Vernon & The G.I.'s
Live In America
|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)
|Ace Records 2013||CD||18.00 €
|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.
|Demon Music Group 2012||CD||10.00 €
|Hank Davis - One Way Track
||Bear Family 2012||CD||17.00 €
|Hurriganes - Live In Hamina 1973
Rajoitettu 1000 kpl painos juoksevalla numeroinnilla, tuplakansi.
|Love Records 2012||LP||20.00 €
|Jerry Lee Lewis - The Killer Live 1964-1970 3CD
||Hip-O-Select 2012||2-CD||39.00 €
|Joe Barry - A Fool To Care: Classic Recordings 1960-1977 2CD
t may surprise some readers to learn that many musicians from South Louisiana do not like their music to be categorised as swamp pop (a term coined originally by music writer Bill Millar). For the rest of us, it feels like the perfect way to describe the rolling rhythms and unique vocals that define the great records which came out of the area between the latter 1950s and the mid-60s. Whether he would have liked to be defined by said term or not, Louisiana’s Joe Barry is one of the greatest exponents of the genre, and the recordings that he made between 1959 and 1964 in particular embrace many of its most treasured moments.
Joe only charted nationally a couple of times, his greatest hit being the wonderfully languid revival of hillbilly standard ‘I’m A Fool To Care’, which many thought was the work of Fats Domino until they saw Joe on TV or in photos. But his lengthy career amounted to more than a couple of hit 45s. This new 2CD set, named after Joe’s career record, compiles almost 40 sides from Joe’s first period of recording, plus the dozen tracks cut during his brief comeback of the mid-1970s – almost all of them taped under the supervision of his long-time producer Huey Meaux.
To ensure that “I’m A Fool To Care” would be the definitive collection of Joe’s collaborations with Meaux, Alec Palao and I went back to the producer’s original tapes and re-copied every single one in what turned out to be something of a marathon session inHoustonlast March. Everything here is mastered from those new transfers, with the exception of two Sho-Biz sides, which had to be transferred from a 45 as no tape seems to have survived. Alec was also able to mix a few of the tracks (some previously unreleased) into true stereo for the first time, from a handful of surviving Cosimo’s multi-tracks.
We have not repeated the mistakes of some previous compilations, which included tracks not sung by Joe. Although there have been previous anthologies of his work released during the last 15 years, we guarantee than none of them will offer anything like the level of audio excellence this one does.
With an extensive essay based around an interview conducted by John Broven in the late 70s, and a booklet that contains lots or rare images and label shots of almost every 45 featured on the collection, this 2CD set will be the perfect way to remember this beloved exponent of South Louisiana R&B … or swamp pop, if you don’t happen to be from down that way.
By Tony Rounce (Ace Records
|Ace Records 2012||CD||28.00 €
|Mac Curtis - The Rollin' Rock Recordings Vol. 1
25 tracks from 1973 - 1975. the first volume of the complete recordings for Rollin' Rock label. With 12 page booklet.
|Part Records 2012||CD||15.00 €
|Teddy & The Tigers - Tigers Story - Teddy & The Tigersin Tarina
helsinkiläisen tietokirjalija Janne Salmen Tigers Story niputtaa bändin kultakauden tarinan ja valottaa myös yhtyeen jäsenten myöhempiä vaiheita sekä sisältää yhtyeen täydellisen discographian, levyarvosteluja ja haastatteluja. Aikan, AP:n ja Palen lisäksi kirjassa pääsevät ääneen managerit, tuottajat ja roudarit sekä monet muusikot kuten Jussi Raittinen, Moog Konttinen, Mato Valtonen sekä Jorma Kääriäinen.
