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|King Salami And The Cumberland Three - Fourteen Blazin' Bangers !!
London’s newest Rhythm’n’Blues-Punk sensation – okay, so they are perhaps our only Rhythm’n’Blues-Punk outfit – are making fun times where ever they go. With a repertoire encompassing and influenced by many of the greats of the ’50s and ’60s you won’t be able to help but move your feet when the Cumberland 3 are blasting out of your speakers.
The King howls like Screaming Jay Hawkins with Bo Diddley chasing his coat-tail whilst Andre Williams tries to offer up some of his bacon fat. This man never stops shakin’ and twistin’ and groovin’ while the Cumberland Three (former members of the Parkinsons, Ulcers, and Chinese Lungs) play their own branded mix of vintage rockabilly, desperate rock’n’roll and a bit of soul with fire, energy, gusto and fun!
Their five singles have sold like the proverbial hot cakes and this, their debut album, is sure to do the same. This is an old fashioned singles band, one that puts out one seven inch after another, all designed, and guaranteed, to get you dancing like a madman. Fourteen top tunes on one album is a sure fire dance floor filler at any party.
Whether live on stage or on record this is one of the most exciting bands in rock’n’roll right now – they are guys who know what it takes to make us move. Equal parts rock and soul, with a dash of funk and a healthy dose of blues and soul. Whether you’re at a club show or in your living room you won’t be able to help yourself from shaking and shimmying
|Dirty Water Records 2010||CD||17.00 €
|Laura Lee - Women's Love Rights + I Can't Make It Alone + Two Sides 2CD
three LPs from 1971-1974 on this double CD set.
|Edsel Records 2010||CD||15.00 €
|Laurel Aitken - You Got Me Rockin' / The Blue Beat Years (1960 to 1964)
Immediately after landing on British soil in the summer of 1960, Jamaican singing sensation Laurel Aitken was signed by leading independent record company, Melodisc, and over the next few years he provided the ambitious concern with a slew of popular proto-Ska singles that were instrumental in establishing its newly launched Blue Beat subsidiary as the UK’s most recognisable West Indian music imprint.
The very best of these historic and hugely influential recordings are gathered on this compilation - most being made available on CD for the very first time - and with original copies of these highly collectable sides almost impossible to obtain at any price, ‘You Got Me Rockin’’ provides an opportunity to enjoy almost all of Laurel’s Melodisc output for a fraction of the price of an old scratched Blue Beat single.
Quite simply, this is the most essential original Ska collection of 2010!
(from Pressure Drop Records website)
|Pressure Drop 2010||CD||17.00 €
|Lavern Baker - It's So Fine 2CD - The Compete Singles As & Bs 1953-1959
LaVern Baker was one of the true divas of the mid '50s rock and roll circuit, with her statuesque figure and charismatic persona plus her brashly seductive vocal delivery made LaVern a true star.
This wonderful 2CD set includes all of her singles from 1953 to 1959 and features the classic hits 'Jim Dandy', 'Tweedle Dee' and 'I Cried A Tear' along with many other memorable numbers.
Her unique vocals were a major influence over the next generation of Soul performers, making this another essential addition to the Jasmine catalogue. With full sleevenotes and chart history to complete the package.
|Jasmine Records 2010||CD||12.00 €
|Lightnin' Hopkins - His Blues 2CD
Sam “Lightnin’” Hopkins’ career stretched across five decades and some 40 plus labels, not counting subsidiaries, though he seemed to settle for long periods with particular producers, burning out many along the way. When the 34 year-old Sam Hopkins entered Radio Recorders Studio in November of 1946 he probably had no idea of that it would lead to a new identity that would stay with him throughout his life. He had been paired with pianist Wilson Smith and the duo were dubbed Thunder & Lightning by producer Eddie Mesner and the soubriquet stuck to Hopkins . Thunder’s recording career clapped out in around 1948.
For a couple of years he flipped from Los Angeles’ Aladdin label to Bill Quinn’s Gold Star Records out of Houston before producer Bob Shad took over cutting sides for his own Sittin’ In With and his employers Mercury and Decca. Sessions for Bob Tanner’s Houston-based TNT and a spell at Herald Records in new York drew a continuous eight-year run of recording to an end in the mid-50s.
After a brief hiatus, the folk/revival scene of the late 50s and early 60s took Lightnin’ on board and put an acoustic guitar in his hands. At 47 Lightnin’ was “authentic” and was soon hanging with the folk glitterati and earning well off his live performances. The jazz label Prestige picked him up for their Bluesville imprint and cut 10 LPs with him, with the odd side trip to other outlets, including Bobby Robinson’s Fire label for some raucous rockin’ blues. At the same time he found a second home with producer Chris Strachwitz at Arhoolie, producing some of his finest 60s sides there.
He was a highlight of the American Folk Blues Festival in 1964 making some of his best live recordings around this time. His useful recording career ended with the 60s and for the rest of his working life he toured comprehensively from New York’s Carnegie Hall to Rotterdam to Tokyo and back to Houston, Texas, his adopted home.
Lightnin’ Hopkins had a mixture of styles and much of his work, even later in his career, harked back to a down home blues style from the pre-war era that he had lived through (although he didn’t record at the time). Apart from the more usual lost love and wig wearing subject matter, he also wrote movingly about the time of slavery and the wrongs committed by both white and black people. At times he also acted like a calypsonian, recording bulletins on the news of the day, sometimes literally. He could also boogie with the best if them.
Well, you might say, that’s all very well but does the world need another Lightnin’ Hopkins record? Obviously we think it does, when it is the first proper career overview, and acts as a companion piece to Alan Govenar’s inestimable biography His Life and Blues. Also gone are the Aladdin and Sittin’ in With sides swamped in reverb for later LP release and used by the ooc merchants. But then what do you expect from them. Read the book, enjoy the record.
