Blues / Rhythm & Blues
Result of your query: 2226 products
| VA: - Great Black Cooga Mooga 25 biisiä |
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Collector Records | CD | 15.00 € |
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| VA: - Great Googa Mooga 27 tracks |
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Ace Records 2003 | CD | 17.00 € |
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| VA: - Great Googly Moo It’s been a long time since “Great Googa Mooga” (CDCHD 880), a collection of answers to profound issues confronting mankind for millennia and a comprehensive overview of the finest minds of the 20th century. People are still talking about it, often for its danceability and entertainment value, of all things! It’s been heard said that a follow-up volume already exists, people have waited so long for its appearance. Now, finally, we bring you that long overdue sequel. In January 1960 Pat Boone launched a record label called Agoom Agooc. This is Cooga Mooga reversed. The Phantom’s ‘Love Me’ may have been the only release on the label. Does this help set the tone? We hope so, but need to add that the above mentioned tune does not grace this album. So what does? The Quasar of Rock, His Royal Highness, Little Richard, is once again present. This time with an alternate take of that epitome of undisputed truths, ‘Tutti Frutti’. Also back in attendance is the Great Pretender to the throne and a king among rockers himself, Larry Williams, this time with the wildest take of ‘Hocus Pocus’. The Rivingtons, whose ‘Mama Oom Mow Mow’ can be heard on “Great Googa Mooga”, return with ‘The Bird’s The Word’. The Spaniels lend us our title with ‘Great Googly Moo’, one of their late and just as great Vee-Jay 45s. You can’t hear too much about that mysterious place described in Sheriff & the Revels’ ‘Shombalor’. We are very excited about releasing for the first time anywhere the great wordsmith Shirley Ellis’ unissued ‘Ka Ta Ga Boom Beat’, from the time of her huge hits ‘The Name Game’ and ‘The Clapping Song’. And the irrepressible Screamin’ Jay Hawkins is ‘Hearing Voices’. Altogether 24 upbeat tracks that will mentally beat you up. In much the same way that the blues is full of idiosyncratic language that has baffled even the hardiest of scholars, songs written for teenagers in the 50s and early 60s were often couched in a similarly veiled sub-cultural tongue. Bop talk among jazz musicians of the 1920s alienated white listeners. Likewise, the language of rock’n’roll was often contrived to alienate adults (squares). Many of these songs were written and recorded in alliance with radio DJs eager to get a leg up on their competition by promoting an in-lingo known only among their own listeners. In this way we got, among many others, the Bobbettes with ‘Rock And Ree Ah Zole (The Teen-Age Talk)’. Some fascinating stories emerge: people going ‘Oonka Chicka’, for no understandable reason; others creating answer records to ‘Sh-Boom’. Where would you start? The last word should probably have gone to the Tammys and their epic ‘Egyptian Shumba’, but it doesn’t. It goes to Macy Skipper, who gets caught ‘Goofin’ Off’. What else can I tell you? In this volume we get a little closer to some answers. But we don’t delve too deep. We’re scared! By Brian Nevill (ACE Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Great R&B Duets 25 tracks |
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Ace Records 2000 | CD | 18.00 € |
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| VA: - Great R&B Instrumentals 25 biisiä |
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Ace Records 2001 | CD | 18.00 € |
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| VA: - Greatest Johnny Otis Show THE GREATEST SHOW ON EARTH by Stuart Colman (Ace Records) In the two short years that The Johnny Otis Show recorded for Capitol, they managed time and again to come up with some of the most eternal sides in rock'n'roll. The legendary Mr Otis adopted the role of ringmaster, whilst the members of his revue took turns to show off their many talents. Marie Adams, the Three Tons of Joy, Mel Williams, Jeannie Sterling and Jackie Kelso all featured on the recordings, backed up by some of the very finest musicians Johnny could assemble. Their debut Capitol single Ma, He's Making Eyes At Me truly caught the imagination of the British public and went right to the top of the charts in November, 1957. Back home, the much loved Willie and the Hand Jive hit the US Top Ten the following summer and the whole shooting match went on to spread the word in films and TV. Future gems like Castin' My Spell, Crazy Country Hop and Mumblin' Mosie