Doo wop / Vocal groups
Result of your query: 1249 products
| VA: - Break-A-Way. The Songs Of Jackie DeShannon 1961-1967 Before her own breaktrough as a recording star, jackie DeShannon was one of the most in-demand songwriters of the 60s, providing material for everyone from Brenda Lee to the Byrds. This bumper collection features solo compositions and songs co-writeen with Jimmy Page, Jack Nitzsche and Sharon Sheeley, plus an exclusive previously unheard demo. |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Brooklyn's Doo-Wop Sound - Al Browne's Aljon Masters Vol. 1 24 biisiä |
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Deejay 1996 | CD | 17.00 € |
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| VA: - Brooklyn's Doo-Wop Sound - Al Browne's Aljon Masters Vol. 2 24 biisiä |
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Deejay 1996 | CD | 18.00 € |
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| VA: - Brooklyn's Doo-Wop Sound - Al Browne's Aljon Masters Vol. 3 24 biisiä |
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Deejay 1997 | CD | 17.00 € |
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| VA: - Buck Ram's Doo Wop 26 biisiä |
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Ace Records 1999 | CD | 18.00 € |
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| VA: - Cadillac Records Music from the Motion Picture |
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Sony Music 2008 | CD | 19.00 € |
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| VA: - Califia - The Songs Of Lee Hazlewood This is the latest addition to our high profile Songwriter series. Comprising familiar Lee Hazlewood fan favourites and scarcer titles in equal measure, the set spans Sanford Clark’s Top 10 hit of 1956 ‘The Fool’ (built on a memorable contribution from guitar wizard Al Casey) to 1970’s German language interpretation of ‘And I Loved You Then’ by transcontinental pop princess Peggy March (a song familiar to buffs via Lee's recording on his “13” LP). No such compilation would be complete without Nancy Sinatra and axe-meisters Duane Eddy and Al Casey, with each of whom Lee was inextricably linked. They’re all here. Hazlewood mavens should lap up the titles by the Darlenes, the Hondas, Rose & the Heavenly Tones (produced by Sly Stone, no less) and Lee’s frequent collaborator Suzi Jane Hokom (who gets two collectable cuts, including a duet with him), each of which is new to CD. One of pop’s genuine originals, Hazlewood is lionised by luminaries such as Primal Scream, Beck, the Jesus & Mary Chain, Pulp, Lydia Lunch and Sonic Youth. In 1999 he performed at the Nick Cave-curated Meltdown Festival on London’s South Bank backed by members of the High Llamas and Stereolab, while the “Total Lee!” tribute album of 2002 had the indie cognoscenti tripping over each other to record his compositions. Hazlewood was a uniquely versatile songwriter, equally capable of turning his hand to pop, country, psychedelia, R&B, folk, easy listening, burlesque, blues or twangin’ rock’n’roll – dig Don Cole’s wild ‘Snake Eyed Mama’ and Al Casey & the Bats’ reverb-drenched ‘(Got The) Teenage Blues’. His songs are truly beyond categorisation. He was also a pioneer in the mysterious art of record production and taught a thing or two to the teenaged Phil Spector, who hung around paying close attention while Hazlewood crafted magnificently cavernous guitar instrumentals for Duane Eddy. Of the 25 tracks on “Califia”, Lee wrote each one and produced all but four. As a performer, Hazlewood possessed an instantly recognisable bass drawl perfectly suited to his lyrical tales of low-rent heartache, self-deprecating comedy, picturesque nostalgia and mystical cowboy psychedelia. He sings on four cuts on this collection, including the folksy Shacklefords’ recording of ‘The City Never Sleeps At Night’, a song written specifically for Nancy Sinatra. As Dionne Warwick was to Burt Bacharach and Petula Clark to Tony Hatch, Nancy was Lee’s perfect muse. Theirs was a partnership created one velvet morning in pop heaven. The expansively orchestrated opening duet ‘Lady Bird’ – just one of the many masterpieces they made together – was personally selected for this compilation by the lady herself. A companion volume of Lee Hazlewood-penned instrumentals is also in the Ace pipeline, so watch this space. Meanwhile, check out the others in our Songwriter series, which include compilations based on the works of Randy Newman, Jackie DeShannon, Neil Diamond, Goffin & King, Bo Diddley, Burt Bacharach and many more. By Mick Patrick (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| VA: - CamPark Records - The Vocal Groups Vol. 1 29 tracks |
