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Result of your query: 1079 products

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VA: - Jerk Boom Bam Vol. 1
Jerk Boom Bam Records LP 17.00 €
VA: - Jerk Boom Bam Vol. 2
Jerk Boom Bam Records LP 17.00 €
VA: - Jerk Boom Bam Vol. 3
Jerk Boom Bam Records LP 17.00 €
VA: - Jole Blon
Bear Family CD 22.00 €
VA: - Jungle Exotica Vol. 1
32 tracks
Strip Records 1995 CD 17.00 €
VA: - Jungle Exotica Vol. 2
27 tracks
Strip Records CD 17.00 €
VA: - Jungle Exotica Vol. 2
Strip Records LP 15.00 €
VA: - Just For Kicks
CD accompanying the Rollercoaster book of the same name by Johnny "Chester" Dowling
Rollercoaster Records 2008 CD 19.00 €
VA: - Kill Bill Vol. 1 Soundtrack
Kill Bill ykkösen soundtrack
Maverick Recording Company 2003 CD 10.90 €
VA: - Kill Bill Vol. 2 Soundtrack
15 biisiä - samaisen leffan soundtrack
Maverick Recording Company 2004 CD 9.90 €
VA: - Kings Of Komedy
4 CD:tä mm Eddie Cantor, WC Fields, Marx Brothers… mukana 56 siv vihkonen
Proper 2004 CD-Box 22.00 €
VA: - Kvälls Toppen 1962-1964 2CD
40 popular hits from 1962-63
Riverside Records 2011 CD 20.00 €
VA: - La Legende 50's de la Musique Instrumentale
24 tracks
Magic Records 2008 CD 15.00 €
VA: - Laurie Records Story Vol. 3
When I think “girl group label”, visions of Philles, Red Bird and Dimension do the locomotion in my head. But I’ve always thought of Laurie as the home of Bronx deities Dion and the Belmonts. (I grew up there – let me assure you, we built shrines.) Sure, Laurie had the Chiffons, but otherwise, what else?

Plenty else, as this femmecentric third volume of the Laurie Records Story vividly illustrates. It turns out that several of the genre’s most revered figures made under-the-radar contributions to the imprint’s oeuvre. Ace compiler (and girl group ace) Mick Patrick has rounded up 24 compelling arguments for Laurie’s girl group bona-fides.

Barely resembling Tommy James’ garage-y remake, the original ‘Hanky Panky’ by the Summits name-checks its producers, the Tokens. The song’s co-writer, Brill Building Queen Ellie Greenwich, moonlights as Les Girls with session cohort Mikie Harris. The duo sang countless backups for many years (they’re on Blondie’s 1976 debut LP) and it’s nice to hear them front and centre on ‘I Still Love You’. Another studio stalwart, Jean Thomas, is known to have masqueraded as the Powder Puffs, Rag Dolls and Beach Girls. Here, she’s the Cheese Cakes on the bouncy ‘Heading For A Heartbreak’.

Noms de plumes abound. Brenda Lee Jones (Jean of Dean & Jean) channels Motown and Marie Antoinette (supposedly the notorious Alice Wonder Land) perches atop the wall of sound.

Van McCoy fashioned ‘Shy Guy’ for the Charmers, but scoring with an Essex soundalike was easier said than done. The genre-defining voice of Mary Aiese, our beloved Reparata, is heard at the very beginning and end of her glorious recording career.

There is no shortage of unsung heroines, either. Occasional Angel Bernadette Carroll emotes the bizarre ‘Circus Girl’ and young drama queen Dawn lays on the angst with a trowel borrowed from the Shangri-Las. But of all the unknowns we know, perhaps Beverly Warren was most unjustly denied success with Goffin-King’s majestic ‘Let Me Get Close To You’, backed by the Cookies. A brilliant vocalist, Bev still performs in the New York area.

As valedictorians of Laurie’s girl group class, the Chiffons make four late-60s appearances. Their hit-making heyday behind them, the Bronx quartet settled for artistic triumph on the thumping ‘Stop, Look And Listen’ and the brooding ‘If I Knew Then (What I Know Now)’. Years earlier, the Chiffons’ first visit to the studio had yielded the era’s most successful girl group song (‘He’s So Fine’), but their magnum opus came in 1969. ‘Love Me Like You’re Gonna Lose Me’, produced and written by Irwin Levine and latter-day Brill Building princess Toni Wine, is simply a masterpiece. With a shimmering arrangement by the formidable John Abbott and shared, soulful leads by Judy Craig and Sylvia Peterson, this song deserved to be a mega-hit.

So here’s an opportunity to enjoy some undiscovered classics, many making their CD debut. Not one of the songs herein managed to trouble the Billboard charts. It only sounds like a greatest hits collection.

By Dennis Garvey
Ace Records 2009 CD 17.00 €
VA: - Leiber & Stoller Story Vol. 3 Shake 'Em Up & Let Roll
24 tracks 1963-1969
Ace Records 2007 CD 17.00 €
VA: - Let`s Hear It For The Girls
27 tracks from the Queens of the swing
The Jazz Classics Collection 2005 DVD 9.00 €
VA: - Like What We Wrote - the Songs Of Johnny And Dorsey Vol. 1
27 tracks that Johnny & Dorsey Burnette wrote.
Incl 36 page booklet !
Hydra Records 2007 CD 15.00 €
VA: - Like What We Wrote -The Songs Of Johnny And Dorsey Vol. 3
Hydra Records 2010 CD 15.00 €
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)
Ace Records 2012 CD 18.00 €
VA: - London American Label Year By Year 1959
They say that as one gets older the passage of time becomes ever faster. That’s only true if you are not compiling CDs of music from bygone days. At the moment, and thanks in no small way to the “London American Label Year By Year” series, Peter Gibbon and I feel as though we’re permanently stuck in the late 1950 and early 1960s, reliving our youth over and over again in a skewed cross between Groundhog Day and Life On Mars. Roll over Doctor Who, and tell Gene Hunt the news.