all helped to sow the seeds for the forthcoming R&B revolution in the UK with many homegrown acts from Cliff Richard to the Animals turning to the Johnny Otis repertoire for a source of material. After the disappointment of previous compilations, from other companies Ace Records have finally restored the balance by bringing together the cream of the Otis crop, including wonderful rock'n'roll tracks such as Bye Bye Baby, All I Want Is Your Love and Shake It Lucy Baby that have not appeared on CD before. This landmark release sets the facts straight on paper too, as the complexities surrounding Johnny's arrival at Capitol have never been fully documented until now. The Greatest Johnny Otis Show is no idle boast, because the team succeeded in capturing such a joyous mood, the excitement still delivers maximum entertainment value. Mr. Otis has nothing to regret. |
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Ace Records 1998 | CD | 17.00 € |
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| VA: - Gumbo Stew There could be no finer introduction to one of New Orleans R&B's finest labels - AFO - than Gumbo Stew. This CD features classic material from Willie Tee, Barbara George, Tami Lyn, Alvin Robinson, Prince La La, Eddie Bo and, of course, Dr John. AFO (an abbreviation of 'All For One') was formed in New Orleans in 1961 by ex-Specialty A&R man Harold Battiste and fellow musicians - or executives - Melvin Lastie, Alvin 'Red' Tyler, Roy Montrell, Peter 'Chuck' Badie, and John Boudreaux. As hit-making session men they had seen a constant stream of white independent record owners pillage the talent that abounded in New Orleans. They hit the charts almost immediately with Barbara George and I Know (You Don't Love Me No More), which reached No 3 in the national pop charts in that very first year. However, chart activity was short-lived. Juggy Murray spirited Barbara away to Sue Records. AFO continued to release class records by young artists like Dr John and Eddie Bo, but in 1963 Harold Battiste moved to the West Coast where he went on to produce Sonny & Cher's I Got You Babe and Dr John's Gris Gris album. Compiled by John Broven (author of the classic book on New Orleans R&B Walking To New Orleans), Gumbo Stew is a long overdue in-depth look at one of New Orleans' finest little labels. |
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Ace Records 1993 | CD | 18.00 € |
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| VA: - Hammond Heroes - 60s R&B Heroes |
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Bear Family 2005 | CD | 17.00 € |
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| VA: - Hand Me Down Blues Chicago style |
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Relic | CD | 17.00 € |
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| VA: - Hand Me Down Blues Chicago Style |
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Relic Records | LP | 13.00 € |
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| VA: - Hands Off ! 1950-1958 Modern Records Studio Recordings. 27 tracks. |
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Ace Records 2007 | CD | 17.00 € |
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| VA: - Handy Man - The Otis Blackwell Songbook Arguments over who the greatest rock’n’roll songwriter is will abound long after those reading this have gone to meet their maker. But surely near the top of everyone’s list of contenders would have to be Otis Blackwell, a one-man hit factory whose catalogue includes more classic rock’n’roll songs than any other single songwriter of his time. His compositions for Elvis Presley and Jerry Lee Lewis alone would guarantee his entry into every music Hall Of Fame. “Handy Man”, named after the song that brought worldwide chart fame to Jimmy Jones in 1959, is a worthy tribute to a man who, if he’d only written ‘Fever’, would still be regarded as one of the foremost composers of the rock’n’roll era. Compiled in the spirit of previous entries in our songwriter series, it’s much more than merely a collection of Otis’ 24 greatest hits, sung by those who recorded them first. We like to mix it up a bit, so the title track is heard in Del Shannon’s stomping 1964 version, while Jimmy Jones is represented with another fine Otis Blackwell song. Those interested enough to purchase will have more than a passing familiarity with Elvis’ version of ‘All Shook Up’, so rather than reissue that for the gazillionth time, we instead bring the song to you by David Hill, whose rare original makes its first legitimate CD appearance here. Likewise ‘Don’t Be Cruel’: rather than Elvis we bring you Jerry Lee Lewis’ uproarious