Blues / Rhythm & Blues
Result of your query: 2222 products
| VA: - Texas Blues (1928-1929) |
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HK Records 1987 | LP | 15.00 € |
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| VA: - Texas Blues - Gonna Play The Honky Tonks Vol. 3 20 biisiä mm Carl Campbell, Robert Smith, Willie Johnson, Elmore Nixon... |
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Acrobat 2003 | CD | 13.00 € |
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| VA: - Texas Blues - Houston Hotshots Vol. 1 20 biisiä Elmore Nixon, Lavarda Durst… |
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Acrobat 2003 | CD | 13.00 € |
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| VA: - Texas Blues - Rock Awhile Vol. 2 20 biisiä Goree Carter, Jessie Thomas, Joe Houston.. |
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Acrobat 2003 | CD | 13.00 € |
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| VA: - That Left Coast Is Swinging |
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Pacific Blues 1999 | CD | 18.00 € |
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| VA: - That No Good Poo Pee Doo |
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Collector Records 2008 | CD | 15.00 € |
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| VA: - The !!!! Beat, Vol. 4 Legendary R&B and Soul shows from 1966 - Shows 14-17 - yhteensä 41 träkkiä mm Clarence "Frogman" Henry, Gewn Davis, Manie Galore, Beat Boys, Louis Jordan, Freddie King jne |
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Bear Family 2005 | DVD | 25.00 € |
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| VA: - The !!!! Beat, Vol. 5 Legendary R&B and Soul shows from 1966 - Shows 18-21. 43 träkkiä mm Chuck Bernard, Mamie Galorie, Robert Parker, Johnny Jones, ZZ Hill ym jne |
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Bear Family 2005 | DVD | 25.00 € |
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| VA: - The !!!! Beat, Vol. 1 Legendary R&B and Soul shows from 1966 - Shows 1-5. Yhteensä 50 träkkiä mm Little Milton, Esther Phillips, Lee Shot Williams, Carla Thomas, Gatemouth Brown jne |
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Bear Family 2005 | DVD | 25.00 € |
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| VA: - The !!!! Beat, Vol. 2 Legendary R&B and Soul shows from 1966 - Shows 6-9 - 42 träkkiä mm Freddie King, Johnny Hones, Gatemouth Brown, Mighty Joe Young, Kelly Brothers, Joe Tex jne |
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Bear Family 2005 | DVD | 25.00 € |
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| VA: - The !!!! Beat, Vol. 3 Legendary R&B and Soul shows from 1966 - Shows 10-13 43 träkkiä mm Jimmy Church, Louis Jordan, Commanders, Beat Boys, Rodge Martin, Johnny Taylor, Little Gary Ferguson jne |
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Bear Family | DVD | 25.00 € |
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| VA: - The !!!! Beat, Vol. 6 Legendary R&B and Soul shows from 1966 - Shows 22-26. 56 träkkiä mm Earl Gaines, Eva Larse, Joe Simon, Freddie King, Little Milton, Willie Mitchell jne |
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Bear Family 2005 | DVD | 25.00 € |
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| VA: - The Best Of Chief Records Vol. 2 22 tracks |
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Chief Records | CD | 18.00 € |
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| VA: - The Best Of Golden Crest 2CD Ace Records’ link with Golden Crest dates back to 1993. That was when I travelled to picturesque Cold Spring Harbor, Long Island, to discuss a licensing deal specifically for the Wailers’ enduring hit instrumental, ‘Tall Cool One’, which duly appeared on “The Golden Age of American Rock’n’Roll, Vol 6” (CDCHD 650). Label-founder Clark Galehouse had died 10 years earlier, so his daughter Shelley came along with her trusted adviser – none other than the great but notorious Hy Weiss of Old Town Records. I couldn’t believe my “luck” in coming up against one of the sharpest and most conniving minds in the business. Eventually I ended up with two contracts: one for Ace; the other in marriage to Shelley. Through the years Ace has released the “The Fabulous Wailers” (CDCHD 675, a classic and still a solid seller); “On The Road With Rock’n’Roll” by Mando and the Chili Peppers and “Golden Crest Instrumentals” (now deleted); plus quite a few individual tracks. Other reissue labels have licensed Golden Crest masters, from rock’n’roll, rocking instrumentals, doo wop and teen to classical. Now, at last, we have this first-ever “The Best Of Golden Crest” collection, which draws on singles aimed primarily at the Top 100 charts in the peak rock’n’roll years from the parent label and its subsidiaries Shelley, DeWitt and Yorkshire. Out of the 48 tracks here, no less than 35 are new to Ace CD with almost half new to CD anywhere. By virtue of its location in Huntington Station, NY, Golden Crest was well placed to trawl talent from Long Island (including Queens and Brooklyn), also New York and New Jersey. But the label made its mark when ‘Tall Cool One’ by the Wailers, from the Northwest area, hit the Top 50 charts on Billboard and