Elv!$ Pre$ley - 1958 - Christmas With Elv!s

White Christmas/Here Comes Santa Claus (Right Down Santa Claus Lane)/O Little Town Of Bethlehem/Silent Night


We know that Christmas was a very special time of year for Elvis. Wherever his work found him, whether it was in Hollywood, in Las Vegas, or on the road somewhere, he almost always came home to Memphis for the holidays. He loved to decorate Graceland for his fans to see, and at Christmas time he gave generously to many of his hometown charities. We know that, regardless of the season, he loved to give gifts to his family and friends, but that was especially so at Christmas time.

Elvis celebrated 23 Christmases during his years as a professional entertainer from 1954-1976. Below is a record of where Elvis spent December 25th each of those years, along with a brief note about his activities that particular Christmas. The information comes from the book Elvis: Day By Day by Ernst Jorgensen and Peter Guralnick.

 1954: Elvis spent Christmas with his parents in the family’s Memphis apartment at 462 Alabama Street. A week before Christmas, Elvis had appeared on the Louisiana Hayride radio program and just three days after Christmas he played a club in Houston, Texas.

1955: Again Elvis was home on Christmas Day. The family had moved to a house at 1414 Getwell in Memphis. A month earlier he had signed on with RCA Victor, and his 21st birthday was just two weeks away.

1956: Elvis’s fabulous success during the year had enabled him to purchase a new home for his parents on Audubon Drive in Memphis. He spent the holiday season there with his family.

1957: Elvis must have had mixed emotions at Christmas time in 1957. It was his first Christmas at Graceland. Just five days before Christmas, however, he had received his draft notice. On Christmas Eve he requested a deferment, which pushed his induction day to March 20, 1958.

1958: This was Elvis’s first Christmas without his mother. He spent it with his father, grandmother, and friends in the Hotel Grunewald in Germany, near his army post. Vernon’s gift to Elvis was an electric guitar. That season Colonel Parker sent out Christmas cards with a picture of himself dressed as Santa and Elvis in his military uniform.

1959: This was Elvis’s first Christmas with Priscilla. It was celebrated with family and friends at Elvis’s rented home on Goethetrasse in Germany. Priscilla gave Elvis a set of bongo drums. Meanwhile, Elvis had arranged for a French poodle to be delivered to girlfriend Anita Wood in Memphis.

 1960: Out of the service, Elvis again celebrated Christmas at Graceland. The photo on Colonel Parker’s Christmas card that year featured Elvis sitting on Colonel Santa’s lap. It was taken in November on the set of Wild in the Country.

1961: Elvis spent the holidays with friends at the Sahara Hotel in Las Vegas. It was the last Christmas of his life that he would spend away from Graceland.

1962: Priscilla flew in from Germany to spend Christmas with Elvis at Graceland. Elvis held a private party for about 30 friends. Elvis’s gift to Priscilla was a toy poodle that she named Honey. She gave Elvis a wooden cigarette box that played the song “Surrender” when opened.

1963: Again Elvis spent the holidays at Graceland with Priscilla. A week before Christmas he presented the mayor of Memphis with a check for $58,000 to be shared by 58 Memphis charities.

1964: At Graceland a dozen or so members of Elvis’s male entourage went in together to present Elvis a Christmas gift of a Bible with a “tree of life” drawn on the front page. Each of the lines had the name of one of the guys. Noticing that Larry Geller’s name was missing, Elvis refused to accept the bible until Larry’s name was added. Elvis was just two weeks away from his 30th birthday.

1965: Again spending the holidays at Graceland, Elvis received a slot-car racing set as a Christmas present from Priscilla. The guys gave Elvis a $500 statue of Jesus, which is still in the Meditation Garden at Graceland.

1966: On Christmas Eve, Elvis proposed to Priscilla. The next day Elvis had a catered dinner served at Graceland.

1967: It was Elvis and Priscilla’s first Christmas as man and wife. They hosted a party at Graceland on Christmas Eve. As usual, the grounds were decorated with a life-size Nativity scene and eight lighted garland trees.

 1968: Early in December, Elvis’s “Comeback Special” aired on NBC-TV. At Graceland on Christmas day, Vernon dressed like Santa for Lisa Marie’s first Christmas. To his employees Elvis handed out gift certificates ranging from $100-$200 to Goldsmith’s Department Store.

1969: A week before Christmas, Elvis returned home to Memphis from Los Angeles. Vernon again played the part of Santa. Elvis gave Priscilla a black fox coat, and she gave him a velvet suit with shirts and slacks all designed by Bill Belew, who had designed the clothes for Elvis’s 1968 TV special.

1970: In the early morning hours of Christmas Day, Elvis visited Memphis police headquarters to say hello to “the men and women who had to work on Christmas.” Elvis and Priscilla spent the rest of the day quietly at Graceland. In the evening they went to the Memphian theater to see Little Fauss and Big Halsey starring Robert Redford.

1971: At Graceland, Elvis distributed MacDonald’s gift certificates as a joke before handing out his real presents. Many of the guys noticed that Elvis and Priscilla seemed “distant” over the holidays.

1972: Having separated from Priscilla, Elvis gave his girlfriend, Linda Thompson, a mink coat for Christmas at Graceland. The Memphis Press Scimitar noted that Elvis again had given graciously to local charities.

1973: Divorced from Priscilla, Elvis spent another Christmas at Graceland. Among the extravagant presents he gave were a three-quarter-length mink coat and a $2,000 fox suede coat.

1974: Elvis experienced health problems during the Christmas season. (As a result, he was forced to cancel his January Las Vegas engagement.) During the holidays, Elvis flew Voice, a gospel backup group, in and out of Memphis a couple of times to sing with him at Graceland. Elvis’s 40th birthday was now just two weeks away

1975: On Christmas Eve, Elvis took the Graceland gang up for a ride in the Lisa Marie. There he handed out pieces of jewelry, which he had personally selected for each individual.

1976: The final Christmas season of Elvis’s life was a hectic one. He returned to Memphis on December 13, after a bizarre Las Vegas engagement. Just two days after Christmas, he appeared at Wichita State University to start a new tour. Six-and-a-half months later, Elvis died at Graceland. — Alan Hanson | © December 2009

Hugo Montenegro - 1968 - Hang 'em High

Hang 'em High/The Good The Bad And The Ugly/For A Few Dollars More/Theme From A Fistful Of Dollars



 Hugo Mario Montenegro (September 2, 1925 – February 6, 1981) was an American orchestra leader and composer of film soundtracks. His best known work is derived from interpretations of the music from Spaghetti Westerns, especially his cover version of Ennio Morricone's main theme from the 1966 film The Good, the Bad and the Ugly. He composed the musical score for the 1969 Western Charro! which starred Elvis Presley.

