Young At Heart
Young At Heart
Result of your query: 1079 products
|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
|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 €
|VA: - Phil's Spectre II : Another Wall Of Soundalikes
|Ace Records 2005||CD||17.00 €
|VA: - Philadelphia Pop - Rockin' And Croonin' On Bandstand 1957-59
After the initial rise of rock and roll, and with thanks to the power of TV the city of Philadelphia briefly became the centre for a new kind of teenage pop music with acts like Frankie Avalon, Fabian and Bobby Rydell who dominated the charts in the late '50s.
Featuring recordings made between 1957 and 1959 including such classics as 'At the Hop', 'Venus', 'Butterfly' and 'Tallahassee Lassie'.
Virtually every one of the 44 tracks on this great set was a chart record either in America or the UK, often both!
Fully detailed liner notes chart the rise of Philadelphia's influence thanks to the popularity of the TV show 'American Bandstand'.
Price: £8.99 / $14.83 / €10.10
1. CHARLIE GRACIE - BUTTERFLY
2. CHARLIE GRACIE - FABULOUS
3. CHARLIE GRACIE - WANDERIN' EYES
4. DANNY AND THE JUNIORS - AT THE HOP
5. BILLY AND LILLIE - LAH DEE DAH
6. FRANKIE AVALON - DE DE DINAH
7. THE SILHOUETTES - GET A JOB
8. CHARLIE GRACIE - COOL BABY
9. DICKY DOO AND THE DON'TS - CLICK CLACK
10. DANNY AND THE JUNIORS - ROCK AND ROLL IS HERE TO STAY
11. JOHN ZACHERLE (THE COOL GHOUL) - DINNER WITH DRAC
12. FRANKIE AVALON - YOU EXCITE ME
13. DICKY DOO AND THE DON'TS - NEE NEE NA NA NA NA NU NU
14. DANNY AND THE JUNIORS - DOTTIE
15. FRANKIE AVALON - GINGERBREAD
16. CHARLIE GRACIE - LOVE YOU SO MUCH IT HURTS
17. DICKIE DOO & THE DON'TS - LEAVE ME ALONE
18. FRANKIE AVALON - I'LL WAIT FOR YOU
19. THE APPLEJACKS - MEXICAN HAT ROCK
20. FRANKIE AVALON - WHAT LITTLE GIRL
21. BILLY AND LILLIE - LUCKY LADYBUG
22. THE APPLEJACKS - ROCKA CONGA
1. FABIAN - I'M A MAN
2. FRANKIE AVALON - VENUS
3. BOBBY RYDELL - PLEASE DON'T BE MAD
4. FABIAN - TURN ME LOOSE
5. BOBBY RYDELL - ALL I WANT IS YOU
6. FRANKIE AVALON - BOBBY SOX TO STOCKINGS
7. FRANKIE AVALON - A BOY WITHOUT A GIRL
8. CHUBBY CHECKER - THE CLASS
9. FREDDY CANNON - TALLAHASSEE LASSIE
10. BOBBY RYDELL - KISSIN' TIME
11. FABIAN - TIGER
12. FRANKIE AVALON - JUST ASK YOUR HEART
13. FREDDY CANNON - OKEFENOKEE
14. FABIAN - COME ON AND GET ME
15. FRANKIE AVALON - TWO FOOLS
16. BOBBY RYDELL - WE GOT LOVE
17. BOBBY RYDELL - I DIG GIRLS
18. FREDDY CANNON - WAY DOWN YONDER IN NEW ORLEANS
19. FRANKIE AVALON - WHY
20. FABIAN - HOUND DOG MAN
21. FABIAN - THIS FRIENDLY WORLD
22. BOBBY RYDELL - LITTLE BITTY GIRL
|Jasmine Records 2010||CD||13.00 €
|VA: - Piccadily Story 2CD
|Sequel Records 1993||2-CD||20.00 €
|VA: - Ponterosa
samaisen kotimaisen leffan soundtrack
|Edel Records 2000||CD||9.00 €
|VA: - Pulp Fiction
||MCA Records 1994||CD||10.00 €
|VA: - Radio Gold Vol. 1
|Ace Records 1992||CD||18.00 €
|VA: - Reefer Madness - A Collection Of Vintage Drug Songs 1927-45
18 tracks. nice digipack sleeve
|Buzzola 2004||CD||15.00 €
|VA: - Rhythm & Booze Blasters
Nattsudds-Röjare. 22 Drinking and smoking songs
|VA: - Riding The Curl - The Surf Music Explosion 1958-61
It's been said that surfing is the only sport with its own particular genre of music. It sprang up in the years between 1958 and 1961 along the southern Californian coastline; a new lifestyle around which a whole culture evolved.