|Johnny Kniga 2012||Kirjat||25.00 €
|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)
|Ace Records 2012||CD||17.00 €
|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)
|Ace Records 2012||CD||20.00 €
|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)
|Ace Records 2012||CD||18.00 €
|Dick Damron - More Than Countryfied 3CD
CD DigiPac with 68-page booklet, 86 tracks, playing time 205:53. -- A comprehensive, complete collection of the early years of 'Canada's Willie Nelson': Dick Damron. The first of two Bear Family multi-disc collections to compile Dick Damron's career. One of Canada's greatest country music stars, and a member of the Canadian Country Music Hall Of Fame. Everything Dick recorded between 1959-1976, from his debut rockabilly single 'Gonna Have A Party' to his outlaw country era of the 1970s. Many performances reissued for the first time since their original vinyl release, including the rare '1867-1967: Canadiana Souvenir Album' of Canadian-Centennial celebration. Original versions of Dick Damron's biggest hits, including 'Hitch Hikin''; 'Mother Love And Country', 'The Long Green Line', and his career hit 'Countryfied', which was also a huge hit for George Hamilton IV. -- Dick Damron is one of Canada's musical treasures, with a long career in country music that spans six decades. Best known for his 'outlaw country' era of the 1970s, his friend George Hamilton IV calls Damron 'Canada's Willie Nelson.' This 3-CD collection rounds up the early years of Damron's career, from his 1959 rockabilly debut single 'Gonna Have A Party' to his hard country recordings made at Starday Studios in Nashville in the 1960s, his biggest career hit 'Countryfied' from 1970, and his 'outlaw' era breakthrough recordings from the 1970s produced by Joe Bob Barnhill. Many of these recordings are reissued on compact disc for the first time, including Damron's 1967 album of 'Canadiana' produced for Canada's Centennial celebration. 86 songs in all, this excellent collection is long overdue for one of Canada's greatest exports, Dick Damron.
|Bear Family 2011||CD-Box||50.00 €
|Elvis Presley - Sings Songs From His Movies 2LP
||BCD BV 2011||LP||18.00 €
|Elvis Presley - Walk A Mile In My Shoes 5CD
the Essential 70s Masters.
5 CDs = 120 tracks.
|Bmg 2011||CD-Box||22.00 €
|Hurriganes - 30 Golden Greats 2CD
|Love Records 2011||CD||18.00 €
|Hurriganes - Crazy Days
repressing of this classic vinyl.
|Love Records 2011||LP||22.00 €
|Hurriganes - Live In Hamina 1973
||Love Records 2011||CD||15.00 €
|Hurriganes - Roadrunner
ehkä suomirockin suurimman klassikkovinyylin uusintapainos avattavilla kansilla
|Love Records 2011||LP||20.00 €
|Hurriganes - Rock And Roll All Night Long
R&R klassikon uudelleenjulkaisu. Avattavat kannet. Rajoitettu painos
|Love Records 2011||LP||20.00 €
|Rock-Olga - Sveriges Rockdrottning
27 tracks + 24 page booklet (in swedish)
|Star Club Records 2011||CD||15.00 €
|VA: - Before The Fall - 24 Prelapsarian Cuts
f evidence were needed that all music is connected, this collection could well be it. You might think Australian punk, proto-Krautrock and Sister Sledge could only co-exist on a compilation called “Now That’s What I Call Utterly Unrelated”, but actually, beyond “Before The Fall”’s basic conceit, a few fragile connections start to present themselves. Henry Cow acted as support on a Captain Beefheart tour. Beefheart’s style was significantly influenced by bluesmen such as Leadbelly. Leadbelly and Pete Seeger hung out in 40s New York.
What else? ‘There’s A Ghost in My House’ and ‘Jungle Rock’ were both hits years after their original release. Fall fans wouldn’t automatically associate ‘The Mummy’ and ‘Transfusion’, yet listening to the originals reveals both as satire at the expense of the beatniks. ‘Transfusion’, like ‘Kimble’, owes much of its uniqueness to the innovative use of sound effects. ‘Kimble’ and ‘People Grudgeful’ are connected thanks to the fractious relationship between the artists concerned. ‘Grudgeful’ and ‘$ F--oldin’ Money $’ both play parts in stories of apparently unscrupulous label bosses. ‘$ F--oldin’ Money $’, ‘Rollin’ Danny’, ‘Transfusion’ and ‘Pinball Machine’ were all the work of artists who died before their time, some a little more before their time than others.
It’s fun to spot these connections but, as a Fall fan, I wouldn’t pin too much significance on them. Mark E Smith covered Monks’ tracks without even knowing their titles. He’s covered others without, by his own admission, being able to track down the publishing rights, knowing all the lyrics, or in the case of ‘War’, even remembering the tune. So while in some cases these originals will seem very familiar to Fall fans – the relative commercial success of ‘There’s a Ghost In My House’ and ‘Victoria’ is probably attributable to the fact the Fall didn’t muck about with the originals too much, while Smith’s vocal on ‘Mr Pharmacist’ is remarkably similar to Jeff Nowlen’s original – others are interesting as starting points for very different Fall readings.
