Blues / Rhythm & Blues
Result of your query: 2222 products
| VA: - Blowing The Fuse 1952 28 biisiä R&B:tä vuodelta 1952. Mukana upea vihkonen. Pakattu digipack kansiin |
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Bear Family 2005 | CD | 22.00 € |
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| VA: - Blowing The Fuse 1956 special digipack with a booklet |
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Bear Family 2006 | CD | 22.00 € |
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| VA: - Blowing The Fuse 1959 29 tracks R&B Classics That Rocked the Jukebox in 1959 |
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Bear Family 2006 | CD | 22.00 € |
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| VA: - Blues and R&B 20 tracks |
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Ace Records 2005 | CD | 12.00 € |
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| VA: - Blues Belles with Attitude - from the Vaults Of Modern Recor As the 1940s turned into the 50s girls were supposed to sing about June and moon or the price of doggies in windows, but across town in the black juke joints a more raunchy sound could be heard. Here the girls taunted and challenged with R&B songs that spelled out far more basic emotions. The excitement generated caused many an indie record company to commit such performances to wax, knowing that jukebox sales would follow. The snag was no airplay. In America censorship was in full flow both in film and on the airwaves. This meant it was almost impossible to get major sales, which in turn means that these records are tough to find some 50+ years later. But here’s where we get lucky. The brothers Bihari, owners of Modern Records, not only recorded much of this genre, but they kept the acetates or tapes. As a result, Ace Records, who now own this material, have been able to put before you 28 tracks of early in-your-face female R&B, 18 of which are previously unissued and a further eight that have not seen prior CD release. The inspiration for this compilation was Cordella Di Milo sides, whose recordings we have released previously on a Johnny Guitar Watson CD as result of his stunning guitar backing. It dawned on us that this virtually unknown singer deserved to be featured on a collection of similarly aggressive female performances. This led to a trawl of the tracks held in the Modern files, which had not been previously issued or had not seen the light of day for over half a century. After filtering out the pop and smoother nightclub-style vocals, along with material used in the “Mellow Cats & Kittens” series, we were left with a fine collection of R&B, including some by artists of whom we know nothing, not even their names. After much research and speculation it was decided that the mystery tracks were worthy of issue even if the artists had to remain anonymous. They take their place for your enjoyment alongside stars like Little Esther and Helen Humes and lesser-knowns such as Edna Broughton and Pearl Traylor. Included are two of the best sides ever cut by Effie Smith, Jimmie Lee Cheatum’s only solo vocal and a host of other female talent, included in a mix of storming R&B and tough blues. Whether it’s Cordella De Milo telling you she ‘Ain’t Gonna Hush’, Effie Smith pronouncing ‘It’s Great To Be Rich’ or Pearl Traylor laying down ‘Daddy, Somebody’s Got To Go’, these Blues Belles have got attitude. By Ian Saddler (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Blues Complete 24 biisiä. Ralph Willis,Lonnie Johnson, Jump Jacksons Combo |
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Westside Records 1999 | CD | 13.00 € |
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| VA: - Blues For Dootsie 30 tracks |
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Ace Records 2006 | CD | 18.00 € |
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| VA: - Blues Line Finland ”Blues Line Finland” -kokoelmalla (Blue North BNCD 010) FBS esittelee kolme kotimaan blues- ja roots-eliittiin hiljattain noussutta yhtyettä, joita kaikkia yhdistää paitsi se ettei yksikään kokoonpanoista ole julkaissut levyjä aiemmin, myös bändien voimakas halu poiketa kaikkein tavanomaisimmista kaavamaisuuksista ja ylläpitää siten omaleimaisella mutta perinteitä kunnioittavalla tavallaan juurimusiikin harrastusta 2010-luvun Suomessa. |
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Blue North Records 2011 | CD | 20.00 € |
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| VA: - Blues News Is Coming Anthology of Contemporary Finnish Blues |
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Blue North Records 2006 | CD | 15.00 € |
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| VA: - Blues Rhythm EP red vinyl |
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Blues & Rhythm Records | Single/EP | 6.00 € |
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| VA: - Blues Women 1944-52 20 biisiä mm Viola Wells, Albinia Jones, Mabel Scott |
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Acrobat 200 | CD | 13.00 € |
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| VA: - Bo Diddley Is A Session Man - Studio Work 1955-1957 |
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Jerome Records 2009 | LP | 20.00 € |