Cash Box in 1959 and then again in 1964. As a result of the Wailers’ success, Galehouse tapped into other Northwest acts Clayton Watson (Lord Dent), the Mad Plaids, the Chessmen and Lola Sugia. A further wellspring of satisfying recordings in an R&B vein (but with no hits) emanated from record lady Lillian Claiborne of Washington, D.C. So, what new-to-CD tracks are there to savour? From the Claiborne stable, try the three New Orleans R&B-influenced Calvin Ruffins and the spot-on Little Willie John soundalike Johnny Stewart with ‘Come On And Love Me’; the attitudinal ‘Bug Out’ by the Seven Teens and more teen pop from the Three Graces and the Montells; ‘Why Did You Tell Me?’ by anguished R&B’er Cartrell Dickson; the superior soul of ‘Girl’ by the Bluestyle with Carl Vanterpool; singles by jazz masters Coleman Hawkins and Carmen Leggio; the splendid bonus track, ‘New York City Blues’, by Larry Dale & his Houserockers (with Bob Gaddy and Jimmy Spruill), written by UK author/Juke Blues writer Dave Williams; and, of course, the three “new” Wailers cuts from their very first 1958 session. To round off this double CD, there is a highly attractive booklet detailing the label’s history and featuring its innovative picture 45s and picture sleeves. For all the diversity of music genres released, Golden Crest Records was still part of the marvellous cartel of independent labels that contributed so much to the rock’n’roll era. And it shows in these 48 tall cool ones. By John Broven (Ace Records website) |
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Ace Records 2010 | CD | 23.00 € |
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| VA: - The Best of Hollywood Records Vol. 2 24 tracks |
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Hollywood Records | CD | 19.00 € |
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| VA: - The Best Of Melron Records - Philly R&B Vol. 1 25 tracks early philly r&b |
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Philly Archives | CD | 19.00 € |
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| VA: - The Best Of The Johnny Cash TV Show The Very Best Of Johnny's 1969-1971 variety tv-shows. |
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Sony Bmg 2007 | CD | 13.00 € |
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| VA: - The Big Beat - The Dave Bartholomew Songbook Great songs really do take on a life of their own and very often, unbeknownst to their creators, they’re discovered and interpreted by a wide range of different artists. One of the unexpected pleasures that Ace’s Songwriters series affords is underlining just how many styles and directions key compositions of yesteryear have taken. This collection of songs by New Orleans’ very own Dave Bartholomew is no exception as it weaves its way through 25 tracks of varied origins and labels. Two of Dave’s own recordings provide essential listening, led off by his original of the double-entendre-filled ‘My Ding-A-Ling’, which he later re-cut several times with different lyrics and which provided the template for Chuck Berry’s revival two decades later. Then you’ll find the much-revered parable ‘The Monkey’, which Elvis Costello memorably reworked some years back. Dave’s rich-toned narrative reigns supreme and is a cornerstone of his Imperial Records output. The set opens with ‘The Fat Man’ by Fats Domino and, although the technical limitations of that 1949 session are still obvious, the vibrancy of the performance is undeniable. Fats once told me that after Imperial-owner, Lew Chudd, received the master, he called and asked him to re-cut it, but a couple of days later he rang again to say he’d changed his mind and it was OK! Was that an understatement or what?! Other milestone Bartholomew productions featured here include Roy Brown’s hard-hitting version of ‘Let The Four Winds Blow’ (which Dave had first cut himself) and the gloriously prophetic ‘I’m Gonna Be A Wheel Someday’ as styled by Bobby Mitchell and co-authored by hillbilly singer Roy Hayes. As much as the multi-talented Bartholomew was writing, recording and producing in the Crescent City throughout the 1950s and beyond, his influence was being felt all over the musical world. This was clearly evident on the Johnny Burnette Trio’s rockabilly workout of Fats Domino’s 1955 charter ‘All By Myself’. Similarly, listen how effortlessly Jerry Lee Lewis slides into ‘Hello Josephine’ and how ‘I’m In Love Again’ fits Tom Rush like a well-worn rhythmic glove. Bartholomew was not aware at the time how influential and popular his music was in Jamaica. Neville Grant’s take on Chris Kenner’s ‘Sick And Tired’ provides ultimate proof that Dave’s big beat was perfectly adaptable to the reggae style. Another standout delight is the previously unissued cover by Annie Laurie of ‘3 x 7 = 21’, which Dave originally wrote and produced for Jewel King. The song became a benchmark in the Bartholomew catalogue and was successfully reworked as ‘21’ in 1954 by the Spiders, the group that cut the first version of ‘Witchcraft’, which Elvis Presley turned into a 1963 chart success, also included here. I must mention two other standouts: ‘Every Night About This Time’ by the World Famous Upsetters, which offers undeniable proof of Little Richard’s ability as a first-class blues wailer, and Dave Edmunds’ 1971 hit remake of “I Hear You Knocking’, which perfectly contemporised the song without diluting the memory of Smiley Lewis’ unbeatable original. By Alan Warner (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - The Blues.. "A Real Summit Meeting" 11 biisiä: Big mama Thornton, Jay McShann, Clarence "Gatemouth" Brown, BB King, Eddie Cleanhead Vinson, Arthur Bigboy Crudup, Lloyd Glenn, Muddy Waters |
