A wonderful 60's pop song. Dandy, full of little bell sounds and also has diminished chords.

while i don't like much of chicago's music, i like this song a whole lot. their music is often a bit cheesy to me, but this song rocks out. the guitar is awesome in it. it's a fast and furious rock and roll guitar. it single handedly makes this song. the title actually refers to two types of acid available in the 60's(?), 25 or 624. so, to imagine this song, think of a great classic rock guitar on acid.

I feel like very few people fully appreciate the music of Donovan, which is a shame because he may be the greatest musician of the psychedelic era in the 60's. Atlantis is his best song. A sort of whimsical and beautiful song which tells the story of the lost continent. Probably the best psychedelic song there is. It lacks the self-indulgent meandering that plagued the Grateful Dead, and lacks the obvious drug references of most psychedelic music. It's not overly rock and roll, but not overly folk either. A brilliant song with a very strong, beautiful melody.

This is a very beautiful track.

Very 'West Coast' late-60's sound. Quite reminiscent of Jefferson Airplane.

Very sweet, very melodic/melancholic.

Strings. Strong female lead vocal.

I originally heard it many years ago on a vinyl album by a group called 'Mojo' which is what The Mojo Men were apparently calling themselves in 1969.

I searched for the song for years, confused by the change of name & eventually found it on their CD compilation.

It's another one of those songs that should have been very succesful, but was just stuck in the middle of a flop album

totally amazing, swinging piece of japanese vocal-centered 60's big band sound. i�m especially fond of the tarzan-esque way her voice bends at about 2:54, and the uh! ah! sounds of the backup singers. this needs to get its own movie scene ala the big dance number in sabu's "monday", if anyone's seen that.

What a beautiful song from one of the most influential duos of the 1960's. Paul Simon has written some of the best songs of this past century and this is among his finest. The moving orchestration featuring piano, violins, and the booming kettle drums convey the emotions of this song in a way that transcends time. It is still as moving as it was 32 years ago at the time it was released!

Guitar, piano, violins, drums, backing chorus and Ornella Vanoni singing in this gorgeous San Remo hit from 1968. This is one of the type of 'slow burn' italian 60's pop hits that I can't get enough of, sort of mid-tempo with a rich detailed backing arrangement and vocals with a certain weight but which by the end will soar.

The recording may be raw, but this song reeks of pure insane genius. 60's-inspired organ-fueled sleaze. The band boasts the former organist of "The Voluptuous Horror of Karen Black". This is one of many instrumental numbers consisting of guitar, organ, shakers and what sounds like an old drum machine. Shamelessly derivitive, lo-fi and spooky. It's one part surf and equal parts garage and swing. Henry Mancini-meets-The Mummies-meets-The Stray Cats.

Gorgeous track off Goldfrapp's latest - a lush slice of 60's tinged sexiness, all breathy vocals, soaring pop strings and hints of Serge Gainsbourgh.

A mere pastiche? More than that I think. The track certainly has strong echoes of times past, but there is also something distinctly modern in the mix too.

There is other good stuff on this album, but it took me a few listens to absorb and appreciate it - which is no bad thing.

60's beat with female vocals (english) and doublepicked & reverbed guitar sound. this song must've been a hit in the 60s because even the dreaded Spotnicks (sweden) have covered it.

It's a situation we can all imagine ourselves in - an ex-partner is getting married, we're invited, we get drunk and embarrassing at the reception. Twinkle, aka posh girl Lynn Ripley (who went to school with Camilla Parker-Bowles!) is a lyrical genius and this unbelievably good little number was relegated to the B-side of her final 60's single, Micky.

This song contains one of my favourite song lyrics ever. Pondering why they split up, Twinkle admits it was because she wouldn't have sex with him until they were married and says "it was a woman that he wanted, not a lady". How great is that? I thought she was going to say "...not a girl" first time I heard it and was taken aback by the simple brilliance of that turnaround.

Plus, well an American friend has nicknamed me Twinkle because I'm her favourite Brit-girl and I can live with that.

i heard this song for the first time in spain at the purple weekend. the dj (mike stax) is as rather famous guy in the mod/garage/60's-scene. so i didn't have the guts to mail him about it for a year or so. but eventually i did and he gave me the details and told me that it was his girlfriend ho spun it. the song is a weird version of black sabbath's paranoid. i love this stuff. can be found on some german comps various artists as well as c&b comps. i saw the original cornet single on ebay a couple of months ago for a mere $180.

