TARKENNA HAKUA
FORMAATTI
CD (1539)
LP (328)
Single/EP (102)
DVD (50)
CD-Box (51)
Kasetti (1)
LP-Box (3)
Kirjat (5)
Lehdet (93)
Videot (1)
10" LP (9)
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Blues / Rhythm & Blues (CD)
Hakutulos yhteensä: 1530 kpl
| Ernie K. Doe - Here Come The Girls - A History 1960-1970 2CD |
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Charly 2011 | CD | 17.00 € |
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| Etta James - Call My Name Slowly but surely over recent years we’ve built a small but perfectly formed catalogue of female soul drawn from the roster of Chess Records of Chicago. We started the ball rolling with “Where The Girls Are, Vol 2: Chess Female Singers & Groups” (CDCHD 745), “Shades Of Mitty Collier” (CDKEND 301) and Sugar Pie DeSanto’s “Go Go Power” (CDKEND 317), before turning our attention earlier this year to the one and only Etta James, the company’s biggest female star. One of the greatest ever singers of soul and R&B, male or female, Etta spent her glory years at brothers Leonard and Phil Chess’ label, releasing 13 marvellous albums between 1960 and 1975. Believe it or not, fewer than half of those long-players have ever been reissued in their entirety. There are many CDs of Etta’s wonderful Chess recordings available, but most of them feature the same familiar hits. We took our first steps to remedy that situation in February with “Who’s Blue?” (CDKEND 346), a collection comprising mainly new-to-CD album tracks and B-sides, and are now delighted to announce this first-time reissue of 1967’s “Call My Name”, a superb yet overlooked set which contained some of her most impassioned recordings to date. Whereas Etta’s previous LPs had been pieced together from various sessions, “Call My Name” was conceived as a whole. Recorded in late 1966, the album was co-produced by veteran A&R man Ralph Bass, an acquaintance of Etta’s since the mid-50s, and Monk Higgins, a prime mover in the early days of Chicago’s One-Der-Ful group of labels. All but three of the songs were penned by Higgins and/or his frequent collaborator Maurice Dollison, aka singer-guitarist Cash McCall. Of the LP’s 12 tracks, ‘Happiness’, ‘That’s All I Want From You’ (a song popularised in the 1950s by Etta’s idol Dinah Washington), ‘Have Faith In Me’, ‘You Are My Sunshine’, ‘Nobody Loves Me’, ‘It’s All Right’ and ‘Nobody Like You’ make their CD debut here. It might not have sold too well at the time, and it spawned no big hit singles, but if you prefer your Chicago soul punchy and emotional, of all Etta’s albums, “Call My Name” is the one for you. Our reissue of the LP comes with 12 bonus titles. The Chess brothers had noticed the winds of change blowing up from the South and began sending their artists down to Rick Hall’s FAME Studio in Alabama in hope of igniting their careers. It certainly did the trick for Etta. The astounding “Tell Mama” album she cut there restored her to her rightful status, the title cut providing her with a career high chartwise in 1967. It is from her three subsequent trips to FAME that the first eight of this collection’s 12 bonus tracks are drawn. Leonard Chess’ son Marshall was appointed producer of Etta’s next sessions, which took place at Sam Phillips’ studio in Memphis in 1969. Etta was in bad shape at the time and completed only ‘Slow And Easy’, ‘The Soul Of A Man’ and a striking treatment of the Doors’ ‘Light My Fire’ before the plug was pulled. Among the abandoned cuts was ‘Miss Pitiful’, a gender-switched version of the Otis Redding number, which Etta re-cut more successfully with Gene Barge in the producer’s chair back in Chicago a few weeks later. The track concludes this collection. By Mick Patrick (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Etta James - Losers Weepers One of the best ideas that anyone at Ace has come up with in 2011 occurred when my colleague Mick Patrick proposed a series of expanded versions of several of Etta James’ Argo, Cadet and Chess albums that has hitherto eluded digitisation. It’s quite astounding how many of the albums that Etta released during her 15 years as the Chess group’s flagship female singer have not been issued on CD, especially given that the format’s now been with us for almost 30 years. But thanks to Mick and Kent, the number is gradually decreasing, with two “expanded editions” so far this year and the promise of more in 2012. Etta’s 1970 album “Losers Weepers” is the latest to receive the treatment – and the wait has been well worth it. Recordings from this period of Etta’s five decade-long recording career have been somewhat neglected by the reissue market – but no more. This expansion of “Losers Weepers” really brings a full-on focus to some great music that more or less fell by the wayside when originally released, partly because of Etta’s personal circumstances at the time but mostly because she was regarded by many as having had her day as an R&B chart force. Etta was in pretty bad shape when she made these recordings, but her rampant narcotic dependence did not stop her making the terrific music that you hear here. ‘Heavy Soul’ was a phrase that you heard frequently in the late 60s/early 70s and the intensity in the two-part title track completely defines the term. Etta’s sublime versions of ‘I Got It Bad (And That Ain’t Good)’, ‘The Man I Love’ and ‘For All We Know’ are the logical continuation of her immortal collaborations with arranger Riley Hampton, at the other end of the 60s, which produced the timeless “At Last” album. Elsewhere Etta makes a relatively obscure Bee Gees song ‘Sound Of Love’ sound like it was written by three bruthas from Birmingham, Alabama rather than three brothers from Manchester, England. Her vocal on her revival of the Falcons’ R&B classic ‘I Found A Love’ is almost as riveting as that of the song’s original singer, Wilson Pickett. A revival of one of Etta’s old Modern recordings ‘W.O.M.A.N’ almost matches the original take for sass and sexiness. Etta’s take on the Association’s pretty 1966 near-chart topper ‘Never My love’ will leave you wishing Ms James had spent lots of time working in Philly with Bobby Martin, rather than cutting just the one session… …And these are just bonus tracks folks! No matter how well you might think you know Etta James, this set of songs will increase and enrich your knowledge of the lady’s work no end. It’s a tragedy that Etta is not likely to ever again be able to grace a recording studio, but fortunately her catalogue is full of delights like “Losers Weepers” that will keep her name alive for many years to come. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Etta James - Tough Woman - The Early Recordings 1955-1960 2CD Etta James is no shrinking violet and this is the first CD release for this iconic artist that covers her earliest recordings with her classic Chess recordings. Disc 1 features her '50s Los Angeles rock and blues repertoire, including the No. 1 hit 'Roll With Me Henry'. Disc 2 presents her earliest Chicago recordings for the Chess label, including her version of 'I Just Want To Make Love To You'. Also on disc 2 is her complete 'At Last' album which is considered one of early '60s most important R&B albums. Etta James is every inch a no-holds-barred performer. Mix that in with her troubled past and the undoubted fact that she is a true R&B pioneer, she has certainly paid her dues! If you are not one of the initiated then prepare to be shocked! |
