Rock And Roll / Rockabilly - 1960-luku
Result of your query: 1339 products
| VA: - Across The Tracks Vol. 1 28 biisiä |
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Ace Records 1996 | CD | 17.00 € |
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| VA: - Ain't No Pity In Pseudonym City 25 rock and roll aliases |
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Fantastic Voyage 2010 | CD | 15.00 € |
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| VA: - All American Rock 'n' Roll: The Fraternity Story Vol 2 In the 1940s and 50s, the Cincinnati recording scene was dominated by the legendary King label, whose gritty R&B and country catalogue made it a major player among post-war independents. Living in its shadow - but a world away in philosophical outlook was Harry Carlson's Fraternity label, a far smaller concern founded on a set of values as wholesome as mom's apple pie. A man of the utmost probity (a quality which set Carlson apart from most of his competitors), the debonair 50 year old set about building an artist roster which, initially at least, reflected his own leanings towards the conservative musical values of middle-aged, middle America. Carlson soon got lucky. A couple of major hits in the MOR mould, Cathy Carr's Ivory Tower (#2 in 1956) and Jimmy Dorsey's So Rare (#2 in 1957) established Fraternity as an indie to be reckoned with. It wasn't until late 1956 that Fraternity signed its first authentic rock'n'roller, an unknown teenager from Omaha, Nebraska named Sparkle Moore who sported velvet pantaloons, snazzy tops and peroxide blonde hair teased into a frothy concoction. She was flown to Chicago to record five sides under the direction of Dan Belloc, a local bandleader who served as Fraternity's MD. Three of these, Killer, Rock-A-Bop and the eerie Flower Of My Heart appeared on Volume 1 of All American Rock 'n' Roll - (Ace CDCHD 316). The remaining two, Tiger and Skull And Crossbones, are re-issued here for the first time. In late 1958, future country star Bobby Bare fell in with Bill Parsons, an old friend from Coalton, Ohio who was trying to get on record. 26 year-old Parsons had just come back from army service in Germany and was working in small Ohio night-spots for $10 a night. Parsons and a 40 year old half-Irish, half-Cherokee drifter named Orville Lunsford had penned All-American Boy, a talking blues parodying Elvis' rise to fame and his subsequent call to duty. Parsons actually had greater faith in another song Rubber Dolly, a trite rocker adapted from a folk song, and set up a session at the King Records studio in Cincinnati in November 1958. Thinking him better suited to the task, Parsons asked Bare to perform the drawling first-person narrative on All-American Boy while Parsons himself delivered the vocal on Rubber Dolly. Fraternity purchased the masters but when the record came out, both sides were credited to Parsons. Bare, meanwhile, having reported for duty, was unaware of these developments. In the event, All-American Boy caught the public's imagination and reached #2 on the Hot 100, becoming Fraternity's third mega-hit in as many years - by strange coincidence, both Ivory Tower and So Rare had also hit the #2 spot. Collectors will be delighted with the unissued first take of this classic which differs considerably from the master. Also included are a couple of previously unissued sides from later sessions by Parsons and Bare. A country vocalist with an inherent feel for rock'n'roll, Johnny Scoggins performs with an infectious gusto on the three sides heard here (including the previously unissued High Blood Pressure), creating a joyous empathy with the band, which makes for rewarding listening. Rock'n'roll doesn't come any better than our opening cut, Talk To Me Baby. Fiercely ambitious from an early age, Jackie DeShannon entered the record business at the dawn of the rock era. She made her first record as Sharon Myers (her real name) for Marvel, a tiny Illinois-based country label back in 1956. A couple of years later, Myers fetched up in Cincinnati, Ohio where she fell in with Rusty York, a gangling local lad who was making a name for himself in Cincinnati music circles. York's manager took her under his wing and produced Just Another Lie with Rusty York's band. This was leased to Fraternity with an instrumental Cajun Blues propping up the B-side and came out as by the Cajuns with Jacquie Shannon. Within a year, Shannon had moved to California, dyed her hair blonde and re-invented herself as Jackie DeShannon. The resourceful York later ran his own recording studio and production