By Roger Armstrong (Ace Records)
|Ace Records 2010||CD||23.00 €
|Lightnin' Hopkins - Texas Blues Giant 3CD
||Fantastic Voyage 2010||2-CD||17.00 €
|Lord Luther - I Am The Lord
The town of Salinas is located two hours south of San Francisco in Monterey Country, an area colloquially known as America’s Salad Bowl, thanks to its rich soil. In the 1950s, the region was also the fertile fiefdom of “Lord Luther” McDaniels, a unique personage who rose from leader of respected vocal group the 4 Deuces to assume the mantle of Bay Area rock royalty. Luther started at the top with ‘W-P-L-J’, but true to his self-effacing demeanour, the man was never hung up on the what-ifs of becoming a record star, and for most of his fifteen years as an entertainer, remained resolutely focused on just that: entertainment.
If Lord Luther was one of the scenes most colourful characters in the 50s and early 60s, he was also amongst its most colourblind, boasting integrated bands and audiences that blended white, black and Hispanic into a happy, thrilled throng. As the writer and lead singer on the Deuces’ bluesy vocal group classic ‘W-P-L-J’, Luther was already known on the local chitlin’ circuit, but it was as a solo artist with a rabble rousing, tremendously exciting stage show that the Lord came into his “comfort zone”. Promoting his own revues on the Monterey Peninsula, Luther was an unpretentious rock’n’roll pioneer, one that many local musicians still reminisce about fondly.
Lord Luther’s vintage catalogue covers a decade’s worth of singles, that stretch from the doo wop of the Deuces to his own unique blend of R&B and rock’n’roll, on highly regarded records like ‘Teenage Creature’, ‘A Thinkin’ Man’s Girl’, ‘Just One More Chance’ and ‘Tremble’. All of these and a host of unissued vintage sides are featured on “I Am The Lord!”, covering the artists collectable recordings for the Music City, Frantic and Gedinsons labels between 1955 and 1964. It’s a crude and crazy rockin’ pot-pourri that is a must for fans of black rock’n’roll. Most importantly, this is the first time his legendary ‘W-P-L-J’ has been officially reissued, with the master tape sound quality that vocal group aficionados have hitherto only been able to dream about.
With continued interest in the Deuces, the Lord has recently returned to the stage, wowing audiences at East Coast doo wop/oldies shows, most of whom know little of the legend of Luther the entertainer, beyond ‘W-P-L-J’. Produced with the singer’s full co-operation with an extensively annotated and illustrated booklet, “I Am The Lord!” thus pays tribute to this fascinating artist, whose vintage recordings capture some of the pioneering excitement of rock’n’roll’s greatest era.
Note: Luther’s $500 Northern rarity ‘My Mistake’ will be featured on an upcoming Kent Records collection, and further sides by the 4 Deuces are slated for Ace’s Music City vocal group series.
By Alec Palao (Ace Records website)
|Ace Records 2010||CD||17.00 €
|Los Fabulocos feat Kid Ramos - Dos
Jesse Cuevas: accordion & vocals
Kid Ramos: bajo, sexto, guitar, vocals
James Barrios: bass & vocals
Mike Molina: drums
Los Fabulocos are one of those groups that come along every so often to remind us that American music is alive and doing just fine. Whether they are singing their brand of the Cali-Mex sound in English or Spanish one can’t help but feel their soulful passion for the things they sing about—love, heartache and working class life in America.
Veterans of Southern California’s Chicano music scene, Jesus Cuevas, drummer Mike Molina and bass player James Barrios have teamed up with legendary blues guitarist Kid Ramos to continue their musical journey down the road that their musical ancestors paved.
Los Fabulocos play with enough energy to power a small fleet of motor vehicles.
It's a fuel that burns full- throttle, ignited by the heat of soulful guitar and accordion solos that will make your heart bleed. With the world famous "Kid Ramos" taking the over lead guitar an bajo sexto responsibilities, you are guaranteed to be blown away... Los Fabulocos play songs about complex things;
love, family, home and lost loves. While emotions connect, melodies soar. 95 years of combined playing experience provide the audience with a musical experience that will not be soon forgotten.
|Delta Groove Music 2010||CD||20.00 €
|Mad Matt Kotovuori - Hard Boiled LP + CD
featuring Jimmie "Bluesman" Lawson
|Snowflake Records 2010||LP||20.00 €
|Memphis Minnie - The Essential Recordings 2CD
2CD = 40 tracks
|Primo 2010||CD||10.00 €
|Memphis Slim - Legend Of The Blues Volumes 1 And 2
2 LPs from 1969 on 1 CD
ohn “Peter” Chatman, aka Memphis Slim, was possibly one of the greatest blues pianists of all time and a prolific recorder for a vast number of labels
First time on CD for these tracks recorded in the 1960s
Digitally remastered and slipcased
|BGO Records 2010||CD||15.00 €
|Midnight Shots - 4 Shots Of R&B
good spanish 60s influenced R&B
|Discos Jaguar 2010||Single/EP||6.00 €
|Muddy Waters - The Voice & The Guitar Of McKinley Morganfield 2LP
tracks recorded 1947-1954
|Doxy Music 2010||LP||25.00 €
|Nick Curran - Reform School Girl
Nick Curran describes his music as a cocktail consisting of the sounds of no less than seventeen widely differing musicians blended together with a cup of broken glass. That only begins to characterize the wallop packed by the 98-proof elixir of this singer, songwriter and monster guitarist who effortlessly carries the past with him as he blazes across the musical landscape in perpetual forward motion. Curran began his professional career at age nineteen, leaving Maine to tour with Ronnie Dawson. Although Dawson was primarily a rockabilly musician, many blues and punk fans appreciated his performances. He taught Curran not to get pigeonholed. Curran toured next with Texas rockabilly doyenne Kim Lenz, moving to Dallas to join her backup band the Jaguars for two years, and performing on Lenz’s recording, “The One And Only.” Nick would stay with the Jaguars for two years. He is also featured on Lenz’s latest CD, “It’s All True,” and recently toured with her in the summer of 2009.