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CamPark Records | CD | 18.00 € |
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| VA: - CamPark Records Novelty, Instrumental, Rock And Soul Vol. 14 18 tracks all the odds and ends |
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CamPark Records | CD | 18.00 € |
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| VA: - Candy Bar Boogie - The Unreleased Group Sound 25 biisiä |
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Eagle Records 1996 | CD | 17.00 € |
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| VA: - Caputred Live 18 tracks - Mary Wells / Marvelettes / Temptations |
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Motorcity Records 1987 | CD | 19.00 € |
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| VA: - Carnival Rock R&R leffan original soundtrack: Bob Luman, Platters, David Houston |
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Bear Family 2003 | CD | 17.00 € |
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| VA: - Celestial Doo-Wops 32 tracks |
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Doo-Wop Records | CD | 18.00 € |
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| VA: - Chartbusters USA Vol. 2 29 tracks USA hits 1963-1969 |
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Ace Records 2002 | CD | 17.00 € |
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| VA: - Choo Choo Bop Vol. 4 Hot Harmony Groups 1932-1953 20 tracks |
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Acrobat Music 2008 | CD | 9.00 € |
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| VA: - Class & Rendezvous Vocal Groups 26 biisiä |
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Ace Records 2003 | CD | 18.00 € |
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| VA: - Classic Rock & Roll 8 biisiä -Bobby Day, Dovells, Rivingtons... |
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King Records 1994 | CD | 10.00 € |
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| VA: - Coed Records Story 30 biisiä vuosilta 1958-1964 |
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Ace Records 2000 | CD | 18.00 € |
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| VA: - Collector's Choice Vol. 1 30 tracks vocal groups |
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Sapphire Records | CD | 18.00 € |
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| VA: - Combo Vocal Groups Vol. 3 28 biisiä |
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Ace Records 2003 | CD | 18.00 € |
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| VA: - Come Together - Black America Sings Lennon & McCartney The unanimous acclaim for and success of Ace’s recent ‘How Many Roads: Black America Sings Bob Dylan” project pretty much guaranteed a follow-up at some point. Its release immediately instigated a high level of consumer interest in whether or not we were planning any further volumes in the series. Truth to tell, it wasn’t meant to be a series originally, but the suggestion of Black America singing other notable rock icons of the 60s was too good to ignore. So it is that we now present a selection of interpretations by leading black American artists of the compositions of John Lennon and Paul McCartney. John and Paul’s songs perhaps did not carry the same degree of social significance for black Americans as those of Mr Zimmerman, but their superlative knack for words and music inevitably made each new Beatles album a potential source of future hits for others. It’s therefore no surprise to find enough superb examples to fill a few volumes. Here we present two dozen of their best-known songs sung by many of the leading names in soul from the 60s and 70s. As with the Dylan set, you’ll find the obvious (Otis Redding’s reconstruction of ‘Day Tripper’ and Aretha’s from-the-heart essay on ‘Let It Be’) rubbing shoulders with the blindingly obscure (West Coast blues giant Lowell Fulson wondering ‘Why Don’t We Do It In The Road’ and sweet soul quartet the Moments’ totally unexpected take on ‘Rocky Raccoon’). Unlike many pop songwriters, Lennon and McCartney reached out to a broad spectrum of black artists; you won’t find too many compilations where New Orleans’ rockin’ R&B man Fats Domino and his 60s near-namesake Chubby Checker feature alongside Motown’s first lady Mary Wells and king of 70s soul Al Green, and do so in such a seamless way. The common factor among all these covers is that they are never less than interesting. John and Paul are not on record as having expressed an opinion on too many versions of their songs, but we’d be willing to bet that the ones included here would have entertained them more than most. As always, the CD comes to you with a booklet featuring a huge amount of illustrative material and generous song-by-song annotations covering who wrote what (or most of what). We had originally thought that we might include versions of some Harrisongs as well, but in the end there was more than enough Lennon and McCartney material to fill this disc and more besides, so George will have to wait until another day and another CD. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Complete Goldwax Singles Vol. 3 2CD The third volume of the Goldwax singles is the story of music industry decline. If not exactly riches to rags – Goldwax sales were never that good – it is the tale of an independent label slowly losing its way in an increasingly difficult environment. This was not just about a failure to sign talent, but about changes within the business, and that meant that it became more difficult for regional independents to survive and thrive. The company's peak year was probably 1967. Musically James Carr and Spencer Wiggins were at the top of their game, whilst the Ovations continued to record great records. New talent such as Willie Walker entered the fray and label owners Quinton Claunch and Doc Russell were confident enough to start the country music imprint Timmy to showcase talent as good as Carmol Taylor and Jeanne Newman. However distributor Bell had no real clout in the country market and the new label’s outpit fell on deaf ears, or more likely wasn’t even played to them. Other signs of how tough it was was the licensing out of various singles by ‘Ivory’ Joe Hunter and Willie Walker to Veep and Chess respectively – which Quinton now admits was to tide the label over cash flow shortages. In 1968 things were not improving. Although James Carr continued to make records of amazing quality, sales began to decline and, even more worryingly, James became increasingly difficult to entice into the studio and onto the road to promote his records. Inexplicably strong 45s by Wiggins failed to make the charts and it began to look as if the struggle was never going to get easier. Of course all this wasn’t helped by the way that the industry was developing, with a more centralised, major-orientated distribution network taking hold, and the church-based southern soul sounds that had formed the core of Goldwax’s sales beginning to seem old-fashioned, even in the local market. Memphis’ big soul sellers into the 1970s would be the orchestrated masterpieces of Isaac Hayes and the smoother sound of Hi’s Al Green. The label was effectively over by 1969 and completely over by 1970. The artists had moved on, been sold on or simply left without a label. The final side on Goldwax was James Carr’s ‘Everybody Needs Somebody’ a country soul ballad of exceptional quality, and is typical of how high the quality remains throughout volume three of “The Complete Goldwax singles.” There are errors and side-steps, but until the day the doors swung shut for the final time the sounds of the label were almost always a joy to the ears. This is southern music at its’ very best. Dean Rudland (Ace Records) |
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Ace Records 2010 | CD | 23.00 € |
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| VA: - Cool Daddy - The Central Avenue Scene 1951-1957 Vol. 3 Here’s volume three of Ace’s ongoing survey of the sounds heard throughout Los Angeles’ thriving black community during the late 1940s and early 1950s, as brought by a man whose recording operation was centred right at its heart – Vernon “Jake” Porter. The music that came out on his Combo label is almost always representative of its surroundings, and of that population’s taste. Within the walls of his home studio Jake Porter oversaw the production of a lot of fantastic music and, as the owners of his catalogue, Ace is committed to bringing you the best of it, via compilations such as this month’s COOL DADDY. cast of characters, as the majority of them have already appeared on either “Straight To Watts” or “Central Rocks”. New ‘recruits’ this time around include a very young sounding Bill Watkins and a not-so-young sounding Joe Morris – who, both annotator Jim Dawson and I suspect to be the same Joe Morris whose orchestra hit big with Anytime, Any Place, Anywhere as the 40s drew to a close. We also feature one side that transplanted Texas bluesman Peppermint Harris cut for Combo, during the briefest of stays in Jake’s musical stock company. And, by way of complete contrast, we also feature an early example of ‘rap’, via one side of an extremely rare 45 rpm recitation by DJ Hunter Hancock’s radio sidekick Margie Williams. As Jim Dawon note points out, this never stood a chance of becoming a hit as ‘Ol’ HH’ was the only DJ who was likely to play