take, in preference to any of the Otis Blackwell compositions generally associated with him. As for Elvis, being spoilt for choice made us opt for his first, and one of his very best, post-Army recordings; ‘Make Me Know It’ reignited his recording career and was deemed potent enough to kick off his “Elvis Is Back” album. The songs featured in “Handy Man” cover roughly from around 1953 to 1963. Later offerings by Solomon Burke and Sam Butera show that, unlike some of his peers, Otis easily adapted to the changes in music as the 1960s unfolded. How durable his compositions were are demonstrated by Derek Martin’s classic 1962 cut of ‘Daddy Rollin’ Stone’, which Otis had recorded as a menacing blues almost a decade earlier. Via Martin, the song became a boastful declaration of intent for a new generation of sharp boys, and of English mods in particular. Brace yourself for a masterclass in rock’n’roll songwriting by a man who was much more than merely handy with a pen and paper. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Hard to Find 45s on CD Vol. 9 1957-1959 |
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Eric Records 2007 | CD | 18.00 € |
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| VA: - Hard To Find Jukebox Classics 1956 24 tracks from 1956 |
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Hit Parade Records 2007 | CD | 18.00 € |
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| VA: - Harlem Holiday - New York Rhythm & Blues Vol 3 14 biisiä mm Pearl & The Deltars, The Topps, The Charts, The Channels, TheDu Mauriers, The Du-Droppers, The Federals jne |
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Collectables 1990 | CD | 15.00 € |
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| VA: - Harlem Holiday - New York Rhythm & Blues Vol. 1 |
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Collectables 1989 | CD | 13.00 € |
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| VA: - Harlem Holiday - New York Rhythm & Blues Vol. 2 |
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Collectables 1993 | CD | 13.00 € |
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| VA: - Harlem Holiday - New York Rhythm & Blues Vol. 4 |
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Collectables 1993 | CD | 13.00 € |
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| VA: - Harlem Holiday - New York Rhythm & Blues Vol. 5 |
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Collectables 1993 | CD | 13.00 € |
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| VA: - Harlem Holiday - New York Rhythm & Blues Vol. 7 |
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Collectables 1993 | CD | 13.00 € |
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| VA: - Harp Blues It's hard to think of another musical instrument that is so closely associated with the blues as the humble harmonica or "harp". Since the 1920s - one hundred years after its invention - blues musicians have taken advantage of its low cost, volume and portability and have made some of the most influential of 20th century music. In the hands of early masters like DeFord Bailey and Jaybird Coleman the harp rose above its earlier status of a simple novelty instrument, while Jazz Gillum and John Lee "Sonny Boy #1" Williamson helped to define the sound of post-war blues bands. From the early 1950s, the harmonica became a key component of the blues almost entirely due to the recordings of the musicians on this compilation. A quick glance at the track listing reveals that just about every post-war harmonica player of note is here together with some rather more (undeservedly) obscure names. (No Sonny Terry, you say? Well, he's blowing on Cousin Leroy's Up The River). Legendary figures rub shoulders with rather less familiar names. To the initiated, however, Eddie Hope's A Fool No More, Papa Lightfoot's Wine, Women And Whiskey and Little Willy Foster's Little Girl are long-time classics. Legendary Sun recordings like Jimmy (de Berry) & Walter (Horton)'s Easy and Dr Ross' Chicago Breakdown are interspersed with masterpieces from the Chess studios by Little Walter (Juke) and Jimmy Rogers (If It Ain't Me) and Muddy Waters, Otis Spann, Champion Jack Dupree, Willie Dixon, Bo Diddley and Eddie Taylor are among the accompanists. Recorded between 1947 and 1968, this collection includes several of the greatest examples of harp blues ever recorded and with several tracks appearing on CD for the first time, it's bound to be a popular blues release on Ace. By Big Joe Louis (Ace Records) |
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Ace Records 1999 | CD | 17.00 € |
