Doo wop / Vocal groups
Hakutulos yhteensä: 1240 kpl
| VA: - Music City Vol. 1 23 biisiä |
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Titanic Records 1997 | CD | 18.00 € |
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| VA: - Music City Vol. 2 23 biisiä |
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Titanic Records 1997 | CD | 18.00 € |
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| VA: - My Doo-Wopp Collection - The Black Group Sound Vol. 1 30 tracks compilation of some of the rarest doo-wop recordings ever made |
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Live Gold 1996 | CD | 19.00 € |
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| VA: - My Doo-Wopp Collection - The Black Group Sound Vol. 2 30 biisiä |
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Live Gold 1996 | CD | 19.00 € |
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| VA: - My Doo-Wopp Collection - The Black Group Sound Vol. 3 30 biisiä |
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Live Gold 1996 | CD | 19.00 € |
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| VA: - New York City To L.A. Acappella All The Way ! The Ad-Libs, The Hudsons, The Atlantics, The Variations |
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Acappella Records | LP | 13.00 € |
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| 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. |
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Bear Family 2010 | CD-Box | 200.00 € |
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| VA: - Nostalgi Volym Tre 20 biisiä |
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Universal Music 2000 | CD | 15.00 € |
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| VA: - Oh Boy ! The Brunswick Story 2CD |
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One Day Music 2012 | CD | 9.00 € |
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| VA: - Old Town Doo Wop Vol. 2 28 biisiä vuosilta 1954-1960 |
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Ace Records 1993 | CD | 17.00 € |
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| VA: - Old Town Doo Wop Vol. 3 28 biisiä vuosilta 1955-1958 |
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Ace Records 1993 | CD | 17.00 € |
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| VA: - Old Town Doo Wop Vol. 4 |
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Ace Records 1994 | CD | 17.00 € |
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| VA: - On My Merry Way - Essential Doowop 24 biisiä |
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Blue / Spv 2007 | CD | 12.00 € |
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| VA: - On Vine Street - The Early Songs of Randy Newman 26 biisiä |
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Ace Records 2008 | CD | 18.00 € |
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| VA: - Original Up-Town Divas 18 tracks, 60 min Gladys Knight, Dusty Springfield, Dionne Warwick, Tina Turner, Tanya Tucker, Susan Anson.. |
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GMVS 2004 | DVD | 9.00 € |
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| VA: - Over The Top Doo Wops Vol. 1 |
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El Toro Records 2012 | CD | 15.00 € |
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| VA: - Phenomenal 45's Vol. 1 24 tracks 50's and 60's Vocal Group Rarities |
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Rendezvous Entertainment 1994 | CD | 18.00 € |
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| VA: - Phenomenal 45's Vol. 2 21 tracks 50s and 60s vocal group rarities |
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Rendezvous Entertainment 1995 | CD | 18.00 € |
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| VA: - Phenomenal 45's Vol. 3 21 tracks 50s and 60s vocal group rarities |
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Rendezvous Entertainment 1995 | CD | 18.00 € |
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| VA: - Phenomenal 45's Vol. 4 21 tracks 50s and 60s vocal group rarities |
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Rendezvous Entertainment 1995 | CD | 18.00 € |
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| VA: - Phenomenal 45's Vol. 5 21 tracks 50s and 60s vocal group rarities |
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Rendezvous Entertainment 1995 | CD | 18.00 € |
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| VA: - Phenomenal 45's Vol. 7 21 tracks 50s and 60s vocal group rarities |
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Rendezvous Entertainment 1995 | CD | 18.00 € |
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| VA: - Phenomenal 45's Vol. 8 21 tracks 50s and 60s vocal group rarities |
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Rendezvous Entertainment 1995 | CD | 18.00 € |
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| VA: - Phil Spector - The Anthology 1959-62 2LP |
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Not Now Music 2013 | LP | 22.00 € |
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| 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) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Phil Spector's Flips And Rarities 30 tracks |
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PS 001 1994 | CD | 18.00 € |
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| 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 |
