23-06-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1961-1966

23-06-2020  FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1961-1966  >>Fats Domino, John Lee Hooker, The Tornadoes, THE BEATLES, Dick Dale and His Del-Tones, THE BEATLES, Muddy Waters, The Who, The Paul Butterfield Blues Band, Love<<

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1961-1966

A giant figure of R&B and rock & roll, the New Orleans singer and pianist contributed scores of beloved classics to pop history. 

Fats Domino 

I Hear You Knocking (Bartholomew, Domino, King) 1:57

I Miss You So (Scott, Henderson, Robin) 2:19

Ain't That Just Like A Woman (Demetrius, Moore) 2:42

from I Miss You So 1961

The most popular exponent of the classic New Orleans R&B sound, Fats Domino sold more records than any other black rock & roll star of the 1950s. His relaxed, lolling boogie-woogie piano style and easygoing, warm vocals anchored a long series of national hits from the mid-'50s to the early '60s. Through it all, his basic approach rarely changed. He may not have been one of early rock's most charismatic, innovative, or threatening figures, but he was certainly one of its most consistent.

Domino's first single, "The Fat Man" (1949), is one of the dozens of tracks that have been consistently singled out as a candidate for the first rock & roll record. As far as Fats was concerned, he was just playing what he'd already been doing in New Orleans for years, and would continue to play and sing in pretty much the same fashion even after his music was dubbed "rock & roll."...

The most elemental of the electric blues giants, one of few to both inspire and draw from rock & roll idols. He was beloved worldwide as the king of the endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves were at once both ultra-primitive and timeless. But John Lee Hooker recorded in a great many more styles than that over a career that stretched across more than half a century.

John Lee Hooker 

A New Leaf (David Arnold / John Lee Hooker) 2:30

Blues Before Sunrise (Leroy Carr / John Lee Hooker) 3:49

Let's Make It (John Lee Hooker) 2:27

from Burnin' 1962

From the vaults of Vee Jay Records comes an abundance of classic John Lee Hooker reissues, featuring original art work, running orders, and budget prices from the Collectables label. With the amount of Hooker material available on the market, some of it is of dubious quality, but you can't go wrong with these reissues. Burnin' was released in 1962 and combines 12 tracks of electric material performed by Hooker backed by a band... All of the Hooker Vee Jay reissues are recommended.

The Tornados were an English instrumental group mostly active in the 1960s.

The Tornadoes 
Telstar (Meek)
Swinging Beefeater (Meek)
Love And Fury (Duke)
from Telstar 1962
The house band for pioneering record producer Joe Meek. Their original and classic line-up comprised Alan Caddy (guitar), Clem Cattini (drums), Heinz Burt (bass), George Bellamy (rhythm guitar) and Roger LaVern (keyboards). Their instrumental material was composed and produced by Meek, and frequently had a futuristic sound which reflected Meek's interest in electronics and sound manipulation. Although their first single "Love And Fury" bombed, the follow-up "Telstar" caught the public imagination and was a number one hit in both the UK and USA (they were the first British group ever to top the US Hot Hundred).

The most popular and influential rock act of all time, a band that blazed several new trails for popular music.
The Beatles
I Saw Her Standing There  (John Lennon / Paul McCartney)
Misery  (John Lennon / Paul McCartney)
Anna (Go to Him) (Arthur Alexander)
Chains (Gerry Goffin / Carole King)
from Please Please Me 1963
Once "Please Please Me" rocketed to number one, the Beatles rushed to deliver a debut album, bashing out Please Please Me in a day. Decades after its release, the album still sounds fresh, precisely because of its intense origins. As the songs rush past, it's easy to get wrapped up in the sound of the record itself without realizing how the album effectively summarizes the band's eclectic influences. Naturally, the influences shine through their covers, all of which are unconventional and illustrate the group's superior taste... "I Saw Here Standing There" is one of their best rockers, yet it has surprising harmonies and melodic progressions... The Beatles may have played notoriously rough dives in Hamburg, but the only way you could tell that on their first album was how the constant gigging turned the group into a tight, professional band that could run through their set list at the drop of a hat with boundless energy...

Dick Dale wasn't nicknamed "King of the Surf Guitar" for nothing: he pretty much invented the style single-handedly, and no matter who copied or expanded upon his blueprint, he remained the fieriest, most technically gifted musician the genre ever produced. 
Dick Dale and His Del-Tones
King of the Surf Guitar (Alonzo Willis)
Hava Nagila (Dick Dale / Traditional)
Mexico (Boudleaux Bryant)
from King of the Surf Guitar 1963
...Overall, King of the Surf Guitar was probably Dale's best album for Capitol, but it also suggested a fundamental misunderstanding of Dale and his music by the label. King of the Surf Guitar begins with the title tune, in which female vocal group the Blossoms (featuring Darlene Love) urge us to "Listen! Listen to the King!" as Dale reels off trademark riffs, as if anyone who bought the record would be likely to do otherwise, and the curious opener pointed to the album's flaw... Still, this album truly shines on tunes when Dale gets to play guitar at full force, and "Hava Nagila," "(Ghost) Riders in the Sky," and "Mexico" are as fiery as anything he would cut for the label. If King of the Surf Guitar isn't a Dick Dale album for purists, at the very least it leaves no doubt that he came by the title accolade honestly.

