Doo wop / Vocal groups
Result of your query: 1240 products
| VA: - The Best Of Amy Doo-Wop Vol. 1 24 tracks |
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AR | CD | 18.00 € |
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| VA: - The Best Of Chief Records Vol. 2 22 tracks |
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Chief Records | CD | 18.00 € |
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| VA: - The Best Of Doo-Wops Of Bandera Records 20 tracks |
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Bandera Records | CD | 18.00 € |
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| VA: - The Best Of Golden Crest 2CD Ace Records’ link with Golden Crest dates back to 1993. That was when I travelled to picturesque Cold Spring Harbor, Long Island, to discuss a licensing deal specifically for the Wailers’ enduring hit instrumental, ‘Tall Cool One’, which duly appeared on “The Golden Age of American Rock’n’Roll, Vol 6” (CDCHD 650). Label-founder Clark Galehouse had died 10 years earlier, so his daughter Shelley came along with her trusted adviser – none other than the great but notorious Hy Weiss of Old Town Records. I couldn’t believe my “luck” in coming up against one of the sharpest and most conniving minds in the business. Eventually I ended up with two contracts: one for Ace; the other in marriage to Shelley. Through the years Ace has released the “The Fabulous Wailers” (CDCHD 675, a classic and still a solid seller); “On The Road With Rock’n’Roll” by Mando and the Chili Peppers and “Golden Crest Instrumentals” (now deleted); plus quite a few individual tracks. Other reissue labels have licensed Golden Crest masters, from rock’n’roll, rocking instrumentals, doo wop and teen to classical. Now, at last, we have this first-ever “The Best Of Golden Crest” collection, which draws on singles aimed primarily at the Top 100 charts in the peak rock’n’roll years from the parent label and its subsidiaries Shelley, DeWitt and Yorkshire. Out of the 48 tracks here, no less than 35 are new to Ace CD with almost half new to CD anywhere. By virtue of its location in Huntington Station, NY, Golden Crest was well placed to trawl talent from Long Island (including Queens and Brooklyn), also New York and New Jersey. But the label made its mark when ‘Tall Cool One’ by the Wailers, from the Northwest area, hit the Top 50 charts on Billboard and Cash Box in 1959 and then again in 1964. As a result of the Wailers’ success, Galehouse tapped into other Northwest acts Clayton Watson (Lord Dent), the Mad Plaids, the Chessmen and Lola Sugia. A further wellspring of satisfying recordings in an R&B vein (but with no hits) emanated from record lady Lillian Claiborne of Washington, D.C. So, what new-to-CD tracks are there to savour? From the Claiborne stable, try the three New Orleans R&B-influenced Calvin Ruffins and the spot-on Little Willie John soundalike Johnny Stewart with ‘Come On And Love Me’; the attitudinal ‘Bug Out’ by the Seven Teens and more teen pop from the Three Graces and the Montells; ‘Why Did You Tell Me?’ by anguished R&B’er Cartrell Dickson; the superior soul of ‘Girl’ by the Bluestyle with Carl Vanterpool; singles by jazz masters Coleman Hawkins and Carmen Leggio; the splendid bonus track, ‘New York City Blues’, by Larry Dale & his Houserockers (with Bob Gaddy and Jimmy Spruill), written by UK author/Juke Blues writer Dave Williams; and, of course, the three “new” Wailers cuts from their very first 1958 session. To round off this double CD, there is a highly attractive booklet detailing the label’s history and featuring its innovative picture 45s and picture sleeves. For all the diversity of music genres released, Golden Crest Records was still part of the marvellous cartel of independent labels that contributed so much to the rock’n’roll era. And it shows in these 48 tall cool ones. By John Broven (Ace Records website) |
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Ace Records 2010 | CD | 23.00 € |
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| VA: - The Big Beat - The Dave Bartholomew Songbook Great songs really do take on a life of their own and very often, unbeknownst to their creators, they’re discovered and interpreted by a wide range of different artists. One of the unexpected pleasures that Ace’s Songwriters series affords is underlining just how many styles and directions key compositions of yesteryear have taken. This collection of songs by New Orleans’ very own Dave Bartholomew is no exception as it weaves its way through 25 tracks of varied origins and labels. Two of Dave’s own recordings provide essential listening, led off by his original of the double-entendre-filled ‘My Ding-A-Ling’, which he later re-cut several times with different lyrics and which provided the template for Chuck Berry’s revival two decades later. Then you’ll find the much-revered parable ‘The Monkey’, which Elvis Costello memorably reworked some years back. Dave’s rich-toned