Blues / Rhythm & Blues (CD)
Result of your query: 1536 products
| VA: - Laughin' At The Blues 27 tracks |
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Rev Ola 2007 | CD | 17.00 € |
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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: - Leiber & Stoller Story Vol. 3 Shake 'Em Up & Let Roll 24 tracks 1963-1969 |
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Ace Records 2007 | CD | 17.00 € |
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| VA: - Let The Boogie Woogie Rock And Roll |
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Ace Records 1999 | CD | 18.00 € |
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| VA: - Let's Crossover Again |
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Ace Records 1999 | CD | 17.00 € |
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| VA: - Let's Go Jivin' to Rock N Roll |
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Bear Family 1990 | CD | 17.00 € |
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| VA: - Let's Go Trippin' 30 Classic Tracks From The Surf & Hot Rod Era |
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Ace Records 1996 | CD | 18.00 € |
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| VA: - Let's Jump! Swingers & Humdingers Those with longish memories may recall the UK's brief swing revival of the mid 1970s, when the 70s soul played by UK DJ Chris Hill at his gig at Canvey Island's "Goldmine" briefly ceded its domination of that Essex venue's dancefloor to the orchestras of Count Basie, Jimmie Lunceford, Chick Webb and Benny Goodman. "Goldmine" goers caught swing fever for, ooh, at least 10 minutes - and attracted the attentions of Britain's national press in the process - before tiring of dressing up like their parents and grandparents every weekend and returning to the safer and more familiar environs of the Salsoul Orchestra and their ilk. A couple of decades later, and a few thousand miles away in California, things were again 'in full swing'. This 'revival', though, was not the flash in the pan that the earlier British equivalent had been. As well as embracing the great records of the original 1930s/1940s orchestras, the 1990s West Coast Swing scene thrived on, and was fuelled by, a number of bands that played original material with the same fire and passion as had the past masters from whom they drew their inspiration. A further decade on (and several unfulfilled prophecies of its demise later) said scene continues to flourish - each weekend, scads of dancers jitterbug and lindy hop their way through the night like Elvis Presley, Chuck Berry and Little Richard had never happened, to a balanced mixture of live bands and hot records from the music's first Golden Age. Those live bands are well represented elsewhere on CD, but until recently there has been a dearth of compilations devoted to this 'local phenomenon with international appeal'. Ace's Let's Jump!, put together by renowned collector/songwriter/performer/all-around mine of information and long-time L.A resident Billy Vera, remedies that dearth in part, and also offers a man-on-the-spot's perspective on what's still keeping California jumpin' more than half a decade after the swing thing originally kicked in. Those expecting wall-to-wall jivers might be initially surprised to find that BV's swing panorama also takes in frantic bebop, rockin' doo wop, boisterous blues shouting and even a brace of instrumental smoochers. But as Billy himself will tell you, the scope of the scene allows plenty of room for this kind of musical interloping. And as for the slowies, well, even the most driven of dancers have to chill out from time to time, don't they? This compilation - drawn exclusively from masters originally recorded for, or acquired by, Modern Records - may be primarily aimed at Swingers. But you don't have to be exclusively a swing fan to appreciate the content here. You don't even have to be from California. The appeal of this music transcends boundaries of category. Its content is sure to excite all fans of R&B and rock'n'roll, thanks to Billy's astute inclusion of splendid sides by the Flairs, Gene Phillips and Oscar McLollie. And we promise, too, that renowned jazzers like Ike Carpenter, Ben Webster and ex-Benny Goodman saxblaster Vido Musso also rock pretty hard when the mood demands, as it often does here. To add to Let's Jump!'s all-round appeal, many of its tracks are making their first appearance on CD. Several others have never been reissued since their original appearance on 45 or 78, and there are even one or two cuts that are receiving their world premiere issue (Don't worry I've already thanked Billy on your behalf...) ...roll back the rug, get on the floor, Swing is king forever more. Do YOU wanna jump, children? By Tony Rounce (Ace Records) |
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Ace Records 2002 | CD | 18.00 € |
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| VA: - Like An Atom Bomb 18 tracks - Apocalyptic Songs From The Cold War Era |
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Buzzola 2004 | CD | 15.00 € |