Italian film score Bossa Nova featuring lyric-less female vocal.

Alias Blowin' In The Wind.

I don't really care for Bob Dylan, and it is for one reason only; his whingey voice. It just, for me, undermines all the cleverness of his lyrics since he sounds like a child who's dropped his ice cream.

But there's no denying the man writes cracking songs. Virtually every time I hear someone other than him perform a Dylan tune, I find it a great listening experience. Another favourite is Linda Gayle's version of Maggie's Farm (on one of the Girls In The Garage volumes).

Peggy March is famous (if 'famous' isn't stretching it) for a couple of saccharine hits in the early 60's. Few people realise she had a later dimension to her career - great popularity as a German language singer. Her vocal treatment of this Dylan song adds a shyness and grace to the protest, all accompanied by, naturallment, that slight oompah-ness endemic to a great deal of German pop of the period.

A swingin' 60's soundtrack gem for the 1967 movie of the same name. Mizzy is probably most famous for his theme for the Addam's Family (snap, snap). "Waves" just cooks from start to finish! A freakbeat bass and blaring horn section do a wild frug while swirling strings hover above. I can't sit still when I hear this song!

one of my fave dj's, michael wink, played this at the 1st sinful swedish mod weekender. i was kind of doped (kids, don't use hard drugs...) up so i really liked it. it's a heavy, "beardy", as my friend ricky rickenbacker would describe it, kind of a tune. late 60's garagerock... i really like it. the cover of the 45 shows the guys bare breasted. mmmm.

60's French Beat with a inescapable riff and an overwhelming swagger in Dutronc's vocal delivery.

The prolific and always entertaining Ramsey Lewis.This track is one of my favorite from his collaborations with the legendary fusionist,Charles Stepney.It has all the best elements from their work,lush orchestral textures,rock steady soul jazz,and the siren calls of Miss Minnie Riperton.It sounds like this recording was done during the same sessions as Minnie's incredible solo album,Come To My Garden.In fact,the record contains a version of "Les Fluer" that has the same istrumentation, except Ramsey plays the lead vocal melody in his typical style.

This piece is almost like some kind of lost soundtrack work,impressionistic in a spiritual way,like a cosmic gospel.Travelling the silver thread of consciousness back to the source...An Eternal Journey indeed,and a must for fans of spooky jazz and 60's soundtracks.

heavy 60's garage... lots of guitars and even some double bass drumming? wicked guitar solo... i seem to like this late very white 60's garage thing. well, i guess we're all human beings.

The unmistakeable Etta. My favourite of her 60's rock-soul belters (and one of the lesser-played ones; I was surprised when it didn't even make it onto the Etta Chess box set), recorded when she had a drug habit that would make Keith Moon blush. I ended a DJ set with this song and the reaction was phenomenal.

From the minor key trombone intro to the teenage angst of the lyrics, this is a classic song of the 60's that totally encapulates the innocent era of the UK beat boom. Sandie Shaw was probably the best selling UK female singer from 64 to 69, slightly outselling her contemporaries Dusty, Cilla and Lulu and although she possessed a weaker voice than the others, what she lacked in volume she made up in style and interpretation. Sweet and slightly soulful with a quasi tuneless ache to her voice which epitomised a teenager stood up by some beatnik no hoper, she was only 17 and showed the ways of a woman several years older. In the UK it was the follow up to the massive UK No 1 ''Always Something There To Remind Me'' and was a massive Top 3 hit that should have gone all the way to the top.
I love this record - it sums up an era, it is the beginning of a suit of girl singers who changed then style of singing, from 50's twee to 60's ''dolly bird'' and it remains a classic pop single from a girl who held the record for the most No 1 hits for a ssolo female for 19 years

With the likes of Buzzsaw by The Turtles and Dance With The Devil by Cozy Powell, Groovin' With Mr. Bloe is one of my favourite late 60's-early 70's groovy "novelty" pop instrumentals.
Beginning with a tight drum beat that carries on throughout the song and followed by one of the fattest basslines ever, this is a real dancefloor gem for hip crowds. Best of all is the harmonica lead by Mr. Bloe himself, a session musician by the name of Harry Pitch. Groovin'...became a surprise top ten hit but the best credit to the song is that it allegedly still enjoys club play by Richard Searling, the legendary northern soul deejay.