Montenegro was born in New York City in 1925. He served in the U.S. Navy for two years, mostly as an arranger for the Newport Naval Base band in Newport, Rhode Island. After the war he attended Manhattan College while studying composition and leading his own band for school dances.

 In the middle 1950s, he was directing, conducting, and arranging the orchestra for Eliot Glen and Irving Spice on their Dragon and Caprice labels. It was he who was directing the Glen-Spice Orchestra on Dion DiMucci's first release when Dion was backed by Dragon recording artists, the Timberlanes. Released on Mohawk #105 in 1957, the songs were "Out In Colorado" and "The Chosen Few", which were soon issued on the Jubilee label for better distribution.

He was later hired by Time Records as a musical director producing a series of albums for the label, and moved to Los Angeles in the early 1960s where he began working for RCA Victor, producing a series of albums and soundtracks for motion pictures and television themes, such as two volumes of Music From The Man From U.N.C.L.E., an album of cover versions of spy music themes Come Spy With Me and an album of cover versions of Ennio Morricone's music for the Clint Eastwood The Man With No Name series of spaghetti Westerns that led to major chart hits.

 Montenegro began scoring motion pictures with the instrumental music from Advance to the Rear in 1964. Following the success of his albums, he was contracted by Columbia Pictures where he scored such films as Hurry Sundown (1967), Lady in Cement (1968), The Undefeated (1969), Viva Max! (1969) and the Matt Helm films The Ambushers (1967) and The Wrecking Crew (1968). He composed the musical score and conducted the recording sessions for the 1969 Elvis Presley Western film Charro! (1969), and he provided some incidental music for the cult 1970 British film Toomorrow. One of his last film scores was for the exploitation film Too Hot to Handle in 1977. Montenegro was also contracted to Columbia's television production company Screen Gems where he is most famous for his theme from the second season of the television series I Dream of Jeannie, his theme song "Seattle" and music from Here Come the Brides and The Outcasts. He also composed the music for the long running "The Partridge Family," (1970). During the mid‑60s he started producing some of the most renowned works from the space age pop era, featuring electronics and rock in albums such as Moog Power and Mammy Blue.

Montenegro's electronic works were decisive and influential for the future generations of electronic musicians, giving a retro/futuristic edge by the use of the Moog synthesizer, and helped to push its popularity. He will be also remembered by his versions of classics such as the main theme to Sergio Leone's film The Good, the Bad, and the Ugly, originally composed by Ennio Morricone. This was Montenegro's biggest pop hit, reaching #2 on the Billboard Hot 100 chart, #3 in the Canadian RPM Magazine charts, and spending four weeks atop the UK Singles Chart in 1968. It sold over one and a quarter million copies and was awarded a gold disc.

His version of the main theme from Hang 'em High reached #59 in Canada. In 1968, his hit "Aces High" placed at #11 on the Billboard Year End Chart of the Top Hits of 1968.

In the late 1970s severe emphysema forced an end to his musical career, and he died of the disease in 1981. He is buried at Welwood Murray Cemetery in Palm Springs, California.

Dave Clark Five - 1968 - Everybody Knows

You Got What It Takes/Tabatha Twitchit/No One Can Break A Heart Like You/Everybody Knows



The Dave Clark Five (also known as "The DC5") was an English pop rock group. Their single "Glad All Over" knocked the Beatles' "I Want to Hold Your Hand" off the top of the UK Singles Chart in January 1964; it peaked at number 6 in the United States in April 1964. "Over And Over" was a number 1 single in the United States for the group in December 1965.

They were the second group of the British Invasion on The Ed Sullivan Show, appearing in March for two weeks after the Beatles appeared three straight weeks in February 1964. For some time the Dave Clark Five was more popular in the US than in their native UK, but had a renaissance in the UK between 1967 and 1970. The group disbanded in late 1970. On 10 March 2008, the band was inducted into the Rock and Roll Hall of Fame.

 The band started out as the Dave Clark Quintet in 1957, with Clark on drums, Dave Sanford on lead guitar, Chris Walls on bass, Don Vale on piano (and arranger). In 1958, Sanford was replaced by Rick Huxley and people were confused by the meaning of the word quintet, so the band renamed themselves the Dave Clark Five, with Stan Saxon on lead vocals, Huxley on rhythm guitar, Roger Smedley on piano, and Johnny Johnson on lead guitar. Mick Ryan replaced Johnson in 1958 and Jim Spencer joined on saxophone, while Smedley left. Walls left in 1959 and Huxley became the bass player. Mike Smith joined on piano in 1960, and Lenny Davidson replaced Ryan in 1961. In 1962, the band changed its name to the Dave Clark Five when Saxon left. The group was Clark on drums, Huxley on bass, Smith on organ and lead vocals, and Davidson on lead guitar, adding Denny Payton on tenor and baritone saxophone, harmonica and guitar.

 Originating in North London, the band was promoted as the vanguard of the "Tottenham Sound", a response to the Mersey Beat stable managed by Brian Epstein. Dave Clark, who formed the group, occasionally placed his drum kit at the front of the stage, with the guitarists and organ to his rear and sides, and struck business deals that allowed him to produce the band's recordings and gave him control of the master recordings. Songwriting credits went to Clark, Clark and Smith, Clark and Davidson, and Clark and Payton.

The Dave Clark Five had 17 records in the Top 40 of the US Billboard chart and 12 Top 40 hits in their native UK between 1964 and 1967. Their song "Over And Over" went to number one in the US on the Billboard Hot 100 on Christmas Day 1965, despite less impressive sales in the UK (it peaked at number 45 on the UK Singles Chart), and they played to sell-out crowds on their tours of the U.S. The Dave Clark Five was the first British band of the British Invasion to tour the US, and they made 18 appearances on The Ed Sullivan Show – the most of any British Invasion group.

After the success of the Beatles' film A Hard Day's Night in 1964, the band released their own film, Catch Us If You Can (directed by John Boorman) in 1965. It also starred Barbara Ferris, and was released in the United States as Having a Wild Weekend. The short film Hits in Action highlighted a series of Dave Clark Five hits.

After their initial success, which included the movie and a television special, the major hits dried up in the US after 1967's "You Got What It Takes", although the band had several substantial hits in the UK in the 1967–1970 period. Other than the songs "Inside and Out", "Maze of Love" and "Live in the Sky" (the latter actually quotes directly from the Beatles' "All You Need is Love"), the band did not follow the trend of psychedelic music. The DC5 disbanded in 1970, having placed three singles on the UK chart that year, two of which reached the Top Ten. In 1970, Davidson, Huxley and Payton left and Alan Parker and Eric Ford joined on lead guitar and bass. This line-up, renamed "Dave Clark & Friends", lasted until 1973.

