четверг, 30 мая 2019 г.

Various-Drag- Queen Classics !!!

The Pied Pipers - The Trolley Song
 Faye Richmonde - Tony's Got Hot Nuts
 The Knightsbridge Corale - Make Mine Mink
 Peggy Lee - Golden Earrings
 George Sanders - If You Were the Only Girl
 Jerry Lewis - Get Happy
 Muzzy Marcellino with Russ Garcia - The Wedding of the Painted Doll
 Raymond Scott and Dorothy Collins - Tico-Tico
 Dennis Farnon, Soprano Solo by Marni NIxon - Very Contrary Mary
 Doris Day - The Deadwood Stage (Whip-Crack-Away)
 Andrews Sisters - Boogie Woogie Bugle Boy
 Eden Ahbez - Banana Boy
 Sweet Sue and Her Society Syncopaters - Down Among the Sheltering Palms
 Julie London - The Boy on a Dolphin
 Faye Richmonde - My Pussy Belongs to Daddy
 Groucho Marx - Dr Hackenbush
 Richard Allen - Doctor in Love (From the Film "Doctor in Love")
 Sheila Buxton - Shakedown (Theme from the Film "The Shakedown")
 Ken Jones and Jeri Southern - Fire Down Below
 Faye Richmonde - The Swelling of the Organ, and the Coming of the Bride
 Douglas Byng - I'm a Mummy (An Old Egyptian Queen)
 Marilyn Monroe - Do It Again

Сбоник прекрасных исполнительниц,с совершенно идиотской обложкой !

среда, 29 мая 2019 г.

вторник, 28 мая 2019 г.

Pat Hervey-Peaceful

A1 Any Day Now
A2 Pussy Willows, Cat Tails
A3 They Don't Give Medals
A4 If You Go Away
A5 With Pen In Hand
A6 Courtyard
B1 Reverend Posey
B2 Scarborough Fair / Canticle
B3 We're Falling In Love Again
B4 Malaguena Salerosa
B5 Peaceful

понедельник, 27 мая 2019 г.

Pat Hervey - Mister Heartache

1 Pain 2:42
2 The Many Moods Of My Baby 2:12
3 This Ole House 2:45
4 Tiger Man 1:59
5 Mister Heartache 2:09
6 Walkin' In Bonnie's Footsteps 2:30
7 Willow 2:00
8 Just Words 2:30
9 Summertime 2:12
10 Hava Nagila 1:57
11 Hand In A Handkerchief To Helen 1:58
12 Every Girl 2:30
13 Tears Of Misery 2:09
14 I Wouldn't Blame You 2:09
15 Brother Can You Spare A Dime 2:28
16 First Thing Tomorrow 2:09
17 It's Love That Counts 2:28
18 A Mother's Love 2:52
Pat Hervey could belt out a tune with a similar style to Brenda Lee and was one of Canada's successful early female singers of the '60s.

Pat grew up in Toronto, first singing in public when she was 9 in a high school choir and with a girlfriend who played guitar at social dances and parties. Toronto DJ Al Boliska heard her at an amateur Rock & Roll show and put her in touch with CBC Television. The network signed her and she appeared regularly on their "Club 6", "Country Hoedown", "Music Hop", "Parade", "While We're Young", and "Holiday Ranch" other shows.
Art Snider was musical director for another TV production "Club Six", and suggested she make some recordings for his Chateau label. In the Summer of 1962 she had her first hit with "Mr. Heartache". Snider held the sessions in Nashville & Chet Atkins produced 4 tracks for her, resulting in Pat being signed by RCA Victor Canada. Atkins produced her entire first LP but it didn't contain her hit songs. "Tears Of Misery" stayed on the charts for nearly 3 months, followed by "Walking In Bonnie's Footsteps". She later became the featured singer on the Tommy Hunter Show (a popular country / variety show in Canada for many years). She won a Top Country Female Award in 1964 then made a move to Stan Klees' Red Leaf label.