it. As well as being heard as the guitarist on many of these sessions, it’s always great to be able to bring you Gene Phillips in his own right, and here is the previously unheard Steelin’ The Blues. We never need any excuse to reissue the groovy saxophony of Jack McVea, either. He and his band can be heard backing a variety of vocalists throughout “Cool Daddy”, ranging from big blues-shouters like the veteran piano ponder Christine Chatman and McVea’s own missus, Louise Beatty, to impassioned wailers such as the terminally obscure Rudy Pitts. We also get the chance to hear him out-Bostic Earl, on a fruity blast through the standard Oh How I Miss You Tonight. We feature a couple of sides that shine a spotlight on Jake Porter himself and hear from Jake’s other bandleader mainstays Floyd Turnham and Chuck Higgins – who is the subject of his own Combo anthology next month. There’s also an instrumental from Jake’s other sax king, Joe Houston, with a never-before-heard alternate of his great grinder Shuckin’. Nellie Lutcher’s chum Betty Hall Jones gives a neat female spin on Louis Jordan’s Outskirts Of Town saga, while we’re also happy to put the flip of Honey Coleman’s sole Combo record back into catalogue after a short gap of 55 years. Also pretty cool is Candy Rivers and her occasional singing chum (and ace session guitarist) Chuck Hamilton’s jazzy spin on the standard Please Be Kind, which is getting its first airing anywhere. These are just a few of the many delights that await you when you crack the cellophane and stick “Cool Daddy!” in your CD player. Even though it’s the third volume it more than upholds the standard of the first two – and we can promise you that next year’s volume will be of similarly high quality. By Tony Rounce (Ace Records) |
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Ace Records 2006 | CD | 17.00 € |
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| VA: - Crazy 'Bout An Automobile 25 biisiä auto ja cruising aiheisia biisejä 1955-66 |
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Ace Records 2004 | CD | 18.00 € |
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| VA: - Criminal Records Ello, ’Ello, ’Ello, what’s all this, then Crime and punishment have always gone hand in hand in the worlds of rock’n’roll, R&B and country and western music. For decades, goodies and baddies have provided us with a life sentence of chronicling of man’s misdemeanours and subsequent incarceration. When top Ace fan Tony Watson suggested that a compilation of songs about obeying and breaking the law would be right up the street of most of those who buy our CDs, we didn’t need to be read our reissue rights to agree. With that in mind, your honours, I hereby present the case for “Criminal Records” Our line-up of heroes and villains runs the whole gamut of lawbreaking and law enforcement. Within its 60 minute audio sentence (and no time off for good behaviour) we cheer western heroes such as Gunsmoke’s “Mister” Matt Dillon and boo villains such as the fictitious (and let’s be very glad he is) ‘Bad Dan McGoon’. Our helmets are doffed to radio and TV ’tecs of the calibre of Dragnet’s Sgt Joe Friday and the legendary iron-jawed Dick Tracy, as well as some of those smoother newer fellas that came later such as 77 Sunset Strips Stu Bailey and, from the TV show of the same name, Peter Gunn. Bob Luman tells us how much he wishes he was a ‘Private Eye’ which a pre-twistin’ Chubby Checker moans that he can’t get any girl reaction, because his lady love is too busy drooling over the kind of ruggedly handsome television PIs that Luman aspires to be. Other legendary enforcers of the TV screen from the years between Friday and Bailey are also on your case and on your trail, from Alaska (Sgt Preston Of the Yukon) to Chinatown (Charlie Chan, in the Coasters’ ‘Bad Detective’). If you grew up watching the small screen when it really was a small screen, you’ll remember most of these upstanding lawmen and their relentless pursuit of justice at all costs as they came into your homes on a weekly basis. Less savoury characters that we hear from include alimony dodgers Richard Berry and Wynonie Harris; hardened lifers Jumpin’ Gene Simmons, George Jones and Hylo Brown; denizens of DWI Benjamin “Scat Man” Crothers and, with some help from Cliff “King” Solomon’s orchestra, Gigi Gryce; chain gang toiler Billy Boy Arnold and the perpetually in-the-wrong-place-at-the-wrong time Bobby Nunn of the Robins. And lest anyone think we’ve gone soft on lady lawbreakers, vivacious Vicki Young puts a Prisoner Of Cell Block H perspective on what it’s like to ‘Riot In Cell Block #9’. Personally I reckon that at least some of these guys and gals ought to have been let off with a caution. Failure to support this project will result in a visit from the no-fun police and a lifetime of listening to R and B (that’s Rihanna and Bieber) for your sins. It’s a fair cop, guv, but society is to blame. Evenin’ all. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Cruisin' 1962 History Of R&R Radio feat. Russ "Weird Beard" Knight, KLIF, Dallas, Texas. |