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Universe | CD | 13.00 € |
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| VA: - The Clickettes meet The Fashions To connoisseurs of the doo wop sound, they are one of the most revered girl groups, yet the dizzy Hot 100 heights attained by such role models as the Chantels and the Bobbettes were not for them. Instead the reputation of New York’s Clickettes rests on a handful of classic sides that failed to reach the national charts at all. Spanning the years 1958 to 1962, this collection comprises the teenage group’s complete recordings for Dice Records – including two previously unissued numbers and tracks by affiliated groups the Teen-Clefs and the Avalons – plus sides cut subsequently as the Fashions. Sounding at times remarkably like Arlene Smith of the Chantels, future soul chartmaker Barbara Jean English supplies most of the lead vocals. The Clickettes were managed by Zelma “Zell” Sanders, the owner of J & S Records, home of the Hearts, Johnnie & Joe and others. The fabled R&B matriarch had a reputation for hiring and firing her acts willy-nilly. When she signed them up in 1958, she envisaged an entire new squad of Hearts, who were already on their third incarnation, but the Bouquets didn’t like that idea. Recognising their potential, Mrs Sanders instead placed the group in the hands of her daughter, Johnnie Louise Richardson – of the duo Johnnie & Joe – on whose behalf she inaugurated a new logo, Dice. The Bouquets were accordingly renamed the Clickettes. But Not For Me was paired with another intense ballad, I Love You, I Swear, for release as the group’s debut in October 1958. Jive Time Turkey b/w A Teenager’s First Love was rushed out just weeks later, while a third coupling, Louella and You Broke Our Hearts, was released the following month, but bearing the name the Avalons. The Clickettes’ next platter comprised two numbers waxed previously by Johnnie & Joe, Warm, Soft And Lovely and the Frankie Lymon-esque Why Oh Why. More doo wop heaven ensued with Lover’s Prayer b/w Grateful, issued by Dice in mid-1959. To Be A Part Of You and Because Of My Best Friend, released back-to-back the following January, proved to be the Clickettes’ most successful single. For live shows the group sometimes used stand-ins, one of whom was a member of another Dice outfit, the Teen-Clefs, whose single, There Goes Sputnik / Hiding My Tears (With A Smile), was released early in 1959. Almost inevitably, the Clickettes fell out with Zell Sanders and departed her stable, leaving behind two unissued recordings, That’s The Way It Is and Light A Candle. The girls then hooked up with Chantels’ mentor Richard Some Other Guy Barrett for three singles, the first of which, Where Is He b/w The Lone Lover was released on Guyden. But the group had not been heard the last of Zell Sanders, who reappeared to claim ownership of their name, prompting Barbara and her colleagues to change theirs from the Clickettes to the Fashions. In 1961 they delivered Dearest One b/w All I Want on Warwick and Fairy Tales b/w Please Let It Be Me on the Elmor logo. A switch to Roulette marked a further change of billing to Barbara English and the Fashions, as which the group released We Need Them b/w Ta-Ta-Tee-Ta-Ta. Additional backing vocals on this disc were supplied by new manager, Arthur Crier of the Halos. A second single for the label coupled a revival of the Little Willie John/Peggy Lee classic, ‘Fever’, with the Johnny Nash-penned Bad News, following which the group disbanded. In 1999 the ladies reunited to participate in the celebrated Great Day in Harlem photo shoot, along with many other vintage R&B vocal outfits. The success of the event prompted the group to officially re-form. Since then they have played many shows, wowing audiences of doo wop aficionados with Clickettes classics like But Not For Me, Lover’s Prayer, To Be A Part Of You and Because Of My Best Friend, consolidating their reputation as one of the best female vocal groups of their time. by Mick Patrick (Ace Records) |
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Ace Records 2006 | CD | 17.00 € |