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Ace Records 2003 | CD | 17.00 € |
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| VA: - Phil's Spectre II : Another Wall Of Soundalikes 24 biisiä |
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Ace Records 2005 | CD | 17.00 € |
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| 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 Quantity: Disc 1 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 Disc 2 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 |
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Jasmine Records 2010 | CD | 13.00 € |
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| VA: - Philadelphia's Doo-Wop Sound - Swan Masters Vol. 2 22 biisiä vuosilta 1958-1965 |
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Deejay 1996 | CD | 17.00 € |
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| VA: - Please Pop Let Me Go To The Hop |
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Teen Time Music 1998 | CD | 15.00 € |
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| VA: - Profile Records Story |
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Floating World Records 2011 | CD | 9.00 € |
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| VA: - Radio Gold Vol. 1 30 biisiä |
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Ace Records 1992 | CD | 18.00 € |
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| VA: - Radio Gold Vol. 2 30 biisiä |
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Ace Records 1993 | CD | 18.00 € |
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| VA: - Radio Gold Vol. 4 30 biisiä |
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Ace Records 2001 | CD | 17.00 € |
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| VA: - Radio Vintage |
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Vintage Music | CD | 12.00 € |
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| VA: - Ramblin' Vol. 3 26 Hot Rockin' Blues Boppers |
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RM | CD | 20.00 € |
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| VA: - Rarest Of The Rare Vol. 14 - Doo Wop Tune Up 24 rare doo wop tracks |
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Crystal Ball Records 2005 | CD | 20.00 € |
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| VA: - Rarest White Groups Vol. 2 25 biisiä valkoisia lauluyhtyeitä |
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Freddie 2003 | CD | 19.00 € |
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| VA: - Real Thing - The Songs Of Ashford, Simpson & Armstead The songs of Nickolas Ashford and Valerie Simpson could occupy a whole Hall Of Fame to themselves. There can’t be any students of popular music who are not familiar with at least a few of their classics, be they their own hits like ‘Solid’ or those they wrote for Motown’s ‘A’ list artists, such as ‘Ain’t No Mountain High Enough’ and ‘Ain’t Nothing Like The Real Thing’ for Marvin & Tammi and ‘Reach Out And Touch (Somebody’s Hand)’ for Diana Ross. These and many like them are as much a part of our lives as getting up in the morning. Less well known outside of connoisseur soul circles are the songs they wrote in the years immediately leading up to ‘Ain’t No Mountain’, with their original collaborator Joshie “Jo” Armstead. Between 1964 and 1967, the trio collaborated on a significant number of superior songs to provide hits for artists including Chuck Jackson and Maxine Brown, Betty Everett, Aretha Franklin and scores more. This month we celebrate their three-way collaborations with “The Real Thing”, the latest volume in our songwriter series and the first to appear on Kent. This CD brings together just about all of the most notable “JoValNick” compositions and embellishes them with a handful of early songs that Ashford and Simpson wrote without Jo. Given that it’s a Kent CD, the soul content is very high – as well as those already mentioned, others who bring the songs to life include the Crystals, the Coasters, Candy and the Kisses, Tina Britt, the Shirelles, the Apollas, Marie Knight and blue eyed soulster Ronnie Milsap. (The inclusion of many of those and other equally notable names will ensure that it also goes straight onto the shopping list of every girl group aficionado…) And as for those songs, there and many among those who will buy it who will not be familiar with at least one version of ‘Let’s Go Get Stoned’, ‘Running Out’, ‘Cry Like A Baby’ or ‘You’re Absolutely Right’. These are part of the very fabric of 60s soul and it would be impossible to imagine life without them after almost 45 years! Mick Patrick has maintained the perfect balance between the strikingly familiar and sensationally obscure that we always continue to aim for throughout this series and he is to be congratulated for doing so, given that Nick, Valerie and Joshie worked together for a much shorter period of time than most of those who’ve so far appeared in the series. Valerie and Nick are said to be hard to please when it comes to reissues of their early work, but they can feel justifaibly proud of this splendid revelation of the genesis of their songwriting (as can Ms Armstead). Looks to me like this could be The Real Thing! Ain’t Nothing Like It… By Tony Rounce (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Red Bird Story Vol. 1 2LP 60 original recordings from the celebrated New York label including classic tracks from The Shangri-Las, The Dixie Cups and more. Founded in 1964 by songwriters Jerry Leiber