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| VA: - Bo Diddley Is A Songwriter In his long and illustrious career, the late Ellas McDaniel portrayed his alter ego Bo Diddley as many things – a lover, a gunslinger, crazy, even a lumberjack would you believe (and as this is Bo we’re talking about, you would…) One thing that Bo seldom if ever proclaimed himself to be is ‘A Songwriter”. But over a period of 10 years, Bo crafted some of the most memorable songs of the rock ‘n’ roll and R & B era, including numerous Hall Of Fame perennials which many will be unaware are his songs. For instance, there can be few on this planet who’ve never heard at least one version of “Love Is Strange” – it was featured in ‘Dirty Dancing’, one of the most popular and biggest grossing films of all time, for goodness sake! How many of the thousands of young people who own that soundtrack album also know that the same man who wrote it also wrote “Mona” a 1990s UK chart topper for Craig McLachlan, and “No No No”, a Top 10 hit in 1993 for reggae artist Dawn Penn (both songs appear here, in other versions, under their real titles ‘I Need You Baby’ and ‘She’s Fine, She’s Mine’ respectively…). Not many, I’ll wager. Bo is so well known and loved as an R & B legend that his songwriting skills tend to get overlooked in comparison with his fabulous recordings. He may be seen by some as a left field entry in Ace’s ongoing ‘Songwriter Series’, but once the CD popped into the player, it won’t take but a few minutes (as his Chess colleague Chuck Berry once wrote) to realise that he’s here on merit, and not just because everyone at Ace loves Bo Diddley. Of course, anyone who lived through the R&B and British Beat boom will be familiar with any number of E. McDaniel copyrights – both those Bo wrote, and those that were written for him by others. And there’s considerably more variety to Bo’s songwriting than some might initially think. OK, so he did put together more numerous variations on the ‘shave-and-a-haircut, six-bits’ rhythm. But Bo’s catalogue of compositions also embraces doo-wop (‘I’m Sorry’), teen pop (‘Love Is Strange’, ‘Mama Can I Go Out’) proto-surf (‘Bo’s Bounce’), humour (‘Pills’) 12 bar blues (‘Before You Accuse Me’) straight ahead R&B (‘I Can Tell’, ‘Diddy Wah Diddy’) and so much more besides. As well as recording his songs, many of our stellar cast of artists were major league Bo fans and, indeed, most of those who are still around continue to be. The fact that the recordings on our CD span a period of 50 years gives a strong indication of the timelessness of his work as a writer – hardly surprising when his own early recordings still sound like they were recorded yesterday. If there’s still any shadow of doubt in your mind that Bo Diddley IS a songwriter, buy this CD immediately and let its contents rid you henceforth of such foolish supposition! By Tony Rounce (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Bobby's Boogie - Bebop, Blues & Sanctification 26 tracks |
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Relic Records 1995 | CD | 17.00 € |
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| VA: - Boogielogy - The Atlas Records Story 27 biisiä. Atlas levymerkin boogeja R&B / Western Swing 1942-1948 |
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Acrobat Music 2003 | CD | 12.00 € |
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| VA: - Boogiology - The Boogie Woogie Masters 2CD Boogie Woogie was and is an important popular music; many modern music historians talk of the longevity of Rap and Hip-Hop over the last quarter of a century, well, Boogie Woogie easily matched that. But this compilation is not a collation of tracks chosen as a dry, academic history of this great, rhythmic music; this is rather a lively menu, of more than fifty cuts that assisted in the Big Bang of that cultural explosion and were rewarded by selling well-enough to achieve the giddy heights of the national US black music chart. |
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Great Voices Of The Century 2009 | CD | 13.00 € |
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| VA: - Boy Meets Girl The Memphis-based Stax label featured male/female duos from the very start, indeed two of their first releases were by the father and daughter duo of Rufus and Carla Thomas. It was not until 1969 though, that the duo idea developed into a full concept. At that time, Al Bell, the Stax executive, was trying to turn the Stax stable from a singles-based label into an all-round record company with strong album material. As part of that thrust, the company commissioned a special project to showcase the best female and male talent in a series of duets and this led to the release of Boy Meets Girl. In the US this was one of Stax's few double albums, but when released later in the UK, only a single-album subset saw the light of day. Given her previous experience, it was not surprising that Carla Thomas was featured amongst the female artists on Boy Meets Girl. Carla has vocal pairings with Johnnie Taylor, William Bell and Eddie Floyd and also with Pervis Staples of the renowned gospel and secular group the Staple Singers. As the Staple Singers were a mixed female/male line-up that sang easily and well together, it made a lot of sense to use the Staples family as the other main source of artists for the concept. Consequently the strong-voiced Mavis Staples also appears singing with William Bell, Eddie Floyd and Johnnie Taylor and her sister Cleotha shares a song with Eddie. All the singers appear on the opening track Soul-A-Lujah. The tracks for Boy Meets Girl were recorded principally at Ardent studios in Memphis and at the Fame Recording Studios in Muscle Shoals, Alabama with