Mannerisms may be expensive and difficult to find, but it's the place to start collecting Manfred Mann's post-EMI material. The compilation was originally issued in 1976, containing a dozen A-sides and notable album tracks, and it was decent as far as it went, filling in a few holes and re-exposing some worthwhile album tracks. What will surprise many listeners (especially Americans, who may well never have heard of, much less heard, these sides) is how late Manfred Mann embraced the basic British Invasion sound, well into 1967, and also how good a psychedelic band they were.

Manfred Mann always used the long-play format to showcase its virtuosity and range of influences away from the world of pop singles. This was evident early in the band's career with albums such as The Five Faces of Manfred Mann, which was a hardcore R&B album, far removed from the pop sensibilities of singles like "Do Wah Diddy Diddy" and "Sha La La." The contrast between this album and their singles output of 1968 is not quite as stark, as the LP contains pop material such as "It's So Easy Falling" and "The Vicar's Daughter." More unorthodox selections include "Cubist Town," "Harry the One-Man Band," and "Country Dancing," which showcase the eclectic side of the group.

The departure of frontman Paul Jones left Manfred Mann with a large void to fill in the summer of 1966. Not only was Jones a charismatic vocalist, he was also a writer and one of Manfred Mann's key selling points with the record buying public. The group's record company, HMV, realised this and hedged their bets by signing Jones for a new solo deal, but dropping the band from its roster. In late 1966 while Jones was enjoying success with his first solo single, "High Time," a new version of Manfred Mann emerged with a cover of Bob Dylan's "Just Like A Woman" on Fontana. The new line up featured Mike D'Abo as vocalist (previously with A Band Of Angels) and was augmented by Klaus Voorman on bass, with Tom McGuiness switching to lead guitar. Despite the magnitude of this personnel change, the single was a top 10 hit and paved the way for this album, As Is.

Celebrate 60 years of 'Twist and Shout' and one of the British Beat Invasion's biggest early 60s groups - Brian Poole & The Tremeloes. A new one disc collection featuring 8 UK chart hits.

Six CD set. The Complete CBS Recordings 1966-72 is unquestionably THE definitive anthology of one of the most successful British pop groups of the late '60s. Doing exactly what it says on the tin, this release features every note of the band's recordings during their halcyon days with CBS. Huge hit singles ('Here Comes My Baby', 'Even The Bad Times Are Good', 'Silence Is Golden', '(Call Me) Number One' etc) highly-regarded psych-pop B-sides, criminally overlooked album tracks, alternative versions, outtakes, foreign language recordings, a live cabaret album and even the first-ever full release of the complete sessions for the 1970 cult movie May Morning, The Complete CBS Recordings gathers everything under one roof for the first - and, almost certainly, the last - time. Featuring no less than 165 tracks in mono, full fat stereo and even electronically-processed stereo (the way the band's mono-only early recordings were heard at the time in more stereo-oriented countries such as the USA), The Complete CBS Recordings is an essential purchase for both the band's numerous fans and admirers of late Sixties/early Seventies British pop in general. Containing over seven hours of music across six CDs, this stunning package includes a lavish 32-page booklet with a new 5000 word essay on the band's career, numerous band quotes and a huge number of extremely rare photos of the band in their youthful prime.

1963 BBC sessions not on the official "Live At The BBC" albums, feature fantastic R&B covers and some of their best early originals.

On Air – Live at the BBC Volume 2 is a 2013 live/compilation album featuring 40 previously unreleased tracks from the Beatles' 1963–1964 BBC Radio broadcasts (accompanied by 23 interview tracks from the associated broadcasts). It was released on 11 November 2013, along with a remastered and repackaged Live at the BBC Volume 1, which was originally released in 1994. The album is available as a two-CD set and a three-LP set. An exclusive limited edition lithographic print is also available from the Beatles online store.

Behind The Dykes is a double LP compilation presenting the best bands and artists the Dutch had to offer in the period 1964-1972. The Netherlands was the first non-English speaking country to storm the Billboard Hot 100 with a string of hit singles from bands such as Shocking Blue, Focus, George Baker Selection, Golden Earring, and Tee-Set. This set presents the bands that followed closely behind, with singles and albums that internationally have become highly sought-after records. Some bands with a rich discography, others with no more than one or two singles under their belt. Original singles of many of these tracks are currently offered and/or sold for hundreds of Euros on Discogs, and many original pressings were so limited at the time of release that they are impossible to find.

Spanning 55 years and 45 songs, a 2CD collection to ratify Manchester’s claim to be Britain’s second – if not at times, first – musical city. From primal beat through promiscuous punk, high 80s disco/soul and pure baggy to proud and proper rock, the evidence is all here.