narrative reigns supreme and is a cornerstone of his Imperial Records output. The set opens with ‘The Fat Man’ by Fats Domino and, although the technical limitations of that 1949 session are still obvious, the vibrancy of the performance is undeniable. Fats once told me that after Imperial-owner, Lew Chudd, received the master, he called and asked him to re-cut it, but a couple of days later he rang again to say he’d changed his mind and it was OK! Was that an understatement or what?! Other milestone Bartholomew productions featured here include Roy Brown’s hard-hitting version of ‘Let The Four Winds Blow’ (which Dave had first cut himself) and the gloriously prophetic ‘I’m Gonna Be A Wheel Someday’ as styled by Bobby Mitchell and co-authored by hillbilly singer Roy Hayes. As much as the multi-talented Bartholomew was writing, recording and producing in the Crescent City throughout the 1950s and beyond, his influence was being felt all over the musical world. This was clearly evident on the Johnny Burnette Trio’s rockabilly workout of Fats Domino’s 1955 charter ‘All By Myself’. Similarly, listen how effortlessly Jerry Lee Lewis slides into ‘Hello Josephine’ and how ‘I’m In Love Again’ fits Tom Rush like a well-worn rhythmic glove. Bartholomew was not aware at the time how influential and popular his music was in Jamaica. Neville Grant’s take on Chris Kenner’s ‘Sick And Tired’ provides ultimate proof that Dave’s big beat was perfectly adaptable to the reggae style. Another standout delight is the previously unissued cover by Annie Laurie of ‘3 x 7 = 21’, which Dave originally wrote and produced for Jewel King. The song became a benchmark in the Bartholomew catalogue and was successfully reworked as ‘21’ in 1954 by the Spiders, the group that cut the first version of ‘Witchcraft’, which Elvis Presley turned into a 1963 chart success, also included here. I must mention two other standouts: ‘Every Night About This Time’ by the World Famous Upsetters, which offers undeniable proof of Little Richard’s ability as a first-class blues wailer, and Dave Edmunds’ 1971 hit remake of “I Hear You Knocking’, which perfectly contemporised the song without diluting the memory of Smiley Lewis’ unbeatable original. By Alan Warner (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - The Clickettes meet The Fashions To connoisseurs of the doo wop sound, they are one of the most revered girl groups, yet the dizzy Hot 100 heights attained by such role models as the Chantels and the Bobbettes were not for them. Instead the reputation of New York’s Clickettes rests on a handful of classic sides that failed to reach the national charts at all. Spanning the years 1958 to 1962, this collection comprises the teenage group’s complete recordings for Dice Records – including two previously unissued numbers and tracks by affiliated groups the Teen-Clefs and the Avalons – plus sides cut subsequently as the Fashions. Sounding at times remarkably like Arlene Smith of the Chantels, future soul chartmaker Barbara Jean English supplies most of the lead vocals. The Clickettes were managed by Zelma “Zell” Sanders, the owner of J & S Records, home of the Hearts, Johnnie & Joe and others. The fabled R&B matriarch had a reputation for hiring and firing her acts willy-nilly. When she signed them up in 1958, she envisaged an entire new squad of Hearts, who were already on their third incarnation, but the Bouquets didn’t like that idea. Recognising their potential, Mrs Sanders instead placed the group in the hands of her daughter, Johnnie Louise Richardson – of the duo Johnnie & Joe – on whose behalf she inaugurated a new logo, Dice. The Bouquets were accordingly renamed the Clickettes. But Not For Me was paired with another intense ballad, I Love You, I Swear, for release as the group’s debut in October 1958. Jive Time Turkey b/w A Teenager’s First Love was rushed out just weeks later, while a third coupling, Louella and You Broke Our Hearts, was released the following month, but bearing the name the Avalons. The Clickettes’ next platter comprised two numbers waxed previously by Johnnie & Joe, Warm, Soft And Lovely and the Frankie Lymon-esque Why Oh Why. More doo wop heaven ensued with Lover’s Prayer b/w Grateful, issued by Dice in mid-1959. To Be A Part Of You and Because Of My Best Friend, released back-to-back the following January, proved to be the Clickettes’ most successful single. For live shows the group sometimes used stand-ins, one of whom was a member of another Dice outfit, the Teen-Clefs, whose single, There Goes Sputnik / Hiding My Tears (With A Smile), was released early in 1959. Almost inevitably, the Clickettes fell out with Zell Sanders and departed her stable, leaving behind two unissued recordings, That’s The Way It Is and Light A Candle. The girls then hooked up with Chantels’ mentor Richard Some Other Guy Barrett for three singles, the first of which, Where Is He b/w The Lone Lover was released on Guyden. But the group had not