Rock And Roll / Rockabilly - 1950-luku
Result of your query: 2029 products
| Roy Head And The Traits - Live It Up! Sixteen song roundup of the earliest recordings by inimitable Texas madman Roy Head along with the original Traits! These 1958 -62 sides include all the group’s wild TNT and Renner singles! |
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Norton Records 2010 | LP | 13.00 € |
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| Scotty Moore & Cliff Gallup - The Essential 2CD 2CD = 36 tracks |
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Primo 2010 | CD | 10.00 € |
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| Screamin' Jay Hawkins - Weird And Then Some 2CD Jay Hawkins was one of the most unique and original artists of the Rock and Roll era who's exclusive style and weird stage shtick made him an interesting cut above the rest. Features hits like 'Baptise Me in Wine', 'Little Demon' and his inimitable version of 'I Put a Spell on You' plus several hilarious treatments of well known standards. This is the first time that so much of his early material has been on one package and contains all the A & B sides of his earliest releases. |
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Jasmine Records 2010 | CD | 13.00 € |
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| Smiley Lewis - Smiley Rocks The most comprehensive single-disc collection available of Smiley's rocking 1950s output for Imperial.Features the brilliant Studio Band at Cosimo Matassa's New Orleans studio: saxists Lee Allen and Herbert Hardesty, drummer Earl Palmer, pianists Edward Frank and Huey Smith, and trumpeter/producer Dave Bartholomew among them.Contains both scorching versions of Shame, Shame, Shame, many equally fabulous rockers, like Bumpity Bump and Smiley's classic originals I Hear You Knocking and One Night, covered by Gale Storm and Elvis Presley respectively.Boasting a booming vocal delivery, Smiley was one of the seminal performers on the 1950s New Orleans R&B scene.The charts didn't reflect just how spectacular Smiley Lewis' 1950s output for Imperial Records was. Under the savvy aegis of producer/songwriter Dave Bartholomew and featuring the Crescent City's top studio sidemen, Smiley made some of the most blistering rockers of his era. Yet only a handful of them were national hits; his classic original I Hear You Knocking was victimized by a puerile Gale Storm cover that killed his pop crossover potential, and Elvis Presley latched onto One Night, cleaned it up, and sold a lot more copies than Smiley ever did. Why She's Got Me Hook, Line And Sinker, Bumpity Bump, Rootin' And Tootin', and Shame, Shame, Shame weren't hits during rock 'n' roll's primordial age we'll never know.--Bear Family's jam-packed single-disc collection of Smiley's greatest rockers showcases his huge, wall-shaking voice (reminiscent of Big Joe Turner's on the bluesier early stuff) on a non-stop barrage of rockers ranging from 1950 to 1958. Bartholomew was Smiley's best source for material, writing most of his most memorable releases, though Lewis penned a few of his own early on. Even Little Richard would be envious of some of these houserockers, with tenor saxman Lee Allen wailing and drummer Earl Palmer stoking the romping rhythm like a locomotive. This is the most comprehensive single-disc Smiley Lewis collection on the market! |
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Bear Family 2010 | CD | 18.00 € |
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| Sonny West And His Sweet Rockin' Band - Big City Woman CD + 45 rpm CD (with new recordings) and 7" single (repro of his NorVaJak 7" from 1956) |
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Sleazy Records 2010 | CD | 17.00 € |
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| Tommy Steele - Come On, Let's Go - The Very Best Of 3CD This 3CD set featuring 17 UK Top 40 Hits. 68 tracks |
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Spectrum Music 2010 | CD-Box | 18.00 € |