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| VA: - The Complete Goldwax Singles Vol. 1 2CD Memphis is one of the great music cities. So many great artists and so many great labels have emerged from there down the years that the history of rock’n’roll and soul and R&B would be very different without them. Sun, Stax and Hi are the labels that define Memphis, but not far behind is our very own Goldwax, who in James Carr, Spencer Wiggins and the Ovations had their own trio of great artists. Since Ace bought Goldwax nearly a decade ago the major artists have all been treated well, with at least a CD of their recordings each, and in the case of James Carr, four CDs rounding up every single bit of his recording career. There has also been two label overviews that have helped to throw light on some of the lesser acts, as well as the stars and the sought after rarities. However labels are complex affairs and their stories are sometimes difficult to cover fully in the short-form. With this in mind we have taken on the herculean task of compiling ‘The Complete Goldwax Singles’ which allows us to present to you the A and B sides of every single 45 on the label or produced by the label or its principles. This takes us into areas that you wouldn’t meet ordinarily and allows us to provide you with some excrutiatingly rare records. Goldwax was started in late 1963 by Doc Russell and Quinton Claunch, although our compilation lets us take a step back and include three earlier Quinton produced 45s on his own Bingo and Beale Street labels that form the true genesis of the label. These are just the first of many titles that are seeing their first ever legal reissue across these volumes including one side of our cover star Philip and The Faithfuls one single on the label – and the one that has proved itself to be the rarest of them all. Amongst the obscurities and the rarities we are sure that you will find yourself an especial favourite that you have never heard before, be it a storming instrumental such as the Playboy Five’s ‘Spoonful’, the Arthur Alexander take-off of Oboe’s first single ‘Mother-In-Law Trouble’ or even one of the pop or country records that sporadically appeared on the label. However it is not just about what you have heard before. The chronolgical nature of this compilation allows you not just to watch the careers of, say, James Carr or Spencer Wiggins unfold, but more acurately Memphis music, as R&B slowly moves into soul which then develops a distinctly southern nature as time passes. It is perhaps easier to see this progress with a mid-size label like Goldwax than with a behemoth like Stax where weight of numbers obscured the changes. It has to be remembered of course that Volume 1, however great, is just the first stirrings, the roots, as it were. The golden age is still to come, but this is still a pretty great start. By Dean Rudland (Ace Records) |
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Ace Records 2009 | CD | 23.00 € |
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| VA: - The Dawn Of Doo-Wop 4CD 4CDs, 100 tracks + 52 page booklet |
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Proper 2002 | CD-Box | 20.00 € |
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| VA: - The Fame Studios Story 3CD The acronym is F-A-M-E, but it may as well be S-O-U-L. It was a full half-century ago that the recording studio, record label and publishing operation originally known as Florence Alabama Music Enterprises established itself and its trademark sound with the hit recording of ‘You Better Move On’ by Arthur Alexander. In the fifty years since, FAME Studios and its idiosyncratic founder Rick Hall have been at the forefront of the Muscle Shoals Sound. FAME begat the process whereby a little known Alabama backwater would evolve into the very crucible of southern soul, a holy place to where musicians, singers and fans still make a very specific pilgrimage in the hope of experiencing a little bit of the magic behind so many hit records: ‘I’m Your Puppet’, ‘Land Of 1,000 Dances’, ‘Tell Mama’ and countless others. Rick Hall is now a grand old man of the music business, but back in the 60s he was more akin to an enfant terrible, with an unbending will that helped him make it against almost insurmountable odds, matched by an attention to detail that bordered on obsession. There have only ever been a handful of truly self-sufficient producer/engineers in the history of popular music, and Hall is pre-eminent amongst them. Atlantic, Chess and so many other legendary labels flocked to FAME to avail themselves of the sound, the players, the material, and most importantly the vibe that Rick Hall had created. The FAME Studios Story 1961-1973 is an exhaustive three CD set derived from two years’ worth of excavations by the intrepid Ace team at the hallowed FAME vault. The result is a full programme of FAME-related releases slated for issue on Ace, Kent, and BGP over the next couple of years, but the lynchpin is this definitive anthology that focuses upon the halcyon days of the studio and the label. It’s an open-minded, celebratory overview that, across 75 tracks, spotlights both artists and records that are either acknowledged greats, or lesser known – yet no less worthy – entries in the lexicon of soul. The line-up is a virtual Who’s Who of 60s soul, and includes Otis Redding, Aretha Franklin, Wilson Pickett, Etta James, Arthur Conley, Irma Thomas, Joe Tex, Joe Simon, Lou Rawls, Spencer Wiggins and Otis Clay. Deep soul fans will recognise names such as The Blues Busters, Billy Young, Maurice & Mac, Willie Hightower, Bettye Swann, James Govan and many, many others. Special attention is paid to those acts closely associated with the Fame label - Candi Staton, Jimmy Hughes and Clarence Carter - as well as its inestimable stable of writers, producers and players, including