The late 50s and early 60s are a long way from the worst years to find yourself reliving. I would bet that I am far from the only person here who, given the choice, would not permanently reset his personal controls for a one-way ticket to a similar time frame. However you slice it, the soundtrack to that period is worth abandoning DAB for in favour of the return of Fabulous 208, Juke Box Jury and ceaseless attempts to locate AFN’s signal.

The series continues to offer Ace fans their own personal time machine via some of the best American records of their era, all of which appeared on the cherished black-and-silver imprint. This month Ace’s equivalent of the TARDIS lands in 1959 – a pivotal year in popular music that managed to survive the US payola scandals, a UK printers strike, a failed experiment with stereo 45s (Sun and Specialty in stereo? Methinks not, thanks) and all attempts to kill off rock’n’roll and replace it with lots of people called Bobby and Frankie, to bring us some of the most wonderful and well-remembered recordings of that life-changing decade.

It’s a mark of how many great records came out on London in ’59 that only one of the tracks on our latest compilation is currently available elsewhere on Ace. Once again the diversity of the compilation reflects London’s own diversity of catalogue. (Inevitably nobody will like everything here – but, hey, Wink Martindale’s ‘Deck Of Cards’ was the label’s biggest seller of the year and that’s what the god of electronics invented that fast forward button on your CD player for.) Thanks to the foresight of the Decca (that’s D-E-C-C-A) record company in preserving the original production tapes for London 45s, we are again able to bring you more than 80% of the tracks featured from the same sources that were used to manufacture those 45s over 50 years ago.

Believe me, I could chat all day about this, but the TARDIS is making that funny noise it makes when it’s about to take off and we need to make sure that our next stop is 1963. All being well, we should land there early next year. If anyone would like to apply for the post of our glamorous sidekick, we’re still taking applications.

By Tony Rounce (Ace Records)
Ace Records 2010 CD 17.00 €
VA: - London American Label Year By Year 1960
EMI didn’t have one until 1962, Philips never had one at all, Pye tried hard, but remained in division two for much of its life and the Rank Organisation had one that rang up such huge losses they pretty much gave theirs away. The label none of those companies could match was housed on the Albert Embankment, the home of the Decca Record Company – the label was London American and it, unlike Top Rank, Pye International and Stateside was the label you turned to most often when looking for the best in American pop, R&B and rock’n’roll.

America was the first country in which a London label appeared. It was the flagship of British Decca’s American operations as far back as 1934. In Britain, the London logo made its debut in 1949 releasing material culled from its American namesake, but also from early US independents like Audivox, Jubilee, Derby, Cadence, Imperial, Essex and Jubilee.

In 1954, a new prefix (HL) and numbering system (8001) was introduced and it’s this series that gave the London American label its legendary status. As rock’n’roll took hold in America new labels sprung up by the bucket load and Decca’s reputation for honest, straight forward dealing meant the new label entrepreneurs could trust Decca to pay its advances and deliver regular royalty statements and payments so the stature of the London American label grew rapidly.

EMI’s Columbia, Parlophone and HMV labels had some US hits, others turned up on smaller British labels like Melodisc, Oriole and Starlite, but the cream was always to be found on the silver and black London label. Here you’d find material from Atlantic, Liberty (whose ability to survive and expand was partly made possible by a financial leap of faith by Sir Edward Lewis, the chairman of Decca who, when asked for a hundred thousand dollars advance for the rights to the Liberty catalogue in the mid-50s offered fifty thousand more, such was his belief in Liberty’s founder Si Waronker), Cadence, Dot, Jamie, Sun, Chess, Specialty, Warwick, Imperial and United Artists, most of which became major players whilst others like Greenwich, Sunbeam, Paris, Dore, Arwin, Judd, JDS and countless others turned out to be little more than ‘here today, gone tomorrow’ operations. Still, their recordings all found a home on London American.

And so now Ace Records begins a year-by-year series celebrating the hits, misses and downright rarities that found a British outlet on the London American label, starting with 1960.

Here you’ll find familiar recordings by Chuck Berry, Johnny Tillotson, Duane Eddy, Eddie Cochran, the Ventures, the Coasters and Johnny Burnette, but look more closely and you’ll find lesser-known records from the Delicates, whose members we now know more about than ever we knew in 1960, Teddy Redell with a track that’ll set you back £50 or £60 pounds now and Sonny Burgess, a wild rock‘n’roller who hadn’t noticed America’s chart was full of boy next door love songs in 1960. Here too, you’ll find Vernon Taylor’s sought-after version of Elvis’s ‘Mystery Train’, and even a good-time country sound from Wynn Stewart which London chose to only manufacture in Britain as an export item.

But don’t let me keep you, grab your copy of The London American Label Year By Year and start re-living the sound of 1960. Then keep your eyes peeled for 1961, 1962, 1963.

By Austin Powell
Ace Records 2009 CD 17.00 €
VA: - London American Label Year By Year 1961
To no one’s surprise, the “London American Year By Year” series has proven to be an instant success for Ace. The combination of nostalgia for both the era that the series will cover and for the label itself, not to mention the prospect of owning hundreds more vintage gems on Ace CD for the first time, has ensured that – as the late Fergus Cashin of the Daily Sketch might have put it - “this one will run and run”.