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| Treniers - Rock (1-CD, digipack with 64-page booklet, 32 tracks, playingtime: 82:31), No early 1950s band swung harder than the Treniers; this disc is a non-stop musical riot! The Treniers were a direct influence on '50s rock 'n' roll pioneers Bill Haley & His Comets, Freddie Bell & the Bellboys, Jimmy Cavallo, and many more! They starred in some of the early rock movies! First cross-licensed compilation that includes all of the Treniers' classic rockers for London, OKeh, Epic, Vik, and Brunswick, as well as Milt Trenier's hottest solo sides. Includes two versions of their biggest seller, Go! Go! Go! ' one with small combo and the other with big band. Bill Dahl's extensive liner notes include an in-depth interview with Milt Trenier. Long before anyone ever coined the phrase rock'n'roll, the Treniers were rocking and rolling. They were also jumping, jiving, and tearing up gin joints and lounges from Vegas to Wildwood. A crazier onstage outfit has yet to be minted; the Treniers entertained inebriated high rollers in Vegas lounges with the same non-stop hijinks they displayed in the groundbreaking rock'n'roll movies 'The Girl Can't Help It' and 'Don't Knock The Rock.' Identical twins Claude and Cliff Trenier were the ringleaders, though this family affair soon expanded to encompass younger brother Milt, who tore it up on his own before he joined the act. Supersonic alto saxist Don Hill was a charter member whose stratospheric wails were as integral to the Treniers' attack as Claude and Cliff's infinitely swinging vocals, while pianist/bandleader Gene Gilbeaux provided the glue that kept it all from spinning out of control. -- 'The Treniers Rock' brings together the aggregation's wildest 1950-1957 jump numbers for London, OKeh (including their '51 Top Ten R&B smash Go! Go! Go!), Epic, Vik, and Brunswick. In 1951, the Treniers cut a little ditty called It Rocks! It Rolls! It Swings!, and this disc does precisely that with the rip-roaring jumps Hadacole That's All, Rocking On Sunday Night, Rockin' Is Our Bizness, Rock-A-Beatin' Boogie (written for the Treniers by their pal Bill Haley), the humorously chauvinist Oh! Oh! (Get Out Of The Car), Rock 'n' Roll Call, and the infamous Poon-Tang!, along with an array of Milt's solo gems for good measure. The Treniers were influential to a platoon of young rockers: Freddie Bell & the Bellboys, Jimmy Cavallo, even Haley and his Comets. They'll flip your wig! |
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Bear Family 2010 | CD | 18.00 € |
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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: - 1959 British Hit Parade -Greatest Hits Vol. 8 Part 2 4CD Part 2 of this survey takes us from August to December. The highly-diverse selection of chart entries for the final five months of the 1950s ranged from rock 'n' roll and rhythm 'n' blues, to party-time sing-along’s and kiddie novelties. 1959 epitomized the era when music publishers worked their copyrights to the point where various versions of a song could be purchased by the record-buying public. In the instance of 'A Teenager in Love', no less than four variations could be found lingering in different corners of the charts. It wasn't all smooth sailing however, as the record industry found itself blighted by a major print strike in the summer. Not only did the weekly journals such as the Record Mirror, Disc and the Melody Maker disappear from the newsstands, no charts were published during what was an extremely frustrating six-week period. Out on the high street the arrival of the Mini-Minor (selling at less than £500) served to contemporise the cultural landscape. And in the autumn it was even more when the ribbon was cut by the Minister of Transport, Ernest Marples, on the first section of the M1. Thanks to a string of top-drawer singles, Elvis proved that he was still the King despite being confined to barracks in West Germany. Meanwhile, on the home front, there was strong competition coming from a new breed of British contenders including Cliff Richard, Emile Ford and Adam Faith. The power of the instrumental was steadily being defined by artists such as Duane Eddy, Johnny and the Hurricanes and Sandy Nelson, whilst a more temperate equivalent could be found in the UK via the work of Russ Conway, Joe “Mr Piano” Henderson and Winifred Atwell. Despite a noticeable lack of modernisation within the realms of radio, the upswing of televised pop and music in movies helped make for a smooth transition into the coming decade. |
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Fantastic VOyage 2010 | 2-CD | 19.00 € |
