Sounds of the 60s download torrent

Sound quality is excellent overall; all of these were mastered by Dennis Drake. Most of the tracks are LP versions, unlike the Rhino series that has all versions. I've seen only up to Vol. The definitive mellow series. Superb track selection and sound quality. Several of these were also released as single-CD sets, with 18 tracks instead of Very much along the same lines as Rhino's "Smooth Grooves" set. Not sure about Vol.

These are 2-CD sets, except Vol. Sound quality is very good overall. This is a lot of Elvis, and includes just about all his Hot singles except for about three later ones. All discs mastered by Dennis Drake. I suspect that many of the tracks are digital clones of the RCA 5-CD sets covering the '50s, '60s and '70s decades.

These are 2-CD sets, 15 tracks per disc. Overall, these are excellent. Thirty years later I can still vividly remember putting on a VHS copy of this pop TV El Dorado for the first time, sitting on my own in a small, bare office smelling of carpet cleaner.

I felt like a scientist waiting for the results of a crucial experiment. The opening shot was mute. A man was stood with his back to camera. Not a great start. But then he turned round and sang the opening words of Go Now. I had never seen a frame of this before. And material completely new to me kept coming. Fifteen of these performances went straight into Sounds of The Sixties.

The very earliest performances — if one could call them that — were strange. So long as they, or the session guys, went into a studio and were paid to record an entirely new version of their hit. And yet when I needed to add back the musical intro of some records that the wretched DJ had wittered over, my sound mixer found that the music on the recording was, note for note, exactly the same as what was mimed to in the studio.

Sometimes the vocalist sang live; sometimes they mimed too. This seemingly uncanny coincidence or was it musical prowess? Nothing to do with the Troggs, who hailed from that region, and were famous for tapes of their own. The phrase emerged because the television gofer sent down to supervise the session would be lured to the nearest pub, while the musos smoked a few spliffs and an engineer ran off a copy of the original track. Later on, bands had to mime their hits with the backing music actually played live in the studio by the BBC Orchestra, hidden behind a curtain.

Sixteen other non-official performances in Sounds of the Sixties came from VT. And comedy. One VT employee in particular, Nick Maingay, formed a one-man rescue squad. In the early 19 70s , one of his responsibilities was to supervise the wiping of video tapes so they could be re-used. Not for broadcast, which was by now in colour, but by the Open University, then still in black and white.

This was a completely black picture. But if Maingay saw that he was supposed to erase a music performance by an important late 60s or early 70s band — The Who, The Small Faces, Fleetwood Mac, or Joe Cocker, say — he would hide away that tape. One was the famous live performance by the Jimi Hendrix Experience on Happening For Lulu yes, really , in , when the band cut short a performance of Hey Joe to launch into Sunshine of Your Love , so as to forestall the original plan to have Lulu join Hendrix for a duet.

Some BBC studios could still only record in black and white for a year or so after, while waiting their turn to be upgraded. Sixteen of the performances in Sounds of the Sixties were sourced from material kept by him, and other VT editors and engineers. In particular, the Corporation are regularly blamed because they re-used videotapes, and thus lost forever some of these great pop and rock performances. But before , the BBC had little choice in this regard. Their tapes, supplied by Ampex one of whose investors was the ever-canny Bing Crosby were designed not to be archived, but to be re-used.

Unsurprisingly, they were extremely expensive, and the BBC only had around 60 of them. They had , therefore, to be used again. When the skiffle boom came along in the middle of the decade, he took up playing the washboard and joined a local group christened "the Rebels".

That record found its way into the hands of Joe Meek, who was struck by how closely the singer matched the tone and nuances of Holly's singing. He made contact with the group, and tried to keep singer and band together, but the other members soon fell by the wayside.

It wasn't until the summer of that Berry finally had a chance to show what he could really do with a song, when he was given "Tribute to Buddy Holly," authored by Geoff Goddard. With the Outlaws emulating the sound of Holly's band the Crickets, and Berry sounding so much like Buddy Holly that the whole listening experience was downright eerie, the record was a huge hit right out of the box, and with good reason -- it was a superb record, and it had a more-than-willing public; the Texas-born Holly was revered in England far more than he was in his own country, and British teens loved the single.

It made the Top 20, and sold steadily for months. It never did reach its full potential, however, owing to the interference of the BBC, which refused to play the song, citing its morbid subject matter there were a lot of "death" songs on the radio at the time. Berry would seem to have been on his way, but such was not the case.

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