{"product_id":"various-classic-rock-1966-shakin-all-over-cd-comp-vg-vg","title":"Various \/ Classic Rock 1966: Shakin' All Over - CD, Comp (VG+\/VG+)","description":"\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e1.  Nancy Sinatra - These Boots Are Made For Walkin' 2:45\u003cbr\u003e2.  The Hollies - Stop Stop Stop 2:50\u003cbr\u003e3.  The Temptations - Ain't Too Proud To Beg 2:34\u003cbr\u003e4.  Swingin' Medallions - Double Shot (Of My Baby's Love) 2:21\u003cbr\u003e5.  James \u0026amp; Bobby Purify - I'm Your Puppet 3:02\u003cbr\u003e6.  Jimmy Ruffin - What Becomes Of The Brokenhearted 3:00\u003cbr\u003e7.  Sam The Sham \u0026amp; The Pharaohs - Lil' Red Riding Hood 2:42\u003cbr\u003e8.  Lee Dorsey - Working In The Coal Mine 2:48\u003cbr\u003e9.  Syndicate Of Sound - Little Girl 2:29\u003cbr\u003e10.  The Isley Brothers - This Old Heart Of Mine (Is Weak For You) 2:54\u003cbr\u003e11.  The Lovin' Spoonful - You Didn't Have To Be So Nice 2:26\u003cbr\u003e12.  The Vogues - Five O'Clock World 2:08\u003cbr\u003e13.  Paul Revere \u0026amp; The Raiders - Just Like Me 2:24\u003cbr\u003e14.  The Righteous Brothers - (You're My) Soul And Inspiration 3:03\u003cbr\u003e15.  The Marvelettes - Don't Mess With Bill 2:52\u003cbr\u003e16.  Wilson Pickett - 634-5789 (Soulsville, U.S.A.) 2:56\u003cbr\u003e17.  The Kinks - A Well Respected Man 2:43\u003cbr\u003e18.  Cher - Bang Bang (My Baby Shot Me Down) 2:45\u003cbr\u003e19.  The Cyrkle - Red Rubber Ball 2:21\u003cbr\u003e20.  Eddie Floyd - Knock On Wood 3:05\u003cbr\u003e21.  Robert Parker - Barefootin' 2:36\u003cbr\u003e22.  The Chiffons - Sweet Talkin' Guy 2:25\u003cbr\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eMedia Condition:\u003c\/strong\u003e Very Good Plus (VG+)\u003cbr\u003e\r\n\u003cstrong\u003eSleeve Condition:\u003c\/strong\u003e Very Good Plus (VG+)\u003c\/p\u003e\r\n\r\n\u003cp\u003eCat # : 2CLR-13, OPCD-2576\u003c\/p\u003e\r\n\r\n\u003cp\u003eBarcode : \u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eRock, Funk \/ Soul, Pop \/ Folk Rock, Rock \u0026amp; Roll, Rhythm \u0026amp; Blues, Pop Rock, Soul\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eNotes:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e\u003cpre style=\"white-space: pre-wrap; text-align: justify;font-family: unset;\"\u003eVolume 13 of a 30 volume set.\n\nTrack durations obtained from software.\n\nComplete liner notes:\n\nAmerican punk began in 1963 with records like the Kingsmen's Louie Louie and the Trashmen's Surfin' Bird. Punk, often concocted by teenagers in garages and basements, was a natural outgrowth of the music played by regional dance bands, as well as a reaction to the British Invaders riding on the Beatles' coattails. \n\nIn 1966 the rage for these songs peaked. Several punk bands emerged from garages in San Jose, California, appropriating the styles of popular acts. Count Five had a top-10 hit with their tribute to the Yardbirds, Psychotic Reaction, while the Chocolate Watchband in their early work looked to the Rolling Stones. In Little Girl, Syndicate of Sound used the jangling guitar sounds of the Byrds and the Searchers to make a taunting statement. \n\nThe South, too, had its share of garage bands. One of the liveliest of them was the Swingin' Medallions, eight college students from South Carolina who covered the latest hits at frat parties throughout Dixie. In a flash of comic inspiration, the Medallions created Double Shot (Of My Baby's Love), which defined the bacchanalia of fraternity life and elevated the drunken stupor to a metaphor for romance. \n\nIn the Pacific Northwest, Paul Revere and the Raiders started out in the early '60s with a repertoire that included garage classics. Through the production work of Terry Melcher, the band's raunchy, sax-centered style took on a new sound by 1964. With ponytailed lead singer Mark Lindsay, the Raiders were able to convey