So much has been said and written about the Beatles -- and their story is so mythic in its sweep -- that it's difficult to summarize their career without restating clichés that have already been digested by tens of millions of rock fans. To start with the obvious, they were the greatest and most influential act of the rock era, and they introduced more innovations into popular music than any other group of their time. Moreover, they were among the few artists of any discipline that were simultaneously the best at what they did and the most popular at what they did. Relentlessly imaginative and experimental, the Beatles grabbed hold of the international mass consciousness in 1964 and never let go for the next six years, always staying ahead of the pack in terms of creativity and never losing the ability to communicate their increasingly sophisticated ideas to a mass audience. 
The Beatles
A Hard Day's Night  (John Lennon / Paul McCartney)
I Should Have Known Better  (John Lennon / Paul McCartney)
If I Fell  (John Lennon / Paul McCartney)
I'm Happy Just to Dance with You  (John Lennon / Paul McCartney)
from A Hard Day's Night 1964
... Not only was the record the de facto soundtrack for their movie, not only was it filled with nothing but Lennon-McCartney originals, but it found the Beatles truly coming into their own as a band by performing a uniformly excellent set of songs. All of the disparate influences on their first two albums had coalesced into a bright, joyous, original sound filled with ringing guitars and irresistible melodies. They had certainly found their musical voice before, but A Hard Day's Night is where it became mythical... Decades after its original release, A Hard Day's Night's punchy blend of propulsive rhythms, jangly guitars, and infectious, singalong melodies is remarkably fresh. There's something intrinsically exciting in the sound of the album itself, something to keep the record vital years after it was recorded. Even more impressive are the songs themselves.... John and Paul must have known how strong the material is -- they threw the pleasant trifle "I'm Happy Just to Dance with You" to George and didn't give anything to Ringo to sing. That may have been a little selfish, but it hardly hurts the album, since everything on the record is performed with genuine glee and excitement. It's the pinnacle of their early years.

The giant of postwar blues, who eloquently defined Chicago's swaggering, Delta-rooted sound with his declamatory vocals and piercing slide guitar.

Muddy Waters 

All Aboard (McKinley Morganfield / Muddy Waters)

You Shook Me  (Willie Dixon / J.B. Lenoir) 

You Need Love (Willie Dixon)

from HIS BEST, 1956-1964

The first eight tracks of this 20-track collection date from 1956: "All Aboard," and featuring both James Cotton and Little Walter on twin harmonicas... Two of Muddy's most influential tracks, "You Shook Me" and "You Need Love" (the blueprint for Led Zepplin's "Whole Lotta Love"), curiously feature Earl Hooker on slide guitar, along with A.C. Reed and John "Big Moose" Walker, the core of the Age-Profile label's house band...

An explosive combo that pioneered progressive and arena rock, each new sound increasing their influence and legacy.
The Who
Out In the Street (Pete Townshend)
I Don't Mind (James Brown)
The Good's Gone (Pete Townshend)
from My Generation 1965

An explosive debut, and the hardest mod pop recorded by anyone. At the time of its release, it also had the most ferociously powerful guitars and drums yet captured on a rock record... While the execution was sometimes crude, and the songwriting not as sophisticated as it would shortly become, the Who never surpassed the pure energy level of this record.

With a style honed in the gritty blues bars of Chicago's south side, the Butterfield Blues Band was instrumental in bringing the sound of authentic Chicago blues to a young white audience in the mid-'60s, and although the band wasn't a particularly huge commercial success, its influence has been enduring and pervasive.
The Paul Butterfield Blues Band
Born in Chicago (Nick Gravenites)
Blues with a Feeling (Little Walter)
Screamin' (Michael Bloomfield)
from The Paul Butterfield Blues Band 1965
Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ. The result was a wonderfully messy and boisterous display of American-styled blues, with intensity and pure passion derived from every bent note. In front of all these instruments is Butterfield's harmonica, beautifully dictating a mood and a genuine feel that is no longer existent, even in today's blues music....

One of the best L.A. folk/psych bands, and producers of the seminal Forever Changes, a symphonic masterpiece of lush textures and surreal lyrics.
Love
Stephanie Knows Who  (Arthur Lee)
Orange Skies (Arthur Lee / Bryan MacLean)
Seven & Seven Is  (Arthur Lee)
She Comes in Colors (Arthur Lee)
from Da Capo 1966
Love broadened their scope into psychedelia on their sophomore effort, Arthur Lee's achingly melodic songwriting gifts reaching full flower. The six songs that comprised the first side of this album when it was first issued are a truly classic body of work, highlighted by the atomic blast of pre-punk rock "Seven & Seven Is" (their only hit single), the manic jazz tempos of "Stephanie Knows Who," and the enchanting "She Comes in Colors," perhaps Lee's best composition (and reportedly the inspiration for the Rolling Stones' "She's a Rainbow")...

1966