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| VA: - A Rocket In My Pocket My new book is a history of rockabilly, because I’ve loved that music for damn near 40 years. The first album I ever bought, back in 1973, was a compilation with a mixture of rock’n’roll and rockabilly, including tracks by Wanda Jackson, Carl Perkins and Gene Vincent. When Ace Records first came along later that decade, I was blown away by the range and quality of the material they were issuing. Records like Ace’s landmark “Rockabilly Party” 10-inch LP from 1978, with sleevenotes by the great Ray Topping, which contained Hal Harris’ phenomenal unissued ‘Jitterbop Baby’ – purebred rockabilly with an unstoppably infectious groove riding along on top of some of the most perfectly recorded, echo-drenched slap-bass of all time. Over the years there’s been a wealth of class-A rockin’ material released on the label, so I’m genuinely delighted to have been asked to help compile a selection of the wildest rockabilly tracks for this collection, which is issued at the same time as the book. The story of rockabilly is largely one of individual recordings, rather than stars. Many great performances were laid down by unknowns whose careers were over almost before the ink dried on their record contracts. Yet the first pure rockabilly record ever made launched its teenage singer on the biggest and most successful career trajectory the music world has ever known. The five singles that Elvis, Scotty and Bill cut in Sam Phillips’ Sun Studios in 1954 and 1955 laid down the blueprint for the worldwide rock explosion of the 1950s, but also defined rockabilly for all time. What you have on this collection is Elvis and a selection of those who were chasing his shadow. The music came in various styles, from the largely acoustic-flavoured hillbilly strain to the flat-out screamers knocking hell out of any instruments within reach, but the focus with this particular selection is mostly on the wilder cuts: Dale Vaughn’s magnificent one-off for the tiny Von label, ‘How Can You Be Mean To Me’; Gene Maltais in the living room of a soundman in New Hampshire, hollerin’ his way through a berserk rendition of ‘The Raging Sea’; an unissued alternate take of Jackie Morningstar’s much-loved song about the joys of being belted over the head with a rock by a thing from beyond the grave, ‘Rockin’ In The Graveyard’. Youthful enthusiasm, urgent rhythms and stripped-down arrangements driven along by a slapping upright double bass; these were songs sung mostly by teenagers which dealt with all the essentials of the hepcat lifestyle: girls, cars, booze, dancing. Just like the punk explosion 20 years later, 50s rockabilly was a spontaneous outburst of spirited three-chord songs, in which the major companies had a stake, but there was still plenty of room for tiny record labels, primitive studios, fiercely partisan audiences and wild-eyed, driven performers who weren’t planning much farther ahead than the following week. They were chasing something you couldn’t ever quite catch up with, nail down or explain to your parents. Lightning in a bottle, a tiger by the tail, a rocket in your pocket. By Max Décharné (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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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: - Ain't No Pity In Pseudonym City 25 rock and roll aliases |
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Fantastic Voyage 2010 | CD | 15.00 € |
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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: - British Beat Before The Beatles 3CD Loistava kokoelma BRITTI ROCKIA JA BEATia ajalta ennen the Beatlesia 1955-1962 |
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EMI Records 2010 | CD-Box | 29.00 € |
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| VA: - Buddy's Buddies 3CD Over the last three years, El Toro Records has been leading the field in systematically reissuing the neglected legacy of the late, great Buddy Holly. When Universal finally announced a box set of his complete recordings last year we thought that our task was over - but not so! The complete set turned out to be far from complete; so this final Buddy Holly release from El Toro Records has gathered the material ignored by the otherwise exemplary Universal box set, notably all those commercial recordings which featured Buddy as session-musician-cum-producer from his golden years of 1957-58 and a bonus CD to collate all the remaining radio/TV interviews and the live radio/TV/promo clips from 1958 that hadn't been featured in our previous volumes. Sandwiched in between, and taking advantage of our title of “Buddy’s Buddies”, we have a jam-packed compilation CD of talented Texas artists with whom Buddy crossed paths in the 1950s. Rave on!" |
