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Blues / Rhythm & Blues

Result of your query: 2374 products

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Ray Collins' Hot-Club feat Big Jay McNeely and Mike Sanchez - Goes Intercontinental
their latest and greatest album so far. With fantastic visitors. Also superb digisleeves
Brisk Records 2009 CD 15.00 €
Rhythm Kings - A Fool No More / Leave My Woman Alone
Early 60's new breed R&B Bluesband from Enviken, Sweden. Longwaited debout from this great group.
Vintjarn Records 2009 Single/EP 7.00 €
Ronnie Earl & The Broadcasters - Living In The Light
Ronnie Earl on musiikkitaivaan loistava tähti vaikkei hän koskaan keikkaile, ei esiinny yksilläkään rokkifestareilla,
häntä ei tulla näkemään David Lettermanin showssa eikä muutenkaan televisiossa, haastatteluja häneltä on turha
odottaa eikä hän muutenkaan pidä minkäänlaista meteliä itsestään. Riittää, kun hän keskittyy olennaiseen ja tekee
aika ajoin tajunnanräjäyttäviä albumeita. Tässä yksi sellainen.
Stony Plain 2009 CD 17.00 €
Roomful Of Blues - Essential Recordings - Jump Blues Classics
Rounder Records 2009 CD 15.00 €
Rosie Flores & The Pine Valley Cosmonauts - Girl Of The Century
With over half a century of hard roots-rabbling between them, Rosie Flores—the Rockabilly Filly, and Jon Langford—head Mekon, Waco Brother and conductor of the Chicago-based collective the Pine Valley Cosmonauts, blast a sonic contrail stretching from Texas to Wales, from the dusty hill country to the dusky fetter cairns. These two long-celebrated musical forces, one with her cowboy boots firmly in the dance halls and the other with his work boots sloshing around puddles of beer in the pubs, come together for Girl of the Century, an album of spirited and soulful romps through the back roads of American music.

Recorded live-in-the-studio hot with the Cosmos tackling their task at the knees, Girl of the Century crackles with effusive energy. Anchored by the crack rhythm section
of Tom Ray (Neko Case, Devil in a Woodpile) on bass and Joe Camarillo (Waco Brothers, Dollar Store) on drums, the Cosmos find a groove and lock it in, be it the suave blues of “Chauffeur,” the Bob Wills smooth swing of “Little Bells” or the wild rockabilly of “This Little Girls Gone Rockin’.” Throughout, Pat Brennan’s stone-cold honky-tonk piano and John Rice’s count-in fiddle keep the boots firmly on the rail.

Rosie’s front and center vocals have never sounded better. From her saucy growls to kittenish sass to clarion Ronnie Spector smarts, there’s a versatility here she’s only hinted at on previous albums. Smooth, cheek to cheek balladry like “Last Song” and “Dark Enough,” a torch number so swampy it’s easy to imagine her draped over a mossy piano, sashay against a more playful and powerful side when she gets her pop rocks off Maggie May-ish blue-eyed soul style on the Langford penned “Halfway Home” or the Little Sisterera Elvis rocker “This Cat’s in the Doghouse” co-written by Patricia Vonne. For a little slice of heaven from the Conway and Loretta playbook, look no further than the old school duet with Langford “Whose Gonna Take Your Garbage Out?”
It’s all Texas twang and blustery, rolling rrrr’s.

Given that this is a Rosie Flores album, though, one expects guitar heroics. With Langford’s chunky punk roots, John Rice’s clean lines and Rosie’s off the charts vivacity and dexterity, Girl of the Century delivers with a handful of spades. There’s revved up runs straight outta Sun Records on “This Little Girls Gone Rockin’,” the exaggerated wah wah on” I Ain’t Got You,” and urgent straight up rock and roll in “You’re the One.” Check out the jolt she provides on the oft-covered Johnny Cash’s “Get Rhythm.”