Think bouncy, 60's brit-girl classic. Makes me tingle all over with happiness. This was on the flip on a Man From UNCLE novelty, Love Ya Illya, and is actually by that queen of opulence Alma Cogan in disguise.

Alan Price left The Animals in 1965 and began his career as as the lead singer of The Alan Price Set in 1966.

Their first single was a flop. This, their second, made the Top Ten, in England.

It's my personal favourite rendition of this much covered, Screamin' Jay Hawkins song. The most famous version is probably by Nina Simone, which I also rate very highly.

Alan's version is tremendously powerful, helped by his skilful, echoey use of the Hammond Organ.

Price never 'made it' in the USA as a solo performer. He was terrified of flying, so the necessary promotion of his work, stateside, suffered. He also gave this as his reason for leaving the Animals, who needed to spend a lot of time in the USA, as they had a huge following there.

He's one of my favourite British artists, solo & otherwise, of the '60's & I think this is my favourite of his songs.

Ben Bagley gathered some of his friends together back in the 1960's and put together compilation records of his favorite composers. Blossom Dearie was featured on several of these albums. One of the best tracks she recorded for Mr. Bagley was a great jazz song from the 1920's called 'I Want To Be Bad'. A wonderful song from the era of the flapper, she gleefully breezes thru lyrics such as, "If it's naughty to let a male read you like a book, and in BRAILLE, let a lady confess I want to be bad!" The song is ripe with double entendres and Blossom carries it off with a wink and a nudge. This is Blossom at her best!!

Who?

As a 60's girl group collector who's been at it for a number of years, I'm always delighted when some compiler somewhere turns up an absolute gem. As this is from the sleevenotes-shy semi-legal Marginal records, I had to find out on my own that this is infact Jill (with bonus "l") Gibson, Jan-of-Jan-and-Dean's girlfriend and rock photographer. Jan and Dean also recorded this song.

Very quiet vocals in contrast to a lot of 60's girl groups - almost a little Margo Guryan in there if it weren't for the stomping in the background. No info at all on the production. If anyone can fill me in, I'd love to hear it.

I absolutely love Claudine Longet, especially her 60's A&M records due to the consistency in arrangement and production (all A&M albums were arranged by Nick DeCaro and produced by Tommy LiPuma). This is a great Roger Nichols/Paul Williams tune and the arrangement and production, with lovely strings, is just wonderfully done.

I believe this song was written in the late 60's by Bob Dylan, however it was performed by Nico, whose original band was The Velvet Underground before she went solo. This track has a lovely up-beat combination of piano and violin to acompany Nico's deep, melodic voice. I love it because of it's artistic without being depressing or too complex.

I always loved the turtles so followed on to flo and eddie. this is the only song that has stuck with me by them tho. beach boys- esque paean to the lost ideals and protagonists of the 60's (sob). pretty

I've been looking for a Japanese song with an late 60's/early 70's loungy, yet soulful and deep sound for a while. This song by Okumura Chiyo (Japanese name order, last name first) is the closest track I've been able to find yet. The title means love slave, the beginning lyrics translate something like, "from the day I met you, I've been your love slave, I want to wrap myself around your knee like a puppy..." This song is somewhere between traditional Japanese enka and soul similar to say Nancy Holloway for example. The Japanese instrumentation blends nicely with the bleeding bass and horns. If anyone knows of any other Japanese songs in a similar vein, I'd love to hear some more recommendations.

Man! You really have to get up early in the morning to find tracks like this. LA big band funk, banks of brass, electric bass throbbing away, and the hard hitting Jimmy Gordon on drums! But the best part is the vocals, done it a way that makes it sound like an Odeon recording from late 60's Brazil!... Stunning. The rest of the LP is no slouch either though, and reminds me a lot of Quincy's late 60's work and the Project 3 era Enoch Light stuff.

Highly recommended to lounge DJ's and fans of mod rarities.