Surf music was inspired by the likes of The Ventures and Link Wray and then pioneered by the reverb-drenched guitars of Dick Dale and a legion of loud, primitive local bands such as the Bel-Airs, whose ‘Mr. Moto’ was one of the genre's early anthems.
The second half of this set is devoted to Bud Shank's remarkable music for Bruce Brown's exhilarating debut surfing movie, Slippery When Wet.
Brown chose a modern jazz scoring because he felt it would be new and different and his judgement was good. The Quartet improvised the music while actually watching the film, giving the musicians freedom to express more clearly the actual thrill of the surfer than any pre-written score.
|Cherry Red Records 2012||CD||15.00 €
|VA: - Rock In Germany
25 tracks R&R from Germany 1957-1963
|Bear Family 2006||CD||17.00 €
|VA: - Rock You Sinners
Somewhere between the explosion of Elvis and the young Andrew Loog Oldham's disappointment at the UK tour by Bill Haley and The Comets came a uniquely British reaction which had been to be honest evilly brewing for a while in the most unlikely Jazz circles. So a disparate crew of ex-jazzers, crazies, showbiz stalwarts and Soho skiffle kids thought that they too could Rock'n'Roll! And why not? Soon enough and hot on the heels a technicolour 3D Expresso Bongo world of 2 i's, Six-Five Specials and Oh Boys would spring from the brow of Jack Good abd his cohorts...meanwhile, go back with us to the Year(s) Zero of an artform which would take over the world. British Rock'n'Roll (and see if you too can spot that Lady Madonna in the Bad Penny Blues courtesy of a young Joe Meek!)
|Rev Ola 2007||CD||17.00 €
|VA: - Rock Your Baby
t’s an odd truism in music that the songs that last the longest aren’t the Grammy winners, or the Mull of Kintyres or the multi million-selling soundtracks, but the songs that are sung in the playground and passed down from generation to generation. Maybe things have changed since I was a loveable scamp, but certainly in the 70s I was gleefully singing songs about the various bells of London or mass death via the plague. Just as oddly, if I were somehow elevated a minimum of two inches higher than my classmates I would proudly declare them dirty rascals, despite the fact this hadn’t been an effective insult for over a century. Perhaps today a government department sponsored by an alcopop manufacturer gives credits according to which corporate-owned nastiness kids choose to jig about to, but I for one hanker after a more innocent time. Which is exactly where this album comes in.
I love my kids, really I do. Even when I think I don’t, deep down I know I do. I love my kids and I love my car and I love my music, so this album was put together for those infuriating long journeys and those infuriating short journeys, when Clive and Natasha are creating in the backseat. We all fancy a singalong but I’m not in the mood for the tweenies, but I am in the mood for a long list of names that almost rhyme with food, or songs about idiot amphibians or dance tunes about monkeys. This will keep us all entertained for a couple of hours, till the little poppets have worn themselves out and I can rest easy, safe in the knowledge that I’m a great dad, and that my kids are entirely fictional.
Which is a relief, as he doesn’t really look much like me and I’m not entirely sure if that’s how you spell her name. So here we go, a new musical curriculum for the young and the simple of mind.