Indeed, such is the demand for future volumes that we’ve already stepped up the scheduling of LAYBY from two to three times a year. (Well, your compilers will both be well into their seventies by the time of the intended final volume, and like you we’d prefer to live to see the series through to its grand finale – thus it seemed a sensible thing to do…). Fans can expect this January release of this 1961 volume to be followed by 1962 in October, with our first backtrack to 1959 as the tasty filler for this musical sandwich in June. We’d like to step that schedule up even more if we could – but as you can imagine, each volume is a mammoth undertaking for Ace’s licensing department, not to mention the amount of work that goes into sourcing the original London tapes and the matching the audio to the sound of the original 45s by the guys at Sound Mastering. These things just do not happen overnight, and we do need to put some other CDs out in between and around these releases to stay in business, y’know…

All this notwithstanding, we kick off the ‘tennies’ with LAYBY 1961, which we feel more than upholds the standard set by its acclaimed predecessor. One of the main promises we made to the collector was that each volume would feature at least 20 tracks that were new to Ace CD. On this occasion, only one of the featured tracks has ever been heard on Ace before (Timi Yuro’s ‘Hurt’). This is quite astounding when one considers that debutantes here include Eddie Cochran’s ‘Weekend’, Del Shannon’s ‘So Long Baby’ and Jerry Lee Lewis’ ‘What’d I Say’, to name but three. It really does demonstrate how much rock ‘n’ roll gold there still is in ‘them thar hills’ to mine, doesn’t it?

As ever, there’s extensive track-by-track commentary, with a shot of every featured London 45 to complement the annotation. An intro by long-time London collector Roger Cope perfectly sums up the feelings of everyone who ever put their pocket money or part of a meagre pay packet towards the purchase of one or more of these goodies, your compilers included. And the best news of all is that all of the songs run for less than two and a half minutes, so if there’s something here you don’t like (and we truthfully don’t expect everyone to enjoy everything that’s on offer across the series) you’re seldom more than 150 seconds away from something that you will!”

By Tony Rounce (Ace Records)
Ace Records 2010 CD 17.00 €
VA: - London American Label Year By Year 1963
The USA was the first country in which a London label appeared. It was the flagship of British Decca’s American operations as far back as 1934. In 1949 the first batch of these American records was made available in the UK on the new London American imprint. In 2009 Ace launched its “London American Label Year By Year” series, which with this volume devoted to 1963, stands at five volumes.

1963 was a very good year for Phil Spector, the releases on whose Philles label appeared on London American in the UK. Until very recently, Philles recordings were out of bounds for compilations such as this one, but with the record producer presently out of circulation, his catalogue has very recently become available for license. Every cloud, eh? Let’s face it, this particular edition would not have been an accurate representation of 1963 without the Ronettes, the Crystals, Darlene Love and Bob B Soxx & the Blue Jeans, all of whom are present and correct. Yay!

The inclusion of Darlene Love’s ‘A Fine Fine Boy’ here marks the first time the original 45 version has been legally available on CD. (All other digital issues contain a re-edit that is the result of irreparable damage to the original master.) Spector owed a lot of his success to Ellie Greenwich and her husband Jeff Barry, with whom he collaborated almost exclusively throughout 1963. The threesome co-wrote ‘A Fine Fine Boy’, ‘Then He Kissed Me’, ‘Be My Baby’ that year, and many more besides. Greenwich and Barry also penned bathos specialist Ray Peterson’s death-disc ‘Give Us Your Blessing’ and the Raindrops’ ‘What A Guy’, included here too. (Ellie and Jeff were the Raindrops, but you knew that.)

1963 was also a prime year for girl groups and female singers in general, a fact reflected here via the Sherrys, Little Eva, Marcie Blane, Robin Ward, Shirley Ellis and Ruby & the Romantics, not forgetting 50s R&B star LaVern Baker and South African ex-pat Miriam Makeba.

There’s a lot more to this CD than Phil Spector, girl groups and Brill Building songwriters, but hey, that’s me for you. In all, this collection contains the A-sides of 28 of the 178 singles released on the London American label in 1963. As the series is expanding in two directions, we’re unsure if the next volume will focus on 1964 or 1958, both of which were very good years for American music. Watch this space to find out. Either way, it’ll be a winner.

By Mick Patrick (Ace Records)
Ace Records 2011 CD 17.00 €
VA: - Love Songs
Elvis, Jackie Wilson, Dino Desi & Billy, Tom Jones, Paul Anka, Bobby Darin, Little Anthony & The Imperials, Brooklyn Bridge,Lulu, Beatles, The Fifth Dimension, Smokey Robinson, The Carpenters, The Mamas & Papas. 63 min. 18 tracks.
Eagle Vision 2004 DVD 9.00 €
VA: - Manu Records Story
Classics Records 2009 CD 17.00 €
VA: - Mera Dans minnen från 60-talet
Här kommer efterföljaren till förra årets mycket uppmärksammade skiva och den innehåller 20 olika spår med grupper, band och pop-orkestrar från 60-talet, kända som okända. Den förra utgåvan kallades bl.a. ”kulturgärning” och den fortsätter på den här skivan…!
Solna Records 2005 CD 15.00 €
VA: - Mit der Raupe fahr'n...
Das waren noch Zeiten: Ab an die Raupe! Denn da lief die neueste Musik auf dem Freimarkt in Bremen, dem Oldenburger Krammermarkt, dem Hamburger Dom oder auf anderen Rummelplatz - Sausen. Discotheken gab's noch nicht - und wo sonst konnte man mit den Mädchen so schön flirten und bei geschlossenem Verdeck unbemerkt knutschen?! Die ersten Schmatzer in der Raupenbahn klingen bis heute nach, die Liebesschwüre hängen noch immer zwischen den alten Kufen der Bahn... Das Bremen - Eins - Team der 'Oldiebörse' holt diese unvergesslichen Erinnerungen und handfesten Gefühle zurück - die bei intensivem Hinhören plötzlich gar nicht mehr so alt erscheinen... Die RAUPENHITS der Oldiebörse, präsentiert von BEAR FAMILY RECORDS: ein Muss - nicht nur für den großen Rummel!
Bear Family 2010 CD 17.00 €
VA: - Mo' Mod Jazz
22 tracks
Ace Records 1998 CD 18.00 €
VA: - Moonlight Morgen Motorbiene 2CD
2CD = 50 Schlager-Souvenirs Der 50er & 60er Jahre
Bear Family 2006 CD 22.00 €
VA: - More Miles Than Money 2CD
More Miles Than Money: Journeys Through American Music is a book I researched and wrote between 2006-2008. In many ways I’d been waiting my entire life to write More Miles. Growing up in Mt Roskill – a working class suburb of Auckland, New Zealand, where there were no music venues, cinemas, pubs, nothing but churches and rugby fields – I took refuge in Mark Twain and Jack Kerouac’s adventures while AM radio (modelled on US radio) spun hits by Freddy Fender, the Amazing Rhythm Aces, Little Feat et al. I dreamed of escaping Auckland’s suburbs to ride Route 66 and Highway 61, ears and eyes open. Eventually I got to live my dream and More Miles is the story of those travels.