Between 1978 and 1993, none of their music was available to be purchased in any commercial format, as rights-holder Clark declined to license the band's recordings. In 1993, a single CD "Glad All Over Again" was produced by Dave himself and released by EMI in Britain. After a 1989 deal with the Disney Channel to rebroadcast the 1960s ITV show Ready Steady Go! (which Clark owned), he made a deal with Disney-owned Hollywood Records to issue in 1993 a double CD "History of the Dave Clark Five". No DC5 material was then legally available until 2008, when the "Hits" compilation was released by Universal Music in the UK. In 2009 selections from the band's catalogue were released on iTunes.

Beach Boys - 1969 - I Can Hear Music FLAC

Friends/Do It Again/Bluebirds Over The Mountain/I Can Hear Music


The Beach Boys are an American rock band formed in Hawthorne, California in 1961. The group's original lineup consisted of brothers Brian, Dennis, and Carl Wilson, their cousin Mike Love, and their friend Al Jardine. They emerged at the vanguard of the "California Sound", initially performing original surf songs that gained international popularity for their distinct vocal harmonies and lyrics reflecting a southern California youth culture of surfing, cars, and romance. Rooted in jazz-based vocal groups, 1950s rock and roll, and doo-wop, Brian led the band in devising novel approaches to music production, arranging his compositions for studio orchestras, and experimenting with several genres ranging from pop ballads to psychedelic and baroque styles. 

The group began as a garage band managed by the Wilsons' father Murry, with Brian's creative ambitions and sophisticated songwriting abilities dominating the group's musical direction. After 1964, their albums took a different stylistic path that featured more personal lyrics, multi-layered sounds, and recording experiments. In 1966, the Pet Sounds album and "Good Vibrations" single vaulted the group to the top level of rock innovators and established the band as symbols of the nascent counterculture era. Following Smile's dissolution, Brian gradually ceded production and songwriting duties to the rest of the band, reducing his input because of mental health and substance abuse issues. The group's public image subsequently faltered, and they struggled to reclaim their commercial momentum in America. The continued success of their greatest hits albums during the mid 1970s precipitated the band's transition into an oldies act, a move that was denigrated by critics and many fans. Since the 1980s, much-publicized legal wrangling over royalties, songwriting credits and use of the band's name transpired.

Dennis drowned in 1983 and Carl died of lung cancer in 1998. After Carl's death, many live configurations of the band fronted by Mike Love and Bruce Johnston continued to tour into the 2000s while other members pursued solo projects. For the band's 50th anniversary, all the current surviving members briefly reunited for a new studio album and world tour. Even though Wilson and Jardine do not perform with Love and Johnston's band, they remain a part of the Beach Boys' corporation, Brother Records Inc.

The Beach Boys are one of the most critically acclaimed, commercially successful, and widely influential bands of all time, while AllMusic stated that their "unerring ability... made them America's first, best rock band." The group had over eighty songs chart worldwide, thirty-six of them US Top 40 hits (the most by an American rock band), four reaching number-one on the Billboard Hot 100 chart. The Beach Boys have sold in excess of 100 million records worldwide, making them one of the world's best-selling bands of all time and are listed at No. 12 on Rolling Stone magazine's 2004 list of the "100 Greatest Artists of All Time". They received their only Grammy Award for The Smile Sessions (2011). The core quintet of the three Wilsons, Love and Jardine were inducted into the Rock and Roll Hall of Fame in 1988.

  "Friends" is a song written by Brian Wilson, Carl Wilson, Dennis Wilson and Al Jardine for the American rock band The Beach Boys. It was released on their 1968 album Friends. It was also released as a single, with "Little Bird" as the B-side. The single peaked at #47 in the U.S. and #25 in the U.K. The song was recorded in March 1968.
"Do It Again" is a song by American rock band The Beach Boys, written by Brian Wilson and Mike Love, who also share lead vocals. Produced by Wilson as a self-conscious callback to the band's earlier surf-based material, the song was released as a single on July 8, 1968, and subsequently placed on the band's 1969 album, 20/20. The single's B-side, "Wake the World", is taken from Friends, released the month before.

"Bluebirds over the Mountain" is a song written and recorded in 1958 by Ersel Hickey. "Bluebirds over the Mountain" was covered by The Beach Boys and released as a single on December 2, 1968 with the B-side "Never Learn Not to Love". The song features Mike Love on lead vocals and it also features Ed Carter on guitar.

 The single peaked at #61 on the Billboard pop chart in the United States, #53 in Canada's RPM chart, #33 in the United Kingdom and #9 in the Netherlands. The "B-Side" of this single, "Never Learn Not to Love", was written by infamous cult leader and murder instigator Charles Manson. Dennis Wilson was friends with Manson for a brief period of time prior to the "Tate-LaBianca Murders" as they would later be referred to.


"I Can Hear Music" is a song written by Jeff Barry, Ellie Greenwich and Phil Spector for American girl group the Ronettes in 1966. Three years later, American rock band the Beach Boys released a cover version as a single from their album 20/20 (1969), peaking at number 24 on the Billboard Hot 100. With Brian Wilson increasingly losing interest in producing for the Beach Boys, his younger brother Carl took over the role of producer and lead Beach Boy. "I Can Hear Music" is considered by many to be Carl Wilson's first taste at being the "leader" of the group. Released as a single, the song peaked at #24 on the Billboard Hot 100 chart (and #20 on the Cash Box and Record World charts) in the US. Internationally, it reached #5 in Sweden, #6 in the Netherlands and Malaysia, #7 in Poland, #10 in the UK, #13 in Germany and in Australia's Go Set chart, and #15 in Ireland. The Beach Boys' version is noted for its a cappella section of harmonies and counterpoint.

The Young Rascals - 1966 - Good Lovin' FLAC

 Good Lovin'/Mustang Sally/I Ain't Gonna Eat Out My Heart Anymore/Just A Little


The Rascals (initially known as The Young Rascals) were an American rock band, formed in Garfield, New Jersey in 1965. Between 1966 and 1968 the New Jersey act reached the top 20 of the Billboard Hot 100 with nine singles, including the #1s "Good Lovin'" (1966), "Groovin'" (1967), and "People Got to Be Free" (1968), as well as big radio hits such as the much-covered "How Can I Be Sure?" (#4 1967) and "A Beautiful Morning" (#3 1968), plus another critical favorite "A Girl Like You" (#10 1967). The band were inducted into the Rock and Roll Hall of Fame in 1997.

The Rascals were inducted into the Hit Parade Hall of Fame in 2010 and also reunited in 2012 for a series of shows in New York and New Jersey. The reunion continued on in 2013 with shows on Broadway.

"Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a number one hit single for The Young Rascals in 1966. The song was first recorded in early 1965 by Canton, Ohio, R&B singer Limmie Snell under the name "Lemme B. Good". About a month later the song was redone—with considerably rewritten lyrics—by R&B artists The Olympics; this version reached number 81 on the Billboard Pop Singles chart.

