Patience And Prudence – Best Of‏

1 - record

Tonight You Belong To Me
A Smile And A Ribbon
Gonna Get Along Without You Now
The Money Tree
We Can’t Sing Rhythm And Blues
Dreamer’s Bay
You Tattletale
Very Nice Is Bali Bali
Over Here
Heavenly Angel
Little Wheel
All I Do Is Dream Of You
Your Careless Love
Tom Thumb’s Tune
Golly Oh Gee
Should I
Whisper Whisper
Tell Me
Didn’t I
Apples On The Lilac Tree
Tonight You Belong To Me (Take 2)
How Can I Tell Him

Johnny Horton

Don Williams‏

1 - record

Don Williams – 1974 – Don Williams – Volume III:

Don Williams – 2012 – And So It Goes:
Don Williams – 2000 – Anthology – Vol I:
Don Williams – 2000 – Anthology – Vol II:
Don Williams – 2006 – Country Hit Parade:
Don Williams – 2011 – New Moves-Traces:
Don Williams – 2014 – Reflections:

Sharing 2 J. Frank Wilson & The Cavaliers

J. Frank Wilson & The Cavaliers – The Definitive Collection – Last Kiss
01 – Last Kiss
02 – Tell Laura I Love Her
03 – Sea of Love
04 – Young Love
05 – A Teenager In Love
06 – Day Before Our Wedding
07 – Over the Mountain
08 – Kiss and Run
09 – Hey Little One
10 – Summertime
11 – Too Many Girls
12 – He’ll Learn About Her
13 – Tears of Happiness
14 – A Kiss
15 – Hopeless Love
16 – Wine Wine Wine
17 – Funky Mama
18 – I Saw Her Stainding There
19 – If You Knew Me
20 – Not This Time
21 – Bound to Happen
22 – Speak to Me
23 – Speak to Me (out take)
24 – Day Before Our Wedding (Alt)
25 – Last Kiss (Alt)
Bonus – Hey Little One (Alt)
Bonus – Summertime (Alt)


Blasts From The Past Volume 1368

1. Rick And Donna / A.B.C. 2:13
2. Everly Brothers / Bowling Green 2:44
3. Al Hibbler / He [Mono] 3:12
4. Unknown Artist / Track 31 1:58
5. Bobby Bond / Livin Doll 2:00
6. LivingJustForYou-FourSeasons-’65-PhilipsLP200164 2:52
7. Vongayles – Loneliness / USA 2:34
8. Brian Hyland / Lonely Teardrops 3:04
9. Shirelles / lonesome native girl 1:58
10. Shirelles / long day short night 2:26
11. Long Tall Girl – The Carnations 2:10
12. Unknown Artist / Track 18 2:42
13. Don Feger / Look Out Baby 1:50
14. LookWhatYou’reDoin’Baby-Titans-1957-Vita 3:16
15. The Temptations / Look What You Started 4:35
16. LoopDeLoopDeLoop-ArthurLeeMaye&Crowns-1955-RPM 2:25
17. The Bonnevilles-Lorraine 2:33
18. Encounters / Lorraine 2:29
19. Jackie Dallas / Lorraine 2:12
20. The Four Seasons / Lost Lullabye 2:39
21. Louise-WillieHoward&Chordells-1959-Mascot 2:20
22. Fonda Wallace / Lou Lou Knows 2:14
23. Golden Horizon / Love Is The Only Answer 3:23
24. LoveMeTrue-BobbyLester&Moonlighters-1954-Checker(U) 2:26
25. Austin Taylor / Lovin’ Hands 2:31
26. Various Artists / Temptations – Mad at love 2:31
27. Group Therapy / Magic In The Air 2:23
28. The Temptations / Magic 5:17
29. MaltInTheSky-LittleBobbyEmmons&Crosstones-’80-Bone002 1:39
30. Unknown Artist / Track 7 2:24


Blasts From The Past Volume 1369

1. Celestrals / Mans best friend US Alpha 45 2:30
2. The Four Seasons / Marcie 2:24
3. The Bachelors / Marie 2:17
4. Mary’sLittleLamb-Ricardos-1958-Star-X 2:09
5. The Good Ship Lollipop / Maxwell’s Silver Hammer (1969) 3:22
6. Jane Morgan / May Be 2:12
7. The Clingers / Mean It 2:01
8. The Cavaliers / Messed Up 2:13
9. Devonnes (poss orig) / B (wol) Im gonna pick up my t 3:31
10. Misfits / Midnight Star 2:09
11. Various Artists / Blue notes – Mighty low 2:17
12. Definitive Rock Chorale / In The Mirrors Of Your Mind 2:47
13. Ella Mae Morse / Mister Memory Maker 2:19
14. Baltineers / Moments Like This 2:58
15. Creations / Mommy And Daddy 2:15
16. Unknown Artist / Track 30 2:20
17. Challengers / Moon send my baby US Kix Inte 2:31
18. Jades (boot re) / Mothers only daughter US Ree 3:06
19. MountainHigh-FourSeasons-’64-PhilipsPHM200124 2:43
20. Gloria Gunter (& group) / Move On Out 2:01
21. The Coachmen / Mr. Moon 3:09
22. Cues / Much Obliged (Bear Family LP 15309 1988) 2:41
23. Jack Ross / Mumbles 2:22
24. Tony Burrows of White Plains / My Baby Loves Lovin’ 2:45
25. Bruce Cloud / My Book 2:23
26. Plum Run / Medley My Boy Lollipop & Lollipop 2:12
27. Shells / My Cherie 2:49
28. Cleopatra / My Darling 2:28
29. Empires / My First Discovery 2:41
30. Charles McCullough / Silks / My Girl 3:21
31. MyHeartBelongsToOnlyYou-SteveGibson&RedCaps-1960-Rose 2:44


Blasts From The Past Volume 1370

1. JustToBeInLove-HavenKnights-1958-Atlas 2:17
2. MyHeart’sDesire-Crescendos-1960-MusicCity 2:28
3. Fabulous Pearls / My Heart’s Desire 2:57
4. The Temptations / My Kind Of Woman 4:12
5. MyLittleHoney-Echoes-1957-Combo 2:48
7. Velours / My Love Come Back 2:13
8. The Temptations / My Love Is True (Truly For You) 6:13
9. MyPrayer-FourSeasons-’65-PhilipsLP200164 3:06
10. The Rainbows / My Ringo (1964) 2:10
11. The Four Seasons / My Sugar 2:27
12. Annie Corrado / My World 2:34
13. The Temptations / Standing On The Top [Feat. Rick James] (Part 1) 4:26
15. The Four Seasons / Never On A Sunday 2:50
16. The Riot Squad / Nevertheless (I Love You) 2:00
17. NewLove-Baltineers-1956-Teenage 2:22
18. The Dixiebelles / New York Town 2:31
19. Ray Doggett / No Doubt About It 2:47
20. Paddy, Klaus & Gibson / No Good Without You Baby 2:14
21. Jimmy & James & The Tempos / No Kisses Have I 2:19
22. Johnny Flamingo / No More Doggin’ 1:52
23. The Four Lads / No Not Much 3:21
24. Larks / No Other Girl 3:05
25. Carl Dobkins Jr / Open Up Your Arms 2:26
26. Herbie Goins & The Night / Timers – No 1 in your heart U 2:48
27. Cadillacs / Oh! Whatcha Do 2:48
28. Tangiers / Oh, Baby 1:58