This album is a gas, friends. We're ever so happy to bring these two super cool artists together.
Bloodshot Records 2009 CD 17.00 €
Roy Lee Johnson - When A Guitar Plays The Blues
The first, long overdue, collection of rare but sought-after singles by Roy Lee Johnson, the underground hero of guitar freaks and deep soul fans. Includes 'Mister Moonlight', known to millions by the Beatles but originally by Dr Feelgood and the Interns (vocal: Roy Lee Johnson) and the first version of 'When A Guitar Plays The Blues', since revived by Albert Collins and Roy Buchanan. Eleven previously unissued tracks including four by underrated soul man, Curtis Smith, Johnson's fellow singer-guitarist in the Interns. The most soulful of Sixties soul packaged with all Bear Family's meticulous attention to detail including a lavishly illustrated essay by über-fan and soul authority, Martin Goggin. -- Roy Lee Johnson first came to attention as the occasional vocalist with the Interns, a R&B band led by blues shouter Dr Feelgood, aka Piano Red. But there's a whole lot more to this songwriter, guitarist and singer of soul with a capital 'S'. Johnson's little heard treasures of Southern soul are finally served up on one CD. Everything he recorded for Okeh, Columbia, Josie and Philips is here; records you'd never own without spending months on e-bay and trunkloads of cash. -- There are gritty dance workouts, lilting soul ballads, ferocious instrumentals and devastating deep wrist-slashers from Muscle Shoals. Sixties soul reissues may be coin of the realm these days but few are quite as essential as this scorching collection of Roy Lee Johnson's best performances.
Bear Family 2009 CD 20.00 €
Sam & Dave - Sam & Dave
Originally released in 1966, this 12-track collection gathers both sides of the six singles Sam Moore and Dave Prater recorded for the Roulette label between 1962 and 1964. Less dynamic than the duo's legendary sides for Stax and Atlantic later in the decade, this is nonetheless fine early 1960s deep soul, highlighted by the excellent "Listening For My Name."
Collectors Choice Music 2009 CD 9.90 €
Shirelles - Swing The Most / Hear & Now
In 1964, the Shirelles had all reached the age that would permit them to access royalties that had supposedly been accruing on their behalf. When they approached their record label, Scepter, for what they believed was owed to them, all they had coming was another think. Their big hits of the previous three years – including ‘Soldier Boy’, ‘Will You Love Me Tomorrow’ and ‘Mama Said’ – had seemingly amounted to very little in terms of folding money. They sued Scepter for non-payment and went on strike at what turned out to be a crucial time in respect of their future success.

Not everyone was as angry with Scepter as the Shirelles were. The fall out actually proved to be a blessing in disguise for fans as, with the girls refusing to record, label boss Florence Greenberg was forced to trawl the vaults for hitherto unreleased masters. Such great singles as ‘Sha-La-La’ were the result of the vault excavation, along with two original albums that make up Ace’s fourth Shirelles 2-On-1, “Swing The Most” and “Hear & Now”.

Both albums were originally released on Pricewise, a new budget subsidiary of Scepter. There’s little doubt that Mrs Greenberg saw them as potboilers, designed to keep the name of her flagship group out there while they were refusing to record. Shirelles fans saw them differently, and still do. To them – us! – these are every bit as potent as their best official releases and considerably better than some of them. “Swing The Most” in particular is full of sensational sides that might otherwise have sat on a shelf for decades, among them the original versions of ‘Oh No, Not My Baby’ and ‘Get Rid Of Him’, to name just two of its many delights.

The writer credits for the unissued material on both albums reads like a who’s who of New York’s finest tunesmiths of the day – Goffin & King, Van McCoy, Ed Townsend, Don Covay, Toni Wine, Luther Dixon and others of equally incomparable calibre. From a distance of 45 years, it’s almost inconceivable to think that their first rate submissions for the girls might not have been heard at the time, but for a fall out over money.

Although these albums were originally issued only in mono, many of the tracks were mixed into real stereo at the time. Wherever possible, we have gone for the stereo versions, in order to provide a fresh perspective on both familiar and unfamiliar repertoire. We have also reinstated ‘That Boy Is Messin’ Up My Mind’ into the running order of “Swing The Most” – it featured on the album cover, front and back, but never made it to the vinyl.

“Swing The Most” and “Hear & Now” rank as two of the best girl group albums of all time and it’s a privilege to have them on Ace at long last.