In 1999 the Texas Jamboree label issued Curran’s debut solo recording, “Fixin' Your Head.” As he would do on all future CDs, Curran used vintage recording equipment to achieve the feel and sound of old 45s and 78s, and the LPs of the 1950s. To support the recording he formed the band, Nick Curran and the Nitelifes, whose performances whipped audiences to frenzied devotion with their wild ride of retro, yet fresh and edgy rock ‘n’ roll, boogie, R&B, jump blues and a variety of other tasty stylistic devils in the details. A second Texas Jamboree CD, “Nitelife Boogie,” followed in 2001. When Curran moved to Austin, Jimmie Vaughan, who had heard his CDs, invited him to sit in on a set at Antone’s. Vaughan would make a guest appearance on two tracks on Nick’s next recording, “Dr. Velvet,” which garnered the 2004 W.C. Handy Award (now the Blues Music Award) for "Best New Artist Debut."
From 2004 to 2007 Curran displayed his talents with The Fabulous Thunderbirds, Kim Wilson’s legendary band, appearing on their 2005 recording, “Painted On.” Also during that time, Curran and bassist Ronnie James started the punk band Deguello, saying that it “sounded as if Little Richard sang with The Ramones.” After performing a solo show in November, 2008, Nick was inspired to form the rock ‘n’ roll roots band, The Lowlifes. “Reform School Girl” is a culmination of Curran’s multitude of talents: a throwback to his roots, only amped up to the limit. “I’ve written more songs on ‘Reform School Girl’ than on any other records. I wanted it to have no filler – only good stuff. All my influences are there, from old blues like Lazy Lester and T-Bone Walker to girl groups like The Ronettes and The Shangri-Las, to Guns N Roses.” The album also features a couple of appearances by some of Nick’s close personal friends including a duet on the song “Flyin’ Blind,” co-written with Blasters’ frontman Phil Alvin, as well as harmonica ace Jason Ricci on “Reel Rock Party.” Catch Nick Curran as he shakes, rattles and rolls a head-spinning combination of genres and tunes into a cool, irresistible cocktail that is rough and ready for action.
Produced by Nick Curran & Billy Horton • Executive Producers: Randy Chortkoff & Robert Fitzpatrick • Recorded at Fort Horton Studios, Wyldwood TXX • Engineered by Billy Horton • Harmonica Recorded and Engineered in Nashville, TN by Phillp Wolfe • Artwork, Design, & Photography by Joshua Temkin (email@example.com) • reform school girl model: Kristin Gunn • Recording Studio Photography by by Veronica Arispe • Liner Notes by Phil Alvin • Retail by Jeff Fleenor • Radio by Jody Best • Eclecto Groove / Delta Groove Business Affairs by Malcolm Wiseman
|Electro Groove Records 2010||CD||19.00 €
|NOW DIG THIS NO. 322 - January 2010
Gene Summers Interview
Buddy Holly box-set review
Vince Ray Interview
Compact Discs Reviewed in NDT during 2009
Rhythm Riot Report 'n' Pix
In Paise Of Alley Cats Part 13
I Shall Be Released - January 1960
|Now Dig This 2010||Lehdet||8.00 €
|NOW DIG THIS NO. 323 - February 2010
Voodoo Jive '65 - Rare & Unseen photos of Screamin' Jay Hawkins at Granada TV!
Chartin' On The Tundra - Regionalised Canadian charts of the '50s
Honky Tonk Man - An Interview with Charlie Gillett
Working With Larry Williams - Memories of his 1965 UK tour
I Shall Be Released - February 1960
Rob Tyler Interview
In Praise Of Alley Cats Part 14
|Now Dig This 2010||Lehdet||8.00 €
|NOW DIG THIS NO. 328 - July 2010
See You Later, Alligator - Bobby Charles and the Birth of Louisiana Rock n Roll
Return To Oz - Little Richard, Gene Vincent & Eddie Cochran in Australia, 1957
Shop Around - Recalling London's rockin' record shops
Rock Rockola - The golden age of the jukebox
Hemsby - Report 'n' pix
Memories Of A Rebel - Dennis Hopper talks about Elvis
I Shall Be Released - July 1960
|Now Dig This 2010||Lehdet||8.00 €
|NOW DIG THIS NO. 329 - August 2010
Stop Hounding Teenagers! - Rare Elvis Interview from the set of 'Love Me Tender', 1956
Flips, Flops & Double-Siders
I Shall Be Released - August 1960
Wildest Cats In Town 2010
CD, Book & DVD Reviews
|Now Dig This 2010||Lehdet||8.00 €
|NOW DIG THIS NO. 333 - December 2010
Hollywood Jukebox - The Big Beat on the Silver Screen
The Everly Brothers - Stories We Could Tell
Ponderosa Stomp - Review 'n' Pix
I Shall Be Released - December 1960
Hemsby - Review 'n' Pix
New York Notes
A Rocker's Ramblings
CD & Vinyl Reviews
|Now Dig This 2010||CD||8.00 €
|Paul Gayten - Ain't Nothin' Happenin'
30 track (77:51) multi label collection 1947-57. The unsung Crescent City bandleader Paul Gayten made the first New Orleans R&B recordings of the post war era and had the first local hit there in 1947. As a producer, he was responsible for grooming hit singers such as Annie Laurie, Larry Darnell, Chubby Newsome, Bobby Charles und Clarence 'Frogman' Henry and became an important individual in the Chess empire before forming his own label in the late 1960s. This thirty-track compilation traces the first half of his high-voltage career in the recording business and proves how necessary he was to the birth and development of New Orleans R&B and rock'n'roll.
|El Toro Records 2010||CD||17.00 €
|Pete Gage - Tough Talk
A STUNNING NEW ALBUM BY PETE GAGE - "TOUGH TALK" IS OUT NOW!
