 1026, 1954)***Traduction en français (from the message up above): "Je suis comme un chat borgne jetant un coup d'oeil dans un magasin de fruits de mer" (autrement dit c'est un cunnilingus!)]; in the same way there was a Platters' single called "Bark, Battle and Ball" released May 6, 1955 / B-side of "Only You (And You Alone) [2nd version]", Mercury 70633 and "A.B.C. Boogie" (June 7, 1954).*****"Happy Baby" and "Dim Dim The Lights (I Want Some Atmosphere) [Sep. 21, 1954] from Julius Dixon.*****"Birth Of The Boogie" and "Mambo Rock" (January 5, 1955) and this last session for the recordings of "Two Hound Dogs" and "Razzle-Dazzle" (May 10, 1955).A new story was about to begin...until the split in 1958.***Label shots: Capitol F - 3285, Pathé - Marconi, France, Nov.1955. (Bill Haley "Shake rattle and Roll.)
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Marshall Lytle, Bill Haley and His Comets double bass on (We're gonna) Rock around the clock, Thirteen women, Shake, rattle and roll, A.B.C. boogie, Happy baby, Dim, dim the lights (I want some atmosphere), Birth of the boogie, Mambo rock, Two hound dogs and the last Razzle dazzle. Mr. Lytle will be replaced by Al Rex on bass and db at the September 22, 1955 session (R-o-c-k, Rock-a-beatin' boogie, Burn that candle etc.) until June 18, 1958 at the Pythian Temple in New York City to record i.a. Joey's song, Chiquita Linda/(Un poquito de tu amor), Dinah, Corrine, Corrina, B.B. Betty.
He died last Saturday May, 25, 2013.
http://youtu.be/-mZLpDuuf40 (We're gonna) Rock around the clock
http://youtu.be/8B7xr_EjbzE Shake, rattle and roll
(The) Rockin' Ramrods were a band formed in Boston, MA in 1962 which disbanded in 1967.
Their single was released by Plymouth 2961/62 in 1964.
The Rolling Stones for whom The Beatles wrote I Wanna Be Your Man was their 3d 7" single b/w Stoned/F. 11764, Nov. 1, 1963. (the 2d was withdrawn: Poison Ivy/Fortune Teller-F.11742.)
Group featured Ronn Campisi, bs, vcls; Vin Campisi, rhythm gtr; Lenny Cirelli, lead gtr and Bob Henderson, drums, vcls as (The) Rockin' Ramrods.
In 1965, this band was signed by producer Frank Slay. Two Beatles songs for the price of one !
The Rockin' Ramrods were later known as The Ramrods however not to be confused with another band of the same name from Michigan which recorded the oldest 1949's Stan Jones' Riders in the sky originally recorded as Riders in the sky (Cowboy Legend) by Burl Ives in early 1949 just before Gene Autry; Vaughn Monroe and his orchestra, Peggy Lee and so on in the same year...
One word about Black Sabbath featuring i.a. Ozzy Osbourne, Dec. 3, 1948-present, were consummate masters of singleminded apocalytic heavy metal rock. Dual disc or 2-sided Disc. This song is featured on the best of A-side 14 classic tracks - OZZIFIED #2. Produced by Mark Hudson.
DVD SIDE: All songs in enhanced stereo - Dinner with Ozzy and friends (30 minute feature of Ozzy telling classic stories with his closest friends) - "In My Life" appears as a video.
Issued on EPIC/SONY Music BMG Entertainment.
Catalogue number: 82876 743162.
L'un des noms d'acteur d'Elvis Presley "Deke Rivers" que les Frenchies auraient prononcé "duck" = "canard" ou "deck" = "porche". Hervé (Forneri, de Nice ex Chats Sauvages) choisit une phonétique plus simple qu'il est impossible de massacrer. En réalité, Dick est le diminutif américain de Richard. Malheureusement pour Dick, ce mot prendra plus tard la signification de "b*te"...Néanmoins, il assume et en rigole plus ou moins. Cet EP est sorti en juin 1963 sur Pathé EG 696 (B1). "J'en suis fou" = "Love me do". Dick est accompagné par "Les Gladiators" (des Anglais) sous la direction de Paul Piot.
