60s / Beat / Folk etc - 1960-luku
Result of your query: 951 products
| VA: - Dutch Rock And Roll - Collector Items 1 |
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Rarity Records 1992 | CD | 11.90 € |
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| VA: - Early Girls Vol. 5 Girl Group Heaven with 28 hard-to-find US chart hits from the golden age of american rock and roll |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Eastern PA Rock - Part One (1961-1966) Eastern Pennsylvania Rock & Roll 1961-1966. 32 tracks |
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Arf Arf 1998 | CD | 18.00 € |
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| VA: - Echoes Of Buddy Holly |
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Classics Records | CD | 15.00 € |
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| VA: - Ed Sullivan's Rock'n'Roll Classics - Legends Of Rock 19 tracks - 65 min |
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Eagle Vision 2004 | DVD | 10.00 € |
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| VA: - Ed Sullivan's Rock'n'Roll Classics - Rockin' The 60s 16 tracks- apprx 69 min Beatles / Jefferson Airplane / Doors / Santana / Beach Boys / Janis Joplin / Mamas & The Papas / Steppenwolf etc |
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Rajon 2004 | DVD | 9.00 € |
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| VA: - Ed Sullivan's Rock'n'Roll Classics Gone Too Soon Groovy Soun 43 min |
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Eagle Vision 2006 | DVD | 9.00 € |
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| VA: - Embassy Records Story - Rock And Roll Vol. 1 30 tracks british R&R from the Embassy Records |
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Pink N Black Records 2008 | CD | 15.00 € |
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| VA: - Eye for The Ladies 29 transitional girl group sounds by The Rosettes, Jan Bradley, Jo-An Baker, The Irresistables, Marie & The Deccors, Clydie King and many more |
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Titanic Records | CD | 18.00 € |
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| VA: - Fairytales Can Come True UK Popsike from the late 60s. Pressed on 180g vinyl. |
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Psychic Circle | LP | 15.00 € |
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| VA: - Feeling High - the Psychedelic Sound Of Memphis Memphis is well known as the birthplace of the blues, the fount of southern soul and the locale that begat rock’n’roll. My colleagues and I have been digging deep in various Memphian vaults over the past decade, but the focus up until now has largely been soul and R&B. Lest we forget, the city boasted a healthy rock scene well into the 1960s and 1970s, but few retrospectives have documented Memphis music in the psychedelic era when, as a major recording centre, it was the nexus not just for local freaks, but those from neighbouring Arkansas, Mississippi and beyond. Big Beat’s “Feeling High – The Psychedelic Sound Of Memphis” shines a welcome light on this long-neglected area, focusing on the years 1967-1969 and principally on the work of two renowned Memphis mavericks. With a decades-long career as an iconoclastic musical polymath, Jim Dickinson needs little introduction. However, his rarely-discussed apprenticeship as a producer-engineer at Ardent Studios in the late 1960s made Dickinson responsible for many of the wildest and wackiest sessions ever held in Memphis. Some excerpts slipped out at the time on obscure singles on Stax and elsewhere, such as the absurd version of ‘For Your Love’ by Honey Jug. “Whenever anybody came into Ardent, it was obvious who was going to do the crazy stuff, ”Dickinson recounted to me several years ago. The bands he produced there include the pyjama-wearing Kinks-ish Wallabys of Jackson, Mississippi and psychedelic hillbillies Knowbody Else, later to become famous as Black Oak Arkansas. In contrast, James Parks was a young wet-behind-the-ears punk who took over the control room at uncle Stan Kesler’s Sounds Of Memphis studio in 1968, bringing in his freak friends from counterculture hotspots such as the Bitter Lemon. Parks’ production work included Changin’ Tymes, Mother Roses and Triple X, featuring future country star Gus Hardin, as well as crazoid studio-only experiments such as ‘Rubber Rapper’ and ‘Shoo Shoo Shoo Fly’. There is a palpable air of chaos about much of what Parks produced, which explains why he was unable to place a lot of it at the time – but in hindsight it’s a remarkable cache of work. Dickinson and Parks represent the outer edge of the Memphis music scene in those years. While the vast majority of tracks on “Feeling High” have not been issued before, their inspired lunacy and a shared willingness to push the envelope make the recorded evidence very special indeed. Local notables such as the Poor Little Rich Kids, 1st Century and Goatdancers share the tracklisting, the sound quality is excellent, and the detailed liner notes spill the beans on this fascinating tributary of the city’s musical legacy. File alongside our “Thank You Friends – The Ardent Records Story” (CDWIK2 273) as another instalment of delicious Memphis madness. By Alec Palao (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Fender - The Golden Age 1950-1970 Leo Fender’s