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| VA: - London American Label Year By Year 1956 Most Ace customers will know by now that both my grandfather and father had general (and considerable) influence on my collecting habits, thanks to the records they introduced me to even before I was old enough for school. Needless to say, I’m eternally grateful to them for showing me the value of music at an incredibly early age. Grandad bought 78s up to the point where the major labels announced their imminent discontinuance in late 1959. He then continued to buy two 45s each week from theUKcharts, all the way though to 1980 when he turned 78. Dad was somewhat quicker to adapt to the newer medium; the first 45 that ever came into our house arrived three years earlier. It’s almost inevitable somehow that said 45 was on London. Andy Williams’ ‘Canadian Sunset’ joined 78s by Tennessee Ernie, Hank Williams, Bill Haley, Guy Mitchell, Frankie Laine and other family favourites in 1956, and was quickly followed by others that fascinated me almost as much for their size and for their tri-centres as for the music they contained. The family Dansette regularly rocked to the sounds of ‘Rip It Up’, ‘When My Dreamboat Comes Home’ and other great records. I’m not sure where ‘Canadian Sunset’ fitted into all this – it may have been a purchase for my mum – but I liked it as much as anything else from Dad’s fast growing collection of 45s by Fats Domino, Little Richard and that bloke with the crazy name of Elvis something. More than 50 years later I still like ‘Canadian Sunset’, and it’s pleasing to be able to include it on the latest in our London American series. which overviews 1956. It’s also good to include the aforementioned Fats and Richard singles, as well as others that a number of Ace buyers will also have grown up on – plus even more that most of us didn’t hear until long after the event, thanks to the limited exposure pop music received in the UK in the mid-50s. Many of the greatest rock’n’rollers debuted on London during 1956, Carl Perkins, Chuck Berry and Mr. Penniman being just three. It was also the year that the London A&R team slipped the likes of Werly Fairburn and Faye Adams past their bosses, who may have been less pleased with those sales than with ‘Rip It Up’ and the ubiquitous ‘Davy Crockett’! As ever, most of our inclusions sound as they did on their original London releases, having been mastered from the same tapes. Several have never been legally reissued in the UK before, and others have never been reissued at all. Ace’s beloved founder Ted Carroll shares his own memories of London’s musical impact on his youth and life in the foreword, and as always there’s copious track-by-track annotation and at least one scan of every 45 (or 78) featured in our programme. Move over London 2012 – here comes London 1956! By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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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 € |
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| VA: - London American Label Year By Year 1959 They say that as one gets older the passage of time becomes ever faster. That’s only true if you are not compiling CDs of music from bygone days. At the moment, and thanks in no small way to the “London American Label Year By Year” series, Peter Gibbon and I feel as though we’re permanently stuck in the late 1950 and early 1960s, reliving our youth over and over again in a skewed cross between Groundhog Day and Life On Mars. Roll over Doctor Who, and tell Gene Hunt the news. The late 50s and early 60s are a long way from the worst years to find yourself reliving. I would bet that I am far from the only person here who, given the choice, would not permanently reset his personal controls for a one-way ticket to a similar time frame. However you slice it, the soundtrack to that period is worth abandoning DAB for in favour of the return of Fabulous 208, Juke Box Jury and ceaseless attempts to locate AFN’s signal. The series continues to offer Ace fans their own personal time machine via some of the best American records of their era, all of which appeared on the cherished black-and-silver imprint. This month Ace’s equivalent of the TARDIS lands in 1959 – a pivotal year in popular music that managed to survive the US payola scandals, a UK printers strike, a failed experiment with stereo 45s (Sun and Specialty in stereo? Methinks not, thanks) and all attempts to kill off rock’n’roll and replace it with lots of people called Bobby and Frankie, to bring us some of the most wonderful and well-remembered recordings of that life-changing decade. It’s a mark of how many great records came out on London in ’59 that only one of the tracks on our latest compilation is currently available elsewhere on Ace. Once again the diversity of the compilation reflects London’s own diversity of catalogue. (Inevitably nobody will like everything here – but, hey, Wink Martindale’s ‘Deck Of Cards’ was the label’s biggest seller of the year and that’s what the god of electronics invented that fast forward button on your CD player for.) Thanks to the foresight of the Decca (that’s D-E-C-C-A) record company in preserving the original production tapes for London 45s, we are again able to bring you more than 80% of the tracks featured from the