A previously unreleased cult Norwegian psych-jazz OST from 1969! A hell of a jazz soundtrack from the Norwegian scene of the 60s – and a record that can easily go head-to-head with the best Italian film scores of the time! The movie's about some young kids trying out some new frontiers in the 60s – and the music has a vibe that really fits the story – sometimes more in a jazz club vein, with great soulful styles – sometimes a bit more freaked out, like those Italian soundtracks that add a slight psychedelic current to familiar instrumentation! Most numbers here are discreet jazz tracks, not just short soundtrack instrumentals – and the musicianship is wonderful, and much more fully-formed than if the tunes were brief. Players aren't listed, but the notes indicate that some top Norway jazzmen performed on the date – and titles include "Zatek's Tema", "Club 13", "Pytagoras", "Heaven & Hell", "Mote Med Hasj", and "Vigelandsparken". The album also features one vocal track – Inger Lise Andersen singing "Heaven & Hell".
David Meece, born May 26, 1952, is a contemporary christian musician. Married to Deborah Meece and is the father of Kelly Meece and Christopher Meece.Growing up in Humble, Texas with an abusive, alcoholic father, David found solace in playing the piano.A child prodigy he began touring as a concert pianist at age of ten. At age 15 he won a nationwide talent show & toured England, Germany, France, Switzerland and Holland. When he was sixteen, he was the featured soloist with the Houston Symphony, performing the difficult Khachaturian Piano Concerto, 45 minutes in length under the direction of renowned conductor, Andre Previn.David received a full scholarship to study at the famous Peabody Conservatory in Baltimore, Maryland. It was there that he fully surrendered his life to Christ. He found his goals changing from his intended career as a classical pianist as he began to pen songs of his relationship with the Lord and sing them.He has released so far 14 albums since 1976 some of them mixing pop music with classical music to great effect.
David Meece – David 1976
I'll Sing This Song For You3:38
Come Home America2:46
Jesus3:16
I Love The Way He Smiles At Me4:11
I Love You, Lord3:26
Touch My Hand3:30
Take Me Together4:53
Got To Know You're There (Dave's Prayer)3:41
Imagine What It'd Be Like3:28
I'll Sing This Song For You (Reprise) (Instrumental)2:36
Когда Дэвид Мис исполняет свою музыку, это часто звучит так, как если бы он играл и пел на вершине горы, открытое небо - его балдахин а тысячи зрителей поют вместе.
И все же в других случаях это почти как если бы мы подслушивали частный диалог между Давидом и его Создателем.
Такова музыка Дэвида Миса. Его главный источник вдохновения тот же, что и у Давида, писавшего псалом несколько тысяч лет назад.
Дэвид не только композитор. Из его обучения классической музыке пришло его мастерство игры на фортепиано. И из любви к популярной музыке в стиле не только захватывающем, но и незабываемом.
От довольно атмосферных христианских поп баллад первого альбома Девид немного сместился в сторону легкого глэм рока,Впрочем все это весьма талантливо сделано и *вкусно* сыграно,он лиричен и изобретателен 👂немного позабавила обложка альбома Everybody Needs A Little Help тут Девид напомнил Владислава Третьяка тех же лет.☺☺
Rydgren was head of the TV, Radio and Film Department of the American Lutheran Church and an ordained Lutheran minister. He created and hosted the progressive FM rock radio show Silouettes. Additionally he hosted some of the "What's It All About?" series with Bill Huie and TRAV.
Lost 1968 masterpiece from USA. Incredible hip and over the top recordings with a weird twist. In style of Ken Nordine, narrated by John Rygden, but backed by super GROOVY music, sound effects, cut-ups...An incredible Journey to Hipsville...Good to hear a clergyman not taking himself too seriously. This is absolutely marvelous. DJ's, radio stations, sampling maniacs and 60's fans should take notice. One of my most out there records!
When Liz played Pastor John Rydgren's Rinky Dink last Tuesday, I was reminded of just how great and weird Rydgren's radio spots were, and what a strange confluence of events created the country's only Psychedelic Christian format back in 1967.