been heard the last of Zell Sanders, who reappeared to claim ownership of their name, prompting Barbara and her colleagues to change theirs from the Clickettes to the Fashions. In 1961 they delivered Dearest One b/w All I Want on Warwick and Fairy Tales b/w Please Let It Be Me on the Elmor logo. A switch to Roulette marked a further change of billing to Barbara English and the Fashions, as which the group released We Need Them b/w Ta-Ta-Tee-Ta-Ta. Additional backing vocals on this disc were supplied by new manager, Arthur Crier of the Halos. A second single for the label coupled a revival of the Little Willie John/Peggy Lee classic, ‘Fever’, with the Johnny Nash-penned Bad News, following which the group disbanded. In 1999 the ladies reunited to participate in the celebrated Great Day in Harlem photo shoot, along with many other vintage R&B vocal outfits. The success of the event prompted the group to officially re-form. Since then they have played many shows, wowing audiences of doo wop aficionados with Clickettes classics like But Not For Me, Lover’s Prayer, To Be A Part Of You and Because Of My Best Friend, consolidating their reputation as one of the best female vocal groups of their time. by Mick Patrick (Ace Records) |
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Ace Records 2006 | CD | 17.00 € |
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| VA: - The Complete Goldwax Singles Vol. 1 2CD Memphis is one of the great music cities. So many great artists and so many great labels have emerged from there down the years that the history of rock’n’roll and soul and R&B would be very different without them. Sun, Stax and Hi are the labels that define Memphis, but not far behind is our very own Goldwax, who in James Carr, Spencer Wiggins and the Ovations had their own trio of great artists. Since Ace bought Goldwax nearly a decade ago the major artists have all been treated well, with at least a CD of their recordings each, and in the case of James Carr, four CDs rounding up every single bit of his recording career. There has also been two label overviews that have helped to throw light on some of the lesser acts, as well as the stars and the sought after rarities. However labels are complex affairs and their stories are sometimes difficult to cover fully in the short-form. With this in mind we have taken on the herculean task of compiling ‘The Complete Goldwax Singles’ which allows us to present to you the A and B sides of every single 45 on the label or produced by the label or its principles. This takes us into areas that you wouldn’t meet ordinarily and allows us to provide you with some excrutiatingly rare records. Goldwax was started in late 1963 by Doc Russell and Quinton Claunch, although our compilation lets us take a step back and include three earlier Quinton produced 45s on his own Bingo and Beale Street labels that form the true genesis of the label. These are just the first of many titles that are seeing their first ever legal reissue across these volumes including one side of our cover star Philip and The Faithfuls one single on the label – and the one that has proved itself to be the rarest of them all. Amongst the obscurities and the rarities we are sure that you will find yourself an especial favourite that you have never heard before, be it a storming instrumental such as the Playboy Five’s ‘Spoonful’, the Arthur Alexander take-off of Oboe’s first single ‘Mother-In-Law Trouble’ or even one of the pop or country records that sporadically appeared on the label. However it is not just about what you have heard before. The chronolgical nature of this compilation allows you not just to watch the careers of, say, James Carr or Spencer Wiggins unfold, but more acurately Memphis music, as R&B slowly moves into soul which then develops a distinctly southern nature as time passes. It is perhaps easier to see this progress with a mid-size label like Goldwax than with a behemoth like Stax where weight of numbers obscured the changes. It has to be remembered of course that Volume 1, however great, is just the first stirrings, the roots, as it were. The golden age is still to come, but this is still a pretty great start. By Dean Rudland (Ace Records) |
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Ace Records 2009 | CD | 23.00 € |
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| VA: - The Dawn Of Doo-Wop 4CD 4CDs, 100 tracks + 52 page booklet |
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Proper 2002 | CD-Box | 20.00 € |