same sources that were used to manufacture those 45s over 50 years ago. Believe me, I could chat all day about this, but the TARDIS is making that funny noise it makes when it’s about to take off and we need to make sure that our next stop is 1963. All being well, we should land there early next year. If anyone would like to apply for the post of our glamorous sidekick, we’re still taking applications. By Tony Rounce (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - London American Label Year By Year 1960 EMI didn’t have one until 1962, Philips never had one at all, Pye tried hard, but remained in division two for much of its life and the Rank Organisation had one that rang up such huge losses they pretty much gave theirs away. The label none of those companies could match was housed on the Albert Embankment, the home of the Decca Record Company – the label was London American and it, unlike Top Rank, Pye International and Stateside was the label you turned to most often when looking for the best in American pop, R&B and rock’n’roll. America was the first country in which a London label appeared. It was the flagship of British Decca’s American operations as far back as 1934. In Britain, the London logo made its debut in 1949 releasing material culled from its American namesake, but also from early US independents like Audivox, Jubilee, Derby, Cadence, Imperial, Essex and Jubilee. In 1954, a new prefix (HL) and numbering system (8001) was introduced and it’s this series that gave the London American label its legendary status. As rock’n’roll took hold in America new labels sprung up by the bucket load and Decca’s reputation for honest, straight forward dealing meant the new label entrepreneurs could trust Decca to pay its advances and deliver regular royalty statements and payments so the stature of the London American label grew rapidly. EMI’s Columbia, Parlophone and HMV labels had some US hits, others turned up on smaller British labels like Melodisc, Oriole and Starlite, but the cream was always to be found on the silver and black London label. Here you’d find material from Atlantic, Liberty (whose ability to survive and expand was partly made possible by a financial leap of faith by Sir Edward Lewis, the chairman of Decca who, when asked for a hundred thousand dollars advance for the rights to the Liberty catalogue in the mid-50s offered fifty thousand more, such was his belief in Liberty’s founder Si Waronker), Cadence, Dot, Jamie, Sun, Chess, Specialty, Warwick, Imperial and United Artists, most of which became major players whilst others like Greenwich, Sunbeam, Paris, Dore, Arwin, Judd, JDS and countless others turned out to be little more than ‘here today, gone tomorrow’ operations. Still, their recordings all found a home on London American. And so now Ace Records begins a year-by-year series celebrating the hits, misses and downright rarities that found a British outlet on the London American label, starting with 1960. Here you’ll find familiar recordings by Chuck Berry, Johnny Tillotson, Duane Eddy, Eddie Cochran, the Ventures, the Coasters and Johnny Burnette, but look more closely and you’ll find lesser-known records from the Delicates, whose members we now know more about than ever we knew in 1960, Teddy Redell with a track that’ll set you back £50 or £60 pounds now and Sonny Burgess, a wild rock‘n’roller who hadn’t noticed America’s chart was full of boy next door love songs in 1960. Here too, you’ll find Vernon Taylor’s sought-after version of Elvis’s ‘Mystery Train’, and even a good-time country sound from Wynn Stewart which London chose to only manufacture in Britain as an export item. But don’t let me keep you, grab your copy of The London American Label Year By Year and start re-living the sound of 1960. Then keep your eyes peeled for 1961, 1962, 1963. By Austin Powell (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - London American Label Year By Year 1963 The USA was the first country in which a London label appeared. It was the flagship of British Decca’s American operations as far back as 1934. In 1949 the first batch of these American records was made available in the UK on the new London American imprint. In 2009 Ace launched its “London American Label Year By Year” series, which with this volume devoted to 1963, stands at five volumes. 1963 was a very good year for Phil Spector, the releases on whose Philles label appeared on London American in the UK. Until very recently, Philles recordings were out of bounds for compilations such as this one, but with the record producer presently out of circulation, his catalogue has very recently become available for license. Every cloud, eh? Let’s face it, this particular edition would not have been an accurate representation of 1963 without the Ronettes, the Crystals, Darlene Love and Bob B Soxx & the Blue Jeans, all of whom are present and correct. Yay! The inclusion of Darlene Love’s ‘A Fine Fine Boy’ here marks the first time the original 45 version has been legally available on CD. (All other digital issues contain a re-edit that is the result of irreparable damage to the original master.) Spector owed a lot of his success to Ellie Greenwich and her husband Jeff Barry, with whom he collaborated almost