Blues / Rhythm & Blues
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| VA: - Sweet Inspiration - The Songs Of Dan Penn & Spooner Oldham We have received many requests to add Dan Penn and Spooner Oldham to our songwriter series. It’s never really been about if we would, so much as when. With 2011 being something of a “Year Of Southern Soul” for Ace and Kent, what better way to kick it off than with a genius gathering of 24 of the best songs ever to bear their names below the title. “Sweet Inspiration” does a bang-up job of assembling the key songs Dan and Spooner wrote together during the 1960s and early 1970s. A quick look at the track listing will show prospective buyers that my co-compiler Bob Dunham and I have tried hard to make sure that there’s a version of every major Penn and Oldham composition included. We haven’t always chosen the obvious versions, so there will be some nice surprises here for even the most avid collectors. It was difficult to bring what started out as a massive wish list down to just 24 selections, but we think our choices do justice to the performers of the songs and, most importantly, the writers. Everyone will have their own highlights. Mine would include Arthur Conley’s Fame recording of ‘In The Same Old Way’ (which was originally written as a straight ahead country song) and country thrush Jeanne Newman’s riveting, previously unissued Goldwax recording of ‘It Tears Me Up’, one of the earliest songs Penn and Oldham wrote together. I’m also very partial to the Southern sincerity of the Box Tops’ ‘Everything I Am’ (a UK Top 3 hit for Plastic Penny in late 1967) and Tommy Roe’s little-known 1966 take on ‘Wish You Didn’t Have To Go’, a number made more famous a year later by James and Bobby Purify. But greatness abounds from beginning to end of this set, and it’s unlikely that any prospective purchaser will not be totally impressed by everything it contains. A companion volume – which will also include songs co-written by Dan and/or Spooner with collaborators such as Donnie Fritts, Rick Hall, Marlin Greene and Chips Moman – will hopefully see the light of day next year. In the meantime, here’s over an hour of the sweetly inspired songwriting of Wallace Daniel Pennington and Lindon Dewey Oldham. Oh, what a power! By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Teenage - Teenagers & Youth In Music 1951-1960 1-CD DigiPac (4-plated) with 68-page booklet, 34 tracks. Playing time approx. 83 mns. - Compiled by writer, journalist & film-maker Jon Savage. An aural (and visual) close study on the teenager phenomenon of the 50s. The teenager's role & position in 50s pop culture presented like never before. Endless classics (Chuck Berry's 'Sweet Little Sixteen', Dion & The Belmonts' 'Teenager In Love') mixed with more obscure masterpieces like Al Casey's raw 'Teenage Blues' and Portuguese Joe's wild and uncontrollable 'Teenage Riot'. Combined together they paint the full picture. - If anyone is suited to compile a CD themed about teenagers and their role in 50s rock 'n' roll and pop culture, it's UK music-historian, writer, journalist and film-maker Jon Savage. In 2007 Savage published a book about the teenage phenomenon ('Teenage: The Creation Of Youth 1875-1945') and Jon is currently working on a cinema release documentary based on this book. But first up is 'Teenage' on Bear Family Records. - 'Teenage' is a full length CD anthology that shines its spotlight on the teenagers of the 1950s, when the word 'Teenage' became the marketing hook of the new youth music: rock 'n' roll, ballads, doo wop, rockabilly, instrumentals and updated blues. - 'Teenage' covers the years 1951 to 1960. The thick booklet is lavishly illustrated with photos of rare 'teenage related' artifacts and memorabilia. Savage's in depth liner notes provide a fascinating read about the 'teenage' cultural phenomenon of the 50s as well as a detailed and personal track by track presentation of the songs. - It follows the Trikont release, 'Teenage: The Creation Of Youth 1911-1946'. |
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Bear Family 2011 | CD | 17.00 € |
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| VA: - The Big Beat - The Dave Bartholomew Songbook Great songs really do take on a life of their own and very often, unbeknownst to their creators, they’re discovered and interpreted by a wide range of different artists. One of the unexpected pleasures that Ace’s Songwriters series affords is underlining just how many styles and directions key compositions of yesteryear have taken. This collection of songs by New Orleans’ very own Dave Bartholomew is no exception as it weaves its way through 25 tracks of varied origins and labels. Two of Dave’s own recordings provide essential listening, led off by his original of the double-entendre-filled ‘My Ding-A-Ling’, which he later re-cut several times with different lyrics and which provided the template for Chuck Berry’s revival two decades later. Then you’ll find the much-revered parable ‘The Monkey’, which Elvis Costello memorably reworked some years back. Dave’s rich-toned narrative reigns supreme and is a cornerstone of his Imperial Records output. The set opens with ‘The Fat Man’ by Fats Domino and, although the technical limitations of that 1949 session are still obvious, the vibrancy of the performance is undeniable. Fats once told me that after Imperial-owner, Lew Chudd, received the master, he called and asked him to re-cut it, but a couple of days later he rang again to say he’d changed his mind and it was OK! Was that an understatement or what?! Other milestone Bartholomew productions featured here include Roy Brown’s hard-hitting version of ‘Let The Four Winds Blow’ (which Dave had first cut himself) and the gloriously prophetic ‘I’m Gonna Be A Wheel Someday’ as styled by Bobby Mitchell and co-authored by hillbilly singer Roy Hayes. As much as the multi-talented Bartholomew was writing, recording and producing in the Crescent City throughout the 1950s and beyond, his influence was being felt all over the musical world. This was clearly evident on the Johnny Burnette Trio’s rockabilly workout of Fats Domino’s 1955 charter ‘All By Myself’. Similarly, listen how effortlessly Jerry Lee Lewis slides into ‘Hello Josephine’ and how ‘I’m In Love Again’ fits Tom Rush like a well-worn rhythmic glove. Bartholomew was not aware at the time how influential and popular his music was in Jamaica. Neville Grant’s take on Chris Kenner’s ‘Sick And Tired’ provides ultimate proof that Dave’s big beat was perfectly adaptable to the reggae style. Another standout delight is the previously unissued cover by Annie Laurie of ‘3 x 7 = 21’, which Dave originally wrote and produced for Jewel King. The song became a benchmark in the