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| VA: - The Girl Can't Help It 3CD Deluxe Expanded Edition. Over 100 tracks by the musical stars of "The Girl Can't Help It". Including songs from the many other rock'n'roll movies of the era. And much more. The Greatest Rock ’n’ Roll Film Of The 1950s – The Girl Can’t Help It brought rock ’n’ roll to groin-swivelling life in living colour, defining a new cultural revolution to focus a generation, providing a mutual relationship launch-pad for the likes of Lennon and McCartney, while setting a genre precedent which was never topped. Part of a deluge of musical exploitation films released for the Christmas 1956 market, in the wake of the success of Rock Around The Clock earlier that year, The Girl Can’t Help It was distinct from most of its hastily-conceived rivals by being shot in glorious colour, and having both a witty script and thoughtfully integrated musical performances. Initially created by Looney Tunes/action movie veteran Frank Tashlin as a vehicle for new-blonde-on-the-block Jayne Mansfield, the film sparked worldwide teenage rampage when it first appeared in 1956, giving many their first taste of the uncaged phenomenon of rock ’n’ roll as the music’s hottest names strutted and wailed through what would become their signature songs, including Little Richard, Eddie Cochran, Gene Vincent and Fats Domino. To celebrate the movie, music and all-star cast, Fantastic Voyage swing doctor Dave Penny has forged a colossal three-CD set based around the original soundtrack, kicking off with Little Richard’s three songs from the film (‘Ready Teddy’, ‘She’s Got It’ and dam-busting rock chick anthem title track), then another dozen affirmations of the pompadoured Georgia Peach’s unbridled gospel-charged piano-humping mayhem. Disc One also features screaming sax honker Nino Tempo on both the film’s ‘Tempo’s Tempo’ and eight more tracks from its mothership album, Rock ’N’ Roll Beach Party (including the immortal ‘Turkey Gobbler’) plus Texan rocker Johnny Olenn’s ‘I Ain’t Gonna Cry No More’ and ‘My Idea Of Love’ from the film, and more from his Just Rollin’ With Johnny Olenn album. Disc Two spotlights Gene Vincent, his ‘Be-Bop-A-Lula’ from the film, plus another seven tracks, including 1958’s ‘Git It’ (as later covered by Dave Edmunds) and four which appeared in the lesser-known Hot Rod Gang flick. Also here are Julie London (cheesecake chanteuse missus of the film’s soundtrack supplier Bobby Troup), rocker Eddie Fontaine, the Three Chuckles, Teddy Randazzo (with the now rather sinister-sounding ‘Be My Kitten Little Chicken’) and the great Abbey Lincoln injecting gospel passion with ‘Spread The Word’ (shortly before becoming one of the world’s leading firebrand jazz singers as wife of drummer Max Roach). Larger-than-life Fats Domino looms over Disc Three with his ‘Blue Monday’ from the film joined by other celluloid sorties, including ‘Ain’t It A Shame’ and two others from Shake Rattle And Rock, plus others including showings in The Big Beat and Jamboree. He’s joined by the Treniers, built around twin brothers Cliff and Claude, whose ‘Rockin’ Is Our Bizness’ appeared in The Girl Can’t Help It, joined here by their showings in Don’t Knock The Rock, Teen Age Rebel, Jukebox Rhythm and Calypso Heat Wave. The Platters demonstrate why the rock ’n’ roll movie genre was so essential to their career, ‘You’ll Never Know’ from The Girl Can’t Help It joined by items they contributed to Rock Around The Clock, Rock All Night, Carnival Rock and Girls Town. The set is completed by trumpet-titan Ray Anthony and a hidden track of Jayne Mansfield herself with her own ‘Just Plain Jayne’, completing a collection which explodes with all the energy, attitude and underlying musical flair which now sound like the perfect case for an axis-shifting revolution. The only missing ingredient is Elvis, offered the main male lead but scuppered by the Colonel’s financial demands. He didn’t do too bad but neither did the movie and stellar cast assembled on this brilliantly-executed manifesto for the movement it inspired. |
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Fantastic Voyage 2012 | 2-CD | 18.00 € |
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| VA: - The Girl Group Sound Vol. 2 22 tracks |
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Sha-Boom Records | CD | 20.00 € |
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| VA: - The King Girl Groups: Queens Of King 24 tracks girls from King Records |
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Ace Records 2002 | CD | 18.00 € |
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| VA: - The London American Label Year By Year 1957 Our London American series continues to win praise from all corners, particularly from UK residents whose record collecting habits sprang from the purchase of one or more of the London label’s many fantastic 78s or tri-centre 45s. We’ve reached 1957 later than planned due to having to replace a track at the very last minute, but we expect to deliver three volumes in 2012 – those who are collecting the series will be glad to know that 1956 and 1964 are well under way. 1957 was a truly vintage year for youth-aimed American music, and its best overall representation in the UK came via London. A great number of the 178 singles the label issued that year are already available somewhere in the Ace catalogue, but the overview presented