exclusively throughout 1963. The threesome co-wrote ‘A Fine Fine Boy’, ‘Then He Kissed Me’, ‘Be My Baby’ that year, and many more besides. Greenwich and Barry also penned bathos specialist Ray Peterson’s death-disc ‘Give Us Your Blessing’ and the Raindrops’ ‘What A Guy’, included here too. (Ellie and Jeff were the Raindrops, but you knew that.) 1963 was also a prime year for girl groups and female singers in general, a fact reflected here via the Sherrys, Little Eva, Marcie Blane, Robin Ward, Shirley Ellis and Ruby & the Romantics, not forgetting 50s R&B star LaVern Baker and South African ex-pat Miriam Makeba. There’s a lot more to this CD than Phil Spector, girl groups and Brill Building songwriters, but hey, that’s me for you. In all, this collection contains the A-sides of 28 of the 178 singles released on the London American label in 1963. As the series is expanding in two directions, we’re unsure if the next volume will focus on 1964 or 1958, both of which were very good years for American music. Watch this space to find out. Either way, it’ll be a winner. By Mick Patrick (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - London American Label Year By Year 1964 1964 was not a great year to be an American chart hopeful. After an indifferent start in ’63, the Beatles had finally come, seen and conquered the US Hot 100. If your chances of scoring a decent-sized hit weren’t already hindered by the Fab Four’s domination of the Top 20, there was the mighty rearguard of the Dave Clark Five, Herman’s Hermits, the Animals, Freddie and the Dreamers, Petula Clark and anyone else who sang with a British twang to contend with. If the majority of American singers and musicians started to feel like strangers in their homeland courtesy of post-Beatlemania pandemonium, you can hardly blame them. Fortunately, despite the chart success of UK acts, there was still plenty of great American music being made, and a lot found its way into British ears courtesy of the London-American label. Not as much as in previous years – as London now had stiff competition for US product from Stateside and Pye International – but enough to make the 1964 entry in our “Year By Year” series as varied and enjoyable as the previous volumes. 1964 was a watershed year for London. They lost representation of several labels that had been vital components of their catalogue. Some, such as Atlantic, gained their own identity elsewhere within the Decca organisation. Others – Sun, Specialty, Cadence – more or less ceased to function. Dot Records, a major player in London’s past success, moved across town to Pye. But the London A&R division kept on with Monument, Philles, Kapp and other important US repertoire sources, and actually managed to rack up more UK hits than they had the previous year. Our collection gives you the gist of how London faced up to the challenge of 1964. Early soul classics from Solomon Burke, Otis Redding and the Drifters; examples of Phil Spector’s Wall Of Sound from the Crystals and the Ronettes; Buddy Holly clones Ray Ruff and David Box; Elvis soundalike Terry Stafford; boss instrumentals courtesy of Willie Mitchell, the Baja Marimba Band and Bill Black’s Combo; country hits from Jerry Wallace and Ned Miller; and even some American Merseybeat from Washington DC’s Chartmakers, All this and Jerry Lee and Satchmo too – what’s not to love? As ever, the booklet is full of label illustrations, reviews, sheet music and copious track-by-track annotation. Wherever possible, London’s own original tape sources have been used to preserve authenticity. It’s taken longer to pull this volume together than any previous one, but we are sure the end product will justify the wait for London American collectors and all fans of mid-60s US pop. By Tony Rounce (Ace Records) |
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Ace Records 2013 | CD | 18.00 € |
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| VA: - Love Blood Hound Rhythm 25 biisiä |
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Collector Records | CD | 15.00 € |
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| VA: - Lovin' Time Blues - Great Jump & R&B Duets 27 BIISIÄ |
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El Toro 2003 | CD | 15.00 € |
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| VA: - Mad Mike Monsters Vol. 1 - A Tribute To Mad Mike Metrovich The wildest 45s discovered and popularized by enigmatic Pittsburgh hoo-doo DJ during his primo prime years 1964-67, compiled into three sets of instant party mashers! Massive gatefold LPs tell the story of the Mad One in his own words, complete with tons of memories from his many local fans, while the CD packs deliver the same in a pocket-size format! Absolutely staggering array of sounds from this Norton icon! All sizzle, no gristle! This is the first volume. |
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Norton Records 2009 | CD | 17.00 € |
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| VA: - Mad Mike Monsters Vol. 2 - A Tribute To Mad Mike Metrovich The story continues in this massive gatefold second volume |
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Norton Records 2009 | CD | 17.00 € |