the backing musicians which later became known as the Muscle Shoals Rhythm Section. Additionally, some tracks were worked on at United Sound and at Terra Shirma studios in Detroit. As well as being the architect behind the concept, Al Bell was also the principal producer of the sessions, with help on many tracks from the likes of Isaac Hayes, Don Davis and Steve Cropper of Booker T & The MGs. Drawing on a mixture of specially commissioned songs and some pop/R&B classics such as That's The Way Love Is, Piece Of My Heart and All I Have To Do Is Dream, the double album became a clear artistic success. However, its sales recognition probably suffered from the project being in the midst of a welter of both Stax singles and album releases, not all of which could attract Stax's buying public at the same time. Here it is for the first time re-issued on CD by Peter Gibbon (Ace Records) |
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Ace Records 2000 | CD | 15.00 € |
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| VA: - Break-A-Way. The Songs Of Jackie DeShannon 1961-1967 Before her own breaktrough as a recording star, jackie DeShannon was one of the most in-demand songwriters of the 60s, providing material for everyone from Brenda Lee to the Byrds. This bumper collection features solo compositions and songs co-writeen with Jimmy Page, Jack Nitzsche and Sharon Sheeley, plus an exclusive previously unheard demo. |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Brown Gal Roy Milton / Camille Howard / Dorothy Donegan / Lil Armstrong |
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Collectables 1990 | CD | 13.00 € |
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| VA: - Bullett Records: Jump, Blues & Ballads |
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Blue Label 2010 | CD | 12.00 € |
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| VA: - Cadillac Records Music from the Motion Picture |
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Sony Music 2008 | CD | 19.00 € |
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| VA: - Califia - The Songs Of Lee Hazlewood This is the latest addition to our high profile Songwriter series. Comprising familiar Lee Hazlewood fan favourites and scarcer titles in equal measure, the set spans Sanford Clark’s Top 10 hit of 1956 ‘The Fool’ (built on a memorable contribution from guitar wizard Al Casey) to 1970’s German language interpretation of ‘And I Loved You Then’ by transcontinental pop princess Peggy March (a song familiar to buffs via Lee's recording on his “13” LP). No such compilation would be complete without Nancy Sinatra and axe-meisters Duane Eddy and Al Casey, with each of whom Lee was inextricably linked. They’re all here. Hazlewood mavens should lap up the titles by the Darlenes, the Hondas, Rose & the Heavenly Tones (produced by Sly Stone, no less) and Lee’s frequent collaborator Suzi Jane Hokom (who gets two collectable cuts, including a duet with him), each of which is new to CD. One of pop’s genuine originals, Hazlewood is lionised by luminaries such as Primal Scream, Beck, the Jesus & Mary Chain, Pulp, Lydia Lunch and Sonic Youth. In 1999 he performed at the Nick Cave-curated Meltdown Festival on London’s South Bank backed by members of the High Llamas and Stereolab, while the “Total Lee!” tribute album of 2002 had the indie cognoscenti tripping over each other to record his compositions. Hazlewood was a uniquely versatile songwriter, equally capable of turning his hand to pop, country, psychedelia, R&B, folk, easy listening, burlesque, blues or twangin’ rock’n’roll – dig Don Cole’s wild ‘Snake Eyed Mama’ and Al Casey & the Bats’ reverb-drenched ‘(Got The) Teenage Blues’. His songs are truly beyond categorisation. He was also a pioneer in the mysterious art of record production and taught a thing or two to the teenaged Phil Spector, who hung around paying close attention while Hazlewood crafted magnificently cavernous guitar instrumentals for Duane Eddy. Of the 25 tracks on “Califia”, Lee wrote each one and produced all but four. As a performer, Hazlewood possessed an instantly recognisable bass drawl perfectly suited to his lyrical tales of low-rent heartache, self-deprecating comedy, picturesque nostalgia and mystical cowboy psychedelia. He sings on four cuts on this collection, including the folksy Shacklefords’ recording of ‘The City Never Sleeps At Night’, a song written specifically for Nancy Sinatra. As Dionne Warwick was to Burt Bacharach and Petula Clark to Tony Hatch, Nancy was Lee’s perfect muse. Theirs was a partnership created one velvet morning in pop heaven. The expansively orchestrated opening duet ‘Lady Bird’ – just one of the many masterpieces they made together – was personally selected for this compilation by the lady herself. A companion volume of Lee Hazlewood-penned instrumentals is also in the Ace pipeline, so watch this space. Meanwhile, check out the others in our Songwriter series, which include compilations based on the works of Randy Newman, Jackie DeShannon, Neil Diamond, Goffin & King, Bo Diddley, Burt Bacharach and many more. By Mick Patrick (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - California Blues During the war years, California was inundated with Black Migrants from the South. They moved to work in the munitions plants and for the war effort in general, bringing their music with them. The combination of raw Southern Blues and the relative sophistication of the jazzier sounds of Los Angeles merged to form the unique style known as California Blues. This CD presents 25 examples of the style from it’s greatest practitioners. |
