Blues / Rhythm & Blues - 1960-luku
Result of your query: 712 products
| T-Bone Walker - No Worry Blues 18 tracks |
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TIM | CD | 9.00 € |
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| Ted Taylor - Somebody's Always Trying 18 tracks |
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Mr R&B Records | LP | 15.00 € |
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| The Great Lost Photographs of Eddie Rocco - Rock & Roll Photo Album Insane collection of unknown, unpublished 50's n' 60's snaps by R&B fotog Eddie Rocco, who was staff snapper at Charlton Publications (HIT PARADER, EBONY SONG PARADE, ROCK AND ROLL, RHYTHM & BLUES, etc) and also freelanced for Fort Worth's insanely great SEPIA! Includes early Texas pix of Esquerita plus Ruth Brown, Treniers, Roy Orbison, Dion, Yardbirds, Dylan! Gorgeous lush duotones throughout! 100 insane pages!! WOW!! |
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Kicks Magazine 1997 | Kirjat | 15.00 € |
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| The King - 4/2008 käytetty - uudenveroinen lehti. |
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OEPFC 2008 | Lehdet | 2.00 € Käytetty |
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| The Mighty Hannibal - Hannibalism! Get in the groove with the first ever collection of workouts by turban headed soul sensation The Mighty Hannibal! This massive set brings together Hannibal's best sides from his 1958 R&B debut Big Chief Hug-Um An' Kiss-Um to 1972's monstrous The Truth Shall Make You Free and is highlighted by the hits Jerkin' The Dog, Fishin' Pole and Hymn No. 5 plus four unissued titles! The Mighty One pulls no punches in the extensive notes, telling his life story as a soul singer, pimp, heroin addict and elephant thief |
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Norton Records 2001 | LP | 13.00 € |
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| The Royal Five / The Informers - The Sounds Of North Philly |
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Philly Archives | CD | 18.00 € |
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| Tommy Edwards - It's All In The Game - The MGM Recordings 2CD Tommy Edwards shot to fame in 1958 with his ‘beat ballad’ update of the old standard It’s All In The Game, which topped the U.S. Billboard Hot 100, the R&B chart and the UK singles chart, selling 3.5 million copies worldwide. It made a star out of the singer/songwriter from Richmond, Virginia, who was then 36 years old. Edwards had first recorded the song for MGM in 1951 but this remake for the rock’n’roll era transformed his career. Edwards first made an impact as an R&B artist as early as 1946 when he penned ‘That Chick’s Too Young To Fry’ for Louis Jordan. Subsequently, his songs were recorded by Elvis Presley, Cliff Richard, the Four Tops and even Donny & Marie Osmond. Tommy sadly passed away at the tender age of 47 but 15 October is now ‘Tommy Edwards Day’ in his home town as a mark of respect. This 2-CD set offers four albums and several singles A’s and B’s from Tommy Edwards’ ‘purple patch’ with MGM, following the global success of It’s All In The Game. All are taken from the original master tapes in the US MGM vaults, resulting in the majority of the tracks being presented in true stereo and have been re-mastered. Accompanied by a fully illustrated and annotated colour booklet. The package includes his subsequent US hits: Please Love Me Forever (#61), Love Is All We Need (#15), remakes of two more of his earlier hits – Please, Mr. Sun (#11), The Morning Side Of The Mountain (#27) – Mr Melancholy Baby (#26), It’s Only The Good Times (#86), I’ve Been There (#53), I Looked At Heaven (#100), (New In) The Ways Of Love (#47), Honestly And Truly (#65), Don’t Fence Me In (#45), I Really Don’t Want To Know (#18) and It’s Not The End Of Everything (#78). |
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Shout Records 2012 | CD | 18.00 € |