Dan Penn, Spooner Oldham, George Jackson and the Fame Gang. And the programme also includes several of the notable pop hits recorded at the studio by the Osmonds, Tommy Roe and Bobbie Gentry, as well as more obscure recordings by the Del Rays, Mark V and Terry & The Chain Reaction. With unprecedented access granted to its tape and photo archive, well over a third of the contents of The FAME Studio Story 1961-1973 are new to CD, and of those, over a dozen tracks are fully unissued – including previously unheard rarities by Otis Redding and Arthur Alexander. The heavily-illustrated package with an 84 page book comes laden with two informative essays and extensive track notes, all of which are based upon fresh interviews with many of the principals involved. If you know anything about soul music, you know FAME, which is why The FAME Studio Story 1961-1973 is an essential purchase. By Alec Palao (Ace Records) |
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Ace Records 2011 | 2-CD | 40.00 € |
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| VA: - The Gary Paxton Story - Hollywood Maverick 32 tracks from 1958-1962 |
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Ace Records 2006 | CD | 17.00 € |
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| VA: - The Girl Can't Help It 3CD Deluxe Expanded Edition. Over 100 tracks by the musical stars of "The Girl Can't Help It". Including songs from the many other rock'n'roll movies of the era. And much more. The Greatest Rock ’n’ Roll Film Of The 1950s – The Girl Can’t Help It brought rock ’n’ roll to groin-swivelling life in living colour, defining a new cultural revolution to focus a generation, providing a mutual relationship launch-pad for the likes of Lennon and McCartney, while setting a genre precedent which was never topped. Part of a deluge of musical exploitation films released for the Christmas 1956 market, in the wake of the success of Rock Around The Clock earlier that year, The Girl Can’t Help It was distinct from most of its hastily-conceived rivals by being shot in glorious colour, and having both a witty script and thoughtfully integrated musical performances. Initially created by Looney Tunes/action movie veteran Frank Tashlin as a vehicle for new-blonde-on-the-block Jayne Mansfield, the film sparked worldwide teenage rampage when it first appeared in 1956, giving many their first taste of the uncaged phenomenon of rock ’n’ roll as the music’s hottest names strutted and wailed through what would become their signature songs, including Little Richard, Eddie Cochran, Gene Vincent and Fats Domino. To celebrate the movie, music and all-star cast, Fantastic Voyage swing doctor Dave Penny has forged a colossal three-CD set based around the original soundtrack, kicking off with Little Richard’s three songs from the film (‘Ready Teddy’, ‘She’s Got It’ and dam-busting rock chick anthem title track), then another dozen affirmations of the pompadoured Georgia Peach’s unbridled gospel-charged piano-humping mayhem. Disc One also features screaming sax honker Nino Tempo on both the film’s ‘Tempo’s Tempo’ and eight more tracks from its mothership album, Rock ’N’ Roll Beach Party (including the immortal ‘Turkey Gobbler’) plus Texan rocker Johnny Olenn’s ‘I Ain’t Gonna Cry No More’ and ‘My Idea Of Love’ from the film, and more from his Just Rollin’ With Johnny Olenn album. Disc Two spotlights Gene Vincent, his ‘Be-Bop-A-Lula’ from the film, plus another seven tracks, including 1958’s ‘Git It’ (as later covered by Dave Edmunds) and four which appeared in the lesser-known Hot Rod Gang flick. Also here are Julie London (cheesecake chanteuse missus of the film’s soundtrack supplier Bobby Troup), rocker Eddie Fontaine, the Three Chuckles, Teddy Randazzo (with the now rather sinister-sounding ‘Be My Kitten Little Chicken’) and the great Abbey Lincoln injecting gospel passion with ‘Spread The Word’ (shortly before becoming one of the world’s leading firebrand jazz singers as wife of drummer Max Roach). Larger-than-life Fats Domino looms over Disc Three with his ‘Blue Monday’ from the film joined by other celluloid sorties, including ‘Ain’t It A Shame’ and two others from Shake Rattle And Rock, plus others including showings in The Big Beat and Jamboree. He’s joined by the Treniers, built around twin brothers Cliff and Claude, whose ‘Rockin’ Is Our Bizness’ appeared in The Girl Can’t Help It, joined here by their showings in Don’t Knock The Rock, Teen Age Rebel, Jukebox Rhythm and Calypso Heat Wave. The Platters demonstrate why the rock ’n’ roll movie genre was so essential to their career, ‘You’ll Never Know’ from The Girl Can’t Help It joined by items they contributed to Rock Around The Clock, Rock All Night, Carnival Rock and Girls Town. The set is completed by trumpet-titan Ray Anthony and a hidden track of Jayne Mansfield herself with her own ‘Just Plain Jayne’, completing a collection which explodes with all the energy, attitude and underlying musical flair which now sound like the perfect case for an axis-shifting revolution. The only missing ingredient is Elvis, offered the main male lead but scuppered by the Colonel’s financial demands. He didn’t do too bad but neither did the movie and stellar cast assembled on this brilliantly-executed manifesto for the movement it inspired. |
