Rock And Roll / Rockabilly - 1950-luku (CD)
Result of your query: 1294 products
| Brian Hyland - Sealed With A Kiss |
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Hallmark Music 2013 | CD | 6.00 € |
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| Champs - Tequila 2CD The Champs were propelled to stardom when they topped the US Pop, R&B and UK charts in the summer of 1958 with their debut single, the Latin-flavoured instrumental 'Tequila'. Spawning a plethora of covers, the song earned a Grammy Award in 1959 while the band - whose varying line-up reads like a who's who of early Californian rock music - went on to enjoy further hits into the early 1960s. This 2CD set comprises their first studio albums along with hard-to-find 45rpm A and B-sides including 'Everybody's Rockin'' which is presented in a rare stereo format. Hot 100 hits of course include the title track, 'Tequila' plus 'El Rancho Rock', 'Chariot Rock' and the perennially popular 'Midnighter'. Disc 2 includes all the US singles up to 1961 including the hits 'Too Much Tequila' and dance craze fave 'Limbo Rock' plus 'Tequila Twist'. |
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Jasmine Records 2013 | CD | 15.00 € |
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| Eddie Cochran - Eddie Cochran LP + CD |
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Doxy Music 2013 | CD | 20.00 € |
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| Eddie Fontaine - Goodness, It's Eddie Fontaine ! "I was speeding one night in Long Island and the police stopped me; back then, in New York City, they took you down to the court house. They put me in this holding tank with a bunch of drunks, and I went up to a black guy there and said, “Hey man, what’s happening?” and he said “There’s nothin’ shakin’ but the leaves on the trees, and they wouldn’t be shakin’ if it wasn’t for the breeze.”… I wrote that song on a Sunday morning in about fifteen minutes..." Eddie Fontaine is one of those 1950s heroes who sometimes gets forgotten because he was maybe a little too old to have been a teenage idol, and his music was perhaps a little too measured and urbane to be classed as manic rockabilly or wild rock ‘n’ roll, but it is great music and deserves to be heard |
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El Toro Records 2013 | CD | 17.00 € |
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| Ricky Nelson - Ballads Of Ricky Nelson |
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Bear Family 2013 | CD | 18.00 € |
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| VA: - Boppin' By The Bayou Again A SECOND DIP into the gumbo that was South Louisiana’s take on rock’n’roll in the 50s and early 60s, the spicy mix of rockabilly and Southern rockers, heavily influenced by the sounds of R&B wafting from New Orleans and a lifetime of Cajun music. Following the success of the first CD we are pleased to bring you another compilation full of the obscure and previously unissued. Most of our artists are Cajun born and bred. They grew up in the world where live music was a release from a tough existence: fishing, farming or toiling in the oil fields – but also reflected it. Hence Cajun music was split almost entirely into two genres: raucous good-time dance music or the sentimental, almost wrist-slitting ballads of broken hearts. The advent of rock’n’roll put a modern twist to these themes; the uptempo rockers had the teenagers a-hoppin’ and a-boppin’ and the songs of shattered love were often the basis of swamp pop. In this series we are concentrating on the former, but it is highly likely that swamp pop collections could follow. This disc brings you more goodies from Al Ferrier, Johnny Jano, Pee Wee Trahan (aka Tommy Todd), Jay Chevalier, Rod Bernard, Warren Storm, Rocket Morgan and Vince Anthony, all of whom appeared on the first Boppin’ By The Bayou (Ace CDCHD1345), plus treats from Mickey Gilley, Gene Terry, Jim Oertling, Perry LaPointe, Milton Allen, Rusty Kershaw, Cajun Joe, Tony Perreau, J. C. Politz, Bert Bradley, Glenn Owens, Robert Owens, Wiley Jeffers and a previously unheard group (I believe) called The Teen Hearts. We have been able to present 28 tracks, 12 of which are previously unissued, through our special access to the tapes of the late J. D. Miller, the late Eddie Shuler and our good friend Floyd Soileau. I have been fortunate enough to travel the highways of South Louisiana and that Cajun corner of South East Texas, meeting many of the artists and forging deals with label owners such as Luke Thompson (Hammond) Carl Graffagnino (Carl) and Sarah Rentz (Pel). Oh yes, there are others in the pipeline so we plan further issues with absolutely no drop of standard. Following in the footsteps and, thanks to improved digital transfer techniques, building on the pioneering work of John Broven, and of Bruce Bastin of Flyright Records, we are capturing the raw energy of a music form peculiar to a relatively small but hugely influential area of the United States of America. For those who are also who are also bitten by the bug of rockin’ blues and R&B from South Louisiana, keep a watch for the sister series featuring those genres, the first of which Rhythm’n’Bluesin’ By The Bayou is slated for imminent release. By Ian Saddler (Ace Records) |
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Ace Records 2013 | CD | 18.00 € |
