At long last, a CD full of the falsetto pop king’s wonderful Columbia recordings – including all the singles and 15 previously unreleased masters. Lou Christie’s four-octave range is one of the most exciting and readily identifiable sounds of 1960s pop. He scored international successes with ‘The Gypsy Cried’, ‘Two Faces Have I’ (both 1963), ‘Lightnin’ Strikes’, ‘Rhapsody In The Rain’ (both 1966) and ‘I’m Gonna Make You Mine’ (1969), before cutting one of his most enduring songs, ‘Beyond The Blue Horizon’, in 1973. He would go on to release duets with Pia Zadora and Lesley Gore, record the beloved eco-concept album “Paint America Love”, and even make one of the earliest rap records with 1981’s ‘Guardian Angels’.

“Don't Stop The Carnival” is Teensville's eighth installment in a series of CDs that shine a light on the rare and hideously obscure side of 60s sunshine and soft pop. The disc boasts 33 hideously obscure, but elaborately produced tracks.

Three CD set. Although the lushly-arranged, harmony-based late 60s Sunshine Pop sound is most readily associated with America in general and the sun-kissed California region in particular, the reality is that it was always an international phenomenon. What A Groovy Day is a thrilling four-hour celebration of Britain's contribution to the genre, ranging from household names (The New Seekers, Cliff Richard, Petula Clark, The Hollies, Herman's Hermits) to terminally obscure acts like Infinity and The Mellow Yellow, who failed to release anything at the time. Naturally our compilation includes contributions from the two uncrowned kings of the 60s British harmony pop sound, vocalist Tony Rivers (who provides us with our title song) and studio all-rounder John Carter, represented as both performer and songwriter. Other highlights come from posthumously-acclaimed Sunshine Pop maestros Design, a trio of music library recordings by the largely overlooked but hugely talented backroom auteur Barbara Moore and, perhaps most intriguingly of all, the first-ever release of The Sweet's first demo recording, cut when they were still known as Sweetshop.

One of the so-called "bubblegum" sound pioneers, the 1910 Fruitgum Company began their career with three million-selling singles, "Simon Says", "1,2,3 Red Light" and "Indian Giver". This trio of songs, plus a bumper 25 additional titles (including some rare Italian language versions) are assembled here for an act whose good-time records still fill dance floors the world over. The term "bubblegum" may have originally been coined in 1967 by the new "serious rock" brigade as a put-down of music aimed at a pre-teen audience, but much of it was written and performed by many top American and British session players. Many "bubblegum" discs are now viewed with a fresh appreciation.

Formed from the ashes of Rare Breed, Mansfield Ohio's the Ohio Express came together in 1967 and enjoyed some of the largest successes of the bubblegum rock craze of the late '60s. The initial line-up included Joey Levine on vocals, Dale Powers on guitar, Doug Grassel on second guitar, Jim Pflayer on keyboards, Dean Krastan on bass and Tim Corwin on drums. Under the aegis of producers Jerry Kasenetz and Jeff Katz, Ohio Express surfaced repeatedly on the late-'60s pop charts.
Their first single, a reworked Rare Breed tune called "Beg, Borrow and Steal" cracked the charts, but it was the sugary-sweet one-two punch of "Yummy Yummy Yummy" and "Chewy Chewy" that produced their biggest hits…

Anyone who thinks of the Equals as nothing but a prelude to Eddy Grant's solo career will find revelations throughout this 50-song double-CD set – the diversity of sounds here is quite staggering, and all the more so as the quintet was so good at all of it: British Invasion-style rock & roll, psychedelic pop, freakbeat, bubblegum, they could do it all, and with an edge that always told you there was more to this band than what their records were letting you in on. The 140 minutes of music here is as much of the Equals as most of us might ever need to hear, starting from their October 1966 single "I Won't Be There" b/w "Fire," and going up through "Diversion," Grant's last authored single for the band, in 1973. In between are all of the singles and B-sides of any significance, plus the most important tracks off of their LPs Unequaled Equals, Equals Explosion, Sensational Equals, Equals Supreme, Equals Strike Again, and The Equals Rock Around the Clock, and the various EPs interspersed between these. Completists might only be satisfied with all of the latter, represented on CDs with a brace of bonus tracks, but this 50-song compilation is impressive in its own right, and as solid a selection of their best work across seven years as one is ever likely to hear. All of it is present in exceptionally good sound and fully annotated by the always reliable and fascinating Roger Dopson.

The two dozen songs on Sugar, Sugar… come from the first four long-players issued in conjunction with the CBS-TV animated program The Archie Show and the expanded Archie Comedy Hour. The project was spearheaded by pop music mogul Don Kirshner. Having scored notable success with early Monkees sides, he found another batch of recording studio pros to provide material and audibly animate the Archies. Among the primary contributors were Ron Dante (vocals/guitar), Andy Kim (vocals), and Jeannie Thomas (vocals), who was replaced by Toni Wine (vocals). The Archies (1968) was the prefab combo's debut and despite an appearance in the album charts, this package yields only the churning midtempo "Truck Driver," the pseudo-affective and hormone-driven ballad "Seventeen Ain't Young," and the infectious bubblegum frolic "Bang-Shang-A-Lang"…

Most '60s bubblegum groups were faceless studio concoctions, made up of hired professionals and given nominal group identities after the fact. The Archies made no pretense of being a real band in the first place - their music, including the smash hit "Sugar, Sugar," was "performed" by the animated TV cartoon characters spun off from Archie comics. In reality, of course, they were a studio concoction made up of hired professionals (most notably lead singer Ron Dante), but in this case, they weren't technically faceless.
The Archies (1968) is their debut studio album.