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Jasmine Records 2011 | CD | 15.00 € |
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| Etta James - Who's Blue ? In the annals of R&B’s great unsung heroines, you won’t find Etta James. Nobody’s idea of an underdog, she recorded prolifically for over 50 years and can hardly be said to have toiled in obscurity. Etta grabbed the spotlight as a teenager with her first recording, ‘Roll With Me Henry’, and went from strength to strength from there, cruising into the Rock & Roll Hall of Fame early and winning her most recent Grammy in the 21st century. Inarguably her most successful work, both commercially and artistically, was unleashed during her 15-year tenure with Chicago’s fabled Chess Records, where she rolled out a decade-long string of hits and a dozen LPs. “Who’s Blue? Rare Chess Recordings of the 60s and 70s” eschews the many big hits that have been endlessly anthologised, instead cherry-picking an eclectic selection of B-sides and album cuts, 18 of which make their digital debut and one that’s never been released anywhere. Is there anything better than discovering new treasures sung by a superstar icon at the peak of her powers? Recorded in a variety of locales (Chicago, Muscle Shoals, Nashville, Los Angeles, even New Jersey) the tracks herein showcase Etta’s artistry in a broad variety of styles. Her stock-in-trade blues shouting comes to the fore on a couple of Willie Dixon-penned barn-burners, ‘Nobody But You’ and ‘Fire’, while she indulges her passion for smooth jazzy crooning on ‘It Could Happen To You’ and ‘I Worry About You’. She tackles 70s-style rock on ‘Only A Fool’ and offers a few country standards, most notably a sublime reading of Mickey Newbury’s ‘Sweet Memories’ and a surprising take on Don Gibson’s ‘Look Who’s Blue’. Of course, Etta James is primarily (and rightfully) revered as a towering figure in the pantheon of 60s soul, and there’s no shortage of that here, from the funky drive of ‘Take Out Some Insurance’ and the swaggering riposte of ‘(I Don’t Need Nobody To Tell Me) How To Treat My Man’ to the searing deep soul of ‘My Man Is Together’, the frisky scatting on ‘You Can Count On Me’ and the Berry Gordy-penned rocker ‘Seven Day Fool’. And speaking of songwriters, there’s a 1970 remake of ‘What Fools We Mortals Be’, a song Etta had recorded in 1956 from the pen of her mother, the notorious Dorothy Hawkins. A vault find seeing light for the first time anywhere, ‘Can’t Shake It’ finds Etta romping through a girl-group-styled workout, and you can almost hear the smile on her face. Another highlight is ‘That Man Belongs Back Here With Me’, a missed opportunity for a hit single if ever there was one. As is ‘Do Right’. Actually, ‘Street Of Tears’, ‘You’re The Fool’ and ‘Let Me Know’ would sound right at home on any “Best of Etta” collection as well. That’s the wonderful thing about “Who’s Blue?". It’s not Etta James’ “Greatest Hits”. It just sounds like it could be. By Dennis Garvey (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Fats Domino - Imperial Singles Vol. 4 1959-1961 The first three volumes of the Fats Domino Imperial Singles series (CDCHD 597, 649 and 689) saw New Orleans’ finest ascend from neophyte blues and boogie-woogie stylist to bona fide rock’n’roll star. With gold-plated hits of the calibre of ‘Ain’t That A Shame’, ‘Blueberry Hill’, ‘Blue Monday’ and ‘I’m Walkin’’ receding into history, it was assumed that Fats had peaked artistically. Wrong: One spin of this release will dispel that notion handsomely. In the period 1959-1961, Domino had 13 US Top 30 pop hits. Leading the way were ‘I Want To Walk You Home’ (#8), ‘Be My Guest’ (#8) and ‘Walking To New Orleans’ (#6). Indicating Fats’ absurdly high standards, of the 26 tracks presented here only two failed to chart pop or R&B (‘I Just Cry’ and ‘Good Hearted Man’). To put the era into perspective, rock’n’roll was taking an involuntary breather but R&B was brimming with self-confidence through the records of not only Fats Domino but also Ray Charles, Sam Cooke, the Drifters, Jackie Wilson and an upcoming James Brown. Even Chubby Checker’s twist craze was R&B under another name. With longtime producer and songwriter partner Dave Bartholomew (see CDCHD 1303) still firmly in control of the sessions at Cosimo Matassa’s studio, Fats was subtly ringing the necessary changes: New Orleans parade rhythms were blended with South Louisiana swamp-pop songs from Bobby Charles and Jimmy Donley; bigger bands were drafted in, with young Wardell Quezergue writing arrangements; and occasional overdubs of orchestral accompaniment (surprisingly successful) and choruses (not so) were utilised. The standout studio musicians included Domino’s trusty road-band members Lee Allen and Herb Hardesty (tenor saxophone); Walter “Papoose” Nelson and Roy Montrell (guitar); and Cornelius Coleman (drums). Bartholomew added fiery trumpet when required, while Fats’ imperious piano was ever present. In order to recapture the hit sound of the original Imperial 45s as heard over the radio, on jukeboxes and on home record players, this release is mono only. What of Fats today? As an octogenarian, he has ageing problems and no longer performs. But his stock is higher than ever following his dramatic rescue during the horrors of Hurricane Katrina in 2005. He was honoured, with Dave Bartholomew, by the Rock and Roll Hall of Fame at its American Music Masters event in Cleveland last November. And Rick Coleman’s Domino biography, Blue Monday, has been published. Fats’ Imperial recordings have now assumed classical proportions. I confidently predict that “The Imperial Singles Vol 4” will be seen as one of his best – and most enjoyable – compilations. There is still one more volume in this important series to come. (John Broven’s first book, Walking to New Orleans – with its title, of course, based on Fats’ hit song – was inducted recently into the Blues Hall of Fame in Memphis, Tennessee. The US edition, entitled Rhythm & Blues in New Orleans, is still in print.) By John Broven (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Forest Lake Band - High Temperature Vanhan koulukunnan Chicago-bluesia moderneilla tulkinnoilla, rehellisellä asenteella, mukana myös omia kappaleita. Hyvä kotimainen blues yhtye Oulusta! |
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Forest Lake Band 2011 | CD | 18.00 € |
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| Gizzelle - Rhythm & Soul |
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Wild Records 2011 | CD | 15.00 € |
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| Hank Nero - Hengitä Vaan suomenkielistä bluesia |
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Turenki Records 2011 | CD | 9.90 € |
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| Howlin' Wolf - Smokestack Lightnin' - The Best Of Howlin' Wolf 2CD 2CDs = 48 tracks of hard-hitting inspirational blues. |
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Spectrum Music 2011 | CD | 13.00 € |