the same sense of rebellion heard in the music of the angriest groups from Great Britain. Just Like Me gave the band the punk image they needed to undercut the silliness of their Revolutionary War uniforms. However, once Dick Clark hired them as regulars on his daytime television program, Where the Action Is, the Raiders were regarded as teeny-bopper idols on the order of the Monkees. \n\nThanks to the influence of the Beatles, the best British groups were becoming more creative and were still making an impact on these shores in 1966. The Hollies, whose close harmonies recalled the Everly Brothers, had been craftsmen since 1964, when much of their material consisted of recycled American R \u0026amp; B. The Hollies' two earliest successes, Look through Any Window and Bus Stop, had been written by Graham Gouldman, who provided the Yardbirds with their first hits and later did the same for 10cc in the '70s. With Stop Stop Stop the Hollies began writing their own songs using a more experimental approach. The group's exploration of new sounds, such as the use of banjo by Tony Hicks on Stop Stop Stop, helped prolong their career. \n\nThe Kinks, who had recorded some of the hardest rock of the British Invasion, were also turning to a more serious, progressive style, reflecting the trends of the later '60s. In A Well Respected Man and Dedicated Follower of Fashion, Ray Davies satirized the English middle class. Over the next three years, his song-writing skills developed to such a high level that he rivaled the teams of Jagger-Richards and Lennon-McCartney. \n\nThe Cyrkle, a folk-based trio of American students, were discovered by the Beatles' manager, Brian Epstein, who got them a recording contract with Columbia. Like their matching blazers, the Cyrkle's music was clean and pressed, designed for a collegiate audience. Red Rubber Ball, co-written by Paul Simon, was the group's first hit, and on its strength the Cyrkle joined the Beatles on their last U.S. tour. \n\nIn the mid-'60s, Frank Sinatra's Reprise label was floundering in the field of teenage pop. Sinatra had started Reprise as a vehicle for himself and his associates, including his daughter, Nancy. Producer Lee Hazlewood, responsible for the wild echo behind guitarist Duane Eddy's hits in the late '50s, was enlisted to record Nancy, and he hired some of the best L.A. musicians, including pianist Don Randi and drummer Jim Gordon. The arrangement placed Nancy Sinatra's voice in the best possible setting. Hazlewood's charts and Sinatra's tough-girl stance took These Boots Are Made for Walkin' to the No. 1 position. While the song's lyrics are still amusing, the real humor of the record rests in the famous descending bass line (played by Chuck Berghofer) heard at the intro to each verse. \n\nLike Nancy, Cher also had her sound shaped by a producer - her husband, Sonny Bono. Sonny met Cher at a studio date with the legendary Phil Spector, known for his \"wall of sound\" productions. Sonny combined Spector's techniques with folk-rock in a series of hits for himself, Cher and the duo, beginning in 1965 with Sonny and Cher's I Got You Babe and Cher's All I Really Want to Do. As a fashion model and TV star, Cher defined \"cool\" for the female pop singer, and she rode the folk-rock boom into a lifetime show business career. Cher's Bang Bang, penned by Bono, was the couple's most dramatic moment, a swirling and sentimental production that eventually became a standard for crooners, including Frank Sinatra. \n\nPhil Spector was producer for the Righteous Brothers in 1964, the same year they appeared on the premiere of ABC's weekly music show Shindig. The Righteous Brothers' first hit with Spector was the Barry Mann-Cynthia Weil song You've Lost That Lovin' Feelin', a minisymphony built on Bill Medley's booming bass and Bobby Hatfield's shrieking falsetto. They left Spector's label in 1966 but recorded