Blasts From The Past Volume 1371

1. Something Young / Oh, Don’t Come Crying Back To Me 1:58
2. Tokens / Oh Kathy 2:33
3. Cues / Oh My Darlin’ (Capitol 3245 1955) 2:37
4. Shirelles / oh no not my baby 2:34
5. VA_DooWop / Oh Rosemarie__The Enchantments 2:11
6. Joannie King / Ok Doll It’s A Deal 2:01
7. Chargers / Old MacDonald 2:19
8. OldMacDonald-Orlandos-1957-Cindy 2:59
9. GEMS – OL’ MAN RIVER – DREXEL 904, 45 RPM! 2:56
10. Johnny Nash / Ol’ Man River 2:45
11. P-Nut Butter / One More Chance 1:56
12. Shirelles / one of the flower people 2:07
13. The Viscounts / One Of The Guys 2:34
14. The Four Seasons / One Song 2:16
15. Drifters / Only In America 2:08
16. Terry Black / Only Sixteen 2:13
17. Manny Fryzer / On To La 2:33
18. Danny and the Juniors / Oo La La Limbo (1963 #99 Yr #642) 2:16
19. Major Lance / Crying In The Rain 2:27
20. Somethin’ Smith & The Redheads / I Don’t Want To Set The World On Fire 2:48
21. The Ames Brothers / Chi Sara (sway) 2:26
22. Al & Jet Loring / Our Day Will Come 2:43
23. The Regents – Over the rainbow 2:27
24. Blades Of Grass / Pageant 3:02
25. JSEP 4522 B1 Timmy Reynolds / Palisades park SWE Juke Box E 1:54
26. Mello-Kings – Penny (Herald 561 – 1961) 2:20
27. Penny Whistle Band / The Tokens 2:27
28. Ron-dels / Picture Of You 2:15
29. Dee Dee Sharp / Playboy 2:38
30. Brians Doo Wop Fix / Four Gents – Please Don’t Ask Me – 1962 Nite Owl 50 2:30
31. Four Fellows / PleaseDon’tDepriveMeOfLove-FourFellows-1956-Glory 3:07
32. Tommy Carter – Please Find My / PleaseFindMyLove-TommyCarter-1961-Gaynote 2:16


Basts From The Past Volume 1364

1. Goodfellows / Another Chance 2:34
2. Unknown Artist / Track 16 2:23
3. The Honorables / How About A Date 2:02
4. Ben E King / How can I forget ITA Atlantic 2:25
5. Frances Burnett / How I Miss You So 2:22
6. The Cuff Links / How You Lied 2:56
7. Four Seasons / huggin’ my pillow 2:40
8. Eddie Daniels / Hurry Baby 2:23
9. Deon Jackson / Hush Little Baby 2:21
10. Jo Ann Campbell / I Ain’t Got No Steady Date 2:25
11. Chico Holiday / I Believe, I Believe 2:18
12. Soothers / I Believe In You 2:32
13. Damita Jo / I Burned Your Letter 2:27
14. JSEP 4522 A1 Jo Ann Campbell / I changed my mind Jack SWE Ju 1:56
15. Vernon Green & The Medallions / Ticket To Love 2:39
16. Drifters / I Count The Tears 2:17
17. ICried-Starlighters-1959-End 2:44
18. Little Jimmy Brown / I Didn’t Know 2:25
19. IDon’tKnow-Misfits-1961-Aries 2:19
20. Dave Travis / I Don’T Like Him 2:06
21. Johnny Faire / I Fell For Your Line Baby 1:54
22. Shirelles / If I had you 2:13
23. The Fabulous Fabuliers / I Found My Baby 1:48
25. IfTearsCouldSpeak-PageBoys-’63-Decca3105 2:05
26. The Miracles / If Your Mother Only Knew 2:45
27. Eli Lee / I Get A Feeling 2:05
28. Isley Brothers / I got to find me one UK State 4:38
29. Teen-Beets / IGuessThat’sWhyYou’reMine-TeenBeets-’65-Chain 2:16
30. IHadAGuy-Hearts-’56-Baton228 2:38
31. I Know She’s Gone- Bill Robinson & The Quails_0001.avi 2:58
32. Various Artists / I Know You 2:20


Blasts From The Past Volume 1365

1. Vows / Buttered Popcorn 2:50
2. Unknown Artist / Track 28 2:09
3. The P.J.’s / I Like The Way (1972) 2:43
4. Lillian Briggs / I’ll Be Gone 3:00
5. Bee Jays / I’ll Find You 2:24
6. Moon And Mars & The Soul Producers / I’ll Go Back 2:34
7. Bob and Earl (strange lbl) / Ill keep running back US Marc 3:00
8. Hank Ballard & The Midnighters / I’ll Keep You Happy (King 5195 1959) 2:21
9. Fascinations / Girls Are Out To Get You 2:10
10. doo wop & 50’s compilation / Pista de audio 08 2:39
11. bobby page & the riff raffs – I love my baby 2:14
12. Marv Johnson / I Love The Way You Love 2:37
13. Jimmie Jones & Pretenders / I Love You So 2:17
14. ILoveYouSoTonight-Dawns-’59-Catalina1000 2:30
15. The Merseybeats / I Love You, Yes I Do 1:07
16. I’m A Teardrop / The Newbeats 2:19
17. The Ricardos & The Regal-Airs – I Mean Really (Star-X 512B) 3:03
18. I’mFeelingAllRightAgain-Embers-1961-Empress 2:01
19. Shirelles / I’m feeling it too 2:27
20. George Fleming / I’mGonnaTellOnYou-GeorgeFleming-’59-Fleming501 2:21
21. Shirelles / I might like it 1:55
22. Brians Doo Wop Fix / Gainors – I’m In Love With You – 1960 Mercury 71630 2:21
23. Vernon Green & The Medallions / I’m In Love With You 2:33
24. doo wop & 50’s compilation / I´m lonely 2:01
25. Jones Boys / Impressions 2:30
26. Hank Ballard & The Midnighters / I’m Thinking Of You (King 5430 1960) 2:55
27. Jades (boot re) / Im where its at US Ree 45_140 2:35
28. I’mYourMan-HollywoodSaxons-1962-Elf 2:24
29. Jeannie Allen / I’m Your Slave 1:44
30. Shirelles / I’m yours 2:32
31. The Temptations / In A Lifetime 3:13
32. The Crowd / Independence Blues 3:07