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| Howlin' Wolf - The Wolf Is At Your Door 2CD - The Singles As & Bs 1951-1960 Howlin' Wolf was a primal force in the history of the blues and worthy to be labelled one the most important and influential blues artists of the past 50 years. This is the first time that his music has been presented in this way featuring the A and B sides from every single he released between 1951 and 1960. Fantastic and iconic tracks such as 'Smokestack Lighting', 'Spoonful' and 'How Many More Years' helped to inspire the British blues movement of the 1960s including a little band called the Rolling Stones! Fully detailed liner notes cover his entire career top this superb 2CD off perfectly. |
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Jasmine Records 2011 | CD | 15.00 € |
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| Ike Turner - Rock-A-Bucket 2CD |
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Primo Collection 2011 | CD | 10.00 € |
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| Irma Thomas - Soul Queen Of New Orleans 2CD Disc one - masters 1960-1963 disc two: live 1976 New Orleans |
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Charly Records 2011 | CD | 18.00 € |
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| James Cotton - How Long Can A Fool Go Wrong 2CD |
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Music Avenue 2011 | CD | 18.00 € |
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| Jimmie Vaughan - Plays More Blues, Ballads & Favorites. Feat Lou Ann Barton |
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Proper Records 2011 | CD | 18.00 € |
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| Jimmy Jones - Good Times With The Handy Man 1955-1960 2CD One of most popular American performers in Britain during 1960 thanks to the hits, 'Handy Man' and the UK No. 1 hit, 'Good Timin''. This is the first Jimmy Jones release to cover his recording career from his doo wop days beginning in 1955 through to his solo fame in 1960. Jimmy's unique falsetto vocals influenced many other performers and this great 2CD set is complete with extensive liner notes covering his career and recordings. |
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Jasmine Records 2011 | CD | 13.00 € |
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| Jimmy Witherspoon - The Blues Biography |
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United Audio Entertainment 2011 | CD | 13.00 € |
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| John Mayall And The Bluesbreakers - A Hard Road EXPLOSIVE 1967 ELECTRIC BLUES SET RESTORED TO ITS ORIGINAL MONO GLORY. 1967’s A Hard Road proved to be every bit as powerful and innovative as its predecessor, thanks in large part to Mayall’s discovery of Clapton’s equally brilliant replacement, Peter Green. A one-of-a-kind player with a highly distinctive sound, Green makes his instrumental presence felt throughout A Hard Road, while delivering compelling lead vocals on “You Don’t Love Me” and “The Same Way.” With sterling support from bassist John McVie and drummer Aynsley Dunbar, the material here features such Mayall originals as “Hit the Highway,” “Leaping Christine” and the title track, along with standout interpretations of tunes by Freddie King, Elmore James and Willie Cobbs. The legendarily haunting Green-penned instrumental “The Supernatural” previews the guitarist’s groundbreaking work with the original incarnation of Fleetwood Mac, which he and fellow Bluesbreaker John McVie would form a few months later. From the pristine U.K. mono masters, with complete original artwork and photos. Vintage Guitar Magazine - December 2011 Mayall’s Guitar-Hero School John Mayall's fabled albums with Eric Clapton, Peter Green, and Mick Taylor have been reissued before, but these discs, re-mastered from the original mono masters, sound absolutely glorious (whether on CD or 180-gram vinyl). —Pete Prown Mojo Magazine ★ ★ ★ ★ Now in glorious mono, the 1967 LP which unveiled Peter Green’s precocious blues genius. |
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Sundazed Music 2011 | CD | 18.00 € |
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| John Mayall With Eric Clapton - Blues Breakers THE MOST INFLUENTIAL BRITISH BLUES ALBUM OF ALL TIME, FEATURING ERIC CLAPTON. 1966’s seminal Blues Breakers with Eric Clapton marked John Mayall’s emergence as a major recording artist, as well as his commercial breakthrough. The 12-song LP, considered by many to be the most influential British blues album of all time, marked the official introduction of Mayall’s long-running, ever-evolving combo the Bluesbreakers. Mayall shares the spotlight here with soon-to-be-superstar guitarist Eric Clapton (who quit the Yardbirds in order to pursue his blues muse with Mayall), along with future Fleetwood Mac co-founder John McVie on bass and Hughie Flint on drums. Blues Breakers with Eric Clapton is generally acknowledged as a musical milestone for Clapton; his scorching playing and over-the-top tone dominates the entire album. With the group’s punchy performances captured in straightforward style by noted producer Mike Vernon, the album offers a potent combination of Mayall originals and distinctive interpretations of songs by Ray Charles, Freddie King, Little Walter and Otis Rush. From the pristine U.K. mono masters, with complete original artwork and photos. Vintage Guitar Magazine - December 2011 Mayall’s Guitar-Hero School John Mayall's fabled albums with Eric Clapton, Peter Green, and Mick Taylor have been reissued before, but these discs, re-mastered from the original mono masters, sound absolutely glorious (whether on CD or 180-gram vinyl). —Pete Prown |
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Sundazed Music 2011 | CD | 18.00 € |
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| John Mayall's Blues Breakers - Crusade THIRD BLUES BREAKERS ALBUM CEMENTS THE STATUS OF JOHN MAYALL AS BLUES-ROCK ROYALTY. 1967’s Crusade finds John Mayall welcoming another soon-to-be-famous young guitarist—18-year-old fretboard phenom Mick Taylor, who would soon become a key member of the Rolling Stones—to the Bluesbreakers fold. With John McVie on bass and Hughie Flint and Keef Hartley sharing drumming duties, Mayall tackles an adventurous 12-song set that encompasses several Mayall originals and Taylor’s instrumental showcase “Snowy Wood,” as well as numbers by such notables as Willie Dixon, Eddie Kirkland and Sonny Boy Williamson. Regarded by many fans as the final third of the influential electric-blues trilogy that began with Blues Breakers and A Hard Road, Crusade followed its predecessors into the British Top Ten, while continuing to open young American ears to the timeless power of the blues. From the pristine U.K. mono masters, with complete original artwork and photos. Vintage Guitar Magazine - December 2011 Mayall’s Guitar-Hero School John Mayall's fabled albums with Eric Clapton, Peter Green, and Mick Taylor have been reissued before, but these discs, re-mastered from the original mono masters, sound absolutely glorious (whether on CD or 180-gram vinyl). —Pete Prown |
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Sundazed Music 2011 | CD | 18.00 € |