company across town. Among his discoveries was Glenn Mooney, who recorded the Fraternity single Go Steady With Me with the houseband at York's studio in 1962. Bing Day was a young rock'n'roller from Chicago who was brought to the fore by his pushy mother. He had made his recording debut with Pony Tail Partner on King's Federal subsidiary in early 1958. (This can be heard on King Rockabilly - Ace CDCHD 777). However, nothing came of the record and Day began sitting in with Dan Belloc's band as a token rock'n'roll turn, a gesture towards pleasing the younger patrons who came to Belloc's shows. Rain Silver Dollars came out on Fraternity in October 1958. Ohio-born Donnie Bowser (real name Bowshier) was confined to a wheelchair, a legacy of childhood polio affliction, but this handicap failed to dampen his ambition and by his mid-teens he was performing in local country bands alongside far older musicians. Bowser's I Love You Baby was recorded for Sage, a Los Angeles country label in late 1957 and re-issued by Fraternity in May 1958. By this time he had changed his name to Bowser because as he put it, "DJs had a hard time trying to pronounce it". The Jive-A-Tones were among the lesser known prot?©g?©s of the Atlanta-based music publisher and record producer Bill Lowery, the mastermind behind the careers of Joe South, Jerry Reed, Tommy Roe and Ray Stevens and other 60s stars. Their wild and woolly debut disc, Flirty Gertie can be heard on Rockin' From Coast To Coast Vol 1 (Ace CDCHD 496). (The) Wild Bird, an instrumental cast from the same mould, was leased to Fraternity in late 1958. It's very similar to Casual by the Carnations, another tough instrumental released on Fraternity a year later. In 1960, Fraternity signed Cecil McNabb, a country-rock vocalist who had cut a session for King Records back in 1958. McNabb had been in the studio once before as a backing vocalist on Fraternity's first rock hit, She's Neat by his hometown pal, Dale Wright. This reached #37 on the US charts in February 1958 and can be heard on All-American Rock'n'Roll Vol 1. McNabb only made one record for Fraternity, Old Black Joe c/w These Tender Years, a ballad penned by Bobby Bare. McNabb was billed as Cecil Mack on the label. He also recorded what he describes as a 'prep cut' of Lovin' Up A Storm, a song popularised by Jerry Lee Lewis. It's heard here for the first time together with Old Black Joe. In the early 60s, a trio of black girls, the Charmaines were signed to the label along with an R&B duo, Bob & Jerry, and the Canadian vocalist Max Falcon whose barnstorming Money Back Guarantee is one of this CD's highlights. However, these artists failed to restore the label's fortunes and it wasn't until 1963 that Fraternity once again tasted chart success with Lonnie Mack's instrumental classic, Memphis. This, then, is thoroughbred American rock'n'roll from the Golden Age of the 45. Virtually every track appears on CD for the first time and there are some which have never been issued before including Knock Me Out, a pounding rocker by a vocalist whose identity we were unable to establish! By Rob Finnis (Ace Records) |
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Ace Records 2001 | CD | 17.00 € |
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| VA: - All Them Chicks At The Hop 31 tracks great girlie rock and roll |
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Teen Records 1997 | CD | 15.00 € |
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| VA: - All Tore Up Unrequited love, tormented romance, tragedy & tearjerkers 1955-1968. 25 tracks |
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Bluesbeat Records 1999 | CD | 18.00 € |
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| VA: - Always Something There - A Burt Bacharach Collector's Anthol Collectors' Pieces and original versions from the deep catalogue of one of the 20th century's greatest pop tunesmiths |
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Ace Records 2008 | CD | 18.00 € |
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| VA: - American Graffiti 2CD soundtrack of the cult movie |
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MCA | 2-CD | 22.00 € |
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| VA: - Answer To Everything - Girl Answer Songs Of The 60s 28 tracks |
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Ace Records 2007 | CD | 17.00 € |
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| VA: - Artistry On Guitar "Signed" Buddy Holly |
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Norvajak | LP | 13.00 € |