and Mike Stoller, Red Bird Records may only have been operational for three years but during that time the label became synonymous with the 60s girl group sound, particularly due to the success of The Shangri-Las and The Dixie Cups – both of whom scored No.1 hits for Red Bird in its fledgling year. Rising Phoenix-like from earlier try-outs with Tiger (founded in 1962) and later Daisy (in 1963), Red Bird was unique among indie labels in that its output was of a consistently high standard and almost half of its releases made a commercial impact. The secret to Red Bird’s “hit factory” lay in no small part with the chart-topping Brill Building songwriting team of Ellie Greenwich and Jeff Barry who’d previously penned hits for producer Phil Spector’s Ronettes and Crystals. In the years prior to the British Invasion, the husband and wife wrote prolifically for most of the label’s biggest names including the aforementioned Shangri-Las (‘Leader Of The Pack’, ‘Out In The Streets’) and Dixie Cups (‘Chapel Of Love’) The Butterflys (‘Goodnight Baby’), Sam Hawkins (‘Hold On Baby’), The Ad Libs (‘He Ain’t No Angel’) and Andy Kim (‘I Hear You Say’), as well as occasionally recording in their own right. This deluxe two disc set draws together the best of Red Bird along with tracks from its Blue Cat Soul/R&B subsidiary and material from the short-lived Tiger and Daisy affiliates. Carefully compiled and annotated by Roger Dopson, this compilation is a worthy successor to previous volumes incorporating lesser-heard gems alongside the major hits. |
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Charly 2012 | LP | 28.00 € |
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| VA: - Red Bird Story Vol. 2 2LP |
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Charly 2012 | LP | 28.00 € |
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| VA: - Red Bluejeans & Checkerboard Socks Elvis Presley brought a sense of tribal identity to America’s youth when he hit national TV in 1956, although teenage style was happening even before the coming of rock’n’roll. A teenage look was adopted in the same way that “our” music would be when it arrived. In the USA post-war prosperity brought teenage style much earlier than in our war-torn and austere continent, although occupying American forces did leave a certain mark. In Britain we invented the Teddy boy and girl, a sort of working class nose-thumbing to our elders and so-called betters. For us, the advent of rock’n’roll and its attendant style was held back by our very own skiffle craze, a folky off-shoot of trad jazz (chunky knits and corduroy). The froth was not blown off the coffee until well into 1957 on this side of the Atlantic, by which time the teenage “absolute beginner” had truly arrived. And the look was all-American. Carl Lee Perkins was the man responsible for the granddaddy of all these songs about clothes. Born out of an expression heard by Johnny Cash while serving in the military; suggested as a song subject to a bemused Carl; exacerbated by something Carl overheard on a dance floor, and eventually written in the middle of a speed-addled night on a paper potato sack. Carl’s ‘Blue Suede Shoes’ was the first essentially country record to top all three of Billboard’s charts: country & western, R&B and popular. Carl’s meteoric career was the template for most of the early rockabilly exponents: full of wild highs and tragic lows. It’s true to say that despite its longevity, phenomenal influence over much that followed, including the Beatles, and its star-crossed nature, Carl's career would never quite rise beyond the reputation of that first massive hit. This album brings the original ‘Blue Suede Shoes’ to the Ace canon for the very first time. Can you believe that? Our opening song (and album title) would have found record-hungry European teens of ’57 somewhat confused – an example of creative juxtaposition perhaps? Red blue jeans? But of course, with time came the clarification of all things spoken hep. Back in those days, and for some time to come, our brothers and sisters across the Pond called all jeans bluejeans (one word). Sometimes they called them Levi’s, but in the UK in the late 50s that description meant even less. So, of course, we have blue jeans … and they’re red! ‘Red Bluejeans And A Pony Tail’ was, of course, the successor to a hit from the previous year where we first heard of this strange apparel, in Gene Vincent’s very first release, ‘Be Bop A Lula’: “She’s the gal in the red bluejeans, She’s the queen of all the teens.” From ‘Blue Suedes’ and ‘Red Bluejeans’ we could have moved in the same direction as pop music tended to do at the time. In the world of the hit parade we had ‘Short Shorts’, ‘Pink Shoe Laces’, ‘Black Denim Trousers’, ‘White Bucks’ and ‘Saddle Shoes’. Not for us such drab garb. Our outfitters have rounded up some ‘Straight Skirts’, ‘Tight Sweaters’, ‘Pink Peg Slacks’, ‘Slim Jims’, ‘Tight Capris’, ‘Penny Loafers’, ‘Squeaky Shoes’, ‘Boy’s Shirts’, ‘Plaid Skirts’, ‘Yellow Pants’, ‘Red and Blue Velvet’, ‘Sun Glasses’, ‘Checkerboard and Knee Socks’ and ‘Bermuda Shorts’. And they all rock their socks off. Yes, with that get-up you better stay out of school. By Brian “Feel The Schmutter” Nevill (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Remember Me Baby - Cameo Parkway Vocal Groups Vol. 1 Before Tamla/Motown, there was Cameo/Parkway. A groundbreaking Philadelphia imprint, the label churned out an astonishing number of huge hits (most written in-house) during its 12-year