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| Tony Allen - Here Comes The Nite Owl! - West Coast R&B And DooWop 1954-61 New Orleans-born, Los Angeles raised Anthony Penia Allan cut one of the all time great 45s of doo-wop, ‘Nite Owl’, at his first important recording session. It was immediately huge in his adopted hometown, and was just about to break nationally when Allen decided to move from Specialty, for whom it was recorded – to another label. Despite having a potential hit on its hands Specialty withdrew its support for ‘Nite Owl’ and for its budding superstar. The record didn’t chart and Tony Allen’s career never really ignited thereafter. Always hungry for a hit, Allen hopped from label to label throughout the second half of the 1950s, recording for just about all of the most important imprints in and around the Los Angeles area in his quest for instant success. His reluctance to stay contracted to any given label, if things were not working out as quickly as he wanted them to, certainly didn’t work in his favour from a career-building standpoint. But the records Allen cut between 1954 and 1962 showed that he definitely had the talent to become a big star, even if his abundant desire for that to happen overnight often resulted in rapid contract termination. Tony Allen recorded for around a dozen labels in a little less than seven years. Ace’s “Here Comes The Nite Owl” – named for his career song – gathers together all of his surviving work for just four of them, namely Dig/Ultra, Ebb, Kent/Modern and the aforementioned Specialty. Several rare singles are included along with the Crown album “Rock And Roll With Tony Allen And The Night Owls”. Individually and collectively, the tracks give a picture of a highly talented vocalist who could cut it just as cleanly on up-tempo rockers as he could on lugubrious doo wop ballads. There’s plenty of both types of material on show here, and all tracks are presented from the original master tapes. Of course, Tony was by no means the only kid on his particular block who could do this, but one can’t help feeling that, had he allowed only one label to develop his career rather than move from company to company on what must often have been little more than a whim, he might be regarded with the same sort of worldwide admiration as his peers Jesse Belvin and Richard Berry, rather than just as the man who gave the rock ‘n’ roll world ‘Nite Owl’ and a few other goodies. The bootleggers already made hay, down the years, with a hefty chunk of Allen’s catalogue. However, more than two-thirds of the sides featured on this, the first ever 100% legit Tony Allen CD, here have never been digitised before, and several have never been issued at all. It’s been a long time coming, but those who continue to write and e-mail us for more vintage rhythm & blues releases will surely be glad that the ‘Nite Owl’ is finally making a well-deserved appearance in the Ace catalogue. By Tony Rounce (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| Turner Moore - I'll Be Leaving You / Rock The Blues Away Two mega rare rockers on one platter! A frantic four minute party! |
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Norton Records | Single/EP | 6.00 € |
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| VA. - Greasy Rock'n'Roll Vol. 14 |
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Blakey Records 2010 | LP | 14.00 € |
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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: - 3 Shades Of The Blues |
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Relic Records | CD | 17.00 € |
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| VA: - 75 Pumpin' Piano Greats 3CD |
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Fantastic Voyage 2009 | 2-CD | 17.00 € |
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| VA: - A Christmas Gift For You From Phil Spector perhaps the greatest Christmas album in the world |
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Phil Spector Records 2002 | CD | 19.00 € |
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| VA: - Ace Story Vol. 1 A little over 30 years ago, the R&B and rock’n’roll loving directorate of Chiswick Records decided that it might be fun to start a sister label, which did for the recordings of what was then a mere 20 years previously what Chiswick was doing for the more current stuff. Chiswick itself had sprung from small beginnings involving two men with a market stall full of golden oldies both common and rare, so this was not something that surprised too many people who witnessed the birth of this new reissue label – which shared the name of one of the most famous imprints in rock’n’roll/R&B history and which, in 2010, still goes by the name of Ace Records. The American Ace label, run out of Jackson Mississippi by shrewd record man Johnny Vincent, was a veritable sweet shop of great 50s and early 60s music. Ted Carroll and Roger Armstrong had been selling vast quantities of original Ace 45s on the Rock On stall, and when Ted broached the prospect of licensing some Ace masters for UK issue/reissue with Johnny Vincent, he not only said yes but gave Ted his blessing to use the Ace name as an