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| VA: - Have Mercy! The Songs Of Don Covay This latest addition to our songwriter series focuses on the behind-the-scenes endeavours of Don Covay, provider of great material to some of the biggest stars of the 1960s. Don made his recording debut in 1956 as a member of the Rainbows vocal group. His idol at this time was Little Richard, whom he managed to meet in 1957. Richard took him on as his opening act, bestowing upon him the nickname Pretty Boy, as which Don released his first solo disc. When record sales proved meagre, he channelled his energy into writing songs with John Berry of the Rainbows. Off the bat their compositions were picked by name artists Gene Vincent, Dee Clark and Wanda Jackson. ‘Pony Time’, Don’s first record to bear an additional credit for his backing combo the Goodtimers, saw him enter the Hot 100 for the first time in 1961. The same week, a cover by Chubby Checker debuted on the charts on its way to #1, leaving Don stuck at the lower end. Convinced that financial security would come from writing rather than recording, he signed with song publishers Roosevelt Music in New York’s famous Brill Building, where he shared a cubicle with his cousin, ace arranger Horace Ott. Gladys Knight & the Pips delivered Don’s ‘Letter Full Of Tears’ into the Top 20 in 1962. His profile raised, Don was sought out by Atlantic Records’ Jerry Wexler on the hunt for material for Solomon Burke, thus beginning a long and fruitful relationship that would see the name Don Covay grace the record labels of many of the company’s major soul stars. In 1964 Goodtimers’ guitarist Ronnie Miller came up with a catchy lick that evolved into ‘Mercy Mercy’, which saw Don finally crack the Top 40. The number would be a cream cut on the Rolling Stones’ “Out Of Our Heads” album in 1965, swelling Don’s coffers further. Meanwhile, he was added to the roster of Atlantic, who dispatched him to Stax Records’ studio in Memphis to record. The trip did as intended, returning him to the charts with the blistering ‘See Saw’, co-written by guitar genius Steve Cropper. 1965 also saw Little Richard enjoy the biggest hit of his post-50s career with Don’s masterpiece ‘I Don’t Know What You’ve Got But It’s Got Me’. Don continued to record prolifically for Atlantic, but of his subsequent singles for the company, not one reached the Hot 100. Fortunately, the fallow period was offset by the massive success of Aretha Franklin’s version of Don’s ‘Chain Of Fools’ and her revival of ‘See Saw’. Don remains best remembered as a performer. Given that his catalogue runs to several hundred songs and his client list as a writer includes – in addition to those already mentioned – Connie Francis, Etta James, Wilson Pickett, Joe Tex, Ben E King, Jerry Butler and dozens more, the man deserves to be a household name, regardless of his great body of recorded work. By Malcolm Baumgart (Ace Records) |
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Ace Records 2012 | CD | 20.00 € |
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| VA: - Heartattack ! 1954-1965 Wild & Crazy L.A. R&B Vol. 2 29 tracks |
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Panic Records 2006 | CD | 18.00 € |
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| VA: - Heroes Of Pub Rock - Living On The Front Line Ducks Deluxe, Nick Love, Das Luftwaffegeschaft, The Pirates, Wilko Johnson And Lew Lewis Band, Mick Green |
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Magnum Music 1994 | CD | 15.00 € |
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| VA: - Hideaway Heaven Vol. 4 |
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Rare Rockin' Records 2003 | CD | 17.00 € |
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| VA: - Hittin' On All Six 4 CDs = 94 tracks + 52 page booklet |
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Proper 2000 | CD-Box | 22.00 € |
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| VA: - Hollywood Rock'n'Roll Record Hop old Crown LP now on CD plus nine bonus tracks |
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Ace Records 2006 | CD | 17.00 € |
