Rock And Roll / Rockabilly
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| VA: - Las Vegas Grind Vol. 5 |
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Crypt Records | LP | 15.00 € |
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| VA: - Las Vegas Grind Vol. 6 |
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Crypt Records | LP | 15.00 € |
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| VA: - Last Great Rockabilly Saturday Night |
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Stompertime 1993 | CD | 15.00 € |
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| VA: - Last Great Rockabilly Saturday Night Vol. 2 35 tracks of Rockabilly Music |
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Stompertime Records 1998 | CD | 15.00 € |
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| VA: - Last Great Rockabilly Staruday Night Vol. 3 hyvä kokoelma 50s rockabillyä ! |
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Stompertime Records 2012 | CD | 17.00 € |
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| VA: - Last Train To San Fernando - Sentimental Journey, Vol. 3 |
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Bear Family | CD | 18.00 € |
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| VA: - Later Alligator - Louisiana Rock'n'Roll 2CD Fantastic Voyage continues its mission to unearth and collate America’s huge regional rock ‘n’ roll heritages by heading down to Louisiana for Later Alligator, a rare gumbo blend of Big Easy R&B, Cajun country, rampant blues-boogie and Bayou swing, served up over two discs brimming with lesser-heard originals and mouth-watering obscurities on CD for the first time. Compiled with Wild Wax Show DJ ‘Jailhouse’ John Alexander and knowledgably annotated by Lucky Parker, the set deftly demonstrates the fabulous range of styles running rampant in the Pelican State in the 1950s-60s, kicking off and winding up with Louisiana’s most infamous son, Jerry Lee Lewis. The unmistakably rolling ‘Lewis Boogie’ was originally the flip of post-scandal statement, The Return Of Jerry Lee Lewis, while his version of Hank Williams’ ‘Jambalaya’ is the ultimate crowning pinch of gumbo spice on a set whose fellow rockers include ‘Suzie-Q’ titan Dale Hawkins, Bobby Charles [with the title track], Rod Bernard, Clarence Garlow, Roy Brown, Frankie Ford, Bobby Marchan, Fats Domino, Chris Kenner, Tibby Edwards, Johnny Ray Harris, Roy Montrell, Champion Jack Dupree, Mickey Gilley, Billy Blank, Ruckus Tyler, Lou Millet, Clarence ‘Bon Ton’ Garlow and many more. Several tracks are drawn from the local independent labels including Goldband, Jin, Ace, Ram and Vin, introducing a fervently attractive streak for record collectors as many are on CD for the first time. As with all Fantastic Voyage expeditionary releases, the set’s allure is further hot-wired by oddities and curios, here including a 13-year-old Dolly Parton wailing ‘Puppy Love’ or the Cajun accordion swamp gas of Cleveland Crochet’s ‘Sugar Bee’. Strangest of all is Jay chevalier, crooning about the Cuban missile crisis over guitar and bongos before a major explosion at the end. There’s a tangible spirit and energy coursing through these tracks rarely found in today’s music which was even unique to the state of Louisiana back then; it’s own brand of spiced-up, cross-fertilising rock ‘n’ roll and country twang, all bathed in steamy swamp fever. To have so many towering examples gathered together on one set is cause for celebration and no-holds-barred whoopee. |
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Fantastic Voyage 2012 | CD | 15.00 € |
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| VA: - Later Jin Singlers - The Promised Land The date was 2 May 1979. The location Was Floyd's Record Shop at Ville Platte in Louisiana's prairie country. Floyd was Floyd Soileau, owner of the Jin, Swallow and Maison de Soul record labels. I was in the company of John Broven (compiler of this release) who was researching his book 'South To Louisiana' and who had set up an interview with Floyd. I was there to take photographs for potential use in the book. Floyd proved to be a southern gentleman who, following the interview, took us to lunch at the local soul food restaurant. Needless to say, a number of purchases were made from the shop before departure, as also occurred on a subsequent visit in 1999. Most were on Floyd's Jin label which predominantly covers swamp pop and South Louisiana rock'n'roll. Ace released a first volume of this material last year under the title The Early Jin Singles: Southland Rock'n'Roll (CDCHD 878). The period covered was 1958-1961, while this new release is more wide ranging, with the majority of tracks dating from 1961-1967. Jin favourite Johnnie Allan has three tracks including his best-known hit The Promised Land (eventually a million seller largely thanks to Charlie Gillett's support in Europe) and Charlie Rich's Lonely Weekends, while swamp popper Rod Bernard pairs up with zydeco king Clifton Chenier. Rockin' Sidney has three excellent tracks, notably You Ain't Nothin' But Fine that was later recorded by the Fabulous Thunderbirds and Rockpile. Other well-known names are present: - Tommy McLain with his beautiful rendition of Don Gibson's Sweet Dreams which hit number 15 in the Hot 100-.