ALSO FEATURES LEGENDARY GYPIE MAY0 ON GUITAR!
Pete Gage, who was born in Paddington London in February 1946, is a multitalented
and charismatic artist. He has a stunning, deep and rich voice, and he's also a very
capable piano and harmonica player. Here we have a real bluesman, whose
interpretations are always full of feeling and are coming straight from the heart
His music chorea started already in the mid 60's. Semi-legendary band called The
Sloane Squares had already earned a cult status with their raging live shows, when
ex-Shadows bass player Jet Harris hired them as his band. A single by Jet Harris,
"My lady" was released in 1967, and features Pete Gage on vocals. Many will remember
Pete from the 90's, when he was a frontman for Dr Feelgood for five years, and was
taking care of vocal duties for example on their "On the road again" -album. A
couple of solo-albums has been released too, "Give it with a feeling" in 1994, and
piano-blues-album "Out of hours" in 1997. The latter was recorded in Finland, and
released by finnish record company Goofin' Records, and got a very good reviews all
over the world.
Last couple of years Pete Gage has taken it easy in his native region in Frome
England, but still all the time has toured with different line-ups, doing all kinds
of gigs, from small clubs to a big blues-festivals. Mainly in England, but also in
other countries like Spain and Finland. In Finland he has always had a large and
loyal fan base, and is a very much loved and wanted performer especially in all kind
of blues happenings and festivals.
Recording wise things are also happening at the moment. Pete has recorded a brand
new album "Tough Talk" (GRCD 6165) at Juha Takanen's famous Äänistudio in Finland.
It has now been released by famous finnish rootsmusic label Goofin' Records. On the
album Pete is taking care of all vocal duties, he also plays piano throughout the
album, and adds some tasty harmonica on a couple of tracks. Most of songs are new
ones written by artist himself. There's twelve original songs along with three
covers, one of them being the old favorite "Standing at the crossroads" written by
Mickey Jupp, which is given the all time rockin' treatment.
The style is bluesy and very rootsy; blues, rhythm & blues and rock'n'roll are
having an important role all through the record, and also some hints of cajun,
country and jazz are there to spice up the whole thing. "Tough Talk" features a
bunch of best players from the finnish roots scene. Also a legendary english
guitarist Gypie Mayo (ex-Dr Feelgood, ex-Yardbirds) is playing on six tracks.
|Goofin Records 2010||CD||15.00 €
|Pete Pritchard - Beat The Blues
Flying Saucers yhtyeestä tutun Pete Pritchardin soololevy. Nauhoitettu osittain Englannissa, osittain USA:ssa Scotty Mooren studiossa.
|Hanzon Records 2010||CD||17.00 €
|Ray Charles - Rare Genius - The Undiscovered Masters
||Concord Music Group 2010||CD||12.00 €
|Ray Charles - The Great Ray Charles
Brother Ray's 1957 Late-night Jazz Classic. Blues, jazz and soul swing together the way only Ray can make them.
180 gram vinyl.
|Atlantic Recording Corporation 2010||LP||18.00 €
|Ray Gelato & Kai Hoffman - Hey Boy ! Hey Girl
||Double Scoop Records 2010||CD||17.00 €
|Robert Johnson - King Of The Delta Blues - The Complete Recordings 3LP
3LPs = 41 tracks
|Doxy Music 2010||LP-Box||48.00 €
|Sam Cooke - For Always - 20 Beloved Classics
||Vinyl Passion 2010||LP||13.00 €
|Sam Cooke - Night Beat
originally releasede 1963
|Sony Music 2010||LP||20.00 €
|Sam Cooke - One Night Stand ! Live At The Harlem Square Club
originally recorded 1963
|Sony Music 2010||LP||19.00 €
|Screamin' Jay Hawkins - Weird And Then Some 2CD
Jay Hawkins was one of the most unique and original artists of the Rock and Roll era who's exclusive style and weird stage shtick made him an interesting cut above the rest.
Features hits like 'Baptise Me in Wine', 'Little Demon' and his inimitable version of 'I Put a Spell on You' plus several hilarious treatments of well known standards.
This is the first time that so much of his early material has been on one package and contains all the A & B sides of his earliest releases.
|Jasmine Records 2010||CD||13.00 €
|Smiley Lewis - Smiley Rocks
The most comprehensive single-disc collection available of Smiley's rocking 1950s output for Imperial.Features the brilliant Studio Band at Cosimo Matassa's New Orleans studio: saxists Lee Allen and Herbert Hardesty, drummer Earl Palmer, pianists Edward Frank and Huey Smith, and trumpeter/producer Dave Bartholomew among them.Contains both scorching versions of Shame, Shame, Shame, many equally fabulous rockers, like Bumpity Bump and Smiley's classic originals I Hear You Knocking and One Night, covered by Gale Storm and Elvis Presley respectively.Boasting a booming vocal delivery, Smiley was one of the seminal performers on the 1950s New Orleans R&B scene.The charts didn't reflect just how spectacular Smiley Lewis' 1950s output for Imperial Records was. Under the savvy aegis of producer/songwriter Dave Bartholomew and featuring the Crescent City's top studio sidemen, Smiley made some of the most blistering rockers of his era. Yet only a handful of them were national hits; his classic original I Hear You Knocking was victimized by a puerile Gale Storm cover that killed his pop crossover potential, and Elvis Presley latched onto One Night, cleaned it up, and sold a lot more copies than Smiley ever did. Why She's Got Me Hook, Line And Sinker, Bumpity Bump, Rootin' And Tootin', and Shame, Shame, Shame weren't hits during rock 'n' roll's primordial age we'll never know.--Bear Family's jam-packed single-disc collection of Smiley's greatest rockers showcases his huge, wall-shaking voice (reminiscent of Big Joe Turner's on the bluesier early stuff) on a non-stop barrage of rockers ranging from 1950 to 1958. Bartholomew was Smiley's best source for material, writing most of his most memorable releases, though Lewis penned a few of his own early on. Even Little Richard would be envious of some of these houserockers, with tenor saxman Lee Allen wailing and drummer Earl Palmer stoking the romping rhythm like a locomotive. This is the most comprehensive single-disc Smiley Lewis collection on the market!