Heading into the Summer of Love, Rydgren was the crafty head of the TV, Radio and Film Department of the American Lutheran Church. , the straight-looking Rydgren created a daily radio show called Silhouette in which he became the reassuring, resonant-voiced Hippy for God. Rydgren wrote, announced and programmed Silhouette, taking his musical and cultural cues from The Electric Prunes, Herb Alpert and the cover of Time (Is God Dead?), with a vocal delivery that was straight out of the Tom Donahue / Scott Muni / Ken Nordine school of breathy baritone radio seduction. Silhouette dropped all the counter-cultural codewords of the day into a heady mix of Peace, Love, Sex, Drugs and Jesus. Not to mention Fuzzy Guitars.
Pastor2New York's WABC-FM picked up Silhouette on a daily basis after the FCC forced them to stop using their FM station to re-transmit WABC-AM, their Top 40 powerhouse. Faced with an immediate need for a new format, ABC signed on to Rydgren's Psychedelic Christian thang, at least for part of the day.
The FCC rule in question - the non-duplication rule - sent stations all over the country scrambling for formats at a time when youth counterculture ruled the zeitgeist. Yes, the same rule that created the Psychedelic Christian format also gave birth to the Pastor3_1commercial freeform radio movement in the US.
ABC quickly dropped Silhouette from its lineup, and flailed around for three more years before finally changing the station's call letters to WPLJ in 1970 and finding their calling as one of New York's eminent Album Oriented Rock stations throughout the 70's.
But Rydgren and the American Lutheran Church aggressively syndicated the show beyond New York, and in that effort, they issued a double LP in 1967 called New Life Radio Spots and Cantata, which distilled Rydgren's swinging message of redemption Pastor4into bite size bits for other radio stations to play. If they liked the Silhouette segments on the New Life LPs, they could pick up the whole show, as American Armed Forces Radio did in 1968. The 2-LP set was issued to radio stations only, but the segments were later reissued a few years ago on a single LP called Silhouette Segments. That reissue wisely omitted the LP-length Cantata, which was along the lines of (but far worse than) The Electric Prunes Mass In F Minor, as I recall.
Лютеранский проповедник Джон Ридгрен в 1967-68-м годах вел христианскую психоделическую ежедневную программу "Silhouette" на нью-йоркской ФМ-радиостанции WABC-FM. Обращаясь к молодой аудитории, он касался таких тем, как наркотики, свободная любовь, одиночество. Он разыгрывал короткие ироничные скетчи и произносил своим глубоким голосом прочувствованные монологи. И все это на фоне то утяжеленных гитар, то ситаров, то лаунж-джаза, создавая действительно странный микс.
На полной компиляции его выступлений Silhouette Segments в итоге насчитывается 64 произведения музыкально-проповеднического жанра
"Ellie" Greenwich was an American pop music singer, songwriter, and record producer. She wrote or co-wrote many hit songs of the 60's & 70's including "Be My Baby", "Da Doo Ron Ron", "Leader of the Pack", and "River Deep, Mountain High". The husband-and-wife songwriting team of Jeff Barry and Ellie Greenwich would be among the most successful and prolific of Brill Building composers, a great many hits co-written and produced by Phil Spector.
October 23, 1940 – August 26, 2009. Inducted into the Rock & Roll Hall Of Fame in 2010 (songwriter).
Элли Гринвич (Ellie Greenwich) - автор известных песен, часть из которых были написаны ею в соавторстве со знаменитым музыкальным продюсером Филом Спектором, сообщает Associated Press. Как рассказала агентству ее племянница Джессика Уинер (Jessica Weiner), Гринвич умерла в среду, 26 августа, в нью-йоркской больнице, куда была госпитализирована с диагнозом пневмония. Причиной смерти стал инфаркт. Свои первые хиты Гринвич написала в начале 1960-х годов. Совместно со своим мужем Джеффом Бэрри (Jeff Barry) и Спектором она стала автором композиций для таких коллективов и исполнителей, как The Ronettes, The Crystals, The Shangri-Las, Тина Тернер. Впоследствии некоторые из этих песен перепели The Ramones, Джон Леннон, Smokie, The Beach Boys, Элтон Джон, Мэрайа Кэри (Mariah Carey), Шер, Джон Бон Джови, U2 и многие другие. В конце 60-х годов Гринвич работала в бэк-вокале у Фрэнка Синатры, а также участвовала в аранжировке песен Эллы Фитцджеральд. Кроме того, именно с ее помощью популярность приобрел известный американский певец Нил Даймонд (Neil Diamond). В США Гринвич считалась одним из самых популярных авторов-песенников. В 1991 году ее имя было внесено в американский Зал славы авторов песен (Songwriters Hall of Fame).