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El Toro Records 2010 | CD | 23.00 € |
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| VA: - Ding Dong Presents: Rabbit Action & Rock-A-Billy Blues |
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Snapper 2010 | CD | 12.00 € |
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| VA: - Drumbeat / Saturday Club 2CD his excellent new 2CD set focuses on the popular TV show Drumbeat and the Saturday Club radio show. Featuring popular artists of the era including: Ricky Valance, Adam Faith and Cliff Richard. Many of the tracks available here are new to CD and features a plethora of hits from the time. This incredible 2CD set really captures the fun and excitement of the early Rock & Roll era and the two hit shows that millions tuned in to every week! |
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Jasmine Records 2010 | CD | 13.00 € |
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| VA: - East Coast Teen Party Vol. 10 29 tracks |
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Eastcoast Music 2010 | CD | 15.00 € |
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| VA: - East Coast Teen Party Vol. 11 28 tracks |
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Eastcoast Music 2010 | CD | 11.90 € |
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| VA: - Fabulous 50s 1959 29 hits from 1959 |
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Delta Leisure Group 2010 | CD | 8.00 € |
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| VA: - Foot Tappin' And Dance At The Screamin' Festival Vol. 3 |
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El Toro Records 2010 | CD | 10.00 € |
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| VA: - Greasy Rock'n'Roll Vol. 14 18 tracks |
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Blakey Records 2010 | CD | 17.00 € |
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| VA: - Great British Skiffle Vol. 4 2CD |
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Smith & Co 2010 | CD | 12.00 € |
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| VA: - Great Googly Moo It’s been a long time since “Great Googa Mooga” (CDCHD 880), a collection of answers to profound issues confronting mankind for millennia and a comprehensive overview of the finest minds of the 20th century. People are still talking about it, often for its danceability and entertainment value, of all things! It’s been heard said that a follow-up volume already exists, people have waited so long for its appearance. Now, finally, we bring you that long overdue sequel. In January 1960 Pat Boone launched a record label called Agoom Agooc. This is Cooga Mooga reversed. The Phantom’s ‘Love Me’ may have been the only release on the label. Does this help set the tone? We hope so, but need to add that the above mentioned tune does not grace this album. So what does? The Quasar of Rock, His Royal Highness, Little Richard, is once again present. This time with an alternate take of that epitome of undisputed truths, ‘Tutti Frutti’. Also back in attendance is the Great Pretender to the throne and a king among rockers himself, Larry Williams, this time with the wildest take of ‘Hocus Pocus’. The Rivingtons, whose ‘Mama Oom Mow Mow’ can be heard on “Great Googa Mooga”, return with ‘The Bird’s The Word’. The Spaniels lend us our title with ‘Great Googly Moo’, one of their late and just as great Vee-Jay 45s. You can’t hear too much about that mysterious place described in Sheriff & the Revels’ ‘Shombalor’. We are very excited about releasing for the first time anywhere the great wordsmith Shirley Ellis’ unissued ‘Ka Ta Ga Boom Beat’, from the time of her huge hits ‘The Name Game’ and ‘The Clapping Song’. And the irrepressible Screamin’ Jay Hawkins is ‘Hearing Voices’. Altogether 24 upbeat tracks that will mentally beat you up. In much the same way that the blues is full of idiosyncratic language that has baffled even the hardiest of scholars, songs written for teenagers in the 50s and early 60s were often couched in a similarly veiled sub-cultural tongue. Bop talk among jazz musicians of the 