contribution to the sound of modern music is immeasurable. The pop music explosion of the 1950s and 60s would not have happened without the electric guitar and, perhaps more importantly, the electric bass.” So begins Martin Kelly’s notes for the CD of his book about Fender guitars. A book about music of course lacks the medium that it describes, so Martin came to Ace with a proposal to produce an accompanying CD that would make his pages even more vibrant. We were more than happy to celebrate the great sounds that Leo Fender helped conceive through his inspirational instruments. As overseer of this CD, I was out of my depth in guitar minutiae, but was able to assist on the technical end and enjoyed a sharp learning curve in great guitar sounds. I thoroughly dug those ringing twangs of Bob Wills and Tennessee Ernie Ford. With Ike Turner and Otis Rush I was in more familiar music territory. The more poppy Crickets’ track ‘I’m Looking For Someone To Love’ was an inspired choice by Martin. It was the flip to the original ‘That’ll Be The Day’ which I’d managed to miss hearing for 55 years. ‘Suzie Q’ and the original ‘Folsom Prison Blues’ are better known numbers; listening to them in this guitar-based context gives them new relevance. Guitar-led instrumentals were a must for the compilation and it is wonderful to relive the splendour of the Ventures’ signature tune and to hear the mighty Shadows at their most melodic. Breakaway Shadow Jet Harris then moves the spotlight to the renowned Fender bass on ‘Besame Mucho’. Booker T’s ‘Green Onions’ and Dick Dale’s ‘Miserlou’ are at the pinnacle of their genres and Jack Nitzche’s ‘Lonely Surfer’ shows how an inspired producer can use the guitar within a bigger production. It is then back to basics with the Kingsmen’s ‘Louie Louie’, followed by Ronnie Hawkins’ ice-cold take on ‘Who Do You Love’. The Beach Boys and Bobby Fuller Four then demonstrate how to play straight down the middle pop: no frills but pure class. Then representing the awakening of British youth to the American dream, we have the Yardbirds’ take on Billy Boy Arnold’s ‘I Ain’t Got You’, a song that failed to score for its creator but became a belated blues classic once Eric Clapton had stamped his seal of approval on it. Speaking of the blues, ‘Rock Me Baby’ by Otis Redding reminds us all that the world lost a brilliant blues singer, as well as the ultimate soul man, when his plane crashed in December 1967. By the time of this recording, Lewis Steinberg had been replaced by Duck Dunn on Fender Precision Bass duties. As reflected by the Nashville-recorded Fender jingles, country music was always dominated by the guitar sounds of Fender. Buck Owens & the Buckaroos’ ‘Buckaroo’ features not only Fender electric and bass but acoustic too. The switch to the soul perfection of King Curtis’ ‘Memphis Soul Stew’ is surprisingly seamless and that city’s home-grown Willie Mitchell sound on ‘Soul Serenade’ shows how long-lived top flight R&B was down there. It is then just a year’s jump, but a small world away, to 1969 and the Velvet Underground’s 12-string Fenders. That is neatly followed by ex-Yardbird Jeff Beck on his Stratocaster and Stone-to-be Ron Wood playing a Telecaster bass; all in the admirable cause of helping Donovan’s ‘Goo Goo Barabajagal’ make musical if not literal sense. I still may not be able to pick a Fender out in a crowd, but I now know how much listening pleasure I have derived from them. Ady Croasdell (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Fort Worth Teen Scene 1964-67 Vol 1 24 biisiä Texas garage Rock And Rollia mm Cynics, Jades, Larry & Blue Notes, Wyld, Tracers jne |
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Norton Records 2004 | CD | 17.00 € |
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| VA: - Fort Worth Teen Scene 1964-67 Vol. 2 sarjan toinen osa… samaa meininkiä mm. Visions, Bards, Jack & The Ripeprs, Barons, Jades jne |
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Norton Records 2004 | CD | 17.00 € |
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| VA: - Fort Worth Teen Scene 1964-67 Vol. 3 kuin kaksi edellistäkin.. mm. Gentlemen, Chocolate Moose, Roots, Trycerz, Jinx jne |
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Norton Records 2004 | CD | 17.00 € |
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| VA: - Fort Worth Teen Scene! Volume One Cynics, Jades, Larry & Blue Notes, Wyld, Tracers |
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Norton Records 2004 | LP | 13.00 € |
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| VA: - Fort Worth Teen Scene! Volume Two Visions, Jades, Bards, Jack & The Rippers, Barons jne. |
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Norton Records 2004 | LP | 13.00 € |
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| VA: - Friday At The Hideout - Boss Detroit Garage 1964-67 Four Of Us, Underdogs, Pleasure Seekers, Fugitives.. |
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Norton Records 2001 | CD | 17.00 € |
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| VA: - Frolic Diner Part 1 31 tracks |
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Romulan Records | CD | 18.00 € |