By Mark Lamarr (Ace Records)
|Ace Records 2011||CD||17.00 €
|VA: - Rockin' Boppin' Girls Vol. 2
27 tracks female rockers
|Titanic Records 1994||CD||15.00 €
|VA: - Sadaba - Spoonful Exotic Blues & Rhythm Vol. 6
||Spoonful Records 2013||10" LP||18.00 €
|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 €
|VA: - Santa's Xmas Album
Jingle Bells / Merry Christmas Everyone / Frosty The Snowman / Rudolf The Red Nose Reindeer etc
|Emi 2001||CD||10.00 €
|VA: - Schlager Im Spiegel Der Zeit 1954
||Bear Family 2010||CD||17.00 €
|VA: - Schlager Im Spiegel Der Zeit 1955
||Bear Family 2010||CD||17.00 €
|VA: - Schlager Im Spiegel Der Zeit 1957
||Bear Family 2010||CD||17.00 €
|VA: - Schlager Im Spiegel Der Zeit 1959
||Bear Family 2010||CD||17.00 €
|VA: - Schlagers
|BR Music 2005||DVD||9.00 €
|VA: - Shadow Morton Story - Sophisticated Boom Boom
“Producers are quirky, conceptual people,” David Johansen of the New York Dolls once said. Few fit that description better than George “Shadow” Morton, whose career we celebrate in this latest addition to our long-running Producers series.
When news reached Shadow this collection of his productions was in development, he let it be known he would like to be involved in the project. I was provided with his email address, along with a password for use in the subject line of all communications, to guarantee a response. I fired off a quick (quite gushing) email asking for an official interview, to which he readily consented, requesting that I address him as Shadow. Over the ensuing months, I sent some leading questions, which he duly answered, although his replies were invariably a long time coming. He deserved that nickname of his, I thought. With a trip to the USA on my horizon, in hope of moving things along, I plucked up the courage to phone and ask if it would be possible to meet in person, to which he again agreed. Then nothing. My trip came and went and further emails remained unanswered. My initial disappointment turned to sadness a few months later when I heard Shadow had died.
The fruits of our unfortunately curtailed correspondence are contained in the CD’s accompanying booklet, together with excerpts from earlier interviews conducted by Richard Arfin, Bob Goodman, Lenny Kaye, Ralph M Newman and Genya Ravan, all of whom deserve commending for jobs well done. Our combined efforts enable the enigmatic producer/songwriter’s story to be told in full for the first time.
The collection covers Shadow’s career from his debut as lead vocalist with the Markeys and the Lonely Ones through to the New York Dolls’ “Too Much Too Soon” album. Also included are tracks by the Beattle-ettes, Shangri-Las, Goodies, Ellie Greenwich, Shaggy Boys, Nu-Luvs, Janis Ian, Blues Project, Vanilla Fudge, Vagrants, Iron Butterfly and Mott The Hoople – everything from 1950s doo wop to 1970s glam-punk via girl group melodramas and Long Island psychedelia. In other words, a very varied listening experience.
Along with a 12,000-word essay, the sumptuously illustrated 36-page booklet features many rare photographs, including some supplied by the Morton family.
By Mick Patrick (Ace Records)
|Ace Records 2013||CD||20.00 €
|VA: - Sing You Sinners - 1940 Lux Radio Theater Broadcast
Spokane #8. The Complete Lux Radio Theater broadcast of January 15, 1940 over CBS. Starring Bing Crosby, Ralph Bellamy, Elizabeth Patterson.
still sealed copy
|Spokane Records||LP||12.00 €
|VA: - Smash Boom Bang ! Songs And Production Of Feldman Goldstein
As a songwriting collective their surnames were never likely to trip off the tongue as smoothly as a Mann & Weil, a Goffin & King or even a Boyce & Hart. In fact, to the uninitiated, Feldman-Goldstein-Gottehrer sounded more like a high-powered law firm than three New York-based writer-producers who hit a winning streak with their highly stylised productions and artful songs in the mid-60s.
Together for a mere four years, Bob Feldman, Jerry Goldstein and Richard Gottehrer were mavericks, a trio of Jewish musketeers who never took themselves quite as seriously as some of their peers and seemed to have a lot of fun testing the limits as they made their way in the music business. And where others saw their careers stutter and stall in the wake of Beatlemania’s new frontiers, F-G-G rode the crest of the new wave as though they were part of it – which, to some extent, they were.