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Fantastic Voyage 2012 | 2-CD | 18.00 € |
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| VA: - The King Girl Groups: Queens Of King 24 tracks girls from King Records |
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Ace Records 2002 | CD | 18.00 € |
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| VA: - The Leiber & Stoller Story Vol 1 - Hard Times 28 tracks |
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Ace Records 2004 | CD | 17.00 € |
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| VA: - The Leiber & Stoller Story Vol. 2 - On The Horizon 1956-1962 24 tracks |
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Ace Records 2006 | CD | 17.00 € |
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| VA: - The London American Label Year By Year 1957 Our London American series continues to win praise from all corners, particularly from UK residents whose record collecting habits sprang from the purchase of one or more of the London label’s many fantastic 78s or tri-centre 45s. We’ve reached 1957 later than planned due to having to replace a track at the very last minute, but we expect to deliver three volumes in 2012 – those who are collecting the series will be glad to know that 1956 and 1964 are well under way. 1957 was a truly vintage year for youth-aimed American music, and its best overall representation in the UK came via London. A great number of the 178 singles the label issued that year are already available somewhere in the Ace catalogue, but the overview presented here is highly formidable and really does show all facets of their release schedule. Only a couple of the 28 tracks here are currently available on other Ace CDs, and I make no apology for including one of them: my all-time favourite record, Little Richard’s ‘Keep A Knockin’’ (a compiler’s perk that surely nobody will deny me). As ever, we have been lucky enough to have many of the original London production masters at our disposal, and more than 70% of the music you’ll hear here comes from those very same tapes. The music speaks for itself. What’s not to love about a CD that brings you tried and trusted classics such as ‘Blue Monday’, ‘Great Balls Of Fire’, ‘Your True Love’, ‘I Walk The Line’ and – in its UK single version, of course – ‘Twenty Flight Rock’, alongside seldom reissued hits such as ‘White Silver Sands’, curios of the calibre of the UK-only overdubbed version of ‘A Rose And A Baby Ruth’ and the usual selection of “What made them issue that? But let’s be glad they did”s, a category that would have to include Merle Kilgore’s ‘Ernie’, Dean Beard’s ‘Rakin’ And Scrapin’’ and Ernie Chaffin’s ‘Feelin’ Low’. Along the way you’ll also find sisters Patience & Prudence stating the obvious in ‘We Can’t Sing Rhythm & Blues’, the deranged Nervous Norvus instructing the world how to do ‘The Bullfrog Hop’ and all manner of other musical delights, lovingly sequenced in much the same way they might have appeared in the London American catalogue. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - The Memphis Jukebox Vol. 1 Vee-Tone Records present the secrets of the Graceland jukebox. The Memphis Jukebox Volume One is a fascinating insight into the musical tastes of the King of Rock 'n' Roll. This is the first ever release to contain the actual music contained on Elvis Presley's personal jukebox at his Graceland home. This unique collection allows listeners to experience and enjoy the music that Elvis Presley listened to whilst relaxing at home. Some of the tracks featured were actually recorded by Elvis during his career in the 1950's, 1960's and 1970's. The original Elvis Presley jukebox 45's were recently put to auction and purchased by Henrik Knudsen and the details published in the February 2010 issue of Record Collector magazine article by Megan Murphy, the "Secrets of Elvis' Jukebox". The 22 singles featured on this collection have been carefully selected by Vee-Tone Records to demonstrate the young Elvis Presley's wide musical tastes including Blues, Rhythm & Blues, Rockabilly, Rock 'n' Roll and Doo Wop. Many of Elvis's peers are featured including artists such as Carl Perkins, Dale Hawkins, Little Walter, The Rays, Chuck Willis, James Brown plus many more. |
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Vee-Tone Records 2010 | CD | 15.00 € |
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| VA: - The Memphis Jukebox Vol. 2 |
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Vee-Tone Records 2010 | CD | 15.00 € |