Another “guilty pleasure” here, I guess, but I think this one has universal appeal, nonetheless. At the very least, it provides me the chance of accusing the naysayer of not having a dick instead of no sense of humor. So who decided it was sexy for a female vocalist to sound like she’s singing through her nose? Not me—the female vocalists of today are fucking terrible and so are the mentally retarded imbeciles who write their shit music. No, Lori Burton had a husky, sensuous set of heavy pipes, filtered through a New York City accent, with just a touch of sleaze and snarl. The gal could write a song, as well, and this LP was a showcase of tunes she wrote with another female songwriter named Pam Sawyer. Actually, both women went on to more successful songwriting careers writing for Motown, several individual groups such as Young Rascals, and doing session work with some of the biggest names in the business, while this record tanked and has remained relatively obscure. There are some nice, unappreciated gems on here that deserve a brighter place in the sun. Boyd Rice later featured “Love Was” on his “Music For Pussycats” compilation and the entire LP was remixed and briefly re-issued on CD with a handful of Disco songs she did in the 70’s that, apparently, aren’t so great.
What we have on this LP are some late 60’s Soul / Pop / Rock songs, done in the style of the time, short and sweet, sung by a white chick. A couple of the songs are a little kitchy and sound like a rip-off of other hits of the day, while others are excellent, with songs like “Gotta Make You Love Me”, “Love Was”, “Nightmare”, and “Gotta Get Over You” topping the list. Sadly, as the younger generations of music listeners appear to have no interest in this sort of thing, these songs are probably doomed to fade into oblivion, although I wouldn’t be surprised if, forty years from now, some nursing home attendant found herself prying this LP from my cold, dead hands.
Éva NagyEz Az Utolsó Randevúnk
–Márta BenczeCsak Fiataloknak
–Sarolta ZalatnayFekete Beat
–Gabi FenyvesiHa Csak Egy Fokkal Szebb Az Ördögnél
–Kyri Ambrus Júdás Vagy
–Zsuzsa KonczKeresem A Szót
–Magay KlementinaZsákutca
–Zsuzsa MátrayKönyörögni Nem Fogok
–Sarolta ZalatnayZöld Borostyán
–Mária Wittek Keresek Egy Fiút
–Beáta KardaMindig Tanul Az Ember
–Clementina MagayNem Én Döntöm El A Háborúk Idejét
–Marika Késmárky Nyílik Még Virág
–Mária ToldyLassan Múlik Az Idõ
–Kati KovácsMost Kéne Abbahagyni
–Kyri Ambrus Ez A Szerelem
–Gabi FenyvesiFelírom Korommal
–Zsuzsa MátrayHol Van Az Az Idõ
–Zsuzsa KonczSzõke Anni Balladája
–Clementina MagayTe Sem Tudhatod Elõre
–Kati KovácsHazudik A Drága
–Sarolta ZalatnayVén Tükör
–Beáta KardaCsuda Jó Fej
–Teréz HarangozóHétköznapi Szerelem 2018
A1–Frankie LymonWhy Do Fools Fall In Love
A2–Shep And The Limelites*Three Steps From The Altar
A3–The MonotonesBook Of Love
A4–Darrel And The OxfordsPicture In My Wallet
A5–The Dreamers Teenage Vows Of Love
A6–The CrowsGee
A7–Little Anthony & The ImperialsThe Diary
A8–Tiny Tim & The HitsWedding Bells
A9–The Ly-DellsWizard Of Oz
A10–Lewis Lymon & The TeenchordsToo Young
A11–The EssexA Walkin' Miracle
A12–The FlamingosLovers Never Say Goodbye
A13–J. Frank Wilson & The CavaliersLast Kiss
B1–Frankie LymonTeenage Love
B2–Jimmy BowenI'm Stickin' With You
B3–The FlamingosI Shed A Tear At Your Wedding
B4–The PlaymatesJo-Ann
B5–Little Anthony & The ImperialsA Prayer And A Jukebox
B6–The BelmontsCome On Little Angels
B7–The DubsDon't Ask Me To Be Lonely
B8–The TemposSee You In September
B9–The ShellsSippin Soda
B10–The DubsDarling
B11–The CadillacsMy Girlfriend
B12–The CleftonesLittle Girl Of Mine
B13–Nicky & The NoblesSchoolhouse Rock
01. Time Has Come Today [11:05]
02. I Can't Turn You Loose [4:56]
03. Love, Peace And Happiness [2:52]
04. Funky [2:51]
05. All Strung Out Over You [2:28]
06. People Get Ready [3:52]
07. I Can't Stand It [2:41]
08. Romeo And Juliet [4:32]
09. In The Midnight Hour [5:21]
10. So Tired [4:05]
11. Uptown [2:57]
12. Please Don't Leave Me [2:57]
13. What The World Needs Now [3:20]
14. Are You Ready [3:49]
15. Let's Do It [4:35] 1993
Although pop music enjoyed a larger audience and more expansive industrial structure at the time of rock’s emergence, the rhythm ‘n’ blues genre possessed a richer assortment of the artists who were to mold the new music’s style. Throughout the 1950s and 1960s, the work of these artists provided the strongest and most consistent reason for the quality and appeal of the music itself.