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Increase Records 1987 | CD | 15.00 € |
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| VA: - Cruisin' 1958 Jack Carney, WIL, St Louis Missouri |
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Increase Records 1988 | CD | 15.00 € |
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| VA: - Cruisin' The Drag R&R, vocal groups from Tulsa, OK |
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Relic Records | LP | 13.00 € |
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| VA: - Cry Baby suositun leffan soundtrack. mm James Intveld, Rachel Sweet, Students, Jive Bombers, Shirley & Lee, Chips jne |
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MCA Records 1990 | CD | 15.00 € |
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| VA: - Da Doo Ron Ron New York’s famed Brill Building housed many talented teams of songwriters whose names are immortalised in the realm of popular music. Brooklyn natives Ellie Greenwich and Jeff Barry each had budding careers as composers before they joined up in 1962, at which point the fruits of their labours became spectacular. Ace’s second collection of the couple’s output is proof that there are no words to describe their talent. There are some beautiful confections here. The girl group phenomenon of the early 1960s was the duo’s area of expertise. Take New York’s most famous female groups of the day – the Shangri-Las, the Crystals, the Chiffons, the Jelly Beans, the Ronettes, the Dixie Cups, the Exciters (and even the elusive Butterflys); their best-remembered songs and biggest hits came from the pens of Greenwich and Barry. The Exciters’ ‘All Grown Up’, once confined to the vaults, makes the earlier Phil Spector-produced versions sound anaemic. The Chiffons track comes from their most difficult to track down album. Connie Francis released her perfect contribution to the girl group sound with the stomping ‘Don’t Ever Leave Me’ in the same year that Lesley Gore’s equally compelling ‘Look Of Love’ hit the charts. Greenwich and Barry were so good at supplying material to groups that they even recorded as one of their own, calling themselves the Raindrops. All the above-named are represented on this stuffed-to-bursting-with-pop-classics collection. Greenwich and Barry were mainstays of the Philles label and Red Bird Records. It was no mean feat to be amongst the preferred purveyors of material to moguls such as Phil Spector, Jerry Leiber and Mike Stoller and it would be impossible to put together a collection of either label’s hits without embracing an armful of songs from the husband and wife team. After Philles and Red Bird, the duo went on to Bert Berns’ Bang Records, where Jeff Barry had a hand in a hit for the McCoys, also here. Amongst the other male acts on this set are Jay & the Americans, the Monkees and the Tokens; the latter just happens to be the earliest known recording of a Greenwich and Barry song. And there’s a song by Manfred Mann for which an American original version has yet to be discovered. The Shangri-Las may have had the bigger chart hit with ‘Give Us Your Blessing’ but this CD includes the original version by Ray Peterson. A track each from the composers finishes off this exuberant collection. By Eric Charge (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - Deep Ska 4CD 4CDs with 80 original Ska Classics + a fully illustrated 24 page booklet included. Truly authentic and original, all 80 of the recordings on this set were made in Jamaica between 1962 and 1969. DEEP SKA contains lots of recordings that aren't on other compilations and also includes a 24 page illustrated booklet with a fascinating track by track history of the music. Artists include Stranger Cole, The Skatalites, Eric Morris, Tommy McCook, Justin Hinds, Roland Alphonso, Don Drummond, Drumbago All Stars, Duke Reid, Baba Brooks, Lester Sterling, Margarita, Clive & Naomi, Derrick & Patsy, The Pyramids, Toots & The Maytals, Byron Lee, Blue Rivers, Laurel Aitken, Pat Kelly, Desmond Dekker, John Holt and many more |
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Proper 2006 | CD-Box | 20.00 € |
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| VA: - Del-Rios / Jackie Bernsten / Hamptones |
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Spinning | Single/EP | 5.00 € |