These originals also demonstrate a lack of Smith snobbery towards music to which other contemporary bands would rapidly turn up their noses. Pop, blues, prog and daft novelties are all accorded the same respect, or lack of it.
As a fan of 60s garage, the Monks, Other Half and Sonics cuts on this collection were very familiar to me, but the journey into other genres has been a bit of a revelation. The habit of lifting rocksteady/reggae melody lines for retooling on other tracks led to a diverting trip which started with ‘People Grudgeful’ and took in related tracks such as ‘Longshot’, ‘Jackpot’ and ‘People Funny Boy’. Comparing versions of ‘Bourgeois Blues’, dipping a toe into the ocean of trucking music – all of this I would never have found myself doing had it not been for the cross-genre nature of Mark E Smith’s eclectic tastes.
By Dan Maier (Ace Records)
|Ace Records 2011||CD||17.00 €
|VA: - The Big Beat - The Dave Bartholomew Songbook
Great songs really do take on a life of their own and very often, unbeknownst to their creators, they’re discovered and interpreted by a wide range of different artists. One of the unexpected pleasures that Ace’s Songwriters series affords is underlining just how many styles and directions key compositions of yesteryear have taken. This collection of songs by New Orleans’ very own Dave Bartholomew is no exception as it weaves its way through 25 tracks of varied origins and labels.
Two of Dave’s own recordings provide essential listening, led off by his original of the double-entendre-filled ‘My Ding-A-Ling’, which he later re-cut several times with different lyrics and which provided the template for Chuck Berry’s revival two decades later. Then you’ll find the much-revered parable ‘The Monkey’, which Elvis Costello memorably reworked some years back. Dave’s rich-toned narrative reigns supreme and is a cornerstone of his Imperial Records output.
The set opens with ‘The Fat Man’ by Fats Domino and, although the technical limitations of that 1949 session are still obvious, the vibrancy of the performance is undeniable. Fats once told me that after Imperial-owner, Lew Chudd, received the master, he called and asked him to re-cut it, but a couple of days later he rang again to say he’d changed his mind and it was OK! Was that an understatement or what?!
Other milestone Bartholomew productions featured here include Roy Brown’s hard-hitting version of ‘Let The Four Winds Blow’ (which Dave had first cut himself) and the gloriously prophetic ‘I’m Gonna Be A Wheel Someday’ as styled by Bobby Mitchell and co-authored by hillbilly singer Roy Hayes.
As much as the multi-talented Bartholomew was writing, recording and producing in the Crescent City throughout the 1950s and beyond, his influence was being felt all over the musical world. This was clearly evident on the Johnny Burnette Trio’s rockabilly workout of Fats Domino’s 1955 charter ‘All By Myself’. Similarly, listen how effortlessly Jerry Lee Lewis slides into ‘Hello Josephine’ and how ‘I’m In Love Again’ fits Tom Rush like a well-worn rhythmic glove. Bartholomew was not aware at the time how influential and popular his music was in Jamaica. Neville Grant’s take on Chris Kenner’s ‘Sick And Tired’ provides ultimate proof that Dave’s big beat was perfectly adaptable to the reggae style.
Another standout delight is the previously unissued cover by Annie Laurie of ‘3 x 7 = 21’, which Dave originally wrote and produced for Jewel King. The song became a benchmark in the Bartholomew catalogue and was successfully reworked as ‘21’ in 1954 by the Spiders, the group that cut the first version of ‘Witchcraft’, which Elvis Presley turned into a 1963 chart success, also included here.
I must mention two other standouts: ‘Every Night About This Time’ by the World Famous Upsetters, which offers undeniable proof of Little Richard’s ability as a first-class blues wailer, and Dave Edmunds’ 1971 hit remake of “I Hear You Knocking’, which perfectly contemporised the song without diluting the memory of Smiley Lewis’ unbeatable original.
