Marty Wilde /Rock-n-Roll/

[andy_moon]

Marty Wilde - The Best Of...


01 - A Teenager In Love
02 - Donna
03 - Sea Of Love
04 - Endless Sleep
05 - Bad Boy
06 - Rubber Ball
07 - Put Me Down
08 - Danny
09 - Johnny Rocco
10 - Ever Since You Said Goodbye
11 - Don't Pity Me
12 - Splish Splash
13 - High School Confidential
14 - Wild Cat
15 - Blue Moon Of Kentucky
16 - Teenage Tears
17 - Tomorrow's Clown
18 - Little Girl
19 - Are You Sincere
20 - The Fight
21 - Hide And Seek
22 - Jezebel
23 - Honeycomb
24 - Dream Lover
25 - Sea Of Love 2

128kb/s 50mb

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[Roger11]

Marty Wilde - Born to Rock 'n' Roll


Release Date: Mar 5, 2007

Label: Universal

320 kbp/s & covers

England in the late 1950s had its share of rock & roll stars -- Cliff Richard was the most successful and was still at it in 2004, some 46 years later, with a knighthood to show for it on top of everything else; and the late Billy Fury is still revered by those aware of the music. In between them, chronologically, stands Marty Wilde. Born Reginald Leonard Smith in Blackheath on April 15, 1939, he grew up in Greenwich, in southeast London. The son of a professional soldier, he lived in various parts of England throughout his childhood. He reached the middle of his teen years living in London, just at the point that Lonnie Donegan, playing in a jazz band run by Chris Barber, had jump-started the entire skiffle boom with "Rock Island Line" which, in turn, fostered the beginnings of a rock & roll boom in England -- an aspiring singer, Smith was a natural prospect as he was already proficient on the ukulele and simply switched to guitar. By 1957, in the wake of Tommy Steele's sudden rise to stardom, London was filling up with would-be rock & rollers, including the 17-year-old Smith, who was performing at the Condor Club in Soho one night -- for a pound a night plus a meal -- where he was spotted by Larry Parnes. Parnes was the most successful manager on London's newly spawned rock & roll scene, and, among other attributes, was known for choosing highly expressive stage names for his artists, intended to insinuate themselves on the audience's memory -- he had already scored with Tommy Steele (aka Tommy Hicks), Vince Eager, and Duffy Power, among others. Reg Smith was signed up, renamed Marty Wilde, and proved so popular on the subsequent package tour where he was booked, that it was no problem getting him on to television, and then signed to Philips Records. His first single, "Honeycomb," failed to chart, and it wasn't until "Endless Sleep" in the summer of 1958 that he saw any success. That record reached the U.K. Top Five in 1958, around the time that Cliff Richard was cutting his first single. Wilde became a fixture on England's early rock & roll television showcases, most notably Oh Boy! and Boy Meets Girl, and he later did a Royal Variety Performance. He was a major rival to Cliff Richard for more than a year, from mid-1958 until the opening months of 1960. Both were powerful singers, but Wilde had a different kind of voice and presence, with a dark, brooding quality that came out in his rock & roll ballads -- one couldn't imagine Marty Wilde doing Cliff Richard's light pop ballad "Living Doll," but it was easy to visualize him doing Gene Vincent's "Be-Bop-A-Lula" or, even more so, "Woman Love." He went hitless for the rest of 1958, but the following year, he charted four consecutive hit singles: A cover of Ritchie Valens' "Donna"; a rendition of "A Teenager in Love" that eclipsed Dion's original; and "Sea of Love," each of which made it to Number Three on the charts. He closed the year with what proved to be his defining hit, "Bad Boy," which he also wrote -- a dark, threatening ballad, it oozed menace and mystery by the standards of its day, and it became Wilde's biggest single, even reaching the lower level of the charts in America, where it was released by Epic Records (which had a licensing deal with Philips) as a single and on an LP. Musically, he had enough credibility so that his band, the Wild Cats, was called on to back Eddie Cochran and Gene Vincent when they toured England, and he ended up appearing jointly with the two American rock & roll legends. The Wild Cats were a story unto themselves -- recruited in 1958, their original lineup consisted of Big Jim Sullivan on lead guitar, Tex Makins on bass, Tony Belcher playing rhythm guitar, Alan LeClair at the piano, and Bobby Woodman on drums; they were noted for their wild, over-the-top stage act, and this worked for a few months before the lineup shifted. Finally, with Sullivan and Belcher remaining, Brian "Licorice" Locking was brought in on bass, and Brian Bennett on the drums, and that quartet became the most famous version of the Wild Cats, and the lineup that backed Vincent and Cochran. Wilde was still at the top of his game when, while appearing at Birkenhead in 1959, he was approached by a Liverpool singer-guitarist-songwriter named Ronald Wycherley, who was trying to get some original songs to Wilde and Parnes for their consideration. Parnes was impressed with the songs and the playing, but also the good looks of the young man and his honest, easy charm; soon after Wycherley turned into Billy Fury, who would ride the British charts for four years. And late that year, Wilde married Joyce Barker, a member of the singing group the Vernons Girls -- they had their first child, Kim, a year later. He released two LPs, Wilde About Marty and Showcase, in 1959 and 1960, respectively. By the end of 1960, however, the moment had passed to Fury, even as Wilde continued to command the public's attention. He was never able to replicate the success of "Bad Boy," though he did reach the Top Ten once more, in 1961, with the highly animated pop/rock novelty tune "Rubber Ball," and had a Number 20 hit in 1962 with the pop standard "Jezebel." He also maintained a top-flight band, whose members included a young guitarist named Justin Hayward, later of the Moody Blues, who credited Wilde with teaching him a great deal about music that served him well in decades to come. Wilde was enough of a star to perform in the London production of Bye Bye Birdie, but by 1963, when the Liverpool sound came along, he was effectively regarded as part of music's past. His subsequent recordings were all-but-invisible, although he enjoyed continued success in an offshoot field, as a composer: "Ice in the Sun" by Status Quo, "Jesamine" by the Casuals, and Lulu's recording of "I'm a Tiger" were three of his more notable hits as a songwriter. Curiously, Wilde did chart once more in America, with the single "Abergavenny," which he recorded under the pseudonym Shannon, which was released stateside by the Heritage label. And long after his own era on the charts had passed, "Bad Boy" was covered by such diverse contemporary talents as Robert Gordon and Nirvana. In the early 1980s, Wilde's daughter Kim Wilde emerged as a star vocalist in the burgeoning new wave field, and has enjoyed two decades of success. Meanwhile, Wilde himself never entirely gave up performing, and in the 1990s enjoyed a fresh wave of interest in his music in England, as audiences began to take stock of their surviving music heroes. In 2003 and 2004, in his mid-60s and backed by the current lineup of the Wild Cats, he was maintaining a full performing schedule for half the year, more than 40 years after his last charting single.