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Acrobat Music 2002 | CD | 10.00 € |
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| VA: - CamPark Records Novelty, Instrumental, Rock And Soul Vol. 14 18 tracks all the odds and ends |
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CamPark Records | CD | 18.00 € |
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| VA: - Caputred Live 18 tracks - Mary Wells / Marvelettes / Temptations |
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Motorcity Records 1987 | CD | 19.00 € |
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| VA: - Caribbean R&B Classics: Big People Music 20 biisiä |
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Ace Records 2002 | CD | 18.00 € |
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| VA: - Carnival Northern Soul n the early 60s, through the auspices of Choker Campbell, Joe Evans spent seven months living in one of Berry Gordy’s old houses in Detroit. He was playing with the Funk Brothers on recording dates, performing concerts in local auditoriums and touring the country with the first Motown Revue. This experience showed him how successful black music could become and he took the Hitsville set-up as a blueprint for his own Carnival label. Undoubtedly Joe learnt a lot from his Detroit stay and this CD captures most of his Motown moments. The Manhattans were his “children” whom he nurtured from their inception. When they left Carnival for what they thought was a bigger company (but was merely a revival of the old Deluxe label) it tore the heart out of his dream and his company. Joe Evans’ recent autobiography recalls the tragedy of George “Smitty” Smith’s death from a brain haematoma in 1970; it also reveals that it is Joe playing the flute on the group’s ‘There Goes A Fool’, featured here. It is the lesser acts that get the most tracks on this CD. Newark schoolteacher Phil Terrell only ever recorded three singles and all were on Carnival. ‘Love Has Passed Me By’ was a huge record for me at the 100 Club in the mid-80s and his other two contributions ‘I’ll Erase You (From My Heart)’ and ‘I’m Just A Young Boy’ are so good they will surely have their day soon. The Pretenders also get a trio of tracks and they start with a storming version of the Manhattans’ biggest 60s hit ‘I Wanna Be (Your Everything)’ before morphing into a classic 70s “modern soul” group with ‘I Call It Love’ (also ex-Manhattans) and the Kent exclusive, previously unreleased (until 1995) shuffler ‘A Broken Heart Cries’. Phil Terrell was brought to the label by Manhattan Winfred “Blue” Lovett who also attracted Norma Jenkins and the Lovettes to the stable. The Lovettes regularly backed the Manhattans and other artists and could veer from the shimmering and seductive stomping sound of ‘Little Miss Soul’ to the plaintive and pretty ‘I Need A Guy’. Blue was a heck of a song writer, the most “on the fours” influenced of all the Carnival composers and he delivered a catchy, soulful ‘Me, Myself And I’ for Norma Jenkins that really should have launched her career. More motor city links are revealed on the Pets ‘I Say Yeah’, written by Joe along with the pre-Golden World label Parliaments. They later turned the music world around with their Cosmic funk. Southerner Little Royal later showed his funky side but in 1967 he was all Stax grit and grits, not unlike New Jersey brother Kenneth Ruffin whose ‘Cry, Cry, Cry’ a year later also had that brass-laden Memphis groove. Jimmy Jules was the epitome of the itinerant musician who started out in Louisiana but took in New York, Denver, LA and Colorado Springs, among many other places that offered his cookin’ band some live music action. His self-penned ‘Don’t Let Yourself Go’ was either recorded in NJ or NO or both, depending on whose story you plump for. The main thing is, it’s a fine slab of soul. The small (two releases) Chadwick label is represented by both its great 1966 dancers from the Metrics with ‘Wishes’ and the Topics with ‘Hey Girl (Where Are You Going)’, while Florida’s Turner Brothers turn up with a song by George Kerr’s oppo Gerald Harris whose ‘My Love Is Yours Tonight’ is a really great record. Joe Evans remembers being approached by Ace Records in the 90s with a view to re-releasing his catalogue onto CD. He asked director Trevor Churchill whether he was the same guy who used to write to him in the 60s for record release information, and was answered in the affirmative. Knowing Joe as I do now, I’m pretty sure that would have clinched the deal, and deservedly so. By Ady Croasdell (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Carnival Rock R&R leffan original soundtrack: Bob Luman, Platters, David Houston |
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Bear Family 2003 | CD | 17.00 € |
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| VA: - Cash Only - A Tribute To Johnny Cash Great finnish tribute to Johnny Cash. 15 songs including Honey B & T-Bones, Rock Ola, Red Hot, Whistle Bait, Aikka Hakala, Eero Raittinen.. |
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Bluelight Records 2002 | CD | 9.90 € |
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| VA: - Central Mississippi Blues - The Jackson Area 1928-1935 |
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Wolf Records | CD | 18.00 € |