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| Johnny Otis - Johnny Otis Story Vol. 1 1945-57 Midnight At The Barrelhouse There can’t be many people who have done more in the name of rhythm & blues than John Alexander Veliotes – Johnny Otis to his friends and fans. Johnny has packed a lot into his lifetime: author, father, painter, radio DJ, TV host, sculptor, political activist, priest, farmer and much more besides. But whatever he’s known for, it’s the music he’s been making since the mid-1940s that has always endeared him to record collectors and marked him as one of the true originators of R&B. Johnny turns 90 as 2011 draws to its close, and Ace felt that this momentous occasion should be marked by not one but two CDs in celebration of Johnny’s life and more than thirty years of recording activity. “Midnight At The Barrelhouse” is the first volume, and the repertoire embraces Johnny’s early years as a bandleader through to the peak of his worldwide popularity with his first and biggest Capitol hits. The second volume, “The Show Goes On”, will carry on with more Capitol classics and take us through to Johnny’s 1970s successes on Okeh/Epic and his own Hawk Sound label. Johnny always downplayed his skills as a vocalist but, as can be heard throughout our programme, his singing was always as enjoyable and recognisable as anyone who ever fronted his band. He can also be heard on drums and vibes throughout the set. Even though he’s not always the featured artist, his role in the creation of each and every one of these tracks is always apparent. Our selections here also showcase the great musicians from his classic early bands such as Pete “Guitar” Lewis and Devonia “Lady Dee” Williams, plus vocalists of the calibre of Marie Adams, Bobby Nunn (and the Robins), Big Mama Thornton and Little Esther. Many of these tracks will be as familiar as family to Johnny Otis devotees, but we have managed to disinter several terrific unissued cuts from the 1950s to gladden the hearts of even the most ardent completist. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Johnny Spence & Doctor's Order - Hot And Rockin' Johnny Spencen ja Doctor's Orderin yhteislevy nyt saatavana !! "HOT AND ROCKIN'" - UUSI JA ODOTETTU JOHNNY SPENCE & DOCTOR'S ORDER-ALBUMI ON TÄYTTÄ PAAHTOA JA ROCK'N'ROLLIN SUURTA RIEMUJUHLAA! MUKANA HURJA VERSIO HURRIGANES-KLASSIKOSTA "OH BABY DOLL"! Englantilaisen vuonna 1942 syntyneen Pirates-laulaja-basistin Johnny Spencen & suomalaisen pitkän linjan rock'n'roll-trion Doctor's Orderin kahden vuoden takainen "Full Throttle No Brakes" (Goofin' Records, GRCD 6155) oli sekä arvostelu- että myyntimenestys. Se saa nyt odotettua ja kaivattua jatkoa, Johnnyn ja tohtoreiden toinen yhteisalbumi on ilmestynyt. Levyn julkaisee Goofin' Records. Albumi äänitettiin Juha Takasen Äänistudiossa Vantaan Kivistössä helmikuun puolivälissä, neljässä päivässä tallennettiin 15 kappaletta, luvassa kovaa rock'n'rollia kuin myös rhythm & bluesimpaa materiaalia, mukana on jymyisiä yllätyksiä ja myös muutama uusi originaalisävellys. Levyllä on kovan luokan versioita muun muassa Jerry Lee Lewisin, Mungo Jerryn, Rufus Thomasin, Carl Perkinsin, Lightnin' Hopkinsin, Mose Allisonin, Johnny Kiddin ja Gene Vincentin tunnetuksi tekemistä kappaleista. Kattauksen kruunaa hurja versio Hurriganes-klassikosta "Oh baby doll". |
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Goofin Records 2011 | CD | 15.00 € |
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| Lazy Lester - Rides Again - Expanded Edition I have been a huge fan of Lazy Lester’s brand of Louisiana swamp blues ever since that fateful day, many years ago now, when John Broven and Mike Leadbitter, of Blues Unlimited fame, introduced me to the Excello label and the production work of J.D. Miller, the label’s owner. I was hooked on Lester’s loping vocal and harmonica styling; the former owing a certain debt to one of the most influential bluesmen of that time, Jimmy Reed, while his harmonica work often appeared to emulate the phrasing and lilt of the accordion, an instrument much maligned, but which has been an all important part of Louisiana’s Cajun and Zydeco cultures. With the use of a pared-down rhythm section, utilising two guitars and assorted percussion to support his vocal and harmonica work, Lester created a sound that was truly unique – and almost irresistible. It had always been part of the master plan for the burgeoning Blue Horizon label – if indeed there had actually been a master plan – to record Lazy Lester, Lightnin’ Slim and Slim Harpo at some future date. It was not until 1987 that I finally succeeded in getting Lazy Lester into a recording studio. Many years of working in the studio in Crowley alongside J.D. Miller made Lester very singular of mind and perceptive as to what was required to get the best results. Those attributes stood him in good stead during these sessions. Musicians to be involved on the planned four-day sessions would be members of the Junkyard Angels, Blues’n’Trouble and special guests Bob Hall, Dave Bronze and John “Big Figure” Martin. The scene was set. I had requested that we should cut no more than three titles that Lester had recorded previously for Excello – and that’s exactly what we got. The others would be chosen from new song demos that had been especially written for the occasion, although only one of those actually made it to the studio and then was never completed – at least, not at that time. Lester had other material that he was anxious to commit to tape and we made the collective decision to also try and jam a couple of items and see what would happen. Now, you will have to take it from me that some US blues musicians can be tricky to work with. Not so with our man Leslie Johnson. He would prove to be open to almost any suggestion but also full of his own ideas – most of them pretty cool too. In an attempt to be as faithful to my good memories of those days back in May 1987, I got in touch with all the musicians that had participated to see if they might have had a different point of view. Everyone was of the same mind: Tim Elliott stating that his abiding memory was of “just how relaxed the sessions were and how everything just flowed – fabulous times”. On the 13 November 1988 “Rides Again” became the recipient of the W.C. Handy 1987-88 Blues Award For Contemporary Blues Album Of The Year (Foreign) presented by the Blues Foundation of Memphis. You could say, that although we might not have expected nor needed that, it was most welcome. By Mike Vernon (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Lazy Lester - You Better Listen recorded in Norway with local group. |
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Bluestown Records 2011 | CD | 18.00 € |
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| Little Miss Rock & Roll - Featuring The Fintones Australialainen Janè Kitto on omaperäisen äänen omaava esiintyjä / säveltäjä joka on kiertänyt yli 36 maassa maapallon ympäri, Pohjoisnavalta Tasmaniaan, Robben Islandilta Tahitille. Nyt Kitto on tehnyt Rock & Roll-levyn Suomalaisten huippumuusikoiden kanssa ja levy ilmestyy keväällä 2011. Levylle on valittu parhaat palaset 50- ja 60-luvun Rock&Rollin helmistä ja se sisältää myös neljä Kiton / yhtyeen omaa sävellystä. Levynjulkaisukiertue Suomessa alkaa Huhtikuussa ja päättyy Järvenpään Puistoblues-tapahtumaan 2.7.2011 Kitto on esiintynyt samoilla estradeilla esimerkiksi Bon Jovin, Megadethin, Debra Harryn ja Simple Mindsin kera sekä kiertänyt Englantia ja Ruotsia Janis Joplinin alkuperäisen taustaorkesterin Big Brother & The Holding Companyn kanssa vuonna 2006. Hän on esiintynyt Edinburghin Festivaaleilla vuonna 2007 ja henkilökohtainen kohokohtansa oli esiintyminen Robben Islandilla Etelä-Afrikassa Nelson Mandelan vapaututumisjuhlassa. |
