Doo wop / Vocal groups - 1970-luku
Result of your query: 45 products
| Blues News - 6/2007 = # 228 Sven Zetterberg, Erja Lyytinen, Larry Garner, David Whiteis.. |
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Blues News 2007 | Lehdet | 6.00 € |
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| Bobby Sheen - Anthology 1958-1975 At last a Bobby Sheen anthology! Comprising recordings that stretch from Sheen’s debut lead vocal via his Phil Spector period to his final single, this sweeping collection covers a variety of styles that range from doo wop and the Wall of Sound to Northern and Southern soul. The earliest tracks here were cut by Bobby as the lead vocalist of the Robins, the group he joined as a 16 year-old in 1958. The influence of Clyde McPhatter is very evident on these sides, especially ‘Live Wire Suzy’ (a Belgian popcorn favourite) and the group’s lively take on ‘The White Cliffs Of Dover’. By 1962 Sheen was working with Spector, initially on a one-off 45 for Liberty Records. Sharing lead vocal duties with Darlene Love, he reached the Top 10 later that year with ‘Zip-A-Dee Doo-Dah’, released as by Bob B Soxx & the Blue Jeans on the producer’s Philles logo. He also contributed a soaring version of ‘The Bells Of St Mary’ to Spector’s classic “A Christmas Gift For You” LP. The McPhatter influence is still evident on ‘I Want You For My Sweetheart’ and ‘My Shoes Keep Walking Back To You’, released as a one-off single on the Dimension label in 1965. A contract with Capitol resulted in a handful of singles including the Northern Soul favourite ‘Dr Love’ (released in the UK in the now very collectable Capitol Discotheque ’66 series). This compilation also boasts two previously unissued Capitol sides: ‘Baby I’ll Come Right Away’ (the wonderful Ashford/Simpson song well-know to soul fans via Mary Love’s reading) and the slow blues ‘Don’t Pass Me By’. As the 60s came to a close, Bobby switched from his high tenor to a more contemporary lower register, cutting great tracks for Warner Bros in Muscle Shoals, Alabama with producers Clayton Ivey and Terry Woodford. His superb recordings of Philip Mitchell’s ‘Something New To Do’ (another Northern anthem) and ‘I May Not Be What You Want’ are among his best work. He sounds totally different again on ‘Don’t Make Me Do Wrong’. The Ivey/Woodford team also produced Bobby swansong single, issued on the Chelsea label in 1975. The performances collected here are proof that Bobby was a singer who deserved a much higher profile than he achieved. Despite his great looks, obvious talent and strong music business connections, he never registered a hit record in his own name. This CD redresses the balance and proves that all Bobby lacked was good luck. Years spent as a member of the Coasters kept him in work until his untimely death from pneumonia in November 2000. His son Charles has become the custodian of his father’s legacy and contributed the wonderful photographs that illustrate the CD’s accompanying booklet, which features an essay by Dennis Garvey built around exclusive interviews with many of Bobby’s friends and colleagues. By Simon White (Ace Records) |
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Ace Records 2010 | CD | 17.00 € |
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| Dells - Dells Sing Dionne Warwicke's Greatest Hits 11 tracks from 1972 |
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Dusty Groove 2007 | CD | 15.00 € |
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| Dion - Born To Be With You / Streetheart The much sought-after Phil Spector-produced Dion album coupled with his final Warner Bros album. LPs from 1975 and 1976 on 1 CD. 20 tracks. |
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Ace Records 2001 | CD | 17.00 € |
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| Dion - Return Of The Wanderer / Fire In The Night Between 1978 and theYo Frankie album, Dion Di Mucci abandoned secular music completely and cut nothing but gospel material for 10 years. His swansong in '78 was the album Return Of The Wanderer - this features his band the Streethearts and they play mainly Dion songs but with covers from Tom Waits, Bob Dylan and John Sebastian. However, just before he bailed out for God, one last album was cut in 1979 using much the same band and Cashman & West, the same production team. Up until now this has remained in the can, so it is with great pleasure that Ace Records announce the debut 21 years later of Fire In The Night - the long lost Dion album. The CD combines the two albums and these are the only ways in whichFire In The Night is available anywhere in its entirety. The record had obviously come very close to release in '79 since the cover was already designed and it is this original artwork that we feature here. Great value. |
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Ace Records 1990 | CD | 18.00 € |