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| VA: - Australian Teenage Idols Vol. 1 31 biisiä : Barry Stanton, Booka Hyland, Paul Wayne |
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Canetoad Records | CD | 17.00 € |
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| VA: - B-Seiten 1-CD, 20 page booklet, 20 tracks, playing time 49:23). This compilation presents treasures hidden by the hits, Country & Western, Pop, Rock 'n' Roll, Super stars from the 1950s and 1960s, including an early masterpiece by The Beatles, songs by top-class authors, hidden pearls, to be discovered. -- From 'flip' to hit - from a B-side to success: more often than expected in the history of rock and pop, things turned out differently. All of a sudden, a 45 B-side became a non-expected success. Sometimes alert dee jays did recognize the real potential of certain tunes, thus playing the flip-side rather than the A-side. Needless to say, this attention did not generally lead to big sales - but even without a listing in the charts numerous B-sides had style and class. Some turned into favorites by fans, critics and disc jockeys alike. - Bear Family Records is presenting a collection of 20 songs, tunes you would never get tired of because they stood in the shadow of the A-side. This compilation features B-sides by American top artists like Fats Domino, Ricky Nelson, Eddie Cochran, Connie Francis, Gene Pitney, and The Everly Brothers. And even The Beatles are here, under their early name, The Beat Brothers, then the unknown backing group of British performer Tony Sheridan. - Highly respected composers and authors like Pomus/Shuman, Greenfield/Sedaka, Oldham/Penn, and Pockriss/Vance wrote excellent songs. All these tracks were originally hidden on the flip sides of popular hits on 45s during the 1950s and 1960s. They all have in common that even today they have the quality to be (re-)discovered as treasures in sound. |
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Bear Family 2009 | CD | 18.00 € |
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| VA: - Bad Music For Bad People - Songs The Cramps Taught Us 26 track collection of wild irreverent rockabilly, demented rock ‘n' roll, wanton blues and the occasional Elvis wannabe. Vintage performances that were discovered by Lux and Ivy of The Cramps and spun on their various radio shows for WFMU or on Lux's Purple Knif Show. Many of the tracks here were also covered by The Cramps in their live sets or acted as inspiration for the band's own self-penned tunes. |
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Righteus 2009 | CD | 17.00 € |
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| VA: - Baltimore's Teen Beat A Go Go |
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Get Hip 1997 | CD | 9.90 € |
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| VA: - Baltimore's Teen Beat A Go Go Reissue of ultra-rare early 60’s Dome Records classic LP compilation of Teen Garage Bands from the Baltimore, MD area. Ralph Johnson, president of Wedge & Dome Records, was also the sponsor of many “Battle Of the Bands” shows throughout Maryland. These shows helped them find the bands that hadn’t already found them, since the grand prize for these shows was to have one of their songs on this album. The second prize at these shows was that they would pay 50% of their expenses to get a track for the album. These bands made up the Baltimore sound of the sixties- Baltimore’s own contribution to the Garage Band Sound. Thanks to Get Hip Records, this material is now available again. The original pressing of 500 copies of this LP went out of print in 1966, and original copies now sell for $200 and up if you’re lucky enough to run across one! |
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Get Hip 1997 | LP | 15.00 € |
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| VA: - Bandera Rockabilly And Country Roots 24 tracks hot rockabilly and country roots from the Chicago-based Bandera Records |
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Ace Records 2001 | CD | 18.00 € |