another Mann-Weil composition, Soul and Inspiration, again as a minisymphony, albeit without Spector's magic touch. \n\nAnother popular duo of the year consisted of two cousins from Florida, James Purify and Robert Lee Dickey. Viewed as competitors to Sam and Dave at the Memphis Stax label, James and Bobby Purify recorded at Rick Hall's Fame Studio in Muscle Shoals, Alabama, scoring with I'm Your Puppet, a soul ballad of surrender. Their soothing voices of gentle persuasion were in the black duet tradition of Marvin and Johnny's We Belong Together and Don and Dewey's The Letter. Memphis, however, was still the heart of soul. As if to copyright the sound, the Stax recording studio closed its doors to outsiders in 1966; only those artists whose records were released on Stax and Volt could use the house band and the staff writers. Eddie Floyd, a former member of Wilson Pickett's vocal group, the Falcons, had developed into one of the most dependable songwriters at Stax. Floyd composed and sang a mighty hit, Knock on Wood, after he heard Pickett's In the Midnight Hour. Both songs established themselves as staples for soul and garage bands across America. \n\nAfter Pickett heard Otis Redding in 1965, he visited the Stax studios in order to capture Redding's down-home style. Pickett followed up his seminal recording of Midnight Hour with the impassioned 634-5789, co-written by Eddie Floyd. By the time the song hit the charts, Pickett's status as one of the best male soul singers of the '60s was assured. By the end of 1966, he had moved his recording base from Stax to the rival Fame Studios in Muscle Shoals. \n\nAs Pickett stated in a 1967 interview, \"Memphis is real soul, but Motown is mostly pop.\" Indeed, the Motown factory in Detroit kept manufacturing hits. The Marvelettes, the label's only group that referred to the traditional girl-group sound, took Don't Mess with Bill to the top. The Isley Brothers, with the assistance of the Holland-Dozier-Holland hit machine, pushed This Old Heart of Mine into the top 20, while the ever-present Temptations shone with perhaps their finest achievement, Ain't Too Proud to Beg. \n\nJimmy Ruffin, older brother of the Temptations' lead singer David Ruffin (Jimmy had once turned down an offer to join the Temps), accounted for one of the label's major moments in What Becomes of the Brokenhearted. The song was originally offered to the Spinners, then affiliated with Motown, but Jimmy Ruffin wanted to cut it. The drama of his performance is overwhelming. Lost in the valley of despair when he made the record, Ruffin sang it as a ray of hope to the lonely and troubled. In England alone, it became Motown's second biggest hit of the '60s. \n\nDespite the powerful influences exerted in Memphis and Detroit, New Orleans remained a contender in the world of black music, even with its minor artists. Robert Parker had played tenor sax for Professor Longhair, the great R \u0026amp; B pianist and singer, as well as for Ernie K-Doe and Irma Thomas. But in the early summer of 1966, he sang in the studio for the first time and had instant success with Barefootin'. Parker's vocals were relaxed, not frantic like his sax playing. The recording held a solid, danceable beat, yet had an unhurried feel, in the best tradition of New Orleans R \u0026amp; B. \n\n- Robert Hull\u003c\/pre\u003e\u003ca href=\"https:\/\/www.discogs.com\/sell\/item\/4352840271\" target=\"_blank\"\u003eData provided by Discogs\u003c\/a\u003e","brand":"IDshop","offers":[{"title":"Default Title","offer_id":49582873706755,"sku":"2CLR-13, OPCD-2576","price":5.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0030\/9765\/7390\/files\/581785-080857263e2e0b4e10a063e2e0b4e10a1167581304463e2e0b4e10a4.jpg?v=1788838751","url":"https:\/\/idshop.ca\/products\/various-classic-rock-1966-shakin-all-over-cd-comp-vg-vg","provider":"ID Shop.ca","version":"1.0","type":"link"}