What really distinguished F-G-G was the hard-edged kinetic energy of their productions, whose bruising headlong thrust was propelled by the drummer (usually New York session pro Herb Lavelle) surrounded by a massed welter of percussion effects. Their work in the studio was also characterised by a keen sense of spatial awareness with lots of air and ambiance playing their part. Yet, for all this, the trio were just as easily capable of switching to the opposite extreme, penning tender soul ballads of blissful sophistication such as ‘The Drifter’ (recorded by Ray Pollard in 1965) and ‘Giving Up On Love’ (a hit for Jerry Butler in 1964).
Best of all, they had few pretensions. Where Mann & Weil saw themselves as potential heirs to the great Broadway writers, harbouring, as did many of their peers, ambitions of breaking into legitimate musical theatre, F-G-G owed more to Chuck Berry, Bo Diddley and Jerry Lee Lewis than to George Gershwin or Frank Loesser.
The trio hit their stride in the mid-60s with a varied portfolio that included the #1s ‘Hang On Sloopy’ by the McCoys and ‘My Boyfriend’s Back’ by the Angels - and several chartmakers by the Strangeloves, the selfsame threesome masquerading as a rock band. Initially, they specialised in girl groups – some real, some fabricated – and applied their distinctive touch to every one before moving into the rock field.
“Smash, Boom, Bang!” is exciting stuff from end to end, much of it new to CD and all held together by the distinctive F-G-G production imprimatur. This collection comes to you with the full co-operation and involvement of Feldman, Goldstein and Gottehrer themselves and comes with a sumptuous 28-page booklet packed with rare memorabilia.
By Rob Finnis (Ace Records)
|Ace Records 2012||CD||18.00 €
|VA: - Smoke That Cigarette
1-CD digipack with 52-page booklet, 32 tracks, playingtime :87:34) 30 vintage cigarette-related recordings from 1940s & '50s Unprecedented combination of hillbilly and pop music, including ultra-rare tracks Includes original cigarette ads from Golden Age of radio Fully illustrated notes on society's changing views towards cigarette smoking -- As long as people have smoked cigarettes, they have written and sung songs about them. And few things have changed as dramatically as our attitudes towards smoking and smokers. Those changing attitudes are reflected in the unique collection of Smoking Songs we present here. It's a pretty amazing cross section at that, drawn mostly from the 1940s and '50s with an emphasis on hillbilly and pop music. No matter how you slice it, this is the first time that Frank Sinatra, Rev. J. M. Gates and Little Jimmy Dickens have appeared on the same compilation. And you can throw in Patsy Cline and Homer & Jethro for good measure. And what could bring them together as easily as cigarettes' -- Sit back and listen as smoking and cigarettes changed from telling the world how sexy and sophisticated you are to' well, let's just say to something less than socially desirable. Back a half a century ago that cigarette turned you into a cool, hard-boiled chick magnet. The woman' Smoking made her an alluring creature of mystery, as smoke swirled all around her. The cigarettes' They started out as sleek and romantic phallic symbols, and ended up being toxic and deadly ' colloquially referred to as 'cancer sticks.' -- All this happened almost overnight, and there is no shortage of music to document it. In addition to 30 wonderful tracks, we include some vintage cigarette ads from the Golden Age of radio. Remember, nine out of 10 doctors agree that smoking is good for you. Whether you want to be John Wayne, Marlon Brando or Frank Sinatra, the quickest path to ultra-cool is that pack of smokes in your hand. And here are the songs to prove it. Many of these tracks are quite rare, including Peggy Lee's original version of her classic tune, Don't Smoke In Bed, or the extraordinary 1939 recording of Rev. J. M. Gates' sermon about the evils of a SmokingWoman In The Street. This memorable collection also includes humorous and informative notes on society's changing views towards cigarette smoking by music historian Hank Davis, accompanied by an assortment of smoky vintage images.
|Bear Family 2010||CD||18.00 €
|VA: - So begann der Rock'n'Roll 3CD
Eine Zeitreise zu den Ursprungen des Rock n Roll.