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| VA: - Before The Fall - 24 Prelapsarian Cuts f evidence were needed that all music is connected, this collection could well be it. You might think Australian punk, proto-Krautrock and Sister Sledge could only co-exist on a compilation called “Now That’s What I Call Utterly Unrelated”, but actually, beyond “Before The Fall”’s basic conceit, a few fragile connections start to present themselves. Henry Cow acted as support on a Captain Beefheart tour. Beefheart’s style was significantly influenced by bluesmen such as Leadbelly. Leadbelly and Pete Seeger hung out in 40s New York. What else? ‘There’s A Ghost in My House’ and ‘Jungle Rock’ were both hits years after their original release. Fall fans wouldn’t automatically associate ‘The Mummy’ and ‘Transfusion’, yet listening to the originals reveals both as satire at the expense of the beatniks. ‘Transfusion’, like ‘Kimble’, owes much of its uniqueness to the innovative use of sound effects. ‘Kimble’ and ‘People Grudgeful’ are connected thanks to the fractious relationship between the artists concerned. ‘Grudgeful’ and ‘$ 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) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Bert Bern Story - Twist And Shout Vol. 1 1960-1964 the first of two volumes chronicling and saluting the too-brief career of this revered New York producer-songwriter-singer |
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Ace Records 2008 | CD | 18.00 € |
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| VA: - Best Of Burlesque - 50 original club classics 2CD |
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Demon Music 2009 | CD | 10.00 € |
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| VA: - Best Of Mark Records And other select labels from Utica, New York. 30 tracks |
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Mark | CD | 19.00 € |
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| VA: - Best Of Twist-A-Rama New York Carage Bands Vol 1. 16 tracks: Galaxies, Andy & The Classics, The Brix, Patty & The Hangmen, Reveres etc |
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Norton Records 2000 | CD | 17.00 € |
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| VA: - Best Of Twist-A-Rama New York Carage Bands Vol 1. 16 tracks: Galaxies, Andy & The Classics, The Brix, Patty & The Hangmen, Reveres etc |
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Norton Records | LP | 13.00 € |
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| VA: - Big Deal ! This album kinda pays like a tribute in reverse. All the tracks have been covered (or reworked) by "THE 5,6,7,8's!" . The Rockin' Geishas chose these songs (even to blend and bend out of shape) means the originals are obviously amongst the great rock and roll tracks. |
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Mademoiselle Records | CD | 18.00 € |
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| VA: - Big Itch Vol. 8 |
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Mr Manicotti Records 2006 | LP | 13.00 € |
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| VA: - Big Top Records Story A top notch blend of hits, classy misses, early Spector productions and some groovy instrumentals, together with a booklet load of pics and captivating story telling make ‘The Big Top Records Story’ an exquisite souvenir of pop’s legendary Brill Building era, one which we soon hope to repeat with a follow-up volume. |
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Ace Records 2008 | CD | 18.00 € |
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| VA: - Bloodshot Vol. 1 - The Gaity Records Story |
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Norton Records 1994 | LP | 13.00 € |
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| VA: - Bloodshot Vol. 1 The Gaity Records Story Vol. 1 Primitive R&R / Rockabilly 1958-64 |
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Norton Records 1999 | CD | 17.00 € |
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| VA: - Bloodshot Vol. 2 Gaity Records Story Vol. 2 |
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Norton Records 1994 | CD | 17.00 € |
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| VA: - Bloodshot Vol. 2 The Gaity Records Story A frantic two volume set of Minnesota savagery from the rawest, crudest record label ever—the legendary Gaity Records! Hear the roots of the Trashmen, feel the entire history of rock & roll rewritten! Features rare & unissued 1958-64 sides by the Sonics, Jades, Crown Teens, String Kings, Glen Rays, mo maniacs! Dig this waxery's tale in LOST AND FOUND #1 (see mag section), then blast the ultra-tuff BLOODSHOT longplayers on NORTON!! |
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Norton Records 1994 | LP | 13.00 € |