By Alan Warner (Ace Records)
|Ace Records 2011||CD||17.00 €
|Elvis - The Man And His Music - # 87 - March 2010
Norbert Putnam Interview
Elvis In Scotland - The One Hour Visit That Went Down In History
Aloha From Hollywood - Rare 1960 Interview
Dayton Reloaded - October 6th 1974 revisited
It's Midnight...or is it the Dinner Show? Part 9
CD, DVD & Book Reviews
|Now Dig This 2010||Lehdet||6.00 €
|Elvis Presley - The Essential 2CD
||Sony Music 2010||CD||17.00 €
|Jack Earls - Slow Down - The Sun Years plus 2CD
(2-CD digipack with Presley, Carl Perkins, Johnny Cash, Billy Riley and Warren Smith were among his friends and label-mates! Two CDs of music spanning 40 years, plus an in-depth interview. Hear Jack tell about his wild life in Memphis, during the rockin' fifties! The ultimate collection of one of Sun Records' earliest rockabilly bands, the Jimbos, with several previously unissued Sun tracks! -- Jack Earls witnessed the birth of rockabilly in Memphis, and slapped its infant behind. It was called rock'n'roll, but it was a new rock, crafted by a community of working men and country musicians striving to get records out on Sam Phillips' Sun label. Jack's neighbors included Elvis Presley, Johnny and Dorsey Burnette, Paul Burlison, Johnny and Bill Black, and many other musicians. Between 1955 and 1957, Jack wrote and recorded his own songs with his own band, the Jimbos. From several sessions at Sun, Jack saw a single release in early 1956, issued among a barrage of classic rockabilly platters. Although his record Slow Down b/w A Fool For Lovin' You (Sun 240) was a regional hit, Jack decided against touring and supported his family by working days and playing music in Memphis at night. -- During the mid-1960s, Jack and his family joined the century's great migration of Southern-born people moving north, and they settled in Detroit, Michigan. Jack drove trucks for the Chrysler Corporation, and swam in the long-established country scene of the city. Rediscovered by fans of his Sun recordings during the 1970s, Jack made more records for Gary Thompson's Olympic label in Detroit, showing the world that his voice had grown in power and expression. Since the nineties, Jack has headlined at rockabilly and rock'n'roll festivals across Europe and the United States. Today, the voice and personality of Jack Earls win over fans of rock'n'roll at any stage he mounts. Whether he sings an hour for a crowd of thousands in Sweden, or he sits in with a local band in a Detroit bar, Jack gives it everything he's got, and Memphis rockabilly lives on. -- This collection presents two CDs of Jack Earls, including every Sun session with the Jimbos (with several previously unissued tracks); and all of Jack's recordings made in Detroit, from the first commercial release of Take Me To That Place on Ry-Ho in 1973, to his 1999 I Started Rockin' A Long Time Ago. In an extended interview with Jack on disc two, he recaps his musical career and tells vivid stories about rockin' in Memphis.With this collection, we witness the timeless quality of Jack's voice ' a voice that Sam Phillips personally chose for his Sun label in 1955 ' a voice as unique as any of Phillips' other, more famous discoveries ' a voice of pure rockabilly fire.
|Bear Family 2010||2-CD||25.00 €
|Matchbox - Matchbox
First time on CD for the first LP on Magnet by Rockabilly Rebels Matchbox. It follows LPs on Rockhouse and Chiswick and was originally released in 1979 and became a UK No.44 hit. Includes the British chart singles Rockabilly Rebel (No.18, 12 weeks) and Buzz Buzz A Diddle It (No.22, 8 weeks). Rockabilly Rebel also hit No.17 in Germany with Buzz Buzz A Diddle It reaching No.45.
Now comes with four rare bonus tracks also making their debut on CD including two issued under the name of Cyclone Completely re-mastered by Tim Turan. Booklet contains original LP artwork, pictures of all relevant singles and in-depth liner notes by Phil Hendriks Still going strong with their hit making line to this very day, Matchbox perform regularly across mainland Europe and have dates lined up as follows.
|Cherry Red Records 2010||CD||15.00 €
|NOW DIG THIS NO. 322 - January 2010
Gene Summers Interview
Buddy Holly box-set review
Vince Ray Interview
Compact Discs Reviewed in NDT during 2009
Rhythm Riot Report 'n' Pix
In Paise Of Alley Cats Part 13
I Shall Be Released - January 1960
|Now Dig This 2010||Lehdet||8.00 €
|NOW DIG THIS NO. 323 - February 2010
Voodoo Jive '65 - Rare & Unseen photos of Screamin' Jay Hawkins at Granada TV!