by TONY ROUNCE (Ace Records)
Ace Records 2009 CD 17.00 €
Sir Julle Nättington & Tohtorin Ohjeet - Valmis Rokkaamaan !
Sir Jullen taustalla Doctors Order vahvistettuna Juha Takasella. Toimivaa suomenkielistä rokkia !
Nättington Records 2009 CD 6.00 €
Spaniels - The Very Best Of The Spaniels
30 tracks of their Vee-Jay Recordings 1953-1960
Snapper Music 2009 CD 12.00 €
Steve Hooker - Sugar Devil EP
Witchcraft Records 2009 Single/EP 5.00 €
Sun Ra - I Am Strange / I Am An Instrument
Norton Records 2009 Single/EP 6.00 €
Sun Ra And His Arkestra - Interplanetary Melodies
Norton Records 2009 CD 17.00 €
Sun Ra And His Arkestra - Rocket Ship Rock
Norton Records 2009 CD 17.00 €
Sun Ra And His Arkestra - The Second Stop Is Jupiter
Norton Records 2009 CD 17.00 €
Sweet Emma And The Mood Swingers - Turn It Up
Sweet Emma and her groovy Mood Swingers know exactly what they are doing. They keep the melodies in focus and the harmonies in total control, which means the chord changes are solid as a rock and the improvisations soar with creativity and personality. There is no doubt that they pour their hearts into their music. This swedish group know how to swing!
Heptown Records 2009 CD 9.90 €
Texas Slim - Driving Blues
Texas Slim lays down authentic Texas Blues gristle that gets right to the heart; always rockin’, but also soulful, and sometimes sweet. The sassy guitar work that slides off his fingers has "Texas" written all over it. Most guitar players just dream of being half this good.
Blues Boulevard 2009 CD 20.00 €
The Pirates - Live In America
It was in the 1950s when three young Londoners - Mick Green
(guitar), Johnny Spence (bass and vocals) and Frank Farley (drums) - first
joined forces to form a band. Their first offerings followed the Skiffle
craze (The Wayfaring Strangers) soon it was Rock'n'Roll (Johnny and the Ramrods)

The Pirates got their first big break in the early 1960s when they became the backing band for British rock'n'roll singer Johnny Kidd, who is best known for his big hits like "Shakin' all over", "Please don't touch",
"I'll never get over you" and "Hungry for love". During their years together, Johnny Kidd and the Pirates toured extensively in Britain and Europe (especially in Hamburg), and on several occasions with the Beatles
or Rolling Stones as their warm-up act. On one occasion, Frank the Pirate and Brian Jones had a fistfight after a gig at the famous 100 Club in Oxford Street, London. No need to mention (or should I say munchen?!?) who got beaten!

Johnny Kidd and the Pirates recorded some of the very best British rock'n'roll
and rhythm & blues of that era. The Pirates also made the first recordings on their own without Kidd in 1964. The single "My babe" / "Casting My Spell" featured Spence also on vocals, and is ever since considered a classic.

Tragically, Johnny Kidd was killed in a car-accident in Lancashire in October 7th 1966. He was just 30 years old.

In December 1976 The Pirates featuring Mick, Johnny and Frank returned with a vengeance. A one-off gig was a huge success, wowing the press and fans alike, and so their never-ending tour started. There is a saying in
the music business; "never follow the Pirates!". Anyone who has seen them in action will understand that they were unbeatable on stage, and to follow them was definitely a mission impossible and an artistic suicide.

They also gave the world four stunning albums; "Out Of Their Skulls", "Skull Wars", "Happy Birthday Rock'n'roll" ( or "Hard Ride" if you were American) and "Fistful Of Dubloons", which are also now considered
rock'n'roll classics.

In November 1978 The Pirates took to the road for a four show tour in America, and had a big time there. Everything about the tour was huge; the venues, stages, audiences, limousines, hotel suites, cigars, bars... At
this point the Pirates had been working relentlessly for two more years,
playing hundreds of gigs and somehow finding time to record and release both of the "Skull" albums. So when the call from America came, they were up for it, ready to rock'n'roll and play better than ever. Luckily one of
these legendary gigs was recorded, but it took some 30 years for Johnny Spence to come across the tape from his archive collection.

And for goodness (note: I'm not using the F-word here!) sake here are the merciless threesome, live in America getting even with all guns blazing.
Keeping the Pirate-flag flying high and taking no prisoners. This stunning, long-awaited 16 track set features all of their classic songs, and is undoubtedly one of the greatest live Rock'n'Roll records of all time.
It presents the greatest rock-trio of all time at the peak of their powers and wilder than ever. Pure, tough, hard rockin' and rollin' music delivered in the way only the unholy trinity of Green, Spence and Farley know how.

Nobody does it like the Pirates!

