In - Kraut, Vol. 2: Hip - Shaking Grooves Made in Germany 1967 - 1974 CD

In - Kraut, Vol. 2: Hip - Shaking Grooves Made in Germany 1967 - 1974 album for sale All tracks have been digitally remastered using 24-bit technology. Blondie's penultimate album before their breakup, 1981's AUTOAMERICAN is a fine collection of diverse, slickly-produced pop songs, featuring the all-pervasive "Rapture." It's difficult to explain just how omnipresent this song was on Top 40 radio in 1981--only Kim Carnes' "Bette Davis Eyes" and the "Stars on 45" medley had more airplay--or how enormous its cultural impact. Before "Rapture," rap was little known outside of New York City's outer boroughs, but Debbie Harry's rap, namechecking scene legends Fab Five Freddy and Grandmaster Flash (alongside '60s film auteur Francois Truffaut, for the downtown hipsters), brought the style worldwide. The rap was so groundbreaking that it's easy to forget that the first three minutes of the song, where Harry coos luxuriantly over a slinky bass groove, is some of Blondie's best work, as is the rest of the album. + 3 Bonus Tracks Recorded at United Western Studio, Hollywood, California in December 1980. Originally released on Chrysalis (1290). Includes liner notes by Mike Chapman. Producer: Mike Chapman. Reissue producer: Kevin Flaherty. Personnel: Debbie Harry, Howard Kaylan, Mark Volman (vocals); Chris Stein (guitar, timpani); Frank Infante, W.W. Watson, Wa Wa Watson (guitar); Tom Scott (saxophone, lyricon); Steve "Golde" Goldstein, Steve Goldstein (piano, synthesizer); Jimmy Destri (keyboards); Clem Burke (drums); Scott Lesser, Alex Acuña, Ollie E. Brown, Emil Richards (percussion); B Girls (background vocals). Liner Note Author: Mike Chapman . Recording information: Power Station, New York, NY (1980); United Western, Hollywood, CA (1980). Directors: Denny Vosburgh; Bob Emmer; Shep Gordon. Photographers: Retna; Bob Gruen; Jeff Mayer. Blondie: Deborah Harry (vocals); Chris Stein (guitar, bass, vibraphone); James Destri (piano, organ, synthesizer, background vocals); Frank Infante (bass, background vocals); Clem Burke (drums, background vocals). Additional personnel: Howard Kaylan, Mark Volman (vocals); Jimmie Haskill (arranger); Wa Wa Watson (guitar); Tom Scott (saxophone); Steve Goldstein (piano, synthesizer); Ray Brown (bass); Scott Lesser, Ollie Brown, Emil Richards, Alex Acuna (percussion); B-Girls (background vocals).

In - Kraut, Vol. 2: Hip - Shaking Grooves Made in Germany 1967 - 1974 songs This edition of REBIRTH includes material released by 2 predecessor bands, The Stoics and The Mind's Eye. Also includes bonus tracks originally released as 45's. The first half of Rebirth is a rather phenomenal document: mood-driven and densely textured psychedelia at its very best. "Daybreak" opens the album with what seems to be a fairly quaint ditty until its controlled eruptions of orchestration, unique and enticing, cause the music to grow in dimension. "Maypole" also initially leans toward preciousness, the themes of childhood naïveté employed by dozens of bands in the wake of Sgt. Pepper's, but in its seesawing-calliope backing and minor-key shifts there is also something compellingly creepy that resonates more of shadows than innocence. It leads wonderfully into "Don't Ever Lose It," a macabre fairy tale as enigmatically disorienting as it is rocking, and the delicate "Beautiful," which (particularly owing to Stephen Perron's haunting vocals) lives up to its title in the spookiest of ways. "Sitting on a Flower," a Cassell Webb showcase, is also powerful stuff. The album's only significant failing is a tendency during its last half to lose sight of the experience it means to convey. The honky tonk parody "Military School" (which is quite interesting musically) may be a timely parable of the imbroglio in Vietnam, but it feels like an alien presence on the album, as does the goofy "I Got Involved," more akin to a 1930s radio commercial. The album rights itself nicely with "Pictorial," an epic, enveloping piece of acid dementia, and the equally fierce "Dreaming Slave," with its funky bursts of vibey jazz. Regardless of its flaws, Rebirth proves the Children to be one of the finest and most fascinating forgotten bands of the era. ~ Stanton Swihart The great psychedelic band The Children from San Antonio, Texas released this classic LP on the Cinema label in 1968. Starting out as The Stoics back in '66, they later evolved into The Mind's Eye, then they experienced their final incarnation with the b Recorded between 1966 and 1970. The Children includes: Cassell Webb (vocals). Personnel: Stephen Perron, Cassell Webb (vocals); William Ash (guitar); Louis Cabaza (tuba, piano, organ, vibraphone); Andrew Szuch, Jr. (drums). Liner Note Author: David James. Recording information: Abe Epstein Studios, San Antonio, TX (10/14/1966-02/??/1967); Andrus Production, Houston, TX (10/14/1966-02/??/1967); Jones Sound Studios, Houston, TX (10/14/1966-02/??/1967); Recording Services Inc., TX (10/14/1966-02/??/1967).