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| VA: - The Music City Story 3CD Ray Dobard’s Music City Records of Berkeley, California, across the Bay from San Francisco, is a catalogue of mythic proportions that has been cherished for decades by a small hardcore of R&B, vocal group and, latterly, soul fanatics. Based on the available evidence – 50-odd 45 and 78rpm releases – and a lot of hearsay and rumour, many have spent hours fantasising about the purported riches in the possession of its famously protective, zealous owner. Ace Records is thus proud to unlock the Music City vault for the edification and entertainment of the world at large with the 3CD set “The Music City Story”, an unprecedented survey of the label’s 25-year operation, and an excellent primer for Ace’s forthcoming genre- and artist-based compilations of Music City material, telling the story with many rare gems from the catalogue and a surfeit of previously unissued goodies. Although Ray Dobard experimented with recording a variety of genres, the legend of Music City is predicated on its role as a premier exponent of black rhythm and blues styles, with a strong regional flavour. Most significantly, the sound of Music City was street. Much of what appeared on the label and lies in its voluminous cache of unreleased recordings can be said to reflect the evolution of black popular music between the early 50s and the mid-1970s. It reflects reality: this is what was heard in clubs and juke joints, at high school auditoria and rec centres, rent parties or literally out on the sidewalk, with all the dissonance and unoriginality that might imply, but matched equally by huge, invigorating dollops of innocence and exuberance, and a surprising amount of inspiration. Amongst the set’s 78 tracks are names familiar to doo wop and blues collectors – the Crescendos, Gaylarks, Rovers, 5 Lyrics, Alvin Smith etc – while behind several others lurk famous names (James Brown, Lou Rawls) or others soon to be famous (Sugar Pie DeSanto, members of Sly & the Family Stone). From the raucous jump blues of Del Graham’s ‘Your Money Ain’t Long Enough’ to the hip street soul of Darondo, the breadth of genres represented is extensive, but the overall emphasis in “The Music City Story” is upon the black vocal group, be it 50s, 60s or 70s vintage. It is the rich seam of Bay Area groups mined by Music City that collectors most closely associate with the label. Dobard had only a couple of minor hits – the 4 Deuces’ popular ‘W-P-L-J’, Johnny Heartsman’s raucous ‘Johnny’s House Party’ – but kept the tape machine running pretty much constantly for much of his quarter-century in the business. It has been many years since as significant a stash as Music City’s has come to light, and accompanying the tantalising musical treats is an extensive, heavily-illustrated sleeve note detailing the label’s history. Given that the late Dobard was notorious evasive, an air of mystery has always surrounded his activities in music, but this is the first time a recounting of the Music City saga has been based upon hard data, rather than supposition. Documents, letters, tape box annotations, discographical notes, session chatter, even recorded phone conversations form a considerable body of evidence, that helps bring into focus what this fiercely independent and pioneering black entrepreneur achieved. Ray was no Dootsie Williams or Jake Porter, but nevertheless, a picture emerges of a fascinatingly complex figure, whose role in the black music scene in the mid-20th century cannot be discounted. As venerable East Bay bandleader Johnny Talbot puts it, “to me, Ray Dobard was the foundation of Bay Area music. There was hardly anyone who did anything later who didn’t bump into Ray, so he had to be a foundation.” By Alec Palao (Ace Records) |
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Ace Records 2011 | CD-Box | 40.00 € |
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| VA: - The Norfolk, VA. Rock'n'Roll Sound 24 biisiä vuosilta 1954-63 |
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Ace Records 1994 | CD | 17.00 € |
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| VA: - The Pomus & Shuman Story - Double Trouble 1956-1967 26 tracks |
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Ace Records 2007 | CD | 18.00 € |
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| VA: - The R&B Hits Of 1955 3CD 3CDs = 84 tracks |
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Castle Music 2005 | CD-Box | 20.00 € |
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| VA: - The Rhythm Teens 23 biisiä mm Dappers, Statics, Del-Tones, Dreamtones, Five Gents, Supremes, Georgie Manis jne |
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Norton Records 2003 | CD | 17.00 € |
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| VA: - The Roots Of Bob Dylan 4CD 3 x CD + 1 x DVD. Includes 24 page booklet |
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Proper 2009 | CD-Box | 20.00 € |
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| VA: - The Street Harmony Revue Vol. 1 23 tracks |
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Crystal Ball Records 2003 | CD | 18.00 € |
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| VA: - The UK Sue Story Vol. 4 26 tracks from 1956-1966 |
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Ace Records 2006 | CD | 18.00 € |
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| VA: - These Ghoulish Things - Horror Hits For Hallowe'en 28 thorrible hitpicks fron the ghoul-den age of R&R. Be Afraid ! |
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Ace Records 2005 | CD | 18.00 € |
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| VA: - This Is DJ Choice Vol. 2 - Keb Darge & Lucinda Slim |
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Unique Records 2008 | CD | 20.00 € |