I didn’t know it back then but Kiwi radio was often playing music akin to that which Charlie Gillett played on his Honky Tonk radio show in London. Discovering Charlie’s book The Sound Of The City sent me scouring through secondhand bookstores in search of old copies of Cream, Creem and Let It Rock, where the writings of Charlie and other likeminded journalists appeared. I’d go so far as to say that a feature Charlie wrote on the great New Orleans producer-arranger Harold Battiste (Cream #5, Sept 1971) was what initially inspired me to want to search out the largely unsung heroes of American music.

At the same time as reading Charlie Gillett I was buying US imports on a variety of labels, with Arhoolie being my favourite. Mexican culture fascinated me, especially that which arose from the borderlands, the Tex-Mex/Tejano music. (Blame this on my dad taking me to see Sam Peckinpah’s westerns.) Discovering a bin full of Arhoolie Records in a downtown record shop introduced me to a treasure trove of magical Mexican American music and reading about Arhoolie founder Chris Strachwitz’s efforts to record the finest American vernacular music provided even more inspiration. Later on, Canyon Records would open my ears to how Native American culture celebrated its survival. Around the same time an uncle who loved jazz gave me Curtis Mayfield’s “Superfly” album – he found it too funky for his tastes. Talk about life-changing records: to this day Curtis remains my favourite US soul singer.

I dedicated More Miles Than Money to Charlie, Chris and the indomitable spirit of Curtis Mayfield. Tragically, Charlie died earlier this year. He, like Curtis, lives on as an indomitable spirit and continues to inspire me. This compilation is, again, dedicated to Charlie, Chris and Curtis: the three Cs who helped me hear America.

More Miles Than Money reflects on an America that made the mightiest music of the 20th Century. This compilation aims then to salute those who inspired me to ride US highways and document those I encountered as I wandered through honky-tonks, juke joints and barrios. Enjoy!

By Garth Cartwright (Ace Records)
Ace Records 2010 CD 20.00 €
VA: - Mum & Dad Bought Their Records At Woolies 2CD
50 Hits & Favourites from the 1950s
Rex Recordings 2008 CD 13.00 €
VA: - Music from the films of Alfred Hitchcock Vol. 1
I didn't say actors are cattle. What I said was, actors should be treated like cattle. One of the most famous directors in the history of cinema, Alfred Hitchcock remains the acknowledged master of the thriller genre he virtually invented, a brilliant technician who deftly blended sex, suspense and dry, playful humor. This compilation features music from the soundtracks from the highly creative late forties / fifties period of his career Spellbound, Notorious, Rope, Rear Window, Strangers on a Train, To Catch a thief. Blockbusters all These films are a lexicon of post-war Hollywood. Gregory Peck, Ingrid Bergmann, Cary Grant, James Stewart. Hitchcock remains popular everywhere. All the films are on DVD and shown regularly on television. His work is the subject for discussion by serious film students and there are societies all around the world. Through his fame, public persona, high degree of creative control and frequent return to favored themes, Hitchcock transformed the role of the director, which had previously been eclipsed by that of the producer. He is seen today as a director who managed to combine art and entertainment in a way very few have ever achieved.
El Records 2006 CD 17.00 €
VA: - My Bobby Sox Queen And Other Teen Rockers
28 teen rockers from early 60s
Classics Records CD 15.00 €
VA: - Next Stop Is Vietnam - The War On Record 1961-2008
(13-CD set, LP-sized slipcase with 304page hardcover book. 334 tracks, playing time: more than 16h:49min). The most comprehensive anthology of music inspired by the Vietnam War ever released. Over 330 titles covering all facets of the war and its aftermath featuring The Doors, Bob Dylan, Joan Baez, Bruce Springsteen, Johnny Cash, Merle Haggard, John Lennon, Yoko Ono, Country Joe McDonald and dozens of other artists. Rarely heard documentary material including patriotic Public Service Announcements, field news reports and intercepted North Vietnamese radio transmissions of Jane Fonda and Hanoi Hannah. A heavily illustrated, full-colour 304-page book containing extensive artist/song notes, Vietnam War history and recollections by vets on their favourite songs. Two discs of music exclusively by Vietnam veterans. Never-before-released tracks recorded during the war by in-country soldiers. Mister, Where Is Vietnam ...NEXT STOP IS VIETNAM: The War On Record, 1961-2008 is a stunning, years-in-the-making anthology of the Vietnam War's musical legacy. Presented on 13 CDs with a 304-page book illustrated with numerous archival photographs, this collection examines the war in a powerful and unprecedented way. Over 330 music and spoken word tracks take the listener through a guided tour of this epochal period of modern history. From America's first, na‹ve impressions of a country called Vietnam through the spirited musical debate over the morality of the war to the healing meditations on the conflict's lengthy aftermath, this set captures it all and more. Bob Dylan, Joan Baez,Merle Haggard, Pete Seeger, Bruce Springsteen, Phil Ochs, Johnny Cash, Yoko Ono, John Lennon, The Doors, Country Joe McDonald and dozens of other artists including many Vietnam veterans are the tour guides through this enlightening and entertaining journey. - The full-color book that accompanies the music is packed with information on the songs and the artists who recorded them by music scholar Hugo A. Keesing; a history of the war by Vietnam historian Lois T. Vietri; and an oral history of the tunes that 'incountry' vets loved best by authors Doug Bradley and Craig Werner. The introduction to this remarkable tome is written by the legendary Country Joe McDonald. Strap in for a long and fascinating ride ...NEXT STOP IS VIETNAM.