Nothing seemed to make an impression on the new label, and she moved to Vancouver in 1969 and "retired" from the music business, aged 22. This proved to be a short hiatus. She had her own Summer television show in 1970 and recorded another album Peaceful in 1971 on the CBC/RCA Camden label.
She married renowned Canadian jazz guitarist Oliver Gannon and resided in British Columbia, where they had a 4 piece group and perform as The Oliver Gannon/Patty Hervey Quartet. She focused her career on jazz, singing and playing bass in Vancouver's best jazz venues, proving to be a vocalist & musician capable of any genre and creating a lifetime of great music.
Patty braved a 15 month courageous fight against esophageal cancer, passing away July 31, 2016

воскресенье, 26 мая 2019 г.

Peter Lauch

Peter Lauch's Sex Magazin 1968

A1 Fischer, Kugel und Mädchen
A2 Einst ging ich am Ufer der Donau
A3 Der rosa Papagei
A4 Hieb, Stich und Stoß
A5 Das gewisse Etwas
A6 Zeig se mal
B1 Der Kesselflicker
B2 Ach, Mariechen
B3 Das macht der Theo mit einem Finger
B4 Tralala
B5 Fatimah
B6 Ohne Fleiß keinen Preis

Peter Lauch's Sex Magazin Nr. 2  1969

A1 Das Berghotel
A2 Gruss Mir Die Blumen Und Vogel
A3 Zehn Kleine Magdelein
A4 Von Koln Bis Scharbeutz
A5 Juck, Juck, Juck, Sie Hat Es Gern
A6 Zickezacke-Zickezacke-Bumsvallera
B1 Isabella Von Kastilien
B2 Edeltraut Und Peter
B3 Mein Hund Heisst Hans
B4 Die Reise Nach Paris
B5 Er Hat Ihn Drin
B6 Du Kannst Es Besser Als Erna

German schlager singer and songwriter, best known for his mutual provocative songwriting.

суббота, 25 мая 2019 г.

Christina Lindberg

A Allt Blir Tyst Igen
B Du Är Min Enda Kärlek

Britt Christina Marinette Lindberg
Born December 6, 1950 in Göteborg. Actress (swedish softporn) and nude photomodel.
Пение тут вовсе не главное,совсем не главное !

Peggy March ‎– Best

1 I Will Follow Him
2 I Wish I Were A Princess
3 Hello Heartache, Goodbye Love
4 The Impossible Happened
5 (i'm Watching) Every Little Move You Make
6 Takin' The Long Way Home
7 Nazedaka Wakaranai (i Don't Know Why)
8 Kiri No Naka No Shojo
9 Itsudemo Yumeo
10 Kawaii Maria (i'm In Love)
11 Omoide No Tokyo (memories Of Tokyo)
12 Losin' My Touch
13 Tears On My Pillow
14 Yume Miru 17 Sai (mit 17 Hat Man Noch Traume)
15 Wakaitte Subarashi
16 Roma No Ame
17 Wasurenaiwa
18 Boom Bang-a-bang
19 Sayonara Hatsukoi (hello Heartache, Goodbye Love)
20 I Will Follow Him [japanese Version]
Little Peggy March, age 15 years old, only ever had one big hit during her decade with RCA Records, but that song, "I Will Follow Him," spent three weeks at the number one spot on the charts and even topped the R&B charts for a week as well. It pretty well helped define the early girl group sound, as much as the Shangri-Las' "Leader of the Pack" or "Great Big Kiss" did at the later end of the musical genre. Her subsequent hits, "I Wish I Were a Princess" (which was featured prominently in John Waters' period romp Hairspray) and "Hello Heartache, Goodbye Love," scored much lower in the Top 40. RCA continued to record March for ten years, right into the early '70s, but she never scored an American hit of any consequence after early 1964. By contrast, in Europe, she was a popular recording artist for many years and scored several major hits, especially in Germany, where she moved in 1969.