1920s alienated white listeners. Likewise, the language of rock’n’roll was often contrived to alienate adults (squares). Many of these songs were written and recorded in alliance with radio DJs eager to get a leg up on their competition by promoting an in-lingo known only among their own listeners. In this way we got, among many others, the Bobbettes with ‘Rock And Ree Ah Zole (The Teen-Age Talk)’. Some fascinating stories emerge: people going ‘Oonka Chicka’, for no understandable reason; others creating answer records to ‘Sh-Boom’. Where would you start? The last word should probably have gone to the Tammys and their epic ‘Egyptian Shumba’, but it doesn’t. It goes to Macy Skipper, who gets caught ‘Goofin’ Off’. What else can I tell you? In this volume we get a little closer to some answers. But we don’t delve too deep. We’re scared! By Brian Nevill (ACE Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Hillbilly Bop, Boogie & The Honky Tonk Blues Vol. 4 Following on from the success of the first three volumes; this, the forth volume of the Hillbilly Bop, Boogie & The Honky Tonk Blues features a first rate selection of tough foot tappin' tunes juxtaposed with timeless Country gems. The late '50s was a tough time for Country music which struggled to find its voice amongst the youth driven onslaught of Rock & Roll. Many of the tracks on this set reflect this change, as the Country singers and bands tried to appeal to this new audience by adding a harder edge to their music and lyrics. This is truly a fantastic addition to not just the previous three volumes but to Jasmines Country range. These were exciting times with the old order desperately clinging to the traditional ways, whilst the newcomers were challenging and ever pushing the boundaries between Country and Rock & Roll. |
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Jasmine Records 2010 | CD | 15.00 € |
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| VA: - It's Gonna Be Action Packed Vol. 11 |
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Rockin' Rarities 2010 | LP | 13.00 € |
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| VA: - Just Around Bakersfield- Rock Bop Country |
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Classics Records 2010 | CD | 15.00 € |
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| VA: - Just Go Wild Over Rock'n'Roll |
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Roll Rock & Rhythm Records 2010 | CD | 15.00 € |
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| VA: - Killer Hoodlum Rockin' |
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Collector Records 2010 | CD | 15.00 € |
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| VA: - Like What We Wrote -The Songs Of Johnny And Dorsey Vol. 3 |
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Hydra Records 2010 | CD | 15.00 € |
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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: - 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: - Mostly Ghostly - More Horror For Halloween |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Nasty Rockabilly Vol. 19 Rare 50s Rock & Roll / Rockabilly. X-rated sleeve |
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B-Sharp Records 2010 | LP | 15.00 € |
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| VA: - Nasty Rockabilly Vol. 20 Rare 50s Rock & Roll / Rockabilly. X-rated sleeve |
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B-Sharp Records 2010 | LP | 15.00 € |
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| VA: - Philadelphia Pop - Rockin' And Croonin' On Bandstand 1957-59 After the initial rise of rock and roll, and with thanks to the power of TV the city of Philadelphia briefly became the centre for a new kind of teenage pop music with acts like Frankie Avalon, Fabian and Bobby Rydell who dominated the charts in the late '50s. Featuring recordings made between 1957 and 1959 including such classics as 'At the Hop', 'Venus', 'Butterfly' and 'Tallahassee Lassie'. Virtually every one of the 44 tracks on this great set was a chart record either in America or the UK, often both! Fully detailed liner notes chart the rise of Philadelphia's influence thanks to the popularity of the TV show 'American Bandstand'. Price: £8.99 / $14.83 / €10.10 Quantity: Disc 1 1. CHARLIE GRACIE - BUTTERFLY 2. CHARLIE GRACIE - FABULOUS 3. CHARLIE GRACIE - WANDERIN' EYES 