here is highly formidable and really does show all facets of their release schedule. Only a couple of the 28 tracks here are currently available on other Ace CDs, and I make no apology for including one of them: my all-time favourite record, Little Richard’s ‘Keep A Knockin’’ (a compiler’s perk that surely nobody will deny me). As ever, we have been lucky enough to have many of the original London production masters at our disposal, and more than 70% of the music you’ll hear here comes from those very same tapes. The music speaks for itself. What’s not to love about a CD that brings you tried and trusted classics such as ‘Blue Monday’, ‘Great Balls Of Fire’, ‘Your True Love’, ‘I Walk The Line’ and – in its UK single version, of course – ‘Twenty Flight Rock’, alongside seldom reissued hits such as ‘White Silver Sands’, curios of the calibre of the UK-only overdubbed version of ‘A Rose And A Baby Ruth’ and the usual selection of “What made them issue that? But let’s be glad they did”s, a category that would have to include Merle Kilgore’s ‘Ernie’, Dean Beard’s ‘Rakin’ And Scrapin’’ and Ernie Chaffin’s ‘Feelin’ Low’. Along the way you’ll also find sisters Patience & Prudence stating the obvious in ‘We Can’t Sing Rhythm & Blues’, the deranged Nervous Norvus instructing the world how to do ‘The Bullfrog Hop’ and all manner of other musical delights, lovingly sequenced in much the same way they might have appeared in the London American catalogue. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| VA: - The Memphis Jukebox Vol. 2 |
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Vee-Tone Records 2010 | CD | 15.00 € |
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| VA: - The Music City Story 3CD Ray Dobard’s Music City Records of Berkeley, California, across the Bay from San Francisco, is a catalogue of mythic proportions that has been cherished for decades by a small hardcore of R&B, vocal group and, latterly, soul fanatics. Based on the available evidence – 50-odd 45 and 78rpm releases – and a lot of hearsay and rumour, many have spent hours fantasising about the purported riches in the possession of its famously protective, zealous owner. Ace Records is thus proud to unlock the Music City vault for the edification and entertainment of the world at large with the 3CD set “The Music City Story”, an unprecedented survey of the label’s 25-year operation, and an excellent primer for Ace’s forthcoming genre- and artist-based compilations of Music City material, telling the story with many rare gems from the catalogue and a surfeit of previously unissued goodies. Although Ray Dobard experimented with recording a variety of genres, the legend of Music City is predicated on its role as a premier exponent of black rhythm and blues styles, with a strong regional flavour. Most significantly, the sound of Music City was street. Much of what appeared on the label and lies in its voluminous cache of unreleased recordings can be said to reflect the evolution of black popular music between the early 50s and the mid-1970s. It reflects reality: this is what was heard in clubs and juke joints, at high school auditoria and rec centres, rent parties or literally out on the sidewalk, with all the dissonance and unoriginality that might imply, but matched equally by huge, invigorating dollops of innocence and exuberance, and a surprising amount of inspiration. Amongst the set’s 78 tracks are names familiar to doo wop and blues collectors – the Crescendos, Gaylarks, Rovers, 5 Lyrics, Alvin Smith etc – while behind several others lurk famous names (James Brown, Lou Rawls) or others soon to be famous (Sugar Pie DeSanto, members of Sly & the Family Stone). From the raucous jump blues of Del Graham’s ‘Your Money Ain’t Long Enough’ to the hip street soul of Darondo, the breadth of genres represented is extensive, but the overall emphasis in “The Music City Story” is upon the black vocal group, be it 50s, 60s or 70s vintage. It is the rich seam of Bay Area groups mined by Music City that collectors most closely associate with the label. Dobard had only a couple of minor hits – the 4 Deuces’ popular ‘W-P-L-J’, Johnny Heartsman’s raucous ‘Johnny’s House Party’ – but kept the tape machine running pretty much constantly for much of his quarter-century in the business. It has been many years since as significant a stash as Music City’s has come to light, and accompanying the tantalising musical treats is an extensive, heavily-illustrated sleeve note detailing the label’s history. Given that the late Dobard was notorious evasive, an air of mystery has always surrounded his activities in music, but this is the first time a recounting of the Music City saga has been based upon hard data, rather than supposition. Documents, letters, tape box annotations, discographical notes, session chatter, even recorded phone conversations form a considerable body of evidence, that helps bring into focus what this fiercely independent and pioneering black entrepreneur achieved. Ray was no Dootsie Williams or Jake Porter, but nevertheless, a picture emerges of a fascinatingly complex figure, whose role in the black music scene in the mid-20th century cannot be discounted. As venerable East Bay bandleader Johnny Talbot puts it, “to me, Ray Dobard was the foundation of Bay Area music. There was hardly anyone who did anything later who didn’t bump into Ray, so he had to be a foundation.” By Alec Palao (Ace Records) |