The Young Rascals' version The tale is told that Rascal Felix Cavaliere heard it on a New York City radio station and the group added it to their concert repertoire. Co-producer Tom Dowd captured this live feel on the recording, even though the group did not think the performance held together well. "Good Lovin'/Mustang Sally" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" reached #43 on the charts here in Australia.

 "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list. Writer Dave Marsh placed it at number 108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement," and that "'Good Lovin' all by itself is enough to dispel the idiotic notion that rock and roll is nothing more than white boys stealing from blacks."


"I Ain't Gonna Eat Out My Heart Anymore" is a song written by Pam Sawyer and Laurie Burton, originally recorded by The Young Rascals. It was released as their first single in November 1965 and featured on their eponymous debut album the following year. A minor hit when released, the song peaked at number fifty-two on the US Billboard Hot 100 singles chart it did slightly better here in Australia making it to #48.

Ike & Tina Turner - 1966 - River Deep Mountain High

Save The Last Dance For Me/A Love Like Yours (don't come knocking everyday)/A Fool In Love/River Deep, Mountain High



As husband and wife, Ike & Tina Turner headed up one of the most potent live acts on the R&B circuit during the '60s and early '70s. Guitarist and bandleader Ike kept his ensemble tight and well-drilled while throwing in his own distinctively twangy plucking; lead vocalist Tina was a ferocious whirlwind of power and energy, a raw sexual dynamo who was impossible to contain when she hit the stage, leading some critics to call her the first female singer to embody the true spirit of rock & roll. In their prime, the Ike & Tina Turner Revue specialized in a hard-driving, funked-up hybrid of soul and rock that, in its best moments, rose to a visceral frenzy that few R&B acts of any era could hope to match. Effusively praised by white rock luminaries like the Rolling Stones and Janis Joplin, Tina was unquestionably the star of the show, with a hugely powerful, raspy voice that ranks among the all-time soul greats. For all their concert presence, the Turners sometimes had problems translating their strong points to record; they cut singles for an endless succession of large and small independent labels throughout their career, and suffered from a shortage of the strong original material that artists with more stable homes (Motown, Atlantic, Stax, etc.) often enjoyed. The couple's well-documented marital difficulties (a mild way of describing Ike's violent, drug-fueled cruelty) eventually dissolved their partnership in the mid-'70s. Tina, of course, went on to become an icon and a symbol of survival after the resurgence of her solo career in the '80s, but it was the years she spent with Ike that made the purely musical part of her legend.

 

Izear Luster "Ike" Turner, Jr. was born in Clarksdale, MS, in 1931; initially a pianist, he formed his first band in high school and put together the Kings of Rhythm in the late '40s. In 1951, that group cut the pivotal "Rocket 88," a tune often pinpointed as the first ever rock & roll record; however, since sax player Jackie Brenston took the vocal, the song was credited to Brenston & His Delta Cats rather than Turner & the Kings of Rhythm. Not long after, Turner switched from piano to guitar, and he and his band became a prolific session outfit in Memphis, backing various Sun artists and bluesmen during the early '50s. Turner moved the Kings of Rhythm to East St. Louis in the mid-'50s, where they became kingpins of the local R&B circuit. In 1956, he met a teenage, gospel-trained singer from Nutbush, TN, named Anna Mae Bullock, and promised her a chance to sing with his band. That chance kept failing to materialize, until one night Bullock simply grabbed the microphone and started belting. Impressed, Turner made her a part of his revue, changing her name to Tina. After Tina became pregnant by the band's saxophonist, Raymond Hill, she moved into Turner's house, an arrangement that led to their own relationship; the two were married in 1958 and soon had a child of their own.

 In late 1959, Turner's band entered the studio to cut a song called "A Fool in Love" for the Sue Records label. The scheduled male vocalist failed to show up for the session, and Tina was pressed into service. Released in 1960, "A Fool in Love" shot to the number two spot on the R&B charts, also making the pop Top 30. Tina was now clearly the focal point of the act, which Turner rechristened the Ike & Tina Turner Revue; with a large, horn-filled ensemble and a group of leggy backup singers dubbed the Ikettes (who complemented Tina's short-skirted, uninhibited gyrating), the Revue eventually developed a reputation for putting on one of the most exciting live shows in R&B. The R&B-chart hits came fast and furious during the early '60s: 1961's "I Idolize You" (number five) and "It's Gonna Work Out Fine" (number two), 1962's "Poor Fool" (number four) and "Tra La La La La" (number nine). It was an impressive run, but the well went dry over the next several years; Ike supplied much of the band's original material, and although he was responsible for many of the early successes, he simply wasn't a world-class songwriter who could deliver hit-caliber tunes with regularity. Much of the Revue's repertoire consisted of bluesy, chitlin circuit R&B that wasn't exceptionally memorable. Ike & Tina branched out from Sue Records and spent the next few years issuing records on additional labels, including Kent, Modern, and Loma. While they had some undeniable high points and several chart entries, none reached the level of their initial run of Top Ten hits.

In 1966, the Turners worked with legendary producer Phil Spector, who was seeking a way to restore his artistic and commercial standing at the forefront of pop music in the wake of advances by the Beach Boys and Beatles. The powerful instrument that was Tina's voice appealed to Spector's sense of grandeur, and he conceived of a massive-scale production framing that voice that would rank as his greatest masterpiece. Ike already had a reputation for demanding control, and Spector struck his deal accordingly: although the records would be fully credited to Ike & Tina Turner, Ike would not be allowed to enter the studio or alter the finished recordings (in effect, Spector was paying him not to meddle). The centerpiece of Spector's collaboration with Tina was "River Deep - Mountain High," a monumental pop symphony that cost over $22,000 to produce (in 1966, this was a whopping sum for an album, let alone a single). The single represented Spector's so-called Wall of Sound style at its most gloriously excessive, and Tina's was one of the few voices in popular music strong enough to cut through the monolithic orchestral backing. With the high cost and his own slipping stature, Spector was betting the farm on "River Deep - Mountain High," and although it rocketed into the British Top Five and made Tina a star in the U.K., it flopped in America, where its mixture of black and white musical aesthetics was still slightly ahead of its time. A crushed Spector retreated from the music business not long after, and his Philles label yanked the accompanying album of the same name from American release (Spector wound up producing only five of the 12 cuts). Although some critics dismiss "River Deep - Mountain High" as overproduced bombast, many still consider it one of rock's greatest singles; George Harrison famously described it as "a perfect record from start to finish."