Margaret Battavio, aka Little Peggy March, had dreamt of a singing career for most of her young life, and had been winning talent contests as a young girl. She was signed to RCA in 1962 at age 14, and made her debut that year with a cover of the song "Little Me," taken from a Sid Caesar Broadway hit, which vanished without a trace. Her second single was to ensure her place in the pop music reference books, however.
English-born girl singer Petula Clark, who'd been recording since the mid-'50s, had recently scored a hit in France with a song called "Chariot" on the Vogue label. RCA producers Hugo Peretti and Luigi Creatore ("Hugo and Luigi"), best known today for their work with Sam Cooke, found the song and got March to record the number in a new version with simpler lyrics, now known as "I Will Follow Him." Clark's recording was a slow, moody, soulful piece, with the singer seeking the depths of the song's meaning, all without the doo wop-style "did-ip, da did-ip, da did-ip" chorus. It sounded like the work of a woman. March's recording, by contrast, picked up the tempo, added a doo wop-style male chorus and a pulsing arrangement, prominent drums and chorus, and her breathy, breathless reading of the lyrics. It sounded like the work of a passionate girl, and it defined the girl group sound as much as numbers like "Johnny Angel."

March eventually released an entire album built around her sudden number one hit, including "I Wish I Were a Princess," which reached the Top 40 in 1963. The rest of the album was a pretty collection of tuneful teen pop, the world of romance as seen through the persona of a 15-year-old, including such numbers as "My Teenage Castle (Is Tumbling Down)" and "Johnny Cool." She subsequently saw modest chart success in America with the magnificent "Hello Heartache, Goodbye Love," a near-cousin of "I Will Follow Him" in beat and arrangement, which reached the Top 30 and also became a hit in England; and also with "The Impossible Happened," a funny, silly little teenage girl's romantic lament, which made the American Top 50. In early 1964, March was still reaching the lower ends of the charts with Paul Anka's "(I'm Watching) Every Move You Make," but after that, music began changing very rapidly with the advent of the British Invasion sound. She recorded 18 singles for RCA between 1964 and 1971 and several albums as well, none of which charted in any serious way in America.

As it turned out, the United States comprised only one part of the audience she was trying to reach, and listeners in Europe were far more interested in March as an American pop star than Americans were. She moved to Germany with her husband/manager, Arnie Harris, and enjoyed a career in recording, variety show performances, and television appearances. In the '80s, March returned to America, where she continues to be best known for "I Will Follow Him" and the naive early girl group sound that it represents

четверг, 9 мая 2019 г.

Don Kosaken Chor-Stenka Rasin 1970

1. Stenka Rasin 5.25
2. Still ruht der See 2.05
3. Zwei Kosakenlieder 2.09
4. Reitermarsch 2.02
5. Hindulied 3.45
6. Der Kuckuck 2.35
7. Ave Maria 2.59
8. Legende von den 12 Räubern 6.38
9. Matrosenlied 2.17
10. Alter Walzer 5.51
11. Lescinka (Kaukasische Melodie) 3.59
12. Russischer Tanz 1.55
13. Lied vom Terek Fluss 4.33
14. Die Wolga entlang 4.09
15. Guten Abend, gut‘ Nacht 2.10
Хор донских казаков Сергея Жарова
The Don Cossack Choir Serge Jaroff (Хор донских казаков Сергея Жарова) was a men's chorus of exiled Cossacks founded in 1921 by Serge Jaroff and conducted for almost sixty years by him.

понедельник, 6 мая 2019 г.