-Clint West and the Boogie Kings with blue-eyed soul versions of R&B songs by John Lee Hooker, Jimmy Forrest and James Brown-.-and Rufus Jagneaux with the Cajun rock'n'roll of Opelousas Sostan, one of Jin's best sellers. Lesser-known artists also provide quality product, including Randy and the Rockets with the stomping instrumental Rockets' Twist-.-Billy Lewis with Growing Old where he uses a Fats Domino-type voice and intonation-.-Ronnie Bennett backed by future rock star Johnny Winter's band on Travelin' Mood-.-Skip Stewart (of the Shondells group) with Jimmy Clanton's swamp pop song Take Her Back, Margo White on a haunting version of Bobby Bland's I'm Not Ashamed-.-and Prentice Thomas with the swamp, rock of Creedence Clearwater Revival's Bad Moon Rising. I met Floyd on two other occasions - at a party thrown for a visiting group of Brits during the Falklands crisis in 1982, and seven years later at the New Orleans Jazzfest in front of the stage where Johnnie Allan was performing. Floyd was always appreciative of the European support for his labels. Ever co-operative, he has provided note-writer Jeff Hannusch with some interesting titbits of information on the tracks here. The Later Jin Singles (with three non-45 bonus tracks) stands proudly as the latest album in a line started by Charlie Gillett with his trend-setting Oval release Another Saturday Night" back in 1974 (an expanded version of which is still available on Ace CDCH 288). Swamp pop has retained a level of popularity in Britain over the years, a major milestone being the Another Louisiana Saturday Night gig at The Grand Theatre, Clapham, London, on 18 September 1993. The Louisiana artists brought over by promoter Dave Webb for that one memorable performance were swamp pop stars Johnnie Allan, Warren Storm, Tommy McLain, and Harry Simoneaux (on sax), plus swamp bluesman Jimmy Anderson, and Cajun artists D L Menard, Eddie LeJeune and Belton Richard. Encouragingly, some wonderful swamp pop music is still being produced and recorded in Louisiana and Texas to this day, not only by the old hands, but also by the younger generations. The good times just keep rolling on and the release of this new CD provides yet another productive trip into the history of "The Promised Land" by Paul Harris (Ace Records) |
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Ace Records 2004 | CD | 17.00 € |
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| VA: - Legendary Guitarists Of Gene Vincent Cliff Gallup, Johnny Meeks and Jerry Merritt |
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Magnum Force Music | LP | 15.00 € |
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| VA: - Let It Rock ! - The Rock'n'Roll Album of The Decade Ronnie Hawkins 60th birthday concert |
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Quality Music 1995 | CD | 13.90 € |
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| VA: - Let's Go Instro 32 tracks |
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Collector Records | CD | 15.00 € |
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| VA: - Let's Go Rock And Roll 30 biisiä mm The Sparkletones, Bell Notes, Castle Kings, Fabulous Four... |
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Rock And Roll 1998 | CD | 15.00 € |
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| VA: - Let's Paint The Town Red Vol. 2 |
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Floridita Records 2008 | LP | 13.00 € |
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| VA: - Lewis Boogie 15 biisiä - uusien bändien tribuutti killerille |
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Vampirella 2001 | CD | 13.00 € |
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| VA: - Like What We Wrote - the Songs Of Johnny And Dorsey Vol. 1 27 tracks that Johnny & Dorsey Burnette wrote. Incl 36 page booklet ! |
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Hydra Records 2007 | 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: - Like Wow |
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Pan American | 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 1961 To no one’s surprise, the “London American Year By Year” series has proven to be an instant success for Ace. The combination of nostalgia for both the era that the series will cover and for the label itself, not to mention the prospect of owning hundreds more vintage gems on Ace CD for the first time, has ensured that – as the late Fergus Cashin of the Daily Sketch might have put it - “this one will run and run”. Indeed, such is the demand for future volumes that we’ve already stepped up the scheduling of LAYBY from two to three times a year. (Well, your compilers will both be well into their seventies by the time of the intended final volume, and like you we’d prefer to live to see the series through