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| Dion - Sit Down Old Friend / You're Not Alone Given the constrictions that bind most artists to their public persona, Dion's reinvention of himself in the early years of the 70s in both his music and his message, is a remarkable achievement. Over the course of four albums, Sit Down Old Friend, You're Not Alone, Sanctuary and Suite For Late Summer, released between 1970 and 1972, the singer and songwriter completely redefined the expressive potential of his own music. Sit Down Old Friend and You're Not Alone receive their first-ever compact disc reissue here. As with the virtuosity of his early doo wop persona, Dion's new musical identity was the result of an extensive period of experimentation and assimilation. In 1965, during his last year with Columbia, he recorded a wealth of material that mirrored his new-found enthusiasm for the blues. Always an artist of wide-ranging tastes - from the Italian lullabies of his Bronx neighbourhood to the country laments of Hank Williams - Dion's discovery of Willie Dixon, Muddy Waters and the other towering legends of the idiom, was nothing less than a revelation. He would go on to record an entire album of classic blues material that year, an album that Columbia, frustrated in its attempts to polish and package the young singer, refused to release. Undeterred, Dion continued to listen and learn, haunting the Greenwich Village clubs where bluesmen mingled freely with folk-rock's troubadours and any number of the era's more assiduous innovators. The result of this crash course in Sixties eclecticism was a developing style that melded his rich tenor tones with spare arrangements accentuating the intent and intonation of each note. It was a style personified in the 1968 hit Abraham, Martin And John, a song that not only clinched Dion's comeback status after a four year absence from the charts but, more importantly, signalled a clean break with the past and was a clear indicator of what was to follow. Over the course of the next twelve months, he would go on to cut versions of Purple Haze and Both Sides Now, as well as release Dion, a new album whose title seemed to sum up the singer's reassertion of his own creative identity. In June of 1970, he would sign with Warner Bros. Records, a company whose reputation for artistic leeway proved an irresistible draw to a performer whose appreciation for liberation had, by then, extended far beyond his music. On the credits of Sit Down Old Friend, Dion's Warner Bros. Records debut album, an enigmatic thanks for "spiritual guidance" is given to one "Jack Butterfield". The story behind that acknowledgement is as significant to Dion's transformation as any musical influence reflected on the album's eleven solo acoustic guitar and vocal tracks. The artist's addiction to heroin, which began in the back alleys and pool halls of his Bronx neighbourhood, had become a life-long struggle to reclaim his self-esteem and spiritual integrity. During his heyday at Columbia he would often park cars in the company lot so that the attendant, who doubled as his connection, could chase down a dime bag for the label's highest paid artist. Heroin was just one face of the hydra-headed monster that had gripped the singer's life. Marijuana, alcohol, uppers and downers of every variety - Dion's was an all-too familiar tale of dizzying highs and dismal lows played out beneath the bright lights of fame. It was his wife Susan's father, Jack Butterfield, who would eventually guide Dion to the principles that would free him from his addictions, principles embodied in the programme of Alcoholics Anonymous. When the dawn of his long, dark sojourn finally broke, it brought with it an exhilarating sense of release which matched his explosive new creative energies and became palpable in the songs and performances of these extraordinary albums. With a boldness born of absolute confidence in his persuasive performing prowess, Dion stripped his music to its bare bones, working with producer Phil Gernhard to create a blues-drenched and folk-imbued collection of tracks arranged and performed solely by the artist, accompanying himself on both classical and steel string guitar. What was immediately evident from the unadorned atmospherics of Sit Down Old Friend was not only Dion's return to the basics of his singing and songwriting craft, but a determination to allow his audience access to both the joys and the sorrows that had shaped his journey. From the adaptation of a central AA aphorism in Let Go, Let God, to the affecting paean to his young daughter in Just A Little Girl, to the sense of homecoming embodied in the title track, Sit Down Old Friend is a moving testament to one man's belief in the healing power of total transparency. It was from this absolute ground zero of self-imposed simplicity that Dion would begin