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| VA: - Central Rocks! The Central Avenue Scene 1951-58 Vol. 2 24 tracks |
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Ace Records 2005 | CD | 18.00 € |
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| VA: - Champion Records Story Vol. 2 - Rockin' R&B 21 tracks |
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Spv Blue Label 2007 | CD | 10.00 € |
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| VA: - Chartbusters USA Vol. 1 There's a certain chemistry involved in the make-up of compilations - the dynamics of which are difficult to determine. These include discernment, dramatic use of tonal light and shade, an inherent understanding of the musical genres involved (including their relationship to one and other) and an intelligent approach to design. These are the factors that have made Golden Age Of American Rock'n'Roll arguably the best-selling series of its kind and, for many, the only reliable way to purchase those treasured early American pop classics. Using the same exacting criteria, this concept has now been logically extended into the mid to late-60s in the form of an exciting new series titled CHARTBUSTERS USA. Unlike the majority of 60s hits compilations that have usually been thrown together randomly by some marketing department, CHARTBUSTERS USA functions both on a historical level and as a superlative listening experience. It is a proud thoroughbred in a market teeming with mongrel product. One glance at the track listing will tell you all you need to know. Packed with 30 quintessential classics spanning 1964 - 1969 (most in stereo), it hangs together like a dream thanks to careful programming and Duncan Cowell's state-of-the-art mastering. The accompanying 20-page full-colour booklet looks good enough to eat. Furthermore, it's a great summer record and perfect windows-down in-car entertainment. Be in at the start! |
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Ace Records 1999 | CD | 17.00 € |
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| VA: - Chartbusters USA Vol. 3 29 classic hits - the sounds, the styles, the rhythms - that caught the mood of young America between 1963-1969. Mastered from the best possible sources. Action-packed 28-page booklet. By ROB FINNIS Now into its third volume, CHARTBUSTERS USA is fast becoming an institution much in the same way as the highly acclaimed "Golden Age Of American Rock'n'Roll" series, from which it follows on chronologically. Chartbusters USA is characterised by the same near obsessive attention to detail and audio quality. Each record is individually annotated in the familiar "Golden Age" style and placed within a colourful mosaic of period photos, ads and illustrations that evokes the mood of the times almost as vividly as the music itself. To qualify for inclusion, every track on Chartbusters USA should have appeared on the US Hot 100 in the period spanning 1963-1969 and retained some, if not all, of the visceral quality that made it a hit in the first place. As with "Golden Age", some records are more obscure than others and therein lies the charm. Amid the majestic splendour of the rarely heard stereo mix of Sony & Cher's I Got You Babe and other mega-hits such as The Letter by the Box Tops, nestle unknowns such as Timmy Shaw whose Gonna Send You Back To Georgia had the misfortune to reach the Hot 100 at the same time as I Want To Hold Your Hand and was all but overwhelmed by the mad rush for Beatle product that gripped America in 1964. The Animals cut the song as the b-side of their first single, re-titling it I'm Gonna Send You Back To Walker. Then there's Ian Whitcomb whose cod R&B bash, You Turn Me On, was recorded in a demo studio in Dublin, Ireland where Whitcomb was studying at Trinity College. Befittingly, perhaps, the producer was Jerry Dennon who was also responsible for Louie, Louie by the Kingsmen. There is post-modern kitsch in the form of Guantanamera by the Sandpipers, Gale Garnett's wistful folk-pop classic We'll Sing In The Sunshine (regarded as one of the earliest feminist songs), the loping retro blues of Slim Harpo with Baby Scratch My Back, and soul stompers such as I Do by the Marvelows, a 1965 hit later successfully revived by J Geils Band. CHARTBUSTERS USA VOL 3 is not just another 60s comp but a total experience, the ultimate time capsule from a mythological age when every Fancy Dan saw himself as a would be Austin Powers and every Dolly Bird looked in the mirror and saw a nascent Stephanie Powers or a Twiggy or, quite possibly, a young Barbara Windsor staring back at her. So there you have it: 29 classic hits - the sounds, the styles, the rhythms - that caught the mood of young America between 1963-1969, all mastered from the best possible sources, together with an informative, action-packed 28-page booklet. Groovy! (Ace Records) |
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Ace Records 2003 | CD | 17.00 € |
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| VA: - Chicago Blues From Federal Records 22 biisiä: Kid Thomas, Smokey Smothers, Willie Mabon, Bobby King, Eddie Clearwater |
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Ace Records 1999 | CD | 18.00 € |
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| VA: - Class & Rendezvous Story An excellent compilation covering the classic Los Angeles labels owned by Leon Rene and the brilliant music they produced across the 1950s and early '60s. The Class & Rendezvous Story is one of timeless slices of rock'n'roll among them Bobby Day with Little Bitty Pretty One, Over And Over and Rockin' Robin, B Bumble & The Stingers with Nut Rocker, Bob & Earl That's My Desire and You Made A Boo Boo and Eugene Church & The Fellows Pretty Girls Everywhere. 24 great tracks. |