to its grand finale – thus it seemed a sensible thing to do…). Fans can expect this January release of this 1961 volume to be followed by 1962 in October, with our first backtrack to 1959 as the tasty filler for this musical sandwich in June. We’d like to step that schedule up even more if we could – but as you can imagine, each volume is a mammoth undertaking for Ace’s licensing department, not to mention the amount of work that goes into sourcing the original London tapes and the matching the audio to the sound of the original 45s by the guys at Sound Mastering. These things just do not happen overnight, and we do need to put some other CDs out in between and around these releases to stay in business, y’know… All this notwithstanding, we kick off the ‘tennies’ with LAYBY 1961, which we feel more than upholds the standard set by its acclaimed predecessor. One of the main promises we made to the collector was that each volume would feature at least 20 tracks that were new to Ace CD. On this occasion, only one of the featured tracks has ever been heard on Ace before (Timi Yuro’s ‘Hurt’). This is quite astounding when one considers that debutantes here include Eddie Cochran’s ‘Weekend’, Del Shannon’s ‘So Long Baby’ and Jerry Lee Lewis’ ‘What’d I Say’, to name but three. It really does demonstrate how much rock ‘n’ roll gold there still is in ‘them thar hills’ to mine, doesn’t it? As ever, there’s extensive track-by-track commentary, with a shot of every featured London 45 to complement the annotation. An intro by long-time London collector Roger Cope perfectly sums up the feelings of everyone who ever put their pocket money or part of a meagre pay packet towards the purchase of one or more of these goodies, your compilers included. And the best news of all is that all of the songs run for less than two and a half minutes, so if there’s something here you don’t like (and we truthfully don’t expect everyone to enjoy everything that’s on offer across the series) you’re seldom more than 150 seconds away from something that you will!” 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 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 Rock rare 10". British Rock And Roll 1959-1964. |
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Velvet Touch Records | 10" LP | 18.00 € |
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| VA: - Long Gone Cats Vol. 1 |
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Sheik Records 2011 | LP | 15.00 € |
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| VA: - Long Gone Cats Vol. 2 |
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Sheik Records 2012 | LP | 15.00 € |
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| VA: - Long Gone Daddies 32 tracks |
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Ace Records 2000 | CD | 17.00 € |
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| VA: - Louisiana Rockers 24 tracks |
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Ace Records 1994 | CD | 17.00 € |
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| VA: - Love Charms |
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Pan American | CD | 9.90 € |
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| VA: - Love My Baby 25 tracks |
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Pan American | CD | 9.90 € |
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| VA: - Love Slave |
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Pan American | CD | 13.00 € |
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| VA: - Love Songs Elvis, Jackie Wilson, Dino Desi & Billy, Tom Jones, Paul Anka, Bobby Darin, Little Anthony & The Imperials, Brooklyn Bridge,Lulu, Beatles, The Fifth Dimension, Smokey Robinson, The Carpenters, The Mamas & Papas. 63 min. 18 tracks. |
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Eagle Vision 2004 | DVD | 9.00 € |
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| VA: - Love, Sweet Love |
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Pan American | CD | 9.90 € |
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| VA: - Lovin Honey 26 tracks |
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Pan American | CD | 9.90 € |
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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 | LP | 13.00 € |
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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: - 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 | LP | 13.00 € |
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| VA: - Mad Mike Monsters Vol. 3 - A Tribute To Mad Mike Metrovich Third gargantuan volume wraps up the bio notes (or does it?) on this posh inaugural trio trib to Mad Mike Metrovich! |
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Norton Records 2009 | LP | 13.00 € |
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| VA: - Manu Records Story |
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Classics Records 2009 | CD | 17.00 € |
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| VA: - Megaton Rock 30 biisiä |