to reassemble his musical identity. Still working closely with Gernhard and recruiting a pair of promising young songwriters - Tony Fasce and Bill Tuohy - as collaborators, Dion returned to the studio in 1971 to cut You're Not Alone. With ten tracks that widened the perspective of its predecessor, the album simultaneously shifted the emphasis from blues to folk flavourings for an altogether more contemplative result. From the resonant steel drum interlude of Close To It All, Dion's rendering of the Melanie manifesto, to the understated interplay of Paul Griffin's keyboard and Hugh McCracken's guitar, effortlessly interwoven through much of the album, You're Not Alone is an exercise in restraint in the service of serenity. It's a mood that prevails even when the tempo sharpens and the lyrics darken as on such Dion originals as The Stuff I Got and Attraction Works Better Than Promotion - another musical manifestation of a familiar AA truth. Versions of the Lennon/McCartney staples Let It Be and Blackbird, stand as among the best of any Beatles covers, while Windows and Peaceful Place are the aural equivalent of the delicately rendered tints and hues of a watercolour portrait. From the evidence of Sit Down Old Friend and You're Not Alone, it was clear that Dion had embarked on an utterly new musical direction. From his street corner days in the Bronx, through his dizzying rise to teen stardom and his subsequent struggle against the demons of addiction, Dion had learned a valuable lesson. It's the journey that counts and finding your own way is what makes it all worthwhile. By Davin Seay (Ace Records) |
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Ace Records 2001 | CD | 18.00 € |
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| Frankie Valli & The 4 Seasons - Anthology 2CD two must-have discs of soaring pop greatness. all the hits plus solo shots. 41 tracks |
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Rhino Records 2001 | 2-CD | 28.00 € |
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| Frankie Valli & The 4 Seasons - Greatest Hits Vol. 2 features their biggest hits from 1964-1978. 15 tracks |
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Rhino Records 1991 | CD | 15.00 € |
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| Gladys Knight & The Pips - The Very Best Of |
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Sony Music 2009 | CD | 15.00 € |
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| Goldmine - issue 286 july 1991, vol 17, no 14, issue 286. cover LAVERN BAKER condition ex |
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Goldmine 1991 | Lehdet | 5.00 € Käytetty |
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| GOOFIN' RECORDSIN LAHJAKORTTI - HELPPO JA VAIVATON LAHJA ! lahjakortin saat haluamallesi summalle. minimi 10;- maksimi summaa ei ole. Lisätietoja ? Soita 09-7733113 tai meilaa info@goofinrecords.fi Lahjakortti on voimassa vuoden ostopäivästä eteenpäin. |
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lahjakortti 2008 | CD | 30.00 € |
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| Isley Brothers - Showdown album from 1978 |
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Icon Classic Records 2008 | CD | 15.00 € |
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| Jive Five - Live On Stage 13 biisiä |
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Relic Records | CD | 17.00 € |
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| Jordanaires - Classics From Elvis' Legendary Backing Singers 14 tracks |
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Castle Music 2000 | CD | 9.00 € |
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| NOW DIG THIS NO. 298 - January 2008 Elvis, Frankie Miller, Rhythm Riot.. |
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Now Dig This 2008 | Lehdet | 9.00 € |
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| NOW DIG THIS NO. 301 - April 2008 25 years of NDT 1983-2008. Special issue. Hot 100 April 27th, 1959, 25 years NDT interviews |
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Now Dig This 2008 | Lehdet | 9.00 € |
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| NOW DIG THIS NO. 302 - May 2008 Terry Wayne Interview, Adolph Jacobs Story, On tour with Johnny Cash and Carl Perkins... |
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Now Dig This 2008 | Lehdet | 9.00 € |
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| NOW DIG THIS NO. 307 - October 2008 Sonny West, Jerry Wexler + Free Bonus Bear Family CD with this issue |
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NDT 2008 | Lehdet | 9.00 € |
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| NOW DIG THIS NO. 308 - November 2008 Wanda Jackson, Earl Palmer, Sonny West, Frank Slay, Rockabilly Rave USA... |
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Now Dig This 2008 | Lehdet | 9.00 € |