First of all let me say that I have been violently blindsided by this group! ...they very quickly entered my favorite 60's pop group stratosphere and have not budged from my rotation for months now. I first got "From you unto us", the singles collection which is good for what it is, but I think the best introduction to the band is the albums themselves, original ordering of songs in this case is vital to the listening experience.
I liked the singles collection OK, but my first impression was muted and okish until I noticed a couple songs later on sticking in my head for hours... picked up the first album on CD (Wondering the whole time if I should be doing this as I have most of the tracks on the comp, CD right? I like the original ordering BEST! Glad I did, no regrets at all...) and have played little else for some time...

I just got Timeless and I'm choosing one off their second album because the first album is one of the few immaculate pop albums of all time IMO and choices there are easy favorites... the second album seems to be less popular, but there are some serious gems here too and It's also a stone cold favorite...

I am choosing Look Away because I think the most distinctive sonic quality of Eternity's Children are these wonderful uplifting bouncy organ driven songs... ET have several tracks that deliver a great song, beautiful and original atmospheric production, great performances in a deeply satisfying way that is rare... This song is pure pop bliss from the opening notes to the end. I honestly can't think of a better compliment than that this song makes me glad to be alive.

For those of you who played in the band and stumble across this:
From the bottom of my heart THANK YOU!

Another awsome but forgotten vocal group from 60's California that deserves a proper re-issue!The Collage were a vocal quartet(2 boys & 2 girls)with a very cool sound.Not enough to set them apart from the pack,but very groovy out of their context.The sound is as good as re-discovered groups like Free Design, or Millenium.In fact,Curt Boettcher wrote one of the songs on the LP,as well as Roger Nichols!
This song has a kind of"love awareness" message that seems just as relevant in today's troubled world: "...Look at a baby,what do you see?What do you see,lookin' at a baby?/I can see the world the way that I would like the world to be!..."This song,as the opener on the LP,has a lot of power, with that great 8th note stomp and a big,boomy,bass line with harpsichord.The arrangements are by the great Perry Botkin Jr.,and he gives the whole record a nice swirling,magical quality.And the rest of the album is just as impressive, and should be worth the high price for any lover of the genre.

60's piece of female vocals wall-of-sound power pop.
it's got handclaps, it's got tambourine, it's catchy as hell. it's just the wrong side of kitch.
I love it.

It's hard to recommend a single track from this album, the whole thing is a classic of California pop. I'm glad it's finally been reissued on CD.

Mark Eric Malmborg created a genuine masterpiece with this recording, which has a bittersweet mood throughout that reminds me of "Pet Sounds". I originally came across this LP in 1989 when I found a copy at a thrift store (it had once been in the collection of the local public library!)and just looking at the cover I figured it would be great, and it was!

"Lynn's Baby" is the last track on the original LP and is a beautiful song about a girl who has been seduced and left with an out of wedlock baby by an older, manipulative guy who's left her after the usual empty promises...rather an unusual theme for a pop song! The combination of Mark Eric's voice (somewhat reminiscent of Brian Wilson) and the gorgeous string arrangement are enough to really bring out the goose bumps.

This CD is one that I absolutely can't recommend enough to fans of the beautiful 1960's pop music.

A 60's Italian soundtrack tune that magically combines Pop and Renaissance. Harpsichord and wordless vocals (here, by I Marc 4) were not uncommon in the 60's, but here they are together: if only church music really sounded like this! From a killer sountrack album that has several treatments of about three or four excellent base melodies - all of them excellent. Worth every penny.

The U.K. (or possibly Australian?)group the Settlers do a great job on this Tony Hatch song, sounding somewhat like American contemporaries the Sunshine Company and the Mamas and the Papas. I just love the vocal harmony groups of the mid to late 60's and this is an excellent example of that musical genre. The arrangement is very dramatic and the male-female vocal blend is very well done. This is much more pop than rock, and is definitely one of my favorite Tony Hatch tunes.

heartbreaking early 60's country with a slight sophistication.

this frech jazz/soul artist is a recent discovery of mine. and it's too bad it took me so long to find him! just as talented as the well-known jaques dutronc. most of his early stuff is great, and gets a bit more "souly" as time goes on. if you like 60's french music, check this out.

It makes me think of being a kid in my hometown...again, the music itself doesn't really have anything 'great' about it...it's more the message and the feeling that the song gives me than anything specific about the song...I guess it's a memory association thing.