Bartholomew catalogue and was successfully reworked as ‘21’ in 1954 by the Spiders, the group that cut the first version of ‘Witchcraft’, which Elvis Presley turned into a 1963 chart success, also included here. I must mention two other standouts: ‘Every Night About This Time’ by the World Famous Upsetters, which offers undeniable proof of Little Richard’s ability as a first-class blues wailer, and Dave Edmunds’ 1971 hit remake of “I Hear You Knocking’, which perfectly contemporised the song without diluting the memory of Smiley Lewis’ unbeatable original. By Alan Warner (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - The Fame Studios Story 3CD The acronym is F-A-M-E, but it may as well be S-O-U-L. It was a full half-century ago that the recording studio, record label and publishing operation originally known as Florence Alabama Music Enterprises established itself and its trademark sound with the hit recording of ‘You Better Move On’ by Arthur Alexander. In the fifty years since, FAME Studios and its idiosyncratic founder Rick Hall have been at the forefront of the Muscle Shoals Sound. FAME begat the process whereby a little known Alabama backwater would evolve into the very crucible of southern soul, a holy place to where musicians, singers and fans still make a very specific pilgrimage in the hope of experiencing a little bit of the magic behind so many hit records: ‘I’m Your Puppet’, ‘Land Of 1,000 Dances’, ‘Tell Mama’ and countless others. Rick Hall is now a grand old man of the music business, but back in the 60s he was more akin to an enfant terrible, with an unbending will that helped him make it against almost insurmountable odds, matched by an attention to detail that bordered on obsession. There have only ever been a handful of truly self-sufficient producer/engineers in the history of popular music, and Hall is pre-eminent amongst them. Atlantic, Chess and so many other legendary labels flocked to FAME to avail themselves of the sound, the players, the material, and most importantly the vibe that Rick Hall had created. The FAME Studios Story 1961-1973 is an exhaustive three CD set derived from two years’ worth of excavations by the intrepid Ace team at the hallowed FAME vault. The result is a full programme of FAME-related releases slated for issue on Ace, Kent, and BGP over the next couple of years, but the lynchpin is this definitive anthology that focuses upon the halcyon days of the studio and the label. It’s an open-minded, celebratory overview that, across 75 tracks, spotlights both artists and records that are either acknowledged greats, or lesser known – yet no less worthy – entries in the lexicon of soul. The line-up is a virtual Who’s Who of 60s soul, and includes Otis Redding, Aretha Franklin, Wilson Pickett, Etta James, Arthur Conley, Irma Thomas, Joe Tex, Joe Simon, Lou Rawls, Spencer Wiggins and Otis Clay. Deep soul fans will recognise names such as The Blues Busters, Billy Young, Maurice & Mac, Willie Hightower, Bettye Swann, James Govan and many, many others. Special attention is paid to those acts closely associated with the Fame label - Candi Staton, Jimmy Hughes and Clarence Carter - as well as its inestimable stable of writers, producers and players, including Dan Penn, Spooner Oldham, George Jackson and the Fame Gang. And the programme also includes several of the notable pop hits recorded at the studio by the Osmonds, Tommy Roe and Bobbie Gentry, as well as more obscure recordings by the Del Rays, Mark V and Terry & The Chain Reaction. With unprecedented access granted to its tape and photo archive, well over a third of the contents of The FAME Studio Story 1961-1973 are new to CD, and of those, over a dozen tracks are fully unissued – including previously unheard rarities by Otis Redding and Arthur Alexander. The heavily-illustrated package with an 84 page book comes laden with two informative essays and extensive track notes, all of which are based upon fresh interviews with many of the principals involved. If you know anything about soul music, you know FAME, which is why The FAME Studio Story 1961-1973 is an essential purchase. By Alec Palao (Ace Records) |
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Ace Records 2011 | 2-CD | 40.00 € |
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| VA: - The Music City Story 3CD Ray Dobard’s Music City Records of Berkeley, California, across the Bay from San Francisco, is a catalogue of mythic proportions that has been cherished for decades by a small hardcore of R&B, vocal group and, latterly, soul fanatics. Based on the available evidence – 50-odd 45 and 78rpm releases – and a lot of hearsay and rumour, many have spent hours fantasising about the purported riches in the possession of its famously protective, zealous owner. Ace Records is thus proud to unlock the Music City vault for the edification and entertainment of the world at large with the 3CD set “The Music City Story”, an unprecedented survey of the label’s 25-year operation, and an excellent primer for Ace’s forthcoming genre- and artist-based compilations of Music City material, telling the story with many rare gems from the catalogue and a surfeit of previously unissued goodies. Although Ray Dobard experimented with recording a variety of genres, the legend of Music City is predicated on its role as a premier exponent of black rhythm and blues styles, with a strong regional flavour. Most significantly, the sound of Music City was street. Much of what appeared on the label and lies in its voluminous cache of unreleased recordings can be said to reflect the evolution of black popular music between the early 50s and the mid-1970s. It reflects reality: this is what was heard in clubs and juke joints, at high school auditoria and rec centres, rent parties or literally out on the sidewalk, with all the dissonance and unoriginality that might imply, but matched equally by huge, invigorating dollops of innocence and exuberance, and a surprising amount of inspiration. Amongst the set’s 78 tracks are names familiar to doo wop and blues collectors – the Crescendos, Gaylarks, Rovers, 5 Lyrics, Alvin Smith etc – while behind several others lurk famous names (James Brown, Lou Rawls) or others soon to be famous (Sugar Pie DeSanto, members of Sly & the Family Stone). From the raucous jump blues of Del Graham’s ‘Your Money Ain’t Long Enough’ to the hip street soul of Darondo, the breadth of genres represented is extensive, but the overall emphasis in “The Music City Story” is upon the black vocal group, be it 50s, 60s or 70s vintage. It is the rich seam of Bay Area groups mined by Music City that collectors most closely associate with the label. Dobard had only a couple of minor hits – the 4 Deuces’ popular ‘W-P-L-J’, Johnny Heartsman’s