Review: It's almost unfathomable thinking about how popular The Beatles had become by the time this live show in the Netherlands was recorded. According to BeatlesBible.com, prior to their 1964 concerts in the small village of Blokker, the band took to the iconic waterways of Amsterdam for a trip on a glass-topped tourist boat. Their presence in the city led to 50,000 fans turning up, meaning police had their leave cancelled and all 15,000 available officers had to be deployed. At least some of that fervour can be heard on this exceptionally clear, albeit mono, recording. Whether it's the rabble screaming the words over the top of 'She Loves You' and 'I Want To Hold Your Hand', or the sections between tracks in which that crowd can really be heard for what they are, or were, this is an artefact of Beatlemania if ever there was one.
Review: Formed in Harrow in 1964, The Bo Street Runners were a short-lived r&b blues-hued garage rock band that reflected the signs and sounds of the time. Standing up to their peers pretty well, it's a case of instability killing the cat rather than a lack of ideas, with nine members going through the lineup in the two years the group were officially active for. Among them were future Fleetwood Mac drummer, Mick Fleetwood and vocalist Mike Patto, who some may remember from outfits such as Spooky Tooth, Patto and Boxer. Bo Street Runners is one of just four singles the troupe did for Decca, a brief back catalogue that culminated in a single extended player. This is a small but insightful introduction to their sound and a clear sign of just how good they were.
I Can't Go Anywhere With You (feat Bloodshot Bill)
Just Like Summer
Nite Owls
Shining Like Gold
The Rock & Roll Girls
Baby Blues
The Phantom Lover Of New Rochelle
Don't Travel Through The Night Alone
That's What A Love Song Does To You
Review: Oklahoma roots rocker JD McPherson returns with Nite Owls, his much anticipated return, six years in the making, since the thought-to-be unbeatable Christmas album Socks released in 2018, as well as a mid-pandemic covers EP. For this nocturnal turn, McPherson alters his approach, sidelining the majority of the musicians that accompanied him on all previous sessions and live dates, and keeping only guitarist/sax player Doug Corcoran. Along with that change in personnel, comes a revised style that attempts, usually successfully, to incorporate McPherson's Duane Eddy-fashioned guitar (the album is dedicated to the late rockabilly icon who passed in May of this year) with a moderately new-wave infused sound.
The Girl I Knew Somewhere (version 2 - 2022 remix - LP2) (2:49)
All Of Your Toys (2022 remix) (3:05)
Forget That Girl (take 15 with alternate Overdubs) (2:28)
You Told Me (take 15 with alternate vocal) (2:45)
Randy Scouse Git (alternate version - take 18) (2:21)
The Girl I Knew Somewhere (version 1 - 2022 remix) (2:49)
A Little Bit Me, A Little Bit You (2022 remix) (2:50)
She Hangs Out (2022 remix) (2:42)
Gotta Give It Time (2022 remix) (2:19)
Love To Love (2022 remix) (2:32)
99 Pounds (2022 remix) (2:28)
You Can't Tie A Mustang Down (2022 remix) (2:54)
Review: The 2022 remix of The Monkees' Headquarters revisits the pivotal album where the band seized creative control, marking a milestone in their musical journey. Produced by Chip Douglas, Headquarters captures Michael Nesmith, Micky Dolenz, Davy Jones and Peter Tork stepping beyond their TV personas and establishing themselves as a real band. Featuring remixed tracks from the original multitracks, the release restores the album's original pitch while expanding its stereo separation. Highlights include Nesmith's jangle-pop gem 'You Told Me', Dolenz's inventive 'Randy Scouse Git', and the Boyce & Hart-penned 'I'll Spend My Life with You'. This edition also unearths gems like Neil Diamond's 'A Little Bit Me, A Little Bit You' alongside bonus tracks, alternate takes, and insightful studio chatter. Complete with a 28-page booklet this set illuminates The Monkees' creative revolt, delivering a fascinating glimpse into the band's groundbreaking rise to artistic autonomy.
Review: Tramp Records prove their specialism in rare soul funk, jazz and soul reissues with yet another star salvaging in the vein of late 60s Louisianan garage rock. The Offbeats was the short lived project of one Roger Hallmark and company, and yet only three 7" singles through Frontier Records, Crown Records and Fairday Records ever appeared in his career lifetime, of which 'The Hump/Louisiana' was the second. Now Tramp do a bang-up job of reminding us with this slap-around-the-face twangoff, 'The Hump' being a Hallmark of salacious, rip-roaring rock & roll, and the latter channelling a roomy live feel backed by female screams and unflappably played electric solos.
Review: Paula Parfitt and Jeannie Dee deliver soulful magic on this split single. Paula Parfitt, who signed with Milton Samuels' Beacon label in 1969, made her debut with the single 'I'm Gonna Give You Back Your Ring.' Though initially overlooked, on Side-2, 'Love Is Wonderful' became a Northern Soul classic, lighting up dance floors for over five decades. After a brief stint recording for Beacon's UpFront label and later in Italy, Paula settled into Mediterranean life. Jeannie Dee, from Brixton, London, joined Beacon Records in 1968 as part of the duo Jon (aka Terry) and Jeannie. Known for soulful covers, Jeannie's solo rendition of the Supremes' hit 'Come See About Me,' produced by Donnie Elber, showcases her powerful voice. Often mistaken for her American namesake, Jeannie brought a unique British twist to classic soul, making her mark on the scene, and this release is respectful to both artists' enduring influence.
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