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| VA: - Garage Beat ' 66 Vol. 1 Like What, Me Worry ? Check out the artists and song titles on this disc. They'll serve as a once 'n' final warning for anyone thinkin' they've just scored some nostalgic good vibrations from the feelin' groovy sixties (Congratulations, you're about to buy the wrong collection, bub). No, what we have here is the untold, bad-attitude underbelly of that decade's rock 'n' revolution; a teenage nation that churned out thousands of raging garage records that rarely escaped Hometown U.S.A. obscurity. These are the 45 rpm singles too extreme for their time… |
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Sundazed Music 2004 | CD | 19.00 € |
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| VA: - Garage Punk Unknowns Part 1 31 tracks |
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Crypt Records | CD | 18.00 € |
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| VA: - Garage Punk Unknowns Vol. 8 18 rockin' mid-60s punk thumpers! |
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Crypt Records 1995 | LP | 17.00 € |
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| VA: - Garage, Beat and Punk Rock 20 tracks |
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Ace Records 2005 | CD | 10.00 € |
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| VA: - Garagemental Cuca Records Story Vol. 2. 26 tracks sixties garage punk rockers |
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Ace Records 2006 | CD | 17.00 € |
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| VA: - Get A Board - 16 Surf And Hot Rod Ho-Downs! 29 tracks |
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Satan Records | CD | 18.00 € |
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| VA: - Get Off My Back ! - Unissued Sixties Garage Acetates Vol. 1 these originally unreleased recordings present a treasure trove of garage killers! All selections were recorded 1964-67 but none were released at the time. |
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Norton Records 2009 | LP | 13.00 € |
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| VA: - Get Ready To Fly 26 mindbending late 60s tracks produced by Norman Petty You’d better fasten your seat belts because once this flight takes off, you’ll never come down! So you’re wondering why Norman Petty, producer extraordinaire and champion of rockabilly music in the 1950s has his name on a “psychedelic” compilation? The simple answer is that although Petty's main interest and focus was on music that may have been a little tamer, he still had a hand in just about every genre possible. If you were lucky enough to take the trek to Petty’s Clovis, New Mexico studio, Norman would make you sound… GREAT! He took his incredible production, arranging and editing skills and transferred them with amazing precision into the psychedelic realm. With bands like the Frantics, Hooterville Trolley, Group Axis, Butter Rebellion, Intricate Blend, Apple-Glass Cyndrom and The Cords, how can you go wrong? Get Ready To Fly isn’t just a cameo collection of psychedelic tunes with Petty’s production as the common thread. And although the term “pop-psych” spans a pretty wide realm, this particular collection features a mind-boggling selection of 26 phenomenally-crafted songs with a bit of a hard-edged fuzz appeal. Get Ready To Fly truly doesn’t have a bad cut on it, and the overall quality of the selections is well… unbelievable! Alec Palao has done it again, culling master tapes from another darkened vault and turning them into a highly polished audio eargasm, equipped with the requisite fuzz guitars, sitars, backwards tracking and haunting vocals required for a 73 minute flight like this. With full access to Petty's archives, the candidate list for this volume was immense, the net result being that about two thirds of the entire collection has never appeared on any compilation before. And about half of those were NEVER even released, just collecting dust in the Petty vaults for almost 40 years. Get Ready To Fly has something for every lover of late 1960s psychedelic music, whether you're a grizzled collector or a novice, so don’t hesitate for a second to pick this one up. It’s been a long time since a collection this solid has been released. By Ben Chaput (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Ghouls Night Out Vol. 2 14 tracks |
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Simpletone Records | CD | 17.00 € |
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| VA: - Girls In The Garage Part 3 23 tracks |
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Romulan Records | CD | 18.00 € |
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| VA: - Girls In The Garage Vol. 12 14 charming french swinging ladies |
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Saperlipotte Records | LP | 18.00 € |
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| VA: - Girls With Guitars 24 tracks 60s girlgroups |
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Ace Records 2004 | CD | 17.00 € |
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| VA: - Glitter And Gold -Words And Music by Barry Mann And Cynthia a hand-picked collection of the very best work by Barry Mann and Cynthia Weil, one of the most revered and succesful songwriting partnerships of the modern era |
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Ace Records 2009 | CD | 18.00 € |
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| VA: - GO !! GOING !! GONE !! 31 tracks various australian rock / beat / rock and roll from the 60s |