Bear Family 2010 CD-Box 200.00 €
VA: - Nippon Girls
By popular demand, the series kicks off with “Nippon Girls”, a celebration of the female side of Japan’s 1960s pop scene. The LP comprises a dozen highlights from the CD of the same title issued on our Big Beat International logo a couple of years back, one of our recent top sellers. Compiled by DJ Sheila Burgel, a former Tokyo resident, the “Nippon Girls” CD raised a few eyebrows here at Ace HQ, but girl-pop maven Sheila knew what she was doing. The collection drew rave reviews, becoming something of a left-field hit with the club crowd and young hipster types.

Sheila also supplied the fascinating and scholarly liner notes, from which we learn that bikini-clad cover girl Jun Mayuzumi’s ‘Black Room’ “boasts booming bass lines and a dancefloor readiness that’s already caught the ear of freakbeat collectors, while Mie Nakao’s fuzz-rocker ‘Sharock No. 1’ takes ‘Green Onions’ as its template. ‘Tsukikage No Rendezvous’ by Keiko Mari is a tamer affair, with Latin rhythms and cute banter between Mari and her all-male chorus. J Girls were sisters Shinobu and Jun Hazuki. Their ‘Kiiro No Sekai’ was recorded in 1969 but remained under wraps until 1995’s “Cutie Pops Collection”. Reiko Ohara’s ‘Peacock Baby’ was released in 1968 and came in a mouth-watering gatefold sleeve. Mieko Hirota was a music heavyweight, close to Dusty Springfield in the ability to inspire awe with her voice. In the mid-60s, she was paired up with Kyohei Tsutsumi, one of Japan’s greatest pop writer/producers. His love of Anglo-American records is clearly audible on ‘Nagisa No Tenshi’, its backing track not very subtly swiped from ‘Cool Jerk’.”

The second side makes for an equally compelling listen. Opener Rumi Koyama was “a go-go dancer for TV show Beat Pops. Her debut single is rather square, but its jazzy flip ‘Watashi No Inori’ is just the right amount of raw and teenage. A year after the Carnabeats hit paydirt with a reading of the Zombies’ ‘I Love You’, re-titled ‘Suki Sa Suki Sa Suki Sa’, Nana Kinomi included the same song on her album “Let’s Go Nana!” with GS band Leo Beats. You can hear half-American, half-Japanese model Miki Obata struggle to hit the high notes on ‘Hatsu Koi No Letter’, but it’s considered a Japanese girl-pop staple. Ryoko Moriyama’s ‘Ame Agari No Samba’ attests to the high quality of Japanese bossa nova – as laidback and atmospheric as the Brazilian originals it emulated. Former figure skater Ayumi Ishida’s ‘Taiyou Wa Naite Iru’ is total melodrama, a whirlwind of harpsichord and strings. The star of over a hundred films, Sayuri Yoshinaga appealed to the Japanese mainstream with her modest image and ability to leave audiences in floods of tears. Her ‘Koi No Yorokobi’ is the perfect Japanese girl-pop primer – dark yet upbeat, with all-girl chorus the Schoolmates chirping in the background.”

“Nippon Girls” is highly recommended to girl group fanciers, GS groovers and anyone else with a keen ear for eclectic sounds. The LP version sports a zingy gatefold cover by designer Niall McCormack, who also created the 23-inch square poster found tucked inside.

By Mick Patrick (Ace Records)
Ace Records 2013 LP 25.00 €
VA: - Nippon Girls - Japanese Pop, Beat & Bossa Nova 1966-1970
The Big Beat International label returns with a bang and another celebration of the wonderful world of Japanese pop. After our acclaimed GS I Love You volumes, it’s the girls’ turn, as we examine the female side of the country’s remarkable pop scene with Nippon Girls.

In the years between Elvis’ debut and the rise of Japan’s own Group Sounds scene in late ’65, the country’s pop artists were confined to a repertoire of rehashed Western chart-toppers. Kenji Sazanami was one catalyst for change. Fed up with the traditional songwriting establishment, he headed Stateside, where he obtained the rights for hundreds of American hits. His translations of ‘Johnny Angel’ and others launched the careers of Japan’s most revered female pop stars – the Peanuts, Mieko Hirota, Ryoko Moriyama, Mie Nakao and Yukari Ito. But, aside from a few winners, the bulk of these cover versions were twee reductions that lacked personality and pizzazz.

The record sleeves featured the young girl stars in spaghetti straps and petticoats, looking very Shirley Temple and perpetuating a morally upright image deemed safe for the Japanese public. The Japanese media and monopolistic talent agencies were relentless in their pursuit of wholesome talent, but their plans were derailed by the Beatles’ incursion. Japanese teens too, had been seduced by the Liverpudlians’ DIY spirit and the authenticity that was missing from Japan’s manufactured pop. This new wave of rock bands swiped from the British Invasion and blurred their influences with dissonant chords and Oriental melodies, thus creating a unique brand of Japanese rock’n’roll called Group Sounds.

The GS boom liberated many of Japan’s finest writers, who were sidelined by the tenured Enka (traditional Japanese music) songwriters and rendered useless during “cover-pops” mania. For example, pianist-cum-songwriter Kunihiko Suzuki had to adopt an alias in order to land writing gigs. Once the GS boom hit, however, he emerged from anonymity and penned ‘Koi No Hallelujah’, a monster hit for little-known Jun Mayuzumi. The record was the girl-pop manifesto. It replaced orchestras with organs and shrill electric guitars, upped the volume and vibrato, and showcased a yearning, mournful vocal that came to epitomise the girl-pop sound. Her two best records are undoubtedly ‘Black Room’ and ‘Douyou No Yoru Nanika Ga Okiru’. Both share booming bass lines, a tough vocal and a dancefloor readiness that’s already caught the ear of DJs and freakbeat collectors worldwide.