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Finnish All Music Media 2011 | CD | 15.00 € |
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| Louis Jordan - The King Of The Jukebox 2CD |
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Primo Collection 2011 | CD | 10.00 € |
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| Louisiana Red & Little Victor's Juke Joint - Memphis Mojo "Memphis Mojo" is the follow up to the critically aclaimed "Back To the Black Bayou" release by Louisiana Red & Little Victor's Juke Joint. Recorded in Memphis, TN. after Red was awarded for his achievements as "acoustic artist of the year" at the Blues Music awards in May 2010. The "winnig team" presents itself in best form and spirit. A true blues legend at the peak of its creativity. Enjoy! "Back To The Black Bayou" in the Media: The Blues legend at his best! - Rainer Molz (Monsters& Critics 05/2009) His best recording in a band setting since the mid 60's - Mojo Kilian (bluesnews Germany 04/2009) One hell of an artist -Bob Gottlieb (Folk & Acoustic Music Exchange 04/2009) He is one of a few Real Deals - Ricky Bush (bushdogblues 04/2009) Absolutely indispensible for all lovers of the blues - Phil Jackson (Blues In The South 04/2009) |
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Ruf Records 2011 | CD | 18.00 € |
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| Magic Sam Blues Band - West Side Soul |
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Delmark Records 2011 | CD | 18.00 € |
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| Maisteri T. & Lihan Tie - Turpa Kii Ja Tanssi ! suomenkielistä bluesia ! paljon omia biisejä |
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Blues News 2011 | CD | 19.00 € |
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| Mighty Four - Bangin' The Boogie Loistava kotimainen Jump Blues levy. 8 biisiä. Bändin omakustanne. |
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Mighty Records 2011 | CD | 10.00 € |
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| Noland Strong & The Diablos - For Old Times Sake - The Complete Early Sides |
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El Toro Records 2011 | CD | 17.00 € |
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| Popa Chubby - Back To New York City (Limited Edition - Deluxe Version) |
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Mascot Label Group 2011 | CD | 18.00 € |
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| Ronnie Hawkins - The Ballads Of Ronnie Hawkins |
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Bear Family 2011 | CD | 19.00 € |
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| Roomful Of Blues - Hook, Line & Sinker Phil Pemberton: Vocals Chris Vachon: Guitar Rich Lataille: Tenor and Alto Sax Mark Earley: Tenor and Baritone Sax Doug Woolverton: Trumpet Travis Colby: Piano and Hammond B3 John Turner: Upright Bass Ephraim Lowell: Drums Produced and Mixed by Chris Vachon for Easy-Vee Productions. Engineered by John Duva at Sonalysts Studios, Waterford, CT. Mastered by Collin Jordan and Bruce Iglauer at The Boiler Room, Chicago, IL. |
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Alligator Records 2011 | CD | 20.00 € |
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| Ruth Brown - Taking Care Of The Business 2CD Taking Care of Business - Singles As & Bs 1953-1960 + Bonus Hits From 1950-1952 Ruth Brown was one of the greatest and most influential American female blues singers of the 20th century. This package features her A and B sides of every single released between 1953 and 1960 and includes: 'Mama He Treats Your Daughter Mean', '5-10-15 Hours' and 'Lucky Lips', plus her biggest pre 1953 hits. The 59 tracks across this 2CD set feature hard rock and roll, sublime blues ballads, jazzy slow grooves and are all the introduction you'll need to the legend that is Ruth Brown. |
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Jasmine Records 2011 | CD | 15.00 € |
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| Samantha Fish / Cassie Taylor / Dani Wild - Girls With Guitars The name says it all. "Girls with Guitars" - the 2011 Ruf Records Blues Caravan Tour - presents three of the scene's hottest young female guitar slingers on a single stage. Over the past six years, the Blues Caravan has toured successfully in the UK, USA and throughout continental Europe. This unique triple bill revue has helped introduce bright new stars such as Ana Popovic and Joanne Shaw Taylor to an international audience. Following in their footsteps on the 2011 tour is a trio of dynamic, up-and-coming blues talents: Dani Wilde, Cassie Taylor and Samantha Fish. Hailing from Brighton, England, Dani Wilde sings the blues with the old-school fervor of Aretha Franklin, but also takes a cue from contemporaries like Duffy and Joss Stone. The singer/songwriter/guitarist has just released her second album, Shine, a collaboration with renowned producer Mike Vernon (Eric Clapton, Fleetwood Mac). She has shared stages with luminaries like Robben Ford, Candye Kane and Koko Taylor. Says Paul Jones of BBC Radio 2: "Dani Wilde's voice is astounding, with a unique raw passion and energy. She sings with more conviction and passion than old legends from the Mississippi Delta." At the tender age of 21, Samantha Fish is already a hot property on the live music scene in and around her hometown of Kansas City, Missouri. She discovered the blues almost by accident as a teenager, but it has since become her singular mission in life. Her high-heeled, rock-edged performances have won her a loyal local following and carried her to venues like Rosa's Lounge in Chicago, where she opened eyes during the 2010 Chicago Blues Festival. 2011 seems destined to be her breakout year. Proud to call herself the "Daughter of a Bluesman," multi-instrumentalist Cassie Taylor has appeared on eight critically-acclaimed albums by her father, Otis Taylor, and accompanied him on tours all over the world. She was also a featured vocalist on Gary Moore's 2008 release Bad For You Baby. Still just in her early 20s, Cassie has been hailed for her commanding stage presence and "heavenly" voice (Boston Globe). Her music ranges from heart-wrenching ballads to hard-driving blues. Like her father, Taylor doesn't shy from topical subject matter, nor shrink from breaching musical boundaries. This trio of young, passionate performers is backed by a top-flight band of road-tested professionals for more than two hours of live blues excellence. As a foretaste for their upcomining shows around the world, the three guitarists recorded a common album in November 2010 in Berlin at the Studio Erde, which will be released to the blast-off to their tour. None other than Mike Zito produced the album. Multiple Blues Award Winner in Memphis 2010. On the album are ten own songs, like the earthshaking Get Back ("a real Killer" - Daniel Böhm, ROCKS Magazine 01/2011) or the laid-back Wait A Minute, and two covers of two really great songs. Bitch from the Rolling Stones ( therefore, the girls produced also a video - see www.bluescaravan.com ) and Jet Airliner, well-known by the Steve Miller Band. |