Female fronted 60's garage groups are hard to come by, so this song intantly got my attention. I don't know a lot about this band; I happened to come across this song on a comp cd with little info in the liner notes. I'm assuming the band was named after the '64 film of the same title. I do know, however, that some of their stuff was just re-released. This song may have been recorded in '65 or '66. If you're the type that shuns away from buying an entire cd for one song, fear not, there are quite a few gems on this one (including another by this particular group).

This Hillard and Garson song first recorded by the Romantics in 1963 gets a smoothe Bossa makeover on Eduardo Costa's LP "Eduardo Costa & Os Hitmakers." It has Hammond organ leads and 60's guitar and a mod sound similar to the many Parlophone/Odeon releases of the same period. Its a sweet melody and the LP has a fantastic cover with Eduardo standing at the Hammond in s shag-rugged recording studio wearing an outfit that would make Austin Powers jealous.

This is the sound of summer in the sixties as I remember it from my childhood. Sunny, light, breezy. Its from one of Augusto Alguerro's 2 Polydor releases, and while not as funky or bizarre as some of the other tracks, in terms of shear fun pop its a total star. Starting with a nice little trombone riff, its quite fast with wordless vocals, flute and light brass. It has the very good production that you always seem to get with 60's polydor LP's. I wonder if the Ragovoy that wrote it is Jerry Ragovoy who I know better as a soul writer, penning Lorraine Ellisons mighty 'Stay with me baby' amongst others.

I'm very surprised there are no other Georgie Fame songs here.

Here's yet another British solo singer of the 1960's who never really made it in America...except, I think, with the song 'Bonnie & Clyde'.

By 1969 Georgie Fame's success as a hit-maker was starting to wind down, before, in the early '70's, he teamed up with Alan Price and had a hit with the forgettable 'Rosetta'.

I think this song has been forgotten, this version anyway, but it's far from forgettable.

A really terrific late '60's chart hit, that only made it to no.16 on the British charts, but should have done so much better.

A really upbeat, summer song.

It was covered by someone else sometime in the '70's, I think, but that version was far inferior to this.

Wondeful gentle arrangement...lots of mellow brass & Georgie's voice at its understated, confident best.

We had a good time in the eighties,we really did.Unemployment,strikes,kids inculcated with the Thatcher mantra of making money which has depoliticized the youth of today.Fortunately the hypocrisy of Blair has encouraged a few students to tear themselves away from their business studies and take to the streets.Revolution revives art;it happened in the late 50's and 60's when teenagers rebelled against the staidness of post war England,
and again in the bleak mid 70's when youth rebelled against the poor prospects on offer.Fashion,music and literature are never healthier than when faced with intransigence.
In 1981 the post punk landscape was a glorious directionless quagmire.Record labels littered the nation,some only managing a few releases.Lowther International was home to the Vital Disorders who were angry but not too angry to write a great tune.
The Prams EP contains three slices of political pop,domestic and general.Prams is a scream of feminist outrage,of how women have their dreams ruptured,trapped by the drudgery of daily life,the omnipotent cry of the tyrannical baby squashing their ambitions.

"Lets talk about prams and washing machines,
Lets talk about the end of childhood dreams".

That is the chorus,sung with increasing vitriol as the song progresses,until you can almost feel the phlegm hit your face,as Tina Pilchards spits out those words one final time.Sizzling.

In his home country France Benjamin Biolay often is praised as the "nouveau Gainsbourg", he's a singer, songwriter, arranger, producer, orchestrator and plays various instruments. His debut album "Rose Kennedy" shows the impact "Histoire de Melody Nelson" had on him, as this is also conceived as a concept album. The track "Rose Kennedy" sounds very 60's in its instrumentation and feel, with lush, rich strings, warm Fender Rhodes keyboard, gentle and dreamlike vocals with a sparse dose of electronica and some samples thrown in.

A classic pop gem with the quintessential catchy, sing-along melody. Pristinly written, performed & produced by E6 Godfather Robert Schneider and his Apples in Stereo. With a chorus determined to make you hum in your sleep, or over a dozen pints with your mates, or loud enough for your co-workers to secretly dispise your chummy disposition, this song will never lose its appeal. Piano, guitar, snare and bass bring back the days of 'ole, and they do it in style. This has to be someone's favorite song somewhere!

Now THAT'S a title. Honestly, I so wish I was a teen in the sixties. You got to gloom along to the highest-quality pop-soul instead of the early 90's alt.rock that was de riguer in my tender years.