|Bear Family 2010||CD||18.00 €
|Steve Hooker - Before The Rooster Crows
||HKM Records 2010||CD||9.90 €
|Stone River Boys - Love On The Dial
When the Hacienda Brothers released their third and final studio album titled Arizona Motel in 2008, guitarist Dave Gonzalez was left with the unfortunate task of promoting the new release without his partner Chris Gaffney who died unexpectedly from liver cancer. So Gonzalez put together an Austin Texas all-star band to hit some of The Hacienda Brothers favorite venues, and it was Gonzalez himself who took over the onstage vocal duties for all of Gaffney’s songs, nailing them with emotion and finesse night after night. Gonzalez’s outstanding performances are no surprise to those who followed The Paladins, where Gonzalez did the bulk of the singing for over 20 years. Dave Gonzalez was also the Hacienda Brother’s primary songwriter and powerhouse guitarist who in 2007 was named one of Guitar Player Magazine’s “Top 101 Unsung Guitar Heroes.” Gonzalez had recently helped develop a new prototype Baritone Guitar for Fender. With this guitar he is a pioneer of sorts, exploring new dimensions in guitar tones that only a baritone can produce. The sound is part Duane Eddy, classic honkytonk, and spaghetti westerns. As Dave explains “unexpectedly it also sounds absolutely great on the soul stuff.” This year Spin Magazine selected the Hacienda Brothers at one of the “100 Greatest Bands You’ve (probably) Never Heard.” Gonzalez says, “This is a consolation prize for all the hard work the Hacienda Brothers put into the project and if Gaff had pulled through than maybe we could have shook the "Probably Never Heard Of" part of their 100 Greatest list.” The wild card in Gonzalez’s Austin All-star band was vocalist Mike Barfield. While some people might have mistakenly looked at Barfield as an attempt to replace Gaffney, the fact and the results couldn’t be further from that: Barfield proved to be just the breath of fresh air the shows needed to keep them fun-loving and spontaneous. Barfield is a singer that Gaffney respected and enjoyed. Barfield has fronted his own band, The Hollisters, and spent the last few years creating his own brand of country-soul, recently releasing two CDs of largely original material. The most recent, The Tyrant (Tater Tot Recordings) takes its name from Barfield’s nickname as The Tyrant of Texas Funk. The CD features a slew of fun, soulful, funky and sometimes irreverent songs like “Funky Cupcake” and “The Struggle.” When Barfield breaks into his screaming whoops and animated country-soul dance you’ll want to join the infectious good time. Gaffney would have loved this pairing. In 2009 the Stone River Boys made a big splash performing at SXSW and the Americana Music Conference. Out of their showcases came a record deal with Cow Island Music out of Massachusetts. For every end there is a new beginning and in this case for Dave Gonzalez and Mike Barfield, it’s The Stone River Boys
|Cow Island Music 2010||CD||17.00 €
|Sun Ra And His Arkestra - Strange Worlds In My Mind
||Norton Records 2010||LP||13.00 €
|Sun Ra And His Arkestra - The Outer Darkness
||Norton Records 2010||LP||13.00 €
|Sun Ra And His Arkestra - The Sub-Dwellers
||Norton Records 2010||LP||13.00 €
|Sven Zetterberg - Grounded In Reality
Sven Zetterbergin uusin levyn nyt saatavana !! mainoita country-soulia !
kaikki biisit bändin omia !
|Borderline 2010||CD||17.00 €
|Tandoori Knights - Curry Up- It's The Tandoori Knights
A dozen curried treats from the remarkable King Khan and Bloodshot Bill featuring the hit single Pretty Please as well as soon-to-be Tandoori taste treats Into Her Arms and Bandstand and mo’ Hindu hi-jinx!
|Norton Records 2010||CD||17.00 €
|Treniers - Rock
(1-CD, digipack with 64-page booklet, 32 tracks, playingtime: 82:31), No early 1950s band swung harder than the Treniers; this disc is a non-stop musical riot! The Treniers were a direct influence on '50s rock 'n' roll pioneers Bill Haley & His Comets, Freddie Bell & the Bellboys, Jimmy Cavallo, and many more! They starred in some of the early rock movies! First cross-licensed compilation that includes all of the Treniers' classic rockers for London, OKeh, Epic, Vik, and Brunswick, as well as Milt Trenier's hottest solo sides. Includes two versions of their biggest seller, Go! Go! Go! ' one with small combo and the other with big band. Bill Dahl's extensive liner notes include an in-depth interview with Milt Trenier. Long before anyone ever coined the phrase rock'n'roll, the Treniers were rocking and rolling. They were also jumping, jiving, and tearing up gin joints and lounges from Vegas to Wildwood. A crazier onstage outfit has yet to be minted; the Treniers entertained inebriated high rollers in Vegas lounges with the same non-stop hijinks they displayed in the groundbreaking rock'n'roll movies 'The Girl Can't Help It' and 'Don't Knock The Rock.' Identical twins Claude and Cliff Trenier were the ringleaders, though this family affair soon expanded to encompass younger brother Milt, who tore it up on his own before he joined the act. Supersonic alto saxist Don Hill was a charter member whose stratospheric wails were as integral to the Treniers' attack as Claude and Cliff's infinitely swinging vocals, while pianist/bandleader Gene Gilbeaux provided the glue that kept it all from spinning out of control. -- 'The Treniers Rock' brings together the aggregation's wildest 1950-1957 jump numbers for London, OKeh (including their '51 Top Ten R&B smash Go! Go! Go!), Epic, Vik, and Brunswick. In 1951, the Treniers cut a little ditty called It Rocks! It Rolls! It Swings!, and this disc does precisely that with the rip-roaring jumps Hadacole That's All, Rocking On Sunday Night, Rockin' Is Our Bizness, Rock-A-Beatin' Boogie (written for the Treniers by their pal Bill Haley), the humorously chauvinist Oh! Oh! (Get Out Of The Car), Rock 'n' Roll Call, and the infamous Poon-Tang!, along with an array of Milt's solo gems for good measure. The Treniers were influential to a platoon of young rockers: Freddie Bell & the Bellboys, Jimmy Cavallo, even Haley and his Comets. They'll flip your wig!