raucous ‘Johnny’s House Party’ – but kept the tape machine running pretty much constantly for much of his quarter-century in the business. It has been many years since as significant a stash as Music City’s has come to light, and accompanying the tantalising musical treats is an extensive, heavily-illustrated sleeve note detailing the label’s history. Given that the late Dobard was notorious evasive, an air of mystery has always surrounded his activities in music, but this is the first time a recounting of the Music City saga has been based upon hard data, rather than supposition. Documents, letters, tape box annotations, discographical notes, session chatter, even recorded phone conversations form a considerable body of evidence, that helps bring into focus what this fiercely independent and pioneering black entrepreneur achieved. Ray was no Dootsie Williams or Jake Porter, but nevertheless, a picture emerges of a fascinatingly complex figure, whose role in the black music scene in the mid-20th century cannot be discounted. As venerable East Bay bandleader Johnny Talbot puts it, “to me, Ray Dobard was the foundation of Bay Area music. There was hardly anyone who did anything later who didn’t bump into Ray, so he had to be a foundation.” By Alec Palao (Ace Records) |
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Ace Records 2011 | CD-Box | 40.00 € |
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| VA: - Top Of The Tops tracks from 1950-1960. American, French and British hits from the era. |
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Magic Records 2011 | CD | 15.00 € |
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| Wynonie Harris - Jump Mr Blues - The Definitive Collection 2CD |
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Fantastic Voyage 2011 | 2-CD | 15.00 € |
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| Al King & Arthur K Adams - Together - The Complete Kent And Modern Recordings It’s true that we don’t release as many CDs of R&B and blues as we used to, for a variety of reasons, but Ace’s commitment to those genres remains strong. We’ll be stepping up our schedule in 2011 with several releases already planned for the early months of the year, including a further volume in the well-received “Mellow Cats & Kittens” series and a package of rare and unreleased 60s and 70s Ted Taylor material from Ronn. The next volume of material from John Dolphin’s tapes will also appear this side of next summer. Meanwhile, as a real end of year treat, we bring you, for the first time in once place, the complete Kent and Modern recordings of two west coast bluesmen whose work for the Bihari brothers has long been ripe for reappraisal – Al King and Arthur K Adams. “Together” contains at least one version of every track that the two recorded for Kent-Modern between 1966 and 1969. Although Arthur’s tracks lean more towards soul than those of his CD mate, there is synergy between the two groups of recordings, in that Adams is also the lead guitarist on most if not all of the Al King sides. Neither man cut enough solo material to fill their own CD but the sum of their work for Kent-Modern does that in a most satisfying manner. Al’s sides include the classic ‘My Name Is Misery’, its even better sequel ‘Get Lost’ and a slew of fine tracks that showcase his Percy Mayfield-influenced lyrics and delivery – many appearing in stereo for the first time ever. Arthur’s reputation among blues collectors was initially forged by his spellbinding ‘She Drives Me Out Of My Mind’, which first gained UK release on Blue Horizon. Here it’s also in stereo, taken from the mastertape that runs almost a minute longer than the original 45. Between the two of them they cook up a fine mess of blues and proto-bluesoul, aided by the fabulous arrangements of Maxwell Davis (who co-produced the sessions), musicians that number another west coast legend, Big Jay McNeely, among their ranks and – in Arthur’s case - duet partners of the calibre of Modern’s own Mary Love and Darlene Love’s sister Edna Wright (future lead singer of the Honey Cone). It’s a shame that Al’s and Arthur’s singles for Kent and Modern didn’t meet with the sales that they deserved at the time. That they didn’t is not due to the quality of repertoire or performance, which is first rate in every instance, as you’ll hear yourself, when you invest your money – wisely – in “Together”. By Tony Rounce (ACE Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Ana Popovic Band - An Evening At Trasimeno Lake - Live from The Heart Of Italy |
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Ana Popovic Music 2010 | CD | 20.00 € |
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| Barrence Whitfield And The Savages - Plus 10 More For The Pot n the spring of 1985, my old friend Dave Woodhead, who had turned me on to many musical treasures, including Jim Ford’s “Harlan County”, lent to me an album he’d picked up on a trip to the States. When Dave recommended something I took notice. The LP was the debut release of an R&B band then unknown outside of the Boston area. It was one of those moments in which I had to disagree with Bo Diddley: more often than not you can judge a book by the cover. Likewise an album. This one displayed an amateurish illustration of a cauldron in a jungle which itself carried with it a no-nonsense implication. The name of the band also advertised a record that was going to be uncompromising. Barrence Whitfield and the Savages sounds, on its own, like a declaration of rock’n’roll authenticity. Uncompromising would have been a description of Barrence and the Savages that the Del Fuegos would rather not have had confirmed only a few days after Dave had lent me the LP. I was standing next to them, on the side of the stage in a huge quayside club in Boston. The Del Fuegos were the headliners that night. And the man opening for them was, at that moment, being borne around the room on the hands of a frenzied crowd, a little black ball of energy in a turban and dark glasses – honking, wailing, testifying and twisting – as his band, the Savages, some distance away on stage, ripped through the swagger of ‘Walking With Barrence’. The Del Fuegos looked like they wanted to go home. What positioned Barrence and the band way beyond any other rock’n’roll of the era was a unique marriage of Barrence’s personality and R&B shouter elan to the bounce and insolence of Peter Greenberg’s essentially rockabilly guitar style. With the addition of much ill-mannered saxophone, we have here a band which embodied the heart and soul of rock’n’roll. I hadn’t got to the end of Side 1 of Dave’s loaned copy before I called the number in the States on the back. It was that of Barrence’s manager, Andy Doherty. “They’re playing