The Exciters are one of the most enduring of the 60's "girl" groups (there's one boy in there). No matter how polished the production was, they remained overwhelmingly vital thanks to the harsh vocal power of Brenda Reid, their main singer. They found mucho favour on the Northern Soul circuit, but I think their stuff is substantially more individual than a lot of the platters on offer in that scene.

"Run Mascara" is about a boy who knows how to hurt and make the tears flow, but gives just enough sweetness to keep Brenda in love. Your classic emotionally-abusive relationship. You would think with a voice like hers Brenda would just wallop him. Or shout at him. That'd shut him up.

Musically it races fast, with the other group members yelling to keep up with the breakneck speed. An outstanding few minutes.

This is an absolutely tremendous track.

Very much of its era and an absolute flop, saleswise.

This was, I believe, the only single released by the group,The Owl.
The 'B' side, 'Shades Of Blue & Green Waterfly' is equally as majestic.

Tremendous full orchestra. Very, very powerful vocals by J. Vincent Edwards. Strong melody.

I personally think it's right up there with' Whiter Shade Of Pale' as a classic late '60's, British single, in terms of power and performance.

Beautifully produced and arranged.

Edwards has the kind of voice that was very popular in Britain circa 1968, (sounds just like the lead singer from Plastic Penny).

This should have been massive.

This 1968 LP out on CTI/A&M records was a big leap fpr the group formerly known as Tamba Trio. It spawned big bossa hits like the title track Samba Blim, my absolute favorite for hip acid jazz(nu-jazz/ Rare Groove)dancefloors from London to Tokyo to even Phoenix,AZ. It's fusion of traditional Bossa Nova, Samba, and 60's Jazz melodies are delectibale to the ears. Nice songs that will get you groovin' are "Samba Blim", Reza", "Tristeza de no dois", and "Baiano". A big LP in my DJ box. A pretty heavy cost for a mint copy, but mine is only VG condition full of pops and crackles. I STILL LOVE IT!!!

This is my first recommendation, so I will go easy on all of you. The following description is from my website. (it is the only way to do the song justice):

This can only be compared to something like "Retro-60's Upside-down Elevator Muzak".
(although it certainly draws from 20's/ 30's Big Band escapism)
The thing is, if this actually were playing in an elevator, the people there would certainly perform an odd ritual of alternately:
a. Merrily tapping their foot, and then
b. Looking up at the speaker, frowning and befuddled.
This is a song, which back in my partying days, we would use as a soundtrack for the following activity:
We would put our tiny baby Alligator Lizard, Festus
(who was an inch long, head to tail, and smaller around than a pencil)
...we would put him on this cheap little multi-colored fiber-optic "fountain" and put the clear cube back over it.
We would then watch as this "fountain" would very slowly spin around, Festus aboard, with this completely absurd (but oddly beautiful) music playing.
This produced near-catastrophic laughter because he would be looking up at you with this little tiny frown, as if to say;
"what the hell is wrong with you people?"
To this day, I cannot properly answer that question.
R.I.P., Festus.

Additional info:
The sax is not my favorite instrument, but it is perfectly utilized here. It wavers between slightly obnoxious and smooth as silk.
What really make the track sweet, however are the unique guitar stylings of Snakefinger.

clever, literate pop with a nice brassy, 60's feel from Scotland's greatest asset. a 3 minute pop song to die for

Here's a 1960's classic from a rare album I've had for a few years...I found a link to youtube with the song:

http://www.youtube.com/watch?v=YEe-zTMK5N4

Produced by Huey Meaux who also produced Sir Douglas Quintet.

A good pick-me-up song with Ed Ames singin' about not being tied down. He gotta keep movin' - get it? I'm guessing it's from the late 60's