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| VA: - Holy Mackerel ! Pretenders to Little Richard's Throne 25 breathlessly rockin' homages to Little Richard ! |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Honey & Wine - Another Gerry Goffin & Carole King song colle As a kid Goffin developed a taste for Broadway musicals and began creating songs in his head. With a vague ambition to one day write a musical of his own, he enrolled at college to study chemistry. It was there that he met 17-year-old Carole, a keen amateur rock’n’roll songwriter in search of a lyricist. They hit it off right away, penned a few songs together and dropped out of college to get married. In 1960 they joined Carole’s pal Neil Sedaka as staff songwriters at Aldon Music, a fledgling publishing house headed by Al Nevins and Don Kirshner. Within a couple of years they were the most successful songwriters in the country. We like our original versions at Ace and a few are included here. Bobby Vee recorded ‘Go Away Little Girl’ before Steve Lawrence got his mitts on the song for example, while the Rising Sons (Ry Cooder’s early band) cut ‘Take A Giant Step’ before the Monkees did and stylish jazz diva Nancy Wilson’s reading of ‘No Easy Way Down’ was taped before Carole’s own version was released. If you’ve ever wondered how many Goffin and King compositions the Monkees recorded, the short answer is 18, the most successful of which was ‘Pleasant Valley Sunday’, the couple’s restless ode to life in suburbia, included here. (The long answer is contained in the booklet.) While not all of Goffin’s lyrics are autobiographical, it is tempting to assume that ‘So Goes Love’, heard here by the Turtles, documents the breakdown of his and Carole’s personal relationship. Thankfully, they continued writing together after their divorce. As with our earlier volume, this set includes familiar hits (the Monkees, Maxine Brown’s ‘Oh No Not My Baby’, the Drifters’ ‘Up On The Roof’, Gene McDaniels’ ‘Point Of No Return’, etc), overlooked gems (Chuck Jackson’s ‘I Need You’, Jan & Dean’s ‘The Best Friend I Ever Had’, Freddie Scott’s ‘Brand New World’, ‘I Happen To Love You’ by the Myddle Class, to name just four) and some new to CD rarities (‘Stage Door’ by Peter James, ‘They’re Jealous Of Me’ by Connie Stevens, ‘The Boy I Used To Know’ by Andrea Carroll, Jody Miller’s very non-PC ‘He Hit Me (And It Felt Like A Kiss)’ and Carolyn Daye’s ‘A Long Way To Be Happy’). BY MICK PATRICK (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Honk! Honk! Honk! 30 biisiä fonistien parhaita.. Chuck Higins, Joe Houston, Jack McVea, Lorenzo Holden, Roy Milton.. |
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Ace Records 2000 | CD | 18.00 € |
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| VA: - Honky Tonk - Charlie Gillett's Radio Picks had just passed my thirtieth birthday when I got my own radio show in March 1972, being set loose to play pretty much whatever I wanted, Sunday lunchtime on the BBC’s local FM station, Radio London. Just 45 minutes at first, it was fairly soon extended to an hour and then to two hours, broadcast every week until 31 December 1978. For a while, all I wanted to do was play every great record with rock’n’roll in its blood, many of them rarely, if ever, heard on British radio, and most of them emanating from the southern states of America. In those days, pop music in the UK was played on medium wave stations and this show on FM radio might easily have remained a well-kept secret if it had not been championed by John Collis, radio correspondent for London’s weekly listings magazine Time Out. When John heard the rumour of the show he called up a week or so ahead of the first programme to ask what I was planning to do; it soon became clear that he needed some kind of identity for each programme in order to be able to justify mentioning it on a regular basis. So I began with a programme of records made in New Orleans and Louisiana, and returned to that region several times, as well as moving west to Texas and even further out to California, north to Memphis and Chicago, and often grouping records with particular themes. I can no longer remember how I ran across every track included here, but probably as many as half of them were tips of one kind or another, while many of the others had been unearthed during the previous five-year period when I was working on a history of popular music, called The Sound Of The City, which traced the emergence and evolution of rock’n’roll out of independently-recorded R&B and country music in the late 1940s and early 50s. As the grapevine spread, listeners started to get in touch to tell me about records I seemed unaware of, not only obscure originals from the 1940s and 50s, but current artists too. I had a pretty frosty attitude towards a lot of current British pop, even though much of it was made by people my own age and with similar tastes. I never did play T Rex, Roxy Music, Wizzard or Slade but was thrilled to make room for JJ Cale, Jesse Winchester and Delbert McClinton. No coincidence, most of them were from the American South too. Among the regular listeners were many people who knew far more than I did, some of them