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All songs arranged by Hiro Yanagida! The long-awaited reissue of an actress record that plays the finest mellowness! Her 1976 announcement, which is the only work under her own name, is reprinted and reissued in the original specifications! Together with the impactful artwork created by Eiko Ishioka, this is a masterpiece of Japanese music that raises many WANTs. A total of 12 songs gently wrapped in beautiful melodies by Hiro Yanagida’s electric piano. In particular, the mellow modern soul song, “Unexpectedly”, which is short and sonorously sung in less than 2 minutes, is a masterpiece that has been picked up by many DJs.

The Radio 2 Top 2000 is the largest annual radio event in The Netherlands. The audience of Radio gets to vote for their favourite all-time songs. These (literally) millions of votes come together in the Top 2000, All these 2000 songs are broadcasted back to back from Christmas until a few minutes before New Years Eve, when they air the No.1 of the chart. Radio 2 Top 2000 - The 60’s contains the best hits from the century in which the music industry saw its biggest change. It were the years some of the biggest bands in the history of music rose to fame, like The Beach Boys, The Kinks, The Who, and Fleetwood Mac. Rock, pop, funk, soul and psychedelia all stand side by side on this release, with artists like James Brown, Nina Simone, David Bowie, Etta James, Elvis Presley, and Dusty Springfield. These artists and many more you’ll find on this wonderful 2LP. The Top 2000 bridges the gaps between all musical generation from the Sixties to the present, making it the most eclectic chart out there, and keeping more that half of the country glued to their radio day and night for the whole week it’s broadcasted. And with a daily TV spin-off during its broadcast, it has reached an even bigger audience.

A collection of guitar-wielding all-girl bands, drop-dead female frat rock, garage girls and axe-centric she-pop from the 60s. 14 hot nuggets, each one hand-picked with vinyl lovers in mind.

Features a bevy of genuine all-girl bands – namely Goldie & the Gingerbreads from the environs of New York; the Debutantes from Detroit; Florida’s the Belles; the Rums & Coke and Girls Take Over, both from Wisconsin; and Ace favourites She from California, all of whom give their male counterparts a good run for their money. The Belles, incidentally, released only one record – a killer rendition of Them’s ‘Gloria’, gender-switched as ‘Melvin’ – before drifting apart, never dreaming that copies of the disc would one day change hands for $500 a pop.

Some of the other girls receive help from male colleagues. Glenda Collins, for example, is backed by producer Joe Meek’s favoured house band the Outlaws featuring guitarist Richie Blackmore; Merseyside ex-pat Sandy Edmonds is accompanied by the Pleazers, New Zealand’s answer to the Pretty Things; and teenage trio the Chymes are supported by the Turtles.

Pressed on 180g transparent violet vinyl, with a swanky inner bag sporting a fact-filled 4,000-word track commentary and an array of rare photos.

Compilation and note by Mick Patrick.

If you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in. And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, and vicariously the rest of the world, a good kicking. Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds, booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight... Put the boot in.

Brute Force is the pseudonym of Stephen Friedland, an American singer and songwriter. In 1964, while in New York City as a young adult, he met the producers Hugo and Luigi, who co-wrote the Elvis Presley hit ‘Can’t Help Falling In Love’. They introduced Friedland to the Tokens, known for their hit ‘The Lion Sleeps Tonight’. Not only was Friedland hired as a songwriter for the Tokens’ music publishing company, he also became the group’s keyboardist.

Side A is Brute Force’s version of his song “Nobody Knows What’s Going On My Mind But Me’, better known as a hit for the Chiffons.

In 1967, Friedland recorded as Brute Force with the album “I, Brute Force, Confections of Love”, which was produced by John Simon, later renowned for his work with the Band. In late 1968, Brute Force recorded his song ‘King of Fuh’ which is the story of a mythical king who ruled the kingdom of Fuh. The music and lyrics begin innocuously until they get to these lines: “I said the Fuh King—he went to wherever he wanted to go/Mighty mighty Fuh King/All hail the Fuh King.”

After the song was recorded, a friend of Friedland, Tommy Dawes of the Cyrkle, forwarded it to his manager, Nat Weiss, who knew Beatles manager Brian Epstein. According to Friedland, George Harrison was very receptive to the song and said so in a phone call. But EMI, Apple’s distributor, refused even to press the record, much less distribute it. Eventually, Apple privately issued the single for UK release, planning to stock mail order outlets and selected record shops. The distribution plan never really caught on and the record quickly disappeared.

First issued on the Dot label in 1965, Karen Verros’ recording of ‘You Just Gotta Know My Mind’ is one of the most popular and in-demand tracks ever to appear on Ace Records’ “Girls With Guitars” compilation series. Pressings of the hopelessly rare original exist in two variants, one 20 or so seconds shorter than the other.

This new Ace release features the longer of the two versions. ‘Karen’s Theme’ on the B-side is the ‘You Just Gotta Know My Mind’ backing track, with added freakbeat guitar in place of Karen’s vocal.

An original copy, in the unlikely event one should become available for sale, is likely to carry a hefty asking price. Designed to resemble a small-run mid-60s acetate pressing, rather than a replica Dot label, this very welcome addition to Ace’s catalogue of 7-inch vinyl singles should set punters back about the cost of a bottle of cheap plonk.