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Ruf Records 2011 | CD | 18.00 € |
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| Solitaires - Walking Along - The Best Of The Solitaires 2CD Walking Along - The Best of the Solitaires: The Solitaires were one of the greatest New York based vocal groups and considering they never had anything like a national or international hit it is remarkable to consider their fame! This set features the A and B sides of all their singles through to 1960. Best known for their hit 'Walking Along', this superb set also includes the lushly atmospheric, 'Wonder Why', 'Blue Valentine' and 'I Don't Stand a Ghost of a Chance' plus the hits, 'The Wedding' and 'The Angels Sang'. Fully detailed liner notes covering the groups entire career. |
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Jasmine Records 2011 | CD | 13.00 € |
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| Terry Hanck - Look Out Greasy soul rockin' blues |
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Delta Groove Music 2011 | CD | 18.00 € |
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| VA. - Postcards From Los Angeles 1958-1964 - The Dore Story A one-man operation run at street level for more than two decades, Hollywood’s Dore label launched the careers of Phil Spector and Jan & Dean in the late 1950s and built upon these early triumphs with an extensive catalogue of pop, rock and soul 45s during the 60s before branching successfully into comedy in the early 1970s. The story of Doré records is inextricably linked with that of its owner, Lew Bedell, who entered the music business in 1955 having worked as a minor professional entertainer in the preceding years. Pop music was different back then and never more so than in California, where Hollywood’s dominance of the entertainment scene meant that Los Angeles was scarcely aware of its music industry until hotshot producers such as Phil Spector, Brian Wilson, Snuff Garrett and Lou Adler finally put the town on the recording map in the mid-1960s. Individualists such as Bedell were usually referred to as “characters” or as being “larger than life”, suggesting they were caricatures of some sort, but Bedell, for all his eccentricities, was somehow too pragmatic a man to fit that description. Doré began as a subsidiary of Era, a Hollywood label best known for mainstream pop hits such as ‘Chanson D’Amour’ and ‘The Wayward Wind’. Bedell had founded Era with his cousin Herb Newman before breaking away to run Doré alone. In 1958, it got off to a flying start with ‘To Know Him Is To Love Him’ by the Teddy Bears, a worldwide hit, followed a few months later by Jan & Dean’s ‘Baby Talk’. The major labels had lost touch with the street and it was largely left to LA’s scattering of independents to set teenagers’ turntables spinning on the West Coast. It was the age of the walk-in deal on LA’s so-called record row, an area of Hollywood populated by small labels wheeling and dealing from storefronts or backrooms. Some went in the blink of an eye but Doré stayed, moving seamlessly from rock and pop into soul music in the mid-60s. In this climate of spontaneous deal-making and low recording costs, Bedell was regularly approached by would-be’s and wanna-be’s, some of whom may have had something on the ball. Herb Alpert, Shel Talmy and Mike Curb were just a few who brought their first productions to Doré and there are some interesting connections: aside from Spector and Jan & Dean, the Walker Brothers and Vince Taylor all come into the story. 25 of the 28 tunes on this first volume of “The Doré Story” appear on legitimate CD for the first time, all taken from the original masters, including previously unissued rockabilly from cult figure Joel Scott Hill, two ultra-rare rock instrumentals by Bobby Fry, the guitarist Vince Taylor brought over with him from America in 1958. There’s exquisite doo wop, some featuring that cherished East LA “Barrio” sound, early teen rock from John Maus of the Walker Brothers and a rare instro featuring Scott Walker himself. Doré is becoming a collected label. Many of the original Doré 45s are now beginning to fetch quite big money, helped by the aura of mystique that surrounds the label and its distinctive logo. The generously proportioned, specially designed package includes a 18,000-word newly researched profile of Doré and Lew Bedell, artist biographies and many never-before seen photographs and illustrations. “The Doré Story” is an engaging snapshot of that moment in time before lawyers and accounts took over the music biz and things were simpler and probably more fun. By Rob Finnis (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Ace Story Vol. 3 Even though we knew people wanted them, from the amount of letters and e-mails we got asking us to restore it them catalogue, we’re still pleased with the continuing sales and acclaim we’ve received for the expanded CD reissues of our “Ace Story” vinyl LPs. The appreciation for the two volumes that appeared in 2010 has showed us that there’s still a significant market for the kind of package upon which we built our reputation some 30 years ago. Here on the third volume, the tracks that appeared on the original vinyl LP are joined by eight more goodies from the vault of Ace Records of Jackson, Mississippi, each selected to complement those originally chosen by Ted Carroll, Roger Armstrong and Ray Topping back in the early 1980s. Although nearly all of the featured tracks have been issued on CD at some point, most have been out of circulation for at least a decade and we’re mighty glad to restore them all to catalogue. Johnny Vincent’s little label might have been based one state over, and a few hundred miles away, but there is no more consistent provider of the great New Orleans sound of the 1950s than Ace. The sheer exuberance of Huey Smith’s ‘Little Liza Jane’ and ‘Everybody’s Whalin’’ and the crackling excitement of Bobby Marchan’s ‘Loberta’ (finally heard here in mastertape quality for the first time in 52 years) sound as fresh today as they did when committed to tape. The sessions Vincent cut elsewhere on blues acts such as Mercy Baby and Frankie Lee Sims are just as vital now as they ever were. And even the tracks Johnny bought or leased in, represented by Jerry McCain and Sonny Boy Williamson II, have a quality that immediately identifies them as Ace. John Vincent Imbragulio was one of the most astute A&R men of his time, with a vision matched only by the quality of his catalogue and the timeless hits that came out of it. For dancing or listening, there’s really no better way to have a good time than by slipping this compact disc into your player and, to coin a phrase from Earl King’s ‘Darling Honey Angel Child’, let the good times roll! Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 18.00 € |