Teppo Nättilä
Music and Cigar Journalist, Musician

LP VERSION - limited pressing - 500 copies on GREEN VINYL ! Please act fast to get Your copy. Ask for more information.
Goofin Records 2009 CD 15.00 €
Tinez Roots Club - Something You Got
great swing group from the Netherlands
Rhythm Bomb Records 2009 CD 15.00 €
Tony Allen - Here Comes The Nite Owl! - West Coast R&B And DooWop 1954-61
New Orleans-born, Los Angeles raised Anthony Penia Allan cut one of the all time great 45s of doo-wop, ‘Nite Owl’, at his first important recording session. It was immediately huge in his adopted hometown, and was just about to break nationally when Allen decided to move from Specialty, for whom it was recorded – to another label. Despite having a potential hit on its hands Specialty withdrew its support for ‘Nite Owl’ and for its budding superstar. The record didn’t chart and Tony Allen’s career never really ignited thereafter.

Always hungry for a hit, Allen hopped from label to label throughout the second half of the 1950s, recording for just about all of the most important imprints in and around the Los Angeles area in his quest for instant success. His reluctance to stay contracted to any given label, if things were not working out as quickly as he wanted them to, certainly didn’t work in his favour from a career-building standpoint. But the records Allen cut between 1954 and 1962 showed that he definitely had the talent to become a big star, even if his abundant desire for that to happen overnight often resulted in rapid contract termination.

Tony Allen recorded for around a dozen labels in a little less than seven years. Ace’s “Here Comes The Nite Owl” – named for his career song – gathers together all of his surviving work for just four of them, namely Dig/Ultra, Ebb, Kent/Modern and the aforementioned Specialty. Several rare singles are included along with the Crown album “Rock And Roll With Tony Allen And The Night Owls”. Individually and collectively, the tracks give a picture of a highly talented vocalist who could cut it just as cleanly on up-tempo rockers as he could on lugubrious doo wop ballads. There’s plenty of both types of material on show here, and all tracks are presented from the original master tapes.

Of course, Tony was by no means the only kid on his particular block who could do this, but one can’t help feeling that, had he allowed only one label to develop his career rather than move from company to company on what must often have been little more than a whim, he might be regarded with the same sort of worldwide admiration as his peers Jesse Belvin and Richard Berry, rather than just as the man who gave the rock ‘n’ roll world ‘Nite Owl’ and a few other goodies.

The bootleggers already made hay, down the years, with a hefty chunk of Allen’s catalogue. However, more than two-thirds of the sides featured on this, the first ever 100% legit Tony Allen CD, here have never been digitised before, and several have never been issued at all. It’s been a long time coming, but those who continue to write and e-mail us for more vintage rhythm & blues releases will surely be glad that the ‘Nite Owl’ is finally making a well-deserved appearance in the Ace catalogue.

By Tony Rounce
Ace Records 2009 CD 17.00 €
VA: - 18 Classic Blues Songs From The 1920's Vol. 7
Featuring "This Old World's In A Hell Of A Fix" ! Newly remastered from the finest copies of the original 78 rpm records.
Blues Images 2009 CD 13.00 €
VA: - 1958 British Hit Parade Vol. 7 Part 1 4CD
4CDs = 101 tracks
Fantastic Voyage 2009 2-CD 19.00 €
VA: - 75 Pumpin' Piano Greats 3CD
Fantastic Voyage 2009 2-CD 17.00 €
VA: - B-Seiten
1-CD, 20 page booklet, 20 tracks, playing time 49:23). This compilation presents treasures hidden by the hits, Country & Western, Pop, Rock 'n' Roll, Super stars from the 1950s and 1960s, including an early masterpiece by The Beatles, songs by top-class authors, hidden pearls, to be discovered. -- From 'flip' to hit - from a B-side to success: more often than expected in the history of rock and pop, things turned out differently. All of a sudden, a 45 B-side became a non-expected success. Sometimes alert dee jays did recognize the real potential of certain tunes, thus playing the flip-side rather than the A-side. Needless to say, this attention did not generally lead to big sales - but even without a listing in the charts numerous B-sides had style and class. Some turned into favorites by fans, critics and disc jockeys alike. - Bear Family Records is presenting a collection of 20 songs, tunes you would never get tired of because they stood in the shadow of the A-side. This compilation features B-sides by American top artists like Fats Domino, Ricky Nelson, Eddie Cochran, Connie Francis, Gene Pitney, and The Everly Brothers. And even The Beatles are here, under their early name, The Beat Brothers, then the unknown backing group of British performer Tony Sheridan. - Highly respected composers and authors like Pomus/Shuman, Greenfield/Sedaka, Oldham/Penn, and Pockriss/Vance wrote excellent songs. All these tracks were originally hidden on the flip sides of popular hits on 45s during the 1950s and 1960s. They all have in common that even today they have the quality to be (re-)discovered as treasures in sound.
Bear Family 2009 CD 18.00 €
VA: - Bad Music For Bad People - Songs The Cramps Taught Us
26 track collection of wild irreverent rockabilly, demented rock ‘n' roll, wanton blues and the occasional Elvis wannabe. Vintage performances that were discovered by Lux and Ivy of The Cramps and spun on their various radio shows for WFMU or on Lux's Purple Knif Show. Many of the tracks here were also covered by The Cramps in their live sets or acted as inspiration for the band's own self-penned tunes.
Righteus 2009 CD 17.00 €
VA: - Berry Gordy - Motor City Roots
2009 is the 50th anniversary of the formation of the worlds most recognisable record label - Motown - and all through the year reissue CDs, major print articles and TV specials have celebrated the music of Berry Gordy.