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| VA: - Cliff Heard Them Here First Although the majority of Cliff Richard’s hits have come with songs written expressly for him, or that he was the first to cut, the outside repertoire that he has recorded throughout his career has been more interesting than the choices of many of his contemporaries. Sir Cliff was not the only home-grown rocker to cover US material but, unlike his peers, he seldom went into a studio and simply made over the latest fast-rising American hit. With the help of his long time A&R man and producer Norrie Paramor, Cliff found a formidable number of fantastic songs hidden away on obscure US 45s and albums unavailable here. Having previously celebrated the good taste in covers of his early hero in “Elvis Heard It Here First”, Ace felt it only fair to follow up with a companion volume that does likewise for the Peter Pan of pop. The tracks selected for “Cliff Heard Them Here First” show just how broad Cliff’s tastes were. Most of his early singles featured original songs, but the material on to his many albums was something else again. “Cliff Heard Them Here First” brings you the original versions of two dozen songs which found their way into Cliff’s discography, ranging from gospel-influenced R&B (Ruth Brown’s ‘Somebody Touched Me’) to rockin’ doo wop (the Jayos’ ‘Tough Enough’), and from ultra-obscure west coast teen pop (Pete Votrian’s ‘We Have It Made’) to a little known Elvis Presley track (‘Angel’). The booklet reflects the importance of the music that’s preserved here, with copious notes, label shots and ephemera for each track. All but one is new to Ace CD and several of them have never been reissued before in any format. Although the majority of our tracks stem from the first ten years of Cliff’s recording career, there are also examples of songs that Cliff came across and recorded in the early 70s, which show that his ear for a good song and a great record have never deserted him. These tracks have stood the test of time as well as Cliff’s own career. “Cliff Heard Them Here First” is our salute to the man and the great taste he showed in embracing these songs. By Tony Rounce (Ace Records) |
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Ace Records 2013 | CD | 18.00 € |
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| VA: - Cruisin' Country Vol. 5 |
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Classics records 2013 | CD | 17.00 € |
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| VA: - Joe Meek - Twangy Guitars, Reverb And Heavenly Choirs 2CD Long before he'd evolved into a fully-fledged cult figure, Joe Meek was the UK's first fully independent record producer. This unique 2CD set traces his career from his earliest sessions, as a sound balance engineer in the mid-'50s, to his emergence as a major songwriter and hit maker in the early '60s. It includes many of Meek's biggest records, including five UK # 1s by, Anne Shelton, Lonnie Donegan, Frankie Vaughan, Emile Ford and John Leyton, plus several other major million selling hits! Indeed, more than half of the sixty sides included herein were significant UK hits. This set also includes several collectors' rarities, previously unavailable on CD, most notably Gary Miller's unfeasibly-rare 'Moby Dick'. John Fraser's 'Golden Cage' and Geoff Goddard's 'Girl Bride'. If you are looking for what is by far the most interesting Joe Meek-related compilation for years then this is it! |
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Jasmine Records 2013 | CD | 15.00 € |
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| VA: - Teen Rockin' Party Vol. 7 |
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Classics Records 2013 | CD | 17.00 € |
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| VA: - Teen Rockin' Party Vol. 8 |
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Classics Records 2013 | CD | 17.00 € |
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| Wanda Jackson - Best Of The Classic Capitol Singles Idolized by three generations of rockers, from Las Vegas to Stockholm, Wanda Jackson, the “Queen of Rockabilly,” has never worn her crown as to the attitude born. Debuting on country radio when she was still too young to drive, she would enter middle-age singing joyfully for the Lord. But in between, she would meet Elvis Presley and record her legendary Capitol singles, some of them fueled by rock ’n’ roll nitroglycerin. Yet, to hear this selection now is to also marvel at how wildly Wanda veered from style to style, as if the gorgeous, spaghetti-strapped Oklahoma rockabilly cared no more for the confines of genre than she did for a respectable neckline. For every A-side rave-up like “Mean Mean Man” or “Fujiyama Mama,” she offers a B-side weeper like “(Every Time They Play) Our Song” or the hillbilly tragedy of “No Wedding Bells For Joe.” In one giddy jukebox pairing, her “Little Charm Bracelet” flips to a distaff remake of The Robins’ “Riot In Cell Block Number Nine.” Punch side A, you hear “Little charm bracelet, means so much to me.” Punch side B, it’s “Pass the dynamite, Molly, ’cause, man, this fuse is lit!” She tore through songs that Elvis sang, The Cadillacs sang, Betty Hutton sang. She drew from jazz greats, R&B legends, and writers revered in the Nashville song factories. But none gave her better Wanda Jackson songs than Wanda herself, her pen opening the microphone range from “Cool Love” to “Right Or Wrong.” Were it not for the riot of her rock ’n’ roll, she might be revered as a wayward princess, if not the queen, of sawdust-soaking honky-tonk. It’s all there in her Capitol debut, “I Gotta Know,” the stop-and-go-go-go three minutes of dance-floor fun that kicks off this collection. Upon its release in 1956, Capitol’s own ad men scratched their heads, then gamely pitched the record as a “jumping rock-’n’-waltz novelty.” |
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Omnivore Recordings 2013 | CD | 19.00 € |
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| Bob Luman - Let's Think About Living |
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Hallmark Music 2012 | CD | 6.90 € |