 After the Spector deal fell through, Ike & Tina returned to their somewhat mercenary recording habits, cutting songs for Modern and Innis, then moving to Minit and Blue Thumb in 1969. That year, they went on the road as the opening act for the Rolling Stones, and Ike slightly retooled the Revue's sound to appeal to white rock audiences in addition to their core black following. In 1970, they signed with Liberty/United Artists and recorded Come Together, which incorporated contemporary rock & roll covers into their repertoire; versions of the Beatles' title track and Sly & the Family Stone's "I Want to Take You Higher" made the R&B Top 30. Released later that year, Workin' Together became the most popular album of their career, making the Top 25 on the strength of a storming reinterpretation of CCR's "Proud Mary." Featuring a notorious spoken intro by Tina, the "nice...and rough" version of "Proud Mary" gave Ike & Tina their first Top Five hit on the pop charts, and returned them to the same heights on the R&B side as well; it also won them a Grammy. The covers gimmick couldn't last forever, though, and their formula soon grew predictable; their last major success was 1973's "Nutbush City Limits," a semi-autobiographical song written by Tina that made the R&B Top 20 and just missed that placing on the pop side. By that point, Tina had grown increasingly uninterested in the duo's well-established act, and was tiring of the largely unchallenging material she continued to perform.

 

 Unfortunately, the music itself wasn't the only factor in Ike & Tina's downturn. As a bandleader, Ike had long been a disciplinarian, but during the '60s he developed severe addictions to alcohol and, especially, cocaine. Wanting to maintain control over the star of his show at any cost, Turner kept his wife in line through an increasingly violent pattern of emotional and physical abuse; often drug-related, his flights of rage could result in severe beatings or burns that pushed Tina to attempt suicide in 1968, according to her autobiography. She continued to endure Ike's dominance through the early '70s, and her performances were clearly weary by the end; finally, she walked out on her husband and generally declined to pursue claims for financial compensation from their work together. Their divorce became official in 1976. After a long period of struggle, Tina re-emerged triumphantly in the '80s as a superstar solo act; Ike, meanwhile, ran his own recording studio for a time, but his drug problems worsened, resulting in several arrests. Sadly, and perhaps fittingly, he was serving prison time when he and his former wife were jointly inducted into the Rock and Roll Hall of Fame in 1991, and was unable to attend the ceremony.

Nerw link added 26.11.2018

Albert Hammond - 1972 - Albert Hammond FLAC

It Never Rains in Southern California/Names, Tags, Numbers & Labels/Down By The River/From Great Britain To L. A.




Albert Louis Hammond, Jr. OBE (born 18 May 1944) is a Gibraltarian singer, songwriter, and record producer who grew up in the British Mediterranean territory of Gibraltar.

Hammond was born in London, England, to where his family had been evacuated from Gibraltar during World War II. His family returned to Gibraltar shortly after his birth, and it is there he grew up. In 1960, he started in music with Gibraltarian band The Diamond Boys, which had no real commercial success, but played a part in Spain's introduction to pop and rock music. The Diamond Boys performed at the first nightclubs in Madrid to stage modern bands alongside Spanish rock and roll pioneers such as Miguel Ríos. In 1966 Hammond co-founded the British vocal group the Family Dogg, scoring a UK Top 10 hit with "A Way of Life" in 1969.


He also wrote songs for others with frequent collaborator Mike Hazlewood. These include "Little Arrows" for Leapy Lee, "Make Me An Island" (1969) (which Hammond himself re-recorded in 1979, in a Spanish disco-style version), and "You're Such a Good Looking Woman" (1970) for Joe Dolan, "Gimme Dat Ding" for the Pipkins in 1970 (itself a cover from the Freddie and the Dreamers album, Oliver in the Overworld), "Good Morning Freedom" for Blue Mink, "Freedom Come, Freedom Go" for the Fortunes in 1971 and "The Air That I Breathe" which was a hit for the Hollies in 1974. In 1971. Hammond also sang on Michael Chapman's fourth album, Wrecked Again, and worked briefly with the Magic Lanterns on recordings of his and Hazlewood's songs and other material. 

 He then moved to the United States, where he continued his professional career as a musician. However, he enjoyed his greatest commercial success in mainland Europe. He is known for his hits of the 1970s, released on Columbia subsidiary Mums Records. Written with Carole Bayer Sager, "When I Need You" was first recorded by Hammond on his 1976 album When I Need You. Produced by Richard Perry, Leo Sayer's version made No. 1 on the UK Singles Chart for two weeks in February 1977, after three of his earlier singles had stalled at No. 2. A hit worldwide, it reached No. 1 In Canada (RPM Top Singles) (also 2 weeks), and on the Billboard Hot 100 for a week in May 1977. Leapy Lee released a version of "When I Need You" on his first recording since 1970.

Hammond had success as a singer-songwriter with his Spanish recordings. His releases on Epic Records allowed him to tour every region of Latin America. It was during this period that he met Manuel Montoya, a CBS Mexico executive, who became his personal manager in 1985. This led to Hammond's Grammy Award winning production of Lani Hall's, Es Facil Amar, the producer and writer of "Cantaré, Cantarás" (the Latin American equivalent of "We Are The World"), and collaborations with Roberto Livi on recordings by Raphael, Eydie Gorme amongst others. Hammond also scored two hits in the Philippines during 1981. His songs "When I'm Gone" and "Your World and My World" (from the album of the same title) were popular in the country.
 

 With Hal David, Hammond co-wrote "To All The Girls I've Loved Before", a hit in 1984 for Julio Iglesias and Willie Nelson. Hammond collaborated with Diane Warren on "Nothing's Gonna Stop Us Now", a transatlantic No. 1 in 1987 for Starship, and "I Don't Wanna Live Without Your Love", a hit for Chicago that peaked at No. 3 in the U.S. Billboard Hot 100 chart in 1988. Hammond also co-wrote "One Moment in Time", the theme song to the 1988 Summer Olympics in Seoul, South Korea, as performed by Whitney Houston.

In 1991, Hammond co-wrote "When You Tell Me That You Love Me", which was recorded by Diana Ross, which reached No. 2 in the UK Singles Chart. In 2005, Diana Ross recorded the song again, this time as a duet with Westlife. Again the song reached No. 2 in the UK Singles Chart. He wrote several hits for Tina Turner, including "I Don't Wanna Lose You", "Be Tender With Me Baby", "Way of the World", and "Love Thing". Bonnie Tyler recorded the original version of Hammond/Warren's "Don't Turn Around", a UK No. 1 for Aswad in 1988 and a hit for Ace of Base five years later.

In 2005, he released Revolution of the Heart (where Todd Sharpville was his music director), and the single "This Side of Midnight". In 2008, Hammond met Kasaan Steigen of the Los Angeles-based Trigger Management who became his personal manager, during which time Hammond collaborated with British singer Duffy and others. Duffy's resulting album, Endlessly, co-written and co-produced by Hammond, was released in November 2010.

In 2010, Hammond also worked on Legend, a new recording of duets of his greatest hits, featuring such artists as Elena Paparizou and Bonnie Tyler. It was released on Sony Spain on 23 November that year.