Three CD set. Although the lushly-arranged, harmony-based late 60s Sunshine Pop sound is most readily associated with America in general and the sun-kissed California region in particular, the reality is that it was always an international phenomenon. What A Groovy Day is a thrilling four-hour celebration of Britain's contribution to the genre, ranging from household names (The New Seekers, Cliff Richard, Petula Clark, The Hollies, Herman's Hermits) to terminally obscure acts like Infinity and The Mellow Yellow, who failed to release anything at the time. Naturally our compilation includes contributions from the two uncrowned kings of the 60s British harmony pop sound, vocalist Tony Rivers (who provides us with our title song) and studio all-rounder John Carter, represented as both performer and songwriter. Other highlights come from posthumously-acclaimed Sunshine Pop maestros Design, a trio of music library recordings by the largely overlooked but hugely talented backroom auteur Barbara Moore and, perhaps most intriguingly of all, the first-ever release of The Sweet's first demo recording, cut when they were still known as Sweetshop.

Three CD set. Four-hour compilation of the pioneering 60s/early 70s Australian independent Clarion label. A smorgasbord of driving R&B, sunshine pop, studio psychedelia and progressive rock recorded in Perth, Western Australia. Based in the Western Australian city of Perth, teenager Martin Clarke was working at a local radio station when he converted a spare bedroom into a makeshift recording studio. That modest early venture evolved into Martin Clarke Recording Studios, which opened in 1962 to become Perth's first professional recording facility. By the time the studio purchased a four-track in 1966, Clarke had launched the Clarion label, working with a constant stream of solo singers and beat/R&B groups.

Lover (Live from Paris) is the fourth live album by American singer-songwriter Taylor Swift, released on February 14, 2023, via Republic Records. A Valentine's Day special release, the album is a limited-edition vinyl record that was sold via Swift's webstore exclusively. It consists of two heart-shaped LPs containing the live recordings of the eight songs from Swift's seventh studio album, Lover (2019), that she performed at City of Lover, her one-day concert at the Olympia theater, Paris, on September 9, 2019. It charted in Australia, the United Kingdom, and the United States, and topped the US Billboard Vinyl Albums chart.

Three disc 46-track collection rounding up almost everything released by late ‘60s / early ‘70s pop band White Plains.
Disc One features their self-titled debut album which contained international hit single ‘My Baby Loves Lovin’ which hit No.9 in the UK and No.13 in America. It also includes the UK No 17 hit ‘I’ve Got You On My Mind’. The second disc finally sees a full CD release for the band’s second studio album ‘When You Are A King’ and though many of the tracks have appeared across compilations, the songs ‘Home Loving Man’ and ‘An Eye For The Main Chance’ are debuting here on CD.

The Lemon Pipers were somewhat of an anomaly in the 1960s bubblegum community because the group actually had creative aspirations. Unfortunately, their high-water mark came with their first single, the infectious "Green Tambourine" (written by the team of Paul Leka and Shelley Pinz), which hit the number one spot on the pop charts in 1968. The follow-up singles (also written by Leka and Pinz) "Rice Is Nice" and "Jelly Jungle" added in interesting orchestrated Baroque pop elements, but ultimately failed to attract much attention. This compilation from Camden Records includes the Lemon Pipers' only two albums, Green Tambourine and Jungle Marmalade, and is the most complete single-disc collection of the group available (the Lemon Pipers recorded 26 tracks in their short history, and 20 of them are here).

Was Brigitte Bardot a "good" singer, in the conventional sense? No. Was the material she sang in the 1960s especially deep or brilliant? No. But is this compilation of the cream of her 1963-1970 recordings a fun listen? Yes indeed. Although not the owner of conventional high-level vocal skills, Bardot invested her frivolous songs with a contagious sense of playful fun, and a refusal to take the music or herself too seriously. Certainly some of the tunes – and their breathy delivery – capitalize on her iconic sex kitten persona. But the guileless joy she projects is reminiscent of some of the early work by France Gall (one of the finest '60s French pop singers), though Bardot's voice is less girlish and more adult in tone. Like the better French pop of the 1960s, the tracks on this disc – an "extremely selective compilation," the liner notes state, of a '60s discography that strung together "fine pearls and cheap imitations, scintillating gems and tawdry kitsch" – have a likable giddiness that borrows from early-'60s girl group and twist rock & roll on the earlier sides, and bears a slight psychedelic influence on some of the later ones.

First-ever legitimate anthology of British toytown pop, a much-loved sub-genre among. Four-hour compilation with 87 tracks including hits, misses, rarities and previously unreleased. Issued at the start of 1967, Beatles’ single ‘Penny Lane’ coupled a widescreen production (bolstered by a phalanx of session musicians on brass and woodwind) with a mildly hallucinogenic lyric populated by mundane characters going about their unremarkable suburban lives.
It proved to be an enormously influential record. For the next year or two, British pop was awash with records that married quasi-classical arrangements with newly-minted fairy tales and character vignettes based around the grey everyday lives of ordinary small-town folk.