In - Kraut, Vol. 2: Hip - Shaking Grooves Made in Germany 1967 - 1974 buy CD music New England's Blades of Grass were every bit as good as any of the other so-called sunshine pop groups that surfaced in the psychedelic summer of 1967, and if it weren't for a run of just plain blind bad luck, might have had a chance for bigger and better things. As it was, they managed just one album and a handful of singles before calling it quits. The group's biggest success was a version of "Happy," which charted well on the east coast, but unfortunately had to compete with the Sunshine Company's rendition, which stole most of the airplay in the rest of the country. Amazingly, Blades of Grass turned around and subsequently repeated the same scenario with "I Love You Alice B. Toklas," competing with the version by Harpers Bizarre, leading one to wonder if it wasn't bad management rather than bad luck that ultimately haunted them. The group's sole album, Blades of Grass Are Not for Smoking, is presented here in its entirety, along with some non-LP singles, and the end result is a light, soothing collection of baroque pop, heavy on angelic harmonies and ornate orchestration. Unfortunately most of the tracks are covers, and there really isn't much of a future in covering songs like the Beatles' "Help!" even if your version is solid and surprisingly effective. Fans of sunshine pop and light psychedelic pop will find a lot to like here, as long as no one expects anything too radical or innovative. Highlights include "Happy," the airy "Just Ah," and "Help!" which would have certainly given the Blades of Grass a huge hit if the Beatles hadn't already previously taken care of that. ~ Steve Leggett Digitally remastered collection from the New York 'Sunshine Pop' band's only LP from 1967 along with all of their non-LP singles in their original mono mixes, making this the first ever complete collection by these masters of Soft Pop. From Rochester, NY, The Blades Of Grass were one of the prime East Coast exponents (along with The Free Design) of that usually West Coast genre of Sunshine Pop and were one of the later signings to legendary New York Doo-Wop label Jubilee Records, Their complex, baroque harmonies and optimistic atmosphere having a much overlooked but firm second front in the city that never sleeps, indeed the group's first hit single "Happy" went head to head in a chart battle with LA's Sunshine Company. Their version of the title track of the Peter Sellers film "I Love You Alice B. Toklas" also rivaled Harpers Bizarre's version shortly afterwards, though The Blades' version somewhat had the edge stylistically, with it's vocal phasing and psychy effect-laden intro and outro. Rev-Ola. 2009. Personnel: Nick Robbins, Joe Foster (synthesizer). Liner Note Author: Steve Stanley.

In - Kraut, Vol. 2: Hip - Shaking Grooves Made in Germany 1967 - 1974 CD music In addition to his R&B-styled solo material, Billy Preston is best known for being a session keyboardist/organist for such legends as Ray Charles, the Rolling Stones, and the Beatles. This digitally remastered collection is a single-CD compilation of two of Preston's solo albums: 1966's WILDEST ORGAN IN TOWN and 1967's CLUB MEETING. Preston was a child prodigy, playing keyboards for Mahalia Jackson at age ten, portraying a young WC Handy in St. Louis Blues at age 12 and touring with Little Richard in his teens as well as being a regular on the '60s TV show, Shindig. By the time he signed with Vee Jay Records as a solo artist, he was one of the most in-demand session keyboardists around. This two-on-one release focuses on his amazing keyboard work, which was later eclipsed in the '70s as he began chalking up vocal hits! Features the albums The Wildest Organ In Town (Stereo) from 1966 and Club Meeting (Mono) from '67, both originally released on Capitol & currently out-of-print. 24 tracks. EMI.