4. DANNY AND THE JUNIORS - AT THE HOP 5. BILLY AND LILLIE - LAH DEE DAH 6. FRANKIE AVALON - DE DE DINAH 7. THE SILHOUETTES - GET A JOB 8. CHARLIE GRACIE - COOL BABY 9. DICKY DOO AND THE DON'TS - CLICK CLACK 10. DANNY AND THE JUNIORS - ROCK AND ROLL IS HERE TO STAY 11. JOHN ZACHERLE (THE COOL GHOUL) - DINNER WITH DRAC 12. FRANKIE AVALON - YOU EXCITE ME 13. DICKY DOO AND THE DON'TS - NEE NEE NA NA NA NA NU NU 14. DANNY AND THE JUNIORS - DOTTIE 15. FRANKIE AVALON - GINGERBREAD 16. CHARLIE GRACIE - LOVE YOU SO MUCH IT HURTS 17. DICKIE DOO & THE DON'TS - LEAVE ME ALONE 18. FRANKIE AVALON - I'LL WAIT FOR YOU 19. THE APPLEJACKS - MEXICAN HAT ROCK 20. FRANKIE AVALON - WHAT LITTLE GIRL 21. BILLY AND LILLIE - LUCKY LADYBUG 22. THE APPLEJACKS - ROCKA CONGA Disc 2 1. FABIAN - I'M A MAN 2. FRANKIE AVALON - VENUS 3. BOBBY RYDELL - PLEASE DON'T BE MAD 4. FABIAN - TURN ME LOOSE 5. BOBBY RYDELL - ALL I WANT IS YOU 6. FRANKIE AVALON - BOBBY SOX TO STOCKINGS 7. FRANKIE AVALON - A BOY WITHOUT A GIRL 8. CHUBBY CHECKER - THE CLASS 9. FREDDY CANNON - TALLAHASSEE LASSIE 10. BOBBY RYDELL - KISSIN' TIME 11. FABIAN - TIGER 12. FRANKIE AVALON - JUST ASK YOUR HEART 13. FREDDY CANNON - OKEFENOKEE 14. FABIAN - COME ON AND GET ME 15. FRANKIE AVALON - TWO FOOLS 16. BOBBY RYDELL - WE GOT LOVE 17. BOBBY RYDELL - I DIG GIRLS 18. FREDDY CANNON - WAY DOWN YONDER IN NEW ORLEANS 19. FRANKIE AVALON - WHY 20. FABIAN - HOUND DOG MAN 21. FABIAN - THIS FRIENDLY WORLD 22. BOBBY RYDELL - LITTLE BITTY GIRL |
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Jasmine Records 2010 | CD | 13.00 € |
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| VA: - Primitive Chicks Get There Slap Bass Kicks |
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Collector Records 2010 | CD | 15.00 € |
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| VA: - Red Bluejeans & Checkerboard Socks Elvis Presley brought a sense of tribal identity to America’s youth when he hit national TV in 1956, although teenage style was happening even before the coming of rock’n’roll. A teenage look was adopted in the same way that “our” music would be when it arrived. In the USA post-war prosperity brought teenage style much earlier than in our war-torn and austere continent, although occupying American forces did leave a certain mark. In Britain we invented the Teddy boy and girl, a sort of working class nose-thumbing to our elders and so-called betters. For us, the advent of rock’n’roll and its attendant style was held back by our very own skiffle craze, a folky off-shoot of trad jazz (chunky knits and corduroy). The froth was not blown off the coffee until well into 1957 on this side of the Atlantic, by which time the teenage “absolute beginner” had truly arrived. And the look was all-American. Carl Lee Perkins was the man responsible for the granddaddy of all these songs about clothes. Born out of an expression heard by Johnny Cash while serving in the military; suggested as a song subject to a bemused Carl; exacerbated by something Carl overheard on a dance floor, and eventually written in the middle of a speed-addled night on a paper potato sack. Carl’s ‘Blue Suede Shoes’ was the first essentially country record to top all three of Billboard’s charts: country & western, R&B and popular. Carl’s meteoric career was the template for most of the early rockabilly exponents: full of wild highs and tragic lows. It’s true to say that despite its longevity, phenomenal influence over much that followed, including the Beatles, and its star-crossed nature, Carl's career would never quite rise beyond the reputation of that first massive hit. This album brings the original ‘Blue Suede Shoes’ to the Ace canon for the very first time. Can you believe that? Our opening song (and album title) would have found record-hungry European teens of ’57 somewhat confused – an example of creative juxtaposition perhaps? Red blue jeans? But of course, with time came the clarification of all things spoken hep. Back in those days, and for some time to come, our brothers and sisters across the Pond called all jeans bluejeans (one word). Sometimes they called them Levi’s, but in the UK in the late 50s that description meant even less. So, of course, we have blue jeans … and they’re red! ‘Red Bluejeans And A Pony Tail’ was, of course, the successor to a hit from the previous year where we first heard of this strange apparel, in Gene Vincent’s very first