Elsewhere on this lavishly illustrated comp, you’ll find Margaret, the protégée of guitar wiz Terry Terauchi, who co-wrote her two singles for Seven Seas. ‘Aeba Suki Suki’ is primitive girl punk, with its shambolic backing provided by Terry’s group, the Bunnys. Other highlights include ‘Taiyou Ga Kowai No’, the storming Crown debut of “the new voice of 1968” Kaoru Hibiki, the wild ‘Bazazz Tengoku’ by the Cupids and actress Mari Atsumi, who rose to fame in a series of flicks known as the “soft-bodied mollusk” series and cut a number of very sexy singles in the early 70s. Third single ‘Suki Yo Ai Shite’ is the most sensual of them all.

The collection is the brainwave of noted girl group expert and latter day Japanese pop champion Sheila Burgel of Cha Cha Charming magazine, who provides a fascinating overview of this tremendous and compelling tributary of 60s pop. Highly recommended to girl group fanciers, GS groovers and anyone else with a keen ear for eclectic sounds.

Sheila Burgel is editor of Cha Cha Charming magazine: ( a journalistic tribute to girl-powered pop - past, present and future.

(from ACE Records website)
Ace Records 2009 CD 18.00 €
VA: - Nostalgi Volym Tre
20 tracks
Universal Music 2000 CD 15.00 €
VA: - Nostalgi Volym Två
20 tracks
Universal Music 2000 CD 15.00 €
VA: - Not Of This Earth - the Film Music of Ronald Stein
35 biisiä elokuvista: "Attack Of The 50ft. Woman", "The Terror", "Dementia 13", "Not Of This Earth", "Attack Of the Crab Monsters", "The Devil's Partner", "Spider Baby"
Varese Sarabande 1995 CD 17.00 €
VA: - Odd Couples - What Were They Thinking ?
48-page booklet, 20 tracks. Playing time approx. 58 minutes. -- The 'Velvet Lounge' is a remarkable series of re-releases dedicated to music that is always elegant and entertaining - and sometimes even exotic. The series is a comfortable and welcoming home for treasures from the fabulous Fifties and the strange Sixties. It is a mark of quality placed on music we've rediscovered from long ago and far away, from a time and place between Rock and Beat ecstasy and psychedelic populism. -- This newest addition to the Bear Family contains music that comes straight from the archives of both large and small record companies, and is re-mastered to Bear Family's excellent quality, normally as a direct digitalisation of a master-tape but always with the best possible sound. What you hear is what you get, and the listener is tempted in by this music, asked to relax and savour the music, while maybe putting up their feet and slowly stirring a long drink. -- And who you hear is important; the artists' names alone make for a formidable series. Eartha Kitt, 'the most exciting woman in the world' according to Orson Welles, does her purring 'thang' on the album 'St. Louis Blues', alongside legendary West-Coast-trumpeter Milton 'Shorty' Rogers and an extravagantly exciting and highly entertaining blues program. And then on the album 'Personalities' another trumpeter Al 'Jumbo' Hirt dedicates himself to a sort of 'symbolization in sound' of sex-bomb Ann Margret, some twenty years his junior, on songs like My Baby Just Cares For Me or Baby, It's Cold Outside. Despite numerical evidence to the contrary, 'jazz' was not a four letter word back then, and even 'entertainment' did not smell funny, yet. The motto was 'anything goes' rather than 'is that allowed ' This artistic free-for-all and high quality craftsmanship produced songs that had every right to be called 'standards'. Artist-arrangers like Marty Paich or Juan Esquivel, for instance, not only showcased the abilities of some of the best studio musicians of their time, but also the songwriters. -- The 'Velvet Lounge' engages more than the ears, though. You'll need your stomach muscles, at least those involved in extensive laughter. On 'What were they thinking ' an overdue compilation with all kinds of 'odd couples', pleasure becomes a principle and the absurd gets to be ordinary. Country stars meet Exotica heroes or Easy Listening troubadours. Pop crooners like Perry Como are coupled with the Sons Of The Pioneers, and even Lotte Lenya, Kurt Weill's wife, and Bertolt Brecht's favorite mime, gets to share some hilarious studio-time with the sensational Louis Armstrong. -- Because the 'Velvet Lounge' series comes under the Bear Family banner, it is a given that the graphic design is perfectly fitting and fittingly perfect, featuring rare original photographs, exact discographies, and extensive liner notes. Everything about this series has a touch of exuberance and luxury. Everyone from the collecting specialist to the cultural crusader can feel most welcome and at home in this 'Velvet Lounge'.
Bear Family 2011 CD 18.00 €
VA: - Oh Boy ! The Brunswick Story 2CD
One Day Music 2012 CD 9.00 €
VA: - Oldiebörse - Cover Und Original
30 biisiä - originaali ja cover versioita tunnetuista hiteistä.
Bear Family 2008 CD 17.00 €
VA: - On Vine Street - The Early Songs of Randy Newman
26 tracks
Ace Records 2008 CD 18.00 €
VA: - Original Up-Town Divas
18 tracks, 60 min Gladys Knight, Dusty Springfield, Dionne Warwick, Tina Turner, Tanya Tucker, Susan Anson..
GMVS 2004 DVD 9.00 €
VA: - Paul Anka Hits Auf Deutsch
Paul Ankan hittejä saksaksi
Bear Family 2003 CD 17.00 €
VA: - Pet Projects: The Brian Wilson Productions
t's the mid-1960s and the Beach Boys are hotter than a pistol. Brian Wilson's genius can't be contained by his own group and soon he's busy producing other acts on the side. This CD contains his classic outside productions taken directly from the original masters, together with a full-colour 20-page booklet action-packed with rare photos and a detailed essay.

>By Gary Bax ('The Armchair Surfer')

When Ace asked me to tell you about their new BRIAN WILSON: PET PROJECTS CD, I thought I'd go in search of some background colour in order to gain a livelier understanding of the whole surfing genre. A trip to California was out of the question. Ace's budget wouldn't stretch that far. Instead, I was given Truro on the Cornish Riviera as a more feasible option. "You'll love it there," I was assured, "it'll be virtual reality - the perfect place for re-living the 'California Myth' that Brian wrote and sang about all those years ago." Humm.