Chartin' On The Tundra - Regionalised Canadian charts of the '50s
Honky Tonk Man - An Interview with Charlie Gillett
Working With Larry Williams - Memories of his 1965 UK tour
I Shall Be Released - February 1960
Rob Tyler Interview
In Praise Of Alley Cats Part 14
|Now Dig This 2010||Lehdet||8.00 €
|NOW DIG THIS NO. 328 - July 2010
See You Later, Alligator - Bobby Charles and the Birth of Louisiana Rock n Roll
Return To Oz - Little Richard, Gene Vincent & Eddie Cochran in Australia, 1957
Shop Around - Recalling London's rockin' record shops
Rock Rockola - The golden age of the jukebox
Hemsby - Report 'n' pix
Memories Of A Rebel - Dennis Hopper talks about Elvis
I Shall Be Released - July 1960
|Now Dig This 2010||Lehdet||8.00 €
|VA: - Best Of Ripsaw Records Vol. 1
Amerikkalaisen Ripsaw levymerkin parhaimpia vuosilta 1976-2010
|Part Records 2010||CD||9.90 €
|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)
|Ace Records 2010||CD||17.00 €
|VA: - Slap That Bass! The Story Of Finnish Rockabilly & 50s Style
Slap That Bass! - The Story Of Finnish Rockabilly & 50's Style Rock'n'Roll.
NOW AVAILABLE !! Release date: 17.2.2010
4cd's /105 songs / 93 artists & bands / 60 page booklet
|Johanna 2010||CD-Box||40.00 €
|Cliff Richard - A British Icon 2CD + DVD
2CDs + DVD
|T2 Entertainment 2009||2-CD||17.00 €
|Cliff Richard - Japan Tour ´74
||Emi Records 2009||CD||10.00 €
|Eddie & Teddy # 5 - Yhdellä Pieleen
K-18 mainio aikuisten rock and roll sarjakuva. Vihdoin uusin numero !!
20 sivua Eddie & Teddyn seikkailuja.
|Muikea Majava Productions 2009||Lehdet||5.00 €
|Elvis Presley - Elvis 75 - Good Rockin' Tonight 4CD Boxi
A Collection Fit For A King. The Definitive Elvis Presley Box Set. 4CDs = 100 songs.
Every side of ELvis: The Hits, Rarities, Deep Cuts, Film Songs & Live Recordings
New Liner Notes by Billy ALtman
Rare Photos & more
|Sony Music 2009||CD-Box||60.00 €
|Elvis Presley - Gold - Greatest Hits 3CD
3CD box = 42 tracks. tin box
|Sony Music 2009||CD-Box||15.00 €
|Elvis Presley - Love Me Tender
|Coming Home Music / Elvis Presley Enterprises 2009||DVD||9.00 €
|Elvis Presley - The Collection 7CD
7 classic Elvis albums. Over 100 tracks
|Sony BMG 2009||CD-Box||28.00 €
|Gears - Rockin' At Ground Zero
Included here is the complete 1980 “Rockin' At Ground Zero” LP packaged with the first single and this time with five, yes five, 1979 demo recordings added to it, that have never been released. A Rockabilly'd up version of “Rockin' At Ground Zero” and a song that has never been released, “Girl Crazy”, highlight these newly found tunes. Twenty three tunes in total that have been remastered and it comes with new digi pak packaging and a fold out poster.
|Hepcat Records 2009||CD||15.00 €
|NOW DIG THIS NO. 313 - April 2009
Somethin' Else! - Bear Family's new Eddie Cochran box-set reviewed
Barriers...Who Needs Them?
Irving 'Slim' Rose & The First Doo-Wop Revival
That's What You Get When The Gettin' Gets Good - Bear Family's new Hank Ballard box-set reviewed
In Praise Of Alley Cats Part Four
CD & Vinyl reviews
I Shall Be Released - April 1959
|Now Dig This 2009||Lehdet||8.00 €
|NOW DIG THIS NO. 314 - May 2009
Tommy Steele talks about his rock n roll days
JLL '63: Burnin' Up Birmingham - unpublished photos of The Killer
Bobby Lollar - The 'Bad Bad Boy' From Trenton
Challenge Records & 'Tequila' - extract from new John Broven book
In Praise Of Alley Cats Part 5
Book & CD Reviews
I Shall Be Released - May 1959
|Now Dig This 2009||Lehdet||8.00 €
|NOW DIG THIS NO. 315 - June 2009
Quit Mumblin' And Talk Out Loud - Memories of Bo Diddley
Boppin' Bob Jones
In Praise of Alley Cats Part 6
I Shall Be Released - June 1959
|Now Dig This 2009||Lehdet||8.00 €
|NOW DIG THIS NO. 317 - August 2009
Teenage TNT - A Pictorial Guide To Elvis On Tour In 1957
Ever Been Stung? - The Bizarre Story Of B. Bumble & The Stingers
Rockabilly Rave Pix
Bob Butfoy Interview
In Praise Of Alley Cats Part 8
Ace Cafe Reunion
I Shall Be Released - August 1959
CD, DVD & Book Reviews
|Now Dig This 2009||Lehdet||8.00 €
|Roy Young - The Best Of 50 Years 2CD
One of rock'n' roll's greatest entertainers celebrating his half century as a professional musician has put together this 2 CD set of tracks spanning that entire period of rock 'n' roll, blues and soul described by one critic as "a mixture between Little Richard, Ray Charles and Joe Cocker".