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| Cliff Richard - Listen To Cliff |
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Hallmark Music 2012 | CD | 6.90 € |
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| Danny Wolfe And Friends - Let's Flat Get It! taas saatavana ! |
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El Toro Records 2012 | CD | 17.00 € |
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| Del Shannon - The Essential Collection 1961-1991 2CD includes all his hits alongside hard-to-find rarities, album tracks and b-sides that chronologically span his thirty year recording legacy. |
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Demon Music Group 2012 | CD | 10.00 € |
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| Duane Eddy - Duane Rocks 1-CD Digipak with 56-page booklet, 32 tracks. Playing time: 72:12. - The instantly identifiable 'King of Rock 'n' Roll Guitarists' with all his big hits and the other potent rockin' tracks which influenced generations of guitar players. An atmospheric productions by studio wizard and co-writer Lee Hazlewood plus the cream of 50s Phoenix session men including Al Casey (guitar/bass/piano), Larry Knechtel (piano), Steve Douglas and Jim Horn (saxophones). The booklet contains a newly-crafted appreciation by fellow guitar ace Deke Dickerson and a clutch of wonderful vintage photos. - The Twang is still The Thang! - Duane Eddy is enjoying a late-career resurgence with a Mojo Icon Award, an appearance at the Glastonbury Festival and a critically acclaimed new album. But Eddy has always been a household name on the strength of the eternally enduring records he made for the Jamie label between 1958 and 1961. This collection features 30 of the very best rock 'n' roll tracks adding the best-selling 'Because They're Young' as a bonus ballad, and' Pepe' because it was a huge international hit. Nothing sounds quite as BIG as 'Rebel Rouser', 'Cannonball', 'Forty Miles Of Bad Road', 'Peter Gunn', 'Some Kinda Earthquake', 'Bonnie Came Back' and 'Shazam!' They're all here along with many more. These are the undisputed top-of-the-heap rock'n'roll instrumentals in all their dazzling, reverb-laden, tremolo-fattened glory. |
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Bear Family 2012 | CD | 20.00 € |
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| Elvis Presley - Rock'n'Roll Only - Just About As Good As It Gets 2CD Does the world need another retrospective of The King? It's all been out there somewhere in expensive box sets and compendiums of old albums. Ardent Elvis fans have probably got it all in triplicate. But for the newly curious, those asking "What was it about this man that set the world on fire?", our potent selection of key tracks highlights the vital burst of internationally impacting recordings between Elvis's rural rockabilly beginnings (not immediately recognised outside of the southern USA) and his demobbed decline into a glamour boy fronting a series of second-rate movies in the sixties. There was a period of about six years when Elvis really was the King Of Rock 'n' Roll around the globe, with a voice, the looks, the moves and an overload of oomph that sent the kittens crazy and the old cats wild. This is it. He wasn't only a dynamic performer and outstanding singer, as illustrated here he had a keen ear for a damn good song, whether written specifically for him or - as often as not - those he hand-picked from his personal collection of favourite country and rhythm 'n' blues originals. This is Elvis as he should be remembered. |
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Smith & Co 2012 | CD | 12.00 € |
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| Freddy Cannon - Tallahassee Lassie 2CD Freddy 'Boom-Boom' Cannon was the last of the '50s-styled rockers. This compilation features all his singles between 1959-1961, including the million-selling 'Tallahassee Lassie' (both the original single version and the LP re-cut) and 'Way Down Yonder In New Orleans', plus his first two LPs, 'The Explosive Freddy Cannon!' and 'Happy Shades of Blue'. Also included are the rare Doo Wop singles he recorded as the lead singer of The Spindrifts, plus a radio jingle he wrote and recorded for Arnie Ginsberg. Cannon was particularly popular in Britain - 'The Explosive Freddy Cannon!' was the first R&R LP to top the UK's album charts. Many other re-issues of this material which have notoriously suffered with poor sound quality, but Jasmine has done a fantastic job for much of this material, making this the only Freddy Cannon compilation worth owning! |
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Jasmine Records 2012 | CD | 15.00 € |
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| Hank Davis - One Way Track |
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Bear Family 2012 | CD | 17.00 € |
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| Jerry Lee Lewis - The Ferriday Fireball - Just About As Good As It Gets 2CD You couldn't invent such a man as Jerry Lee Lewis: such a character, such a firebrand talent. Recently remarried for the seventh time (to the ex-wife of the brother of his third wife!), despite 60+ years of boozing and hell-raising he is truly The Last Man Standing from the original Memphis Sun rise of 50s rock 'n' roll. His rapscallion reputation sometimes obscures the fact that along with being an astonishing piano-pumper, for most of his career - if perhaps not so evident today - Jerry Lee excelled vocally as a masterful interpreter of others' songs into the Lewis style, the Lewis way, often with spontaneous one-take studio workouts. This 67-track power pack of his vibrating younger years reveals the truth of the matter. This isn't 'just another' Jerry Lee Lewis compilation. Naturally his hits of the era are included but many of the other Sun recordings on Disc One have been chosen specifically to highlight The Killer's interpretative skills. Disc Two is a fascinating selection of examples of Jerry Lee as the unmistakable accompanist on label-mates' recordings, some previously unreleased out-takes, the best of the legendary Million Dollar Quartet session, his early pre-Sun private demos and his 50s live TV performances: some of the tracks now in far better sound quality than any previous reissue. Not for the faint-hearted. |