In - Kraut, Vol. 2: Hip - Shaking Grooves Made in Germany 1967 - 1974 buy CD music Germany is not generally known as one of the funkier nations on Earth, and when the Teutonic set try to get wild and swinging, something usually sounds a bit off in the results -- which is a big part of the fun with this compilation. The In-Kraut collects 20 German pop tunes recorded between 1966 and 1972, ranging from a witty Hildegard Knef track that sounds like her answer to Peggy Lee's "Is That All There Is" to a big band arrangement of the Rolling Stones' "Jumpin' Jack Flash," complete with a gloriously out-of-place organ solo. What you get is a terrific collection of swingin' bachelor pad music, complete with a view of the Reeperbahn; most of the tracks suggest someone like Si Zentner trying to play something like rock & roll, with an added level of cultural disconnect added as the performers struggle to play American-style pop, often while attempting to sing in English (frequently in a manner that suggests they learned the lyrics phonetically). If this sounds like a pan so far, though, it isn't -- The In-Kraut is actually lots of fun, with most of the tunes boasting tight arrangements, great studio bands, and punchy, enthusiastic performances, even if the results often have little to do with rock & roll. (It's significant that, according to the liner notes, the upbeat "Marihuana Manta" was recorded by a musician who never smoked dope in his life, while "Molotov Cocktail Party" sounds less like a call to revolution than a tribute to the pleasures of blowing up stuff.) For the most part, The In-Kraut finds studio-centric big bands attempting to tackle rock & roll, and while they don't quite make it on face value, they come up with something that's exciting, compelling, and lots of fun -- proof that sometimes squares can be a lot cooler than you'd expect. ~ Mark Deming Marina Records proudly presents The In-Kraut -- twenty handpicked soul, beat, now sound, mod and soundtrack gems from Germany -- all recorded between 1966 and 1974. Among them many Kraut-pleasin' obscurities and long-forgotten nuggets that appear now for the very first time on CD. While the musical climate in Germany of the late '60s and early '70s was clearly dominated by horrible Schlagers, nevertheless, records of outstanding class were cut with Teutonic precision. Just check out "Gemini" by Günter Noris, a stomping piano-led instrumental worthy of Ramsey Lewis. Or the proto-funk of Erwin Halletz "Das Stundenhotel Von St. Pauli" -- a tight soundtrack groover clearly inspired by James Brown. Or the elegantly sweeping "Naturally Stoned" by Helmut Zacharias with more than a trace of a brilliant John Barry arrangement, and the Blood Sweat & Tears-inspired "Molotow Cocktail Party" by Vivi Bach & Dietmar Schönherr. The guys behind these productions were usually slick jazz players and studio musicians from the tightest orchestras of the country. Somehow these middle-aged men knew how to move the Kraut and adapt their skills to the swinging sixties. The In-Kraut was compiled and annotated by Stefan Kassel and Frank Jastfelder who also compiled two acclaimed Lalo Schifrin anthologies, several volumes of Universal's Get Easy! series, the Mad Mad World Of Soundtracks compilations, and retrospectives of the work of Gary McFarland, Horst Jankowski, Lee Hazlewood and other cool cats. 2005. Liner Note Author: Frank Jastfelder. Arrangers: Günter Noris; Helmuth Brandenburg; Heinz Gietz; Peter Thomas; Robert Politzer; Frank Pleyer; Achim Reichel; Werner Müller; Keith Roberts; Helmut Zacharias; Hans Salomon.

In - Kraut, Vol. 2: Hip - Shaking Grooves Made in Germany 1967 - 1974 songs The third volume of this compilation series of kitsch '60s and '70s German pop, soul, jazz, and movie soundtrack rarities includes such period pieces as the Daisy Clan's high-stepping disco burner "Glory Be," a moody gothic-style cover of Sonny and Cher's "The Beat Goes On" by the now-veteran singer Inga Rumpf, and Katja Ebstein's bizarre, electric sitar-laden version of the Beatles' "A Hard Day's Night." Liner Note Author: Stefan Kassel. Arrangers: The German Top Five; Ingfried Hoffmann; Horst Muhlbradt; Helmuth Brandenburg; Dieter Reith; Mark Evans; Peter Thomas; Dieter Zimmermann; Hazy Osterwald; Roland Schneider; Christian Bruhn; Rolf Kühn; Ambros Seelos.