Among the most prominent vocal/instrumental rhythm ‘n’ blues groups of the 1960s was the Chambers Brothers. George Chambers (born 1931) played bass, brothers Willie (1938) guitar, Lester (1940) harmonica and Joe (1942) guitar. They moved to Los Angeles from Lee County, Mississippi, during the early 1950s and their early records included magnificently rough, gospel-tinged versions of soul material, such as "People Get Ready," included in this collection.
Augmented in 1965 by ex-Manfred Mann Drummer Brian Keenan, they became an interracial group. After joining a major record company in 1967, they released several successful singles including “Time Has Come Today” and Ί Can’t Turn You Loose." The band’s black hippie image was taken up by the underground press and new white audiences.
The Chambers Brothers became true funk pioneers, with “Funky" as a catchy example of their innovation in the field. In 1972 the band split up, but re-formed in 1974, and continued to be popular through the 1970s. They were the supporting musicians in a recording session for Maria Muldaur in 1980.
1Monument
2A Tiger At The Door
3Up On The Roof
4Crazy Crazes
5Puff
6What Am I To You?
7I'll Stay By You
8For Lovin' You Baby
9That's What Little Girls Are Made For
10You Can Never Stop Me Loving You
11It Would Take A Miracle
12Why Do You Treat Me This Way?
13Individuality
14For You
15The One Thing That Makes You Happy
16They're Jealous Of Me
17Steady Kind
18Stand By Me
19So Much To Love You For
20She's Got Everything
21Don't Make The Same Mistake As I Did
22The Truth
23There's Never Been A Girl
24You Make Love So Well
25Hey Girl
26My Own Two Feet
27My Little World
28Misery
29Mountain Of Love
30Before I Count To Ten
31A Teardrop In The Ocean 1996
Kenny Lynch (born 18 March 1938, Stepney, London, England, died 18 December 2019) was an English singer, songwriter, entertainer, actor and publisher, see Kenny Lynch Music Ltd.. During the 1960s he scored two UK Top 10 Singles (Up On The Roof & You Can Never Stop Me Loving You) and another 7 UK Top 40 Singles.