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Smith & Co 2012 | CD | 12.00 € |
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| Johnny Horton - North To Alaska And Other Great Hits 2CD ohnny Horton was one of the best and most popular honky tonk singers of the late '50s and this superb super value 2CD set, with no less than 60 wonderful tracks, is the most comprehensive package outside of a box set. Includes all the UK and US hit singles up to his tragic death in 1960. Some of the highlights: 'The Battle of New Orleans' and 'North to Alaska' really show off his iconic international hit making prowess! This collection runs from spectacularly raucous rockabilly through to country ballads and novelty hits and is quite simply a must have for fans of Johnny Horton and this genre. |
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Jasmine Records 2012 | CD | 15.00 € |
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| Laura Lee Perkins - Don't Wait Up! 1-CD Digipak (4-plated) with comprehensive booklet, 14 tracks, playing time approx. 30 mns. -- The complete 1950s and '60s recordings of a female rockabilly legend! Contains every recording made by Laura Lee Perkins for Imperial (six tracks) and Sundowner (three tracks)! Plus five acetate demos, not originally issued! Features the incredible studio band of Imperial Records including hot guitar solos from Joe Maphis! Includes two of the greatest original rockers and principal songs of the rockabilly revival years! Promotion men thought piano-pounding Laura Lee was the 'female Jerry Lee Lewis'. She said she was 'just having fun.' Either way, it's a recipe for success. Imperial Records won out over Sun for Laura 'the best female commercial singer' he comprehensive booklet by Martin Hawkins tells the fascinating story of young Alice Faye Perkins from West Virginia, who was transformed into the rock 'n successful night club career. Complete with original interviews and rare photographs. |
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Bear Family 2012 | CD | 18.00 € |
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| Marty Robbins - Marty Rocks |
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Bear Family 2012 | CD | 18.00 € |
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| Roy Orbison - A True Love Goodbye 2CD |
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Union Square Music 2012 | CD | 10.00 € |
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| Royce Porter - Texas Teenage Bop Our teen Texas tornado was born slap-bang in the middle of the Lone Star state and got his break on Sweetwater's "Saturday Night Jamboree". Inspired to get hot in 1955, when Elvis appeared on the show, Royce has since waxed exciting singles for Spade, Look, Mercury and D, and also backs his pal, Ray Doggett, with his talented guitar picking. |
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El Toro Records 2012 | CD | 17.00 € |
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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: - Boppin' By The Bayou The Cajun people of the plains and swamps of South Louisiana are steeped in music with a raw edge. Prior to World War II the music of the bayous was Cajun; the only real changes were the shift from accordion to fiddle as the lead instrument. The war changed all that. The thousands of Cajun men who served, many of them musicians, were exposed to other music forms; the influences – most notably blues and rhythm, as it was then called, and hillbilly – crept into their songs. As the 1940s progressed into the 50s, small independent record companies sprang up to record this rural music, which was largely being ignored by major labels. Local radio stations started to play it and the jukebox became a major entertainment in bars and diners where the owner couldn’t afford a live band, or just between sets. The most prominent of these new record companies were Goldband and Folk-Star founded by Eddie Shuler, and the Fais-Do-Do and Feature banners of J.D. Miller. These were joined by the Khoury’s and Lyric labels of George Khoury. They all started out as vehicles for Cajun and hillbilly music but soon added blues and R&B artists to their rosters. Dance music had always been the backbone of the Cajun way of life. As traditional bands added heavier rhythms, string basses and drums, their tunes became all the more exciting. South Louisiana – and particularly its youth – like the rest of America, was ready to take the next step. The catalyst was Elvis Presley. When he stepped in front of the microphone at Radio KWKH for his first Louisiana Hayride broadcast on 16 October 1954, a torch was lit in the hearts of young Cajuns, as it was in the primarily working class youth across the rest of the USA. Rock’n’roll had arrived and all of the artists on this CD would play a part, revelling in it and giving it a distinctive sound – the sound of the bayous. The first record companies were quick to add these new artists to their rosters and were soon joined by Jin/Swallow (founded by Floyd Soileau), Hammond (Luke Thompson), Carl (Jake Graffagnino), Hilton (Hilton McCrory) and a plethora of smaller outfits and one-shot deals. The music produced – whether categorised as rockabilly, swamp pop or Cajun bop – has an added element in coming from this area. Rock’n’roll was already an amalgam of earlier styles; the Louisiana melting pot added its own spice to the gumbo. This CD is the first in the “Boppin’ By The Bayou” series which will focus on these music forms. The concept has been given added depth by a deal struck with the family of the late J.D. Miller, which allows us to include previously unreleased material. Plus, with new technology, we’ll be reinvigorating tracks discovered by the sterling work of Bruce Bastin and Flyright some 35 years ago. There will also be a “Bluesin’ By The Bayou” series featuring jump blues and R&B. By Ian Saddler (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Can't Live Without Rockin' |