|Bear Family 2010||CD||18.00 €
|VA. - Greasy Rock'n'Roll Vol. 14
||Blakey Records 2010||LP||14.00 €
|VA: - Ace Story Vol. 1
A little over 30 years ago, the R&B and rock’n’roll loving directorate of Chiswick Records decided that it might be fun to start a sister label, which did for the recordings of what was then a mere 20 years previously what Chiswick was doing for the more current stuff. Chiswick itself had sprung from small beginnings involving two men with a market stall full of golden oldies both common and rare, so this was not something that surprised too many people who witnessed the birth of this new reissue label – which shared the name of one of the most famous imprints in rock’n’roll/R&B history and which, in 2010, still goes by the name of Ace Records.
The American Ace label, run out of Jackson Mississippi by shrewd record man Johnny Vincent, was a veritable sweet shop of great 50s and early 60s music. Ted Carroll and Roger Armstrong had been selling vast quantities of original Ace 45s on the Rock On stall, and when Ted broached the prospect of licensing some Ace masters for UK issue/reissue with Johnny Vincent, he not only said yes but gave Ted his blessing to use the Ace name as an outlet for these, and other, reissues. Thus it was that UK Ace was able to successfully mine Vincent’s trove of musical treasures and that Ted, Roger and expert Ray Topping were able to compile – among other things – five fabulous volumes of “The Ace Story”.
These original albums stayed in catalogue for years, until the deal ran out and Vincent decided to take his catalogue elsewhere. Of all the old vinyl UK Ace albums, they are among the most asked-for on CD by those who bought them decades ago and want to indulge themselves in a newly digitised version.
Over the course of the next year-and-a-bit, we’ll be reissuing all five volumes of “The Ace (Ms) Story” using the original covers. Each volume will be augmented with additional classics that wouldn’t fit the finite running time of a long player, Some tracks will have been reissued many times since we first compiled them in the late 1970s and early 1980s, while others have barely been heard in public since the aspiring hopefuls in question stood before the mic in, usually, Cosimo’s Recording Studio in downtown New Orleans and did their bit to let the good times roll. Each set offers a fabulous overview of New Orleans R&B, and some of the greatest music of their time. We’re sure we don’t need to reintroduce you to Huey Smith, Frankie Ford, Earl King, Jimmy Clanton, Bobby Marchan, Frankie Lee Sims and other members of our company. And we’re sure you’ll greet them with warm appreciation, no matter how many times you might have heard some of the biggest hits that we obviously couldn’t leave out…
…Ace is back on Ace. And this is the story, morning glory…
By Tony Rounce (ACE Records website)
|Ace Records 2010||CD||18.00 €
|VA: - Ace Story Vol. 2
We weren’t in the least bit surprised at how well our expanded CD reissue of “The Ace (USA) Story Volume 1” was received. It’s been one of the most requested items in the “Why don’t you reissue more of your old vinyl albums on CD” stakes for years and, frankly, we’d have been more surprised if it hadn’t gone down well. In fact, it’s gone down so well that we’ve advanced the release of the second volume to satisfy public demand. The remaining three volumes are to be expanded and digitised during the course of next year. As with the previous and forthcoming collections, Volume 2 is enhanced by the addition of a dozen bonus tracks that complement those selected many years ago for the original vinyl LP.
Johnny Vincent may not have been a musician himself, but he certainly knew which musicians would make his 45s and albums sound as great as they did. By employing hands-on A&R men of the calibre of Huey “Piano” Smith, sax king Alvin “Red” Tyler and the young Mac “Dr John” Rebennack, who commanded respect among their musical peers, he always ensured that Ace’s rhythm tracks would personify the sound of New Orleans at its best.
The beauty of a catalogue such as Vincent’s is that there are so many great records in it that there’s no question of turning to anything not so good in an attempt to fill a CD. Volume 2 offers more of what Volume 1 delivered: the unbeatable goodtime New Orleans rock’n’roll and R&B for which Ace was famous (although one or two tracks were recorded outside of the Crescent City, next door in Houston).
Several Ace label stalwarts inevitably make their welcome return, but we also encounter a number of highly talented people who briefly figured in Johnny Vincent’s discography – and who, but for the lack of a hit record, may have figured more prominently than they did. Our roll call includes 40s R&B megastars Amos Milburn and Charles Brown duetting on Huey Smith’s rocking ‘Educated Fool’, Edgar “Big Boy” Myles and Issachar “Junior” Gordon stepping out from premier vocal groups the Shaweez and the Spiders respectively, more great stuff from blues kings Frankie Lee Sims and Julius “Mercy Baby” Mullins, a brilliant example of the early work of Crescent City legend Eddie Bo and more from the inevitably top quality repertoire of Ace mainstays Frankie Ford, Jimmy Clanton, Bobby Marchan and Huey Smith.
If this music doesn’t cure your blues and put a smile on your face, it really is about time you gave some thought to having that check-up from the neck up.
