| | Tony Sheridan First Beat CD - Import Tony Sheridan Discography of CDs
 (2 Customer Reviews)
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Our Price: $14.45  CDFor Sale Limited Availability
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FIRST BEAT, which was recorded in the very early 1960s, features two tracks by the Beatles, six cuts with the Beatles backing up Tony Sheridan, and four songs performed by Sheridan and the Beat Brothers.
Recorded in Hamburg in 1961 for Bert Kaempfert & Polydor & released after the Beatles became famous. Only two of the songs on this CD are just the Beatles ('Aint She Sweet' & 'Cry For A Shadow'), six songs are the Beatles backing Tony Sheridan, the rest are Tony Sheridan and the Beat Brothers. Universal. Tony Sheridan First Beat Songs | 1. | Aint She Sweet (Beatles) | |
| 2. | Cry For a Shadow (Beatles) | |
| 3. | Let's Dance | $0.99 | |
| 4. | My Bonnie | |
| 5. | Take Out Some Insurance on Me Baby | |
| 6. | What'd I Say | $0.99 | |
| 7. | Sweet Georgia Brown | $0.99 | |
| 8. | Saints, The | |
| 9. | Ruby Ruby | |
| 10. | Why (Can't You Love Me Again) | |
| 11. | Nobody's Child | |
| 12. | Ya-Ya | |
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Purchase First Beat CD To buy, Click on price to add to cart | Let It Be Naked Let It Be CDs (1970) Bonus CD
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Allegedly featuring the soundtrack to a short film by the same time that appears to involve ...
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| | Moonwater Invitation CD (1995)
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On Invitation, Moonwater proves to be a hard rocking band with some respectable material, but one glaring problem -- the singing is irritating as hell. Vocalist Danny Whitt overdoes his Robert Plant-meets-Perry Farrell voice on practically all 12 tracks, making the entire album almost unlistenable. The songwriting may be decent and the instrumental performances may be adequate, but the vocal performance subtracts from the other positive contributions. ~ Tim Griggs
It\'s 1 a.m. on a Saturday night in late June. The heat inside the overcrowded confines of Atlanta\'s The Point hands over everyone\'s shoulder like a half-drunk, heavy breathing, companion. Red velvet upholstered amps and speaker cabinets seem to melt into the stage as the bright room lights dim and a solitary red light washes down from directly overhead. Four thin figures climb onto stage and begin tapping microphones, strapping on guitars!their movements slow and dreamlike as though paddling through wine. The singer moves to his mic and in a hushed, breathy voice begins: Out of your closet and onto your front porch / you scream at the world just how you feel / Maybe they'll care or maybe they won't / It's probably better if they don't, I know they won't, because!..There's about a five second pause as a collective shiver of anticipation runs through the crowd. Suddenly, as the band kicks in full tilt the singer screams: Heeee's aaaaaaaaaaa girrrrrrrl!!and the crowd is thrust head first into a 90 minute sonic adventure, an overdue vacation to a world where rhythm reigns and melody invokes passion and mayhem!This is a typical, dead of Summer, hometown gig for Moonwater, an eclectic amalgamation ...
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| | Watts 103rd Street Rhythm Band Together CD (1967)
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Released in 1968, the second album from the Watts 103rd Street Rhythm Band finds Charles Wright and company still trying to translate their nightclub and singles success into record album sales. The standout cut is "Do Your Thing," a simmering call to the dancefloor that plays on the strengths of this very tight band, slowly building into an undeniable groove; the record-buying public thought similarly, pushing "Do Your Thing" to number 11 on the Billboard charts. About a third of Together follows in this funky groove: "Giggin' Down 103rd," "Sorry Charlie," and the sax feature "Phuncky Bill." There are some covers here too, the mid-show cool down of "Stormy Monday," a tip of the hat to JB with "Papa's Got a Brand New Bag," and a 200 mph run-through of Eddie Floyd's "Knock on Wood." The rest of the album is made up of mid-tempo soul with a loping, Southern feel that doesn't stand out so much because of what is played but how it's played. The Watts band was a monster with James Gadson on drums, Melvin Dunlap on bass, Al McKay on guitar, and a fearsome horn section too, with special mention going to Bill Cannon here for the previously mentioned "Phuncky Bill." Gadson and McKay would go on to join Earth, Wind & Fire while Dunlap joined Bill Withers' band. Together shows a band on the way to its peak, a point they wouldn't reach until the release of Express Yourself in 1970, but listening to them get there is half the fun. ~ Wade Kergan
Hot, Heat and Sweat Groove is the debut album by the funky band led by the charismatic Charles Wright. The Wright brood moved to Los Angeles when Charles Wright was 12. In Watts, Wright befriended doo woppers and balladeers like Jesse Belvin, the Hollywood Flames, the Youngsters, and others who lived in the area. Propped by stars like Bill Cosby and publicized by two and a half years of sold-out crowds at the Haunted House (a local club), along with an unexpected local hit, the band was able to secure a contract with Warner Bros. Records. Nothing major came from this set that displayed a choppy rhythmic approach similar to Dyke & the Blazers. But this surprisingly hard-to-find album produced by James Carmichael, who went on to great success with the Commodores, features some thick funk: "Fried Okra," "Brown Sugar," and reworkings of "Yellow Submarine," "The Girl From Ipanema," and "Bring It on Home to Me." While not the most cohesive set, you can't knock the hot SoCal energy exhibited by Wright and his crew of young hopefuls, including future Earth, Wind & Fire member Al McKay, along with ...
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