outlet for these, and other, reissues. Thus it was that UK Ace was able to successfully mine Vincent’s trove of musical treasures and that Ted, Roger and expert Ray Topping were able to compile – among other things – five fabulous volumes of “The Ace Story”. These original albums stayed in catalogue for years, until the deal ran out and Vincent decided to take his catalogue elsewhere. Of all the old vinyl UK Ace albums, they are among the most asked-for on CD by those who bought them decades ago and want to indulge themselves in a newly digitised version. Over the course of the next year-and-a-bit, we’ll be reissuing all five volumes of “The Ace (Ms) Story” using the original covers. Each volume will be augmented with additional classics that wouldn’t fit the finite running time of a long player, Some tracks will have been reissued many times since we first compiled them in the late 1970s and early 1980s, while others have barely been heard in public since the aspiring hopefuls in question stood before the mic in, usually, Cosimo’s Recording Studio in downtown New Orleans and did their bit to let the good times roll. Each set offers a fabulous overview of New Orleans R&B, and some of the greatest music of their time. We’re sure we don’t need to reintroduce you to Huey Smith, Frankie Ford, Earl King, Jimmy Clanton, Bobby Marchan, Frankie Lee Sims and other members of our company. And we’re sure you’ll greet them with warm appreciation, no matter how many times you might have heard some of the biggest hits that we obviously couldn’t leave out… …Ace is back on Ace. And this is the story, morning glory… By Tony Rounce (ACE Records website) |
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Ace Records 2010 | CD | 18.00 € |
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| VA: - Ace Story Vol. 2 We weren’t in the least bit surprised at how well our expanded CD reissue of “The Ace (USA) Story Volume 1” was received. It’s been one of the most requested items in the “Why don’t you reissue more of your old vinyl albums on CD” stakes for years and, frankly, we’d have been more surprised if it hadn’t gone down well. In fact, it’s gone down so well that we’ve advanced the release of the second volume to satisfy public demand. The remaining three volumes are to be expanded and digitised during the course of next year. As with the previous and forthcoming collections, Volume 2 is enhanced by the addition of a dozen bonus tracks that complement those selected many years ago for the original vinyl LP. Johnny Vincent may not have been a musician himself, but he certainly knew which musicians would make his 45s and albums sound as great as they did. By employing hands-on A&R men of the calibre of Huey “Piano” Smith, sax king Alvin “Red” Tyler and the young Mac “Dr John” Rebennack, who commanded respect among their musical peers, he always ensured that Ace’s rhythm tracks would personify the sound of New Orleans at its best. The beauty of a catalogue such as Vincent’s is that there are so many great records in it that there’s no question of turning to anything not so good in an attempt to fill a CD. Volume 2 offers more of what Volume 1 delivered: the unbeatable goodtime New Orleans rock’n’roll and R&B for which Ace was famous (although one or two tracks were recorded outside of the Crescent City, next door in Houston). Several Ace label stalwarts inevitably make their welcome return, but we also encounter a number of highly talented people who briefly figured in Johnny Vincent’s discography – and who, but for the lack of a hit record, may have figured more prominently than they did. Our roll call includes 40s R&B megastars Amos Milburn and Charles Brown duetting on Huey Smith’s rocking ‘Educated Fool’, Edgar “Big Boy” Myles and Issachar “Junior” Gordon stepping out from premier vocal groups the Shaweez and the Spiders respectively, more great stuff from blues kings Frankie Lee Sims and Julius “Mercy Baby” Mullins, a brilliant example of the early work of Crescent City legend Eddie Bo and more from the inevitably top quality repertoire of Ace mainstays Frankie Ford, Jimmy Clanton, Bobby Marchan and Huey Smith. If this music doesn’t cure your blues and put a smile on your face, it really is about time you gave some thought to having that check-up from the neck up. By Tony Rounce (Ace Records) |
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Ace Records 2010 | CD | 18.00 € |