"Nuggets", which is packed with important garage punk songs, includes straight Merseybeat groups ranging from standard to minor sound sources!!! "The Searchers" and "The Undertakers" In addition to the famous ones such as "I Want You", the cover work by "Jeannie & The Big Guys", a cute female vocalist who is popular for the original work of "I Want You", "Boys", "Sticks and Stones", and "Doowop" by "The Chants". Also includes core songs such as covers of "Come Go with Me" and Girlss Pop "She's Mine"!! Listen to the masterpiece "Lies" by "Johnny Sandon", who was also the vocalist of "The Searchers" in the early days! Rare as it is out of print. !!!

Do you like yourself a bit of “Dutch Beat”, or as insiders refer to it, “Nederbeat”? Well, if so then there is no time like the present to get yourself totally wrapped up in a huge heavy dose of it, and if you’re not really sure or perhaps you’ve only maybe dipped a toe in here and there, well now’s the time for that full immersion experience to start. This brand new eight CD box set issued by premier league Dutch reissue specialists Pseudonym, and helmed by the label’s head honcho Hans Van Vuuren, is an exhausting, exhilarating labour-of-love style project … and then some! Diggin’ In The Goldmine has been categorised, broadly speaking as “Dutch Beat” but what purchasers are subject to are around two hundred tracks of exciting, multi-genre, early-days rock music which spans from the immediate post-Beatles and ‘Stones fallout of 1963-64.

UK three CD set. Halcyon Days charts the development of mod friendly beat music across three CDs from the jazzy R&B of Chris Farlowe, Duffy Power with Graham Bond and Zoot Money that opens disc one through horn laden Brit soul from Jimmy James, Geno Washington and The Richard Kent Style, ska from Mickey Finn & The Blue Men, girl group pop from The Chantelles and fuzz drenched freakbeat from The Pretty Things and The Worrying Kynde. Producer Mike Hurst opens his archives allowing us to include freakbeat nuggets from The Australian Playboys, The Human Instinct, The Favourite Sons, Double Feature and The Oscar Bicycle plus orchestrated pop gems from the soulful Truly Smith, psychedelic The Alan Bown!, Swedish mods The Tages and dramatic singing twins Paul & Barry Ryan. First time on CD rarities include British R&B, soul and mod beat tracks from The Athenians, The Fingers, The Candy Dates, Barney J. Barnes & The Intro, Kevin 'King' Lear, Dorian Gray, Barry St. John

The British Invasion was a cultural phenomenon of the mid-1960s, when rock and pop music acts from the United Kingdom and other aspects of British culture became popular in the United States and significant to the rising "counterculture" on both sides of the Atlantic Ocean. Pop and rock groups such as the Beatles, the Rolling Stones, the Who, the Kinks, the Dave Clark Five, Herman's Hermits, the Hollies, the Swinging Blue Jeans, the Animals, Gerry and the Pacemakers, and the Searchers were at the forefront of the "invasion".

The Early Tapes of The Beatles is the first digital repackaging of The Beatles' First, the 1964 German compilation album of Tony Sheridan and The Beatles recordings. The songs were recorded in Hamburg between 1961 and 1963. Most of the tracks feature vocals by Sheridan. Only tracks 1-5, 7, 10, and 11 actually feature the Beatles, with John Lennon singing lead on "Ain't She Sweet" and featuring "Cry for a Shadow", an instrumental written and performed by the British group alone. The other songs are performed by Sheridan and other musicians, identified as "The Beat Brothers". This CD, which was released in 1984, includes two additional tracks and an extended version of "Ya Ya" and was reissued in 2004 with a different design on Universal Music's Spectrum label. The song "Take Out Some Insurance on Me, Baby" was originally mistitled "If You Love Me, Baby" on all versions until 1970 when in the US, it's proper title was used.

THE BRITISH INVASION: The British Invasion was the signalling event of a gigantic social change that progressed through the decade, a decade in which each year seemed to contain ten years' worth of changes. it was an effect of historical and technological changes outside the purview of a CD review. It may be seen partially as a sub-generation of youth wanting something new of their own rather than inheriting their older sibling's teen scene. In the U.S. some feel the assassination of J.F.K. is often seen as a catalyst. Though Beatlemania was an international phenomenon, it can't be completely discounted as a factor. When it happened it was sudden and it almost totally obliterated the previous pop scene. The few who survived (Gene Pitney, Lesley Gore, Jan & Dean, Beach Boys, Four Seasons, Elvis) mostly had a final big hit or two in '64 then remained in a diminished way never having a Top 10 hit again. Only the Beach Boys and Four Seasons got through relatively unscathed. Another part of the big change in 1964 was the rise of Motown which obliterated most older R&B acts as much as the British Invasion did pop, a fact that is often ignored.