Beat Magazin From Dezember 2016 Pdf

2016 collection. Located in London's West End, Pye Records boasted a super stable of female talent. Released hot on the heels of our recent Love Hit Me! Decca Beat Girls collection, Scratch My Back! Pye Beat Girls comprises two-dozen peachy selections from Pye and sister label Piccadilly's 1960s output. The compilation is titled after the opening track by Jan Panter, a Mark Wirtz-produced must-have for those who prefer their girl-pop records beefed up with a dose of fuzz guitar. Tony Hatch, the most successful of Pye's in-house producers, is represented by cherry-picked titles by the Breakaways, Petula Clark, cult favorite Sandra Barry, the Baker Twins and Julie Grant. 'Heart' has to be the rocking-est track Petula ever recorded, so much so that it was covered in the USA by garage band the Remains.

2016 collection. Located in London's West End, Pye Records boasted a super stable of female talent. Released hot on the heels of our recent Love Hit Me! Decca Beat Girls collection, Scratch My Back! Pye Beat Girls comprises two-dozen peachy selections from Pye and sister label Piccadilly's 1960s output. The compilation is titled after the opening track by Jan Panter, a Mark Wirtz-produced must-have for those who prefer their girl-pop records beefed up with a dose of fuzz guitar. Tony Hatch, the most successful of Pye's in-house producers, is represented by cherry-picked titles by the Breakaways, Petula Clark, cult favorite Sandra Barry, the Baker Twins and Julie Grant. 'Heart' has to be the rocking-est track Petula ever recorded, so much so that it was covered in the USA by garage band the Remains.

2016 collection. The Ace catalogue has traditionally focused on American music. But our compilers have never shied from venturing worldwide in their quest for good sounds, as evident from our popular collections spotlighting the female vocalists of 1960s Japan, France and Italy (not forgetting the UK). Now it's the turn of Sweden. Our smörgåsbord of Swedish she-pop opens with early solo sides by the lead singers of the nation's greatest pop music export, ABBA: Agnetha Fältskog with 'Ge Dej Till Tåls' (a highlight of her second album) and Anni-Frid Lyngstad with 'Så Synd Du Måste Gå' (a song popularised by Françoise Hardy as 'Comment Te Dire Adieu'). Other featured well-known names include national treasure Lill-Babs with her cover of Dusty Springfield's 'Little By Little' and chart star Mona Wessman with a version of 'Music To Watch Girls By'. But it wasn't all cover versions in mid-60s Sweden. Dig, for example, Eleanor Bodel's title track, 'Don't' by cult favourite Doris (who also appears as lead vocalist of the group Plums), au pair duo Bella & Me's groovy 'Help Me Break This Habit' and Britt Bergström's Ivy League-penned 'You Really Have Started Something'. Cherry-picked tracks by the Plommons and cover stars MAK Les Soeurs illustrate the country also produced it's fair share of all-girl groups.

2016 collection. Located in London's West End, Pye Records boasted a super stable of female talent. Released hot on the heels of our recent Love Hit Me! Decca Beat Girls collection, Scratch My Back! Pye Beat Girls comprises two-dozen peachy selections from Pye and sister label Piccadilly's 1960s output. The compilation is titled after the opening track by Jan Panter, a Mark Wirtz-produced must-have for those who prefer their girl-pop records beefed up with a dose of fuzz guitar. Tony Hatch, the most successful of Pye's in-house producers, is represented by cherry-picked titles by the Breakaways, Petula Clark, cult favorite Sandra Barry, the Baker Twins and Julie Grant. 'Heart' has to be the rocking-est track Petula ever recorded, so much so that it was covered in the USA by garage band the Remains.

For British girl-pop, 1960s Decca is a goldmine. The label had its A&R hounds sniffing into every nook and cranny of the British Isles, signing up Midlands schoolgirls (the Orchids), London folk club denizens (Dana Gillespie, Beverley), former child actresses (Adrienne Poster, Sandra Barry), Liverpudlian girl groups (the Vernons Girls, the Satin Bells), soulful northerners (Elkie Brooks, Truly Smith) and Scots (Lulu, Barry St John), well-connected Chelsea girls (Louise Cordet, Twinkle, Marianne Faithfull), Merseybeat wannabes (Beryl Marsden), talent show winners (Billie Davis, Babbity Blue, Jean Martin) and even transient Americans (Goldie & the Gingerbreads).

At the Club: 16 Killer Beat-Punkers from Europe Review by Richie Unterberger
Yes, the 16 mid-'60s Continental cuts assembled here are hellishly rare, and the compilers took care to ensure geographical diversity, with groups from Switzerland, Holland, Germany, Sweden, Italy, Spain, and one from Australia. It's a mediocre anthology, though, with the usual top-heavy equation of raw enthusiasm far outweighing strong material. Even when judged against the standards of the genre, it doesn't stack up well; there are numerous better Eurobeat compilations around. The only true standouts among the basic R&B-influenced numbers are the Dynamites (from Switzerland), who sound like a garage Them on "Don't Leave Me Behind," and Australia's Fabulous Bluejays, who absorbed the most British Invasion influence of any of the acts on the LP.