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Canetoad Records | CD | 18.00 € |
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| VA: - Go Girls with the Girls From Red Bird 30 tracks original Red Bird, Blue Cat, Tiger and Daisy Recordings |
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Snapper 2001 | CD | 12.00 € |
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| VA: - God Less America counrty & western for all you sinners & surfers 1955-1966 |
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Crypt Records | LP | 15.00 € |
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| VA: - Goffin & King - A Gerry Goffin & Carole King Song Collection 26 tracks |
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Ace Records 2007 | CD | 17.00 € |
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| VA: - Golden Age Of American Popular Music - The Folk Hits 28 tracks |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Good Morning Vietnam original motion picture soundtrack |
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A&M Records | CD | 12.00 € |
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| VA: - Got The Go!!! Vol. 2 60s soul, garage, rock and roll |
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La Classe Internationale | LP | 18.00 € |
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| VA: - Great British Skiffle Vol. 2 2CD |
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Smith & Co 2008 | CD | 12.00 € |
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| VA: - Great British Skiffle Vol. 3 2CD |
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Smith & Co 2009 | CD | 12.00 € |
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| VA: - Great British Skiffle Vol. 4 2CD |
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Smith & Co 2010 | CD | 12.00 € |
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| VA: - GS I Love You: Japanese Garage Bands Proof that the Japanese have always excelled at anything they put their hand to, including interpreting Western rock, comes with this new Big Beat collection GS I Love You, packed with some of the most impressive beat and garage sounds you'll hear from any country. GS refers to Group Sounds, the name the Japanese media gave to the local explosion of bands circa 1967. Japanese rock really got going with the instrumental eleki boom of 1964-1965, but obviously the Beatles and other British groups were as popular in the Far East as they were anywhere else in the world, and many of them, including the Fabs, helped inspire the Group Sounds boom by visiting Japan. Amongst the tunes covered (phonetically!) on GS I Love You are frantic versions of the Mojo's Everything's Alright, Arthur Brown's Fire, and an unintentionally hilarious mangling of Long Tall Sally by the Out Cast, which has to be heard to be believed.The casual listener will also be impressed by the high standard of production and performance in many of the original tunes included. While Japanese-language vocals can occasionally take a little getting used to, the instrumental backing tracks are consistently energetic and exciting, and fans of instrumental rock are in for a treat, as the guitar playing on many cuts is amongst the wildest and most manic of the era. for an example look no further than top GS combo the Spiders' rocking treatment of Cliff's Dynamite, which puts the Shads to shame, or their refreshing take on that old warhorse Wipeout.Elsewhere, the guitar work features plenty of fast 'n' furious fuzz and whammy bar, the legend being that, used to cheap home-manufactured instruments with a high-neck action, the skill of the average Japanese guitarist was doubled or tripled in mind-boggling fashion when slinkier Western equivalents were imported. As a bonus, most solos, even on the ballads, come with bloodcurdling screams, enthusiastic yells and shouts of such stock GS phrases as "Let's Go!!" and "Awwright Boys!!"The cynics out there may regard GS I Love You as a compilation of limited appeal, but in fact quite the opposite is true. It will bring a tap to the foot and a smile to the face of any open-minded student of 1960s pop. In researching this project, I even visited Japan (actually I was there on tour as a member of the Sneetches, but still managed to blow a small fortune on GS records). Original pressings of GS singles and albums by such heavyweights of the scene as the Golden Cups, Mops, Out Cast and Spiders can sell for hundreds of pounds on the collectors' circuit, but here's a chance to hear the 'A' selection of the best Group Sounds, at just a fraction of that cost.Trivia note: whilst there have been several GS compilations over recent years, this is the first legally-licensed one outside of Japan. Ace Records |
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Ace Records 1996 | CD | 17.00 € |
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| VA: - Guitar & Beat Vol. 2 24 tracks beat & instrumentals |
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Triola Records 1991 | CD | 15.00 € |
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| VA: - Guitar & Beat Vol. 3 21 tracks |
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Triola Records 1993 | CD | 15.00 € |
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| VA: - Guitar & Beat Vol. 5 great compilation of swedish beat & instrumentals |