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| VA: - Detroit Girl Groups 18 tracks |
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Lupine Productions | LP | 17.00 € |
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| VA: - Detroit Girl Groups 18 tracks |
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Relic Records | CD | 17.00 € |
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| VA: - Discovered Vol. 5 25 tracks from Billboard Top 100 lists 1955-1969 |
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Recollect Music | CD | 18.00 € |
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| VA: - Do-Wah-Diddy words and music by Ellie Greenwich & Jeff Barry |
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2008 | CD | 18.00 € |
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| VA: - Dolphin's Of Hollywood - The Doo Wop Sessions 20 tracks |
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Earth Angel | LP | 15.00 € |
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| VA: - Doo Wop Across America 2CD -New York & Connecticut 2CD This is the first release in our series showcasing R&B vocal groups from different parts of the USA. This collection features The Willows, The Valentines and The Fiestas from New York and The Nutmegs from New Haven, Connecticut. Includes all the hits the four groups enjoyed including 'Church Bells May Ring' by The Willows, 'Lily Maebelle' & 'Woo Woo Train' by The Valentines, 'A Story Untold' & 'Ship of Love' by The Nutmegs and 'So Fine' & 'You Could Be My Girlfriend' by The Fiestas. Fully detailed liner notes with biography and career achievements. |
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Jasmine Records 2012 | CD | 15.00 € |
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| VA: - Doo Wop Across America 2CD -Ohio Michigan 2CD This collection features The Edsels from Ohio, The Eldorados from Chicago The Counts from Indianapolis, and The Turbans from Philadelphia. Features the A and B sides of all The Counts early singles for the very first time on one CD in the UK. Plus all the hits and more you would expect from all of the groups including: 'Rama Lama Ding Dong', 'At My Front Door', 'Darling Dear', 'When You Dance' and 'Sister Sooky'. Fully detailed liner notes with biography and career achievements are included. |
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Jasmine Records 2012 | CD | 15.00 € |
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| VA: - Doo Wop Delights - The Hartford Groups |
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Relic Records | CD | 17.00 € |
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| VA: - Doo Wop Dreams Vol. 3 19 tracks. The Rarest of the rare White Vocal Groups |
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Vulture Records 1998 | CD | 18.00 € |
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| VA: - Doo Wop Dreams Vol. 4 The rarest of the rare white groups. 19 tracks |
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Vulture Records 1998 | CD | 18.00 € |
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| VA: - Doo Wop Fast & Slow Vol. 1 |
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Club Records | LP | 10.00 € |
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| VA: - Doo Wop from Dolphin's Of Hollywood Vol. 2 23 biisiä |
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Specialty Records 1991 | CD | 15.00 € |
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| VA: - Doo Wop From Rome Records 1960-61 27 tracks. White & Still All Right Doo Wop |
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Deejay 1998 | CD | 17.00 € |
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| VA: - Doo Wop Junction 25 doowop Classics & Rarities Fm 1953-61 |
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Acrobat 2003 | CD | 13.00 € |
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| VA: - Doo Wop Sound Vol. 1 Street Corner Harmony 16 biisiä |
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Varese Sarabande 2000 | CD | 17.00 € |
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| VA: - Doo Wop Sound Vol. 2 Street Corner Harmony 16 biisiä |
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Varese Sarabande 2000 | CD | 17.00 € |
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| VA: - Doo-Wop Delights - The Los Angeles Groups 25 biisiä mm Feathers, Jayhawks, Colts, Cadets, Dynamics, Marvels, Strands, Bonnevilles.. |
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Relic Records | CD | 17.00 € |
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| VA: - Doo-Wop Destinations Vol. 1 21 TRACKS |
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Doo-Wop Records | CD | 18.00 € |