Roy auditioned back in 1959 for Jack Good and performed on the now legendary BBC TV Show "Oh Boy!" Other TV Shows followed and Roy found himself opening for The BEATLES in Hamburg and subsequently spent 4 years playing on the Reeperbahn. Brian Epstein asked Roy to return to London with The Beatles as he could arrange a recording contract for him-Roy declined as he was committed to his performances in Germany.
After returning to the UK Roy joined CLIFF BENNETT & The REBEL ROUSERS and performed on their hits. He released solo albums "The Roy Young Band" in 1971 and "Mr Funky" in 1972 and tracks from those albums are included on this 2CD set.
In 1977 DAVID BOWIE asked Roy to play keyboards on his album "Low" which they recorded in Paris.
After many years of living in the USA Roy returned to UK in 2000 and returned to live performances including Beatles Festival in Berlin and Star Club, Hamburg 40th anniversary.
A new solo album was released in 2002 "Still Young" with tracks written by DENNIS MORGAN one of the most successful songwriters in the world. (from Angel Air website)
|Angel Air Records 2009||CD||20.00 €
|The Pirates - Live In America
VINYL LP ! limited edition 500 copies made on GREEN vinyl.
Now in stock !!
|Goofin Records 2009||LP||18.00 €
|The Pirates - Live In America
AVAILABLE ON CD AND LP !
It was in the 1950s when three young Londoners - Mick Green
(guitar), Johnny Spence (bass and vocals) and Frank Farley (drums) - first
joined forces to form a band. Their first offerings followed the Skiffle
craze (The Wayfaring Strangers) soon it was Rock'n'Roll (Johnny and the Ramrods)
The Pirates got their first big break in the early 1960s when they became the backing band for British rock'n'roll singer Johnny Kidd, who is best known for his big hits like "Shakin' all over", "Please don't touch",
"I'll never get over you" and "Hungry for love". During their years together, Johnny Kidd and the Pirates toured extensively in Britain and Europe (especially in Hamburg), and on several occasions with the Beatles
or Rolling Stones as their warm-up act. On one occasion, Frank the Pirate and Brian Jones had a fistfight after a gig at the famous 100 Club in Oxford Street, London. No need to mention (or should I say munchen?!?) who got beaten!
Johnny Kidd and the Pirates recorded some of the very best British rock'n'roll
and rhythm & blues of that era. The Pirates also made the first recordings on their own without Kidd in 1964. The single "My babe" / "Casting My Spell" featured Spence also on vocals, and is ever since considered a classic.
Tragically, Johnny Kidd was killed in a car-accident in Lancashire in October 7th 1966. He was just 30 years old.
In December 1976 The Pirates featuring Mick, Johnny and Frank returned with a vengeance. A one-off gig was a huge success, wowing the press and fans alike, and so their never-ending tour started. There is a saying in
the music business; "never follow the Pirates!". Anyone who has seen them in action will understand that they were unbeatable on stage, and to follow them was definitely a mission impossible and an artistic suicide.
They also gave the world four stunning albums; "Out Of Their Skulls", "Skull Wars", "Happy Birthday Rock'n'roll" ( or "Hard Ride" if you were American) and "Fistful Of Dubloons", which are also now considered
In November 1978 The Pirates took to the road for a four show tour in America, and had a big time there. Everything about the tour was huge; the venues, stages, audiences, limousines, hotel suites, cigars, bars... At
this point the Pirates had been working relentlessly for two more years,
playing hundreds of gigs and somehow finding time to record and release both of the "Skull" albums. So when the call from America came, they were up for it, ready to rock'n'roll and play better than ever. Luckily one of
these legendary gigs was recorded, but it took some 30 years for Johnny Spence to come across the tape from his archive collection.
And for goodness (note: I'm not using the F-word here!) sake here are the merciless threesome, live in America getting even with all guns blazing.