|Cruiser Records 2004||CD-Box||12.00 €
|VA: - So Much Love - A Darlene Love Anthology 1958-1998
24 gems from the remarable recording career of queen bee session singer turned Broadway star Darlene Love, featurin solo sides, tracks fronting the Blossoms in their various guises, movie soundtrack songs and tree great previously unissued performances
|Ace Records 2008||CD||17.00 €
|VA: - Soda Pop Babies
28 biisiä naisartisteja
|Classics Records||CD||15.00 €
|VA: - Soda Pop Babies Vol. 2
||Classics Records 2012||CD||17.00 €
|VA: - Soda Pop Babies Vol. 3
30 great girl teeners performed by original artists from late 50's to early 60's. Included is an exclusive 40 pages booklet with pictures and info about the artists.
|Classics Records 2013||CD||17.00 €
|VA: - Something Good From The Goffin & King Songbook
A new volume in Ace’s Songwriters series is always a cause for celebration, and all the more so when the writers concerned are Gerry Goffin and Carole King. As arguably the greatest of the so-called Brill Building teams, their catalogue is unmatched in its quality and hit-rate. No songwriters of the era articulated the emotions of adolescence and the pains of teen-dom with quite the same mix of innocence and sophistication of Goffin and King; they were, after all, still teenagers themselves when they were crafting much of this material, so were experiencing the same emotions as their audience. Even so, you might think that, this being Ace’s third collection of their compositions, the well of hits might have run dry. But then “Something Good” opens with the Drifters’ joyous ‘At The Club’ (the superior and rarely heard single version) and you know that once again Mick Patrick and Tony Rounce have served up another peerless compilation of classics, near misses and lost obscurities.
You’ll find hits aplenty on “Something Good”, including essential recordings from the Chiffons (‘One Fine Day’), the Byrds (‘Goin’ Back’) and the Cookies (‘Don’t Say Nothin’ Bad (About My Baby)’). But, as is their way, the compilers have again taken the path less travelled, usually plumping for a more obscure interpretation (or, more often, an earlier recording) of a catalogue favourite. Thus we get Bunny Sigler’s version of ‘Will You Love Me Tomorrow’ over the Shirelles’, ‘The Loco-Motion’ interpreted by Dee Dee Sharp rather than Little Eva, and a version of ‘It Might As Well Rain Until September’ from Bobby Vee instead of Carole’s own take. Whether this is by design isn’t clear (or particularly relevant), but boy, it ain’t half refreshing.
Revelations also come thick and fast. Bobby Goldsboro’s warm, optimistic ballad ‘The Time For Us’ is new to me, and is the only known recording of this number. At the other end of the spectrum is the Eccentric’s’ (that’s not a typo!) ‘What You Got’, a snotty, clangourous freakbeat gem apparently modelled very closely on Carole’s original demo. She could turn her hand to anything, it seems. And it’s always a joy – though one tinged with melancholy – to hear Lesley Gore’s ‘The Old Crowd’, a vibrant yet achingly wistful rumination on lost youth, and for me as good as anything Gerry & Carole wrote.
The sleeve notes tell the story behind each recording, and the booklet is brimful with the kind of photos and details you come to expect from Ace. The CD’s strapline indicates that this third instalment of the Goffin & King songbook might just be the best one yet. Who am I to argue?
By Harvey Williams (Ace Records)
|Ace Records 2012||CD||17.00 €
|VA: - Songs To Howl At The Moon By
Original Children's Music. Performed by Jon Dee Graham Bob Schneider Steve Poltz Matt the Electrician Scrappy Jud Newcomb Billy Harvey
|Freedom Records 2006||CD||15.00 €
|VA: - Sound Of Music - Original Soundtrack
40th anniversary special edition.