Blasts From The Past Volume 1366

1. AllAboard-JohnnyFlamingo-1961-Diadon 2:25
2. Music Asylum / I Need Someone (The Painter) 2:38
3. Chris Cerf / In The Middle Of The Night 2:32
4. Bay City Rollers / I Only Want To Be With You 3:03
5. Cues / I Pretend (Prep 104 1957) 2:21
6. Coastliners / I See Me 2:54
7. The Temptations / Isn’t The Night Fantastic 4:22
8. Brians Doo Wop Fix / Carnations-Is There Such A World-61-Lescay 3002 2:30
9. Royal Lancers / Is This The Place 2:01
10. ItDoesn’tMatter-Continentals-1962-Hunter 3:01
11. Helen Troy / I Think I Love You 2:20
12. Bobby Dean / It’sAFadMa-BobbyDean-’59-Profile4006 1:44
13. Decoys / It’s Gonna Be Allright 1:51
14. It’sLoveToMe-Escorts-1956-Premium 2:26
15. It’sNotUnusual-Dells-’65-VeeJayLP1141 2:19
16. Four Below Zero / It’s Sally’s Birthday Today 1:49
17. JAMES BROWN It Was You NOV ’59 2:49
18. The King-Beats / I’ve Been A Bad Bad Boy 2:13
19. Denny Mitchell Soundsations / Ive been crying UK Decca 45 1:57
20. Marry Clayton / I’ve Got My Eyes On You 2:26
21. Various Artists / I’ve Had My Moments 2:17
22. Diablos / I Wanna Know 2:53
23. CROWNS (Arthur Lee Maye) – I Wanna Love 2:04
24. Gregg Madden / I Want A Love That’s True 2:07
25. IWantedYou-Jaguars-’56-Aardell0003 2:53
26. Beltones / I Want To Be Loved 1:55
27. Cadillacs / I Want To Be Loved 2:22
28. The Empires / IWantToKnow-Empires-1955-Wing 2:22
29. Various Artists / Glasser Brothers – I want you 2:19
30. 4 Seasons / I Woke Up 2:44
31. The Temptations / I Wonder Who She’s Seeing Now 4:26


Joe Meek-Telstar_ Anthology ’62 CD1. – Joe Meek-Telstar_ Anthology ’62

A certain sphere of music criticism enjoys celebrating the underdog, those that sold nothing in their day but went on to be surface influential to those who conquered the world. It’s not the same for producers, for whom the most progressively minded producers (not as in those who produce themselves, let’s make clear) are still seeing themselves as bringing their ideas to the pop sphere, so whether it be Sam Philips, Phil Spector, Norman Whitfield, Arif Mardin, George Martin, Trevor Horn, Tony Visconti, Timbaland or whoever, these are all producers whose clients are instantly recognisable throughout the ages.

Joe Meek was as much a pop producer at heart as any of those, albeit for a shorter period (three UK number ones), yet his pioneering DIY and independently rebellious auteur image has given him the kind of outsider status that cults thrive on. Following the close friends, associates and fans interviewing documentary released to art festival showings earlier this year A Life In The Death Of Joe Meek comes the premiere as part of the London Film Festival on 25th October and again on the 28th of Telstar, the film of the well regarded play co-written, adapted and directed by Nick Moran, starring acclaimed musical actor Con O’Neill as Meek and also featuring Kevin Spacey, Pam Ferris, Ralf Little, James Cordon, Rita Tushingham, Nigel Harman, erm, Carl Barat and Justin Hawkins. High time, then, to look into why he’s so revered.

Robert George Meek, born 1929 in Newent, Forest Of Dean (home to the National Birds of Prey Centre and Europe’s largest cul-de-sac) had an early interest in putting on a show, staging magic shows for children and being dressed as a girl by his mother. It was a fascination with electrics that was his real first love, though, building his own gadgets by taking the backs of old radios and record players, rigging up nascent PAs and setting up a mobile DJing kit. A National Service spell in the RAF as a radar technician helped his interest along. After demob, he bought an acetate disc cutter and in 1953 moved to London to become a sound engineer for a radio production company that made programming for Radio Luxembourg and then a studio recording engineer, and would surreptitously add effects and tricks onto recordings regardless of whether he’d been asked to. One such ploy saw him mess with the final mix of Humphrey Lyttleton’s Bad Penny Blues, putting the piano part to the front and distorting the bass. It became trad jazz’s first top 20 single. By day working in studios, he set up a small recording facility in his flat where he’d record tone deaf demos of songs he’d written, mostly inspired by his point of obsession hero Buddy Holly.

After being sacked from Lansdowne Recording Studios (where the Sex Pistols would later record Anarchy In The UK, following any number of 60s British Invaders) due to a clash of personalities with the owner, in 1960 Meek co-founded Triumph Records, possibly the first British independent label. One of its first releases was his own I Hear a New World – An Outer Space Music Fantasy. Playing on Meek’s penchant for outer space and equipment manipulation and largely made flesh by The Blue Men, an adapted skiffle group, it was Meek’s largely instrumental attempt “to create a picture in music of what could be up there in outer space”, a blend of the band, found sounds, electronic pulses and special effects that was less late 50s kitsch the subject might suggest than presaging psychedelia and Eno ambient. Due to finance issues only the first side came out as an EP, the whole album not fully issued until 1991 (the 2002 reissue has a half hour interview with Meek about his processes added).

Joe Meek/The Blue Men – I Hear A New World

There were more conventional releases, most notably teenage fantasy Angela Jones by Michael Cox, heavily supported by Jack Good’s television programmes and making number seven, arguably not going higher due to Triumph’s inability to press enough copies through independent pressing plants. The label proved to be somewhat short of cost effective, but a rich toy emporter benefactor stepped in and enabled Meek to set up RGM Sound Ltd and upgrade both studio and flat to a premises above a leather goods shop on 304 Holloway Road, N7.
Holloway Road wasn’t the most comfortable of settings, being on the third floor, but Meek knew he now had the room and wherewithal to do what he pleased with the sounds he was trying to create. He knew he couldn’t create them without a sideman, though, and through publisher auditions met Geoff Goddard, a Royal Academy of Music trained pianist whom Meek briefly attempted to launch as Anton Hollywood. It was as a writer he’d become more successful, not least when the first release from the new studios became a number one. John Leyton was a rising young actor (in fact he briefly appears in Telstar) who like many a successful with teenagers actor of the day was hastened towards the studio, and after a couple of flops Goddard offered the orchestral death disc Johnny Remember Me, which he would claim had been written with the aid of a seance. The recording session itself leant itself to many a Meek legend, with vocals recorded in the bathroom and a string section arranged on the stairs for the acoustics necessary to create the eerie, echoey sound Meek had made his own, plus the then in-house backing band The Outlaws, including future Dave cohort Chas Hodges. At the time Leyton was appearing in ITV department store drama Harpers West One as a character called Johnny St. Cyr and his manager arranged for the song to be mock-performed on the show, with the required chart results.