Ace's 'mother hen' and doughty production manager, Carol Fawcett, made me a nice packed lunch (neatly crammed into a Tupperware container) and a flask of coffee and off I went. It only took a couple of hours by train. En route, I discovered that Carol had even slipped a couple of Wagon Wheels into the top pocket of my anorak. Yummy!

Well, like old Tom Jones in the Green Green Grass Of Home, I stepped off the train but, unlike Tom, there was no-one there to meet me and I was left to make my own way down to the shore. It didn't seem at all like Huntingdon Beach. Or Waimea Bay or Pomona. Or any of the other places you heard about in those old surfing songs. I'd read about the new breed of young British surfers who seemingly flocked to these shores to 'catch a wave' but on a cold January morning, all I could see was an elderly couple walking an arthritic beagle along the deserted beach. And where was Candy Johnson or any of those other interchangeable blonde babes seen shimmying in the sand in all those Beach Party movies? My only companion was a seagull the size of an albatross making a beady-eyed play for the last of my corned beef sandwiches. By now, I was beginning to wish I'd stayed at home with a cold beer and my newly arrived copy of PET PROJECTS on the player. After all, Brian never went anywhere near a surf board except in the publicity shots.

A few hours later I was salivating over the cover, which has the exact period look of one of those Capitol label Surfing/Hot Rod LPs from the mid-60s. However, as the shrink-wrap on Ace's CDs doesn't come with a peelable strip, it can take as long as five minutes to get at the contents. You can pick at the cellophane with your teeth, scratch at it, or try and to tease it apart by massaging it 'Uri Geller-style' with your thumbs. An Ace spokesperson told me "... this is a not unintentional manufacturing implementation designed to heighten to the last minute, the sense of anticipation that accompanies every new release". Blimey, talk about gimmicks! But I know what they mean - it's like opening a batch of Christmas presents once a month. And, unlike some presents, PET PROJECTS is one CD that everyone would wish to own.

Once he began to receive recognition within the industry as the inspirational force behind the Beach Boys, Brian Wilson sought wider acceptance for his talent and was soon busy producing other acts on the side. He was particularly influenced by Phil Spector who was hitting his stride with studio-contrived mega-hits such as Da Doo Ron Ron and Be My Baby. PET PROJECTS concentrates exclusively on these extra-curricular songs and productions.

In the spring of 1963, Brain persuaded Capitol to sign the Honeys as part of a marketing strategy aimed at exploiting the burgeoning Surf-Hot Rod craze, which the Beach Boys had kicked off single-handedly. Most of the singles Brian cut with the trio over the next decade as well as a couple of later sides by two of the girls (as American Spring) can be heard here.

Brian also produced two exquisite 45s by Sharon Marie (purportedly Mike Love's then current flame) including Thinkin' About You Baby, which, with amended lyrics and a new title, Darlin', became a hit for the Beach Boys four years later. Sharon Marie vanished from the radar and it's likely that her two Capitol 45s were a pleasant diversion for a young life that found fulfilment elsewhere.

Other highlights include the legendary Pamela Jean by the Survivors, a one-off featuring Brian and three of his (non-Beach Boy) buddies in the Dion & The Belmonts mode. It slipped onto the market around the time the Beatles broke through in the States with I Want To Hold Your Hand and was almost immediately overtaken by events.

There's also Glen Campbell's beauteous Guess I'm Dumb and both sides of Gary Usher's solo vocal 45, Sacramento c/w That's The Way I Feel, which is as infectious as it is rare. Then there is the legendary Rachel & The Revolvers rarity, The Revo-Lution c/w Number One, co-produced by Usher and Brian in August 1962, about the time the Beach Boys first made the US Top 20 with Surfin' Safari. Brian and Gary paid a black vocalist named Betty Willis a set fee to lay down the vocal posing as 'Rachel'.

Individually, these records go for a fortune on the collector's market on the rare occasions they turn up. Collectively, they're priceless. A copy of a long-deleted Japanese CD modelled along similar lines recently fetched $237 on E-Bay. PET PROJECTS will cost you a fraction of that and it's state of the art. Every title is taken from the original masters and has a colourful 20 page booklet action-packed with rare photos and an engrossing essay by Rob Finnis. Though they weren't hits and make a stark counterpoint to the world beating triumphs of the Beach Boys, the songs on PET PROJECTS bear the unmistakable mark of Brian Wilson - pop genius.

Ace Records 2003 CD 17.00 €
VA: - Phil Spector - The Anthology 1959-62 2LP
Not Now Music 2013 LP 22.00 €
VA: - Phil Spector - The Early Productions
In the early 60s, pop was a hidden industry whose interface with the public existed only at performance level. The big money wasn’t around then and the record game wasn’t seen as a legitimate vocation for sons and daughters. In this subterranean milieu, income depended on factors that were both difficult to predict and control and it seemed a safer bet becoming a lawyer, a doctor or a dentist.

This was the awesome challenge facing 21 year-old Phil Spector as he barnstormed his way through recording circles, making an immediate impact with major hits such as ‘Spanish Harlem’ (Ben E King), ‘Pretty Little Angel Eyes’ (Curtis Lee) and ‘Corinna Corinna’ (Ray Peterson).

It all began for Spector with the Teddy Bears, an ad hoc vocal group he organised as a vehicle for his songs back in 1958. Events had moved fairly quickly in his life since he’d moved with his mother and sister from the Bronx to Los Angeles in 1953. By the time he’d graduated from Fairfax high School in 1957, Spector had become proficient on the guitar and turned his hand to song writing. Some crudely recorded demos including ‘Don’t You Worry My Little Pet’ (heard here) caught the attention of Doré Records who sanctioned further recordings resulting in the worldwide hit ‘To Know Him Is To Love Him’.