By Tony Rounce (Ace Records)
|Ace Records 2010||CD||18.00 €
|VA: - Bless You California - More Early Songs By Randy Newman
Following on from the success of “On Vine Street”, Ace’s first collection of compositions by Randy Newman, comes “Bless You California”. As with the previous volume, the focus is primarily on Newman’s early work for Metric Music, and once again there’s a diverse array of classics, near-misses and obscurities on offer here. Listening to the emerging talent of one of the world’s most gifted songwriters makes for a fascinating 67 minutes.
It was during his tenure at Metric in the 1960s that Randy honed his writing skills. There’s clearly a brain ticking away here. Randy was still finding his songwriting niche and testing the musical waters by trying his hand at a wide range of genres. From soul ballads (Irma Thomas’ reading of ‘Anyone Who Knows What Love Is’) to widescreen Americana (‘Illinois’ from the Everly Brothers’ outstanding “Roots” LP), to the charming pre-rock innocence of the Fleetwoods (‘Ask Him If He’s Got A Friend For Me’), to the character sketches for which he would later achieve fame and notoriety (Duffy Power’s ‘(Davy O’Brien) Leave That Baby Alone’), you could never say Newman was stuck in a rut. There’s even a cocktail jazz instrumental in Martin Denny’s ‘Scarlet Mist’ – a new one to me, and a recording which maybe explains Randy’s brief spell writing for the TV Music Library at 20th Century Fox (or maybe it was the influence of his soundtrack-composing uncle Alfred, who penned the immortal Fox fanfare ident).
In spite of this almost scattershot approach (“well, that didn’t work, let’s try this”), from the evidence here it’s possible to trace the emergence of one of the most idiosyncratic singer-songwriters of the 1970s. While the style-hopping may imply a certain lack of self-confidence, once Randy had found his lyrical voice (apparently with ‘Simon Smith And The Amazing Dancing Bear’, included on “On Vine Street”), he was off and running. The sardonic pops at society wrapped up in ‘The Debutante’s Ball’ (performed here by Liza Minnelli) and ‘Bless You California’ (the Beau Brummels) present a world-view unlike any other songwriter from the era. Still, even at this stage in his career he could turn his hand to a ballad as impossibly tender as ‘Snow’, perfectly suited to the none-more-fragile voice of Claudine Longet.
Other highlights include Alan Price’s delightful and chortlesome near-throwaway ‘Tickle Me’ and Harry Nilsson’s breathtaking performance of ‘Cowboy’, culled from his “Nilsson Sings Newman” album and featuring one of the most resigned, world-weary vocals ever committed to tape. From the ridiculous to the sublime and all points between; this terrific collection is not just for Newman scholars, but stands as a perfect introduction to a unique talent. Any chance of a third volume?
By Harvey Williams (Ace Records)
|Ace Records 2010||CD||17.00 €
|VA: - Bo Diddley Is A Songwriter
In his long and illustrious career, the late Ellas McDaniel portrayed his alter ego Bo Diddley as many things – a lover, a gunslinger, crazy, even a lumberjack would you believe (and as this is Bo we’re talking about, you would…)
One thing that Bo seldom if ever proclaimed himself to be is ‘A Songwriter”. But over a period of 10 years, Bo crafted some of the most memorable songs of the rock ‘n’ roll and R & B era, including numerous Hall Of Fame perennials which many will be unaware are his songs. For instance, there can be few on this planet who’ve never heard at least one version of “Love Is Strange” – it was featured in ‘Dirty Dancing’, one of the most popular and biggest grossing films of all time, for goodness sake! How many of the thousands of young people who own that soundtrack album also know that the same man who wrote it also wrote “Mona” a 1990s UK chart topper for Craig McLachlan, and “No No No”, a Top 10 hit in 1993 for reggae artist Dawn Penn (both songs appear here, in other versions, under their real titles ‘I Need You Baby’ and ‘She’s Fine, She’s Mine’ respectively…). Not many, I’ll wager.
Bo is so well known and loved as an R & B legend that his songwriting skills tend to get overlooked in comparison with his fabulous recordings. He may be seen by some as a left field entry in Ace’s ongoing ‘Songwriter Series’, but once the CD popped into the player, it won’t take but a few minutes (as his Chess colleague Chuck Berry once wrote) to realise that he’s here on merit, and not just because everyone at Ace loves Bo Diddley.
Of course, anyone who lived through the R&B and British Beat boom will be familiar with any number of E. McDaniel copyrights – both those Bo wrote, and those that were written for him by others. And there’s considerably more variety to Bo’s songwriting than some might initially think. OK, so he did put together more numerous variations on the ‘shave-and-a-haircut, six-bits’ rhythm. But Bo’s catalogue of compositions also embraces doo-wop (‘I’m Sorry’), teen pop (‘Love Is Strange’, ‘Mama Can I Go Out’) proto-surf (‘Bo’s Bounce’), humour (‘Pills’) 12 bar blues (‘Before You Accuse Me’) straight ahead R&B (‘I Can Tell’, ‘Diddy Wah Diddy’) and so much more besides.
As well as recording his songs, many of our stellar cast of artists were major league Bo fans and, indeed, most of those who are still around continue to be. The fact that the recordings on our CD span a period of 50 years gives a strong indication of the timelessness of his work as a writer – hardly surprising when his own early recordings still sound like they were recorded yesterday.
If there’s still any shadow of doubt in your mind that Bo Diddley IS a songwriter, buy this CD immediately and let its contents rid you henceforth of such foolish supposition!
By Tony Rounce (Ace Records)
|Ace Records 2010||CD||17.00 €
|VA: - Bullett Records: Jump, Blues & Ballads
||Blue Label 2010||CD||12.00 €
|VA: - Califia - The Songs Of Lee Hazlewood
This is the latest addition to our high profile Songwriter series. Comprising familiar Lee Hazlewood fan favourites and scarcer titles in equal measure, the set spans Sanford Clark’s Top 10 hit of 1956 ‘The Fool’ (built on a memorable contribution from guitar wizard Al Casey) to 1970’s German language interpretation of ‘And I Loved You Then’ by transcontinental pop princess Peggy March (a song familiar to buffs via Lee's recording on his “13” LP).