John Leyton – Johnny Remember Me

Nobody had heard a hit quite like this before, especially not one that clocked up five weeks atop the chart, and Meek’s setup became an industry talking point, as much anti (“a recording studio is the place to record” one columnist railed) as pro, Meek claiming “I make records to entertain the public, not square connoisseurs who just don’t know”. A lot of his recordings weren’t hits at all, but most were deeply fascinating. Overseen by a pair of men deeply fascinated by the occult and taken to visiting graveyards and haunting sites overnight, Screaming Lord Sutch, whose stage antics essentially invented Alice Cooper, recorded and plotted outlandish publicity stunts with Joe, and The Moontrekkers’ Night Of The Vampire was banned by the BBC and has been credited with inventing goth about two decades too early (the band hadn’t been instrumental until Meek worked with them, although the singer’s sacking is something we doubt Rod Stewart has had much cause to bemoan lately). Some of these recordings were known to have been rejected by labels and mastertape cutting engineers as they would damage domestic speakers.

The Moontrekkers – Night Of The Vampire

For a good period of this time Meek had his next big success under his nose but hadn’t realised it until his latest in-house band were asked to back Billy Fury on tour. The Tornados – Alan Caddy on lead guitar, Heinz Burt on bass, Matt Bellamy of Muse’s father George on rhythm guitar, Roger Lavern on keyboards and drummer Clem Cattini (who went on to hold the record for most UK number ones played on, appearing on 44 chart toppers ranging from It’s Not Unusual, The Sun Ain’t Gonna Shine Anymore and You Don’t Have to Say You Love Me to Grandad, Two Little Boys and Ernie The Fastest Milkman In The West) – were the guinea pigs for Meek’s tribute to the AT&T communications satellite Telstar, which went into orbit in July 1962, five weeks before the single named after it was released. Making heavy use of Goddard’s clavioline keyboard and inspired by I Hear A New World’s advances, it not only topped the UK chart for five weeks but the Billboard Hot 100 for three, making the Tornados the first UK band to have a US number one, estimated worldwide sales standing at five million. Famously, it was also one of Margaret Thatcher’s Desert Island Discs. The band did have other hits, Globetrotter reaching number five and Robot nineteen, but Meek was by this time high on the hog and buying ever more equipment for the studio, at least until French composer, Jean Ledrut accused Meek of plagiarism, claiming that the tune of Telstar had been copied from his own earlier work Le Marche d’Austerlitz. It is now thought very unlikely that Meek would have been aware of Ledrut, but the resultant lawsuit prevented him from receiving any further royalties until 1968, by which time it was too late.

The Tornados – Telstar

The Tornados’ German bass player, Heinz Burt, wasn’t allowed to merely drift away, however. Homosexual Meek – a lot of his depression and paranoia has been attributed to his feelings over his sexual proclivities, not legalised in the UK until 1967 – had taken an unconsummated shine to Burt, and when Goddard came up with Eddie Cochran tribute Just Like Eddie Meek, who had already split Burt from both band and professional surname, persuaded him to record it with yet another Meek band, The Saints, plus Outlaws guitarist Ritchie Blackmore (later of Deep Purple and Rainbow). A number five in August 1963, Meek was now in position where he could independently record a string of unknowns and sell the results to the major labels for big money, meaning the Meek rarities market is almost as crowded as the Northern Soul catalogue.

On November 11th 1963 Meek, who was as openly homosexual as the times would allow, was arrested for “importuning for immoral purposes” in a gents near the studio and fined Ј15, a possible set up and certainly one that would lead to incidents of blackmail which didn’t help his mental state or legendary fits of temper. Additionally the beat group era who were more reliant on self-written songs and the pure pop of melody rather than svengali producers was on his tail with the rise of the Beatles and Merseybeat, although one such group, The Honeycombs, came under Meek’s auspices. Famed at the time for having a female drummer, one Honey Lantree who supposedly inspired Karen Carpenter to take up the drums, they provided him with his last UK number one, the stomping Have I The Right featuring a bass drum sound achieved by the group stamping on the stairs of the studio, the underside of which had been attached four microphones.

However, the success came at a personal price – Geoff Goddard launched legal proceedings claiming that the prolific Ken Howard and Alan Blaikley had plagirised his own Give Me The Chance, and not only lost but saw Meek side against him. Goddard left Holloway Road employment and faded out of the business, taking a job in catering at Reading University where he ended up working in the kitchens (his later colleagues included two hard-up students who became Yan and Noble of British Sea Power, who would write The Lonely about him) and died in May 2000.

Meek’s professional life was coming apart at the seams. Tom Jones, who he’d auditioned and turned down, was having hits. The Tornados and Heinz were fading away while the Honeycombs fell apart within two years. The deals Meek signed with major labels were full of loopholes and financing wasn’t there. Meek was heavily into pills, including LSD, and seances, an unwise combination. Some of his music was as inventive as ever, moving on to psychedelia, Mod and freakbeat…

The Syndicats – Crawdaddy Simone
Glenda Collins – It’s Hard To Believe It

…and after Merseybeat band The Cryin’ Shames took a Meek produced cover of The Drifters’ Please Stay to the top thirty in 1966 Brian Epstein supposedly offered his more famous charges to Meek with no dice, and when a London visiting Phil Spector called to express his love of the sound an increasingly paranoid Meek, who already believed Decca were bugging the premises, angrily accused Spector of stealing his ideas before hanging up. Meek ended up placing listening devices around the studio in case musicians were talking about him. At one point he was found beaten up and unconscious in his car, perhaps related to gangland threats against the Tornados as much as those around his sexuality.

When in January 1967 police found the body of Bernard Oliver, an alleged rent boy and past associate, mutilated and disposed of in a suitcase, Meek was alarmed when reports sugested police would be interviewing all known homosexuals in the city. On 3rd February 1967, the eighth anniversary of his hero Buddy Holly’s death, heavily in debt and drug-paranoid, Meek was attempting to record his latest studio assistant when landlady Violet Shenton was called up, Meek believed to have been on the verge of being thrown out for non-payment of rent. Meek had a single barreled shotgun, registered to Heinz Burt and confiscated by Meek some time before when Burt left after a brief period living in the property. He now retrieved it and used it to blast Shenton in the back of the head, before turning it on himself. He was subsequently buried at Newent Cemetery.

Meek’s legacy took some time to reassert itself, largely through the work of collectors and obscurists from the late 70s onwards. A 1991 BBC2 Arena documentary, The Strange Story Of Joe Meek (which we’ve found on torrent sites if you’re interested) is credited with kickstarting the renaissance as well as a reissue and excavation program which continues. His influence is felt across music, from pop producers to leftfield beatmakers, both Orbital and Saint Etienne regarding him as a major inspiration. He pioneered effects in overdubbing, tape manipulation, miking, distortion, compression, reverb, instrument seperation, recording of rhythm sections, composite recording and sampling found sounds, always taking the sound spectrum first ahead of the tune, single-mindedly searching for a unique sonic signature for each record, these out of the way, supposedly unworkable advances now treated as standard. Unlike his contemporary Phil Spector, he wouldn’t hire great numbers of musicians and backing singers to create the overwhelming effect but would record individually and mix together as he wanted. Meek turns up as a character in acclaimed gangland novel The Long Firm – writer Jake Arnott has a cameo role in the film – and songs have been written in his honour by the likes of Wreckless Eric, Graham Parker and, if you believe her story of the background to her single A Change Would Do You Good, Sheryl Crow. Meek may not be the most famous name outside certain circles, but his working methods were as groundbreaking as his life was fraught.