For 40 years, THE SOUND OF MUSIC has been bringing families together to sing and rejoice in one of the most beloved musicals of all time. two bonus tracks + interview
|Sony BMG 2005||CD||10.00 €
|VA: - Spanish Eyes / Moon Over Naples
|Bear Family 2003||CD||17.00 €
|VA: - Spisar Party 1957-1964
||Star Club Records 2009||CD||15.00 €
|VA: - Stora Schlagerboxen Vol. 2 4CD
Denna lyxiga 4 CD-box är uppföljaren till vår populära, slutsålda, första volym av Stora Schlagerboxen! Även denna gång har vi valt 100 av de schlagersångerskor och grupper som presenteras i Stora Schlagerboken. Bland dessa finns även några vassa från DK, N och SF!
4 tidigare outgivna låtar kryddar boxen som bonusspår!
Varje artist, oavsett popularitet, presenteras med endast en låt vardera. På så vis får vi äntligen höra många artister som aldrig annars spelas i vare sig radio eller funnits utgivna på CD.
En påkostad 48-sidig booklet i färg medföljer - med massor av memorabilia och tidigare ej visade fotografier. Stora Schlagerbokens författare Hans Olofsson har skrivit låtkommentarer till samtliga spår.
48 sidor booklet
Illustrerad i färg
Hardcover, 125x280 mm
|Prenium Publishing 2008||CD-Box||45.00 €
|VA: - Straight To Hell Returns: Original Soundtrack
28 biisiä - cult offbeat spagetti western leffan soundtrack vuodelta 1987
|Ace Records 2004||CD||18.00 €
|VA: - Svenska Klassiker 1970-1979
|Diesel Music 1991||CD||10.00 €
|VA: - Svenska Schlagervinnarna 1958-2002 2CD
|Bmg 2003||CD||15.00 €
|VA: - Sweet Inspiration - The Songs Of Dan Penn & Spooner Oldham
We have received many requests to add Dan Penn and Spooner Oldham to our songwriter series. It’s never really been about if we would, so much as when. With 2011 being something of a “Year Of Southern Soul” for Ace and Kent, what better way to kick it off than with a genius gathering of 24 of the best songs ever to bear their names below the title.
“Sweet Inspiration” does a bang-up job of assembling the key songs Dan and Spooner wrote together during the 1960s and early 1970s. A quick look at the track listing will show prospective buyers that my co-compiler Bob Dunham and I have tried hard to make sure that there’s a version of every major Penn and Oldham composition included. We haven’t always chosen the obvious versions, so there will be some nice surprises here for even the most avid collectors. It was difficult to bring what started out as a massive wish list down to just 24 selections, but we think our choices do justice to the performers of the songs and, most importantly, the writers.
Everyone will have their own highlights. Mine would include Arthur Conley’s Fame recording of ‘In The Same Old Way’ (which was originally written as a straight ahead country song) and country thrush Jeanne Newman’s riveting, previously unissued Goldwax recording of ‘It Tears Me Up’, one of the earliest songs Penn and Oldham wrote together. I’m also very partial to the Southern sincerity of the Box Tops’ ‘Everything I Am’ (a UK Top 3 hit for Plastic Penny in late 1967) and Tommy Roe’s little-known 1966 take on ‘Wish You Didn’t Have To Go’, a number made more famous a year later by James and Bobby Purify. But greatness abounds from beginning to end of this set, and it’s unlikely that any prospective purchaser will not be totally impressed by everything it contains.
A companion volume – which will also include songs co-written by Dan and/or Spooner with collaborators such as Donnie Fritts, Rick Hall, Marlin Greene and Chips Moman – will hopefully see the light of day next year. In the meantime, here’s over an hour of the sweetly inspired songwriting of Wallace Daniel Pennington and Lindon Dewey Oldham. Oh, what a power!
By Tony Rounce (Ace Records)
|Ace Records 2011||CD||17.00 €
|VA: - Tabu Vol. 3 - Exotic Music To Strip By !
||Paris Hollywood Records 2011||LP||18.00 €
|VA: - Tanze Mit Mir In Den Morgen
Ausgewählt von den Hörern von Radio. 88.8 Berlin
|Bear Family 1993||CD||17.00 €
|VA: - Tee-Vee Tops
Die Songs und Originale aus der TV-Werbung.
|Gee Dee Music 1996||CD||12.00 €