Machito ‎– Machito Goes Memphis

Baby I Love You 2:34
Hip Hug Her 2:21
Knock On Wood 2:33
Alfie (From The Paramount Picture Alfie) 2:31
Fa-Fa-Fa-Fa-Fa 2:11
In The Midnight Hour 2:30
Shake 2:44
Green Onions 2:32
(I Can't Get No) Satisfaction 2:29
634-5789 2:26
Soul American 2:21
Hold On, I'm Comin' 2:13
Real Name:
Francisco Raúl Gutiérrez Grillo
Francisco Raúl Gutiérrez Grillo (February, 16, 1912, Havana, Cuba - † April 15, 1984, London, England)
He is one of the most criminally underrated artists in the landscape of Afro-Caribbean music. A musical genius and mercurial bandleader whom Tito Puente himself called el maestro - the master. Now, this volume in the La Herencia series allows us to rediscover and cherish the legacy of Francisco Raúl Gutiérrez Grillo.

Everything about Machito was unique and different. He was one of the few Afro-Cuban singers who performed both coro (chorus) and inspiraciones (verses) within the same tune. He shared vocal duties with his sister, Graciela Pérez-Grillo, creating mellifluous harmonies that are instantly recognizable. Most importantly, Machito infused every song in his dozens of albums with an air of bonhomie. Once you discover the warmth and giddy sense of humor that define his recordings, you will probably be hooked - just like the many Machito fans all over the world who get a smile on their faces with the simple mention of the man's name.

Born in 1908, Machito was the son of a cigar manufacturer. In 1937, he left his native Cuba for New York - a move that would change the history of Latin music. After working with tropical luminaries of the time such as Cuarteto Caney, Noro Morales and Xavier Cugat, Machito founded his own group, the Afro-Cubans, in 1940. Together with his brother-in-law and musical director Mario Bauzá, he was one of the pioneers of the Latin jazz movement - their track "Tanga" was just as groundbreaking as "Manteca," the historic collaboration between Dizzy Gillespie and Chano Pozo.
But to think of Machito simply as a Latin jazz musician would be a huge mistake. Yes, his 1957 album Kenya is one of the genre's most influential recordings. But Machito thrived in every tropical style imaginable: he recorded mambos and cha cha chas with unparalleled panache, but never forgot to include a steamy bolero in his repertoire. Boasting earth shattering performances by Graciela, Machito's boleros are some of the most transcendental examples of the genre. As decades passed, Machito made it a point to inform himself about the latest trends in music. He explored the bossa nova, Latin Soul and boogaloo fads.
The decade between the mid '50s and the mid '60s was a time of prodigious creativity for Machito and his orchestra. Its musicians and vocalists were at the peak of their powers, and they recorded copiously. It was also the time when the orchestras of Machito, Tito Rodríguez and Tito Puente competed against one other at the mythical Palladium - the temple of Afro-Cuban music in New York.
The tracks on this collection are culled mostly from the albums that Machito recorded for the Tico label during that period: classic LPs such as Sí Sí, No No (1956), the forgotten masterpiece Machito Inspired (1957), A Night Out (1960) and Tremendo Cumbán (1963).
The opening track in this anthology is an electrifying version of the classic Cuban tune "El Yerbero." Check out the tightness of the brass section, as well as the vocal exuberance of both Machito and Graciela. This is the kind of swing that only the few true masters of Afro-Caribbean dynamics can possess.
Included in Tremendo Cumbán, "Escúchame" is one of the few boleros where Machito can be heard sharing lead vocals with his sister. Their voices soar, backed by a silky big-band arrangement. Also from the same album, the inimitable "Franciscua Guajira" showcases Machito's eccentric sense of humor. After launching into the infectious chant "que sea como sea/que para bien sea," Machito and Graciela engage in a hilarious dialogue that also involves singer/songwriter Marcelino Guerra. The track fades out with the sound of Graciela's hearty laughter.
A sarcastic ode to the climatological pleasures of New York City, "Freezilandia" includes a touch of doo-wop vocal harmonies and a sweet mood of wide-eyed innocence about it - it is one of the orchestra's most endearing songs. The same doo-wop influence can be heard on Graciela's dreamy reading of the timeless bolero "Contigo En La Distancia."
The exotic "Heat Wave" is a lush instrumental cover of the 1933 Irving Berlin standard - from a 1959 LP devoted solely to Latinizing the Berlin songbook. Transposing American classics to tropical music was a popular stylistic device of the time, used with equal success by Tito Puente and Tito Rodríguez.
"Sopa de Pichón," which Machito composed himself, was one of his first big hits with the Afro-Cubans. The crisp version that we chose to include here is from the 1959 session Cha Cha Cha At The Palladium.
In 1956, Graciela had caused a stir with the salacious (and somewhat overwhelming) "Sí Sí, No No." The singer would step into similar double-entendre territory again with the hit "Ay, José." It was included in the excellent 1963 LP Esta Es Graciela, which together with Intimo Y Sentimental, were Machito's last two releases for Tico - and an attempt to launch Graciela herself as the star of the Machito orchestra.
In the mid '70s, Machito would take a decision that remains puzzling to this day. In an attempt to compete with the smaller salsa combos of the time, he downsized his group, leaving behind both Graciela and Mario Bauzá. "I don't know what got to him," says Graciela from her New York apartment, with sadness in her voice. "To this day, there is no explanation for what he did."
Machito carried on, recording with former Eddie Palmieri vocalist Lalo Rodríguez. By the early '80s, his sound had embraced the contemporary salsa aesthetics that he himself had helped develop. The closing track on this anthology, "Soy Salsero," draws a full circle - from Afro-Cuban jazz pioneer to salsa star.
El maestro Machito passed away in 1984, after suffering a heart attack during a performance at the London jazz club Ronnie Scott's. Musically, he was still at the top of his game.

