Tracklist:

1. James Brown - Papa's Got A Brand New Bag 2:08
2. The Zombies - Tell Her No 2:07
3. Lee Dorsey - Ride Your Pony 2:51
4. Cher - All I Really Want To Do 2:57
5. Peter & Gordon - I Go To Pieces 2:23
6. Jackie DeShannon - What The World Needs Now Is Love 3:07
7. Cannibal & The Headhunters - Land Of 1000 Dances 2:15
8. Gary Lewis & The Playboys - Count Me In 2:26
9. The Larks - The Jerk 2:35
10. The Vogues - You're The One 2:20
11. The Kinks - Set Me Free 2:13
12. The Righteous Brothers - Unchained Melody 3:38
13. Diana Ross, The Supremes - Stop! In The Name Of Love 2:53
14. Marvin Gaye - Ain't That Peculiar 3:02
15. The Strangeloves - I Want Candy 2:36
16. Freddie & The Dreamers - I'm Telling You Now 2:09
17. Barbara Lewis - Make Me Your Baby 2:30
18. The Impressions - People Get Ready 2:39
19. Petula Clark - Downtown 3:09
20. The Guess Who - Shakin' All Over 2:43
21. We Five - You Were On My Mind 2:38
22. The Temptations - It's Growing 2:59
23. Barbara Mason - Yes, I'm Ready 3:04

Media Condition: Very Good Plus (VG+)
Sleeve Condition: Very Good Plus (VG+)

Cat # : 2CLR-14, OPCD-2580

Barcode :

Rock, Funk / Soul, Pop / Rock & Roll, Rhythm & Blues, Pop Rock, Soul

Notes:

Volume 14 of a 30 volume set.

Track durations obtained from software.

Complete liner notes:

By 1965, the impact of the Beatles was overwhelming. In England, numerous bands were labeled as being part of the British Invasion in order to coast on the success of the Fab Four. In America, many new bands sprang up trying to look and sound English, regardless of whether their music was folk, punk or R & B. 

The Zombies were one of the more creative British groups. Unlike the music of the Dave Clark Five and the Animals, the Zombies' music seemed gentle and restrained. The band's trademark was guitarist Colin Blunstone's whispery vocals, featured on keyboardist Rod Argent's compositions She's Not There and Tell Her No. In 1967, the Zombies broke up, but two years later a final single, Time of the Season, sold more than a million copies. To cash in on the "posthumous" hit, a fake Zombies toured the United States, while the real Zombies took legal action to stop the hoax. 

Freddie Garrity, a former milkman, transformed a skiffle group, the Dreamers, into one of the earliest British Invasion bands. Garrity performed like an acrobat, leaping across the stage and stretching his arms and legs to their limits, creating a short-lived craze known as "doing the Freddie." Although comedy was central to the Dreamers' act, their initial American hits, I'm Telling You Now and You Were Made for Me, were light ballads as fine as any the British bands had to offer. 

Peter Asher and Gordon Waller were an English duo who triumphed with World without Love, written by Paul McCartney (Asher's sister, Jane, was McCartney's girlfriend). In 1965, Peter and Gordon recorded I Go to Pieces, written by American rocker Del Shannon, who first hit with Runaway in 1961. After the duo broke up, Asher joined Apple Records to work as a producer for folk singer James Taylor. 

Petula Clark was a polished performer in the world of English pop. In 1965, she was already a show business celebrity, having made 25 films and carved out a career as a singing star in much of Europe. Some of her appeal can be attributed to writer-producer Tony Hatch, who later became her husband. In Downtown, Clark's first American hit, her flashy international image melds with Hatch's catchy arrangements. 

With the help of Los Angeles songwriter Jackie DeShannon, Hatch also played a role in the development of the folk-rock sound. Two of DeShannon's songs, Needles and Pins and When You Walk in the Room, were recorded by a British band, the Searchers. In these sessions, Hatch produced a full sound by using 12-string instruments, which influenced Los Angeles artists such as Roger McGuinn of the Byrds and Sonny Bono in shaping a folk-rock style. Although DeShannon was a prolific songwriter, she reached the top 10 as a singer with What the World Needs Now Is Love, composed by Burt Bacharach and Hal David. And it was not until 1981, after folk-rock was ancient history, that DeShannon had her biggest hit as a songwriter with Kim Carnes's Bette Davis Eyes. 