this Friday and Saturday,” he said. That did it. I just hopped on a plane and went to Boston for the weekend. Andy, a nice man and professional fan, put me up. Barrence and I became instant pals and soul brothers. The source of his R&B credentials was clear on a walk with him around Boston. Barrence could not pass a collectors’ record shop and actually worked part-time in one. He knew his stuff and, unusually for a young black guy at the time, he was a real enthusiast for old R&B, soul, blues and country. Around the city, Barrence’s popularity was astonishing. Everyone seemed to recognise and adore the little bugger. If he’d run for mayor, I’m convinced he’d have walked it. I came home to evangelise on Radio 1 about the live experience of the band whose debut LP tracks on my programme were already sending listeners daft. And I did what I could to help set up the first British dates for Barrence and the band. Now, at last released on CD, is that astonishing album. If you were with us in 1985, you’ll welcome a replacement for your elderly Savages vinyl. If you are about to meet Barrence for the first time, be prepared to be shaken to your soul by the LP which made me hop immediately on a plane to the States and compelled one listener, another R&B screamer called Robert Plant, to track me down and phone me at home to reserve his ticket for Barrence’s first British gig. Be prepared, in fact, to be Savaged. By Andy Kershaw (ACE RECORDS) |
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Ace Records 2010 | CD | 17.00 € |
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| Billy Lee Riley - The Mojo Albums, plus (1-CD DigiPac, four panel, with 32-Page booklet, 29 tracks. Playing time: 87:59). --Both of Riley's rare and sought-after Mojo albums available now for the first time in 30 years. - The'Vintage' rock 'n' roll album features rockabilly legend Larry Donn whose red-hot rockin' piano helps Riley rip through ten rock 'n' roll classics in half an hour. Way to go! 'Southern Soul At The Brave-Falcon' serves up another 12 hypnotic tracks in a visceral, bluesy set of shuffling, rocking rhythms. You can practically smell the magnolia. Also included are the rare Mojo single as by Skip Wiley and a clutch of unissued tracks including a longer version of the Chuck Berry Medley. -- The late Billy Lee Riley was one of the titanic but unsung pioneers of rock 'n' roll. He was better looking than Carl Perkins, his multi-instrumental ability surpassed Elvis's, his confidence equalled Jerry Lee Lewis's. And he was important to Sun Records in ways other were not. Riley's musicians, co-opted as studio session-men, plotted the course of rock 'n 'roll as much as many a more celebrated band. - Like the household names, Riley had a life after Sun and this 29-track CD contains two diverse but equally versatile albums made some 14 years apart. 'Vintage', from 1980, is a solid, renascent set of immortal rock 'n 'roll classics inspired by the renewed European interesting rockabilly and Sun Records. Then there's 'Southern Soul At The Brave-Falcon' which features R&B standards, Top 40 tunes and Riley's own songs in a live nightclub recording which captures the best sounds of the era. It's sexy, blues 'n' boogie based soulful music and when Riley hollers 'Do the Temptation Walk' it's the mid-60s all over again. - As Bear Family always goes that extra, obsessional mile, we've included a longer undubbed version of the Chuck Berry Medley, several other previously unissued performances and a rare Mojo single issued under de pseudonym of Skip Wiley. |
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Bear Family 2010 | CD | 17.00 € |
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| Blasters - Non Fiction |
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Wounded Bird Records 2010 | CD | 15.00 € |
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| Blasters - The Blasters |
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Wounded Bird Records 2010 | CD | 15.00 € |
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| Bloodshot Bill - Homicide |
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Hog Maw Records 2010 | 10" LP | 15.00 € |
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| Bobby Charles - After A While, Crocodile.. The 50s Anthology 33 tracks |
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Great Voices Of The Century 2010 | CD | 10.00 € |
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| Bobby Charles - See You Later, Alligator Bobby Charles' recent death marked the passing of a New Orleans legend! -- Bear Family salutes a true originator with a complete edition of his Chess recordings -- Includes his original hit recordings of See You Later, Alligator and Don't You Know I Love You (You Know I Love You) - a song featured in 'Forrest Gump'. -- Includes rare photos and notes by New Orleans music journalist Rick Coleman. -- Bobby Charles was a true original. A white Cajun kid who unaffectedly sang R&B. And a gifted songwriter who couldn't read or write music or even play an instrument. After a club date one night, he wrote See You Later, Alligator and a record store owner played it for Len Chess at Chess Records. Chess signed him thinking he was black. Although Bill Haley covered Alligator and scored a bigger hit with it, Alligator launched a long recording career for Bobby Charles that also included the original version of a song that became a big hit for Clarence Frogman Henry, Don't You Know I Love You (You Know I Love You), a song later featured in the hit Tom Hanks movie 'Forrest Gump'. -- For the first time, Bear Family has collected all of Bobby Charles's Chess recordings. Alongside his hits, there's one New Orleans classic after another (I'm A Fool To Care ...later a hit for Joe Barry, and On Bended Knee, to name just two!) -- This set is a fitting tribute to one of the unsung heroes of New Orleans music. And speaking of that, Bobby Charles also wrote Fats Domino's classic Walkin' To New Orleans. Bobby Charles... gone but by no means forgotten. |
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Bear Family 2010 | CD | 17.00 € |