No such compilation would be complete without Nancy Sinatra and axe-meisters Duane Eddy and Al Casey, with each of whom Lee was inextricably linked. They’re all here. Hazlewood mavens should lap up the titles by the Darlenes, the Hondas, Rose & the Heavenly Tones (produced by Sly Stone, no less) and Lee’s frequent collaborator Suzi Jane Hokom (who gets two collectable cuts, including a duet with him), each of which is new to CD.
One of pop’s genuine originals, Hazlewood is lionised by luminaries such as Primal Scream, Beck, the Jesus & Mary Chain, Pulp, Lydia Lunch and Sonic Youth. In 1999 he performed at the Nick Cave-curated Meltdown Festival on London’s South Bank backed by members of the High Llamas and Stereolab, while the “Total Lee!” tribute album of 2002 had the indie cognoscenti tripping over each other to record his compositions.
Hazlewood was a uniquely versatile songwriter, equally capable of turning his hand to pop, country, psychedelia, R&B, folk, easy listening, burlesque, blues or twangin’ rock’n’roll – dig Don Cole’s wild ‘Snake Eyed Mama’ and Al Casey & the Bats’ reverb-drenched ‘(Got The) Teenage Blues’. His songs are truly beyond categorisation.
He was also a pioneer in the mysterious art of record production and taught a thing or two to the teenaged Phil Spector, who hung around paying close attention while Hazlewood crafted magnificently cavernous guitar instrumentals for Duane Eddy. Of the 25 tracks on “Califia”, Lee wrote each one and produced all but four.
As a performer, Hazlewood possessed an instantly recognisable bass drawl perfectly suited to his lyrical tales of low-rent heartache, self-deprecating comedy, picturesque nostalgia and mystical cowboy psychedelia. He sings on four cuts on this collection, including the folksy Shacklefords’ recording of ‘The City Never Sleeps At Night’, a song written specifically for Nancy Sinatra.
As Dionne Warwick was to Burt Bacharach and Petula Clark to Tony Hatch, Nancy was Lee’s perfect muse. Theirs was a partnership created one velvet morning in pop heaven. The expansively orchestrated opening duet ‘Lady Bird’ – just one of the many masterpieces they made together – was personally selected for this compilation by the lady herself.
A companion volume of Lee Hazlewood-penned instrumentals is also in the Ace pipeline, so watch this space. Meanwhile, check out the others in our Songwriter series, which include compilations based on the works of Randy Newman, Jackie DeShannon, Neil Diamond, Goffin & King, Bo Diddley, Burt Bacharach and many more.
By Mick Patrick (Ace Records)
|Ace Records 2010||CD||17.00 €
|VA: - Complete Goldwax Singles Vol. 3 2CD
The third volume of the Goldwax singles is the story of music industry decline. If not exactly riches to rags – Goldwax sales were never that good – it is the tale of an independent label slowly losing its way in an increasingly difficult environment. This was not just about a failure to sign talent, but about changes within the business, and that meant that it became more difficult for regional independents to survive and thrive.
The company's peak year was probably 1967. Musically James Carr and Spencer Wiggins were at the top of their game, whilst the Ovations continued to record great records. New talent such as Willie Walker entered the fray and label owners Quinton Claunch and Doc Russell were confident enough to start the country music imprint Timmy to showcase talent as good as Carmol Taylor and Jeanne Newman. However distributor Bell had no real clout in the country market and the new label’s outpit fell on deaf ears, or more likely wasn’t even played to them. Other signs of how tough it was was the licensing out of various singles by ‘Ivory’ Joe Hunter and Willie Walker to Veep and Chess respectively – which Quinton now admits was to tide the label over cash flow shortages.
In 1968 things were not improving. Although James Carr continued to make records of amazing quality, sales began to decline and, even more worryingly, James became increasingly difficult to entice into the studio and onto the road to promote his records. Inexplicably strong 45s by Wiggins failed to make the charts and it began to look as if the struggle was never going to get easier. Of course all this wasn’t helped by the way that the industry was developing, with a more centralised, major-orientated distribution network taking hold, and the church-based southern soul sounds that had formed the core of Goldwax’s sales beginning to seem old-fashioned, even in the local market. Memphis’ big soul sellers into the 1970s would be the orchestrated masterpieces of Isaac Hayes and the smoother sound of Hi’s Al Green.
The label was effectively over by 1969 and completely over by 1970. The artists had moved on, been sold on or simply left without a label. The final side on Goldwax was James Carr’s ‘Everybody Needs Somebody’ a country soul ballad of exceptional quality, and is typical of how high the quality remains throughout volume three of “The Complete Goldwax singles.” There are errors and side-steps, but until the day the doors swung shut for the final time the sounds of the label were almost always a joy to the ears. This is southern music at its’ very best.
Dean Rudland (Ace Records)
|Ace Records 2010||CD||23.00 €
|VA: - Ding Dong Presents: Rabbit Action & Rock-A-Billy Blues
||Snapper 2010||CD||12.00 €
|VA: - Finnish Rock'n'Roll 2010
great compilation of finnish rockabilly. limited edition of 500 copies.
|Ee-Dee Records 2010||CD||9.90 €
|VA: - Foot Tappin' And Dance At The Screamin' Festival Vol. 3
||El Toro Records 2010||CD||10.00 €
LEVYMESSUT / TAPAHTUMAT
GOOFIN' RECORDS TULEVIA JULKAISUJA
GOOFIN' RECORDS VESIVAHINKO / WATER DAMAGE