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Collector Records 2012 | CD | 15.00 € |
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| VA: - Criminal Records Ello, ’Ello, ’Ello, what’s all this, then Crime and punishment have always gone hand in hand in the worlds of rock’n’roll, R&B and country and western music. For decades, goodies and baddies have provided us with a life sentence of chronicling of man’s misdemeanours and subsequent incarceration. When top Ace fan Tony Watson suggested that a compilation of songs about obeying and breaking the law would be right up the street of most of those who buy our CDs, we didn’t need to be read our reissue rights to agree. With that in mind, your honours, I hereby present the case for “Criminal Records” Our line-up of heroes and villains runs the whole gamut of lawbreaking and law enforcement. Within its 60 minute audio sentence (and no time off for good behaviour) we cheer western heroes such as Gunsmoke’s “Mister” Matt Dillon and boo villains such as the fictitious (and let’s be very glad he is) ‘Bad Dan McGoon’. Our helmets are doffed to radio and TV ’tecs of the calibre of Dragnet’s Sgt Joe Friday and the legendary iron-jawed Dick Tracy, as well as some of those smoother newer fellas that came later such as 77 Sunset Strips Stu Bailey and, from the TV show of the same name, Peter Gunn. Bob Luman tells us how much he wishes he was a ‘Private Eye’ which a pre-twistin’ Chubby Checker moans that he can’t get any girl reaction, because his lady love is too busy drooling over the kind of ruggedly handsome television PIs that Luman aspires to be. Other legendary enforcers of the TV screen from the years between Friday and Bailey are also on your case and on your trail, from Alaska (Sgt Preston Of the Yukon) to Chinatown (Charlie Chan, in the Coasters’ ‘Bad Detective’). If you grew up watching the small screen when it really was a small screen, you’ll remember most of these upstanding lawmen and their relentless pursuit of justice at all costs as they came into your homes on a weekly basis. Less savoury characters that we hear from include alimony dodgers Richard Berry and Wynonie Harris; hardened lifers Jumpin’ Gene Simmons, George Jones and Hylo Brown; denizens of DWI Benjamin “Scat Man” Crothers and, with some help from Cliff “King” Solomon’s orchestra, Gigi Gryce; chain gang toiler Billy Boy Arnold and the perpetually in-the-wrong-place-at-the-wrong time Bobby Nunn of the Robins. And lest anyone think we’ve gone soft on lady lawbreakers, vivacious Vicki Young puts a Prisoner Of Cell Block H perspective on what it’s like to ‘Riot In Cell Block #9’. Personally I reckon that at least some of these guys and gals ought to have been let off with a caution. Failure to support this project will result in a visit from the no-fun police and a lifetime of listening to R and B (that’s Rihanna and Bieber) for your sins. It’s a fair cop, guv, but society is to blame. Evenin’ all. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Fender - The Golden Age 1950-1970 Leo Fender’s contribution to the sound of modern music is immeasurable. The pop music explosion of the 1950s and 60s would not have happened without the electric guitar and, perhaps more importantly, the electric bass.” So begins Martin Kelly’s notes for the CD of his book about Fender guitars. A book about music of course lacks the medium that it describes, so Martin came to Ace with a proposal to produce an accompanying CD that would make his pages even more vibrant. We were more than happy to celebrate the great sounds that Leo Fender helped conceive through his inspirational instruments. As overseer of this CD, I was out of my depth in guitar minutiae, but was able to assist on the technical end and enjoyed a sharp learning curve in great guitar sounds. I thoroughly dug those ringing twangs of Bob Wills and Tennessee Ernie Ford. With Ike Turner and Otis Rush I was in more familiar music territory. The more poppy Crickets’ track ‘I’m Looking For Someone To Love’ was an inspired choice by Martin. It was the flip to the original ‘That’ll Be The Day’ which I’d managed to miss hearing for 55 years. ‘Suzie Q’ and the original ‘Folsom Prison Blues’ are better known numbers; listening to them in this guitar-based context gives them new relevance. Guitar-led instrumentals were a must for the compilation and it is wonderful to relive the splendour of the Ventures’ signature tune and to hear the mighty Shadows at their most melodic. Breakaway Shadow Jet Harris then moves the spotlight to the renowned Fender bass on ‘Besame Mucho’. Booker T’s ‘Green Onions’ and Dick Dale’s ‘Miserlou’ are at the pinnacle of their genres and Jack Nitzche’s ‘Lonely Surfer’ shows how an inspired producer can use the guitar within a bigger production. It is then back to basics with the Kingsmen’s ‘Louie Louie’, followed by Ronnie Hawkins’ ice-cold take on ‘Who Do You Love’. The Beach Boys and Bobby