Johnny Nash - 1973 - Johnny Nash

I Can See Clearly Now/There Are More Questions Than Answers/Stir It Up/We're All Alike



Though by no means an artistic innovator on par with contemporaries such as Bob Marley or Jimmy Cliff, singer Johnny Nash nevertheless proved a pivotal force behind the mainstream acceptance of reggae with the international success of his 1972 chart-topper "I Can See Clearly Now." Born in Houston, Texas on August 19, 1940, Nash honed his vocal skills singing in his Baptist church's choir and by 13 was a regular on the local television series Matinee, performing covers of current R&B hits; in 1956 he was discovered by Arthur Godfrey, appearing on his radio and TV broadcasts for the next seven years. 

Nash signed to ABC-Paramount to release his 1957 debut single "A Teenager Sings the Blues," scoring his first chart hit early the following year with a rendition of Doris Day's "A Very Special Love"; in late 1958, he also teamed with Paul Anka and George Hamilton IV for the inspirational "The Teen Commandments." Marketed as a rival to Johnny Mathis, he even began a film career with 1959's Take a Giant Step, also appearing in 1960's Key Witness before his career flagged with a series of little-noticed singles for Warner Bros., Groove, and Argo.

 

Nash returned to prominence in 1965 when the ballad "Let's Move and Groove Together" reached the R&B Top Five; more importantly, the record became a major hit in Jamaica, where he traveled in 1967 on a promotional tour. During a return trip, he cut the ska-influenced single "Hold Me Tight" at Byron Lee's Federal Studios -- a Top Five pop hit on both sides of the Atlantic, the record was issued on his own JAD label, which in early 1970 scored a Top 40 hit with a reggaefied rendition of Sam Cooke's "Cupid" as well.


 The following year Nash scored a major British hit with his reading of the Bob Marley perennial "Stir It Up"; while living in Britain, he signed to Epic, which in 1972 released his biggest hit, "I Can See Clearly Now," which sat atop the American pop charts for four weeks. Although his popularity at home again dimmed, Nash returned to the U.K. charts in 1975 with his number one classic "Tears on My Pillow," followed a year later by another Sam Cooke cover, "(What A) Wonderful World." He gradually retired from performing, although he released an album, Here Again, in 1986, and made a few live appearances. In the early 2000s he began the work of transferring analog tapes of his material from the '70s and '80s to a digital platform at Tierra Studios in his native Houston. Intensely private, Nash stayed out of the public eye except for occasional tours as the 21st

The Zombies - 1968 - The Zombies

Time Of The Season/Friends Of Mine/A Rose For Emily/Hung Up On A Dream




 Aside from the Beatles and perhaps the Beach Boys, no mid-'60s rock group wrote melodies as gorgeous as those of the Zombies. Dominated by Colin Blunstone's breathy vocals, choral backup harmonies, and Rod Argent's shining jazz- and classical-influenced organ and piano, the band sounded utterly unique for its era. Indeed, the Zombies' material -- penned by either Argent or guitarist Chris White, with unexpected shifts from major to minor keys -- was perhaps too adventurous for the singles market. To this day, they're known primarily for their three big hit singles, "She's Not There" (1964), "Tell Her No" (1965), and "Time of the Season" (1969). Most listeners remain unaware that the group maintained a remarkably high quality of work for several years.

The Zombies formed in the London suburb of St. Albans in the early '60s, and didn't actually entertain serious professional ambitions until they won a local contest, the prize being an opportunity to record a demo for consideration at major labels. Argent's composition "She's Not There" got them a deal with Decca, and the song ended up being their debut release. It was a remarkably confident and original first-time effort, with a great minor melody and the organ, harmonies, and urgent, almost neurotic vocals that would typify much of their work. It did well enough in Britain (making the Top 20), but did even better in the States, where it went to number two.

 In fact, throughout their career, the Zombies would experience a lot more success across the waters than they did at home. In early 1965, another piece of classic British Invasion pop, "Tell Her No," went into the Top Ten. Yet that was as much Top 40 success as the group would have for several years. The tragedy was that throughout 1965 and 1966, the Zombies released a string of equally fine, intricately arranged singles that flopped commercially, at a time in which the chart success of 45s was a lot more important to sustain a band's livelihood than it would be a few years down the road. "Remember When I Loved Her," "I Want You Back Again," "Indication," "She's Coming Home," "Whenever You're Ready," "Gotta Get a Hold of Myself," "I Must Move," "Remember You," "Just Out of Reach," "How We Were Before" -- all are lost classics, some relegated to B-sides that went virtually unheard, all showing the group eager to try new ideas and expand its approaches. What's worse, the lack of a big single denied the group opportunities to record albums -- only one LP, rushed out to capitalize on the success of "She's Not There," would appear before 1968.

Their failure to achieve more widespread success is a bit mystifying, perhaps explained by a few factors. While undeniably pop-based, their original compositions and arrangements were in some senses too adventurous for the radio. "Indication," for instance, winds down with a lengthy, torturous swirl of bitter organ solos and wordless, windblown vocals; "Remember When I Loved Her," despite its beautiful melody, has downbeat lyrics that are almost morbid; "I Want You Back Again" is arranged like a jazz waltz, with the sorts of sudden stops, tempo shifts, and lengthy minor organ solos found in a lot of their tunes. The Zombies were also, perhaps unfairly, saddled with a somewhat square image; much was made of their formidable scholastic record, and they most definitely did not align themselves with the R&B-based school of British bands, preferring more subtle and tuneful territory.

 By 1967, the group hadn't had a hit for quite some time, and reckoned it was time to pack it in. Their Decca contract expired early in the year, and the Zombies signed with CBS for one last album, knowing before the sessions that it was to be their last. A limited budget precluded the use of many session musicians, which actually worked to the Zombies' advantage, as they became among the first to utilize the then-novel Mellotron to emulate strings and horns.


Odessey and Oracle was their only cohesive full-length platter (the first album was largely pasted together from singles and covers). A near-masterpiece of pop/psychedelia, it showed the group reaching new levels of sophistication in composition and performance, finally branching out beyond strictly romantic themes into more varied lyrical territory. The album passed virtually unnoticed in Britain, and was only released in the States after some lobbying from Al Kooper. By that time it was 1968, and the group had split for good.
 

The Zombies had been defunct for some time when one of the tracks from Odessey, "Time of the Season," was released as a single, almost as an afterthought. It took off in early 1969 to become their biggest hit, but the members resisted temptations to re-form, leading to a couple of bizarre tours in the late '60s by bogus "Zombies" with no relation to the original group. By this time, Rod Argent was already recording as the leader of Argent, which went in a harder rock direction than the Zombies. After a spell as an insurance clerk, Colin Blunstone had some success (more in Britain than America) in the early '70s as a solo vocalist, with material that often amounted to soft rock variations on the Zombies sound.