heyday and turned a gaggle of unknown young locals into stars. Sound familiar? Although primarily remembered for its myriad dance craze hits, the catalogue actually encompasses the whole of rock’s golden era: instrumentals, novelties, doo wop, girl groups, soul, teen idols, British Invasion, garage bands and bubblegum, etc. Label honchos Bernie Lowe, Kal Mann and Dave Appell spared no expense, releasing singles with beautiful colour picture sleeves and flooding the market with an unprecedented torrent of LPs. Cameo-Parkway material has been unavailable for decades, and collectors have waited impatiently for many years for the hits to make their digital debut. A label overview in 2005 and a few subsequent hits packages skimmed the surface. Out this month on Ace are 10 full albums on five CDs, along with a compilation of vocal group classics. The floodgates are now open, and it’s just the tip of the iceberg. Cameo/Parkway’s contributions to the doo wop songbook included hits by classic groups the Dovells, the Tymes and the Rays, but the label also provided a home for genre stars such as the Skyliners, Lee Andrews, the Turbans, the Roomates, the Gainors (with future soul luminary Garnet Mimms) and Pookie Hudson & the Spaniels. “Remember Me Baby: Cameo/Parkway Vocal Groups Vol 1” features those groups and more, a treasury of harmony jewels. By Dennis Garvey (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - Respect - Aretha's Influences And Inspiration Considering she is still such an influence on so many others artists, Aretha Franklin’s own inspirations might have been a little overlooked. This Ace CD addresses that situation perfectly. The 24 R&B, soul and gospel recordings here, many of them performed by Aretha's favourite artists, helped influence and inspire her to become the great artist she is. Aretha recorded a tremendous number of covers over the years. Her choices of the best songs to record in her own way were impeccable. ‘Respect’ is totally different to Otis Redding’s storming original and it established her as the female soul singer to beat for years to come. Likewise Don Covay’s See Saw’, which in her hands proved to be a bigger R&B hit than its writers’ own version. An important influence on Aretha was Little Miss Cornshucks. Obscure to the general public, Ahmet Ertegun named her as his favourite blues singer of all time. Here is her recording of ‘Try A Little Tenderness’ from 1952, generally regarded as the first R&B version of this classic song. Aretha recorded the number for Columbia in 1962. Aretha first heard Ray Charles’ version of ‘Drown In My Own Tears’ (originally cut by Lula Reed) on the radio one night after she had gone to bed. She said she heard his voice coming out of the dark and that she had never heard anything like that before. I’ve a soft spot for the version by the underestimated Jean Wells. Coincidentally Wells is featured here singing Clyde Otis’ ‘Sit Down And Cry’, later recorded by Aretha for her “This Girl’s In Love With You” album. From the same Calla label as Jean’s record comes ‘Prove It’ by the under-recorded Mary Wheeler from 1966, which Aretha cut a year after for the “Aretha Arrives” LP. One of Aretha’s greatest influences was the gospel legend Clara Ward, featured here with ‘The Day Is Passed And Gone’, a song that was among the very first she covered, and sung by her at Clara’s funeral in 1973. As often with Ace compilations an alternate, extended or album cut is used, not just securing sales to completists (join the club!), but giving an interesting slant on well-known or well-loved recordings. This collection is no exception, offering, for example, the stereo LP versions of Otis’s ‘Respect’ and Ben E King’s ‘Don’t Play That Song (You Lied)’, which features the verses in a different order to the single. Other big names include Wilson Pickett with the tremendous ‘I’m In Love’ (Aretha considers Pickett to be one of the great soul singers, and vice versa, if you remember his comments about a party at her house in Only The Strong Survive), Bobby Womack, Howard Tate, Bobby Bland and Dinah Washington. The woman recently named the Greatest Singer of All Time by Rolling Stone magazine certainly has the best of taste. BY JOHN MARRIOTT (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Road To Soul 2CD A selection of 55 songs which present the intensity of African American church music and R&B sounds which helped to shape soul music in the '60s. Includes such major stars as: James Brown, Sam Cooke, Ray Charles, Etta James, Tina Turner and more! Features hit singles like: 'What'd I Say', 'You Send Me', 'Money' and 'Hit the Road Jack'. Fully detailed liner notes on the roots of soul with even more extensive notes available here. |
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Jasmine Records 2012 | CD | 13.00 € |
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| VA: - Rock And Roll Bell Ringers 26 Bell- merkin biisiä |
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Ace Records 2005 | CD | 18.00 € |
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| VA: - Rock On ROCK ON was the first collectors' shop in England to stock almost every style of retro music. This compilation resounded at the Rock On palaces of wax is a turkey-free zone, with a little something for everyone. |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Rock, Rock, Rock 12 biisiä. samaisen leffan soundtrack. |
|
Green Line 1989 | CD | 12.00 € |
|
| VA: - Rockin' and rare Doo Wop Vol. 3 30 biisiä |
|
RDW | CD | 15.00 € |