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Triola Records 2003 | CD | 15.00 € |
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| VA: - Hammond Heroes - 60s R&B Heroes |
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Bear Family 2005 | CD | 17.00 € |
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| VA: - Have You Seen My Baby ? - Ember Sixties Pop Vol. 4 The celebration of the Sixties Pop side of Ember Records continues with the years 1964 to 1966. Have You Seen My Baby? is the fourth instalment of the series following on from Hello My Angel: Ember Sixties Pop Volume 3 (FVCD042). As well as singles, the label started releasing pop albums in this period and we have concentrated on selections from three fine LPs. The WASHINGTON DC’S gained their only album appearance by supplementing the two sides that the Dave Clark Five had cut for Ember. The LP was titled Dave Clark Five And The Washington DC’s, issued in August 1965. Although Dave Clark has since wisely scooped up his own back catalogue, six excellent performances by the Washington DC’s are reissued here for the first time. RAY SINGER’s January 1966 long-player For Those In Love gathered up five sides from his first three 45s. The third single I’m The Richest Man Alive / Pretty Little Ramblin’ Rose is included here together with four album-only tracks and Over The Weekend from a 1964 EP. A notable bonus is Ray’s previously unreleased version of The Girl Can’t Help It. The very next Ember album issued after Ray Singer was MARCUS TRO’s Introducing Marcus Tro. Six LP-only tracks, two of which showcase Marcus’s songwriting talents, get their first digital release on this compilation. CHAD & JEREMY continued their hit run in America and two of their biggest Willow Weep For Me and If I Loved You are represented in their mono single format. GRANT TRACY had recorded the Mark Wirtz written and produced numbers on this CD for Ember in 1965 but they were not issued at the time. The original albums are highly collectable (mint copies of Washington DC’s are valued at £30, and both Ray Singer and Marcus Tro at £40 each). Subsequent volumes will carry the story through to the end of the sixties, with further sought-after tracks included. The series is complemented by compilations devoted to beat and rock from the Ember vaults. Recordings are mastered from tape, where available, and booklets illustrated with sleeve and label shots. |
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Fantastic Voyage 2010 | CD | 9.00 € |
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| VA: - Hei Vain My Only One - Westerlund & Emi Years Part One 2CD 2CD = 44 tracks |
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Emi Finland 2007 | CD | 12.00 € |
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| VA: - Hey, Beach Girls ! Female Surf'n' Drag 1961-1966 To bridge the gap between volumes of “Where The Girls Are”, my oppo Malcolm Baumgart and I have taken Stephen J McParland’s recent book Bikinis, Black Denim & Bitchen Sounds* as our inspiration to concoct this fun new diversion to tide girl group buffs over. It’ll plug a few gaps in the collections of aficionados of surf, drag and hot rod music too, no doubt. The influence of California’s Beach Boys permeates “Hey, Beach Girls!” as it did the world of music in 1963. Brian Wilson and his cohorts had not long vacated the Top 3 with ‘Surfin’ USA’ when an opportunist East Coast record company exec with his eye on the latest pop fads dreamed up a plan to grab a piece of the action. Foisting the Surfer Girls moniker on a new teenage duo, he ushered them into the studio to parlay ‘Draggin’ Wagon’ to the very same tune. Meanwhile, over in Paris, France’s top girl group Les Gam’s flipped over the same Beach Boys platter to give ‘Shut Down’ their distinctive yé-yé treatment. Those who are familiar with the Big Beat comp “Board Boogie: Surf ‘n’ Twang From Down Under” (CDWIKD 211) will be aware that the craze for surf music spread as far as Australia, where Little Pattie & the Statesmen stormed the charts with ‘He’s My Blonde-Headed, Stompie Wompie, Real Gone Surfer Guy’ and ‘Drag Race Johnny’. Not much surfing went on in Detroit, but the landlocked Supremes dipped their toes in the water with ‘Surfer Boy’, one of a brace of numbers they got to chirp in the movie Beach Ball. Likewise in Philadelphia, epicentre of dance craze culture, where the Orlons and Dee Dee Sharp took a break from demonstrating the watusi and the mashed potato to cut ‘Surfin’’ and ‘Riding The Waves’ for the rare “Everybody’s Goin’ Surfin’” LP, both of which make their CD debut here. Further rarities include hideously obscure and collectable decks from the Westwoods, the Fleetwoods, the Beach Girls, Ellie Gee (short for Greenwich, natch) & the Jets, the Surfettes and Andrea Carroll, all of which are also new to CD. Among the other artists featured are Donna Loren with two cuts from her “Beach Blanket Bingo” album, Susan Lynne and Carol Connors – not forgetting, of course, Ginger, Diane and Brian Wilson’s wife Marilyn, otherwise known as the Honeys, without whom no surfing girls compilation would be complete. *For more gen on the book, email the author at cmusic@hotkey.net.au or visit: www.garyusher.com/cmusic By Mick Patrick (ACE Records) |
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Ace Records 2010 | CD | 18.00 € |