A1Louder Than A Bomb
A2Shut Em Down
A3Fight The Power
A4Trackstar To The Edge Of Panic
A5By The Time I Get To Arizona
A6Welcome To The Terrordome
B1My Uzi Weighs A Ton
B2Don't Believe The Hype
B3I Don't Wanna Be Called Yo Ni**a
B4911 Is A Joke
B5Bring The Noise
B6Prophets Of Rage 2018
A1Child Of The Universe
Performer – The Byrds
Vocals [Vocal] – The Byrds
Written-By – Dave Grusin, Roger McGuinn
3:10
A2Birth By Descent3:21
A3Opening Night: By Surgery2:10
A4Spec-Rac-Tac-Para-Comm2:37
A5Border Town Blues: A Blunt Instrument
Trumpet [Uncredited] – Don Ellis
2:47
A6Magic Carpet Ride
Vocals [Vocal] – Steppenwolf
Written-By – John Kay, Rushton Moreve
4:25
B1Constant Journey2:11
B2Every Mother's Daughter2:04
B3It's Always Because Of This: A Deformity2:30
B4Marlon & His Sacred Bird3:05
B5Ascension To Virginity5:05
B6Rock Me
Vocals [Vocal] – Steppenwolf
Written-By – John Kay
3:41
Молодая девушка по имени Кэнди, восхищаясь талантами или доблестями своих поклонников, неизменно оказывается в их постели. Она нравится всем без исключения, и они ее вожделеют. Однако из-за этого всеобщего помешательства сначала в маленьком заштатном городке, а затем и в Нью-Йорке творятся странные вещи и даже трагедии. Там, где ступает очаровательная ножка Кэнди, мужчины сходят с ума, а женщины готовы убить друг друга.Примечания: Фильм сделан как пародия на ряд американских фильмов. Все сцены, включая завязку и финал - имеют одновременно романтический, фантастический и эротический налет. Интересные режиссерские аналогии граничат с безумием, а шутки с издевательством. Хорошая операторская съемка и смешная актерская работа известных звезд кино и мировой эстрады 60-70-х годов - все это сделало фильм культовым для эпохи хиппи и зарождающегося в ту пору постмодернизма.
A1Strassenfahrt Durch Wien
A2Ich Habe Tranen
A3Tempelmusik
A4Gospelsong
A5Wir Sind Hier Auf Einer Insel
A6Weisser Sand
A7Ich Kann's Nicht Glauben
A8Jazzwiese
B1Ein Korper Sind Wir
B2Song Ohne Worte
B3Sexsong
Der Teufel Hole... / Wie Ein Kristall In Einer Schale
B4aDer Teufel Hole...
B4bWie Ein Kristall In Einer Schale
B5Hey Boy, Come On
B6Macht Die Augen Auf
B7Spiegellied
B8Schlussmusik 1972
"Trip" was the Austrian version of the musical "Hair", just a bit more extreme in all its facets. The 1971 produced by ORF hippie opera once scared the Austrian television audience, as here drug-consuming, long-haired adolescents were shown who seek a way out of reality and find their redeemer in a dodgy guru. Embedded in glaring stage sets designed by the painter Ernst Fuchs, the narrative ultimately imploded in a hallucinogenic horror trip. The visual impression was further enhanced by a well-prepared soundtrack under the direction of Viennese musician legend Fatty George, who experimented with sitar, psychedelic funk and quirky jazz elements. In his band were future superstars, such as Karl Ratzer, Peter Wolf, Richard Schoenherz and Leszek Zadlo, who were still at the beginning of their career in 1971. After the finished production of the soundtrack, the jazz musicians joined the ORF Big Band collective, the rockers founded Gipsy Love. The "Trip" is not only an important piece of local pop history, but is universally considered among experts one of the most successful music productions of the local hippie era. The Innsbruck-based label Digatone is now releasing for the first time a lovingly restored reissue of the soundtrack LP, which at that time only appeared in small numbers and has now reached high collector's orders on file sharing. After the finished production of the soundtrack, the jazz musicians joined the ORF Big Band collective, the rockers founded Gipsy Love. The "Trip" is not only an important piece of local pop history, but is universally considered among experts one of the most successful music productions of the local hippie era. The Innsbruck-based label Digatone is now releasing for the first time a lovingly restored reissue of the soundtrack LP, which at that time only appeared in small numbers and has now reached high collector's orders on file sharing. After the finished production of the soundtrack, the jazz musicians joined the ORF Big Band collective, the rockers founded Gipsy Love. The "Trip" is not only an important piece of local pop history, but is universally considered among experts one of the most successful music productions of the local hippie era. The Innsbruck-based label Digatone is now releasing for the first time a lovingly restored reissue of the soundtrack LP, which at that time only appeared in small numbers and has now reached high collector's orders on file sharing.