Universal Music, looking around for artists to advertise on TV who hadn't already had compilations galore, came up with Marty Wilde, father of Kim Wilde, who had enjoyed a series of hits in the late 1950s which had never before been collected together on one mainstream full-price album. In fact, Marty Wilde had never troubled the album charts until this "best of" in the spring of 2007. Although the album is titled Born to Rock and Roll this really isn't rock & roll in the true sense of the genre; it's music to sit listening to in coffee bars rather than getting up and dancing to. Despite Wilde achieving 13 hits between 1958 and 1962, only 11 are included here, two minor hits, "The Fight" and "Hide and Seek" are missing, but all the big ones are here, running roughly in chronological order from "Endless Sleep," "Donna," "A Teenager in Love," and "Sea of Love," to his final Top Ten single "Rubber Ball." Yes, they are all covers of, in most cases, even more famous original American hits, but that's what a lot of British artists did in the late '50s, hear a song by the original singer and, before it had a chance in the U.K., cover it and get your version noticed by the masses more than the original. Wilde, unlike many of his contemporaries, did actually write songs as well as simply perform them, putting his talents to his fifth hit, "Bad Boy," and years later to a song called "Jesamine," which was included on this album, having become a big hit by the Casuals and which, like many classic songs from the '60s, was better in the hit cover version than the original. There were a lot of filler tracks on Born to Rock and Roll, but this was inevitable coming in with 25 tracks, especially around the middle section of the album with virtually unknown tracks "Abergeveny" and "Danny," and very insipid versions of "Dream Lover," "All American Boy," and "By the Time I Get to Phoenix." The album ends with a re-recording of the title track, "Born to Rock and Roll," and a duet with his daughter Kim Wilde on Elton John's classic "Sorry Seems to Be the Hardest Word." He had duetted with another daughter, Roxanne on the track "I'm Leaving It All Up to You."

Tracks:

01. Endless Sleep
02. Donna
03. Teenager In Love
04. Bad Boy
05. Sea Of Love
06. Jezebel
07. Johnny Rocco
08. Little Girl
09. Tomorrows Clown
10. Rubber Ball
11. Ever Since You Said Goodbye
12. Abergavenny
13. Danny
14. Dream Lover
15. All American Boy
16. By The Time I Get To Phoenix
17. Its Been Nice (Goodbye)
18. Im Leaving It All Up To You
19. Its Late
20. Little Sister
21. Jesamine
22. Apron Strings
23. Youll Never Be So Wrong
24. Sorry Seems To Be The Hardest Word
25. Born To Rock' n Roll


http://rapidshare.com/files/23625228...BTRR.part1.rar

http://rapidshare.com/files/23625228...BTRR.part2.rar

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