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Ace Records 1993 | CD | 18.00 € |
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| VA: - Classic Rock & Roll 8 biisiä -Bobby Day, Dovells, Rivingtons... |
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King Records 1994 | CD | 10.00 € |
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| VA: - Cliff Heard Them Here First Although the majority of Cliff Richard’s hits have come with songs written expressly for him, or that he was the first to cut, the outside repertoire that he has recorded throughout his career has been more interesting than the choices of many of his contemporaries. Sir Cliff was not the only home-grown rocker to cover US material but, unlike his peers, he seldom went into a studio and simply made over the latest fast-rising American hit. With the help of his long time A&R man and producer Norrie Paramor, Cliff found a formidable number of fantastic songs hidden away on obscure US 45s and albums unavailable here. Having previously celebrated the good taste in covers of his early hero in “Elvis Heard It Here First”, Ace felt it only fair to follow up with a companion volume that does likewise for the Peter Pan of pop. The tracks selected for “Cliff Heard Them Here First” show just how broad Cliff’s tastes were. Most of his early singles featured original songs, but the material on to his many albums was something else again. “Cliff Heard Them Here First” brings you the original versions of two dozen songs which found their way into Cliff’s discography, ranging from gospel-influenced R&B (Ruth Brown’s ‘Somebody Touched Me’) to rockin’ doo wop (the Jayos’ ‘Tough Enough’), and from ultra-obscure west coast teen pop (Pete Votrian’s ‘We Have It Made’) to a little known Elvis Presley track (‘Angel’). The booklet reflects the importance of the music that’s preserved here, with copious notes, label shots and ephemera for each track. All but one is new to Ace CD and several of them have never been reissued before in any format. Although the majority of our tracks stem from the first ten years of Cliff’s recording career, there are also examples of songs that Cliff came across and recorded in the early 70s, which show that his ear for a good song and a great record have never deserted him. These tracks have stood the test of time as well as Cliff’s own career. “Cliff Heard Them Here First” is our salute to the man and the great taste he showed in embracing these songs. By Tony Rounce (Ace Records) |
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Ace Records 2013 | CD | 18.00 € |
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| VA: - Coed Records Story 30 biisiä vuosilta 1958-1964 |
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Ace Records 2000 | CD | 18.00 € |
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| VA: - Collectors Choice Vol. 4 - What A Night Welcome to volume four in El Toro's new series of Collector's Choice compilations, making available rarely heard and seldom reissued tracks from the 45 and 78 shelves of 1950s record collectors. Dave Penny's second set for these series cherry-picks the Rock 'N' Roll style in its many guises - from major labels to tiny indies.. 12 page booklet with interesting notes and rare pictures. Label shots from each one of the releases featured. 12 page booklet with interesting notes and rare pictures. Label shots from each one of the releases featured. |
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El Toro Records 2009 | CD | 12.00 € |
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| VA: - Combo Vocal Groups Vol. 3 28 biisiä |
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Ace Records 2003 | CD | 18.00 € |
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| VA: - Come On Daddy 24 tracks |
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El Toro 2002 | CD | 15.00 € |
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| VA: - Come Together - Black America Sings Lennon & McCartney The unanimous acclaim for and success of Ace’s recent ‘How Many Roads: Black America Sings Bob Dylan” project pretty much guaranteed a follow-up at some point. Its release immediately instigated a high level of consumer interest in whether or not we were planning any further volumes in the series. Truth to tell, it wasn’t meant to be a series originally, but the suggestion of Black America singing other notable rock icons of the 60s was too good to ignore. So it is that we now present a selection of interpretations by leading black American artists of the compositions of John Lennon and Paul McCartney. John and Paul’s songs perhaps did not carry the same degree of social significance for black Americans as those of Mr Zimmerman, but their superlative knack for words and music inevitably made each new Beatles album a potential source of future hits for others. It’s therefore no surprise to find enough superb examples to fill a few volumes. Here we present two dozen of their best-known songs sung by many of the leading names in soul from the 60s and 70s. As with the Dylan set, you’ll find the obvious (Otis Redding’s reconstruction of ‘Day Tripper’ and Aretha’s from-the-heart essay on ‘Let It Be’) rubbing shoulders with the blindingly obscure (West