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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: - Ace Story Vol. 4 The five original volumes of “The Ace (MS) Story” were part of the backbone of our catalogue during our early days. They disappeared for a long while after our licensing agreement with Johnny Vincent expired, but we were delighted to restore three of the original five to catalogue in 2010 and 2011. Judging by their sales figures, we were not the only ones to be delighted. This fourth volume more than matches the quality of the first three. Some of its inclusions are among the rarest singles on any of Vincent’s labels. The advent of eBay and GEMM might have made some of them a little more accessible than they used to be, but the tracks by Johnny Angel, Dicky Williams, Albert Scott and Jesse Allen still command high prices. Among the less rare (but no less good) sides are seldom reissued cuts by New Orleans mainstays Huey Smith, Alvin “Red” Tyler and Eddie Bo, as well as no less than three classic Joe Tex cuts in best-ever sound! As with previous volumes in this series, the original 16 tracks of the vinyl edition have been augmented by eight other gems from Vincent’s vaults. These include Ace’s debut release (and the original of Little Richard’s ‘Slippin’ And Slidin’’), Al Collins’ ‘I Got The Blues For You’ and the label’s first-ever hit in Earl King’s ‘Those Lonely, Lonely Nights’. Collectors will also be thrilled to hear Huey Smith’s ‘Don’t You Know Yockomo’ at the same speed as the vinyl 45 for the first time on CD and the single master of Bobby Marchan’s ‘You Can’t Stop Her’ from a recently located tape source. In fact, all but three of these tracks are appearing here from transfers of the original tapes, some of which have only previously appeared from second or third-generation copy tapes. Great music in its greatest ever fidelity – what’s not to love? The original vinyl series concluded with a fifth volume, the expanded version of which should be with you towards the end of this year. The good news is that the CD series will be extended to incorporate a sixth and final volume containing rarities and unissued material that was not available to the compilers of the original vinyl series. Betcha can’t wait for that! By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Across The Tracks Vol. 1 28 biisiä |
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Ace Records 1996 | CD | 17.00 € |
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| VA: - Across The Tracks Vol. 2 30 biisiä Nashville R&B:tä vuosilta 1956-1968 |
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Ace Records 1997 | CD | 18.00 € |
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| VA: - All Tore Up Unrequited love, tormented romance, tragedy & tearjerkers 1955-1968. 25 tracks |
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Bluesbeat Records 1999 | CD | 18.00 € |
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| VA: - All Tore Up unrequited love, tormented romance, tragedy & tearjerkers 1955-1968 |
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Turenki Records | LP | 18.00 € |
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| VA: - Always Something There - A Burt Bacharach Collector's Anthol Collectors' Pieces and original versions from the deep catalogue of one of the 20th century's greatest pop tunesmiths |
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Ace Records 2008 | CD | 18.00 € |
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| VA: - American Graffiti 2CD soundtrack of the cult movie |
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MCA | 2-CD | 22.00 € |
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| VA: - Atlantic Gold 3CD 75 Soul classics from the Atlantic vaults |
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Warner Music 2004 | CD-Box | 22.00 € |
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| VA: - Atlantic Rhythm & Blues 1947-1974 Vol. 6 25 biisiä vuosilta 1966-1969 |
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Warner Music | CD | 13.00 € |
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| VA: - B-Seiten 1-CD, 20 page booklet, 20 tracks, playing time 49:23). This compilation presents treasures hidden by the hits, Country & Western, Pop, Rock 'n' Roll, Super stars from the 1950s and 1960s, including an early masterpiece by The Beatles, songs by top-class authors, hidden pearls, to be discovered. -- From 'flip' to hit - from a B-side to success: more often than expected in the history of rock and pop, things turned out differently. All of a sudden, a 45 B-side became a non-expected success. Sometimes alert dee jays did recognize the real potential of certain tunes, thus playing the flip-side rather than the A-side. Needless to