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| VA: - Mellow Cats 'N' Kittens The R&B and Cool Blues 1946-52. 24 biisiä |
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Ace Records 2004 | CD | 17.00 € |
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| VA: - Memphis Boys - The Story Of American Studios There can be few with an interest in the music of the American South who didn’t welcome the recent publication of Memphis Boys, Roben Jones’ essential history of American Studios. Established by songwriter-producer Chips Moman and his business partner Don Crews in 1964, it took a couple of years for American to find its true audio identity, but once the in-house group of key musicians – the Memphis Boys of Roben’s title – were all in place the steady trickle of hits and future classics quickly became a flood. Thanks to those players – Tommy Cogbill, Reggie Young, Bobby Emmons, Gene Chrisman, Dan Penn, Spooner Oldham and others – the American sound became as important a part of recording history as that which emanated from the studios of Motown, Cosimo’s, FAME and Memphis neighbours Sun, Stax and Hi. The first Hot 100 biggies to be recorded at American – James & Bobby Purify’s ‘Shake A Tail Feather’ and Oscar Toney Jr’s ‘For Your Precious Love’ – were taped at the same session in March 1967, around the same time as Dan Penn was putting the Box Tops through their paces on ‘The Letter’, one of the biggest hits of 1967 and American’s first worldwide chart-topper. Not a bad year by anyone’s standards. How quickly American’s stock rose in the eyes of others – particularly the companies that used the studio and the Memphis Boys on a regular basis – can be assessed by the fact that, by 1968, American was entertaining a client roster that included Neil Diamond, Petula Clark, B.J. Thomas, Dionne Warwick, Dusty Springfield and a local boy by the name of Elvis Presley who was looking to make his music as relevant as it had been 15 years earlier. Although this collection doesn’t contain every major hit that came out of the funky little studio on Thomas Street, Memphis (we’re saving some for a possible second volume), as a listening experience it’s hard to beat – particularly when enjoyed in conjunction with Roben’s brilliant book. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Mercury Records - The New Orleans Sessions 2CD 2CD - Mercury R&B from New Orleans. 47 tracks |
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Bear Family 2007 | CD | 34.00 € |
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| VA: - Messing With The Blues Ace's previous forays into the back catalogue of Atlantic Records have given us some sparkling compilations of rhythm & blues and soul. The label may not be so readily associated with hard-core blues but it recorded plenty of choice items, as this selection from the first decade or so of the company's existence demonstrates. Here are plenty of blues heavy hitters - Big Joe Turner, Ray Charles, John Lee Hooker, T-Bone Walker and more - mixed with others who are much less well known. A handful of the performers were on Let The Boogie Woogie Rock'n'Roll (CDCHD 718), an excavation of early rhythm & blues to which this release can be seen as a follow-up. Ace's previous forays into the back catalogue of Atlantic Records have given us some sparkling compilations of rhythm & blues and soul. The label may not be so readily associated with hard-core blues but it recorded plenty of choice items, as this selection from the first decade or so of the company's existence demonstrates. Here are plenty of blues heavy hitters - Big Joe Turner, Ray Charles, John Lee Hooker, T-Bone Walker and more - mixed with others who are much less well known. A handful of the performers were on Let The Boogie Woogie Rock'n'Roll (CDCHD 718), an excavation of early rhythm & blues to which this release can be seen as a follow-up. The star of the CD is Little Johnny Jones, a hugely talented pianist in the style of Big Maceo Merriweather who died much too young. He is best known for his playing on recordings by Tampa Red and Elmore James, for he made less than a handful of singles under his own name. Here are all four sides from his only session for Atlantic, plus one alternate take, with Elmore on guitar throughout. This reviewer finds it hard to imagine a more perfect example of 1950s Chicago blues than Chicago Blues. Four of these five tracks appeared on an Atlantic LP almost thirty years ago, but this may be the first reissue of the take of Hoy Hoy used on the original Atlantic 78. As a kind of bonus, Little Johnny and Elmore pop up again, backing Big Joe Turner on his well-known TV Mama. Big Joe and Ray Charles were both stalwarts of Atlantic in the 1950s. The Atlantic recordings of Champion Jack Dupree, T-Bone Walker and John Lee Hooker, on the other hand, were brief stops in long and varied careers. It's a tribute to the care that the company always took that, for all three men, these recordings rank amongst their best work. Compiler Ray Topping has spiced up the package by including plenty of material that even long-in-the-tooth collectors won't have heard before. Check out Jimmy Griffin's band doing an answer to Muddy Waters' I'm A Man, called She's A W-O-M-A-N. Or saxophonist Frank Culley's lovely version of After Hours, with a rippling piano solo by Van Walls. Then we have both sides of West Coast guitarist Chuck Norris' Atlantic single, and a rocking version of Drinkin' Wine Spo-Dee-O-Dee by Larry Dale. And at the far end of obscurity gulch is Lucky Davis, who Ray Topping speculates was recorded in Texas. And there's lots more besides. In short, Messing With The Blues has something for everybody. By Tony Collins (Ace Records) |