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Collector Records | CD | 15.00 € |
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| VA: - Mello Jello... For Mello Muffins |
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Skinupski 2006 | CD | 18.00 € |
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| VA: - Memphis Belles - The Women Of Sun Records Sun Recordsin naisartisteja. 6CD:tä ja 120 sivuinen kirja |
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Bear Family | CD-Box | 130.00 € |
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| VA: - Memphis Rockabillies, Hillbillies & Honky Tonkers Vol. 4 36 tracks |
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Stompertime 2004 | CD | 17.00 € |
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| VA: - Memphis Rockabillies, Hillbillies & Honky Tonkers Vol. 5 36 tracks from Glo-Lite Records |
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Stompertime 2006 | CD | 17.00 € |
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| VA: - Memphis Rockabillies, Hillbillies and Honky Tonkers Vol. 1 38 tracks |
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Stompertime 2001 | CD | 15.00 € |
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| VA: - Memphis Rockabillies, Hillbillies and Honky Tonkers Vol. 2 The Erwin Records Story. 38 tracks |
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Stompertime 2002 | CD | 15.00 € |
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| VA: - Miami Rockabilly Wall to wall beaches, balmy weather, palm trees swaying in ocean breezes, and floral splendour are the images associated with Miami and its sister city, Miami Beach which in less than a century rose from a mosquito-infested swamp that is the Everglades to blossom into a sub-tropical metropolis. Miami enjoyed its heyday in the 40s and 50s. Planes trailing long streamers would fly over the beach advertising multi-course meals for $1.50 and the cafeterias teamed with people from all walks of life, many of them retirees or honeymooners earning Miami the dubious reputation as a "land of the newly wed or the nearly dead". For many years after the war, Arthur Godfrey's Talent Scouts, one of the most popular shows on American TV, was broadcast from a Miami hotel, further publicising Miami's delights to a nation-wide audience. Unlike major recording centres such as Memphis or Nashville, Miami lacked a musical identity and attracted very few out-of-town acts. Despite this the area was home to several wild and rocking combos. MIAMI ROCKABILLY, which showcases most of the local rockabilly and rock'n'roll talent active in the area between 1956 and 1960, has been a long time in the making. Ted Carroll tracked down some of the material several years ago and later struck a deal for the remaining songs over a kitchen table in the backwoods of Southern Florida. Rob Finnis made sense of it all and researched an in-depth sleevenote. The result is a value-for-money 32-tracker crammed with ultra-rare rockabilly gems most of which are making their CD debut here, remastered from original tapes or acetates by Sound Mastering's Ace boffins (pun intended). If one or two of these tracks sound a bit cheesy, then that's the way it was in the studio on the day. Perhaps the best known recording on MIAMI ROCKABILLY is Tommy Spurlin's Hang Loose. Originally issued in 1956 (only in the USA) it became hugely popular during the British rockabilly revival of the late 70s and a timely re-issue on a specialist label was a perennial seller. Another of Spurlin's songs, Heart Throb was featured in the frat movie smash "Porky's" some 25 years after it was recorded. Also included are Curley Jim Morrison's ultra-rare UK release Airforce Blues and such obscurities as Wes Hardin's Any Way and Ross Minimi's frantic 1959 workout, Baby Rock. These last two would cost in the region of $1200 if one wished to acquire the original AFS and Gulfstream label 45s. And if you like your rockabilly wild, woolly and uncompromising then Ray Pate & The Rhythm Rockets' adrenaline charged 2-sider, My Shadow c/w Lucky Day will suit. These are a few of the impossibly hard-to-find 45's on a CD that surely qualifies as one of the best rockabilly issues of 1998. * 32 raw hog-wild rockin' tracks * 3000 + word in-depth sleevenote by Rob Finnis * $6000 + worth of rockin' 45s on one CD * Plus 11 bonus tracks unissued in the 50s and up to now only available on poorly mastered, hard to find, limited edition vinyl by Crawford Anderson (Ace Records) |
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Ace Records 1998 | CD | 17.00 € |
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| VA: - Michigan Rockers Vol. 1 20 biisiä |
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Rock Therapy | CD | 15.00 € |
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| VA: - Michigan Rockers Vol. 2 20 tracks 50s R&R from Michigan |
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Rock Therapy Records 2003 | CD | 15.00 € |
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