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| NOW DIG THIS NO. 309 - December 2008 Dion, Roy Orbison, Hillbilly Hit Parade, Hemsby etc |
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Now Dig This 2008 | Lehdet | 9.00 € |
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| NOW DIG THIS NO. 313 - April 2009 Somethin' Else! - Bear Family's new Eddie Cochran box-set reviewed Barriers...Who Needs Them? Irving 'Slim' Rose & The First Doo-Wop Revival That's What You Get When The Gettin' Gets Good - Bear Family's new Hank Ballard box-set reviewed In Praise Of Alley Cats Part Four CD & Vinyl reviews I Shall Be Released - April 1959 |
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Now Dig This 2009 | Lehdet | 8.00 € |
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| NOW DIG THIS NO. 314 - May 2009 Tommy Steele talks about his rock n roll days JLL '63: Burnin' Up Birmingham - unpublished photos of The Killer Bobby Lollar - The 'Bad Bad Boy' From Trenton Challenge Records & 'Tequila' - extract from new John Broven book In Praise Of Alley Cats Part 5 Book & CD Reviews I Shall Be Released - May 1959 |
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Now Dig This 2009 | Lehdet | 8.00 € |
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| NOW DIG THIS NO. 315 - June 2009 Quit Mumblin' And Talk Out Loud - Memories of Bo Diddley Boppin' Bob Jones Charlie Rich Confessions In Praise of Alley Cats Part 6 I Shall Be Released - June 1959 |
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Now Dig This 2009 | Lehdet | 8.00 € |
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| NOW DIG THIS NO. 317 - August 2009 Teenage TNT - A Pictorial Guide To Elvis On Tour In 1957 Ever Been Stung? - The Bizarre Story Of B. Bumble & The Stingers Rockabilly Rave Pix Bob Butfoy Interview In Praise Of Alley Cats Part 8 Ace Cafe Reunion I Shall Be Released - August 1959 CD, DVD & Book Reviews |
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Now Dig This 2009 | Lehdet | 8.00 € |
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| NOW DIG THIS NO. 322 - January 2010 Gene Summers Interview Buddy Holly box-set review Vince Ray Interview Compact Discs Reviewed in NDT during 2009 Rhythm Riot Report 'n' Pix In Paise Of Alley Cats Part 13 I Shall Be Released - January 1960 |
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Now Dig This 2010 | Lehdet | 8.00 € |
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| NOW DIG THIS NO. 323 - February 2010 Voodoo Jive '65 - Rare & Unseen photos of Screamin' Jay Hawkins at Granada TV! Chartin' On The Tundra - Regionalised Canadian charts of the '50s Honky Tonk Man - An Interview with Charlie Gillett Working With Larry Williams - Memories of his 1965 UK tour I Shall Be Released - February 1960 Rob Tyler Interview In Praise Of Alley Cats Part 14 |
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Now Dig This 2010 | Lehdet | 8.00 € |
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| NOW DIG THIS NO. 328 - July 2010 See You Later, Alligator - Bobby Charles and the Birth of Louisiana Rock n Roll Return To Oz - Little Richard, Gene Vincent & Eddie Cochran in Australia, 1957 Shop Around - Recalling London's rockin' record shops Rock Rockola - The golden age of the jukebox Hemsby - Report 'n' pix Memories Of A Rebel - Dennis Hopper talks about Elvis I Shall Be Released - July 1960 |
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Now Dig This 2010 | Lehdet | 8.00 € |
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| Phil Spector - Wall Of Pain Dave Thompsonin erinomainen yli 300 siv kirja tuottaja Phil Spectorista. Paperback |
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Omnibus Press 2009 | Kirjat | 13.00 € |
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| Reparata & The Delrons - The Best Of 30 tracks |
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Ace Records 2005 | CD | 17.00 € |
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| VA: - American Graffiti 2CD soundtrack of the cult movie |
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MCA | 2-CD | 22.00 € |
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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: - 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: - Honey & Wine - Another Gerry Goffin & Carole King song colle As a kid Goffin developed a taste for Broadway musicals and began creating songs in his head. With a vague ambition to one day write a musical of his own, he enrolled at college to study chemistry. It was there that he met 17-year-old Carole, a keen amateur rock’n’roll songwriter in search of a lyricist. They hit it off right away, penned a few songs together and dropped out of college to get married. In 1960 they joined Carole’s pal Neil Sedaka as staff songwriters at Aldon Music, a fledgling publishing house headed by