(Source: ACCORDIA 1st Austrian Record Club)
Digatone present the first official reissue of Fatty George Und Silke Schwinger’s Trip the long lost and extremely rare Austrian hippie-rock/jazz/funk opera score from 1971. Features, among others, Su Kramer (also known from the Hair album and stage play featuring Czechoslovakian band The Matadors), Fatty George, Karl Ratzer, Peter Wolf, Richard Schoenherz, and Leszek Zadlo. Originally released in 1972 by Telefunken in Germany in a small quantity, and now highly collectable, the LP combines funk, pop, psychedelia, acid jazz, and gospel. Performed with electric guitar, flute, organ, sitar, and more, this music has been frequently sampled in recent years. Produced for Austrian TV, the story is about a guru who comes to Vienna to preach about a world with no technology, but with lots of drugs. However, when a young boy dies after an LSD trip, things go terribly wrong. Includes an insert supplying background information in German and English; Edition of 1000….~
Trip was an early 70s Austrian pop-opera concerning the reception given to a black messiah in the modern age. Touching on the youth concerns of the time, it made a strong impact in Austria, where this extremely rare soundtrack album was issued in 1972. Spanning funk, pop, acid jazz and gospel, with electric guitar, flute, organ, sitar and more, it has been sampled in recent years (notably the epic breakbeat in White Sand) and makes its CD debut here…..~
“Trip” is an Austrian rock opera about a guru who came to Vienna to preach life without modern technology, but with a lot of drugs, from which he eventually dies himself. The work was created by scriptwriter Silke Schwinger and jazz musician Franz Pressler (nicknamed Fetty George). It was first staged in 1971 on the stage of the Salzburg Festival, and then appeared as an album and a television movie. The recording is a jazz-funk with a powerful psychedelic guitar and a rich vocal palette…..~
Today we are dedicated to a sensational, ultimately completely forgotten climax of domestic television history and its accompanying soundtrack. Based on a play by Silke Schwinger, the revolutionary TV show “Trip” was shot in 1971 within a few days of filming. On August 8th, it aired on the ORF’s night program - and then disappeared into the archives, singing and singing.
The plot of the film is simple and good: A self-proclaimed Messiah, the charismatic preacher Ronny Nia comes to Vienna for 10 days to proclaim the universal love of God. Already on his arrival at the airport, he and his entourage expect a euphoric teen fanbase and a local press service. Unforgettable is the young Peter Rapp as an interviewing - and visibly irritated - TV reporter. All around: television cameras, autograph hunters, flower children, police.
Peppered with a top-class ensemble of German-speaking stage actors of the day (such as Julia Migenes, Su Kramer and Ron Williams), the “Trip” accompanies a group of young hippies, who have quickly formed around the prominent guest, at their debauchery, from an underground happening to the next. It is hilariously celebrated, danced and sung. And yes, drugs are probably also in the game.
But it comes, as it must come: After the initial ecstasy crashes, disillusionment and depression follow. As a member of the gang dies of an overdose, the mood tips. And since religious leader Ron still has no essential answers, the group finally breaks up. Remarkably, the narrative of “Trip” renounces the upscale, moral index finger and, in the meantime, steers towards an open, impulsive end.
The experimental design of the film, for which director Jorg Eggers was responsible, is groundbreaking for viewing habits at that time. Minute-long scenes of a single shot are followed by hallucinogenic nightmare sequences with psychedelic transitions and fast-paced sequences; an aesthetic reminiscent of the work of American underground filmmaker Kenneth Anger. A stage design specially designed by the painter Ernst Fuchs does the rest.
The media review in Austria, which was accompanied by the first broadcast of the film, however, was modest. Apparently, neither the local audience nor critics could figure it out. The film then disappeared again in the sinking and in the archives of the ORF. The soundtrack of the film, which appeared a short time later as long-playing record at the German major label Telefunken, but over the years developed into a sought-after cult object. Meanwhile, the eponymous “Trip” LP collects collector prices in three digits.
The Innsbruck cultural club Digatone has now dug up the rare soundtrack and makes the music from the film accessible again as lovingly made reissue. A strong gun: Under the direction of the Viennese jazz legend Fatty George, the cast of the “Trip” music-music orchestra on late-born babies seems like a little who-is-who of domestic entertainment music of the early 1970s: Fatty’s band had some later superstars Karl Ratzer, Peter Wolf, Richard Schoenherz and Leszek Zadlo, who were still at the beginning of their careers in 1971. The illustrious collective was expanded to include well-known jazz musicians from the ORF Big Band environment. And peng! The “Trip” soundtrack is a masterpiece of domestic soul jazz and also a significant piece of local pop and subculture history…..by….Bird Sputnik…..~