say, this attention did not generally lead to big sales - but even without a listing in the charts numerous B-sides had style and class. Some turned into favorites by fans, critics and disc jockeys alike. - Bear Family Records is presenting a collection of 20 songs, tunes you would never get tired of because they stood in the shadow of the A-side. This compilation features B-sides by American top artists like Fats Domino, Ricky Nelson, Eddie Cochran, Connie Francis, Gene Pitney, and The Everly Brothers. And even The Beatles are here, under their early name, The Beat Brothers, then the unknown backing group of British performer Tony Sheridan. - Highly respected composers and authors like Pomus/Shuman, Greenfield/Sedaka, Oldham/Penn, and Pockriss/Vance wrote excellent songs. All these tracks were originally hidden on the flip sides of popular hits on 45s during the 1950s and 1960s. They all have in common that even today they have the quality to be (re-)discovered as treasures in sound. |
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Bear Family 2009 | CD | 18.00 € |
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| VA: - Baby It's A Mad Mad World 20 slabs of Righteus R&B |
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Sepia Records | CD | 15.00 € |
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| VA: - Bad Music For Bad People - Songs The Cramps Taught Us 26 track collection of wild irreverent rockabilly, demented rock ‘n' roll, wanton blues and the occasional Elvis wannabe. Vintage performances that were discovered by Lux and Ivy of The Cramps and spun on their various radio shows for WFMU or on Lux's Purple Knif Show. Many of the tracks here were also covered by The Cramps in their live sets or acted as inspiration for the band's own self-penned tunes. |
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Righteus 2009 | CD | 17.00 € |
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| VA: - Bandera Blues And Gospel From The Bandera, Laredo And Jerico 27 biisiä: Dusty Brown, Jimmie Lee Robinson, Grover Pruitt, Bobby Davis, Norfleet Brothers, Space Spiritual Singers, Faithful Wanderers, Elder Samuel Patterson |
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Ace Records 2001 | CD | 18.00 € |
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| VA: - Beach Music - Made For Dancing Dee Clark, Nighthawks, Debby Dobbins.. |
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Beach Bag | CD | 11.90 € |
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| VA: - Berry Gordy - Motor City Roots 2009 is the 50th anniversary of the formation of the worlds most recognisable record label - Motown - and all through the year reissue CDs, major print articles and TV specials have celebrated the music of Berry Gordy. This compilation is the first ever attempt to gather together examples of Gordy's song writing and production skills in the late 1950s prior to the formation of his legendary label. This unique collection brings together many of the records that helped in the formation of Motown like Jackie Wilson's 'Reet Petite' written by Gordy and often cited as his first recorded composition along with Kenny Martin's version of 'My Love Is Coming Down' which is making it's CD debut. To top it off this set also features the earliest recordings of Smokey Robinson & The Miracles as well as those of Motown stalwarts, Marv Johnson, Eddie Holland and members of The Originals who sang with The Five Stars. |
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Jasmine Records 2009 | CD | 12.00 € |
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| VA: - Bert Bern Story - Twist And Shout Vol. 1 1960-1964 the first of two volumes chronicling and saluting the too-brief career of this revered New York producer-songwriter-singer |
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Ace Records 2008 | CD | 18.00 € |
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| VA: - Best Of Burlesque - 50 original club classics 2CD |
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Demon Music 2009 | CD | 10.00 € |
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| VA: - Best Of Mark Records And other select labels from Utica, New York. 30 tracks |
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Mark | CD | 19.00 € |
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| VA: - Best Of Sue Records 18 biisiä |
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Collectables 1994 | CD | 13.00 € |
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| VA: - Best Of The Girl Groups Vol. 1 18 tracks |