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| VA: - Thunderbike Vol. 1 18 rare tracks from the 50s and 60s. Scorchin' R&B and R&R |
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Thunderbike Records 2010 | LP | 15.00 € |
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| VA: - Toast Of The Coast 1950s R&B From Dolphin's Of Hollywood Vol 1950s R&B From Dolphin's Of Hollywood Vol. 2 ! We’re often asked why we don’t put out as many R&B compilations as we used to. In part, our extensive release schedule in the past has meant that, while the well is still by no means dry, it’s not as full as it used to be. Additionally, demand has dwindled a little, as its audience gets older and less interested in ownership of CDs. Also, the relentless onslaught of lesser quality “out of copyright” issues has eaten away at the core market for R&B and given a false perspective on the true worth of material that’s being, for want of a better term, legally bootlegged. We still love R&B, and we will continue to support it as long as people keep calling for it. This month, we’re delighted to bring you another volume in our series of CDs devoted to the labels of the late John Grattan Dolphin. Our previous Dolphin compilation highlighted repertoire that Lovin’ John had recorded for release on his first label, Recorded In Hollywood. This time, the repertoire is largely drawn from the stack of tapes that Dolphin produced or bought with the intention of issuing them on his later labels, Money and Cash. With one exception, all tracks come from original mastertapes that Ace acquired from Dolphin’s widow, Ruth, some years ago. Dolphin’s scattergun approach to running his labels meant that he would be recording and releasing high profile acts like Memphis Slim, Pee Wee Crayton, Joe Houston and Jimmy Witherspoon one day, and extremely obscure ones like Vernon Anders and Al Calloway the next. For every two sides that he issued, he left two in the can. Indeed, some singers heard here, such as Ervin “Big Boy” Groves’ protégée Little Margie, recorded many sides over several sessions without so much as one finding its way onto the market. He may not have released everything he cut, but Dolphin held onto the majority of his reels of tape. Because of this, Ace can bring you another helping of quality R&B, in the direct-from-the-studio-floor quality. (There’s plenty more where this comes from. Even as you’re reading these words, another volume is being planned for release in early 2010). As we are wont to do on these occasions, we’ve enlisted the help of top notch west coast researcher-annotator Jim Dawson to tell the story behind the songs and artists - and as ever, Jim’s left no stone unturned in his quest to uncover new facts about the most terminally obscure names on this set. Half a century may have passed since John Dolphin really was the Toast Of the Coast, but his musical legacy has outlived him. Thanks to our being able to bring you compilations such as this one, it will continue to do so for many years to come. By Tony Rounce (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Toes On The Nose - 32 Surf Age Instrumentals Classic California surf-era instrumentals from the Emi Owned west coast labels; Capitol, Imperial and Liberty. Feat legendary musicians such as Gary Usher, Richie Podolor, Sandy Nelson and more |
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Ace Records 1996 | CD | 17.00 € |
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| VA: - Too Late To Be Good - Vocal Harmony Vanguard 1937-52 Vocal group harmony enjoyed its golden years from the mid 1950s to the mid 1960s when groups such as The Platters, The Drifters and The 4 Seasons regularly topped the national Billboard Pop and R&B Charts, but the tradition goes back much further than that, right back to the dawn of recorded sound and beyond in fact. This CD, however, concentrates on the post-war rise of the vocal ensemble in a variety of different settings - quartets, quintets, ensemble jive and jazz groups, acapella harmony units and big band vocal groups - but all architects of the modern style that would come to be known, for better or worse, as Doo Wop. |
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El Toro Records 2003 | CD | 15.00 € |
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| VA: - Top Of The Tops tracks from 1950-1960. American, French and British hits from the era. |
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Magic Records 2011 | CD | 15.00 € |
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| VA: - Transparent Rock Shake Rhythm 25 tracks |
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Collector Records 2008 | CD | 15.00 € |
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| VA: - Tribute To Bo Diddley |
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Evidence Music 2008 | CD | 15.00 € |
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| VA: - Turn Back The Clock 12 biisiä |
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King Records 1988 | CD | 12.00 € |
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| VA: - Twistin' Rumble Vol. 3 the swingin'est dance party ever ! |
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TR | CD | 18.00 € |