In San Francisco, the Beau Brummels were one of a number of bands formed in response to the British Invasion. Another Bay Area group, We Five, occupied an especially pivotal moment, providing a link between Los Angeles folk-rock and San Francisco psychedelia. Consisting of University of San Francisco students, We Five was the idea of the Kingston Trio's manager, who wanted to electrify a folk band. You Were on My Mind was their only hit. Singer Marty Balin later employed We Five's two-guys-one-girl harmony in his own band, Jefferson Airplane. 

There seemed to be no end to rock bands imitating British groups. From Pennsylvania, a slick vocal quartet, the Vogues, scored with You're the One, written by Petula Clark and producer Tony Hatch. From western Canada, the Guess Who cut a ferocious version of Johnny Kidd and the Pirates' Shakin' All Over, a pre-Beatles English rock song. (Originally led by guitarist Randy Bachman, the Guess Who later had a lead singer, Burton Cummings, who took over and created a soft, jazzy formula that would produce a string of pop hits, beginning with These Eyes.) From California, Gary Lewis and the Playboys tried to echo the British sound rather than pursue the folk-rock of the region. Gary Lewis, the son of comedian Jerry Lewis, had an ordinary voice, but Snuff Garrett's productions and pianist-songwriter Leon Russell's arrangements were clean and exuberant, as in the carefree Count Me In. Like the Monkees and Paul Revere and the Raiders, the Playboys were cleverly marketed through television as teen-age America's answer to the Beatle bands. 

An unusual response to the British Invasion came from Brooklyn in the guise of the Strangeloves, made up of the production team of Bob Feldman, Jerry Goldstein and Richard Gottehrer. This team, originally called the Sheep when they worked for the Boom label, had previously scored as producers of the McCoys' Hang On Sloopy. The fictional liner notes of the Strangeloves' album described them as sheepherding brothers from Australia who discovered the unique Masai drums while on safari in Africa. Supposedly, the beating of these drums can be heard on I Want Candy, one of the craziest punk records ever made. In keeping with the playful sensibility of the Strangeloves, Gottehrer went on to produce Blondie in the late 70s. 

By 1964, the Latin rock scene of East Los Angeles had entered its most productive period, one that began in 1958 with Ritchie Valens' La Bamba. Cannibal and the Headhunters, a group of friends from the housing projects, were so popular with their cover of Land of 1000 Dances that they joined the Beatles' U.S. tour in 1965. Written and recorded in 1963 by New Orleans R & B singer Chris Kenner, the song as played by the Headhunters was an accident. During a live performance, Cannibal (Frankie Garcia) became so captivated by the beat that he forgot the words. To cover himself, he sang "na-na-na" instead of the first verse. 

Another great dance record, a leap from doo-wop to soul, emerged from Los Angeles in 1965. In the mid-'50s, Don Julian led a vocal group called the Meadowlarks, who hit with Heaven and Paradise for the Dootone label. In the early '60s, he formed another group called simply the Larks. For this group, Julian wrote The Jerk, and his inspiration for the dance tune was Girls, written by Curtis Mayfield for fellow Chicagoan Major Lance six months earlier. 

Despite the British onslaught, soul remained at the top of the charts. In Chicago, the Impressions defined sweet soul music. The group was formed by two childhood friends, Jerry Butler and Curtis Mayfield, who had sung together in various gospel acts. Early on, Butler left the Impressions to pursue his own career, but Mayfield stayed to write songs and bless the group with his tender falsetto. Mayfield also worked as a writer and producer for both the Chess and OKeh labels with R & B artists such as Gene Chandler and Major Lance, helping to create the sound of Chicago soul. But he saved his most personal work for the Impressions, and by 1964 the group was no longer singing only love songs. Mayfield now wrote material (Keep On Pushing, You Must Believe Me) that reflected the turmoil of the civil rights movement. People Get Ready was Mayfield's finest moment, expressing the urgency of civil rights to soul fans in the language of gospel. In 1965, the song's message was of a piece with Dr. Martin Luther King Jr.'s speeches and Sam Cooke's A Change Is Gonna Come. 

In New Orleans, immortal soul music was made by an ex-boxer known as Kid Chocolate. The singer, Lee Dorsey, had gone to the Crescent City in 1961 to further his boxing career. At a party, he met record producer and songwriter Allen Toussaint. Toussaint had built a team of studio musicians around keyboard player Art Neville to explore the "second line" rhythms of New Orleans, and Dorsey became the best interpreter of the producer's material. In Ride Your Pony, Dorsey's amiable manner is well suited to Toussaint's playful production with its blend of authentic soul and novelty lyrics. Toussaint's delicate, bluesy piano and happy-go-lucky composition combine with Dorsey's easygoing voice to create a recording that seems to have been made with the effortless snap of a finger.

- Robert Hull