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Ace Records | CD | 18.00 € |
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| VA: - Miami Rockin' Doo Wop From The Chart Label 28 biisiä vuositla 1955-1956 |
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Ace Records 2000 | CD | 17.00 € |
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| VA: - Mit der Raupe fahr'n... Das waren noch Zeiten: Ab an die Raupe! Denn da lief die neueste Musik auf dem Freimarkt in Bremen, dem Oldenburger Krammermarkt, dem Hamburger Dom oder auf anderen Rummelplatz - Sausen. Discotheken gab's noch nicht - und wo sonst konnte man mit den Mädchen so schön flirten und bei geschlossenem Verdeck unbemerkt knutschen?! Die ersten Schmatzer in der Raupenbahn klingen bis heute nach, die Liebesschwüre hängen noch immer zwischen den alten Kufen der Bahn... Das Bremen - Eins - Team der 'Oldiebörse' holt diese unvergesslichen Erinnerungen und handfesten Gefühle zurück - die bei intensivem Hinhören plötzlich gar nicht mehr so alt erscheinen... Die RAUPENHITS der Oldiebörse, präsentiert von BEAR FAMILY RECORDS: ein Muss - nicht nur für den großen Rummel! |
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Bear Family 2010 | CD | 17.00 € |
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| VA: - Model T-Boogie 1935-1952 |
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Black Rhythm | CD | 15.00 € |
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| VA: - Modern Down Home Blues Sessions Vol 2 Mississippi & Arkansas 1952 |
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Ace Records | CD | 18.00 € |
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| VA: - Modern Downhome Blues Sessions Vol. 2 26 biisiä |
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Ace Records 2003 | CD | 17.00 € |
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| VA: - Modern Downhome Blues Sessions Volume 3: Memphis On Down Ace's third volume of The Modern Downhome Blues Sessions lives up to the standards set by its predecessors. This volume starts off in Memphis, with recordings that Sam Phillips shopped to Modern/RPM in 1950/51. Phillips and the Biharis fell out when Chess was sent and had a hit with Jackie Brenston's 'Rocket 88', but before that Modern acquired some classics from Phillips. MEMPHIS ON DOWN begins with Willie Nix (was there ever a greater singing drummer?) accompanied by Willie Johnson's slash-and-burn guitar. There's more Johnson on Howling Wolf's Riding In the Moonlight and Crying At Daybreak aka Smokestack Lightning, in the versions issued on 78rpm. And if you think Segrest and Hoffman's new biography sewed up everything about the Wolf, read Lester Bihari's report of him commuting between West Memphis and a steel plant in Gary. This is just one of many new pieces of information in Jim O'Neal's lengthy and detailed notes in the beautifully presented booklet. Also from Sam Phillips came a track apiece by Bobby Bland, with wonderful Matt Murphy guitar, and by mouth-harp genius Walter Horton (Now Tell Me Baby also in its 78rpm version). One-man band Joe Hill Louis has four tracks, in both his 'be-bop boy' and his down-and-dirty modes. Joe's friend Jim Lockhart also offers contrasts, with the jiving Boogie Woogie Baby and the droning, introverted Empty House Blues (a wonderful performance captured on a cleaned-up noisy acetate). Alfred "Blues King" Harris was an associate of Walter Horton's. His two previously unreleased songs are believed to have come from Phillips but Modern probably thought they were too old-fashioned for release quite apart from the guitarist, moved by Harris's lack of Sufficient Clothes, wailing "Aw, shit, man!" on the track. The Memphis recordings are followed by more of Joe Bihari and Ike Turner's field recordings. In Helena, Arkansas in January 1952 they'd hoped to record Sonny Boy Williamson, but he would only play as an accompanist, presumably out of loyalty to Lillian McMurry's Trumpet label. Nothing from this session was issued on 78, and as Jim O'Neal points out, the tracks do have their shortcomings: the sound balance is off, guitarist W C Clay is a bit jazzy for this company, and the interplay between Sonny Boy and the other harp player is sometimes raggedy. The second harmonica probably wasn't played by Drifting Slim, incidentally. (Who was it? Buy the CD!) Still, these are important recordings by a version of the King Biscuit Entertainers, and the songs, sung by veteran pianist "Dudlow" Taylor and drummer "Peck" Curtis, are a fine mix of tradition (check out Taylor's 44 Blues) and originals like Curtis's enigmatic Jerusalem Blues. The CD concludes a long way from the Mississippi River, in space if not in spirit. The Dixie Blues Boys were recorded in Los Angeles in 1955, and researchers have had years of fun speculating about where in the South they came from, and especially about who the two contrasting harmonica players were. Well, we know their names at last, thanks to John Broven digging out the original contract, and Bob Eagle's research in the census and Social Security records has produced some dates of birth and death. Again, I'm not going to give it away - buy the CD, and you'll get the Dixie Blues Boys' five fine tracks (two previously unissued), and 21 other gems of post-war downhome blues. by Chris Smith (Ace Records) |