Further reading:
The Joe Meek Appreciation Society, formed in 1991, is “dedicated to keeping Joe Meek’s name and his musical legacy alive” and runs a full membership scheme as well as keeping track on all current movements. This, oddly, is not to be confused with Joe Meek RGMAS. Meanwhile the dual language The Joe Meek Page attempts an entire discography. There’s a few newspaper and magazine pieces we’ve trawled to write the above, but Jon Savage’s essay for Observer Music Monthly on Meek’s homosexuality, with reference to celebrated Tornados B-side Do You Come Here Often?, adds extra background for the times.

Joe Meek may well be the most important pop music producer there ever was. That’s not to say that he’s particularly popular or influential. Or that he ever recorded any kind of classic album. Admitedy, most of his recordings heard today sound somewhat cheesy and dated. But his legacy lies not so much in the quality of the music he produced, but in the way he revolutionized production itself.

In the late 50s and early 60s, when producers were almost always employees of the big labels, Meek was probably the first one to truly go independent. Back then recording was more about science than art, and these record company studios were inhabited by men wearing white coats who followed strict guidelines in attempting to replicate real life sounds as accurately as they could. Meek, however, was determined to explore new ideas and experiment with audio recording equipment. He chose to bypass working for the companies, and set up his own little independent studio above a hand-bag store in London. There, he set to work building all sorts of crazy contraptions, pioneering effects such as reverb, echo and compression. These tools, together with his unorthodox recording techniques (sampling found sounds, tape splicing, multitracking…) became his trademarks, and he was thus probably the first record producer to develop a signature sound.

All of this is on display in I Hear A New World, a 1960 album that he billed as an “Outer Space Music Fantasy”. Inspired by the then-nascent space programme, it’s a mostly instrumental record that tries to imagine what music would be like on the Moon (I guess folks back then still thought there might be Moon-people). Half a decade before George Martin began experimenting with tape loops on Beatles records, Meek’s vision was already fully realized, and the sounds and studio effects heard on I Hear A New World heralded the psychedelic era.

By the early 60s he had become an in-demand producer, and several of his tunes went to the top of the UK sales charts. The spacy Tornados instumental “Telstar” is particularly noted for being the first British record to hit #1 in the States. But by the mid 60s, despite big name producers like Phil Spector and George Martin praising him and admitting to his influence on their own work, he was clearly falling behind on what was hip. His records (which were still basically light pop music and often instrumental) lacked the depth of Dylan or Beatles albums, and the hits stopped rolling in. He sank into severe dept, which together with his personal problems (drug use, depression, extreme paranoia, being flamboyantly gay in a time when homosexuality was still illegal in Britain) led him to end his life in a distrubing murder-suicide.

Joe Meek: Portrait of a Genius

I went through a pretty intense Joe Meek fixation a few years back, with the result that I now own over a dozen CD compilations of Meek rarities which, with a few notable exceptions, are mostly unlistenable. Being a completist in your approach to this eccentric, wildly uneven, and very prolific British pop producer’s work may be as self-punishing an endeavor as attempting to see all of Jess Franco’s movies. For those with a more casual interest, the 2002 two-disc compilation The Alchemist of Pop — released by Sanctuary/Castle Music and compiled by Roger Dopson with the help of Saint Etienne’s Bob Stanley — should more than do the trick. (And if even that’s too much, the 1995 Razor & Tie single disc package It’s Hard to Believe it: The Amazing World of Joe Meek, if you can find it, should fit the bill.)

If your initial dip into Meek’s catalogue then sparks an interest in exploring his work further, I’d recommend as the most essential of the Meek rarities comps RGM’s fine Let’s Go: Joe Meek’s Girls (focusing exclusively on Meek’s work within the girl group sound) and Intergalactic Instro’s, which chronicles some of his work in the realm of that anomalous early 60s chart mainstay, the guitar driven instrumental. And then, of course, there is the Meek artifact I’ve most recently got my hands upon, Castle’s 2005 Portrait of a Genius: The RGM Legacy box, which was also compiled by Roger Dopson, this time with the intention of expanding upon the portrait provided by his Alchemist of Pop collection.

Given the glut of Meek material in my CD cabinet, “essential” is the last word I’d have expected to use in describing Portrait of a Genius. But color me surprised. The amazing thing about this set is how, with well over a hundred tracks and very little overlap with previously released collections, it manages to provide such a consistently enjoyable listening experience. Consider this, then, a next step on from those previously mentioned collections in your journey toward becoming a hopeless Joe Meek obsessive. In other words: Welcome to my world.

For those that don’t know, a lazy — but, to my mind, fairly accurate — way of describing Joe Meek is as a combination of equal parts Phil Spector and Ed Wood. Like his contemporary Spector, Meek was a bold sonic innovator in the realm of pop music production, one whose techniques, while considered highly unorthodox at the time, would prefigure many of what would be considered standard practices in the recording studios of today. What Meek lacked, however, was Spector’s talent as an A&R man, that knack for picking great songs and performers that Spector proved with hit after iconic hit.

In fact, one listen to Meek’s notoriously caterwauling vocal demo for the Tornados’ “Telstar” will demonstrate that he was not only tin-eared, but literally tone deaf. Thus his approach to “song writing” basically boiled down to him presenting one of his beleaguered session players with a tape of his wounded howlings, out of which that player was then expected to somehow divine a melodic pattern. (Despite the great deal of interpretation that this required, it was, of course, always Joe who got the writing credit on the label.) The discs that resulted from this — as well as from Joe’s practice of either making records for actors and other non-professional singers who were nearly as pitch-challenged as he was, or sometimes picking acts based simply on his need for young male company — were so uneven in quality that his only hope was to deluge the market with product in the hope that something would stick.

And indeed some did stick. Not only did Meek score a healthy number of top ten hits in his native UK throughout the early and mid-sixties, but the aforementioned instrumental “Telstar” — a track that has become shorthand for the space race-inspired optimism of the early 60s — went on to make The Tornados the first British act to top the U.S. charts. 1964 saw another International hit for Meek with the Honeycombs’ “Have I The Right?”, a song whose combination of twee vocals, sped-up, mosquito buzz guitar lines and literally boot-stomping percussion granted it a stunning uniqueness that endures even today.

In the course of making all of these records, hits and flops alike, Meek pioneered a sound that was largely achieved by applying too much of just about everything — compression, reverb, echo, distortion, close miking — that the finicky British sound engineers of the day prided themselves on using judiciously. His apparent need to make a guitar sound like anything other than a guitar, a drum like anything other than a drum, and a human voice like something distinctly non-human also spurred him to the creation of a number of gadgets of his own. Given this, I think it’s no exaggeration to say Meek paved the way for seminal, effects-heavy British post-punk bands of the late 70s and early 80s like The Cure, Siouxsie & The Banshees, Magazine, Joy Division, and even U2. (Though I don’t think that the fact that U2 might not exist if not for him should be held against him.)