Al Nevins and Don Kirshner. Within a couple of years they were the most successful songwriters in the country. We like our original versions at Ace and a few are included here. Bobby Vee recorded ‘Go Away Little Girl’ before Steve Lawrence got his mitts on the song for example, while the Rising Sons (Ry Cooder’s early band) cut ‘Take A Giant Step’ before the Monkees did and stylish jazz diva Nancy Wilson’s reading of ‘No Easy Way Down’ was taped before Carole’s own version was released. If you’ve ever wondered how many Goffin and King compositions the Monkees recorded, the short answer is 18, the most successful of which was ‘Pleasant Valley Sunday’, the couple’s restless ode to life in suburbia, included here. (The long answer is contained in the booklet.) While not all of Goffin’s lyrics are autobiographical, it is tempting to assume that ‘So Goes Love’, heard here by the Turtles, documents the breakdown of his and Carole’s personal relationship. Thankfully, they continued writing together after their divorce. As with our earlier volume, this set includes familiar hits (the Monkees, Maxine Brown’s ‘Oh No Not My Baby’, the Drifters’ ‘Up On The Roof’, Gene McDaniels’ ‘Point Of No Return’, etc), overlooked gems (Chuck Jackson’s ‘I Need You’, Jan & Dean’s ‘The Best Friend I Ever Had’, Freddie Scott’s ‘Brand New World’, ‘I Happen To Love You’ by the Myddle Class, to name just four) and some new to CD rarities (‘Stage Door’ by Peter James, ‘They’re Jealous Of Me’ by Connie Stevens, ‘The Boy I Used To Know’ by Andrea Carroll, Jody Miller’s very non-PC ‘He Hit Me (And It Felt Like A Kiss)’ and Carolyn Daye’s ‘A Long Way To Be Happy’). BY MICK PATRICK (Ace Records) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Honky Tonk - Charlie Gillett's Radio Picks had just passed my thirtieth birthday when I got my own radio show in March 1972, being set loose to play pretty much whatever I wanted, Sunday lunchtime on the BBC’s local FM station, Radio London. Just 45 minutes at first, it was fairly soon extended to an hour and then to two hours, broadcast every week until 31 December 1978. For a while, all I wanted to do was play every great record with rock’n’roll in its blood, many of them rarely, if ever, heard on British radio, and most of them emanating from the southern states of America. In those days, pop music in the UK was played on medium wave stations and this show on FM radio might easily have remained a well-kept secret if it had not been championed by John Collis, radio correspondent for London’s weekly listings magazine Time Out. When John heard the rumour of the show he called up a week or so ahead of the first programme to ask what I was planning to do; it soon became clear that he needed some kind of identity for each programme in order to be able to justify mentioning it on a regular basis. So I began with a programme of records made in New Orleans and Louisiana, and returned to that region several times, as well as moving west to Texas and even further out to California, north to Memphis and Chicago, and often grouping records with particular themes. I can no longer remember how I ran across every track included here, but probably as many as half of them were tips of one kind or another, while many of the others had been unearthed during the previous five-year period when I was working on a history of popular music, called The Sound Of The City, which traced the emergence and evolution of rock’n’roll out of independently-recorded R&B and country music in the late 1940s and early 50s. As the grapevine spread, listeners started to get in touch to tell me about records I seemed unaware of, not only obscure originals from the 1940s and 50s, but current artists too. I had a pretty frosty attitude towards a lot of current British pop, even though much of it was made by people my own age and with similar tastes. I never did play T Rex, Roxy Music, Wizzard or Slade but was thrilled to make room for JJ Cale, Jesse Winchester and Delbert McClinton. No coincidence, most of them were from the American South too. Among the regular listeners were many people who knew far more than I did, some of them dedicated to finding every possible piece of information about the records they liked best – dates and locations of when and where they were recorded, names of any and all sessions musicians and which little label released the record first. Such people can be notoriously possessive of what they have discovered, but I was lucky to be befriended by Bill Millar, John Anderson, Ray Topping, Errol Dixon, Rob Finnis and others, who between them managed to make up for my woeful ignorance and gave me a much better education than I ever had in school or university. As far as I was concerned, Honky Tonk was a shared forum and bulletin board for the music we all revered. One of the greatest surprises was that the programme drew an audience