This compilation is the first ever attempt to gather together examples of Gordy's song writing and production skills in the late 1950s prior to the formation of his legendary label.

This unique collection brings together many of the records that helped in the formation of Motown like Jackie Wilson's 'Reet Petite' written by Gordy and often cited as his first recorded composition along with Kenny Martin's version of 'My Love Is Coming Down' which is making it's CD debut.

To top it off this set also features the earliest recordings of Smokey Robinson & The Miracles as well as those of Motown stalwarts, Marv Johnson, Eddie Holland and members of The Originals who sang with The Five Stars.

Jasmine Records 2009 CD 12.00 €
VA: - Best Of Burlesque - 50 original club classics 2CD
Demon Music 2009 CD 10.00 €
VA: - Best of Howlin' Wolf 1951-1958 4CD
3 X CD + DVD. with music from those who influenced the wolf including Elmore James, Sonny Boy Williamson, Charley Patton, Skip James and many more.
Proper 2009 CD-Box 18.00 €
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)
Ace Records 2009 CD 17.00 €
VA: - Blues, Blues Christmas Vol. 1 1925-1955
Document Records 2009 CD 18.00 €
VA: - Bo Diddley Is A Session Man - Studio Work 1955-1957
Jerome Records 2009 LP 20.00 €
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.
Great Voices Of The Century 2009 CD 13.00 €
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)
Ace Records 2009 CD 17.00 €
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.
El Toro Records 2009 CD 12.00 €
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)
Ace Records 2009 CD 25.00 €
VA: - Foot Tappin' And Dance At The Screamin' Festival Vol. 2
DJ AT from the Netherlands has combined a great compilation of various roots music styles from the early 1930s to the early 1960s.

This CD is very good for all Your dancers out there.
El Toro Records 2009 CD 13.00 €
VA: - Golden Age Of American R&R - Special Doo Wop Edition Vol. 2
Special Editions of “The Golden Age of American Rock’n’Roll” have to be special to justify their existence and sequels, such as this, are subjected to even greater analytical scrutiny in the preparation process than even the preceding volume, thus avoiding the sense of déjà vu that blights many a follow-up work. Considering that doo wop was a largely American phenomenon and very much of its time, Ace’s Special Doo Wop Edition proved exceptionally popular.

Volume 2 mines the same rich seam of vocal group splendour – only it digs deeper, to bring us many of the more obscure or lesser doo wop hits – but hits nonetheless – by groups lost to posterity, counterbalanced by some better known names. Point is, they’re all great records and, as the majority of titles appear here on a legitimate CD for the first time (with the benefit of high quality mastering) both aficionados and the casual listener will find much to savour in this 30-track package.

Compiled by the painstakingly fastidious Rob Finnis and Trevor Churchill, Doo Wop 2 is programmed as much for listening pleasure as for its archival value. At this distance, one is struck by the purity of the performances – it’s the voices that win over every time, confirming doo wop’s standing as one of the truest American art forms.

The detailed and entertaining annotation by the American doo wop authority Peter Grendysa combined with the rare pictures in the mega-booklet bring the same warm glow to the senses as the music itself. Enjoy!