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Ace Records 2011 | CD-Box | 40.00 € |
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| VA: - The Norfolk, VA. Rock'n'Roll Sound 24 biisiä vuosilta 1954-63 |
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Ace Records 1994 | CD | 17.00 € |
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| VA: - The Ravens / The Ray-O-Vacs / Eddie Friend And The Empires clear vinyl |
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Masterpieces | Single/EP | 5.00 € |
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| VA: - The Rhythm Teens 23 biisiä mm Dappers, Statics, Del-Tones, Dreamtones, Five Gents, Supremes, Georgie Manis jne |
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Norton Records 2003 | CD | 17.00 € |
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| VA: - The Roots Of Bob Dylan 4CD 3 x CD + 1 x DVD. Includes 24 page booklet |
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Proper 2009 | CD-Box | 20.00 € |
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| VA: - The Shirelles And The Evolution Of The Girl Group Sound 2CD This compilation traces the girl group sound back to its R&B roots in 1952 and journeys through the '50s with acts like The Chordettes, The Poni Tails, The Chantels and The Bobbettes. Includes such classic hits as 'Eddie My Love', 'Born to Be with You', 'Maybe', 'Born Too Late' and the first ever single by The Supremes who in 1960 were recording as The Primettes. The girl group sound is synonymous with the 1960s and it was The Shirelles who led the breakthrough to the international charts with their classic, 'Will You Love Me Tomorrow' taken from their original 1960 LP 'Tonight's the Night' which is featured here in its entirety. |
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Jasmine Records 2011 | CD | 12.00 € |
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| VA: - The Street Harmony Revue Vol. 1 23 tracks |
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Crystal Ball Records 2003 | CD | 18.00 € |
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| VA: - These Ghoulish Things - Horror Hits For Hallowe'en 28 thorrible hitpicks fron the ghoul-den age of R&R. Be Afraid ! |
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Ace Records 2005 | CD | 18.00 € |
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| VA: - They Sang In Brooklyn Vol. 1 Four songs EP. Picture Sleeve |
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Diskin-Engel Production | Single/EP | 7.00 € |
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| VA: - They Sang In Brooklyn Vol. 2 four tracks. Picture Sleeve |
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Diskin-Engel Production | Single/EP | 7.00 € |
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| VA: - They Sang In Brooklyn Vol. 3 Four tracks. Picture Sleeve |
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Diskin-Engel Production | Single/EP | 7.00 € |
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| VA: - This Is DJ Choice Vol. 2 - Keb Darge & Lucinda Slim |
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Unique Records 2008 | CD | 20.00 € |
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| VA: - Today's Top Girl Groups Pebbles, Sit N Spin, Diaboliks, Godzillas, Poontwang, Holly Golightly, Neanderdolls, Mean Geanies, Bobbyteens, 5678s, Prissteens etc |
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Spinout Records 1998 | CD | 17.00 € |
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| VA: - Too Late To Be Good - Vocal Harmony Vanguard 1937-52 Vocal group harmony enjoyed its golden years from the mid 1950s to the mid 1960s when groups such as The Platters, The Drifters and The 4 Seasons regularly topped the national Billboard Pop and R&B Charts, but the tradition goes back much further than that, right back to the dawn of recorded sound and beyond in fact. This CD, however, concentrates on the post-war rise of the vocal ensemble in a variety of different settings - quartets, quintets, ensemble jive and jazz groups, acapella harmony units and big band vocal groups - but all architects of the modern style that would come to be known, for better or worse, as Doo Wop. |
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El Toro Records 2003 | CD | 15.00 € |
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| VA: - Top Teen Bands Vol. 1 |
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Bud-Jet Records | CD | 18.00 € |