of real live musicians in London, who liked this kind of music themselves, and some of them began to submit their demo tapes. By Charlie Gillett (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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| VA: - Laurie Records Story Vol. 3 When I think “girl group label”, visions of Philles, Red Bird and Dimension do the locomotion in my head. But I’ve always thought of Laurie as the home of Bronx deities Dion and the Belmonts. (I grew up there – let me assure you, we built shrines.) Sure, Laurie had the Chiffons, but otherwise, what else? Plenty else, as this femmecentric third volume of the Laurie Records Story vividly illustrates. It turns out that several of the genre’s most revered figures made under-the-radar contributions to the imprint’s oeuvre. Ace compiler (and girl group ace) Mick Patrick has rounded up 24 compelling arguments for Laurie’s girl group bona-fides. Barely resembling Tommy James’ garage-y remake, the original ‘Hanky Panky’ by the Summits name-checks its producers, the Tokens. The song’s co-writer, Brill Building Queen Ellie Greenwich, moonlights as Les Girls with session cohort Mikie Harris. The duo sang countless backups for many years (they’re on Blondie’s 1976 debut LP) and it’s nice to hear them front and centre on ‘I Still Love You’. Another studio stalwart, Jean Thomas, is known to have masqueraded as the Powder Puffs, Rag Dolls and Beach Girls. Here, she’s the Cheese Cakes on the bouncy ‘Heading For A Heartbreak’. Noms de plumes abound. Brenda Lee Jones (Jean of Dean & Jean) channels Motown and Marie Antoinette (supposedly the notorious Alice Wonder Land) perches atop the wall of sound. Van McCoy fashioned ‘Shy Guy’ for the Charmers, but scoring with an Essex soundalike was easier said than done. The genre-defining voice of Mary Aiese, our beloved Reparata, is heard at the very beginning and end of her glorious recording career. There is no shortage of unsung heroines, either. Occasional Angel Bernadette Carroll emotes the bizarre ‘Circus Girl’ and young drama queen Dawn lays on the angst with a trowel borrowed from the Shangri-Las. But of all the unknowns we know, perhaps Beverly Warren was most unjustly denied success with Goffin-King’s majestic ‘Let Me Get Close To You’, backed by the Cookies. A brilliant vocalist, Bev still performs in the New York area. As valedictorians of Laurie’s girl group class, the Chiffons make four late-60s appearances. Their hit-making heyday behind them, the Bronx quartet settled for artistic triumph on the thumping ‘Stop, Look And Listen’ and the brooding ‘If I Knew Then (What I Know Now)’. Years earlier, the Chiffons’ first visit to the studio had yielded the era’s most successful girl group song (‘He’s So Fine’), but their magnum opus came in 1969. ‘Love Me Like You’re Gonna Lose Me’, produced and written by Irwin Levine and latter-day Brill Building princess Toni Wine, is simply a masterpiece. With a shimmering arrangement by the formidable John Abbott and shared, soulful leads by Judy Craig and Sylvia Peterson, this song deserved to be a mega-hit. So here’s an opportunity to enjoy some undiscovered classics, many making their CD debut. Not one of the songs herein managed to trouble the Billboard charts. It only sounds like a greatest hits collection. By Dennis Garvey (ACE RECORDS) |
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Ace Records 2009 | CD | 17.00 € |
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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: - 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: - So Much Love - A Darlene Love Anthology 1958-1998 24 gems from the remarable recording career of queen bee session singer turned Broadway star Darlene Love, featurin solo sides, tracks fronting the Blossoms in their various guises, movie soundtrack songs and tree great previously unissued performances |
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Ace Records 2008 | CD | 17.00 € |
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| VA: - Soul Vocal Groups Vol. 1 From the West Coast - LA. 15 tracks : The Nights / The Dupremes |
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Famous Groove 1994 | CD | 13.00 € |
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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 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: - 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: - Zell's Girls 28 tracks collection of rare girlgroup, R&B, doowop and soul sides from Zell's, Baton and Dice recordings 1955-1970 |
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Ace Records 2007 | CD | 17.00 € |
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| William Dell And Wee Jams - It Ain't No Big Thing / A Precious Love |
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Stacy's Golden Wax | Single/EP | 5.00 € |