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| Bobby Sheen - Anthology 1958-1975 At last a Bobby Sheen anthology! Comprising recordings that stretch from Sheen’s debut lead vocal via his Phil Spector period to his final single, this sweeping collection covers a variety of styles that range from doo wop and the Wall of Sound to Northern and Southern soul. The earliest tracks here were cut by Bobby as the lead vocalist of the Robins, the group he joined as a 16 year-old in 1958. The influence of Clyde McPhatter is very evident on these sides, especially ‘Live Wire Suzy’ (a Belgian popcorn favourite) and the group’s lively take on ‘The White Cliffs Of Dover’. By 1962 Sheen was working with Spector, initially on a one-off 45 for Liberty Records. Sharing lead vocal duties with Darlene Love, he reached the Top 10 later that year with ‘Zip-A-Dee Doo-Dah’, released as by Bob B Soxx & the Blue Jeans on the producer’s Philles logo. He also contributed a soaring version of ‘The Bells Of St Mary’ to Spector’s classic “A Christmas Gift For You” LP. The McPhatter influence is still evident on ‘I Want You For My Sweetheart’ and ‘My Shoes Keep Walking Back To You’, released as a one-off single on the Dimension label in 1965. A contract with Capitol resulted in a handful of singles including the Northern Soul favourite ‘Dr Love’ (released in the UK in the now very collectable Capitol Discotheque ’66 series). This compilation also boasts two previously unissued Capitol sides: ‘Baby I’ll Come Right Away’ (the wonderful Ashford/Simpson song well-know to soul fans via Mary Love’s reading) and the slow blues ‘Don’t Pass Me By’. As the 60s came to a close, Bobby switched from his high tenor to a more contemporary lower register, cutting great tracks for Warner Bros in Muscle Shoals, Alabama with producers Clayton Ivey and Terry Woodford. His superb recordings of Philip Mitchell’s ‘Something New To Do’ (another Northern anthem) and ‘I May Not Be What You Want’ are among his best work. He sounds totally different again on ‘Don’t Make Me Do Wrong’. The Ivey/Woodford team also produced Bobby swansong single, issued on the Chelsea label in 1975. The performances collected here are proof that Bobby was a singer who deserved a much higher profile than he achieved. Despite his great looks, obvious talent and strong music business connections, he never registered a hit record in his own name. This CD redresses the balance and proves that all Bobby lacked was good luck. Years spent as a member of the Coasters kept him in work until his untimely death from pneumonia in November 2000. His son Charles has become the custodian of his father’s legacy and contributed the wonderful photographs that illustrate the CD’s accompanying booklet, which features an essay by Dennis Garvey built around exclusive interviews with many of Bobby’s friends and colleagues. By Simon White (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Buddy Guy - Living Proof 2LP Carrying 12 tracks on 3 sides, the fourth side is graced with a beautifully crafted 'etching' that is as much a pleasure for the eye as the other sides are for your ears! 180 grams audiophile vinyl 2010 Album Side D contains etching Grammy for Best Contemporary Blues Album 2010 |
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Jive Records 2010 | LP | 29.00 € |
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| Cadillacs - Zoom - The Josie Singles A's & B's 1954-1959 2CD Jasmine is proud to present the fantastic rockin' Doo Wop and ballads from one of the greatest groups of the era, The Cadillacs! This is the first time that their A & B sides of all the groups singles have been collected together and features such classic cuts as 'Speedo' and 'Gloria'. Fans of Doo Wop and especially The Coasters will enjoy this selection of witty songs from this fantastic vocal group. |
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Jasmine Records 2010 | CD | 13.00 € |
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| Chick Willis - Mr. Blues - The Best Of... So Far featuring Chick's most popular songs, rarities & previously unreleased tracks. |
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Benevolent Blues 2010 | CD | 18.00 € |
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| Christine Kittrell - Call Her Name - Complete Recordings 19551-1965 A forgotten R&B legend reborn on Bear Family! This comprehensive CD collection contains: All 15 songs originally issued on the Tennessee and Republic labels, including one with Little Richard backing her! Plus five unissued alternative takes of Republic titles.All eight songs issued by Champion, Vee-Jay, and Federal, and one unissued Vee-Jay song. One song issued pseudonymously on Hit Records and Spar Records. All sourced from master tapes wherever possible. Rare photographs and memorabilia. And a 40-page booklet by Martin Hawkins based on original interviews with Christine Kittrell, her producers, and backing musicians.Christine Kittrell made some of the best R&B of the 1950s and '60s without ever becoming a household name. She was the leading nightclub vocalist on the rocking Nashville scene in the late 1940s and '50s. A marvellous singer - far more versatile than most of her contemporaries - Christine worked with Joe Turner, Fats Domino, Memphis Slim, Little Walter, Johnny Otis and even Count Basie. Her relatively few recordings, mainly on unfashionable labels, possessed rare expressiveness that could elevate a mundane song into something exceptional. She sang late night mood songs like Heartache Blues and Don-t Do It, and pounding rockers like Call His Name and Lord Have Mercy - where she is backed by Little Richard on piano and vocals. Her rerecording of Call His Name in the 60s, became a northern soul classic. She also recorded the original version of the anthemic I-m A Woman. Her biggest hit, Sittin- Here Drinking, featured one of her trademark spoken intros.--Nashville-born Kittrell settled in Columbus, Ohio where she became a matriarch of her local blues scene. She suffered a number of falls and illnesses, starting with mortar bomb injuries received on a singing tour during the war in Vietnam - she liked to say that she was the only blues singer wounded in action! She died in 2001. This 31-track CD collects together all 29 different songs Christine recorded in the 1950s and 1960s for the Tennessee, Republic, Champion, Vee-Jay, Hit/Spar and Federal labels. |
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Bear Family 2010 | CD | 18.00 € |