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| VA: - Bo Diddley Is A Songwriter In his long and illustrious career, the late Ellas McDaniel portrayed his alter ego Bo Diddley as many things – a lover, a gunslinger, crazy, even a lumberjack would you believe (and as this is Bo we’re talking about, you would…) One thing that Bo seldom if ever proclaimed himself to be is ‘A Songwriter”. But over a period of 10 years, Bo crafted some of the most memorable songs of the rock ‘n’ roll and R & B era, including numerous Hall Of Fame perennials which many will be unaware are his songs. For instance, there can be few on this planet who’ve never heard at least one version of “Love Is Strange” – it was featured in ‘Dirty Dancing’, one of the most popular and biggest grossing films of all time, for goodness sake! How many of the thousands of young people who own that soundtrack album also know that the same man who wrote it also wrote “Mona” a 1990s UK chart topper for Craig McLachlan, and “No No No”, a Top 10 hit in 1993 for reggae artist Dawn Penn (both songs appear here, in other versions, under their real titles ‘I Need You Baby’ and ‘She’s Fine, She’s Mine’ respectively…). Not many, I’ll wager. Bo is so well known and loved as an R & B legend that his songwriting skills tend to get overlooked in comparison with his fabulous recordings. He may be seen by some as a left field entry in Ace’s ongoing ‘Songwriter Series’, but once the CD popped into the player, it won’t take but a few minutes (as his Chess colleague Chuck Berry once wrote) to realise that he’s here on merit, and not just because everyone at Ace loves Bo Diddley. Of course, anyone who lived through the R&B and British Beat boom will be familiar with any number of E. McDaniel copyrights – both those Bo wrote, and those that were written for him by others. And there’s considerably more variety to Bo’s songwriting than some might initially think. OK, so he did put together more numerous variations on the ‘shave-and-a-haircut, six-bits’ rhythm. But Bo’s catalogue of compositions also embraces doo-wop (‘I’m Sorry’), teen pop (‘Love Is Strange’, ‘Mama Can I Go Out’) proto-surf (‘Bo’s Bounce’), humour (‘Pills’) 12 bar blues (‘Before You Accuse Me’) straight ahead R&B (‘I Can Tell’, ‘Diddy Wah Diddy’) and so much more besides. As well as recording his songs, many of our stellar cast of artists were major league Bo fans and, indeed, most of those who are still around continue to be. The fact that the recordings on our CD span a period of 50 years gives a strong indication of the timelessness of his work as a writer – hardly surprising when his own early recordings still sound like they were recorded yesterday. If there’s still any shadow of doubt in your mind that Bo Diddley IS a songwriter, buy this CD immediately and let its contents rid you henceforth of such foolish supposition! By Tony Rounce (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Boppin' Bobbie Jean |
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Stock Car Records 2008 | LP | 14.00 € |
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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: - Boy Meets Girl TV Shows Vol. 1 This historic release of original live TV recordings by British /American Rock and Roll legends is a fine complement to anyone's collection of the classic Dreamboats and Petticoats series. For the first time ever two complete Boy Meets Girls TV Shows from the 16th and 23rd February 1960 which have been digitally remastered from the original soundtrack recordings, featuring many previously unreleased songs by the compare Marty Wilde and guests including Billy Fury, Michael Cox, Johnny Gentle and the Vernon Girls. Also, taking time out from his UK tour, special guest rockstar Eddie Cochran who is accompanied by Joe Brown and the Firing Squad, the same musicians who backed Billy Fury on his famous 1960 10" rockabilly LP ? 'The Sound of Fury'. The show also includes introductions and some very interesting interviews with some of the artists. There are also four bonus tracks from various shows between late 1959 and early 1960 by Johnny Cash, Gene Vincent, Ronnie Hawkins and the show's cast which feature Billy Fury, Marty Wilde, Gene Vincent, Eddie Cochran, Joe Brown, Adam Faith and Jess Conrad. The CD contains a twelve page booklet which includes many original photos from the shows some not seen before and liner notes by Derek Genister. |
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Rockstar Records 2013 | CD | 19.00 € |
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| VA: - British Beat Before The Beatles 3CD Loistava kokoelma BRITTI ROCKIA JA BEATia ajalta ennen the Beatlesia 1955-1962 |
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EMI Records 2010 | CD-Box | 29.00 € |
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| VA: - British Rock 'n' Beat Vol. 4 |