After nearly three and a half years of speculation, I finally bought this album in the fall of 2003. Wow. As soon as I popped it in, I knew that it was Monster Magnet, but I knew I had a new band to add to my favorite list. These guys rock, period, they're in the lower upper class of hard rock (with upper upper being reserved for such acts as Metallica, Iron Maiden, and Dream Theater), hell I don't even want to categorize them, as this would place a restriction on their potential (in much the same way the Jewish cannot write the word "God," and Muslims cannot draw Him, according to friends I have of those faiths). The song starts off like a fireside story, we've got a low bass beat, a great little intro compliments of Ed Mundell. Wyndorf's space, money, power, sex and religion influenced lyrics become prevalent as soon as the song begins, and we are launched into a maracca, tambourine, and 70's/80's hard line influenced metal trip. Ned Raggett's characterization of an 'acid folk' edge to the beginning of the song gives it good justice, and Space Lord slowly cranks up the volume, settling down once, and then cranking it up again, ready to conquer worlds with the hard rock edge that has kept Monster Magnet in the limelight, but away from the new age/pathetic sounds. Upon listening to this song, we think "classic rock," not because of it's refusal to metamorphose (or rather, transmogrify) into today's rock, but because of it's influence from the aforementioned 60's - 80's hard core, unfiltered, instrumentally diverse sound (including alternate percussive effects from tambourines and maraccas, as well as keyboard infiltration that would make The Doors jealous), which is uniquely self-complimenting, orchestrated, and coherent. Space Lord deals with becoming (unconsciously) corrupt with power, wealth, and ultimately desire (Now give me the strenth to split the world into, yeah/I've ate all the rest, and now I've gotta eat you), which may delineate the stereotypical American 'powertrip,' hence the album's appropriate name. If you are looking for unrelenting excellent rock, which isn't too harsh to listen to, but most certainly isn't along the lines of Phish or Weezer (in any respect at all), I recommend this song, album and any others one could get one's hands on. 5 out of 5 stars for its genre.

When I first came to this site I was suprised to not see any Harper's Bizarre tunes! They were a pretty fab vocal group who seem to be getting their due.

This song is from an almost unknown "lost" album from 76'. (Their heyday was the mid to late 60's, and had great success with their hit "Feelin' Groovy" in 67') And is a suprisingly jammin' version of a song from 1943 called "Speak Low" (From the film "One Touch of Venus"). I've heard other versions of this song, but nothing like this!

It starts off sounding like an O'donell Levy track, with a slinky/breezy latin step, and smooth, jazzy, compressed chords gliding across the top..... And then the vocal kicks-in, with this apropos low vocal harmony, instantly recognizable as HB, but more subdued.... They take the song and totally make it their own! Really just a superb track! Very A&M like, but with a bit more whimsy.... This record is hard to come by and needs a re-issue..... HELLO?!

HB is a must for fans of later B-boy's stuff or other Sunny pop from LA in the 60's and 70's!!!

A powerful, emotional, sophisticated song, the kind that Brit-girl Julie does the best. Without resorting to mawkish affectation, the sheer hush and force of her voice can make tears well up. This was her final single for the Pye label, and a fitting tribute to one of the most consistantly good careers of all the 60's UK female singers.

Do you like soft rock? Belle & Sebastien? 60's pop?

If you answered yes to the above, this song (and the whole album) is a must listen. Twee vocals, cheeky lyrics, delicate harmonies and the occasional trumpet solo fill out a song about a schoolgirl crush gone wrong.

Quite simply a perfect song for lying in a grassy field watching the sun set.

This is a very cool, sultry and funky Spanish version of Bread's "Make It With You". Of course the vocals are definately not par to the original, but I like it. This guy has like a million other translated 60's and 70 rockabilly tunes; La Chica De Los Ojos Caf� (Brown Eyed Girl), Uno, Dos Y Tres �Detent�! (1, 2, 3, Red Light), Rosa Marchita (Cracklin' Rose), Juntos Felices (Happy Together), Ven A Darme Amor (Come And Get Your Love), Estos Ojos (These Eyes). Check 'em out!

Acoustic summery song. Very 60's sounding with great harmonys and really odd guitar out of one of the speakers. A must hear for fans of Teenage Fanclub

Great cover of a 60's pop classic originally done by the Grass Roots. Juliana Hatfield's voice barely registers at first, but once you adjust a bit to it..she completely pulls you in. "There's more baby..ok!"

charming, catchy norwegian mid-60's beat pop, complete with heavily accentented vocals, simplistic lyrics and mouth harp solos.
not an important recording in any way, but it kind of rocks my boat right now, so i thought i'd share it:)