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| Chubby Checker - It's Pony Time / Let's Twist Again Before Tamla/Motown, there was Cameo/Parkway. A groundbreaking Philadelphia imprint, the label churned out an astonishing number of huge hits (most written in-house) during its 12-year heyday and turned a gaggle of unknown young locals into stars. Sound familiar? Although primarily remembered for its myriad dance craze hits, the catalogue actually encompasses the whole of rock’s golden era: instrumentals, novelties, doo wop, girl groups, soul, teen idols, British Invasion, garage bands and bubblegum, etc. Label honchos Bernie Lowe, Kal Mann and Dave Appell spared no expense, releasing singles with beautiful colour picture sleeves and flooding the market with an unprecedented torrent of LPs. Cameo-Parkway material has been unavailable for decades, and collectors have waited impatiently for many years for the hits to make their digital debut. A label overview in 2005 and a few subsequent hits packages skimmed the surface. Out this month on Ace are 10 full albums on five CDs, along with a compilation of vocal group classics. The floodgates are now open, and it’s just the tip of the iceberg. Who can fathom why Cameo-Parkway’s flagship star Chubby Checker is so derided by the revisionist historians that make up the rock establishment? ‘It’s Pony Time’ and ‘Let’s Twist Again’, both bestsellers in 1961, kept dance floors hopping with the Hully Gully, the Mess Around, the Mashed Potato and the Stroll. Chubby made life fun in the early 60s, and who, besides the Rock & Roll Hall of Fame nominating committee, can ask for more? By Dennis Garvey (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Chuck Willis - The Complete 1951-1957 3CD 3CDs = 78 tracks |
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JSP Records 2010 | 2-CD | 25.00 € |
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| Daddy Long Legs / Andy Shernoff And Daddy Long Legs - Cocksucker Blues / The Under Assistant West Coast Promotion Brooklyn's fiercest blues stompers hammer out the legendary banned Stones number! Decca's trash becomes Norton's treasure! The long legged lads lend fiery support to the Dictators tunesmith on the B-deck! Both sides produced by Andrew Loog Shernoff! |
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Norton Records 2010 | Single/EP | 6.00 € |
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| Dana Gillespie - I Rest My Case ana Gillespie must spend at least a quarter of her life on aeroplanes as she is endlessly touring and bringing her vibrant, thrilling and mostly self-penned blues all over the world with destinations ranging from Samarkand, Siberia and San Francisco. Her latest offering reveals an ultra-contemporary take on her view of the human condition, heavily featuring love, loss, isolation and ultimate acceptance. Dana is the cover artist on the current issue of Blues In Britain, in which she recounts how the “I Rest My Case” came together: “It was kind of a joy to do; it’s joyous music in a way. I don’t usually pour how I am feeling into a lyric, but having just broken up with someone, after 25 years, that started a few ideas. I would never have written about the falling to pieces of a relationship had it not happened. The album took two days to record but the secret to having it sound really great is having it mixed well. I always mix at Wolf Studios in Brixton where I do all my Indian stuff, all my Mustique stuff, all with ProTools. The engineer is Dominic Brett; he’s got such great ears that you really get separation; every instrument sounding marvellous.” As well as her extensive touring and recording activities, Dana is progressing with her memoirs and continues to organise the Mustique blues festival every year. For the full interview with Dana see the current issue of Blues In Britain: www.bluesinbritain.org By Greg Upchurch (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Dave Arcari - Devil's Left Hand |
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Buzz Records 2010 | CD | 10.00 € |
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| Dee Dee Sharp - It's Mashed Potato Time / Do The Bird Operating out of Philadelphia, Cameo-Parkway was among the most successful independent record companies of the early 1960s, turning out a veritable production line of teen-friendly singles by artists such as Chubby Checker, the Orlons, the Dovells, Dee Dee Sharp and Bobby Rydell. This month sees the release on Ace of the latest batch of collections from the vaults of Cameo and sister logo Parkway in the shape of twofers from Dee Dee Sharp, the Dovells and self-appointed “Cool Ghoul” John Zacherle. Gospel-trained Dee Dee Sharp had three years experience in the record biz by the time she made her first showing on the charts singing anonymously alongside Chubby Checker on ‘Slow Twistin’’ in 1962, having paid her dues providing background vocals on records by artists such as Freddy Cannon, Ray Charles, Jackie Wilson, Lloyd Price and Fabian. Her first solo single, released when she was just 16, zoomed up the Hot 100 too, as did a clutch of others over the next couple of years. When the Beatles came along, the hits dried up for Dee Dee, but she was soon snapped up by Atlantic Records, only to find herself in competition with Aretha Franklin. Sometimes life just ain’t fair. Here on this paring of her first two long-players, you get three of her biggest charters, some original tunes from the Cameo song factory plus knockout versions of other hits of the day. To hear her wail Ted Taylor’s ‘Be Ever Wonderful’ is a joy to behold. The booklet contains an essay by Ed Osborne featuring some fun quotes from Dee Dee herself. By Mick Patrick (ACE RECORDS) |
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Ace Records 2010 | CD | 17.00 € |
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| Deke Dickerson Meets The Modern Sounds - Live at Duff's recorded live in person at Duff's Garage, Portland, Oregon. |
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Major Label Records 2010 | CD | 15.00 € |
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| Earl Gaines - You Got The Walk His last recordings. |
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Blue Label 2010 | CD | 12.00 € |
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| Elmore James - The Broomdusters Box 3 LPs (same songs on 2 CDs). 54 tracks recorded from 1952-1960 |
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Doxy Music 2010 | LP-Box | 45.00 € |
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| Erja Lyytinen - Voracious Love 'Voracious Love' is Finnish slide guitarist Erja Lyytinen most personal album, as she presents 13 love songs (including a cover and a couple of co-writes) in the rock /blues format. Co-produced by guitarist/keyboard player Davide Floreno, she cleverly traces the hopes and disappointments of her protagonists via moments of deep blues and virtuoso playing that conjures up an array of colourful tones and riffs. For this is a blues guitar album that will satisfy fans on a number of different levels ranging from the heartfelt meaning of the songs to Erja trademark sizzling solos which help colour the lyrics and embrace real feel and clarity of expression. 'Voracious Love' is a passionate album by an artist who never content who to rest in her comfort zone. As Erja explains, 'These stories are songs about situations where if we haven't been in those situations ourselves, then we certainly known someone else who has'. 'Voracious Love' subtly shifts the focus from Erja's intense solos to the core of the songs. Together with an excellent band and special guests Marco Hietala (Nightwish on vocals) and cellist Paavo Lotjonen (Apocalyptica) there are many highlights on an excellent contemporary blues album. Pete Feenstra (from Ruf Records website) |