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| VA: - Blues Line Finland ”Blues Line Finland” -kokoelmalla (Blue North BNCD 010) FBS esittelee kolme kotimaan blues- ja roots-eliittiin hiljattain noussutta yhtyettä, joita kaikkia yhdistää paitsi se ettei yksikään kokoonpanoista ole julkaissut levyjä aiemmin, myös bändien voimakas halu poiketa kaikkein tavanomaisimmista kaavamaisuuksista ja ylläpitää siten omaleimaisella mutta perinteitä kunnioittavalla tavallaan juurimusiikin harrastusta 2010-luvun Suomessa. |
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Blue North Records 2011 | CD | 20.00 € |
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| VA: - Come Together - Black America Sings Lennon & McCartney The unanimous acclaim for and success of Ace’s recent ‘How Many Roads: Black America Sings Bob Dylan” project pretty much guaranteed a follow-up at some point. Its release immediately instigated a high level of consumer interest in whether or not we were planning any further volumes in the series. Truth to tell, it wasn’t meant to be a series originally, but the suggestion of Black America singing other notable rock icons of the 60s was too good to ignore. So it is that we now present a selection of interpretations by leading black American artists of the compositions of John Lennon and Paul McCartney. John and Paul’s songs perhaps did not carry the same degree of social significance for black Americans as those of Mr Zimmerman, but their superlative knack for words and music inevitably made each new Beatles album a potential source of future hits for others. It’s therefore no surprise to find enough superb examples to fill a few volumes. Here we present two dozen of their best-known songs sung by many of the leading names in soul from the 60s and 70s. As with the Dylan set, you’ll find the obvious (Otis Redding’s reconstruction of ‘Day Tripper’ and Aretha’s from-the-heart essay on ‘Let It Be’) rubbing shoulders with the blindingly obscure (West Coast blues giant Lowell Fulson wondering ‘Why Don’t We Do It In The Road’ and sweet soul quartet the Moments’ totally unexpected take on ‘Rocky Raccoon’). Unlike many pop songwriters, Lennon and McCartney reached out to a broad spectrum of black artists; you won’t find too many compilations where New Orleans’ rockin’ R&B man Fats Domino and his 60s near-namesake Chubby Checker feature alongside Motown’s first lady Mary Wells and king of 70s soul Al Green, and do so in such a seamless way. The common factor among all these covers is that they are never less than interesting. John and Paul are not on record as having expressed an opinion on too many versions of their songs, but we’d be willing to bet that the ones included here would have entertained them more than most. As always, the CD comes to you with a booklet featuring a huge amount of illustrative material and generous song-by-song annotations covering who wrote what (or most of what). We had originally thought that we might include versions of some Harrisongs as well, but in the end there was more than enough Lennon and McCartney material to fill this disc and more besides, so George will have to wait until another day and another CD. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - DJ Andy Smith's Jam Up Twist Wind your way down the stairs at The Book Club in Hoxton and the first thing you see is a pool table and the queue to the cloakroom. Beyond that a crowd has formed and the party is off and going. You have entered the world of Andy Smith’s Jam Up Twist. Instead of the area’s blend of the latest dance music trends, Andy is expertly weaving a mix of great music from the distant past. A blend of rockabilly, jump blues, 60s soul and ska is pulling a crowd, and from the moment I heard it I knew that Andy was once more creating a club night that we at BGP would like to celebrate on CD. Andy came to prominence working as a DJ with Portishead when they hit the big time in the mid-90s. His inquisitive style of DJing has seen him pull music from all sorts of genres, creating an eclectic fusion that was celebrated in his seminal mix CD “The Document”. Since then he has hooked up with the BGP team for two compilations, including “Andy Smith’s Northern Soul”, which was based around his club night that attempted to introduce great 60s soul to a whole new crowd, and succeeded. We hope to repeat this success with “Andy Smith’s Jam Up Twist”. Once again Andy creates a seamless mix of tracks from the 50s through to the 70s, but it is his skill as a selector that really catches the ear. In each of the genres covered by the compilation he pulls out gems that are not only great tracks but relevant to a modern dancefloor. The rockabilly and the jump blues are just the sort of sounds that provide the influence for modern acts such as Imelda May and Kitty, Daisy & Lewis, and in cuts such as ‘Let’s Go Bopping Tonight’ by Al Ferrier, Jimmy Carroll’s ‘Big Green Car’, Mickey Champion’s ‘Bam-A-Lam’ or the Sonny Bono-penned ‘Touch And Go’ from Wynona Carr, Andy has chosen the very best. He is equally at home in the worlds of ska and Northern Soul. From the Northern pile he’s picked longstanding classics from Mel Williams and Toni & the Showmen and joined them up with some more recent finds such as the San Francisco TKOs and Luther Ingram, whose version of ‘Oh Baby Don’t You Weep’ has been one of the great discoveries of the past few years. To hear the Skatalites on a BGP comp is a real pleasure (and apt, as on ‘Malcolm X’ they are in fact covering Lee Morgan’s jazz dance classic ‘Sidewinder’), as it is to hear the voice of the great Alton Ellis. So let’s hope Andy is as successful in pushing the boundaries here as he has been in the past, because this is as great a blend as we could hope to hear. By Dean Rudland (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Downey Story - Landlocked 24 of the best Downey records, including some unissued treasures, that present a snapshot of this important Californian independent label’s catalogue. Which record label brought us one of the two biggest surf instrumental hits of the early 60s? The same label that issued a couple of future Northern Soul collector’s items. Not to mention a clutch of the best garage rockers, and some New Orleans R&B by the cream of the Crescent City’s ex-pat musicians living in Southern California in the mid-60s. Together with, of course, a plethora of instrumental rock and a fair smattering of Sunshine Pop. All this before I even mention the early work of Barry White and one of his first solo efforts. The huge surf hit was ‘Pipeline’ by the Chantays. The label, Downey. Previous compilations in the five year-old Downey series have concentrated on instrumentals, early 60s pop, R&B, garage rockers and surf. This time out I have gathered tracks that proved hard to pin down to any of those genres, together with some previously unreleased gems and alternate takes, while revisiting a few important sides essential for a label overview such as this. Following ‘Pipeline’ comes that great garage rocker ‘I Don’t Need You No More’, the flipside of ‘Boss’, the first Downey single by the Rumblers. Other, later, garage goodies include Bud & Kathy’s ‘Hang It Out To Dry’ (once the title of a collector’s LP), ‘Edge Of Nowhere’ by the Sunday Group and our old friends the Last Word, of ‘Sleepy Hollow’ fame, with ‘Freeway’, an unreleased 1966 recording. A smattering of doo wop comes in the shape