dedicated to finding every possible piece of information about the records they liked best – dates and locations of when and where they were recorded, names of any and all sessions musicians and which little label released the record first. Such people can be notoriously possessive of what they have discovered, but I was lucky to be befriended by Bill Millar, John Anderson, Ray Topping, Errol Dixon, Rob Finnis and others, who between them managed to make up for my woeful ignorance and gave me a much better education than I ever had in school or university. As far as I was concerned, Honky Tonk was a shared forum and bulletin board for the music we all revered. One of the greatest surprises was that the programme drew an audience of real live musicians in London, who liked this kind of music themselves, and some of them began to submit their demo tapes. By Charlie Gillett (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Honky Tonk! King & Federal R&B Instrumentals R&B instrumentaaleja - Mm Earl Bostic, Bill Doggett, Freddy King jne |
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Ace Records 2000 | CD | 18.00 € |
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| VA: - Hoss Allen's 1966 Rhythm & Blues Revue - The Beat The !!!! BEAT was the first syndicated black music television program in history and was the brain child of William Hoss Allen. Allen was a disc jockey on WLAC radio in Nashville, a 50,000 watt clear channel station that could be heard from Alasca to Jamaica on a cleaner night. By the mid sixties Allen owned several record labels and publishing companies, a production company and managed and booked recording artists. In 1966 he set his sights on a syndicated television show and a deal was struck for 26 shows, with a fabulous house band, (The Beat Boys), fronted by the legendary Johnny Jones with Clarence Gatemouth Brown, backing a who's who of the rhythm and blues world at the time. |
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Superbird Records 2010 | CD | 17.00 € |
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| VA: - House Rent Party Vol. 1 |
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Rent House Records 2011 | LP | 15.00 € |
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| VA: - House Rent Party Vol. 2 |
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Rent House Records 2013 | LP | 15.00 € |
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| VA: - How Good Girls Learn To Be Bad Part 1 25 tracks 50s and early 60s female rockers etc.. |
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2011 | CD | 15.00 € |
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| VA: - Hunter Hancock Presents: Blues & Rhythm Midnight Matinee 14 tracks. Recorded live from Olympic Auditorium, Los Angeles - September & October 1951 |
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Route 66 | LP | 15.00 € |
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| VA: - Hy Weiss Presents - Old Town Records 2CD 2CD = 60 tracks from Old Town Records. |
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Ace Records 2003 | CD | 25.00 € |
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| VA: - I Hate Cherries The middle-1950s gave rise to a re-birth of the big-voiced female blues shouters who had first been heard on records some three decades earlier with the arrival of Ma Rainey, Bessie Smith and many others who followed in their footsteps. In the immediate aftermath of World War II, cocktail jazz and torchy ballad singers seemed to predominate among the femme record names, what with the popularity of Nellie Lutcher, Dinah Washington, at al holding sway with the record-buying public. But the brand of jump blues pioneered by Louis Jordan and his followers also gave rise to the return of full-throated female warblers which seemed fully underway by 1953, when Willie Mae 'Big Mama' Thornton and Big Maybelle Smith scored their Top 10 R&B successes with 'Hound Dog' and 'Gabbin' Blues' among others. They would soon be followed by Ruth Brown, Lavern Baker, Etta James and other successful practitioners of the style, whose influence carried over into the pop field with recordings by Georgia Gibbs, Lillian Briggs, Helene Dixon and many more. This CD compilation attempts to survey some of the less-conspicuous examples of big-voiced female R&B shouters, some of whose names have been lost to the archives, and others who went on to fame and fortune as their careers changed direction with the times. Here, then, is a track-by-track rundown of what is known about these artists... |
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Sleazy Records 2010 | CD | 15.00 € |