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Rhino Records 1990 | CD | 19.00 € |
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| VA: - Best Of The Girl Groups Vol. 2 18 tracks |
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Rhino Records 1990 | CD | 20.00 € |
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| VA: - Big Deal ! This album kinda pays like a tribute in reverse. All the tracks have been covered (or reworked) by "THE 5,6,7,8's!" . The Rockin' Geishas chose these songs (even to blend and bend out of shape) means the originals are obviously amongst the great rock and roll tracks. |
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Mademoiselle Records | CD | 18.00 € |
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| VA: - Big Itch Vol. 8 |
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Mr Manicotti Records 2006 | LP | 13.00 € |
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| VA: - Black Gold Vol. 1 27 tracks |
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Flight To Oblivion 1998 | CD | 19.00 € |
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| VA: - Black Sippin' Rhythm 25 tracks |
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Collector Records 2006 | CD | 15.00 € |
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| VA: - Bless You California - More Early Songs By Randy Newman Following on from the success of “On Vine Street”, Ace’s first collection of compositions by Randy Newman, comes “Bless You California”. As with the previous volume, the focus is primarily on Newman’s early work for Metric Music, and once again there’s a diverse array of classics, near-misses and obscurities on offer here. Listening to the emerging talent of one of the world’s most gifted songwriters makes for a fascinating 67 minutes. It was during his tenure at Metric in the 1960s that Randy honed his writing skills. There’s clearly a brain ticking away here. Randy was still finding his songwriting niche and testing the musical waters by trying his hand at a wide range of genres. From soul ballads (Irma Thomas’ reading of ‘Anyone Who Knows What Love Is’) to widescreen Americana (‘Illinois’ from the Everly Brothers’ outstanding “Roots” LP), to the charming pre-rock innocence of the Fleetwoods (‘Ask Him If He’s Got A Friend For Me’), to the character sketches for which he would later achieve fame and notoriety (Duffy Power’s ‘(Davy O’Brien) Leave That Baby Alone’), you could never say Newman was stuck in a rut. There’s even a cocktail jazz instrumental in Martin Denny’s ‘Scarlet Mist’ – a new one to me, and a recording which maybe explains Randy’s brief spell writing for the TV Music Library at 20th Century Fox (or maybe it was the influence of his soundtrack-composing uncle Alfred, who penned the immortal Fox fanfare ident). In spite of this almost scattershot approach (“well, that didn’t work, let’s try this”), from the evidence here it’s possible to trace the emergence of one of the most idiosyncratic singer-songwriters of the 1970s. While the style-hopping may imply a certain lack of self-confidence, once Randy had found his lyrical voice (apparently with ‘Simon Smith And The Amazing Dancing Bear’, included on “On Vine Street”), he was off and running. The sardonic pops at society wrapped up in ‘The Debutante’s Ball’ (performed here by Liza Minnelli) and ‘Bless You California’ (the Beau Brummels) present a world-view unlike any other songwriter from the era. Still, even at this stage in his career he could turn his hand to a ballad as impossibly tender as ‘Snow’, perfectly suited to the none-more-fragile voice of Claudine Longet. Other highlights include Alan Price’s delightful and chortlesome near-throwaway ‘Tickle Me’ and Harry Nilsson’s breathtaking performance of ‘Cowboy’, culled from his “Nilsson Sings Newman” album and featuring one of the most resigned, world-weary vocals ever committed to tape. From the ridiculous to the sublime and all points between; this terrific collection is not just for Newman scholars, but stands as a perfect introduction to a unique talent. Any chance of a third volume? By Harvey Williams (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Blues and R&B 20 tracks |
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Ace Records 2005 | CD | 12.00 € |
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| VA: - Blues Complete 24 biisiä. Ralph Willis,Lonnie Johnson, Jump Jacksons Combo |
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Westside Records 1999 | CD | 13.00 € |