LET IT BE...NAKED available on iTunes, April 3, 2013. No link to YouTube permitted !
Only the songs officially recorded by THE BEATLES and published by EMI/UK featured on this 2 CD BLACK BOX BB222, marketed and distributed by Weton-Wesgram B.V., Oud-Beijerland, The Netherlands, 2001. A product from UK manufactured in European Union. Re-recorded and live renditions follow:
1-Yesterday by Shirley Bassey (1991) - 3-Let it be by The Copycats (1997) - 4- Strawberry fields forever by Candy Flip (1990) - 7-Ob-la-di, ob-la-da by The Marmalade (1989) - 9-Come together by Ike & Tina Turner (1989) - 10-Hey Jude by The Copycats (1997) - 11-Do you want to know a secret by Billy J. Kramer (1982) - We can work work it out by Tom Jones & Chaka Khan (1981) - 13-A hard day's night by The Swinging Blue Jeans (1988) - 16-All you need is love by The Copycats (1997) ***1-The fool on the hill by Orchestra Golden Nightingale (2001) - 2-Norwegian wood by Inishkea (2000) - 3-Another girl by Richard Romance Orchestra 2001?) - 5- Penny Lane by The Ray Hamilton Orchestra (2000) - 6- And I love her by Gino Marinello (1988) - 7-The long and winding road (1988) - 8-Another girl by The Ray Hamilton Orchestra (2000 - 9-With a little help from my friends by Gino Marinello (1988) - 10-Lucy in the sky with diamonds by G.M. (1988) - 12-Eleanor Rigby by G.M. (1988) -13-Help by The R. H. Orch. (2000) - 15-I should have known better by Moods Orchestra (2000) - Can't buy me love by The R. H. Orch. (1996)
Marie Dionne Warrick became Warwick because of a mistyping. She was born Marie Dionne Warrick in East Orange, New Jersey, December 12, 1940.***Daughter of Chess Records' gospel promotion department head, was a regular performer, playing piano with The Drinkard Singers gospel group, managed by her mother.***She formed The Gospelaires, with sister Dee Dee, cousin Cissy Houston and friend Doris Troy, and they sang in churches throughout New York and New Jersey.***Soulful recorded in Memphis, Tenn. with producer Chips Moman, reached US #11 and US R&B #2. However this album failed to chart in UK.***This album features three Beatles' songs : We Can Work It Out, A Hard Day's Night and Hey Jude.***16 tracks CD : 10 songs + 6 extra tracks) original recordings re-issued by DISKY DCD 5401 DW, France/ The Netherlands, 1994 to become a satellite of the UK major EMI later in the 90s. Original US Scepter Records SPS 573, 1969/1/1. ***Dionne studied at Hart college of Music in Hartford, Conn., before joining Cissie Houston as backing vocalists on records by Garnet Mimms, the Drifters and others. Her first solo disc was Burt Bacharach's haunting "Don't Make Me Over", which reached No. 21 on Scepter Records in 1962 but failed the UK TOP 20 best-selling singles.
Dionne Warwick was Bacharach's Muse for a long time.
Track list as follows: You've lost that lovin' feelin' (5/69) - I'm your puppet (3/69) - The look of love (1969) - Make it easy on yourself (11/63) - People got to be free (5/69) - You're all I need to get by (5/69) - We can work it pout (5/69) - Try to remember/live (1968) - I love you Porgy (Dec. 21, 1965) - Reach out (10/64) - Hurt so bad (1972) - A hard day's night (5/69) - Do right woman-do right man (5/69) - I've been loving you too long (5/69) -People get ready (5/69) - Hey Jude (5/1969.)
Other references: UK: Pye International NPL 28122, NSPL 28122, 1969 - CAN: Scepter Records SPS 573, 1969 (# 16) - GER: Scepter Records SHA-S 401, 1968/SHA-S S 401, 1969 - USA: SRMSPS 573, May, 1969 - FR/BEL: disques vogue CLVLXS 372, 1969 - NZ/S. AFR.: Pye Slp6016, 1969 - IT: Scepter Records SLCS 7007, 1969 - NL: SPS 573.
Produced i.a. by Burt Bacharach (b. May 12, 1928 - present.)