release, ‘Be Bop A Lula’: “She’s the gal in the red bluejeans, She’s the queen of all the teens.” From ‘Blue Suedes’ and ‘Red Bluejeans’ we could have moved in the same direction as pop music tended to do at the time. In the world of the hit parade we had ‘Short Shorts’, ‘Pink Shoe Laces’, ‘Black Denim Trousers’, ‘White Bucks’ and ‘Saddle Shoes’. Not for us such drab garb. Our outfitters have rounded up some ‘Straight Skirts’, ‘Tight Sweaters’, ‘Pink Peg Slacks’, ‘Slim Jims’, ‘Tight Capris’, ‘Penny Loafers’, ‘Squeaky Shoes’, ‘Boy’s Shirts’, ‘Plaid Skirts’, ‘Yellow Pants’, ‘Red and Blue Velvet’, ‘Sun Glasses’, ‘Checkerboard and Knee Socks’ and ‘Bermuda Shorts’. And they all rock their socks off. Yes, with that get-up you better stay out of school. By Brian “Feel The Schmutter” Nevill (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Rock Til You Drop Vol. 2 |
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Classics Records 2010 | CD | 17.00 € |
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| VA: - Rockabilly Action |
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Deejay 2010 | CD | 15.00 € |
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| VA: - Stack A Records An interesting compilation featuring recordings from the Crest Records catalogue and its subsidiary Silver. Also includes Eddie Daniels, Hank Cochran and Don Deal tracks only available before as limited editions. Plus 10 live recordings featuring; 1956 radio recordings from the original masters of Jerry Mercer and Narvel Felts. October 1957 Australian Tour with Little Richard, Eddie Cochran backed by the Little Richard Band, Gene Vincent and the Blue Caps. Early 1957 Australian Tour with Freddie Bell and The Bellboys, The Platters and Bill Haley and The Comets. |
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T-Bird Records 2010 | CD | 17.00 € |
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| VA: - Teen Rockin' Fever Vol. 2 |
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Scooter Records 2010 | CD | 15.00 € |
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| VA: - Teen Rockin' Party Vol. 1 |
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Classics Records 2010 | CD | 17.00 € |
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| VA: - That British Sound Vol. 10 |
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Blakey Records 2010 | CD | 17.00 € |
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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 Holly Sound |
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Classics Records 2010 | CD | 17.00 € |
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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: - 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: - Town Hall Party August 29 & September 5, 1959 DVD with 12-page booklet, 30 tracks, playing time: 92:03) - 'Town Hall Party' was among the first of the country music shows to be seen on U.S. television, making its debut in early 1952 and running until early 1961. Staged every Saturday in a theatre in Compton, a suburb of Los Angeles, the stage was made up to look like an old barn, thus continuing the traditions of the various live shows that were first heard on the radio airwaves three decades earlier. 'Town Hall Party' was created with its own cast of regular performers and musicians, boasting a house that was virtually a 'who's who' of the West Coast scene comprising such as Joe Maphis, Merle Travis, Skeets McDonald, Johnny Bond and Tommy Duncan. Jay Stewart (who later hosted the TV quiz show 'Let's Make A Deal'), and Tex Ritter were the MCs. The weekly show presented an equally impressive guest list. Among the many guests to appear were Johnny Cash, Patsy Cline, Eddie Cochran, The Collins Kids, Freddie Hart, Wanda Jackson, George Jones, Merle Lindsay, Bob Luman, Carl Perkins, Jim Reeves, Marty Robbins, Hank Snow and Gene Vincent. -- Now 'Town Hall Party' is reborn on DVD. Launched in 2002, this continuing DVD series present both individual artists' performances, compiled from different appearances on 'Town Hall Party', and complete cast shows selected from specific dates. Completely remastered, and presented with full colour booklets, these releases fully captured the atmosphere, artistry and sounds of a bygone country music age. |
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Bear Family 2010 | DVD | 25.00 € |