The Lemon Pipers - 1968 - Green Tambourine

Green Tambourine/Rice Is Nice/Jelly Jumble (Of Orange Marmalade)/Shoesine Boy



The band was formed in 1966 by student musicians from Oxford, Ohio, who had played the college bars with their previous groups that included The Wombats (Nave), Ivan and the Sabres (Browne) and Tony and the Bandits (Bartlett, Albaugh and Dudek). The band played a mixture of blues, hard rock and folk rock, with a few covers from Byrds and The Who. They gigged regularly in an Oxford bar called The Boar's Head, and Cincinnati underground rock venues, The Mug Club and later The Ludlow Garage, and released a single on the Carol Records label, "Quiet Please". The original band existed as a quartet, and then gained notoriety by reaching the finals in the Ohio Battle of the Bands at the Cleveland Public Auditorium in 1967, losing out to the James Gang.

The band then recruited Miami University student Browne as frontman, and also engaged Ohio music-industry impresario Mark Barger, who steered the Lemon Pipers to Buddah Records, then run by Neil Bogart. The Lemon Pipers, relying in part on advice from Barger, agreed to enter into a recording contract and music publishing deal with Buddah. The group began playing larger auditorium and concert hall venues around the US, including an appearance at Bill Graham's Fillmore West in San Francisco on the same bill with Traffic, Moby Grape and Spirit on March 21, 1968. Buddah's plans for the group focused on bubblegum pop rather than rock, and the Lemon Pipers joined a stable already containing Ohio Express and the 1910 Fruitgum Company. Paul Leka was assigned to be their record producer.

 Buddah did not know how to handle the band at first and the group's debut on Buddah was a Bartlett composition, "Turn Around and Take a Look". When the song failed to make the charts, the label asked Leka and his songwriting partner, Shelley Pinz, who were working out of a Brill Building office on Broadway, to come up with a song. The pair wrote "Green Tambourine" and the band reluctantly recorded it. The song entered the Billboard Hot 100 at the end of 1967 and reached No. 1 in February 1968 on the Billboard and Cashbox charts. The song peaked at No. 7 in the UK Singles Chart, it was a No.2 hit in Australia and was also a hit worldwide. It sold over two million copies, and was awarded a gold disc by the Recording Industry Association of America (R.I.A.A.) in February 1968.

The success of "Green Tambourine" caused the label to put pressure on the group to stay in the bubblegum genre, and in March 1968 the band released another Leka/Pinz song, "Rice Is Nice", which peaked at No. 46 on the US Billboard charts, No.42 on the US Cashbox charts and No. 41 in the UK in May. The band had little enthusiasm for either song, however, dubbing them "funny-money music" and recording them only because they knew they would be dropped by Buddah if they refused. "Ordinary Point of View", written by Eric Ehrmann and featuring a Bartlett country solo, was recorded, but rejected by Buddah. Disenchanted with Buddah and the music industry, Ehrmann stopped writing songs and went on to become one of the early contributors to Rolling Stone magazine. As is common with the music associated with the 1960s, a few copyright and royalties issues connected with the previous owner of Buddah Records inherited by current owners of the Kama Sutra music publishing catalog and Lemon Pipers songs remain unresolved.

The Lemon Pipers evolution from 1960s rock music into a gold-record bubblegum band created what Nave has described as "the duality of the Lemon Pipers": "We were a stand-up rock 'n' roll band, and then all of a sudden, we're in a studio, being told how to play and what to play."

 The chasm between the label’s aspirations and the band’s own musical tastes became apparent on the Lemon Pipers’ debut album, Green Tambourine. Produced by Leka, the album contained five Leka/Pinz songs, as well as two extended tracks written by the band, "Fifty Year Void" and "Through With You" (the latter, written by Bartlett, bearing influences of The Byrds and, according to the original LP label, running 8:31 in length). "Ask Me If I Care" written by Ehrmann, was also featured. Like Lemon Pipers' members Nave and Albaugh, Ehrmann was a member of the Kappa chapter of Delta Kappa Epsilon fraternity. Writing in Bubblegum is the Naked Truth, Gary Pig Gold commented: "It was the Pipers’ way with a tough-pop gem in the under-four-minute category which was most impressive by far: "Rainbow Tree", "Shoeshine Boy" and especially "Blueberry Blue" each sported a taut, musical sophistication worthy of The Move and, dare I say it, even the Magical Mystery Beatles."

The band recorded a second album for Buddah, Jungle Marmalade, which again showed both sides of the band – another Leka/Pinz bubblegum song, "Jelly Jungle", (released as a single and peaking at No. 51 on Billboard and No. 30 on Cashbox in the US), a version of the Carole King/Gerry Goffin penned song "I Was Not Born to Follow," and an 11 minute, 43 second epic, "Dead End Street"/"Half Light".

The band left the Buddah label in 1969 and later dissolved. Bartlett, Walmsley and Nave formed Starstruck, whose recording of a Lead Belly song, "Black Betty" was reworked by Super K Productions producers Jerry Kasenetz and Jeff Katz, and released in 1977 under the name of Ram Jam, featuring Bartlett. Browne moved to California to continue playing music, Walmsley played bass around Oxford. Bartlett became despondent and reclusive following the death of his wife Dee Dee. Nave became a jazz disc jockey and played organ occasionally with The Blues Merchants in southwestern Ohio venues.

Drummer Bill Albaugh died on January 20, 1999, at the age of 53.

Johnny Rivers - 1968 - Summer Rain

Summer Rain/Memory Of The Coming Good/Carpet Man/Tunesmith


Johnny Rivers (born John Henry Ramistella, November 7, 1942, New York City) is an Italian-American rock 'n' roll singer, songwriter, guitarist, and record producer. His repertoire includes pop, folk, blues, and old-time rock 'n' roll. Rivers charted during the 1960s and 1970s but remains best known for a string of hit singles between 1964 and 1968, among them "Memphis" (a Chuck Berry cover), "Mountain of Love", "The Seventh Son", "Secret Agent Man", "Poor Side of Town" (a US #1), "Baby I Need Your Lovin'" (a Motown cover), and "Summer Rain".

Johnny Rivers is a unique figure in the history of rock music. On the most obvious level, he was a rock star of the 1960s and a true rarity as a white American singer/guitarist who made a name for himself as a straight-ahead rock & roller during the middle of that decade. Just as important behind the scenes, his recordings and their success led to the launching, directly and indirectly, of at least three record labels and a dozen other careers whose influence extended into the 1970s, 1980s, and beyond. 