Beefing up the legend is the fact that Meek, like Spector and Ed Wood, was a true eccentric, though perhaps to a level that trumps even the two of those men combined. As with Spector, Meek’s volatility would prove his undoing, though at a much earlier point in his life and career than it did Spector. On top of this there were Meek’s obsessions with the spiritual world and outer space — the first exemplified by his frequent conducting of sйances and belief that the late Buddy Holly was guiding his career from beyond the grave, the latter by his conviction — harbored as late as the mid 60s — that life existed on the moon.

Portrait of a Genius starts with a disc dedicated to the engineering work Meek did during the mid to late 50s, when he worked as a hired hand at established British studios like IBC and Lansdowne. This is by far the least interesting disc of the set, and, whether intentionally or not, serves mainly to give the listener a picture of just how dismal the state of British pop was in the decade leading up to the advent of the Beatles. Stiff, over-orchestrated balladry and novelty tunes for moms and dads abound, leading you to consider that, if you were a young John Lennon in that musical landscape, you probably would have embraced skiffle music, too.


These early tracks also do a nice job of laying out for us the state of the “science” of British sound recording at the time, when studio engineers still wore white lab coats and prided themselves on setting to tape the most sacrosanct representation of a performance possible. And it’s true, these recordings do sound incredibly crisp and clear, especially given the technology that these studio professionals had to work with at the time. And that just goes all the more toward giving you an idea of just how radical Meek’s approach must have seemed. For, rather than aiming to simply document a live performance, as his peers did, Meek sought to use that performance as the raw material for something greater and more mysterious. Rather than sounding like the musicians were playing right in the room with you, his recordings instead sounded as if they were calling out to you across the ether, as if the performers themselves existed on some different, highly idealized, astral or spiritual plane. Some hint of this can be heard on the first disc of Portrait, in the swampy rhythm sound and dense reverb of Jimmy Miller & The Barbecues’ “Sizzling Hot”, though later examples of this sound would be far more dramatic.

Disc two of Portrait moves on to Meek’s early years as an independent producer. The clear highlight here, as on previous overviews of Meek’s work, are the tracks from the Meek magnum opus I Hear a New World. Essentially a stereo demonstration record with an outer space theme, that album featured a mishmash of abused and detuned instruments, sped-up voices, cavernous reverb and homegrown sci-fi sound effects, all geared toward bringing to audible life Meek’s vision of life on the Moon. Given what we now know about the man, its difficult not to hear all of this as a kind of internal soundtrack to Meek’s own fevered imaginings, and, as such, it comes across as at once sublimely goofy and deeply unsettling. Also featured on this disc is one of Meek’s first UK smashes, the densely atmosphered and deliriously overwrought comic book gothic “Johnny Remember Me”, sung by British television star John Leyton.

Disc three kicks off with the 1962 “Telstar” and proceeds through one of the most exciting periods in Meek’s career, the time between 1962 and 1964 when his status as the mastermind behind a huge international hit put him at the forefront of the British pop scene. As this disc documents, much of this time was spent trying to recapture the magic of “Telstar” with a slew of similar group sound instrumentals, both by The Tornados and by other Meek-mentored groups like The Thunderbolts (“Lost Planet”, “March of the Spacemen”) and The Checkmates (who give us the marvelous, spy-themed “Interpol”). However, because Meek seemed to use the format of the guitar instrumental in particular as a laboratory for sonic experimentation, the tracks are anything but derivative or uninspired. Also on this disc is the must-hear insanity of Meek cohort Geoff Goddard’s “Sky Men”, a twee-voiced account of a close encounter complete with an alien spoken word interlude.

The final disc of Portrait is my personal favorite of the set, because it focuses on Meek’s “beat group” period, an episode in his career that gets shorter shrift on other compilations. This was a time during which Meek, blindsided by the success of the Beatles — not to mention deteriorating under the increasing weight of his many personal demons — is seen to have been flailing a bit, desperately groping for a new sound and struggling to maintain a foothold on relevance in a radically shifting pop landscape. Now, of course, I’m a fan of this particular disc in part because I’m a fan of British beat group sounds in general, but also because there are simply some real gems to be found here.

As countless Nuggets and freakbeat compilations now demonstrate, the margins left by the chart-hogging monsters of 1960s British pop — your Beatles, your Stones, your Who — were littered with hundreds of great songs that never got to bask in the glow that the top of the charts afforded, due, in most case, to them being just a little bit too odd or eccentric. It is these very songs that now make up an alternate history of 60s pop that is, for many of us retro music fans, just as fresh and exciting as many of the tracks by those aforementioned monoliths are over familiar. Just such a song is Paul Kane’s “My Fair Baby’s Coming For Me”, featured on Portrait‘s disc four, whose simple chord progression, marked by sudden, unexpected turns, makes it sound like some kind of proto Pixies song. Also great is the punkish “Movin’ In”, by former Tornados bassist — and Meek live-in partner — Heinz. And then, of course there is the Honeycombs’ “Have I The Right”, in both English and German language versions, surely one of the weirdest sounding hit records of the initial beat boom.

Portrait of a Genius fleshes out its picture of Meek with interview excerpts from an “audio biography” of Meek conducted in 1962, as well as with neat odds and ends like an original answering machine message and a truly bizarre, rambling tribute recorded by Meek for the alleged benefit of the artists Joy and Dave. However, while most of this only serves to deepen the mystery, it is in the box’s information crammed booklet that you’ll really see some light shining into the dark corners. This consists of a lengthy biographical essay by Bob Stanley, reproductions of numerous clipping from the period, and text interviews with a number of Meek’s contemporaries and former collaborators/victims. Added to the set’s masterful marriage of comprehensiveness and overall listen-ability — even more impressive, given its studious, chronological sequencing — this material serves to make the box a must have for anyone whose interest in Meek goes well beyond the casual, yet perhaps falls short of seances and other attempts at spiritual communication.

Joe Meek’s ultimate unraveling came dramatically on the night of February 3, 1967, and had a body count. Capping a period of mounting paranoia and occultist obsession, the producer killed his elderly landlady with a blast from a shotgun before turning the weapon on himself. It was the 16th anniversary of Buddy Holly’s death. Even without such a fiery conclusion, Meek’s story still might have been the stuff of pop legend, but, with it, it has presented irresistible grist for myth-making. As such, it has been recounted in books, radio dramas, stage plays and, just last year, a feature film starring, among others, Kevin Spacey. But to my mind, Portrait of a Genius: The RGM Legacy tells Meek’s story in the best way possible, by way of the man’s music itself.

I’ve included I Hear A New World and a couple of my favourite compilations. The first one has most of his big hits, and I suppose is a good place to start. The other one compiles a bunch of tunes he recorded with female artists and girl groups. Not as far-out with the production, but some really nice catchy songs.

Also, if you’re interested, you can watch the recent biopic Telstar for free over here. It’s pretty neat. Kind of intense; mostly deals with his being a crazy jackass and brutalizing everyone around him. Good acting though.