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| VA: - Top Teen Bands Vol. 2 |
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Bud-Jet Records | CD | 18.00 € |
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| VA: - Top Teen Bands Vol. 3 |
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Bud-Jet Records | CD | 18.00 € |
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| VA: - UK Sue Label Story: The World Of Guy Stevens 26 biisiä |
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Ace Records 2004 | CD | 18.00 € |
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| VA: - United Artists Doo-Wop Vol. 2 25 tracks |
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United Artists | CD | 19.00 € |
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| VA: - United Artists Doo-Wop Vol. 3 26 tracks |
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United Artists | CD | 18.00 € |
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| VA: - Unreleased Gems Of The 1950's 16 tracks of The Hartford Groups |
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Relic Records | LP | 13.00 € |
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| VA: - Vee Jay Doo Wop Vol. 2 - Bim Bam Boom 25 biisiä |
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Famous Groove Records 1997 | CD | 17.00 € |
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| VA: - Vee Jay Doo Wop Vol. 3 - A Long Time Ago 25 biisiä |
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Famous Groove Records 1997 | CD | 18.00 € |
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| VA: - Very Best Of Doo Wop Rarities Vol. 3 29 biisiä |
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Regency 1993 | CD | 18.00 € |
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| VA: - Virginia Rocks 2CD 60 tracks with 72 page booklet |
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JSP Records 2009 | 2-CD | 23.00 € |
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| VA: - What Does A Girl Do ? 22 biisiä harvinaista tyttöyhtye soundia 60 luvun alun USA:sta |
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President 2004 | CD | 15.00 € |
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| VA: - Whats Your Name ? A DooWop Dedication to the Girls of the 50 25 tytöille omistettua biisiä .. Valarie, Lenora, Darlene, Shirley, Betty Jean, Dolly.... |
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Relic Records | CD | 19.00 € |
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| VA: - Whats Your Name ? Doo Wop Dedication To The Girls of 1950s Part 2. 25 biisiä |
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Relic | CD | 17.00 € |
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| VA: - When The Old Gang's Back On The Corner Vol. 3 21 tracks Hot Harmony Groups 1941-1949 |
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Acrobat Music 2005 | CD | 10.00 € |
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| VA: - Where The Boys Are - The Songs Of Neil Sedaka and Howard Gre Neil Sedaka and Howard Greenfield were the first songwriters to sign with Al Nevins and Don Kirshner’s Aldon Music. ‘Stupid Cupid’, their initial song for the company, was recorded by Connie Francis. It shot up the charts in 1958 and before long Aldon was the most successful music publisher in the USA, with scores of international hits in their catalogue and a stable of writers that included Gerry Goffin, Carole King, Barry Mann, Cynthia Weil and many of the other top exponents of the day. In 2005, Ken Emerson published his book Always Magic In The Air, in which he chronicled the lives and careers of seven eminent New York-based songwriting duos of the Brill Building era. Here at Ace Records, we launched our songwriter series the previous year with a collection of tracks penned by Jerry Leiber and Mike Stoller, the book’s main characters. Since then, the series has expanded to include, amongst many others, six of the writing teams featured by Emerson. With this latest edition, which spotlights the songs of Sedaka and Greenfield, the soundtrack of his book becomes complete. The CD – which also includes a few numbers co-penned by third parties Carole King, Jack Keller, Roger Atkins, Helen Miller and Carole Bayer – comes with a bumper booklet featuring an exclusive interview with Neil Sedaka, who concludes: “Howie Greenfield and I wrote very commercially. Howie was one of the best lyricists in the business. His lyrics were very slick and polished, like tiny, compact novels, self-contained dramas. I think he was very underrated. The critics didn’t like him as much as the public did. The proof of the pudding is in the great two and a half minute songs we mastered. I would usually come with two or three finished tunes. He would choose the tune according to his mood at that moment. I liked to give him a choice. We fought, but we always made up. There were disagreements over phrases or musical notes. I think you have to have those fights. We stayed together for over 30 years. I’m very proud of the many, many songs we wrote together. They’re all my dear children. I still miss Howie a lot.” By Mick Patrick (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| VA: - Where The Girls Are Vol. 1 30 tracks |