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Ruf Records 2010 | CD | 18.00 € |
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| Fats Domino - American Chart Hits The Singles As & Bs 1950-1958 2CD Fats Domino was one of the most popular architects of R&R and enjoyed international success on a much larger scale than many of his contemporaries. Here for the first time are both sides of all of Fats Domino's American R&B and pop chart hits. Includes such classic hits as 'Blueberry Hill', 'Ain't That A Shame', 'Blue Monday' and 'I'm Walking'. Across this 2CD set the 62 notable recordings stretch from 1949 to 1959 and superbly illustrate how Fats went from local R&B star to international superstar. |
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Jasmine Records 2010 | CD | 12.00 € |
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| Fats Domino - Million Sellers Vol. 1 & 2 two LPs on 1 CD. Originally released 1962 and 1963. All 28 tracks recorded between 1957-1960. |
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BGO Records 2010 | CD | 17.00 € |
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| Frankie Lymon & The Teenagers - Their Greatest Recordings 2CD The most comprehensive release on CD yet of the recordings of Frankie Lymon, one of the most influential performers of the '50s. Includes all of his hits with 'The Teenagers' and solo classics like 'Why Do Fools Fall in Love', 'Baby Baby' and the unforgettable, 'I'm Not A Juvenile Delinquent', as well as the A and B sides of all his US singles plus album tracks. As a pre-teen star at the age of 12 Frankie Lymon was an inspiration to scores of like minded kids in America who blossomed in the '60s like Diana Ross and Ronnie Spector and many others! |
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Jasmine Records 2010 | CD | 15.00 € |
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| Freddie King - Texas Flyer 5CD Box (5-CD Boxed Set, LP-Size, with 80-Page-Hardcover Book, 64 tracks. Playing time: 363:47). -- Completes the Freddie King story, with all of his 1974-75 RSO studio recordings (some with label-mate Eric Clapton) and four jam-packed discs of sizzling mid-'70s live performances. Bear Family's first Freddie King box was one of our best-selling, best-reviewed sets EVER! This is the exciting sequel. Contains King's acclaimed 'Burglar' album, produced in England by Mike Vernon, as well as rarities and an unreleased version of 'That's All Right'. Most of the riveting live performances on this immense box are previously unreleased, and all are beautifully recorded in crisp, clear stereo. No bootleg quality sound here! Beautifully designed accompanying book features plenty of photos, a full discography, and extensive liner notes that include fresh interviews with Mike Vernon, trumpeter Darrell Leonard (who produced six of the live tracks), and one of Freddie's notable '70s sidemen, pianist David Maxwell. -- This 5-CD boxed set picks up right where Bear Family's first mammoth and highly acclaimed Freddie King box, 'Taking Care Of Business 1956-1973', left off, chronicling the last years of the great Texas-born blues guitarist's legacy with RSO Records, where, of course, Eric Clapton also recorded. King's producer, Mike Vernon, had previously founded Blue Horizon Records, England's top blues label. Vernon would helm King's first RSO album, 'Burglar,' in Great Britain; the set spotlighted Freddie's high-energy attack in a funky soul-laced setting. One song on the acclaimed album was cut in Miami with Tom Dowd producing and Eric Clapton on second guitar. Also included are several more studio-cut gems, including a previously unreleased version of Jimmy Rogers' 'That's All Right', and King's last Vernon-helmed single for RSO, done in L.A. with the city's top R&B session aces. - The other four discs capture Freddie in all his onstage glory, working his magic in front of appreciative live throngs. The great majority of these in-concert performances have never been released until now; they're all professionally recorded in sparkling stereo with Freddie's crack touring band in tow and King in typically dazzling form. The last live number dates from a month-and-a-half before Freddie's tragic December 1976 death, featuring him in a guitar-wielding guest role as Clapton sings Farther Up The Road. |
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Bear Family 2010 | CD-Box | 115.00 € |
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| Freddy King - Gives You A Bonanza Of Instrumentals King’s second all-instrumental album, Freddy King Gives You a Bonanza of Instrumentals, originally released in 1965 on King Records’ Federal subsidiary, continued the artist’s winning streak, with such memorable King originals as “Manhole,” “Freeway 75,” “Low Tide” and “Funnybone.” The 12-song LP demonstrates once again why King was one of his generation’s most revered electric guitarists. |
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Sundazed Music 2010 | LP | 20.00 € |
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| Freddy King - Let's Hide Away And Dance Away King scored his biggest hit with 1961’s “Hide Away,” which became his signature tune; it also became a standard for bluesy bar bands on both sides of the Atlantic, and a regular feature of Eric Clapton’s live sets. King followed “Hide Away” with a memorable series of self-penned instrumental hits, including the blues standards “San-Ho-Zay” and “The Stumble.” The aforementioned tunes are all featured on King’s all-instrumental 1961 LP Let’s Hide Away and Dance Away with Freddy King. Originally released on the legendary King label, it remains one of the most influential guitar albums of all time, and demonstrates why King remains a guitar icon. |
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Sundazed Music 2010 | LP | 20.00 € |
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| Hank Ballard And the Midnighters - Come On And Get It 2CD The Singles Collection 1954-1959. Hank Ballard was one of the most influential R&B artists of the 1950s and the man who wrote and first recorded 'The Twist'. He was also a major inspiration for James Brown during this period. Includes both sides of all of Hank Ballard and The Midnighters singles recorded between 1954 and 1959 which amounts to a whopping 58 tracks including 9 US chart hits such as: 'Work With Me Annie' and 'Sexy Ways'. This is the first time that all of the groups singles have ever been presented in one package. In addition are fully detailed liner notes explaining Hank Ballard and his groups rise from R&B stars to pop stars. |