Last Soulful "Plus", Jan. 01, 2004: CD compiled by Rhino (Handmade) : an internet - only purchase disc - Limited Edition (5,000 copies)
***Was Paul thinking of "They gotta quit kickin' my dog around?", a song recorded by The New Christy Minstrels in 1965?***Paul Is Live 24-track CD was released in 1993 and the 21-track DVD Paul Is Live In Concert On The New World Tour 10 years later.***Songs not featured on CD: Let It Be, Yesterday and Hey Jude.***Songs not featured on DVD : Robbie's Bit (Thanks Chet), My Love + welcome to soundcheck including Hotel In Benidorm, I Wanna Be Your Man and A Fine Day.***CD Abbey Road, 1987.***Photo: Ian MacMillan, 1969.***August 8th, 1969 : the photo of the group on the zebra crossing outside Abbey Road studios was taken at 10:00 am for use on the sleeve for forthcoming Abbey Road.***Abbey Road topped all over and beyond the world : 4th Oct. & 1st Nov. in UK & US for 11 weeks.***11th March 1970 : Abbey Road wins Best Engineered Recording Of 1969 at the 12th annual Grammy awards.***31st Oct. 1987 : CD Abbey Road reaches UK #30.***20th Jan. 1988 : The Beatles are inducted into the Rock'N'Roll Hall Of Fame at the 3rd annual dinner at the Waldorf Astoria, New York but Paul McCartney doesn't show, citing business differences with George Harrison and Ringo Starr.
The Beatles had symbolized optimism, their disintegration symbolized optimism fading. In the end the Beatles left us with not just a collection of fine songs (recorded by countless other artists as well as by themselves), but also with then reminder of a spoiled dream; they left us with the most nostalgic music in the history of rock. This picture cover is the most beautiful ever made in Western Europe (Italy, PARLOPHONE DP 570, Aug. 30, 1968). Hey Jude topped the UK chart #1 (17/09), #1 (24/09), #2 (26/09). In October, this single hits the UK chart #4, #3 & #2 while Mary Hopkin topped on 12, 19 & 26/09/1968. In November, the last chart positions in 1968 were #10 & #11. UK reference: Apple 1, Aug. 30, 1968. AOT, #1 in UK, Belgium, France and so on...
German ALPHA CENTAURI, FOR 14025 [P & C 2007 Digimode Ent. Ltd.***Issued under license from Elm Street Media Limited], 9 August 2007.***Issued in the UK on 29/10/2007.***Audio: Dolby (C) 2.0 stereo.***Sounds pretty good!***This DVD features a 36 minutes gig performed live with "His Comets" (mostly British musicians) before Her Majesty Queen Elizabeth II at The Royal Variety Performance, Birmingham Odeon Theatre on Monday, 26/11/1979, guesting Mal Gray (ex The Wild Angels' lead singer from 1967 to 1971) on Chuck Berry's Promised Land and (The)Saints Rock & Roll (Public Domain/arr.: Black-Purvis-Haley-Gabler).
10 May 1954 & 28 May 1955 (DECCA 9-29124) - January 1960: on the LP Bill Haley and His Comets (WB WS 1378) ["sans sax" version] - México, Orfeón 1429, 1964; (DIMSA DML 8381, 1966, "clapping hands" version) [CD The Magic Collection/Telesonic Holland/ARC records MEC 949078, UK, 1983] January 1966: Bill Haley y sus Cometas (song aka Al Compás Del Reloj not to be confounded with another Bill's song dating from 1961 - Sonet, Sweden, September 1968 (Biggest Hits (re-recorded), Grand Prix GP-9945/UK pickwick records 1968 and March 1976 - re-recorded again (and only released round two years ago) as the opening theme from the T.V. series Happy Days in 1974 and 1975.***RATC re-charts in UK at #12 and in US at #39, both in April 1974.