воскресенье, 5 мая 2019 г.

Various ‎– Buttshakers! Soul Party Volume 9-10

A1 –Little Hooks And The Kings Jerk Train
A2 –Willie Spencer Ridin' Shotgun
A3 –Milton Howard I Am From Missouri
A4 –Tony Walker And His Eigh Men Of Soul Big Cadillac
A5 –Fabulous Playboys Nervous
A6 –Sam & Kitty Got Something Good
A7 –The Young Disciplines & Co Bang Bang Bang
B1 –Bobby James Going Back Back To Philly
B2 –The Autographs Do The Duck
B3 –R.T & The Pot Lickers Sticky Pig Feet
B4 –Elmer Packer And The Nite Lighters Back To New Orleans
B5 –Gene Waiters Shake And Shingaling
B6 –Biggie Ratt We Don't Need No Music
B7 –Rodney Jones & Larry & The Hippies Band Right On, Right On

A1 –Rudy Tee And The Rend Bop's Talk About Soul
A2 –The Diamond Uprisers New Kind Of Jerk
A3 –Bobby Jones I Got An Habit (Of Lovin' You)
A4 –Little Oscar The Message
A5 –Mad Dog & Pups Hep Squeeze
A6 –Wild Willie Wise Soul Brother Number One
A7 –Father & Sons Soul In Bowl
B1 –Doug Clark & The Nuts Baby Let Me Bang Your Box
B2 –Louis Jones  & Bobby Scott Orchestra Come On
B3 –Curtis & The KC Everybody Going Wild
B4 –Lloyd.W. Williams Be Mine Tonight
B5 –Jesse G Get In The Groove
B6 –Davis & Jones And The Fenders Boss With Hot Sauce
B7 –Jimmy Toliver Who Do You Love

среда, 1 мая 2019 г.

Eduardo Rovira ‎– Sonico

A1 Sonico
A2 Azul Y Yo
A3 Bobe
A4 A Fuego Lento
B1 Ritual
B2 Preludio De La Guitarra Abandonada
B3 Opus 16

Eduardo Oscar Rovira
Argentinian bandoneonist, orchestra leader, composer
(30 Apr. 1925 - 29 Jul. 1980)