By Rob Finnis (Ace Records
Ace Records 2009 CD 17.00 €
VA: - Got Them Hillbilly Blues - 32 black blues boppers
While it is not often documented, it stands to reason that of all the many black artists who were influenced by country music radio in their childhood, a percentage would grow into maturity with a real feeling for hillbilly music and incorporate the style it into their own musical heritage, just as the white rockabillies introduced an urban blues element into their country music.

This album has been compiled to showcase this inverted spin on the conception of rockabilly - got them Hill Billy Blues?
El Toro Records 2009 CD 15.00 €
VA: - Granpa's Gully Rock - 25 Dynamite R&B Gems Vol. 2
25 great R&B tracks from 1958-1964
Floridita Records 2009 CD 15.00 €
VA: - Holy Mackerel ! Pretenders to Little Richard's Throne
25 breathlessly rockin' homages to Little Richard !
Ace Records 2009 CD 17.00 €
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’).

Ace Records 2009 CD 17.00 €
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)
Ace Records 2009 CD 17.00 €
VA: - Land Of 1000 Dances - All Twistin' Edition
In an era when we’re supposed to be running scared from warnings about the global effects of Swine Flu, Bird Flu and other pandemic ailments, it’s nice to recall a time when the only thing that was sweeping the world and causing mayhem everywhere that it went was an easy to master and perfectly innocuous dance called the Twist. Twistin’ affected the global template of dance like no other craze before or since and, at weddings, christenings, bar mitzvahs and social gatherings everywhere, people are still prone to go roundandaroundanda-upandadown whenever a Dave Doubledecks lets ‘Let’s Twist Again’ or ‘Twistin’ The Night Away’ fly – even people whose parents’ parents were not born when Chubby Checker first demonstrated how to do the dance on American Bandstand.

Originated by a giant of R&B, popularised by a Pennsylvanian former chicken plucker and sung about by everyone from the Chipmunks to the Beatles to Frank Sinatra, the twist is celebrating its 50th birthday this year. Needless to say, just about everyone above a certain age at Ace has grown up with the twist, so we thought we’d offer a salute to the Grand Dame Du Danse, in the shape of a new addition to our “Land Of 1000 Dances” series. To be 100% accurate, the twist really celebrated its half-century last year, but Hank Ballard’s original 1958 recording sat in a tape vault until 1995 so we’re counting up from the original release of his and the Midnighters’ King 45 in January 1959.

One or two big names of twistin’ claimed a prior engagement and couldn’t make our party, but we’ve pulled together 24 tracks that really represent the full spectrum of what the twist actually embraced. Here you’ll find high-profile rock’n’rollers (Bill Haley, Danny and the Juniors), R&B greats (Isley Brothers, Freddie King, Linda Hopkins) European Pop royalty (Petula Clark), TV and radio DJs (Clay Cole, Murray the K), hipsters (Louis Prima), doo woppers (the Zircons, the Marcels), hillbillies (the Sprouts) twist legends (Joey Dee) out and out novelties (Tyrone O’Saurus and the Cro-Magnons), the terminally obscure (Billy Huhn, Robbie Lawrence) and much more, all united in the intent to cause a mass outbreak of gyrationitis like they did last summer. Well, as many as 50 summers ago in reality, but who’s counting?

For a few years, the twist was as newsworthy as any big political story of the day – and given that most of those who made the news were to be found twistin’ their nights away at clubs, lounges and parties, that’s not so surprising. In the 21st century it’s not likely to dislodge the credit crunch and MP’s expenses from the top of any news bulletin, but the next time some earnest newscaster is reporting on a new outbreak of some fever of another, it might just be Twist Fever.

Shake it up baby, we got a new dance and it goes like this: come on everybody let’s twist – around the clock! “Eee-aaah, Yeah, just like this….”

By Tony Rounce (Ace Records)
Ace Records 2009 CD 18.00 €
VA: - London American Label Year By Year 1960
EMI didn’t have one until 1962, Philips never had one at all, Pye tried hard, but remained in division two for much of its life and the Rank Organisation had one that rang up such huge losses they pretty much gave theirs away. The label none of those companies could match was housed on the Albert Embankment, the home of the Decca Record Company – the label was London American and it, unlike Top Rank, Pye International and Stateside was the label you turned to most often when looking for the best in American pop, R&B and rock’n’roll.

America was the first country in which a London label appeared. It was the flagship of British Decca’s American operations as far back as 1934. In Britain, the London logo made its debut in 1949 releasing material culled from its American namesake, but also from early US independents like Audivox, Jubilee, Derby, Cadence, Imperial, Essex and Jubilee.