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| VA: - Bo Diddley Is A Songwriter In his long and illustrious career, the late Ellas McDaniel portrayed his alter ego Bo Diddley as many things – a lover, a gunslinger, crazy, even a lumberjack would you believe (and as this is Bo we’re talking about, you would…) One thing that Bo seldom if ever proclaimed himself to be is ‘A Songwriter”. But over a period of 10 years, Bo crafted some of the most memorable songs of the rock ‘n’ roll and R & B era, including numerous Hall Of Fame perennials which many will be unaware are his songs. For instance, there can be few on this planet who’ve never heard at least one version of “Love Is Strange” – it was featured in ‘Dirty Dancing’, one of the most popular and biggest grossing films of all time, for goodness sake! How many of the thousands of young people who own that soundtrack album also know that the same man who wrote it also wrote “Mona” a 1990s UK chart topper for Craig McLachlan, and “No No No”, a Top 10 hit in 1993 for reggae artist Dawn Penn (both songs appear here, in other versions, under their real titles ‘I Need You Baby’ and ‘She’s Fine, She’s Mine’ respectively…). Not many, I’ll wager. Bo is so well known and loved as an R & B legend that his songwriting skills tend to get overlooked in comparison with his fabulous recordings. He may be seen by some as a left field entry in Ace’s ongoing ‘Songwriter Series’, but once the CD popped into the player, it won’t take but a few minutes (as his Chess colleague Chuck Berry once wrote) to realise that he’s here on merit, and not just because everyone at Ace loves Bo Diddley. Of course, anyone who lived through the R&B and British Beat boom will be familiar with any number of E. McDaniel copyrights – both those Bo wrote, and those that were written for him by others. And there’s considerably more variety to Bo’s songwriting than some might initially think. OK, so he did put together more numerous variations on the ‘shave-and-a-haircut, six-bits’ rhythm. But Bo’s catalogue of compositions also embraces doo-wop (‘I’m Sorry’), teen pop (‘Love Is Strange’, ‘Mama Can I Go Out’) proto-surf (‘Bo’s Bounce’), humour (‘Pills’) 12 bar blues (‘Before You Accuse Me’) straight ahead R&B (‘I Can Tell’, ‘Diddy Wah Diddy’) and so much more besides. As well as recording his songs, many of our stellar cast of artists were major league Bo fans and, indeed, most of those who are still around continue to be. The fact that the recordings on our CD span a period of 50 years gives a strong indication of the timelessness of his work as a writer – hardly surprising when his own early recordings still sound like they were recorded yesterday. If there’s still any shadow of doubt in your mind that Bo Diddley IS a songwriter, buy this CD immediately and let its contents rid you henceforth of such foolish supposition! By Tony Rounce (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Boy Meets Girl The Memphis-based Stax label featured male/female duos from the very start, indeed two of their first releases were by the father and daughter duo of Rufus and Carla Thomas. It was not until 1969 though, that the duo idea developed into a full concept. At that time, Al Bell, the Stax executive, was trying to turn the Stax stable from a singles-based label into an all-round record company with strong album material. As part of that thrust, the company commissioned a special project to showcase the best female and male talent in a series of duets and this led to the release of Boy Meets Girl. In the US this was one of Stax's few double albums, but when released later in the UK, only a single-album subset saw the light of day. Given her previous experience, it was not surprising that Carla Thomas was featured amongst the female artists on Boy Meets Girl. Carla has vocal pairings with Johnnie Taylor, William Bell and Eddie Floyd and also with Pervis Staples of the renowned gospel and secular group the Staple Singers. As the Staple Singers were a mixed female/male line-up that sang easily and well together, it made a lot of sense to use the Staples family as the other main source of artists for the concept. Consequently the strong-voiced Mavis Staples also appears singing with William Bell, Eddie Floyd and Johnnie Taylor and her sister Cleotha shares a song with Eddie. All the singers appear on the opening track Soul-A-Lujah. The tracks for Boy Meets Girl were recorded principally at Ardent studios in Memphis and at the Fame Recording Studios in Muscle Shoals, Alabama with the backing musicians which later became known as the Muscle Shoals Rhythm Section. Additionally, some tracks were worked on at United Sound and at Terra Shirma studios in