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Jasmine Records 2010 | CD | 13.00 € |
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| Ike & Tina Turner - Sing Great Rock & Pop Classics |
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Yellow Label 2010 | CD | 12.00 € |
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| Ike Turner - That Kat Sure Could Play! - The Singles 1951-1957 4CD Every one of these 118 tracks features Ike Turner on guitar, piano &/or vocals. Includes the original Rock and Roll song Rocket 88 by Jackie Brenston as well as tracks by BB King, Howling Wolf, Elmore James, and Johnny Ace to name a few. |
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Secret Records Limited 2010 | 2-CD | 20.00 € |
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| Jarkka Rissanen - Sunday School Head Count |
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MuFarang International 2010 | CD | 17.00 € |
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| Jason & The Scorchers - Halcyon Times 2LP |
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Blue Rose Records 2010 | LP | 35.00 € |
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| Jason And The Scorchers - Halcyon Times |
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Playground Music 2010 | CD | 17.00 € |
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| Jimmie Vaughan - Plays Blues, Ballads & Favorites Legendary Texan guitar slinger Jimmie Vaughan returns with his first solo outing in nearly 9 years, a collection of mostly covers on which Jimmy and cohorts capture the authentic studio sound of the late 50s when most of the tracks were first cut. Jimmie handpicked the covers made famous by the likes of Little Richard, Jimmy Reed, Willie Nelson, Doug Sahm and many more. The album was self-produced and recorded in Vaughan's hometown of Austin with a solid group of mostly local musicians, with longtime cohort Ann Barton lending her vocals to a handful of tunes. |
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Proper Records 2010 | CD | 18.00 € |
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| Jimmie Vaughan - Plays Blues, Ballads & Favorites 2LP Legendary Texan guitar slinger Jimmie Vaughan returns with his first solo outing in nearly 9 years, a collection of mostly covers on which Jimmy and cohorts capture the authentic studio sound of the late 50s when most of the tracks were first cut. Jimmie handpicked the covers made famous by the likes of Little Richard, Jimmy Reed, Willie Nelson, Doug Sahm and many more. The album was self-produced and recorded in Vaughan's hometown of Austin with a solid group of mostly local musicians, with longtime cohort Ann Barton lending her vocals to a handful of tunes. |
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Proper Records 2010 | LP | 25.00 € |
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| Jo Buddy & Down Home King III - Everything's Gonna Be Alright UUSI CD NYT SAATAVANA ! Everything´s Gonna Be Alright! sukeltaa syvälle boogieperinteeseen, jonka Jo´ Buddy vahvasti omaksui USA:n eteläosiin suuntautuneilla nuoruudenreissuillaan. Everything’s Gonna Be Alright! jatkaa edellisten duo-albumien (Grits & Rattles sekä Whole Lotta Things To Do) tapaan omavaraisesti tuotetun roots-ilosanoman levittämistä. ”Teimme levyä niin kauan, että saimme jokaisesta biisistä välittymään kotoisen rennon soittofiiliksen. Äänitimme kaiken mahdollisimman luomusti, 100% livenä siten, että huoneen tila soi ja mikrofonit vuoti. Me halusimme, että rouhean herkässä lähestymistavassamme jokainen nyanssi välittyisi lopputuloksessa siten kuin se on alkujaan soitettu”, Jo´ Buddy kertoo. Levy äänitettiin kahta raitaa lukuunottamatta Ruovedellä, 1860-luvulla rakennetussa hirsitalossa. Nauhoituspaikkana hirsitalo oli mitä mainioin ja antoi levylle duon haluaman, juurevan äänimaiseman. Levyllä vierailevat memphisiläinen trubaduuri-showmies Little Victor huuliharpussa sekä pelimannimestari Veli-Matti Järvenpää haitarissa. Lisäksi lyömäsoittimissa taituroivat Ultra Brasta ja Maija Vilkkumaan bändeistä tuttu Jan Pethman sekä huippukitaristina paremmin tunnettu Tommi Laine. ”Halusimme muistuttaa omalla maanläheisellä tavallamme, kuinka paljon hienoja ja positiivisia asiota jätetetään liian usein uutisoimatta. Yksi sellainen on tämä maailman vanhin, tehokkain ja edullisin masennuslääke: hyvä, ajaton rytmimusa, joka ei kuole koskaan.”, Jo´ Buddy toteaa. Everything’s Gonna Be Alright! –albumin julkaisee tamperelainen Ram-Bam Records, joka parhaillaan viettää 10-vuotisjuhlavuottaan. |
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Ram Bam Records 2010 | CD | 18.00 € |
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| Jo Buddy & Down Home King III - Everything's Gonna Be Alright! |
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Ram-Bam Records 2010 | LP | 20.00 € |
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| John Lee Hooker - Blues In Transition 1955-1959 2CD This unique collection from one of the most famous Blues singers of all time illustrates his transition from R&B chart star to folk blues favourite. Includes the original versions of two of his most influential and popular hits, 'I Love You Honey' and the classic 'Dimples'. Fantastic rocking R&B is followed by intense acoustic performances including the entire 'Burnin'' LP initially only ever released in Britain. Full sleeve notes and chart history complete this brilliant package |
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Jasmine Records 2010 | CD | 13.00 € |
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| Johnny Cash - The Gospel Collection 18 tracks |
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Sony Music 2010 | CD | 10.00 € |
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| Junior Wells & The Aces - LIve In Boston 1966 The recording quality is surprisingly good, especially when regarding the age of the tapes. This set delivers an intimate look behind the curtain in a small east coast club. Backed by one the greatest Chicago blues bands, ever, The Aces, this performance shows Junior in fine shape. There are a couple of well-known songs like 'That's All Right' or 'Messin' With The Kid'. Then he comes more adventurous on tunes like 'If You Gonna Leave Me' or 'I Don't Know' with extended soloing from Junior and Dave Myers. A beautiful and entertaining document presenting one of the key figures of Chicago blues, live on stage. A must for (almost) every serious blues collector! - Digipak. JUNIOR WELLS - voc/hca, LOUIS MYERS - gtr, DAVE MYERS - bass, FRED BELOW - drums. |
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Delmark Records 2010 | CD | 17.00 € |