Keeping the Pirate-flag flying high and taking no prisoners. This stunning, long-awaited 16 track set features all of their classic songs, and is undoubtedly one of the greatest live Rock'n'Roll records of all time.
It presents the greatest rock-trio of all time at the peak of their powers and wilder than ever. Pure, tough, hard rockin' and rollin' music delivered in the way only the unholy trinity of Green, Spence and Farley know how.
Nobody does it like the Pirates!
Music and Cigar Journalist, Musician
LP VERSION - limited pressing - 500 copies on GREEN VINYL ! Please act fast to get Your copy. Ask for more information.
|Goofin Records 2009||CD||15.00 €
|VA: - Honky Tonk - Charlie Gillett's Radio Picks
had just passed my thirtieth birthday when I got my own radio show in March 1972, being set loose to play pretty much whatever I wanted, Sunday lunchtime on the BBC’s local FM station, Radio London. Just 45 minutes at first, it was fairly soon extended to an hour and then to two hours, broadcast every week until 31 December 1978.
For a while, all I wanted to do was play every great record with rock’n’roll in its blood, many of them rarely, if ever, heard on British radio, and most of them emanating from the southern states of America. In those days, pop music in the UK was played on medium wave stations and this show on FM radio might easily have remained a well-kept secret if it had not been championed by John Collis, radio correspondent for London’s weekly listings magazine Time Out. When John heard the rumour of the show he called up a week or so ahead of the first programme to ask what I was planning to do; it soon became clear that he needed some kind of identity for each programme in order to be able to justify mentioning it on a regular basis.
So I began with a programme of records made in New Orleans and Louisiana, and returned to that region several times, as well as moving west to Texas and even further out to California, north to Memphis and Chicago, and often grouping records with particular themes. I can no longer remember how I ran across every track included here, but probably as many as half of them were tips of one kind or another, while many of the others had been unearthed during the previous five-year period when I was working on a history of popular music, called The Sound Of The City, which traced the emergence and evolution of rock’n’roll out of independently-recorded R&B and country music in the late 1940s and early 50s.
As the grapevine spread, listeners started to get in touch to tell me about records I seemed unaware of, not only obscure originals from the 1940s and 50s, but current artists too. I had a pretty frosty attitude towards a lot of current British pop, even though much of it was made by people my own age and with similar tastes. I never did play T Rex, Roxy Music, Wizzard or Slade but was thrilled to make room for JJ Cale, Jesse Winchester and Delbert McClinton. No coincidence, most of them were from the American South too.
Among the regular listeners were many people who knew far more than I did, some of them dedicated to finding every possible piece of information about the records they liked best – dates and locations of when and where they were recorded, names of any and all sessions musicians and which little label released the record first. Such people can be notoriously possessive of what they have discovered, but I was lucky to be befriended by Bill Millar, John Anderson, Ray Topping, Errol Dixon, Rob Finnis and others, who between them managed to make up for my woeful ignorance and gave me a much better education than I ever had in school or university. As far as I was concerned, Honky Tonk was a shared forum and bulletin board for the music we all revered. One of the greatest surprises was that the programme drew an audience of real live musicians in London, who liked this kind of music themselves, and some of them began to submit their demo tapes.
By Charlie Gillett (ACE RECORDS)
|Ace Records 2009||CD||17.00 €
|VA: - Saint Etienne Present Songs for The Dog & Duck
Ace have never previously put out any CDs featuring UK glam rock next to rockabilly and sweet soul: I’m sure not many people thought we ever would. But this is the soundtrack to an evening in a Soho boozer - an eclectic selection of great music across the pop oeuvre on an imaginary jukebox stationed in a (real) pub called the Dog And Duck. Bob Stanley and his Saint Etienne team-mates, Dog And Duck habitués, have picked their dream musical moments to accompany a night of serious drinking and pop philosophising.
The mood is set with a catchy early 60s pop instrumental by KPM regular John Scott, whose ‘Hi Flutin’ Boogie’ sounds like it came from a TV series that I know really well, but can’t for the life of me think which. It was produced by someone called George Martin apparently. This is followed by one of those great, quirky, UK pop numbers, though admittedly written by US citizen Randy Newman. It’s performed by London music biz veteran Duffy Power and comes complete with flugelhorns; quite a departure for an erstwhile rocker.