 "Summer Rain" is a song written by Jim Hendricks and performed by Johnny Rivers on his 1968 LP Realization. Of his several dozen releases, it is considered his eighth greatest hit internationally. The song reached No. 14 on the U.S. Billboard Hot 100, No. 10 on the U.S. Cash Box Top 100, No. 10 in Canada in early January, 1968 and number 13 in Australia. "Summer Rain" is a song about lifelong love during "the summer of (casual) love." It was released in the winter, remembering the previous summer. The song twice references Sgt. Pepper's Lonely Hearts Club Band, the Beatles album which was released during the middle of that year.
 Rivers continued releasing material into the 1980s (e.g., 1980s Borrowed Time LP), although his recording career was winding down. He is still touring, however, performing 50 to 60 shows a year. Increasingly he has returned to the blues that inspired him initially.

In 1998 Rivers reactivated his Soul City Records label and released Last Train to Memphis. In early 2000, Rivers recorded with Eric Clapton, Tom Petty and Paul McCartney on a tribute album dedicated to Buddy Holly's backup band, the Crickets. Johnny Rivers career total is 9 Top 10 hits on the Billboard Hot 100 and 17 in the Top 40 from 1964 to 1977, he has sold well over 30 million records.

Oliver - 1970 - Jean

Jean/Let Me Kiss You With A Dream/Can't You See/The Arrangement



William Oliver Swofford (February 22, 1945 – February 12, 2000), known professionally as Oliver, was an American pop singer, best known for his 1969 song "Good Morning Starshine" from the musical Hair as well as "Jean" (the theme from the film The Prime of Miss Jean Brodie).


William Oliver Swofford was born on February 22, 1945, in North Wilkesboro, North Carolina, to Jack and Helen Swofford. . He was a recipient of the prestigious Morehead Scholarship and attended the University of North Carolina at Chapel Hill starting in 1963 and began singing as an undergraduate. He was a member of two popular music groups — The Virginians and, later, The Good Earth — and was then known as Bill Swofford.
 

 His clean-cut good looks and soaring tenor voice were the perfect vehicle for the uptempo single entitled "Good Morning Starshine" from the pop/rock musical Hair, which reached No. 3 on the Billboard Hot 100 in July 1969, sold over one million copies, and was awarded a gold disc by the R.I.A.A. a month later. Later that fall, a softer, ballad single entitled "Jean" (the theme from the Oscar-winning film The Prime of Miss Jean Brodie) bested his previous effort by one, reaching No. 2 on the Hot 100 and No. 1 on the Billboard Easy Listening chart. Written by poet Rod McKuen, "Jean" also sold over one million copies, garnering Oliver his second gold disc in as many months. Performing both hits on a number of TV variety shows and specials in the late 1960s, including The Ed Sullivan Show, helped both songs.

 

Bill "Oliver" Swofford had more modest commercial success, however, with the cover of "Sunday Mornin'," which peaked at No. 35 in December 1969, and "Angelica," which stalled at No. 97 four months later. In addition, his cover of "I Can Remember," the 1968 James & Bobby Purify hit, missed the Hot 100 but climbed into the top 25 of the Billboard Easy Listening chart in the mid summer of 1970. Late that fall, Oliver also had one inspirational recording entitled "Light the Way," composed by Eric Carmen. Oliver's last single to enter the pop music charts was his 1971 cover of "Early Morning Rain" by Canadian singer-songwriter Gordon Lightfoot. The song "Bubbled Under" at No. 124 on May 1, 1971 and also reached No. 38 the Easy Listening chart a few weeks later.

Nancy And Lee - 1971 - Did You Ever

Did You Ever/Jackson/Lightning's Girl/Lady Bird


Nancy & Lee is a collaboration EP by Nancy Sinatra and Lee Hazlewood. 
Sinatra was signed to her father's label, Reprise Records, in 1961. Her first single, "Cuff Links and a Tie Clip", went largely unnoticed. However, subsequent singles charted in Europe and Japan. Without a hit in the US by 1965, she was on the verge of being dropped. Her singing career received a boost with the help of songwriter/producer/arranger Lee Hazlewood, who had been making records for ten years, notably with Duane Eddy. Hazlewood became Sinatra's inspiration. He had her sing in a lower key and crafted songs for her. Bolstered by an image overhaul including bleached-blonde hair, frosted lips, heavy eye make-up and Carnaby Street fashions Sinatra made her mark on the American (and British) music scene in early 1966 with "These Boots Are Made for Walkin''", its title inspired by a line in Robert Aldrich's 1963 western comedy 4 for Texas starring her father and Dean Martin. One of her many hits written by Hazlewood, it received three Grammy Award nominations, including two for Sinatra and one for arranger Billy Strange. It sold over one million copies, and was awarded a gold disc. She appeared on TV in high boots, and with colorfully dressed go-go dancers, a craze during the late Sixties, and created a popular and enduring image of the Swinging Sixties.

The Sunshine Company - 1968 - The Sunshine Company

Back On The Street Again/ I Just Want To Be Your Friend/Happy/Blue May


The Sunshine Company was an American sunshine pop band from Los Angeles, California. Originally the duo of Mary Nance and Maury Manseau, the group signed to Imperial Records and released their debut album in 1967. They scored three hit singles on the U.S. singles chart over the next two years before disbanding after their third album, 1968's self-titled effort. Bassist Larry Sims and drummer Merle Bregante later backed Loggins and Messina.



The group was discovered by band manager of the Nitty Gritty Dirt Band, Bill McEuen. McEuen proposed they record a single, titled Up, Up and Away, which would have been released had not the 5th Dimension released their own top ten version. Their first released single, "Happy", charted at number 50 nationally, while competing with another version by The Blades of Grass, and the band put The Sunshine Company to its name. Guitarist Douglas Mark joined to form a quintet as the band released their top 40 hit, "Back On the Street Again", but the band never again achieved such success.

 By the fall of 1967, the band released their debut LP under Imperial Records, titled Happy Is The Sunshine Company. It included their two charting singles and charted at number 126 on the Billboard 200. In 1968, the group released their last top 100 charting single, "Look Here Comes The Sun", charting at number 56. A further two albums were released in the year but success eluded the band. There was a proposed fourth album Think but The Sunshine Company broke up before recordings were complete.
Bregante now lives in Liberty Hill, Texas, where he has his own recording studio. Sims died in December 2014.

Members Mary Nance - vocals Maury Manseau - vocals, guitar  Douglas Mark - violin, guitar   Larry Sims - bass guitar   Merel Bregante - drums (usually referred to as Merel Brigante)   Dave Hodgkins - acoustic guitar (1968)

Album discography

    Happy Is the Sunshine Company (Imperial Records, 1967) U.S. #126
    The Sunshine Company (Imperial, 1968)
    Sunshine & Shadows (Imperial, 1968)




Charting singles

    "Happy" (15 July 1967) U.S. #50
    "Back on the Street Again" (25 November 1967) U.S. #36
    "Look, Here Comes the Sun" (10 February 1968) U.S. #56
    "Let's Get Together" (18 May 1968) U.S. #112
    "On a Beautiful Day" (27 July 1968) U.S. #106
    "Willie Jean" (19 October 1968) U.S. #111