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| VA: - I Hate Cherries Vol. 2 serious 50's female jivers |
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Sleazy Records 2011 | CD | 15.00 € |
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| VA: - I Love to Hear My Baby Call My Name - The Ego Songs 29 biisiä vuosilta 1945-1952 |
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El Toro Records 2005 | CD | 17.00 € |
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| VA: - I Smell A Rat - Early Black Rock'n' Roll # 2 1949-1959 2LP |
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Trikont 2011 | LP | 28.00 € |
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| VA: - Iron Horse The Iron Horse gathers a selection of 18 tracks from the golden age of the railroad – 1926-1952 – tales of myth and romance chronicling the seminal role in American history played by development of this most romantic mode of transport. Tracks from artists including Red Foley, Roy Acuff and Merle Travis document the resilience of the people of the tracks and the life of the hobos nearby, and paint strong lyrical imagery of the iron horse and the indelible mark it left. |
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Buzzola 2004 | CD | 15.00 € |
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| VA: - It Came From Memphis 19 biisiä Memphis R&B |
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Upstart Records 1995 | CD | 17.00 € |
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| VA: - Jamaica Selects Jump Blues Strictly For You 3CD Fantastic Voyage takes another dip into the bubbling cauldron of R&B which sewed the seeds for ska on Jamaica’s sound systems in the 1940s and 50s, lashing together 85 sizzling biscuits from that formative, feet-finding era.It’s well established that the US R&B which started bombarding the island through radio after World War II was picked up by sound systems such as Clement ‘Coxsone’ Dodd and Prince Buster, germinating into ska after mating with the Caribbean’s own calypso and other local musical strains. The records being produced in America’s Southern states and cities like New Orleans were loosely termed ‘shuffle blues’; contagious, jumping and bulging with animated incitements to party, dance or get down and dirty, many boasting some of the most caterwaulingly volcanic saxophone solos known to man.The tracks presented on Jamaica Selects Jump Blues Strictly For You straddle the shuffle blues panorama over three CDs (many making their debut in this format). The first disc’s The Roots Of Shuffle Blues (1944-1951) takes off like a rocket with names including post-war godfather Louis Jordan, Joe Liggins and his Honeydrippers, Roy Milton, Sherman Williams, Dave Bartholomew, Lowell Fulson, Jimmy Liggins, Amos Millburn, Roy Brown and T-Bone Walker. CD2’s The Golden Years Of Shuffle Blues (1951-1954) is emblazoned with the likes of Oscar McLollie, Chuck Higgins, Rosco Gordon, Fats Domino, Ruth Brown, Jack Dupree, Chuck Willis, Guitar Slim, the Charms, Marvin & Johnny, Tommy Ridgley, Earl Curry, Floyd Dixon, the Rocking Brothers and, of course, Louis Jordan. By CD3’s The Big Three Take Over (1955-1960) the rhythm firing on the upbeat over walking bass is blueprinting the ska spring with names such as Nappy Brown, Plas Johnson, the Penguins, Mello-Harps, Big Joe Turner, Shirley & Lee, Vince Monroe, Smiley Lewis, Lloyd Price, Ivory Joe Hunter, Professor Longhair, Clyde McPhatter, Johnny Otis, Earl Hooker, Ernie Freeman and Hal Paige & The Wailers.These discs should come with a warning: lethal rocking and leaping skank blueprints running amok, beautifully presented with knowledgeable, fact-packed annotation. |
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Fantastic Voyage 2012 | 2-CD | 18.00 € |
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| VA: - Jaxyson Records Story |
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Acrobat Music 2008 | CD | 10.00 € |
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| VA: - Jerk ! Shake ! And Vibrate ! |
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Soul City Records | CD | 18.00 € |
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| VA: - Jerk Boom Bam Vol. 5 |
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Jerk Boom Bam 2012 | LP | 17.00 € |
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| VA: - Jerk Boom Bam Vol. 6 |
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Jerk Boom Bam 2012 | LP | 18.00 € |
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| VA: - Jerk Boom Bam Vol. 1 |
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Jerk Boom Bam Records | LP | 17.00 € |