Detroit. As well as being the architect behind the concept, Al Bell was also the principal producer of the sessions, with help on many tracks from the likes of Isaac Hayes, Don Davis and Steve Cropper of Booker T & The MGs. Drawing on a mixture of specially commissioned songs and some pop/R&B classics such as That's The Way Love Is, Piece Of My Heart and All I Have To Do Is Dream, the double album became a clear artistic success. However, its sales recognition probably suffered from the project being in the midst of a welter of both Stax singles and album releases, not all of which could attract Stax's buying public at the same time. Here it is for the first time re-issued on CD by Peter Gibbon (Ace Records) |
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Ace Records 2000 | CD | 15.00 € |
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| VA: - Break-A-Way. The Songs Of Jackie DeShannon 1961-1967 Before her own breaktrough as a recording star, jackie DeShannon was one of the most in-demand songwriters of the 60s, providing material for everyone from Brenda Lee to the Byrds. This bumper collection features solo compositions and songs co-writeen with Jimmy Page, Jack Nitzsche and Sharon Sheeley, plus an exclusive previously unheard demo. |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Cadillac Records Music from the Motion Picture |
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Sony Music 2008 | CD | 19.00 € |
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| VA: - Califia - The Songs Of Lee Hazlewood This is the latest addition to our high profile Songwriter series. Comprising familiar Lee Hazlewood fan favourites and scarcer titles in equal measure, the set spans Sanford Clark’s Top 10 hit of 1956 ‘The Fool’ (built on a memorable contribution from guitar wizard Al Casey) to 1970’s German language interpretation of ‘And I Loved You Then’ by transcontinental pop princess Peggy March (a song familiar to buffs via Lee's recording on his “13” LP). No such compilation would be complete without Nancy Sinatra and axe-meisters Duane Eddy and Al Casey, with each of whom Lee was inextricably linked. They’re all here. Hazlewood mavens should lap up the titles by the Darlenes, the Hondas, Rose & the Heavenly Tones (produced by Sly Stone, no less) and Lee’s frequent collaborator Suzi Jane Hokom (who gets two collectable cuts, including a duet with him), each of which is new to CD. One of pop’s genuine originals, Hazlewood is lionised by luminaries such as Primal Scream, Beck, the Jesus & Mary Chain, Pulp, Lydia Lunch and Sonic Youth. In 1999 he performed at the Nick Cave-curated Meltdown Festival on London’s South Bank backed by members of the High Llamas and Stereolab, while the “Total Lee!” tribute album of 2002 had the indie cognoscenti tripping over each other to record his compositions. Hazlewood was a uniquely versatile songwriter, equally capable of turning his hand to pop, country, psychedelia, R&B, folk, easy listening, burlesque, blues or twangin’ rock’n’roll – dig Don Cole’s wild ‘Snake Eyed Mama’ and Al Casey & the Bats’ reverb-drenched ‘(Got The) Teenage Blues’. His songs are truly beyond categorisation. He was also a pioneer in the mysterious art of record production and taught a thing or two to the teenaged Phil Spector, who hung around paying close attention while Hazlewood crafted magnificently cavernous guitar instrumentals for Duane Eddy. Of the 25 tracks on “Califia”, Lee wrote each one and produced all but four. As a performer, Hazlewood possessed an instantly recognisable bass drawl perfectly suited to his lyrical tales of low-rent heartache, self-deprecating comedy, picturesque nostalgia and mystical cowboy psychedelia. He sings on four cuts on this collection, including the folksy Shacklefords’ recording of ‘The City Never Sleeps At Night’, a song written specifically for Nancy Sinatra. As Dionne Warwick was to Burt Bacharach and Petula Clark to Tony Hatch, Nancy was Lee’s perfect muse. Theirs was a partnership created one velvet morning in pop heaven. The expansively orchestrated opening duet ‘Lady Bird’ – just one of the many masterpieces they made together – was personally selected for this compilation by the lady herself. A companion volume of Lee Hazlewood-penned instrumentals is also in the Ace pipeline, so watch this space. Meanwhile, check out the others in our Songwriter series, which include compilations based on the works of Randy Newman, Jackie DeShannon, Neil Diamond, Goffin & King, Bo Diddley, Burt Bacharach and many more. By Mick Patrick (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