Fuller Four then demonstrate how to play straight down the middle pop: no frills but pure class. Then representing the awakening of British youth to the American dream, we have the Yardbirds’ take on Billy Boy Arnold’s ‘I Ain’t Got You’, a song that failed to score for its creator but became a belated blues classic once Eric Clapton had stamped his seal of approval on it. Speaking of the blues, ‘Rock Me Baby’ by Otis Redding reminds us all that the world lost a brilliant blues singer, as well as the ultimate soul man, when his plane crashed in December 1967. By the time of this recording, Lewis Steinberg had been replaced by Duck Dunn on Fender Precision Bass duties. As reflected by the Nashville-recorded Fender jingles, country music was always dominated by the guitar sounds of Fender. Buck Owens & the Buckaroos’ ‘Buckaroo’ features not only Fender electric and bass but acoustic too. The switch to the soul perfection of King Curtis’ ‘Memphis Soul Stew’ is surprisingly seamless and that city’s home-grown Willie Mitchell sound on ‘Soul Serenade’ shows how long-lived top flight R&B was down there. It is then just a year’s jump, but a small world away, to 1969 and the Velvet Underground’s 12-string Fenders. That is neatly followed by ex-Yardbird Jeff Beck on his Stratocaster and Stone-to-be Ron Wood playing a Telecaster bass; all in the admirable cause of helping Donovan’s ‘Goo Goo Barabajagal’ make musical if not literal sense. I still may not be able to pick a Fender out in a crowd, but I now know how much listening pleasure I have derived from them. Ady Croasdell (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Great Rockabilly - Just About As Good As It Gets! Vol. 6 2CD |
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Smith & Co 2012 | CD | 13.00 € |
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| VA: - Handy Man - The Otis Blackwell Songbook Arguments over who the greatest rock’n’roll songwriter is will abound long after those reading this have gone to meet their maker. But surely near the top of everyone’s list of contenders would have to be Otis Blackwell, a one-man hit factory whose catalogue includes more classic rock’n’roll songs than any other single songwriter of his time. His compositions for Elvis Presley and Jerry Lee Lewis alone would guarantee his entry into every music Hall Of Fame. “Handy Man”, named after the song that brought worldwide chart fame to Jimmy Jones in 1959, is a worthy tribute to a man who, if he’d only written ‘Fever’, would still be regarded as one of the foremost composers of the rock’n’roll era. Compiled in the spirit of previous entries in our songwriter series, it’s much more than merely a collection of Otis’ 24 greatest hits, sung by those who recorded them first. We like to mix it up a bit, so the title track is heard in Del Shannon’s stomping 1964 version, while Jimmy Jones is represented with another fine Otis Blackwell song. Those interested enough to purchase will have more than a passing familiarity with Elvis’ version of ‘All Shook Up’, so rather than reissue that for the gazillionth time, we instead bring the song to you by David Hill, whose rare original makes its first legitimate CD appearance here. Likewise ‘Don’t Be Cruel’: rather than Elvis we bring you Jerry Lee Lewis’ uproarious take, in preference to any of the Otis Blackwell compositions generally associated with him. As for Elvis, being spoilt for choice made us opt for his first, and one of his very best, post-Army recordings; ‘Make Me Know It’ reignited his recording career and was deemed potent enough to kick off his “Elvis Is Back” album. The songs featured in “Handy Man” cover roughly from around 1953 to 1963. Later offerings by Solomon Burke and Sam Butera show that, unlike some of his peers, Otis easily adapted to the changes in music as the 1960s unfolded. How durable his compositions were are demonstrated by Derek Martin’s classic 1962 cut of ‘Daddy Rollin’ Stone’, which Otis had recorded as a menacing blues almost a decade earlier. Via Martin, the song became a boastful declaration of intent for a new generation of sharp boys, and of English mods in particular. Brace yourself for a masterclass in rock’n’roll songwriting by a man who was much more than merely handy with a pen and paper. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Have Mercy! The Songs Of Don Covay This latest addition to our songwriter series focuses on the behind-the-scenes endeavours of Don Covay, provider of great material to some of the biggest stars of the 1960s. Don made his recording debut in 1956 as a member of the Rainbows vocal group. His idol at this time was Little Richard, whom he managed to meet in 1957. Richard took him on as his opening act, bestowing upon him the nickname Pretty Boy, as which Don released his first solo disc. When record sales proved meagre, he channelled his energy into writing songs with John Berry of the Rainbows. Off the bat their compositions were picked by name artists Gene Vincent, Dee Clark and Wanda Jackson. ‘Pony Time’, Don’s first record to bear an additional credit for his backing combo the Goodtimers, saw him enter the Hot 100 for the first time in 1961. The same week, a cover by Chubby Checker debuted on the charts on its way to #1, leaving Don stuck at the lower end. Convinced that financial security would come from writing rather than recording, he signed with song publishers Roosevelt Music in New York’s famous Brill Building, where he shared a cubicle with his cousin, ace arranger Horace Ott. Gladys Knight & the Pips delivered Don’s ‘Letter Full Of Tears’ into the Top 20 in 1962. His profile raised, Don was sought out by Atlantic Records’ Jerry Wexler on the hunt for material for Solomon Burke, thus beginning a long and fruitful relationship that would see the name Don Covay grace the record labels of many of the company’s major soul stars. In 1964 Goodtimers’ guitarist Ronnie Miller came up with a catchy lick that evolved into ‘Mercy Mercy’, which saw Don finally crack the Top 40. The number would be a cream cut on the Rolling Stones’ “Out Of Our Heads” album in 1965, swelling Don’s coffers further. Meanwhile, he was added to the roster of Atlantic, who dispatched him to Stax Records’ studio in Memphis to record. The trip did as intended, returning him to the charts with the blistering ‘See Saw’, co-written by guitar genius Steve Cropper. 