This song has become known as one of the quintessential "Now Sound" numbers, and I go a LONG way back with it as far as memories go! As a kid in the sixties I used to love the Benson and Hedges cigarette commercials-although I was very much anti-smoking even then! But the cool theme music and humorous content of these commercials was a hit with us kids. Well, flash forward to the mid-1980's...I was doing my usual record collector thing in a local thrift store and came across an album called "The Dis-Advantages of You" by the Brass Ring, a group that I had several 45s by already. It looked interesting, so I picked it up...and was blown away by the first track, which was that wonderful Benson and Hedges theme that I remembered from childhood. I
couldn't believe my luck in stumbling across it, and
it immediately became one of my all time favorite tracks. The cool, wordless female vocals, whimsical melody, and smooth saxophone playing never fail to transport me back to the 1960's of my youth! I did some research on the song at the time and was surprised to find that it had been a chart hit in the spring of 1967. I was listening to the radio a lot back then and didn't recall hearing it. But rediscovering this recording really was a highlight of my musical development.

I heard it for the first time in mid 60's.
For me, it sounds like a rock and roll performed by
a great orchestra, with a very beautiful melody.
The violins carry the main theme, backed with exciting drums who gives the "rockanrollesque" sound.
I think this version is much better than the original, performed by his author the french singer Christophe.
In the instrumental pop style I prefer Mauriat, Pourcel or Lefevre's orchestras than Caravelli's, but this version is excellent and I can't find it mistakes.

Amazing song from the 1960's blending powerful luscious strings with a fast paced catchy melody. One might think that you have landed in the middle of a international crime affair in the French Riviera. Would work amazingly good as a theme-song for a TV-series (maybe it has been used that way already?)

Well, Nick Drake seems to be finally enjoying his place in the sun, fame & success-wise, even if: 'Fame is but a fruit tree, so very unsound'.

I first heard Nick Drake being played in a record shop in London. I thought it was '60's Donovan. Anyway, it wasn't & I bought the record and haven't looked back since.

Part of his non-success was due to his inabilty to come up with a hit single, or a single at all and this was still, to a large degree, a singles era.

I've often thought that this song, of all of his, could have been a single, given a slightly different treatment.

Anyway, it wasn't, but I love it very much and do think it's one of his catchiest, even though that's probably not the right word for anything by Nick Drake.

i'm really starting to get into the sandpipers nowadays because of their amazingly clear, fluid sound. great 60s vocal pop song, this. flute, soft strings and some sweet understated harpsichord (or some electronic instrument) playing in the background. the bassline and percussion gives it a slight italian 60's soundtrack vibe. i love how it seems to constantly change its mood, epecially when it returns to form after the first flute part. there's even a bit in there that sounds like syd barret...

i love the organ.

basically a great war protest song from the 60's. the only bad thing is tom rapp's lisp.

French DJ's cover of Mariah Carey's song with 60's flare. It is to cry! Burgalat is so classy.
Download from his site:
http://okbertrand.free.fr/burg/audio.htm

Wow! I have been consuming a lot of baroque pop and jazz recordings lately, and while some of them are just nice, this one is astounding! Just imagine Bach-boogaloo, and you have most of the picture here. This piece sounds as fresh today as it did in the 60's! The arrangement is wild as all hell, and has to be heard to be believed. They also do great versions of "Sunshine Superman" & "Up, Up and Away"!

Great great cover of the Tom Tom Club song, and the highlight from Chicks On Speeds recent 99c album. Weighing in at almost 7 minutes, this is a great slab of electronica. Yes, ironic, yes, self referential, but here they totally excell their art school roots. Plinky plonky melody makes me think of the song 'Popcorn', and the nonsense chorus is like the poppier end of 60's girls with a dose of the Actionettes. Way too cool!

This is a blistering version of this Joe South song which was a hit in America for The Osmonds. It was originally on Cilla's 1968 album 'Sheroo'. You can hear it on on CD on Cilla's 'Cilla In The 60's'. Cilla's version of this is brilliant, she really gets going and gives it everything.

One time member of the Sambalan�o Trio, Cesar Camargo Mariano, teams up with French teenage seductress, France Gall for this fast-paced jazz-samba. Her voice oozes innocence but also sex, like a French Astrud Gilberto. A true coquette.
The band was recorded in Brazil, the vocals recorded and overdubbed later in France. This track evokes the "international" feel of the 60's where covert deals were done in international airport lounges and in the back of limousines.