In 1954, a new prefix (HL) and numbering system (8001) was introduced and it’s this series that gave the London American label its legendary status. As rock’n’roll took hold in America new labels sprung up by the bucket load and Decca’s reputation for honest, straight forward dealing meant the new label entrepreneurs could trust Decca to pay its advances and deliver regular royalty statements and payments so the stature of the London American label grew rapidly.

EMI’s Columbia, Parlophone and HMV labels had some US hits, others turned up on smaller British labels like Melodisc, Oriole and Starlite, but the cream was always to be found on the silver and black London label. Here you’d find material from Atlantic, Liberty (whose ability to survive and expand was partly made possible by a financial leap of faith by Sir Edward Lewis, the chairman of Decca who, when asked for a hundred thousand dollars advance for the rights to the Liberty catalogue in the mid-50s offered fifty thousand more, such was his belief in Liberty’s founder Si Waronker), Cadence, Dot, Jamie, Sun, Chess, Specialty, Warwick, Imperial and United Artists, most of which became major players whilst others like Greenwich, Sunbeam, Paris, Dore, Arwin, Judd, JDS and countless others turned out to be little more than ‘here today, gone tomorrow’ operations. Still, their recordings all found a home on London American.

And so now Ace Records begins a year-by-year series celebrating the hits, misses and downright rarities that found a British outlet on the London American label, starting with 1960.

Here you’ll find familiar recordings by Chuck Berry, Johnny Tillotson, Duane Eddy, Eddie Cochran, the Ventures, the Coasters and Johnny Burnette, but look more closely and you’ll find lesser-known records from the Delicates, whose members we now know more about than ever we knew in 1960, Teddy Redell with a track that’ll set you back £50 or £60 pounds now and Sonny Burgess, a wild rock‘n’roller who hadn’t noticed America’s chart was full of boy next door love songs in 1960. Here too, you’ll find Vernon Taylor’s sought-after version of Elvis’s ‘Mystery Train’, and even a good-time country sound from Wynn Stewart which London chose to only manufacture in Britain as an export item.

But don’t let me keep you, grab your copy of The London American Label Year By Year and start re-living the sound of 1960. Then keep your eyes peeled for 1961, 1962, 1963.

By Austin Powell
Ace Records 2009 CD 17.00 €
VA: - Mad Mike Monsters Vol. 1 - A Tribute To Mad Mike Metrovich
The wildest 45s discovered and popularized by enigmatic Pittsburgh hoo-doo DJ during his primo prime years 1964-67, compiled into three sets of instant party mashers! Massive gatefold LPs tell the story of the Mad One in his own words, complete with tons of memories from his many local fans, while the CD packs deliver the same in a pocket-size format! Absolutely staggering array of sounds from this Norton icon! All sizzle, no gristle! This is the first volume.
Norton Records 2009 CD 17.00 €
VA: - Mad Mike Monsters Vol. 2 - A Tribute To Mad Mike Metrovich
The story continues in this massive gatefold second volume
Norton Records 2009 CD 17.00 €
VA: - Oh Yes, das ist Musik - Jive In Germany
Bear Family 2009 CD 20.00 €
VA: - Rare Blues & Soul From Nashville The 1960s
Rare Blues & Soul From Nashville The 1960s With the exception of New York City, Los Angeles and Chicago, Nashville, Tennessee had more independent record companies than any other city in the United States during the boom years of the 1940s, 1950s and 1960s. This collection will help you to get an idea what it was like during the golden era of Nashville Blues and Soul Music. They just don't make records like this anymore, but thankfully we can still hear them...and they sure sound good.
Superbird Records 2009 CD 18.00 €
VA: - Real Thing - The Songs Of Ashford, Simpson & Armstead
The songs of Nickolas Ashford and Valerie Simpson could occupy a whole Hall Of Fame to themselves. There can’t be any students of popular music who are not familiar with at least a few of their classics, be they their own hits like ‘Solid’ or those they wrote for Motown’s ‘A’ list artists, such as ‘Ain’t No Mountain High Enough’ and ‘Ain’t Nothing Like The Real Thing’ for Marvin & Tammi and ‘Reach Out And Touch (Somebody’s Hand)’ for Diana Ross.