1965 also saw Little Richard enjoy the biggest hit of his post-50s career with Don’s masterpiece ‘I Don’t Know What You’ve Got But It’s Got Me’. Don continued to record prolifically for Atlantic, but of his subsequent singles for the company, not one reached the Hot 100. Fortunately, the fallow period was offset by the massive success of Aretha Franklin’s version of Don’s ‘Chain Of Fools’ and her revival of ‘See Saw’. Don remains best remembered as a performer. Given that his catalogue runs to several hundred songs and his client list as a writer includes – in addition to those already mentioned – Connie Francis, Etta James, Wilson Pickett, Joe Tex, Ben E King, Jerry Butler and dozens more, the man deserves to be a household name, regardless of his great body of recorded work. By Malcolm Baumgart (Ace Records) |
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Ace Records 2012 | CD | 20.00 € |
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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: - 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: - 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: - Oh Boy ! The Brunswick Story 2CD |
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One Day Music 2012 | CD | 9.00 € |
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| VA: - Pink Cadillac 2CD Here are 2CDs of the very best Rock ‘n’ Roll driving songs of all time! Featuring legendary performances by Gene Vincent, Buddy Holly, Jerry Lee Lewis, Ritchie Valens, Eddie Cochran, Chuck Berry, Little Richard and many, many more… |
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Union Square Music 2012 | CD | 10.00 € |
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| VA: - Roots Of British Beat 2CD |
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Fantastic Voyage 2012 | CD | 15.00 € |
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| VA: - Soda Pop Babies Vol. 2 |
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Classics Records 2012 | CD | 17.00 € |
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| VA: - Teenage Dreams - Teenage Angst - Just About.. 2CD 60 tracks |
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Smith & Co 2012 | CD | 13.00 € |
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| VA: - Teenage Time Vol. 10 newest volume with 30 tracks |
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Classics Records 2012 | CD | 17.00 € |
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| VA: - Texas Tornados - Rock'n'Roll From The Lone Star State 2CD Rock ‘n’ Roll From The Lone Star StateHaving loaded up the station wagon and filled the gas tank, Fantastic Voyage continues its exciting musical travelogue exploring some of the rockin’est recordings from across the USA.Indicative of its independent spirit, rarely has a state offered more musical originality than Texas. From steel-laden Western Swing and dusty, downhome C&W, to flat out Rockabilly and proto-Tex Mex Rock, Texas Tornados is a whirlwind of hot tamale talent; high-steppers, hep cats and hipsters all, whose wild waxings helped make the Lone Star state sparkle on Rock’n’Roll’s map.Featuring Big Beat pioneers The Crickets and Jape Richardson (aka The Big Bopper) alongside the good time honky tonk of Bill Mack and Bash Hofner, this 2-CD set samples the diverse delights of local labels Sarg, Starday and D, all of which helped define the regional sound. With contributions from Ronnie Dawson, Jett Powers and Trini Lopez, this nifty fifty also includes gems from Doug Sahm, Thumper Jones and Bennie Hess.Carefully compiled in conjunction with the Wild Wax Show’s deejay “Jailhouse” John Alexander, Texas Tornados offers an authentic selection sure to appeal to both avid collectors and those just beginning their journey of discovery. |
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Fantastic Voyage 2012 | CD | 15.00 € |
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| VA: - That British Sound Vol. 12 |
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Blakey Records 2012 | CD | 17.00 € |
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| VA: - The London American Label Year By Year 1957 Our London American series continues to win praise from all corners, particularly from UK residents whose record collecting habits sprang from the purchase of one or more of the London label’s many fantastic 78s or tri-centre 45s. We’ve reached 1957 later than planned due to having to replace a track at the very last minute, but we expect to deliver three volumes in 2012 – those who are collecting the series will be glad to know that 1956 and 1964 are well under way. 1957 was a truly vintage year for youth-aimed American music, and its best overall representation in the UK came via London. A great number of the 178 singles the label issued that year are already available somewhere in the Ace catalogue, but the overview presented here is highly formidable and really does show all facets of their release schedule. Only a couple of the 28 tracks here are currently available on other Ace CDs, and I make no apology for including one of them: my all-time favourite record, Little