Mike Stax on Joe Meek

As I write this it’s been forty-six years to the day since Joe Meek ended his life.
mike stax 304 holloway

304 Holloway Road (circa 1991) was where Joe Meek’s studio (RGM Sound LTD/Meeksville Sound LTD) was from 1960 – 1967.

What is it about his work that, almost half a century later, continues to astound and fascinate us? After 35 years or so of listening to Joe’s music, I’m still trying to get my head around it all. For one thing, there’s just so much of it—hundred of tracks in a multitude of different styles: pop ballads, beat groups, girl groups, R&B groups, instrumental groups, outer space concept albums, tributes to the dead, horror rock, goofy novelty records and good old-fashioned rock & roll. Although he worked in so many diverse genres, Joe’s productions all have a unique, instantly identifiable sound. Eight bars into the song you know beyond a reasonable doubt that you’re listening to a Joe Meek production. The name of the artist on the label is secondary; first and foremost it’s a Joe Meek record.

Meek had his own vision to which he was completely and utterly committed. Utterly convinced his path was the true one, he refused to deviate from it to even the slightest degree. A true maverick he chose to operate alone on the fringes of the music industry as Britain’s first truly independent producer.

Otherworldly is a word often used when describing Joe’s productions, and for good reason. From his fourth floor flat on a busy north London street, Meek conjured sounds that could transport the listener to a distant planet, a fog-shrouded graveyard, or the desolate moors of southwest England. He could send you spinning through space on a satellite or riding a stagecoach across the wide open prairies of the American west. Joe was a loner, an abnormally sensitive misfit who had never been able to find his place in this world, so he created other worlds to escape into; alternative realities where he could hide away from the scorn and rejection he felt directed at him from conventional society.

My own immersion into the weird world of RGM and Meeksville was a gradual one. As someone who enjoyed and collected ‘60s era rock, I must have had a half-dozen or so of Meek’s productions in my collection before I became aware of the full scope of his legacy. The Joe Meek Story double-album, compiled by Jim Blake and Alan Blackburn and released on Decca in 1977, played a big role in opening up that world to me. Alongside already familiar numbers by the Tornados, Heinz and Screaming Lord Sutch, the anthology included tracks by lesser-known artists like Don Charles, Pamela Blue, the Saxons and the Millionaires. Even more revelatory were the copious liner notes, which provided reams of new information for budding Meek fanatics like myself to obsess over.

joe_meek-the_joe_meek_story(decca)Blake and Blackburn ran the RGM Appreciation Society, which carried the torch for Joe’s music throughout this period. I corresponded with Jim for several years and he was an endless font of information and music, helping me fill many of the gaps in my growing collection of Meek discs, and even sending me unreleased tracks from the legendary ‘tea chest tapes.’ Greg Shaw was another source for Meek rarities at the time. When I sent him a list of tracks I was missing from Joe’s discography, he responded with more than a dozen 90-minute cassette tapes filled with rarities from his collection. The number of records Meek produced is mind-boggling. At his early to mid-sixties peak, he must have been cranking them out on a daily basis – and that doesn’t even take into account the small mountain of unreleased tracks, many of which still remain unheard. My obsession with all things Meek was stoked still higher by the publication in 1989 of John Repsch’s book, The Legendary Joe Meek: The Telstar Man, and continues to the present day.

score_skymenI’d be hard pressed to pick my favorite Joe Meek record. There are so many contenders: “Telstar” (of course), John Leyton’s gorgeously desolate “Johnny Remember Me,” Screaming Lord Sutch’s bone-chilling debut “Till the Following Night,” the tension-fueled racket of the Syndicats’ “Crawdaddy Simone,” the bizarre science fiction pop of Geoff Goddard’s “Sky Men,” the hushed drama of the Cryin’ Shames’ “Please Stay,” Mike Berry’s “Tribute to Buddy Holly,” the Blue Men’s ethereal “I Hear A New World” or the playful rhythm & blues of David John & the Mood’s “I Love to See You Strut.” All of these records continue to thrill me a thousand and sixty-five plays later.

Yet, in searching for a favorite, my mind circles back to those records by Heinz. There was nothing particularly special about Heinz Burt, an ordinary, not especially bright young provincial lad with a barely serviceable singing voice. But Joe was smitten with him—he saw something in him no one else did. No one else.

mirabellfrontWhat was it? I think that to Joe, Heinz was a blank slate, a white screen onto which he could project all his creative aspirations. Meek himself was no musician; the recording studio was his medium, and he used every hard-earned, hard-learned technical trick at his disposal, along with some of his best backing musicians, to make Heinz sound like something he could never possibly be: a star. In reaching at full stretch for the unreachable, Meek created some of the most compelling records in his catalog, tracks that were forced to push the extreme in order to elevate Heinz’s innate mediocrity to a higher realm. Certainly a lot of the records bearing Heinz’s name fall short, but the best of them are magical: songs like “Questions I Can’t Answer,” “I’m Movin’ In,” “The Beating of My Heart,” “Heart Full of Sorrow” and “Don’t Worry Baby” — the latter three written by Joe himself. There’s an almost unbearable poignancy to some of these songs. In them you hear the dreams of one lonely man wrapped tightly around that one thin hope that everyone else knows is sure to lose. You can hear it especially on the first single Joe made with Heinz, “Dreams Do Come True.”

In that song those hopes and dreams are still sweet and wistful, not yet soured by desperation:

I drift on a big white cloud

Over house tops high above

Dreaming there must be someone

A certain someone for me to love.

I listen to those lines and picture Joe Meek sitting at his window late at night, the hum of the tape machines now silenced as he gazes across the wet streets and rooftops of the city.

Alone. Always alone.

– Mike Stax, February 3rd, 2013

Brian Hyland

Greatest Hits – Brian Hyland


01  Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini
02  Rosemary
03  Let Me Belong To You
04  Ginny Come Lately
05  Sealed With A Kiss
06  Warmed Over Kisses (Left Over Love)
07  If Mary’s There
08  I’m Afraid To Go Home
09  Save Your Heart For Me
10  3000 Miles
11  The Joker Went Wild
12  Run, Run, Look And See
13  Holiday For Clowns
14  Get The Message
15  Tragedy
16  Stay And Love Me All Summer
17  Could You Dig It
18  Gypsy Woman

Rock And Roll

Rock And Roll At The Capitol Tower

VA - R'n'R At Capitol Tower 1 - Front

Volume 1

01  The Worrying Kind – Tommy Sands
02  Maybelline – Tommy Sands
03  Hey Miss Fannie – Tommy Sands
04  Blue Ribbon Baby – Tommy Sands
05  Is It Ever Gonna Happen – Tommy Sands
06  I Ain’t Getting Rid Of You – Tommy Sands
07  Man, Like Wow – Various
08  Sweet Suzie – Johnny Burnette
09  Mister Whiz – Jerry Reed
10  When I Found You – Jerry Reed
11  Bessie Baby – Jerry Reed
12  Heart Appeal – Jerry Reed
13  I’m Stuck – Jerry Reed
14  I’ve Had Enough – Jerry Reed
15  Mexicali Baby – Rio Rockers
16  Mexican Rock ‘n’ Roll – Rio Rockers
17  Teenage Partner ’58 – Gene Vincent
18  Look What You Gone & Done To Me – Gene Vincent
19  Important Words – Gene Vincent
20  Riot In Cell Block Number Nine – Wanda Jackson
21  Hot Dog! That Made Him Mad – Wanda Jackson
22  I Wanna Waltz – Wanda Jackson
23  Fujiyama Mama – Wanda Jackson
24  Who Shot Sam – Wanda Jackson
25  You Oughta See Your Grandma Rock – Skeets McDonald
26  Heartbreaking Mama – Skeets McDonald
27  You Better Not Go – Skeets McDonald
28  Don’t Push Me Too Far – Skeets McDonald
29  Strange Desire – Jack Scott
30  One Of These Days – Jack Scott
31  My Gal Gertie – Dub Dickerson
32  Go Ahead On – Jimmy Heap