Coast blues giant Lowell Fulson wondering ‘Why Don’t We Do It In The Road’ and sweet soul quartet the Moments’ totally unexpected take on ‘Rocky Raccoon’). Unlike many pop songwriters, Lennon and McCartney reached out to a broad spectrum of black artists; you won’t find too many compilations where New Orleans’ rockin’ R&B man Fats Domino and his 60s near-namesake Chubby Checker feature alongside Motown’s first lady Mary Wells and king of 70s soul Al Green, and do so in such a seamless way. The common factor among all these covers is that they are never less than interesting. John and Paul are not on record as having expressed an opinion on too many versions of their songs, but we’d be willing to bet that the ones included here would have entertained them more than most. As always, the CD comes to you with a booklet featuring a huge amount of illustrative material and generous song-by-song annotations covering who wrote what (or most of what). We had originally thought that we might include versions of some Harrisongs as well, but in the end there was more than enough Lennon and McCartney material to fill this disc and more besides, so George will have to wait until another day and another CD. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Complete Goldwax Singles Vol. 2 1966-1967 This second volume is the label’s golden period, where classic southern soul 45s poured out and James Carr cemented his place in the pantheon of great soul singers with a series of releases that are simply jaw-dropping. However Goldwax’s owners worked hard to diversify, in the hope that it wouldn’t suddenly be caught in the cold by a sudden change in musical fashion. 1966-7 was when James Carr released five singles. The run of the first four A-sides ‘You’ve Got My Mind Messed Up’, ‘Love Attack’, ‘Pouring Water On A Drowning Man’ and ‘Dark End Of The Street’ are peerless, and it is almost unbelievable that they were a consecutive run of singles. The Ovations also released some superb 45s throughout this period as did number two soul man Spencer Wiggins, who served up the sublime ‘Uptight Good Woman’, among others. There are also brilliant slices of southern soul from Percy Milem, Eddie Jefferson, George (Jackson) and (Dan) Greer and Barbara Perry. Part of the fun of a complete singles set are the oddities and one-offs that come up. Here are excursions into garage rock, with the respected local Memphis group the Yo Yos aping the sounds of the British Invasion, who were influenced by the sounds of America in the first place. It also sees the start of an attempt to move into the country market with records by Kathy Davis and Carmol Taylor, which led to the launch of a new label – Timmy – specializing in this type of music. The singles usually included one side of the sort of country ballads that are a close relation to the deepest southern soul. They are a pleasure to hear and are reissued for the very first time. There is also a wider sense of the R&B and soul world beyond the impassioned voices of Carr and Wiggins: OB McClinton released his final, Ernie K Doe-sounding 45; there is a typical Memphis instrumental from Gene “Bowlegs” Miller; and an attempt or two by Ivory Joe Hunter to rekindle his career. The veteran star’s 40s and 50s recordings were very much favourites of Elvis Presley, and Hunter was based in Memphis throughout the 60s. Goldwax’s golden age was when their main star was regularly in the charts and their recordings were hailed as great. These were always strong enough to stand alone. What is fascinating is to hear them in context of what was going on around them. By Dean Rudland (ACE RECORDS) |
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Ace Records 2009 | CD | 25.00 € |
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| VA: - Complete Goldwax Singles Vol. 3 2CD The third volume of the Goldwax singles is the story of music industry decline. If not exactly riches to rags – Goldwax sales were never that good – it is the tale of an independent label slowly losing its way in an increasingly difficult environment. This was not just about a failure to sign talent, but about changes within the business, and that meant that it became more difficult for regional independents to survive and thrive. The company's peak year was probably 1967. Musically James Carr and Spencer Wiggins were at the top of their game, whilst the Ovations continued to record great records. New talent such as Willie Walker entered the fray and label owners Quinton Claunch and Doc Russell were confident enough to start the country music imprint Timmy to showcase talent as good as Carmol Taylor and Jeanne Newman. However distributor Bell had no real clout in the country market and the new label’s outpit fell on deaf ears, or more likely wasn’t even played to them. Other signs of how tough it was was the licensing out of various singles by ‘Ivory’ Joe Hunter and Willie Walker to Veep and Chess respectively – which Quinton now admits was to tide the label over cash flow shortages. In 1968 things were not improving. Although James Carr continued to make records of amazing quality, sales began to decline and, even more worryingly, James became increasingly difficult to entice into the studio and onto the road to promote his records. Inexplicably strong 45s by Wiggins failed to make the charts and it began to look as if the struggle was never going to get easier. Of course all this wasn’t helped by the way that the industry was developing, with a more