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Ace Records 2004 | CD | 17.00 € |
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| VA: - Modern Records Story: Very Best Of The Modern Labels 28 biisiä Modern Recordsin parhaita vuosilta 1947-1967 |
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Ace Records 2001 | CD | 18.00 € |
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| VA: - Modern Vocal Groups Vol. 1 24 tracks doowop from Modern Records |
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Ace Records 1999 | CD | 18.00 € |
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| VA: - Moonlit Memories Vol. 1 21 tracks |
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Time Wrap Enterprises 1997 | CD | 19.00 € |
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| VA: - More Gumbo Stew 21 tracks more New Orleans R&B |
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Ace Records 1993 | CD | 18.00 € |
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| VA: - More Hollywood Rock 'n' Roll 28 tracks |
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Ace Records 1994 | CD | 17.00 € |
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| VA: - More Mellow Cats & Kittens - Hot R&B and Cool Blues 1946-52 24 tracks |
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Ace Records 2005 | CD | 17.00 € |
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| VA: - More Miles Than Money 2CD More Miles Than Money: Journeys Through American Music is a book I researched and wrote between 2006-2008. In many ways I’d been waiting my entire life to write More Miles. Growing up in Mt Roskill – a working class suburb of Auckland, New Zealand, where there were no music venues, cinemas, pubs, nothing but churches and rugby fields – I took refuge in Mark Twain and Jack Kerouac’s adventures while AM radio (modelled on US radio) spun hits by Freddy Fender, the Amazing Rhythm Aces, Little Feat et al. I dreamed of escaping Auckland’s suburbs to ride Route 66 and Highway 61, ears and eyes open. Eventually I got to live my dream and More Miles is the story of those travels. I didn’t know it back then but Kiwi radio was often playing music akin to that which Charlie Gillett played on his Honky Tonk radio show in London. Discovering Charlie’s book The Sound Of The City sent me scouring through secondhand bookstores in search of old copies of Cream, Creem and Let It Rock, where the writings of Charlie and other likeminded journalists appeared. I’d go so far as to say that a feature Charlie wrote on the great New Orleans producer-arranger Harold Battiste (Cream #5, Sept 1971) was what initially inspired me to want to search out the largely unsung heroes of American music. At the same time as reading Charlie Gillett I was buying US imports on a variety of labels, with Arhoolie being my favourite. Mexican culture fascinated me, especially that which arose from the borderlands, the Tex-Mex/Tejano music. (Blame this on my dad taking me to see Sam Peckinpah’s westerns.) Discovering a bin full of Arhoolie Records in a downtown record shop introduced me to a treasure trove of magical Mexican American music and reading about Arhoolie founder Chris Strachwitz’s efforts to record the finest American vernacular music provided even more inspiration. Later on, Canyon Records would open my ears to how Native American culture celebrated its survival. Around the same time an uncle who loved jazz gave me Curtis Mayfield’s “Superfly” album – he found it too funky for his tastes. Talk about life-changing records: to this day Curtis remains my favourite US soul singer. I dedicated More Miles Than Money to Charlie, Chris and the indomitable spirit of Curtis Mayfield. Tragically, Charlie died earlier this year. He, like Curtis, lives on as an indomitable spirit and continues to inspire me. This compilation is, again, dedicated to Charlie, Chris and Curtis: the three Cs who helped me hear America. More Miles Than Money reflects on an America that made the mightiest music of the 20th Century. This compilation aims then to salute those who inspired me to ride US highways and document those I encountered as I wandered through honky-tonks, juke joints and barrios. Enjoy! By Garth Cartwright (Ace Records) |
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Ace Records 2010 | CD | 20.00 € |
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| VA: - Mostly Ghostly - More Horror For Halloween |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - No Black Money Baby 25 tracks |
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Collector Records | CD | 15.00 € |
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| VA: - Nostalgi Volym Tre 20 tracks |
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Universal Music 2000 | CD | 15.00 € |