These and many like them are as much a part of our lives as getting up in the morning. Less well known outside of connoisseur soul circles are the songs they wrote in the years immediately leading up to ‘Ain’t No Mountain’, with their original collaborator Joshie “Jo” Armstead. Between 1964 and 1967, the trio collaborated on a significant number of superior songs to provide hits for artists including Chuck Jackson and Maxine Brown, Betty Everett, Aretha Franklin and scores more.

This month we celebrate their three-way collaborations with “The Real Thing”, the latest volume in our songwriter series and the first to appear on Kent. This CD brings together just about all of the most notable “JoValNick” compositions and embellishes them with a handful of early songs that Ashford and Simpson wrote without Jo. Given that it’s a Kent CD, the soul content is very high – as well as those already mentioned, others who bring the songs to life include the Crystals, the Coasters, Candy and the Kisses, Tina Britt, the Shirelles, the Apollas, Marie Knight and blue eyed soulster Ronnie Milsap. (The inclusion of many of those and other equally notable names will ensure that it also goes straight onto the shopping list of every girl group aficionado…)

And as for those songs, there and many among those who will buy it who will not be familiar with at least one version of ‘Let’s Go Get Stoned’, ‘Running Out’, ‘Cry Like A Baby’ or ‘You’re Absolutely Right’. These are part of the very fabric of 60s soul and it would be impossible to imagine life without them after almost 45 years!

Mick Patrick has maintained the perfect balance between the strikingly familiar and sensationally obscure that we always continue to aim for throughout this series and he is to be congratulated for doing so, given that Nick, Valerie and Joshie worked together for a much shorter period of time than most of those who’ve so far appeared in the series.

Valerie and Nick are said to be hard to please when it comes to reissues of their early work, but they can feel justifaibly proud of this splendid revelation of the genesis of their songwriting (as can Ms Armstead).

Looks to me like this could be The Real Thing! Ain’t Nothing Like It…

By Tony Rounce (Ace Records)
Ace Records 2009 CD 18.00 €
VA: - Respect - Aretha's Influences And Inspiration
Considering she is still such an influence on so many others artists, Aretha Franklin’s own inspirations might have been a little overlooked. This Ace CD addresses that situation perfectly. The 24 R&B, soul and gospel recordings here, many of them performed by Aretha's favourite artists, helped influence and inspire her to become the great artist she is.

Aretha recorded a tremendous number of covers over the years. Her choices of the best songs to record in her own way were impeccable. ‘Respect’ is totally different to Otis Redding’s storming original and it established her as the female soul singer to beat for years to come. Likewise Don Covay’s See Saw’, which in her hands proved to be a bigger R&B hit than its writers’ own version.

An important influence on Aretha was Little Miss Cornshucks. Obscure to the general public, Ahmet Ertegun named her as his favourite blues singer of all time. Here is her recording of ‘Try A Little Tenderness’ from 1952, generally regarded as the first R&B version of this classic song. Aretha recorded the number for Columbia in 1962.

Aretha first heard Ray Charles’ version of ‘Drown In My Own Tears’ (originally cut by Lula Reed) on the radio one night after she had gone to bed. She said she heard his voice coming out of the dark and that she had never heard anything like that before. I’ve a soft spot for the version by the underestimated Jean Wells. Coincidentally Wells is featured here singing Clyde Otis’ ‘Sit Down And Cry’, later recorded by Aretha for her “This Girl’s In Love With You” album. From the same Calla label as Jean’s record comes ‘Prove It’ by the under-recorded Mary Wheeler from 1966, which Aretha cut a year after for the “Aretha Arrives” LP.

One of Aretha’s greatest influences was the gospel legend Clara Ward, featured here with ‘The Day Is Passed And Gone’, a song that was among the very first she covered, and sung by her at Clara’s funeral in 1973.

As often with Ace compilations an alternate, extended or album cut is used, not just securing sales to completists (join the club!), but giving an interesting slant on well-known or well-loved recordings. This collection is no exception, offering, for example, the stereo LP versions of Otis’s ‘Respect’ and Ben E King’s ‘Don’t Play That Song (You Lied)’, which features the verses in a different order to the single.

Other big names include Wilson Pickett with the tremendous ‘I’m In Love’ (Aretha considers Pickett to be one of the great soul singers, and vice versa, if you remember his comments about a party at her house in Only The Strong Survive), Bobby Womack, Howard Tate, Bobby Bland and Dinah Washington. The woman recently named the Greatest Singer of All Time by Rolling Stone magazine certainly has the best of taste.

(Ace Records)
Ace Records 2009 CD 17.00 €
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