Richard’s ‘Keep A Knockin’’ (a compiler’s perk that surely nobody will deny me). As ever, we have been lucky enough to have many of the original London production masters at our disposal, and more than 70% of the music you’ll hear here comes from those very same tapes. The music speaks for itself. What’s not to love about a CD that brings you tried and trusted classics such as ‘Blue Monday’, ‘Great Balls Of Fire’, ‘Your True Love’, ‘I Walk The Line’ and – in its UK single version, of course – ‘Twenty Flight Rock’, alongside seldom reissued hits such as ‘White Silver Sands’, curios of the calibre of the UK-only overdubbed version of ‘A Rose And A Baby Ruth’ and the usual selection of “What made them issue that? But let’s be glad they did”s, a category that would have to include Merle Kilgore’s ‘Ernie’, Dean Beard’s ‘Rakin’ And Scrapin’’ and Ernie Chaffin’s ‘Feelin’ Low’. Along the way you’ll also find sisters Patience & Prudence stating the obvious in ‘We Can’t Sing Rhythm & Blues’, the deranged Nervous Norvus instructing the world how to do ‘The Bullfrog Hop’ and all manner of other musical delights, lovingly sequenced in much the same way they might have appeared in the London American catalogue. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - The Ramones Heard Them Here First There’s no mistaking a Ramones song. The funny thing is, throughout their career, the band paid tribute to their roots and influences by peppering their albums with versions of their favourites by other artists, making them sound like Ramones songs too. To see what I mean, try listening to this CD without lurching into ‘Blitzkrieg Bop’, ‘Carbona Not Glue’ or ‘I Wanna Be Your Boyfriend’. Sequenced in the order in which the Ramones cut the songs, this collection kicks off with Chris Montez’s original of ‘Let’s Dance’, which the band revived on their debut album “Ramones” in 1976. In some instances, rather than be pedantic about original versions, some songs are included in the renditions first heard by the Ramones. Hence ‘California Sun’, featured on their second album “Leave Home”, is heard here by the Rivieras (not Joe Jones); ‘Surfin’ Bird’ and ‘Do You Wanna Dance’, from 1977’s “Rocket To Russia”, are by the Trashmen and the Beach Boys (as opposed to the Rivingtons and Bobby Freeman); and ‘Needles And Pins”, from their fourth LP “Road To Ruin”, is by the Searchers (rather than Jackie DeShannon). In 1978 the guys teamed up with the Paley Brothers for an update of Ritchie Valens’ ‘Come On, Let’s Go’, a childhood favourite of Joey Ramone; the band’s 1980 album “End Of The Century”, produced by Joey’s hero Phil Spector, contained a revival the Ronettes’ ‘Baby I Love You’; and in 1982 Joey got together with Holly (of Holly & the Italians) to cut a version of Sonny & Cher’s ‘I Got You Babe’. ‘Little Bit O’ Soul’, here by the Music Explosion, and ‘Time Has Come Today’ by the Chambers Brothers were both revamped by the band on 1983’s “Subterranean Jungle”. The sessions also yielded a version of the 1910 Fruitgum Co’s ‘Indian Giver’, which sneaked out on the B-side of a 12-inch single in 1987. In 1993 the Ramones released “Acid Eaters”, an entire album of cover versions, represented on this CD by Jan & Dean’s ‘Surf City’, the Troggs’ ‘I Can’t Control Myself’, the Byrds’ ‘My Back Pages’, the Seeds’ ‘Can’t Seem To Make You Mine’, Max Frost & the Troopers’ ‘Shape Of Things To Come’, the Amboy Dukes’ ‘Journey To The Center Of The Mind’, Jefferson Airplane’s ‘Somebody To Love’ and Love’s ‘7 And 7 Is’. TheJapanandBrazileditions of the album also contained the band’s version of the Beach Boys’ ‘Surfin’ Safari’. “Adios Amigos”, the Ramones’ farewell album of 1995, included their version of Tom Waits’ ‘I Don’t Wanna Grow Up’. Waits repaid the compliment by contributing a cover of the band’s ‘The Return Of Jackie And Judy’ for the Ramones tribute album “We’re A Happy Family”. It’s not every day that one band records a tribute to another, but Motorhead did just that with ‘R.A.M.O.N.E.S.’ on their 1991 album “1916”. In return, the Ramones’ own version of the song was included on theJapanedition of “Adios Amigos”. The set concludes with the Stooges’ ‘1969’ and, poignantly, Louis Armstrong’s ‘What A Wonderful World’, as covered on Joey’s solo album “Don’t Worry About Me”, released in 2002, by which time he, Johnny and Dee Dee were dead. The Ramones were no more. See, poignant. By Mick Patrick (Ace Records) |
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Ace Records 2012 | CD | 18.00 € |
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| VA: - Wild Rockin' with Vocal Backing Vol. 3 |
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Collector Records 2012 | CD | 15.00 € |
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| Wanda Jackson - First Lady Of Rockabilly 2CD 2CD = 50 tracks + great booklet/poster |
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Union Square Music 2012 | CD | 10.00 € |
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| Wanda Jackson - Rocking Country Style 2CD Wanda Jackson's career began whilst she was still at high school and she quickly became one of America's most popular female rockers and one of first major female country and rockabilly singers. Featured here are her first four albums recorded between 1958 and 1961 including her two most famous rock and roll sets: 'Rockin' with Wanda' and 'There's A Party Goin' On'. With hits such as: 'Let's Have a Party', 'I Gotta Know' and 'Right or Wrong' you can see why Wanda was as popular as she was and in fact she is still recording today. Her last album (and this is for the young'uns amongst us) was produced by Jack White of The White Stripes. |
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Jasmine Records 2012 | CD | 13.00 € |