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Ace Records 1997 | CD | 17.00 € |
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| VA: - Where The Girls Are Vol. 2 30 biisiä 60s tyttöyhtyeitä. Mm The Toys, Fawns, teardrops, Maxine Brown, Charmers, Sonnettes jne |
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Ace Records 1999 | CD | 17.00 € |
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| VA: - Where The Girls Are Vol. 3 30 tracks |
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Ace Records 2000 | CD | 17.00 € |
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| VA: - Where The Girls Are Vol. 4 30 tracks |
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Ace Records 2001 | CD | 17.00 € |
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| VA: - Where The Girls Are Vol. 5 30 tracks 60s girlgroups |
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Ace Records 2003 | CD | 18.00 € |
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| VA: - Where The Girls Are Vol. 6 30 biisiä 60s tyttöyhtyeitä |
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Ace Records 2004 | CD | 18.00 € |
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| VA: - Where The Girls Are Vol. 7 After an agonising hiatus of over four years, “Where The Girls Are” is back! Volume 7, an eclectic melange of 26 girl-pop treasures (eight previously unreleased), is brimming with all the requisite “shang-a-langs” and “ronde-rondes” delivered with bouffant-bobbing spirit by a veritable constellation of stars, also-rans and never-weres. Why the Teardrops never became superstars is a 60s mystery, up there with “Who really shot JFK?” and “What sort of parents would name their daughter Sloopy?” The Cincinnati quartet kicks off the proceedings with ‘Tears Come Tumbling’, one of a handful of majestic singles that inexplicably stiffed despite sterling production, shimmering harmonies and heartfelt lead by the late Linda Schroeder Millazo. If you, like me, fondly recall dancing “the doolang” at parties, then you, like me, are delusional. There was no such dance, but that didn’t prevent Andrea Carroll from releasing this insanely catchy song, backed by the Chiffons (who certainly knew their way around a doolang). Andrea provides instruction, so it’s not too late for this craze to sweep some nation, somewhere. Uber girl-group the Shirelles render an obscure cover of the Playmates’ 1958 hit ‘What Is Love’ with a frisky lead by Shirley that finds her dissolving in giggles during the fade. DC soul queens the Jewels weigh in with a revved-up remake of their own Dimension B-side, ‘Smokie Joe’s’, this time with James Brown at the helm. Other big names abound as Marry (sic) Clayton and Barbara Mason step up to the mike for the first time, launching successful careers that continue to this day. Fans of session stalwart David Lasley won’t be surprised by his debut as a member of Shangri-Las clones the Utopias. Erstwhile Blossom Gracia Nitzsche leads the Satisfactions on a counterpoint-laden arrangement of the oft-cut, never issued Mann/Weil classic ‘Woman In Love (With You)’. Chicago’s Lovelites, fondly remembered for their angst-dripping ‘How Can I Tell My Mom And Dad’, are heard two years before that anthem for knocked up, abandoned teens, making their studio bow with ‘I Found Me A Lover’. (And how’d that work out for you, girls?) Brenda Holloway fans (and who isn’t?) will thrill to a heretofore-unheard pre-Motown channelling of Mary Wells, and the Brill Building/Red Bird sound sparkles anew in another never-released Jelly Beans gem. Also new to our ears is an alternate take of Claudine Clark’s mega-hit ‘Party Lights’, on which she double-tracks herself. Obviously, one Claudine was sufficient, thank you, but it’s a kick to hear her duplicate that eccentric vocal. And if it’s quirkiness you seek, the Jaynetts never disappoint. To call Baby Jane and the Rockabyes quirky would be wildly euphemistic. These fair ladies pull out the stopper and kick up a whopper on a mind-roasting, hear-it-to-believe-it assault on the Broadway chestnut ‘Get Me To The Church On Time’, replete with an ear-splitting lead that must have caused no small discomfort to that doggie in the window from their previous hit. This track closes the set. What could follow it? You’re likely unfamiliar with the Penny Sisters, Azaleas, Fashionettes, Zippers, Sparkels and Tandels, but you’ll find they share with all the classic girl groups the same frenetic, thundering, hip-shaking energy that rocked the 60s. I defy you to sit still while listening to this CD. Don’t fight it. Get up and do the doolang! BY DENNIS GARVEY (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