RATC Danny Cedrone's solo guitar was inspired by Les Paul's guitar playing on "How High The Noon" [Capitol 1451, March/April 1951, US R&B #2, US pop #1 (for 9 weeks] identical to the one Cedrone played on "Rock The Joint" in 1952.***Celentano recorded a medley of Frankie Laine's "A Woman In Love" mixed with an exerpt of RATC which reached the Italian chart at #10 in 1977.***German Brunswick single was released in 1955 [#1 on June 30, 1956 for 4 weeks].***The RATC cover song featured on the double LP The Great Rock'N'Roll Swindle was sung by Ten Pole/Tenpole Tudor [The Sex Pistols backing] (Virgin 300 279-240, 1979). Also available on cassette 500 279-422.***Freddy Cannon failed to chart in 1968.***The Wild Angels, LP Live At The Revolution, B&C BCM 101, UK, 1970.***Also recorded by German-English band The Air Mail (EUROPA E486, 1972), The Hiltonaires (Sonic 9059, Germany, 1972; Rock House, cond. by Allan Caddy Orchestra (LP Rockin' With Rock House, Pronit SXL 1021), Poland, 1974; The Jokers (Arcade LP 105, Belgium, 1966); The Flying Saucers, Japanese CBS, 1977, The Evans Sisters, Canada, 1955, Marino Marini e il suo sestetto, Durium, Italy, June 1957; Vic Sabrino with Red Perksey and his orchestra, Pacific, Australia, 1955; Ricky King (LP Rock'n'Roll Party, EPIC 26158 [gtr instr.]), Germany, 1984; Burt Blanca (alias Norbert Blancke): at least four times (1965, 1970, 1974/live, 1994); Belgian group Telex comprising RTBF radio dj Marc Moulin, Dan Lacksman... RKM, 1979; Phil Decca (!), mid-50s or later...
Cette compilation a été éditée par PolyGram Distribution France en 1993 (conception compilation: Clément Boulais - pochette: Eric Fettweis / Spectre (avec le soutien de SKYROCK) dont 30 reprises des Beatles et la 31ième est une version de Imagine par Zucchero with Randy Crawford. En voici la track list:
Leo Sayer: Let it be, EMI/Chrysalis, 1975 - José Feliciano: Help!, RCA Victor, 1965 - The Carpenters: Ticket to ride (version 1972) A&M, 1972 - Joe Cocker: With a little help from my friends, Regal Zonophone, 1968 - Ray Charles: Eleanor Rigby, ABC Records, 1968 - Chér: The long and winding road, MCA Records, 1973 - The Jeff Healey Band: While my guitar gently weeps, Arista Records, 1990 - Stevie Wonder: We can work it out, Motown, 1970 - Otis Redding: Day Tripper, ATLANTIC, 1966 - Elton John with John Lennon: Lucy in the sky with diamonds, MCA, 1974 - Ike & Tina Turner: Get back, United Artists Records, 1973 - Jimi Hendrix: Sgt. Pepper's lonely hearts club band, Polydor (Europe), 1978 - Spooky Tooth: I'm the walrus, Island, 1975 - The Feelies: Everybody's got something to hide (Except me and my monkey), STIFF AMERICA, 1980 - Siouxie and The Banshees: Helter skelter, Polydor UK, 1978 - The Mission: Tomorrow never knows, MERCURY records, 1987. End of CD 1.
Joe Cocker: Something, Regal Zonophone, 1969 - Esther Phillips: And I love him, ATLANTIC, 1965 - Ray Charles: Yesterday, ABC Records / Tangerine, 1967 - The Temptations: Hey Jude, Motown, 1969- Arthur Conley: Ob la di, ob la da, ATCO RECORDS, 1968 - Nina Simone: Here comes the sun, RCA Victor, 1971 - The Overlanders: Michelle, Pye, 1966 - Todd Rungren: Strawberry fields forever, Bearsville Records, 1976 - Aretha Franklin: Eleanor Rigby, Atlantic, 1969 - Joe Cocker: She came in through the bathroom window, Regal Zonophone, 1970 - Ike & Tina Turner: Come Together, Liberty, 1970 - Elton John: Get back, DJM, 1971 - Pat Benatar: Helter skelter, EMI/Chrysalis, 1981 - Coroner: I want you (She's so heavy), Noise, 1991.
Les labels mentionnés sont ceux d'époque dont certains furent achetés plus tard dont certain ont changé de nom par d'autres firmes de disques. Il faut noter aussi que quelques chansons de cette compilation ne sont pas toujours identiques aux originaux.