centralised, major-orientated distribution network taking hold, and the church-based southern soul sounds that had formed the core of Goldwax’s sales beginning to seem old-fashioned, even in the local market. Memphis’ big soul sellers into the 1970s would be the orchestrated masterpieces of Isaac Hayes and the smoother sound of Hi’s Al Green. The label was effectively over by 1969 and completely over by 1970. The artists had moved on, been sold on or simply left without a label. The final side on Goldwax was James Carr’s ‘Everybody Needs Somebody’ a country soul ballad of exceptional quality, and is typical of how high the quality remains throughout volume three of “The Complete Goldwax singles.” There are errors and side-steps, but until the day the doors swung shut for the final time the sounds of the label were almost always a joy to the ears. This is southern music at its’ very best. Dean Rudland (Ace Records) |
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Ace Records 2010 | CD | 23.00 € |
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| VA: - Complete Sun Singles Vol. 1 4 CD:tä Sunin singlet vuosilta 1952-1955. SUN 175-228 ja FLIP singlet 501-504. Mukana myös 68 sivunen kirja. |
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Bear Family 1994 | CD-Box | 80.00 € |
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| VA: - Complete Sun Singles Vol. 2 4 CD:tä n. 100 biisiä. Mukana kirja. singlet # 229-265. Vuodet 1955-1958 |
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Bear Family 1995 | CD-Box | 75.00 € |
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| VA: - Complete Sun Singles Vol. 3 4 CD:tä, yli 100 biisiä ja kirja. Sun singlet # 279-328 |
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Bear Family 1996 | CD-Box | 80.00 € |
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| VA: - Complete Sun Singles Vol. 4 4 CD:tä = 100 biisiä ja 68 sivuinen kirja. Sisältää Sunin materiaalia vuosilta 1959-62 ja singlet Sun 329-379 |
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Bear Family 1997 | CD-Box | 80.00 € |
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| VA: - Cool Daddy - The Central Avenue Scene 1951-1957 Vol. 3 Here’s volume three of Ace’s ongoing survey of the sounds heard throughout Los Angeles’ thriving black community during the late 1940s and early 1950s, as brought by a man whose recording operation was centred right at its heart – Vernon “Jake” Porter. The music that came out on his Combo label is almost always representative of its surroundings, and of that population’s taste. Within the walls of his home studio Jake Porter oversaw the production of a lot of fantastic music and, as the owners of his catalogue, Ace is committed to bringing you the best of it, via compilations such as this month’s COOL DADDY. cast of characters, as the majority of them have already appeared on either “Straight To Watts” or “Central Rocks”. New ‘recruits’ this time around include a very young sounding Bill Watkins and a not-so-young sounding Joe Morris – who, both annotator Jim Dawson and I suspect to be the same Joe Morris whose orchestra hit big with Anytime, Any Place, Anywhere as the 40s drew to a close. We also feature one side that transplanted Texas bluesman Peppermint Harris cut for Combo, during the briefest of stays in Jake’s musical stock company. And, by way of complete contrast, we also feature an early example of ‘rap’, via one side of an extremely rare 45 rpm recitation by DJ Hunter Hancock’s radio sidekick Margie Williams. As Jim Dawon note points out, this never stood a chance of becoming a hit as ‘Ol’ HH’ was the only DJ who was likely to play it. As well as being heard as the guitarist on many of these sessions, it’s always great to be able to bring you Gene Phillips in his own right, and here is the previously unheard Steelin’ The Blues. We never need any excuse to reissue the groovy saxophony of Jack McVea, either. He and his band can be heard backing a variety of vocalists throughout “Cool Daddy”, ranging from big blues-shouters like the veteran piano ponder Christine Chatman and McVea’s own missus, Louise Beatty, to impassioned wailers such as the terminally obscure Rudy Pitts. We also get the chance to hear him out-Bostic Earl, on a fruity blast through the standard Oh How I Miss You Tonight. We feature a couple of sides that shine a spotlight on Jake Porter himself and hear from Jake’s other bandleader mainstays Floyd Turnham and Chuck Higgins – who is the subject of his own Combo anthology next month. There’s also an instrumental from Jake’s other sax king, Joe Houston, with a never-before-heard alternate of his great grinder Shuckin’. Nellie Lutcher’s chum Betty Hall Jones gives a neat female spin on Louis Jordan’s Outskirts Of Town saga, while we’re also happy to put the flip of Honey Coleman’s sole Combo record back into catalogue after a short gap of 55 years. Also pretty cool is Candy Rivers and her occasional singing chum (and ace session guitarist) Chuck Hamilton’s jazzy spin on the standard Please Be Kind, which is getting its first airing anywhere. These are just a few of the many delights that await you when you crack the cellophane and stick “Cool Daddy!” in your CD player. Even though it’s the third volume it more than upholds the standard of the first two – and we can promise you that next year’s volume will be of similarly high quality. By Tony Rounce (Ace Records) |
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Ace Records 2006 | CD | 17.00 € |