Now I knew that the Heavenly crowd had a soft spot for girl groups and the inclusion of the Darlettes’ ‘Lost’ is an expected treat, cunningly followed by Bettye’s ‘Make Me Yours’; clever, these guys could be DJs if the day job slows down. Next up is home territory for me, Herbert Hunter’s Nashville-created, Northern England-acclaimed dance number, ‘I Was Born To Love You’. Who said northerners ain’t got soul?
Then it’s back to the girls, though Claudine Clark’s husky tones don’t have the sweet allure of her backing vocalists. She was singing about a burial ground, so perhaps she had a fright. Texas rockers Elroy Dietzel & the Rhythm Bandits hit us with some good ole rock’n’roll swiftly followed up by Hal Harris’ hiccoughing rockabilly portrait of his ‘Jitterbop Baby’. That sounds like perfect pub music for a Saturday night tear-up to me. Rocker Little Richard gives us a later-career, soul-party stomper from his Vee-Jay era, neatly illustrated by a rare demo that was flown in all the way from our basement warehouse for scanning: thanks Simon. The song wasn’t officially released until 1970; these popsters sure know their onions.
I could have guessed they would have gone for some Zombies. ‘She Does Everything For Me’ is a great choice. Colin Blunstone’s unique vocals get me every time. It’s so clean. A Northern Soul ender is more of a shock, but the well-crafted song and superb production on Dan Folger’s ‘The Way Of The Crowd’ deserves to be appreciated across the genres.
Then there was Bill Oddie. Stranger things have happened, but not many. Who would have thought the ex-Goodie and bird-peeper would be appearing on Ace, especially as a serious artist? And he’s actually good at both the writing and performing end of this very different discipline; the song could have come straight out of the Brill. A shock of that magnitude needs to be followed by some solid ground and our Mary (Ms Love) and her evergreen soul staple ‘Lay This Burden Down’ is just that. Fellow Kent stable-mate Little Ann then provides the enigmatic ‘Sweep It Out In The Shed’, courtesy of Dave Hamilton’s Detroit master tapes and she is followed in turn by the prettily-voiced Barbara Lewis on ‘How Can I Tell You’. I must have missed out on that one first and second time around; it’s wonderful, but I’m not sure I should be getting soul lessons from indie rockers.
Barbara’s track does have a pop sensibility link, with Brian Hyland and Del Shannon having written it; the next musical leap to ex-Box Top Alex Chilton’s tender ‘The EMI Song’ is seamless. I still haven’t figured out what it’s about but I’m very glad to have been turned on to it. What’s not to like about Sniff’n’The Tears’ ‘Driver’s Seat’? Nothing: but now it’s on a hip compilation you’re allowed to hum it in public. From out of the left field comes an RAK B-side ‘Flight 2’ by Angelo & Eighteen which takes me back to the fascinating rhythms of John Kongos’ hit ‘Tokoloshe Man’. Glam-inspired Mustard used the approved super solid beat of the day by presumably using a couple of drummers and getting anyone passing the studio to come on in and clap and stomp; it’s infectious enough to kickstart a revival. Or perhaps it already was a revival, Gino with Johnny Greek’s ‘Hand Clappin’ Time’ was recorded a decade before, but sounds right in the same bag. Jump back another six years and Huey Smith was already ‘Having A Good Time’.
That’s three rave-ups in a row, so it’s time for a smoocher and it comes from the unlikely Ohio Players. Those cats were associated with spaced-out funk, but their paean to a lay-dee named Varee is in the classic soul lover ballad, complete with rap intro and some sweet shoop-shooping setting the mood behind a killer lead. That sort of quality didn’t happen overnight and we are shown the roots of slow dance in Robert & Johnny’s intense drama ‘We Belong Together’. There’s more lingering melody from the redoubtable Les Paul & Mary Ford with the now socially taboo ‘Smoke Rings’ which leads us neatly to the moody 70s smash ‘Pinball’ by Brian Protheroe. It’s OK, you can admit you like it too, it’s just passed its silver jubilee.
Eclectic, esoteric, inspired? I’m not sure which, but like Bob Dylan’s Theme Time Radio Hour, a lot of people are about to discover some very fine new music.
By Ady Croasdell (ACE RECORDS)
|Ace Records 2009||CD||17.00 €
|Vince Taylor - Peggy Sue / Brand New Cadillac / Tutti Frutti
tracks between 1959-1974
|Magic Records 2009||CD||15.00 €
LEVYMESSUT / TAPAHTUMAT
GOOFIN' RECORDS TULEVIA JULKAISUJA
GOOFIN' RECORDS VESIVAHINKO / WATER DAMAGE