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| VA: - Nostalgi Volym Två 20 tracks |
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Universal Music 2000 | CD | 15.00 € |
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| VA: - Odd Couples - What Were They Thinking ? 48-page booklet, 20 tracks. Playing time approx. 58 minutes. -- The 'Velvet Lounge' is a remarkable series of re-releases dedicated to music that is always elegant and entertaining - and sometimes even exotic. The series is a comfortable and welcoming home for treasures from the fabulous Fifties and the strange Sixties. It is a mark of quality placed on music we've rediscovered from long ago and far away, from a time and place between Rock and Beat ecstasy and psychedelic populism. -- This newest addition to the Bear Family contains music that comes straight from the archives of both large and small record companies, and is re-mastered to Bear Family's excellent quality, normally as a direct digitalisation of a master-tape but always with the best possible sound. What you hear is what you get, and the listener is tempted in by this music, asked to relax and savour the music, while maybe putting up their feet and slowly stirring a long drink. -- And who you hear is important; the artists' names alone make for a formidable series. Eartha Kitt, 'the most exciting woman in the world' according to Orson Welles, does her purring 'thang' on the album 'St. Louis Blues', alongside legendary West-Coast-trumpeter Milton 'Shorty' Rogers and an extravagantly exciting and highly entertaining blues program. And then on the album 'Personalities' another trumpeter Al 'Jumbo' Hirt dedicates himself to a sort of 'symbolization in sound' of sex-bomb Ann Margret, some twenty years his junior, on songs like My Baby Just Cares For Me or Baby, It's Cold Outside. Despite numerical evidence to the contrary, 'jazz' was not a four letter word back then, and even 'entertainment' did not smell funny, yet. The motto was 'anything goes' rather than 'is that allowed ' This artistic free-for-all and high quality craftsmanship produced songs that had every right to be called 'standards'. Artist-arrangers like Marty Paich or Juan Esquivel, for instance, not only showcased the abilities of some of the best studio musicians of their time, but also the songwriters. -- The 'Velvet Lounge' engages more than the ears, though. You'll need your stomach muscles, at least those involved in extensive laughter. On 'What were they thinking ' an overdue compilation with all kinds of 'odd couples', pleasure becomes a principle and the absurd gets to be ordinary. Country stars meet Exotica heroes or Easy Listening troubadours. Pop crooners like Perry Como are coupled with the Sons Of The Pioneers, and even Lotte Lenya, Kurt Weill's wife, and Bertolt Brecht's favorite mime, gets to share some hilarious studio-time with the sensational Louis Armstrong. -- Because the 'Velvet Lounge' series comes under the Bear Family banner, it is a given that the graphic design is perfectly fitting and fittingly perfect, featuring rare original photographs, exact discographies, and extensive liner notes. Everything about this series has a touch of exuberance and luxury. Everyone from the collecting specialist to the cultural crusader can feel most welcome and at home in this 'Velvet Lounge'. |
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Bear Family 2011 | CD | 18.00 € |
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| VA: - Oh Boy ! The Brunswick Story 2CD |
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One Day Music 2012 | CD | 9.00 € |
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| VA: - Oh Yes, das ist Musik - Jive In Germany |
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Bear Family 2009 | CD | 20.00 € |
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| VA: - Okeh & Blues Story 1949-1957 Vol. 2 26 tracks |
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SPV 2008 | CD | 13.00 € |
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| VA: - Okeh & Blues Story 1949-1957 Vol. 3 26 tracks |
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SPV 2008 | CD | 13.00 € |
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| VA: - Okeh Rhythm & Blues Story 1949-1957 Vol. 1 26 tracks |
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SPV 2008 | CD | 12.00 € |
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| VA: - Old Town Blues - The Uptown Sides Vol. 2 23 biisiä vuosilta 1955-1964 |
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Ace Records 1994 | CD | 18.00 € |
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| VA: - Olliet Records Story 2CD 2CD = 57 tracks |
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Acrobat Music 2008 | CD | 15.00 € |
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| VA: - On With The Jive ! - 1950s R&B from Dolphin's of Hollywood Volume 1. 25 tracks |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Original Memphis Blues Brothers 26 biisiä - mm Bobby Bland, Little Junior Parker, Earl Forest,Johnny Ace, BB King, Ike Turner ja Rosco Gordon |
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Ace Records 2000 | CD | 18.00 € |