Riven by personality conflicts, the Teddy Bears soon disbanded and Spector teamed up with Lester Sill and Lee Hazlewood, the force behind twangy guitarist Duane Eddy’s hits. Placed in charge of Sill’s new signing Kell Osborne, Spector wrote and produced the gritty ‘That’s Alright Baby’. Spector then expressed a desire to move back East. As a favour to their old mentor, Jerry Leiber and Mike Stoller agreed to look after him. Alternating between coasts, Spector recorded the Paris Sisters, a vocal trio signed by Sill. His faith in Spector was more than justified when the trio’s ‘I Love How You Love Me’ climbed to #5.

Following a short stop at Liberty records – the only official staff post he ever held – Spector walked away to concentrate on his own Philles label. Four years had lapsed since he’d stepped untrained into a recording studio with three friends to record a hit almost by chance. Since then, he’d learned his craft, paid his dues and finally become his own boss. Now, at 23, he had the industry in the palm of his hand and only himself to account to.

“Phil Spector: The Early Productions” covers this formative phase of Spector’s career without duplicating too many hits available on other Ace comps. 12 of the generous 28 tunes are new to CD and both the sequencing and mastering make them a delight to the ear while the booklet is a presentational tour de force. Let’s remember him this way rather than the other.

By Rob Finnis (Ace Records)
Ace Records 2010 CD 18.00 €
VA: - Phil Spector's Flips And Rarities
30 tracks
PS 001 1994 CD 18.00 €
VA: - Phil's Spectre - A Wall Of Soundalikes
Phil Spector's vision rose far above anhimself as the sole occupant of a parallel recording universe where his was the only way, and everyone else was nowhere. This, to a large degree, was what made him 'different' and 'difficult' in equal measure.

beyond that of any of his contemporaries. In fact, Spector saw One only has to hear the absorbing out-takes from some of his Philles sessions to gain an insight into the man. Hovering authoritatively in the control room at the fabled Gold Star studios, he is by turns, cocky, amusing and skittish depending on the mood of the moment. Above all, he is endlessly patient. As take after take is aborted (over 30 on Be My Baby) and the massed musicians, numbed by repetition, are audibly beginning to wilt, Spector acts as a calming presence, nonchalantly easing them into one take after another, as though their interests, as much as his, were at stake.

It took a unique man to create such historic sounds and, given his commercial success, he was bound to attract imitators.

Sundry producers, artists, songwriters and arrangers attempted to hitch a ride on the Spector bandwagon in the period spanning, roughly, 1963-1967. Some of them came tantalisingly close to getting it right, most notably those who had actually worked alongside Spector such as Sonny Bono, Nino Tempo, Jack Nitzsche and the Righteous Brothers, all of whose work is amply represented here. Others were too conventional in their approach to get it right.

Ace are justifiably proud of this release which brings together 24 of the finest mirror images of the Spector Sound. Assembled with artful deliberation by Mick Patrick and Tony Rounce, Phil'S Spectre reflects the variation in tone, colour and density that characterised Spector's own work. (Not all of Spector's productions were quite as blockish as posterity will have you believe. Take I Love How You Love Me by the Paris Sisters or Walking In The Rain by the Ronettes. These are records as subtle as you are likely to hear.)

A few tracks alone warrant the purchase of this CD. Carol Connors' My Baby Looks (But He Don't Touch) features the lady who sang lead on the Teddy Bears' To Know Him Is To Love Him being produced by another ex-Teddy Bear, Marshall Leib.

Leib also produced Alder Ray's A Little Love (Will Go A Long Way), arguably the most accurate Spector facsimile of them all. Leib once claimed he knew better than most Spector's thought processes in the studio and, on this evidence, he may have a case.

Then there's Yes Sir That's My Baby by Hale & The Hushabyes, a legendary studio concoction masterminded by Jack Nitzsche that features Edna Wright (aka Sandy Wynns) singing lead, with the Blossoms, Sonny & Cher, Jackie DeShannon and Brian Wilson, among others, buried in the massed chorus.

Carol King and Gerry Goffin wrote I Can't Make It Alone with the Righteous Brothers in mind but P J Proby got to cut it first. I subscribe to Nick Cohn's view that Proby ranks among the finest pop vocalists of the rock era. This majestic 45 was cut in LA after Proby had temporarily returned to America in 1966 following a spate of bad publicity in the UK. Jack Nitzsche's spectacular production reflects the Righteous Brothers' influence and Proby's vocal does it justice. This is the first time the 45 single version (on which Proby duets with himself) has been released on CD.

Even mighty Motown was not averse to casting a nod in Spector's direction - step forward the Supremes! As Mick Patrick tell us, their Spector-ish Run, Run, Run (a Holland, Dozier, Holland song), was recorded in May 1963, a time when Motown had yet to establish a definitive 'sound' of its own and occasionally looked to rivals such as Spector or the Cameo label as a source of inspiration. Holland, Dozier, Holland also penned Too Hurt To Cry, Too Much In Love To Say Goodbye, by the Darnells, a Motown one-off from 1963 featuring Gladys Horton of the Marvelettes moonlighting as lead vocalist. The set closes with Please Phil Spector, a fun item with an odd little history of its own. Written and sung as a throwaway by New Yorker Mike Lendell, it was licensed to a small US label as the intended B-side of Washington Square, a Lendell production the company never got around to actually issuing. However, somehow, in 1967, the record surfaced in the UK on the Phillips label credited to a non-existent band, the Attack (unconnected with the British band of the same name). Even Lendell himself was unaware, until recently, that his aborted US 45 had made it to the UK.

The booklet, as glossy and colourful as a fashion supplement only more absorbing, contains the full low-down on each title together with matching illustrations. We should mention this fond and glorious homage to the great producer was in Ace's pipeline long before Uncle Phil's tribulations reverberated around the world.

Rob Finnis (Ace Records
Ace Records 2003 CD 17.00 €
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