of the Invictas and the Debonaires, while the Invictas’ original lead singer, Sonny Patterson, delivers a bluesy ‘Troubles’ in an alternate take from his single. The great Little Johnny Taylor makes a welcome return, as does New Orleans veteran Jessie Hill with an alternate take of ‘TV Guide’. The Sunshine Pop element is present in Craig & Michael (another Chantays-related side), the Slipped Discs and the enigmatic E.S.P Limited. The Northern Soul sides are ‘Do It’ by Pat Powdrill and ‘Jerk Baby Jerk’ by Carl Burnett. A future contender in that area might be Margaret Williams, whose ‘My Love’ makes its Ace CD debut here. The song was arranged by Barry White, who also appears as Lee Barry with ‘I Don’t Need It’, a solo 45 issued on Downey in 1966. Rockin’ instrumentals are represented by the Rivaires doing ‘The Bug’, a previously unissued version of surf hit ‘Penetration’ by Ed Burkey and the great Revels’ ‘Comanche’. Interestingly, this compilation coincides with the issue on DVD of The Exiles, the Los Angeles cult film of 1961 for which ‘Comanche’ was written. By Brian Nevill (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - From The Ghetto 29wild rock&roll and R&B movers |
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Vee-Tone Records 2011 | CD | 15.00 € |
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| VA: - Further Mellow Cats 'N' KIttens - Hot R&B and Cool Blues The “Mellow Cats’n’Kittens” series has been a pleasure for me to work on during the past few years. I’d always admired my late friend and colleague Ray Topping’s work on the Modern catalogue and I’ve tried to maintain and build on what he started. While I don’t pretend to have Ray’s dedicated appreciation of discographical minutiae, I’d like to think that, with this and a host of other projects, I’ve also done my bit to keep alive the wonderful productions of the Modern Music Company’s founder, Jules Bihari. For the fifth volume in the series, we’ve taken the opportunity to complete the digitisation of the Modern discographies of several artists who have appeared on previous volumes, such as the Three Bits Of Rhythm and Felix Gross. We’re also premiering tracks by mainstays of the Modern catalogue that were previously thought lost (Jimmy Witherspoon’s first solo Modern track, ‘Motel’) or were undiscovered until relatively recently (our Hadda Brooks track, located on the back of a Smokey Hogg acetate). There are quality cuts by past contributors such as Sylvester “Big Duke” Henderson, the equally “Big” Jim Wynn, Herb Fisher and Johnny Alston’s Orchestra – all fine purveyors of the kind of music that lit up Central Avenue in the decade immediately following the end of WWII. Our other points of call include Houston, Texas, where we take in selections from Gory (sic) Carter’s lone Modern session, before heading south west to New Orleans for a cut by the George Alexander band that was originally disguised as the work of Ramp Davis. Back on the west coast we feature the great boogie pianist Pete “P.K.” Johnson rollin’ ’em just as he did for so long with Big Joe Turner, and jazz guitar/vocal group legend Teddy Bunn jamming with a hot trio led by Kansas City piano king Jay McShann. For those who, like me, couldn’t experience the era personally, or the venues from which music like this poured seven nights a week, it’s the next best thing to being there. As ever, deeper research has allowed us to include a copious amount of previously unissued recordings to add further spice to what is already a potent mix – 9 in total. Although this is the fifth instalment of “Mellow Cat’n’Kittens”, the contents are as strong as on any previous volume – and there’s still plenty of quality vintage Modern repertoire slated for reissue in the next few years. Jump you some boogie? We certainly can, man! By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - How Good Girls Learn To Be Bad Part 1 25 tracks 50s and early 60s female rockers etc.. |
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2011 | CD | 15.00 € |
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| VA: - I Hate Cherries Vol. 2 serious 50's female jivers |
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Sleazy Records 2011 | CD | 15.00 € |
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| VA: - Leather Soul Vol. 1 - Where The Bop Meets The Buzz |
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Oosoul 2011 | CD | 10.00 € |
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| VA: - London American Label Year By Year 1958 1958 as documented by the releases of the UK’s most famous source for US rock’n’roll, pop and R&B. Our “London American Label Year By Year” series has been among the most popular we’ve come up with since we opened for business. A lot of work goes into producing three of these projects a year, but the acclaim we’ve had more than justifies the effort that goes into their creation. This year we’ve already presented a selection of true delights from London’s 1963 release schedule, and there are still many more years from the Swinging 60s that we have designs on anthologising. For the rest of this year, however, we’re in reverse. 1957 will be our October offering, and most of its contents are already licensed and ready to sequence. This month it’s the turn of 1958 to show us just some of the many goodies that London brought us in order to further Great Britain’s musical education. London released 242 singles in ’58 – a staggering total that was difficult to reduce to just 28 representative examples. Fortunately, other Ace series have previously done London proud, and you can find many of the label’s classic releases on “Golden Age”, “Teen Beat” and suchlike. However, there many gems that you can’t yet find elsewhere on Ace, and 27 of our inclusions are making their catalogue premiere here. More than 20 are brought to you directly from the mono tapes used to manufacture the stampers for the original London 45s and 78s over 50 years ago. It’s hard to imagine how we could get any more authentic, really. As with all the other volumes, 1958 offers a splendid mix of proven classics and arcane obscurities. For every Eddie Cochran and Duane Eddy, there’s a Ganim’s Asia Minors or Frank DeRosa that have seemingly been reissued nowhere at all, until now. It would have been easy to just pull together London’s biggest hits to represent the label for the year, but that would have failed to show the full range of what could be bought by anyone with a spare 7/6 in their pocket, and an urge to connect with an America that was so far beyond the physical reach – and the affordability – of most UK teens of the time, that it might as well have been on Mars. As always, the booklet features a label shot for every track – not all of which were easy to locate, but you know us when it comes to completism! – and a 7000+ word essay featuring individual annotation for all 28. The 1958 foreword is written by John Broven, who won’t mind me saying that his appreciation of London was already bordering on an obsession even then. On a personal note, ’58 was the year in which I saved enough pocket money to buy my first London 45. Naturally, it’s included here, but you’ll have to buy a copy to find out what it was. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