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Collar 'n' Cuff Records 2009 | CD | 15.00 € |
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| VA: - British Rock'n' Roll At Decca Vol. 1 1957-61 30 tracks early british R&R |
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Vocalion 2007 | CD | 15.00 € |
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| VA: - British Rock'n'Roll At Decca Vol. 4 1954-1962 |
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Vocalion 2009 | CD | 15.00 € |
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| VA: - Buddy's Buddies 3CD Over the last three years, El Toro Records has been leading the field in systematically reissuing the neglected legacy of the late, great Buddy Holly. When Universal finally announced a box set of his complete recordings last year we thought that our task was over - but not so! The complete set turned out to be far from complete; so this final Buddy Holly release from El Toro Records has gathered the material ignored by the otherwise exemplary Universal box set, notably all those commercial recordings which featured Buddy as session-musician-cum-producer from his golden years of 1957-58 and a bonus CD to collate all the remaining radio/TV interviews and the live radio/TV/promo clips from 1958 that hadn't been featured in our previous volumes. Sandwiched in between, and taking advantage of our title of “Buddy’s Buddies”, we have a jam-packed compilation CD of talented Texas artists with whom Buddy crossed paths in the 1950s. Rave on!" |
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El Toro Records 2010 | CD | 23.00 € |
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| VA: - Cadillac Records Music from the Motion Picture |
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Sony Music 2008 | CD | 19.00 € |
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| VA: - CamPark Records Novelty, Instrumental, Rock And Soul Vol. 14 18 tracks all the odds and ends |
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CamPark Records | CD | 18.00 € |
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| VA: - Chartbusters USA Vol. 2 29 tracks USA hits 1963-1969 |
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Ace Records 2002 | CD | 17.00 € |
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| VA: - Chicken Session Early Northwest Rockers And Insterumentals Vol. 2 |
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Norton Records 2002 | LP | 13.00 € |
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| VA: - Chicken Session 22 biisiä - Early Northwest Rockers And Instrumentals Vol. 2 |
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Norton Records 2002 | CD | 17.00 € |
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| VA: - Chop Suey Rock - Songs About The Orient Vol. 1 |
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Hot & Sour Records | CD | 18.00 € |
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| VA: - Chop Suey Rock - Songs About The Orient Vol. 2 More Songs About Orient |
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Hot And Sour Records | CD | 18.00 € |
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| VA: - Classic Rock & Roll 8 biisiä -Bobby Day, Dovells, Rivingtons... |
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King Records 1994 | CD | 10.00 € |
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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: - Columbia / Odeon Singlar & EP 1958-65 30 tracks from 1958-65 swedish rock, pop and schlagers from Odeon and Columbia Records (Sweden). |
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Triola Records 2005 | CD | 15.00 € |
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| VA: - Complete D Singles Collection Vol 2 The Sound Of Houston Texas. 4 CD:tä = 113 biisiä sekä 44 sivuinen kirja. D Recordsin biisejä vuosilta 1958-1970 |
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Bear Family 1999 | CD-Box | 80.00 € |
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| VA: - Complete D Singles Collection Vol 3 The Sounds Of Houston Texas. 4 CD;tä ja 52 sivunen kirja. Yhteensä 113 biisiä D-Recordsin materiaalia vuosilta 1959-1960 |
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Bear Family 2000 | CD-Box | 80.00 € |
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| VA: - Complete D Singles Collection Vol 4 The Sounds of Houston Texas - D-Recordsin julkaisuja vuosilta 1960-61. 4 CD:tä, 113 biisiä ja 52 sivuinen kirja. |
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Bear Family 2002 | CD-Box | 80.00 € |