Volume 2

01  Night Rider – Dick Dale
02  Kansas City – Dick Dale
03  Wild Ideas – Dick Dale
04  Greenback Dollar – Dick Dale
05  Ghost Riders In The Sky – Dick Dale
06  Deltone Rock – Dick Dale
07  Grizzily Bear – Jack Scott
08  Me O My O – Jack Scott
09  Black Cat – Tommy Collins
10  Try Me – Bob Luman
11  I Know My Baby Cares – Bob Luman
12  My Baby Loves To Rock – Del Reeves
13  Last Night At A Party – Faron Young
14  Rockin’ In The Congo – Hank Thompson
15  Uh Uh Mm – Sonny James
16  A Mighty Lovable Man – Sonny James
17  Brown Eyed Handsome Man – Wanda Jackson
18  My Baby Left Me – Wanda Jackson
19  I Gotta Know – Wanda Jackson
20  Step By Step – Wanda Jackson
21  Merle’s Boogie – Merle Travis
22  Rock A Little Faster – Dickie Harrell
23  You Make It, They Take It – Jerry Reed
24  Brontosaurus Stomp – Piltown Men
25  Fingertips – Skeets McDonald
26  Don’t Let The Stars Get In Your Eyes – Skeets McDonald
27  Blues In My Mind – Skeets McDonald
28  You’re There – Skeets McDonald
29  Tomorrow Never Comes – Skeets McDonald
30  Fort Worth Jail – Skeets McDonald
31  Corn Pickin’ – James Burton & Ralph Mooney
32  Moonshine – James Burton & Ralph Mooney

Volume 3

01  Hole In My Heart – Esquerita
02  She Left Me – Esquerita
03  Chantilly Lace – Sam Butera
04  I Ain’t Never – Jordanaires
05  Don’t Be Cruel – Jordanaires
06  Sugaree – Jordanaires
07  Can’t You Hear Me – Johnny Otis
08  Hum Ding A Ling – Johnny Otis
09  Bigger Than Texas – Tommy Sands
10  Oop Shoop – Tommy Sands
11  Tweedle Dee – Tommy Sands
12  Everybody’s Talkin’ – Bob Luman
13  Svengali – Bob Luman
14  Cool Drool – Del Reeves
15  Baby I Love You – Del Reeves
16  The Cat Came Back – Sonny James
17  Funnel Of Love – Wanda Jackson
18  This Gun Don’t Care – Wanda Jackson
19  Tweedle Dee – Wanda Jackson
20  Rockin’ Bagdad – Jerry Reed
21  The Great Empty Room – Jerry Reed
22  Wang Dang Do – Ferlin Husky
23  Down The Corner Of Love – Bobby Bare
24  All The Monkees Ain’t In The Zoo – Tommy Collins
25  Sack Dress – Beavers
26  Rockin’ At The Drive-In – Beavers
27  Rock-A-Baby-Rock – Raindrops
28  Deutsche Rock’n Roll – Gene Nash
29  Maybe Baby – Derringers
30  Back Denim Trousers And Motorcycle Boots – Cheers
31  Bop Cat Bop – Simon Crum
32  Parade Rock – Bob Summers

Long-Lost Honkers & Twangers

Long-Lost Honkers & Twangers

01 Walk Don’t Run (Original Demo) – Ventures
02 Night Creature – Gigolos
03 Wax ‘Em Down – Avantis
04 The Psychedelic Worm – Johnny & The Hurricanes
05 Skokiaan – Titans
06 Zombie – Rondels
07 White Water – Reveliers
08 La Pobracita – Fireballs
09 Murfreesboro – Ventures
10 South Of The Border – Champs
11 Car Hop – Exports
12 The Spur (La Espuela) – Ventures
13 Nashville West (One More Time) – Billy Joe & The Checkmates
14 Tor-Chula – Impacts
15 Ain’t That Rain – Fireballs
16 Patch – Reveliers
17 Goochy Bamba – Richie Allen
18 Crying In The Rain – Titans
19 Red River Rock ’67 – Johnny & The Hurricanes
20 Sabrosa – Ventures
21 The Drifter – Billy Joe & The Checkmates
22 Loch Lomond Rock – Ramrods
23 Flat Tyre – Reveliers
24 Showboat – Rondels
25 Ghost Train – Swanks
26 Run Don’t Walk – Ventures

Posted by Jake at 8:35 AM 2 comments:
Labels: j

Rock & Roll Party

Rock & Roll Party

01 Playtoy – Interludes
02 Hum Baby – Little Jerry
03 Have Mercy Miss Percy – Long Tall Marvin
04 Rock Baby Rock – Bob Hicks
05 Bom Do Va – Toby & Ray
06 Eloping – Benny England
07 Trip To The Moon – Wesley Reynolds
08 Stompin’ – Night Owls
09 Crazy Legs – Gene Lewis
10 Rootie Tootie Baby – Lee Mitchell
11 Me And My Guitar – Interludes
12 Curfew – Gene Davis
13 Let’s Paint The Town – Al Sweatt
14 Bop Baby Bop – Brad Suggs
15 Short Fat Ben – Phil Barclay
16 Mad Mama – Jane Bowman

Posted by Jake at 8:39 AM 2 comments:
Labels: j

Elvis Presley

Sun Sessions – Elvis Presley

01 That’s All Right
02 Blue Moon Of Kentucky
03 Good Rocking Tonight
04 I Don’t Care If The Sun Don’t Shine
05 Milkcow Boogie
06 You’re A Heartbreaker
07 Baby Let’s Play House
08 I’m Left You’re Right She’s Gone
09 Mystery Train
10 I Forgot To Remember To Forget
11 I Love You Because
12 Blue Moon
13 Tomorrow Night
14 I’ll Never Let You Go Little Darling
15 Just Because
16 Trying To Get To You
17 Harbor Light (outtake)
18 I Love You Because (take 2)
19 That’s All Right (outtake)
20 Blue Moon Of Kentucky (outtake)
21 I Don’t Care If The Sun Don’t Shine (outtake)
22 I’m Left You’re Right She’s Gone (take 9)
23 I’ll Never Let You Go Little Darling (outtake)
24 When It Rains It Really Pours (outtake)
25 I Love You Because (take 3)
26 I Love You Because (take 5)
27 I’m Left You’re Right She’s Gone (take 7)
28 I’m Left You’re Right She’s Gone (take 12)

Posted by Jake at 8:31 AM 1 comment:
Labels: j